Wolfmother
s/t
Modular Recordings/Interscope
Grade: A-
With each passing day, Australia’s Wolfmother gets bigger and bigger, and into becoming one of the coolest heavy psych-rock jam bands ever. The three-piece of Andrew Stockdale (guitars/vocals), Chris Ross (bass/keyboards), and Myles Heskett (drums) first got Americans attention with their teaser EP Dimensions. Now, and shortly after the EP’s release, comes this twelve-song juggernaut of acid-drenched 70s metal. Starting with “Dimension,” the sprawling, screaming, thumping rock number that found its way onto Dane Cook’s Tourgasm as the theme song, this self-titled release makes it easy to call Wolfmother the most excited non-American rock band right now. If you bought the EP, you’ll be happy to know that besides from “Dimension,” the only other song off the EP here is the slow, drugged out “Mind’s Eye.” While you wish that everything song would sound like “Dimension,” Wolfmother move between sounds which produces both positive and negative consequences; the former being memorable differences, the latter being deviation from magic. “White Unicorn” follows “Dimension” here and, as the title may tell you, is a riff-heavy balls-out rocker. Other songs to bring up such glorious comparisons include “Colossal,” “Witchcraft,” as well as the bluesy “Joker & the Thief.” You also get stripped-down punk rock on “Apple Tree,” the wild riffer “Woman,” and another slow-burner “Where Eagles Have Been.” Did you notice that some of the best songs have the most majestic names; and that campy 70s rock is where Wolfmother treads slightly, but just slightly. If there was ever a contemporary band you would want to trip out to and walk around the desert, it is Wolfmother!
Friday, February 29, 2008
Thursday, February 28, 2008
Russian Circles - Enter
Russian Circles
Enter
Flameshovel Records
Grade: A-
Thank God for bands like Russian Circles; there aren’t enough of them. That is in reference to the Chicago-based three-piece’s instrumental attack that nails a wide swath of sounds – indie rock, punk, prog, metal, ambient – into one flowing package of goodness. Composed of guitarist Mike Sullivan, bassist Colin DeKuiper, and drummer Dave Turncrantz, the six songs on Enter don’t shift awkwardly between sounds, but instead weave and layer to make a gorgeous picture. If you are getting the correct image in your head, Russian Circles bring up comparisons to Explosions in the Sky and Pelican. While Russian Circles are heavier, more rock structured, and slightly less majestic than those two bands, there is enough across the forty-four minutes to enjoy. Hopefully, Russian Circles will further progress and unleash mind-blowing uber-tight affairs in the near future.
Enter
Flameshovel Records
Grade: A-
Thank God for bands like Russian Circles; there aren’t enough of them. That is in reference to the Chicago-based three-piece’s instrumental attack that nails a wide swath of sounds – indie rock, punk, prog, metal, ambient – into one flowing package of goodness. Composed of guitarist Mike Sullivan, bassist Colin DeKuiper, and drummer Dave Turncrantz, the six songs on Enter don’t shift awkwardly between sounds, but instead weave and layer to make a gorgeous picture. If you are getting the correct image in your head, Russian Circles bring up comparisons to Explosions in the Sky and Pelican. While Russian Circles are heavier, more rock structured, and slightly less majestic than those two bands, there is enough across the forty-four minutes to enjoy. Hopefully, Russian Circles will further progress and unleash mind-blowing uber-tight affairs in the near future.
Wednesday, February 27, 2008
Maritime - We, the Vehicles
Maritime
We, the Vehicles
Flameshovel Records
Grade: A-/A
It shouldn’t come as any surprise that the eleven-track We, the Vehicles is absolutely brilliant indie pop. The reason is that the three-piece of Maritime is comprised of Davey von Bohlen and Dan Didier of the Promise Ring, and Eric Axelson of the Dismemberment Plan. Now, imagine those two bands meeting at a crossroads where mature indie chill is elevated with dreamy pop melodies. This knowledge alone should make you pick up We, the Vehicles today. Unlike their debut, Glass Floor, some of the themes on We, the Vehicles are darker, but it only really shows in the lyrics and not in the music itself. Maritime open their second album on “Calm” which lays the simple, yet catchy blueprint for the following ten songs. “Tearing Up the Oxygen” follows “Calm” and is lavishly beautiful – reminiscent of a Postal Service track without tons of electronics. After these two strong openers, the rest of the album unfolds with solid track after strong track, including highlights by the up-picking “Parade of Punk Rock T-Shirts,” the excellent “We Don’t Think, We Know,” the bass and guitar thumping on “Don’t Say You Don’t,” and the oddly catchy “German Engineering.” If you are a fan of indie pop, then We, the Vehicles should reside on your shelf. With a couple of high profile tours, like opening for Sondre Lerche or something, Maritime should attain the attention they deserve.
We, the Vehicles
Flameshovel Records
Grade: A-/A
It shouldn’t come as any surprise that the eleven-track We, the Vehicles is absolutely brilliant indie pop. The reason is that the three-piece of Maritime is comprised of Davey von Bohlen and Dan Didier of the Promise Ring, and Eric Axelson of the Dismemberment Plan. Now, imagine those two bands meeting at a crossroads where mature indie chill is elevated with dreamy pop melodies. This knowledge alone should make you pick up We, the Vehicles today. Unlike their debut, Glass Floor, some of the themes on We, the Vehicles are darker, but it only really shows in the lyrics and not in the music itself. Maritime open their second album on “Calm” which lays the simple, yet catchy blueprint for the following ten songs. “Tearing Up the Oxygen” follows “Calm” and is lavishly beautiful – reminiscent of a Postal Service track without tons of electronics. After these two strong openers, the rest of the album unfolds with solid track after strong track, including highlights by the up-picking “Parade of Punk Rock T-Shirts,” the excellent “We Don’t Think, We Know,” the bass and guitar thumping on “Don’t Say You Don’t,” and the oddly catchy “German Engineering.” If you are a fan of indie pop, then We, the Vehicles should reside on your shelf. With a couple of high profile tours, like opening for Sondre Lerche or something, Maritime should attain the attention they deserve.
Tuesday, February 26, 2008
Lonely China Day - s/t EP
Lonely China Day
s/t EP
Tag Team Records
Grade: A-
In the world of absurdly good, this is fucking absurdly brilliant! Lonely China Day are a four-piece from Beijing that play ambient, gorgeous indie rock soundscapes thanks to the instrumental feel of Explosions in the Sky, the slight electronics of the Album Leaf, and the perfectly apropos vocals of Deng Pei. Deng Pei is Lonely China Day’s anchor as he’s the songwriter, programmer and, most importantly, vocalist. Thankfully, LCD don’t try to sing in English and instead sing in their native Chinese – which you might think would sound strange to Western ears. Yet, Deng Pei sings in almost phonetics that match the music so perfect, not unlike a number of Scandinavian artists, that you barely notice it’s not just some drawn-out English. Of course, one has no idea what the hell his singing about, but usually that’s the case anyway. Joined by Wang Dongtao on guitars, He Feng on bass, and Luo Hao, the band offers five songs on the debut EP. The EP starts out on “Thou” with low volume drums and electronics as a simple spacey guitar riff leads the way to vocals. “Thou” also probably has the most sampling and programming, and it narrowly avoids messing up the picture. Yet, “Thou” simply serves as an appetizer to the magical “Red Blossom of Plum and Me” – one of the best songs I’ve heard all year. “Red Blossom” starts in a similar fashion to “Thou,” but LCD seem to find all the right pieces to make the seven-minute song a stunner – particularly Deng Pei’s vocals are right on. Like Explosions’ “Your Hands in Mine,” “Red Blossom” stays with you for a very long time as it brings chills and brings hope for a better tomorrow. This is what music should do! For some reason, LCD move to a more pop sound on “Beijing, Realise” and it somewhat distracts from the previous experience. The world is corrected on “Sorrow” as the band pursues slightly more traditional music with electronic updates, and is neatly followed by the ten-minute “Untitled.” “Untitled” is slow, haunting number with lo-end noise piercing throughout. You can’t imagine that LCD have a lot of leverage in China to pursue their whimsical indie rock fantasies, but they’ve helped me towards mine. If Lonely China Day gets to the states for a show, be there yesterday.
s/t EP
Tag Team Records
Grade: A-
In the world of absurdly good, this is fucking absurdly brilliant! Lonely China Day are a four-piece from Beijing that play ambient, gorgeous indie rock soundscapes thanks to the instrumental feel of Explosions in the Sky, the slight electronics of the Album Leaf, and the perfectly apropos vocals of Deng Pei. Deng Pei is Lonely China Day’s anchor as he’s the songwriter, programmer and, most importantly, vocalist. Thankfully, LCD don’t try to sing in English and instead sing in their native Chinese – which you might think would sound strange to Western ears. Yet, Deng Pei sings in almost phonetics that match the music so perfect, not unlike a number of Scandinavian artists, that you barely notice it’s not just some drawn-out English. Of course, one has no idea what the hell his singing about, but usually that’s the case anyway. Joined by Wang Dongtao on guitars, He Feng on bass, and Luo Hao, the band offers five songs on the debut EP. The EP starts out on “Thou” with low volume drums and electronics as a simple spacey guitar riff leads the way to vocals. “Thou” also probably has the most sampling and programming, and it narrowly avoids messing up the picture. Yet, “Thou” simply serves as an appetizer to the magical “Red Blossom of Plum and Me” – one of the best songs I’ve heard all year. “Red Blossom” starts in a similar fashion to “Thou,” but LCD seem to find all the right pieces to make the seven-minute song a stunner – particularly Deng Pei’s vocals are right on. Like Explosions’ “Your Hands in Mine,” “Red Blossom” stays with you for a very long time as it brings chills and brings hope for a better tomorrow. This is what music should do! For some reason, LCD move to a more pop sound on “Beijing, Realise” and it somewhat distracts from the previous experience. The world is corrected on “Sorrow” as the band pursues slightly more traditional music with electronic updates, and is neatly followed by the ten-minute “Untitled.” “Untitled” is slow, haunting number with lo-end noise piercing throughout. You can’t imagine that LCD have a lot of leverage in China to pursue their whimsical indie rock fantasies, but they’ve helped me towards mine. If Lonely China Day gets to the states for a show, be there yesterday.
