Ben Davis
Aided & Abetted
Lovitt Records
Grade: A-
The ever present enigma of Ben Davis knocks out his second solo album from the international headquarters of indie rock - Chapel Hill, NC. You all may be more familiar with his work with such bands as Milemarker, Sleepytime Trio and Bats & Mice. The short of a really long story is that I used to see Davis in the gym at UNC like everyday for several years before realizing who this non-buffed Anglo with some tats and dark clothes was. For this latest project, Davis recruited almost everyone who he has worked with in the past including the Lovitt Records' family and members of such bands as Denali, Engine Down, Milemarker and Rah Bras to name a few. On the cd-rom part of the cd he has a list of all the musicians and producers who so diligently lent their time and brilliance to this record. The record was recorded off-and-on for several months last year in Chapel Hill. Davis held the mic in all the songs while others aided him at times. Also he plays numerous instruments including guitar, bass, piano and rhodes in the production. The record kicks off on "Departure Warning" with some light piano before Davis comes in on vocals with full instrumentation. Instantly you hear how sweet and refreshing Davis' vocals are - reflecting as a modern day Beatles' sound with an Elliott Smith edge. Musically, the track is thickly layered with guitars and piano. The reason I go into such detail is that "Departure Warning" sets up the rest of the tracks quite succinctly. The next track "Time A Bind" is led on vocals by Aimee Argote (of Des Ark) and contains a hypnotic and consistent guitar riff. This is followed by probably the hottest song on the record "Old and Played" - which Davis uses as the background music for the cd-rom. "Old and Played" is a slow piano driven number featuring Davis' heavenly vocals. As on the first track, Davis has several vocal tracks laid out - mostly minutely off - to add thickness. "Blue-Hearted Sleeve," "Double Daring" and "Green Forestry Ranger" fall out in a similar manner. Tracks that come with a more rock edge include "Underdawg," "In Either Words" and "A Forced Escape Canoe." The latter is a hot poppy number complete with hand clapping and good times. On songs such as "Underdawg," Davis utilizes light distortion on vocals to give a sort of DC indie feel. While Aided & Abetted is not one's first choice for a driving album when you are tired, it is perfect for coming off a black metal high of Dimmu Borgir. As such, this is nice record to have playing when trying to get work done. Seemingly squeezing everything out from himself and others, Davis truly outdoes himself on these twelve tracks. If you are down on Lovitt Records bands and - not entirely mutually exclusively - the bands Davis and his cohorts have been working in then you will love this.
Monday, December 29, 2008
Wednesday, December 24, 2008
Azure Ray - Hold On Love
Azure Ray
Hold On Love
Saddle Creek Records
Grade: A-
The latest time we heard from this two-piece from Georgia, on the November EP, the songs were slow acoustic-driven affairs with singing that was barely above a whisper. Ultra-cool stuff, but not as cool as the twelve tracks on their latest Hold On Love. Seemingly Azure Ray has found the genius of electronics - not the Miami-beach techno crap, but well-thought out additions to give the songs girth and breadth. Quite possibly, their tour with Moby helped this transformation or the consistent work with their other group Now It's Overhead, but regardless it's awesome. Moreover, it is not that they are suddenly the Faint. The sweet and sultry voices of Orenda Fink and Maria Taylor meet the listener smack-dab on the first track "The Devil's Feet." A slow building piano accompanied with vocals and building electronics sets up the rest of the album nicely. The next track "New Resolution" is more of an electro-dancey track that includes, at least, pseudo use of strings on the chorus. On other tracks, Azure Ray sound as if they are picking up the mantel of the late-Elliott Smith (e.g., "We Are Mice" and "Nothing Like a Song"). "Look to Me" sounds like an Irish folk-ballad and "Across the Ocean" and "Sea of Doubts" are inspiring piano numbers. For fun upbeatness check out "If You Fall," a classic number that makes you think of Fall at some college in an 80s movie (if that makes sense). Azure Ray close out the album with the exceptional "Hold On Love." Except for the odd "Dragonfly," all the tracks are very good and there is little drop off in composition. If Azure Ray's past material got them on tours with artists like Moby, I can't imagine how far Hold On Love will get them.
Hold On Love
Saddle Creek Records
Grade: A-
The latest time we heard from this two-piece from Georgia, on the November EP, the songs were slow acoustic-driven affairs with singing that was barely above a whisper. Ultra-cool stuff, but not as cool as the twelve tracks on their latest Hold On Love. Seemingly Azure Ray has found the genius of electronics - not the Miami-beach techno crap, but well-thought out additions to give the songs girth and breadth. Quite possibly, their tour with Moby helped this transformation or the consistent work with their other group Now It's Overhead, but regardless it's awesome. Moreover, it is not that they are suddenly the Faint. The sweet and sultry voices of Orenda Fink and Maria Taylor meet the listener smack-dab on the first track "The Devil's Feet." A slow building piano accompanied with vocals and building electronics sets up the rest of the album nicely. The next track "New Resolution" is more of an electro-dancey track that includes, at least, pseudo use of strings on the chorus. On other tracks, Azure Ray sound as if they are picking up the mantel of the late-Elliott Smith (e.g., "We Are Mice" and "Nothing Like a Song"). "Look to Me" sounds like an Irish folk-ballad and "Across the Ocean" and "Sea of Doubts" are inspiring piano numbers. For fun upbeatness check out "If You Fall," a classic number that makes you think of Fall at some college in an 80s movie (if that makes sense). Azure Ray close out the album with the exceptional "Hold On Love." Except for the odd "Dragonfly," all the tracks are very good and there is little drop off in composition. If Azure Ray's past material got them on tours with artists like Moby, I can't imagine how far Hold On Love will get them.
Tuesday, December 23, 2008
The Lawrence Arms - The Greatest Story Ever Told
The Lawrence Arms
The Greatest Story Ever Told
Fat Wreck Chords
Grade: A
As the latest and probably best salvo in the Lawrence Arms' brief but extremely productive time, The Greatest Story Ever Told can do no wrong. Well, that might not be the case, but it still rocks. Twelve tracks of blistering punk harmonies (plus an intro and outro) puts the Lawrence Arms in line for love from all sides of the aisle.
Formed in 1999 in Chicago as a spawn of the hotastic The Broadways, the three-piece of Brendan Kelly, Chris McCaughan and Neil Hennessy formed essentially to have fun, drink and play punk rock. However, they maintained and still maintain themes of leftist comments on political, social and moral matters that strongly characterized the essence of the Broadways. They quickly busted out two splits and two full-lengths for the ever-glorious Asian Man Records. This included the amazing splits with Shady View Terrace (s/t) and the Chinkees (Present Day Memories). The split with the Chinkees contains one of the best Lawrence Arms' songs amongst their releases in "Quincentuple Your Money." While worth the price of admission, their two full-lengths A Guided Tour of Chicago and Ghost Stories lacked the ingenuity and memorability that characterize their present material. Shortly there after they ended their recording affair with Asian Man - an affair that included releases by the members' previous bands including Slapstick and the Broadways - and signed on with the consistently improving Fat Wreck Chords. In 2002, LA released the breathtaking Apathy and Exhaustion as their first on Fat. This record brought the power of kick-ass back to the three-piece and reinvigorated their creativity. Now this, the latest and best offering: The Greatest Story Ever Told.
Instead of just flat-out copying what Brendan said about the album in our interview with him last month (www.exoduster.com/lawrencearmsinterview.html) and pretending its what I say, below is an excerpt of his comments on The Greatest Story:
How does the latest record "The Greatest Story Ever Told" differ with previous releases (e.g., in content)? Firstly, we're total dorks, and as such we've made a kind of a "concept album" this time. It just sounds like a regular record, but we snuck in a lot of nerdy, conceptual shit. For example, it's metaphorically consistent throughout, in that it uses the same poetic devices and metaphors in every single song. It also repeats musical themes in every song. Lyrically, the songs refer to one another; the intro and the outro are parts of a song in the middle, the last line is the same on both sides of the vinyl, the last line is also predicted in the middle of the record. All this and it's also a chapter by chapter allegory for "the Master and Margarita" by Mikail Bulgakov, with my songs functioning as the Moscow chapters and Chris's songs as the Jerusalem chapters. I told you, very nerdy.
Did you get that? Quickly, during the first track "The Raw and Searing Flesh" you realize that like a good piece of literature or philosophy or basically anything, its going to take some serious work to unpack all the pieces to the album. Besides from the rich and thick-textured lyrics that are ever-present in the songs by Brendan and Chris, they include footnotes to lyrics in the liner notes. I don't know if I have ever seen that before. It's like the book The Infinite Jest by David Foster Wallace where amongst the 1100-page work of fiction, he includes a hundred pages of footnotes. The good thing, though, is they are not trying to be the Dennis Miller of music (read: obscure and esoteric facts). Mostly the footnotes are very helpful. For instance, in one of the funniest notes on the song "On With the Show," they discuss the term ‘Juggalo.' For your enjoyment: "Juggalo - A fan of the (ahem) band, Insane Clown Posse often refers to his/her (almost always him) self as a ‘Juggalo.' They paint their faces, spray soda on each other, and respect the music of ICP and consequently get very little respect themselves." Other times the footnotes pertain to information about the band - like that Chris plays on stage left. The footnotes, then, do provide a tremendous amount of context for the lyrics.
Musically, The Greatest Story travels in familiar circles of previous Lawrence Arms records. Chris and Brendan switch off lead singing roles with each other while Neil provides strong backup. As noted above, the album launches on "The Raw and Searing Flesh" with a slow and deceptively mellow procession - and it builds until a bridge brings us back to blistering punk. The next track "On With the Show" finds the Lawrence Arms firing up the tempo and Brendan grabbing the lead and throttling the lyrics. "Drunk Mouth Kitchen Smile" starts with familiar multi-layered guitars and sufficient bass and drum breakdowns on its way to being the best song on the record. Lawrence Arms follow it up with the catchy "Alert the Audience" complete with dual hushed vocals over muting guitars. Much of the album contains the sort of back-and-forth between the layered and weaving guitar song and the balls-to-the-walls punk numbers. While this at times can drive a divide in the consistency of an album, if you know anything of the Lawrence Arms or their lineage this is the essence of their existence. Other tracks that will force jaw-dropping include "Chapter 13: The Hero Appears," "The Ramblin' Boys of Pleasure," "A Wishful Puppeteer" and the finale "The Disaster March." Consistent with previous releases the finale serves as one of the album's best and a great match of the last song. It is interesting the Lawrence Arms seem to sequence their albums like they may play the songs live.
Now you have the latest information on one of the best independent album's of the year. Will you use this information wisely? Clearly, if you have been entranced by the Lawrence Arms or any of their bloodline in the past, then The Greatest Story Ever Told will renew your faith in this Chicago threesome. The Lawrence Arms are continuing on their quest of drinking and playing shows this winter with such bands as Against Me!, Hot Water Music and These Arms are Snakes. Join them in their debauchery.
The Greatest Story Ever Told
Fat Wreck Chords
Grade: A
As the latest and probably best salvo in the Lawrence Arms' brief but extremely productive time, The Greatest Story Ever Told can do no wrong. Well, that might not be the case, but it still rocks. Twelve tracks of blistering punk harmonies (plus an intro and outro) puts the Lawrence Arms in line for love from all sides of the aisle.
Formed in 1999 in Chicago as a spawn of the hotastic The Broadways, the three-piece of Brendan Kelly, Chris McCaughan and Neil Hennessy formed essentially to have fun, drink and play punk rock. However, they maintained and still maintain themes of leftist comments on political, social and moral matters that strongly characterized the essence of the Broadways. They quickly busted out two splits and two full-lengths for the ever-glorious Asian Man Records. This included the amazing splits with Shady View Terrace (s/t) and the Chinkees (Present Day Memories). The split with the Chinkees contains one of the best Lawrence Arms' songs amongst their releases in "Quincentuple Your Money." While worth the price of admission, their two full-lengths A Guided Tour of Chicago and Ghost Stories lacked the ingenuity and memorability that characterize their present material. Shortly there after they ended their recording affair with Asian Man - an affair that included releases by the members' previous bands including Slapstick and the Broadways - and signed on with the consistently improving Fat Wreck Chords. In 2002, LA released the breathtaking Apathy and Exhaustion as their first on Fat. This record brought the power of kick-ass back to the three-piece and reinvigorated their creativity. Now this, the latest and best offering: The Greatest Story Ever Told.
Instead of just flat-out copying what Brendan said about the album in our interview with him last month (www.exoduster.com/lawrencearmsinterview.html) and pretending its what I say, below is an excerpt of his comments on The Greatest Story:
How does the latest record "The Greatest Story Ever Told" differ with previous releases (e.g., in content)? Firstly, we're total dorks, and as such we've made a kind of a "concept album" this time. It just sounds like a regular record, but we snuck in a lot of nerdy, conceptual shit. For example, it's metaphorically consistent throughout, in that it uses the same poetic devices and metaphors in every single song. It also repeats musical themes in every song. Lyrically, the songs refer to one another; the intro and the outro are parts of a song in the middle, the last line is the same on both sides of the vinyl, the last line is also predicted in the middle of the record. All this and it's also a chapter by chapter allegory for "the Master and Margarita" by Mikail Bulgakov, with my songs functioning as the Moscow chapters and Chris's songs as the Jerusalem chapters. I told you, very nerdy.
Did you get that? Quickly, during the first track "The Raw and Searing Flesh" you realize that like a good piece of literature or philosophy or basically anything, its going to take some serious work to unpack all the pieces to the album. Besides from the rich and thick-textured lyrics that are ever-present in the songs by Brendan and Chris, they include footnotes to lyrics in the liner notes. I don't know if I have ever seen that before. It's like the book The Infinite Jest by David Foster Wallace where amongst the 1100-page work of fiction, he includes a hundred pages of footnotes. The good thing, though, is they are not trying to be the Dennis Miller of music (read: obscure and esoteric facts). Mostly the footnotes are very helpful. For instance, in one of the funniest notes on the song "On With the Show," they discuss the term ‘Juggalo.' For your enjoyment: "Juggalo - A fan of the (ahem) band, Insane Clown Posse often refers to his/her (almost always him) self as a ‘Juggalo.' They paint their faces, spray soda on each other, and respect the music of ICP and consequently get very little respect themselves." Other times the footnotes pertain to information about the band - like that Chris plays on stage left. The footnotes, then, do provide a tremendous amount of context for the lyrics.
Musically, The Greatest Story travels in familiar circles of previous Lawrence Arms records. Chris and Brendan switch off lead singing roles with each other while Neil provides strong backup. As noted above, the album launches on "The Raw and Searing Flesh" with a slow and deceptively mellow procession - and it builds until a bridge brings us back to blistering punk. The next track "On With the Show" finds the Lawrence Arms firing up the tempo and Brendan grabbing the lead and throttling the lyrics. "Drunk Mouth Kitchen Smile" starts with familiar multi-layered guitars and sufficient bass and drum breakdowns on its way to being the best song on the record. Lawrence Arms follow it up with the catchy "Alert the Audience" complete with dual hushed vocals over muting guitars. Much of the album contains the sort of back-and-forth between the layered and weaving guitar song and the balls-to-the-walls punk numbers. While this at times can drive a divide in the consistency of an album, if you know anything of the Lawrence Arms or their lineage this is the essence of their existence. Other tracks that will force jaw-dropping include "Chapter 13: The Hero Appears," "The Ramblin' Boys of Pleasure," "A Wishful Puppeteer" and the finale "The Disaster March." Consistent with previous releases the finale serves as one of the album's best and a great match of the last song. It is interesting the Lawrence Arms seem to sequence their albums like they may play the songs live.
Now you have the latest information on one of the best independent album's of the year. Will you use this information wisely? Clearly, if you have been entranced by the Lawrence Arms or any of their bloodline in the past, then The Greatest Story Ever Told will renew your faith in this Chicago threesome. The Lawrence Arms are continuing on their quest of drinking and playing shows this winter with such bands as Against Me!, Hot Water Music and These Arms are Snakes. Join them in their debauchery.
Monday, December 22, 2008
Snapcase - Bright Flashes
Snapcase
Bright Flashes
Victory Records
Grade: A-
The boys from Buffalo have been on the cutting edge of hardcore essentially since their first release on Victory in 1991. Since that time, Snapcase have offered consistently unique and challenging song compositions through the course of their recordings. Their 1997 release Progression Through Unlearning absolutely rocked the hard music world and made people recognize that Snapcase were something special. The follow up to Progression, Designs for Automotion (2000) didn't live up to the former, though last year's End Transmission restored faith in the faithful. End Transmission was more of a conceptual album with a strong reliance on electronics and haunting compositions - but it still rocked hard. This is where Bright Flashes comes in. Flashes is a composite record with five new songs, three remixes of songs off End Transmission and four covers. The five new songs are from the initial End Transmission sessions. Amazingly, Snapcase, a band that has excelled in brevity over the years, came to the studio with nineteen new songs. They decided to only keep thirteen and then release the other six at some point in the future - though one is still missing. Well the future is now and the songs don't disappoint. While you can tell the five come from End Transmission, they also have an element of a Progression sound - particularly "Dress Rehearsal" and "Skeptic." The three remixes are of "Believe/Revolt," "Ten A.M." and "Exile Etiquette," spearheaded by guitarist-extraodinaire Frank Vicario. Vicario's mix of "Ten A.M." is heavily electronic with tons of distortion and made to accentuate Daryl Tabeski's vocals. Bill Snow did the arrangement of "Believe/Revolt" and Ocelot Mthrfckrs (of the Rise) programmed and arranged "Exile Etiquette." Snapcase offers up their version of Helmet's "Blacktop," Devo's "Freedom of Choice" and "Gates of Steel," and Jane's Addiction's "Mountain Song." "Blacktop" is true to form with possibly harder guitars but not as much precision (but who can get more precise than Helmet). "Mountain Song" comes close to original, but I think with Snapcase's ingenuity and talent they could have added something really special if they messed around with the parameters. "Freedom of Choice" and "Gates of Steel" are hot numbers and show how elementary catchy Devo was. Besides from the novelty aspect of the record, the added tracks from the End Transmission sessions are stunners - especially "New Academy." Now if there were only unreleased tracks from the Progression sessions we would be in business.
Bright Flashes
Victory Records
Grade: A-
The boys from Buffalo have been on the cutting edge of hardcore essentially since their first release on Victory in 1991. Since that time, Snapcase have offered consistently unique and challenging song compositions through the course of their recordings. Their 1997 release Progression Through Unlearning absolutely rocked the hard music world and made people recognize that Snapcase were something special. The follow up to Progression, Designs for Automotion (2000) didn't live up to the former, though last year's End Transmission restored faith in the faithful. End Transmission was more of a conceptual album with a strong reliance on electronics and haunting compositions - but it still rocked hard. This is where Bright Flashes comes in. Flashes is a composite record with five new songs, three remixes of songs off End Transmission and four covers. The five new songs are from the initial End Transmission sessions. Amazingly, Snapcase, a band that has excelled in brevity over the years, came to the studio with nineteen new songs. They decided to only keep thirteen and then release the other six at some point in the future - though one is still missing. Well the future is now and the songs don't disappoint. While you can tell the five come from End Transmission, they also have an element of a Progression sound - particularly "Dress Rehearsal" and "Skeptic." The three remixes are of "Believe/Revolt," "Ten A.M." and "Exile Etiquette," spearheaded by guitarist-extraodinaire Frank Vicario. Vicario's mix of "Ten A.M." is heavily electronic with tons of distortion and made to accentuate Daryl Tabeski's vocals. Bill Snow did the arrangement of "Believe/Revolt" and Ocelot Mthrfckrs (of the Rise) programmed and arranged "Exile Etiquette." Snapcase offers up their version of Helmet's "Blacktop," Devo's "Freedom of Choice" and "Gates of Steel," and Jane's Addiction's "Mountain Song." "Blacktop" is true to form with possibly harder guitars but not as much precision (but who can get more precise than Helmet). "Mountain Song" comes close to original, but I think with Snapcase's ingenuity and talent they could have added something really special if they messed around with the parameters. "Freedom of Choice" and "Gates of Steel" are hot numbers and show how elementary catchy Devo was. Besides from the novelty aspect of the record, the added tracks from the End Transmission sessions are stunners - especially "New Academy." Now if there were only unreleased tracks from the Progression sessions we would be in business.
