Hot Hot Heat
Elevator
Sire/Reprise Records
Grade: A-/A
Not being entirely tuned into Hot Hot Heat for the past few years has produced a pleasant surprise on their latest Elevator. Previous run-ins during the past have mostly been of the form of ‘ah, they’re okay’ or ‘not bad, but too much to grab you by.’ Yet, the fourteen songs on Elevator provide enough memorable moments to fill a Christmas stocking. And in doing so, Hot Hot Heat unleash one of the hottest records of 2005.
Initially formed in Vancouver in 1999 by Steven Bays on keyboards/vocals, drummer Paul Hawley and bassist Dustin Hawthorne as an outfit focusing on synth-pop majesties, they changed directions towards a swifter rock focus with the 2001 addition of guitarist Dante DeCaro. Previously having self-released their debut Scenes One Through Thirteen, the first rock-orientated record came via Knock, Knock, Knock EP on Sub Pop in 2002, shortly followed by the full-length Make Up the Breakup. While the EP got people’s notice, the full-length bitch-slapped the music community to relaying high praise and sweet nothingness for Hot Hot Heat. Following the release, Hot Hot Heat set out like any other band for a swath of record-supporting live dates. One difference is that they were out for roughly two years and managed to play huge dates to small shows and everything in between, further cementing their fan base. Writing Elevator during and in between the course of their travels, Hot Hot Heat solidified a group of songs and headed down to LA to record with Dave Sardy for their first record for the Warner Music Group. Soon after finishing the recording, DeCaro left the band and was quickly replaced by guitarist Luke Paquin.
Admitting Elevator as a modest shift from previous material, Hot Hot Heat focused on differentiating and maturing their sound to reflect the experienced artists they had become. And the outcome is sheer brilliance. The sound continues to be catchy, poppy and danceable, but the rock foundations are harder, sharper and at times shadowy. Only a crackhead could honestly call Hot Hot Heat ‘too dancey’ or ‘too much New Wave’ for their tastes; though much of the recent grouping of some rock bands as New Wave is quietly disturbing and only hints at real commonalities. Hot Hot Heat do get you moving off your ass, but it is all for the right rock moments.
The meat of Hot Hot Heats’ songs are uptempo beats and bass, matching guitar riffs, fluttering keyboards and Bays’ intense garage-glam vocals. Elevator begins on “Running Out of Time” that certainly sounds like a song that the Strokes’ should be making as nearly all the moments are parallel to such compositions. A striking opening to be sure, “Goodnight Goodnight” sends “Running Out of Time” packing. With drums and guitar opening, Bays lays down the innocuous vocals until the fantastic chorus comes in full thirty seconds in. After the chorus, the following verses sound completely different as if the anchoring of the chorus totally changes your perception. ‘La, la, las’ weakly open “Ladies and Gentleman,” which only becomes interesting on the solidly catchy chorus. Though “You Owe Me An IOU” is more sprawled, jokey and glam than the rest, it is hard not to be captivated by the chorus of “you owe me an IOU/…,” once again illustrating that Hot Hot Heat have completely mastered the concept of a chorus. After the bridge track “No Jokes – Fact” comes the slower, Bays’ vocal pushing intro to “Jingle Jangle” that is certainly less happy sunshine than other numbers. “Jingle Jangle” comes across like the type of song that could only be written by one of the garage rock bands inhabiting Brooklyn; and that Hot Hot Heat aren’t makes it even better. The moment that Bays’ keys (under organ) strike you on “Pickin’ It Up,” you know that this song is going to fucking smoke – and it absolutely does. Though “Pickin’ It Up” is lyrically simple, it has this Springsteen/Mellencamp feel that is even sweeter with Hot Hot Heat’s higher tempo love. Things keep on pace with the fast wording on “Island of the Honest Man,” where Paquin’s angular guitars punctuate the beats and then everything swoons on the chorus of the title. “Middle of Nowhere” is another top choice where Hot Hot Heat keep things simple with sparse drumming, single-strike chords and lighter vocals – and, of course, is accompanied by a sweet chorus. “Dirty Mouth” is a noticeable misstep given the sweep of tremendous songs going in. “Soldier in a Box” is marginally better, though things are rescued by the admittedly dance-driven “Shame On You” and yet is still not on the same level of the previous highlights. The album closes in strong form on the directed title track, where Hot Hot Heat utilize some 70s pop love to accentuate another breathtaking chorus.
Given the swell of gorgeous songs on Elevator, it wouldn’t be surprising to see just single after single coming out over the course of the next year. Now with higher levels of exposure from being on a major, you might as well pencil in Hot Hot Heat for Grammy nominations now. Though Hot Hot Heat do quite well for themselves touring, one should see them as soon as possible before their shows become a scalper’s wet dream and you become a broke-ass fool.
Monday, June 30, 2008
Sunday, June 29, 2008
Sleater-Kinney - The Woods
Sleater-Kinney
The Woods
Sub Pop Records
Grade: A-
With guitars blazing, Sleater-Kinney rips off ten tracks of reckless abandon on their seventh record and first for Sub Pop. After a decade of recording for KRS, Portland’s veteran punk trio Sleater-Kinney went to rural New York and hoped into bed with the other hot northwestern label. While my familiarity in Sleater-Kinney songs is much less than knowledge of their musical impact and history, it is clear that the trio decide to get their rock on with the Woods. Carrie Brownstein’s guitar is a display of brilliant distorted wildness, Corin Tucker leads the vocals and guitar support and Janet Weiss keeps the beats fresh. The core of Sleater-Kinney is still here, most obviously pushed by Tucker’s intense, shouting vocals, but it is as if the band brought Zeppelin back from the dead or decided to channel some type of Mars Volta throwback. The two most exemplar demonstrations of this shift come from “What’s Mine is Yours” and “Let’s Call It Love.” “What’s Mine is Yours” is classic Sleater-Kinney with back-and-forth guitar movements, until about half way through where shit goes wild and Brownstein’s guitar noisily solos. “What’s Mine is Yours,” though, only sets up “Let’s Call It Love” towards the end of the record. “Let’s Call It Love” is all about soaring distorted rock first pushed by guitars and Tucker’s vocals and then extended to the tune of eleven minutes as the band seemingly goes off into their own version of an acid trip. The other eight numbers maintain similar thoughts of over-distortion and a call to the rock gods, but just not taken to the same extreme. For instance, you are greeted on the opener “The Fox” with extreme distortion and then breaks down to Tucker and the rest following a consistent pattern. “Wilderness” is more pop with pleasant guitar picking, while “Jumpers” features Brownstein and Tucker paralleling their vocals for a cool effect on the first part and then goes off. “Modern Girl” is probably has the cleanest instruments (until the end) and demonstrates how Sleater-Kinney could knock out radio friendly indie pop for all of eternity if they so chose. The vocals shriek in the background to the hip “Entertain” and “Rollercoaster” contains the oft-heard indie guitar riffs. The tempo is brought down on “Steep Air” as Sleater-Kinney dirty fuzz everything out. The Woods ends on the well-conceived, even-balanced “Night Light” – almost serving as a symbol for the consistency and stability of Sleater-Kinney. Although The Woods is more Zeppelin rock than much of their previous catalogue, most Sleater-Kinney fans are going to eat this up and the record is also likely to snare proponents of distorted 70s rock comebacks.
The Woods
Sub Pop Records
Grade: A-
With guitars blazing, Sleater-Kinney rips off ten tracks of reckless abandon on their seventh record and first for Sub Pop. After a decade of recording for KRS, Portland’s veteran punk trio Sleater-Kinney went to rural New York and hoped into bed with the other hot northwestern label. While my familiarity in Sleater-Kinney songs is much less than knowledge of their musical impact and history, it is clear that the trio decide to get their rock on with the Woods. Carrie Brownstein’s guitar is a display of brilliant distorted wildness, Corin Tucker leads the vocals and guitar support and Janet Weiss keeps the beats fresh. The core of Sleater-Kinney is still here, most obviously pushed by Tucker’s intense, shouting vocals, but it is as if the band brought Zeppelin back from the dead or decided to channel some type of Mars Volta throwback. The two most exemplar demonstrations of this shift come from “What’s Mine is Yours” and “Let’s Call It Love.” “What’s Mine is Yours” is classic Sleater-Kinney with back-and-forth guitar movements, until about half way through where shit goes wild and Brownstein’s guitar noisily solos. “What’s Mine is Yours,” though, only sets up “Let’s Call It Love” towards the end of the record. “Let’s Call It Love” is all about soaring distorted rock first pushed by guitars and Tucker’s vocals and then extended to the tune of eleven minutes as the band seemingly goes off into their own version of an acid trip. The other eight numbers maintain similar thoughts of over-distortion and a call to the rock gods, but just not taken to the same extreme. For instance, you are greeted on the opener “The Fox” with extreme distortion and then breaks down to Tucker and the rest following a consistent pattern. “Wilderness” is more pop with pleasant guitar picking, while “Jumpers” features Brownstein and Tucker paralleling their vocals for a cool effect on the first part and then goes off. “Modern Girl” is probably has the cleanest instruments (until the end) and demonstrates how Sleater-Kinney could knock out radio friendly indie pop for all of eternity if they so chose. The vocals shriek in the background to the hip “Entertain” and “Rollercoaster” contains the oft-heard indie guitar riffs. The tempo is brought down on “Steep Air” as Sleater-Kinney dirty fuzz everything out. The Woods ends on the well-conceived, even-balanced “Night Light” – almost serving as a symbol for the consistency and stability of Sleater-Kinney. Although The Woods is more Zeppelin rock than much of their previous catalogue, most Sleater-Kinney fans are going to eat this up and the record is also likely to snare proponents of distorted 70s rock comebacks.
