Devics
Push the Heart
Filter U.S. Recordings
Grade: A-
If the soundtrack to Charlotte’s Web collided with a French Mazzy Starr, the result would be Devics’ Push the Heart. The latest in an array of surprising releases, Push the Heart will surely re-establish Devics as the masters of electronic mope.
The duo of Devics should be more familiar than you may know or realize. Composed of the magical vocalist Sara Lov and multi-instrumentalist Dustin O’Halloran, Devics started out in the mid-90s in the LA-area. After a couple of releases in the late 1990s, If You Forget Me and The Ghost and the Girl EP, Devics were signed to UK-based Bella Union, the label of ex-Cocteau Twins Simon Raymonde. That shift from the U.S. to the Europe soon began a cascade of both musical and physical re-location, as their 2001 record My Beautiful Sinking Ship became a relative hit in Europe and the duo soon found themselves spending considerable time on the continent. As such, Devics moved to Italy and released The Stars of Saint Andrea in 2003, another European fave. Success in Europe was gleeful, but Lov and O’Halloran wanted a fitting return to their homeland and a way to push through only underground appreciation in the U.S. Back in LA, Devics wrote and recorded Push the Heart, and the results are simply brilliant. Based on the ten-track Push the Heart it would be fitting to call Devics ‘criminally-overlooked.’ The combination of Lov’s vocals and O’Halloran’s piano, guitar, and electronics creates a devastating sonic appeal.
Push the Heart begins with sweeping pianos of O’Halloran and Lov’s vocals on “Lie to Me,” a score that soars on the chorus; and is the source of the Charlotte’s Web comment above. This leads onto the first glimmer of European flavor, as O’Halloran includes a pulsating Parisian according to “Secret Message to You,” a song that simply slides through five calming minutes. “.Salty Seas” is darker as guitars and piano haunts the background, while “Song for a Sleeping Girl” picks up the pace and is the first to include O’Halloran’s vocals. “Song for a Sleeping Girl” is one of the more pop-friendly numbers on Push the Heart and O’Halloran’s vocals clearly reflect a new wave mood that is endearing. The up “Distant Radio” may be a little too perky for Push the Heart and “Just One Breath” really only holds up when Lov pushes her voice. “Moments” returns Devics to electronic moping, and only comes through when O’Halloran adds a slight shooting electronic star; you could slap him for the saxophone inclusion. O’Halloran takes over vocal duties again on the rambling and excellent “If We Cannot See;” another of the more pop accessible songs on the record. After the strange “City Lights,” Push the Heart closes on “Come Up,” a slow piano walk that is rather average in comparison.
As Devics welcome-back record, Push the Heart should find a much wider American audience than in years past. And if it doesn’t, Europe is a much better place to be than the US nowadays.
Monday, March 31, 2008
Sunday, March 30, 2008
Hawthorne Heights - If Only You Were Lonely
Hawthorne Heights
If Only You Were Lonely
Victory Records
Grade: A-
After Ohio’s Hawthorne Heights’ wildly successful 2004 debut The Silence in Black and White, the obvious question was whether the five-piece could at least offer a parallel sophomore record. Amazingly enough, the twelve-track If Only You Were Lonely obviously blasts The Silence away immediately on the opener “This Is Who We Are” in the song’s and record’s turn to the more melodic. At first blush The Silence seemed to be trailing off the mainstream wave of melodic hardcore (or emo-core if you will). Yet, Hawthorne Heights managed to define their own space in the punk and hardcore world and not be simply part of one scene or another. Couple that achievement with The Silence approaching platinum status and the result is enormous deference to the band by Victory. For awhile it seemed that members of HH, through Victory’s hand, were constantly starting new labels, clothing lines, running for governor, flipping the magnetic poles, etc. All that would be fleeting if HH couldn’t provide an album that topped the debut; and again that is assured. Working with producer David Bendeth, JT Woodruff, Matt Ridenour, Micah Carli, Casey Calvert, and Eron Bucciarelli lighten the hardcore, add more harmonies and melodies, thus creating a family-friendly hardcore record. For Victory, HH has provided a record that is actually chock-full of singles – something the label has never really been concerned with. Save for the God-awful acoustic closer “Decembers,” If Only is just one great song after another with seemingly no end in sight (well, at least until “Decembers”). As mentioned, “This Is Who We Are” sets the more melodic tone and is quickly followed up by similar-minded “We Are So Last Year” that trips up a bit lyric-wise. “Language Lessons (Five Words Or Less)” furthers melodic punk preferences, while “Pens and Needles” merges heavier riffs with a catchy chorus and a slight electronic breakdown. “Saying Sorry” matches the previous on the chorus as “Dead in the Water” returns to a hardcore guitar outlet. The good luck runs out on “I Am On Your Side” and “Breathing In Sequence” is weak on vocal prowess (which they try to buttress with a sing-a-long). The average “Light Sleeper” meets you next and “Cross Me Off Your List” helps leads the way to what should be the real closer – “Where Can I Stab Myself In the Ears” (oh, I ask that question so many times). The excellent, standout “Where Can I Stab Myself In the Ears” has already seen the light of day on the Underworld: Evolution soundtrack which came under the name “Where Do I Stab Myself In the Ears.” “Where Can I Stab Myself In the Ears” is a crystal clear melodic hardcore song with slight devilish twists compared to the rest of If Only; though the version on the Underworld: Evolution soundtrack with its electronic drum and bass inclusions blows this version away. If you enjoy(ed) The Silence in Black and White, you are going to absolutely wet yourself over If Only You Were Lonely. And as a sign of Victory’s growing PR savvy, the record has been released with two different covers.
If Only You Were Lonely
Victory Records
Grade: A-
After Ohio’s Hawthorne Heights’ wildly successful 2004 debut The Silence in Black and White, the obvious question was whether the five-piece could at least offer a parallel sophomore record. Amazingly enough, the twelve-track If Only You Were Lonely obviously blasts The Silence away immediately on the opener “This Is Who We Are” in the song’s and record’s turn to the more melodic. At first blush The Silence seemed to be trailing off the mainstream wave of melodic hardcore (or emo-core if you will). Yet, Hawthorne Heights managed to define their own space in the punk and hardcore world and not be simply part of one scene or another. Couple that achievement with The Silence approaching platinum status and the result is enormous deference to the band by Victory. For awhile it seemed that members of HH, through Victory’s hand, were constantly starting new labels, clothing lines, running for governor, flipping the magnetic poles, etc. All that would be fleeting if HH couldn’t provide an album that topped the debut; and again that is assured. Working with producer David Bendeth, JT Woodruff, Matt Ridenour, Micah Carli, Casey Calvert, and Eron Bucciarelli lighten the hardcore, add more harmonies and melodies, thus creating a family-friendly hardcore record. For Victory, HH has provided a record that is actually chock-full of singles – something the label has never really been concerned with. Save for the God-awful acoustic closer “Decembers,” If Only is just one great song after another with seemingly no end in sight (well, at least until “Decembers”). As mentioned, “This Is Who We Are” sets the more melodic tone and is quickly followed up by similar-minded “We Are So Last Year” that trips up a bit lyric-wise. “Language Lessons (Five Words Or Less)” furthers melodic punk preferences, while “Pens and Needles” merges heavier riffs with a catchy chorus and a slight electronic breakdown. “Saying Sorry” matches the previous on the chorus as “Dead in the Water” returns to a hardcore guitar outlet. The good luck runs out on “I Am On Your Side” and “Breathing In Sequence” is weak on vocal prowess (which they try to buttress with a sing-a-long). The average “Light Sleeper” meets you next and “Cross Me Off Your List” helps leads the way to what should be the real closer – “Where Can I Stab Myself In the Ears” (oh, I ask that question so many times). The excellent, standout “Where Can I Stab Myself In the Ears” has already seen the light of day on the Underworld: Evolution soundtrack which came under the name “Where Do I Stab Myself In the Ears.” “Where Can I Stab Myself In the Ears” is a crystal clear melodic hardcore song with slight devilish twists compared to the rest of If Only; though the version on the Underworld: Evolution soundtrack with its electronic drum and bass inclusions blows this version away. If you enjoy(ed) The Silence in Black and White, you are going to absolutely wet yourself over If Only You Were Lonely. And as a sign of Victory’s growing PR savvy, the record has been released with two different covers.
Saturday, March 29, 2008
The Sounds - Dying to Say This to You
The Sounds
Dying to Say This to You
Scratchie Records/New Line Records
Grade: A-/A
Absurdly fucking gorgeous fun! Such might be one of the statements you could make concerning the brilliant second record from Sweden’s the Sounds. Dying to Say This to You bitch slaps the band’s debut and ushers in possibly one of the hottest bands in the world to unconscionable levels of joy. Behold.
A first exposure to the Sounds came, perhaps appropriately enough, in the back of a VW bug at excessive volume racing through New York a few years back. The Sounds’ 2002 debut Living in America rocked your mind – the type where you get a confused look like ‘what just happened.’ The five-piece set out after its release to conquer American audiences with over 300 shows and an array of late night talk show appearances. With that exposure in the bag, the question inevitably led to what can they offer next? Apparently pop genius.
With the production assistance of Jeff Saltzman, James Iha, and Adam Schlesinger, the Sounds punch a ten-song record full with a near perfect blend of electronic punk and pop. With Maja Ivarsson leading the way on vocals and backed by Jesper Anderberg (keyboards), Johan Bengtsson (bass), Fredrik Nilsson (drums), and Felix Rodriguez (guitar), Dying to Say This to You is like the Faint collided with recent Madonna and only enchantment was left over.
Dying to Say This to You kicks off on “Song With a Mission” that sets the stage, but honestly is a mere side offering in the way of the magic that is ready to burst through the seams. With the chorus only holding you together on “Song With a Mission,” “Queen of Apology” provides the first ‘hit’ (of which there are many) of the record as it pulsates on both the verse and chorus. ‘Pulsates’ is the operational word as when Ivarsson’s vocals or Anderberg’s synths aren’t rocking you, you can find dance solace on Bengtsson’s thumping bass – one of the few times when the bass takes songs above and beyond. “Tony the Beat” starts off rather lamely and you are tempted to skip right on past, but wait…for the chorus kicks you in the nuts and takes the song in a totally different direction. The synth-filled love fest on the chorus could easily be one of the sweetest bits of recorded seconds in awhile; naturally another hit. The Sounds unleash more rock on “24 Hours” and it pays off in spades as there is little not to like across any part of this potential single. The synths on the chorus may remind you of the 80s movie Labyrinth, but in the right context why the hell not. “Painted Numbers” is straight-up new wave dance party, while “Night After Night” slows the pace as Ivarsson sings along to a slow piano – on the LP there is another version of “Night After Night” with the full band at a rock pace and is in all a better offering. To bring you off the one bit of mellow, the Sounds crush you on “Ego” with the opening lines of ‘I’ve been dying to say this to you/but I don’t know what else to do/because I’ve seen your fucking attitude.’ Hey, that’s not radio-friendly! As if it matters. “Don’t Want to Hurt You” is very electro-chic and on the instrumental intro sounds like many a Peaches’ song. This is also the only song on Dying that features one of the gentlemen on lead vocal duties. “Much Too Long Now” holds the uptempo, electro punk fort down with another excellent chorus, while “Running Out Of Turbo” closes the affair as ok but pales in comparison to the other set.
