Bright Eyes
Cassadaga
Saddle Creek Records
Grade: A
There are many out there looking to punch, kick, and shoot holes in Conor Oberst’s Bright Eyes – each new release is met with a maelstrom of attention, both accommodating and adversarial. But the fact of the matter is that Oberst consistently puts out records at such a higher level than anyone else. With the pressure of following up the simultaneous 2005 releases of I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn, and Oberst more recent attention from his political offerings, the thirteen-track Cassadaga (which is a town in Florida full of psychics) keeps you constantly surprised, content, and amazed at what Oberst and company can do.
In support of the dual 2005 albums, Bright Eyes went on extensive touring and Oberst began in earnest his crusade against Clear Channel – including canceling a show here in St. Louis because of CC’s link the venue The Pageant. The international touring wore out the group and the band sought some down time. While Bright Eyes kept a lower-profile in the past year, Oberst has made become more visible through his political musical offerings – continuing on from his participation in the Vote for Change tour. The highpoint of this was the single “When the President Talks to God.” Following up on his past actions, Cassadaga is ripe with political and social messages, meanings, and mentions; though certainly it is not in parallel form to Neil Young’s Living with War. Instead, Oberst continues with themes and views of everyday life; for Oberst, seeing it through the eyes of a top-flight lyrist.
Again utilizing his core members and producers of Mike Mogis and Nate Walcott, Oberst recorded Cassadaga all over the U.S., including LA, NYC, and Portland, instead of just using Mogis’ recording HQ Presto! in Omaha. This shifting décor seems to have influenced the worldliness feel of Cassadaga. As before, Oberst employs Team Saddle Creek and various guests to fill out each and every song. Among his temporary work staff are Jason Boesel (Rilo Kiley), Andy LeMaster (Now It’s Overhead), Maria Taylor, Gillian Welch, Janet Weiss (Sleater Kinney), and M. Ward. Along with this endless cadre of performers, Oberst relies on Walcott’s string arrangements on songs like “Hot Knives” to build exceptionally rich music.
Similar in form to the opening of I’m Wide Awake, Cassadaga opens on “Clairaudients (Kill or Be Killeed)” with a woman psychic ramblings under strings before the actual begins two minutes in with the lines “Corporate or colonial/the movement is unstoppable.” A fine song in lyrical content, “Clairaudients”’ slow movement is not what’s going to enamor you to Bright Eyes. Instead, the magic begins in earnest on the follower “Four Winds.” Referencing the album title and including more references than one could honestly keep track of, “Four Winds” sets the mood for the rest of Cassadaga. (Even though Babylon is best known as the biblical city of sin, when you’re from a town with the same name lines like “the whore of Babylon” as on “Four Winds” just always sounds strange.) “If the Brakeman Turns My Way” takes the appeal of “Four Winds” to another level. If “Four Winds” is a great song then “If the Brakeman Turns My Way” is simply amazing. To a slow build of piano and guitars, Oberst belts out lines like “all your friends and sedatives mean well but make it worse” before the song soars off to a grander expanse. Oberst, Mogis, Walcott, and Boesel keep time on the verse before the whole thing becomes magical on the chorus, and there you are, you’ve wetted yourself. In most other contexts the follower “Hot Knives” would stand out as brilliant, but with the misfortune of following “If the Brakeman Turns My Way” it withers. And this is even more prominent since “Hot Knives” is going to be released as a single along with “If the Brakeman Turns My Way” on July 9th. Following up on “Hot Knives” is the whimsical 50s pop of “Make a Plan to Love Me,” where a set of female backup singers add bops and refrains. “Soul Singer in a Session Band” takes awhile to warm up on you where Oberst, Ward, and Weiss get sloppy over artistic futility. Some point to Winona Ryder being the subject of “Classic Cars,” but whether that’s the case or not it is relatively irrelevant, because “Classic Cars” is one of the standout tracks on an album full of gems; a song that takes music to another level on the back of Walcott’s piano and melody on the chorus. What goes up must come down, but Oberst gentle lands us on the folksy rambling “Middleman,” before the watery effects and excellent self-evident lyrical content of “Cleanse Song.” Instrumental intensity is drastically dialed down on “No One Would Riot for Less” in order for Oberst to channel intensity through his voice. “Coat Check Dream Song” certainly has a dreamy feel to it and comes off more like a song from other Saddle Creek artists like Taylor or LeMaster – in fact, Walcott co-wrote the song with Oberst. Of note, “Coat Check Dream Song” features a smidgen of Middle Eastern flair thanks to vocals from Hassan Lemtouni. After this dreamy affair comes the spellbinding country-western genius of “I Must Belong Somewhere.” With guitar strings bending everywhere, Oberst places everything in its place including wishing he could just stay where he is. Cassadaga closes on the rootsy, haunting “Lime Tree” – a solid ending though “I Must Belong Somewhere” would have added an exclamation point to the album.
With Cassadaga Conor Oberst simply reaffirms that he is one of the best American lyricists in a generation and has the musical vessel of Bright Eyes to prove it. The only thing stopping Oberst now is himself.
Friday, November 30, 2007
Thursday, November 29, 2007
Weatherbox - American Art
Weatherbox
American Art
Doghouse Records
Grade: A-
The obvious question for Weatherbox is ‘how the hell did you get so good and unleash such a fantastic album as American Art?’ Seemingly infusing the powers of Stephen Pedersen (Criteria, White Octave, early Cursive), Weatherbox punch out thirteen complicated, earnest, guitar rich songs on American Art that have the touches to make Weatherbox one of your new favorites. For whatever reason, Weatherbox’s 2006 EP The Clearing had none of the resonance in our mind that American Art does – even though three of those songs are also here, “Atoms Smash,” “The Clearing,” and “Snakes, Our Ground.” As you progress through American Art and come across songs like “Armed to the Teeth” you take a double and triple look to make sure that Pedersen truly isn’t in Weatherbox. Instead this San Diego four-piece of Brian Warren, Ryan Hill, Justin Greene, and Lowell Helfin, simply channel Pedersen on American Art. This parallel immediately leads to Pedersen fans jumping all over Weatherbox; the band can’t rival Pedersen’s guitar work but they do a pretty damn good job as demonstrated on breakdowns on “Wolftank, Doff Thy Name” and “I Worship Raw Beats.” Weatherbox is a band to keep an eye on, particularly as Midwestern leaves fall from dying trees.
American Art
Doghouse Records
Grade: A-
The obvious question for Weatherbox is ‘how the hell did you get so good and unleash such a fantastic album as American Art?’ Seemingly infusing the powers of Stephen Pedersen (Criteria, White Octave, early Cursive), Weatherbox punch out thirteen complicated, earnest, guitar rich songs on American Art that have the touches to make Weatherbox one of your new favorites. For whatever reason, Weatherbox’s 2006 EP The Clearing had none of the resonance in our mind that American Art does – even though three of those songs are also here, “Atoms Smash,” “The Clearing,” and “Snakes, Our Ground.” As you progress through American Art and come across songs like “Armed to the Teeth” you take a double and triple look to make sure that Pedersen truly isn’t in Weatherbox. Instead this San Diego four-piece of Brian Warren, Ryan Hill, Justin Greene, and Lowell Helfin, simply channel Pedersen on American Art. This parallel immediately leads to Pedersen fans jumping all over Weatherbox; the band can’t rival Pedersen’s guitar work but they do a pretty damn good job as demonstrated on breakdowns on “Wolftank, Doff Thy Name” and “I Worship Raw Beats.” Weatherbox is a band to keep an eye on, particularly as Midwestern leaves fall from dying trees.
Wednesday, November 28, 2007
The Fall of Troy - Manipulator
The Fall of Troy
Manipulator
Equal Vision Records
Grade: A-
After the Fall of Troy’s amazing 2005 debut Doppelganger on EVR, expectations ran crazy ass high for a follow-up that demonstrates both the awesomeness of Doppelganger and some level of maturity. Indeed, Manipulator provides an appropriate and strong follow-up. Bringing in an increasing amount of swirling, mind-brimming guitar acrobatics and less screaming your brains out vocals, this twelve-song, forty-seven minute record satisfies so many audiences that only the retarded would be turned away. The math metal precision is matched with Mars Volta-like, not to mention Coheed, bombastity comes in spades on such standouts as “The Dark Trail,” the superb “Problem?,” hard and psych “Sledgehammer,” and closer “A Man A Plan A Canal Panama.” But also check out the bluesy opening of “Quarter Past,” the somewhat jokingly shrieking on “Shhh!!! If You’re Quiet, I’ll Show You a Dinosaur,” and pop-filled album breakdown on “Oh! The Casino?” and “Caught Up” for a terrific genre mind-fuck. Now armed with the songs of Manipulator, the Fall of Troy will be able to destroy any place from the VFW, to small clubs, to Giants Stadium. Give these guys an opening spot on a huge tour and they’re going to rip some new holes of magic.
Manipulator
Equal Vision Records
Grade: A-
After the Fall of Troy’s amazing 2005 debut Doppelganger on EVR, expectations ran crazy ass high for a follow-up that demonstrates both the awesomeness of Doppelganger and some level of maturity. Indeed, Manipulator provides an appropriate and strong follow-up. Bringing in an increasing amount of swirling, mind-brimming guitar acrobatics and less screaming your brains out vocals, this twelve-song, forty-seven minute record satisfies so many audiences that only the retarded would be turned away. The math metal precision is matched with Mars Volta-like, not to mention Coheed, bombastity comes in spades on such standouts as “The Dark Trail,” the superb “Problem?,” hard and psych “Sledgehammer,” and closer “A Man A Plan A Canal Panama.” But also check out the bluesy opening of “Quarter Past,” the somewhat jokingly shrieking on “Shhh!!! If You’re Quiet, I’ll Show You a Dinosaur,” and pop-filled album breakdown on “Oh! The Casino?” and “Caught Up” for a terrific genre mind-fuck. Now armed with the songs of Manipulator, the Fall of Troy will be able to destroy any place from the VFW, to small clubs, to Giants Stadium. Give these guys an opening spot on a huge tour and they’re going to rip some new holes of magic.
Tuesday, November 27, 2007
Small Snails - Similar Anniversaries
Small Sails
Similar Anniversaries
Other Electricities
Grade: B+/A-
If I didn’t know better I would think that Small Sails’ Similar Anniversaries was the latest and greatest Howard Hello record. The fact that it’s not provides us, the listener, another fantastic ambient electronic act to sink our frothy teeth in to. Small Sails is a film and music collective out of Portland who match their mostly instrumental music with accompanying films at live shows. Largely devoid of vocals, Small Sails provide gorgeous soundscapes of beats, electronics, and acoustic guitars across Similar Anniversaries’ ten songs. The minimal vocal work comes in the form of soft chants set to link up with the flow of the music; another reason why Small Sails comes off like Howard Hello. Highlights include opener “Somnambulist,” “Aftershocks and Afterthoughts,” and closer “No Spirit Animal.” With this record and Jatun’s self-titled release, Other Electricities is starting to become our new favorite label.
