Swole Evolve (Pre-Workout)

There are new supplement companies comping out every month. However, a great many of these are not in it for the long haul. I feel that Swole Sports Nutrition will be around for years, if not decades, to come. This is because they have created a set of products that provide individuals with what they need to achieve the best and most productive workouts, all while placing them at a price that is extraordinarily accessible. We received a bottle of Swole Evolve, their pre-workout, for review in NeuFutur.

The proprietary blend that Swole uses in their Evolve collects a number of different compounds that have been shown to provide energy and endurance. This means that there is AAKG, Citrulline Malate, Beta-Alanine, and Kre-Alkalyn as the main ingredients. Energizing through both creatine and NO pathways, the presence of Geranamine and Raspberry Ketones will keep those who take Evolve at a lean state.

The 50 servings present in each bottle of Evolve are priced at $49.99; this means that an individual can get all the energy that they need to work out at less than $1 per each time out. The blend of elements present in the proprietary blend represents the cutting-edge of research into sports nutrition, while doing a stack with other Swole products will take buyers to the next level. Through my use of Swole Evolve, I was able to shatter weight (both in terms of barbells and what the scale said) plateaus; after working out hardcore for over a year, I found that Swole Evolve was all I need to push myself that much further.

Rating: 8.5/10

Swole Evolve (Pre-Workout) / http://www.swolesports.com


MiMOSA is taking North America by storm, selling out major venues all over the country such as Royale in Boston, Webster Hall in New York City, and House of Blues in Chicago. He’s continuing his conquest through the winter, with shows in Austin, Orange County, Charleston, Knoxville, and St. Louis, just to name a few. He will also be ringing in the new year in Los Angeles at Together As One, alongside some of the biggest and brightest stars of electronic music.

Blissfully unconcerned with a world obsessed with categorization as a means of definition, Tigran aka MiM0SA crafts music for its own sake, defying expectations with genre bending soundscapes. Hailing from the San Francisco Bay Area and currently residing in Los Angeles, MiM0SA began producing at the tender age of 17. Blessed with an abundance of talent and an ear for sonic experimentation, this fan-favorite has quickly developed a name for himself as one of the West Coast’s top exports. And the word is spreading fast. To say that MiM0SA is on the rise is to miss the mark. Rather, MiM0SA has arrived.

It was in Brooklyn, NY where MiM0SA found refuge as he wrote, recorded and produced his debut full length album “Sanctuary” that was released October 25 on False Idol Musik. After just one listen, it’s evident that his versatility as an artist goes hand in hand with his refusal to be tied down by any particular sound or style.

While his previous EP release “58 Degrees” favored a more grittier fusion of unrelenting beats and grime, “Sanctuary” works as one cohesive whole piece of work that finds MiM0SA immersed in rhythm, encompassing and centered around the 808 drum kit most notable on the track “Last Night In Town”. However the album carries an authenticity by which MiM0SA’s aesthetic appreciation of the origin of sound is fused with layers of various styles, textures, and grooves that embrace Dubstep, Hip-Hop, 2-step, Moombahton, Dub, and Downtempo. It becomes apparent that while building this collage, his vision was to “Steer away from aggressive tones, but at the same time try to find different avenues to get the same crowd response that a big bass drop would get,” he comments.

The Sharp Ease – Going Modern (CD)

I was not expecting The Sharp Ease to come up with such a retro-punk track to open up “Going Modern”, using a Ramones-like song structure to push through their desires. Tracks spin through before one can honestly get a grasp on The Sharp Ease, but with tracks like “I Demand”, a sort of disco-like guitar line permeates the track, while Paloma‘s vocals achieve a more energetic, Debbie Harry-esque style. Each track on “Going Modern” is infused with this same sunny disposition and clear recording, which allow us a look into what the earlier California bands (like The Dickies and The Germs) must have sounded like (since all the albums that are left have an extraordinarily messy and fuzzy sound). Each track on this disc could conceivably be on popular radio, but the ear that allowed this disc to be constructed places the music firmly in the middle of pop and solid musicianship, showing that the two don’t have to be mutually exclusive.