Saturday, June 28, 2008
Sherwood - Sing, But Keep Going
Sherwood
Sing, But Keep Going
Sidecho Records
Grade: A-
Within the spectrum of melodic punk/indie rock, Sherwood is one of the best new bands to arise in the past few years. Almost every new band that I’ve heard in the past couple of years playing this style is always satisfying but never great. And Sherwood is great, no, dazzling. Forming in late 2002 in San Luis Obispo, CA, the five-piece of Sherwood made their real mark in 2004 by self-releasing an EP and playing a few weeks on the Warped Tour. During the winter, Sherwood holed up to record the twelve-song Sing, But Keep Going and the results are tremendous. Again, Sherwood play the style of melodic indie rock that one finds with bands like Copeland, but with more vigor and catchiness as you might see from Jimmy Eat World or early Get Up Kids. The essential part of their sound is the gorgeous vocals by bassist Nate Henry and the piano/keyboard song enhancements provided by Mike Leibovich. The guitar work by Chris Armstrong and Dan Koch is solid, though not blistering, while drummer’s Joe Greenetz playing is best pronounced on slower numbers such as “Lake Tahoe (For My Father).” Sing, But Keep Going begins on the strong “We Do This To Ourselves,” which doesn’t really come into its own until the chorus – and even still you aren’t sure if Sherwood is distinct. Yet, Sherwood kicks up the catchiness on “Traveling Alone,” and leaves you thinking there may be more here. After the average “The Town That You Live In” comes the super-mellow and sweet “Lake Tahoe (For My Father).” Following “Learn to Sing” comes the pop magic of “I’ll Wait For You” that kicks off with piano like that Fairview video from several years back. After the modest “Something Worth Knowing,” “Those Bright Lights” and the lower-fi “What Lucy Found There” comes the catchy chorus-driven “Gentleman of Promise.” The record closes on the brilliant, up-tempo “You’re Like a Ghost” and the less fulfilling (mostly due to the vocal cadence) “The Last to Know.” Given their style of music, I was surprised that the twelve songs only clock in at thirty-three minutes. But somehow it feels almost like the perfect length and there isn’t any dragging. With Sing, But Keep Going, Sherwood should be in serious play during this year.
Sing, But Keep Going
Sidecho Records
Grade: A-
Within the spectrum of melodic punk/indie rock, Sherwood is one of the best new bands to arise in the past few years. Almost every new band that I’ve heard in the past couple of years playing this style is always satisfying but never great. And Sherwood is great, no, dazzling. Forming in late 2002 in San Luis Obispo, CA, the five-piece of Sherwood made their real mark in 2004 by self-releasing an EP and playing a few weeks on the Warped Tour. During the winter, Sherwood holed up to record the twelve-song Sing, But Keep Going and the results are tremendous. Again, Sherwood play the style of melodic indie rock that one finds with bands like Copeland, but with more vigor and catchiness as you might see from Jimmy Eat World or early Get Up Kids. The essential part of their sound is the gorgeous vocals by bassist Nate Henry and the piano/keyboard song enhancements provided by Mike Leibovich. The guitar work by Chris Armstrong and Dan Koch is solid, though not blistering, while drummer’s Joe Greenetz playing is best pronounced on slower numbers such as “Lake Tahoe (For My Father).” Sing, But Keep Going begins on the strong “We Do This To Ourselves,” which doesn’t really come into its own until the chorus – and even still you aren’t sure if Sherwood is distinct. Yet, Sherwood kicks up the catchiness on “Traveling Alone,” and leaves you thinking there may be more here. After the average “The Town That You Live In” comes the super-mellow and sweet “Lake Tahoe (For My Father).” Following “Learn to Sing” comes the pop magic of “I’ll Wait For You” that kicks off with piano like that Fairview video from several years back. After the modest “Something Worth Knowing,” “Those Bright Lights” and the lower-fi “What Lucy Found There” comes the catchy chorus-driven “Gentleman of Promise.” The record closes on the brilliant, up-tempo “You’re Like a Ghost” and the less fulfilling (mostly due to the vocal cadence) “The Last to Know.” Given their style of music, I was surprised that the twelve songs only clock in at thirty-three minutes. But somehow it feels almost like the perfect length and there isn’t any dragging. With Sing, But Keep Going, Sherwood should be in serious play during this year.
Friday, June 27, 2008
Mae - The Everglow
Mae
The Everglow
Tooth & Nail Records
Grade: A-
If nothing else, The Everglow is epic. Fifteen tracks pushing over an hour of action and you are at the very least getting your money’s worth. While there is some quantity over quality, most of the songs on The Everglow are solid, strong and at times magical. As their sophomore record, the five-piece Mae admit that they are a considerable more cohesive unit after supporting their 2003 debut Destination: Beautiful. While most bands can say that, the hint is that before it was more or less a hodge-podge. Behind the exceptionally clean playing of guitarist Zach Gehring, bassist Matt Padgett, drummer Jacob Marshall and keyboardist Rob Sweitzer, guitarist and lead singer Dave Elkins’ brilliant voice powers Mae to new destinations and levels. While not uniquely pitched, Elkins has the smoothness, softness and vigor to move from light piano ballads (e.g., “We’re So Far Away”) to more pop rock numbers (“Suspension”) without overdoing the transition. Besides from the strength and length of the actual music, Mae sets up The Everglow to unfold like story with a “Prologue” and “Epilogue” for the record and an illustrated children’s book-style song booklet. The one real knock against The Everglow is that many of the songs sound alike and it is often difficult to separate what is what. Still, the majority of the songs fall into two parallel streams: mild-tempo, mellowed pop and marginally more melodic punk. For many people, they will not be able to separate out much of a difference. Also, there seems to be so much material here that fans of the band can take their time ironing out movements and musical applications. The faster, uptempo numbers, that often have much in common with the All-American Rejects, include the first single “Suspension,” “Someone Else’s Arms,” “Cover Me,” “Anything” and “Ready and Waiting to Fall.” The more mellow pop songs include “The Ocean,” “Breakdown” and “Mistakes We Knew We Were Making.” Two songs that stand apart include the gorgeous piano ballad opener “We’re So Far Away” and the seven-minute closer “The Sun and the Moon.” Past tours have found Mae playing more with punk-orientated bands like Simple Plan and Something Corporate, but it is clear that this isn’t precisely their audience. Though most wouldn’t describe Mae as indie rock, one could imagine a better appreciation playing with a band like Rilo Kiley. Regardless, The Everglow should place Mae in the position to headline their own deal and pick the bands that they want.
The Everglow
Tooth & Nail Records
Grade: A-
If nothing else, The Everglow is epic. Fifteen tracks pushing over an hour of action and you are at the very least getting your money’s worth. While there is some quantity over quality, most of the songs on The Everglow are solid, strong and at times magical. As their sophomore record, the five-piece Mae admit that they are a considerable more cohesive unit after supporting their 2003 debut Destination: Beautiful. While most bands can say that, the hint is that before it was more or less a hodge-podge. Behind the exceptionally clean playing of guitarist Zach Gehring, bassist Matt Padgett, drummer Jacob Marshall and keyboardist Rob Sweitzer, guitarist and lead singer Dave Elkins’ brilliant voice powers Mae to new destinations and levels. While not uniquely pitched, Elkins has the smoothness, softness and vigor to move from light piano ballads (e.g., “We’re So Far Away”) to more pop rock numbers (“Suspension”) without overdoing the transition. Besides from the strength and length of the actual music, Mae sets up The Everglow to unfold like story with a “Prologue” and “Epilogue” for the record and an illustrated children’s book-style song booklet. The one real knock against The Everglow is that many of the songs sound alike and it is often difficult to separate what is what. Still, the majority of the songs fall into two parallel streams: mild-tempo, mellowed pop and marginally more melodic punk. For many people, they will not be able to separate out much of a difference. Also, there seems to be so much material here that fans of the band can take their time ironing out movements and musical applications. The faster, uptempo numbers, that often have much in common with the All-American Rejects, include the first single “Suspension,” “Someone Else’s Arms,” “Cover Me,” “Anything” and “Ready and Waiting to Fall.” The more mellow pop songs include “The Ocean,” “Breakdown” and “Mistakes We Knew We Were Making.” Two songs that stand apart include the gorgeous piano ballad opener “We’re So Far Away” and the seven-minute closer “The Sun and the Moon.” Past tours have found Mae playing more with punk-orientated bands like Simple Plan and Something Corporate, but it is clear that this isn’t precisely their audience. Though most wouldn’t describe Mae as indie rock, one could imagine a better appreciation playing with a band like Rilo Kiley. Regardless, The Everglow should place Mae in the position to headline their own deal and pick the bands that they want.
