Two Words: Toy Robot! At a time when absolutely nothing original is happening in Music, NY based synth pop/rock quartet Jolly have miraculously delivered the most original DIY music video I’ve seen in 30 years! Created by the band themselves with only a cardboard box, construction paper and the aforementioned toy robot, “Lucky” is the fourth video from the album The Audio Guide To Happiness ll, out now on InsideOut Music. This crazy cool video features a cameo appearance by famed drummer Mike Portnoy (ex- (Dream Theater), who can be seen in the clip driving a Puppy Nursery van, and sporting his numerous tatts and blue beard. Mike Portnoy!
Sound-wise, Jolly lives up to its name with this upbeat, ridiculously melodic and hook-laden tune that for some reason reminds me of what Living Color might have sounded like if they had hit it big in the early ’80s. Also, tell me you don’t hear a little Faith No More in the mix, because I know you do. Furthermore: Lead Singer kind of Hot. Jolly is currently on tour in the US with plans to release new material in 2014. Find out more about Jolly and its very fun music at Jolly Band Dot Com. Enjoy!
Artist: Dream Theater Album:Six Degrees Of Inner Turbulence Release Date: January 29, 2002 Label: Elektra
The music of Dream Theater — a prog-metal blend of Styx drama and ELP grandeur — generates little gray area when it comes to appeal. Listeners either love the band passionately or hate them. (God knows I’ve had my issues with them, having walked out on one of their shows three years ago when the Siegfried & Roy aspects of the Las Vegas-style Rock Extravaganza got out of hand. That is to say, I was bored). The band’s sixth album, an ambitious double CD entitled Six Degrees Of Inner Turbulence is unlikely to alter that dichotomy. But here’s the thing, with Dream Theater, you know what you’re getting when you sign on: musical virtuosity and technical perfection. Here’s an example of what I mean: You’ve got Vocalist James LaBries’ narrative command of each song; Drummer Mike Portnoy’s effortless ability to demonstrate as many double-bass-triplet-rudiment-fills as possible from the top of a song to the bottom; Guitarist John Petrucci’s astoundingly fluid, classically influenced playing; Jordan Ruddess’ swelling layers of Rick Wakeman-esque keyboards; and bassist John Myung, who, like John Entwistle, lays down a solid groove and says out of everyone’s way. One can hardly fail to be impressed with any of that. Continue reading →