The keyboards on the disc’s title track are probably the most impressive addition to the band’s general sound that can be found on the disc, making the track feel a fullness that has yet to be topped. The keyboard buzz is recreated fairly in “Manipulation”, and this drone is essnetial for drawing a contrast between it and Paloma’s voice. Simultaneously taking nods from both grunge and punk during “Joan” (think “Here Comes Your Man” meets Brassy), The Sharp Ease continue their campaign of excitement with the instrumental “Killing The Rooster”, which seems to draw heavily from an ambient and indie-rock influence, but is unmistakably The Sharp Ease the entire time. Dana B comes to the plate in a large way during “Tie Me Over”; it is eir unmistakable and brooding bass that put an energy behind the track that highlights Paloma’s voice.

The Sharp Ease play a style of music that is never easily identifiable. In the land that is a true melting pot of influences, cultures, races, sexualities and lifestyles, it is really no doubt that this band could coalesce and create such impressive music. Paloma’s stint in The Grown-Ups has allowed the band to start on the right foot and create something in their four short years of existence that some bands are never able to find: brevity without losing anything in the translation. The Sharp Ease are thus visionaries of a new style, and should be treated as such (instead of being booted off of their residency at a local bar).

Top Tracks: Joan, Life Preservers

Rating: 7.2/10

The Sharp Ease – Going Modern / 2005 Olfactory Records / 12 Tracks / thesharpease@yahoo.com /http://www.thesmell.org/olfactory / Reviewed 18 March 2005

PLUMB Gives Away 2 Free Christmas Songs and Great Prizes in The FAN-Tastic Christmas Giveaway!

While Plumb is busy preparing her 2012 release Faster Than A Bullet she has still found time to not only record 2 Christmas songs – she’s giving them away in The FAN-Tastic Christmas Giveaway.

Fans who “like” the Plumb Facebook page are able to download the two songs free by clicking the “FAN-Tastic Christmas” link on the page. Once they have the songs, fans can also enter the giveaway by spreading the word about the music with simple challenges. Prizes include fabulous stocking-stuffers such as a Kindle Fires, iPod Shuffles, CDs, Plumb merch and custom Facebook profile pics from Tiffany.

The song “What Child is This?” was recorded by longtime collaborator Matt Bronleewe, and her original Christmas song “It’s Christmastime” was recorded with David Arnold.

The Plumb FAN-Tastic Christmas Giveaway will choose winners throughout the month of December, with the final Kindle Fire given on Tuesday December 20th.

Fans can receive their free download and sign up for the contest by clicking here: http://on.fb.me/PlumbChristmas

Plumb’s seventh album Faster Than A Bullet releasing in early 2012, through Curb Records.

THQ WWE All-Stars (Nintendo 3DS)

There have been a tremendous amount of different wrestling games for the different handheld consoles, and pretty much without fail, they have been sad recreations of the games for the current generation. However, I feel that THQ has outdone themselves and has made a handheld console wrestling title that contains the same high amount of energy of both wrestling and the PS3 / Xbox 360 versions of the title, all while having a very unique flair throughout.

I personally feel that the different classes of wrestlers that one can choose from (acrobat, big man, brawler, and grappler) will provide a seriously intense bump to the replay value, while the sheer number of different moves that are accessible to players will make it always interesting when one pops the title into their 3DS. The blend of current generation superstars – John Cena, The Big Show, Rey Mysterio – along with classic wrestlers like the Macho Man Randy Savage and Andre The Giant – will make for matches that are truly dream-worthy.

For those that wish to see how they would hang amongst all of these storied wrestlers, the sheer amount of customization that is present in the 3DS WWE All-Stars is without comparison. With the strategies that are used with each class of wrestlers unique to that class, one will be playing through the title at least four times. THQ WWE All-Stars is the perfect holiday gift for young and old, and will be one of those titles that will stick around one’s 3DS for longer than a few weeks. If you would like to purchase a game that has a tremendous amount of replay value without being a puzzle game, I would have to strongly suggest this one. Check it out today.