Friday, December 19, 2008
The Shins - Chutes Too Narrow
The Shins
Chutes Too Narrow
Sub Pop Records
Grade: A-
When Clay Aiken shares lyrical brilliance like, "Hey butterfly, open up your weary eyes," and "Everybody knows shadows fall across the sun sometimes/Shine, you're gonna shine," then you really start to get a stronger appreciations for the poetry of The Shins. Coming out of Albuquerque, NM, though spread out a bit now, the Shins started out as a side project of singer James Mercer and cronies. After other fuller-time bands disbanded, the Shins finally cemented in 1999. The first Shins album, Oh Inverted World, was incredible. Indie pop of a beautiful and melodic subtlety. So I personally wanted their latest, Chutes Too Narrow, to avoid sophomore tendencies to grow and evolve and instead be more of the same. Unfortunately, they do decide to go for a more mature sound. Everyone I ask says the second album is even better than the first (n=2), but I personally still love Oh Inverted World more. The first two tracks on CTN are among the biggest departures for the Shins - more aggressive, more uptempo - I like the album better when I skip these over. The next tracks - "So Says I," "Young Pilgrims," and "Saint Simon" - are among my favorites in that they are much more in the aesthetic of the first album. Among these, "Young Pilgrims" comes closest to beauty of the Best Shins Song Ever - "New Slang." Other songs stray more from this sound - "Fighting in a Sack" is cool and has a great harmonica section. "Gone for Good" has a country vibe that works well with the Shins' sound. Anyway, even though the first tracks are not very lovable, the overall album is still one of the better ones in my collection.
Chutes Too Narrow
Sub Pop Records
Grade: A-
When Clay Aiken shares lyrical brilliance like, "Hey butterfly, open up your weary eyes," and "Everybody knows shadows fall across the sun sometimes/Shine, you're gonna shine," then you really start to get a stronger appreciations for the poetry of The Shins. Coming out of Albuquerque, NM, though spread out a bit now, the Shins started out as a side project of singer James Mercer and cronies. After other fuller-time bands disbanded, the Shins finally cemented in 1999. The first Shins album, Oh Inverted World, was incredible. Indie pop of a beautiful and melodic subtlety. So I personally wanted their latest, Chutes Too Narrow, to avoid sophomore tendencies to grow and evolve and instead be more of the same. Unfortunately, they do decide to go for a more mature sound. Everyone I ask says the second album is even better than the first (n=2), but I personally still love Oh Inverted World more. The first two tracks on CTN are among the biggest departures for the Shins - more aggressive, more uptempo - I like the album better when I skip these over. The next tracks - "So Says I," "Young Pilgrims," and "Saint Simon" - are among my favorites in that they are much more in the aesthetic of the first album. Among these, "Young Pilgrims" comes closest to beauty of the Best Shins Song Ever - "New Slang." Other songs stray more from this sound - "Fighting in a Sack" is cool and has a great harmonica section. "Gone for Good" has a country vibe that works well with the Shins' sound. Anyway, even though the first tracks are not very lovable, the overall album is still one of the better ones in my collection.
Thursday, December 18, 2008
Try Me Bicycle - Voicings
Try Me Bicycle
Voicings
Self-released
Grade: A-
The breathy acoustic opener “Two Stern Feet” and follower “Lessons on Love and Junk” doesn’t do much to make Try Me Bicycle’s Voicings set well in your ear and mind. Yet, when this Phoenix outfit offer the Simon & Garfunkel-style “Of Things Sworn,” your ears take notice and you begin to get chills. With some shoegazer elements pressed into lush and graceful vocals and well-present rhythms, Voicings takes off for me when comparisons to uber-crooner Sondre Lerche are present. You hear a mix of both Lerche and S&G on “Big Small,” but the big take occurs on lounge piano “April Sky,” “The Hard Line,” and “R Brown.” When you sound like classic crooner Lerche who is channeling classic lounge sounds, you got something terrific going for you. A smattering of more uptempo numbers should allow Try Me Bicycle to crossover to a wider audience.
Voicings
Self-released
Grade: A-
The breathy acoustic opener “Two Stern Feet” and follower “Lessons on Love and Junk” doesn’t do much to make Try Me Bicycle’s Voicings set well in your ear and mind. Yet, when this Phoenix outfit offer the Simon & Garfunkel-style “Of Things Sworn,” your ears take notice and you begin to get chills. With some shoegazer elements pressed into lush and graceful vocals and well-present rhythms, Voicings takes off for me when comparisons to uber-crooner Sondre Lerche are present. You hear a mix of both Lerche and S&G on “Big Small,” but the big take occurs on lounge piano “April Sky,” “The Hard Line,” and “R Brown.” When you sound like classic crooner Lerche who is channeling classic lounge sounds, you got something terrific going for you. A smattering of more uptempo numbers should allow Try Me Bicycle to crossover to a wider audience.
Tuesday, December 16, 2008
Chad VanGaalen - Soft Airplane
Chad VanGaalen
Soft Airplane
Sub Pop Records
Grade: A-
Thankfully, Canadian Chad VanGaalen has scaled back his Ryan Adams-style productivity in order to focus more on a single effort – his latest LP Soft Airplane. VanGaalen’s previous Sub Pop releases – Infiniheart (2005) and Skelliconnection (2006) – had strong moments, but both were very eclectic and spotty. Although VanGaalen has been doing a lot of producing and orchestrating of other acts, the thirteen songs on Soft Airplane all seem well-planned, smart, and consistent. There are probably fewer songs here that will knock you on your ass, but overall the listening experience is considerably better. Check out opener “Willow Tree,” the great “Inside the Molecules,” the Sonic Youth guitars of “Bare Feet on Wet Griptape,” “City of Electric Light,” and “Poisonous Heads” for your listening enjoyment.
Soft Airplane
Sub Pop Records
Grade: A-
Thankfully, Canadian Chad VanGaalen has scaled back his Ryan Adams-style productivity in order to focus more on a single effort – his latest LP Soft Airplane. VanGaalen’s previous Sub Pop releases – Infiniheart (2005) and Skelliconnection (2006) – had strong moments, but both were very eclectic and spotty. Although VanGaalen has been doing a lot of producing and orchestrating of other acts, the thirteen songs on Soft Airplane all seem well-planned, smart, and consistent. There are probably fewer songs here that will knock you on your ass, but overall the listening experience is considerably better. Check out opener “Willow Tree,” the great “Inside the Molecules,” the Sonic Youth guitars of “Bare Feet on Wet Griptape,” “City of Electric Light,” and “Poisonous Heads” for your listening enjoyment.
Monday, December 15, 2008
Foals - Antidotes
Foals
Antidotes
Sub Pop Records/Transgressive Records
Grade: A-
Admittedly, this review of the Foals’ Antidotes is coming significantly late after the record’s original release – in early April 2008. One of the reasons is that I have been rocking to Antidotes in my car for months, and it always seemed awful to me to replace the disc with something possibly not as sexy. Whatever the reason, Foals are our artist of the month with their grand fourteen-song debut Antidotes.
Coming out of Oxford, England, the Foals are a five-piece that create dancey indie-punk songs – something that crosses the cool of Brooklyn indie rock with the European desire for something electronic and sexy to dance to. They’re like a clean, rock-centered Bloc Party, and better for it. After fine crafting songs for a debut record, Foals crossed the ocean to work with TV on the Radio guitarist David Sitek in Brooklyn. The band and Sitek also brought in during the recordings the afro beat band Antibalas for horns and Celebration’s Katrina Ford to offer vocals. The result is a tightly crafted, catchy-as-all-hell, dance rock record; the type of record that reinvigors your interest in the spectacle of music.
Antidotes starts slow on “The French Open” with Wolf Parade-esque awkwardness with a smattering of horns and bass before the guitars tighten to high picking notes – a common practice – and the song starts moving to sexy levels. Reportedly, the song is a kind of ode to tennis player Andy Roddick. The follower “Cassius” is really the first place where the dance and excitement builds up with dance bass line and keyboards. Other tracks that are as sexy dance love fests include “Electric Bloom,” “Balloons,” “Tron,” and the sweet ass bonus track “Hummer.” It is not all dance club for these boys though. Ohter songs on Antidotes are similarly appealing but don’t necessarily make you want to dance in a club. Among the best of these are “Red Socks Pugie,” the bombastic “Big Big Love (Fig. 2),” and bonus track “Mathletics.”
Perhaps this late review will give the record a second wind and get more folks to check out the terrific Foals. Whatever your entry point, you should give a few good minutes to discovering Foals.
Antidotes
Sub Pop Records/Transgressive Records
Grade: A-
Admittedly, this review of the Foals’ Antidotes is coming significantly late after the record’s original release – in early April 2008. One of the reasons is that I have been rocking to Antidotes in my car for months, and it always seemed awful to me to replace the disc with something possibly not as sexy. Whatever the reason, Foals are our artist of the month with their grand fourteen-song debut Antidotes.
Coming out of Oxford, England, the Foals are a five-piece that create dancey indie-punk songs – something that crosses the cool of Brooklyn indie rock with the European desire for something electronic and sexy to dance to. They’re like a clean, rock-centered Bloc Party, and better for it. After fine crafting songs for a debut record, Foals crossed the ocean to work with TV on the Radio guitarist David Sitek in Brooklyn. The band and Sitek also brought in during the recordings the afro beat band Antibalas for horns and Celebration’s Katrina Ford to offer vocals. The result is a tightly crafted, catchy-as-all-hell, dance rock record; the type of record that reinvigors your interest in the spectacle of music.
Antidotes starts slow on “The French Open” with Wolf Parade-esque awkwardness with a smattering of horns and bass before the guitars tighten to high picking notes – a common practice – and the song starts moving to sexy levels. Reportedly, the song is a kind of ode to tennis player Andy Roddick. The follower “Cassius” is really the first place where the dance and excitement builds up with dance bass line and keyboards. Other tracks that are as sexy dance love fests include “Electric Bloom,” “Balloons,” “Tron,” and the sweet ass bonus track “Hummer.” It is not all dance club for these boys though. Ohter songs on Antidotes are similarly appealing but don’t necessarily make you want to dance in a club. Among the best of these are “Red Socks Pugie,” the bombastic “Big Big Love (Fig. 2),” and bonus track “Mathletics.”
Perhaps this late review will give the record a second wind and get more folks to check out the terrific Foals. Whatever your entry point, you should give a few good minutes to discovering Foals.
Friday, December 12, 2008
Roy - Big City Sin and Small Town Redemption
Roy
Big City Sin and Small Town Redemption
Fueled By Ramen
Grade: A-
After releasing their hot EP Tacomatose on Initial over the summer, Roy come back to rock you on their first full-length and first record for Fueled By Ramen. Roy comes out of the Great Northwest and is a side project of sorts for members of Botch, Harkonen and These Arms are Snakes. It seems though that this project has begun to spread to center stage for the members of Roy. While the fourteen tracks are not as tight as their latest EP, Big City still finds the four-piece rocking out to swirling and jangly song structures set in an indie rock framework. Touring with like-minded the Weakerthans certainly helped Roy focus on such constructions (see especially "Calimucho"). Lyrically, Roy always offers up interesting and compelling stories and words to describe events - sometimes serious, sometimes comical. When we interviewed Roy's Brian Cook, he commented on the band's lyrics as: "Our lyrics are basically just us talking shit. We're all hardcore kids, and that's what most hardcore lyrics are, right? All the people we normally wouldn't call out become easy targets when we get behind the microphone. To quote David Bazaan: "I could write it in a song, but never say it to your face." Lyrics are pretty important to me. Good lyrics can save pretty bad bands, and bad lyrics can ruin good ones. The vocal lines are usually the first thing I write in a song, so the lyrics are definitely a focal point early on. The first line alone can dictate the mood of an entire song. Aside from that, I really don't know."Musically, we still find Roy lifting off influences from notables such as the Pixies (see, "Better Head North"). The guitar work along with matching vocals is what burns the good songs into your memory. The tracks that excel is this respect include "Something That's Real," "Don't Overdub My Heart," "Wipe That Brow," "They Cut the Cord" and "Calimucho." The promise that Roy demonstrated on their three previous Eps comes to full fruition on their first full-length. When they are not spending their precious time with their bands, look for Roy taking over your world at a venue near you.
Big City Sin and Small Town Redemption
Fueled By Ramen
Grade: A-
After releasing their hot EP Tacomatose on Initial over the summer, Roy come back to rock you on their first full-length and first record for Fueled By Ramen. Roy comes out of the Great Northwest and is a side project of sorts for members of Botch, Harkonen and These Arms are Snakes. It seems though that this project has begun to spread to center stage for the members of Roy. While the fourteen tracks are not as tight as their latest EP, Big City still finds the four-piece rocking out to swirling and jangly song structures set in an indie rock framework. Touring with like-minded the Weakerthans certainly helped Roy focus on such constructions (see especially "Calimucho"). Lyrically, Roy always offers up interesting and compelling stories and words to describe events - sometimes serious, sometimes comical. When we interviewed Roy's Brian Cook, he commented on the band's lyrics as: "Our lyrics are basically just us talking shit. We're all hardcore kids, and that's what most hardcore lyrics are, right? All the people we normally wouldn't call out become easy targets when we get behind the microphone. To quote David Bazaan: "I could write it in a song, but never say it to your face." Lyrics are pretty important to me. Good lyrics can save pretty bad bands, and bad lyrics can ruin good ones. The vocal lines are usually the first thing I write in a song, so the lyrics are definitely a focal point early on. The first line alone can dictate the mood of an entire song. Aside from that, I really don't know."Musically, we still find Roy lifting off influences from notables such as the Pixies (see, "Better Head North"). The guitar work along with matching vocals is what burns the good songs into your memory. The tracks that excel is this respect include "Something That's Real," "Don't Overdub My Heart," "Wipe That Brow," "They Cut the Cord" and "Calimucho." The promise that Roy demonstrated on their three previous Eps comes to full fruition on their first full-length. When they are not spending their precious time with their bands, look for Roy taking over your world at a venue near you.
Thursday, December 11, 2008
Azure Ray - Hold on Love
Azure Ray
Hold On Love
Saddle Creek Records
Grade: A-
The latest time we heard from this two-piece from Georgia, on the November EP, the songs were slow acoustic-driven affairs with singing that was barely above a whisper. Ultra-cool stuff, but not as cool as the twelve tracks on their latest Hold On Love. Seemingly Azure Ray has found the genius of electronics - not the Miami-beach techno crap, but well-thought out additions to give the songs girth and breadth. Quite possibly, their tour with Moby helped this transformation or the consistent work with their other group Now It's Overhead, but regardless it's awesome. Moreover, it is not that they are suddenly the Faint. The sweet and sultry voices of Orenda Fink and Maria Taylor meet the listener smack-dab on the first track "The Devil's Feet." A slow building piano accompanied with vocals and building electronics sets up the rest of the album nicely. The next track "New Resolution" is more of an electro-dancey track that includes, at least, pseudo use of strings on the chorus. On other tracks, Azure Ray sound as if they are picking up the mantel of the late-Elliott Smith (e.g., "We Are Mice" and "Nothing Like a Song"). "Look to Me" sounds like an Irish folk-ballad and "Across the Ocean" and "Sea of Doubts" are inspiring piano numbers. For fun upbeatness check out "If You Fall," a classic number that makes you think of Fall at some college in an 80s movie (if that makes sense). Azure Ray close out the album with the exceptional "Hold On Love." Except for the odd "Dragonfly," all the tracks are very good and there is little drop off in composition. If Azure Ray's past material got them on tours with artists like Moby, I can't imagine how far Hold On Love will get them.
Hold On Love
Saddle Creek Records
Grade: A-
The latest time we heard from this two-piece from Georgia, on the November EP, the songs were slow acoustic-driven affairs with singing that was barely above a whisper. Ultra-cool stuff, but not as cool as the twelve tracks on their latest Hold On Love. Seemingly Azure Ray has found the genius of electronics - not the Miami-beach techno crap, but well-thought out additions to give the songs girth and breadth. Quite possibly, their tour with Moby helped this transformation or the consistent work with their other group Now It's Overhead, but regardless it's awesome. Moreover, it is not that they are suddenly the Faint. The sweet and sultry voices of Orenda Fink and Maria Taylor meet the listener smack-dab on the first track "The Devil's Feet." A slow building piano accompanied with vocals and building electronics sets up the rest of the album nicely. The next track "New Resolution" is more of an electro-dancey track that includes, at least, pseudo use of strings on the chorus. On other tracks, Azure Ray sound as if they are picking up the mantel of the late-Elliott Smith (e.g., "We Are Mice" and "Nothing Like a Song"). "Look to Me" sounds like an Irish folk-ballad and "Across the Ocean" and "Sea of Doubts" are inspiring piano numbers. For fun upbeatness check out "If You Fall," a classic number that makes you think of Fall at some college in an 80s movie (if that makes sense). Azure Ray close out the album with the exceptional "Hold On Love." Except for the odd "Dragonfly," all the tracks are very good and there is little drop off in composition. If Azure Ray's past material got them on tours with artists like Moby, I can't imagine how far Hold On Love will get them.
Wednesday, December 10, 2008
Coheed and Cambria - In Keeping Secrets of Silent Earth: 3
Coheed and Cambria
In Keeping Secrets of Silent Earth: 3
Equalvision Records
Grade: A
A phone call, some steps, a voice then a crash of orchestration starts off Coheed and Cambria's second album and second in their trilogy. In Keeping Secrets of Silent Earth: 3 blows away almost anything you have heard recently (save the Mars Volta) and make you redefine what great music really is. For the first three weeks I had this album I couldn't stop listening to it. I listened to it at least several times a day. A day couldn't go by without listening to Coheed. I had to find all the minute parts, how they swerved and intertwined and how to unpack all of the packing became some type of mission.
Coheed formed several years back in the stretch of land between Albany and NYC in order to rock your socks off by bridging worlds of rock to create a unique product. They were signed after providing a bunch of demos to EVR and EVR finally deciding to take a shot with this foursome of prog-rock, emo, metal amalgamation. Coheed and Cambria are the lead characters in a sci-fi epic devised by lead singer/guitarist Claudio Sanchez and realized by Sanchez, drummer Joshua Eppard, bassist Michael Todd and guitarist/vocals Travis Stever. Their first album The Second Stage Turbine Blade (Equalvision Records, 2002) was Coheed's proper introduction to the music world - though the second part of their epic. That album received extreme praise and placed them on the map as being one of the coolest bands in the indie world. Yet In Keeping was almost never made. While touring in support of Second Stage, Coheed had a bit of blow up and were on the verge of breaking up. After band therapy and the realization they are awesome, they came together to tour some more and knock out even better tracks for In Keeping.
Ideally, Coheed have said they would like to see the story put into a comic form - though that may not be hot enough from my point of view. A better step would be to an animated story with the music as the soundtrack. If done right, there is little doubt that Oscar will come knocking - well maybe not, but he should.
Like Second Turbine, In Keeping is an epic affair with Sanchez's hypnotic and unique singing coupled with spectacular dual-guitar work, sweet harmonies and some pounding for good measure. Though In Keeping has cleaner and tighter production that only enhances your listening enjoyment. Revealing part of the motivation, Sanchez is quoted about the album stating "this sequel is based around a premonition that a character in the story has in a dream, that slowly turns into a nightmare." Besides from the thick orchestration, probably the first thing that hits you is Sanchez's vocals - comparisons abound of Geddy Lee from Rush joining an emo-core band. But Geddy was never this cool. More importantly, Sanchez has some real talent and ability that is sorely missed in the indie world. Imagine taking all these fools singing in lame-ass pop and mainstream rock groups (I'm taking about the ones that have real vocal talent), injecting them with cool and putting them in a band with passion, intensity and a driving force. The result is Coheed and Cambria. The second thing that strikes you is the phenomenal guitar work. The lead guitar is almost always performing some type of soloing or joining the other in heavy riff-rock. When Coheed matches lead guitar timing and harmonies with vocals it is down-right heavenly (e.g., the end of "Three Evils (Embodied in Love and Shadow)").
As is noted above, In Keeping starts off with a phone ringing, a woman answering, and orchestration (which sounds like some of the music from the video game Max Payne) on "The Ring in Return." Towards the end of the "The Ring in Return" there is a rocket taking off or flying past and male voice saying "Well, Apolo, where should I begin." Then there is the issuance of music as the second song "In Keeping Secrets of Silent Earth:3" pumps through the speakers. The track starts out slow with guitar meandering on a riff before drums and feedback come in. About forty seconds in, the band throws down with a powerful explosion and some tidbits to sample of what the next eight minutes is about to bring you. See, that's the thing with Coheed. All of the songs are great, epic affairs. But you have to listen to the WHOLE song, not a couple seconds here and there, to full appreciate what is going on. So if I play this for you, I can't just say check this small part out; I'll lend you the disk and then you are hooked and will buy ten for your family. As one of the best tracks on the record, the title track grabs you buy the throat with the vocal and musical intensity of the chorus: "Man your own jackhammer/Man your battle stations/We'll have you dead pretty soon/Sincerely written from my brother's blood machine/Man your battle station/We'll have you home pretty soon." And when you think that track has ended after six minutes, it circles back and their many-member chorus of "oh-ah" (dubbed Two-Tone Tony's Pirate Glee Club) and some more throw down on the chorus. Right, so that is the first real track - fucking amazing!
