At the Drive-In
This Station Is Non-Operational
Fearless Records
Grade: A-
With little doubt, At the Drive-In drove at the front of punk during the late 90s and 2000 with a slew of releases on Fearless. El Paso’s ATDI took off with the release of Relationship of Command in 2000 on the now defunct Beastie Boy label Grand Royal. That record placed ATDI on the international scene, but would also be the last of the band. Shortly after, ATDI broke up and lead singer Cedric Bixler-Zavala and guitarist Omar Rodriguez-Lopez went on to form the now super rock band Mars Volta. Along with Tony Hajjar on drums, Paul Hinojos on bass and Jim Ward on guitars and keys, ATDI’s string of yearly releases – Acrobatic Tenement (1997), In/Casino/Out (1998), Vaya (1999) – provides music fans with a treasure trove of punk gems and a clear lineage to the space rock of Mars Volta. Concerning This Station Is Non-Operational, the band picked out eighteen tracks compiling album favorites, b-sides, remixes and covers. How much of the band participated in creating this collection isn’t entirely clear since in my perspective many of the album tracks here don’t qualify as ‘greatest hits.’ But, what the band likes and what the listener enjoys often varies. Still you find solid inclusions of “Picket Fence Cartel” from El Gran Orgo, “Lopsided” and “Napoleon Solo” from In/Casino/Out and “One Armed Scissor” from Relationship of Command. The previously hard to locate songs include “Doorman’s Placebo” from a split with Aasee Lake, a remix of “Rascuache” from a Murder City Devils split, “Autorelocator” from a Sunshine split and “Incetardis” from the One Armed Scissor single. ATDI cover the Smiths’ “This Night Has Opened My Eyes” to medium success, as well as Pink Floyd’s “Take Up Thy Stethoscope and Walk” from a BBC session. For your viewing pleasure, This Station Is Non-Operational includes a second DVD disc with videos for “One Armed Scissor,” “Invalid Litter Dept.” and “Metronome Arthritis.” Without doubt the video (not to mention the song) for “Invalid Litter Dept.” is both brilliant and intense, where ATDI relay the lives and deaths of poor Mexican women working in maquiladoras on the border. There is also sort of a press kit with interviews and a discography. Obviously, there will be a lot of takers on this anthology from both fans of ATDI and fans of Mars Volta who are looking for grounding in their origin. While a strong offering, some diehards might wish for something more from the once amazing ATDI.
Saturday, May 31, 2008
Friday, May 30, 2008
Statistics - Often Lie
Statistics
Often Lie
Jade Tree Records
Grade: A-
Statistics’ Denver Dalley is getting closer and closer to realizing his potential with each subsequent release as sweetly established across the nine songs on his latest, Often Lie. While we may poo-poo the dumb title-moniker play, we can’t deny that the songs on Often Lie are the most rocking and catchy that Dalley has produced.
Although people are less familiar with specifically who Dalley is, many people are aware of his first band, Desaparecidos. The reason for this knowledge is that wunderkind Conor Oberst was the voice to Desa while Dalley laid the guitars. Yet, Dalley’s Statistics project has grown and grown since his debut EP on Jade Tree. That short EP had about two songs that smoked and some filler. Dalley followed it up with the full-length Leave Your Name which was filled with laptop blips and considerably more filler. In both previous releases it was clear that when Dalley focused on rock songs, and not esoteric instrumentals, he could create pop-drenched indie rock. On Often Lie, Dalley leaves the junk behind and goes at the rock songs with a clear songwriter attack. In fact, the only instrumental number “10.22” closes out the record and comes across like a lost Explosions in the Sky number; which is awesome.
From the start Dalley throws down the gauntlet with standout songs coming from “Final Broadcast,” which sounds entirely comfortable, familiar as well as refreshing. It is if Dalley was able to muster and concentrate his pop prowess for previous records into a singular form. Although “Final Broadcast” is strong, the follower “Nobody Knows Your Name” is far superior. Beginning slow with Dalley’s vocals and light electronics, items begin to build and stretch out when finally you are smoked by a full band chorus. “Say You Will” draws you in with fast guitars that move with constant direction, while “A Forward” drops a harder sound on your head. If you didn’t know before this midway point, it should be clear that the Statistics’ and Dalley’s ace is pleasant, though not flashy guitars, with electronic ambience floating onward. “Begging to be Heard” starts off with light underlying guitar and Dalley’s soft vocals and carries through the catchiness throughout.
Far and away, this is the best Statistics record to date and given the quality trajectory whenever Dalley gets around to another full-length it should be the best record of the year. Coming off a massive tour with Maria Taylor, hope for Dalley to unleash his tallness and talent in your town soon.
Often Lie
Jade Tree Records
Grade: A-
Statistics’ Denver Dalley is getting closer and closer to realizing his potential with each subsequent release as sweetly established across the nine songs on his latest, Often Lie. While we may poo-poo the dumb title-moniker play, we can’t deny that the songs on Often Lie are the most rocking and catchy that Dalley has produced.
Although people are less familiar with specifically who Dalley is, many people are aware of his first band, Desaparecidos. The reason for this knowledge is that wunderkind Conor Oberst was the voice to Desa while Dalley laid the guitars. Yet, Dalley’s Statistics project has grown and grown since his debut EP on Jade Tree. That short EP had about two songs that smoked and some filler. Dalley followed it up with the full-length Leave Your Name which was filled with laptop blips and considerably more filler. In both previous releases it was clear that when Dalley focused on rock songs, and not esoteric instrumentals, he could create pop-drenched indie rock. On Often Lie, Dalley leaves the junk behind and goes at the rock songs with a clear songwriter attack. In fact, the only instrumental number “10.22” closes out the record and comes across like a lost Explosions in the Sky number; which is awesome.
From the start Dalley throws down the gauntlet with standout songs coming from “Final Broadcast,” which sounds entirely comfortable, familiar as well as refreshing. It is if Dalley was able to muster and concentrate his pop prowess for previous records into a singular form. Although “Final Broadcast” is strong, the follower “Nobody Knows Your Name” is far superior. Beginning slow with Dalley’s vocals and light electronics, items begin to build and stretch out when finally you are smoked by a full band chorus. “Say You Will” draws you in with fast guitars that move with constant direction, while “A Forward” drops a harder sound on your head. If you didn’t know before this midway point, it should be clear that the Statistics’ and Dalley’s ace is pleasant, though not flashy guitars, with electronic ambience floating onward. “Begging to be Heard” starts off with light underlying guitar and Dalley’s soft vocals and carries through the catchiness throughout.
Far and away, this is the best Statistics record to date and given the quality trajectory whenever Dalley gets around to another full-length it should be the best record of the year. Coming off a massive tour with Maria Taylor, hope for Dalley to unleash his tallness and talent in your town soon.
Thursday, May 29, 2008
Holopaw - Quit +/ or Fight
Holopaw
Quit +/or Fight
Sub Pop Records
Grade: A-
Pushing aside their self-titled 2003 debut, Gainesville’s Holopaw craft folksy Americana currents into modern singer-songwriter styles with electronic enhancements on Quit +/or Fight. Past touring with labelmates Iron & Wine and Fruit Bats, among others, provides the parameters of Holopaw’s sound. For the most part, the eleven tracks here exist somewhere between light guitars and pedal steel of Jeff Hays’ and the electronics of Michael Johnson – yet, the indie pop wins more of the races and electronics only set the background. Besides from this core instrumental duo, Holopaw is vocally fronted and constructed by John Orth (also of Ugly Casanova) whose potential range is vast, but he mostly keeps it within a defined space. Besides from several guests on Quit +/or Fight, the band is filled out by Tom Reno, Tobi Echevarria and Ryan Gensemer.
The record opens on “Losing Light” where the listener is introduce to the mid-tempo folksy pop that will continue throughout the next ten songs. “3-Shy-Cubs” probably has the widest collection of instruments on Quit, most clearly including handclaps and electronics – and stands out as one of the best. Electronics underlie and propel the more ethereal “Curious,” while “Holiday” brings us back to the singer-songwriter rock. “Velveteen (all is bright.)” is one of the more withdrawn numbers where Orth moves along with light synths and drums, and as it builds to a full band you realize this is one of the better tracks on Quit. “Clearing” may be slapped for being overly faux rock, but it serves its purpose as a contrast number. Now these first six songs are nearly all the same length. Yet, by Holopaw slightly shifting constructions and ambiences, it is impossible to confuse one for another. This is a difficult task that is seemingly easy pulled off by Holopaw. Too many albums sound the same when the songs are all the same length and too many bands try to have different songs simply for the purpose of sounding different and wind up sounding too purposeful. Anyway, “Shaver” follows “Clearing” and the tempo is picked up but the drop pace breakdown comes off a bit abrupt. “Needle In the Sway” starts with high note guitars with effects that come across like something on Temporary Residence before Orth’s aching vocals lead you through the strong lyrics. “Found (Quit +/or Fight)” is the shortest and is like an Americanized Belle and Sebastian that is actually quite nice. For some strange reason Holopaw doesn’t include the lyrics to “Found (Quit +/or Fight)” and references their website for them; there most be a background to story to this. Similar to the strong use of electronics setting the stage in “Curious,” “Ghosties” opens with a wall of haunting chorals before it fades to become another solid rock number. The chorals come back to underlie the refrain of “all the little ghosties” and help lead the way to the finish. Quit +/or Fight closes with “Shiver Me,” where Orth is more fragile while being pushed by quick-fingered acoustic guitars. Although “Shiver Me” is delicate, it parallels to light Shins and Simon & Garfunkel forces you to hit repeat from time to time.
Although not currently at the top of Sub Pop’s heavy hitters, Quit +/or Fight is surely to place Holopaw on the top rung on everyone’s favorite indie label. It is only a matter of time before Holopaw is on the tip of everyone’s tongues and people connect Holopaw to Gainesville instead of Hot Water Music. A well-placed song or two on film soundtracks could help in this progression.
Quit +/or Fight
Sub Pop Records
Grade: A-
Pushing aside their self-titled 2003 debut, Gainesville’s Holopaw craft folksy Americana currents into modern singer-songwriter styles with electronic enhancements on Quit +/or Fight. Past touring with labelmates Iron & Wine and Fruit Bats, among others, provides the parameters of Holopaw’s sound. For the most part, the eleven tracks here exist somewhere between light guitars and pedal steel of Jeff Hays’ and the electronics of Michael Johnson – yet, the indie pop wins more of the races and electronics only set the background. Besides from this core instrumental duo, Holopaw is vocally fronted and constructed by John Orth (also of Ugly Casanova) whose potential range is vast, but he mostly keeps it within a defined space. Besides from several guests on Quit +/or Fight, the band is filled out by Tom Reno, Tobi Echevarria and Ryan Gensemer.
The record opens on “Losing Light” where the listener is introduce to the mid-tempo folksy pop that will continue throughout the next ten songs. “3-Shy-Cubs” probably has the widest collection of instruments on Quit, most clearly including handclaps and electronics – and stands out as one of the best. Electronics underlie and propel the more ethereal “Curious,” while “Holiday” brings us back to the singer-songwriter rock. “Velveteen (all is bright.)” is one of the more withdrawn numbers where Orth moves along with light synths and drums, and as it builds to a full band you realize this is one of the better tracks on Quit. “Clearing” may be slapped for being overly faux rock, but it serves its purpose as a contrast number. Now these first six songs are nearly all the same length. Yet, by Holopaw slightly shifting constructions and ambiences, it is impossible to confuse one for another. This is a difficult task that is seemingly easy pulled off by Holopaw. Too many albums sound the same when the songs are all the same length and too many bands try to have different songs simply for the purpose of sounding different and wind up sounding too purposeful. Anyway, “Shaver” follows “Clearing” and the tempo is picked up but the drop pace breakdown comes off a bit abrupt. “Needle In the Sway” starts with high note guitars with effects that come across like something on Temporary Residence before Orth’s aching vocals lead you through the strong lyrics. “Found (Quit +/or Fight)” is the shortest and is like an Americanized Belle and Sebastian that is actually quite nice. For some strange reason Holopaw doesn’t include the lyrics to “Found (Quit +/or Fight)” and references their website for them; there most be a background to story to this. Similar to the strong use of electronics setting the stage in “Curious,” “Ghosties” opens with a wall of haunting chorals before it fades to become another solid rock number. The chorals come back to underlie the refrain of “all the little ghosties” and help lead the way to the finish. Quit +/or Fight closes with “Shiver Me,” where Orth is more fragile while being pushed by quick-fingered acoustic guitars. Although “Shiver Me” is delicate, it parallels to light Shins and Simon & Garfunkel forces you to hit repeat from time to time.
Although not currently at the top of Sub Pop’s heavy hitters, Quit +/or Fight is surely to place Holopaw on the top rung on everyone’s favorite indie label. It is only a matter of time before Holopaw is on the tip of everyone’s tongues and people connect Holopaw to Gainesville instead of Hot Water Music. A well-placed song or two on film soundtracks could help in this progression.