If you have proclivity to dance punk, electro party new wave heaven then Dying to Say This to You should be on your shelf the day after yesterday (today). The Sounds are currently rocking a U.S. tour, so do yourself and engage in some Swedish dance delight.
Dying to Say This to You
Scratchie Records/New Line Records
Grade: A-/A
Absurdly fucking gorgeous fun! Such might be one of the statements you could make concerning the brilliant second record from Sweden’s the Sounds. Dying to Say This to You bitch slaps the band’s debut and ushers in possibly one of the hottest bands in the world to unconscionable levels of joy. Behold.
A first exposure to the Sounds came, perhaps appropriately enough, in the back of a VW bug at excessive volume racing through New York a few years back. The Sounds’ 2002 debut Living in America rocked your mind – the type where you get a confused look like ‘what just happened.’ The five-piece set out after its release to conquer American audiences with over 300 shows and an array of late night talk show appearances. With that exposure in the bag, the question inevitably led to what can they offer next? Apparently pop genius.
With the production assistance of Jeff Saltzman, James Iha, and Adam Schlesinger, the Sounds punch a ten-song record full with a near perfect blend of electronic punk and pop. With Maja Ivarsson leading the way on vocals and backed by Jesper Anderberg (keyboards), Johan Bengtsson (bass), Fredrik Nilsson (drums), and Felix Rodriguez (guitar), Dying to Say This to You is like the Faint collided with recent Madonna and only enchantment was left over.
Dying to Say This to You kicks off on “Song With a Mission” that sets the stage, but honestly is a mere side offering in the way of the magic that is ready to burst through the seams. With the chorus only holding you together on “Song With a Mission,” “Queen of Apology” provides the first ‘hit’ (of which there are many) of the record as it pulsates on both the verse and chorus. ‘Pulsates’ is the operational word as when Ivarsson’s vocals or Anderberg’s synths aren’t rocking you, you can find dance solace on Bengtsson’s thumping bass – one of the few times when the bass takes songs above and beyond. “Tony the Beat” starts off rather lamely and you are tempted to skip right on past, but wait…for the chorus kicks you in the nuts and takes the song in a totally different direction. The synth-filled love fest on the chorus could easily be one of the sweetest bits of recorded seconds in awhile; naturally another hit. The Sounds unleash more rock on “24 Hours” and it pays off in spades as there is little not to like across any part of this potential single. The synths on the chorus may remind you of the 80s movie Labyrinth, but in the right context why the hell not. “Painted Numbers” is straight-up new wave dance party, while “Night After Night” slows the pace as Ivarsson sings along to a slow piano – on the LP there is another version of “Night After Night” with the full band at a rock pace and is in all a better offering. To bring you off the one bit of mellow, the Sounds crush you on “Ego” with the opening lines of ‘I’ve been dying to say this to you/but I don’t know what else to do/because I’ve seen your fucking attitude.’ Hey, that’s not radio-friendly! As if it matters. “Don’t Want to Hurt You” is very electro-chic and on the instrumental intro sounds like many a Peaches’ song. This is also the only song on Dying that features one of the gentlemen on lead vocal duties. “Much Too Long Now” holds the uptempo, electro punk fort down with another excellent chorus, while “Running Out Of Turbo” closes the affair as ok but pales in comparison to the other set.
If you have proclivity to dance punk, electro party new wave heaven then Dying to Say This to You should be on your shelf the day after yesterday (today). The Sounds are currently rocking a U.S. tour, so do yourself and engage in some Swedish dance delight.
Friday, March 28, 2008
We Are Scientists - With Love and Squalor
We Are Scientists
With Love and Squalor
Virgin Records
Grade: A-
With the wave of British music press hype and dancey pop rock anthems, you can easily be forgiven for believing that We Are Scientists are British; hell, even Harry Potter said in a recent interview they were his favorite band. Yet, the three-piece of Keith Murray (guitar, lead vocals), Chris Cain (bass), and Michael Tapper (drums), actually call NY home and add fervor to sometimes dreary NY days. Working, playing, and recording for the past five years or so, With Love and Squalor is We Are Scientists big, major full-length release; the record to officially welcome the band to the world. There is little question that We Are Scientists are instantly pop appealing while maintaining high integrity rock. Bits of new wave vocal inflection ramble in from time-to-time, but you wouldn’t really link them the new wave revisionists (e.g., “Textbook” and “It’s a Hit”). With that in mind, the twelve songs on With Love and Squalor are nearly a string of fun singles. Songs that you’ve surely heard already and are down with include the opener “Nobody Move, Nobody Get Hurt,” “This Scene Is Dead,” “The Great Escape,” and the excellent closing of “Lousy Reputation.” These boys should be getting you to move for some time to come.
With Love and Squalor
Virgin Records
Grade: A-
With the wave of British music press hype and dancey pop rock anthems, you can easily be forgiven for believing that We Are Scientists are British; hell, even Harry Potter said in a recent interview they were his favorite band. Yet, the three-piece of Keith Murray (guitar, lead vocals), Chris Cain (bass), and Michael Tapper (drums), actually call NY home and add fervor to sometimes dreary NY days. Working, playing, and recording for the past five years or so, With Love and Squalor is We Are Scientists big, major full-length release; the record to officially welcome the band to the world. There is little question that We Are Scientists are instantly pop appealing while maintaining high integrity rock. Bits of new wave vocal inflection ramble in from time-to-time, but you wouldn’t really link them the new wave revisionists (e.g., “Textbook” and “It’s a Hit”). With that in mind, the twelve songs on With Love and Squalor are nearly a string of fun singles. Songs that you’ve surely heard already and are down with include the opener “Nobody Move, Nobody Get Hurt,” “This Scene Is Dead,” “The Great Escape,” and the excellent closing of “Lousy Reputation.” These boys should be getting you to move for some time to come.
Thursday, March 27, 2008
Sondre Lerche & the Faces Down Quartet - Duper Sessions
Sondre Lerche & the Faces Down Quartet
Duper Sessions
Astralwerks
Grade: A-/A
It is amazing that Sondre Lerche doesn’t get as much love in the press and music world in general as he rightly deserves. Everything Lerche touches is gold and how can you quibble with one of the coolest crooners going. After his debut Faces Down (2002) and the gorgeous Two Way Monologue (2004), Lerche decide to have some fun before settling down to record his third rock record. The outcome is the jazz-infused lounge pop Duper Sessions – one of the sweetest records of the year. The Faces Down Quartet is simply Lerche’s usual backing band, Kato Adland (guitar), Morten Skage (bassist), and drummer (Ole Ludvig Kruger), and pianist Erik Halvorsen. Duper is the name of the studio in Bergen, Norway, where the group recorded this fourteen-track tour de force. Naturally, Duper Sessions would be nothing without Lerche’s brilliant vocals or without the Faces Down sweet backing. Keeping most of the songs in the three-minute range and recording live over only a few days, Duger Sessions makes you feel instantly 1950s jazz hip. Save for a couple of rockers (e.g., the excellent “The Curse of Being in Love”), Lerche could easily be the new Sinatra if he so desired; though he maintains this is just a one-off detour…for now. Duper Sessions includes three covers: a dazzling version of Elvis Costello’s “Human Hands” (on the non-North American version this is replaced by Gordon and Warren’s “The More I See You”), Cole Porter’s “Night and Day” where they scruff up the sound, and oddly a complete lounge version of Prefab Sprout’s “Nightingales.” Without that piece of information or a unique knowledge of Prefab Sprout there is no way you’d recognize it. While all the tracks on Duper Sessions offer special moments look out for the stellar opener “Everyone’s Rooting For You,” the slow, wordy “Minor Detail,” the vocal pulling on “Once In Awhile,” and the strings-drenched “I Wanna Call It Love.” Even though Duper Sessions is a one-off affair, it is pure Lerche and only whets your appetite for his next ‘proper’ album. The only thing is…will it be as spectacular?
Duper Sessions
Astralwerks
Grade: A-/A
It is amazing that Sondre Lerche doesn’t get as much love in the press and music world in general as he rightly deserves. Everything Lerche touches is gold and how can you quibble with one of the coolest crooners going. After his debut Faces Down (2002) and the gorgeous Two Way Monologue (2004), Lerche decide to have some fun before settling down to record his third rock record. The outcome is the jazz-infused lounge pop Duper Sessions – one of the sweetest records of the year. The Faces Down Quartet is simply Lerche’s usual backing band, Kato Adland (guitar), Morten Skage (bassist), and drummer (Ole Ludvig Kruger), and pianist Erik Halvorsen. Duper is the name of the studio in Bergen, Norway, where the group recorded this fourteen-track tour de force. Naturally, Duper Sessions would be nothing without Lerche’s brilliant vocals or without the Faces Down sweet backing. Keeping most of the songs in the three-minute range and recording live over only a few days, Duger Sessions makes you feel instantly 1950s jazz hip. Save for a couple of rockers (e.g., the excellent “The Curse of Being in Love”), Lerche could easily be the new Sinatra if he so desired; though he maintains this is just a one-off detour…for now. Duper Sessions includes three covers: a dazzling version of Elvis Costello’s “Human Hands” (on the non-North American version this is replaced by Gordon and Warren’s “The More I See You”), Cole Porter’s “Night and Day” where they scruff up the sound, and oddly a complete lounge version of Prefab Sprout’s “Nightingales.” Without that piece of information or a unique knowledge of Prefab Sprout there is no way you’d recognize it. While all the tracks on Duper Sessions offer special moments look out for the stellar opener “Everyone’s Rooting For You,” the slow, wordy “Minor Detail,” the vocal pulling on “Once In Awhile,” and the strings-drenched “I Wanna Call It Love.” Even though Duper Sessions is a one-off affair, it is pure Lerche and only whets your appetite for his next ‘proper’ album. The only thing is…will it be as spectacular?
Sondre Lerche & the Faces Down Quartet - Duper Sessions
Sondre Lerche & the Faces Down Quartet
Duper Sessions
Astralwerks
Grade: A-/A
It is amazing that Sondre Lerche doesn’t get as much love in the press and music world in general as he rightly deserves. Everything Lerche touches is gold and how can you quibble with one of the coolest crooners going. After his debut Faces Down (2002) and the gorgeous Two Way Monologue (2004), Lerche decide to have some fun before settling down to record his third rock record. The outcome is the jazz-infused lounge pop Duper Sessions – one of the sweetest records of the year. The Faces Down Quartet is simply Lerche’s usual backing band, Kato Adland (guitar), Morten Skage (bassist), and drummer (Ole Ludvig Kruger), and pianist Erik Halvorsen. Duper is the name of the studio in Bergen, Norway, where the group recorded this fourteen-track tour de force. Naturally, Duper Sessions would be nothing without Lerche’s brilliant vocals or without the Faces Down sweet backing. Keeping most of the songs in the three-minute range and recording live over only a few days, Duger Sessions makes you feel instantly 1950s jazz hip. Save for a couple of rockers (e.g., the excellent “The Curse of Being in Love”), Lerche could easily be the new Sinatra if he so desired; though he maintains this is just a one-off detour…for now. Duper Sessions includes three covers: a dazzling version of Elvis Costello’s “Human Hands” (on the non-North American version this is replaced by Gordon and Warren’s “The More I See You”), Cole Porter’s “Night and Day” where they scruff up the sound, and oddly a complete lounge version of Prefab Sprout’s “Nightingales.” Without that piece of information or a unique knowledge of Prefab Sprout there is no way you’d recognize it. While all the tracks on Duper Sessions offer special moments look out for the stellar opener “Everyone’s Rooting For You,” the slow, wordy “Minor Detail,” the vocal pulling on “Once In Awhile,” and the strings-drenched “I Wanna Call It Love.” Even though Duper Sessions is a one-off affair, it is pure Lerche and only whets your appetite for his next ‘proper’ album. The only thing is…will it be as spectacular?
