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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (July 29, 2004)
CD REVIEWS BY LOCAL WRITERS Fernanda Abreu, Raio X , 1997, EMI. By Andrea Medrado The perfect fusion of styles in “x-ray” challenges listeners in each song, and the challenge pays back. The second track, “Aquarela Brasileira,” starts off with Fernanda’s raspy voice. Then comes a subtle succession of instruments: the rattle, the cuíca, an old school samba guitar solo — by the time the tambourines and drums mixed with electronic beats take over, it’s too late. You’ve already surrendered to this catchy combo of the primitive and technological. And this is exactly what Fernanda intended. She pals up with rocker Chico Science (he duets on one track), as well as Lenine and Carlinhos Brown, who are known in Brazil for experimenting with various rhythms. The album is an anthem to the diversity of Rio de Janeiro (where Fernanda is from) and its cultural tolerance, embracing with open arms all kinds of musical influences. trekking? medical advice for global travelers T HE T RAVEL C LINIC 1200 Hilyard St., Suite S-560 343-6028 Start traveling healthy today at www.TravelClinicOregon.com Minus The Bear, They Make Beer Commercials Like This , 2004, THE ARENA ROCK By Mike Stopp The imminent beauty of Minus The Bear’s six-song EP, They Make Beer Commercials Like This, goes above and beyond the norm of a worthy listen. The emotions evoked through this technical, melodic Seattle based band will make you grab a partner to dance with and kiss. The combination of guitar finger-tapping, synthesizers and talented vocals far exceed any in its class. Rarely does a band create a new sound such as this. With ex-members of Sharks Keep Moving, Kill Sadie and Botch, it’s hard to imagine something these boys create being any- thing less than flawless. The production quality is superb, just like previous albums. Minus the Bear can set the mood for a night of lounging, or be the start of a memorable time of dancing. Though consisting of only six songs of welcoming intrigue, They Make Beer Commercials Like This is easily enough to keep your head nodding until the full length release, which should be out sometime in the near future. RECORDING CO. Iced Earth, The Glorious Burden , 2004, STEAMHAMMER RECORDS By Matt Stone Terms such as “theatre metal” and “opera metal” could be used to define the sound of King Diamond’s monumental 1987 metal opus, Abigail. And now, with the release of Iced Earth’s new album, The Glorious Burden, I feel those terms can once again be used. Burden isn’t your usual Goth-and-brimstone-tinted Iced Earth album, as guitarist and song- writer Jon Schaffer has used this particular release as an outlet for his lifelong passion: military history. Songs such as “Valley Forge” and “Declaration Day” offer a soundtrack-perspective to the founding of our nation. “When the Eagle Cries” displays Schaffer’s somber, yet vengeful, take on 9/11. Even the brutal nature of humanity on foreign soil is expressed in tracks such as “Greenface,” “Waterloo,” and “Attila,” which feature an archaic and tribal quali- ty through drums and vocals. However, “The Reckoning” does return to the hell-hath-much-fury riffing of yore. The centerpiece of the album is Schaffer’s half- hour composition, “Gettysburg (1863),” on disc two. This evocative three-part song ranges from anger to victory, remorse to sorrow. Overall, a very emotional, thought-provoking and striking album. The song “Hollow Man” raises the ques- tions, “What is freedom?” and “Can one be free from themselves ... ?” The answers are not easy to find. Woodland, Twilight , 2003, IMAGINOSIS RECORDS By Scotty Perey Our wealth of local music is greatly blessed by the recent arrival of a wonderfully magical ensemble from Arizona, the Celtic-inspired and Faerieworld-themed group Woodland. Their most recent release, Twilight, is a fantastic mosaic of musical offerings that caresses our ears and ancient souls with imagery of nature and Old World mystery, in a mode both relax- ing and rhythmic. Its splendor dances finely within a texture of soothing meditation and solid songwriting. The lion’s share of the songs are spun by guitarist/vocalist Emilio Miller-Lopez, with one notable track, “Into The Twilight,” manifested as a W.B. Yeats poem of the same name set to music by harpist/vocalist Kelly Miller-Lopez. Kelly’s enchanting voice shines in a rich mix of sonorities. Enticing young and old, Twilight makes both a great gift and a smart choice to lull the munchkins to dreamland. Every song on this album is thoroughly enjoyable; my easy favorites, interestingly, are the first “I Remember,” and the last “Midnight Ring,” with honorable mention going to “Mermaid.” The artwork of the CD evokes perfectly the feeling of Twilight, with all paintings on the cover and in the liner-notes created by Brian Froud, well-known for designing the characters and worlds of the movies, The Dark Crystal and Labyrinth. Both will be featured guests at Woodland’s own magnificent pro- duction, the Fairieworlds Festival, July 31 and Aug. 1 at Horning’s Hideout just outside of Portland, a truly magical venue in its own right. 22 JULY 29, 2004