Wednesday, May 28, 2008
The Book of Lists - Red Arrows
The Book of Lists
Red Arrows
Global Symphonic
Grade: A-
Incredibly thick and dense orchestration coupled with the deep, dark vocal style of Chris Frey combine to make the debut by Vancouver’s The Book of Lists something special. Formed by Frey about a year ago, The Book of Lists is filled out by Brad Cranfield on drums, Laura Piasta on bass and Trevor Larson on guitar. Frey himself concurrently works in the more electro-based Radio Berlin, besides from other endeavors. And unlike Radio Berlin, Frey crafts this six-song, thirty-minute debut with arty, brit pop and splashes of new wave and pre-new wave rock (e.g., Roxy Music). Less on electronics and more on shrouds of darker-toned pop, Red Arrows really has the ability to reign you in after a couple of spins. Well suited for the Sub Pop audience as well as the Rough Trade audience, the listener is unlikely to be immediately floored as the mid-tempo pace on songs like “Pacifist Revolt” hints at lulling to sleep, but others like “Neurosis” grab your attention on first listen. The best strategy is to let it play in the background for a couple of spins and you eventually come to the conclusion that Red Arrows is an excellent record.
Red Arrows
Global Symphonic
Grade: A-
Incredibly thick and dense orchestration coupled with the deep, dark vocal style of Chris Frey combine to make the debut by Vancouver’s The Book of Lists something special. Formed by Frey about a year ago, The Book of Lists is filled out by Brad Cranfield on drums, Laura Piasta on bass and Trevor Larson on guitar. Frey himself concurrently works in the more electro-based Radio Berlin, besides from other endeavors. And unlike Radio Berlin, Frey crafts this six-song, thirty-minute debut with arty, brit pop and splashes of new wave and pre-new wave rock (e.g., Roxy Music). Less on electronics and more on shrouds of darker-toned pop, Red Arrows really has the ability to reign you in after a couple of spins. Well suited for the Sub Pop audience as well as the Rough Trade audience, the listener is unlikely to be immediately floored as the mid-tempo pace on songs like “Pacifist Revolt” hints at lulling to sleep, but others like “Neurosis” grab your attention on first listen. The best strategy is to let it play in the background for a couple of spins and you eventually come to the conclusion that Red Arrows is an excellent record.
Tuesday, May 27, 2008
The Silent Type - Of Writing/Of Violence
The Silent Type
Of Writing/Of Violence
Limekiln Records
Grade: A-/A
This is a review that I’ve put off writing for far too long now. It is not from being lazy or anything, but this Silent Type record is so stunning that Exoduster kept considering it for artist of the month but it just fell short a couple of times to other contestants. With better conscience I can write this review and discuss the phenomenal Richmond-based The Silent Type.
Initially forming in 2000 as a solo outlet for Nathan Altice, the Silent Type strayed and wandered for a couple of years with a demo and split with Gregor Samsa before a more solid lineup was secured in 2002. This lineup includes Amber Blankenship (piano, violin and vocals), Billy Mutter (bass), Jared Laine (drums), Nick Wurz (guitar) and Altice. With this thick and full band, the Silent Type started developing the nine songs that would become their full-length debut Of Writing/Of Violence. Besides from the core five-piece, the band also utilized a number of outside players including vocals from Maura Davis of the exceptional though ill-fated Denali.
Of Writing/Of Violence starts out on “Kneel” where guitars and bass meander for a minute or so before being confronted by a wave of strings. It is at this point that you realize this is going to be a brilliant opener. At two-and-a-half minutes in, Altice opens the vocals and is soon joined by Blankenship’s vocals and the song continues to dazzle. Even though “Kneel” is over seven minutes, it never feels like any space is being foolishly used. “Ink and Blood” is considerably more uptempo rock and offers the image of the Silent Type as your favorite indie rock band that seethes with that localized sound; a sort of catchy, poppy appeal that is the opposite of commercial polished. Taking a step back, pianos greet the listener on “Soon Enough We’ll Be Found Out” and despite a solid chorus the song is on a melancholy tip. Altice takes to the acoustic guitar on “Vacant Hotel Lobby” as the music moves to singer-songwriter panache but doesn’t stick out as off pace. “Some Curious and Beautiful Maps” features Davis’ ‘dueting’ with Altice, where both use a Belle and Sebastian vocal cadence on the down-tempo affair. What really sets “Some Curious and Beautiful Maps” apart from the rest is a top-notch chorus that doesn’t try to slam you with pop but does draw in your attention. The six-minute number also allows the Silent Type and friends to include nearly even instrument they know on the two-minute instrumental conclusion. The Silent Type includes Sunny Day Real Estate’s Jeremy Enigk’s “Oh John” with a little banjo love, but not necessarily a complete success. The tempo is subsequently picked up on “The Gift,” which is strong if not average mid-tempo indie number. The title track finds the Silent Type drawing on Americana folk with Altice leading the six-minute number on vocals and acoustic number. Of Writing/Of Violence closes in similar fashion to how it began on “Zeppelin.” That is, a plus-seven-minute song that features a preponderance of impressive strings, yet here Altice’s vocals are slightly distorted and minimalized as you feel waves washing over you.
Even though it took a long time for the Silent Type to unleash their debut full-length, and almost as long for me to write about, it is clear that these nine songs are well-worth the time. While the causal listener may demand more catchiness, the moments are there and met with thick instrumental constructions that many more will appreciate. I just hope it won’t take as long for a follow-up to be released.
Of Writing/Of Violence
Limekiln Records
Grade: A-/A
This is a review that I’ve put off writing for far too long now. It is not from being lazy or anything, but this Silent Type record is so stunning that Exoduster kept considering it for artist of the month but it just fell short a couple of times to other contestants. With better conscience I can write this review and discuss the phenomenal Richmond-based The Silent Type.
Initially forming in 2000 as a solo outlet for Nathan Altice, the Silent Type strayed and wandered for a couple of years with a demo and split with Gregor Samsa before a more solid lineup was secured in 2002. This lineup includes Amber Blankenship (piano, violin and vocals), Billy Mutter (bass), Jared Laine (drums), Nick Wurz (guitar) and Altice. With this thick and full band, the Silent Type started developing the nine songs that would become their full-length debut Of Writing/Of Violence. Besides from the core five-piece, the band also utilized a number of outside players including vocals from Maura Davis of the exceptional though ill-fated Denali.
Of Writing/Of Violence starts out on “Kneel” where guitars and bass meander for a minute or so before being confronted by a wave of strings. It is at this point that you realize this is going to be a brilliant opener. At two-and-a-half minutes in, Altice opens the vocals and is soon joined by Blankenship’s vocals and the song continues to dazzle. Even though “Kneel” is over seven minutes, it never feels like any space is being foolishly used. “Ink and Blood” is considerably more uptempo rock and offers the image of the Silent Type as your favorite indie rock band that seethes with that localized sound; a sort of catchy, poppy appeal that is the opposite of commercial polished. Taking a step back, pianos greet the listener on “Soon Enough We’ll Be Found Out” and despite a solid chorus the song is on a melancholy tip. Altice takes to the acoustic guitar on “Vacant Hotel Lobby” as the music moves to singer-songwriter panache but doesn’t stick out as off pace. “Some Curious and Beautiful Maps” features Davis’ ‘dueting’ with Altice, where both use a Belle and Sebastian vocal cadence on the down-tempo affair. What really sets “Some Curious and Beautiful Maps” apart from the rest is a top-notch chorus that doesn’t try to slam you with pop but does draw in your attention. The six-minute number also allows the Silent Type and friends to include nearly even instrument they know on the two-minute instrumental conclusion. The Silent Type includes Sunny Day Real Estate’s Jeremy Enigk’s “Oh John” with a little banjo love, but not necessarily a complete success. The tempo is subsequently picked up on “The Gift,” which is strong if not average mid-tempo indie number. The title track finds the Silent Type drawing on Americana folk with Altice leading the six-minute number on vocals and acoustic number. Of Writing/Of Violence closes in similar fashion to how it began on “Zeppelin.” That is, a plus-seven-minute song that features a preponderance of impressive strings, yet here Altice’s vocals are slightly distorted and minimalized as you feel waves washing over you.
Even though it took a long time for the Silent Type to unleash their debut full-length, and almost as long for me to write about, it is clear that these nine songs are well-worth the time. While the causal listener may demand more catchiness, the moments are there and met with thick instrumental constructions that many more will appreciate. I just hope it won’t take as long for a follow-up to be released.
Saturday, May 24, 2008
Nightmare of You - S/T
Nightmare of You
s/t
The Bevonshire Label/East West
Grade: A-
Two details need to be pronounced up front about Nightmare Of You. First, this is their debut record and it will elevate your pop loving ears to new extremes, while appealing to the whole family. Second, the members of Nightmare Of You are nowhere near newbies to the game of music, but their background may surprise you. Up front is guitarist Brandon Reilly who spent much of his music career ripping guitar for the Movielife and subsequently really began the Nightmare Of You uptick after their breakup. Reilly is joined by Joseph McCaffrey and Sammy Siegler (known for his efforts in Rival Schools, CIV and the Gorilla Biscuits). Little of this information would give you any idea of the music of Nightmare Of You. While there is movement between sound contextures, the core element is an affinity towards pop and melody-laden lyrics. This becomes immediately evident on the opener “The Days Go By Oh So Slow,” which speaks to a slight new wave feel, but carries itself. The follower “Dear Scene, I Wish I Were Deaf” knocks the trendy pop up a notch and the downstroking guitars partially parallel the Strokes. After the off “Thumbelina” comes one of the best tracks “My Name is Trouble,” where the band follows an electronic pulse and is full of catchiness on the chorus. With a solid video, “My Name is Trouble” may become a ‘hit’ song of the fall. “Why Am I Was Right” is strangely like the Aquabats and “I Want to be Buried in Your Backyard” is without doubt modern rock – somewhere in the vein of Morrissey. And uncommon “I Want to be Buried in Your Backyard” is a rather appealing number. Reilly shakes the darkness with the appropriately named and uptempo “Ode to Serotonin.” To add their musical range, Nightmare Of You adds steel guitar to “Marry Me” in slowed down number that is reminiscent of a less whining Good Life track. Electronics come back on “In the Bathroom is Where I Want You,” while “The Studded Cinctures” is enhanced pop punk and is a song that is close to awesome but is just missing a crucial latent piece. The self-titled debut ends on the strange “Heaven Runs on Oil” where Nightmare of You follow a haunting beat and atmosphere and Reilly provides some crooner magic that cumulates on a phenomenal chorus. As much as I was disappointed by the collapse of the Movielife, if Nightmare Of You was the result then it was more than worth the destruction.
s/t
The Bevonshire Label/East West
Grade: A-
Two details need to be pronounced up front about Nightmare Of You. First, this is their debut record and it will elevate your pop loving ears to new extremes, while appealing to the whole family. Second, the members of Nightmare Of You are nowhere near newbies to the game of music, but their background may surprise you. Up front is guitarist Brandon Reilly who spent much of his music career ripping guitar for the Movielife and subsequently really began the Nightmare Of You uptick after their breakup. Reilly is joined by Joseph McCaffrey and Sammy Siegler (known for his efforts in Rival Schools, CIV and the Gorilla Biscuits). Little of this information would give you any idea of the music of Nightmare Of You. While there is movement between sound contextures, the core element is an affinity towards pop and melody-laden lyrics. This becomes immediately evident on the opener “The Days Go By Oh So Slow,” which speaks to a slight new wave feel, but carries itself. The follower “Dear Scene, I Wish I Were Deaf” knocks the trendy pop up a notch and the downstroking guitars partially parallel the Strokes. After the off “Thumbelina” comes one of the best tracks “My Name is Trouble,” where the band follows an electronic pulse and is full of catchiness on the chorus. With a solid video, “My Name is Trouble” may become a ‘hit’ song of the fall. “Why Am I Was Right” is strangely like the Aquabats and “I Want to be Buried in Your Backyard” is without doubt modern rock – somewhere in the vein of Morrissey. And uncommon “I Want to be Buried in Your Backyard” is a rather appealing number. Reilly shakes the darkness with the appropriately named and uptempo “Ode to Serotonin.” To add their musical range, Nightmare Of You adds steel guitar to “Marry Me” in slowed down number that is reminiscent of a less whining Good Life track. Electronics come back on “In the Bathroom is Where I Want You,” while “The Studded Cinctures” is enhanced pop punk and is a song that is close to awesome but is just missing a crucial latent piece. The self-titled debut ends on the strange “Heaven Runs on Oil” where Nightmare of You follow a haunting beat and atmosphere and Reilly provides some crooner magic that cumulates on a phenomenal chorus. As much as I was disappointed by the collapse of the Movielife, if Nightmare Of You was the result then it was more than worth the destruction.