Monday, February 25, 2008
Kaada - Music for Moviebikers
Kaada
Music For Moviebikers
Ipecac Recordings
Grade: A-/A
On his third recording on Ipecac, John Kaada explores the soundtrack-without-a-film genre, gathering a small army of guest musicians from around Europe and recording his compositions in a large hall on the outskirts of Oslo. The influence from his collaboration with Mike Patton on the similarly ambitious Romances (also on Ipecac) is almost immediately apparent. Gone are the electronic pop songs of Thank You For Giving Me Your Valuable Time and MECD; lyrics are replaced by the atmospheric scat (think: ooo’s and aaah’s) of film music by way 60’s era Cinecitta and samples are replaced with live instrumentation ala the spaghetti western ambience of Morricone. The result is actually both fascinating and at times quite moving. Under Kaada’s capable direction, Music For Musicbikers never succumbs to cliché or new age sterility, which are common pitfalls of the genre. Part of what makes this work is Kaada’s decision to stick with live performances (assisted by conductor Baldakhin) which lends the album a layer of warmth and humanity that reaches its apex in the shimmering tremolo guitar in “Daily Living” and the haunting strings of “Celibate”. (-AP)
Music For Moviebikers
Ipecac Recordings
Grade: A-/A
On his third recording on Ipecac, John Kaada explores the soundtrack-without-a-film genre, gathering a small army of guest musicians from around Europe and recording his compositions in a large hall on the outskirts of Oslo. The influence from his collaboration with Mike Patton on the similarly ambitious Romances (also on Ipecac) is almost immediately apparent. Gone are the electronic pop songs of Thank You For Giving Me Your Valuable Time and MECD; lyrics are replaced by the atmospheric scat (think: ooo’s and aaah’s) of film music by way 60’s era Cinecitta and samples are replaced with live instrumentation ala the spaghetti western ambience of Morricone. The result is actually both fascinating and at times quite moving. Under Kaada’s capable direction, Music For Musicbikers never succumbs to cliché or new age sterility, which are common pitfalls of the genre. Part of what makes this work is Kaada’s decision to stick with live performances (assisted by conductor Baldakhin) which lends the album a layer of warmth and humanity that reaches its apex in the shimmering tremolo guitar in “Daily Living” and the haunting strings of “Celibate”. (-AP)
Friday, February 22, 2008
Freshkills - Creeps and Lovers
Freshkills
Creeps and Lovers
Arclight Records
Grade: A-
By nailing Dischord-area late 80s post-punk to the wall, NYC’s Freshkills is a sweet change of pace both for Austin’s Arclight Records and the NYC-area in general. Composed of a group of long-playing underground NYC rockers, Zach Lipez (vocals), Bill Miller (bass), Tim Murray (guitar), Jim Paradise (drums), Johnny Rauberts (vocals/guitar), Freshkills unleashes a firestorm of awesomeness on the nine-song Creeps and Lovers. When the record opens on the title-track and Lipez’s intense gruff vocals meet up with the speed downward picking of Murray and Rauberts, the thumping bass of Miller and the straight-ahead drums of Paradise, you doubt that the band can keep up the level and energy on followers; just like all these new bands with one or two great songs, only to fall into generic crap. Yet, Freshkills are different from the swath and do deliver on following tracks including highlights from “Future in Publishing” with its great breakdown, “Taste of Metal,” “Is There Enough Cocaine in the World to Make You Care About Me?,” and “If Things Don’t Change.” If you thoroughly enjoy post-punk, and the Dischord/Lovitt sounds, then Freshkills is a band to get excited about.
Creeps and Lovers
Arclight Records
Grade: A-
By nailing Dischord-area late 80s post-punk to the wall, NYC’s Freshkills is a sweet change of pace both for Austin’s Arclight Records and the NYC-area in general. Composed of a group of long-playing underground NYC rockers, Zach Lipez (vocals), Bill Miller (bass), Tim Murray (guitar), Jim Paradise (drums), Johnny Rauberts (vocals/guitar), Freshkills unleashes a firestorm of awesomeness on the nine-song Creeps and Lovers. When the record opens on the title-track and Lipez’s intense gruff vocals meet up with the speed downward picking of Murray and Rauberts, the thumping bass of Miller and the straight-ahead drums of Paradise, you doubt that the band can keep up the level and energy on followers; just like all these new bands with one or two great songs, only to fall into generic crap. Yet, Freshkills are different from the swath and do deliver on following tracks including highlights from “Future in Publishing” with its great breakdown, “Taste of Metal,” “Is There Enough Cocaine in the World to Make You Care About Me?,” and “If Things Don’t Change.” If you thoroughly enjoy post-punk, and the Dischord/Lovitt sounds, then Freshkills is a band to get excited about.
Thursday, February 21, 2008
Boysetsfire - The Misery Index: Notes from the Plague Years
Boysetsfire
The Misery Index: Notes from the Plague Years
Equal Vision Records
Grade: A-
As mentioned on our reviews of the two previous Boysetsfire releases this year (the reissue of The Day the Sun Went Out and the b-sides/rarities collection aptly-titled [Reissues. Odds and Ends. Rarities]), the five-piece from Delaware has had a long and sometimes tortuous career navigating the standard bullshit plus a new label for each release. The latest change was the dipshit Wind-up Records dropping BSF, in favor of their generic shitty bands, and EVR scoring these hardcore punk giants. On their first release of new material since Wind-up, BSF drop one of their best records in their career only rivaled in pivotality by The Day the Sun Went Out. It helps that this thirteen-song, fifty-one minute onslaught has the most aggression the band has displayed in awhile. Yet, instead of a raw, emotional fuck fest, The Misery Index illustrates how damn good BSF are at songwriting, balancing their patently soft-to-hard shifts with melodic and catchy segments. Unlike the mockingly bad emocore bands, BSF hit you with the shifts in an unconscious manner; you follow the shifts without a standard verse-chorus-verse structure staring you in the face. To some degree, BSF seem to have learned from Wind-up’s constant desire for melodic and easily digestible pop, and mixed it into their version of hardcore songwriting. EVR doesn’t necessarily look for singles as Wind-up does, but the label and the band have a number of choices if they so desire. You might choose “Requiem” with its monster chorus. Or, the title-track, that in other hands would continue the generic rock start, but BSF take the four-minute number and slice into an array of interwoven moving parts. A wise choice would be the slow acoustic starter “(10) and Counting” that builds into an emotional juggernaut about the band; with the same passion as Hot Water Music’s “Western Grace.” For chills, just hit repeat on “(10) and Counting.” To purge themselves of this lighter fair, BSF take what they learned touring with Snapcase and nail the opening of “Falling Out Theme.” Or you can take “Social Register Fanclub” that rocks you while laying a thin piano underneath halfway through. (Then, there’s the oddly poppy “Deja Coup” and “So Long…And Thanks For the Crutches” which both use horns, a move that is seriously out of line.) If you want an example of what emotional hardcore is supposed to sound like, pick up the Misery Index (and The Day the Sun Went Out if you haven’t already).
The Misery Index: Notes from the Plague Years
Equal Vision Records
Grade: A-
As mentioned on our reviews of the two previous Boysetsfire releases this year (the reissue of The Day the Sun Went Out and the b-sides/rarities collection aptly-titled [Reissues. Odds and Ends. Rarities]), the five-piece from Delaware has had a long and sometimes tortuous career navigating the standard bullshit plus a new label for each release. The latest change was the dipshit Wind-up Records dropping BSF, in favor of their generic shitty bands, and EVR scoring these hardcore punk giants. On their first release of new material since Wind-up, BSF drop one of their best records in their career only rivaled in pivotality by The Day the Sun Went Out. It helps that this thirteen-song, fifty-one minute onslaught has the most aggression the band has displayed in awhile. Yet, instead of a raw, emotional fuck fest, The Misery Index illustrates how damn good BSF are at songwriting, balancing their patently soft-to-hard shifts with melodic and catchy segments. Unlike the mockingly bad emocore bands, BSF hit you with the shifts in an unconscious manner; you follow the shifts without a standard verse-chorus-verse structure staring you in the face. To some degree, BSF seem to have learned from Wind-up’s constant desire for melodic and easily digestible pop, and mixed it into their version of hardcore songwriting. EVR doesn’t necessarily look for singles as Wind-up does, but the label and the band have a number of choices if they so desire. You might choose “Requiem” with its monster chorus. Or, the title-track, that in other hands would continue the generic rock start, but BSF take the four-minute number and slice into an array of interwoven moving parts. A wise choice would be the slow acoustic starter “(10) and Counting” that builds into an emotional juggernaut about the band; with the same passion as Hot Water Music’s “Western Grace.” For chills, just hit repeat on “(10) and Counting.” To purge themselves of this lighter fair, BSF take what they learned touring with Snapcase and nail the opening of “Falling Out Theme.” Or you can take “Social Register Fanclub” that rocks you while laying a thin piano underneath halfway through. (Then, there’s the oddly poppy “Deja Coup” and “So Long…And Thanks For the Crutches” which both use horns, a move that is seriously out of line.) If you want an example of what emotional hardcore is supposed to sound like, pick up the Misery Index (and The Day the Sun Went Out if you haven’t already).
Wednesday, February 20, 2008
The Appleseed Cast - Peregrine
The Appleseed Cast
Peregrine
The Militia Group
Grade: A-
On their debut for the Militia Group, and their fifth full-length, Lawrence, KS’s the Appleseed Cast offer expansive, spacey soundscapes across the thirteen-track Peregrine. After their previous label Tiger Style want RIP, Cast founders Chris Crisci (vocals/guitar) and Aaron Pillar (guitar) landed on TMG, bringing their Midwestern indie-rock to the left coast melodic punk label. Now with Marc Young on bass and Nathan Richardson (ex – The Casket Lottery and Coalesce) on drums, the Appleseed Cast seek to provide you both with Explosions in the Sky instrumentals and poppy, catchy indie rock wet dreams. This is no more obviously established than on the opener instrumental track “Ceremony” that drifts you along on waves that is followed by the slow starting, then smashing “Woodland Hunter (Part I);” when “Woodland Hunter (Part I)” kicks into full gear a minute-and-a-half in, you about lose your indie rock bowls. The rest of Peregrine falls out as a sweet mixture of these two styles – along with electronic flashes on such terrific tracks as “Mountain Halo,” “Woodland Hunter (Part II),” and the Cure-like “Sunlit and Ascending.” You should reintroduce to the Appleseed Cast, as you will likely not be disappointed by the growth.
Peregrine
The Militia Group
Grade: A-
On their debut for the Militia Group, and their fifth full-length, Lawrence, KS’s the Appleseed Cast offer expansive, spacey soundscapes across the thirteen-track Peregrine. After their previous label Tiger Style want RIP, Cast founders Chris Crisci (vocals/guitar) and Aaron Pillar (guitar) landed on TMG, bringing their Midwestern indie-rock to the left coast melodic punk label. Now with Marc Young on bass and Nathan Richardson (ex – The Casket Lottery and Coalesce) on drums, the Appleseed Cast seek to provide you both with Explosions in the Sky instrumentals and poppy, catchy indie rock wet dreams. This is no more obviously established than on the opener instrumental track “Ceremony” that drifts you along on waves that is followed by the slow starting, then smashing “Woodland Hunter (Part I);” when “Woodland Hunter (Part I)” kicks into full gear a minute-and-a-half in, you about lose your indie rock bowls. The rest of Peregrine falls out as a sweet mixture of these two styles – along with electronic flashes on such terrific tracks as “Mountain Halo,” “Woodland Hunter (Part II),” and the Cure-like “Sunlit and Ascending.” You should reintroduce to the Appleseed Cast, as you will likely not be disappointed by the growth.
Tuesday, February 19, 2008
Sonic Youth - Rather Ripped
Sonic Youth
Rather Ripped
Geffen Records
Grade: A-/A
What can one say about Sonic Youth that hasn’t already been said? After 1992’s Dirty, their noise-pop grunge offering to the masses, I’ve always thought that anything that Sonic Youth released after, be it good or bad, would be gravy to an already glorious career of a defining rock band. But, now, Sonic Youth has one-upped themselves with the brilliant Rather Ripped.
Sonic Youth had already set their genius on records like the 1989’s Daydream Nation (recently added to the National Registry), 1987’s Sister, and 1990’s Goo before Dirty. We all know the hardcore Sonic Youth fan backlash to Dirty and Sonic Youth’s subsequent ‘fuck you’ noise record, 1994’s Experimental Jet Set, Trash and No Star. But after languishing for the mid-90s, for instance the odd Made in Mexico soundtrack which somehow wound up in my collection, Sonic Youth, now full veteran rock adults, are having some of the biggest years of their career. After the thematically-linked trio of 2000’s NYC Ghosts & Flowers, 2002’s Murray Street, and 2004’s Sonic Nurse, comes the twelve-song Rather Ripped. And with Rather Ripped comes some of the most conventionally structured rock songs in their three-decade career. Not just conventional, but rather catchy and poppy. Possibly Sonic Youth caught the vibe of Deerhoof giving some danceable love to their latest record. Or, it may that Sonic Youth has witnessed more catchy and poppy contemporary bands using their sound as their foundation, and figured to show them how it’s really done.
