For reasons I will not go into right now, my main band – Cynicism Management – has been quiet for a while. The work on the band’s third full-length album (as well as my third novel, which is supposed to accompany it) IS proceeding, though not exactly as initially planned, so I cannot yet predict with any certainty when either will be done.
In the meantime, we have released the Pendulum Pet album on Jamendo, where you can grab it as a FREE download under a Creative Commons BY-NC-ND license.
There’s a reason – besides my being a serial procrastinator, of course – why it took me almost exactly two months to finish scribbling the following “review” (or, my personal concert journal entry) of the Opeth concert in Berlin on 24 November 2016: it was so damn good that I didn’t have anything to grumble about. I’ll try my best to find something that was annoying – but be warned, the following account may be damn boring.
This was the second time I saw Opeth live. The first time was in Huxleys Neue Welt, my favourite venue in Berlin, but this time the gig was in Astra Kulturhaus, which I was not yet familiar with. Because the place turned out to be one of those semi-dilapidated (on the outside) squats-turned-businesses that I normally don’t particularly enjoy, I was worried about the sound. Furthermore, drinks were far too expensive for its outward appearance… But all my reservations were soon appeased.
Well, maybe not during the opening act, which was a band of cute Swedish shieldmaidens singing lullabies and Scandinavian laments, thus promoting suicidal tendencies in most of us, the audience, as we had already been moderately to fully depressed due to the eternal winter doom and gloom of Berlin. In short, it was OK, but nothing to write home about: however beautifully performed (and it was fine, musically speaking), this sort of ethereal angel choir over acoustic guitar or piano (not even both at the same time) can make me very sleepy in no time. And I had got up at 5 a.m. that morning, so three tracks in I was in serious danger of prostrating myself in a dark corner and missing the whole thing.
Fortunately, Opeth soon elected to get on stage and…
Well, what can I say. Flawless musicianship, superb sound (clear, well defined, loud enough, though not brutally so… actually I don’t have any negative sound-related comments whatsoever, which is very rare for me), and first-class stage act and presence. As far as I’m concerned, Mikael Åkerfeldt is the man. Not only is he a musical genius, guitar virtuoso and top-notch singer (despite his continuous protestations that he doesn’t really know how to sing), but I especially appreciate his sarcastic and cynical ramblings in between tracks that never fail to entertain. His communication with the audience is stellar (he even made the proverbially reserved Germans sing some godawful vocal line I didn’t know my way around at all – I suppose it must have been a hit in Germany or something, which is certainly an achievement in its own right, as it was definitely not a sing-along jingle). In this regard he reminds me of Zappa, and in a very good way, too. One of the self-ironic remarks I remember went something along the lines of “I was bored, so I changed the tuning on my guitar, played a few chords, and – lo and behold – another masterpiece.” Ha, ha, ha, indeed.
What else… Oh, there was one thing that pissed me off, besides the prices of drinks: there was a nasty pillar between me and the stage, so my vantage point sucked, but it was my fault – because I had no wish whatsoever to elbow my way further into the impressive crowd. However, another positive thing: this time there weren’t many hipsters around, unlike the All Them Witches concert the other day, which was a massive relief. Opeth do attract a great, loyal crowd of sensible people, and for a reason: they’re simply so damn good. If I ever have the chance, I’ll definitely go see them again.
For the last half a year or so I’ve been collaborating with a Kansas-based singer/songwriter, bassist and first-rate guitarist Rick Neidlinger. While he was in charge of everything else, I contributed drums and then mixed and mastered the tracks as well. The resulting work has just been released on Bandcamp. Have a listen and/or grab a download:
Released November 6, 2016
Music, guitars, bass and vocals: Rick Neidlinger
Drums, mixing and mastering: Borut Praper
I hadn’t known All Them Witches at all before a friend of mine with compatible music taste, whom we’ve been exchanging musical tips with for the last 20 years or so (we’d even played together in my first band back in 1994/1995), happened to mention that they were playing in Berlin on 15 October. (Yeah, so it took me a while to write my impressions about it, what can I say, I’m a world-class procrastrinator.) So my pal decided to mount an expedition from Slovenia and drop by the now eternally dark and murky Berlin for a visit, and we’d go to this gig while he was at it. A grand idea, if you ask me.