Friday, May 23, 2008
The Fall of Troy - Doppelganger
The Fall of Troy
Doppelganger
Equal Vision Records
Grade: A-
Getting past the rather unfortunate moniker, The Fall of Troy’s debut for EVR is something special, something that will leave you exhausted and neurally-challenged for at least several hours. The hard work that you will spend listening to the eleven-track, flailing music fast is paid off in spades as you feel as though you just witnessed how the seemingly random thrown together actually sounds tightly woven. That means they take their local-brethren Botch and Blood Brothers heavy spasm and lace it with spiraling rock that takes on amorphous forms at all times. What is more impressive is the FT are only a three-piece. Said what? That’s right, Thomas Erak (vocals/guitars), Tim Ward (bass/vocals) and Andrew Forsman (drums) develop an impressively thick and developed sound with the most minimal composition. All bands that use three guitars to chug along to power chords should be struck down by a Norse god as they front their utility. FT put all of those bands to shame and makes you keenly question whether the trio can really pull this rock explosion live. The one-sheet discusses how FT’s shows are more free-form than not and are blistering – though every one-sheet says the bands live show is ‘infectious.’ In this instance, I’m inclined to believe the info. As Doppelganger opens on “I Just Got This Symphony Goin’” you aren’t thinking much as FT fly through spastic hardcore. The sound changes to more melodic pronouncements in both voice and instruments, but still you aren’t in love. The following “Act One, Scene One” introduces us to the catchy moments FT can offer as well as high-pitched ‘R&B’ vocals – and it is hear that you to start to realize that Doppelganger is different from the other billion and one song compositions. The more psychedelic guitars (read: Mars Volta) come in on “F.C.P.R.E.M.I.X” and the band illustrates how they can be catchy and cool at the same time. Without doubt, the more spaced-out guitars and melodicness of “F.C.P.R.E.M.I.X” helps it battle for the prize of best song. Similar feelings come across on “You Got A Death Wish, Johnny Truant?,” while “Mouths Like Sidewinder Missiles” brings us back to the heavily segmented Fall of Troy. “The Hol[]y Tape…” merely holds the fort and “Laces Out, Dan!” finds Erak echoing vocals like melodic contemporaries. “We Better Learn To Hotwire a Uterus” is straight-out hardcore, while FT challenge Botch and Converge for machine-gun guitars on “Whacko Jacko Steals the Elephant Man’s Bones” helping it secure a top spot. Doppelganger closes on the short “Tom Waits” and the eight-minute “Macaulay McCulkin.” While FT go for the esoteric on “Macaulay McCulkin” it shows who they can go prog if they so desire. With little thought, the Fall of Troy’s Doppelganger is one of the few recent records I’ve heard that effectively includes an enormous swath of sounds into a cohesive sound. This is a band on the move!
Doppelganger
Equal Vision Records
Grade: A-
Getting past the rather unfortunate moniker, The Fall of Troy’s debut for EVR is something special, something that will leave you exhausted and neurally-challenged for at least several hours. The hard work that you will spend listening to the eleven-track, flailing music fast is paid off in spades as you feel as though you just witnessed how the seemingly random thrown together actually sounds tightly woven. That means they take their local-brethren Botch and Blood Brothers heavy spasm and lace it with spiraling rock that takes on amorphous forms at all times. What is more impressive is the FT are only a three-piece. Said what? That’s right, Thomas Erak (vocals/guitars), Tim Ward (bass/vocals) and Andrew Forsman (drums) develop an impressively thick and developed sound with the most minimal composition. All bands that use three guitars to chug along to power chords should be struck down by a Norse god as they front their utility. FT put all of those bands to shame and makes you keenly question whether the trio can really pull this rock explosion live. The one-sheet discusses how FT’s shows are more free-form than not and are blistering – though every one-sheet says the bands live show is ‘infectious.’ In this instance, I’m inclined to believe the info. As Doppelganger opens on “I Just Got This Symphony Goin’” you aren’t thinking much as FT fly through spastic hardcore. The sound changes to more melodic pronouncements in both voice and instruments, but still you aren’t in love. The following “Act One, Scene One” introduces us to the catchy moments FT can offer as well as high-pitched ‘R&B’ vocals – and it is hear that you to start to realize that Doppelganger is different from the other billion and one song compositions. The more psychedelic guitars (read: Mars Volta) come in on “F.C.P.R.E.M.I.X” and the band illustrates how they can be catchy and cool at the same time. Without doubt, the more spaced-out guitars and melodicness of “F.C.P.R.E.M.I.X” helps it battle for the prize of best song. Similar feelings come across on “You Got A Death Wish, Johnny Truant?,” while “Mouths Like Sidewinder Missiles” brings us back to the heavily segmented Fall of Troy. “The Hol[]y Tape…” merely holds the fort and “Laces Out, Dan!” finds Erak echoing vocals like melodic contemporaries. “We Better Learn To Hotwire a Uterus” is straight-out hardcore, while FT challenge Botch and Converge for machine-gun guitars on “Whacko Jacko Steals the Elephant Man’s Bones” helping it secure a top spot. Doppelganger closes on the short “Tom Waits” and the eight-minute “Macaulay McCulkin.” While FT go for the esoteric on “Macaulay McCulkin” it shows who they can go prog if they so desire. With little thought, the Fall of Troy’s Doppelganger is one of the few recent records I’ve heard that effectively includes an enormous swath of sounds into a cohesive sound. This is a band on the move!
Thursday, May 22, 2008
Explosions in the Sky - How Strange Innocence (Reissue)
Explosions in the Sky
How Strange Innocence (Reissue)
Temporary Residence Ltd.
Grade: A
The only thing you need to know about How Strange Innocence is that you should buy it immediately and without delay! The seven-track record was the first for Explosions in the Sky – a band just starting out from Midland, TX and on route to Austin. Most know the blessed history of how Explosions has become the best instrumental rock band in the world through their Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever and The Earth Is Not a Cold Dead Place records. (Millions more have been subconsciously made Explosion fans through the band providing the soundtrack to Friday Night Lights). How Strange Innocence was initially a couple hundred CDRs, then later a couple hundred vinyl records and now with the deft mastering hand of John Golden, TRL gives the world the first vision of this gorgeous Texas outfit. While clearly not as smooth as later production, the brilliance is evident and in many respects the dirtier rock places How Strange Innocence at least on the same level as Explosions other releases. If you have any sense about you, get this now. If you want to be the coolest kid/man/woman/dog/cat/marsupial you know then pick this up today. Goosebumps of goodness are guaranteed!
How Strange Innocence (Reissue)
Temporary Residence Ltd.
Grade: A
The only thing you need to know about How Strange Innocence is that you should buy it immediately and without delay! The seven-track record was the first for Explosions in the Sky – a band just starting out from Midland, TX and on route to Austin. Most know the blessed history of how Explosions has become the best instrumental rock band in the world through their Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever and The Earth Is Not a Cold Dead Place records. (Millions more have been subconsciously made Explosion fans through the band providing the soundtrack to Friday Night Lights). How Strange Innocence was initially a couple hundred CDRs, then later a couple hundred vinyl records and now with the deft mastering hand of John Golden, TRL gives the world the first vision of this gorgeous Texas outfit. While clearly not as smooth as later production, the brilliance is evident and in many respects the dirtier rock places How Strange Innocence at least on the same level as Explosions other releases. If you have any sense about you, get this now. If you want to be the coolest kid/man/woman/dog/cat/marsupial you know then pick this up today. Goosebumps of goodness are guaranteed!
Wednesday, May 21, 2008
Between the Buried and Me - Alaska
Between the Buried and Me
Alaska
Victory Records
Grade: A-
If you thought that 2003’s The Silent Circus was as good as it was going to get from the North Carolina-based Between the Buried and Me, you have just had your hat handed to you by the stunning follow-up Alaska. With some lineup changes and side projects done and buried, BTBAM went back to their NC headquarters with producer Jamie King (and later Matthew Ellard) to unleash their latest vision for the masters. While there is likely some story behind why the record is called Alaska – likely either deep with meaning relatively to the eleven tracks or totally unrelated, something that an interviewer will ask immediately – the opening “All Bodies” is set to rip your ass out. If every song on Alaska traveled the same path as this opus, this would be the best heavy record of the year regardless of future, unknown recordings. “All Bodies” begins as just attacking metal of ordinary ilk and as the band begins the multi-segmented starts-and-finishes something strange begins to occur. That strangeness comes in the form of this creep to an eclipsing melodic section that is just amazing and can only be referenced to early Cave In sequencing. “All Bodies” proceeds into a keyboards and screaming section and without doubt you declare that you love BTBAM. Unfortunately, the following “Alaska” and “Croakies and Boatholes” doesn’t offer the same assault on the senses – but they aren’t half-bad as hardcore/metal songs. Leave it to the next long track “Selkies: The Endless Obsession” for the brilliant riffing and unconscious section movement to draw you back to admiration. You may want to push to the side the borderline lame singing half-way through “Selkies: The Endless Obsession,” but the song ends with another dazzling display of guitars. After the segway “Breathe In, Breathe Out,” BTBAM drill more grindcore into your brain on the apropos-named “Roboturner.” “Backwards Marathon” again comes close to being lame as they introduce soft vocals that almost show space rhythms, but just almost. “Medicine Wheel” is some nice instrumental filler, before the riffing attack comes back on the gorgeous “The Primer.” Although “The Primer” may fall to too much grind, the incorporation of rock riffs towards the end will win your pleasure. I’m going to go ahead and say the last track is “Autodidact” as the real last track is the terrible “Laser Speed” – that is most likely included just to get such a response. “Autodidact” itself can bring to mind Dillinger and sits well with the rest of Alaska. Again, for those lapping up the utterances of The Silent Circus you are going to experience uncontrolled urination over Alaska.
Alaska
Victory Records
Grade: A-
If you thought that 2003’s The Silent Circus was as good as it was going to get from the North Carolina-based Between the Buried and Me, you have just had your hat handed to you by the stunning follow-up Alaska. With some lineup changes and side projects done and buried, BTBAM went back to their NC headquarters with producer Jamie King (and later Matthew Ellard) to unleash their latest vision for the masters. While there is likely some story behind why the record is called Alaska – likely either deep with meaning relatively to the eleven tracks or totally unrelated, something that an interviewer will ask immediately – the opening “All Bodies” is set to rip your ass out. If every song on Alaska traveled the same path as this opus, this would be the best heavy record of the year regardless of future, unknown recordings. “All Bodies” begins as just attacking metal of ordinary ilk and as the band begins the multi-segmented starts-and-finishes something strange begins to occur. That strangeness comes in the form of this creep to an eclipsing melodic section that is just amazing and can only be referenced to early Cave In sequencing. “All Bodies” proceeds into a keyboards and screaming section and without doubt you declare that you love BTBAM. Unfortunately, the following “Alaska” and “Croakies and Boatholes” doesn’t offer the same assault on the senses – but they aren’t half-bad as hardcore/metal songs. Leave it to the next long track “Selkies: The Endless Obsession” for the brilliant riffing and unconscious section movement to draw you back to admiration. You may want to push to the side the borderline lame singing half-way through “Selkies: The Endless Obsession,” but the song ends with another dazzling display of guitars. After the segway “Breathe In, Breathe Out,” BTBAM drill more grindcore into your brain on the apropos-named “Roboturner.” “Backwards Marathon” again comes close to being lame as they introduce soft vocals that almost show space rhythms, but just almost. “Medicine Wheel” is some nice instrumental filler, before the riffing attack comes back on the gorgeous “The Primer.” Although “The Primer” may fall to too much grind, the incorporation of rock riffs towards the end will win your pleasure. I’m going to go ahead and say the last track is “Autodidact” as the real last track is the terrible “Laser Speed” – that is most likely included just to get such a response. “Autodidact” itself can bring to mind Dillinger and sits well with the rest of Alaska. Again, for those lapping up the utterances of The Silent Circus you are going to experience uncontrolled urination over Alaska.
Tuesday, May 20, 2008
The All-American Rejects - Move Along
The All-American Rejects
Move Along
Interscope/Doghouse Records
Grade: A-
In the three-plus year history of Exoduster, our first artist of the month was the All-American Rejects when it was simply Tyson Ritter and Nick Wheeler and they were just newbies to the music world. Their initial effort for Doghouse featured the retarded big single “Swing, Swing,” thus leading to the majors battling it out for the Rejects and the Universal conglomerate winning out (though Doghouse retains some rights). The Rejects’ debut record went platinum and the rest is well history. Naturally, we are asking ‘what the hell took so long to release their sophomore record?’ One thing is that Universal re-released the debut and essentially giving the Rejects a new ‘clock.’ The other thing is that the Rejects have been touring relentlessly, typically bringing in their friends in smaller bands to open up (e.g., Limbeck). Still, Ritter and Wheeler, now officially joined by Mike Kennedy on guitars and Chris Gaylor on drums, took their time to write these twelve new pop love fests, to assure they didn’t hit the proverbial sophomore slump. Working like real rock stars, Ritter and Wheeler wrote for nearly a year, then practiced and did pre-production with Kennedy and Gaylor before heading to Burbank to finally lay down the tracks. The result is a collection of twelve perfectly developed pop songs that completely overcomes some of the highs and lows of their previous effort. While the debut had the scorching “Swing, Swing” and couple of other lookers, Move Along has a plethora of single material virtually assuring mass success. And the Rejects don’t mess around with letting you know their intentions on the opening number “Dirty Little Secret.” “Dirty Little Secret” is the record’s first single and bursts with ridiculous pop magic. The Rejects don’t let off on the follower “Stab My Back” and continue to nail it on the title track. “Move Along,” which was initially streamed online, illustrates the size of the Rejects now as they employ a children’s choir towards the end. “It Ends Tonight” slows the party down with the inclusion of measured pace piano, but the chorus (that is the title) keeps the song memorable. The Rejects aren’t going to let your fun end too soon as they immediately attack you on “Change Your Mind,” but the magic marginally slips on “Night Drive.” What you become clued into by the following strong “11:11 p.m.,” “Dance Inside” and “Top of the World” is that many songs are nearly the same length and can come off as repetitive. The Rejects once again slow down your world on “Straightjacket Feeling,” but then turn up the amps on the rocking “I’m Waiting.” Move Along closes out on the rather odd “Can’t Take It,” where the Rejects employ heavy strings giving the song a Broadway feel. The bottomline with Move Along is that if you loved the All-American Rejects’ debut, then you are going to be incredibly pleasured on this sophomore effort.