With the current lineup of Thurston Moore, Kim Gordon, Lee Ranaldo, and Steve Shelley, Sonic Youth opens Rather Ripped on “Reena” as if they just came off a song bridge. Soon enough “Reena” pounces on its guitar riff with Gordon leading the melodic vocal charge. “Incinerate” travels on what may be classified as a classic Sonic Youth distorted guitar riff, except slowed down a couple of paces, and now Moore on lead vocals on probably the best song of the record. “Incinerate” is so melodically self-contained that the band could legitimately use it for a single on major radio. The band lays off the pedal on “Do You Believe in Rapture?” as the guitars pluck across the bridge, while “Sleeping’ Around” builds on a distortion wall being brought along to more conventional structure. With Gordon on vocals, “What a Waste” and “Jams Run Free” reminds you of her lazy vocal style on Goo, but here with delicious riffs and tight production. The only really bad song follows in the form of “Rats” – just a dullard vis-à-vis the rest. As you move to the later tracks of Rather Ripped, Sonic Youth moves toward more extended instrumentals and away from the raucous album openers. The six-minute “Turquoise Boy” is a mellow mooder with Gordon providing a short vocal section that buttresses nicely with the contained “Lights Out.” “The Neutral” has a more conventional plan with melodic riffs and rivals “Incinerate” as the best song on the record. Rather Ripped closes on the seven-minute, largely instrumental, opus “Pink Stream” and the shorter, though similarly conceived, “Or.”
Rather Ripped is such a heavenly offering it is as if it was devised by the gods. It is something special that Sonic Youth can provide us one of their best records when many people thought the light had gone out a long time ago. There is no reason to believe that they couldn’t go on for another 20 or 30 years if they so desired. Here’s to hoping for good things in the future.
Rather Ripped
Geffen Records
Grade: A-/A
What can one say about Sonic Youth that hasn’t already been said? After 1992’s Dirty, their noise-pop grunge offering to the masses, I’ve always thought that anything that Sonic Youth released after, be it good or bad, would be gravy to an already glorious career of a defining rock band. But, now, Sonic Youth has one-upped themselves with the brilliant Rather Ripped.
Sonic Youth had already set their genius on records like the 1989’s Daydream Nation (recently added to the National Registry), 1987’s Sister, and 1990’s Goo before Dirty. We all know the hardcore Sonic Youth fan backlash to Dirty and Sonic Youth’s subsequent ‘fuck you’ noise record, 1994’s Experimental Jet Set, Trash and No Star. But after languishing for the mid-90s, for instance the odd Made in Mexico soundtrack which somehow wound up in my collection, Sonic Youth, now full veteran rock adults, are having some of the biggest years of their career. After the thematically-linked trio of 2000’s NYC Ghosts & Flowers, 2002’s Murray Street, and 2004’s Sonic Nurse, comes the twelve-song Rather Ripped. And with Rather Ripped comes some of the most conventionally structured rock songs in their three-decade career. Not just conventional, but rather catchy and poppy. Possibly Sonic Youth caught the vibe of Deerhoof giving some danceable love to their latest record. Or, it may that Sonic Youth has witnessed more catchy and poppy contemporary bands using their sound as their foundation, and figured to show them how it’s really done.
With the current lineup of Thurston Moore, Kim Gordon, Lee Ranaldo, and Steve Shelley, Sonic Youth opens Rather Ripped on “Reena” as if they just came off a song bridge. Soon enough “Reena” pounces on its guitar riff with Gordon leading the melodic vocal charge. “Incinerate” travels on what may be classified as a classic Sonic Youth distorted guitar riff, except slowed down a couple of paces, and now Moore on lead vocals on probably the best song of the record. “Incinerate” is so melodically self-contained that the band could legitimately use it for a single on major radio. The band lays off the pedal on “Do You Believe in Rapture?” as the guitars pluck across the bridge, while “Sleeping’ Around” builds on a distortion wall being brought along to more conventional structure. With Gordon on vocals, “What a Waste” and “Jams Run Free” reminds you of her lazy vocal style on Goo, but here with delicious riffs and tight production. The only really bad song follows in the form of “Rats” – just a dullard vis-à-vis the rest. As you move to the later tracks of Rather Ripped, Sonic Youth moves toward more extended instrumentals and away from the raucous album openers. The six-minute “Turquoise Boy” is a mellow mooder with Gordon providing a short vocal section that buttresses nicely with the contained “Lights Out.” “The Neutral” has a more conventional plan with melodic riffs and rivals “Incinerate” as the best song on the record. Rather Ripped closes on the seven-minute, largely instrumental, opus “Pink Stream” and the shorter, though similarly conceived, “Or.”
Rather Ripped is such a heavenly offering it is as if it was devised by the gods. It is something special that Sonic Youth can provide us one of their best records when many people thought the light had gone out a long time ago. There is no reason to believe that they couldn’t go on for another 20 or 30 years if they so desired. Here’s to hoping for good things in the future.
Monday, February 18, 2008
The Submarines - Declare a New State!
The Submarines
Declare a New State!
Nettwerk Productions
Grade: A-
Quietly, softly, without much fanfare, the duo of Blake Hazard and Jake Dragonetti has offered one of the best electronic-infused indie pop albums of the year with Declare a New State. For those jonesing for more Jenny Lewis-Postal Service collaborations, Declare a New State has a new set of lovely travails to set you free. After a long time of working in other musical outfits in Boston and working each other, Hazard and Dragonetti relocated to LA to expand their reach. Not yet a band together, they were a couple that soon broke up out in the LA sun. Yet, as each worked on songs after the split, they found that all the songs were each other’s odes to their relationship and enough went down for Hazard and Dragonetti that they came back together. In fact, Declare a New State was mastered as a wedding gift to the duo. The end product is heart-wrenching lyrics mixed with joyful, hopeful moments in beautiful pop layers – no more obvious than “Vote.” Highlights that should be dominating college radio this coming fall include the opener “Peace and Hate,” the Caroline Lufkin-like “Clouds,” the bittersweet “Brighter Discontent,” the glorious “Modern Inventions,” and “The Good Night.” Basically, most of the songs are keepers. The Submarines are one of the few groups to legitimately get excited about.
Declare a New State!
Nettwerk Productions
Grade: A-
Quietly, softly, without much fanfare, the duo of Blake Hazard and Jake Dragonetti has offered one of the best electronic-infused indie pop albums of the year with Declare a New State. For those jonesing for more Jenny Lewis-Postal Service collaborations, Declare a New State has a new set of lovely travails to set you free. After a long time of working in other musical outfits in Boston and working each other, Hazard and Dragonetti relocated to LA to expand their reach. Not yet a band together, they were a couple that soon broke up out in the LA sun. Yet, as each worked on songs after the split, they found that all the songs were each other’s odes to their relationship and enough went down for Hazard and Dragonetti that they came back together. In fact, Declare a New State was mastered as a wedding gift to the duo. The end product is heart-wrenching lyrics mixed with joyful, hopeful moments in beautiful pop layers – no more obvious than “Vote.” Highlights that should be dominating college radio this coming fall include the opener “Peace and Hate,” the Caroline Lufkin-like “Clouds,” the bittersweet “Brighter Discontent,” the glorious “Modern Inventions,” and “The Good Night.” Basically, most of the songs are keepers. The Submarines are one of the few groups to legitimately get excited about.
Sunday, February 17, 2008
Slow Learner - In Their Time They Are Magnificent
Slow Learner
In Their Time They Are Magnificent
Self-released
Grade: A-
Slow Learner’s folk-inspired indie rock conjures up images of relaxed antique grandness, the type of which sounds closer to coming from a hip southern college town than the urban jungle of Brooklyn. Further, Slow Learner is actually just one person, multi-instrumentalist Michael Napolitano, who is aided on the eleven-track record by a slew of guests and whose live band consists of Kieran Mulvaney, Ed Gorch, and Jordan Young. Plus, how isn’t Slow Learner signed to a label like Sub Pop, Matador, Merge, or a similar-minded one? All of this combines for a gorgeous surprise wrapped in a mystery. When In Their Time They Are Magnificent starts with piano, aching electronics, and Napolitano’s hoarse vocals on the epic “Retreasion,” you initially think Napolitano can’t continue the majesty on the following songs. Yet, you are pleasantly appeased with each passing number. “Martyr” scratches with a similar opening with piano and Napolitano’s vocals before the rest of the instruments come in, and the magic slowly begins in typically a slow pace. The record unfolds as such: the mellow-drenched “Ringing in the New Year” follows “Martyr;” “Holding on to Yourself” crescendos towards the end; Napolitano goes for more singer-songwriter love on “Look at your Shoes;” “White Walls” creeps in like a Constantines’ song – and thus is flush with Springsteen accents; the piano-based “We’re All Magicians” slides a bit from the rest; the slight effects on Napolitano’s vocals on “East River” reminds of a questionable 80s song; the magic returns on the organ-fueled “The Better the Lovely;” “Sleepy” is just that; and “Minister of Minstrels & Whores” closes out the record on a grand scale. The best surely are frontloaded, but taken in total, Slow Learner’s In Their Time They Are Magnificent is one of the best self-released record of the year to date.
In Their Time They Are Magnificent
Self-released
Grade: A-
Slow Learner’s folk-inspired indie rock conjures up images of relaxed antique grandness, the type of which sounds closer to coming from a hip southern college town than the urban jungle of Brooklyn. Further, Slow Learner is actually just one person, multi-instrumentalist Michael Napolitano, who is aided on the eleven-track record by a slew of guests and whose live band consists of Kieran Mulvaney, Ed Gorch, and Jordan Young. Plus, how isn’t Slow Learner signed to a label like Sub Pop, Matador, Merge, or a similar-minded one? All of this combines for a gorgeous surprise wrapped in a mystery. When In Their Time They Are Magnificent starts with piano, aching electronics, and Napolitano’s hoarse vocals on the epic “Retreasion,” you initially think Napolitano can’t continue the majesty on the following songs. Yet, you are pleasantly appeased with each passing number. “Martyr” scratches with a similar opening with piano and Napolitano’s vocals before the rest of the instruments come in, and the magic slowly begins in typically a slow pace. The record unfolds as such: the mellow-drenched “Ringing in the New Year” follows “Martyr;” “Holding on to Yourself” crescendos towards the end; Napolitano goes for more singer-songwriter love on “Look at your Shoes;” “White Walls” creeps in like a Constantines’ song – and thus is flush with Springsteen accents; the piano-based “We’re All Magicians” slides a bit from the rest; the slight effects on Napolitano’s vocals on “East River” reminds of a questionable 80s song; the magic returns on the organ-fueled “The Better the Lovely;” “Sleepy” is just that; and “Minister of Minstrels & Whores” closes out the record on a grand scale. The best surely are frontloaded, but taken in total, Slow Learner’s In Their Time They Are Magnificent is one of the best self-released record of the year to date.
Saturday, February 16, 2008
Murder By Death - In Bocca Al Lupo
Murder by Death
In Bocca Al Lupo
Tent Show Records/East West
Grade: A-
Both Indiana and all us listeners should be thankful for the fact that Murder by Death exists. On the band’s latest and most widely known release, In Bocca Al Lupo, the four-piece is greeted by a host of guest musicians to offer probably their best record in their short history. Echoing the rich American narrative emphasized by contemporary musicians and bands like the Decemberists, Murder by Death offers rustic shakers that instantly grab your collar and force you into the story. Even if you aren’t a lyric-focused consumer, the twelve-track In Bocca forces at least cursory attention the sprawling stories of guitarist and vocalist Adam Turla. Joining Turla on this dark Americana journey are the pointed cello and keyboards of Sarah Balliet, the bass of Matt Armstrong, and the drums of Alex Schrodt. As you probably can imagine, Balliet’s cello often gives the songs their murky ambience; though Turla’s various vocal characters also widely alters the shape. Among the tracks that best bring you into the story and make you a witness to the crimes, misdeeds, and events are the horn-enhanced “The Organ Grinder,” the cello-driven Waits-like “One More Notch,” the uptempo rocker “Brother,” the slow, sinister country-western “The Big Sleep,” and the like-minded “Shiola.” Murder by Death gives you a lot to contemplate and process on In Bocca Al Lupo and you should be happy for the gift.
