Last week I shared with you some media on Final Veil's debut of "Arabian Daze" happening tonight at Plush. In case you missed that post, scroll down the blog or visit HERE. Today I would like to share with you the interview she did this past week on KDHX about tonight's show and also I'm including a two-song review of the introduction part of the new album shared to me by Cora Camille. It's also nice to see this show made the RFT's top ten shows for this weekend too. I can certainly appreciate how much effort and thought it takes into putting together a show like this. Be sure to bookmark or "like"/follow the group's website or pages as they will be posting the full-album for streaming purposes in the coming week, or so. Now I'm going to share with you my experience of the first two songs on the new album. Find that below the interview.
*Click HERE to stream the Cora Camille interview on KDHX.
"Arabian Daze" : This first track is actually the traditional classic "Arabian Nights" turned on it's head. Listen to Cora on the interview for the back round on the original author, if you unfamiliar. I felt like Alice after she fell into the rabbit hole after listening this one. A dramatic string-section initiates a familiar strand of threading once formerly associated with it's vintage predecessor. Cora's vocals are introduces abruptly afterwards in fine, Arabian fashion summoning the listener as if her voice were the sound of the wind initiating a storm in the desert. Along with the strumming sound of the ude, it creates a tension in the tonal value of the song. After the first thirty seconds of this song, Cora sings a familiar phrase from the original version and the vibe is altered by the dramatic beat of a drum. This sets the pace for the rest of the track. The strings, the drum both speed up and a electronic beat is introduced. Arabian Daze is now born. The storm has quelled and a desert rose blooms, metaphorically speaking. The chorus goes dub-step and the melody swoons over the music. It re-minds me of the image that I get in my mind from listening to Moby's instrumental theme "God Moving Over The Waters". The back round vocals are inviting and add a nice touch. At about this point in the song, one min. and forty-five seconds, the difference in Final Veil's version and the original are polar opposites. Egyptian-Electronica, orchestral strings and dub-step continue for another forty-five seconds and then another tonal adjustment is made with the introduction of a piano. I find that the theme of the strings throughout mixed with the piano really set the tone for the song, musically. The piano continues to carry the bridge into the end of the song. Certain themes are created musically and vocally throughout the song and come to fruition at the end of the song, as it ends similar to the way it began. I thought the filter on Cora's voice was a good way to differentiate this part from the rest. I loved the down-beat and trip-hop influences in portions of this song. If this song doesn't give you chills, then something just might be wrong with you.
"Sinister" : The second song is much different than the first. The beginning few measures begin with a lull in sound that increases in volume introducing the beat and rhythm. "He's a joker, he's evil" is the vocal and lyrical cue for the chaos that ensues with the percussive beat. The rhythm of this one is more industrial influenced. Something you might have heard on David Bowie's "Earthling" release in the nineties, for example. Cora sings over the verses with a confidence and haunting tone to her voice. There is some cool vocal-bends and falsettos mixed in along with additional reverb for effect. Some faint dub-step is introduced after the first chorus and some guitar that sounds familiar to something you may have heard from the movie 'Pulp Fiction'. Around the one-min. twenty-second mark there is a build in layers with additional percussion added in along with the electronic portion of it. The pace is set when verse two is began by Cora's vocals and followed by the second chorus. From there additional themes and beats are slowly added in, similar to a chef cooking his finest meal with timed calculations and experience. Just when you begin to really adjust and settle in to just how evil the song's character is, it is over. It left me wanting more, which is exactly what a song should do sometimes. Especially, the second track of a thirteen song album!