Move Along
Interscope/Doghouse Records
Grade: A-
In the three-plus year history of Exoduster, our first artist of the month was the All-American Rejects when it was simply Tyson Ritter and Nick Wheeler and they were just newbies to the music world. Their initial effort for Doghouse featured the retarded big single “Swing, Swing,” thus leading to the majors battling it out for the Rejects and the Universal conglomerate winning out (though Doghouse retains some rights). The Rejects’ debut record went platinum and the rest is well history. Naturally, we are asking ‘what the hell took so long to release their sophomore record?’ One thing is that Universal re-released the debut and essentially giving the Rejects a new ‘clock.’ The other thing is that the Rejects have been touring relentlessly, typically bringing in their friends in smaller bands to open up (e.g., Limbeck). Still, Ritter and Wheeler, now officially joined by Mike Kennedy on guitars and Chris Gaylor on drums, took their time to write these twelve new pop love fests, to assure they didn’t hit the proverbial sophomore slump. Working like real rock stars, Ritter and Wheeler wrote for nearly a year, then practiced and did pre-production with Kennedy and Gaylor before heading to Burbank to finally lay down the tracks. The result is a collection of twelve perfectly developed pop songs that completely overcomes some of the highs and lows of their previous effort. While the debut had the scorching “Swing, Swing” and couple of other lookers, Move Along has a plethora of single material virtually assuring mass success. And the Rejects don’t mess around with letting you know their intentions on the opening number “Dirty Little Secret.” “Dirty Little Secret” is the record’s first single and bursts with ridiculous pop magic. The Rejects don’t let off on the follower “Stab My Back” and continue to nail it on the title track. “Move Along,” which was initially streamed online, illustrates the size of the Rejects now as they employ a children’s choir towards the end. “It Ends Tonight” slows the party down with the inclusion of measured pace piano, but the chorus (that is the title) keeps the song memorable. The Rejects aren’t going to let your fun end too soon as they immediately attack you on “Change Your Mind,” but the magic marginally slips on “Night Drive.” What you become clued into by the following strong “11:11 p.m.,” “Dance Inside” and “Top of the World” is that many songs are nearly the same length and can come off as repetitive. The Rejects once again slow down your world on “Straightjacket Feeling,” but then turn up the amps on the rocking “I’m Waiting.” Move Along closes out on the rather odd “Can’t Take It,” where the Rejects employ heavy strings giving the song a Broadway feel. The bottomline with Move Along is that if you loved the All-American Rejects’ debut, then you are going to be incredibly pleasured on this sophomore effort.
Monday, May 19, 2008
Wolf Parade - Apologies to the Queen Mary
Wolf Parade
Apologies To The Queen Mary
Sub Pop Records
Grade: A-
This Canadian four-piece first came to our attention last Spring with their phenomenal four-song self-titled EP. On the realization of the illustrated potential of the EP, this debut full-length is something to write home about and surely places Wolf Parade among the upper echelon of indie rock bands.
Part of the exploding Montreal indie rock scene, Wolf Parade has been considerably helped along their way by Modest Mouse’s Isaac Brock as well as the Arcade Fire. Brock not only helped get WP signed to Sub Pop, but also produced, along with Chris Chandler, Apologies to the Queen Mary. WP itself is kind of a hodge-podge of artists that together create glorious indie rock with both a nod to Springsteen as well as electronic underlyings. Composed of keyboardist/singer Spencer Krug (ex-Frog Eyes, Sunset Rundown), guitarist/singer Dan Boeckner (ex-Atlas Strategic), drummer Arlen Thompson and keyboardist/assorted electronics Hadji Bakara, WP sweep through a glorious set of twelve songs on AQM.
The one downside to AQM is that two of the best songs also happened to be the two standouts from their previous EP. These take the form of “You Are a Runner and I Am My Father’s Son” and “Shine A Light.” While both songs are splendid pieces of wonderment, you just wish they weren’t on the EP before AQM. And with that on to the track devouring. AQM opens on “You Are a Runner and I Am My Father’s Son” which is a rather clunky, moving mass of rock that spurts with periodic great lines (e.g., “I ain’t no hero…”). This is followed by “Modern World,” where WP echo some Brits and explode for awesomeness about half-way through when they enter an acoustic bridge that without any words would still sound terrific. The angular guitars and fast-singing on the opening to “Grounds For Divorce” makes the song sound quite familiar, like a rebirthed 80s indie – one of the first nods at new wave. Cascading guitars and keyboards on “We Build Another World” present a darker image of WP, but keyboard riffs also bring back at least the notion of sunshine. “Fancy Claps” is rather average, while WP slow things down for the nearly six-minute “Same Ghost Every Night.” Following this slow down is “Shine A Light.” Even though familiarity of “Shine A Light” makes me particularly smitten, it is nearly impossible to deny that the song is the obvious standout with a pulsating bass, hip electronics and great lyrics (e.g., “I don’t sleep, I don’t sleep, I don’t sleep until its light” – like we all want to). Already likely to have made the singles rounds, it is worth giving “Shine A Light” another spin on your iPod if its been awhile. “Dear Sons and Daughters Of Hungry Ghosts” – ghosts again? – is rather theatrical with a great ending, while “I’ll Believe In Anything” is a terrific song that instantly marks your mind on the repetition of the title and gets you to hit repeat. 80s modern rock guitar punches you on “It’s a Curse” and continues throughout clearly making parallels to the new wave resurgence. “Dinner Bells” is another slow down job by WP, here extending it out seven-and-a-half-minutes, and illustrating the quasi-experimental side of the band. AQM ends on the fantastic “This Hearts On Fire” where WP come off like Springsteen in training and soars when as they speed up and repeatedly sing the title.
Wolf Parade are certainly on the verge of becoming recognizable indie rock stars with Apologies to the Queen Mary. They aren’t going to be swallowed up like the early 90s Seattle explosion as they push the Montreal attack with bands like Arcade Fire. But with the right love and exposure, Wolf Parade is going to be very big – if they aren’t already. Pick up the record, play it loud and hold on tight.
Apologies To The Queen Mary
Sub Pop Records
Grade: A-
This Canadian four-piece first came to our attention last Spring with their phenomenal four-song self-titled EP. On the realization of the illustrated potential of the EP, this debut full-length is something to write home about and surely places Wolf Parade among the upper echelon of indie rock bands.
Part of the exploding Montreal indie rock scene, Wolf Parade has been considerably helped along their way by Modest Mouse’s Isaac Brock as well as the Arcade Fire. Brock not only helped get WP signed to Sub Pop, but also produced, along with Chris Chandler, Apologies to the Queen Mary. WP itself is kind of a hodge-podge of artists that together create glorious indie rock with both a nod to Springsteen as well as electronic underlyings. Composed of keyboardist/singer Spencer Krug (ex-Frog Eyes, Sunset Rundown), guitarist/singer Dan Boeckner (ex-Atlas Strategic), drummer Arlen Thompson and keyboardist/assorted electronics Hadji Bakara, WP sweep through a glorious set of twelve songs on AQM.
The one downside to AQM is that two of the best songs also happened to be the two standouts from their previous EP. These take the form of “You Are a Runner and I Am My Father’s Son” and “Shine A Light.” While both songs are splendid pieces of wonderment, you just wish they weren’t on the EP before AQM. And with that on to the track devouring. AQM opens on “You Are a Runner and I Am My Father’s Son” which is a rather clunky, moving mass of rock that spurts with periodic great lines (e.g., “I ain’t no hero…”). This is followed by “Modern World,” where WP echo some Brits and explode for awesomeness about half-way through when they enter an acoustic bridge that without any words would still sound terrific. The angular guitars and fast-singing on the opening to “Grounds For Divorce” makes the song sound quite familiar, like a rebirthed 80s indie – one of the first nods at new wave. Cascading guitars and keyboards on “We Build Another World” present a darker image of WP, but keyboard riffs also bring back at least the notion of sunshine. “Fancy Claps” is rather average, while WP slow things down for the nearly six-minute “Same Ghost Every Night.” Following this slow down is “Shine A Light.” Even though familiarity of “Shine A Light” makes me particularly smitten, it is nearly impossible to deny that the song is the obvious standout with a pulsating bass, hip electronics and great lyrics (e.g., “I don’t sleep, I don’t sleep, I don’t sleep until its light” – like we all want to). Already likely to have made the singles rounds, it is worth giving “Shine A Light” another spin on your iPod if its been awhile. “Dear Sons and Daughters Of Hungry Ghosts” – ghosts again? – is rather theatrical with a great ending, while “I’ll Believe In Anything” is a terrific song that instantly marks your mind on the repetition of the title and gets you to hit repeat. 80s modern rock guitar punches you on “It’s a Curse” and continues throughout clearly making parallels to the new wave resurgence. “Dinner Bells” is another slow down job by WP, here extending it out seven-and-a-half-minutes, and illustrating the quasi-experimental side of the band. AQM ends on the fantastic “This Hearts On Fire” where WP come off like Springsteen in training and soars when as they speed up and repeatedly sing the title.
Wolf Parade are certainly on the verge of becoming recognizable indie rock stars with Apologies to the Queen Mary. They aren’t going to be swallowed up like the early 90s Seattle explosion as they push the Montreal attack with bands like Arcade Fire. But with the right love and exposure, Wolf Parade is going to be very big – if they aren’t already. Pick up the record, play it loud and hold on tight.
Sunday, May 18, 2008
Straylight Run - Prepare to be Wrong EP
Straylight Run
Prepare To Be Wrong EP
Victory Records
Grade: A-
Nearly like the title to this six-song EP, I was warned or cautioned or made aware of the fact that Prepare To Be Wrong was very different from 2004’s debut record. Unlike many bands that shift away from their opening and defining sound, the change by Long Island’s Straylight Run is exceedingly welcomed. Formed a couple of years back by John Nolan, the guy I like to call ‘the skinny-headed guy from Taking Back Sunday,’ the band is rounded out by sister Michelle Nolan, Shaun Cooper and Will Noon. After rocking the world with debut album and opening for various heavyweights, Straylight Run began working on this EP in the summer of 2005 with the idea of filling out their sound and taking non-obvious directions away from their piano-laden indie pop. The results are phenomenal as the band laces electronics, drum loops and mellow compositions into terrific pop songs. You don’t get a true sense of the positive on the more esoteric opener “I Don’t Want This Anymore,” where Michelle’s vocals are angelified and electronics rule. But you begin to see the true effect on the follower “It Never Gets Easier” and the “Later That Year” which contains a simple, repetitive line of ‘we did the math and it wasn’t worth it after all’ that gets stuck in your head. “A Slow Descent” is more theatrical as the Nolans sing together for a majority of the song and picks up when John plays the dominant role about a third in. Though dribbling, “A Slow Descent” is one of the more powerful songs on the EP. “Hands In the Sky (Big Shot)” reaches back to more of the electronic production and takes a compelling turn when half-way through pumping bass and drums and Nolan’s background shouting makes you think you are about to bust a move. After this unique offering, the EP formally ends with a cover of Bob Dylan’s “With God On Our Side” which features Jeff DaRosa on vocals. The EP in my hands at least also includes three of the best songs from Straylight Run’s debut, “Existentialism on Prom Night,” “The Tension and the Terror” and “Your Name Here (Sunrise Highway).” Although “Existentialism on Prom Night” got ridiculous attention, you should take a second look at the awesome chorus on “The Tension and the Terror.” Little doubt that if you enjoyed Straylight Run’s debut record and then you’ll love Prepare to be Wrong. Look for more big things from this band in the near future.
Prepare To Be Wrong EP
Victory Records
Grade: A-
Nearly like the title to this six-song EP, I was warned or cautioned or made aware of the fact that Prepare To Be Wrong was very different from 2004’s debut record. Unlike many bands that shift away from their opening and defining sound, the change by Long Island’s Straylight Run is exceedingly welcomed. Formed a couple of years back by John Nolan, the guy I like to call ‘the skinny-headed guy from Taking Back Sunday,’ the band is rounded out by sister Michelle Nolan, Shaun Cooper and Will Noon. After rocking the world with debut album and opening for various heavyweights, Straylight Run began working on this EP in the summer of 2005 with the idea of filling out their sound and taking non-obvious directions away from their piano-laden indie pop. The results are phenomenal as the band laces electronics, drum loops and mellow compositions into terrific pop songs. You don’t get a true sense of the positive on the more esoteric opener “I Don’t Want This Anymore,” where Michelle’s vocals are angelified and electronics rule. But you begin to see the true effect on the follower “It Never Gets Easier” and the “Later That Year” which contains a simple, repetitive line of ‘we did the math and it wasn’t worth it after all’ that gets stuck in your head. “A Slow Descent” is more theatrical as the Nolans sing together for a majority of the song and picks up when John plays the dominant role about a third in. Though dribbling, “A Slow Descent” is one of the more powerful songs on the EP. “Hands In the Sky (Big Shot)” reaches back to more of the electronic production and takes a compelling turn when half-way through pumping bass and drums and Nolan’s background shouting makes you think you are about to bust a move. After this unique offering, the EP formally ends with a cover of Bob Dylan’s “With God On Our Side” which features Jeff DaRosa on vocals. The EP in my hands at least also includes three of the best songs from Straylight Run’s debut, “Existentialism on Prom Night,” “The Tension and the Terror” and “Your Name Here (Sunrise Highway).” Although “Existentialism on Prom Night” got ridiculous attention, you should take a second look at the awesome chorus on “The Tension and the Terror.” Little doubt that if you enjoyed Straylight Run’s debut record and then you’ll love Prepare to be Wrong. Look for more big things from this band in the near future.