Similar Anniversaries
Other Electricities
Grade: B+/A-
If I didn’t know better I would think that Small Sails’ Similar Anniversaries was the latest and greatest Howard Hello record. The fact that it’s not provides us, the listener, another fantastic ambient electronic act to sink our frothy teeth in to. Small Sails is a film and music collective out of Portland who match their mostly instrumental music with accompanying films at live shows. Largely devoid of vocals, Small Sails provide gorgeous soundscapes of beats, electronics, and acoustic guitars across Similar Anniversaries’ ten songs. The minimal vocal work comes in the form of soft chants set to link up with the flow of the music; another reason why Small Sails comes off like Howard Hello. Highlights include opener “Somnambulist,” “Aftershocks and Afterthoughts,” and closer “No Spirit Animal.” With this record and Jatun’s self-titled release, Other Electricities is starting to become our new favorite label.
Monday, November 26, 2007
Ryan Adams - Easy Tiger
Ryan Adams
Easy Tiger
Lost Highway
Grade: A-
One of the more amazing elements of Ryan Adams is that in his ridiculous productivity – seems about three records a year – he still keeps the song quality at a supreme level. Along with his four-piece backing band The Cardinals, Adams offers thirteen songs of terrific Americana rock on Easy Tiger; clearly one of his best records in the past couple of years. Furthering channeling Neil Young into a melody-drenched rock machine, songs such as “Two,” “Halloweenhead,” “The Sun Also Sets,” and the string-soaked acoustic-focused closer “I Taught Myself How to Grow Old” are a new batch of alt-country classics from Adams. The first three mentioned above in particular will carry Easy Tiger onto the radio and causes folks to buy the record. It is true that Adams slightly annoys when his vocals merge too closely to Young, but even in those moments the songs underneath are always solid if not breathtaking (witness: the soft acoustic “Off Broadway”). For those who want more country than simply alt-country, Adams includes the banjo-picking “Pearls on a String.” Many worry that releasing so much music would cause a diluted product, but instead such excessive songwriting has served to craft Adams into one of America’s best artists.
Easy Tiger
Lost Highway
Grade: A-
One of the more amazing elements of Ryan Adams is that in his ridiculous productivity – seems about three records a year – he still keeps the song quality at a supreme level. Along with his four-piece backing band The Cardinals, Adams offers thirteen songs of terrific Americana rock on Easy Tiger; clearly one of his best records in the past couple of years. Furthering channeling Neil Young into a melody-drenched rock machine, songs such as “Two,” “Halloweenhead,” “The Sun Also Sets,” and the string-soaked acoustic-focused closer “I Taught Myself How to Grow Old” are a new batch of alt-country classics from Adams. The first three mentioned above in particular will carry Easy Tiger onto the radio and causes folks to buy the record. It is true that Adams slightly annoys when his vocals merge too closely to Young, but even in those moments the songs underneath are always solid if not breathtaking (witness: the soft acoustic “Off Broadway”). For those who want more country than simply alt-country, Adams includes the banjo-picking “Pearls on a String.” Many worry that releasing so much music would cause a diluted product, but instead such excessive songwriting has served to craft Adams into one of America’s best artists.
Sunday, November 25, 2007
Kaiser Chiefs - Yours Truly, Angry Mob
Kaiser Chiefs
Yours Truly, Angry Mob
Universal Motown
Grade: A-
Many of the super hyped British bands of the new millennium have died and withered like a testicle devoid of blood. And so when the Kaiser Chiefs pushed out the twelve-song Yours Truly, Angry Mob, many critics and skeptics were looking for cracks in the armor of this heavily lauded over band. However, the five-piece immediately answers the curmudgeon inside of all music lovers with the catchy opener “Ruby,” a song that would be the album centerpiece of most bands today. And with this strong opening, Kaiser Chiefs continue a juggernaut of an album with follower “The Angry Mob” that features a great chorus and breakdown of “we are the angry mob, we read the papers everyday…,” the solid “Heat Dies Down,” the commercially appealing but not terribly brilliant “Love’s Not a Competition (But I’m Winning),” the jaw dropping and possibly draw dropping “Everything Is Average Nowadays” (seriously it’s like the band made a deal with the devil for the poppiest song ever and this was the result), and the surprisingly strong piano ballad “Learnt My Lesson Well” (expertly primed as soundtrack material for Hugh Grant’s next comedy-drama). There is enough single power on Your Truly, Angry Mob to trump the simple act of single downloading and for folks to fork over cash for the whole fucking thing.
Yours Truly, Angry Mob
Universal Motown
Grade: A-
Many of the super hyped British bands of the new millennium have died and withered like a testicle devoid of blood. And so when the Kaiser Chiefs pushed out the twelve-song Yours Truly, Angry Mob, many critics and skeptics were looking for cracks in the armor of this heavily lauded over band. However, the five-piece immediately answers the curmudgeon inside of all music lovers with the catchy opener “Ruby,” a song that would be the album centerpiece of most bands today. And with this strong opening, Kaiser Chiefs continue a juggernaut of an album with follower “The Angry Mob” that features a great chorus and breakdown of “we are the angry mob, we read the papers everyday…,” the solid “Heat Dies Down,” the commercially appealing but not terribly brilliant “Love’s Not a Competition (But I’m Winning),” the jaw dropping and possibly draw dropping “Everything Is Average Nowadays” (seriously it’s like the band made a deal with the devil for the poppiest song ever and this was the result), and the surprisingly strong piano ballad “Learnt My Lesson Well” (expertly primed as soundtrack material for Hugh Grant’s next comedy-drama). There is enough single power on Your Truly, Angry Mob to trump the simple act of single downloading and for folks to fork over cash for the whole fucking thing.
Saturday, November 24, 2007
Bayside - The Walking Wounded
Bayside
The Walking Wounded
Victory Records
Grade: A-
After a bit of floating around following the death of their drummer John Beatz, Bayside have finally lived up the potential shown on their debut Sirens and Condolences, and offer by far their best record to date and one of the strongest melodic punk records of 2007. If the world hadn’t already seen the likes of the Smoking Popes, Alkaline Trio, and the rest of the Chicago punk scene, Bayside would be path blazers. But we’ve heard of those folks before. Still, the twelve songs on The Walking Wounded come off like something that the Popes or Alkaline Trio would have loved to have written. Led by the juggernaut of vocalist/guitarist Anthony Raneri, Bayside are bolstered by the guitar antics of Jack O’Shea and the well-measured rhythm section of Nick Ghanbarian and Chris Guglielmo. Raneri has clearly come into his own vocally and he has all the confidence in the world. The four-piece hit all the right notes on songs such as the opening title-track (featuring Vinny Caruana), “Duality,” “Head on a Plate,” the high-tempo, exceptional “Dear Your Holiness,” and “Thankfully.” The Walking Wounded has restored my faith that Bayside are legit contenders for the melodic punk heavyweight crown.
The Walking Wounded
Victory Records
Grade: A-
After a bit of floating around following the death of their drummer John Beatz, Bayside have finally lived up the potential shown on their debut Sirens and Condolences, and offer by far their best record to date and one of the strongest melodic punk records of 2007. If the world hadn’t already seen the likes of the Smoking Popes, Alkaline Trio, and the rest of the Chicago punk scene, Bayside would be path blazers. But we’ve heard of those folks before. Still, the twelve songs on The Walking Wounded come off like something that the Popes or Alkaline Trio would have loved to have written. Led by the juggernaut of vocalist/guitarist Anthony Raneri, Bayside are bolstered by the guitar antics of Jack O’Shea and the well-measured rhythm section of Nick Ghanbarian and Chris Guglielmo. Raneri has clearly come into his own vocally and he has all the confidence in the world. The four-piece hit all the right notes on songs such as the opening title-track (featuring Vinny Caruana), “Duality,” “Head on a Plate,” the high-tempo, exceptional “Dear Your Holiness,” and “Thankfully.” The Walking Wounded has restored my faith that Bayside are legit contenders for the melodic punk heavyweight crown.
Friday, November 23, 2007
1997 - ...A Better View of the Rising Moon
1997
…A Better View of the Rising Moon
Victory Records
Grade: A-
Save for the absurdly long title, Since My House Burned Down I Now Own a Better View of the Rising Moon, there is little not to like on 1997’s debut for Victory Records. Featuring the usual cavalcade of members of past scene bands, this Chicago-area five-piece trade male and female vocals to upbeat, catchy indie punk dreams. Not unlike labelmates The Forecast, but with more pop production and instrument wrinkles, 1997 offer twelve songs that merely put a smile on your face and the hope of a better tomorrow. Among the fantabulous songs are opener “Water’s Edge” where Carolina is repeatedly mentioned (a girl, not the glorious state) and 1997 use a terrific string section to travel to the chorus, the strong chorus on “Garden of Evil,” the excellently composed sections on “Hey Darlin’,” “Patience, Prudence,” and the powerful “Enough Is Enough.” 1997 do experience dwindling powers as the album progresses, but there is enough to keep you tuned in. After so many non-inspiring, bland, and dull bands forming and leaking out all over the Internet, 1997 are like a shining gem stone.
…A Better View of the Rising Moon
Victory Records
Grade: A-
Save for the absurdly long title, Since My House Burned Down I Now Own a Better View of the Rising Moon, there is little not to like on 1997’s debut for Victory Records. Featuring the usual cavalcade of members of past scene bands, this Chicago-area five-piece trade male and female vocals to upbeat, catchy indie punk dreams. Not unlike labelmates The Forecast, but with more pop production and instrument wrinkles, 1997 offer twelve songs that merely put a smile on your face and the hope of a better tomorrow. Among the fantabulous songs are opener “Water’s Edge” where Carolina is repeatedly mentioned (a girl, not the glorious state) and 1997 use a terrific string section to travel to the chorus, the strong chorus on “Garden of Evil,” the excellently composed sections on “Hey Darlin’,” “Patience, Prudence,” and the powerful “Enough Is Enough.” 1997 do experience dwindling powers as the album progresses, but there is enough to keep you tuned in. After so many non-inspiring, bland, and dull bands forming and leaking out all over the Internet, 1997 are like a shining gem stone.
Thursday, November 22, 2007
Against Me! - New Wave
Against Me!