Thursday, June 26, 2008
Converge - Petitioning the Empty Sky//When Forever Comes Crashing
Converge
Petitioning the Empty Sky//When Forever Comes Crashing
Equal Vision Records
Grade: A-//A
People are often suspect when labels release reissues of records that one could easily attain; that is, often records are reissued because no one can find them to buy and that makes total sense. But when it comes to Converge and the package that is put forth on these two classic records it is well-received. It is hard to believe that someone into hardcore would not be familiar with Converge and these two records. If not, then this is the short version. Converge helped lead the ascension of metalcore bands – along with Botch, Cave In and Dillinger – that melded varying genres into one chaotic, extreme and awesome maelstrom of music. This reckless abandon was translated into Converge’s live show, where if you were near the front during a stageless show you were likely to become injured – and mostly likely from vocalist Jacob Bannon. These reissues were remastered by guitarist Kurt Ballou at his GodCity Studios and feature brilliant artwork, enhanced by a cardboard sleeve, by Aaron Turner.
The opening salvo for Converge and this newer approach was Petitioning the Empty Sky, which was initially released on Ferret Records in 1996 and then re-released on EVR the next year (so this is actually the third issuance). The lineup for this recording included Ballou, Bannon, Aaron Dalbec on guitar, Damon Bellorado on drums and Jeff Feinburg on bass. The opening seven-minute number “The Saddest Day” throws down the gauntlet and Converge picks it up and fucking runs with it. Topped with piercing guitars a la Snapcase and nodes to Slayer, “The Saddest Day” contains nearly an inconceivable stretch of intertwining sections that it could take you the better part of a day to map them out. Other tracks like “Forsaken” (this CD has a live video for the song), the quietly building “Farewell Note to This City” (which echoes Stephen Brodsky’s material), “Shingles” and “Color Me Blood Red” rip your ears off and makes you question what hardcore should be. This reissue includes three live recordings of “For You,” “Antithesis” and “Homesong” from a radio show in 1995. While slightly muddy, it is still impressive how tight they were at that time. The final addition to the reissue is an alternate version of “Love As Arson” from When Forever Comes Crashing.
Quickly on the heels of signing with EVR, Converge unleashed probably their best record When Forever Comes Crashing in 1998. This is a record I’m probably too familiar with as I played the shit out of it on my radio show in college. Now comprised of Ballou, Bannon, Bellorado, bits of Dalbec and Stephen Brodsky (Cave In) on bass, Converge focused their energies to hardhitting, shorter numbers that looked to rock your balls off, never let off on the intensity; and yet offered several mellowed calming tracks inbetween. While Petitioning the Empty Sky offered the warning blow, When Forever Comes Crashing assured that Converge would help shape and reshape hardcore. Containing tremendous songwriting and a clearly delineated sound between, which is rare, Converge blasts you such hot rods as “My Unsaid Everything,” “The High Cost of Playing God,” the truly amazing “Conduit,” “When Forever Comes Crashing” (where again you have a live video of) and “Letterbomb.” This reissue includes a short unreleased demo version of “Bitter and Then Some.”
These two records along with the wealth of releases from similar-minded bands helped create one of the most exciting times in hardcore during the late 90s, when anything was possible and people were less concerned with image and more with innovative music. While these are two separate releases, it is nearly impossible to have only one or the other; and EVR makes it that way with a continuing bio between the two booklets. If you have the means then you should pick these two up yesterday. In the ‘where are they now category,’ Converge continues to decimate listeners with their two Epitaph releases Jane Doe and You Fail Me. In addition, Ballou and Bannon are producing records and running labels (e.g., Deathwish) out of their Salem, MA headquarters.
Petitioning the Empty Sky//When Forever Comes Crashing
Equal Vision Records
Grade: A-//A
People are often suspect when labels release reissues of records that one could easily attain; that is, often records are reissued because no one can find them to buy and that makes total sense. But when it comes to Converge and the package that is put forth on these two classic records it is well-received. It is hard to believe that someone into hardcore would not be familiar with Converge and these two records. If not, then this is the short version. Converge helped lead the ascension of metalcore bands – along with Botch, Cave In and Dillinger – that melded varying genres into one chaotic, extreme and awesome maelstrom of music. This reckless abandon was translated into Converge’s live show, where if you were near the front during a stageless show you were likely to become injured – and mostly likely from vocalist Jacob Bannon. These reissues were remastered by guitarist Kurt Ballou at his GodCity Studios and feature brilliant artwork, enhanced by a cardboard sleeve, by Aaron Turner.
The opening salvo for Converge and this newer approach was Petitioning the Empty Sky, which was initially released on Ferret Records in 1996 and then re-released on EVR the next year (so this is actually the third issuance). The lineup for this recording included Ballou, Bannon, Aaron Dalbec on guitar, Damon Bellorado on drums and Jeff Feinburg on bass. The opening seven-minute number “The Saddest Day” throws down the gauntlet and Converge picks it up and fucking runs with it. Topped with piercing guitars a la Snapcase and nodes to Slayer, “The Saddest Day” contains nearly an inconceivable stretch of intertwining sections that it could take you the better part of a day to map them out. Other tracks like “Forsaken” (this CD has a live video for the song), the quietly building “Farewell Note to This City” (which echoes Stephen Brodsky’s material), “Shingles” and “Color Me Blood Red” rip your ears off and makes you question what hardcore should be. This reissue includes three live recordings of “For You,” “Antithesis” and “Homesong” from a radio show in 1995. While slightly muddy, it is still impressive how tight they were at that time. The final addition to the reissue is an alternate version of “Love As Arson” from When Forever Comes Crashing.
Quickly on the heels of signing with EVR, Converge unleashed probably their best record When Forever Comes Crashing in 1998. This is a record I’m probably too familiar with as I played the shit out of it on my radio show in college. Now comprised of Ballou, Bannon, Bellorado, bits of Dalbec and Stephen Brodsky (Cave In) on bass, Converge focused their energies to hardhitting, shorter numbers that looked to rock your balls off, never let off on the intensity; and yet offered several mellowed calming tracks inbetween. While Petitioning the Empty Sky offered the warning blow, When Forever Comes Crashing assured that Converge would help shape and reshape hardcore. Containing tremendous songwriting and a clearly delineated sound between, which is rare, Converge blasts you such hot rods as “My Unsaid Everything,” “The High Cost of Playing God,” the truly amazing “Conduit,” “When Forever Comes Crashing” (where again you have a live video of) and “Letterbomb.” This reissue includes a short unreleased demo version of “Bitter and Then Some.”
These two records along with the wealth of releases from similar-minded bands helped create one of the most exciting times in hardcore during the late 90s, when anything was possible and people were less concerned with image and more with innovative music. While these are two separate releases, it is nearly impossible to have only one or the other; and EVR makes it that way with a continuing bio between the two booklets. If you have the means then you should pick these two up yesterday. In the ‘where are they now category,’ Converge continues to decimate listeners with their two Epitaph releases Jane Doe and You Fail Me. In addition, Ballou and Bannon are producing records and running labels (e.g., Deathwish) out of their Salem, MA headquarters.
Wednesday, June 25, 2008
The Forecast - Late Night Conversations
The Forecast
Late Night Conversations
Victory Records
Grade: A-/A
Who the hell are the Forecast? Where did they come from? And why are they so fucking good? These are some of the questions I immediately began asking myself as the opening song “Seating Subject to Availability” progressed and you are greeted with Victory Records’ best release in a long time. More importantly, you are greeted with one of the best releases of the year and one of the best indie rock records of the decade.
The Forecast are from Peoria, Illinois and the songs (and album art) clearly reflect a sense of Midwestern plainness, hope, dreams and reality. Mirroring indie rock bands like the Anniversary, Park Ave, Helicopter Helicopter and Braid, the Forecast are also instilled with margins of country twang reflecting a rock link with John Cougar Mellencamp. At times, the Forecast can also bring a harder edge and emotion to their songs – such emotion I haven’t felt since Hot Water Music’s Forever and Counting. This melding of influences creates a sound that was prevalent in the late 90s, but has dissipated since then towards a move to emo-everything. I’m not going to shit you, I’m a total sucker for male-female vocal tradeoffs particularly within an indie rock context. And the Forecast create nearly the perfect combination of this vocal formula. This is thanks to guitarist Dustin Addis usually taking the vocal lead, but immediately followed and matched by the brilliant bassist Shannon Burns. Combine this with a steady beat from Tony Peck and dynamic guitars from Matt Webb, and you wind up with something special – Late Night Conversations.
