Message from Corey Tam about CD 4 Launch Party B:
As CD launch parties go, I think everyone would agree with me when I say, it was definitely one of the most enjoyable ones that I’ve been a part of. As with all The Underground shows, it was well-organized, had some truly amazing bands to behold, and when you throw into the mix a promising new venue (with smoke machine no less!), we had one hell of a party going on! I think that even though each individual band only got a fairly-short slot and the schedule was tight, in the end it probably helped benefit the show as a whole: It felt like a speeding train from start to finish!
Just want to say a huge thank you to Chris B for inviting us to be a part of the The Underground CD4 compilation. Also a big thank you to Koya-san for putting up with us in the studio – hope we didn’t cause you too many headaches!! Looking forward to the next one!!
P.S. As it seems like the number of bands are increasing in number with each CD, could there be the possibility of an UNDERGROUND FESTIVAL CD LAUNCH in the future?? have all 11 bands play in an all day outdoor concert or something….that would be sweet!!
Live Review from Underground Detour 2010:
- Mistress of the Sea
- Where You Are
- Passing the Night
- Champagne Eyes
- Chinese Translation (M. Ward cover)
A break of roughly 15 minutes preceded his set, and this worked very well in Corey’s favour, as there were significantly more people by the time he got started. The lone guitar was quite enough to ensnare people into having to stop conversations to listen to the music – a rare, and significant, occurrence at an event where the majority of the audience is there incidentally. The children that were there seemed a lot quieter during the set, and I don’t think that was a fluke – further evidence was provided by the considerably fast movement of his EP off the shelf…er…table into the hands of the fresh converts. And why not – his particular brand of folk-rock-thing features multiple delightful infusions of styles woven unpretentiously into it. The result is an earthy and honest sort of urban-folky sound, capably sung, with some well-written lyrics as well. Plus it was nice to hear some bleedin’ overdrive being used too. The brevity in the guitars is one of the things that really makes his music – a lot is done with a little, especially with simple arpeggios. His guitar-work was effective, and well-rounded, with a solid sonic foundation owing to his chordwork. Plus he isn’t shy of going full-tilt on the strumming, which really creates contrasting soundscapes at the appropriate moments, like in Perfect.
There were some deft touches, like the whistling on Mistress of the Sea, and the breezy, almost tropical feel at points on Passing the Night, serving to emphasise its light bluesy quality while lightening the song’s feel. The cleverness in putting the brooding, melancholy-ridden Honey just before the playful Where You Are is evident, as he tries to persuade the listener to drown – and one may well be tempted to oblige. He successfully created some great moments, as the songs crescendoed in him holding an extended note while frantically thrashing the strings. The light Clapton influences in the feel came forward a bit in the dreamy Champagne Eyes, and he ended with a competent rendition of Chinese Translation, giving it a mildly Latin twist while he was at it. Overall, a brilliant Underground debut, definitely setting himself up as one to watch in the scene.— Shashwati