In Bocca Al Lupo
Tent Show Records/East West
Grade: A-
Both Indiana and all us listeners should be thankful for the fact that Murder by Death exists. On the band’s latest and most widely known release, In Bocca Al Lupo, the four-piece is greeted by a host of guest musicians to offer probably their best record in their short history. Echoing the rich American narrative emphasized by contemporary musicians and bands like the Decemberists, Murder by Death offers rustic shakers that instantly grab your collar and force you into the story. Even if you aren’t a lyric-focused consumer, the twelve-track In Bocca forces at least cursory attention the sprawling stories of guitarist and vocalist Adam Turla. Joining Turla on this dark Americana journey are the pointed cello and keyboards of Sarah Balliet, the bass of Matt Armstrong, and the drums of Alex Schrodt. As you probably can imagine, Balliet’s cello often gives the songs their murky ambience; though Turla’s various vocal characters also widely alters the shape. Among the tracks that best bring you into the story and make you a witness to the crimes, misdeeds, and events are the horn-enhanced “The Organ Grinder,” the cello-driven Waits-like “One More Notch,” the uptempo rocker “Brother,” the slow, sinister country-western “The Big Sleep,” and the like-minded “Shiola.” Murder by Death gives you a lot to contemplate and process on In Bocca Al Lupo and you should be happy for the gift.
Friday, February 15, 2008
The Forecast - In the Shadow of Two Gunmen
The Forecast
In the Shadow of Two Gunmen
Victory Records
Grade: A-
If every song on In the Shadow of Two Gunmen rocked as brilliantly as “And We All Return to Our Roots,” this would be the best record of the year. And though the Forecast don’t possess the powers to make our dreams come true, there is still enough joy on this sophomore effort for Victory to keep you satiated. The Peoria, IL four-piece’s debut for Victory came courtesy of the amazing Late Night Conversations (an artist of the month for Exoduster). Although the band had two EPs and a split before, Late Night Conversations really opened the band up to wider acclaim. The Forecast’s obvious appeal comes from their guitarists Dustin Addis and Matt Webb intertwining vocals with bassist Shannon Burns. Add in the Forecast’s slightly twangy Americana indie rock and you have songs that echo greats like the Anniversary, Park Ave., and Helicopter Helicopter. Again focusing on lives in their hometown and general rust-belt life, the twelve songs on In the Shadow seize your attention with melodic hooks, alt-country charm, and grab your heart by often painful reminisces. For whatever reason, this record doesn’t hold you as tight as Late Night Conversations, but it’s still a great collection of songs. After the average opener “Everything We Want to Be” comes the aforementioned glorious “And We All Return to Our Roots.” Now, I’m an uber-sucker for songs with a strong male-female vocal back-and-forth indie rock, and this song delivers it in droves. The particular moment comes from Burns’ belting, really shouting, the line “all I want is a little place of my own where I can rest my head.” There is no way not to feel the power and intensity of the line and the song. Other songs to offer similar powers include “(May You One Day) Carry Me Home,” the hard rocking “A Fist Fight For Our Fathers,” “West Coast,” and the slow burner “Some Things Never Change.” Begin with 2005’s Late Night Conversations, but quickly follow it up with In the Shadow of Two Gunmen.
In the Shadow of Two Gunmen
Victory Records
Grade: A-
If every song on In the Shadow of Two Gunmen rocked as brilliantly as “And We All Return to Our Roots,” this would be the best record of the year. And though the Forecast don’t possess the powers to make our dreams come true, there is still enough joy on this sophomore effort for Victory to keep you satiated. The Peoria, IL four-piece’s debut for Victory came courtesy of the amazing Late Night Conversations (an artist of the month for Exoduster). Although the band had two EPs and a split before, Late Night Conversations really opened the band up to wider acclaim. The Forecast’s obvious appeal comes from their guitarists Dustin Addis and Matt Webb intertwining vocals with bassist Shannon Burns. Add in the Forecast’s slightly twangy Americana indie rock and you have songs that echo greats like the Anniversary, Park Ave., and Helicopter Helicopter. Again focusing on lives in their hometown and general rust-belt life, the twelve songs on In the Shadow seize your attention with melodic hooks, alt-country charm, and grab your heart by often painful reminisces. For whatever reason, this record doesn’t hold you as tight as Late Night Conversations, but it’s still a great collection of songs. After the average opener “Everything We Want to Be” comes the aforementioned glorious “And We All Return to Our Roots.” Now, I’m an uber-sucker for songs with a strong male-female vocal back-and-forth indie rock, and this song delivers it in droves. The particular moment comes from Burns’ belting, really shouting, the line “all I want is a little place of my own where I can rest my head.” There is no way not to feel the power and intensity of the line and the song. Other songs to offer similar powers include “(May You One Day) Carry Me Home,” the hard rocking “A Fist Fight For Our Fathers,” “West Coast,” and the slow burner “Some Things Never Change.” Begin with 2005’s Late Night Conversations, but quickly follow it up with In the Shadow of Two Gunmen.
Thursday, February 14, 2008
The Bouncing Souls - The Gold Record
The Bouncing Souls
The Gold Record
Epitaph Records
Grade: A-/A
Far and away this is the best Bouncing Souls’ record in a long time. I’m talking in the realm of stellar, classic Bouncing Souls’ material – like “Neurotic” and “I Like Your Mom” from The Good, The Bad, & The Argyle; “Quick Check Girl,” “Lamar Vannoy,” and “The Freaks, Nerds, & Romantics” on Maniacal Laughter; “Say Anything” and “Kate Is Great” from their self-titled Epitaph debut; “Hopeless Romantic,” “Kid,” “Wish Me Well (You Can Go to Hell)” from Hopeless Romantic. The Bouncing Souls’ past two records, How I Spent My Summer Vacation and Anchors Aweigh, were solid albums but failed to provide a similar tingling feeling all over. Conceived in New Jersey and recorded in LA, the twelve songs on the Gold Record bring back early Bouncing Souls excitement coupled with a sense of melodic punk and contemporary fittings. With the same lineup for the past couple of records – Greg Attonito (vocals), Pete Steinkopf (guitar), Bryan Kienlen (bass), Michael McDermott (drums) – the band is as tight and smart as ever before. The Gold Record opens on aptly-enough “The Gold Song” which is just balls-out Bouncing Souls’ punk. A slow winder opens “So Jersey” as the songs progresses to thunderous guitars and gang vocals from the likes of Hot Water Music’s Chuck Ragan and Bad Religion/Epitaph headman Brett Gurewitz. “Sounds of the City” is equally hot shit, while “The Pizza Song” moniker sounds like one of the Souls classic one-minute throw-off tracks but actually contains acoustic guitars, accordions, and keyboards – in other words an organic feel for a punk band. Apt guitar muting opens “Sarah Saturday” on your way to an infectious chorus playing off the song’s title. Next up is Ray Davies’ “Better Things,” a mature sounding song but also seems perfectly suited for the Bouncing Souls. In other words, there is likely no way would you know it wasn’t written by the Souls. The rocker “The Messenger” greets you next – an odd amalgam of harmonica and guitar riffs that only partially does the job. Steinkopf’s brilliantly muting guitar again meets on the opening of strong “Lean on Sheena” and helps carry the song. Musically, “Letter From Iraq” is one of the weakest songs on the record, but the Souls right some wrongs on the hot, jumping “The New Thing.” Following the solid “Midnight Mile” comes the lengthy closer “For All the Unheard,” which travels as a quasi-ballad. While the Gold Record might not actually go gold, it is the Bouncing Souls best shot in years.
The Gold Record
Epitaph Records
Grade: A-/A
Far and away this is the best Bouncing Souls’ record in a long time. I’m talking in the realm of stellar, classic Bouncing Souls’ material – like “Neurotic” and “I Like Your Mom” from The Good, The Bad, & The Argyle; “Quick Check Girl,” “Lamar Vannoy,” and “The Freaks, Nerds, & Romantics” on Maniacal Laughter; “Say Anything” and “Kate Is Great” from their self-titled Epitaph debut; “Hopeless Romantic,” “Kid,” “Wish Me Well (You Can Go to Hell)” from Hopeless Romantic. The Bouncing Souls’ past two records, How I Spent My Summer Vacation and Anchors Aweigh, were solid albums but failed to provide a similar tingling feeling all over. Conceived in New Jersey and recorded in LA, the twelve songs on the Gold Record bring back early Bouncing Souls excitement coupled with a sense of melodic punk and contemporary fittings. With the same lineup for the past couple of records – Greg Attonito (vocals), Pete Steinkopf (guitar), Bryan Kienlen (bass), Michael McDermott (drums) – the band is as tight and smart as ever before. The Gold Record opens on aptly-enough “The Gold Song” which is just balls-out Bouncing Souls’ punk. A slow winder opens “So Jersey” as the songs progresses to thunderous guitars and gang vocals from the likes of Hot Water Music’s Chuck Ragan and Bad Religion/Epitaph headman Brett Gurewitz. “Sounds of the City” is equally hot shit, while “The Pizza Song” moniker sounds like one of the Souls classic one-minute throw-off tracks but actually contains acoustic guitars, accordions, and keyboards – in other words an organic feel for a punk band. Apt guitar muting opens “Sarah Saturday” on your way to an infectious chorus playing off the song’s title. Next up is Ray Davies’ “Better Things,” a mature sounding song but also seems perfectly suited for the Bouncing Souls. In other words, there is likely no way would you know it wasn’t written by the Souls. The rocker “The Messenger” greets you next – an odd amalgam of harmonica and guitar riffs that only partially does the job. Steinkopf’s brilliantly muting guitar again meets on the opening of strong “Lean on Sheena” and helps carry the song. Musically, “Letter From Iraq” is one of the weakest songs on the record, but the Souls right some wrongs on the hot, jumping “The New Thing.” Following the solid “Midnight Mile” comes the lengthy closer “For All the Unheard,” which travels as a quasi-ballad. While the Gold Record might not actually go gold, it is the Bouncing Souls best shot in years.
Wednesday, February 13, 2008
Genghis Tron - Dead Mountain Mouth
Genghis Tron
Dead Mountain Mouth
Crucial Blast
Grade: A
Genghis Tron first sparked our interest with last year’s debut EP Cloak of Love on Crucial Blast. Now, the three-piece from Poughkeepsie, NY has stroked our passion with their brilliant debut full-length Dead Mountain Mouth. If you have a pulse and have at least a general interest in heavy music, then Dead Mountain Mouth should be your companion for the next few months.
A general reaction to a first listen of Genghis Tron for even the non-schooled goes along the lines of ‘wow, this is crazy, but, for some reason I can’t peg, also really good.’ And that was the reaction to the band’s five-song balls-out dance-metal destroyer EP Cloak of Love. The EP, along with a swath of touring, has led the band to emerge as one of the most innovative and exciting heavy music bands to come along in years. Consider the fact that Kurt Ballou recorded the ten-song Dead Mountain Mouth at his Godcity Studios for further vindication of what the heavy hitters think. Unlike Cloak of Love, however, Genghis Tron move beyond simple noise shifted into dance electronic pieces and take a considerably more varied utilization of sounds and tempos on Dead Mountain Mouth. Less abrupt and more intertwined and conceived, the sonic soundscapes of the record leave the boundaries of genres strewn and decapitated.