Duper Sessions
Astralwerks
Grade: A-/A
It is amazing that Sondre Lerche doesn’t get as much love in the press and music world in general as he rightly deserves. Everything Lerche touches is gold and how can you quibble with one of the coolest crooners going. After his debut Faces Down (2002) and the gorgeous Two Way Monologue (2004), Lerche decide to have some fun before settling down to record his third rock record. The outcome is the jazz-infused lounge pop Duper Sessions – one of the sweetest records of the year. The Faces Down Quartet is simply Lerche’s usual backing band, Kato Adland (guitar), Morten Skage (bassist), and drummer (Ole Ludvig Kruger), and pianist Erik Halvorsen. Duper is the name of the studio in Bergen, Norway, where the group recorded this fourteen-track tour de force. Naturally, Duper Sessions would be nothing without Lerche’s brilliant vocals or without the Faces Down sweet backing. Keeping most of the songs in the three-minute range and recording live over only a few days, Duger Sessions makes you feel instantly 1950s jazz hip. Save for a couple of rockers (e.g., the excellent “The Curse of Being in Love”), Lerche could easily be the new Sinatra if he so desired; though he maintains this is just a one-off detour…for now. Duper Sessions includes three covers: a dazzling version of Elvis Costello’s “Human Hands” (on the non-North American version this is replaced by Gordon and Warren’s “The More I See You”), Cole Porter’s “Night and Day” where they scruff up the sound, and oddly a complete lounge version of Prefab Sprout’s “Nightingales.” Without that piece of information or a unique knowledge of Prefab Sprout there is no way you’d recognize it. While all the tracks on Duper Sessions offer special moments look out for the stellar opener “Everyone’s Rooting For You,” the slow, wordy “Minor Detail,” the vocal pulling on “Once In Awhile,” and the strings-drenched “I Wanna Call It Love.” Even though Duper Sessions is a one-off affair, it is pure Lerche and only whets your appetite for his next ‘proper’ album. The only thing is…will it be as spectacular?
Wednesday, March 26, 2008
Mono - You Are There
Mono
You Are There
Temporary Residence Ltd.
Grade: A-/A
Like their previous records and most recently Walking Cloud and Deep Red Sky…there is only way to truly listen to a Mono record: with headphones on and really loud. Otherwise, you’ll completely miss out on the haunting genius and explosive movements that lie underneath an often subtle veil. Again recorded by Steve Albini in Chicago, You Are There slides six songs of ominous, floating cinema that is virtually impossible to give due justice describing in words. Just try describing a band like Mono to an average person you meet on the street – you can’t do it, you’ll get frustrated because they can’t understand, you throw up your arms, walk away, come back and say something like ‘take the structure of classical music and set it to spacey guitar instrumentals’ or whatever…still won’t help. Even if you can’t describe Mono, you can still enjoy such choice numbers as the thirteen-minute opener “The Flames Beyond the Cold Mountain” all the way to the gorgeous closer “Moonlight.” Again, before you utilize Mono’s relaxing background music powers, you must expose yourself and concentrate to all of You Are There. Further, Japan is not in the US, so if Mono is coming through your town you have to check them out.
You Are There
Temporary Residence Ltd.
Grade: A-/A
Like their previous records and most recently Walking Cloud and Deep Red Sky…there is only way to truly listen to a Mono record: with headphones on and really loud. Otherwise, you’ll completely miss out on the haunting genius and explosive movements that lie underneath an often subtle veil. Again recorded by Steve Albini in Chicago, You Are There slides six songs of ominous, floating cinema that is virtually impossible to give due justice describing in words. Just try describing a band like Mono to an average person you meet on the street – you can’t do it, you’ll get frustrated because they can’t understand, you throw up your arms, walk away, come back and say something like ‘take the structure of classical music and set it to spacey guitar instrumentals’ or whatever…still won’t help. Even if you can’t describe Mono, you can still enjoy such choice numbers as the thirteen-minute opener “The Flames Beyond the Cold Mountain” all the way to the gorgeous closer “Moonlight.” Again, before you utilize Mono’s relaxing background music powers, you must expose yourself and concentrate to all of You Are There. Further, Japan is not in the US, so if Mono is coming through your town you have to check them out.
Tuesday, March 25, 2008
Jenny Lewis with the Watson Twins - Rabbit Fur Coat
Jenny Lewis with the Watson Twins
Rabbit Fur Coat
Team Love
Grade: A-
First impressions of Jenny Lewis’ solo record were blah-blah, ho-hum, scrambled-eggs-on-white. With expectations soaring to incredible heights given the success and brilliance of Rilo Kiley, one didn’t feel part of Lewis’ stripped-down, slow, southern religious-overtoned collection of solo songs. Yet, like a choice fungus, Rabbit Fur Coat grows and grows on you; just separate yourself from Rilo Kiley songs, particularly Blake Sennett’s guitar work, and let your guard down to welcome the record. With the Watson Twins – Chandra and Leigh – providing gorgeous harmonizing, Lewis teamed up with the usual suspects of the Saddle Creek extended family – Mike Mogis, M.Ward, Mike Bloom, Ben Gibbard, etc., and of course, Conor Oberst – to record the twelve tracks on Rabbit Fur Coat. Even if the southern soulful opening of “Run Devil Run” rubs you the wrong way, Lewis does more than make it up to even loudly-proclaimed atheists thanks to the musically powerful “The Big Guns.” “Rise Up with Fists!” shares commonality with Sennet’s the Elected and soars thanks to the Watsons’ incredible harmonizing. After the slow-paced “Happy,” Lewis offers one of the best songs on Rabbit with the sweet, perfect-tempo “The Charging Sky.” Returning to slower movements “Melt Your Hearts” hints at a Mazzy Starr ambience before “You Are What You Love” pushes the tempo with some lovely melodies. The title-track is a moderate waltz that serves a nice juxtaposition to Lewis’ cover of the Traveling Wilburys’ “Handle Me With Care.” Naturally, a cover of a super group’s song requires another super group, which is created with the inclusion of Oberst, Gibbard, and Ward playing the roles. Unfortunately, the final three tracks of Rabbit Fur Coat – “Born Secular,” “It Wasn’t Me,” “Happy (Reprise)” – merely seem like an afterthought. You won’t find instant Lewis-in-Rilo satisfaction from Rabbit Fur Coat, but simply allow the record to develop on its own.
Rabbit Fur Coat
Team Love
Grade: A-
First impressions of Jenny Lewis’ solo record were blah-blah, ho-hum, scrambled-eggs-on-white. With expectations soaring to incredible heights given the success and brilliance of Rilo Kiley, one didn’t feel part of Lewis’ stripped-down, slow, southern religious-overtoned collection of solo songs. Yet, like a choice fungus, Rabbit Fur Coat grows and grows on you; just separate yourself from Rilo Kiley songs, particularly Blake Sennett’s guitar work, and let your guard down to welcome the record. With the Watson Twins – Chandra and Leigh – providing gorgeous harmonizing, Lewis teamed up with the usual suspects of the Saddle Creek extended family – Mike Mogis, M.Ward, Mike Bloom, Ben Gibbard, etc., and of course, Conor Oberst – to record the twelve tracks on Rabbit Fur Coat. Even if the southern soulful opening of “Run Devil Run” rubs you the wrong way, Lewis does more than make it up to even loudly-proclaimed atheists thanks to the musically powerful “The Big Guns.” “Rise Up with Fists!” shares commonality with Sennet’s the Elected and soars thanks to the Watsons’ incredible harmonizing. After the slow-paced “Happy,” Lewis offers one of the best songs on Rabbit with the sweet, perfect-tempo “The Charging Sky.” Returning to slower movements “Melt Your Hearts” hints at a Mazzy Starr ambience before “You Are What You Love” pushes the tempo with some lovely melodies. The title-track is a moderate waltz that serves a nice juxtaposition to Lewis’ cover of the Traveling Wilburys’ “Handle Me With Care.” Naturally, a cover of a super group’s song requires another super group, which is created with the inclusion of Oberst, Gibbard, and Ward playing the roles. Unfortunately, the final three tracks of Rabbit Fur Coat – “Born Secular,” “It Wasn’t Me,” “Happy (Reprise)” – merely seem like an afterthought. You won’t find instant Lewis-in-Rilo satisfaction from Rabbit Fur Coat, but simply allow the record to develop on its own.
Friday, March 21, 2008
Caroline - Murmurs
Caroline
Murmurs
Temporary Residence Ltd.
Grade: A-
After last year’s shockingly brilliant single “Where’s My Love,” expectations were admittedly absurdly high for Caroline’s debut full-length Murmurs. While the whole of Murmurs can’t maintain the genius of “Where’s My Love,” the nine songs do provide great ambient electro-synth-pop from Caroline Lufkin. Born and raised in Okinawa, schooled at Berklee in Boston, and initially working in pop music in Tokyo, Caroline decided to break free of the treadmill, move to LA, and start her solo career simply with her voice and computer. After sending “Where’s My Love” to TRL, the label quickly released the single and now finally her full-length. For this record, Caroline employs a massive cadre of musicians to create the intricate and complex sounds. Murmurs opens in rather unfortunate form on the first thirty seconds of “Bicycle” before Caroline’s voice comes into guide you away to goodness and away from awkward horns. “Bicycle” sets the stage for what many compare to Icelandic/Scandinavian electronic instrumentals with angel-infused vocal whispers and dashes of pop to help counter esoteric movements. Indeed this is supported on the following and excellent “Pink & Black” and more withdrawn “Sunrise.” “Where’s My Love” comes next and as mentioned above will basically sweep you off your feet for several hours at a time. If there was one song to seek out in whatever fashion it is “Where’s My Love” – and that we haven’t heard the song shooting across the globe on all outlets is baffling. “Everylittlething” is a successful follow-up to the star as Caroline introduces a set of danceable beats and club-ready haunts. Without Caroline’s consistently gorgeous vocals “All I Need” would just be running water, while “Drove Me to the Wall” is a bit of a misstep. “I’ll Leave My Heart Behind” features an upbeat Caroline with ethereal electronics and a piano that transitions to a pop chorus. “Winter” closes out Murmurs in true ghostly snow princess form and will certainly cement Caroline as a champion of the sound. Again, the other eight songs of Murmurs aren’t as stunning as “Where’s My Love,” but the magic still persists simply in other forms.
