Echostream Blazes A Trail Of Atmospheric Duality

From left to right: CJ (elec. drums), Tony (keyboard), Ryoko (vocals), Tomo (guitar), and Jen (drums).

From the very first listen, you could hear the difference. A mash-up of nationalities and musical genres, they exceed the labels or expectations that is usually placed upon them. Over the course of their two independently released albums, Identity and The Duality of Courage, you can hear how they have evolved and created this landscape of musical art. Described as a mixture of Nine Inch Nails, Radiohead, and Björk, they not only share similar musical stylings but the same attitude and forward-thinking musical vision. Originating in Japan but starting and continuing their music career in the US, Echostream is a group full of passion and remains independent in every sense of the word.

The group began with Tony and Ryoko, who met earlier at the Royal Academy of Music in London. When Ryoko moved back to Japan, Tony soon followed her after striking a record deal. While developing their sound and trying to find their audience, they added Tomo to expand their music. But due to the rigid structure of the Japanese music scene and the lack of a very big underground movement, they had difficulty adapting. In an industry dominated by Japanese pop, it was hard for them to find people with like-minded interests in music like Nine Inch Nails. Seeking more musical freedom where they could exercise their creativity, they went back to the US with a new, fresh start in New York. Forming their own independent label, Force of Change Records, they placed their focus on the underground music scene and artists below the mainstream radar. And with Echostream growing to five members, they started work on their first album, Identity.


Like many bands, most of the music on their 2005 debut, Identity came from the original duo of Tony and Ryoko. Taking influences from inspirations such as the previously mentioned Radiohead and Nine Inch Nails, their sound has this ethereal, yet rock-minded feel. Ryoko's vocals has this emotional quality that fits the album's electronic rock attitude. Her English, while not always very clear, is sung with emotion that fits a range of moods. Echostream isn't like other female-fronted groups, showing this different quality and representing various duality themes. At times, Identity is very mellow and peaceful. The album embraces it's electronic stylings, displaying a gentler side with an edge. Tracks like "Dali Thought" and "Melt" soar with Ryoko's airy voice and moody subject matter. Echostream shows off their harder side with opening track, "Just Kill Me". And songs like "Repeater" and "Fall Down" show off production work that wouldn't be out of place in a NIN record. They even do a good cover of Radiohead's "Creep", which they make sound uniquely their own. While not completely rock, Identity displays a nice range of emotions and moods that go well with the electronic vibe.

Taking pride in touring and doing live shows, they have spent a lot of time doing gigs across America. Trying to avoid the typical pitfalls and conformities of the industry, they have embraced the more human aspect and give to charities. And while some artists prefer not to print their lyrics in the album booklets, Echostream wants listeners to sing along and feel the meaning in each track. And with a desire to show off their rock side and avoid being pigeonholed as a "chill out band" they released their 2008 follow-up, The Duality of Courage. Other band members get a much bigger spotlight, with tracks like "Contagious" and "Rip You Down" featuring Tomo's driving, crunchy guitar riffs and a solid drum line. Their first single, "Dragon" shows a nice mix of their first album's more mellow side and their new, edgier sound. They blend their electronic roots and a harder rock theme to make an album that definitely has teeth. They don't completely abandon their mellow sound, with "Hole" encompassing that soft, urban feel with a strong piano melody and nice guitar effects. The Duality of Courage is a nice complement to Identity, almost feeling like two sides of a coin.

Echostream has the ideals and attitudes that should be more prevalent in the industry. They are purely about the music, viewing it more as art rather than as a means for fame or popularity. They are different from typical musical fare, embracing various styles and themes while showing their roots and where they came from. With various gigs and anime conventions scheduled on their tour route this year, they should be putting on a great live show.

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Rogue Wave Puts Out Strong Sophomore Record

After seeing them as opening act for Death Cab For Cutie's summer tour and enjoying the handful of tracks I previewed prior to the concert, they went from unfamiliar band to an impressive and unexpected gem. Indie rock group Rogue Wave left a strong impression and one that encouraged me to purchase their 2005 sophomore release, Descended Like Vultures. While I can't quite compare it to their first album, Out of the Shadow or their latest one, Asleep at Heaven's Gate, the songs I've heard throughout their discography has shown a nice development with this record displaying their indie rock stylings nicely.