Friday, May 16, 2008
Limbeck - Let Me Come Home
Limbeck
Let Me Come Home
Doghouse Records
Grade: A-
This phenomenal alt-country pop four-piece first demolished our ears at Exoduster a couple of years back with their stellar full-length Hi, Everything’s Great. In fact, we were so pumped that we went and bought the super sexy flip-book postcard version just to have a full-art copy. The boys are back with another ‘on the road’ record with Let Me Come Home.
Save for the pop dreaminess that crosses the speakers, there is a very little chance that you’d suspect that Limbeck hail from the O.C. With songs flushed with alt-country rhythms, you are likely to finger something like Oklahoma, Tennessee or Kentucky. At the same time, bands from those locales rarely have such a sunshine-loving feel to their music. The voice of Limbeck is guitarist Robb MacLean, who looks uncannly like Billy Corgan, but comes across in both person and vocals as much cooler and chill. As a frontman, and joined by his cohorts, MacLean really carries the songs. The second immediately impressionable aspect of Limbeck is the simple, yet memorable guitar work of Patrick Carrie. Carrie’s guitar twang and shakes are what defines the alt-country sound of Limbeck. Holding the rhythm front down are the well-framed drums of Matt Stephens and the heads up bass of Justin Entsminger.
After striking out on an indefinitely long tour in support of Hi, Everything’s Great, where Limbeck tried to develop a new set of road adventures and create a new set of postcards, the band headed in to the studio with Ed Ackerson and Gary Louris in Minneapolis. It certainly helped that Louris is from the Jayhawks, though this record is a bit more Beach Boy pop than what the Jayhawks ever offered. The end product is thirteen songs that clearly travel the route staked out on Hi, Everything’s Great, but exist with clearly attention to consistency across the tracks. That is, Hi, Everything’s Great has its brilliant moments, but Let Me Come Home has at least the same amount of stellar numbers but the drop offs aren’t as severe. This is something you come to expect from a tremendous band as they grow, mature and become better.
Let Me Come Home starts out with no doubt that Limbeck are hitting the alt-country twang hard on “People Don’t Change.” Though “People Don’t Change” may be slightly repetitive on the title, it gives you your initial impression (if you are agnostic) of what’s in store for the next twelve songs. Limbeck keeps the beat going on “Long Way To Go,” but it isn’t until “Everyone’s In the Parking Lot” that Limbeck begins to show their true glorious colors. “Everyone’s In the Parking Lot” begins innocently enough with MacLean taking the vocal lead and is accompanied by mandolin (?) in the mix as the chorus creeps in and helps take the song to the next level. Part of the push is due to vocal help from Rachael Cantu, Justin Pierre and Kari Gray. You really hear Cantu on this and suggests that Limbeck could substantially benefit from more female collaborators. Of course, I’m highly partial to the back-and-forth female-male thing (witness love for the Forecast, et al.). “Making the Rounds” is the first song that unquestionably brings Limbeck’s love for the Beach Boys into their music. The harmonizing with MacLean on the chorus by Louris (and likely Carrie) is just special. “Sin City” is literally an ode to how Las Vegas was once ‘peace out’ and now Limbeck (or at least MacLean) is like, well, “I like Sin City ‘cause its got you.” “Sin City” draws the closest link with Hi, Everything’s Great in both context and sound. “Usually Deluded” is a straight forward Limbeck rocker, while “Names For Dogs” is more of a drawn back, acoustic affair. “Names For Dogs” is also the only song that has a sprinkle of lyrics in the booklet. To remind you that you are not starting to fall asleep, Limbeck comes back the smokin’ “Watchin’ the Moon Rise Over Town” where organ punctuates the rhythms. If Limbeck were to have a drunken, dirty blues blitzkrieg song than “Watchin’ the Moon Rise Over Town” is it. “Home (Is Where the Van Is)” is another city ode – this time to Minneapolis – as well as acknowledging the road and that the OC is their base. “Television” rumbles in as mid-tempo rolling rock, while “To Hell With Having Fun” takes awhile to fill out but then comes through in strong fashion. Again, including friends in the vocal and handclapping mix, “To Hell With Having Fun” shares some parallels with the latest Bright Eyes (which is rad in my mind). “I Saw You Laughing” is probably the band’s most complex song where minimal sound effects slink in as MacLean leads the band through the slow moving offering – one that could easily become a choice Hollywood soundtrack song. The only significant fault that I find with Limbeck is ending Let Me Come Home on “’91 Honda.” When “’91 Honda” is flying the chorus it ain’t bad, but it may have been better to end with “I Saw You Laughing,” which would have a similar effect of ending Hi, Everything’s Great with the Tucson song.
The short and the quick of Let Me Come Home is if you enjoyed Hi, Everything’s Great then you are going to love of this latest from the boys of Limbeck. As has been established throughout this review, Limbeck are a band that lives on the road. Most bands live on the road it is true. Yet, Limbeck absolutely brings it when they play and you can’t ignore that they are having a great time and are enveloping you to do the same.
Let Me Come Home
Doghouse Records
Grade: A-
This phenomenal alt-country pop four-piece first demolished our ears at Exoduster a couple of years back with their stellar full-length Hi, Everything’s Great. In fact, we were so pumped that we went and bought the super sexy flip-book postcard version just to have a full-art copy. The boys are back with another ‘on the road’ record with Let Me Come Home.
Save for the pop dreaminess that crosses the speakers, there is a very little chance that you’d suspect that Limbeck hail from the O.C. With songs flushed with alt-country rhythms, you are likely to finger something like Oklahoma, Tennessee or Kentucky. At the same time, bands from those locales rarely have such a sunshine-loving feel to their music. The voice of Limbeck is guitarist Robb MacLean, who looks uncannly like Billy Corgan, but comes across in both person and vocals as much cooler and chill. As a frontman, and joined by his cohorts, MacLean really carries the songs. The second immediately impressionable aspect of Limbeck is the simple, yet memorable guitar work of Patrick Carrie. Carrie’s guitar twang and shakes are what defines the alt-country sound of Limbeck. Holding the rhythm front down are the well-framed drums of Matt Stephens and the heads up bass of Justin Entsminger.
After striking out on an indefinitely long tour in support of Hi, Everything’s Great, where Limbeck tried to develop a new set of road adventures and create a new set of postcards, the band headed in to the studio with Ed Ackerson and Gary Louris in Minneapolis. It certainly helped that Louris is from the Jayhawks, though this record is a bit more Beach Boy pop than what the Jayhawks ever offered. The end product is thirteen songs that clearly travel the route staked out on Hi, Everything’s Great, but exist with clearly attention to consistency across the tracks. That is, Hi, Everything’s Great has its brilliant moments, but Let Me Come Home has at least the same amount of stellar numbers but the drop offs aren’t as severe. This is something you come to expect from a tremendous band as they grow, mature and become better.
Let Me Come Home starts out with no doubt that Limbeck are hitting the alt-country twang hard on “People Don’t Change.” Though “People Don’t Change” may be slightly repetitive on the title, it gives you your initial impression (if you are agnostic) of what’s in store for the next twelve songs. Limbeck keeps the beat going on “Long Way To Go,” but it isn’t until “Everyone’s In the Parking Lot” that Limbeck begins to show their true glorious colors. “Everyone’s In the Parking Lot” begins innocently enough with MacLean taking the vocal lead and is accompanied by mandolin (?) in the mix as the chorus creeps in and helps take the song to the next level. Part of the push is due to vocal help from Rachael Cantu, Justin Pierre and Kari Gray. You really hear Cantu on this and suggests that Limbeck could substantially benefit from more female collaborators. Of course, I’m highly partial to the back-and-forth female-male thing (witness love for the Forecast, et al.). “Making the Rounds” is the first song that unquestionably brings Limbeck’s love for the Beach Boys into their music. The harmonizing with MacLean on the chorus by Louris (and likely Carrie) is just special. “Sin City” is literally an ode to how Las Vegas was once ‘peace out’ and now Limbeck (or at least MacLean) is like, well, “I like Sin City ‘cause its got you.” “Sin City” draws the closest link with Hi, Everything’s Great in both context and sound. “Usually Deluded” is a straight forward Limbeck rocker, while “Names For Dogs” is more of a drawn back, acoustic affair. “Names For Dogs” is also the only song that has a sprinkle of lyrics in the booklet. To remind you that you are not starting to fall asleep, Limbeck comes back the smokin’ “Watchin’ the Moon Rise Over Town” where organ punctuates the rhythms. If Limbeck were to have a drunken, dirty blues blitzkrieg song than “Watchin’ the Moon Rise Over Town” is it. “Home (Is Where the Van Is)” is another city ode – this time to Minneapolis – as well as acknowledging the road and that the OC is their base. “Television” rumbles in as mid-tempo rolling rock, while “To Hell With Having Fun” takes awhile to fill out but then comes through in strong fashion. Again, including friends in the vocal and handclapping mix, “To Hell With Having Fun” shares some parallels with the latest Bright Eyes (which is rad in my mind). “I Saw You Laughing” is probably the band’s most complex song where minimal sound effects slink in as MacLean leads the band through the slow moving offering – one that could easily become a choice Hollywood soundtrack song. The only significant fault that I find with Limbeck is ending Let Me Come Home on “’91 Honda.” When “’91 Honda” is flying the chorus it ain’t bad, but it may have been better to end with “I Saw You Laughing,” which would have a similar effect of ending Hi, Everything’s Great with the Tucson song.
The short and the quick of Let Me Come Home is if you enjoyed Hi, Everything’s Great then you are going to love of this latest from the boys of Limbeck. As has been established throughout this review, Limbeck are a band that lives on the road. Most bands live on the road it is true. Yet, Limbeck absolutely brings it when they play and you can’t ignore that they are having a great time and are enveloping you to do the same.
Thursday, May 15, 2008
The Go! Team - Thunder, Lightning, Strike
The Go! Team
Thunder, Lightning, Strike
Columbia Records
Grade: A-
As one of the most hyped bands in the last year, The Go! Team unleashes thirteen tracks of crazed 70s funk, soul and pop cranked into a contemporary indie dance sampling framework on the UK Mercury Prize-nominated Thunder, Lightning, Strike. Fronted by Ian Parton, this Brighton, England six-piece sounds more naturally from a happy sunshine type place – like LA without all the bad – than the cloudy shores of the British Isles. After Parton had developed his craft on his own, he had to assemble an ensemble in order to play out live. He did so by enlisting Sam Dook (guitar, banjo, drums), Jamie Bell (bass), Chi (drummer), Silke (multi-instrumentalist) and lady MC Ninja – because you always need a lady, a MC and a ninja. Although most of the songs contain a thick, hodge-podge of a billion instruments and samples all to get you moving, songs that stand out feature gang, lo-fi vocals. The pure instrumentals (e.g., “Feelgood By Numbers,” “Get It Together,” “Junior Kickstart”) are nice affairs, but the vocals add more weight and childish joy to the sound. As such, highlights come from “Ladyflash,” the awesome “We Just Won’t Be Defeated,” “Bottle Rocket” and “Huddle Formation.” Now with the recognition and financial backing of a major label, it will be interesting to see whether Parton and co. maintain the lo-fi sound or go with something more grandiose.
Thunder, Lightning, Strike
Columbia Records
Grade: A-
As one of the most hyped bands in the last year, The Go! Team unleashes thirteen tracks of crazed 70s funk, soul and pop cranked into a contemporary indie dance sampling framework on the UK Mercury Prize-nominated Thunder, Lightning, Strike. Fronted by Ian Parton, this Brighton, England six-piece sounds more naturally from a happy sunshine type place – like LA without all the bad – than the cloudy shores of the British Isles. After Parton had developed his craft on his own, he had to assemble an ensemble in order to play out live. He did so by enlisting Sam Dook (guitar, banjo, drums), Jamie Bell (bass), Chi (drummer), Silke (multi-instrumentalist) and lady MC Ninja – because you always need a lady, a MC and a ninja. Although most of the songs contain a thick, hodge-podge of a billion instruments and samples all to get you moving, songs that stand out feature gang, lo-fi vocals. The pure instrumentals (e.g., “Feelgood By Numbers,” “Get It Together,” “Junior Kickstart”) are nice affairs, but the vocals add more weight and childish joy to the sound. As such, highlights come from “Ladyflash,” the awesome “We Just Won’t Be Defeated,” “Bottle Rocket” and “Huddle Formation.” Now with the recognition and financial backing of a major label, it will be interesting to see whether Parton and co. maintain the lo-fi sound or go with something more grandiose.