This is followed by "Cuts Marked in the March of Men" and Sanchez telling the story in fairly straight forward manner. While jammed packed with riffs, it is not nearly as thick as "In Keeping..." - though it breaks about half-way through with some more harmony-laced music. "Three Evils (Embodied in Love and Shadow)" meanders through some upbeat music (though not lyrically), before getting to the final section that absolutely blows your mind away. Coheed builds with codas to get you there before finally pushing through to pure magic with vocals and the lead soloing guitar moving at the same metric while Sanchez sings "Dear my friends/In the time we spent forever after beyond this when you will our nightmare ever end?/ Pull the trigger and the nightmare stops" with the last line sung repeatedly. "The Crowing" is another song with thick riff-rock elements before some crazy guitar segments take over near the end. Yet again, though, Coheed come through with some serious punk harmonies at the very end of the six minute event. Coheed take a more alt-punk approach to "Blood Red Summer" with a hypnotically simple note guitar line. This is one of the few that everyone loves from word go - with its less abrasive and more standard approach to song structure. More importantly, it ends with "wha-oh-ohs" thrown around and the vocal pitch nearing girl scout troop levels. "The Camper Velourium I: Faint of Heart" starts out with guitars a la Santana with "who-cockoo-cho." At heart, this is another harmony driven song that includes guitar soloing in parts that would not be at of place with a more prog version of the big 70s guitar bands (e.g., Led Zeppelin). "The Camper Velourium II: Backend of Forever" and "The Camper Velourium III: Al The Killer" are not as hotastic but have their own elements of wonder - most notably the throw down at the end of II. This mini-trilogy sets up the poppiest track on the album "A Favor House Atlantic." This is some seriously good shit. Sanchez's vocals are at a higher pitch and the song hums along with a standard composition before you get smacked with the uber-catchy bridge and chorus: "Good eye sniper/I'll shoot you run//The words you scribbled on the walls/The loss of friends you didn't have/I'll call you when the time is right/Are you in or are out/For them all to know the end of us all." How this song wouldn't be able to melt any aversion to Coheed is beyond me. Coheed follow this up with the last track of the main section "The Light & The Glass." "The Light..." is very slow with acoustic guitars picking away for sometime before they come in with a powerful electric chorus of "Ignoring the words of your obnoxious little brother/Kill or be killed spilled the words from your mother/I'll lay awake for a while/I'll leave the light on a while." As with the previous tracks - and since the "The Light..." is almost ten minutes long - there is a plethora of sections with the song rounding out on crazy soloing and a choir (this one called Uncle Birmy's Dirty Foot Choir) of "Pray for us all," before some more Max Payne music. After a bunch of empty tracks, comes an untitled track that plays out like the rest of the tracks in ten mintues with heavy riffs, exquisite solos and rich composition. In addition, like the other songs, the bridge and chorus is powerful, catchy and impressive with Sanchez singing "When I fall asleep/Your face is all that I see...."
Coheed and Cambria is the best thing to happen to music in a long time. In Keeping Secrets of Silent Earth: 3 extends the epic mapped out on Second Turbine while crushing it to pieces. The amount of work that has gone into to this seventy-minute offering is baffling and in no doubt well worth the effort. It is just a matter of time, maybe minutes, before Coheed become absolutely huge and changes rock as we know it. Coheed as been playing shows this fall with Thrice, Thursday and Straylight Run. But just imagine a tour with Coheed and the Mars Volta - it would be fucking sunshine and butterflies abounding!
In Keeping Secrets of Silent Earth: 3
Equalvision Records
Grade: A
A phone call, some steps, a voice then a crash of orchestration starts off Coheed and Cambria's second album and second in their trilogy. In Keeping Secrets of Silent Earth: 3 blows away almost anything you have heard recently (save the Mars Volta) and make you redefine what great music really is. For the first three weeks I had this album I couldn't stop listening to it. I listened to it at least several times a day. A day couldn't go by without listening to Coheed. I had to find all the minute parts, how they swerved and intertwined and how to unpack all of the packing became some type of mission.
Coheed formed several years back in the stretch of land between Albany and NYC in order to rock your socks off by bridging worlds of rock to create a unique product. They were signed after providing a bunch of demos to EVR and EVR finally deciding to take a shot with this foursome of prog-rock, emo, metal amalgamation. Coheed and Cambria are the lead characters in a sci-fi epic devised by lead singer/guitarist Claudio Sanchez and realized by Sanchez, drummer Joshua Eppard, bassist Michael Todd and guitarist/vocals Travis Stever. Their first album The Second Stage Turbine Blade (Equalvision Records, 2002) was Coheed's proper introduction to the music world - though the second part of their epic. That album received extreme praise and placed them on the map as being one of the coolest bands in the indie world. Yet In Keeping was almost never made. While touring in support of Second Stage, Coheed had a bit of blow up and were on the verge of breaking up. After band therapy and the realization they are awesome, they came together to tour some more and knock out even better tracks for In Keeping.
Ideally, Coheed have said they would like to see the story put into a comic form - though that may not be hot enough from my point of view. A better step would be to an animated story with the music as the soundtrack. If done right, there is little doubt that Oscar will come knocking - well maybe not, but he should.
Like Second Turbine, In Keeping is an epic affair with Sanchez's hypnotic and unique singing coupled with spectacular dual-guitar work, sweet harmonies and some pounding for good measure. Though In Keeping has cleaner and tighter production that only enhances your listening enjoyment. Revealing part of the motivation, Sanchez is quoted about the album stating "this sequel is based around a premonition that a character in the story has in a dream, that slowly turns into a nightmare." Besides from the thick orchestration, probably the first thing that hits you is Sanchez's vocals - comparisons abound of Geddy Lee from Rush joining an emo-core band. But Geddy was never this cool. More importantly, Sanchez has some real talent and ability that is sorely missed in the indie world. Imagine taking all these fools singing in lame-ass pop and mainstream rock groups (I'm taking about the ones that have real vocal talent), injecting them with cool and putting them in a band with passion, intensity and a driving force. The result is Coheed and Cambria. The second thing that strikes you is the phenomenal guitar work. The lead guitar is almost always performing some type of soloing or joining the other in heavy riff-rock. When Coheed matches lead guitar timing and harmonies with vocals it is down-right heavenly (e.g., the end of "Three Evils (Embodied in Love and Shadow)").
As is noted above, In Keeping starts off with a phone ringing, a woman answering, and orchestration (which sounds like some of the music from the video game Max Payne) on "The Ring in Return." Towards the end of the "The Ring in Return" there is a rocket taking off or flying past and male voice saying "Well, Apolo, where should I begin." Then there is the issuance of music as the second song "In Keeping Secrets of Silent Earth:3" pumps through the speakers. The track starts out slow with guitar meandering on a riff before drums and feedback come in. About forty seconds in, the band throws down with a powerful explosion and some tidbits to sample of what the next eight minutes is about to bring you. See, that's the thing with Coheed. All of the songs are great, epic affairs. But you have to listen to the WHOLE song, not a couple seconds here and there, to full appreciate what is going on. So if I play this for you, I can't just say check this small part out; I'll lend you the disk and then you are hooked and will buy ten for your family. As one of the best tracks on the record, the title track grabs you buy the throat with the vocal and musical intensity of the chorus: "Man your own jackhammer/Man your battle stations/We'll have you dead pretty soon/Sincerely written from my brother's blood machine/Man your battle station/We'll have you home pretty soon." And when you think that track has ended after six minutes, it circles back and their many-member chorus of "oh-ah" (dubbed Two-Tone Tony's Pirate Glee Club) and some more throw down on the chorus. Right, so that is the first real track - fucking amazing!
This is followed by "Cuts Marked in the March of Men" and Sanchez telling the story in fairly straight forward manner. While jammed packed with riffs, it is not nearly as thick as "In Keeping..." - though it breaks about half-way through with some more harmony-laced music. "Three Evils (Embodied in Love and Shadow)" meanders through some upbeat music (though not lyrically), before getting to the final section that absolutely blows your mind away. Coheed builds with codas to get you there before finally pushing through to pure magic with vocals and the lead soloing guitar moving at the same metric while Sanchez sings "Dear my friends/In the time we spent forever after beyond this when you will our nightmare ever end?/ Pull the trigger and the nightmare stops" with the last line sung repeatedly. "The Crowing" is another song with thick riff-rock elements before some crazy guitar segments take over near the end. Yet again, though, Coheed come through with some serious punk harmonies at the very end of the six minute event. Coheed take a more alt-punk approach to "Blood Red Summer" with a hypnotically simple note guitar line. This is one of the few that everyone loves from word go - with its less abrasive and more standard approach to song structure. More importantly, it ends with "wha-oh-ohs" thrown around and the vocal pitch nearing girl scout troop levels. "The Camper Velourium I: Faint of Heart" starts out with guitars a la Santana with "who-cockoo-cho." At heart, this is another harmony driven song that includes guitar soloing in parts that would not be at of place with a more prog version of the big 70s guitar bands (e.g., Led Zeppelin). "The Camper Velourium II: Backend of Forever" and "The Camper Velourium III: Al The Killer" are not as hotastic but have their own elements of wonder - most notably the throw down at the end of II. This mini-trilogy sets up the poppiest track on the album "A Favor House Atlantic." This is some seriously good shit. Sanchez's vocals are at a higher pitch and the song hums along with a standard composition before you get smacked with the uber-catchy bridge and chorus: "Good eye sniper/I'll shoot you run//The words you scribbled on the walls/The loss of friends you didn't have/I'll call you when the time is right/Are you in or are out/For them all to know the end of us all." How this song wouldn't be able to melt any aversion to Coheed is beyond me. Coheed follow this up with the last track of the main section "The Light & The Glass." "The Light..." is very slow with acoustic guitars picking away for sometime before they come in with a powerful electric chorus of "Ignoring the words of your obnoxious little brother/Kill or be killed spilled the words from your mother/I'll lay awake for a while/I'll leave the light on a while." As with the previous tracks - and since the "The Light..." is almost ten minutes long - there is a plethora of sections with the song rounding out on crazy soloing and a choir (this one called Uncle Birmy's Dirty Foot Choir) of "Pray for us all," before some more Max Payne music. After a bunch of empty tracks, comes an untitled track that plays out like the rest of the tracks in ten mintues with heavy riffs, exquisite solos and rich composition. In addition, like the other songs, the bridge and chorus is powerful, catchy and impressive with Sanchez singing "When I fall asleep/Your face is all that I see...."
Coheed and Cambria is the best thing to happen to music in a long time. In Keeping Secrets of Silent Earth: 3 extends the epic mapped out on Second Turbine while crushing it to pieces. The amount of work that has gone into to this seventy-minute offering is baffling and in no doubt well worth the effort. It is just a matter of time, maybe minutes, before Coheed become absolutely huge and changes rock as we know it. Coheed as been playing shows this fall with Thrice, Thursday and Straylight Run. But just imagine a tour with Coheed and the Mars Volta - it would be fucking sunshine and butterflies abounding!
Tuesday, December 9, 2008
The Strokes - Room on Fire
The Strokes
Room On Fire
RCA Records
Grade: A-
Naturally, as this is one of the most anticipated releases of late 2003, critics, fans and everyone else waited with baited breath for the sophomore releases from the Strokes. Room On Fire has already been named by some as Is This It - Part 2 for its sound likeness to their debut. Although in many respects that designation is true, it is not such a bad thing to have given that Is This It absolutely ruled and helped usher in the rebirth of stripped-down garage rock. On the other hand Room On Fire comes across with tighter production value but without any drop off in sheer rawness from this NYC fivesome. An infinitesimal amount of ink and space has been devoted to exposing members of the Strokes' oddities - particularly lead singer Julian Casablancas (see, e.g., recent issues of Rolling Stone). Yet, what makes them unique outside of the rock, makes them unique when they are rocking. It is finally nice to see the Strokes in the news about something rock-orientated then just being in the social tabloids.
Room On Fire kicks off on "What Ever Happened?" with familiar guitar buildup to Casablancas' distinctive crooning. More importantly, the straight strumming and simple-yet- catchy guitar solos sets the foundation for the rest of the record and brings you back to the world of the Strokes. This is followed up "Reptilia" with bass serving as the intro to Casablancas' lazy vocals exploding on the chorus. The chorus to "Automatic Stop"'s guitars sound like that classic music piece about fall and leaves or some kind of shit like that. Once you hear it you know what I'm talking about. The next track "12:51" is the first single off the record and with good reason - it is reassuring the best song on the record is being targeted as the first single by the label. The song hardly has an off moment and the use of minimal electronics to accent the main riff and match the vocals - along with gently hand clapping - is genius. These first four songs certainly are the best on the record. Though not to be outdone, special attention should also be given to "Meet Me in the Bathroom," "The End Has No End," "You Talk Way Too Much" and the finale "I Can't Win." Clearly, the Strokes prove with this sophomore breakthrough that they are not a one trick pony or a here-today-gone-tomorrow sensations. The true test for the Strokes is to survive the next year's media frenzy and knock out another sensational record a couple of years from now.
Room On Fire
RCA Records
Grade: A-
Naturally, as this is one of the most anticipated releases of late 2003, critics, fans and everyone else waited with baited breath for the sophomore releases from the Strokes. Room On Fire has already been named by some as Is This It - Part 2 for its sound likeness to their debut. Although in many respects that designation is true, it is not such a bad thing to have given that Is This It absolutely ruled and helped usher in the rebirth of stripped-down garage rock. On the other hand Room On Fire comes across with tighter production value but without any drop off in sheer rawness from this NYC fivesome. An infinitesimal amount of ink and space has been devoted to exposing members of the Strokes' oddities - particularly lead singer Julian Casablancas (see, e.g., recent issues of Rolling Stone). Yet, what makes them unique outside of the rock, makes them unique when they are rocking. It is finally nice to see the Strokes in the news about something rock-orientated then just being in the social tabloids.
Room On Fire kicks off on "What Ever Happened?" with familiar guitar buildup to Casablancas' distinctive crooning. More importantly, the straight strumming and simple-yet- catchy guitar solos sets the foundation for the rest of the record and brings you back to the world of the Strokes. This is followed up "Reptilia" with bass serving as the intro to Casablancas' lazy vocals exploding on the chorus. The chorus to "Automatic Stop"'s guitars sound like that classic music piece about fall and leaves or some kind of shit like that. Once you hear it you know what I'm talking about. The next track "12:51" is the first single off the record and with good reason - it is reassuring the best song on the record is being targeted as the first single by the label. The song hardly has an off moment and the use of minimal electronics to accent the main riff and match the vocals - along with gently hand clapping - is genius. These first four songs certainly are the best on the record. Though not to be outdone, special attention should also be given to "Meet Me in the Bathroom," "The End Has No End," "You Talk Way Too Much" and the finale "I Can't Win." Clearly, the Strokes prove with this sophomore breakthrough that they are not a one trick pony or a here-today-gone-tomorrow sensations. The true test for the Strokes is to survive the next year's media frenzy and knock out another sensational record a couple of years from now.
Monday, December 8, 2008
Howard Hello - Don't Drink His Blood
Howard Hello
Don't Drink His Blood
Temporary Residence Ltd.
Grade: A-
As their second record as Howard Hello, Kenseth Thibideau (Pinback, Tarentel, Rumah Sakit) and Marty Anderson (Dilute) wind through nine tracks of acoustic guitar and electronic pop bliss. Often I'm not taken by chill instrumentals if they rack up too many esoteric crap points. But the music Thibideau and Anderson produce is heavenly and they top it off with either whimsy angelic vocals or raspy old woman singing from the likes of Chelsea Rose Owen, Patricia Kavanuagh, Simeon Flick and Anderson himself. Either way and anyway the songs drill a hole in your head and make a serious lasting impression on your brain. As the harmonies dance and present a waterfall appearance on the "Intro," you start to realize that you are really liking what is going on here. The next track "Giving Up" stands out as the best on the record with mesmerizing guitars and electronics coupled with the heavenly vocals. It's a wise decision to start off a mainly instrumental album in this splendid way. By "Parasite," we find Lightning Seeds' harmonizing by backups and Anderson's straight up spoken-vocals and then the clincher of raspy and crackled vocals. It is also worth checking out "Way to Go" for listening pleasure. This is one of the biggest surprise records of the winter.
Don't Drink His Blood
Temporary Residence Ltd.
Grade: A-
As their second record as Howard Hello, Kenseth Thibideau (Pinback, Tarentel, Rumah Sakit) and Marty Anderson (Dilute) wind through nine tracks of acoustic guitar and electronic pop bliss. Often I'm not taken by chill instrumentals if they rack up too many esoteric crap points. But the music Thibideau and Anderson produce is heavenly and they top it off with either whimsy angelic vocals or raspy old woman singing from the likes of Chelsea Rose Owen, Patricia Kavanuagh, Simeon Flick and Anderson himself. Either way and anyway the songs drill a hole in your head and make a serious lasting impression on your brain. As the harmonies dance and present a waterfall appearance on the "Intro," you start to realize that you are really liking what is going on here. The next track "Giving Up" stands out as the best on the record with mesmerizing guitars and electronics coupled with the heavenly vocals. It's a wise decision to start off a mainly instrumental album in this splendid way. By "Parasite," we find Lightning Seeds' harmonizing by backups and Anderson's straight up spoken-vocals and then the clincher of raspy and crackled vocals. It is also worth checking out "Way to Go" for listening pleasure. This is one of the biggest surprise records of the winter.
Friday, December 5, 2008
Explosions in the Sky - The Earth Is Not A Cold Dead Place
Explosions in the Sky
The Earth Is Not A Cold Dead Place
Temporary Residence Ltd.
Grade: A-
Two years after their breakthrough record Those Who Tell the Truth Shall Die..., Explosions in the Sky offer their second for TRL in an amazing and dazzling display of instrumentation. Lauded over by many a critic, including those at Rolling Stone, the Texas four-piece of Explosions in the Sky have further honed and hammered their craft to present us with stunning five tracks (in forty-five minutes) on The Earth.... As is often the case, or at least should be, with instrumental pieces you have to submerge yourself in the song to really get a feel for it and appreciate what is going on. You can't say ‘just listen to this small part;' you have to take in the whole. This is probably the only instrumental record that I was able to drive to and not get sleepy. Inexplicably, everything became clear and concentration came easily and convincingly with Explosions in the background as I drove the desolate I-85. You know how they say that listening to classical music helps the analytical side of your brain in short-term problems? Well, the five tracks here smack Mozart's ass in that respect. As a friend is fond of saying: this is perfect music for coming off your Cradle of Filth high.
The Earth Is Not A Cold Dead Place
Temporary Residence Ltd.
Grade: A-
Two years after their breakthrough record Those Who Tell the Truth Shall Die..., Explosions in the Sky offer their second for TRL in an amazing and dazzling display of instrumentation. Lauded over by many a critic, including those at Rolling Stone, the Texas four-piece of Explosions in the Sky have further honed and hammered their craft to present us with stunning five tracks (in forty-five minutes) on The Earth.... As is often the case, or at least should be, with instrumental pieces you have to submerge yourself in the song to really get a feel for it and appreciate what is going on. You can't say ‘just listen to this small part;' you have to take in the whole. This is probably the only instrumental record that I was able to drive to and not get sleepy. Inexplicably, everything became clear and concentration came easily and convincingly with Explosions in the background as I drove the desolate I-85. You know how they say that listening to classical music helps the analytical side of your brain in short-term problems? Well, the five tracks here smack Mozart's ass in that respect. As a friend is fond of saying: this is perfect music for coming off your Cradle of Filth high.
Thursday, December 4, 2008
Challenger - Give People What They Want in Lethal Doses
Challenger
Give People What They Want in Lethal Doses
Jade Tree Records
Grade: A-
As the opening salvo from Challenger, Give People What They Want in Lethal Doses rocks the bow from word go and knocks a little punk into the serious indie rock tradition. It is not as though you don't have the essence of Challenger in your record collection right now and it is not as if the members of Challenger are rookies to this game. Read on to learn about your new favorite band.