Outside of listening to a few tracks before the concert, their performance arrived relatively new to me. Their strong live sound and presence set the tone for the show, which remained energetic and fast-paced. With so much personality and passion in their set, it doesn't quite shine through as clearly in Descended Like Vultures. The album has a very polished feel, with nary a bad song in the eleven tracks. Some bands sound better either on studio recordings or in live performances, and Rogue Wave happens to be the latter. The album exhibits a range of moods, with opening track, "Bird on a Wire" starting things off with a nice groove and a fun, story-like feel. Acoustic number, "Salesman at the Day of the Parade" shifts moods once again with Zach Rogue's vocal work complementing the simpleness of the track. The fast-paced "10:1" has an almost 'punk-like' attitude while "Medicine Ball" continues the pace with a stripped down piece and Rogue's flowing vocal ditty. One of my favorite songs on the album is "California". With a nice acoustic guitar hook, Rogue sings about how artificial and fake it can be while simultaneously being drawn towards it.

From left to right: Zach Rogue (vocals, guitar, wurlitzer), Gram LeBron (guitar, keyboard, vocals, drums), Pat Spurgeon (drums, keyboard, samples, vocals), Dominic East (guitar, pedal steel, vocals), and Patrick Abernethy (bass, piano, keyboard).

Descended Like Vultures dominantly features work from Zach Rogue and Pat Spurgeon, both a pseudo jack-of-all-trades persona. Gram LeBron contributed throughout the album, but band members, Dominic East and Patrick Abernethy didn't join until after the album's release. Second bassist Evan Farrell left the group in 2007, and subsequently passed away from 'massive smoke inhalation' from an apartment fire due to an obsolete floor furnace. However, the simpleness of the original four-man group and their indie feel greatly contrasts with the bigger sounds and modern rock attitude of their later work. Listening to and comparing older tracks with new ones gives a very split opinion. With the concert and my first impression dominated by the energetic band of Asleep at Heaven's Gate rather than the subdued one of this record, it's difficult to discern preference and quality for a new and casual fan. While the new songs had more energy, many of the tracks on Descended Like Vultures has more heart and feeling.

Zach Rogue remains one of the constants on Descended Like Vultures, and the simpleness and various subtleties he gives each song are noticeable. There aren't too many stand-out tracks on this one, but they're all relatively good with something to like in each one. Their latest release, Asleep at Heaven's Gate features stronger singles like "Lake Michigan" or "Harmonium", but Descended Like Vultures has the emotion and continuity that makes Rogue Wave a good listen.

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Death Cab Summer Tour Rocks With Rogue Wave

Death Cab For Cutie has energized their tour with a nice dose of rock. Their latest album, Narrow Stairs has gone away from the “urban meadow” atmosphere of the last couple records, and went with a more edgy sound. This has permeated throughout the show, as opening act Rogue Wave also brought a great rock attitude with an indie feel. Both bands brought a lot of energy to create a very entertaining show.




I was mostly unfamiliar with Rogue Wave until I saw their name with Death Cab. After sampling some of their songs before the show, I was very impressed with their live sound. While their album recordings sound a little more subdued, their performance rocked a little more. While the venue itself was a little larger than the size of an IMAX theatre, the lighting and stage effects made it feel more personal and intimate. They had a nice stage presence, but you could definitely see vocalist/guitarist Zach Rogue’s personality shine through. When some fans cried out for them to perform “Medicine Ball”, Rogue even went into a mini-performance of the song. Their set list had songs like “Bird On A Wire”, which displayed their nice indie rock sound.

One of the major highlights of their performance was this amazing drum interlude that had almost every member masterfully performing a cadence leading into “Lake Michigan”. Although “Harmonium” starts off their latest album, Asleep at Heaven’s Gate, it appropriately finished off their show. The song gradually escalated, with the line, ‘We better bust them out’ becoming a rally cry to close things out. After being inspired to pick up one of their albums, expect impressions of Descended Like Vultures in the future.


Death Cab For Cutie kicked things off with their latest opening track, “Bixby Canyon Bridge”. From there, everything was injected with a nice edge rock sound. Front man Ben Gibbard could be seen with a sense of liveliness, foregoing his trademark glasses and radiating energy with his guitar playing. The amazing lighting effects really helped set a distinct tone for each song. Songs like “The New Year” and “Photobooth” continued the energetic start, as they shifted gears a bit with new tracks, “Long Division” and “Gravevine Fires”. Their previous album, Plans helped put them in the spotlight, and single “Soul Meets Body” showed off a dazzling array of lights and colors. Acoustic song “I’ll Follow You Into The Dark” slowed things down a bit, only to escalate with their latest single “I Will Possess Your Heart”. Set on a dark stage with ambient light and a single white beacon, the song was complete with the four minute intro. Other popular tracks like “We Laugh Indoors” and “The Sound of Settling” also brought a lot of energy.