Murmurs
Temporary Residence Ltd.
Grade: A-
After last year’s shockingly brilliant single “Where’s My Love,” expectations were admittedly absurdly high for Caroline’s debut full-length Murmurs. While the whole of Murmurs can’t maintain the genius of “Where’s My Love,” the nine songs do provide great ambient electro-synth-pop from Caroline Lufkin. Born and raised in Okinawa, schooled at Berklee in Boston, and initially working in pop music in Tokyo, Caroline decided to break free of the treadmill, move to LA, and start her solo career simply with her voice and computer. After sending “Where’s My Love” to TRL, the label quickly released the single and now finally her full-length. For this record, Caroline employs a massive cadre of musicians to create the intricate and complex sounds. Murmurs opens in rather unfortunate form on the first thirty seconds of “Bicycle” before Caroline’s voice comes into guide you away to goodness and away from awkward horns. “Bicycle” sets the stage for what many compare to Icelandic/Scandinavian electronic instrumentals with angel-infused vocal whispers and dashes of pop to help counter esoteric movements. Indeed this is supported on the following and excellent “Pink & Black” and more withdrawn “Sunrise.” “Where’s My Love” comes next and as mentioned above will basically sweep you off your feet for several hours at a time. If there was one song to seek out in whatever fashion it is “Where’s My Love” – and that we haven’t heard the song shooting across the globe on all outlets is baffling. “Everylittlething” is a successful follow-up to the star as Caroline introduces a set of danceable beats and club-ready haunts. Without Caroline’s consistently gorgeous vocals “All I Need” would just be running water, while “Drove Me to the Wall” is a bit of a misstep. “I’ll Leave My Heart Behind” features an upbeat Caroline with ethereal electronics and a piano that transitions to a pop chorus. “Winter” closes out Murmurs in true ghostly snow princess form and will certainly cement Caroline as a champion of the sound. Again, the other eight songs of Murmurs aren’t as stunning as “Where’s My Love,” but the magic still persists simply in other forms.
Thursday, March 20, 2008
No Trigger - Canyoneer
No Trigger
Canyoneer
Nitro Records
Grade: A-
Massachusetts-based No Trigger don’t play new or uniquely innovative punk rock. What they do nearly perfectly is pick up the fast-paced aggressive yet melodic punk established by bands like Lifetime and Strike Anywhere and nail it to the wall. It is quite likely that you need to be real fan of a band like Lifetime and the Richmond contingent to really get behind No Trigger. But if you are then you are going to love the twelve-track Canyoneer.
Formed in 2000, No Trigger did what most northeastern punk/hardcore bands have done – hang out and craft their show in their and friends’ basements with only occasionally seeing the light of day. This is interspersed with work and school while continuing to hope for a day when they can just be a band. Starting with their debut EP, 2004’s Extinction in Stereo, followed by tours of North America and Japan, and culminating with signing with Nitro and releasing Canyoneer, No Trigger are now a ‘band.’ No Trigger’s sound is truly held together by the radiant vocals of Tom Rheault – matching those who came before and holding his own at the same time. Rheault is joined by Mike Ciprari (drums), Mike Pryzgoda (guitar), Tom Ciesluk (bass), and Jon Strader (guitar). Produced by Bill Stevenson and Jason Livermore, No Trigger and Canyoneer make you feel young, energetic, and ready to grab the future.
Canyoneer kicks off on “The (Not So) Noble Purveyors of the Third or Fourth Coming” that sets the stage with high energy, perfectly matched vocals, guitars, and melodies all to the standard 4/4. No Trigger even throw in muted scribbling guitars of mid-90s Fat Wreck to give some nods to the west coast. This is soon followed by the similar-minded “Neon National Park” which is tighter on the melody, offers a solid rhythmic solo and hints that Canyoneer is going to be a great record. “My Woods” is more aggressive, in-your-face smashing, while “Fish Eye Lens” has compelling tripping vocals and guitars that quickly heighten your pulse. Yeah, songs like “Owner Operator” are so Lifetime, especially with the inclusion of gang vocals, but they still are splendid. Bring your grievance to the Supreme Court if you will – but you will not find many friends as we all know Alito throws down to melodic hardcore. “The Honshu Underground” takes awhile to build up and maintains a routine course, until the cool final minute acoustic breakdown. The tempo is picked up again on “Bust Tropical” that has a great bridge to another overpowering chorus. Uber-short old school hardcore fills “You Said It” and “Hail Mary Leakey” is mostly held together by the second guitar keeping a rhythmic solo. The ordinary “Attack of Orion and the Left Arm Sunburn” follows, before No Trigger employ Hayley Helmericks on vocals for “More To Offer” an ode to the lack of ladies fronting bands in scenes. Canyoneer closes on the strong party-opening, bass-following “Tundra Kids” which is basically Trigger’s anthem.
People are may quickly write off No Trigger due to minimal variance between the structure and tempo of their songs. But, if you figured out how to be awesome and rock every piece of energy out of yourself, why would you change? If No Trigger can generate the same amount, or more, energy on stage, then they will surely become a common fixture on punk fans’ shelves.
Canyoneer
Nitro Records
Grade: A-
Massachusetts-based No Trigger don’t play new or uniquely innovative punk rock. What they do nearly perfectly is pick up the fast-paced aggressive yet melodic punk established by bands like Lifetime and Strike Anywhere and nail it to the wall. It is quite likely that you need to be real fan of a band like Lifetime and the Richmond contingent to really get behind No Trigger. But if you are then you are going to love the twelve-track Canyoneer.
Formed in 2000, No Trigger did what most northeastern punk/hardcore bands have done – hang out and craft their show in their and friends’ basements with only occasionally seeing the light of day. This is interspersed with work and school while continuing to hope for a day when they can just be a band. Starting with their debut EP, 2004’s Extinction in Stereo, followed by tours of North America and Japan, and culminating with signing with Nitro and releasing Canyoneer, No Trigger are now a ‘band.’ No Trigger’s sound is truly held together by the radiant vocals of Tom Rheault – matching those who came before and holding his own at the same time. Rheault is joined by Mike Ciprari (drums), Mike Pryzgoda (guitar), Tom Ciesluk (bass), and Jon Strader (guitar). Produced by Bill Stevenson and Jason Livermore, No Trigger and Canyoneer make you feel young, energetic, and ready to grab the future.
Canyoneer kicks off on “The (Not So) Noble Purveyors of the Third or Fourth Coming” that sets the stage with high energy, perfectly matched vocals, guitars, and melodies all to the standard 4/4. No Trigger even throw in muted scribbling guitars of mid-90s Fat Wreck to give some nods to the west coast. This is soon followed by the similar-minded “Neon National Park” which is tighter on the melody, offers a solid rhythmic solo and hints that Canyoneer is going to be a great record. “My Woods” is more aggressive, in-your-face smashing, while “Fish Eye Lens” has compelling tripping vocals and guitars that quickly heighten your pulse. Yeah, songs like “Owner Operator” are so Lifetime, especially with the inclusion of gang vocals, but they still are splendid. Bring your grievance to the Supreme Court if you will – but you will not find many friends as we all know Alito throws down to melodic hardcore. “The Honshu Underground” takes awhile to build up and maintains a routine course, until the cool final minute acoustic breakdown. The tempo is picked up again on “Bust Tropical” that has a great bridge to another overpowering chorus. Uber-short old school hardcore fills “You Said It” and “Hail Mary Leakey” is mostly held together by the second guitar keeping a rhythmic solo. The ordinary “Attack of Orion and the Left Arm Sunburn” follows, before No Trigger employ Hayley Helmericks on vocals for “More To Offer” an ode to the lack of ladies fronting bands in scenes. Canyoneer closes on the strong party-opening, bass-following “Tundra Kids” which is basically Trigger’s anthem.
People are may quickly write off No Trigger due to minimal variance between the structure and tempo of their songs. But, if you figured out how to be awesome and rock every piece of energy out of yourself, why would you change? If No Trigger can generate the same amount, or more, energy on stage, then they will surely become a common fixture on punk fans’ shelves.
Tuesday, March 18, 2008
Wolfmother - Dimensions
Wolfmother
Dimensions
Modular Recordings
Grade: A-
The buzz is buzzing about the acid-drenched jam heavy rock of Wolfmother; and not just that keeping track of their name with all the other …Wolf… is a scenester badge. On this teaser EP, Wolfmother thrash your mind with four songs of majestic rock and add two videos to set you up for your own hallucinatory desert trip. The EP opens on its name sake with a scream from vocalist and guitarist Andrew Stockdale before bassist Chris Ross and Myles Heskett join in for the full-scale assault. Wolfmother follow this attack with the slower paced 70s heavy rock “Mind’s Eye” – that along with “Dimensions” is one of the videos included. “Love Train” merges the two speed sounds, while the final number “The Earth’s Rotation Around the Sun” is a detached, somewhat failed experiment. If you want something between QOTA and Mars Volta, Wolfmother may be your ticket.
Dimensions
Modular Recordings
Grade: A-
The buzz is buzzing about the acid-drenched jam heavy rock of Wolfmother; and not just that keeping track of their name with all the other …Wolf… is a scenester badge. On this teaser EP, Wolfmother thrash your mind with four songs of majestic rock and add two videos to set you up for your own hallucinatory desert trip. The EP opens on its name sake with a scream from vocalist and guitarist Andrew Stockdale before bassist Chris Ross and Myles Heskett join in for the full-scale assault. Wolfmother follow this attack with the slower paced 70s heavy rock “Mind’s Eye” – that along with “Dimensions” is one of the videos included. “Love Train” merges the two speed sounds, while the final number “The Earth’s Rotation Around the Sun” is a detached, somewhat failed experiment. If you want something between QOTA and Mars Volta, Wolfmother may be your ticket.
Friday, March 14, 2008
Sunset Rubdown - Shut Up I Am Dreaming
Sunset Rubdown
Shut Up I Am Dreaming
Absolutely Kosher Records
Grade: A-
Unquestionably, Sunset Rubdown has benefited from the absurd upwards flight of uber-hot indie rockers Wolf Parade. The connection for those floating along to the non-hip news is that Sunset Rubdown is fronted by Wolf Parade’s Spencer Krug. Besides from the help of Wolf Parade, Shut Up I Am Dreaming also benefits from the obvious fact that it’s light years better than the band’s first full-length Snake’s Got a Leg from last summer. The eccentrics remain and lo-fi quirks lie underneath, but the ten songs on Shut Up are for the most part a full-band realized affair. Joined by Jordan Robson Cramer, Mike Doerksen, and Camilla Wynn Ingr, Krug opens up Shut Up with a teaser for all Wolf Parade fans on “Stadiums and Shrines II.” “Stadiums and Shrines II” moves like a slow WP song and is the first highlight of Shut Up. This is followed by two more stirring numbers, the uptempo rock of “They Took a Vote and Said No” and the glorious piano-driven Canadiana of “Us Ones In Between.” After these first three songs, you think Sunset Rubdown is completely brilliant and has emerged from the shadow with its own set of spellbinding songs. Yet, the fourth song “I’m Sorry I Sang On You Hands that Have Been in the Grave” begins the slow decent into a set of solid, but average indie songs. Wadding through some of the murk, highlights pop up from “The Men are Called Horsemen There” and the excellent closer “Shut Up I Am Dreaming of Places Where Lovers Have Wings.” For those bent on their next Wolf Parade fix, Shut Up I Am Dreaming will suit you fine. You should really treat Sunset Rubdown as a separate entity, but it’s difficult with Krug’s unique voice leading the charge.