New Wave
Sire
Grade: A-
As with their like-minded punk rock brethren (Rise Against, Anti-Flag), enormous questions loomed over Against Me!’s first record on major label Sire after being in residence at Fat Wreck Chords and No Idea. And like their brethren, Against Me takes the opportunity of massive resources to release one of their best records with the ten-song New Wave. Possibly not as raw and exposed as earlier material, the heightened production value on New Wave does little to lessen Against Me’s intensity and messages.
Against Me initially started ten years ago as lead singer Tom Gabel’s solo acoustic punk project in Gainesville, FL. Playing wherever he could, it took Gabel and his later compatriots several years to become a lean, mean punk rock machine. After spittles of singles, comps, and EPs, Against Me’s first true full-length Reinventing Axl Rose came in 2002 on Gainesville’s No Idea Records. This was the first record where Gabel and company employed full electric guitars and structured themselves as a traditional rock band. After the 2002 EP The Disco Before the Breakdown, Against Me settled on the lineup that continues today: Gabel on lead vocals/guitar, Warren Oakes on drums, James Bowman on guitar, and Andy Seward on bass. Against Me then released As the Eternal Cowboy in 2003 on Fat Wreck Chords – causing the start of the grumps chanting about selling out. But, the band continued on Fat Wreck with 2005’s Searching for Former Clarity, even after majors were chasing them with full aggression. At the end of 2005, the inevitable occurred and Against Me signed with Sire – fully severing the chord with some fans but also creating a much wide spectrum of interest for the band. Before cutting ties with Fat Wreck, Against Me released the 2006 live record Americans Aboard!!! Against Me!!! Live in London!!!, in order to satisfy their contract with the label.
Though the most curmudgeon and anti-major label listeners will take the album’s title as proof of majors pushing bands to release more poppy and radio-friendly anthems, the title from the band’s perspective speaks to their intent of sweeping out the riff-raff in the rock scene. Helping them in this endeavor is uber-rock producer Butch Vig; who helmed the boards of classic records from Sonic Youth, Smashing Pumpkins, and Nirvana, among others. The smart thing about Vig is that he maintains a band’s integrity while simultaneously increasing songwriting and production quality; basically a constant and consistent win-win for all involved. For a major label rock record, New Wave is rather short – ten songs at thirty-three minutes. Yet, the length and sequencing comes across as nearly perfect – hurrying you in some places, fixating in others, and always bringing you back for more.
New Wave opens on the pulse-thumping title-track where Against Me are punching out their best Bruce Springsteen punk; or smoothing out and prettying up Avail. This stronger opener is quickly followed by the up-picking “Up the Cuts,” where Against Me rock Clash reggae into an agro-package. “Up the Cuts,” though succeeds mostly due to the hip-tapping chorus of “Are you restless like me?” However, the most attention-grabbing song on New Wave comes from the next song, “Thrash Unreal.” A somewhat odd title bringing images of metal crossed with a violent video game, “Thrash Unreal” is possible one of the best rock songs of 2007. Featuring a further dip into Bruce Springsteen/John Cougar Mellencamp American rock, the song is four-plus minutes of punk genius revolving around a washed up, junky mother in a burnt out town. After such a tremendous anthem it is hard for the record not to inevitably come off its pedestal. Not slipping too far, “White People for Peace” and “Stop” follow – both hook your ears but also feature slightly awkward lyrics. Gabel continues to place the lyrics into terrific melodies, but the chorus of “protest song in response to military aggression” on “White People for Peace” and the funk line of “Stop! Take some time to think” on “Stop” sound pedestrian by Against Me standards. Providing another high point on New Wave, Against Me teams up with Tegan Quin of Tegan and Sara for vocals on the slow mover “Borne on the FM Waves of the Heart.” “Piss and Vinegar” is just that – intense punk rock that’s grumpy, angry, and well-placed. As the only new song on their 2006 live record “Americans Aboard” speaks to Americans traveling the world in today’s climate of anti-American economic and foreign policy. New Wave closes on the average “Animal” and Brit-poppy “The Ocean” – not exactly the ideal way to close an otherwise impressive album.
Although Against Me crosses several degrees of listeners – past, present, and future – New Wave has both the singles to keep Sire content without sacrificing the overall quality of the record. With such a set of powerful anthems look for Against Me to further explode in the coming year.
New Wave
Sire
Grade: A-
As with their like-minded punk rock brethren (Rise Against, Anti-Flag), enormous questions loomed over Against Me!’s first record on major label Sire after being in residence at Fat Wreck Chords and No Idea. And like their brethren, Against Me takes the opportunity of massive resources to release one of their best records with the ten-song New Wave. Possibly not as raw and exposed as earlier material, the heightened production value on New Wave does little to lessen Against Me’s intensity and messages.
Against Me initially started ten years ago as lead singer Tom Gabel’s solo acoustic punk project in Gainesville, FL. Playing wherever he could, it took Gabel and his later compatriots several years to become a lean, mean punk rock machine. After spittles of singles, comps, and EPs, Against Me’s first true full-length Reinventing Axl Rose came in 2002 on Gainesville’s No Idea Records. This was the first record where Gabel and company employed full electric guitars and structured themselves as a traditional rock band. After the 2002 EP The Disco Before the Breakdown, Against Me settled on the lineup that continues today: Gabel on lead vocals/guitar, Warren Oakes on drums, James Bowman on guitar, and Andy Seward on bass. Against Me then released As the Eternal Cowboy in 2003 on Fat Wreck Chords – causing the start of the grumps chanting about selling out. But, the band continued on Fat Wreck with 2005’s Searching for Former Clarity, even after majors were chasing them with full aggression. At the end of 2005, the inevitable occurred and Against Me signed with Sire – fully severing the chord with some fans but also creating a much wide spectrum of interest for the band. Before cutting ties with Fat Wreck, Against Me released the 2006 live record Americans Aboard!!! Against Me!!! Live in London!!!, in order to satisfy their contract with the label.
Though the most curmudgeon and anti-major label listeners will take the album’s title as proof of majors pushing bands to release more poppy and radio-friendly anthems, the title from the band’s perspective speaks to their intent of sweeping out the riff-raff in the rock scene. Helping them in this endeavor is uber-rock producer Butch Vig; who helmed the boards of classic records from Sonic Youth, Smashing Pumpkins, and Nirvana, among others. The smart thing about Vig is that he maintains a band’s integrity while simultaneously increasing songwriting and production quality; basically a constant and consistent win-win for all involved. For a major label rock record, New Wave is rather short – ten songs at thirty-three minutes. Yet, the length and sequencing comes across as nearly perfect – hurrying you in some places, fixating in others, and always bringing you back for more.
New Wave opens on the pulse-thumping title-track where Against Me are punching out their best Bruce Springsteen punk; or smoothing out and prettying up Avail. This stronger opener is quickly followed by the up-picking “Up the Cuts,” where Against Me rock Clash reggae into an agro-package. “Up the Cuts,” though succeeds mostly due to the hip-tapping chorus of “Are you restless like me?” However, the most attention-grabbing song on New Wave comes from the next song, “Thrash Unreal.” A somewhat odd title bringing images of metal crossed with a violent video game, “Thrash Unreal” is possible one of the best rock songs of 2007. Featuring a further dip into Bruce Springsteen/John Cougar Mellencamp American rock, the song is four-plus minutes of punk genius revolving around a washed up, junky mother in a burnt out town. After such a tremendous anthem it is hard for the record not to inevitably come off its pedestal. Not slipping too far, “White People for Peace” and “Stop” follow – both hook your ears but also feature slightly awkward lyrics. Gabel continues to place the lyrics into terrific melodies, but the chorus of “protest song in response to military aggression” on “White People for Peace” and the funk line of “Stop! Take some time to think” on “Stop” sound pedestrian by Against Me standards. Providing another high point on New Wave, Against Me teams up with Tegan Quin of Tegan and Sara for vocals on the slow mover “Borne on the FM Waves of the Heart.” “Piss and Vinegar” is just that – intense punk rock that’s grumpy, angry, and well-placed. As the only new song on their 2006 live record “Americans Aboard” speaks to Americans traveling the world in today’s climate of anti-American economic and foreign policy. New Wave closes on the average “Animal” and Brit-poppy “The Ocean” – not exactly the ideal way to close an otherwise impressive album.
Although Against Me crosses several degrees of listeners – past, present, and future – New Wave has both the singles to keep Sire content without sacrificing the overall quality of the record. With such a set of powerful anthems look for Against Me to further explode in the coming year.
Wednesday, November 21, 2007
Ulrich Schnauss - Goodbye
Ulrich Schnauss
Goodbye
Domino Recordings
Grade: A-
Gorgeously atmospheric, ambient electronic shoegazing is the sound that greets you on the opener “Never be the Same” on Ulrich Schnauss’ third album Goodbye. Similar in thought to Schnauss’ first two records – Far Away Trains Passing By and A Strangely Isolated Place (originally released on City Centre Offices and then reissued by Domino in 2006) – Goodbye sets so many moods of electronic indie that it is superbly impressionable even to the most stubborn and jaded. With a wall of instruments several hundred feet thick, Schnauss manages to hint influences far and wide, and still sound entirely unique and un-derivative. Naturally, moods, spaces, and passages remind you of one band or another, but the product in its entirety is different and special. Joining Schnauss in crafting these ten tracks is the breathy voice of Judith Beck; a voice that’s timeless indie electronic. Besides from the opener, time should be spent on “Stars,” “Here Today, Goodbye Tomorrow,” billion walls of sound from “Medusa,” and the more standard rock number “Shine.” Goodbye is an album that will be well-mined by filmmakers.
Goodbye
Domino Recordings
Grade: A-
Gorgeously atmospheric, ambient electronic shoegazing is the sound that greets you on the opener “Never be the Same” on Ulrich Schnauss’ third album Goodbye. Similar in thought to Schnauss’ first two records – Far Away Trains Passing By and A Strangely Isolated Place (originally released on City Centre Offices and then reissued by Domino in 2006) – Goodbye sets so many moods of electronic indie that it is superbly impressionable even to the most stubborn and jaded. With a wall of instruments several hundred feet thick, Schnauss manages to hint influences far and wide, and still sound entirely unique and un-derivative. Naturally, moods, spaces, and passages remind you of one band or another, but the product in its entirety is different and special. Joining Schnauss in crafting these ten tracks is the breathy voice of Judith Beck; a voice that’s timeless indie electronic. Besides from the opener, time should be spent on “Stars,” “Here Today, Goodbye Tomorrow,” billion walls of sound from “Medusa,” and the more standard rock number “Shine.” Goodbye is an album that will be well-mined by filmmakers.
Tuesday, November 20, 2007
Maserti - Inventions of the New Season
Maserati
Inventions of the New Season
Temporary Residence Ltd.