Rating: 9.1/10

THQ WWE All-Stars (Nintendo 3DS) / 2011 THQ / http://www.thq.com

Shark Soup – Fatlip Showbox (CD)

“Holy Water” is a lighter version of the punkabilly that acts like Tiger Army and Nekromantix have been perfecting over the last decade or so. However, Shark Soup seem to be influenced by a larger set of bands than either of the two aforementioned acts, which means that the album is exponentially more interesting than anything put out by either act. “One Eyed Kat” shows that diversity of interests, as Shark Soup push the stylistic limitations of rockabilly to their limits. This means that the band adds a heavy dollop of hardcore punk to their general sound, doubling the speed of the track in the process. To be brutally honest, every single punkabilly band sucks.

All of them cut the same track twelve or so times and call it a day. However, I am loathe to even loosely associate Shark Soup with punkabilly music, as each composition on “Fatlip Showbox” is different enough to really keep interest high. The specific bass sound (upright) is still present throughout, but it is moderated by a bevy of different influences. “Roadkill Reaction + Revolution” is a complete oddity for a punkbilly band; it is an instrumental track (which is not too terribly rare in the style of music), but it is nearly four minute and always interesting. When the punkabilly influence is largely removed from Shark Soup’s sound (as is the case during “Burn The Lights Out”), Shark Soup have the largest gains of the disc.

In this track, the band creates a track that is independent of any music style; when the style is further refined with “Unbeliever”, Shark Soup shows listeners that they have their sound polished to mirror-like consistency. When the band comes back to the style that they are most familiar with, during tracks like “Dead Man Street”, they continue to innovate. Overall, the entirety of “Fatlip Showbox” is solid, with enough tracks that individuals can completely dig. The freshness of Shark Soup should be required knowledge for any band that listens to the Misfits or Tiger Army and wants to do anything with either punkabilly or horrorcore punk music. There is little in the way that Shark Soup could change; the only thing that I would ask is that they could make it out to America a little more often. With a fire in their stomachs that never burns down or out, Shark Soup are hands down the best punkabilly band since 45 Grave.

Top Tracks: Dead Man Street, The Soup Is Hot

Rating: 7.0/10
Shark Soup – Fatlip Showbox / 2006 BYO / 13 Tracks / http://www.shark-soup.com / http://www.byorecords.com / Reviewed 19 March 2006


Sharks and Minnows – The Cost of Living (CD)

Electronic-based indie rock, Sharks and Minnows start off “The Cost of Living” with the electronically influenced pop gem “Sunday Driver”. Not pigeonholing themselves into one specific genre of music, different tracks continue the thread of strong lyrics and pop-influenced hooks with “Slow Learner”. A tad quieter than The Weakerthans, a little more musically apt than Weezer, and a google less annoying that Matthew Sweet, Sharks and Minnows play the most inoffensive, hardest-driving tracks out currently. “Cleopatra Song” starts out slower, in a more deliberate vein, only later taking a slightly more strung-out guitar line and stuttering synthesizers. Upping the ante and tempo with “The Slip”, Sharks and Minnows start taking up the intensity of a Jawbreaker with an updated sound. “The Cost of Living” is a very deceptive album; while the disc feels as if it is hurtling towards a conclusion at the fastest possible speed, Sharks and Minnows are plugging away at a much slower speed, the deception being caused by the incredible amount of cohesion by the band.

Spot on with the recording, sounding rounded-out without falling into the vices of being over or Spartanly produced, Sharks and Minnows put out a disc that both technically and musically sounds nigh-perfect. Cresting half-way through the disc, the bands piece de resistance, “Past Life Regression” is much more electronically driven than rest of its sisters and brothers on the disc. “Baby Boom” is much more contemplative of a track than “Past Life Regression”, but doesn’t drag even with this reduced tempo, just being that much more capable of expressing emotion. Moving into the Schroder (as in Peanuts’ pianist)-style piano in “Shy”, Christopher’s vocals provide the perfect middle ground between the higher-pitched synthesizer and lower-pitched drums.