Shut Up I Am Dreaming
Absolutely Kosher Records
Grade: A-
Unquestionably, Sunset Rubdown has benefited from the absurd upwards flight of uber-hot indie rockers Wolf Parade. The connection for those floating along to the non-hip news is that Sunset Rubdown is fronted by Wolf Parade’s Spencer Krug. Besides from the help of Wolf Parade, Shut Up I Am Dreaming also benefits from the obvious fact that it’s light years better than the band’s first full-length Snake’s Got a Leg from last summer. The eccentrics remain and lo-fi quirks lie underneath, but the ten songs on Shut Up are for the most part a full-band realized affair. Joined by Jordan Robson Cramer, Mike Doerksen, and Camilla Wynn Ingr, Krug opens up Shut Up with a teaser for all Wolf Parade fans on “Stadiums and Shrines II.” “Stadiums and Shrines II” moves like a slow WP song and is the first highlight of Shut Up. This is followed by two more stirring numbers, the uptempo rock of “They Took a Vote and Said No” and the glorious piano-driven Canadiana of “Us Ones In Between.” After these first three songs, you think Sunset Rubdown is completely brilliant and has emerged from the shadow with its own set of spellbinding songs. Yet, the fourth song “I’m Sorry I Sang On You Hands that Have Been in the Grave” begins the slow decent into a set of solid, but average indie songs. Wadding through some of the murk, highlights pop up from “The Men are Called Horsemen There” and the excellent closer “Shut Up I Am Dreaming of Places Where Lovers Have Wings.” For those bent on their next Wolf Parade fix, Shut Up I Am Dreaming will suit you fine. You should really treat Sunset Rubdown as a separate entity, but it’s difficult with Krug’s unique voice leading the charge.
Thursday, March 13, 2008
Raunchy - Death Pop Romance
Raunchy
Death Pop Romance
Lifeforce Records
Grade: A-
Death Pop Romance is a terrific metal record from a horribly named band. You can cut them some slack as Raunchy hail from Denmark and maybe the name doesn’t translate as well. Regardless, the ten songs on their third full-length Death Pop Romance are a near flawless welding of ripping death metal and melodic hardcore; something numerous young American bands attempt but often never achieve. The record isn’t perfect, but Raunchy throws out enough hooks to grab fans from all walks of heavy music and metal. The bigger question is why hasn’t Raunchy totally demolished the metal scene via such tours as Ozzfest? The band has been around since the mid-90s and released two previous full-lengths on Nuclear Blast, but why aren’t they obscenely huge? With the support of Lifeforce, Raunchy should make serious headway thanks to Death Pop Romance.
Death Pop Romance
Lifeforce Records
Grade: A-
Death Pop Romance is a terrific metal record from a horribly named band. You can cut them some slack as Raunchy hail from Denmark and maybe the name doesn’t translate as well. Regardless, the ten songs on their third full-length Death Pop Romance are a near flawless welding of ripping death metal and melodic hardcore; something numerous young American bands attempt but often never achieve. The record isn’t perfect, but Raunchy throws out enough hooks to grab fans from all walks of heavy music and metal. The bigger question is why hasn’t Raunchy totally demolished the metal scene via such tours as Ozzfest? The band has been around since the mid-90s and released two previous full-lengths on Nuclear Blast, but why aren’t they obscenely huge? With the support of Lifeforce, Raunchy should make serious headway thanks to Death Pop Romance.
Wednesday, March 12, 2008
New Bruises - Transmit! Transmit!
New Bruises
Transmit! Transmit!
Kiss of Death Records
Grade: A-
Want an idea of Tampa, FL’s New Bruises’ sound on their debut record? Try that they’re composed of former members of Mid Carson July and Grey A.M., readily admit to the Florida melodic punk/hardcore sound, and they also echo the Richmond punk sound. That provides a pretty good picture of New Bruises’ sound – the lingering question is how well the five-piece executes and pulls off said righteous sound? Well, the twelve songs on Transmit! Transmit! are a few steps short of perfect, but way above average. That’s saying something given the utterly flaccid current state of generic melodic punk/hardcore. Using a well-conceived formula of slight shouting vocals, soloing bass, and multi-layered weaving guitars New Bruises offer up their best material on “Hell Is a Highway (Connecting Tampa and Orlando),” “Being Broke and Broken Down,” “City Hearts and Trailer Parks,” “Bigger Isn’t Always Better. Yes, Texas This Means You,” and heavy bass of “Coffee with a Side of Confrontation, Please.” Already grizzled vets, New Bruises will greatly benefit from a tighter production as they unleash their live show throughout the year. Honestly, I’m just happy that bands are still playing this style of melodic hardcore that once dominated the late 90s.
Transmit! Transmit!
Kiss of Death Records
Grade: A-
Want an idea of Tampa, FL’s New Bruises’ sound on their debut record? Try that they’re composed of former members of Mid Carson July and Grey A.M., readily admit to the Florida melodic punk/hardcore sound, and they also echo the Richmond punk sound. That provides a pretty good picture of New Bruises’ sound – the lingering question is how well the five-piece executes and pulls off said righteous sound? Well, the twelve songs on Transmit! Transmit! are a few steps short of perfect, but way above average. That’s saying something given the utterly flaccid current state of generic melodic punk/hardcore. Using a well-conceived formula of slight shouting vocals, soloing bass, and multi-layered weaving guitars New Bruises offer up their best material on “Hell Is a Highway (Connecting Tampa and Orlando),” “Being Broke and Broken Down,” “City Hearts and Trailer Parks,” “Bigger Isn’t Always Better. Yes, Texas This Means You,” and heavy bass of “Coffee with a Side of Confrontation, Please.” Already grizzled vets, New Bruises will greatly benefit from a tighter production as they unleash their live show throughout the year. Honestly, I’m just happy that bands are still playing this style of melodic hardcore that once dominated the late 90s.
Tuesday, March 11, 2008
La Rocca - Sing Song Sung
La Rocca
Sing Song Sung
Dangerbird Records
Grade: A-
This short four-song EP is just a teaser to draw you into the gorgeous pop rock of Dublin’s La Rocca and make you a believer in the latest greatest Irish export. The four-piece channels Bruce Springsteen and Billy Joel into something more contemporary and poppy and the result is simply fantastic. The opening song is the title track and slowly sets you to rock out with cock out as you bounce along for a short fun two minutes. “Sing Song Sung” quickly establishes the two things that make La Rocca instantly attractive: lead singer and guitarist Bjorn Baillie’s amazing vocals and the simple though extremely well-executed music carried out by Baillie, his brother Simon on bass, Alan Redmond on drums, and Nick Haworth on keyboards. The follower “Sketches (20 Something Life)” enforces this belief and shows the band can float more intricate songs and be successful. “Home” kicks off with contemporary trendy rock and is supported by La Rocca’s biggest nod to Springsteen and contains a superb chorus. The EP closes on the thrashy “Cambodia” and shows La Rocca getting loose and intense as Haworth pounds away on piano. Anyone of these four songs could be hit singles and gets us excited for the soon-to-be full-length.
Sing Song Sung
Dangerbird Records
Grade: A-
This short four-song EP is just a teaser to draw you into the gorgeous pop rock of Dublin’s La Rocca and make you a believer in the latest greatest Irish export. The four-piece channels Bruce Springsteen and Billy Joel into something more contemporary and poppy and the result is simply fantastic. The opening song is the title track and slowly sets you to rock out with cock out as you bounce along for a short fun two minutes. “Sing Song Sung” quickly establishes the two things that make La Rocca instantly attractive: lead singer and guitarist Bjorn Baillie’s amazing vocals and the simple though extremely well-executed music carried out by Baillie, his brother Simon on bass, Alan Redmond on drums, and Nick Haworth on keyboards. The follower “Sketches (20 Something Life)” enforces this belief and shows the band can float more intricate songs and be successful. “Home” kicks off with contemporary trendy rock and is supported by La Rocca’s biggest nod to Springsteen and contains a superb chorus. The EP closes on the thrashy “Cambodia” and shows La Rocca getting loose and intense as Haworth pounds away on piano. Anyone of these four songs could be hit singles and gets us excited for the soon-to-be full-length.
Monday, March 10, 2008
Islands - Return to the Sea
Islands
Return to the Sea
Equator Records
Grade: A-
Islands’ Return to the Sea is borderline genius with just a few missteps and a bit of waywardness that takes them from the petal-covered path of brilliance. Featuring Nick Diamonds and J’aime Tambeur (ex-Unicorns), Islands came together last summer as an island of last resort or miffed separate aspirations in Montreal to record the eleven-track Return to the Sea. Since Islands were rocking Montreal, they had to call in all the scene’s heavy hitters to help record the record including Spencer Krug, Tim Kingsbury, Sarah Neufeld, Dan Boeckner, besides from technically their band of Patrice Agbokou, Patrick Gregorie, and Alex and Sebastian Chow. The reason that Return to the Sea isn’t the greatest record ever is that it’s clear what Islands are incredible at and what they’re just ordinary at. The former are short, quirky indie-pop songs where electronics bounce everywhere as illustrated by the one of the best songs of the year “Rough Gem.” “Rough Gem” is likely to be your kid’s favorite song as well as the hottest indie fun you’ve had all year; like Atom smashed into early Of Montreal. Other songs of such pedigree include they Paul Simony “Don’t Call Me Whitney, Bobby,” “Where There’s a Will, There’s a Whale Bone,” and “Jogging Gorgeous Summer.” The other side of Islands is competent indie rock numbers that belie their Montreal background including the uber-long opener “Swans (Life After Death),” “Humans,” and “Ones.” Return to the Sea provides some great material especially as a debut love affair…and hopefully more magic will be coming forth.
Return to the Sea
Equator Records
Grade: A-
Islands’ Return to the Sea is borderline genius with just a few missteps and a bit of waywardness that takes them from the petal-covered path of brilliance. Featuring Nick Diamonds and J’aime Tambeur (ex-Unicorns), Islands came together last summer as an island of last resort or miffed separate aspirations in Montreal to record the eleven-track Return to the Sea. Since Islands were rocking Montreal, they had to call in all the scene’s heavy hitters to help record the record including Spencer Krug, Tim Kingsbury, Sarah Neufeld, Dan Boeckner, besides from technically their band of Patrice Agbokou, Patrick Gregorie, and Alex and Sebastian Chow. The reason that Return to the Sea isn’t the greatest record ever is that it’s clear what Islands are incredible at and what they’re just ordinary at. The former are short, quirky indie-pop songs where electronics bounce everywhere as illustrated by the one of the best songs of the year “Rough Gem.” “Rough Gem” is likely to be your kid’s favorite song as well as the hottest indie fun you’ve had all year; like Atom smashed into early Of Montreal. Other songs of such pedigree include they Paul Simony “Don’t Call Me Whitney, Bobby,” “Where There’s a Will, There’s a Whale Bone,” and “Jogging Gorgeous Summer.” The other side of Islands is competent indie rock numbers that belie their Montreal background including the uber-long opener “Swans (Life After Death),” “Humans,” and “Ones.” Return to the Sea provides some great material especially as a debut love affair…and hopefully more magic will be coming forth.
