Chase Thompson - Shoot You Down

Newcomer Chase Thompson proves his talent as a producer, pianist, singer, and songwriter on his debut EP release Shoot You Down. The brief album is comprised of five heartfelt and confessional tracks demonstrating Thompson’s command of both verse and vocal range.

Although his sweet melodies and emotional oozing may turn off some listeners with its maudlin character, others will be won over by the honesty and intimacy of his words and his silky-smooth voice. The production is full and lush, wrapping the sounds in a soothing vibe. The delicate piano melodies are a delightful addition to the rich sound.

The opener “Hollow/We are Lifted” is arguably the strongest on the album, with its compelling piano melodies and Thompson’s beautiful voice stretching to falsetto in staccato highlights. A perfect pitch that massages the ears, the vibe continues throughout each down-tempo ballad. His writing prowess comes out on “Blue Lillies” with its vivid lyrics and symbolism. Mostly successful at staying clear of cliché, at times he does seem to fall victim; this and the overly sentimental orientation of the songs can seem a bit contrived. And this approach might bore the listener after extended play.

It would do him credit to change the tempo and bring out some more variety in his music. Yet we can’t fault him for producing a thoroughly consistent effort. Shoot You Down shows that Thompson certainly has the chops to be a musician. The true test will be realized when he is able to diversify his abundant talent into more than soft, easy listening suitable for the narrow confines of contemporary, adult radio.

By Shaun Flagg

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Skope Podcast - January 2008

Happy New Year from Skope! Listen to dub, metal, and blues revival collide. Featuring music from Drug Rug, Slightly Stoopid, The Bastard Fairies and a Special Interview with Pink Steel. Hosted by Skope Staff Writer, Claudia Ward-de León.

PLAY NOW

Breaking News - QTrax Is Here!

 

By Michael H Friedman

I am beyond excitement right now. Last night a new download service was unleashed at www.qtrax.com. Qtrax is the world’s first free and legal peer-to-peer (P2P) digital music site.

Music lovers can discover new music and legally download full-length, high-quality versions of their favorite songs while compensating both the artists and the record labels through non-intrusive and relevant advertising. Qtrax has the unparalleled support of the major record labels and all of their respective publishing divisions. Qtrax and its components are developed by LTDnetwork Inc. a division of Brilliant Technologies Corporation.

As I sit here and think, the questions are popping like crazy! My first question is about how artists will make money? I assume that the more the artists are downloaded the more $$ an artist will make. I am also curious as to where the ADS will come in? I am assuming it will be played before the actual song. I am also curious how music enthusiasts will react to ADS in their music? Can we download full albums as well?

Is this the end of the .99$ per song? As we know in human nature, if people can get something for free, they will.

QTrax is another attempt to fix the bleeding going on in the music biz. I am as excited as anyone to see how they do!

www.qtrax.com

The Audition - Champions of Pop-Rock

 

Champion by The Audition was just released, January 22, 2008.  The Audition were this weeks Myspace music featured artists.  They have a fresh unique sound. 

The following is from their biography:  “It is bold and confident”. The record title is a reflection of a band meeting their personal high expectations. The writing process for a second album can be difficult for any band hoping to maintain the magic from their first release. On their second offering for Victory Records, The Audition have avoided the sophomore jinx and produced an irresistible album that is part fighter, part lover, and all Champion. This Chicago quintet has garnered many definitions of what their sound is: pop, punk, dance, rock – take your pick. Truth is, they’ve earned every one of them, blending smart pop lyrics and grooves with memorable guitar licks and addictive beats. So when deciding how to follow up their 2005 debut Controversy Loves Company, the strategy was simple: stay true to the band’s core rock sound but turn up the heat with ultra catchy melodies and lyrics that reflect the group’s maturation.  With a throng of pop-punk peers on the scene, “Champion” is the record that will separate The Audition from the cookie-cutter acts springing up around every corner. This sophomore outing finds The Audition bringing back the same danceable rhythms and sing-along choruses, but with a more adult and sensual feel. This new bout of maturity can be attributed to the time that has lapsed between albums.