The thirty-one minute record kicks off on “The Folding Road” with thirty seconds of noisy jazz before blasting a full-out assault on your ears. But while it begins as somewhat ordinary noise, you soon get treated to the electronic breakdowns and enhancements. If you never have heard Genghis Tron before “The Folding Road” is an excellent introduction to the maelstrom. “Chapels” continues the path with a stronger use of operatic guitars and wide swath of electronic breakthroughs. Nocturned with a folky whisper is “From the Aisle,” which tramples softly for two minutes for a minute of brutal metal. Getting things back to balls-out demolishing is the title track where the guitar gymnastics are quite reminiscent of Ballou’s Converge. On the longest track of Dead Mountain Mouth, “White Walls,” Genghis Tron uses spastic guitars to accentuate the haunting electronic foundation before launching into more controlled movements. After the short instrumental electronic number “Badlands,” the band moves seamlessly into “Greek Beds” with the reckless abandon of the Locust’s brother. “Asleep on the Forest Floor” begins with Close Encounters-type electronics as it merges with industrial beats and guitars. The instrumental “Warm Woods” follows up the opening of “Asleep on the Forest Floor,” adding electro-beat and noise guitars. Dead Mountain Mouth closes on “Lake of Virgins” with the now classic Genghis Tron non-classifiable assault; nearly a perfect close to path breaking record.
Although Genghis Tron will never get the love, attention, and success that they surely deserve in this lifetime, you can still enjoy one of the most innovative bands in the world with Dead Mountain Mouth. Also, it is fun to tell people that one of your favorite bands is Genghis Tron; just rolls off the tongue. As groups like the Locust, Converge, and Mike Patton’s various projects have influenced avant-garde heavy music bands, Genghis Tron will as well and this is now your second notice.
Dead Mountain Mouth
Crucial Blast
Grade: A
Genghis Tron first sparked our interest with last year’s debut EP Cloak of Love on Crucial Blast. Now, the three-piece from Poughkeepsie, NY has stroked our passion with their brilliant debut full-length Dead Mountain Mouth. If you have a pulse and have at least a general interest in heavy music, then Dead Mountain Mouth should be your companion for the next few months.
A general reaction to a first listen of Genghis Tron for even the non-schooled goes along the lines of ‘wow, this is crazy, but, for some reason I can’t peg, also really good.’ And that was the reaction to the band’s five-song balls-out dance-metal destroyer EP Cloak of Love. The EP, along with a swath of touring, has led the band to emerge as one of the most innovative and exciting heavy music bands to come along in years. Consider the fact that Kurt Ballou recorded the ten-song Dead Mountain Mouth at his Godcity Studios for further vindication of what the heavy hitters think. Unlike Cloak of Love, however, Genghis Tron move beyond simple noise shifted into dance electronic pieces and take a considerably more varied utilization of sounds and tempos on Dead Mountain Mouth. Less abrupt and more intertwined and conceived, the sonic soundscapes of the record leave the boundaries of genres strewn and decapitated.
The thirty-one minute record kicks off on “The Folding Road” with thirty seconds of noisy jazz before blasting a full-out assault on your ears. But while it begins as somewhat ordinary noise, you soon get treated to the electronic breakdowns and enhancements. If you never have heard Genghis Tron before “The Folding Road” is an excellent introduction to the maelstrom. “Chapels” continues the path with a stronger use of operatic guitars and wide swath of electronic breakthroughs. Nocturned with a folky whisper is “From the Aisle,” which tramples softly for two minutes for a minute of brutal metal. Getting things back to balls-out demolishing is the title track where the guitar gymnastics are quite reminiscent of Ballou’s Converge. On the longest track of Dead Mountain Mouth, “White Walls,” Genghis Tron uses spastic guitars to accentuate the haunting electronic foundation before launching into more controlled movements. After the short instrumental electronic number “Badlands,” the band moves seamlessly into “Greek Beds” with the reckless abandon of the Locust’s brother. “Asleep on the Forest Floor” begins with Close Encounters-type electronics as it merges with industrial beats and guitars. The instrumental “Warm Woods” follows up the opening of “Asleep on the Forest Floor,” adding electro-beat and noise guitars. Dead Mountain Mouth closes on “Lake of Virgins” with the now classic Genghis Tron non-classifiable assault; nearly a perfect close to path breaking record.
Although Genghis Tron will never get the love, attention, and success that they surely deserve in this lifetime, you can still enjoy one of the most innovative bands in the world with Dead Mountain Mouth. Also, it is fun to tell people that one of your favorite bands is Genghis Tron; just rolls off the tongue. As groups like the Locust, Converge, and Mike Patton’s various projects have influenced avant-garde heavy music bands, Genghis Tron will as well and this is now your second notice.
Tuesday, February 12, 2008
V/A - Slaying Since 1996
V/A
Slaying Since 1996
Suicide Squeeze Records
Grade: A-
This expansive double-disc release serves as a celebratory ten-year anniversary party for Seattle’s Suicide Squeeze Records. The record walks you chronologically through Suicide Squeeze’s catalog and winds up with a parade of unreleased material on the second disc. That catalog early on focused on releasing 7”s, singles, and EPs of some of the indie world major players – including Modest Mouse, Elliott Smith, and the Black Heart Procession. Later, and particularly today, Suicide Squeeze began toting around an impressive roster of their own. And between the one-offs and reoccurring friends, they are all here. On the first disc, highlights come courtesy of Modest Mouse’s “A Life of Artic Sounds” from their 1996 7” of the same name, Elliott Smith’s amazing “Division Day” from his 1997 7”, the unreleased “Cycle Suitor” from Pennsy’s Electric Workhorses Songs, “Dirty Business” from the Constantines out-of-print EP The Modern Sinner Nervous Man, the live version of “Yearnin’” from the Black Keys, “Sleeping Diagonally” from the collaboration of Iron and Wine and Six Parts Seven, and “2014” from the Unicorns 2004 7”. Again, with a high density of unreleased tracks, second disc faves include the unreleased demo of “Baby Boy” from Crystal Skulls, Six Parts Seven’s unreleased single “Afternoon Bed,” the unreleased “Jean Bapiste” by Metal Hearts, Chin Up Chin Up’s unreleased “Trophy’s for Hire,” Earlimart’s “Caruthers Boy,” and Russian Circles’ unreleased “Upper Ninety.” For a quick but thorough education on Suicide Squeeze, this anniversary release is terrific.
Slaying Since 1996
Suicide Squeeze Records
Grade: A-
This expansive double-disc release serves as a celebratory ten-year anniversary party for Seattle’s Suicide Squeeze Records. The record walks you chronologically through Suicide Squeeze’s catalog and winds up with a parade of unreleased material on the second disc. That catalog early on focused on releasing 7”s, singles, and EPs of some of the indie world major players – including Modest Mouse, Elliott Smith, and the Black Heart Procession. Later, and particularly today, Suicide Squeeze began toting around an impressive roster of their own. And between the one-offs and reoccurring friends, they are all here. On the first disc, highlights come courtesy of Modest Mouse’s “A Life of Artic Sounds” from their 1996 7” of the same name, Elliott Smith’s amazing “Division Day” from his 1997 7”, the unreleased “Cycle Suitor” from Pennsy’s Electric Workhorses Songs, “Dirty Business” from the Constantines out-of-print EP The Modern Sinner Nervous Man, the live version of “Yearnin’” from the Black Keys, “Sleeping Diagonally” from the collaboration of Iron and Wine and Six Parts Seven, and “2014” from the Unicorns 2004 7”. Again, with a high density of unreleased tracks, second disc faves include the unreleased demo of “Baby Boy” from Crystal Skulls, Six Parts Seven’s unreleased single “Afternoon Bed,” the unreleased “Jean Bapiste” by Metal Hearts, Chin Up Chin Up’s unreleased “Trophy’s for Hire,” Earlimart’s “Caruthers Boy,” and Russian Circles’ unreleased “Upper Ninety.” For a quick but thorough education on Suicide Squeeze, this anniversary release is terrific.
Monday, February 11, 2008
The Lovekill - These Moments Are Momentum
The Lovekill
These Moments Are Momentum
Astro Magnetics Records/ Eyeball Records
Grade: A-
Thank God that bands like the Lovekill are still punching out splendidly crafted, catchy post-punk. The four-piece of the Lovekill – Chris Rager, Jonah Bayer, Carla Cherry, Craig Ramsey – are actually oddly situated in Cleveland to produce this distinctive northeastern corridor/Chicago-area sound. Yet, when you peel under the cover just a tad, you uncover the information that connects all the dots. First and generally less monumental is that These Moments Are Momentum is being released on Thursday’s Geoff Rickly’s label Astro Magnetics (along with Alex Saavedra and Marc Debiak), which is firmly situated in New Jersey. Second and this time the most important, the current heavyweight champion of uber-brilliant post-punk/hardcore guitar riffs produced and contributed to the record – Stephen Pedersen (Criteria, ex-White Octave, ex-Cursive). Even though the Lovekill are entirely their own beast, Pedersen’s hand has molested everything here, including providing legal representation for the Loverkill (Pedersen is a lawyer by trade). Recording in both Pedersen basement in Omaha and Presto! Studios under the deft hand of AJ Mogis, and thus a thick Saddle Creek connection, the ten songs on These Moments are rife with the best guitar-driven post-punk seen in 2006. You’re first introduced to the urgency of the opener “Palms and Gin” with frantic guitars and Rager’s distinctive yelling/shouting vocals. A strong enticement indeed, but the best comes on the follower “The Refrain of the AM.” Beginning ordinary enough, “The Refrain of the AM” slides into a perfectly orchestrated screaming high guitars and vocals, and draws you in as a devoted follower. Pedersen’s love probably is ripest on “The Refrain of the AM.” The similar-minded “Sleepover” follows with more breakdowns, while you have to wait to the end third of “Heart Wires” to feel the magic. “Complicated Sighs” draws you in with Sonic Youthy guitars, but leaves them behind for more ordinary fare. These Moments Are Momentum closes on the brilliant “Years,” and its near perfect building guitar section a minute in, and the wildly shifting “Land Time.” Several songs simply hold down the fort for the Lovekill including “Ride On, Miner,” the title track, and “Nothing Yet.” The Lovekill and Pedersen together – a match made in heaven.
These Moments Are Momentum
Astro Magnetics Records/ Eyeball Records
Grade: A-
Thank God that bands like the Lovekill are still punching out splendidly crafted, catchy post-punk. The four-piece of the Lovekill – Chris Rager, Jonah Bayer, Carla Cherry, Craig Ramsey – are actually oddly situated in Cleveland to produce this distinctive northeastern corridor/Chicago-area sound. Yet, when you peel under the cover just a tad, you uncover the information that connects all the dots. First and generally less monumental is that These Moments Are Momentum is being released on Thursday’s Geoff Rickly’s label Astro Magnetics (along with Alex Saavedra and Marc Debiak), which is firmly situated in New Jersey. Second and this time the most important, the current heavyweight champion of uber-brilliant post-punk/hardcore guitar riffs produced and contributed to the record – Stephen Pedersen (Criteria, ex-White Octave, ex-Cursive). Even though the Lovekill are entirely their own beast, Pedersen’s hand has molested everything here, including providing legal representation for the Loverkill (Pedersen is a lawyer by trade). Recording in both Pedersen basement in Omaha and Presto! Studios under the deft hand of AJ Mogis, and thus a thick Saddle Creek connection, the ten songs on These Moments are rife with the best guitar-driven post-punk seen in 2006. You’re first introduced to the urgency of the opener “Palms and Gin” with frantic guitars and Rager’s distinctive yelling/shouting vocals. A strong enticement indeed, but the best comes on the follower “The Refrain of the AM.” Beginning ordinary enough, “The Refrain of the AM” slides into a perfectly orchestrated screaming high guitars and vocals, and draws you in as a devoted follower. Pedersen’s love probably is ripest on “The Refrain of the AM.” The similar-minded “Sleepover” follows with more breakdowns, while you have to wait to the end third of “Heart Wires” to feel the magic. “Complicated Sighs” draws you in with Sonic Youthy guitars, but leaves them behind for more ordinary fare. These Moments Are Momentum closes on the brilliant “Years,” and its near perfect building guitar section a minute in, and the wildly shifting “Land Time.” Several songs simply hold down the fort for the Lovekill including “Ride On, Miner,” the title track, and “Nothing Yet.” The Lovekill and Pedersen together – a match made in heaven.