I gave the blokes in question a good listen, like I usually do when I’m about to attend a concert by a band I don’t know, and, lo and behold, even though I hadn’t recognised their name, I already knew their whole Our Mother Electricity album by heart for some peculiar reason. Raising a semi-surprised eyebrow I thought, what the hell, man?!
Later I realised that my neighbour – this demented dipsomaniac who lives next door and keeps blasting his rock ‘n’ roll through the window for all the neighbourhood to hear – might have been a bit obsessed with this album for a while, so he must have played it frequently, without my registering it, really. As his musical tastes are quite OK – even if he’s otherwise an insufferable idiot – I don’t often get back at him back by playing Meshuggah or something, for example, to drown out his tunes… At least not until he really pisses me off. So I must have inadvertently picked up the whole All Them Witches album through the wall. Excellent.
Therefore this had been my favourite track by All Them Witches even before I knew the name of the band, and they did perform it here in Berlin, which I appreciated a lot:
The rest of their albums sounded perfectly cool to me as well, a sweet combination of blues and stoner rock, so I was looking forward to seeing them live. They played at White Trash Fast Food, a place I’d never been to before – a sort of a “moderately hipsterish” fusion food joint / tatoo studio / DJ lounge / (rock ‘n’ roll) concert venue. So of course I had my doubts with regard to sound and atmosphere and clientele et cetera – you know, the usual concerns of a cranky old fart. Unfortunately my pessimism once again turned out to be well-founded, though the actual reasons for the disappointment completely eluded me this time. I mean, we’re all used to bitching about the guy who is dying a slow, tedious death behind the mixer, but this time I couldn’t possibly imagine whose fault the poor sound was. I’ll explain.
My first impression of the place was very positive:
The second impression was that half of Berlin’s hipster population ate there, and the third was that the concert venue security was totally weird. We had to go in through a side entrance (NOT through the restaurant), where they punched our tickets and felt us up, of course, you know the routine, in order to prevent us from bringing anything illicit inside. We ended up in this neat hall, quite large, I estimated you could stuff around 1000 people in there (turns out I was close, just checked it, and the capacity is 450 seats, 700 standing). Then we were once again forbidden from vaping (this was the second time after the Katatonia concert the other day, I suppose they’re finally onto us), but we were told we could go “smoke” in a “designated smoking zone”. So we did, but it turned out that dragging your ass there meant you had to get a stamp and vacate the premises through the restaurant, so we, for all intents and purposes, ended up where we had already been before: outside, in front of the restaurant. At that point we could have loaded up on beer and suspicious pharmaceuticals… Or grown jihad beards, put our passports in our pockets for the police to conveniently find later and fetched our scimitars, AK-47s, hand grenades, rocket launchers, suicide vests and sarin gas, because nobody gave any of us evil smokers/vapers a second glance when we reentered the venue through the restaurant on our way back from the “smoke break”. Of course not: after all, we had THE STAMP. How typically German.
The gig was opened by infernally loud (hell, yeah!) Israeli stoner rockers who call themselves The Great Machine. I must admit I was impressed: the sound rocked and if this was how the rest of the gig would go, it would be one hell of a concert. As impressive as The Great Machine sounded, I was starting to feel horrendously bored about four or five tracks into the set, which is just something a full-on stoner rock setlist consisting of virtually identical three-chord tunes will do to me. Still, the sound and the band’s stage presence were a plus. I wondered how many cymbals per year their drummer cracks, because he kept slamming down on them like a deranged methaphetamine-abusing blacksmith. Nice, it makes an average rocker all warm and fuzzy inside.