Sharks and Minnows the perfect example of a band that is able to freely move around genres and general sounds to create a style of music that is distinctly theirs. “The Cost of Living” shows a band that is mature, doing more in five years together than some bands have done in an entire twenty year career. Few bands are able to keep such a cohesive nature to all of the tracks on a disc without falling into the pitfall that is repetition, and yet Sharks and Minnows are able to create an album that is practically a concerto with 16 different, distinct movements. Enjoyable, able to be repeated time and time again, “The Cost of Living” is a landmark album for this band.

Top Tracks: Cleopatra Song, Past Life Regression.

Rating: 8.0/10

Sharks and Minnows – The Cost of Living / 16 Tracks / 2004 Two Sheds Music / http://www.sharksandminnowsmusic.com / http://www.twoshedsmusic.com / Released 20 April 2004 / Reviewed 25 April 2004

Kodomo Interview

Who are you? Is there any significance to your stage name?

The name “Kodomo” is the Japanese word for “Child”, my surname. It was a nickname I had as a kid, having grown up in Japan. Around 2000, I started doing remixes for bands and used Kodomo as my moniker. When I finally got around to working on my own album I realized I needed a name. After much contemplating and consulting thesauruses I realized I already had one.

What artists have most influenced you?

Classical: J.S. Bach. Franz Schubert. Chopin. Steve Reich. Arvo Part.

Electronic: Kraftwerk. Brian Eno. Depeche Mode. Tricky. Underworld. Autechre. Plaid. Aphex Twin. Skinny Puppy/Doubting Thomas.

Rock: Janes Addiction. Fugazi.

HipHop: Tribe Called Quest, Dilated Peoples.

Are there specific tracks or albums that you feel have particularly molded you as an artist?

“Radioactivity” and “Man Machine” by Kraftwerk. “Violator” by Depeche Mode. “Second Of the Toughest Infants” by Underworld. “Nil” by Autechre. “Bites” by Skinny Puppy. “Clocks” by Doubting Thomas. “Selected Ambient Works Vol. 2” by Aphex Twin. “Music For Airports” by Brian Eno. “Coming Down The Mountain” and “Three Days” by Janes Addiction. “Steady Diet Of Nothing” by Fugazi. “The Low End Theory” by Tribe Called Quest, The “Impromptus” by Schubert. (the last in F minor) “Nocturns” by Chopin. (both G minor Nocturns) “The Well Tempered Klavier” by Bach (Preludes in C minor, D minor, Fugue in C minor from book 2) “Fratres“ by Arvo Part, “Music for Eighteen Muscians” by Steve Reich.

What sort of differences have you noticed between studio recordings and your live performances?

The live performances draw from the original studio recordings but include new content, structural changes, and involve improvisation. I basically take the original tracks from each song and dissect them into short sections based on instrument type. I then have the ability to combine them in any way I choose and change the order of the original song structures. I feed the tracks through various effects chains I’ve setup that I can perform live using a set of MIDI controllers.

How does the September Sun EP and the Frozen In Motion LP differ from each other?

The September Sun EP is a digital single which features the track from the Frozen In Motion LP plus three remixes. One of the remixes is for the track “disappearing light”, also on Frozen In Motion. I typically like to release an album and then follow it up with singles with remixes.

Has there been a similar change from those releases to the tracks and releases that you are currently working on?

I think of each album that I work on as a different project with a different focus. The music takes shape around an initial concept or idea. Still Life explored using photographs as the inspiration for the individual songs. On Frozen In Motion, I used edited field recordings as the building blocks for songs on the album.

How have you gotten more of your fans – social networking or traditional word of mouth? Have you noticed anything different between these types of fans?

It’s probably a combination of both. Lately social networking has definitely been useful in connecting my music to listeners. When I ask people how they heard my music I get varied responses. Pandora, music blogs, personal referrals, and NPR listeners account for just a few of the multitude of outlets there are now for discovering new music.

What do you think of the remixes on the September Sun EP? How have Lumia, the Symbion Project, and Shigeto changed your music?

I am really amazed at what all the remixers did. These are all great artists I’ve been fortunate to work with over the years. I love the idea of someone taking elements from my song and creating something new with it. It is a process in which I work, so it just made sense to continue that method with my own releases.