The core of Challenger is the backbone of Milemarker - everyone's favorite Chapel Hill to angry Chicago band - in Dave Laney on vocals and guitar and Al Burian on vocals, guitar and bass. Filling out the band is drummer Timothy Remis. As much as Challenger may down play it, the influence of Milemarker is significant, though it is partially a function of the unique vocal stylings of both Laney and Burian. Though the influence of Milemarker is there in the sheer song construction and, at times, complexity, Challenger posture more towards the post-punk stylings of Husker Du and a harmonious Sonic Youth. And that's their goal: to offer more headstrong, aggressive punk but not in a boring three-chord manner. Hence, there is no reliance on electronics of any sort with Challenger - though you still would have trouble distinguishing Challenger songs from the first half of songs like "Frigid Forms Sell You Warmth." Virtually every song contains at minimum one section that sticks to your memory like some virus, forcing you to instantly recognize it if you heard it randomly at some other point in time. This is even more impressive given that the songs vary little in length and average about four minutes - there have been tons of records where this fact can create marginal differentiation between tracks.
The ten track record kicks off in thrashing fashion on "Input the Output" with the line "that seven year itch, became a life long twitch" yelled off over winding guitars and continues on for the next three minutes. The guitars march between muting matching the verse and then opening up for the yelled choruses and pre-choruses. As such, this is a tremendous start to the record, but actually contains probably the least amount of catchiness of the ten songs. "Death Museum" starts more straight forward, but comes around after the first chorus with memorable guitars playing a very simple power chord to riff segment. Consistent with previous positive and happy sunshine lyrics, Laney utters "when we awake from our deep dark sleep/will we crawl, crawl from our self-made mausoleum" as the signature line from "Death Museum." This is followed by the hot "Blackouts" and it sub-chorus oddity of "Can I kick it?/Can I kick it?...." This is the first track were you see a glimpse of the catchiness that Challenger possesses. "Unemployment" comes at you swirling around several times before exploding past a bridge to a super breakdown reminiscent of some Milemarker constructions. "This Is Only A Test" is the second song with an ultra-fetching segment, where a combo of singers lead up to a chorus of "Hey, it's alright if you want to spend the night/It's alright." "Brand Loyalty" is one of the more abrasive tracks in the first couple of minutes before a section of various people repeating the line "You're great, but it's never going to workout between us/After tonight we'll never be together again." "Sweet Vaccine" is similar in structure and sound to "Brand Loyalty." "The Angry Engineer" finds Challenger back to the same aggressive feeling as the opener "Input the Output." Burian offers up the main vocals on the start for the mid-tempo and more DC- sounding "Crushed City." The guitar work - with doubling guitar riffs - gives it a feel like the Dismemberment Plan with balls or a more esoteric Piebald. The finale "The Trojan House" is a slower mover that exudes more indie rock than aggressive punk of earlier tracks. But as the five-minute opus that it is, it's definitely one of the standout tracks on the record and a great way to the end the record.
The major concern with Challenger is whether or not they continue on or simply serve as a fleeting side project of the powerhouse Milemarker. What happens is mostly a function of things that can't be known at this time, but it is certainly difficult in various ways to maintain a successful side project when the main band is drawing you back - just see Conor Oberst with Desa. The morale of this story is get this record immediately when it comes out and make sure to check them out live, since you may not have the opportunity for much longer.
Give People What They Want in Lethal Doses
Jade Tree Records
Grade: A-
As the opening salvo from Challenger, Give People What They Want in Lethal Doses rocks the bow from word go and knocks a little punk into the serious indie rock tradition. It is not as though you don't have the essence of Challenger in your record collection right now and it is not as if the members of Challenger are rookies to this game. Read on to learn about your new favorite band.
The core of Challenger is the backbone of Milemarker - everyone's favorite Chapel Hill to angry Chicago band - in Dave Laney on vocals and guitar and Al Burian on vocals, guitar and bass. Filling out the band is drummer Timothy Remis. As much as Challenger may down play it, the influence of Milemarker is significant, though it is partially a function of the unique vocal stylings of both Laney and Burian. Though the influence of Milemarker is there in the sheer song construction and, at times, complexity, Challenger posture more towards the post-punk stylings of Husker Du and a harmonious Sonic Youth. And that's their goal: to offer more headstrong, aggressive punk but not in a boring three-chord manner. Hence, there is no reliance on electronics of any sort with Challenger - though you still would have trouble distinguishing Challenger songs from the first half of songs like "Frigid Forms Sell You Warmth." Virtually every song contains at minimum one section that sticks to your memory like some virus, forcing you to instantly recognize it if you heard it randomly at some other point in time. This is even more impressive given that the songs vary little in length and average about four minutes - there have been tons of records where this fact can create marginal differentiation between tracks.
The ten track record kicks off in thrashing fashion on "Input the Output" with the line "that seven year itch, became a life long twitch" yelled off over winding guitars and continues on for the next three minutes. The guitars march between muting matching the verse and then opening up for the yelled choruses and pre-choruses. As such, this is a tremendous start to the record, but actually contains probably the least amount of catchiness of the ten songs. "Death Museum" starts more straight forward, but comes around after the first chorus with memorable guitars playing a very simple power chord to riff segment. Consistent with previous positive and happy sunshine lyrics, Laney utters "when we awake from our deep dark sleep/will we crawl, crawl from our self-made mausoleum" as the signature line from "Death Museum." This is followed by the hot "Blackouts" and it sub-chorus oddity of "Can I kick it?/Can I kick it?...." This is the first track were you see a glimpse of the catchiness that Challenger possesses. "Unemployment" comes at you swirling around several times before exploding past a bridge to a super breakdown reminiscent of some Milemarker constructions. "This Is Only A Test" is the second song with an ultra-fetching segment, where a combo of singers lead up to a chorus of "Hey, it's alright if you want to spend the night/It's alright." "Brand Loyalty" is one of the more abrasive tracks in the first couple of minutes before a section of various people repeating the line "You're great, but it's never going to workout between us/After tonight we'll never be together again." "Sweet Vaccine" is similar in structure and sound to "Brand Loyalty." "The Angry Engineer" finds Challenger back to the same aggressive feeling as the opener "Input the Output." Burian offers up the main vocals on the start for the mid-tempo and more DC- sounding "Crushed City." The guitar work - with doubling guitar riffs - gives it a feel like the Dismemberment Plan with balls or a more esoteric Piebald. The finale "The Trojan House" is a slower mover that exudes more indie rock than aggressive punk of earlier tracks. But as the five-minute opus that it is, it's definitely one of the standout tracks on the record and a great way to the end the record.
The major concern with Challenger is whether or not they continue on or simply serve as a fleeting side project of the powerhouse Milemarker. What happens is mostly a function of things that can't be known at this time, but it is certainly difficult in various ways to maintain a successful side project when the main band is drawing you back - just see Conor Oberst with Desa. The morale of this story is get this record immediately when it comes out and make sure to check them out live, since you may not have the opportunity for much longer.
Wednesday, December 3, 2008
The Elected - Me First
The Elected
Me First
Subpop Records
Grade: A-
On the first track "7 September 2003," the Elected instantly has a recognizable, warm and soothing sound - one that you could swear you have heard before - somewhere on the same plane as Saddle Creek tremendous offerings and in particular the work of uber-songwriter Conor Oberst. There is a good reason for this. The Elected is the brainchild of Rilo Kiley's Blake Sennett and features an all-star Saddle Creek cast to fill out the instruments, melodies and harmonies. This includes Orenda Fink (Azure Ray), Jenny Lewis (Rilo Kiley), and Jimmy Tamborello (The Postal Service(Subpop)) among others. Me First was also recorded by Saddle Creek's Mike Mogis (producer of Bright Eyes and the Faint). Besides from Sennett, the core of the Elected is Mike Bloom, Daniel Brummel and Jason Boesel (Rilo Kiley). So if you become distraught over the parallels to the product of Oberst then you can rest easy as it is all in the family. I was at first a bit distraught because of similar song constructions and cadences to Bright Eyes (and some to Elliott Smith) - thankfully Sennett stays away from matching Oberst's trembling vocals - but you have to recognize the quality and songwriting ability of the twelve tracks on Me First.
"7 September 2003" starts off as an electro band tuning before country-twang guitars echo in and Sennett starts singing about a minute in. This is a phenomenal start and a great way to set up the rest of the record. "Greetings in Braille" has a more depressing feel but has enchanting underlying keys about half way through. "My Baby's A Dick" is similar to "7 September 2003," while "A Time For Emily" offers up a stronger reliance on piano to produce a very late years' Beatles-esque sound. "Don't Get Your Hopes Up" starts and continues like ‘New York, New York' as the music swirls near psychedelia. "Waves" is gospel-like upbeat number and "The Miles ‘Til Home" and "Go On" put the fear of electronics subtly back in the listener. "Go On" is one of the best and most lyrically intense tracks on the record. Starting with heavy electro-beats and answering machine messages, "C'mon Mom" comes through as a whimsical dream. "A Response To Greed" finds Sennett channeling the harmonies of Smith and "Don't Blow It" displays vocal harmonizing between Sennett and Fink - and is one of the more memorable numbers with a hypnotic closing chorus. Me First closes on "British Columbia" with solo acoustic guitar - utilized throughout the record - and Sennett's singing and harmonizing on parts with Fink (?). Though this a good track, I think it would have been more climatic to end on "Don't Blow It."
What is impressive about Me First is that there is hardly a bad song - no throwaways, all keepers. That is a hard thing to do these days, especially considering the time Sennett puts into Rilo Kiley. But it is the work in Rilo Kiley that raises the expectations for the Elected - or should I say explains the excellence of the Elected. When Rilo Kiley is not touring, I'd be looking for the Elected to rock your house.
Me First
Subpop Records
Grade: A-
On the first track "7 September 2003," the Elected instantly has a recognizable, warm and soothing sound - one that you could swear you have heard before - somewhere on the same plane as Saddle Creek tremendous offerings and in particular the work of uber-songwriter Conor Oberst. There is a good reason for this. The Elected is the brainchild of Rilo Kiley's Blake Sennett and features an all-star Saddle Creek cast to fill out the instruments, melodies and harmonies. This includes Orenda Fink (Azure Ray), Jenny Lewis (Rilo Kiley), and Jimmy Tamborello (The Postal Service(Subpop)) among others. Me First was also recorded by Saddle Creek's Mike Mogis (producer of Bright Eyes and the Faint). Besides from Sennett, the core of the Elected is Mike Bloom, Daniel Brummel and Jason Boesel (Rilo Kiley). So if you become distraught over the parallels to the product of Oberst then you can rest easy as it is all in the family. I was at first a bit distraught because of similar song constructions and cadences to Bright Eyes (and some to Elliott Smith) - thankfully Sennett stays away from matching Oberst's trembling vocals - but you have to recognize the quality and songwriting ability of the twelve tracks on Me First.
"7 September 2003" starts off as an electro band tuning before country-twang guitars echo in and Sennett starts singing about a minute in. This is a phenomenal start and a great way to set up the rest of the record. "Greetings in Braille" has a more depressing feel but has enchanting underlying keys about half way through. "My Baby's A Dick" is similar to "7 September 2003," while "A Time For Emily" offers up a stronger reliance on piano to produce a very late years' Beatles-esque sound. "Don't Get Your Hopes Up" starts and continues like ‘New York, New York' as the music swirls near psychedelia. "Waves" is gospel-like upbeat number and "The Miles ‘Til Home" and "Go On" put the fear of electronics subtly back in the listener. "Go On" is one of the best and most lyrically intense tracks on the record. Starting with heavy electro-beats and answering machine messages, "C'mon Mom" comes through as a whimsical dream. "A Response To Greed" finds Sennett channeling the harmonies of Smith and "Don't Blow It" displays vocal harmonizing between Sennett and Fink - and is one of the more memorable numbers with a hypnotic closing chorus. Me First closes on "British Columbia" with solo acoustic guitar - utilized throughout the record - and Sennett's singing and harmonizing on parts with Fink (?). Though this a good track, I think it would have been more climatic to end on "Don't Blow It."
What is impressive about Me First is that there is hardly a bad song - no throwaways, all keepers. That is a hard thing to do these days, especially considering the time Sennett puts into Rilo Kiley. But it is the work in Rilo Kiley that raises the expectations for the Elected - or should I say explains the excellence of the Elected. When Rilo Kiley is not touring, I'd be looking for the Elected to rock your house.
Tuesday, December 2, 2008
Air - Talkie Walkie
Air
Talkie Walkie
Astralwerks
Grade: A-
Coming off of 2003's conception album City Reading (Tre Storie Western) with writer Alessandro Baricco, Air (composed of Nicolas Godin and JB Dunkel) is back with a new and breathtaking studio album Talkie Walkie. When the second the first song "Venus" starts, you know that Air have lost nothing and, in fact, gained since their previous forays into genius.
Many people in the U.S. are familiar with Air's soundtrack for the amazing Virgin Suicides (2000), though less are aware of this French dynamic duo's previous work - Air's "Alone in Kyoto" appears in Sophia Coppola's second movie Lost in Translation. The record that placed Air on the map was Moon Safari in 1998. Back then I wasn't entirely listening to Air, I was only hearing them - a lot. They were on heavy rotation at the station I was at for like the whole year and so I heard tons from that record. Yet, probably like many others, I became intrigued with Air following the Virgin Suicides soundtrack. After diversifying their range through material like City Reading, two world tours with assorted members, a ballet and movie scores, Air seeks to correct for misperceptions from their previous studio album 10,000 Hz. Legend. Not that the album was wrong or ill-conceived, but many perceived it as too esoteric and lacking the drifting pop of before. Though true artists, Godin and Dunkel reach back to what made them them in the first place - or at least what everyone loves - on Talkie Walkie. Now we have ten tracks of electro-pop goodness as well as a bonus DVD entitled Electronic Performers composed of Air on tour. The DVD cuts five live performances with backstage footage during the summer of 2002 for a fan's delight.
As mentioned above, Talkie Walkie starts off on "Venus" with a slow acoustic and drums while heavenly vocals are laced on top. Midway through there is a electronic wave with accents and the basic beat underlying. "Cherry Blossom Girl" begins with male and female vocals accompanied by some woodwinds. "Run" is more robotic and electronic as it coasts along at a moderate tempo. More heaven comes from "Universal Traveler" - a song that parallels an electronic Belle and Sebastian. "Mike Mills" - entirely instrumental - sounds like some classical score that could be the soundtrack to a film like the Royal Tenebaums or anything by director Wes Anderson - maybe it will be. Although I hate the title to the song, "Surfing on a Rocket" is so incredibly catchy that you can't deny its power over you and is easily in the running for the best track. The vocals are at the boundary point of male ability before you reach the screaching phase - and yet are so warm and refreshing. "Another Day" falls off a bit from the first six and unfortunately sounds too close to filler for Air. Yet Air picks up the magic with acoustic guitars picking like mad and nearly annoying whistling on the instrumental "Alpha Beta Gaga." "Biological" begins with warm and watery electronics matched by similar vocals in Beatles-esque form - though a sinister element lies underneath. The record closes on the aforementioned "Alone in Kyoto." If you didn't see the film or if you missed the song - a barely-there sound penetrates for a minute before piano and beeping-type vocals come at you. This repeats before the finale where all we hear is waves.
As Air's return to the standard studio album, they excel and smoke in a big way. Although I don't know if I'd be able to stand through an Air concert without some serious sedatives and a nice chair, they will surely be attacking the stage to support this masterpiece. Not tested - though Air approves - this clear is a record to have on when in love. At the end of the day, this is some of the best electro-pop music on the planet.
Talkie Walkie
Astralwerks
Grade: A-
Coming off of 2003's conception album City Reading (Tre Storie Western) with writer Alessandro Baricco, Air (composed of Nicolas Godin and JB Dunkel) is back with a new and breathtaking studio album Talkie Walkie. When the second the first song "Venus" starts, you know that Air have lost nothing and, in fact, gained since their previous forays into genius.
Many people in the U.S. are familiar with Air's soundtrack for the amazing Virgin Suicides (2000), though less are aware of this French dynamic duo's previous work - Air's "Alone in Kyoto" appears in Sophia Coppola's second movie Lost in Translation. The record that placed Air on the map was Moon Safari in 1998. Back then I wasn't entirely listening to Air, I was only hearing them - a lot. They were on heavy rotation at the station I was at for like the whole year and so I heard tons from that record. Yet, probably like many others, I became intrigued with Air following the Virgin Suicides soundtrack. After diversifying their range through material like City Reading, two world tours with assorted members, a ballet and movie scores, Air seeks to correct for misperceptions from their previous studio album 10,000 Hz. Legend. Not that the album was wrong or ill-conceived, but many perceived it as too esoteric and lacking the drifting pop of before. Though true artists, Godin and Dunkel reach back to what made them them in the first place - or at least what everyone loves - on Talkie Walkie. Now we have ten tracks of electro-pop goodness as well as a bonus DVD entitled Electronic Performers composed of Air on tour. The DVD cuts five live performances with backstage footage during the summer of 2002 for a fan's delight.
As mentioned above, Talkie Walkie starts off on "Venus" with a slow acoustic and drums while heavenly vocals are laced on top. Midway through there is a electronic wave with accents and the basic beat underlying. "Cherry Blossom Girl" begins with male and female vocals accompanied by some woodwinds. "Run" is more robotic and electronic as it coasts along at a moderate tempo. More heaven comes from "Universal Traveler" - a song that parallels an electronic Belle and Sebastian. "Mike Mills" - entirely instrumental - sounds like some classical score that could be the soundtrack to a film like the Royal Tenebaums or anything by director Wes Anderson - maybe it will be. Although I hate the title to the song, "Surfing on a Rocket" is so incredibly catchy that you can't deny its power over you and is easily in the running for the best track. The vocals are at the boundary point of male ability before you reach the screaching phase - and yet are so warm and refreshing. "Another Day" falls off a bit from the first six and unfortunately sounds too close to filler for Air. Yet Air picks up the magic with acoustic guitars picking like mad and nearly annoying whistling on the instrumental "Alpha Beta Gaga." "Biological" begins with warm and watery electronics matched by similar vocals in Beatles-esque form - though a sinister element lies underneath. The record closes on the aforementioned "Alone in Kyoto." If you didn't see the film or if you missed the song - a barely-there sound penetrates for a minute before piano and beeping-type vocals come at you. This repeats before the finale where all we hear is waves.
As Air's return to the standard studio album, they excel and smoke in a big way. Although I don't know if I'd be able to stand through an Air concert without some serious sedatives and a nice chair, they will surely be attacking the stage to support this masterpiece. Not tested - though Air approves - this clear is a record to have on when in love. At the end of the day, this is some of the best electro-pop music on the planet.
Monday, December 1, 2008
EE - Ramadan
EE
Ramadan
Asian Man Records
Grade: A-
This is a reissue of EE's first full-length that was released in 2000 on Curry Records and was, up until now, shortly out-of-print. EE released a memorable disc last year on Asian Man called For 100 We Try Harder that imprinted their sound to a wave of listeners. This recording includes the work of five individuals: Tobin Mori (of Korea Girl) on guitar/vocals, Brian on bass, Esther on cello/keys/vocals and finally Muji and Dan sharing time on the drums. However, the line up today consists of Che Chou on bass, Peter Nguyen on drums and Sooyoung Park on guitar/keyboards. EE prosper on light and smooth instrumentals with soft vocals that look to accent the music but not steal the show. As such, EE would probably feel fine with one of the slew of instrumental artists on Temporary Residence Ltd. "Asian Gangsta Kidz" is an exceptional song with the right mix of low key vocals by Tobin and sweetly added back up by Esther. What makes the song great is that while the allegiance to instrumentalism is there, it has a strong rock element to push it over the top. "Ramadan" is piano-driven that wouldn't be out of place on a light FM station if not for slight noise in the background, while "Battery Davis" is punctuated by Esther's cello. "Retrace" starts out with layers of guitars and Tobin's vocals as it merges with some electronics. "Square Back" kicks off like an indie rock majesty that makes this record at least the price of admission. "One Less Year" is considerably mellower with echoing guitars and Tobin's vocals approaching the world of brooding rock. "Brace" closes out the deal with a poppy and heavy downstroke guitars - this is a great song. After hearing the ten tracks on EE's debut Ramadan, I had to go back to their latest record and taken a renewed listen. While strong, Ramadan smokes it and I'm very surprised we didn't hear more from this on its initial release.