Wednesday, May 14, 2008
Orenda Fink - Invisible Ones
Orenda Fink
Invisible Ones
Saddle Creek Records
Grade: A-
Not to be outdone by her Azure Ray partner in crime Maria Taylor, Orenda Fink offers up her own debut solo record a couple months on the heels of Taylor. As with Taylor, Fink has enlisted the Saddle Creek ensemble to make her songs a realization. This includes producer and Now It’s Overhead frontman Andy LeMaster, her husband Todd Fink (formerly Baechle – you know the guy ripping your pants off from the Faint) and Nate Walcott (Bright Eyes, Rilo Kiley). For Fink, though, Invisible Ones takes on spiritual aspect – not per say religious – that as she mentions comes from travels to places such as India, Cambodia and Haiti. Besides from altering her song topics, these travels also helped to shape the more eclectic sound of Invisible Ones vis-Ã -vis Azure Ray. This is most obviously demonstrated on “Les Invisibles,” which sweeps into majesty after a couple of minutes thanks to the vocal additions of Haitians Rozna Zila and Sandy M. Saint-Cyr of Troupe Macandal. I don’t know if a song like “Les Invisibles” can now be touted as ‘world music’ but we may as well. Zila and Saint-Cyr are also featured on the similar-minded closer “Animal” and the more straight forward “No Evolution.” Besides from these, one should take note of the haunting “Invisible Ones Guard the Gate” which goes to another level on the chorus, the rocker “Bloodline,” the Sinead O’Connor-esque “Miracle Worker” and other rocker “Dirty South” which gets a vocal boost from Patterson Hood of the Drive-By Truckers. A tip for ‘listening’ to Invisible Ones is either to turn it up way loud or listen by headphones so to hear all of Fink’s whispering vocals. While Azure Ray takes their hiatus, pick up Orenda Fink’s debut and possible play it at the same time as Maria Taylor’s 11:11 and you have your new AR record.
Invisible Ones
Saddle Creek Records
Grade: A-
Not to be outdone by her Azure Ray partner in crime Maria Taylor, Orenda Fink offers up her own debut solo record a couple months on the heels of Taylor. As with Taylor, Fink has enlisted the Saddle Creek ensemble to make her songs a realization. This includes producer and Now It’s Overhead frontman Andy LeMaster, her husband Todd Fink (formerly Baechle – you know the guy ripping your pants off from the Faint) and Nate Walcott (Bright Eyes, Rilo Kiley). For Fink, though, Invisible Ones takes on spiritual aspect – not per say religious – that as she mentions comes from travels to places such as India, Cambodia and Haiti. Besides from altering her song topics, these travels also helped to shape the more eclectic sound of Invisible Ones vis-Ã -vis Azure Ray. This is most obviously demonstrated on “Les Invisibles,” which sweeps into majesty after a couple of minutes thanks to the vocal additions of Haitians Rozna Zila and Sandy M. Saint-Cyr of Troupe Macandal. I don’t know if a song like “Les Invisibles” can now be touted as ‘world music’ but we may as well. Zila and Saint-Cyr are also featured on the similar-minded closer “Animal” and the more straight forward “No Evolution.” Besides from these, one should take note of the haunting “Invisible Ones Guard the Gate” which goes to another level on the chorus, the rocker “Bloodline,” the Sinead O’Connor-esque “Miracle Worker” and other rocker “Dirty South” which gets a vocal boost from Patterson Hood of the Drive-By Truckers. A tip for ‘listening’ to Invisible Ones is either to turn it up way loud or listen by headphones so to hear all of Fink’s whispering vocals. While Azure Ray takes their hiatus, pick up Orenda Fink’s debut and possible play it at the same time as Maria Taylor’s 11:11 and you have your new AR record.
Tuesday, May 13, 2008
Eagle*Seagull - s/t
Eagle*Seagull
s/t
Paper Garden Records
Grade: A-
Trying to re-orientate the location of the continuingly strange indie rock influence of Nebraska – from Omaha to Lincoln (home of University of Nebraska) – comes the grandiose orchestrated self-titled affair from Eagle*Seagull. Headed by Eli Mardock, Eagle*Seagull comes across like a composite of numerous indie sounds – perhaps most directly a unique mixture of the cache of Sub Pop’s Canadian bands (e.g, Wolf Parade, Constantines) and Saddle Creek’s more chilled outfits. Yet, no band on either of those labels has much on ES. This eleven song self-titled debut opens on “Lock and Key” with six-plus minutes of low keys and Mardock’s depressed vocals doubled. For those into the depressives tip of rock, “Lock and Key” is a great find. Not to be pressed into this box, ES follow “Lock and Key” up with the up-tempo “Photograph,” that while again traversing six-minutes manages to keep things interesting. “Hello, Never” takes sometime to succeed, while “Death Could Be At the Door” brings the speed back down to a murmuring. After acoustic guitars on “Holy,” ES mirror the Good Life on “Your Beauty Is a Knife I Turn On My Throat.” While a strong number, the mixing of “Your Beauty…” is messed up as Mardock’s vocals are way to loud compared to the instrumentation. ES thrash their selves around for seven minutes on “It’s So Sexy” and a nice combo of keys and tempo great you on “Last Song,” which isn’t the last song. The last two songs are actually “Heal It/Feel It” and “Ballet or Art.” “Heal It/Feel It” is relatively odd compared to the other songs as ES move to more of a new wave attack that compares favorably to Ric Ocasek. “Ballet or Art” rumbles along quite similarly to the opener “Lock and Key,” again with Mardock’s agonizing vocals and keys. It is fairly amazing that more hasn’t been heard about this phenomenal act for Lincoln. That should all change quite soon.
s/t
Paper Garden Records
Grade: A-
Trying to re-orientate the location of the continuingly strange indie rock influence of Nebraska – from Omaha to Lincoln (home of University of Nebraska) – comes the grandiose orchestrated self-titled affair from Eagle*Seagull. Headed by Eli Mardock, Eagle*Seagull comes across like a composite of numerous indie sounds – perhaps most directly a unique mixture of the cache of Sub Pop’s Canadian bands (e.g, Wolf Parade, Constantines) and Saddle Creek’s more chilled outfits. Yet, no band on either of those labels has much on ES. This eleven song self-titled debut opens on “Lock and Key” with six-plus minutes of low keys and Mardock’s depressed vocals doubled. For those into the depressives tip of rock, “Lock and Key” is a great find. Not to be pressed into this box, ES follow “Lock and Key” up with the up-tempo “Photograph,” that while again traversing six-minutes manages to keep things interesting. “Hello, Never” takes sometime to succeed, while “Death Could Be At the Door” brings the speed back down to a murmuring. After acoustic guitars on “Holy,” ES mirror the Good Life on “Your Beauty Is a Knife I Turn On My Throat.” While a strong number, the mixing of “Your Beauty…” is messed up as Mardock’s vocals are way to loud compared to the instrumentation. ES thrash their selves around for seven minutes on “It’s So Sexy” and a nice combo of keys and tempo great you on “Last Song,” which isn’t the last song. The last two songs are actually “Heal It/Feel It” and “Ballet or Art.” “Heal It/Feel It” is relatively odd compared to the other songs as ES move to more of a new wave attack that compares favorably to Ric Ocasek. “Ballet or Art” rumbles along quite similarly to the opener “Lock and Key,” again with Mardock’s agonizing vocals and keys. It is fairly amazing that more hasn’t been heard about this phenomenal act for Lincoln. That should all change quite soon.
Monday, May 12, 2008
Cursive - The Difference Between Houses and Homes (Lost Songs and Loose Ends 1995-2001)
Cursive
The Difference Between Houses and Homes (Lost Songs and Loose Ends 1995-2001)
Saddle Creek Records
Grade: A-
This rarity and unreleased songs record from Cursive is both a gift and a reminder to their fans. The gift is a collection of old 7” songs and two unreleased numbers “Dispenser” and “I Thought There’d Be More Than This.” The reminder is that Cursive can rock with the best of them even without their smoking cellist Gretta Cohn heading out on her own. The reason is that the twelve-track collection of the Difference focuses nearly exclusively on Cursive’s early beginnings between 1996 and 1998, with only one song “Nostalgia” coming from Cursive’s latest lineup with Cohn. And in that respect, Cursive blast away with the brilliant angular attack led by Tim Kasher and Stephen Pedersen as on their Such Blinding Stars for Starving Eyes (1996) and The Storms of Early Summer (1998) full-lengths. If you weren’t able to attain their early 7”s when they came out and don’t feel the need to spend a billion on Ebay, then this is the perfect remedy. The Difference includes the 1998 Icebreaker 7” (“Pivotal,” “Polar” and “Icebreakers”), the 1997 Zero Hour 7” (“Sucker & Dry” and “And the Bit Just Chokes Them”), the 1996 The Disruption 7” (“There’s a Coldest Day in Every Year,” “The Knowledgeable Hasbeens,” “A Disruption in Our Lines of Influence” and “A Disruption in the Normal Swing of Things”) and the aforementioned “Nostalgia” from the 2001 split. Naturally, a majority of the ten songs off of these 7”s rock your mind and make you get excited over Cursive again. But, the song that probably nails the joy most to the wall is the sweet opener and unreleased “Dispenser.” Why the hell they didn’t release “Dispenser” in 1995 or so only brings wonderment. The end story is that if you are down on Cursive, particularly their early stuff like Such Blinding Stars, you will absolutely love this.
The Difference Between Houses and Homes (Lost Songs and Loose Ends 1995-2001)
Saddle Creek Records
Grade: A-
This rarity and unreleased songs record from Cursive is both a gift and a reminder to their fans. The gift is a collection of old 7” songs and two unreleased numbers “Dispenser” and “I Thought There’d Be More Than This.” The reminder is that Cursive can rock with the best of them even without their smoking cellist Gretta Cohn heading out on her own. The reason is that the twelve-track collection of the Difference focuses nearly exclusively on Cursive’s early beginnings between 1996 and 1998, with only one song “Nostalgia” coming from Cursive’s latest lineup with Cohn. And in that respect, Cursive blast away with the brilliant angular attack led by Tim Kasher and Stephen Pedersen as on their Such Blinding Stars for Starving Eyes (1996) and The Storms of Early Summer (1998) full-lengths. If you weren’t able to attain their early 7”s when they came out and don’t feel the need to spend a billion on Ebay, then this is the perfect remedy. The Difference includes the 1998 Icebreaker 7” (“Pivotal,” “Polar” and “Icebreakers”), the 1997 Zero Hour 7” (“Sucker & Dry” and “And the Bit Just Chokes Them”), the 1996 The Disruption 7” (“There’s a Coldest Day in Every Year,” “The Knowledgeable Hasbeens,” “A Disruption in Our Lines of Influence” and “A Disruption in the Normal Swing of Things”) and the aforementioned “Nostalgia” from the 2001 split. Naturally, a majority of the ten songs off of these 7”s rock your mind and make you get excited over Cursive again. But, the song that probably nails the joy most to the wall is the sweet opener and unreleased “Dispenser.” Why the hell they didn’t release “Dispenser” in 1995 or so only brings wonderment. The end story is that if you are down on Cursive, particularly their early stuff like Such Blinding Stars, you will absolutely love this.
Sunday, May 11, 2008
Criteria - When We Break
Criteria
When We Break
Saddle Creek Records
Grade: A/A-
Thank God that Stephen Pedersen has an addiction to be in a band and release exceptional records in the face of making bank as a lawyer. Many know the tale, but it’s worth repeating. Pedersen began his musical life playing guitar in the godfathers Cursive, before heading to Duke Law School – an unfortunate decision to be a Dookie. Yet, Pedersen spent much of his off time at Duke rocking neighboring Chapel Hill with his sizzling outfit the White Octave. Not unlike early Cursive, the White Octave featured Pedersen’s angular and brilliant guitar attack and helped continually define Chapel Hill as an indie rock haven. Yet, the cold and random weather of Omaha called Pedersen back to the Saddle Creek gang – or more like presented him the opportunity to be lawyer in Omaha. Naturally, Pedersen found himself momentarily bandless as he worked the law and thus started a new endeavor called Criteria. Writing Criteria’s debut En Garde and enlisting part of the Saddle Creek gang – AJ Mogis (Lullaby for the Working Class, Presto! Studios), Mike Sweeney (Beep Beep) and Aaron Druery – Criteria took off. Now with their first record as a cohesive unit, When We Break rips your balls off as it slams Pedersen’s attack guitars into a phenomenally catchy sound. Right off the bat on “Prevent the World” you get the sense that When We Break is like Pedersen took all the best songs from the White Octave and En Garde and distilled their essence and wrote a matching new eleven numbers. And though you could just leave “Prevent the World” on repeat and be fulfilled for the next few hours, another ten songs are just around the corner waiting to greet you. “Draped in the Blood” winds its way through two-and-a-half minutes of drilling guitars and gets you when you’re not looking on the post-chorus. “Good Luck” opens with riff-right joy and is mind-blowing from then on, while “Kiss the Wake” slows the action to an array of thick jabbing muting guitars. Following with the slower tip, “Grey Matter” shifts between mellow verses and thrashing classic Pedersen choruses. After a length intro, “Salt in Game” punctuates the bass of Mogis though is a relative flounder as is the next number “Self Help.” Quasi-metal riffs open “Run Together” and soon gives way to a less ominous sound, while Pedersen strikes “Ride the Snake” like a classic early 90s melodic punk song. Before the glorious closer “Connections,” comes the rather place filler “On Time.” “Connections” rocks for five minutes once again on the back of Pedersen and Druery’s guitars and is quite a fitting closer for a tremendous record. Far and away this is the best album that Pedersen through his various bands – Cursive, White Octave, Criteria – has ever put out. And that is saying a lot.