Saturday, February 9, 2008
Post Harbor - Praenumbra
Post Harbor
Praenumbra
Self-released
Grade: A-
Walking in the footsteps of atmospheric instrumental rock bands (like By the End of Tonight), Post Harbor match that magic with a dose of intricate indie punk for a package that is worth tasting. This switching is often captured by where PH provide vocals and where they don’t. The terrific opener “And Keep Us Safe ‘Til Morning” hints at the upcoming amalgamation as swifting soundscapes get crowded out for vocalized indie rock towards the end of the six minute offering. Other times of brilliance come from “Madrona,” the title track, “Slumber with the Kraken,” and closer “Ground Giving.” Two marginally annoying tendencies of PH come on vocal-filled songs like “Aristocracy” which sounds like a Coheed and Cambria knock off and, secondly, references towards Radiohead on softer numbers. For one, you have to try to ape Coheed; it doesn’t come naturally. Still, I’ll take the whole of Post Harbor over most bands out there today.
Praenumbra
Self-released
Grade: A-
Walking in the footsteps of atmospheric instrumental rock bands (like By the End of Tonight), Post Harbor match that magic with a dose of intricate indie punk for a package that is worth tasting. This switching is often captured by where PH provide vocals and where they don’t. The terrific opener “And Keep Us Safe ‘Til Morning” hints at the upcoming amalgamation as swifting soundscapes get crowded out for vocalized indie rock towards the end of the six minute offering. Other times of brilliance come from “Madrona,” the title track, “Slumber with the Kraken,” and closer “Ground Giving.” Two marginally annoying tendencies of PH come on vocal-filled songs like “Aristocracy” which sounds like a Coheed and Cambria knock off and, secondly, references towards Radiohead on softer numbers. For one, you have to try to ape Coheed; it doesn’t come naturally. Still, I’ll take the whole of Post Harbor over most bands out there today.
Friday, February 8, 2008
Chiodos - Bone Palace Ballet
Chiodos
Bone Palace Ballet
Equal Vision Records
Grade: A-
When Bone Palace Ballet was released in the fall of 2007, the album skyrocketed on the Billboard charts with an opening that stunned basically everyone; even the band couldn’t have imagined such an opening. Riding their prog-punk grandiose sound, Chiodos demonstrate the staying power that most young bands relish. Chiodos have come a long ways since they were called the Chiodos Bros. and offered their debut The Heartless Control of Everything. The Michigan band’s debut on EVR, All’s Well That Ends Well, but them squarely on the higher level map, but Bone Palace Ballet pushes Chiodos into the top echelon. Once again exploiting the vocal range of Craig Owens and the dynamic guitar work of Jason Hale and Pat McManaman, Chiodos power through ten tracks that shift tempos, atmospheres, and instrumentation on Bone Palace Ballet. Chiodos are certainly not the only ones working the melodic prog-punk angle (e.g., Circa Survive) and their annoyingly long song titles reinforce the parallel. Moderately dark and deathy, the melodic rhythms carry you to happy times especially on the fantastic opener “Is It Progression if a Cannibal Uses a Fork?,” follower “Lexington (Joey Pet-Pot with a Monkey Face)” that opens with piano, “Bulls Make Money…” where a later heavy distortion section is guaranteed to rattle your speakers, check out the strings section on “Teeth the Size of Piano Keys,” “Life is a Perception of Your Own Reality,” and heavy closer “The Undertaker’s Thirst for Revenge Is Unquenchable.” I’m glad Chiodos are still around and kicking.
Bone Palace Ballet
Equal Vision Records
Grade: A-
When Bone Palace Ballet was released in the fall of 2007, the album skyrocketed on the Billboard charts with an opening that stunned basically everyone; even the band couldn’t have imagined such an opening. Riding their prog-punk grandiose sound, Chiodos demonstrate the staying power that most young bands relish. Chiodos have come a long ways since they were called the Chiodos Bros. and offered their debut The Heartless Control of Everything. The Michigan band’s debut on EVR, All’s Well That Ends Well, but them squarely on the higher level map, but Bone Palace Ballet pushes Chiodos into the top echelon. Once again exploiting the vocal range of Craig Owens and the dynamic guitar work of Jason Hale and Pat McManaman, Chiodos power through ten tracks that shift tempos, atmospheres, and instrumentation on Bone Palace Ballet. Chiodos are certainly not the only ones working the melodic prog-punk angle (e.g., Circa Survive) and their annoyingly long song titles reinforce the parallel. Moderately dark and deathy, the melodic rhythms carry you to happy times especially on the fantastic opener “Is It Progression if a Cannibal Uses a Fork?,” follower “Lexington (Joey Pet-Pot with a Monkey Face)” that opens with piano, “Bulls Make Money…” where a later heavy distortion section is guaranteed to rattle your speakers, check out the strings section on “Teeth the Size of Piano Keys,” “Life is a Perception of Your Own Reality,” and heavy closer “The Undertaker’s Thirst for Revenge Is Unquenchable.” I’m glad Chiodos are still around and kicking.
Thursday, February 7, 2008
By the End of Tonight / Tera Melos - Complex Full of Phantoms
By the End of Tonight / Tera Melos
Complex Full of Phantoms
Temporary Residence Ltd.
Grade: A-
This is a sweet little split record from two of the up-and-coming and emerging groups in the instrumental rock world – By the End of Tonight and Tera Melos. BET first hit the consciousness with their superb EP Fire on Ice, where their metal version of Explosions was a sonic love fest of awesomness. BET’s debut full-length on TRL – A Tribute To Tigers – was strong but paled in comparison to the EP. This split is the Texas band’s first new material since Tribute and excels in ways far superior to past efforts. Through BET’s six songs, the band merges their more metal instrumentals with narcotic melodic sections, bits of ambience, and smidgens of Nintendo play. Among the highlights are “Philthy Collins” with a melodic section to die for, the speed rocker “Ghost Boat,” and the strong “Elvis Never Didn’t Die.” Beyond name recognition, I didn’t know much about Sacramento’s Tera Melos. But that ignorance soon was replaced by the joy of listening to their five numbers on Complex Full of Phantoms. Unlike BET, TM includes vocals to fill out their sound, but still in a minimalistic manner. Less heavy and more spastic punk than BET (not unlike a crazy Cap’n Jazz), the songs to ride include “Party With Tina,” “When Worms Learn to Fly,” and the extended closer “Last Smile for Jason.”
Complex Full of Phantoms
Temporary Residence Ltd.
Grade: A-
This is a sweet little split record from two of the up-and-coming and emerging groups in the instrumental rock world – By the End of Tonight and Tera Melos. BET first hit the consciousness with their superb EP Fire on Ice, where their metal version of Explosions was a sonic love fest of awesomness. BET’s debut full-length on TRL – A Tribute To Tigers – was strong but paled in comparison to the EP. This split is the Texas band’s first new material since Tribute and excels in ways far superior to past efforts. Through BET’s six songs, the band merges their more metal instrumentals with narcotic melodic sections, bits of ambience, and smidgens of Nintendo play. Among the highlights are “Philthy Collins” with a melodic section to die for, the speed rocker “Ghost Boat,” and the strong “Elvis Never Didn’t Die.” Beyond name recognition, I didn’t know much about Sacramento’s Tera Melos. But that ignorance soon was replaced by the joy of listening to their five numbers on Complex Full of Phantoms. Unlike BET, TM includes vocals to fill out their sound, but still in a minimalistic manner. Less heavy and more spastic punk than BET (not unlike a crazy Cap’n Jazz), the songs to ride include “Party With Tina,” “When Worms Learn to Fly,” and the extended closer “Last Smile for Jason.”
Wednesday, February 6, 2008
Daniel G. Harmann - Anthems from the Gentle War
Daniel G. Harmann
Anthems from the Gentle War
Hello Tower Media
Grade: A-/A
At first blush, your expectations are quite low for Daniel G. Harmann’s eleven-song Anthems from the Gentle War; on a label never heard of, ok album design, and the simple fact that very few acts with someone’s name as the moniker are any good. Yet, after you progress past the opening number “I Swallowed Twelve Grenades,” where you think Harmann is just seconds away from launching into generic rock, your whole perception changes. There is no shift to crap and soon enough the six-minute atmospheric “The Trouble Starts” hooks your ear and lowers your pulse to create a simple joy of pleasure.
This is Harmann’s fourth album and he shapes songs into a cross of Sigur Ros taking a more indie rock path to songwriting. Joining Harmann on this recording are Forrest Haskell, Brandon Miller, Trent Moorman, Graig Markel, Louis O’Callaghan, Robert Deeble, and Mike Honcho (the porn star from Talladega Nights). Not all of the songs exist as ethereal, atmospheric soundscapes with diversions to more standard song structures, but all provide a mellowing sheen that could easily be reworked to float you into space.
Among the fantastic are – well the entire album to be honest. Even spots where you think there will be a downturn, Harmann turns it around and re-envisions the spectacular. Exhibit A is the third track “Beer From a Bottle” that opens as ordinary fare before moving to the compelling chorus that reshapes your imagine of the song. Others that follow suit include the beat-driven “A Dying Dove,” “Every Song is I Need You Tonight,” and “Wrists.” The more instrumental driven atmospheric haunts come courtesy of “I’ve Turned to a Life of Crime,” the uber slow mover “Go Now, Rush Ashore,” the unique riff under “Last Swim of the Year,” and quirky closer “Barnburners.”
Finding Daniel G. Harmann is an absolute treasure and hopefully it’s a joy that you’ll spread to others.
Anthems from the Gentle War
Hello Tower Media
Grade: A-/A
At first blush, your expectations are quite low for Daniel G. Harmann’s eleven-song Anthems from the Gentle War; on a label never heard of, ok album design, and the simple fact that very few acts with someone’s name as the moniker are any good. Yet, after you progress past the opening number “I Swallowed Twelve Grenades,” where you think Harmann is just seconds away from launching into generic rock, your whole perception changes. There is no shift to crap and soon enough the six-minute atmospheric “The Trouble Starts” hooks your ear and lowers your pulse to create a simple joy of pleasure.
This is Harmann’s fourth album and he shapes songs into a cross of Sigur Ros taking a more indie rock path to songwriting. Joining Harmann on this recording are Forrest Haskell, Brandon Miller, Trent Moorman, Graig Markel, Louis O’Callaghan, Robert Deeble, and Mike Honcho (the porn star from Talladega Nights). Not all of the songs exist as ethereal, atmospheric soundscapes with diversions to more standard song structures, but all provide a mellowing sheen that could easily be reworked to float you into space.
Among the fantastic are – well the entire album to be honest. Even spots where you think there will be a downturn, Harmann turns it around and re-envisions the spectacular. Exhibit A is the third track “Beer From a Bottle” that opens as ordinary fare before moving to the compelling chorus that reshapes your imagine of the song. Others that follow suit include the beat-driven “A Dying Dove,” “Every Song is I Need You Tonight,” and “Wrists.” The more instrumental driven atmospheric haunts come courtesy of “I’ve Turned to a Life of Crime,” the uber slow mover “Go Now, Rush Ashore,” the unique riff under “Last Swim of the Year,” and quirky closer “Barnburners.”