After a most welcome break – because The Great Machine took their sweet time – All Them Witches finally got on stage. I’ll just get it over with and spit it out: THEIR SOUND SUCKED DONKEY BALLS. Well, isn’t that odd? Usually it’s the other way around, isn’t it? I mean, hasn’t it been etched in the great rock ‘n’ roll tradition with letters made of titanium that the sound of the support act should suck so as to underline the monumental glory of the headliners? Well, this time it was the other way around, and the difference was shocking. To sum it up in short:
– The Great Machine: excellent drums with a good kick and punchy snare, gut-punching overall sound, massive and well-defined bass frequencies, radical guitar; but barely audible vocals (which nobody missed, really, as they were mostly nonexistent or consisted of tortured screams, for the most part quite gratuitously provided by the bass player for some reason – though, as far as I can see on YT, it’s usually the guitarist who “sings”?);
– All Them Witches: bass frequencies horrendously poorly defined (puffy, muddy as hell, so you couldn’t distinguish between the kick, bass, and anything else), barely audible drums with non-existent kick and flimsy snare, frail guitar and feeble vocals drowning under an excess of electric piano.
The proverbial tormented person behind the mixer apparently worked on it and gradually improved the sound somewhat as the concert went on, but didn’t succeed in saving the day for whatever reason (one of which might have been that the guitarist’s amp died and the Israelis lent him their hulking Marshall stack, which made a notable improvement). Besides, at least the infernal electric piano was eventually toned down a little and the vocals pushed some more, but the morbid muddiness of the bass/low-mid frequencies plagued me until the very end.
Nevertheless, it was good to hear songs like this one live:
…though I really ached to sit down, because my back and my knees were killing me. Next time I’ll get there sooner and appropriate one of the seats. Yeah, so I’m a grumblin’ ole geezer, but due to all of the above the concert felt as long as a day at the dentist’s. To make matters far worse, it was sold out, so one could barely move, which was quite a surprise after the “relaxed” Katatonia and half-empty Leprous concerts recently. Well, at least we could secretly vape by hiding in the crowd, just like everyone else (hell, people even smoked, the criminals!). What a crowd, though… You’d think that there’s something odd going on with the stoner scene, but judging from the sickening mass of full-blown hipsters around me I immediately suspected what it was. I mean, for crying out loud: where do they put all of the woodwork that such vast quantities of these bearded, man-bun-toting blokes, preferably sporting silly hats to boot, can crawl out of?
Here’s the fourth track I’ve worked on with Mr. Rick Neidlinger. This wraps up the material for our first “collab EP”, which should be released soon. As always, I recorded drums, mixed and mastered it, and Rick did everything else.
NOTE: It has come to my attention that under unknown circumstances certain browsers (for now I’ve experienced problems with Firefox) refuse to display SoundCloud embeds for whatever unfathomable reason. Should that happen to you, you can try heading to https://soundcloud.com/rneidlinger/faded-visions.
Let’s get this out of the way immediately: Katatonia is one of my favourite bands, and since I moved to Berlin a few years ago I’ve kept an eye on their touring schedule to finally see them live (or rather, hear them, who cares about they look). Admittedly, they were here last year already, if I remember correctly, but that was with their “unplugged” or all-acoustic set, which I decided to avoid simply because… Well, it’s obvious why. Not that I dislike their digression from distortion (in fact, their acoustic live album Sanctitude, recorded at Union Chapel in London, is a real treat and I’ve listened to it many times), but I nevertheless decided to wait for a “thoroughly plugged” set, simply because I like it when the fillings threaten to fall out of my teeth as the band blasts away, and I love a good bassy punch in the gut. So sue me.
A couple of days ago I finally caught Katatonia on their “Fallen Hearts of Europe” tour.