I feel totally asleep at the wheel for not being informed of the Forecast before this release on Victory. Maybe if I was in the Midwest I could have caught on quicker, but oh well. They have been kicking around since 2001 and have put out two EPs and a split with 1090 Club. Those EPs and this debut full-length was produced and recorded by Saddle Creek mastermind AJ Mogis at his Lincoln, NE Presto! Studios. I realized that I know only know Mogis production jobs from Saddle Creek releases and never really thought about how he would naturally produce other records. That Mogis was willing to stay recording the Forecast over their history should tell you something about the talent of this fearsome foursome.
As mentioned above, the ten-song Late Night Conversations kicks off on the blistering “Seating Subject to Availability.” With initial building and quick shifting guitars you have no idea what the Forecast’s sound is until it breaks, Addis’ belts the first line with clicking drum rims and one simple downstroking guitar. While it progresses and Burns’ vocals join in, you start to get excited and when the chorus strikes you are like ‘fucking awesome!’ And there you have the essence of the Forecast’s songwriting structure and philosophy – and for folks like me it is nearly perfect. “These Lights” slows momentum down and twangs things up on the verse, before Burns’ leads a strong chorus. After the further country and average “Helping Hands,” the band is back hard on “Fade In Fade Out.” “Fade In Fade Out” is more straight up punk and is again enhanced by Burns’ taking over the verse duties midway through – and also breaks down for gang vocals that lead to a dazzling come back. The song ends in such a way that could only be done by an indie rock band not concerned about creating ‘hits.’ The instruments reduce intensity and Addis calmly leads the close of the song – a point where many bands would feel compelled to go back for another run through the chorus. “Whiskey’s Dead You’re Next” is constructed in classic indie rock fashion with busy guitars underneath slower vocals by Burns’ and Addis bolsters the chorus. The title track finds the Forecast at the uptempo rock with an ear catching rhythmic solo and one of the more memorable lines of ‘We’ll fight the good fight, the good fight.’ Along with “Seating Subject to Availability” and “Fade In Fade Out,” the title track is among the record’s top numbers. After the average “APR,” the Forecast decide to massively extend the next two numbers “Exorcise Demons” and “Sleep Tight Tonight” to six-plus-minutes. “Exorcise Demons” is abslow number that breaks into a harder rock phase about three minutes in before drawing back. “Sleep Tight Tonight” has a bit of Chunk in it as it pulsates with distorted guitars and Addis and Burns’ vocals for half the time. The biggest misstep on Late Night Conversations is the closing number “Losing Signal,” where Addis belts out to an acoustic guitar with a bit of background noise.
Save for a couple of drops at the end, Late Night Conversations is a good as it gets. With this record and support from Victory, the Forecast should do some serious damage this summer and beyond. If people don’t welcome the Forecast into their arms, then they should be arrested.
Late Night Conversations
Victory Records
Grade: A-/A
Who the hell are the Forecast? Where did they come from? And why are they so fucking good? These are some of the questions I immediately began asking myself as the opening song “Seating Subject to Availability” progressed and you are greeted with Victory Records’ best release in a long time. More importantly, you are greeted with one of the best releases of the year and one of the best indie rock records of the decade.
The Forecast are from Peoria, Illinois and the songs (and album art) clearly reflect a sense of Midwestern plainness, hope, dreams and reality. Mirroring indie rock bands like the Anniversary, Park Ave, Helicopter Helicopter and Braid, the Forecast are also instilled with margins of country twang reflecting a rock link with John Cougar Mellencamp. At times, the Forecast can also bring a harder edge and emotion to their songs – such emotion I haven’t felt since Hot Water Music’s Forever and Counting. This melding of influences creates a sound that was prevalent in the late 90s, but has dissipated since then towards a move to emo-everything. I’m not going to shit you, I’m a total sucker for male-female vocal tradeoffs particularly within an indie rock context. And the Forecast create nearly the perfect combination of this vocal formula. This is thanks to guitarist Dustin Addis usually taking the vocal lead, but immediately followed and matched by the brilliant bassist Shannon Burns. Combine this with a steady beat from Tony Peck and dynamic guitars from Matt Webb, and you wind up with something special – Late Night Conversations.
I feel totally asleep at the wheel for not being informed of the Forecast before this release on Victory. Maybe if I was in the Midwest I could have caught on quicker, but oh well. They have been kicking around since 2001 and have put out two EPs and a split with 1090 Club. Those EPs and this debut full-length was produced and recorded by Saddle Creek mastermind AJ Mogis at his Lincoln, NE Presto! Studios. I realized that I know only know Mogis production jobs from Saddle Creek releases and never really thought about how he would naturally produce other records. That Mogis was willing to stay recording the Forecast over their history should tell you something about the talent of this fearsome foursome.
As mentioned above, the ten-song Late Night Conversations kicks off on the blistering “Seating Subject to Availability.” With initial building and quick shifting guitars you have no idea what the Forecast’s sound is until it breaks, Addis’ belts the first line with clicking drum rims and one simple downstroking guitar. While it progresses and Burns’ vocals join in, you start to get excited and when the chorus strikes you are like ‘fucking awesome!’ And there you have the essence of the Forecast’s songwriting structure and philosophy – and for folks like me it is nearly perfect. “These Lights” slows momentum down and twangs things up on the verse, before Burns’ leads a strong chorus. After the further country and average “Helping Hands,” the band is back hard on “Fade In Fade Out.” “Fade In Fade Out” is more straight up punk and is again enhanced by Burns’ taking over the verse duties midway through – and also breaks down for gang vocals that lead to a dazzling come back. The song ends in such a way that could only be done by an indie rock band not concerned about creating ‘hits.’ The instruments reduce intensity and Addis calmly leads the close of the song – a point where many bands would feel compelled to go back for another run through the chorus. “Whiskey’s Dead You’re Next” is constructed in classic indie rock fashion with busy guitars underneath slower vocals by Burns’ and Addis bolsters the chorus. The title track finds the Forecast at the uptempo rock with an ear catching rhythmic solo and one of the more memorable lines of ‘We’ll fight the good fight, the good fight.’ Along with “Seating Subject to Availability” and “Fade In Fade Out,” the title track is among the record’s top numbers. After the average “APR,” the Forecast decide to massively extend the next two numbers “Exorcise Demons” and “Sleep Tight Tonight” to six-plus-minutes. “Exorcise Demons” is abslow number that breaks into a harder rock phase about three minutes in before drawing back. “Sleep Tight Tonight” has a bit of Chunk in it as it pulsates with distorted guitars and Addis and Burns’ vocals for half the time. The biggest misstep on Late Night Conversations is the closing number “Losing Signal,” where Addis belts out to an acoustic guitar with a bit of background noise.
Save for a couple of drops at the end, Late Night Conversations is a good as it gets. With this record and support from Victory, the Forecast should do some serious damage this summer and beyond. If people don’t welcome the Forecast into their arms, then they should be arrested.
Monday, June 23, 2008
Turin Brakes - JackInABox
Turin Brakes
JackInABox
Astralwerks
Grade: A-
With similar pop elegance and sensibilities as labelmate Sondre Lerche, the British duo that comprises Turin Brakes, Gale Paridjanian and Olly Knights, unveil their latest ode to all things good. Their previous two records, 2001’s The Optimist and 2003’s Ether Song, have made Turin Brakes internationally known and on the brink of big time. After experiencing the pressures of studio ‘time’ in the UK and the US, the duo built and set up a studio at their pad in Brixton. With more time to let songs and ideas evolve and mature, the duo created a tremendously naturally and organic sound across the twelve songs on JackInABox. JackInABox seemingly includes everything there is to like about pop-infused rock – and thus an appeal for nearly every interest. Yet, the majority of songs can be grouped in either the acoustic, mellow vein or the mid-tempo electric rock traditions; and there are substantially highlights in both realms. The record kicks off on “They Can’t Buy Sunshine” that sounds right out of Lerche’s catalog of beautiful pop moments and it is grand. This is followed by “Red Moon” where hands clapping leads to verse that momentarily holds off the gorgeous chorus. “Forever” is the first indication of how stunning Paridjanian and Knights are when channeling their focus on magical acoustic songs. On “Forever,” the duo walk the road of Iron & Wine – possibly suggesting an interesting tour. Other songs that live in a similar camp include the first single “Fishing For a Dream,” the grainier “Road to Nowhere” and “Above the Clouds.” “Asleep with the Fireflies” follows “Forever” on JackInABox and starts off as simply ordinary. Yet, when the dance fever love fest hits the chorus you are up and out of your seat in an instant. Simply based on the chorus, “Asleep with the Fireflies” may become a hit. “Over and Over” is a solid, standard number, before you get assaulted by the terrible quasi-jazz vocals on “Last Clown.” Appreciating that Turin Brakes are trying to develop an older number, “Last Clown” just sounds completely off. The progressions on “Building Wraps Round Me” parallel Cat Stevens, while the title track goes for intermittent congas and a dance feel. JackInABox closes on “Come and Go” where the duo reviving the feel of “They Can’t Buy Sunshine” accompanied by underlying electronics. With previously established credibility and notice, JackInABox should push Turin Brakes to the top of the field.