Grade: A-
Using Maserati as a moniker brings to mind many different images of what the band will sound like; most involving some type of snobbiness. But when you hit the central component of opener “Inventions” on Maserati’s first record in four years the only image felt is a purely awesome band. After two records on Kindercore Records and the addition of Gerhardt Fuchs, Maserati swoon their way along to a brilliant soundscape of kraut-rock, atmospheric rock, and instrumental catchiness on the eight songs of Inventions of the New Season. Easily soundtrack material, to a movie or your life, this record has you believing in unicorns by the end of “Inventions.” And such brilliance continues to shine as you progress through the similarly flush next seven songs. Maserati lets you take a rainbow ride for cheap.
Inventions of the New Season
Temporary Residence Ltd.
Grade: A-
Using Maserati as a moniker brings to mind many different images of what the band will sound like; most involving some type of snobbiness. But when you hit the central component of opener “Inventions” on Maserati’s first record in four years the only image felt is a purely awesome band. After two records on Kindercore Records and the addition of Gerhardt Fuchs, Maserati swoon their way along to a brilliant soundscape of kraut-rock, atmospheric rock, and instrumental catchiness on the eight songs of Inventions of the New Season. Easily soundtrack material, to a movie or your life, this record has you believing in unicorns by the end of “Inventions.” And such brilliance continues to shine as you progress through the similarly flush next seven songs. Maserati lets you take a rainbow ride for cheap.
Monday, November 19, 2007
Handsome Furs - Plague Park
Handsome Furs
Plague Park
Sub Pop Records
Grade: A-
Since Sub Pop is becoming more and more the designated label to release side projects of their most fantastic groups (witness Dntel and Postal Service), here comes the fantastic side project of Dan Boeckner of Wolf Parade – Handsome Furs. In this endeavor, Boeckner is joined by fellow Montreal resident, writer Alexei Perry (and fiancée). As if Wolf Parade jettisoned all of their songs for slow-to-moderate tempo, heavy synth-influenced indie anthems, so are the nine songs on Plague Park. Utilizing a very basic set up of guitars, keyboards, and simple drums (mostly via drum machine), Boeckner adds his Springsteen-like throat to such tremendously gorgeous gems as “Hearts of Iron,” “Handsome Furs Hate This City,” “Cannot Get Started,” and “Dead + Rural.” Anyone of those songs would be standout numbers on a Wolf Parade album – and that says a lot. With a basic comparison to the other notable Wolf Parade side project – Sunset Rubdown – it is clear that Boeckner adds a substantial part of the magic that makes up WP. You can easily fool your friends that Plague Park is the new Wolf Parade record; and thus it serves as strong fix to your WP jonesing. Yes!!!
Plague Park
Sub Pop Records
Grade: A-
Since Sub Pop is becoming more and more the designated label to release side projects of their most fantastic groups (witness Dntel and Postal Service), here comes the fantastic side project of Dan Boeckner of Wolf Parade – Handsome Furs. In this endeavor, Boeckner is joined by fellow Montreal resident, writer Alexei Perry (and fiancée). As if Wolf Parade jettisoned all of their songs for slow-to-moderate tempo, heavy synth-influenced indie anthems, so are the nine songs on Plague Park. Utilizing a very basic set up of guitars, keyboards, and simple drums (mostly via drum machine), Boeckner adds his Springsteen-like throat to such tremendously gorgeous gems as “Hearts of Iron,” “Handsome Furs Hate This City,” “Cannot Get Started,” and “Dead + Rural.” Anyone of those songs would be standout numbers on a Wolf Parade album – and that says a lot. With a basic comparison to the other notable Wolf Parade side project – Sunset Rubdown – it is clear that Boeckner adds a substantial part of the magic that makes up WP. You can easily fool your friends that Plague Park is the new Wolf Parade record; and thus it serves as strong fix to your WP jonesing. Yes!!!
Sunday, November 18, 2007
Elvis Presley - Viva Las Vegas
Elvis Presley
Viva Las Vegas
SONY BMG
Grade: A-
You probably think that Elvis’ song collection has been mined to all levels of absurdity. Well, here’s another release – featuring sixteen live tracks from various shows in Las Vegas from 1963 to 1972. This release was inspired by ABC’s documentary on Elvis’ Vegas years, from when he had trouble connecting with the Vegas’ audience to becoming an uber-dominate force in the late 60s and early 70s, mainly through his shows at the International Hotel. “Viva Las Vegas” (from 1963) opens the album before the next song “See See Rider” truly opens the live material with a 1970 show from the International. Most of the songs included here were recorded from a spat of dates in February and August 1970 at the International, with the remaining numbers cut from a 1972 show at the Vegas Hilton. You can make the argument that every Elvis song is a classic, but those that standout on this live set are “The Wonder of You,” “Let It Be Me,” “I Just Can’t Help Believen’,” the cover of Simon & Garfunkel’s “Bridge over Troubled Water,” the cover of “You’ve Lost that Loving Feeling,” “Never Been to Spain,” and the closer “The Impossible Dream (The Quest).” There are enough Elvis fans in the world to make any Elvis release marketable and it is certainly the case with Viva Las Vegas.
Viva Las Vegas
SONY BMG
Grade: A-
You probably think that Elvis’ song collection has been mined to all levels of absurdity. Well, here’s another release – featuring sixteen live tracks from various shows in Las Vegas from 1963 to 1972. This release was inspired by ABC’s documentary on Elvis’ Vegas years, from when he had trouble connecting with the Vegas’ audience to becoming an uber-dominate force in the late 60s and early 70s, mainly through his shows at the International Hotel. “Viva Las Vegas” (from 1963) opens the album before the next song “See See Rider” truly opens the live material with a 1970 show from the International. Most of the songs included here were recorded from a spat of dates in February and August 1970 at the International, with the remaining numbers cut from a 1972 show at the Vegas Hilton. You can make the argument that every Elvis song is a classic, but those that standout on this live set are “The Wonder of You,” “Let It Be Me,” “I Just Can’t Help Believen’,” the cover of Simon & Garfunkel’s “Bridge over Troubled Water,” the cover of “You’ve Lost that Loving Feeling,” “Never Been to Spain,” and the closer “The Impossible Dream (The Quest).” There are enough Elvis fans in the world to make any Elvis release marketable and it is certainly the case with Viva Las Vegas.
Saturday, November 17, 2007
All Out War - Assassins in the House of God
All Out War
Assassins in the House of God
Victory Records
Grade: B+/A-
NY’s All Out War seemingly have been floating in the metal hardcore ether for longer than most devotees can remember. But their tenure has been ethereal, as their discography is short but you consistently hear them mentioned among the early influential metalcore acts. On the eleven-song Assassins in the House of God, All Out War step out in powering fashion on opener “Curtain Call for the Crucified,” laying out Slayer-like attack guitars and double-bass as well as adding metalcore guitar riffs to connect to those that throwdown sans long hair. If all the songs on Assassins demolished as much as “Curtain Call for the Crucified” it would be one of the best heavy records of the year hands down. Unfortunately, the other ten songs don’t live up to the opener, but still the flagellation comes at staggering levels. Deficits come from a set of standard hardcore songs that toe the classic old school line, instead of smashing metal in your throat (see, “Politics of Apathy”). Still, songs such as “Behind the Crescent and the Cross,” “Drenched in Defeat,” “The Angels of Genocide,” and “When Your Gods Have Failed” are able to rip your balls off and show them to you.
Assassins in the House of God
Victory Records
Grade: B+/A-
NY’s All Out War seemingly have been floating in the metal hardcore ether for longer than most devotees can remember. But their tenure has been ethereal, as their discography is short but you consistently hear them mentioned among the early influential metalcore acts. On the eleven-song Assassins in the House of God, All Out War step out in powering fashion on opener “Curtain Call for the Crucified,” laying out Slayer-like attack guitars and double-bass as well as adding metalcore guitar riffs to connect to those that throwdown sans long hair. If all the songs on Assassins demolished as much as “Curtain Call for the Crucified” it would be one of the best heavy records of the year hands down. Unfortunately, the other ten songs don’t live up to the opener, but still the flagellation comes at staggering levels. Deficits come from a set of standard hardcore songs that toe the classic old school line, instead of smashing metal in your throat (see, “Politics of Apathy”). Still, songs such as “Behind the Crescent and the Cross,” “Drenched in Defeat,” “The Angels of Genocide,” and “When Your Gods Have Failed” are able to rip your balls off and show them to you.
Friday, November 16, 2007
VHS or BETA - Bring on the Comets
VHS OR BETA
Bring on the Comets
Astralwerks
Grade: A/A-
Seemingly out of nowhere comes VHS OR BETA with one of the best records of the year in the twelve-song Bring on the Comets. With bombastic indie rock that can fill arenas and a French-disco funk kick to get your dance on, VHS OR BETA are set to rock you this fall and into the New Year.
Surprisingly out of Louisville, Kentucky, VHS OR BETA mix elements of pop rock, dance punk, and French funk into a product that’s addictingly appealing, enough to shake even the most curmudgeon. Started in 1997 to follow in the line of more noise-orientated bands, such as the Skin Graft line-up, the group soon progressed to incorporating electronic dance moves to their sound. This resulted in the 2002 EP Le Funk, followed by 2004’s stellar full-length Night on Fire. Surely, Night on Fire got VHS OR BETA knocked up in the minds and ears of listeners of good music, allowing the band to gain notice and tour with like-minded groups including the Faint, the Bravery, and Scissors Sisters. Though mostly existing throughout its history as the trio of guitarist/vocalist Craig Pfunder, bassist Mark Palgy, and drummer Mark Guirdy, the band is rounded out by multi-instrumentalist Chea Beckley (who is now featured in band promo photos) and guitarist Mike McGill on tour. One of the more startling elements of VHS or Beta is how incredibly powerful Pfunder’s vocals are live since his uber-skinniness appears like it would wither his intensity. Instead, it seems only to intensify the songs.
For Bring on the Comets, Pfunder and company wanted to take their sound to the next level; to add richness and depth to the songs without sacrificing catchy pop for simple generic blabbermouth crap. In this endeavor, the band employed producer Brandon Mason (Secret Machines, David Bowie) for help in crafting their music into one that can be pulled off just as well in a club than in an arena; though when played in a club it sounds like VHS OR BETA are going to rip a whole in the roof when rocking.