Ramadan
Asian Man Records
Grade: A-
This is a reissue of EE's first full-length that was released in 2000 on Curry Records and was, up until now, shortly out-of-print. EE released a memorable disc last year on Asian Man called For 100 We Try Harder that imprinted their sound to a wave of listeners. This recording includes the work of five individuals: Tobin Mori (of Korea Girl) on guitar/vocals, Brian on bass, Esther on cello/keys/vocals and finally Muji and Dan sharing time on the drums. However, the line up today consists of Che Chou on bass, Peter Nguyen on drums and Sooyoung Park on guitar/keyboards. EE prosper on light and smooth instrumentals with soft vocals that look to accent the music but not steal the show. As such, EE would probably feel fine with one of the slew of instrumental artists on Temporary Residence Ltd. "Asian Gangsta Kidz" is an exceptional song with the right mix of low key vocals by Tobin and sweetly added back up by Esther. What makes the song great is that while the allegiance to instrumentalism is there, it has a strong rock element to push it over the top. "Ramadan" is piano-driven that wouldn't be out of place on a light FM station if not for slight noise in the background, while "Battery Davis" is punctuated by Esther's cello. "Retrace" starts out with layers of guitars and Tobin's vocals as it merges with some electronics. "Square Back" kicks off like an indie rock majesty that makes this record at least the price of admission. "One Less Year" is considerably mellower with echoing guitars and Tobin's vocals approaching the world of brooding rock. "Brace" closes out the deal with a poppy and heavy downstroke guitars - this is a great song. After hearing the ten tracks on EE's debut Ramadan, I had to go back to their latest record and taken a renewed listen. While strong, Ramadan smokes it and I'm very surprised we didn't hear more from this on its initial release.
Wednesday, November 26, 2008
Deerhoof - Milk Man
Deerhoof
Milk Man
Kill Rock Stars/5RC
Grade: A-
This latest and sixth record from SF noise-rock divas kicks off on "Milk Man" with an arrangement that sounds like the latest coming of a rock-opera masterpiece. When the four-piece of Deerhoof - drummer Greg Saunier, guitarists John Dieterich and Chris Cohen and vocalist Satomi Matsuzaki - aren't rocking out the oddities in their host of other projects - including Nervous Cop, the Curtains - they find the time to lend their powers to one of the greatest and best indie bands going. Pushing the limits on just strangeness, Milk Man singes with a pop core that demonstrates that for all the projects the members of Deerhoof have their hands in, they save their best material for Deerhoof - and we are all thankful and grateful. If you thought that Apple O' was something to behold you better hold on tight. After initially being put off by Apple O', I found myself humming the pop sections in my head and then I was soon hooked. Milk Man is like that, but only better.
Again, "Milk Man" kicks off like a rock opera with bass playing up the opening riff, then joined by guitar, then bolstered up before the whole kit-n-caboodle comes in. Slowing up to introduce Satomi's sweet, chirpy broken English lyrics, when the song builds into the chorus you are utterly blown away. This is a song that will surely dominant college radio this Spring. With creepy organs, "Giga Dance" ushers you into the world of Cradle of Filth before dissonant guitars give away to Satomi. "Desaparecere" starts on the electro-edge with ambience leading the charge into Spanish lyrics. The instrumental "Rainbow Silhouette of the Milky Rain" with its dueling noise guitars is closer to the music of several of the Deerhoof side projects. "Dog On the Sidewalk" is a short ditty with Satomi's off-English vocals joined by the first emergence of electro-blips. Vocals, guitars and handclapping start "C" as it careens through a bunch of stop-start sections, while "Milking" rips some cool riffs and rocks hard like a crazed stripped-down Japanese indie band. "Dream Wanderer's Tune" is ambient with Satomi's vocals and keys dominating this pop affair - very sweet indeed. With nothing going on for a bit, "Song of Sorn" busts out with pure craziness that is actually catchy. "That Big Orange Sun Run Over Speed Light" provides an instrumental strangeness to lead to the finale "New Sneakers." "New Sneakers" opens with organs and then Satomi singing "Strawberry fields, banana trees..." as the track runs on lo-fi electronics. I discuss Satomi like she is some vocal savior throughout the record - and when you hear the songs you will see why.
With the release of Milk Man, Deerhoof is hitting the road hard with shows in Japan, Europe and the U.S. Though when we checked them out on their last tour they weren't slamming, guitarists Dieterich and Cohen were tight, Saunier was entertaining and when Satomi was doing the gestures it was awesome.
Milk Man
Kill Rock Stars/5RC
Grade: A-
This latest and sixth record from SF noise-rock divas kicks off on "Milk Man" with an arrangement that sounds like the latest coming of a rock-opera masterpiece. When the four-piece of Deerhoof - drummer Greg Saunier, guitarists John Dieterich and Chris Cohen and vocalist Satomi Matsuzaki - aren't rocking out the oddities in their host of other projects - including Nervous Cop, the Curtains - they find the time to lend their powers to one of the greatest and best indie bands going. Pushing the limits on just strangeness, Milk Man singes with a pop core that demonstrates that for all the projects the members of Deerhoof have their hands in, they save their best material for Deerhoof - and we are all thankful and grateful. If you thought that Apple O' was something to behold you better hold on tight. After initially being put off by Apple O', I found myself humming the pop sections in my head and then I was soon hooked. Milk Man is like that, but only better.
Again, "Milk Man" kicks off like a rock opera with bass playing up the opening riff, then joined by guitar, then bolstered up before the whole kit-n-caboodle comes in. Slowing up to introduce Satomi's sweet, chirpy broken English lyrics, when the song builds into the chorus you are utterly blown away. This is a song that will surely dominant college radio this Spring. With creepy organs, "Giga Dance" ushers you into the world of Cradle of Filth before dissonant guitars give away to Satomi. "Desaparecere" starts on the electro-edge with ambience leading the charge into Spanish lyrics. The instrumental "Rainbow Silhouette of the Milky Rain" with its dueling noise guitars is closer to the music of several of the Deerhoof side projects. "Dog On the Sidewalk" is a short ditty with Satomi's off-English vocals joined by the first emergence of electro-blips. Vocals, guitars and handclapping start "C" as it careens through a bunch of stop-start sections, while "Milking" rips some cool riffs and rocks hard like a crazed stripped-down Japanese indie band. "Dream Wanderer's Tune" is ambient with Satomi's vocals and keys dominating this pop affair - very sweet indeed. With nothing going on for a bit, "Song of Sorn" busts out with pure craziness that is actually catchy. "That Big Orange Sun Run Over Speed Light" provides an instrumental strangeness to lead to the finale "New Sneakers." "New Sneakers" opens with organs and then Satomi singing "Strawberry fields, banana trees..." as the track runs on lo-fi electronics. I discuss Satomi like she is some vocal savior throughout the record - and when you hear the songs you will see why.
With the release of Milk Man, Deerhoof is hitting the road hard with shows in Japan, Europe and the U.S. Though when we checked them out on their last tour they weren't slamming, guitarists Dieterich and Cohen were tight, Saunier was entertaining and when Satomi was doing the gestures it was awesome.
Tuesday, November 25, 2008
The Calculators - Circuit Breaking Silence/Simplicity and Style 10" Reissue
The Calculators
Circuit Breaking Silence/Simplicity and Style 10" Reissue
PrinceHouse Records
Grade: A-
The Calculators are a band of what was, what could have been and what is. Existing for a brief time in 1997-1999 in the punk dominated Bay-area, the Calculators struck on a path that is only now being realized fully in independent music. Not that this is a path that hasn't been beaten before, as with most things, but more like its resurgence. The Calculators divulged and indulged in the electronic, synth-driven, new wave reviving punk that is championed today by bands such as the Faint, Interpol and the Rapture. That this is the case is not surprising given that two of the members from the Calculators, Luke Jenner and Vito Roccoforte, formed the Rapture and another, Jeff Fare, went on to form electronic-beat masters Paradise Boys (also on PrinceHouse). So just imagine taking the best of those two groups and combining them into thirteen thrilling and mesmerizing tracks - and that is what this reissue is. Though maintaining the droning, monotone vocals of New Wave greats, the pure instrumentation and construction is the big draw here. After hearing the synth notes to the opening track "Worthless in a World of Wires," it will stick in your head and you will be drawn to listening on repeat like white on rice. Most of the tracks operate at slightly above moderate tempo, but that doesn't seem to degenerate the pure danceability. As expected, the basslines and simple-note picking guitar add mightily to the draw of the synths. I guess that I'm drawn to the tracks with the synths that make your heart skip around. Hence, there are a few. "This is Evolution" is slow with drums, bass and vocals trudging along before the Calculators allow the synths to snap in and pick up the tempo. "Inside" starts off vocally like an electronic Clash as the chorus creeps on you in pure New Wave fashion. "Dead Is Dead" is a dance party within itself with the synths and the enhanced guitars making for a fun time. To round out the record "The Agenda" and "Kill Me Radio" are exquisite. Though I point out these few, there is not a bad song on this reissue. If you have any love for the aforementioned bands then you should definitely pick this up. Though the band itself doesn't exist, be prepared to get hammered by clubs playing these numbers.
Circuit Breaking Silence/Simplicity and Style 10" Reissue
PrinceHouse Records
Grade: A-
The Calculators are a band of what was, what could have been and what is. Existing for a brief time in 1997-1999 in the punk dominated Bay-area, the Calculators struck on a path that is only now being realized fully in independent music. Not that this is a path that hasn't been beaten before, as with most things, but more like its resurgence. The Calculators divulged and indulged in the electronic, synth-driven, new wave reviving punk that is championed today by bands such as the Faint, Interpol and the Rapture. That this is the case is not surprising given that two of the members from the Calculators, Luke Jenner and Vito Roccoforte, formed the Rapture and another, Jeff Fare, went on to form electronic-beat masters Paradise Boys (also on PrinceHouse). So just imagine taking the best of those two groups and combining them into thirteen thrilling and mesmerizing tracks - and that is what this reissue is. Though maintaining the droning, monotone vocals of New Wave greats, the pure instrumentation and construction is the big draw here. After hearing the synth notes to the opening track "Worthless in a World of Wires," it will stick in your head and you will be drawn to listening on repeat like white on rice. Most of the tracks operate at slightly above moderate tempo, but that doesn't seem to degenerate the pure danceability. As expected, the basslines and simple-note picking guitar add mightily to the draw of the synths. I guess that I'm drawn to the tracks with the synths that make your heart skip around. Hence, there are a few. "This is Evolution" is slow with drums, bass and vocals trudging along before the Calculators allow the synths to snap in and pick up the tempo. "Inside" starts off vocally like an electronic Clash as the chorus creeps on you in pure New Wave fashion. "Dead Is Dead" is a dance party within itself with the synths and the enhanced guitars making for a fun time. To round out the record "The Agenda" and "Kill Me Radio" are exquisite. Though I point out these few, there is not a bad song on this reissue. If you have any love for the aforementioned bands then you should definitely pick this up. Though the band itself doesn't exist, be prepared to get hammered by clubs playing these numbers.
Monday, November 24, 2008
Now It's Overhead - Fall Back Open
Now It's Overhead
Fall Back Open
Saddle Creek Records
Grade: A-
As one of the few bands outside of Omaha to grace Saddle Creek's lineup, Now It's Overhead are back with their second record and a phenomenal improvement over the 2001 self-titled debut. Though the self-titled record was a strong and well-done affair, it lacked the elements to grab your memory, thus limiting further interest in listening. Fall Back Open comes at you like a resurgence of 80s modern rock - typified by bands like U2 and the indie cousins - and it is awesome.
Now It's Overhead come from Athens, GA - you know the ‘other' famous Southern college music scene (read: not Chapel Hill) - the home to R.E.M. and scores more. The band or collective as it may be is fronted by Andy LeMaster on vocals, varying instruments and song writing duties. LeMaster also is a player in Bright Eyes (on Saddle Creek) and co-runs the studio Chase Park Transduction in Athens. Rounding out the group are Orenda Fink (bass, keys and vocals), Maria Taylor (keys and vocals) and Clay Leverett (drums and vocals). Many people are surely familiar with Fink and Taylor as the core of Azure Ray - another one of the few bands on Saddle Creek outside of Omaha. Fink also can be found the Elected's new record and Leverett played previously in Athens' Lona. After touring with and combining tours with Bright Eyes, Now It's Overhead and Azure Ray, LeMaster went back to the studio to work and hammer out tracks for the future record. I'm not sure exactly who came into the studio that caused LeMaster to compose this breakthrough - literally, but also meaning really good musicians pushing you to your limits or really bad musicians who make you appreciate the simply notions of rock more concretely. Regardless, though I liked the debut, Fall Back Open absolutely leaves it in the dust.
Although there are only nine tracks, all are well measured and developed. The record opens on "Wait In A Line" with rolling drums as LeMaster builds and Fink and Taylor have some backing harmonies. But where the song kicks into the gear is on the guitar bridge - a sizzling sense of U2ness that many, many listeners will surely get into to. That small section clearly sets the song apart. "Surrender" is closer to what we found on the debut release as it's a straight-forward sweeping melody rock song. "Profile" has a more 80s rock feel with very slight vocal delay, while "Turn & Go" is slower and harmony-ridden with the help of the ladies. The build on "Turn & Go" is influential, helping it standout in its subtleness. "Fall Back Open" is another slow mover that parallels the feel of "Turn & Go" and has a nice closing with Conor Oberst, Fink and Taylor matching vocals with LeMaster. With convincing guitar twang and the folk-feel of a Bright Eyes track "The Decision Made Itself" is one of the stars amongst the nine. "Reverse" is lyrically dense but musically spins its wheels and "Antidote" slithers with a neat guitar riff coupled with sporadic drums and vocals as the intensity rises - and, noteworthy, Michael Stipe adds backing vocals. Closing out the record, "A Little Consolation" highlights more mid-tempo rock and a strong sense of emotion.
Look for Now It's Overhead to be touring the U.S. and Europe quite soon and not unlikely with some combo of Azure Ray and Bright Eyes, or other Saddle Creek bands. If you enjoyed their debut then you will surely love this. If you didn't like the debut - for whatever reason - the nine tracks here will likely make you reconsider especially given their catchiness and impressionability.
Fall Back Open
Saddle Creek Records
Grade: A-
As one of the few bands outside of Omaha to grace Saddle Creek's lineup, Now It's Overhead are back with their second record and a phenomenal improvement over the 2001 self-titled debut. Though the self-titled record was a strong and well-done affair, it lacked the elements to grab your memory, thus limiting further interest in listening. Fall Back Open comes at you like a resurgence of 80s modern rock - typified by bands like U2 and the indie cousins - and it is awesome.
Now It's Overhead come from Athens, GA - you know the ‘other' famous Southern college music scene (read: not Chapel Hill) - the home to R.E.M. and scores more. The band or collective as it may be is fronted by Andy LeMaster on vocals, varying instruments and song writing duties. LeMaster also is a player in Bright Eyes (on Saddle Creek) and co-runs the studio Chase Park Transduction in Athens. Rounding out the group are Orenda Fink (bass, keys and vocals), Maria Taylor (keys and vocals) and Clay Leverett (drums and vocals). Many people are surely familiar with Fink and Taylor as the core of Azure Ray - another one of the few bands on Saddle Creek outside of Omaha. Fink also can be found the Elected's new record and Leverett played previously in Athens' Lona. After touring with and combining tours with Bright Eyes, Now It's Overhead and Azure Ray, LeMaster went back to the studio to work and hammer out tracks for the future record. I'm not sure exactly who came into the studio that caused LeMaster to compose this breakthrough - literally, but also meaning really good musicians pushing you to your limits or really bad musicians who make you appreciate the simply notions of rock more concretely. Regardless, though I liked the debut, Fall Back Open absolutely leaves it in the dust.
Although there are only nine tracks, all are well measured and developed. The record opens on "Wait In A Line" with rolling drums as LeMaster builds and Fink and Taylor have some backing harmonies. But where the song kicks into the gear is on the guitar bridge - a sizzling sense of U2ness that many, many listeners will surely get into to. That small section clearly sets the song apart. "Surrender" is closer to what we found on the debut release as it's a straight-forward sweeping melody rock song. "Profile" has a more 80s rock feel with very slight vocal delay, while "Turn & Go" is slower and harmony-ridden with the help of the ladies. The build on "Turn & Go" is influential, helping it standout in its subtleness. "Fall Back Open" is another slow mover that parallels the feel of "Turn & Go" and has a nice closing with Conor Oberst, Fink and Taylor matching vocals with LeMaster. With convincing guitar twang and the folk-feel of a Bright Eyes track "The Decision Made Itself" is one of the stars amongst the nine. "Reverse" is lyrically dense but musically spins its wheels and "Antidote" slithers with a neat guitar riff coupled with sporadic drums and vocals as the intensity rises - and, noteworthy, Michael Stipe adds backing vocals. Closing out the record, "A Little Consolation" highlights more mid-tempo rock and a strong sense of emotion.
Look for Now It's Overhead to be touring the U.S. and Europe quite soon and not unlikely with some combo of Azure Ray and Bright Eyes, or other Saddle Creek bands. If you enjoyed their debut then you will surely love this. If you didn't like the debut - for whatever reason - the nine tracks here will likely make you reconsider especially given their catchiness and impressionability.
Friday, November 21, 2008
Leatherface - Dog Disco
Leatherface
Dog Disco
BYO Records
Grade: A-
The seminal UK post-punk band Leatherface is back with their eighth full-length (and technically fifth for BYO thanks to reissues) as they continue on their re-birth journey. Forming in 1988, Leatherface - whose name admittedly makes you think of some type of grindcore death metal band - sought to combine influences through guitar powered songs and headman's Frankie Stubbs vocals. My first listening exposure to these guys came on the 1998 split on BYO with Hot Water Music, which was quickly followed by seeing them live and checking out stellar earlier albums Mush and Cherry Knowles.
Part of the mystique of Leatherface comes from the fact they broke up in 1993 and yet their work influenced such bands as Dillinger Four and Hot Water Music - bands they would later open for. I remember reading somewhere a long time ago that Stubbs pushed for the dissolution because he felt the band didn't have enough commitment and intensity. This was partially stemmed out of the less-than-ideal promotion by quasi-major Seed (subsidiary of Atlantic). The dissolution allowed Stubbs to play in Jesse and Pope, bassist Andy Crighton to form Snuff and guitarist Dickie Hammond to found Dr. Bison. Hammond instigated the reformation of the band, but decided not to throw his own hat back into the rink. So, Stubbs and drummer Andy Laing assembled talent and recorded their first new material for the split with Hot Water. Since then Leatherface has been marching on with their punk onslaught with records such as Horsebox for BYO.
Probably the thing that strikes you immediately with Leatherface is the raspy, gravel-lined vocals of Stubbs. Audibly and visually, Stubbs looks like a former coal miner who has had the life beaten out of him and yet perseveres. While grizzled, Stubbs still has elements of harmony and melody pushed out to the front. As noted above, the dual guitars are a mesmerizing affair and complement Stubbs vocals. Other members of Leatherface add vocals from time-to-time but in a very limited manner.
The first time I heard Leatherface I found it rather odd that the vocals sounded recorded lower than the music, making them barely decipherable. I figured it was some function of mixing - and also that it was on vinyl. Yet, as demonstrated again here, Leatherface, for whatever rationale, prefers the mix as such - maybe as a means to add to Stubbs gruthness. Often times you can only figure out the lyrics on the chorus as illustrated by the exceptional opener "Hoodlum." As one of the best tracks on the record, one of the lines on the chorus 'you smoke dope everyday, while I drink my nights away…" sums up Leatherface succinctly. Consistent with previous material, the songs on Dog Disco are always driven by heavily distorted and melodic guitars. Other tracks worth your time include "Small Yellow Chair" with chipper guitars, the balls-to-the-wall "Eggbound," the sweet ballad "Plastic Surgery" and the finale "Heart is Home."
Leatherface has been cited in the past for not having any single tracks that grab you and that are likely to be heard on college radio. Though this tradition continues, the core of Dog Disco is very tight and consistent. Leatherface will probably still fly below the musical radar after this record but that makes them even more intriguing. Also, you have to see Stubbs do this jig when he is playing guitar - pure awesomeness. Maybe this time around they will be able to open for the bands they influenced instead of the other way around. On an absolutely random note, I'm not sure if the cover art is one of the worst things I've ever seen or what. Also, for whatever reason and I love dogs (got 3), bands having the word 'dog' in their name or record titles makes me want to boot - I knew there was a reason I didn't like Keanu Reeves.
Dog Disco
BYO Records
Grade: A-
The seminal UK post-punk band Leatherface is back with their eighth full-length (and technically fifth for BYO thanks to reissues) as they continue on their re-birth journey. Forming in 1988, Leatherface - whose name admittedly makes you think of some type of grindcore death metal band - sought to combine influences through guitar powered songs and headman's Frankie Stubbs vocals. My first listening exposure to these guys came on the 1998 split on BYO with Hot Water Music, which was quickly followed by seeing them live and checking out stellar earlier albums Mush and Cherry Knowles.