JackInABox
Astralwerks
Grade: A-
With similar pop elegance and sensibilities as labelmate Sondre Lerche, the British duo that comprises Turin Brakes, Gale Paridjanian and Olly Knights, unveil their latest ode to all things good. Their previous two records, 2001’s The Optimist and 2003’s Ether Song, have made Turin Brakes internationally known and on the brink of big time. After experiencing the pressures of studio ‘time’ in the UK and the US, the duo built and set up a studio at their pad in Brixton. With more time to let songs and ideas evolve and mature, the duo created a tremendously naturally and organic sound across the twelve songs on JackInABox. JackInABox seemingly includes everything there is to like about pop-infused rock – and thus an appeal for nearly every interest. Yet, the majority of songs can be grouped in either the acoustic, mellow vein or the mid-tempo electric rock traditions; and there are substantially highlights in both realms. The record kicks off on “They Can’t Buy Sunshine” that sounds right out of Lerche’s catalog of beautiful pop moments and it is grand. This is followed by “Red Moon” where hands clapping leads to verse that momentarily holds off the gorgeous chorus. “Forever” is the first indication of how stunning Paridjanian and Knights are when channeling their focus on magical acoustic songs. On “Forever,” the duo walk the road of Iron & Wine – possibly suggesting an interesting tour. Other songs that live in a similar camp include the first single “Fishing For a Dream,” the grainier “Road to Nowhere” and “Above the Clouds.” “Asleep with the Fireflies” follows “Forever” on JackInABox and starts off as simply ordinary. Yet, when the dance fever love fest hits the chorus you are up and out of your seat in an instant. Simply based on the chorus, “Asleep with the Fireflies” may become a hit. “Over and Over” is a solid, standard number, before you get assaulted by the terrible quasi-jazz vocals on “Last Clown.” Appreciating that Turin Brakes are trying to develop an older number, “Last Clown” just sounds completely off. The progressions on “Building Wraps Round Me” parallel Cat Stevens, while the title track goes for intermittent congas and a dance feel. JackInABox closes on “Come and Go” where the duo reviving the feel of “They Can’t Buy Sunshine” accompanied by underlying electronics. With previously established credibility and notice, JackInABox should push Turin Brakes to the top of the field.
Sunday, June 22, 2008
Gorillaz - Demon Days
Gorillaz
Demon Days
Virgin Records
Grade: A-
For the many that thought Blur frontman Damon Albarn’s cartoon side project would eventually implode on itself or run out as useless, they need only watch television for a minute before being bombarded by the IPod ad with the Gorillaz’ “Feel Good Inc.” The hook on “Feel Good Inc.” immediately draws you back to these musical monsters and you welcome Demon Days with open arms. Four years after the unanticipated success of the Gorillaz debut, Albarn and co. recruited a wealth of guests and producer Danger Mouse (most known for his Grey Album remix) to finish this fifteen song endeavor. Besides from various other musical endeavors, much of the length between records came due to a several month failed attempt to bring the Gorillaz properly to film. While it became too much, maybe the future will see a realization of this project. Relative to the Gorillaz’ debut, Demon Days is bit of a hodge-podge of tremendous singles and questionable filler. This may be a natural occurrence of including scores of guests and including fifteen tracks – where some are going to have to come up short. Still, there are enough singles on Demon Days to keep you moving and the Gorillaz in business for some time to come. As noted, the incredibly hot number “Feel Good Inc.,” the sixth track, is the first to grab you and you don’t want to let go. Featuring De La Soul, a pulsating bassline and a completely melodic rock vocal breakdown by Albarn, you mom even knows this number thanks to IPod. Yet, this is one of the few moments where Albarn puts melody into his vocals and typically they are ultra-low-key and flat (e.g., “Kids With Guns”). Nodding to “Clint Eastwood” off of their debut, the Gorillaz offer up the beat-driven “Dirty Harry,” where Bootie Brown from the Pharcyde and San Fernandez Youth Chorus provide vocals. The many voices in “All Alone” gets lodged in your mind even if it can be quite annoying. Before being treated to Dennis Hopper on “Fire Coming Out of the Monkey’s Head,” the electro-dance “Dare” tries to get you moving with appearances from Shaun Ryder and Rosie Wilson. The aforementioned “Fire Coming Out of the Monkey’s Head” has Hopper reading a story of a town of happy folk that goes to hell over a creeping beat. The Gorillaz channel Beach Boys’ melody on “Don’t Get Lost in Heaven” thanks to the London Community Gospel Choir. Demon Days naturally closes on “Demon Days,” a strung out number that again engages the London Choir providing the song an uplifting element. Though not a tightly kept as many would hope, Demon Days has enough to offer to keep listeners happy for another four years.
Demon Days
Virgin Records
Grade: A-
For the many that thought Blur frontman Damon Albarn’s cartoon side project would eventually implode on itself or run out as useless, they need only watch television for a minute before being bombarded by the IPod ad with the Gorillaz’ “Feel Good Inc.” The hook on “Feel Good Inc.” immediately draws you back to these musical monsters and you welcome Demon Days with open arms. Four years after the unanticipated success of the Gorillaz debut, Albarn and co. recruited a wealth of guests and producer Danger Mouse (most known for his Grey Album remix) to finish this fifteen song endeavor. Besides from various other musical endeavors, much of the length between records came due to a several month failed attempt to bring the Gorillaz properly to film. While it became too much, maybe the future will see a realization of this project. Relative to the Gorillaz’ debut, Demon Days is bit of a hodge-podge of tremendous singles and questionable filler. This may be a natural occurrence of including scores of guests and including fifteen tracks – where some are going to have to come up short. Still, there are enough singles on Demon Days to keep you moving and the Gorillaz in business for some time to come. As noted, the incredibly hot number “Feel Good Inc.,” the sixth track, is the first to grab you and you don’t want to let go. Featuring De La Soul, a pulsating bassline and a completely melodic rock vocal breakdown by Albarn, you mom even knows this number thanks to IPod. Yet, this is one of the few moments where Albarn puts melody into his vocals and typically they are ultra-low-key and flat (e.g., “Kids With Guns”). Nodding to “Clint Eastwood” off of their debut, the Gorillaz offer up the beat-driven “Dirty Harry,” where Bootie Brown from the Pharcyde and San Fernandez Youth Chorus provide vocals. The many voices in “All Alone” gets lodged in your mind even if it can be quite annoying. Before being treated to Dennis Hopper on “Fire Coming Out of the Monkey’s Head,” the electro-dance “Dare” tries to get you moving with appearances from Shaun Ryder and Rosie Wilson. The aforementioned “Fire Coming Out of the Monkey’s Head” has Hopper reading a story of a town of happy folk that goes to hell over a creeping beat. The Gorillaz channel Beach Boys’ melody on “Don’t Get Lost in Heaven” thanks to the London Community Gospel Choir. Demon Days naturally closes on “Demon Days,” a strung out number that again engages the London Choir providing the song an uplifting element. Though not a tightly kept as many would hope, Demon Days has enough to offer to keep listeners happy for another four years.
Friday, June 20, 2008
The Aquabats - Charge!
The Aquabats
Charge!
Nitro Records
Grade: A-
Regardless of the environment, I always associate the Aquabats with Travis Barker, the drummer of seemingly every punk band, when he rocked the skins for them early on. Initially and generally unintentionally the SoCal Aquabats were part of the mid-90s ska craze, even though they took an even more fun approach than most ska bands. With the sound’s demise in the music consciousness, so saw a reduction in the Aquabats’ activities and shedding of most of the original fourteen member band. As their first record in six years, the now five-piece Aquabats are back with thirteen songs of some of the most catchy, entertaining and amusing songs you are likely to hear to all year. Detaching much of their ska foundation by hardly including any horns, the Aquabats focus on a punk, electronic new wave sound that indescribably awesome. Of course, you need to have a fondness for uptempo, silly, nonsense songs that make you feel like you drank ten Red Bulls in a sitting. If you are that type than Charge! is going to make you drool and wet yourself. After an intro track, the Aquabats launch into the electronic quirky “Fashion Zombies!” that nods at the Misfits, but includes an incredibly catchy chorus with a bunch of wow-os. “Stuck in a Movie!” carries the vibe before the brilliant “Tiger Rider vs. the Time Sprinkler!” where again the chorus grabs you hard. “Nerd Alert!” issues another call for a nerd revolution, while “Plastic Lips!” surely mocks the nature of SoCal looks. “Look At Me, I’m A Winner!” tells it like it is – that the Aquabats are so out that they are actually cool. After the average “Hot Summer Nights (Won’t Last Forever)!,” “Meltdown!” further delivers on the chorus. Skip “Mechanical Ape!” to get to the hip chorus on “Demolition Rickshaw!.” Charge! closes out on “Waterslides!” with wide synth use and “Awesome Forces!” where the Aquabats perfectly close with high-tempo fun. If nothing else, all of these songs are excellent material for comedy movie soundtracks.