The band recorded Controversy Loves Company at the median age of 19, and it’s apparent with Champion that the band’s songwriting and delivery have ripened with a confessional and intimate sheen. Tracks such as “Warm Me Up” are loaded with insinuations and sultry secrets that reflect their growth in their artistic and personal lives. “A lot of the songs have a much more soulful and sexual vibe to them. On this record we wanted to try and take the things that make us The Audition and make them better,” says drummer Ryan O’Connor. “We made the rock parts harder, the dance parts ‘dancier’ and the hooks catchier.” In order to maintain their clean sound and precise execution, The Audition returned to the studio in August with Controversy Loves Company producer John Naclerio (My Chemical Romance, Senses Fail, Brand New). The band trusted Naclerio with their ideas and goals for Champion and found the enthusiasm and vision was reciprocated.

Fashioned in 2003 in the Windy City suburbs, The Audition went through a myriad of hurdles before its current lineup was complete. O’Connor and bassist Joe Lussa recruited guitarist Seth Johnson to join their original lineup. Local shows with bands Fall Out Boy, June, Spitalfield, and The Academy Is… propelled the band to minor fame, and soon Victory Records took notice of the hometown favorites. Within weeks of witnessing the band showcase in O’Connor’s parent’s basement, the band was signed. However, only a mere month passed before the band lost its lead singer. Motor City native Danny Stevens stepped in after connecting with O’Connor over the phone. After the recording was complete, the band added guitarist Tim Klepek to recreate the numerous guitar parts live. The Audition enjoyed a wave of success with Controversy Loves Company, which has reached nearly 50,000 copies sold and climbing with the band’s relentless touring with bands as diverse as Jack’s Mannequin, New Found Glory, Boys Like Girls, the Red
Jumpsuit Apparatus and 30 Seconds To Mars. The handful of genres the band has been likened to has propelled them to tours that reach all different scenes. “So many people want to lump us into the “emo” category but we are just a rock band. We have so many ideas, and like so many artists out of our scene, we don’t like being labeled under one type of sound,” O’Connor says. “We want anyone and everyone to like our music. We don’t want to be a flash in the pan; we plan on being around for a while.”

Champion is the quintessential pop-rock album of 2008, jammed with radio-ready singles and party-soundtrack songs that will appeal to fans above and below the 20-year mark. This stellar follow up to Controversy Loves Company showcases a band that has brought the quality of their sound up to the high level of their confidence– all it took was a little growing up.  “We named the record Champion because it’s a statement,” O’Connor says. “It tells everyone in one word what we think our record is.”

You can check out their music on their website at  www.theauditionrocks.com.

By Diana Olson & Shelby Hoffman

Khalid Rivera Interview

Stoli Sits Down with the Multi-Talented Khalid Rivera

Hailing from Queens New York, this Staten Island native began his career at an early age. Stoli was so impressed with Khalid’s background & musical resume he had to see what was up with him. Check out what Khalid has going on in his life!

Stoli: You began singing in the church. Would you consider yourself to be a religious man?

KR: I consider myself to be very religious because I have alot of faith in God and constantly pray everyday.

Stoli: How much does your Puerto Rican heritage play in your life today?

KR: My Puerto Rican heritage defines who I am as a person because its a beautiful heritage and inspires me to be a better artist. I was born in Puerto Rico and I am always proud to represent my people.

Stoli: You are no stranger to performing on Broadway. Would you say that experience helped get you where you are today?

KR: Being on Broadway was such an amazing experience and it helped me get to where I am today because it helped me become a better performer and prepared me for the rigorous performance schedule/environment in the years to come.

Stoli: What is it about Skope that made you want us to feature you?

KR: Skope features all types of national and international music from indie to major artists. I love diversity and Skope represents that.

Stoli: You have had great success on Broadway and in theatre. What made you want to pursue a solo career in music?

KR: I always wanted to pursue a solo career in music. I don’t want to just limit myself to theatre. I’ve also had experience in Film and Television so I just felt that music was the next step. I can do it all and want to do it all!

Stoli: Your music has a dance origin, what are some of your favorite clubs in NYC to dance?

KR: My favorite clubs in NYC to dance are Hiro Ballroom, Webster Hall and Pacha.

Stoli: What is the meaning behind your new track, ‘Salvation’?

KR: Salvation is about being control of your life to gain confidence, respect and to get rid of all the drama and negative people in your life.

Stoli: Have you experienced any prejudice being a proud, strong gay
man in the music biz?

KR: I’ve never experienced any prejudice being a proud, strong, young Latino man in show biz because I’ve proven myself everyone with my talent and professionalism.