Finding Daniel G. Harmann is an absolute treasure and hopefully it’s a joy that you’ll spread to others.
Tuesday, February 5, 2008
Drag the River - It's Crazy
Drag the River
It’s Crazy
Suburban Home Records
Grade: A-
The first time I heard It’s Crazy and the opening song “Leavin’ in the Morning” I was driving through Tennessee’s Appalachia. You probably couldn’t conjure up a better way to first be exposed to the country-western rock of Drag the River. And while you may figure a band that presents such an image to be swigging whiskey in a Smokey Mountain shack or in a Nashville dive, the composition of Drag the River is a polar opposite. In fact, from afar you’d think that such a collection of artists that is Drag the River would be playing some type of sophomoric punk. The reasons are obvious. Formed in the mid-90s as a side project for Chad Price of All and Jon Snodgrass of Armchair Martian, Drag the River’s lineup now includes JJ Nobody of the Nobodys, Dave Barker of Pinhead Circus and Love Me Destroyer, and Spacey Casey of Hot Rod Circuit. Regardless of Drag the River’s pedigree, you can’t deny the attractiveness of the thirteen songs on It’s Crazy. Reflecting the band’s and member’s history, It’s Crazy was actually recorded song-by-song in different locales around the country. Again, starting off on the slow, short acoustic burner “Leavin’ in the Morning,” you are treated to the heavy pedal steel on “Tired & Fired,” the sweet rocker “Me & Joe Drove Out to California…” (a song that Limbeck would kill for), “Amazing G.,” and “Cousins.” For some odd reason, the last track is actually the entire record on a continuous run – great for parties? Good times.
It’s Crazy
Suburban Home Records
Grade: A-
The first time I heard It’s Crazy and the opening song “Leavin’ in the Morning” I was driving through Tennessee’s Appalachia. You probably couldn’t conjure up a better way to first be exposed to the country-western rock of Drag the River. And while you may figure a band that presents such an image to be swigging whiskey in a Smokey Mountain shack or in a Nashville dive, the composition of Drag the River is a polar opposite. In fact, from afar you’d think that such a collection of artists that is Drag the River would be playing some type of sophomoric punk. The reasons are obvious. Formed in the mid-90s as a side project for Chad Price of All and Jon Snodgrass of Armchair Martian, Drag the River’s lineup now includes JJ Nobody of the Nobodys, Dave Barker of Pinhead Circus and Love Me Destroyer, and Spacey Casey of Hot Rod Circuit. Regardless of Drag the River’s pedigree, you can’t deny the attractiveness of the thirteen songs on It’s Crazy. Reflecting the band’s and member’s history, It’s Crazy was actually recorded song-by-song in different locales around the country. Again, starting off on the slow, short acoustic burner “Leavin’ in the Morning,” you are treated to the heavy pedal steel on “Tired & Fired,” the sweet rocker “Me & Joe Drove Out to California…” (a song that Limbeck would kill for), “Amazing G.,” and “Cousins.” For some odd reason, the last track is actually the entire record on a continuous run – great for parties? Good times.
Monday, February 4, 2008
CSS - Cansei de Ser Sexy
CSS
Cansei de Ser Sexy
Sub Pop Records
Grade: A-
For some reason or another – possible the impetus of the World Cup and trips – Brazil has gotten cooler and chicer over the past few months. And when the dynamo six-piece of Sao Paulo’s CSS launch such gems as “Let’s Make Love and Listen to Death From Above,” you want to pack you bags and call Brasil your new home. Even if you only mildly enjoy electro dance punk, these eleven tracks of pure sexiness will get you moving, energized, and thrilled.
Originally coming together in Sao Paulo in 2003 through art scenes and Internet music/art sites, CSS (whose name comes from the Beyonce Knowles’ quote ‘I’m tired of being sexy’) started out on the premise of exploring musical outlets for a group of people with little music ability. It’s all based on raw, visceral emotion and energy and less regard for smooth production and tight transitions. Consisting of Matsushita (a.k.a. Lovefoxx) on vocals, Carolina Parra on guitars/drums, Ana Rezende on guitars/harmonica, Luiza Sa on guitar/drums/keys, Iracema Trevisan on bass, and the lone male Adriano Cintra on drums/guitar/vocals, CSS first drew attention on the music site TramaVirtual, whic led to the site’s label releasing this self-titled affair in Brazil. Somehow, and with glorious results, Sub Pop is releasing CSS’ debut in the U.S., and basically everyone should be thrilled about that – save for theother labels that missed out.
Uptight audiophiles aren’t going to like CSS – CSS is best reserved for earsplitting volume on the dance floor with sexy, art ladies moving to the beat. Even a close listen with headphones reveals the untightness in production of CSS, but such inspection is simply uncouth. Besides, the mostly awkwardly phrased and pronounced English is so cute.
The record opens with the tremendous anti-theme song “CSS Suxxx” – where the gang chants with the name over and over again. And while you’re mulling over what to make of the band, “Patins” comes riding on the white horse of indie rock. Focused on jangly, catchy indie guitar “Patins” is one of the few songs to match Lovefoxx and Cintra in vocal sparing, which is odd since the outcome is glorious. A seamless transition moves you to the Peaches-esque “Alala,” where Lovefoxx spits lines to a heavy electro beat and sound. With a smidge of Portuguese inserted, “Alala” grabs you thanks to the utterance of the title twice after each line. So, you’ve transversed several different sounds from CSS and it’s still unclear their direction, and then the beyond hot, brilliant “Let’s Make Love and Listen to Death From Above” smacks your ass. With the bassline and drumbeat starting then Lovefoxxx’s vocals and quirky synth line coming in, it is at this point that, first, you don’t care how to classify CSS and, second, you just want more. Far and away the best song here, it’s impossible to get tired of “Let’s Make Love” – it has the same viral indie potency as “Daft Punk Is Playing At My House,” but ten times better. Further, try getting lines like “Kiss me I’m drunk, don’t worry it’s true” out of your head. With a gruff entry, possibly as an ode to the song’s content, “Artbitch” is both a knock against the art scene and an acknowledgment of working within the inside. Before the ending lure, you get attacked with such great lines as “I have no portfolio and I only show where there’s free alcohol.” As the only real write-off track, you can skip past “Fuckoff Is Not the Only Thing You Have to Show” and move on to “Meeting Paris Hilton.” Used in the Latin American promo for The Simple Life, you wouldn’t first match the song’s title to the lyrics - but once you know, it all makes sense. Clinging to such lines as “I went to the bitch, the bitch was so hot/She came to me and said ‘do you like the bitch, bitch?’, the song is a slow sexy burner. “Off the Hook” moves back to a rock core and survives on the verse vocal cadence and the dancey, repetitive chorus. Circusey music introduces “Alcohol” and makes you nod your head side-to-side as Cintra and Lovefoxxx finally get back to vocal matching. “Music Is My Hot Hot Sex” title sounds better than it is and after it riddles an array of Portuguese off, the record closes on “This Month, Day 10.” Thumping bass, drums, guitars open “This Month, Day 10” before Lovefoxxx gets going and sticks the landing on the chorus of “I’ll be rude, I’ll be rude, I’ll be rude.” A wise choice for the closing number, “This Month, Day 10” encapsulates all the different sounds CSS has offered on the previous ten songs into one solid song.
In the world of sexy electro dance-punk, CSS’ artfelt songs set them apart from literally every other group in the world. The raw ingenuity suggests both a terrible and magnificent path for CSS in the near future. Either the eclectic six-piece splits up prematurely to pursue other avenues or they stay together, land a perfect producer, and offer the best record ever heard. Hopefully the latter and like eating gelato, we’re all winners.
Cansei de Ser Sexy
Sub Pop Records
Grade: A-
For some reason or another – possible the impetus of the World Cup and trips – Brazil has gotten cooler and chicer over the past few months. And when the dynamo six-piece of Sao Paulo’s CSS launch such gems as “Let’s Make Love and Listen to Death From Above,” you want to pack you bags and call Brasil your new home. Even if you only mildly enjoy electro dance punk, these eleven tracks of pure sexiness will get you moving, energized, and thrilled.
Originally coming together in Sao Paulo in 2003 through art scenes and Internet music/art sites, CSS (whose name comes from the Beyonce Knowles’ quote ‘I’m tired of being sexy’) started out on the premise of exploring musical outlets for a group of people with little music ability. It’s all based on raw, visceral emotion and energy and less regard for smooth production and tight transitions. Consisting of Matsushita (a.k.a. Lovefoxx) on vocals, Carolina Parra on guitars/drums, Ana Rezende on guitars/harmonica, Luiza Sa on guitar/drums/keys, Iracema Trevisan on bass, and the lone male Adriano Cintra on drums/guitar/vocals, CSS first drew attention on the music site TramaVirtual, whic led to the site’s label releasing this self-titled affair in Brazil. Somehow, and with glorious results, Sub Pop is releasing CSS’ debut in the U.S., and basically everyone should be thrilled about that – save for theother labels that missed out.
Uptight audiophiles aren’t going to like CSS – CSS is best reserved for earsplitting volume on the dance floor with sexy, art ladies moving to the beat. Even a close listen with headphones reveals the untightness in production of CSS, but such inspection is simply uncouth. Besides, the mostly awkwardly phrased and pronounced English is so cute.
The record opens with the tremendous anti-theme song “CSS Suxxx” – where the gang chants with the name over and over again. And while you’re mulling over what to make of the band, “Patins” comes riding on the white horse of indie rock. Focused on jangly, catchy indie guitar “Patins” is one of the few songs to match Lovefoxx and Cintra in vocal sparing, which is odd since the outcome is glorious. A seamless transition moves you to the Peaches-esque “Alala,” where Lovefoxx spits lines to a heavy electro beat and sound. With a smidge of Portuguese inserted, “Alala” grabs you thanks to the utterance of the title twice after each line. So, you’ve transversed several different sounds from CSS and it’s still unclear their direction, and then the beyond hot, brilliant “Let’s Make Love and Listen to Death From Above” smacks your ass. With the bassline and drumbeat starting then Lovefoxxx’s vocals and quirky synth line coming in, it is at this point that, first, you don’t care how to classify CSS and, second, you just want more. Far and away the best song here, it’s impossible to get tired of “Let’s Make Love” – it has the same viral indie potency as “Daft Punk Is Playing At My House,” but ten times better. Further, try getting lines like “Kiss me I’m drunk, don’t worry it’s true” out of your head. With a gruff entry, possibly as an ode to the song’s content, “Artbitch” is both a knock against the art scene and an acknowledgment of working within the inside. Before the ending lure, you get attacked with such great lines as “I have no portfolio and I only show where there’s free alcohol.” As the only real write-off track, you can skip past “Fuckoff Is Not the Only Thing You Have to Show” and move on to “Meeting Paris Hilton.” Used in the Latin American promo for The Simple Life, you wouldn’t first match the song’s title to the lyrics - but once you know, it all makes sense. Clinging to such lines as “I went to the bitch, the bitch was so hot/She came to me and said ‘do you like the bitch, bitch?’, the song is a slow sexy burner. “Off the Hook” moves back to a rock core and survives on the verse vocal cadence and the dancey, repetitive chorus. Circusey music introduces “Alcohol” and makes you nod your head side-to-side as Cintra and Lovefoxxx finally get back to vocal matching. “Music Is My Hot Hot Sex” title sounds better than it is and after it riddles an array of Portuguese off, the record closes on “This Month, Day 10.” Thumping bass, drums, guitars open “This Month, Day 10” before Lovefoxxx gets going and sticks the landing on the chorus of “I’ll be rude, I’ll be rude, I’ll be rude.” A wise choice for the closing number, “This Month, Day 10” encapsulates all the different sounds CSS has offered on the previous ten songs into one solid song.