Sunday, March 9, 2008
Irving - Death in the Garden, Blood on the Flowers
Irving
Death in the Garden, Blood on the Flowers
Eenie Meenie Records
Grade: A-
How has the post-modern rock of Irving been able to lurk in the background for the past few years when they can offer up such incredible numbers like the opener “The Gentle Preservation of Children’s Minds” on their second full-length, and third release overall, Death in the Garden, Blood on the Flowers? Formed in 2003 simply to help a friend out, Irving is now comprised of Alex Church (bass), Steven Scott (guitar), Brian Canning (guitar), Brent Turner, and Aaron Burrows (keyboards), and they combine to play haunting and dark poppy new wave. At times, Irving pushes more to the 80s theme on songs like “Jen, Nothing Matters to Me” and “I’ll Write the Song, You Sing For Me,” but otherwise they are more contemporary as on the Dandies-like “The Longest Day in the Afternoon” and “I Want to Love You in My Room.” You also get purer 60s psychedelic pop on songs like “Situation” and “Care, I Don’t Care.” But if Irving is looking for any direction in how to move their sound all they have to do is replicate the magic on the aforementioned “The Gentle Preservation of Children’s Minds.” The song begins slightly with either light bells or playing the backbridge, soon joined by a single guitar and glorious, deep vocals uttering these lines: “Remember when they used to make us/wake up and spray all the blood from the flowers/it was so hot, in the afternoon/they told us that we couldn’t stop until the garden bloomed.” After this first refrain, the rest of the band joins in and punctuates the sound on the group sung chorus. Why Irving moves away from this motif on much of the rest of the record is bothersome. Anyway, Death in the Garden, Blood on the Flowers is a record that you need on your shelf now.
Death in the Garden, Blood on the Flowers
Eenie Meenie Records
Grade: A-
How has the post-modern rock of Irving been able to lurk in the background for the past few years when they can offer up such incredible numbers like the opener “The Gentle Preservation of Children’s Minds” on their second full-length, and third release overall, Death in the Garden, Blood on the Flowers? Formed in 2003 simply to help a friend out, Irving is now comprised of Alex Church (bass), Steven Scott (guitar), Brian Canning (guitar), Brent Turner, and Aaron Burrows (keyboards), and they combine to play haunting and dark poppy new wave. At times, Irving pushes more to the 80s theme on songs like “Jen, Nothing Matters to Me” and “I’ll Write the Song, You Sing For Me,” but otherwise they are more contemporary as on the Dandies-like “The Longest Day in the Afternoon” and “I Want to Love You in My Room.” You also get purer 60s psychedelic pop on songs like “Situation” and “Care, I Don’t Care.” But if Irving is looking for any direction in how to move their sound all they have to do is replicate the magic on the aforementioned “The Gentle Preservation of Children’s Minds.” The song begins slightly with either light bells or playing the backbridge, soon joined by a single guitar and glorious, deep vocals uttering these lines: “Remember when they used to make us/wake up and spray all the blood from the flowers/it was so hot, in the afternoon/they told us that we couldn’t stop until the garden bloomed.” After this first refrain, the rest of the band joins in and punctuates the sound on the group sung chorus. Why Irving moves away from this motif on much of the rest of the record is bothersome. Anyway, Death in the Garden, Blood on the Flowers is a record that you need on your shelf now.
Saturday, March 8, 2008
The Forms - Threespheres
The Forms
Threespheres
The Rebel Group
Grade: A-
If you can get indie producer-extraordinaire Steve Albini to work your record, you know that you’re doing something right. The New York-based quartet offers twelve atmospheric indie pop love gems on Threespheres – appealing enough to reach the pop drooling, indie nerds, and the hipsters all at once. Setting the stage for excellence with the amazing opener “Knowledge in Hand,” The Forms progress through such strong numbers as similarly touched “Red Gun,” the riff on “Bones” keeps you busy nodding, the electro swirl of “Blue Whale,” the tight pop of “Oberlin,” and atmospheric closer “Getting It Back.” The Forms are a band that are fun to get used to – try them out for a spin.
Threespheres
The Rebel Group
Grade: A-
If you can get indie producer-extraordinaire Steve Albini to work your record, you know that you’re doing something right. The New York-based quartet offers twelve atmospheric indie pop love gems on Threespheres – appealing enough to reach the pop drooling, indie nerds, and the hipsters all at once. Setting the stage for excellence with the amazing opener “Knowledge in Hand,” The Forms progress through such strong numbers as similarly touched “Red Gun,” the riff on “Bones” keeps you busy nodding, the electro swirl of “Blue Whale,” the tight pop of “Oberlin,” and atmospheric closer “Getting It Back.” The Forms are a band that are fun to get used to – try them out for a spin.
Friday, March 7, 2008
Ramones - It's Alive: 1974-1996
Ramones
It’s Alive: 1974-1996
Rhino
Grade: A-
To put it in the simplest of terms, you are a fan of punk music or bill yourself a rock historian then you should buy this double-disc of live Ramones material immediately, if you don’t already have it on the shelf. The focus of the DVD is on the 1970s Ramones and their initial assaults in NYC before taking on the rest of the U.S. and then the world. Thus, the quality of the first disc especially is often suspect, but you can’t really blame the band or anything – for people to have their own cameras at that time was crazy on its own. There is a progression of quality throughout however, likely linked to how popular the band became. Most interesting from this early set of songs is how Joey Ramone looked the same as a youngster as he did right before he died. Since all the Ramones’ songs are like 2 minutes, the number of included songs on the DVDs is absurd and voluminous. The second disc is filled with late 70s and then 80s material with bits of 90s thrown in; well, up until 1996 as the title dictates. Much of this material on the second disc is from around the world including Germany, England, Sweden, Argentina, Spain, and Finland. And this second one is roughly 2-and-a-half hours of material so you’re set. So, again, pick this up now.
It’s Alive: 1974-1996
Rhino
Grade: A-
To put it in the simplest of terms, you are a fan of punk music or bill yourself a rock historian then you should buy this double-disc of live Ramones material immediately, if you don’t already have it on the shelf. The focus of the DVD is on the 1970s Ramones and their initial assaults in NYC before taking on the rest of the U.S. and then the world. Thus, the quality of the first disc especially is often suspect, but you can’t really blame the band or anything – for people to have their own cameras at that time was crazy on its own. There is a progression of quality throughout however, likely linked to how popular the band became. Most interesting from this early set of songs is how Joey Ramone looked the same as a youngster as he did right before he died. Since all the Ramones’ songs are like 2 minutes, the number of included songs on the DVDs is absurd and voluminous. The second disc is filled with late 70s and then 80s material with bits of 90s thrown in; well, up until 1996 as the title dictates. Much of this material on the second disc is from around the world including Germany, England, Sweden, Argentina, Spain, and Finland. And this second one is roughly 2-and-a-half hours of material so you’re set. So, again, pick this up now.
Thursday, March 6, 2008
Hot Springs - Volcano
Hot Springs
Volcano
Aquarius Records
Grade: A-
Perhaps it’s my myopic musical viewpoint, but a couple of months back it seemed that the indie press were wetting their pants to Montreal’s Hot Springs. And thus, expectations were high for the ten-track Volcano. Hot Springs tackle their sound with the pure aggression of wolves on dance punk prey – helped to an absurd degree by the belting vocals of Giselle Webber. Webber’s Joplin-meets-Ditto vocal intensity carries Hot Springs through any tough moments and imprints their sound onto your brain. To find the full effect of the richness of Hot Springs a headphone listen is necessary – without you’ll miss the aching, depth, and range of Webber’s vocals, like how they crackle on “Fog and the Horn.” “Fog and the Horn” also establishes that Hot Springs aren’t a one-trick pony of sound – where here the tempo slows to a crawl on the slithery ballad. Hot Springs are catchy but not to such a degree that you lose yourself in them, which is both good and bad. You want to lose yourself, get chills, and find joy from hitting repeat over and over from absurdly catchy numbers. But also these songs may overshadow an otherwise stellar record. For the most part I find the ‘it’ maker indie music sites to be off the mark too many times for anyone’s good, but they might actually be onto something with Hot Springs.
Volcano
Aquarius Records
Grade: A-
Perhaps it’s my myopic musical viewpoint, but a couple of months back it seemed that the indie press were wetting their pants to Montreal’s Hot Springs. And thus, expectations were high for the ten-track Volcano. Hot Springs tackle their sound with the pure aggression of wolves on dance punk prey – helped to an absurd degree by the belting vocals of Giselle Webber. Webber’s Joplin-meets-Ditto vocal intensity carries Hot Springs through any tough moments and imprints their sound onto your brain. To find the full effect of the richness of Hot Springs a headphone listen is necessary – without you’ll miss the aching, depth, and range of Webber’s vocals, like how they crackle on “Fog and the Horn.” “Fog and the Horn” also establishes that Hot Springs aren’t a one-trick pony of sound – where here the tempo slows to a crawl on the slithery ballad. Hot Springs are catchy but not to such a degree that you lose yourself in them, which is both good and bad. You want to lose yourself, get chills, and find joy from hitting repeat over and over from absurdly catchy numbers. But also these songs may overshadow an otherwise stellar record. For the most part I find the ‘it’ maker indie music sites to be off the mark too many times for anyone’s good, but they might actually be onto something with Hot Springs.
Wednesday, March 5, 2008
Crime in Stereo - Crime in Stereo is Dead
Crime in Stereo
Crime in Stereo is Dead
Bridge Nine Records
Grade: A-
The first Crime in Stereo material I heard was small snippets off their acclaimed 2006 album The Troubled Stateside – an awesome maelstrom of contemporary melodic hardcore in a similar vein to Lifetime. Further, that CIS is from LI stoked my interest even further. And thus, curiosity ran quite high for this eleven-song offering on their new label Bridge Nine Records. Given CIS’ past material and that B9 has a swath of tough-guy hardcore bands on their lineup, you’d figure to find harder edge songs. And yet, Crime in Stereo is Dead is considerably more tempered than past albums with a concentration on song structures, rhythms, and melodies. You still find the balls-out melodic hardcore rockers such as the splendidly brilliant “Nixon,” opener “The First Thousand Years of Solitude,” the more poppy “Animal Pharm,” and closer “Choker.” But there are also complicated, multi-tempo songs such as “But You Are Vast,” “Small Skeletal,” and “Vicious Teeth.” Even though “Nixon” with its tremendous rhythmic solo is most reminiscent of past songs (and bands like Lifetime), the catchiness and magnetic powers also will draw every listen to press repeat over and over. With the members of Crime in Stereo moving in different directions in their lives, check them out while you still can.