In anticipation of the release of Bring on the Comets, VHS OR BETA and Astralwerks released two singles (or at least streaming on Myspace) to whet fans’ appetites – “Can’t Believe a Single Word” and “Burn It All Down.” Placed side-by-side on the record, these two songs will convert anyone into a fan of VHS OR BETA. “Can’t Believe a Single World,” the fourth song on the record, kicks off with drums and a sliding guitar riff before Pfunder walks in with one go on the verse before the rest of the band comes and then soars on the amazing chorus. The flow, rhythm, riffs, and vocals on the chorus of “Can’t Believe a Single World” will completely grab your shoulders and shake you all around. After this bout of colossal pop rock has worked you over comes the funk bass and electronic drum-driven “Burn It All Down.” Clearly the most dance club-centric song on the record, “Burn It All Down” gets your ass cheeks clapping while still maintaining a modicum of rock. With just these two songs, Bring on the Comets would be considered a strong album. But, what there’s more; another set of songs to push the album from a good album to stellar.
Setting the agenda with the minute-long instrumental electro dance “Euglama,” “Love in My Pocket” first illustrates VHS OR BETA and Pfunder’s powerful and catchy vocals. “Love in My Pocket” takes a spell to get moving, but when you hit the chorus, you are rocking along more than expected. “She Says,” featuring Jim James of My Morning Jacket on backing vocals, and “Take It or Leave It” are both solid numbers where album consistency is maintained even if the heights aren’t reached. For your next play in this regard, you turn to the outstanding title track. After the instrumental set up “Alpha Theta,” “Bring on the Comets” slowly builds steam underneath atmospheric guitars with an ending crescendo that leaves you with goosebumps. When VHS OR BETA played “Bring on the Comets” at their show in STL, it was clear that the song is a emotionally highpoint for the band. Following is “Fall Down Lightly” the guitars match the vocal cadence perfectly and the drums and bass offer a dancing feel. “We Could Be One” rides like a lost Depeche Mode number with better vocals, while “Time Stands Still” is somewhat generic pop rock for this band. Bring on the Comets closes on “The Stars Where We Came From” with Carl Broemel of MMJ adding pedal steel to Pfunder’s lighter vocals and epic album closer.
Now armed with a terrific new set of songs and a live show to write home about, VHS OR BETA are primed for anything. Link up with these guys now, so you don’t have to regret being so late to the game.
Bring on the Comets
Astralwerks
Grade: A/A-
Seemingly out of nowhere comes VHS OR BETA with one of the best records of the year in the twelve-song Bring on the Comets. With bombastic indie rock that can fill arenas and a French-disco funk kick to get your dance on, VHS OR BETA are set to rock you this fall and into the New Year.
Surprisingly out of Louisville, Kentucky, VHS OR BETA mix elements of pop rock, dance punk, and French funk into a product that’s addictingly appealing, enough to shake even the most curmudgeon. Started in 1997 to follow in the line of more noise-orientated bands, such as the Skin Graft line-up, the group soon progressed to incorporating electronic dance moves to their sound. This resulted in the 2002 EP Le Funk, followed by 2004’s stellar full-length Night on Fire. Surely, Night on Fire got VHS OR BETA knocked up in the minds and ears of listeners of good music, allowing the band to gain notice and tour with like-minded groups including the Faint, the Bravery, and Scissors Sisters. Though mostly existing throughout its history as the trio of guitarist/vocalist Craig Pfunder, bassist Mark Palgy, and drummer Mark Guirdy, the band is rounded out by multi-instrumentalist Chea Beckley (who is now featured in band promo photos) and guitarist Mike McGill on tour. One of the more startling elements of VHS or Beta is how incredibly powerful Pfunder’s vocals are live since his uber-skinniness appears like it would wither his intensity. Instead, it seems only to intensify the songs.
For Bring on the Comets, Pfunder and company wanted to take their sound to the next level; to add richness and depth to the songs without sacrificing catchy pop for simple generic blabbermouth crap. In this endeavor, the band employed producer Brandon Mason (Secret Machines, David Bowie) for help in crafting their music into one that can be pulled off just as well in a club than in an arena; though when played in a club it sounds like VHS OR BETA are going to rip a whole in the roof when rocking.
In anticipation of the release of Bring on the Comets, VHS OR BETA and Astralwerks released two singles (or at least streaming on Myspace) to whet fans’ appetites – “Can’t Believe a Single Word” and “Burn It All Down.” Placed side-by-side on the record, these two songs will convert anyone into a fan of VHS OR BETA. “Can’t Believe a Single World,” the fourth song on the record, kicks off with drums and a sliding guitar riff before Pfunder walks in with one go on the verse before the rest of the band comes and then soars on the amazing chorus. The flow, rhythm, riffs, and vocals on the chorus of “Can’t Believe a Single World” will completely grab your shoulders and shake you all around. After this bout of colossal pop rock has worked you over comes the funk bass and electronic drum-driven “Burn It All Down.” Clearly the most dance club-centric song on the record, “Burn It All Down” gets your ass cheeks clapping while still maintaining a modicum of rock. With just these two songs, Bring on the Comets would be considered a strong album. But, what there’s more; another set of songs to push the album from a good album to stellar.
Setting the agenda with the minute-long instrumental electro dance “Euglama,” “Love in My Pocket” first illustrates VHS OR BETA and Pfunder’s powerful and catchy vocals. “Love in My Pocket” takes a spell to get moving, but when you hit the chorus, you are rocking along more than expected. “She Says,” featuring Jim James of My Morning Jacket on backing vocals, and “Take It or Leave It” are both solid numbers where album consistency is maintained even if the heights aren’t reached. For your next play in this regard, you turn to the outstanding title track. After the instrumental set up “Alpha Theta,” “Bring on the Comets” slowly builds steam underneath atmospheric guitars with an ending crescendo that leaves you with goosebumps. When VHS OR BETA played “Bring on the Comets” at their show in STL, it was clear that the song is a emotionally highpoint for the band. Following is “Fall Down Lightly” the guitars match the vocal cadence perfectly and the drums and bass offer a dancing feel. “We Could Be One” rides like a lost Depeche Mode number with better vocals, while “Time Stands Still” is somewhat generic pop rock for this band. Bring on the Comets closes on “The Stars Where We Came From” with Carl Broemel of MMJ adding pedal steel to Pfunder’s lighter vocals and epic album closer.
Now armed with a terrific new set of songs and a live show to write home about, VHS OR BETA are primed for anything. Link up with these guys now, so you don’t have to regret being so late to the game.
Thursday, November 15, 2007
Rooney - Calling the World
Rooney
Calling the World
Cherrytree Records/Geffen
Grade: A-/A
Whatever your immediate, visceral reaction to Rooney, it is difficult to deny they have absurdly catchy and well-conceived pop rock songs. Indeed crafted for super mass appeal, one must be dared not to catch themselves bouncing their head and taping foot along to Rooney; only the truly nihilist-infected amongst us can fight such a dare. Now considerably more grown-up and wise than when they released their 2002 debut record (when their median age was 19), Rooney spent considerable time creating a monumental sophomore record that would not slump but rocket; and rocket with a healthy dose of 60s pop rock matched with contemporary alt rock. Channeling the Beach Boys’ legacy from cover art, liner pictures, to a mind-altering sound, Calling the World surely takes Rooney to another level; a classic record of our time that will be difficult for the band to trump. Beginning on the title track opener, Rooney sets out with hypnotic riffs, choruses, and piano man rock flow, and such matching is continued through the next eleven songs with varying tempos and moods. The album’s first single “When Did Your Heart Go Missing?” hints at 80s new wave while hand claps and downstroking guitars lead the chorus. “I Should Have Been After You” comes off like California sunshine, “Tell Me Soon” opens with a classic guitar riff before the strong verse interaction, and “Don’t Come Around Again” breaks into an insanely appealing chorus that is sure to stick to your gut like 24 hour BBQ rips. After the average softer “Are You Afraid?” comes the rocker “Love Me or Leave Me.” With muting fuzz guitars chugging along with the verse and electronics adding to the prowess of the repeating title on the chorus, “Love Me or Leave Me” stands out as a potential single. “Paralyzed” holds via chorus, while “What For” stands only by a quick cadence of compelling lyrics in spots though slips some from the heights. Did I mention 80s new wave before? Oh yes, and if you didn’t believe me then all you have to do is check out “All In Your Head.” Save for the chorus, the song has you looking around for a John Hughes or Michael Douglas movie soundtrack. To make sure that the 70s is properly represented, Rooney includes the prog-synth “Believe in Me” where the band channels the faulty memory of Ric Ocasek, as well as a brilliantly chorus. Call the World closes on “Help Me Find My Way” – a heartfelt ode to lead singer Robert Schwartzman’s dead father. You may want to hate on Rooney, but Calling the World is so good it is nearly impossible.
Calling the World
Cherrytree Records/Geffen
Grade: A-/A
Whatever your immediate, visceral reaction to Rooney, it is difficult to deny they have absurdly catchy and well-conceived pop rock songs. Indeed crafted for super mass appeal, one must be dared not to catch themselves bouncing their head and taping foot along to Rooney; only the truly nihilist-infected amongst us can fight such a dare. Now considerably more grown-up and wise than when they released their 2002 debut record (when their median age was 19), Rooney spent considerable time creating a monumental sophomore record that would not slump but rocket; and rocket with a healthy dose of 60s pop rock matched with contemporary alt rock. Channeling the Beach Boys’ legacy from cover art, liner pictures, to a mind-altering sound, Calling the World surely takes Rooney to another level; a classic record of our time that will be difficult for the band to trump. Beginning on the title track opener, Rooney sets out with hypnotic riffs, choruses, and piano man rock flow, and such matching is continued through the next eleven songs with varying tempos and moods. The album’s first single “When Did Your Heart Go Missing?” hints at 80s new wave while hand claps and downstroking guitars lead the chorus. “I Should Have Been After You” comes off like California sunshine, “Tell Me Soon” opens with a classic guitar riff before the strong verse interaction, and “Don’t Come Around Again” breaks into an insanely appealing chorus that is sure to stick to your gut like 24 hour BBQ rips. After the average softer “Are You Afraid?” comes the rocker “Love Me or Leave Me.” With muting fuzz guitars chugging along with the verse and electronics adding to the prowess of the repeating title on the chorus, “Love Me or Leave Me” stands out as a potential single. “Paralyzed” holds via chorus, while “What For” stands only by a quick cadence of compelling lyrics in spots though slips some from the heights. Did I mention 80s new wave before? Oh yes, and if you didn’t believe me then all you have to do is check out “All In Your Head.” Save for the chorus, the song has you looking around for a John Hughes or Michael Douglas movie soundtrack. To make sure that the 70s is properly represented, Rooney includes the prog-synth “Believe in Me” where the band channels the faulty memory of Ric Ocasek, as well as a brilliantly chorus. Call the World closes on “Help Me Find My Way” – a heartfelt ode to lead singer Robert Schwartzman’s dead father. You may want to hate on Rooney, but Calling the World is so good it is nearly impossible.