At this point I’d usually start grumbling about things that got on my nerves, but this manifestation was simply too good to complain about (much). First of all, the concert was in Huxleys Neue Welt, which is my favourite concert hall in Berlin by far. First of all, it’s walking distance from my flat… Secondly, it’s exactly the right size and boasts a very handy bar… And most importantly, I have yet to hear any sound blunders in this hall. I’ve witnessed shitty sound all over Berlin, sometimes so much so that it ruined my evening completely, but to date Huxleys has been excluded from my list of grudges. So there it is: finally a concert that I don’t have any complaints about – I mean, sound-wise. And hell yeah, it was loud! Good! Great! Because sometimes I suspect rock ‘n’ roll is going down the drain simply because rock (and even metal) concerts have suddenly become too damn quiet. Health concerns in the vein of the smoking ban? (Speaking of which, for the first time ever the bastards didn’t let us vape in there, we got reprimanded despite of tons of the same shit being pumped in the air onstage already during the opening acts, VOLA and Agent Fresco, so we had to hide in the crowd where we blew vapour at the floor in the company of other clandestine vapers. I felt like a goddamn teenager again.) Or am I slowly growing deaf as the gap between my birth date and the present time is getting increasingly abysmal? I have no idea, but seeing a heap of people standing around with earplugs and goddamn cotton in their ears made me… Well, grumble a bit. I mean, why the hell do you go to a metal concert at all, then, if it’s too loud for you? OK, I get it that the waiters resort to earplugs: they have to be there on a daily basis whether they like the bands or not. But the audience?! I mean, really!?
But I digress…
And so it began:
The only thing that had me slightly worried at the beginning was that the singer’s voice was noticeably tired, maybe because they apparently played at the Epic Metal Festival in the Netherlands the day before (and who knows what was happening there, right?). However, the guy (Jonas Renkse) warmed up thoroughly after a couple of tracks and that was that. Apart from that infinitesimal hiccup that only grumblin’ ole musicians noticed at all, probably, everything else was flawless. Another thing that made me all warm and fuzzy inside was the light design – well thought-out and tempo-synced (yep, Katatonia are slaves to the metronome, no way around that if you use pre-recorded synths in the absence of an “analogue” keyboardist, loops, and tempo-based guitar effects) – which contributed significantly to the dramaturgy of the tracks. Kudos to whomever did that. I enjoy superb old-skool light design much more than (more often than not pretty lame) videos running in the background, which bands like so much to abuse these days. (Mayhaps to steer the attention away from their grim visages? Who knows.) As expected, both guitarists singing perfect backing vocals really put the “H” in the goosebump-inducing harmonies because of which I can’t get enough of this band… And last but not least, I loved Daniel Moilanen, the new drummer, and appreciated the fact that he looks like a physics professor and as such represents a heartwarming counterpoint to the rest of the long-haired Vikings. I mean, the guy can play (so can the others, of course).
And so it went on:
Speaking of long-haired Vikings – the only thing that got on my nerves in the second half of the concert was this two-point-ten-metre bloke with a huge hairdo who decided to stand and headbang right in front of me all of a sudden, interrupting my reverie… But even him I no longer registered as the band concluded the concert with one of my favourite tracks:
Anyway, to date this was the best concert I’ve been to this year. We’ll see if it stays on top of my list, though, because Opeth are dropping by at the end of November.
Here’s the third product of the collaboration between singer, songwriter, guitarist and bassist Rick Neidlinger and myself (drums, mix, mastering):
NOTE: It has come to my attention that under unknown circumstances certain browsers (for now I’ve experienced problems with Firefox) refuse to display SoundCloud embeds for whatever unfathomable reason. Should that happen to you, you can try heading to https://soundcloud.com/rneidlinger/brotherhood-brigade-master.
My first novel, the sci-fi / satire Cynicism Management, will be on sale on Amazon until 17 July. During this time you’ll be able to get it for only 99 cents. For more information about the novel – or to grab a free direct download of the original soundtrack for it – head here.
I’ve recently started to collaborate with Rick Neidlinger from Kansas, USA, whom I’ve met on SoundCloud and I happen to like his true “southern rock ‘n’ roll” tunes and sound. So we decided to come up with a four-track EP: Rick would write and record everything, and then I’d contribute to the project by recording real acoustic drums, mixing and mastering the tracks.
This is the first result of the collaboration, entitled Rattlesnake:
More coming soon.
NOTE: It has come to my attention that under unknown circumstances certain browsers (for now I’ve experienced problems with Firefox) refuse to display SoundCloud embeds for whatever unfathomable reason. Should that happen to you, you can try heading to https://soundcloud.com/rneidlinger/rattlesnake-2016.