Like most concerts, Death Cab came back for an encore with “Title and Registration”. One of the more noticeable lighting effects came from the new song “No Sunlight”. The upbeat orchestration and somber lyrics were complemented well by the orange and yellow stage lights. Favorites like “405” and “Your Heart Is An Empty Room” were played, but the true finale was a stunning one. Set with a single spotlight on Gibbard playing piano, the constant energy that fueled the whole show was left for the beautiful “Transatlanticism”. The gradual build-up with the full band making their entrance was amazing.

As a whole, Death Cab For Cutie is starting on the right foot with their 2008 Summer Tour. Rogue Wave is a real gem that deserves a listen. Death Cab has infused their old and new songs with a lot of energy, featuring driving guitars, solid drum line, and hard-hitting melodies. With a nice mix of songs and styles, they put on a great show.

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Death Cab Walks the Narrow Stairs

The cover art alone already depicts a noticeable change. Death Cab For Cutie has been known for their self-described “urban meadow” sound and atmosphere on their last couple records, gaining a reputation as a mellower, ‘emo’ band. Guitar and vocalist Ben Gibbard has an instantly recognizable singing style that he has brought to his popular side project The Postal Service with James Tamborello of Dntel, Figurine, and Headset. Guitarist and producer Chris Walla has also contributed his talents and services producing not only their own Death Cab records but also other indie bands like The Decemberists. Death Cab For Cutie have deliberately made a departure from the sound that have popularized them, instead going for something unique and with a little edge. Critics and band members alike have said opinion will be split on this new album, but the recently released Narrow Stairs takes the group in a new direction that shows growth, change, and originality.

From left to right: Nick Harmer (bass), Chris Walla (guitar, keyboards), Jason McGerr (drums), and Ben Gibbard (vocals, guitar).

From the very first moments of opening track, “Bixby Canyon Bridge”, they immediately create this soaring, outstanding journey that goes beyond the subdued descriptions of previous records. With crunching guitars, dissonant effects, and a noticeably active drum section, Gibbard’s vocals coast along very smoothly. With the first single, “I Will Possess Your Heart” clocking in at over eight minutes, a cut down radio edit was released a couple months ago. Featuring a prominent bass line and drum groove, the full version gradually builds up as the vocals make their entrance about halfway through the song. The song sets an appropriate tone for the rest of the album, featuring an assertive tone while still maintaining their melancholy musicality. Narrow Stairs covers a wide range of styles, such as the relaxed guitar melodies of “Your New Twin Sized Bed” to the echoing tropical sounds of “Pity and Fear”. There are a couple of songs that are more in line with their previous sound, but things take an overall approach that is different but still remains the same. It still sounds very much like Death Cab, but adds a new sheen that freshens things up and widens their musical palette.

One of the best points about this album is the overall darker tone. While previous records could be described as bright, Narrow Stairs runs the gamut from mysterious to somber. The instrumentation goes well with Gibbard’s varying lyrical content, often either complementing or providing an interesting contrast to each song. A good example of this is “No Sunlight”, which sets a happy, almost surfer-like tone to lyrics that show a gradual declination in the optimistic attitude that brought their previous album Plans into the spotlight. Clocking in at about forty-five minutes and eleven tracks, Narrow Stairs closes out the journey with the somber song, “The Ice Is Getting Thinner”. Taken on such a roller coaster ride, Death Cab For Cutie travels into grounds that are new yet feel familiar. Rather than sticking with their tried-and-true formula, they experiment and produce great results. While it may sound different at first, this is a welcomed change that came unexpectedly.

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Eyeshine Brings the Edge in “Here Comes The End Again”

If you aren’t familiar with Eyeshine, they are a four-man indie rock band out of southern California. Their first full-length album, Red Stripes White Lights was recently released on their website and online music service DigStation, with other services such as iTunes, Rhapsody, Allmusic, and Nielsen SoundScan planned for future release. Their first single and music video released from RSWL, “Here Comes The End Again”, shows off a strong sound and gives a nice impression of the band and the album.