In the world of sexy electro dance-punk, CSS’ artfelt songs set them apart from literally every other group in the world. The raw ingenuity suggests both a terrible and magnificent path for CSS in the near future. Either the eclectic six-piece splits up prematurely to pursue other avenues or they stay together, land a perfect producer, and offer the best record ever heard. Hopefully the latter and like eating gelato, we’re all winners.
Sunday, February 3, 2008
Rise Against - The Sufferer & the Witness
Rise Against
The Sufferer & the Witness
Geffen Records
Grade: A-
On Rise Against’s second major label release, and fourth full-length overall, the Chicago-based outfit continue their onslaught of political punk songs refreshing wrapped in catchy aggression. From their initial beginnings from dissolved Chicago punk bands, their two Fat Wreck albums and 2004’s Siren Song of the Counter Culture, countless tours, and now The Sufferer & the Witness, Rise Against has only seemed to get better, tighter, and more respected. Of course, being an aggressive punk band on a major label has its pitfalls amongst the scene, but Rise Against has mostly insulated themselves from criticism by simply continuing to play terrific music. The Sufferer has the terse and concise intensity you desire just spread across an immaculately recorded set of songs. The Geffen promotion machine has already bombarded you with the exceptional “Ready to Fall,” but the Sufferer is a solid record through and through, with little reliance on one-trick ponies. Opener “Chamber the Cartridge” does a superb job of setting the stage for the next twelve songs with a catchy chorus, while the follower “Injection” literally injects you with an adrenaline shot and picks up perks from a quasi-tripping tempo breakdown. Further, “Under the Knife” comes at you with a now familiar chorus; “The Approaching Curve” wraps soft melody over a traditional punk song technique of distorted background talking that launches into a chorus; while “Behind Closed Doors,” “Drones,” “Worth Dying For,” and the fabulous closer “Survive” are a set of hard-hitting and memorable numbers. Clearly, The Sufferer & the Witness is one of the top punk records of 2006.
The Sufferer & the Witness
Geffen Records
Grade: A-
On Rise Against’s second major label release, and fourth full-length overall, the Chicago-based outfit continue their onslaught of political punk songs refreshing wrapped in catchy aggression. From their initial beginnings from dissolved Chicago punk bands, their two Fat Wreck albums and 2004’s Siren Song of the Counter Culture, countless tours, and now The Sufferer & the Witness, Rise Against has only seemed to get better, tighter, and more respected. Of course, being an aggressive punk band on a major label has its pitfalls amongst the scene, but Rise Against has mostly insulated themselves from criticism by simply continuing to play terrific music. The Sufferer has the terse and concise intensity you desire just spread across an immaculately recorded set of songs. The Geffen promotion machine has already bombarded you with the exceptional “Ready to Fall,” but the Sufferer is a solid record through and through, with little reliance on one-trick ponies. Opener “Chamber the Cartridge” does a superb job of setting the stage for the next twelve songs with a catchy chorus, while the follower “Injection” literally injects you with an adrenaline shot and picks up perks from a quasi-tripping tempo breakdown. Further, “Under the Knife” comes at you with a now familiar chorus; “The Approaching Curve” wraps soft melody over a traditional punk song technique of distorted background talking that launches into a chorus; while “Behind Closed Doors,” “Drones,” “Worth Dying For,” and the fabulous closer “Survive” are a set of hard-hitting and memorable numbers. Clearly, The Sufferer & the Witness is one of the top punk records of 2006.
Saturday, February 2, 2008
The Replacements - Don’t You Know Who I Think I Was? The Best of the Replacements
The Replacements
Don’t You Know Who I Think I Was? The Best of the Replacements
Sire/Reprise/Rhino
Grade: A-
The Replacements were the quintessential early and mid 80s college radio band; a band that helped define what ‘college radio’ meant and what indie rock would become. Yet, many younger folks only know the Replacements via references to contemporary bands and RIYLs. So, in pure Rhino fashion, we have this twenty-song collection to remind people how awesome the Replacements are and introduce them to a new generation; plus the band adds two new songs – “Message to the Boys” and “Pool & Dive.” With Paul Westerberg at the helm and filled out by Bob and Tommy Stinson, Chris Mars, and later Slim Dunlap, the Replacements had the unique ability to have uber-indie cred at the same time appealing to all pop rock fans. For someone like me, who grew up during the middle to end of the Replacements career the first set of the songs are a relative shock. The collection is chronologically order with songs cherry-picked from their albums and EPs. For instance, the opener “Takin a Ride” sounds closer to a Black Flag number than what the Replacements would eventually become. After a set of similarly constructed songs – “Shiftless When Idle,” “Kids Don’t Follow,” “Color Me Impressed,” “Within Your Reach” – the pop really begins to ooze forth on “I Will Dare” with its Cure-like cadence from Let It Be. After the scratchy “Answering Machine” comes the mopey “Unsatisfied” and the acoustic stretched “Here Comes a Regular,” followed by a string of winners. With the sweetly catchy “Kiss Me on the Bus” from Tim, the Replacements offer their new smoothly produced sound – and it’s grand! This is followed by the riff-driven “Bastards of Young” and the classic drunk “Left of the Dial,” both on Tim. Even with these all-star tracks, you can’t really top “Alex Chilton” as a Replacements’ pop anthem. Accompanying “Alex Chilton” here from their Please To Meet Me is the slow acoustic burner “Skyway” and the ‘other’ rocker, the thickly-produced “Can’t Hardly Wait.” “Achin’ To Be” and the tremendous “I’ll Be You” from Don’t Tell a Soul, and “Merry Go Round” from the Replacements’ last record All Shook Down round out the previously released material. With John Freese on drums, the two new songs “Message to the Boys” and “Pool & Dive” rock out in the later day Replacements’ fashion, but amazingly has the same intensity and energy as their material from twenty years ago. For those wishing to reminisce or catch up, this collection is perfect.
Don’t You Know Who I Think I Was? The Best of the Replacements
Sire/Reprise/Rhino
Grade: A-
The Replacements were the quintessential early and mid 80s college radio band; a band that helped define what ‘college radio’ meant and what indie rock would become. Yet, many younger folks only know the Replacements via references to contemporary bands and RIYLs. So, in pure Rhino fashion, we have this twenty-song collection to remind people how awesome the Replacements are and introduce them to a new generation; plus the band adds two new songs – “Message to the Boys” and “Pool & Dive.” With Paul Westerberg at the helm and filled out by Bob and Tommy Stinson, Chris Mars, and later Slim Dunlap, the Replacements had the unique ability to have uber-indie cred at the same time appealing to all pop rock fans. For someone like me, who grew up during the middle to end of the Replacements career the first set of the songs are a relative shock. The collection is chronologically order with songs cherry-picked from their albums and EPs. For instance, the opener “Takin a Ride” sounds closer to a Black Flag number than what the Replacements would eventually become. After a set of similarly constructed songs – “Shiftless When Idle,” “Kids Don’t Follow,” “Color Me Impressed,” “Within Your Reach” – the pop really begins to ooze forth on “I Will Dare” with its Cure-like cadence from Let It Be. After the scratchy “Answering Machine” comes the mopey “Unsatisfied” and the acoustic stretched “Here Comes a Regular,” followed by a string of winners. With the sweetly catchy “Kiss Me on the Bus” from Tim, the Replacements offer their new smoothly produced sound – and it’s grand! This is followed by the riff-driven “Bastards of Young” and the classic drunk “Left of the Dial,” both on Tim. Even with these all-star tracks, you can’t really top “Alex Chilton” as a Replacements’ pop anthem. Accompanying “Alex Chilton” here from their Please To Meet Me is the slow acoustic burner “Skyway” and the ‘other’ rocker, the thickly-produced “Can’t Hardly Wait.” “Achin’ To Be” and the tremendous “I’ll Be You” from Don’t Tell a Soul, and “Merry Go Round” from the Replacements’ last record All Shook Down round out the previously released material. With John Freese on drums, the two new songs “Message to the Boys” and “Pool & Dive” rock out in the later day Replacements’ fashion, but amazingly has the same intensity and energy as their material from twenty years ago. For those wishing to reminisce or catch up, this collection is perfect.
Friday, February 1, 2008
The Draft - In a Million Pieces
The Draft
In a Million Pieces
Epitaph Records
Grade: A-
When Hot Water Music broke up dreams were crushed and hopes were dashed. You can make a reasonable argument that HWM had lost the feeling of their early records and many of their later career records were too straight forward punk. Still, the end of relationships brings nostalgia to the fore. Well, now there is no reason to quite dreaming dreamers thanks to the Draft. The Draft are simply HWM minus 1. The one missing member of HWM from the Draft is guitarist/vocalist Chuck Ragan. With the Draft, bassist Jason Black, drummer George Rebelo, and vocalist/guitarist Chris Wollard are joined by guitarist Todd Rockhill. To not make and discuss the connection between HWM and the Draft’s would be an absurdity. As much as the members may believe it’s a new era, In a Million Pieces is a natural extension of HWM. For me, and probably many others, that is great. And the Draft set out that agenda immediately on the opener “New Eyes Open” that shares a common song structure with the past five years of HWM material. More importantly for the Draft, “New Eyes Open” is a strong song that will grab a new collection of converts, and thus a wise choice to kick off In a Million Pieces. They power through “Lo Zee Rose” and the continuation of gang vocals before offering the somewhat odd up-picking poppy “Let It Go.” The Draft bring back the day on the hard rocking “Alive or Dead” with a line that provides the album title and serves as one of the stronger numbers here. “Bordering” begins strangely and continues uneventfully, “Impossible” moves at deliberate speed, and the odd guitar tempo returns on “Wired.” “Not What I Wanna Do” and the smoking “Out of Tune” are highlights, but the group vocals on “All We Can Count On” create a questionable sound. In a Million Pieces closes on the average “Longshot” and the slow burner “The Tide Is Out;” not exactly an auspicious ending. Clearly, the Draft serve as Hot Water Music fans’ last refuge and In a Million Pieces is the first offering.
In a Million Pieces
Epitaph Records
Grade: A-
When Hot Water Music broke up dreams were crushed and hopes were dashed. You can make a reasonable argument that HWM had lost the feeling of their early records and many of their later career records were too straight forward punk. Still, the end of relationships brings nostalgia to the fore. Well, now there is no reason to quite dreaming dreamers thanks to the Draft. The Draft are simply HWM minus 1. The one missing member of HWM from the Draft is guitarist/vocalist Chuck Ragan. With the Draft, bassist Jason Black, drummer George Rebelo, and vocalist/guitarist Chris Wollard are joined by guitarist Todd Rockhill. To not make and discuss the connection between HWM and the Draft’s would be an absurdity. As much as the members may believe it’s a new era, In a Million Pieces is a natural extension of HWM. For me, and probably many others, that is great. And the Draft set out that agenda immediately on the opener “New Eyes Open” that shares a common song structure with the past five years of HWM material. More importantly for the Draft, “New Eyes Open” is a strong song that will grab a new collection of converts, and thus a wise choice to kick off In a Million Pieces. They power through “Lo Zee Rose” and the continuation of gang vocals before offering the somewhat odd up-picking poppy “Let It Go.” The Draft bring back the day on the hard rocking “Alive or Dead” with a line that provides the album title and serves as one of the stronger numbers here. “Bordering” begins strangely and continues uneventfully, “Impossible” moves at deliberate speed, and the odd guitar tempo returns on “Wired.” “Not What I Wanna Do” and the smoking “Out of Tune” are highlights, but the group vocals on “All We Can Count On” create a questionable sound. In a Million Pieces closes on the average “Longshot” and the slow burner “The Tide Is Out;” not exactly an auspicious ending. Clearly, the Draft serve as Hot Water Music fans’ last refuge and In a Million Pieces is the first offering.
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