In a related question, what artists (past or present) would you like to work with?

I would love to work with Apparat, Modeselektor, and any of the artists I mentioned above! (Assuming I somehow bump in to any of them)

What does the rest of 2011 and the beginning of the new year hold for you?

The few remaining days of 2011 involve prepping the new material for my third album. It is tedious, but will be worth the effort. Right after the new year I plan to be working heavily on the next release which I hope to be done with by the fall. I may squeeze another EP in there and will probably work on a few remixes.

How can interested listeners get in touch with you?

The best way to get in touch with me is old school email. I don’t check my facebook messages that much. kodomo@kodomomusic.com

Do you have anything else to say to NeuFutur readers?

Thanks for reading! Please check out kodomomusic.com for all music , releases, and news. You can also find me on Facebook.com/kodomoremix and soundcloud.com/Kodomo If you like what you hear, please spread the word, and sign up on my mailing list. It only takes a few seconds and I only send a few emails a year!

Shark Pants – Porno Snakehead (CD)

The band seems to be so uncollected and random that I felt sort of odd getting into Shark Pants as much as I did. Its almost as if Frank Zappa fronted The Offspring. Using guitar riffs that are as straight-forward as the ones from any of the retro-rock bands (The White Stripes) and a yelped-out set of vocals, Shark Pants are definitely a unique enough band to merit being on Recess Records. In their desire to rock, Shark Pants find themselves much more similar musically to The Stooges and MC5 than the Ramones and Sex Pistols. Rough-hewn guitar tracks line the cage in which blah shits. The “I’m a son of a bitch” chorus from “Canyonero” is a direct descendent from “Kick out the jams, motherfucker” uttered almost forty years ago by the MC5. The Protean nature of Shark Pants is also a positive thing – where most of “Porno Snakehead” has been this odd rock-punk-country mix, the arena-rock groove that Shark Pants find themselves in during “Later Alligator” is catchy to say the least. Mixing in a more directly country influence (think Primus and Hank Williams Jr) to “Dogner”, Shark Pants are the musical equivalent to a vagabond – never knowing where they are going to lodge for the night, they find their way into a myriad of styles.

Their heat-baked sound will draw kids en masse to the pit, and the cross-genre moves are so successfully done that I have no doubt that whatever Shark Pants wants to do on-disc they can figure a way to do. Not many people can cut an album in under twenty minute, but Shark Pants has the presence of mind to condense all of their music into short, terse statements that drill themselves into one’s head and won’t relinquish control.

The title track is just a continuation of the forces that have been building up since the beginning of the disc. Minor stop-starts as well as a dual-part harmony make this track stand above the high level of the average song on the disc and awaken some sort of primeval booty-shaking dance. A hum resonates through the entirety of “Porno Snakehead”; a low frequency blast that will cause all high-level function to stop and make the newly-lobotomized crowd only able to focus in on the disc that is playing. By the time the disc ends, Shark Pants has added another few individuals to their cadre of mindless zombies. Stop them before they take over the world!

Top Track: Canyonero

Shark Pants – Porno Snakehead / 2004 Recess Records / 9 Tracks / http://www.sharkpants.com / http://www.recessrecords.com / Reviewed 26 January 2005

Rating: 6.4/10

Robot Chicken: Season Five (DVD)

Five seasons into it, if you’re not watching Robot Chicken by now, you probably never will. But for those who are fans, Season Five is a good reason why. The pop culture obsessed stop motion skit show done with old action figures manages to spoof some their old reliable targets like He-Man and the rest of the Masters of the Universe crew and Batman. There is also a particularly filthy and hilarious origin story of the Cabbage Patch Kids. Guest stars lending their voices for this season include Christian Slater, Macaulay Culkin, Mila Kunis, Gary Coleman, Kevin Bacon and more than a dozen more. Why aren’t you watching this?

Robot Chicken: Season Five/2 DVDs/220 Mins./Cartoon Network/2011

Robot Chicken: Season Five (DVD)