SkiVe
The Same Old Sky
[self-released]

by The Cerulean Beast

Releasing their debut EP in February 2007, SkiVe brandishes their brand of A.O.R. pop. Helming the bridge is Leonard Soosay from Snakeweed Acoustic Labs and being mastered at 301 Studios in Australia, one would expect a polished, yet bold product from this 8 year-old band. I, on the other hand, like to think that this is from a bunch of guys who knew what they want and refused to compromise on production while using “debut” as leverage.

The EP opens with the title track ‘ The Same old Sky’, a nice, breezy ballad with elements of Brit indie and American alternative rock. It’s currently receiving constant playtime on Perfect Ten 98.7 F.M. I believe it’s the band’s intention apart from the obvious hit single as the starting track, to set the pace for the next three numbers.

The other song that stood out in The Same Old Sky was ‘ The Curtain Call’. It has a very interesting drum intro, incorporating programmed beats in the verses. I think it’s safe to say that this is an indication on how this band is probably evolving into a mature and creative songwriting unit. My only gripe is the guitar solo. Although it brought the song up to another level, the offending piece had its aggression and choice of notes all at the wrong places, creating the wrong mood.

While the production is of supposed top quality, I’m a little disappointed with the levels of the instruments. The snares were a too jarring to my ears and the vocals which I felt was a job well done, is too soft. Then again, maybe it’s the case of mixing the guitars way too much in the forefront, a common trademark of a Singaporean band I must say.

Overall, I think this EP is a good sampler of what’s to come from Soon, JC, Brian, Marcus and Nick. Catchy songs which do not need turning the volume up to 11 and which you can listen with your dad and grandpa without much complaint of “being too loud”. Where bands with the Top 40 vibe are concerned, this is one band to watch out for…in the near future that is.

Oh, I also have to say that after catching them live at their EP Launch in Bar None not too long ago, I’ve got to give them props for their “courage” to cover an Eagles song. Well done!

The Observatory
A Far Cry From Here
[Universal]

by K Vicious

Being progressive-minded musicians who are consistently exploring the outer edges of combustive song ideas, The Observatory have always crafted albums that straddle the line between an accessible-sounding blueprint and conceptual sonic art exceptionally well.

A Far Cry From Here opens with a short spurt of subterranean instrumental so roaringly torn and frayed that it serves as the perfect welcome to another fascinating chapter of the band’s developments. Leslie Low’s songwriting these days may be some distance from Humpback Oak’s sketches of pain but the same sense of darkened aesthetics envelops the Observatory’s strikingly modern soundscapes, particularly on new cuts ‘Fall Of Man’ and ‘Downwards is Hellwards’.

But it’s also obvious that A Far Cry From Here is also one laced with hopefulness – a combative kind of hope, if you will, as evidenced on the abstracted fury on album standout ‘When I See A Fire’ – as the band evolve from the birth pangs of a new musical comprehension with each new release. Also, top marks for not trying to top 2005’s Blank Walls, which is still the favorite Observatory album of many including myself, with feeble imitations.

Instead, the middle frames of A Far Cry From Here (‘Wonderkind’ and ‘The Last Grand Fallible Plan’) makes a moth-like plunge into the realms of its own mise en abyme and emerges basking in the afterglow of mixed emotions.

A great listen throughout then, but a valid criticism of these loosely structured new songs is that they don’t gel wholly together quite as well as their previous two albums. Then again, this would be a small quibble perhaps, because the taste and bold originality The Observatory displays still goes a long way.

Mistaken Identity
Moving On
[self-released]

by The Cerulean Beast

This is a tough one for somebody who’s really not into emo doing a review for an emo band. Obviously, a biased opinion would therefore be expected, I guess. That’s why I had to listen the album front, back, sideways, at sleep, at work, at… (you get the idea ) in order to be as fair and non judgmental as possible.

During the course of listening to the album, I came up with a couple of opinions. On the album, you will get tracks like ‘ Moving On’that hits you with an intro that’s reminiscent of their previous EP Nicotine Induced .But then, it hits you how awfully melodic the chorus can be. The backing vocals towards the end of the song gave me goose bumps.

‘Idle Worship’ reminds me of fist pumping pop-rock in the 80’s. ‘ The Premiere’ (my second favourite track in the album) does a total shift in their musical journey. Sweet major 7th chords that would send one off to town with a Swedish girl named Inga…. or a guy named Thor or…. Okay, I stop now.

One notable mention is the collaboration with Hip hop band Soulz in the number ‘ Flashback’.Catchy, aggressive and lo and behold! Chorus-laden funk guitar licks that is reminiscent of the 80s!! Fizah from Soulz sounded really good. Definitely someone to look out for in the future.

‘Cliché ’ brought me back to the early 2000s when Blink 182 were big. Either that or the soundtrack to Spin, MediaCorp teen drama series. I love the lyrics though. ‘ Thieves And Lovers’ has a very nice melodic twist in it. Kudos to the “ooh la la” backing vocals straight outta the ‘60s.

The album ends with an acoustic version of ‘ Moving On’which, to me, is an excellent example of a song still sounding like a song without all the aesthetics and guitar pyrotechnics. It’s quite beautiful piece here, guys.

Sadly, the production did not do the songs justice. The uneven levels in the songs, the constant boom from the bass, despite from the fast ones to the soft ballads and the drums which sounds like tin cans originally used to take away coffee from hawker centers.

Overall, the album does have a lot of good tunes. Mistaken Identity have their own stamp. Good songs. High potential. They are a band to watch out for. Don’t worry about the whole “emo” tag. At least, they aren’t like a certain band I know who went from The Verve to Coldplay. Hahahaha.

Meza Virs
Vida Sacrificium Meum Est
(Mourning Sound)

by Mark Wong

If Rudra’s gig at the Esplanade last year was any sign of a wind of change in the mainstream’s attitude towards home-grown metal, Meza Virs’s debut album may just be the storm to bust open the dams of popular perception. Vida Sacrificium Meum Est is an impossibly accomplished specimen of symphonic metal polished to a thick black sheen.

Most of the material here has been meticulously constructed and precisely executed; the musicianship and arrangements are technical and tight — not an easy feat for a band principally made up of six members (not including a viola sessionist). What works for Meza Virs is each member’s ability to stake out a distinct role, making for a compelling whole.

One of the first things one probably notices is the beauty-and-the-beast vocals. Cedric’s guttural churnings are largely impressive — including a dynamic turn on ‘Shadows of Oblivion’ — although his Cookie Monster performance may fall in danger of turning cookie cutter over longer, more monotonous vocal passages. However, the contrast with Jasmine’s sweet but powerful vocals is a winner. At her best, such as on the heavy ballad ‘Crestfallen’, Jasmine’s impressive vocal work would simply make the competition (say, Amy Lee?) evanesce.

Drummer Tjinn’s brutal jackhammer double pedals are another distinctive element. Although providing ferocious assault, it can tip over into excess, which is why his ability to inject creative trails is a wonderful asset. ‘Shadows of Oblivion’, for instance, begins with gently loping drums that unveil a half-shuffled Meza boogie while single piano notes light the way like sanctified candles. In fact, Ying’s keyboard flourishes elsewhere are a cornerstone to the symphonic bent of Meza Virs, and she rarely disappoints. The guitars by Samuel, Jonny and Cedric are technically sound, although it is that very patina of precision which can cause the music to come across as being somewhat cold and removes some of the edge from their music.

While some bits of the album are not as fresh and challenging as I’d like it to be, this is still very stern stuff. For a first effort, Meza Virs have succeeded in marking out a strong identity, and in so doing, creating their very own melodic metal Meza-verse.