Part of the mystique of Leatherface comes from the fact they broke up in 1993 and yet their work influenced such bands as Dillinger Four and Hot Water Music - bands they would later open for. I remember reading somewhere a long time ago that Stubbs pushed for the dissolution because he felt the band didn't have enough commitment and intensity. This was partially stemmed out of the less-than-ideal promotion by quasi-major Seed (subsidiary of Atlantic). The dissolution allowed Stubbs to play in Jesse and Pope, bassist Andy Crighton to form Snuff and guitarist Dickie Hammond to found Dr. Bison. Hammond instigated the reformation of the band, but decided not to throw his own hat back into the rink. So, Stubbs and drummer Andy Laing assembled talent and recorded their first new material for the split with Hot Water. Since then Leatherface has been marching on with their punk onslaught with records such as Horsebox for BYO.
Probably the thing that strikes you immediately with Leatherface is the raspy, gravel-lined vocals of Stubbs. Audibly and visually, Stubbs looks like a former coal miner who has had the life beaten out of him and yet perseveres. While grizzled, Stubbs still has elements of harmony and melody pushed out to the front. As noted above, the dual guitars are a mesmerizing affair and complement Stubbs vocals. Other members of Leatherface add vocals from time-to-time but in a very limited manner.
The first time I heard Leatherface I found it rather odd that the vocals sounded recorded lower than the music, making them barely decipherable. I figured it was some function of mixing - and also that it was on vinyl. Yet, as demonstrated again here, Leatherface, for whatever rationale, prefers the mix as such - maybe as a means to add to Stubbs gruthness. Often times you can only figure out the lyrics on the chorus as illustrated by the exceptional opener "Hoodlum." As one of the best tracks on the record, one of the lines on the chorus 'you smoke dope everyday, while I drink my nights away…" sums up Leatherface succinctly. Consistent with previous material, the songs on Dog Disco are always driven by heavily distorted and melodic guitars. Other tracks worth your time include "Small Yellow Chair" with chipper guitars, the balls-to-the-wall "Eggbound," the sweet ballad "Plastic Surgery" and the finale "Heart is Home."
Leatherface has been cited in the past for not having any single tracks that grab you and that are likely to be heard on college radio. Though this tradition continues, the core of Dog Disco is very tight and consistent. Leatherface will probably still fly below the musical radar after this record but that makes them even more intriguing. Also, you have to see Stubbs do this jig when he is playing guitar - pure awesomeness. Maybe this time around they will be able to open for the bands they influenced instead of the other way around. On an absolutely random note, I'm not sure if the cover art is one of the worst things I've ever seen or what. Also, for whatever reason and I love dogs (got 3), bands having the word 'dog' in their name or record titles makes me want to boot - I knew there was a reason I didn't like Keanu Reeves.
Thursday, November 20, 2008
Jawbreaker - Dear You (Reissue)
Jawbreaker
Dear You
Blackball Records
Grade: A
I remember when I picked up this record used for three dollars in 1996 at a record store in western NY. That I night I saw some fellow compatriots for some drinking where upon telling one that I got the CD, he said it was the worst record he had ever heard. And so it was - a telling visceral reaction to what would become one of the most influential records on modern day indie rock. This is the record that would also lead to the downfall of one of the most important groups of contemporary rock music.
After the three-piece Jawbreaker released three stunning full-lengths on indie labels, Unfun (Shredder, 1990), Bivouac (Tupelo/Communion, 1992) and 24-Hour Revenge Therapy (Tupelo/Communion, 1994), they did the unthinkable - sign with major label DGC. At that point, DGC was home to bands such as Nirvana and Sonic Youth, but Jawbreaker had always extolled the fact that they were staying indie. Blake Schwarzenbach (guitar and vocals), Chris Bauermeister (bass) and Adam Pfahler (drums) scored a million dollar payday for signing with DGC and they set out to record their fourth full-length. As the story unfolds, Schwarzenbach quartered himself off at Fantasy Studios in Berkeley and set to writing the music and lyrics. Bauermeister and Pfahler would come and do their requisite parts, but played a much smaller role than ever before. Another big change was instead of recording the record in a matter days, it became eight weeks - an astonishing long time at that point, especially for Jawbreaker. What emerged from those eight weeks with producer Rob Cavallo was what my friend, the die-hard Jawbreaker fan, would vomit upon.
Under the tutelage of Cavallo's sound massaging, Schwarzenbach's once raspy and off-kiltered vocals were molested to sweet perfection. Though still unique Schwarzenbach, the melody and smoothness startled long term fans. In addition, the wall of fuzzed-out guitars also was a departure of previous recordings of the band. Essentially, Dear You (1995) had all the hallmarks of a major label release from a core indie band - and that pissed people off to no end. Stories abound of people going to Jawbreaker shows just to boo the band when they played songs off of Dear You. Though the band was drifting apart to some extent before Dear You, the angry reaction they received and the marginal sales (for a major) finally but the nail in the coffin for Jawbreaker.
So what is the deal with Dear You being released again? For one, shortly after its release, it became out-of-print as DGC wasn't about to keep fresh copies of a failed record out in stores. Yet, the so-called failure and sellout of a record was on the verge of essentially starting a musical movement - emo. Scores of contemporary bands from Dashboard to Thursday to Saves the Day cite Dear You as a substantial influence on their sound. Members of Jawbreaker have countered that they were influenced by all the punk and indie bands before them so it is a natural progression. Regardless, Dear You emerged as a kind of required listening for scenesters. In what I wished I had known about, copies were being sold on places like Ebay for upwards of seventy dollars as demand skyrocketed over supply.
As Schwarzenbach went on to form Jets to Brazil (Jade Tree) and Bauermeister went to graduate school, Pfahler after some time founded Blackball Records. The first two releases was Jawbreaker's final show in San Francisco entitled 4/30/96 and a compilation of rare material entitled Etc. Since, DGC was not about re-release it, Pfahler through some serious legal wrangling final scored the rights. And now the hot commodity Dear You is presented for your listening. Besides the thirteen original tracks, the re-release includes five extra songs "Shirt," "Into You Like a Train," "Sister," "Friendly Fire" and "Boxcar." Pfahler has also included some awesome pictures in the booklet to accompany the songs. My favorite is a letter from the Oyster Bay (NY) Historical Society - oh, the Long Island connections run deep - requesting information on the song "Oyster" as they are compiling a list of music with word 'oyster' in the title. Now that is the kind of mail that I wished I received. One with Kurt Cobain wearing a Jawbreaker is another favorite. Finally, there is an enhanced portion with the video for "Fireman."
Look there is no point in actually specifically reviewing the music contained here. The tracks are all a stunning musically and lyrically dense affair that really is requisite listening. I personally am not a fan of "Oyster" and "Jet Black" (though I love the Annie Hall quote), but I still prefer the two over most other music. For many this reissue is a means to finally buy their own copy and to score several other Jawbreaker songs - songs that smoke.
At the end of the day, I'm sure my friend still hates Dear You and wishes it never came out - and others still have similar hostile feelings for it. For those who didn't get sucked into the spectacle originally surrounding the record, there is no reason not to own this. Since a Jawbreaker reunion is not in the cards for the near future, check out Schwarzenbach still keeping the faith in Jets to Brazil. However, never say never as evidenced by the Pixies reunion.
Dear You
Blackball Records
Grade: A
I remember when I picked up this record used for three dollars in 1996 at a record store in western NY. That I night I saw some fellow compatriots for some drinking where upon telling one that I got the CD, he said it was the worst record he had ever heard. And so it was - a telling visceral reaction to what would become one of the most influential records on modern day indie rock. This is the record that would also lead to the downfall of one of the most important groups of contemporary rock music.
After the three-piece Jawbreaker released three stunning full-lengths on indie labels, Unfun (Shredder, 1990), Bivouac (Tupelo/Communion, 1992) and 24-Hour Revenge Therapy (Tupelo/Communion, 1994), they did the unthinkable - sign with major label DGC. At that point, DGC was home to bands such as Nirvana and Sonic Youth, but Jawbreaker had always extolled the fact that they were staying indie. Blake Schwarzenbach (guitar and vocals), Chris Bauermeister (bass) and Adam Pfahler (drums) scored a million dollar payday for signing with DGC and they set out to record their fourth full-length. As the story unfolds, Schwarzenbach quartered himself off at Fantasy Studios in Berkeley and set to writing the music and lyrics. Bauermeister and Pfahler would come and do their requisite parts, but played a much smaller role than ever before. Another big change was instead of recording the record in a matter days, it became eight weeks - an astonishing long time at that point, especially for Jawbreaker. What emerged from those eight weeks with producer Rob Cavallo was what my friend, the die-hard Jawbreaker fan, would vomit upon.
Under the tutelage of Cavallo's sound massaging, Schwarzenbach's once raspy and off-kiltered vocals were molested to sweet perfection. Though still unique Schwarzenbach, the melody and smoothness startled long term fans. In addition, the wall of fuzzed-out guitars also was a departure of previous recordings of the band. Essentially, Dear You (1995) had all the hallmarks of a major label release from a core indie band - and that pissed people off to no end. Stories abound of people going to Jawbreaker shows just to boo the band when they played songs off of Dear You. Though the band was drifting apart to some extent before Dear You, the angry reaction they received and the marginal sales (for a major) finally but the nail in the coffin for Jawbreaker.
So what is the deal with Dear You being released again? For one, shortly after its release, it became out-of-print as DGC wasn't about to keep fresh copies of a failed record out in stores. Yet, the so-called failure and sellout of a record was on the verge of essentially starting a musical movement - emo. Scores of contemporary bands from Dashboard to Thursday to Saves the Day cite Dear You as a substantial influence on their sound. Members of Jawbreaker have countered that they were influenced by all the punk and indie bands before them so it is a natural progression. Regardless, Dear You emerged as a kind of required listening for scenesters. In what I wished I had known about, copies were being sold on places like Ebay for upwards of seventy dollars as demand skyrocketed over supply.
As Schwarzenbach went on to form Jets to Brazil (Jade Tree) and Bauermeister went to graduate school, Pfahler after some time founded Blackball Records. The first two releases was Jawbreaker's final show in San Francisco entitled 4/30/96 and a compilation of rare material entitled Etc. Since, DGC was not about re-release it, Pfahler through some serious legal wrangling final scored the rights. And now the hot commodity Dear You is presented for your listening. Besides the thirteen original tracks, the re-release includes five extra songs "Shirt," "Into You Like a Train," "Sister," "Friendly Fire" and "Boxcar." Pfahler has also included some awesome pictures in the booklet to accompany the songs. My favorite is a letter from the Oyster Bay (NY) Historical Society - oh, the Long Island connections run deep - requesting information on the song "Oyster" as they are compiling a list of music with word 'oyster' in the title. Now that is the kind of mail that I wished I received. One with Kurt Cobain wearing a Jawbreaker is another favorite. Finally, there is an enhanced portion with the video for "Fireman."
Look there is no point in actually specifically reviewing the music contained here. The tracks are all a stunning musically and lyrically dense affair that really is requisite listening. I personally am not a fan of "Oyster" and "Jet Black" (though I love the Annie Hall quote), but I still prefer the two over most other music. For many this reissue is a means to finally buy their own copy and to score several other Jawbreaker songs - songs that smoke.
At the end of the day, I'm sure my friend still hates Dear You and wishes it never came out - and others still have similar hostile feelings for it. For those who didn't get sucked into the spectacle originally surrounding the record, there is no reason not to own this. Since a Jawbreaker reunion is not in the cards for the near future, check out Schwarzenbach still keeping the faith in Jets to Brazil. However, never say never as evidenced by the Pixies reunion.
Wednesday, November 19, 2008
John Frusciante - Shadows Collide With People
John Frusciante
Shadows Collide With People
Warner Brothers
Grade: A-
WOW. Up-front, I'm a fan.
I first bought Niadra LaDes & Usually Just a T-shirt, John's first album, in college on a whim. I had heard it was a must own album of epic proportions...It throughly blew my mind. It sounds like a heroin addict locked in a house recording this thoughts into freaky acoustic song form...and well...it pretty much was just that. Flash forward a few years and John re-joins the Red Hot Chilli Peppers. They release an album of finely crafted tunes, devoid of most all of the aggro bad boy rapisms that most everyone had grown out of (you hear me Fred Durst!). It wasn't too hard to figure out that with John back in RHCP his song writing and vocal harmonies brought life back into his former band. After Smile From the Streets You Hold, John released To Record Water For Only Ten Days. One can safely assume that now having kicked the "horse" John was free to write more "song" oriented...songs. To Record Water... was an impressive piece of Depeche Mode tinged acoustic goodness. Next, another RHCP album that yet again made the Peppers an even MORE melodic band with John all over the album....
Which brings us to Shadows Collide with People as damn near the best album I've heard in years. 18 tracks of the best rock in ages. Frusciante has really come into his own. The songs have layers and layers of beautiful vocals and perfectly found keyboards. This album is just amazingly good. Frusciante finds new ways to sing notes in an order that you never thought of until that moment. The album is peppered (ha!) with appearances from fellow band mates and friends, but make no mistake this album is ALL John. Not only does John play some of the meanest, most unique sounding guitar riffs, he has crafted the most listenable yet original album in recent memory. You can't call yourself a music fan and not own this album. Nuff said - go get it!
Shadows Collide With People
Warner Brothers
Grade: A-
WOW. Up-front, I'm a fan.
I first bought Niadra LaDes & Usually Just a T-shirt, John's first album, in college on a whim. I had heard it was a must own album of epic proportions...It throughly blew my mind. It sounds like a heroin addict locked in a house recording this thoughts into freaky acoustic song form...and well...it pretty much was just that. Flash forward a few years and John re-joins the Red Hot Chilli Peppers. They release an album of finely crafted tunes, devoid of most all of the aggro bad boy rapisms that most everyone had grown out of (you hear me Fred Durst!). It wasn't too hard to figure out that with John back in RHCP his song writing and vocal harmonies brought life back into his former band. After Smile From the Streets You Hold, John released To Record Water For Only Ten Days. One can safely assume that now having kicked the "horse" John was free to write more "song" oriented...songs. To Record Water... was an impressive piece of Depeche Mode tinged acoustic goodness. Next, another RHCP album that yet again made the Peppers an even MORE melodic band with John all over the album....
Which brings us to Shadows Collide with People as damn near the best album I've heard in years. 18 tracks of the best rock in ages. Frusciante has really come into his own. The songs have layers and layers of beautiful vocals and perfectly found keyboards. This album is just amazingly good. Frusciante finds new ways to sing notes in an order that you never thought of until that moment. The album is peppered (ha!) with appearances from fellow band mates and friends, but make no mistake this album is ALL John. Not only does John play some of the meanest, most unique sounding guitar riffs, he has crafted the most listenable yet original album in recent memory. You can't call yourself a music fan and not own this album. Nuff said - go get it!
Tuesday, November 18, 2008
Atom and His Package - Hair: Debatable
Atom and His Package
Hair: Debatable
Hopeless Records
Grade: A
My first full-scale introduction to Atom and his Package came during the ascension of Napster. On a whim, after non-stop talking about Atom and his Package from various sorts, I did the illegal and downloaded "Pumping Iron for Enya." That one song, I still think one of his best, made me a big time fan. One of my crazy friends saw Atom open for someone in NYC in the late nineties and told of this insane guy who is a solo act. After hearing more of Atom's stuff I finally connected the two.
So who is Atom and his Package? Atom is Adam Goren - a self-referencing Jew from Philadelphia who rocks out like closest case rock star. "His Package" is an electro-box that Atom programs in drums, guitars, keys, blips, sounds, etc. He then sings and sometimes plays guitar to the package. Getting the timing right live with one of those things takes some real skill, simply because if you screw up the timing a tiny bit your just fucked. His sound would be best described as quirky comedic electro-punk - not like the Rapture or something over-the-top like that. He mixes that with an underlying allegiance to lame 80s synth pop. His songs all average around two minutes often containing some of the funniest lyrics you have ever heard - though he maintains he is horrible at and hates writing lyrics. This may partially be a function of the song subjects - from a punk rock high school to a girlfriend who only is a head to hanging out with the Ghetto Boys on Halloween. In addition, almost every song as one section that absolutely rocks your balls off. The song maybe marginal then all of a sudden he drops like the best sound on a chorus and it takes off.
Atom has been doing this deal since around 1995 for shits and giggles - or more specifically a way to play and write music without the hassle of having to deal with band members and all the separate issues. In previous endeavors he found himself doing almost everything anyway, so why not go solo. This decision helped add a completely different sound and voice to the punk genre.
Between four full-lengths and assorted other releases on labels like Hopeless and No Idea, he has create quite a large catalog of songs. His best are chronicled on this live CD/DVD of his last show ever in Philadelphia on August 29, 2003 at church that was hot as balls. Why was it his last show? A succinct of saying why it is because of life circumstances. The long way is that his wife is pregnant and he has been diagnosed with diabetes. Hence, he needs to find a steady job with full health coverage. The show was with the similar minded the Zambonis, Excelsior and This Radiant Boy. The twenty-five songs played at this show include almost ever thing you would want him to do from all of his material. This includes such classics as "…the Metric System," the aforementioned "Pumping Iron for Enya," "Mind's Playing Tricks on Me," "What we do on Christmas," "Avenger" and "Punk Rock Academy." I couldn't think of anything else I would have wanted him to do except the "Break Down the Walls" cover where he does the Cookie Monster voice. As is explained in the linear notes, Atom was going to use a digital recorder to record the show, but it failed to work before he went on. So, the sound guy mixed the show on the spot and there is less immediate precision, but it quickly gets good - not that it ever sounds bad. Honestly, and I think this partially due to package knocking out all of the sounds from one central place, this is phenomenal live recording. Also, Atom live vocals strictly mirror the recorded in a very sharp way.
Though the over-an-hour live CD rocks, the full magic comes on the accompanying DVD. Unlike the growing trend to include the most tangential material on an enhanced CD or a short DVD, this is some great stuff. The DVD includes the entire show shot on digital video by like five cameras set up around the stage. But what makes this one of the best recorded live performances is that it is all in the now and the immediate. For instance, often when you watch recorded shows they have these long shots that make the show look so insignificant and boring - which it may be. Here, one of the cameras is set up the on the mic stand which gives a great perspective when Atom is playing guitar and at the stationary mic. It also helps overwhelmingly that Atom gets totally into it and everyone there knows all the little ins and outs of all the songs. Among the few additions or changes that I wished for was that Atom would play some death metal axe riffs on "Me and My Black Metal Friends." The finale "Punk Rock Academy" is something special that instills the requisite chills.
Besides from the extraordinary live recording, the DVD includes a twenty-minute documentary on the pre-last show and what led up do it by Benni Berman. This also includes brief interviews with Atom's wife Jenn Schumow Goren, roommate Brian Sokel and sister Aliza Rabinowitz. There is an older shorter documentary by Katie Akana and some odd 'Philly Music Profile' that is sort of 'who is Atom and his Package.' Though the sound is well off, the DVD also includes Atom doing "Goalie" with the Zambonis and then they bash a piñata of Atom's head. Finally, the video for "Undercover Funny" is included with all the pseudo-Muppets made for free by Keith Scofield. Atom tells the story of how it was made in the linear notes when he went down to NYU to meet Scofield where Atom lip synched the song several times in front of a green screen - which as he denotes accounts for some of the sheer awkwardness. Then Scofield added in all the assuming computer graphics.
At the end of the day, this is a must have for fans, either now or at anytime, of Atom and his Package. The amount of awesomeness is immeasurable and it is hard to think of a day going bye with not watching or listening to it. Yet how long Atom is actually out of the game appears not to be too extensive. He has been playing in a band with some friends called Armalite and continues to pen solo numbers. I would suspect with all that is happening in the world, we will see an emergence of hot new material from Atom and his Package in the next few years.
Hair: Debatable
Hopeless Records
Grade: A
My first full-scale introduction to Atom and his Package came during the ascension of Napster. On a whim, after non-stop talking about Atom and his Package from various sorts, I did the illegal and downloaded "Pumping Iron for Enya." That one song, I still think one of his best, made me a big time fan. One of my crazy friends saw Atom open for someone in NYC in the late nineties and told of this insane guy who is a solo act. After hearing more of Atom's stuff I finally connected the two.