Wednesday, November 14, 2007
Iron & Wine - The Shepherd's Dog
Iron & Wine
The Shepherd’s Dog
Sub Pop Records
Grade: A/A-
Although its been sometime since Iron & Wine’s last full-length, 2004’s Our Endless Numbered Days, Sam Beam and company have not been very far from our minds. Along with the 2005 Woman King EP and the 2005 collaboration with Calexico on In the Reins, Iron & Wine’s music has been heard and featured in numerous films and commercials. In no small way this is exemplified by the extensive use of Iron & Wine material in the fabulous In Good Company – with the smashingly brilliant “Trapeze Swinger.” With a family relocation and a new perspective on things, Beam and his troubadours are back with the spectacular The Shepherd’s Dog.
Miami never seemed to fit Beam and Iron & Wine – the music is indie folk with Beam’s amazingly soft and intimate vocals leading the intertwining strings and light percussion; while Miami is bright, hot, loud, crazy, and dangerous. Now Beam and family reside in a rural spread outside of Austin, TX – a place and setting that seems perfectly suited to his music and personality. With abundantly more opportunities for interactions with phenomenal like-minded musicians, even though his place is isolated, and his previous work with Calexico, the twelve-song The Shepherd’s Dog takes a turn towards more exquisite and eclectic sounds while remaining quintessential Iron & Wine. With the usual cast of characters helping Beam realize his music – his sister Sarah Beam, Patrick McKinney, and EJ Holowicki – and guest/additional musicians Rob Burger, Matt Lux, Jim Becker, John Katke, along with Calexico’s Joey Burns and Paul Niehaus, The Shepherd’s Dog is a consistently strong album than past offerings where the differences between highs and lows is ironed out, and enjoyment takes slightly more effort to attain than from simply repeating a single track.
“Pagan Angel and a Borrowed Car” begins The Shepherd’s Dog with what you might consider standard Iron & Wine stylings. Acoustic guitars matched with Beam’s soft vocals and light percussion float the way for four minutes on the opener; while you are initially introduced to the slight underlying additions of strings. With a hauntingly, quasi-psychedelic opening “White Tooth Man” follows in form, before the African/Caribbean-felt percussion of “Lovesong of the Buzzard” rides out as a shining example of excellence. Among the highlights, “Lovesong of the Buzzard” slinks along with slide guitar, organ, and a matching of voices. Beam has been quoted as saying that he wanted to take Iron & Wine’s sound to a different place and not just repeat what he did in the past. Part of that movement is towards more electric and more rock-orientated songs. Though you don’t encounter anything too divergent, “Carousel” is the first instance of coming across something a bit different. With watery instruments and quicker paced vocals, “Carousel” sounds like a lost, soft Shins’ number. The switching continues on the electronic-infused “House by the Sea,” while “Innocent Bones” may be considered a forward-looking banjo rocker by Iron & Wine standards. Channeling 80s pop rock, “Wolves (Song of the Shepherd’s Dog)” funks out with wah-wah pedal and multitude of slight instrumental inclusions. Even with such flourishes of excitement, the shining beacon of light on the album is “Resurrection Fern,” where Beam continues his past mastery of soft, light acoustic singer-songwriter craft with the help of pedal steel. A staple of Iron & Wine shows, “Resurrection Fern” is pure phenomenal music and continues to demonstrate what and where Beam is the champion of. The dubious task of following “Resurrection Fern” falls to the first single put out by the band and Sub Pop – “Boy with a Coin.” A strong song in its own right with more rock emphasis, it feels impotent following “Resurrection Fern.” Rocking piano meets you on “The Devil Never Sleeps” where vocal harmonies parallel early-mid 60s pop rock. The Shepherd’s Dog closes on the austere “Peace Beneath the City” and “Flightless Bird, American Mouth” – another example of classic Iron & Wine soft acoustic magic.
By fluttering with the edges of his sound, Beam and Iron & Wine evolve from earlier material but still maintain the core of what makes the music so special. With supporting tours in tow, check out Iron & Wine and hope for crickets from the crowd.
The Shepherd’s Dog
Sub Pop Records
Grade: A/A-
Although its been sometime since Iron & Wine’s last full-length, 2004’s Our Endless Numbered Days, Sam Beam and company have not been very far from our minds. Along with the 2005 Woman King EP and the 2005 collaboration with Calexico on In the Reins, Iron & Wine’s music has been heard and featured in numerous films and commercials. In no small way this is exemplified by the extensive use of Iron & Wine material in the fabulous In Good Company – with the smashingly brilliant “Trapeze Swinger.” With a family relocation and a new perspective on things, Beam and his troubadours are back with the spectacular The Shepherd’s Dog.
Miami never seemed to fit Beam and Iron & Wine – the music is indie folk with Beam’s amazingly soft and intimate vocals leading the intertwining strings and light percussion; while Miami is bright, hot, loud, crazy, and dangerous. Now Beam and family reside in a rural spread outside of Austin, TX – a place and setting that seems perfectly suited to his music and personality. With abundantly more opportunities for interactions with phenomenal like-minded musicians, even though his place is isolated, and his previous work with Calexico, the twelve-song The Shepherd’s Dog takes a turn towards more exquisite and eclectic sounds while remaining quintessential Iron & Wine. With the usual cast of characters helping Beam realize his music – his sister Sarah Beam, Patrick McKinney, and EJ Holowicki – and guest/additional musicians Rob Burger, Matt Lux, Jim Becker, John Katke, along with Calexico’s Joey Burns and Paul Niehaus, The Shepherd’s Dog is a consistently strong album than past offerings where the differences between highs and lows is ironed out, and enjoyment takes slightly more effort to attain than from simply repeating a single track.
“Pagan Angel and a Borrowed Car” begins The Shepherd’s Dog with what you might consider standard Iron & Wine stylings. Acoustic guitars matched with Beam’s soft vocals and light percussion float the way for four minutes on the opener; while you are initially introduced to the slight underlying additions of strings. With a hauntingly, quasi-psychedelic opening “White Tooth Man” follows in form, before the African/Caribbean-felt percussion of “Lovesong of the Buzzard” rides out as a shining example of excellence. Among the highlights, “Lovesong of the Buzzard” slinks along with slide guitar, organ, and a matching of voices. Beam has been quoted as saying that he wanted to take Iron & Wine’s sound to a different place and not just repeat what he did in the past. Part of that movement is towards more electric and more rock-orientated songs. Though you don’t encounter anything too divergent, “Carousel” is the first instance of coming across something a bit different. With watery instruments and quicker paced vocals, “Carousel” sounds like a lost, soft Shins’ number. The switching continues on the electronic-infused “House by the Sea,” while “Innocent Bones” may be considered a forward-looking banjo rocker by Iron & Wine standards. Channeling 80s pop rock, “Wolves (Song of the Shepherd’s Dog)” funks out with wah-wah pedal and multitude of slight instrumental inclusions. Even with such flourishes of excitement, the shining beacon of light on the album is “Resurrection Fern,” where Beam continues his past mastery of soft, light acoustic singer-songwriter craft with the help of pedal steel. A staple of Iron & Wine shows, “Resurrection Fern” is pure phenomenal music and continues to demonstrate what and where Beam is the champion of. The dubious task of following “Resurrection Fern” falls to the first single put out by the band and Sub Pop – “Boy with a Coin.” A strong song in its own right with more rock emphasis, it feels impotent following “Resurrection Fern.” Rocking piano meets you on “The Devil Never Sleeps” where vocal harmonies parallel early-mid 60s pop rock. The Shepherd’s Dog closes on the austere “Peace Beneath the City” and “Flightless Bird, American Mouth” – another example of classic Iron & Wine soft acoustic magic.
By fluttering with the edges of his sound, Beam and Iron & Wine evolve from earlier material but still maintain the core of what makes the music so special. With supporting tours in tow, check out Iron & Wine and hope for crickets from the crowd.
Tuesday, November 13, 2007
Various Artists - I'm Not There: Original Soundtrack
V/A
I’m Not There: Original Soundtrack
SONY Music
Grade: A-
This is the double-disc soundtrack for the new Dylan biopic I’m Not There. Directed by Todd Haynes and featuring a cast of various Dylans including Heath Ledger and Cate Blanchett, I’m Not There is supposed to be a spectacular show. This soundtrack is if nothing else overwhelming and rich in its inclusions of both songs and bands. Disc One features more electric Dylan covers, while the second disc focuses more on acoustic Dylan, but you find good moments throughout both. Sixteen covers greet you on Disc One with Eddie Vedder & the Million Dollar Bashers (the collective of Steve Shelley, Tony Garnier, John Medeski, Tom Verlaine, Lee Ranaldo, Smokey Hormel, and Nels Cline) kicking it off with “All Along the Watchtower.” Sonic Youth keeps things going with “I’m Not There” and the music continues to roll with Stephen Malkmus & MDB covering “Ballad of a Thin Man,” Cat Power absolute rocking “Stuck Inside of Mobile with the Memphis Blues Again,” Iron & Wine & Calexico on “Dark Eyes” which sounds very much like a song off of Beam’s new record, the quirky “Highway 61 Revisited” covered by Karen O & MDB, Mason Jennings on “The Lonesome Death of Hattie Carroll,” and Willie Nelson & Calexico on “Senor (Tales of Yankee Power).” While Disc One is strong, for my money Disc Two is where the magic is at; you easily get down to any one of the covers. Mira Billotte begins Disc Two (a complete eighteen songs) on the strong “As I Went Out One Morning” and other notables follow in short order with the extended Sufjan Stevens’ cover of “Ring Them Bells,” Charlotte Gainsbourg & Calexico on “Just Like a Woman,” Glen Hansard & Marketa Irglova covering “You Ain’t Goin’ Nowhere,” The Black Keys’ distorted, dirty swamp blues cover of “The Wicked Messenger,” naturally Mason Jennings’ cover of “The Times They Are Changin’,” Malkus & MDB on “Maggie’s Farm,” and Antony & the Johnsons covering “Knockin’ on Heaven’s Door” in the only way that they could - oddly. The second disc ends with Dylan and the Band rocking out the original “I’m Not Here.” Even if you never see the film I’m Not There this soundtrack is beyond worth picking up.