Stoli: Would you say it is hard to have a career & relationship together?

KR: Of course. Sometimes you have to chose one over the other. With all the constant traveling, performances etc, its hard to make time for yourself let alone a relationship.

Stoli: Where would you like to see your career in music take you?

KR: I hope to be on the billboard charts, become well known and respected worldwide so that I can crossover into any type of music I’m passionate about. I would love to collaborate with amazing artists and producers. Lets see what the future holds.

Stoli: If you could work with one artist whom would that be?

KR: I don’t know. It would be between Prince, Marc Anthony, Christina Aguilera or Kylie Minogue.

Stoli: What can we look for from Khalid Rivera in 2008?  

KR: My 2nd single Salvation will be released on Jan 28th and my album will be released on March 25th. My feature and short films, Poultrygeist and D 4 Delivery will be released and presented in numerous film festivals throughout the world. I’ll be doing more performances and couple of collaborations are in the works… I can’t wait to see what 2008 brings.

KR: Thanks so much Skope and my wondeful manager, Shaun Ciaro of Shakir Entertainment for setting up this fun interview. Peace.

It’s Adjustable - January 2008

Northern State, Can I Keep This Pen?
The beginning of this CD didn’t impress me too much. It sounds so much like Leslie and Lys, with its silly rhymes, synthesizers and very obvious ironic smirk that I thought I might as well stop. The first four songs aren’t really worth listening to. They’re very derivative and others have done it better. Northern State’s “first love song” (per their website), “Away, Away,” should have been left on the cutting room floor. The singing just doesn’t work. However, after this song, things pick up a lot. ‘ILuvItWhenYa” is really funny and the beefier beats replacing the annoying and in-your-face synthesizers is a welcome change.  “Things I’ll Do For You” is a pretty hilarious listing of the things the three group members do well, some old school boasting. The last three songs, all of which feature other artists, mostly work well, especially the guest spot by Chuck Brody. I even like when they slow it down with “Run Off The Road” and “Fall Apart,” but they don’t fit with the rest of the album and, frankly, sound like a totally different band. Its an uneven effort that lacks cohesion, but I’d still recommend it.
 

Exposition, Take A Penny, Leave A Penny
I ran into my friend Andrew at the opening night of new art at the Other Side Café which one of our friends was showing. We ended up geeking out about hip hop and rap for about an hour and a half and decided to switch CDs. I gave him things like Deltron 3030 and The Saturday Knights. He gave me a ton of CDs including Northern State) see above and Exposition. Exposition fronts Audible Mainframe, which is another amazing CD Andrew passed along to me, and this is one of his solo efforts.

His influences are wide and varied, but Exposition manages to put together an album that flows from gospel to reggae to latin beats to piano driven instrumental work without it feeling disparate or forced. It’s intelligent (references to Dr. Strangelove, Idi Amin, depression, and the war in Iraq, among other topics), but only occasionally preachy and overbearing. As smart as Exposition is, he knows that the message won’t get across without good beats, so he delivers some real head bouncers behind his pointed lyrics – just the way I like my rap. He is one of the smartest rappers I’ve heard in awhile, so I’ll pass along thanks to Andrew if you end up liking Exposition as much as I do.

By Stacy Coronis

The Twilight Sad - Fourteen Autumns and Fifteen Winters

Adolesence, as a subject for music, is about as well-mined a vein as there is. It’s not merely because teens are the music industry’s bread and butter — teenage years are simply the most vividly emotional time of a lot of people’s lives, especially to those who happen to write songs.

So when one decides to write an entire album of songs about the difficulties of being a 14-year-old, one must bring something more to the table, lest that one get lost in a sea of weepy mope-fests.

Fortunately, James Graham isn’t lost. Graham’s warm burr and strong lyrics find their way to willing ears on the Scottish quartet The Twilight Sad’s debut. It helps that the musicianship — led by guitarist Andy MacFarlane’s predilection for white noise — draws you in, but still makes you work to hear Graham.

The single “That Summer At Home I Had Become The Invisible Boy” is the example many use to show the effect of The Twilight Sad’s power, but I think Graham’s lyrics vs. the band’s muscular sound is best shown in the album’s fifth track, “Talking With Fireworks/Here, It Never Snowed”, where the music comes off like an onrushing train as Graham sings sweetly behind it.