So who is Atom and his Package? Atom is Adam Goren - a self-referencing Jew from Philadelphia who rocks out like closest case rock star. "His Package" is an electro-box that Atom programs in drums, guitars, keys, blips, sounds, etc. He then sings and sometimes plays guitar to the package. Getting the timing right live with one of those things takes some real skill, simply because if you screw up the timing a tiny bit your just fucked. His sound would be best described as quirky comedic electro-punk - not like the Rapture or something over-the-top like that. He mixes that with an underlying allegiance to lame 80s synth pop. His songs all average around two minutes often containing some of the funniest lyrics you have ever heard - though he maintains he is horrible at and hates writing lyrics. This may partially be a function of the song subjects - from a punk rock high school to a girlfriend who only is a head to hanging out with the Ghetto Boys on Halloween. In addition, almost every song as one section that absolutely rocks your balls off. The song maybe marginal then all of a sudden he drops like the best sound on a chorus and it takes off.
Atom has been doing this deal since around 1995 for shits and giggles - or more specifically a way to play and write music without the hassle of having to deal with band members and all the separate issues. In previous endeavors he found himself doing almost everything anyway, so why not go solo. This decision helped add a completely different sound and voice to the punk genre.
Between four full-lengths and assorted other releases on labels like Hopeless and No Idea, he has create quite a large catalog of songs. His best are chronicled on this live CD/DVD of his last show ever in Philadelphia on August 29, 2003 at church that was hot as balls. Why was it his last show? A succinct of saying why it is because of life circumstances. The long way is that his wife is pregnant and he has been diagnosed with diabetes. Hence, he needs to find a steady job with full health coverage. The show was with the similar minded the Zambonis, Excelsior and This Radiant Boy. The twenty-five songs played at this show include almost ever thing you would want him to do from all of his material. This includes such classics as "…the Metric System," the aforementioned "Pumping Iron for Enya," "Mind's Playing Tricks on Me," "What we do on Christmas," "Avenger" and "Punk Rock Academy." I couldn't think of anything else I would have wanted him to do except the "Break Down the Walls" cover where he does the Cookie Monster voice. As is explained in the linear notes, Atom was going to use a digital recorder to record the show, but it failed to work before he went on. So, the sound guy mixed the show on the spot and there is less immediate precision, but it quickly gets good - not that it ever sounds bad. Honestly, and I think this partially due to package knocking out all of the sounds from one central place, this is phenomenal live recording. Also, Atom live vocals strictly mirror the recorded in a very sharp way.
Though the over-an-hour live CD rocks, the full magic comes on the accompanying DVD. Unlike the growing trend to include the most tangential material on an enhanced CD or a short DVD, this is some great stuff. The DVD includes the entire show shot on digital video by like five cameras set up around the stage. But what makes this one of the best recorded live performances is that it is all in the now and the immediate. For instance, often when you watch recorded shows they have these long shots that make the show look so insignificant and boring - which it may be. Here, one of the cameras is set up the on the mic stand which gives a great perspective when Atom is playing guitar and at the stationary mic. It also helps overwhelmingly that Atom gets totally into it and everyone there knows all the little ins and outs of all the songs. Among the few additions or changes that I wished for was that Atom would play some death metal axe riffs on "Me and My Black Metal Friends." The finale "Punk Rock Academy" is something special that instills the requisite chills.
Besides from the extraordinary live recording, the DVD includes a twenty-minute documentary on the pre-last show and what led up do it by Benni Berman. This also includes brief interviews with Atom's wife Jenn Schumow Goren, roommate Brian Sokel and sister Aliza Rabinowitz. There is an older shorter documentary by Katie Akana and some odd 'Philly Music Profile' that is sort of 'who is Atom and his Package.' Though the sound is well off, the DVD also includes Atom doing "Goalie" with the Zambonis and then they bash a piñata of Atom's head. Finally, the video for "Undercover Funny" is included with all the pseudo-Muppets made for free by Keith Scofield. Atom tells the story of how it was made in the linear notes when he went down to NYU to meet Scofield where Atom lip synched the song several times in front of a green screen - which as he denotes accounts for some of the sheer awkwardness. Then Scofield added in all the assuming computer graphics.
At the end of the day, this is a must have for fans, either now or at anytime, of Atom and his Package. The amount of awesomeness is immeasurable and it is hard to think of a day going bye with not watching or listening to it. Yet how long Atom is actually out of the game appears not to be too extensive. He has been playing in a band with some friends called Armalite and continues to pen solo numbers. I would suspect with all that is happening in the world, we will see an emergence of hot new material from Atom and his Package in the next few years.
Monday, November 17, 2008
Sondre Lerche - Two Way Monologue
Sondre Lerche
Two Way Monologue
Astralwerks
Grade: A-/A
During the past two years all I've heard is Sondre Lerche this and Sondre Lerche that. Rolling Stone had orgasms over his first record Faces Down naming it one of the year's best. So who, what and where is Sondre Lerche? For one, he is your new favorite artist.
Lerche comes from the frozen tundra of Bergen, Norway, is barely into his twenties and is the rebirth of solo artist melodic acoustic folk-rock. Lerche was signed to Virgin Norway before he was out of school, allowing him to offer several EP's for the Norwegian contingent. Recorded a few years ago, but held off the release for a bit so he could finish school, Faces Down smashed the music world and thus opening a path to the fruitful U.S. Lerche was able to do some extensive touring in the U.S. and since then and has built up a critical mass of appreciation. Instead of getting sucked into the NYC/LA recording prowess (umm, Conor Oberst), Lerche recorded Two Way Monologue in his hometown of Bergen with HP Gundersen and Jorgen Traeen (note:imagine that name with Norwegian emphases). The product is a phenomenal piece of craftmanship that will likely ring up further endorsements.
Besides from the dominant poppy folk-rock core, Lerche enjoys molesting influences from past masters of melodic rock including Burt Bacharach, Elvis Costello, good Cardigans, the Beach Boys and later day Beatles. With a plethora of instrumentation including a full array of strings, horns, electronics and keys, Two Way Monologue is certainly the rebirth of Bacharach (e.g., "Days That Are Over"). Though a jaded listener may accuse Lerche of cribbing too much material from the masters, he does it in such a refreshing and integrated way that he has made it his own.
Two Way Monologue starts with a minute-and-a-half instrumental dominated by strings to open the affair. "Track You Down" echoes some serious Beatles with Lerche massaging his vocals and coaxing the acoustic guitar for the full band entrance. When the simple drum beat comes in it adds another layer for sweetness, setting up the dreamy chorus. "On the Tower" is more straight-up pop lounge with a guitar following Lerche singing and heavenly pings about half-way through. Following a more dirty acoustic recording, the title track begins in a plain manner before crescendoing on the chorus and organ to bring you back to the verse. As noted above, "Days That Are Over" seriously sounds like an ode to Bacharach and I envision Lerche singing the song in a lounge in a Las Vegas casino with a sexy red velvet outfit. Oh, the possibilities for a video off this song are endless. "Wet Ground" reminds me of some Christmas carol for a new generation as Lerche allows his vocals to edge on the raspy and some warm melodic vocal overdubs and backup. Back to the folk-rock, "Counter Spark" issues a standard Lerche song with a little strangeness from high octave organ and some ‘bah, ba-ba-bahs' for good measure. "It's Over" starts moderately creepy with Lerche's vocals doubling in each speaker as piano and strings accompany him. As probably the peppiest intro and one of the best tracks, "Stupid Memory" just trances along with simple drums, picking acoustic guitars but then an uber-catchy electronic riff comes in to grab your memory. (There was some electro-group from Scandinavia who had a song that was about with a similar sound and it captured my interest for probably longer than natural.) The addition of steel guitar and female backup vocals only adds to the mesmerization. "It's Too Late" dances around the dial paralleling some Beatles, while "It's Our Job" swings in like a lazy daydream. What makes "It's Our Job" entrancing is the simple guitar riff paralleling Lerche's vocals - I could listen to this song and "Stupid Memory" on repeat for significant amounts of time. The record closes on the mellow, mid-tempo "Maybe You're Gone" with Lerche and guitar pushing the Beatles envelope before he utilizes the full onslaught of strings, accordion, etc.
Two Way Monologue is clearly one of the best records to come out so far in 2004 and will likely maintain that status for the upcoming months. Though Lerche will probably dominant the college charts, you should look for him lingering on the billboard. I think that if he and Astralwerks(/Virgin Norway) decide to do a video for "Days That Are Over" in the manner suggested above there would be no end to the record's chart trouncing. I do find a perplexing relationship between Sondre Lerche and Conor Oberst's work in Bright Eyes. It is almost as if they are playing with the same coin but different sides. A tour between the two, though, may cause a tsunami of excitement, not unlike the fat captain of the Mexican cliff-diving team doing a plunge from ninety feet up - oh happy day.
Two Way Monologue
Astralwerks
Grade: A-/A
During the past two years all I've heard is Sondre Lerche this and Sondre Lerche that. Rolling Stone had orgasms over his first record Faces Down naming it one of the year's best. So who, what and where is Sondre Lerche? For one, he is your new favorite artist.
Lerche comes from the frozen tundra of Bergen, Norway, is barely into his twenties and is the rebirth of solo artist melodic acoustic folk-rock. Lerche was signed to Virgin Norway before he was out of school, allowing him to offer several EP's for the Norwegian contingent. Recorded a few years ago, but held off the release for a bit so he could finish school, Faces Down smashed the music world and thus opening a path to the fruitful U.S. Lerche was able to do some extensive touring in the U.S. and since then and has built up a critical mass of appreciation. Instead of getting sucked into the NYC/LA recording prowess (umm, Conor Oberst), Lerche recorded Two Way Monologue in his hometown of Bergen with HP Gundersen and Jorgen Traeen (note:imagine that name with Norwegian emphases). The product is a phenomenal piece of craftmanship that will likely ring up further endorsements.
Besides from the dominant poppy folk-rock core, Lerche enjoys molesting influences from past masters of melodic rock including Burt Bacharach, Elvis Costello, good Cardigans, the Beach Boys and later day Beatles. With a plethora of instrumentation including a full array of strings, horns, electronics and keys, Two Way Monologue is certainly the rebirth of Bacharach (e.g., "Days That Are Over"). Though a jaded listener may accuse Lerche of cribbing too much material from the masters, he does it in such a refreshing and integrated way that he has made it his own.
Two Way Monologue starts with a minute-and-a-half instrumental dominated by strings to open the affair. "Track You Down" echoes some serious Beatles with Lerche massaging his vocals and coaxing the acoustic guitar for the full band entrance. When the simple drum beat comes in it adds another layer for sweetness, setting up the dreamy chorus. "On the Tower" is more straight-up pop lounge with a guitar following Lerche singing and heavenly pings about half-way through. Following a more dirty acoustic recording, the title track begins in a plain manner before crescendoing on the chorus and organ to bring you back to the verse. As noted above, "Days That Are Over" seriously sounds like an ode to Bacharach and I envision Lerche singing the song in a lounge in a Las Vegas casino with a sexy red velvet outfit. Oh, the possibilities for a video off this song are endless. "Wet Ground" reminds me of some Christmas carol for a new generation as Lerche allows his vocals to edge on the raspy and some warm melodic vocal overdubs and backup. Back to the folk-rock, "Counter Spark" issues a standard Lerche song with a little strangeness from high octave organ and some ‘bah, ba-ba-bahs' for good measure. "It's Over" starts moderately creepy with Lerche's vocals doubling in each speaker as piano and strings accompany him. As probably the peppiest intro and one of the best tracks, "Stupid Memory" just trances along with simple drums, picking acoustic guitars but then an uber-catchy electronic riff comes in to grab your memory. (There was some electro-group from Scandinavia who had a song that was about with a similar sound and it captured my interest for probably longer than natural.) The addition of steel guitar and female backup vocals only adds to the mesmerization. "It's Too Late" dances around the dial paralleling some Beatles, while "It's Our Job" swings in like a lazy daydream. What makes "It's Our Job" entrancing is the simple guitar riff paralleling Lerche's vocals - I could listen to this song and "Stupid Memory" on repeat for significant amounts of time. The record closes on the mellow, mid-tempo "Maybe You're Gone" with Lerche and guitar pushing the Beatles envelope before he utilizes the full onslaught of strings, accordion, etc.
Two Way Monologue is clearly one of the best records to come out so far in 2004 and will likely maintain that status for the upcoming months. Though Lerche will probably dominant the college charts, you should look for him lingering on the billboard. I think that if he and Astralwerks(/Virgin Norway) decide to do a video for "Days That Are Over" in the manner suggested above there would be no end to the record's chart trouncing. I do find a perplexing relationship between Sondre Lerche and Conor Oberst's work in Bright Eyes. It is almost as if they are playing with the same coin but different sides. A tour between the two, though, may cause a tsunami of excitement, not unlike the fat captain of the Mexican cliff-diving team doing a plunge from ninety feet up - oh happy day.
Friday, November 14, 2008
V/A - Rock Against Bush Vol. 1
V/A
Rock Against Bush Vol. 1
Fat Wreck Chords
Grade: A-
Besides from NOFX's recent full-length Franco Un-American, this is Fat Mike's and punkvoter.com's first musical onslaught against Bush. While punkvoter.com started out as a semi-serious site with good intentions, the revised version is straight up professional and the mockery comes mostly second-handed through posted cartoons and the punkvoter merch (e.g, "Not my president" shirts). Along with the twenty-six tracks from some of the best punk bands, and actually an eclectic group, the booklet has some rants. This includes an encompassing forty reasons to hate Bush where they annoyingly keep referring to W as Bush Jr. which isn't correct. While it is true that W was able to fool people with the name to win his first governorship of Texas - that is some people thought they were voting for the elder Bush - the present president is George Walker Bush and the father is George Herbert Walker Bush. It might not matter much to you, but to a political scientist that distinction is important - that is why everyone calls him Dubya and not Junior. While there are no bad songs here, it is probably just worth mentioning the previously unreleased material. This includes Sum 41's "Moron" that sounds suspiciously like Fat Mike on the mic; Alkaline Trio's "Warbrain;" Anti-Flag's "School of Assassins" about the School of the Americas; "Lion and Lamb" by the Get Up Kids; Ministry's "No W" which uses quotes from Bush, not unlike the quotes from their "New World Order;" a reinvigorated The World/Inferno Friendship Society on "The Expatriate Act;" a better than expected New Found Glory song "No News Is Good News;" NOFX's "Jaw, Knee, Music" and Less than Jake featuring Billy Bragg on "The Brightest Bulb Has Burned Out." There is a DVD second disc with all sorts of stuff including a documentary previews, videos and anti-bush ads. The videos come from a stunning Anti-Flag, Bad Religion, Strike Anywhere and still amazing "Franco Un-American" by NOFX. The Anti-Flag video for "Turncoat" has hooked me completely and I have watched it like a million times. The smattering of ads are good on the whole with the first two on the deficit and kids running for president as highlights. David Cross provides a comedy stint down in Bush's heartland of Texas in 2002. As you might suspect the documentaries are some fairly serious shit done in strong and professional manner. In regards to whether you should buy this, if you don't then you are a Toby Keith fan - enough said.
Rock Against Bush Vol. 1
Fat Wreck Chords
Grade: A-
Besides from NOFX's recent full-length Franco Un-American, this is Fat Mike's and punkvoter.com's first musical onslaught against Bush. While punkvoter.com started out as a semi-serious site with good intentions, the revised version is straight up professional and the mockery comes mostly second-handed through posted cartoons and the punkvoter merch (e.g, "Not my president" shirts). Along with the twenty-six tracks from some of the best punk bands, and actually an eclectic group, the booklet has some rants. This includes an encompassing forty reasons to hate Bush where they annoyingly keep referring to W as Bush Jr. which isn't correct. While it is true that W was able to fool people with the name to win his first governorship of Texas - that is some people thought they were voting for the elder Bush - the present president is George Walker Bush and the father is George Herbert Walker Bush. It might not matter much to you, but to a political scientist that distinction is important - that is why everyone calls him Dubya and not Junior. While there are no bad songs here, it is probably just worth mentioning the previously unreleased material. This includes Sum 41's "Moron" that sounds suspiciously like Fat Mike on the mic; Alkaline Trio's "Warbrain;" Anti-Flag's "School of Assassins" about the School of the Americas; "Lion and Lamb" by the Get Up Kids; Ministry's "No W" which uses quotes from Bush, not unlike the quotes from their "New World Order;" a reinvigorated The World/Inferno Friendship Society on "The Expatriate Act;" a better than expected New Found Glory song "No News Is Good News;" NOFX's "Jaw, Knee, Music" and Less than Jake featuring Billy Bragg on "The Brightest Bulb Has Burned Out." There is a DVD second disc with all sorts of stuff including a documentary previews, videos and anti-bush ads. The videos come from a stunning Anti-Flag, Bad Religion, Strike Anywhere and still amazing "Franco Un-American" by NOFX. The Anti-Flag video for "Turncoat" has hooked me completely and I have watched it like a million times. The smattering of ads are good on the whole with the first two on the deficit and kids running for president as highlights. David Cross provides a comedy stint down in Bush's heartland of Texas in 2002. As you might suspect the documentaries are some fairly serious shit done in strong and professional manner. In regards to whether you should buy this, if you don't then you are a Toby Keith fan - enough said.
Thursday, November 13, 2008
The Futureheads - This Is Not the World
The Futureheads
This is Not the World
Nul Records
Grade: A-
There is probably little that I can tell you about these indie hipsters that you haven’t heard already. And so, let me reiterate that the Futureheads are much more than just another hyped young dance punk band that has little substance. Any band that can create songs that have as much melody, catchiness, and joy as This is Not the World deserve more recognition than pure skepticism. With that in mind, continue to check out brilliant opener “The Beginning of the Twist,” “Walking Backwards,” “Think Tonight,” “Radio Heart,” “Work is Never Done,” the super quick “Broke Up the Time,” and “Everything’s Changing Today.” Good times.
This is Not the World
Nul Records
Grade: A-
There is probably little that I can tell you about these indie hipsters that you haven’t heard already. And so, let me reiterate that the Futureheads are much more than just another hyped young dance punk band that has little substance. Any band that can create songs that have as much melody, catchiness, and joy as This is Not the World deserve more recognition than pure skepticism. With that in mind, continue to check out brilliant opener “The Beginning of the Twist,” “Walking Backwards,” “Think Tonight,” “Radio Heart,” “Work is Never Done,” the super quick “Broke Up the Time,” and “Everything’s Changing Today.” Good times.
Wednesday, November 12, 2008
Peasant - On the Ground
Peasant
On the Ground
Paper Garden Records
Grade: A-/A
For reasons of pure difficulty, it took me a very long time to write this review of On the Ground by Peasant. It is not difficulty based on how terrible the thirteen songs are, but instead how I was going to be able to provide an adequate description and praise that an album of such quality as On the Ground truly deserves. See, Peasant is one Damien DeRose and he pens songs that channel a more-content Elliott Smith and like-minded acoustic-based indie hipsters that you would hear in a Zach Braff film. Most musicians who try to go the route of slow, quiet acoustic ramblers fall flat on their faces with songs that make you cringe instead of standing up and getting chills up your spine. DeRose is one of those who can give you massive goosebumps with only a guitar and a voice – electricity not needed. Of course, there are stand out songs on On the Ground, but you are best off just putting in the record and letting it spin into your heart. Peasant is truly a great source of music.
On the Ground
Paper Garden Records
Grade: A-/A
For reasons of pure difficulty, it took me a very long time to write this review of On the Ground by Peasant. It is not difficulty based on how terrible the thirteen songs are, but instead how I was going to be able to provide an adequate description and praise that an album of such quality as On the Ground truly deserves. See, Peasant is one Damien DeRose and he pens songs that channel a more-content Elliott Smith and like-minded acoustic-based indie hipsters that you would hear in a Zach Braff film. Most musicians who try to go the route of slow, quiet acoustic ramblers fall flat on their faces with songs that make you cringe instead of standing up and getting chills up your spine. DeRose is one of those who can give you massive goosebumps with only a guitar and a voice – electricity not needed. Of course, there are stand out songs on On the Ground, but you are best off just putting in the record and letting it spin into your heart. Peasant is truly a great source of music.
Tuesday, November 11, 2008
Rise Against - Appeal to Reason
Rise Against
Appeal to Reason
DGC/Interscope
Grade: A-
As part of the swath of punk bands to sign with major labels during the mid-00s, Chicago’s Rise Against, like Against Me!, is constantly under strict-scrutiny by punk fans to measure how they veered toward pop commercial schmaltzy crap. Yet, on the band’s third major label record, Appeal to Reason, Rise Against keep the aggression and punk tight and edgy, sounding like the modern incarnation of a Midwestern Bad Religion.