I’m Not There: Original Soundtrack
SONY Music
Grade: A-
This is the double-disc soundtrack for the new Dylan biopic I’m Not There. Directed by Todd Haynes and featuring a cast of various Dylans including Heath Ledger and Cate Blanchett, I’m Not There is supposed to be a spectacular show. This soundtrack is if nothing else overwhelming and rich in its inclusions of both songs and bands. Disc One features more electric Dylan covers, while the second disc focuses more on acoustic Dylan, but you find good moments throughout both. Sixteen covers greet you on Disc One with Eddie Vedder & the Million Dollar Bashers (the collective of Steve Shelley, Tony Garnier, John Medeski, Tom Verlaine, Lee Ranaldo, Smokey Hormel, and Nels Cline) kicking it off with “All Along the Watchtower.” Sonic Youth keeps things going with “I’m Not There” and the music continues to roll with Stephen Malkmus & MDB covering “Ballad of a Thin Man,” Cat Power absolute rocking “Stuck Inside of Mobile with the Memphis Blues Again,” Iron & Wine & Calexico on “Dark Eyes” which sounds very much like a song off of Beam’s new record, the quirky “Highway 61 Revisited” covered by Karen O & MDB, Mason Jennings on “The Lonesome Death of Hattie Carroll,” and Willie Nelson & Calexico on “Senor (Tales of Yankee Power).” While Disc One is strong, for my money Disc Two is where the magic is at; you easily get down to any one of the covers. Mira Billotte begins Disc Two (a complete eighteen songs) on the strong “As I Went Out One Morning” and other notables follow in short order with the extended Sufjan Stevens’ cover of “Ring Them Bells,” Charlotte Gainsbourg & Calexico on “Just Like a Woman,” Glen Hansard & Marketa Irglova covering “You Ain’t Goin’ Nowhere,” The Black Keys’ distorted, dirty swamp blues cover of “The Wicked Messenger,” naturally Mason Jennings’ cover of “The Times They Are Changin’,” Malkus & MDB on “Maggie’s Farm,” and Antony & the Johnsons covering “Knockin’ on Heaven’s Door” in the only way that they could - oddly. The second disc ends with Dylan and the Band rocking out the original “I’m Not Here.” Even if you never see the film I’m Not There this soundtrack is beyond worth picking up.
Monday, November 12, 2007
The Brunettes - Structures & Cosmetics
The Brunettes
Structures & Cosmetics
Sub Pop Records
Grade: A-
If you have never heard the Brunettes before it admittedly takes a few spins truly to get into them. But with several consecutive exposures you soon fall under the Brunettes’ fun indie pop love barge spell. This Auckland, New Zealand duo of Jonathan Bree and Heather Mansfield offer nine songs of joy on their debut full-length for Sub Pop; after getting noticed opening for the Postal Service among others. The cutesy vocal playing of Bree and Mansfield matched with the eclectic music brings to mind Belle & Sebastian crossed with the quirkiness of the Fiery Furnaces. When Mansfield plays off 50s vocal coyness, Bree switches between various tones, and the catchiness excels, the whole endeavor becomes sheer brilliance. In no better place is this seen then in the mind-blowing “Her Hairagami Set,” which moves between a 50s pop drenched version of that song during the beach scene in the Karate Kid and a darker new wave chorus. Not every song on Structures & Cosmetics is as stunning as “Her Hairagami Set,” and some fall flat (e.g., “Credit Card Mail Order”), but you bop around to opener the slow crescendoed “Brunettes Against Bubblegum Youth,” the ridiculously cute “Stereo (Mono Mono)” where mono channels are played to max effect, the quirky pop song “If You Were Alien,” and the acoustic “Small Town Crew.” Although the Brunettes are a duo at their core, they employ a gaggle of touring musicians in order to provide a fully concentrated show. Everything screams awesomeness!
Structures & Cosmetics
Sub Pop Records
Grade: A-
If you have never heard the Brunettes before it admittedly takes a few spins truly to get into them. But with several consecutive exposures you soon fall under the Brunettes’ fun indie pop love barge spell. This Auckland, New Zealand duo of Jonathan Bree and Heather Mansfield offer nine songs of joy on their debut full-length for Sub Pop; after getting noticed opening for the Postal Service among others. The cutesy vocal playing of Bree and Mansfield matched with the eclectic music brings to mind Belle & Sebastian crossed with the quirkiness of the Fiery Furnaces. When Mansfield plays off 50s vocal coyness, Bree switches between various tones, and the catchiness excels, the whole endeavor becomes sheer brilliance. In no better place is this seen then in the mind-blowing “Her Hairagami Set,” which moves between a 50s pop drenched version of that song during the beach scene in the Karate Kid and a darker new wave chorus. Not every song on Structures & Cosmetics is as stunning as “Her Hairagami Set,” and some fall flat (e.g., “Credit Card Mail Order”), but you bop around to opener the slow crescendoed “Brunettes Against Bubblegum Youth,” the ridiculously cute “Stereo (Mono Mono)” where mono channels are played to max effect, the quirky pop song “If You Were Alien,” and the acoustic “Small Town Crew.” Although the Brunettes are a duo at their core, they employ a gaggle of touring musicians in order to provide a fully concentrated show. Everything screams awesomeness!
Sunday, November 11, 2007
Kinski - Down Below It's Chaos
Kinski
Down Below It’s Chaos
Sub Pop Records
Grade: A-
Admittedly, Kinski’s previous albums of instrumental psychedelic rock epics didn’t do me good for whatever reason. It used to all sound like a jambled mess of rock laid down between acid trips with very little rhyme or reason. Whether it is me or it is the progression of Kinski, Down Below It’s Chaos is a mind-blowingly hot record. With a more pristine guitar rock focus than wall of sound – witness the uber-super “Passwords & Alcohol” that actually has vocals (and in an early grunge Sub Pop cadence) – to me Down Below It’s Chaos makes for the psychedelic version of Explosions in the Sky; though that’s probably a bad comparison for both bands. Possibly my love for this record came from blasting it on the highways in a new car with too much horsepower on the way to work. Other tracks to rock your balls sideways include “Boy, Was I Mad!,” the mellow “Plan, Steal, Drive,” and opener “Crybaby Blowout.” The slow moving, dirty closer “Silent Biker Type” reminds me of why I wasn’t originally down on Kinski. Likewise, if Kinski wasn’t your thing kicking off, but you’re down on instrumental rock, then Down Below It’s Chaos may be for you.
Down Below It’s Chaos
Sub Pop Records
Grade: A-
Admittedly, Kinski’s previous albums of instrumental psychedelic rock epics didn’t do me good for whatever reason. It used to all sound like a jambled mess of rock laid down between acid trips with very little rhyme or reason. Whether it is me or it is the progression of Kinski, Down Below It’s Chaos is a mind-blowingly hot record. With a more pristine guitar rock focus than wall of sound – witness the uber-super “Passwords & Alcohol” that actually has vocals (and in an early grunge Sub Pop cadence) – to me Down Below It’s Chaos makes for the psychedelic version of Explosions in the Sky; though that’s probably a bad comparison for both bands. Possibly my love for this record came from blasting it on the highways in a new car with too much horsepower on the way to work. Other tracks to rock your balls sideways include “Boy, Was I Mad!,” the mellow “Plan, Steal, Drive,” and opener “Crybaby Blowout.” The slow moving, dirty closer “Silent Biker Type” reminds me of why I wasn’t originally down on Kinski. Likewise, if Kinski wasn’t your thing kicking off, but you’re down on instrumental rock, then Down Below It’s Chaos may be for you.
Saturday, November 10, 2007
Fionn Regan - The End of History
Fionn Regan
The End of History
Lost Highway
Grade: A-
When you first step into The End of History by Fionn Regan you aren’t prepared to be dazzled by true feeling acoustic singer-songwriter contemporary folk pop. There are so many people out there trying to do what Regan accomplishes so magnificently on these twelve songs that indeed it is shocking. Generally, you here ‘acoustic singer-songwriter’ you need to accuse yourself to go vomit out a shoe, but here it is truly is glorious and suggests why so many aspire to be singer-songwriters. The Irish Regan parallels contemporaries like Ryan Adams, Conor Oberst, Sam Beam, and Sondre Lerche, and compares favorably to the classics like Dylan and Guthrie. Most importantly, Regan possess that magic that’s unknowable – like a presence, the right feeling, a sense of authenticity, etc. Whatever the ‘it’ is Regan makes the End of History an enjoyable romp. Among the songs that pique your interest and take you to the next level are opener “Be Good or Be Gone,” “The Underwood Typewriter,” the quirky “Put A Penny in the Slot,” the title track, “Hey Rabbit,” and closer “Bunker or Basement.” Fionn Regan is someone to keep an eye on for the next few years.
The End of History
Lost Highway
Grade: A-
When you first step into The End of History by Fionn Regan you aren’t prepared to be dazzled by true feeling acoustic singer-songwriter contemporary folk pop. There are so many people out there trying to do what Regan accomplishes so magnificently on these twelve songs that indeed it is shocking. Generally, you here ‘acoustic singer-songwriter’ you need to accuse yourself to go vomit out a shoe, but here it is truly is glorious and suggests why so many aspire to be singer-songwriters. The Irish Regan parallels contemporaries like Ryan Adams, Conor Oberst, Sam Beam, and Sondre Lerche, and compares favorably to the classics like Dylan and Guthrie. Most importantly, Regan possess that magic that’s unknowable – like a presence, the right feeling, a sense of authenticity, etc. Whatever the ‘it’ is Regan makes the End of History an enjoyable romp. Among the songs that pique your interest and take you to the next level are opener “Be Good or Be Gone,” “The Underwood Typewriter,” the quirky “Put A Penny in the Slot,” the title track, “Hey Rabbit,” and closer “Bunker or Basement.” Fionn Regan is someone to keep an eye on for the next few years.
Friday, November 9, 2007
Mono - Gone: A Collection of EPs 2000-2007
Mono
Gone: A Collection of EPs 2000-2007
Temporary Residence Ltd.
Grade: A-
As the title denotes, this record is a collection of hard to find releases by the glorious Japanese instrumental band Mono. The four-piece from Tokyo have consistently offered inspired, magical soundscapes that rival Explosions in the Sky but with their own intricate sound waves. Besides from several full-lengths, not the least of which is the mind-blowing 2004 album Walking Cloud and Deep Red Sky…, Mono have released a number of splits, EPs, and singles in their history. Gone starts on the powerful “Finlandia” an eight-minute powerhouse who on its own establishes Mono as one of the world’s best. The longer and more moody “Black Woods” follows – both “Finlandia” and “Black Woods” were originally released in 2000 on Forty-4 Records. The story length “Yearning” is from a split with Pelican co-released by TRL and Hydra Head in 2005, and is the first of Mono’s work with uber-producer Steve Albini. The next two songs “Memorie dal Futuro” and “Due foglia, una candela: il soffio del Vento” are much soft offerings for the Cameron Crowe-commissioned Memorie dal Futuro 10. There’s a high probability you’ve heard the soothing “Since I’ve Been Waiting For You,” featured on TRL’s 2005 comp Thankful. The final four songs come from TRL’s long running Travels in Constants series. Different bands have used different strategies to make their series available to a wider audience after the specialty run. Here, Mono collects “Gone,” “Black Rain,” “Rainbow,” and “Little Boy (1945-Future)” into a combination of softer and harder numbers. Not of small measure, much of Mono’s music sounds exactly like the several month-old HBO documentary on the nuclear attacks on Japan in WWII, though it isn’t the same; though one must assume some relevance given “Little Boy (1945-Future)”?