Crime in Stereo is Dead
Bridge Nine Records
Grade: A-
The first Crime in Stereo material I heard was small snippets off their acclaimed 2006 album The Troubled Stateside – an awesome maelstrom of contemporary melodic hardcore in a similar vein to Lifetime. Further, that CIS is from LI stoked my interest even further. And thus, curiosity ran quite high for this eleven-song offering on their new label Bridge Nine Records. Given CIS’ past material and that B9 has a swath of tough-guy hardcore bands on their lineup, you’d figure to find harder edge songs. And yet, Crime in Stereo is Dead is considerably more tempered than past albums with a concentration on song structures, rhythms, and melodies. You still find the balls-out melodic hardcore rockers such as the splendidly brilliant “Nixon,” opener “The First Thousand Years of Solitude,” the more poppy “Animal Pharm,” and closer “Choker.” But there are also complicated, multi-tempo songs such as “But You Are Vast,” “Small Skeletal,” and “Vicious Teeth.” Even though “Nixon” with its tremendous rhythmic solo is most reminiscent of past songs (and bands like Lifetime), the catchiness and magnetic powers also will draw every listen to press repeat over and over. With the members of Crime in Stereo moving in different directions in their lives, check them out while you still can.
Tuesday, March 4, 2008
Johnathan Rice - Further North
Johnathan Rice
Further North
Reprise Records
Grade: A-/A
You likely know who Johnathan Rice is or have at least heard him before but didn’t realize it. Besides from existing in the hip LA indie rock scene, Rice played the role of Roy Orbison in the Johnny Cash-biopic Walk the Line; and most folks have seen that movie. On Further North, Rice’s second full-length, the DC native opens up his sweet alt-country indie rock love to extents not previously seen, and in so doing makes converts of the uninitiated.
As a solo troubadour, Rice took a common path of heading to NYC to pursue rock dreams. In Rice’s case those dreams consisted of updating the sounds of Neil Young, the Band, and Gram Parsons, while scrapping a living in the city. Scrapping in NYC is as common as breathing as Rice realized soon. With the support of the indie scene, Rice released the EP Heart and Mind, and such started a spin into the arms of Reprise/Warner Brothers. For his debut full-length, Rice headed into Saddle Creek mainstay Mike Mogis’ Nebraska studio and came away with the grandiose Trouble is Real (released in 2005). Trouble is Real spans numerable styles with the heart laying in a type of psychedelic indie country pop. Though a different time and mentality for Rice, Trouble is Real set the stage for Rice to tour with acts such as Jenny Lewis and Wilco.
For Further North, Rice decided to take a more stripped down and simple approach to the eleven-track offering. It is quite possible that Rice’s ramblings with touring partners and his hanging out in the LA scene (where he is rumored to be dating Lewis) may have influenced Further North’s rooty alt-country pop. Producing the album in LA with Jason Lader and (Farmer) Dave Scher, Rice used an ensemble cast approach to the recording. Among the individuals offering their talents besides from the producers are Lewis, Rilo Kiley’s Jason Boesel, Brian Geltner, Davey Faragher, among many others. In fact, seven of the eleven songs here were written by Lewis and Rice – a powerful duo indeed.
Further North begins on the pedal steel-fused “We’re All Stuck Out In the Desert” – the first single – where Rice calls out such lines as “We’re all stuck out in the desert and we’re all going to die” in a manner that you embrace. What carries Rice is his powerful, trance-creating voice mixed with a terrific set of lyrics. Some of the phrases and vocal cadences throughout the album remind you of Lewis’ solo work and Rilo Kiley adventures; it may be that the knowledge of the songwriting credits tempers this belief. The title-track starts like a big dirty mess before getting round up into an alt-country pop number with dirty electric guitar from Black Mills rocking the intermittent riff. Moving to a pop duet, “End of the Affair” features Lewis and Rice combining and trading off lines, but Lewis’ voice is equally balanced against Rice and doesn’t stand out like usual. “Middle of the Road” is a moderate tempo mover where Rice’s voice shines against acoustic guitars and a catchy chorus. Thankfully, someone has finally written a song regarding the weed that isn’t a rap, stoner, or gangster-metal anthem, though “THC” is the trippiest song on Further North. “It Couldn’t Be Me” meanders around dusty mountains, while “Giving It Up” is a straight up, kick drum-driven rocker – and what a punk band of Rice, Lewis, and Boesel might sound like. “The Ballad of King Coyote” has a trippy feel, but more southwestern than the acid of “THC,” and “What Am I Going to Do?” pushes the fun button on the vox organ. Further North closes on the wordy hard rocker “Hard to Believe” and the darker acoustic “It is Best to Keep it All Inside.”
The more and more you listen to Further North, the more endearing it becomes. It is not an issue of familiarity, but of excellence. From the first echoing of the opening “We’re All Stuck Out in the Desert,” Rice gives you the contemporary Americana feel you dream about.
Further North
Reprise Records
Grade: A-/A
You likely know who Johnathan Rice is or have at least heard him before but didn’t realize it. Besides from existing in the hip LA indie rock scene, Rice played the role of Roy Orbison in the Johnny Cash-biopic Walk the Line; and most folks have seen that movie. On Further North, Rice’s second full-length, the DC native opens up his sweet alt-country indie rock love to extents not previously seen, and in so doing makes converts of the uninitiated.
As a solo troubadour, Rice took a common path of heading to NYC to pursue rock dreams. In Rice’s case those dreams consisted of updating the sounds of Neil Young, the Band, and Gram Parsons, while scrapping a living in the city. Scrapping in NYC is as common as breathing as Rice realized soon. With the support of the indie scene, Rice released the EP Heart and Mind, and such started a spin into the arms of Reprise/Warner Brothers. For his debut full-length, Rice headed into Saddle Creek mainstay Mike Mogis’ Nebraska studio and came away with the grandiose Trouble is Real (released in 2005). Trouble is Real spans numerable styles with the heart laying in a type of psychedelic indie country pop. Though a different time and mentality for Rice, Trouble is Real set the stage for Rice to tour with acts such as Jenny Lewis and Wilco.
For Further North, Rice decided to take a more stripped down and simple approach to the eleven-track offering. It is quite possible that Rice’s ramblings with touring partners and his hanging out in the LA scene (where he is rumored to be dating Lewis) may have influenced Further North’s rooty alt-country pop. Producing the album in LA with Jason Lader and (Farmer) Dave Scher, Rice used an ensemble cast approach to the recording. Among the individuals offering their talents besides from the producers are Lewis, Rilo Kiley’s Jason Boesel, Brian Geltner, Davey Faragher, among many others. In fact, seven of the eleven songs here were written by Lewis and Rice – a powerful duo indeed.
Further North begins on the pedal steel-fused “We’re All Stuck Out In the Desert” – the first single – where Rice calls out such lines as “We’re all stuck out in the desert and we’re all going to die” in a manner that you embrace. What carries Rice is his powerful, trance-creating voice mixed with a terrific set of lyrics. Some of the phrases and vocal cadences throughout the album remind you of Lewis’ solo work and Rilo Kiley adventures; it may be that the knowledge of the songwriting credits tempers this belief. The title-track starts like a big dirty mess before getting round up into an alt-country pop number with dirty electric guitar from Black Mills rocking the intermittent riff. Moving to a pop duet, “End of the Affair” features Lewis and Rice combining and trading off lines, but Lewis’ voice is equally balanced against Rice and doesn’t stand out like usual. “Middle of the Road” is a moderate tempo mover where Rice’s voice shines against acoustic guitars and a catchy chorus. Thankfully, someone has finally written a song regarding the weed that isn’t a rap, stoner, or gangster-metal anthem, though “THC” is the trippiest song on Further North. “It Couldn’t Be Me” meanders around dusty mountains, while “Giving It Up” is a straight up, kick drum-driven rocker – and what a punk band of Rice, Lewis, and Boesel might sound like. “The Ballad of King Coyote” has a trippy feel, but more southwestern than the acid of “THC,” and “What Am I Going to Do?” pushes the fun button on the vox organ. Further North closes on the wordy hard rocker “Hard to Believe” and the darker acoustic “It is Best to Keep it All Inside.”
The more and more you listen to Further North, the more endearing it becomes. It is not an issue of familiarity, but of excellence. From the first echoing of the opening “We’re All Stuck Out in the Desert,” Rice gives you the contemporary Americana feel you dream about.
Monday, March 3, 2008
Gus Black - Autumn Days
Gus Black
Autumn Days
Cheap Lullaby Records
Grade: A-
Gus Black’s etched-out voice and instruments intertwine to create a gorgeous set of fourteen songs on his fourth full-length. Uncommonly overlooked, Black melodically dances with alt-country and folk flair with an array of whispering songs and more rocking lite FM numbers. Along for this surprisingly catchy, knee-bouncing journey are longtime band members drummer Rocco Bidlovski and bassist Gianni Neiviller, including guest spots by Dave Palmer, David Henry, Sara Watkins, and Sarabeth Tucek. For a self-produced, quiet little affair Autumn Days is chock-full-of great songs with compelling choruses. Generally, they fall into two camps: acoustic singer-songwriter and with a full band. Nearly, all the songs have a piece or two to delight, but the highlights among the acoustic songs include the opener “Don’t Go Tellin’ the Whole World,” the slowly crescendoing “Traffic and Sound,” and the dirty “Devil Spine.” The songs when Black uses a full backing band tend to be more upbeat, at least in tempo, than the acoustic numbers. Those worth your time include the great chorus on “Long Beach (It’s a Miracle),” the poppy “Certain Kind of Light,” and the light whispy “Fire Escape.” It’s true that Autumn Days may be something that needs to grow on you and first impressions might be of an artist who spent too much time in coffee houses…yet give Gus Black some love.
Autumn Days
Cheap Lullaby Records
Grade: A-
Gus Black’s etched-out voice and instruments intertwine to create a gorgeous set of fourteen songs on his fourth full-length. Uncommonly overlooked, Black melodically dances with alt-country and folk flair with an array of whispering songs and more rocking lite FM numbers. Along for this surprisingly catchy, knee-bouncing journey are longtime band members drummer Rocco Bidlovski and bassist Gianni Neiviller, including guest spots by Dave Palmer, David Henry, Sara Watkins, and Sarabeth Tucek. For a self-produced, quiet little affair Autumn Days is chock-full-of great songs with compelling choruses. Generally, they fall into two camps: acoustic singer-songwriter and with a full band. Nearly, all the songs have a piece or two to delight, but the highlights among the acoustic songs include the opener “Don’t Go Tellin’ the Whole World,” the slowly crescendoing “Traffic and Sound,” and the dirty “Devil Spine.” The songs when Black uses a full backing band tend to be more upbeat, at least in tempo, than the acoustic numbers. Those worth your time include the great chorus on “Long Beach (It’s a Miracle),” the poppy “Certain Kind of Light,” and the light whispy “Fire Escape.” It’s true that Autumn Days may be something that needs to grow on you and first impressions might be of an artist who spent too much time in coffee houses…yet give Gus Black some love.