Using noted punk producers they worked with before and heading to the Air Force-infused locale of Fort Collins, CO, to record Rise Against squarely reinsures their place among the top current punk bands. As a likely combination of the political environment, particularly foreign policy and the wars, much of the material on the thirteen-track Appeal to Reason is political and social in nature. And that’s only the songs that made the record. In a different norm than usual, the band wrote a truckload of songs in studio and picked among the best for the record; instead of developing only a set number tracks known exactly to fit the record. The song that mostly directly makes this connection is the acoustic “Hero of War,” which can be painfully awkward if not in the right state of acceptance.
Most folks aren’t going to hit up “Hero of War” as the go-to-track on Appeal to Reason. Instead, you are immediately bombarded by the hard-hitting Bad Religion-infused “Collapse (Post-Amerika),” which pumps up your heart beat and readies you for the rest. “Long Forgotten Sons” utilizes a more broken-down approach that only builds up on the choruses, while “Re-Education (Through Labor)” serves as the album’s first single. The song contains the requisite sections of choruses, verses, and melody, but for my money I would have unleashed the hell-bender “The Dirt Whispered” as the first single from Appeal to Reason. “The Dirt Whispered” has a more indie and favorite local band sound to it; one that sticks in your ears, choruses that you sing loud, and when Rise Against breaks it down it soars in awesomeness. “Kotov Syndrome” pushes forth in standard form, but is saved by a phenomenal guitar breakdown two minutes in and an unique closing that makes you hit repeat. Taken together “The Dirt Whispered” and “Kotov Syndrome” makes the record great. “From Heads Unworthy” and “The Strength To Go On” pale comparison, while “Audience of One” redeems the album with a solid, melodic chorus. The following “Entertainment” isn’t so much and “Savior” begins as if Rise Against are channeling for Chicagoans Alkaline Trio. Appeal to Reason closes on the similar “Hairline Fracture” and “Whereabouts Unknown” – two hard-hitting though not necessarily special songs.
Rise Against maintains their status as one of the best in the business with Appeal to Reason. Again, look to “The Dirt Whispered” and “Kotov Syndrome” to take the album to the next level.
Appeal to Reason
DGC/Interscope
Grade: A-
As part of the swath of punk bands to sign with major labels during the mid-00s, Chicago’s Rise Against, like Against Me!, is constantly under strict-scrutiny by punk fans to measure how they veered toward pop commercial schmaltzy crap. Yet, on the band’s third major label record, Appeal to Reason, Rise Against keep the aggression and punk tight and edgy, sounding like the modern incarnation of a Midwestern Bad Religion.
Using noted punk producers they worked with before and heading to the Air Force-infused locale of Fort Collins, CO, to record Rise Against squarely reinsures their place among the top current punk bands. As a likely combination of the political environment, particularly foreign policy and the wars, much of the material on the thirteen-track Appeal to Reason is political and social in nature. And that’s only the songs that made the record. In a different norm than usual, the band wrote a truckload of songs in studio and picked among the best for the record; instead of developing only a set number tracks known exactly to fit the record. The song that mostly directly makes this connection is the acoustic “Hero of War,” which can be painfully awkward if not in the right state of acceptance.
Most folks aren’t going to hit up “Hero of War” as the go-to-track on Appeal to Reason. Instead, you are immediately bombarded by the hard-hitting Bad Religion-infused “Collapse (Post-Amerika),” which pumps up your heart beat and readies you for the rest. “Long Forgotten Sons” utilizes a more broken-down approach that only builds up on the choruses, while “Re-Education (Through Labor)” serves as the album’s first single. The song contains the requisite sections of choruses, verses, and melody, but for my money I would have unleashed the hell-bender “The Dirt Whispered” as the first single from Appeal to Reason. “The Dirt Whispered” has a more indie and favorite local band sound to it; one that sticks in your ears, choruses that you sing loud, and when Rise Against breaks it down it soars in awesomeness. “Kotov Syndrome” pushes forth in standard form, but is saved by a phenomenal guitar breakdown two minutes in and an unique closing that makes you hit repeat. Taken together “The Dirt Whispered” and “Kotov Syndrome” makes the record great. “From Heads Unworthy” and “The Strength To Go On” pale comparison, while “Audience of One” redeems the album with a solid, melodic chorus. The following “Entertainment” isn’t so much and “Savior” begins as if Rise Against are channeling for Chicagoans Alkaline Trio. Appeal to Reason closes on the similar “Hairline Fracture” and “Whereabouts Unknown” – two hard-hitting though not necessarily special songs.
Rise Against maintains their status as one of the best in the business with Appeal to Reason. Again, look to “The Dirt Whispered” and “Kotov Syndrome” to take the album to the next level.
Monday, November 10, 2008
Private Lessons - False Alarms
Private Lessons
False Alarms
No No Records
Grade: A-
After starting with a non-descript instrumental intro track, the two-piece attack on "False Alarms" with robot voices and electro-clash indie rock. As the first release on upstart No No Records, False Alarms is sizzling. Private Lessons consists of Jesse Atchison and Darren Tablan, who were both previously in the new-wave Floraline, along with a drizzle of instruments. In some respects Private Lessons is like the stepchild of electro-kings Postal Service, but less polished and more eccentric. With electric drum beats, keys, blip-blips, guitars and random ambient sounds, the sixteen tracks bring you a little bit of everything from this world. Hence, there is a new wave element but less brazenly obvious. I guess having previous experience in this sound has helped Private Lessons to push the structure and not just rely on the formulaic. I'm somewhat surprised how well Atchison and Tablan's vocals sync together in melody so effectively. "Beach Blankets" is a long drawn out whimsical affair, while "Vacationers" is a hip dance punk number that is pure club material. In fact, "Vacationers" may be the best song on the record with a compelling underlying keyboard riff. "Good Life" has a more of a compelling rock feel with sweet harmonies. With a tremendous opening riff, "White Lines" only builds and builds the greatness. The record closes out with guest vocals on the exceptional "Untitled 1" by Robbin Wright and the pure new wave instrumental "Untitled 2." If nothing else I could see this record getting some seriously play on college radio, if not some love in the clubs.
False Alarms
No No Records
Grade: A-
After starting with a non-descript instrumental intro track, the two-piece attack on "False Alarms" with robot voices and electro-clash indie rock. As the first release on upstart No No Records, False Alarms is sizzling. Private Lessons consists of Jesse Atchison and Darren Tablan, who were both previously in the new-wave Floraline, along with a drizzle of instruments. In some respects Private Lessons is like the stepchild of electro-kings Postal Service, but less polished and more eccentric. With electric drum beats, keys, blip-blips, guitars and random ambient sounds, the sixteen tracks bring you a little bit of everything from this world. Hence, there is a new wave element but less brazenly obvious. I guess having previous experience in this sound has helped Private Lessons to push the structure and not just rely on the formulaic. I'm somewhat surprised how well Atchison and Tablan's vocals sync together in melody so effectively. "Beach Blankets" is a long drawn out whimsical affair, while "Vacationers" is a hip dance punk number that is pure club material. In fact, "Vacationers" may be the best song on the record with a compelling underlying keyboard riff. "Good Life" has a more of a compelling rock feel with sweet harmonies. With a tremendous opening riff, "White Lines" only builds and builds the greatness. The record closes out with guest vocals on the exceptional "Untitled 1" by Robbin Wright and the pure new wave instrumental "Untitled 2." If nothing else I could see this record getting some seriously play on college radio, if not some love in the clubs.
Friday, November 7, 2008
Onelinedrawing - The Volunteers
Onelinedrawing
The Volunteers
Jade Tree Records
Grade: A-
Starting off like the latest from Mr. Bungle, as vocals reminisce of strange 50s sci-fi, Jonah Matranga's Onelinedrawing unleashes his second full-length for Jade Tree. Many people are probably more familiar with Matranga's previous endeavor in the mid to late-90s band Far - though those numbers may be dwindling given the newer generation. After the band's dissolution following two major label releases, Matranga began twiddling his fingers on his own. Self-releasing four EPs of quiet home recordings, Matranga toured like a mutha-fo in a similar manner to the voyage of Atom and His Package. After Far, Matranga formed the New End Original which released a strong Jade Tree record, but as he puts it the group was essentially a full band version of Onelinedrawing. So New End broke up, but Jade Tree was like you da bomb and agreed to release Onelinedrawing's first full-length. That full-length was last year's Visitor which was still very home done and straight-up challenged your manhood with songs whispered like sweet nothings.
The follow up, The Volunteers, is head-and-shoulders better than Visitor. For starters the recording is top-notch and presents much fuller musical soundscapes across the tracks. As Matranga has mixed up the style, tempo and core of different songs, there is strong diversification and allows people with strongly-held different beliefs on sounds to find something to like. With the help of Ian Love (Rival Schools), Matranga fills rock into songs like "Stay," "Over It" and "We Had a Deal." In fact, on some the more straight up rock songs, the sound is very akin to New End Original material. But Matranga still pledges allegiance to whispers and sweetness on tracks like "Superhero," "As Much To Myself As to You" and "Believer." One of the few faults with the record is that it is front-loaded. "Over It" and "A Ghost" are both phenomenal tracks and will dominant college radio stations for sure. For "Over It," Matranga had the crowd at shows in Connecticut, NYC and New Jersey sing the final chorus and then melded them together with his family doing the same. This makes for a cool folk-explosion party. I can't get the chorus of "A Ghost" out of my head, which is: "of course, a ghost cannot affect this world." (As I'm apt to do I like to substitute my dog's name for "a ghost" and sing it to her.) Besides from the rock tracks mentioned above, these two songs smoke and there is slippage otherwise. If you put the CD in your computer there are demos and alternate takes of the some of the best tracks on the record including "Over It" and "A Ghost."
Onelinedrawing has been on the road this past year with such all-stars as Thursday, Coheed and the Weakerthans. Though I would go check him out solo, any combination with those types of bands is a hot package. For those not familiar with Onelinedrawing if you enjoy "groups" like Dashboard, the Rocket Summer and Bright Eyes, you will surely find solace on this record.
The Volunteers
Jade Tree Records
Grade: A-
Starting off like the latest from Mr. Bungle, as vocals reminisce of strange 50s sci-fi, Jonah Matranga's Onelinedrawing unleashes his second full-length for Jade Tree. Many people are probably more familiar with Matranga's previous endeavor in the mid to late-90s band Far - though those numbers may be dwindling given the newer generation. After the band's dissolution following two major label releases, Matranga began twiddling his fingers on his own. Self-releasing four EPs of quiet home recordings, Matranga toured like a mutha-fo in a similar manner to the voyage of Atom and His Package. After Far, Matranga formed the New End Original which released a strong Jade Tree record, but as he puts it the group was essentially a full band version of Onelinedrawing. So New End broke up, but Jade Tree was like you da bomb and agreed to release Onelinedrawing's first full-length. That full-length was last year's Visitor which was still very home done and straight-up challenged your manhood with songs whispered like sweet nothings.
The follow up, The Volunteers, is head-and-shoulders better than Visitor. For starters the recording is top-notch and presents much fuller musical soundscapes across the tracks. As Matranga has mixed up the style, tempo and core of different songs, there is strong diversification and allows people with strongly-held different beliefs on sounds to find something to like. With the help of Ian Love (Rival Schools), Matranga fills rock into songs like "Stay," "Over It" and "We Had a Deal." In fact, on some the more straight up rock songs, the sound is very akin to New End Original material. But Matranga still pledges allegiance to whispers and sweetness on tracks like "Superhero," "As Much To Myself As to You" and "Believer." One of the few faults with the record is that it is front-loaded. "Over It" and "A Ghost" are both phenomenal tracks and will dominant college radio stations for sure. For "Over It," Matranga had the crowd at shows in Connecticut, NYC and New Jersey sing the final chorus and then melded them together with his family doing the same. This makes for a cool folk-explosion party. I can't get the chorus of "A Ghost" out of my head, which is: "of course, a ghost cannot affect this world." (As I'm apt to do I like to substitute my dog's name for "a ghost" and sing it to her.) Besides from the rock tracks mentioned above, these two songs smoke and there is slippage otherwise. If you put the CD in your computer there are demos and alternate takes of the some of the best tracks on the record including "Over It" and "A Ghost."
Onelinedrawing has been on the road this past year with such all-stars as Thursday, Coheed and the Weakerthans. Though I would go check him out solo, any combination with those types of bands is a hot package. For those not familiar with Onelinedrawing if you enjoy "groups" like Dashboard, the Rocket Summer and Bright Eyes, you will surely find solace on this record.
Thursday, November 6, 2008
Iron & Wine - Our Endless Numbered Days
Iron & Wine
Our Endless Numbered Days
Sub Pop Records
Grade: A-/A
Our Endless Numbered Days has been one of the most secretively anticipated records this spring. It has been more of an expectation of great things to come from this singer-songwriter Sam Beam. In all avenues of music outlets, Beam has been getting tremendous praise for this record and previous work. In fact, in a recent interview conducted by this site with Cam DiNunzio of Denali, he cited Beam as the person/group that he is most interested in touring with.
So who are Iron & Wine and Sam Beam? Beam lives in Miami where he is a father and teaches cinematography at a local college. In September 2002 he released his debut record The Creek Drank the Cradle and followed it up with his Sub Pop debut The Sea and The Rhythm EP in September 2003. These two releases brought Beam acclaim across the board for his simple songs with hushed vocals over acoustic instruments. Beam has spent much of his time this past year touring with the likes of the Shins, the Decemberists and Fruit Bats. Though the enterprise is very solo-minded, Beam is joined on this recording and often as a touring band by his sister Sarah Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki and Jonathan Bradley. Consistent with previous recordings, Our Endless Numbered Days was recorded at Beam's home, but also in Chicago with like-minded Brian Deck. The end product is a stunning masterpiece.
Iron & Wine tie Beam's rich, calm and compelling vocals with a strong element of Southern folk-country ballads that hints of just a touch of indie rock. Though one could make the argument that the essence of blues exists throughout the twelve tracks, certain tracks are more exemplar than others (e.g., "Teeth in the Grass"). The tracks are so mellow and calm that it took me a bit to get hooked - moreover it is not necessarily the best music to tune out people on the train. While I could see some not giving Iron & Wine enough of a listen to become addict, since the ballads are not everyone's bag, I simply ask for you to give it an honest listening in a relaxed state.
My initial pause may have been due to my least favorite song being the first, "On Your Wings." It probably contains the least melody, harmony and bright spots amongst the twelve. Listening to it, I get a sense of a murky swamp with bugs and snakes all over the place - not pleasant. I usually skip this song when I put on the record and go directly to "Naked As We Came." "Naked As We Came" gives you the first taste of how Beam can match his vocals with acoustic guitar to produce a magical moment. "Cinder and Smoke" is a less-pleasant tale of a house burning down with music coming parallel to "On Your Wings." "Sunset Soon Forgotten" starts with acoustic guitar swirling quickly reminding you of some amazing solo ballads of yesteryear. The sound is so familiar, but at the same time new. "Sunset Soon Forgotten" is clearly one of the standout tracks. As mentioned before "Teeth in the Grass" contains strong blues elements, while "Love and Some Verses" has some hypnotic guitar playing. "Love and Some Verses" along with many of the songs here have that late-afternoon, dusk feel of summer while sitting on the porch enjoying a breeze. There is something magical here. "Radio War" is a short song where Beam sings over a one-strum-at-a-time ukulele. This is followed by another standout in "Each Coming Night," about times past and what memories will hold laid on top of acoustic guitar and a little banjo for good measure. "Free Until They Cut Me Down" is bluesy Southern ballad with some creepy sounds and "Fever Dream" sounds closer to what many British indie band consider ballads. All the discussion up to this point was just to get out of the way for the absolute star track here, "Sodom, South Georgia." I have listened to this song more times then I can count and still haven't gotten tired of it - a true classic. With standard Iron & Wine acoustic fare, the lyrical prowess coupled with Beam pushing his vocals to their most earnest makes this an exceptional song. Beam tells the tale of his father dying at the same day his baby Edith was born and how it all seemed to make sense. This could be one of the best songs written all year - stunning. While "Sodom, South Georgia" might not get as much play as it deserves given its slow ballad nature, if you want someone to like Iron & Wine play them this song. Beam closes out the record in strong lyrical fashion on "Passing Afternoon" - a song that echoes great singer songwriters of the past.
Typically it takes a lot to get me to be this down on acoustic material. Iron & Wine on Our Endless Days Are Numbered deliver twelve tracks of unparalleled brilliance. Though I haven't heard how good Beam is live, if he can come close to bringing this record to life then he can expect scores of attention.
Our Endless Numbered Days
Sub Pop Records
Grade: A-/A
Our Endless Numbered Days has been one of the most secretively anticipated records this spring. It has been more of an expectation of great things to come from this singer-songwriter Sam Beam. In all avenues of music outlets, Beam has been getting tremendous praise for this record and previous work. In fact, in a recent interview conducted by this site with Cam DiNunzio of Denali, he cited Beam as the person/group that he is most interested in touring with.
So who are Iron & Wine and Sam Beam? Beam lives in Miami where he is a father and teaches cinematography at a local college. In September 2002 he released his debut record The Creek Drank the Cradle and followed it up with his Sub Pop debut The Sea and The Rhythm EP in September 2003. These two releases brought Beam acclaim across the board for his simple songs with hushed vocals over acoustic instruments. Beam has spent much of his time this past year touring with the likes of the Shins, the Decemberists and Fruit Bats. Though the enterprise is very solo-minded, Beam is joined on this recording and often as a touring band by his sister Sarah Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki and Jonathan Bradley. Consistent with previous recordings, Our Endless Numbered Days was recorded at Beam's home, but also in Chicago with like-minded Brian Deck. The end product is a stunning masterpiece.
Iron & Wine tie Beam's rich, calm and compelling vocals with a strong element of Southern folk-country ballads that hints of just a touch of indie rock. Though one could make the argument that the essence of blues exists throughout the twelve tracks, certain tracks are more exemplar than others (e.g., "Teeth in the Grass"). The tracks are so mellow and calm that it took me a bit to get hooked - moreover it is not necessarily the best music to tune out people on the train. While I could see some not giving Iron & Wine enough of a listen to become addict, since the ballads are not everyone's bag, I simply ask for you to give it an honest listening in a relaxed state.
My initial pause may have been due to my least favorite song being the first, "On Your Wings." It probably contains the least melody, harmony and bright spots amongst the twelve. Listening to it, I get a sense of a murky swamp with bugs and snakes all over the place - not pleasant. I usually skip this song when I put on the record and go directly to "Naked As We Came." "Naked As We Came" gives you the first taste of how Beam can match his vocals with acoustic guitar to produce a magical moment. "Cinder and Smoke" is a less-pleasant tale of a house burning down with music coming parallel to "On Your Wings." "Sunset Soon Forgotten" starts with acoustic guitar swirling quickly reminding you of some amazing solo ballads of yesteryear. The sound is so familiar, but at the same time new. "Sunset Soon Forgotten" is clearly one of the standout tracks. As mentioned before "Teeth in the Grass" contains strong blues elements, while "Love and Some Verses" has some hypnotic guitar playing. "Love and Some Verses" along with many of the songs here have that late-afternoon, dusk feel of summer while sitting on the porch enjoying a breeze. There is something magical here. "Radio War" is a short song where Beam sings over a one-strum-at-a-time ukulele. This is followed by another standout in "Each Coming Night," about times past and what memories will hold laid on top of acoustic guitar and a little banjo for good measure. "Free Until They Cut Me Down" is bluesy Southern ballad with some creepy sounds and "Fever Dream" sounds closer to what many British indie band consider ballads. All the discussion up to this point was just to get out of the way for the absolute star track here, "Sodom, South Georgia." I have listened to this song more times then I can count and still haven't gotten tired of it - a true classic. With standard Iron & Wine acoustic fare, the lyrical prowess coupled with Beam pushing his vocals to their most earnest makes this an exceptional song. Beam tells the tale of his father dying at the same day his baby Edith was born and how it all seemed to make sense. This could be one of the best songs written all year - stunning. While "Sodom, South Georgia" might not get as much play as it deserves given its slow ballad nature, if you want someone to like Iron & Wine play them this song. Beam closes out the record in strong lyrical fashion on "Passing Afternoon" - a song that echoes great singer songwriters of the past.
Typically it takes a lot to get me to be this down on acoustic material. Iron & Wine on Our Endless Days Are Numbered deliver twelve tracks of unparalleled brilliance. Though I haven't heard how good Beam is live, if he can come close to bringing this record to life then he can expect scores of attention.
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