With driving guitars, a solid drum section, and an up-tempo beat, Eyeshine certainly makes an impact from the get go. With a powerful chorus to start things off, everything hits the ground running. One of the strongest points about both the song and video is the amount of energy displayed. The buildup of the guitar intro and the entrance of the full band are shown off nicely and are given more impact by the missile and explosion. The wartime storyline fits well with the song and is interlaced and synchronized evenly throughout the performance. Scenes of battles, fighter jets, soldiers marching, and early 20th century America add a sense of urgency and an appropriate interpretation of the song. The concert segments are lively with an energetic crowd and an intimate venue. I liked the effects spread throughout the video, as they were used sparingly and added a little personality to the mix. The timing is right-on, especially seen in the escalation to the instrumental break. Depictions of pilots and soldiers in preparation for battle culminate into this large, nuclear explosion. Overall, the music video complements the song very well.

Original members Johnny Yong Bosch (lead vocals/guitar) and Maurice Salmin (drums, vocals, piano) started the group in 2002 out of a garage.

They do a good job of maintaining and fueling that energy, but there are some minor snags. The camera angles used aid in showing off the overall intensity, but it didn’t always give a clear shot of the full performance. Isolated to individual or grouped shots, it made the performance feel a little too cramped at times. And while the storyline felt appropriate, there could be some small confusion on the direction or message of the video.

Despite these slight issues, Eyeshine gives a strong showing of what they have to offer. Filmed and created independently, “Here Comes The End Again” gives a nice look into their sound and the band themselves. The music video is currently available through their iTunes podcast and various streaming video sites seen below.

• VIRB
• MYSPACE
• SPIKE
• YOUTUBE
• BLIPTV
• IMEEM

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Defining Edge Rock: Eyeshine

From left to right: Maurice Salmin (drums, vocals, piano), Johnny Yong Bosch (lead vocals, guitar), Alex Orantes (bass, vocals), and Daniel Lee (lead guitar).

Originally forming in 2002, Eyeshine has been on an interesting journey. After going through different incarnations, recording issues, and finding time away from their personal lives to work on their music, they have come pretty far. Originally consisting of Maurice Salmin and Johnny Yong Bosch, Alex Orantes joined the band during the recording of their first EP. They stayed a trio until they recruited Daniel Lee to take over lead guitar for their first full-length album. Front man Johnny Yong Bosch originally formed the band as a church group, but has since come to describe their style as “edge rock”. Bosch has described this new genre appropriate not only for them but for other groups as well.

“I think Edge Rock would fit any growing band though - if you've heard us since our start you'd notice a change or growth. We like to think we're on the edge of becoming or discovering a new sound.”

In 2006, after going through problems releasing their first EP, How About That, they decided to independently record and release it themselves. Featuring eight tracks and a lead single in “Sunday Flower”, their push and promotion has gained them a loyal following in the indie rock scene. Despite the lower production quality and small track listing, their memorable melodies and catchy lyrics stood them out from other acts. After selling out of physical copies through their online store and at gigs, the EP is exclusively available through iTunes. As a three-piece band, they had a nice, full, and distinctive sound that really caught my attention. While most bands nowadays can be pinpointed into certain styles or particular band sounds, Eyeshine really brings something different to the table.

Although still unsigned, Johnny Yong Bosch has helped push the band with his name and celebrity within certain circles. Probably most well-known as the Black Power Ranger in Mighty Morphin’ Power Rangers, he has since made a name for himself doing voice work in various anime and video games such as Vash the Stampede from Trigun and Ichigo Kurosaki from Bleach. A skilled actor, martial artist, and musician, he has carried over his following and loyal fans to his music career. Performing at various gigs and anime conventions, Bosch has helped spread the music of Eyeshine.

During the recording process for their first full album, Red Stripes White Lights, the addition of guitarist Daniel Lee allowed them to further expand their sound. With the use of full studio production, their wider music range, and their growth as musicians, RSWL shows a big leap in terms of musical quality. The lyrics show nice depth and the songs cover a nice range of musical moods. Their lead single and music video, “Here Comes the End Again” shows their more aggressive, rock sound. With remixes of EP tracks “Not Really Good” and “Sunday Flower” as well as great standout tracks like “Don’t Bury Your Eyes” and “Waterfall”, RSWL features some introspective tunes, catchy choruses, and a polished feel that shines throughout the whole album.

The fact that Eyeshine is still unsigned amazes me that a record company hasn’t picked them up. But their indie-rock feel and independent sound definitely shows through and adds to the band. With more unreleased songs soon to be released through digital music services as well as future forthcoming albums currently in development, Eyeshine definitely deserves a listen. Check them out at their myspace or their official site.

UPDATE: You can read my review on their music video, "Here Comes The End Again" here.

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