When We Break
Saddle Creek Records
Grade: A/A-
Thank God that Stephen Pedersen has an addiction to be in a band and release exceptional records in the face of making bank as a lawyer. Many know the tale, but it’s worth repeating. Pedersen began his musical life playing guitar in the godfathers Cursive, before heading to Duke Law School – an unfortunate decision to be a Dookie. Yet, Pedersen spent much of his off time at Duke rocking neighboring Chapel Hill with his sizzling outfit the White Octave. Not unlike early Cursive, the White Octave featured Pedersen’s angular and brilliant guitar attack and helped continually define Chapel Hill as an indie rock haven. Yet, the cold and random weather of Omaha called Pedersen back to the Saddle Creek gang – or more like presented him the opportunity to be lawyer in Omaha. Naturally, Pedersen found himself momentarily bandless as he worked the law and thus started a new endeavor called Criteria. Writing Criteria’s debut En Garde and enlisting part of the Saddle Creek gang – AJ Mogis (Lullaby for the Working Class, Presto! Studios), Mike Sweeney (Beep Beep) and Aaron Druery – Criteria took off. Now with their first record as a cohesive unit, When We Break rips your balls off as it slams Pedersen’s attack guitars into a phenomenally catchy sound. Right off the bat on “Prevent the World” you get the sense that When We Break is like Pedersen took all the best songs from the White Octave and En Garde and distilled their essence and wrote a matching new eleven numbers. And though you could just leave “Prevent the World” on repeat and be fulfilled for the next few hours, another ten songs are just around the corner waiting to greet you. “Draped in the Blood” winds its way through two-and-a-half minutes of drilling guitars and gets you when you’re not looking on the post-chorus. “Good Luck” opens with riff-right joy and is mind-blowing from then on, while “Kiss the Wake” slows the action to an array of thick jabbing muting guitars. Following with the slower tip, “Grey Matter” shifts between mellow verses and thrashing classic Pedersen choruses. After a length intro, “Salt in Game” punctuates the bass of Mogis though is a relative flounder as is the next number “Self Help.” Quasi-metal riffs open “Run Together” and soon gives way to a less ominous sound, while Pedersen strikes “Ride the Snake” like a classic early 90s melodic punk song. Before the glorious closer “Connections,” comes the rather place filler “On Time.” “Connections” rocks for five minutes once again on the back of Pedersen and Druery’s guitars and is quite a fitting closer for a tremendous record. Far and away this is the best album that Pedersen through his various bands – Cursive, White Octave, Criteria – has ever put out. And that is saying a lot.
Saturday, May 10, 2008
Constantines - Tournament of Hearts
Constantines
Tournament of Hearts
Sub Pop Records
Grade: A-
An early major player in the recent Canadian indie rock explosion, the Constantines offer a new set of ten songs to get your Bruce Springsteen-colored indie reviving. Outside of Canada, the Constantines – consisting of Bryan Webb (vocals/guitar), Steve Lambke (vocals/guitar), Dallas Wehrle (bass), Will Kidman (keyboards) and Doug MacGregor (drums) – first made their splash with 2003’s Shine A Light for Sub Pop. A year later Sub Pop re-released the band’s 2001 self-titled record which helped explain what all the big fuss was about. The meantime has found the band touring every which way with everyone including like-minded folks the Arcade Fire and Modest Mouse. Tournament of Hearts comes off as a more tempered approach where the tempo is generally slowed and moves are explicitly directed. This diminished emphasis on punk, or as some may contend the Fugazi-part of the band, for the Constantines has created a considerably more constant and solid record overall. Yet, the unintended side effect is that few of the songs are the type to catch your ear on the first listen. Among the songs to take notice of, though, “Draw Us Lines,” “Soon Enough,” “You Are a Conductor” and “Hotline Operator” stand out from the rest. Tournament of Hearts can provide an effective working aide when you need that good background rock, but it is unlikely to rock your pants clear off.
Tournament of Hearts
Sub Pop Records
Grade: A-
An early major player in the recent Canadian indie rock explosion, the Constantines offer a new set of ten songs to get your Bruce Springsteen-colored indie reviving. Outside of Canada, the Constantines – consisting of Bryan Webb (vocals/guitar), Steve Lambke (vocals/guitar), Dallas Wehrle (bass), Will Kidman (keyboards) and Doug MacGregor (drums) – first made their splash with 2003’s Shine A Light for Sub Pop. A year later Sub Pop re-released the band’s 2001 self-titled record which helped explain what all the big fuss was about. The meantime has found the band touring every which way with everyone including like-minded folks the Arcade Fire and Modest Mouse. Tournament of Hearts comes off as a more tempered approach where the tempo is generally slowed and moves are explicitly directed. This diminished emphasis on punk, or as some may contend the Fugazi-part of the band, for the Constantines has created a considerably more constant and solid record overall. Yet, the unintended side effect is that few of the songs are the type to catch your ear on the first listen. Among the songs to take notice of, though, “Draw Us Lines,” “Soon Enough,” “You Are a Conductor” and “Hotline Operator” stand out from the rest. Tournament of Hearts can provide an effective working aide when you need that good background rock, but it is unlikely to rock your pants clear off.
Friday, May 9, 2008
Caroline - Where's My Love
Caroline
Where’s My Love
Temporary Residence Ltd.
Grade: A-
Though this only a CD single by the gorgeously brilliant Caroline Lufkin, we can’t stop hitting repeat on the three included songs (and one is just a remix). Born and raised in Okinawa, Japan –probably a military link – Caroline attended the prestigious Berklee School of Music in Boston, where often the skilled go but the creativity is stripped. Back in Japan, Caroline received offers from numerous labels thanks to her electronic minimalist indie pop, but instead she reached out to TRL. With MP3s in arm, TRL was like ‘word’ and the magic happened. With bits of influence from artists like Bjork, Sigur Ros and Portishead, Caroline is carried by her magnificent vocals and artfully constructed movements. She wastes no time on “Where’s My Love” when piano and her uttering the title line greets you like the sun on the best morning of your life. Five listens is going to be enough for crack-addict-like needs. This is followed by “Where’s My Love (Magical Mix)” which is more of an electronic nerd’s paradise. The final song on the single is “Time Swells” that picks up on the quasi-chorus where Caroline’s voice is doubled with one doing ‘la, la, las’ and another holding a note. This single leaves little doubt Caroline is an artist to be on the lookout for in the near future.
Where’s My Love
Temporary Residence Ltd.
Grade: A-
Though this only a CD single by the gorgeously brilliant Caroline Lufkin, we can’t stop hitting repeat on the three included songs (and one is just a remix). Born and raised in Okinawa, Japan –probably a military link – Caroline attended the prestigious Berklee School of Music in Boston, where often the skilled go but the creativity is stripped. Back in Japan, Caroline received offers from numerous labels thanks to her electronic minimalist indie pop, but instead she reached out to TRL. With MP3s in arm, TRL was like ‘word’ and the magic happened. With bits of influence from artists like Bjork, Sigur Ros and Portishead, Caroline is carried by her magnificent vocals and artfully constructed movements. She wastes no time on “Where’s My Love” when piano and her uttering the title line greets you like the sun on the best morning of your life. Five listens is going to be enough for crack-addict-like needs. This is followed by “Where’s My Love (Magical Mix)” which is more of an electronic nerd’s paradise. The final song on the single is “Time Swells” that picks up on the quasi-chorus where Caroline’s voice is doubled with one doing ‘la, la, las’ and another holding a note. This single leaves little doubt Caroline is an artist to be on the lookout for in the near future.
Thursday, May 8, 2008
Bloc Party - Silent Alarm Remixed
Bloc Party
Silent Alarm Remixed
Vice Recordings/Dim Mak
Grade: A-
Electronic, dance and hip-hop artists aren’t the only ones who can get a cool remix done now – as gloriously demonstrated on this brilliant remix of Bloc Party’s Silent Alarm full-length. While many enjoyed Bloc Party’s originally love fest, this remix makes it all worthwhile a second time. Possibly more important, the remix adds an extra layer or two of a fun fucking time that you will instantly become a fan of Bloc Party or their remixer or both or only the unique combo of the two. Among the remixers are Ladytron, Jason Clark from Pretty Girls Make Graves, Four Tet, M83, Mogwai, Death From Above 1979 and Nick Zinner of the Yeah Yeah Yeahs (when is their damn follow-up coming out!). As has been demonstrated and established by previous remix, cover and tribute albums, which tracks a certain contributor gets often affects the enjoyability of their effort; though it is not sealed. The remixes that immediately blow your mind include “Like Eating Glass (Ladytron Zapatista Mix),” “Helicopter (Whitey Version)” by NJ Whitey, Jason Clark’s “Positive Tension (Blackbox Remix),” “Banquet (Phones Disco Edit)” by Paul Epworth and possibly the best here, the ambient electronics of Engineers on “Blue Light (Engineers’ Anti-Gravity Mix),” …okay so I just named the first five remixes, “This Modern Love (Dave P. and Adam Sparkles’ Making Time Remix)” which is obviously Dave P., Adam Sparkles as well as Starkey I. and “Luno (Bloc Party vs. Death From Above 1979).” It is apparent that some of the ‘bigger names’ here, don’t stand out in at least this reviewer’s ears. Now with this remix album we can properly enjoy Bloc Party at our favorite club or mildewy shower.
Silent Alarm Remixed
Vice Recordings/Dim Mak
Grade: A-
Electronic, dance and hip-hop artists aren’t the only ones who can get a cool remix done now – as gloriously demonstrated on this brilliant remix of Bloc Party’s Silent Alarm full-length. While many enjoyed Bloc Party’s originally love fest, this remix makes it all worthwhile a second time. Possibly more important, the remix adds an extra layer or two of a fun fucking time that you will instantly become a fan of Bloc Party or their remixer or both or only the unique combo of the two. Among the remixers are Ladytron, Jason Clark from Pretty Girls Make Graves, Four Tet, M83, Mogwai, Death From Above 1979 and Nick Zinner of the Yeah Yeah Yeahs (when is their damn follow-up coming out!). As has been demonstrated and established by previous remix, cover and tribute albums, which tracks a certain contributor gets often affects the enjoyability of their effort; though it is not sealed. The remixes that immediately blow your mind include “Like Eating Glass (Ladytron Zapatista Mix),” “Helicopter (Whitey Version)” by NJ Whitey, Jason Clark’s “Positive Tension (Blackbox Remix),” “Banquet (Phones Disco Edit)” by Paul Epworth and possibly the best here, the ambient electronics of Engineers on “Blue Light (Engineers’ Anti-Gravity Mix),” …okay so I just named the first five remixes, “This Modern Love (Dave P. and Adam Sparkles’ Making Time Remix)” which is obviously Dave P., Adam Sparkles as well as Starkey I. and “Luno (Bloc Party vs. Death From Above 1979).” It is apparent that some of the ‘bigger names’ here, don’t stand out in at least this reviewer’s ears. Now with this remix album we can properly enjoy Bloc Party at our favorite club or mildewy shower.
Wednesday, May 7, 2008
V/A - Change!
V/A
Change!
Hopeless Records/Sub City/Hot Topic
Grade: A-
This CD/DVD compilation serves as a promotional device for the labels and bands, and a benefit device for Sub City and Hot Topic. As most people know, since their start in the early 90s Sub City Records has donated a small percentage of sales to various charities around the country. On this release, Sub City is donating 5% to the Hot Topic Foundation which works to help music education and the arts for young folks. Like many of these compilation releases, if you are a fan of punk, hardcore, and metalcore, you probably already have most of the songs. On the CD, bands include Chiodos, Silverstein, Fall of Troy, As I Lay Dying, Converge, Poison the Well, and Aiden. The seventeen-track DVD is a collection of music videos from nearly all the same bands; not exactly thrilling in the current times of the Internet. Still it is nice to have all these metalcore bands videos on one simply disc. This release is mostly ideal for those only beginning to walk into the darker side of the musical world.
Change!
Hopeless Records/Sub City/Hot Topic
Grade: A-
This CD/DVD compilation serves as a promotional device for the labels and bands, and a benefit device for Sub City and Hot Topic. As most people know, since their start in the early 90s Sub City Records has donated a small percentage of sales to various charities around the country. On this release, Sub City is donating 5% to the Hot Topic Foundation which works to help music education and the arts for young folks. Like many of these compilation releases, if you are a fan of punk, hardcore, and metalcore, you probably already have most of the songs. On the CD, bands include Chiodos, Silverstein, Fall of Troy, As I Lay Dying, Converge, Poison the Well, and Aiden. The seventeen-track DVD is a collection of music videos from nearly all the same bands; not exactly thrilling in the current times of the Internet. Still it is nice to have all these metalcore bands videos on one simply disc. This release is mostly ideal for those only beginning to walk into the darker side of the musical world.
Tuesday, May 6, 2008
The Paper Champions - Sounds from the Cutting Room
The Paper Champions
Sounds from the Cutting Room
Reason Y Records
Grade: A-
This is sweet collection of b-sides, extras, and other early studio material from the splendid Atlanta-based the Paper Champions. Before PC smashed the walls with their terrific EP End.Transmission and debut full-length Weekend of Compromise, they were scratching and clawing through the steep climb of indie rock bands everywhere. The difference is that this four-piece actually do rock and their brand of uplifting, jangly indie rock immediately draws you in; even when the cuts are rough. In many ways, PC sound like a cousin of Chapel Hill’s brilliant 90s indie punk band Blankface – not exactly formed to perfection but with enough uniqueness to generate goosebumps on your neck. There is little doubt that if you are a fan of southern college town indie rock – such as from the locales of Chapel Hill, Athens, and Gainesville – you’ll love the rough cuts of Sounds from the Cutting Room.