Charge!
Nitro Records
Grade: A-
Regardless of the environment, I always associate the Aquabats with Travis Barker, the drummer of seemingly every punk band, when he rocked the skins for them early on. Initially and generally unintentionally the SoCal Aquabats were part of the mid-90s ska craze, even though they took an even more fun approach than most ska bands. With the sound’s demise in the music consciousness, so saw a reduction in the Aquabats’ activities and shedding of most of the original fourteen member band. As their first record in six years, the now five-piece Aquabats are back with thirteen songs of some of the most catchy, entertaining and amusing songs you are likely to hear to all year. Detaching much of their ska foundation by hardly including any horns, the Aquabats focus on a punk, electronic new wave sound that indescribably awesome. Of course, you need to have a fondness for uptempo, silly, nonsense songs that make you feel like you drank ten Red Bulls in a sitting. If you are that type than Charge! is going to make you drool and wet yourself. After an intro track, the Aquabats launch into the electronic quirky “Fashion Zombies!” that nods at the Misfits, but includes an incredibly catchy chorus with a bunch of wow-os. “Stuck in a Movie!” carries the vibe before the brilliant “Tiger Rider vs. the Time Sprinkler!” where again the chorus grabs you hard. “Nerd Alert!” issues another call for a nerd revolution, while “Plastic Lips!” surely mocks the nature of SoCal looks. “Look At Me, I’m A Winner!” tells it like it is – that the Aquabats are so out that they are actually cool. After the average “Hot Summer Nights (Won’t Last Forever)!,” “Meltdown!” further delivers on the chorus. Skip “Mechanical Ape!” to get to the hip chorus on “Demolition Rickshaw!.” Charge! closes out on “Waterslides!” with wide synth use and “Awesome Forces!” where the Aquabats perfectly close with high-tempo fun. If nothing else, all of these songs are excellent material for comedy movie soundtracks.
Wednesday, June 18, 2008
Alkaline Trio - Crimson
Alkaline Trio
Crimson
Vagrant Records
Grade: A-
Taking their smashing 2003 release Good Mourning to all new heights, Chicago’s Alkaline Trio blast and demolish the competition on their latest opus Crimson. Hardly an individual with even a hint of interest in punk hasn’t heard of Alkaline Trio. Crimson is unbelievably the band’s fifth full-length, among other releases, and it has been a long road since their early days on Asian Man. But now Alkaline Trio is the most consistent and tight punk band around and continue to deliver spine-chilling catchy songs.
Similar in feel to Good Mourning, the eleven songs on Crimson consist of the familiar Alkaline Trio dark and depressing lyrical imagery. Yet, the music on Crimson is incredibly melodic and illustrates sweet production by Jerry Finn – building on the thick sound of Good Mourning. Matt Skiba, Derek Grant and Dan Andriano have an amazing knack for delivering familiar and dependable song constructions, but with enough melody and little turns to make every song and album sound different. Often bands eventually implode on their own sound by playing the same thing over and over or trying to innovate and winding up like crap. By keeping things the same, Alkaline Trio is able to keep things different.
Crimson opens with undertoned piano on “Time to Waste” before guitars assault and Skiba’s smooth vocals enter. The shorter, harder “Poison” follows with one of the more memorable choruses of “How could a rooftop view in London/Look just the same as one in Brooklyn?” “Burn” includes left-to-right guitar effects and focuses on Skiba’s vocals over a rather moderate tempo. The pop appeal to “Mercy Me” is just ridiculous immediate sucking you in as Alkaline Trio’s borrows the opening from their “Queen of Pain.” Naturally, “Dethbed” contains classic Skiba dark lyrics, while “Settle for Satin” is rather ordinary by Crimson standards. Alkaline Trio slows the tempo for the ode to Manson family member Sadie Mae Glutz entitled “Sadie.” As slow Alkaline Trio numbers go, “Sadie” is near the top. “Fall Victim” hits with a catchy chorus and “I Was a Prayer” moves you with Andriano at the helm but it is rather pedestrian. Surprisingly, strings open “Prevent This Tragedy” and interpose bridges on this song to the West Memphis Three. “Back to Hell” moves quickly, but only comes around halfway through on the chorus. After the average “Your Neck,” “Smoke” closes out Crimson where Alkaline Trio mellow things out as guitars screech for the top and strings arrive for ammunition.
The CD also includes enhanced video of cuts of the band working in the studio – and it actually ain’t half bad to watch. With Crimson, Alkaline Trio is set to take over the small percentage of the punk world that isn’t already theirs. Since the album is filled with ‘singles’ look for forthcoming videos and the like in the near future. Having seen Alkaline Trio an array of times before their 2001’s From Here to Infirmary, I’m anxious to see if their live show has finally caught up to their spellbinding records.
Crimson
Vagrant Records
Grade: A-
Taking their smashing 2003 release Good Mourning to all new heights, Chicago’s Alkaline Trio blast and demolish the competition on their latest opus Crimson. Hardly an individual with even a hint of interest in punk hasn’t heard of Alkaline Trio. Crimson is unbelievably the band’s fifth full-length, among other releases, and it has been a long road since their early days on Asian Man. But now Alkaline Trio is the most consistent and tight punk band around and continue to deliver spine-chilling catchy songs.
Similar in feel to Good Mourning, the eleven songs on Crimson consist of the familiar Alkaline Trio dark and depressing lyrical imagery. Yet, the music on Crimson is incredibly melodic and illustrates sweet production by Jerry Finn – building on the thick sound of Good Mourning. Matt Skiba, Derek Grant and Dan Andriano have an amazing knack for delivering familiar and dependable song constructions, but with enough melody and little turns to make every song and album sound different. Often bands eventually implode on their own sound by playing the same thing over and over or trying to innovate and winding up like crap. By keeping things the same, Alkaline Trio is able to keep things different.
Crimson opens with undertoned piano on “Time to Waste” before guitars assault and Skiba’s smooth vocals enter. The shorter, harder “Poison” follows with one of the more memorable choruses of “How could a rooftop view in London/Look just the same as one in Brooklyn?” “Burn” includes left-to-right guitar effects and focuses on Skiba’s vocals over a rather moderate tempo. The pop appeal to “Mercy Me” is just ridiculous immediate sucking you in as Alkaline Trio’s borrows the opening from their “Queen of Pain.” Naturally, “Dethbed” contains classic Skiba dark lyrics, while “Settle for Satin” is rather ordinary by Crimson standards. Alkaline Trio slows the tempo for the ode to Manson family member Sadie Mae Glutz entitled “Sadie.” As slow Alkaline Trio numbers go, “Sadie” is near the top. “Fall Victim” hits with a catchy chorus and “I Was a Prayer” moves you with Andriano at the helm but it is rather pedestrian. Surprisingly, strings open “Prevent This Tragedy” and interpose bridges on this song to the West Memphis Three. “Back to Hell” moves quickly, but only comes around halfway through on the chorus. After the average “Your Neck,” “Smoke” closes out Crimson where Alkaline Trio mellow things out as guitars screech for the top and strings arrive for ammunition.
The CD also includes enhanced video of cuts of the band working in the studio – and it actually ain’t half bad to watch. With Crimson, Alkaline Trio is set to take over the small percentage of the punk world that isn’t already theirs. Since the album is filled with ‘singles’ look for forthcoming videos and the like in the near future. Having seen Alkaline Trio an array of times before their 2001’s From Here to Infirmary, I’m anxious to see if their live show has finally caught up to their spellbinding records.
Sunday, June 15, 2008
Maria Taylor - 11:11
Maria Taylor
11:11
Saddle Creek Records
Grade: A-
Long the darling of the indie rock world with Azure Ray and Now It’s Overhead, and numerous guest spots, Maria Taylor provides the world this tremendous gem of a debut solo record. Reflecting the tone of Azure Ray, 11:11 ups the melody ante and convinces you that you are in love with Taylor.
Brought up in a musical family, Taylor met up with her soon to be partner in crime Orenda Fink at the Alabama School of Fine Arts. Forming the pop rock Little Red Rocket, Taylor and Fink released a couple of records, relocated to Athens, GA, broke up LRR and began the somber acoustic-driven Azure Ray. In Athens, the duo also met up with Andy LeMaster and joined his Now It’s Overhead – and things went wild after that. Soon signing with Saddle Creek, Azure Ray and Now It’s Overhead released records, toured all over the place and Taylor began collaborating on other artists’ projects. This includes Bright Eyes’ previous two records, the Faint’s Wet From Birth and Moby’s 18. In recent years, Taylor’s appearances have risen astronomically – to the point were it is odd NOT to have a Saddle Creek release with Taylor offering her warm vocals. There is little doubt that Taylor really began to understand songwriting from this collaborative work.