By Jonathan Tully

Listen to “Talking With Fireworks/Here, It Never Snowed”

Mike Mangione - Tenebrae

“Mike Mangione’s first concert was unfortunately the George Michael Faith tour when he was in second grade,” reads his website. In all honesty, the similarities are apparent. Sure, George Michael’s voice always seems to follow a corny and unusually upbeat melody and his pants are just slightly tighter, but with some minor adjustments and facial hair Mangione and Michael could be one and the same. Their voices, appearance and obsession with awkward poses in black and white photographs are deathly similar.

Tenebrae begins with love songs “Waiting For No One” and “It’s Me Not You,” a track describing the trials and tribulations of using arguably the most popular relationship breakup phrase in history. The album continues its negative direction with “The Killing Floor” and “First Time: Please Forgive Me,” the shameful begging stage of a failing relationship. The next likely stage is presented in the next track “You Don’t Wanna Leave,” and though the denial is borderline pitiful, the album accurately depicts the ups and downs of a heartbroken mate.

While heartbreak is saddening the desperation becomes deplorable as Tenebrae continues with “It’s a Hard Road to Crawl,” “Now That it’s Done, Won’t You Come Back,” and “I’m Sorry Again.” By the end of the album Mike Mangione appears to have produced a compilation of “awesomely bad love songs” similar to his aforementioned twin, George and has listeners reconsidering just how influential the childhood concert really was.

By Kendra Desrosiers

Wine-O I Hear You Talking Behind My Back

Ladies and gentlemen: no need to be alarmed. I Hear You Talking Behind My Back is not a screwed Pimp C LP. The “music” flooding a listener’s headphones at the start of Behind My Back is not in fact the work of a UGK wannabe but that of Houston native Wine-O. Somewhere in the depths of hip-hop lies the love child of Rick Ross and Mike Jones nestled in the Texas traps. According to Wine-O he “used to be so broke with ankles ashy but now [he] fight off boppers, some classy/ you know the ones who used to walk right pass me/Can I ride with you they had to know the answer/Back then they didn’t want me but now I’m hot.” It seems as if Wine-O has confused one million MySpace listens with $1 million in sales because I Hear You Talking Behind My Back has not been fortunate with fame.

Wine-O’s change in content from church boy to dope boy has upset devoted fans, but in the commercial southern rap fashion, the coke slangin’, dance track bangin’ mold is the only sure fire way to “get money.” That and name dropping and borrowing the catch phrases of previous one hit wonder M.I.M.S. How creating a dance track titled “Hokey Pokey” could be considered “hard” baffles many. But luckily for Wine-O the uncontrollable need to join in on minstrel-esque dance steps will save his entire project.

By Kendra Desrosiers

DRZHIVEGAS - Get Down

DRZHIVEGAS is stuck in a time warp. The St. Louis quartet somehow managed to get trapped inside Sebastian Bach’s closet and rummaged through 80s memorabilia that has been long deplored by today’s mainstream world. But these rebels seem to love the glam era. In fact, that time period has directly influenced their music, their wardrobe and even their cheesy band name, DRZHIVEGAS (pronounced doctor-zhi-vegas). The dancehall rockers tried breathing new life into the movement on their debut Get Down. Instead, the outdated album suffocates their artistry.

There are rare shades of brilliance on Get Down, but that brilliance isn’t too easy to spot. DRZHIVEGAS starts off their nine-track collection with “Gimmie Whatcha Got,” an energetic radio-friendly single containing an aggressive rock forte to which people could shake their hips and bang their heads. That flair, however, is only revisited on the following songs, “Get Down On It” and “Wonder.” Then, the record gradually gets worse.

The throwback band alters their vibrant style by incorporating bluesy melodies and funky bass lines with an electronica twist. Although the quartet flaunts their creativity, they shouldn’t. Their quintessential hybrid isn’t satisfying at all, especially during slower efforts like “Do U Wanna” and “Crazy.” Not surprisingly, they end Get Down weakly with “Gone,” which seems like a bad attempt of impersonating modern-day Bon Jovi.

DRZHIVEGAS is booked to perform an assortment of gigs throughout Missouri over the next few months. If they continue sitting in their dance-glam niche, then leaving that state isn’t in their future.

By Bear Frazer

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