Sounds from the Cutting Room
Reason Y Records
Grade: A-
This is sweet collection of b-sides, extras, and other early studio material from the splendid Atlanta-based the Paper Champions. Before PC smashed the walls with their terrific EP End.Transmission and debut full-length Weekend of Compromise, they were scratching and clawing through the steep climb of indie rock bands everywhere. The difference is that this four-piece actually do rock and their brand of uplifting, jangly indie rock immediately draws you in; even when the cuts are rough. In many ways, PC sound like a cousin of Chapel Hill’s brilliant 90s indie punk band Blankface – not exactly formed to perfection but with enough uniqueness to generate goosebumps on your neck. There is little doubt that if you are a fan of southern college town indie rock – such as from the locales of Chapel Hill, Athens, and Gainesville – you’ll love the rough cuts of Sounds from the Cutting Room.
Monday, May 5, 2008
Kelley Stoltz - Circular Sounds
Kelley Stoltz
Circular Sounds
Sub Pop Records
Grade: A-
Adding to his 2006 Sub Pop debut Below the Branches, the fourteen-track Circular Sounds builds on Stoltz’ rock piano by adding on a more traditional rock set – circa 1960s – with modern electronic enhancements. Similar to previous recordings, Stoltz recorded a large margin of Circular Sounds at home with finishing touches in a regular studio; again with the help of Kevin Ink and Shayde Sartin. Only hinted at in stretches on past efforts, Circular Sounds is drenched with pop in the vein of quirky indie rock and 60s acts. The album begins with horns screeching the sky on “Everything Begins” where Stoltz quick sings the verses to piano. The riff on “Tintinnabulation” sounds made for a movie – though it is not obvious the type of movie; possibly comedy; possibly drama; possibly action. As an ode to a hometown friend, “The Birmingham Eccentric” has a similar warm indie pop feel as the opener and sticks in the mind with a repetitive chorus. Pass on the marginal “Gardenia” and psychedelic pop “Mother Nature,” and take yourself to the sweet little pop rocker “To Speak to the Girl” – where the song moniker sung in the chorus is uber-catchy. The soft-spoken “Put My Trouble to Sleep” literally lulls you sleep while a distorted Beatles-esque guitar floats in the background. Stoltz picks up the piano pace on the entertaining “When You Forget,” before the album’s first single, “Your Reverie.” “Your Reverie” truly does sound like mid-career Beatles song, but sung on a beach with drinks. Skip the poor “I Nearly Lost My Mind” for the strong waltzing “Something More,” which could serve as background music for a longing drama set in a city like NYC. The instrumental “Reflecting” is similar in tone to “Your Reverie,” while “Morning Sun” is a simple short pop bit with a smiley chorus. Circular Sounds ends on the slow acoustic “You Alone,” where Stoltz works hard to close the deal but sounds lost. Circular Sounds makes you feel good about wearing nerdy flannel-paneled shirts on spring days.
Circular Sounds
Sub Pop Records
Grade: A-
Adding to his 2006 Sub Pop debut Below the Branches, the fourteen-track Circular Sounds builds on Stoltz’ rock piano by adding on a more traditional rock set – circa 1960s – with modern electronic enhancements. Similar to previous recordings, Stoltz recorded a large margin of Circular Sounds at home with finishing touches in a regular studio; again with the help of Kevin Ink and Shayde Sartin. Only hinted at in stretches on past efforts, Circular Sounds is drenched with pop in the vein of quirky indie rock and 60s acts. The album begins with horns screeching the sky on “Everything Begins” where Stoltz quick sings the verses to piano. The riff on “Tintinnabulation” sounds made for a movie – though it is not obvious the type of movie; possibly comedy; possibly drama; possibly action. As an ode to a hometown friend, “The Birmingham Eccentric” has a similar warm indie pop feel as the opener and sticks in the mind with a repetitive chorus. Pass on the marginal “Gardenia” and psychedelic pop “Mother Nature,” and take yourself to the sweet little pop rocker “To Speak to the Girl” – where the song moniker sung in the chorus is uber-catchy. The soft-spoken “Put My Trouble to Sleep” literally lulls you sleep while a distorted Beatles-esque guitar floats in the background. Stoltz picks up the piano pace on the entertaining “When You Forget,” before the album’s first single, “Your Reverie.” “Your Reverie” truly does sound like mid-career Beatles song, but sung on a beach with drinks. Skip the poor “I Nearly Lost My Mind” for the strong waltzing “Something More,” which could serve as background music for a longing drama set in a city like NYC. The instrumental “Reflecting” is similar in tone to “Your Reverie,” while “Morning Sun” is a simple short pop bit with a smiley chorus. Circular Sounds ends on the slow acoustic “You Alone,” where Stoltz works hard to close the deal but sounds lost. Circular Sounds makes you feel good about wearing nerdy flannel-paneled shirts on spring days.
Saturday, May 3, 2008
Envy - Sampler
Envy
(Sampler of Past Material)
Temporary Residence Ltd.
Grade: A-
So, this CD I’m talking about is actually just a sampler CD that TRL put out to illustrate Envy’s material from past records. Included here are seven songs that come from Envy’s All the Footprints You’ve Ever Left (2001), A Dead Sinking Story (2003), Compiled Fragments 1997-2003 (2005), and their most recent EP Abyssal. TRL is re-releasing the three albums, and thus this offering. As such, this sampler is a great tasting of Envy’s material and well worth a finding if able.
(Sampler of Past Material)
Temporary Residence Ltd.
Grade: A-
So, this CD I’m talking about is actually just a sampler CD that TRL put out to illustrate Envy’s material from past records. Included here are seven songs that come from Envy’s All the Footprints You’ve Ever Left (2001), A Dead Sinking Story (2003), Compiled Fragments 1997-2003 (2005), and their most recent EP Abyssal. TRL is re-releasing the three albums, and thus this offering. As such, this sampler is a great tasting of Envy’s material and well worth a finding if able.
Friday, May 2, 2008
Envy - Abyssal
Envy
Abyssal
Temporary Residence Ltd.
Grade: A-
As a placeholder for their next full-length, Japan’s Envy provide the anxious and impatient listener with this four-song EP. Following past efforts, Abyssal features extended indie-metal epics of atmospheric soundscapes with a myriad of speaking and screaming parts. For some reason, the vocal contrasts on Envy’s past full-length Insomniac Doze knocked me wrong, but here I love them! It might be that all the crap music that’s out there made me realize when you have something exceptional. Case in point is the ten-minute opener “Road of Wind the Water Builds,” where Envy moves between soft and heavy, slightly marching drums a la Explosions, and at the end you feel exhausted and used. That’s what you want! The middle two songs here – “All That’s Left Has Gone to Sleep” and “Thousand Scares” – are more traditional in structure, while the closer “Fading Vision” is a bit soft as a closer to great EP. Unquestionably, this is an EP you should check out; particularly if you’re someone who’s only recently caught the ear of Explosions.
Abyssal
Temporary Residence Ltd.
Grade: A-
As a placeholder for their next full-length, Japan’s Envy provide the anxious and impatient listener with this four-song EP. Following past efforts, Abyssal features extended indie-metal epics of atmospheric soundscapes with a myriad of speaking and screaming parts. For some reason, the vocal contrasts on Envy’s past full-length Insomniac Doze knocked me wrong, but here I love them! It might be that all the crap music that’s out there made me realize when you have something exceptional. Case in point is the ten-minute opener “Road of Wind the Water Builds,” where Envy moves between soft and heavy, slightly marching drums a la Explosions, and at the end you feel exhausted and used. That’s what you want! The middle two songs here – “All That’s Left Has Gone to Sleep” and “Thousand Scares” – are more traditional in structure, while the closer “Fading Vision” is a bit soft as a closer to great EP. Unquestionably, this is an EP you should check out; particularly if you’re someone who’s only recently caught the ear of Explosions.
Thursday, May 1, 2008
The Helio Sequence - Keep Your Eyes Ahead
The Helio Sequence
Keep Your Eyes Ahead
Sub Pop Records
Grade: A-/A
This is a renewed Helio Sequence; in more ways than one. On the Oregon-based duo’s second album for Sub Pop, magical spells are kicked up several notches and reach levels of magnanimousness not previously thought possible. If you’re thinking that 2004’s Love and Distance is the epic height of the Helio Sequence, check out the splendid ten-song Keep Your Eyes Ahead.
With a new record out on indie all-star label Sub Pop, Brandon Summers and Benjamin Weikel set out to support Love and Distance in 2004 with such folks as Modest Mouse and Blonde Redhead. During these shows, Summers wrecked his voice and back home in Portland he was ordered to shut the hell up for awhile. In order to assure that the voice wreckage wouldn’t occur again, Summers focused on voice training and health, and more importantly, a new direction and focus for Helio Sequence.
Taking their time on recording new material, Weikel and Summers spent the next few years working on Keep Your Eyes Ahead, parsing through numerous demos and inklings of sounds – what other small band has the ability to do that? Gone are the uber-epic songs that characterized Love and Distance; replaced by shorter, more direct songs that further illustrate Helio Sequence’s atmospheric indie rock. A definite change is the increased level of poppiness and catchiness, along with melody, across the ten songs. As before, and given they’re a duo, Summers and Weikel employ numerous synthesizers and electronics to fill out their sound. Keep Your Eyes Ahead is anything but an electronic album, with more folk elements than dance-your-pants-off jibber-jabber.
Keep Your Eyes Ahead revs up on opener “Lately,” where the tone is set with terrific atmospheric rock matched to pure indie poppiness. “Lately” is a song to immediately grab anyone’s attention. “Can’t Say No” offers kitschy electronics, while “The Captive Mind” uses spacey guitar riffs to match Summers’ vocals. Beginning like a Postal Service song, “You Can Come to Me” soon transfers to acoustic guitar and Summers’ voice on top with the electronics blipping continuing underneath. “Shed Your Love” is the first instance on Keep Your Eyes Ahead where the song quality drops and the boys shift to slow acoustic, Dylan-esque rhythms; also see “Broken Afternoon” and lo-fi closer “No Regrets.” Thankfully, Helio Sequence conquer such slippage with their awesome, Pixies-styled “Keep Your Eyes Ahead” – where you picture rocking forward in a car and, well, the Pixies. As has been said before, sounding like a great Pixies song is nothing to be ashamed of. “Back to This” is only marginal in comparison, while “Hallelujah” does nothing to hide its similarities to a Postal Service song.
Keep Your Eyes Ahead is a welcomed return of a band that many forgot and just in time to capture their own piece of awesomeness.
Keep Your Eyes Ahead
Sub Pop Records
Grade: A-/A
This is a renewed Helio Sequence; in more ways than one. On the Oregon-based duo’s second album for Sub Pop, magical spells are kicked up several notches and reach levels of magnanimousness not previously thought possible. If you’re thinking that 2004’s Love and Distance is the epic height of the Helio Sequence, check out the splendid ten-song Keep Your Eyes Ahead.
With a new record out on indie all-star label Sub Pop, Brandon Summers and Benjamin Weikel set out to support Love and Distance in 2004 with such folks as Modest Mouse and Blonde Redhead. During these shows, Summers wrecked his voice and back home in Portland he was ordered to shut the hell up for awhile. In order to assure that the voice wreckage wouldn’t occur again, Summers focused on voice training and health, and more importantly, a new direction and focus for Helio Sequence.
Taking their time on recording new material, Weikel and Summers spent the next few years working on Keep Your Eyes Ahead, parsing through numerous demos and inklings of sounds – what other small band has the ability to do that? Gone are the uber-epic songs that characterized Love and Distance; replaced by shorter, more direct songs that further illustrate Helio Sequence’s atmospheric indie rock. A definite change is the increased level of poppiness and catchiness, along with melody, across the ten songs. As before, and given they’re a duo, Summers and Weikel employ numerous synthesizers and electronics to fill out their sound. Keep Your Eyes Ahead is anything but an electronic album, with more folk elements than dance-your-pants-off jibber-jabber.
Keep Your Eyes Ahead revs up on opener “Lately,” where the tone is set with terrific atmospheric rock matched to pure indie poppiness. “Lately” is a song to immediately grab anyone’s attention. “Can’t Say No” offers kitschy electronics, while “The Captive Mind” uses spacey guitar riffs to match Summers’ vocals. Beginning like a Postal Service song, “You Can Come to Me” soon transfers to acoustic guitar and Summers’ voice on top with the electronics blipping continuing underneath. “Shed Your Love” is the first instance on Keep Your Eyes Ahead where the song quality drops and the boys shift to slow acoustic, Dylan-esque rhythms; also see “Broken Afternoon” and lo-fi closer “No Regrets.” Thankfully, Helio Sequence conquer such slippage with their awesome, Pixies-styled “Keep Your Eyes Ahead” – where you picture rocking forward in a car and, well, the Pixies. As has been said before, sounding like a great Pixies song is nothing to be ashamed of. “Back to This” is only marginal in comparison, while “Hallelujah” does nothing to hide its similarities to a Postal Service song.
Keep Your Eyes Ahead is a welcomed return of a band that many forgot and just in time to capture their own piece of awesomeness.
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