For 11:11 Taylor called in her favors to these other artists and the Saddle Creek family. In return, Taylor received the noteworthy help of Conor Oberst, Gretta Cohn of Cursive and LeMaster and Mike Mogis as both musicians and producers. Yet, this is only part of the help Taylor received. You also find Kim Salistean, Macey Taylor and Andrej Armstrong offering their talents. (Though I guess Fink collaborating would essentially be Azure Ray and so she is left off here).
With a similar feel to Azure Ray, but with a richer production job and concentration on melody and harmony, in addition to somber moments, 11:11 immediately piques your attention on the opener “Leap Year.” “Leap Year” forces Taylor’s quiet, soothing vocals in your face while strings and a drum machine keep the flow. LeMaster’s backing vocals help rise the volume in Taylor’s voice and sell “Leap Year” as a strong number. Yet, “Leap Year” merely sets you up the star of 11:11 - “Song Beneath the Song.” While channeling the abilities of Oberst, Mogis and Cohn into Taylor’s talents will likely produce a winner, “Song Beneath the Song” takes the loveliness to the next level. At higher tempo than most and bolstered by underlying muting guitar, Taylor and (later) Oberst take off on the chorus of “It’s not love/It’s not love/It’s not love song.” The only downside to Oberst’s appearance is that he overpowers Taylor’s soft vocals. If aren’t infatuated with Taylor by this point then you are probably deaf anyway. Taylor brings things back to earth on the acoustic-driven, piano accentuated “Two of Those Too.” Telling the tale of living in Athens and the communal feel, “Two of Those Too” is just a sweet, calm number. “Nature Song” finds Taylor’s voice enhanced by minimal effects to maximize the appeal, but the song is only average. “Light House” trips along with nothing special until about a minute in where the pace is steepened and Taylor lyrics quickly fill the void. To demonstrate her electro-dance skills picked up from the Faint, Taylor and Mogis offer the beat-driven “One for the Shareholder.” “One for the Shareholder” is a song that you could see become a top forty pop hit with an overdone major label production job; let’s hope that doesn’t happen (not that we don’t want Taylor and Mogis to be rocking the cash). “Xanax” is another detached number with a flailing guitar, but comes around sneakily with several incredibly catchy lines sprinkled throughout (I suppose, aka, the chorus). “Xanax” is the type of song where you have to work for it to pay off for you. Taylor looks for some twang on the childhood locale of “Birmingham 1982,” which unflinching moves you along to the sound of Taylor pushing her voice, organs and Rhodes piano. In terms of an even and consistent number, “Birmingham 1982” is up among the best on 11:11. The sound of “Speak Easy” clearly reflects its name with an old-fashioned folk feel highlighted by banjo. 11:11 closes on the stunner “Hitched,” which begins ordinarily enough with Taylor’s vocals, pianos and organs, but quickly moves to sensational towards the end. Oh, did I mention how awesome “Song Beneath the Song” is? I just played it again to feel the goosebumps.
As her debut solo record, Maria Taylor strikes indie gold on 11:11. If you have any inclination of enjoying Azure Ray or Bright Eyes or if you are wondering who is doing backing vocals on all those Saddle Creek release then this is the perfect record for you. 11:11 was released in late May and that I haven’t seen is scorching the charts is a great shame. Get in on this while you still can.
11:11
Saddle Creek Records
Grade: A-
Long the darling of the indie rock world with Azure Ray and Now It’s Overhead, and numerous guest spots, Maria Taylor provides the world this tremendous gem of a debut solo record. Reflecting the tone of Azure Ray, 11:11 ups the melody ante and convinces you that you are in love with Taylor.
Brought up in a musical family, Taylor met up with her soon to be partner in crime Orenda Fink at the Alabama School of Fine Arts. Forming the pop rock Little Red Rocket, Taylor and Fink released a couple of records, relocated to Athens, GA, broke up LRR and began the somber acoustic-driven Azure Ray. In Athens, the duo also met up with Andy LeMaster and joined his Now It’s Overhead – and things went wild after that. Soon signing with Saddle Creek, Azure Ray and Now It’s Overhead released records, toured all over the place and Taylor began collaborating on other artists’ projects. This includes Bright Eyes’ previous two records, the Faint’s Wet From Birth and Moby’s 18. In recent years, Taylor’s appearances have risen astronomically – to the point were it is odd NOT to have a Saddle Creek release with Taylor offering her warm vocals. There is little doubt that Taylor really began to understand songwriting from this collaborative work.
For 11:11 Taylor called in her favors to these other artists and the Saddle Creek family. In return, Taylor received the noteworthy help of Conor Oberst, Gretta Cohn of Cursive and LeMaster and Mike Mogis as both musicians and producers. Yet, this is only part of the help Taylor received. You also find Kim Salistean, Macey Taylor and Andrej Armstrong offering their talents. (Though I guess Fink collaborating would essentially be Azure Ray and so she is left off here).
With a similar feel to Azure Ray, but with a richer production job and concentration on melody and harmony, in addition to somber moments, 11:11 immediately piques your attention on the opener “Leap Year.” “Leap Year” forces Taylor’s quiet, soothing vocals in your face while strings and a drum machine keep the flow. LeMaster’s backing vocals help rise the volume in Taylor’s voice and sell “Leap Year” as a strong number. Yet, “Leap Year” merely sets you up the star of 11:11 - “Song Beneath the Song.” While channeling the abilities of Oberst, Mogis and Cohn into Taylor’s talents will likely produce a winner, “Song Beneath the Song” takes the loveliness to the next level. At higher tempo than most and bolstered by underlying muting guitar, Taylor and (later) Oberst take off on the chorus of “It’s not love/It’s not love/It’s not love song.” The only downside to Oberst’s appearance is that he overpowers Taylor’s soft vocals. If aren’t infatuated with Taylor by this point then you are probably deaf anyway. Taylor brings things back to earth on the acoustic-driven, piano accentuated “Two of Those Too.” Telling the tale of living in Athens and the communal feel, “Two of Those Too” is just a sweet, calm number. “Nature Song” finds Taylor’s voice enhanced by minimal effects to maximize the appeal, but the song is only average. “Light House” trips along with nothing special until about a minute in where the pace is steepened and Taylor lyrics quickly fill the void. To demonstrate her electro-dance skills picked up from the Faint, Taylor and Mogis offer the beat-driven “One for the Shareholder.” “One for the Shareholder” is a song that you could see become a top forty pop hit with an overdone major label production job; let’s hope that doesn’t happen (not that we don’t want Taylor and Mogis to be rocking the cash). “Xanax” is another detached number with a flailing guitar, but comes around sneakily with several incredibly catchy lines sprinkled throughout (I suppose, aka, the chorus). “Xanax” is the type of song where you have to work for it to pay off for you. Taylor looks for some twang on the childhood locale of “Birmingham 1982,” which unflinching moves you along to the sound of Taylor pushing her voice, organs and Rhodes piano. In terms of an even and consistent number, “Birmingham 1982” is up among the best on 11:11. The sound of “Speak Easy” clearly reflects its name with an old-fashioned folk feel highlighted by banjo. 11:11 closes on the stunner “Hitched,” which begins ordinarily enough with Taylor’s vocals, pianos and organs, but quickly moves to sensational towards the end. Oh, did I mention how awesome “Song Beneath the Song” is? I just played it again to feel the goosebumps.
As her debut solo record, Maria Taylor strikes indie gold on 11:11. If you have any inclination of enjoying Azure Ray or Bright Eyes or if you are wondering who is doing backing vocals on all those Saddle Creek release then this is the perfect record for you. 11:11 was released in late May and that I haven’t seen is scorching the charts is a great shame. Get in on this while you still can.
Tuesday, June 10, 2008
Wolf Parade - Self-Titled EP
Wolf Parade
s/t EP
Sub Pop Records
Grade: A-
Essentially this is just a four-song teaser in order to get us ready for a surely dynamite full-length entitled Apologies to the Queen Mary to be released in September by Montreal’s Wolf Parade. In that respect, the first two songs “Shine a Light” and “You Are a Runner and I Am My Father’s Son” will actually be on full-length, which sort of sucks. The four-piece are a well-connected bunch, with friends in Arcade Fire and Isaac Brock of Modest Mouse, who channel core indie rock in similar thoughts to country and label mates Constantines, but with more artsy panache. Wolf Parade add to their sound underlying keyboards which helps to differentiate and provides an intermittent dance feel as on “Disco Sheets.” The obvious standout number on EP is the opener “Shine a Light.” Smartly directed and focused, “Shine a Light” is a sure hit single with pulsing bass and guitars and humming keys. While “You Are a Runner and I Am My Father’s Son” is average, “Lousy Pictures” returns Wolf Parade to more of the straight ahead rock. This EP clearly fulfills its job as a teaser, thus causing a tapping anticipation for Apologies to the Queen Mary. You may also want to hold off to the full-length as well.
s/t EP
Sub Pop Records
Grade: A-
Essentially this is just a four-song teaser in order to get us ready for a surely dynamite full-length entitled Apologies to the Queen Mary to be released in September by Montreal’s Wolf Parade. In that respect, the first two songs “Shine a Light” and “You Are a Runner and I Am My Father’s Son” will actually be on full-length, which sort of sucks. The four-piece are a well-connected bunch, with friends in Arcade Fire and Isaac Brock of Modest Mouse, who channel core indie rock in similar thoughts to country and label mates Constantines, but with more artsy panache. Wolf Parade add to their sound underlying keyboards which helps to differentiate and provides an intermittent dance feel as on “Disco Sheets.” The obvious standout number on EP is the opener “Shine a Light.” Smartly directed and focused, “Shine a Light” is a sure hit single with pulsing bass and guitars and humming keys. While “You Are a Runner and I Am My Father’s Son” is average, “Lousy Pictures” returns Wolf Parade to more of the straight ahead rock. This EP clearly fulfills its job as a teaser, thus causing a tapping anticipation for Apologies to the Queen Mary. You may also want to hold off to the full-length as well.