Gone: A Collection of EPs 2000-2007
Temporary Residence Ltd.
Grade: A-
As the title denotes, this record is a collection of hard to find releases by the glorious Japanese instrumental band Mono. The four-piece from Tokyo have consistently offered inspired, magical soundscapes that rival Explosions in the Sky but with their own intricate sound waves. Besides from several full-lengths, not the least of which is the mind-blowing 2004 album Walking Cloud and Deep Red Sky…, Mono have released a number of splits, EPs, and singles in their history. Gone starts on the powerful “Finlandia” an eight-minute powerhouse who on its own establishes Mono as one of the world’s best. The longer and more moody “Black Woods” follows – both “Finlandia” and “Black Woods” were originally released in 2000 on Forty-4 Records. The story length “Yearning” is from a split with Pelican co-released by TRL and Hydra Head in 2005, and is the first of Mono’s work with uber-producer Steve Albini. The next two songs “Memorie dal Futuro” and “Due foglia, una candela: il soffio del Vento” are much soft offerings for the Cameron Crowe-commissioned Memorie dal Futuro 10. There’s a high probability you’ve heard the soothing “Since I’ve Been Waiting For You,” featured on TRL’s 2005 comp Thankful. The final four songs come from TRL’s long running Travels in Constants series. Different bands have used different strategies to make their series available to a wider audience after the specialty run. Here, Mono collects “Gone,” “Black Rain,” “Rainbow,” and “Little Boy (1945-Future)” into a combination of softer and harder numbers. Not of small measure, much of Mono’s music sounds exactly like the several month-old HBO documentary on the nuclear attacks on Japan in WWII, though it isn’t the same; though one must assume some relevance given “Little Boy (1945-Future)”?
Thursday, November 8, 2007
The Dropkick Murphys - The Meanest of Times
Dropkick Murphys
The Meanest of Times
Born & Bred Records
Grade: A-
Unlike most bands out there in the world, the Dropkick Murphys have become better and more famous with constant hard work – literally defining the Boston working-class ethos they sprung from. With Meanest of Times, their seventh record and first on own label Born & Bred Records, the Dropkick Murphys take the challenge of consistency and improvement to the next level with their Irish-flavored punk. This is something to behold.
The unprecedented attention that DK has been receiving is all completely worth the fanfare, almost as if the band is one to be punched up with every single release of any sort. DK always seem to come back and knock you on your ass just when you begun to forget about how much they kick ass or begin to take them for granted. Besides from their collection of strong records on Hellcat/Epitaph, including The Gang’s All Here (1999), Blackout (2003), and The Warrior’s Code (2005), DK has been getting the most attention from their contributions to the Academy Award winning film The Departed and the Boston Red Sox. As many know, DK provided the 2004 World Series Red Sox their theme song and played at the series; as they did this year when Boston won. (Not to mention the band’s inclusion at the end of Fever Pitch). As even more people know, The Departed featured the DK’s “I’m Shipping Up to Boston.” On its own, “I’m Shipping Up to Boston” rocks balls and coupled with the film it is simply classic.
With such success, DK started up Born & Bred Records to take more control of their music – with distribution through Warner. And with their notoriety, DK was able to get a stable of well-known Irish musicians to contribute some love, including Spider Stacy of the Pogues and Ronnie Drew of The Dubliners, which were recorded over in good ol’ Dublin; the rest of the record was recorded in Massachusetts. With Al Barr’s continually gravel vocals accompanied by vocal and instrumental help from Tim Brennan, Ken Casey, Matt Kelly, James Lynch, Marc Orrell, and Scruffy Wallace, DK cover nearly all bases and themes on The Meanest of Times. And not the least of which are themes of childhood, family, and the ups and downs of growing up.
To remind people that the Dropkick Murphys are punk rock, The Meanest of Times kicks off on the all-out “Famous For Nothing” that brings up images of rowdy, drunken punk shows. A terrific way for launching an album and clearly stands out as one of the best, “Famous For Nothing” will have you hitting repeat. “God Willing” begins slower, but soon warms up to another fantastic punk anthem with the refrain of “God willing I’ll see you on the other side.” Banjo picking carries you through “The State of Massachusetts” a long live favorite of DK about child welfare taking a woman’s children away. A strong song, it does seem odd that DK selected “The State of Massachusetts” for their first single. “Tomorrow’s Industry” is four-on-the-floor ordinary punk, while “Echoes on ‘A’ Street” is a melodic rocker about the loyalty of family. A somewhat topical song, “Vices and Virtues” speaks to the various elements that destroy and kill young men – specifically, ‘whiskey, war, suicide, and guns” – all with hard-hitting punk. “Surrender” has a similar feel as “Echoes on ‘A’ Street,” and “(F)lannigan’s Ball” is the DK’s take on the traditional “Lannigan’s Ball” and the song that features Drew and Stacy. Before one of the more magical songs on The Meanest of Times, “Fairmont Hill,” comes the ordinary punk song “I’ll Begin Again” that thrives on a catchy chorus. The magic of “Fairmont Hill” is from the fact it is a take on the traditional Irish song “Spancil Hill”; one of my all time favorites, the type of song that brings chills to your spine even if it’s a ballad. The basic premise is of an American émigré in California dreaming about going back to Ireland, but here it is going back to Fairmount Hill in Boston. For folks who don’t know the original, “Fairmont Hill” might not resonate, but for those that do it will be in good taste. DK get things back on the punk track with “Loyal to No One” about a stubborn old bastard dying alone; like many an Irish old man? “Shattered” is balls out rock, while “Rude Awakenings” slowly meanders with bombastic rock without much a crescendo. DK take on another Irish traditional “Johnny, I Hardly Knew Ya,” before closing out The Meanest of Times with “Never Forget.” “Never Forget” against ring the family bell along side a group vocals and unforgettable rock. That’s fifteen songs of traditional-flavored Irish punk all under one hood – spectacular!
Simply, The Meanest of Times is an album you shouldn’t pass up on. With each record, The Dropkick Murphys set a new standard and pushes you even further to the wish of living in Boston.
The Meanest of Times
Born & Bred Records
Grade: A-
Unlike most bands out there in the world, the Dropkick Murphys have become better and more famous with constant hard work – literally defining the Boston working-class ethos they sprung from. With Meanest of Times, their seventh record and first on own label Born & Bred Records, the Dropkick Murphys take the challenge of consistency and improvement to the next level with their Irish-flavored punk. This is something to behold.
The unprecedented attention that DK has been receiving is all completely worth the fanfare, almost as if the band is one to be punched up with every single release of any sort. DK always seem to come back and knock you on your ass just when you begun to forget about how much they kick ass or begin to take them for granted. Besides from their collection of strong records on Hellcat/Epitaph, including The Gang’s All Here (1999), Blackout (2003), and The Warrior’s Code (2005), DK has been getting the most attention from their contributions to the Academy Award winning film The Departed and the Boston Red Sox. As many know, DK provided the 2004 World Series Red Sox their theme song and played at the series; as they did this year when Boston won. (Not to mention the band’s inclusion at the end of Fever Pitch). As even more people know, The Departed featured the DK’s “I’m Shipping Up to Boston.” On its own, “I’m Shipping Up to Boston” rocks balls and coupled with the film it is simply classic.
With such success, DK started up Born & Bred Records to take more control of their music – with distribution through Warner. And with their notoriety, DK was able to get a stable of well-known Irish musicians to contribute some love, including Spider Stacy of the Pogues and Ronnie Drew of The Dubliners, which were recorded over in good ol’ Dublin; the rest of the record was recorded in Massachusetts. With Al Barr’s continually gravel vocals accompanied by vocal and instrumental help from Tim Brennan, Ken Casey, Matt Kelly, James Lynch, Marc Orrell, and Scruffy Wallace, DK cover nearly all bases and themes on The Meanest of Times. And not the least of which are themes of childhood, family, and the ups and downs of growing up.
To remind people that the Dropkick Murphys are punk rock, The Meanest of Times kicks off on the all-out “Famous For Nothing” that brings up images of rowdy, drunken punk shows. A terrific way for launching an album and clearly stands out as one of the best, “Famous For Nothing” will have you hitting repeat. “God Willing” begins slower, but soon warms up to another fantastic punk anthem with the refrain of “God willing I’ll see you on the other side.” Banjo picking carries you through “The State of Massachusetts” a long live favorite of DK about child welfare taking a woman’s children away. A strong song, it does seem odd that DK selected “The State of Massachusetts” for their first single. “Tomorrow’s Industry” is four-on-the-floor ordinary punk, while “Echoes on ‘A’ Street” is a melodic rocker about the loyalty of family. A somewhat topical song, “Vices and Virtues” speaks to the various elements that destroy and kill young men – specifically, ‘whiskey, war, suicide, and guns” – all with hard-hitting punk. “Surrender” has a similar feel as “Echoes on ‘A’ Street,” and “(F)lannigan’s Ball” is the DK’s take on the traditional “Lannigan’s Ball” and the song that features Drew and Stacy. Before one of the more magical songs on The Meanest of Times, “Fairmont Hill,” comes the ordinary punk song “I’ll Begin Again” that thrives on a catchy chorus. The magic of “Fairmont Hill” is from the fact it is a take on the traditional Irish song “Spancil Hill”; one of my all time favorites, the type of song that brings chills to your spine even if it’s a ballad. The basic premise is of an American émigré in California dreaming about going back to Ireland, but here it is going back to Fairmount Hill in Boston. For folks who don’t know the original, “Fairmont Hill” might not resonate, but for those that do it will be in good taste. DK get things back on the punk track with “Loyal to No One” about a stubborn old bastard dying alone; like many an Irish old man? “Shattered” is balls out rock, while “Rude Awakenings” slowly meanders with bombastic rock without much a crescendo. DK take on another Irish traditional “Johnny, I Hardly Knew Ya,” before closing out The Meanest of Times with “Never Forget.” “Never Forget” against ring the family bell along side a group vocals and unforgettable rock. That’s fifteen songs of traditional-flavored Irish punk all under one hood – spectacular!
Simply, The Meanest of Times is an album you shouldn’t pass up on. With each record, The Dropkick Murphys set a new standard and pushes you even further to the wish of living in Boston.
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