Sunday, March 2, 2008
Band of Horses - Everything All the Time
Band of Horses
Everything All the Time
Sub Pop Records
Grade: A-
Would you believe that Band of Horses is from Seattle? One supposes there are stranger locations for a band that plays Americana indie pop rock, but if one had to place a bet it would be that Band of Horses hail from a southern college town. Regardless, Band of Horses put their hat into being Sub Pop’s latest hip band on their debut full-length Everything All the Time. Composed of Ben Bridwell and Mat Brooke (both of Seattle’s Carissa’s Wierd), along with Tim Meinig and Chris Early, the band powers through ten songs of classic indie rock on Everything. At times mimicking the vocal cadence of the Shins (e.g., “The Funeral”) and other times pursuing more of their own path (e.g., “Wicked Gil”), the music is both familiar and different and all together enjoyable. Besides from the above songs to check out include the bass-driven “Our Swords,” “The Great Salt Lake,” “Weed Party,” and the acoustic folk closer of “St. Augustine.” It is only a matter of time before Sub Pop indie rock devotees are all a buzz about Band of Horses.
Everything All the Time
Sub Pop Records
Grade: A-
Would you believe that Band of Horses is from Seattle? One supposes there are stranger locations for a band that plays Americana indie pop rock, but if one had to place a bet it would be that Band of Horses hail from a southern college town. Regardless, Band of Horses put their hat into being Sub Pop’s latest hip band on their debut full-length Everything All the Time. Composed of Ben Bridwell and Mat Brooke (both of Seattle’s Carissa’s Wierd), along with Tim Meinig and Chris Early, the band powers through ten songs of classic indie rock on Everything. At times mimicking the vocal cadence of the Shins (e.g., “The Funeral”) and other times pursuing more of their own path (e.g., “Wicked Gil”), the music is both familiar and different and all together enjoyable. Besides from the above songs to check out include the bass-driven “Our Swords,” “The Great Salt Lake,” “Weed Party,” and the acoustic folk closer of “St. Augustine.” It is only a matter of time before Sub Pop indie rock devotees are all a buzz about Band of Horses.
Saturday, March 1, 2008
Anti-Flag - For Blood and Empire
Anti-Flag
For Blood and Empire
RCA Records
Grade: A-/A
There will likely be a number of fans and others who are super-bummed by uber-political punk heroes Anti-Flag moving to RCA, a subsidiary of Sony. But, a band that has been banging against the military-corporatist world for years isn’t about to just lay down for a corporation. With a large degree of control over the record and indie publicity handled by their label A-F Records things are how they should be. And, regardless, For Blood and Empire is one of the hardest hitting punk records of the year.
You have likely been hiding under a rock over the past few years if you never heard of Pittsburgh’s Anti-Flag; a four-piece filled out by Chris Head (guitar/vocals), Justin Sane (guitar/vocals), Chris #2 (bass/vocals), and Pat Thetic (drums/vocals). Gritty as their hometown, Anti-Flag have been releasing 7”s and full-lengths since the mid-90s, and playing an absurd number of shows to anyone anywhere. Their most recent material has gone through Fat Wreck Chords, including the excellent Terror State in 2003. Always a good combination of folk concepts milled through Clash-type punk, Anti-Flag get a good deal of attention through their political activism. This crested with the 2003-2004 Rock Against Bush campaign, fronted by Fat Mike, which helped heighten attention to the Bush administration’s actions and policies, but unfortunately didn’t succeed in their ultimate mission. Whether the campaign existed or not, Anti-Flag would still be doing their own leftist punk activism…assuring the tradition survived.
Within the first few songs of For Blood and Empire, the only recognizable change from previous material is that the production is amazingly tight and polished; but totally devoid of the dirty word ‘slickness’. This is no doubt helped by RCA’s backing and the co-production of Dave Schiffman. Whatever the reason, we are all the beneficiaries. You also benefit from the thick record booklet filled with not just lyrics, but also essays and facts provided by political authors, activists, and various groups, which serve as the lyrical foundations of the songs. Thus, the record is a bit more explicitly political thematic than past records, but still within the normal range.
For Blood and Empire kicks off on the speed guitar-soloing of “I’d Tell You But…,” which nails Anti-Flag’s message immediately to the wall. As one of the hardest numbers of the record, it’s a great way to start. Next comes the ska, up-picking of “The Press Corpse” and provides the first great chorus of “We don’t want to talk about” – a rip against the lazy, compiling White House press corps not going after the administration. If you missed the political-themes of the first two songs, the opening of “Émigré” will make things plain – “First they came for the Communists and I did not speak out….” As a song, “Émigré” is a mid-tempo, ho-hummer in the face of the other explosions. The rock comes kicking on the follower, “The Prophet for a New American Century” about the current conspiracy of Pax Americana. A quasi-military drum greets you on the opening of “Hymn for the Dead,” before the band blasts into their classic downstroking punk attacks, as well as a superb horn breakdown. “This Is the End (For You My Friend)” is an odd song that is both aggressive and poppy at the same time – maybe in reference to its criticism of the advertising industry. Echoes of hip folk protest is the theme on “1 Trillion Dollars” as acoustic guitars lead the march against the sales of military equipment by the U.S. “State Funeral” is a classic short burst of punk hardcore, before the more melodic “Confessions of an Economist Hit Man” slams into your brain. “Confessions of an Economist Hit Man” is an ode to John Perkins’ writings about how it is not the military creating an empire, but the economic policy of industrialized nations on the rest of the world. With nods to irony, “War Sucks, Let’s Party!” includes handclaps and an upbeat-sounding chorus. To make their message clearer, Anti-Flag named the next song “The W.T.O. Kills Farmers.” “The W.T.O. Kills Farmers” moves back-and-forth between up-picking ska/reggae and straight-ahead punk choruses, but is quite wordy and sometimes hard to grab onto. For Blood and Empire closes on “Cities Burn” and “Depleted Uranium Is a War Crime.” “Cities Burn” is one of the most melodic and appealing songs on the record, as Anti-Flag power through a more standard verse-chorus-verse and include a bunch of gang vocals and muting. “Cities Burn” should be serious college radio fodder. Tom Morello (Rage Against the Machine/Audioslave) guests on “Depleted Uranium Is a War Crime,” a railing against the use of depleted uranium in munitions which intersperses quotes of Rep. Jim McDermott into the forceful punk.
There is likely no other band on the planet right now that has the ability of being super-political without coming off as lame and preachy like Anti-Flag does on For Blood and Empire. Even if you completely shun all the political messages and ignore the booklet, For Blood and Empire is simply great punk album that anyone should bounce along to.
For Blood and Empire
RCA Records
Grade: A-/A
There will likely be a number of fans and others who are super-bummed by uber-political punk heroes Anti-Flag moving to RCA, a subsidiary of Sony. But, a band that has been banging against the military-corporatist world for years isn’t about to just lay down for a corporation. With a large degree of control over the record and indie publicity handled by their label A-F Records things are how they should be. And, regardless, For Blood and Empire is one of the hardest hitting punk records of the year.
You have likely been hiding under a rock over the past few years if you never heard of Pittsburgh’s Anti-Flag; a four-piece filled out by Chris Head (guitar/vocals), Justin Sane (guitar/vocals), Chris #2 (bass/vocals), and Pat Thetic (drums/vocals). Gritty as their hometown, Anti-Flag have been releasing 7”s and full-lengths since the mid-90s, and playing an absurd number of shows to anyone anywhere. Their most recent material has gone through Fat Wreck Chords, including the excellent Terror State in 2003. Always a good combination of folk concepts milled through Clash-type punk, Anti-Flag get a good deal of attention through their political activism. This crested with the 2003-2004 Rock Against Bush campaign, fronted by Fat Mike, which helped heighten attention to the Bush administration’s actions and policies, but unfortunately didn’t succeed in their ultimate mission. Whether the campaign existed or not, Anti-Flag would still be doing their own leftist punk activism…assuring the tradition survived.
Within the first few songs of For Blood and Empire, the only recognizable change from previous material is that the production is amazingly tight and polished; but totally devoid of the dirty word ‘slickness’. This is no doubt helped by RCA’s backing and the co-production of Dave Schiffman. Whatever the reason, we are all the beneficiaries. You also benefit from the thick record booklet filled with not just lyrics, but also essays and facts provided by political authors, activists, and various groups, which serve as the lyrical foundations of the songs. Thus, the record is a bit more explicitly political thematic than past records, but still within the normal range.
For Blood and Empire kicks off on the speed guitar-soloing of “I’d Tell You But…,” which nails Anti-Flag’s message immediately to the wall. As one of the hardest numbers of the record, it’s a great way to start. Next comes the ska, up-picking of “The Press Corpse” and provides the first great chorus of “We don’t want to talk about” – a rip against the lazy, compiling White House press corps not going after the administration. If you missed the political-themes of the first two songs, the opening of “Émigré” will make things plain – “First they came for the Communists and I did not speak out….” As a song, “Émigré” is a mid-tempo, ho-hummer in the face of the other explosions. The rock comes kicking on the follower, “The Prophet for a New American Century” about the current conspiracy of Pax Americana. A quasi-military drum greets you on the opening of “Hymn for the Dead,” before the band blasts into their classic downstroking punk attacks, as well as a superb horn breakdown. “This Is the End (For You My Friend)” is an odd song that is both aggressive and poppy at the same time – maybe in reference to its criticism of the advertising industry. Echoes of hip folk protest is the theme on “1 Trillion Dollars” as acoustic guitars lead the march against the sales of military equipment by the U.S. “State Funeral” is a classic short burst of punk hardcore, before the more melodic “Confessions of an Economist Hit Man” slams into your brain. “Confessions of an Economist Hit Man” is an ode to John Perkins’ writings about how it is not the military creating an empire, but the economic policy of industrialized nations on the rest of the world. With nods to irony, “War Sucks, Let’s Party!” includes handclaps and an upbeat-sounding chorus. To make their message clearer, Anti-Flag named the next song “The W.T.O. Kills Farmers.” “The W.T.O. Kills Farmers” moves back-and-forth between up-picking ska/reggae and straight-ahead punk choruses, but is quite wordy and sometimes hard to grab onto. For Blood and Empire closes on “Cities Burn” and “Depleted Uranium Is a War Crime.” “Cities Burn” is one of the most melodic and appealing songs on the record, as Anti-Flag power through a more standard verse-chorus-verse and include a bunch of gang vocals and muting. “Cities Burn” should be serious college radio fodder. Tom Morello (Rage Against the Machine/Audioslave) guests on “Depleted Uranium Is a War Crime,” a railing against the use of depleted uranium in munitions which intersperses quotes of Rep. Jim McDermott into the forceful punk.
There is likely no other band on the planet right now that has the ability of being super-political without coming off as lame and preachy like Anti-Flag does on For Blood and Empire. Even if you completely shun all the political messages and ignore the booklet, For Blood and Empire is simply great punk album that anyone should bounce along to.
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