Saturday, June 7, 2008
Shout Out Louds - Howl Howl Gaff Gaff
Shout Out Louds
Howl Howl Gaff Gaff
Capitol Records
Grade: (A for “The Comeback”)
Howl Howl Gaff Gaff is all about one song; one song that is fucking unbelievable good. That song is the heart-stomper and opener “The Comeback.” “The Comeback” starts with some beeps and then the full band kicks in with a very straight indie rock progression that blows up into pop-blitz, new wave perfection. Part of the appeal is the gorgeous simple instruments, but it mostly draws from the incredibly perfect creaking vocals from lead singer Adam Olenius. You come away from such a three-minute introduction to Sweden’s Shout Out Louds thinking this may be the best record and band to scorch planet Earth in sometime. Your hopes are not dashed on the solid follower “Very Loud,” where the Shout Out Louds punch out pop rock with Springsteen tinges and parallels to Canada’s the Constantines. Yet, after these two absolute dazzlers, Howl Howl Gaff Gaff begins the slippery slide to mediocre. It is not as if the five-piece drop away into oblivion, it is just that the new wave indie rock is not infused with same attention to strong song structures and catchy lyrics. You shed a tear for a lost opportunity. If you are a Cure fan then your tear might turn to rage listening to “100 [degrees]”. I scanned the liner notes to see where the Shout Out Louds cite the Cure’s “Just Like Heaven” for the central riff to “100 [degrees],” but it is nowhere to be found. It is such a rip-off that it rivals the “Ice Ice Baby” job. It is probably best just to skip past the song in order to relax the nerves. A couple of other songs to take note of include the clapping “Hurry Up Let’s Go” and “Shut Your Eyes.” Look, just put “The Comeback” on repeat and every once in awhile play “Very Loud” and you will satisfy your thirst for catchy rock. The potential for the Shout Out Louds is phenomenal, so let’s hope that the future brings good things and realization of lollipop and sunshine choruses.
Howl Howl Gaff Gaff
Capitol Records
Grade: (A for “The Comeback”)
Howl Howl Gaff Gaff is all about one song; one song that is fucking unbelievable good. That song is the heart-stomper and opener “The Comeback.” “The Comeback” starts with some beeps and then the full band kicks in with a very straight indie rock progression that blows up into pop-blitz, new wave perfection. Part of the appeal is the gorgeous simple instruments, but it mostly draws from the incredibly perfect creaking vocals from lead singer Adam Olenius. You come away from such a three-minute introduction to Sweden’s Shout Out Louds thinking this may be the best record and band to scorch planet Earth in sometime. Your hopes are not dashed on the solid follower “Very Loud,” where the Shout Out Louds punch out pop rock with Springsteen tinges and parallels to Canada’s the Constantines. Yet, after these two absolute dazzlers, Howl Howl Gaff Gaff begins the slippery slide to mediocre. It is not as if the five-piece drop away into oblivion, it is just that the new wave indie rock is not infused with same attention to strong song structures and catchy lyrics. You shed a tear for a lost opportunity. If you are a Cure fan then your tear might turn to rage listening to “100 [degrees]”. I scanned the liner notes to see where the Shout Out Louds cite the Cure’s “Just Like Heaven” for the central riff to “100 [degrees],” but it is nowhere to be found. It is such a rip-off that it rivals the “Ice Ice Baby” job. It is probably best just to skip past the song in order to relax the nerves. A couple of other songs to take note of include the clapping “Hurry Up Let’s Go” and “Shut Your Eyes.” Look, just put “The Comeback” on repeat and every once in awhile play “Very Loud” and you will satisfy your thirst for catchy rock. The potential for the Shout Out Louds is phenomenal, so let’s hope that the future brings good things and realization of lollipop and sunshine choruses.
Friday, June 6, 2008
Yesan Damen - Chronos/Kairos
Yesan Damen
Chronos/Kairos
New Wine
Grade: A-/A
Somehow this debut from Yesan Damen got buried underneath the swath and array of records currently filling the spare room. Initially listened to and set to be written on, Chronos/Kairos got lost along the way. When I finally re-discovered the record, I smacked myself for not including at least one full listen a day to be regimen. Yesan Damen go for Belle & Sebastian melody simplicity mixed with indie rock flair along the lines of Pavement with a bit of Silver Lake shoegazing. Regardless of the gaggle of comparisons you can make, the bottom line is that Yesan Damen are awesome! This is quickly established on the opening song “Whoa!” which is like the long-lost soundtrack to your life. “Whoa!” is obviously the star number, but you aren’t left hanging with such great songs as the rocking “Monuments to Ambition,” the shoegazing “Osaka,” “Outer Space,” the mellow “Consequence,” “American Riot,” and the busy closer “Canons of Devotion.” These songs are the highlights, but also you will not find any bad songs among the bunch. Although released in January, Chronos/Kairos should comprise a substantial portion of your chill-out summer soundtrack. Anything less than the highest attention is selling Yesan Damen short.
Chronos/Kairos
New Wine
Grade: A-/A
Somehow this debut from Yesan Damen got buried underneath the swath and array of records currently filling the spare room. Initially listened to and set to be written on, Chronos/Kairos got lost along the way. When I finally re-discovered the record, I smacked myself for not including at least one full listen a day to be regimen. Yesan Damen go for Belle & Sebastian melody simplicity mixed with indie rock flair along the lines of Pavement with a bit of Silver Lake shoegazing. Regardless of the gaggle of comparisons you can make, the bottom line is that Yesan Damen are awesome! This is quickly established on the opening song “Whoa!” which is like the long-lost soundtrack to your life. “Whoa!” is obviously the star number, but you aren’t left hanging with such great songs as the rocking “Monuments to Ambition,” the shoegazing “Osaka,” “Outer Space,” the mellow “Consequence,” “American Riot,” and the busy closer “Canons of Devotion.” These songs are the highlights, but also you will not find any bad songs among the bunch. Although released in January, Chronos/Kairos should comprise a substantial portion of your chill-out summer soundtrack. Anything less than the highest attention is selling Yesan Damen short.
Thursday, June 5, 2008
The Details - Draw a Distance. Draw a Border
The Details
Draw a Distance. Draw a Border
Parliament of Trees
Grade: A-
The Details are one of the best bands that you’ve likely never heard of; and it definitely is not all in the details – you know it within in a minute of the opening song “Always, Always, Always, Never.” This Winnipeg four-piece pull from the best Canadian indie rock bands and make it all uniquely theirs. In one of the rare instances where the RIYL is dead-on, the Details specifically combine the best of the Weakerthans and Okkervil River, and do it in a manner to make it sound comfortable, warm, and not a rehashing. “Always, Always, Always, Never” is a fantastic opener – slow burning indie rock gem – but Draw a Distance. Draw a Border doesn’t crest with that one song. The Details move onto to rock you with the more straight-ahead “Reunion Souvenirs,” the lighter rocker “Underground,” “A National Anthem,” the organic rocker “Capture and Develop,” and simmering “Hit Parades.” A close listen on headphones uncovers a smidgen of rough production, but blasting from your stereo you can’t tell any difference. You have just found the latest undiscovered band that makes you cooler than all your friends.
Draw a Distance. Draw a Border
Parliament of Trees
Grade: A-
The Details are one of the best bands that you’ve likely never heard of; and it definitely is not all in the details – you know it within in a minute of the opening song “Always, Always, Always, Never.” This Winnipeg four-piece pull from the best Canadian indie rock bands and make it all uniquely theirs. In one of the rare instances where the RIYL is dead-on, the Details specifically combine the best of the Weakerthans and Okkervil River, and do it in a manner to make it sound comfortable, warm, and not a rehashing. “Always, Always, Always, Never” is a fantastic opener – slow burning indie rock gem – but Draw a Distance. Draw a Border doesn’t crest with that one song. The Details move onto to rock you with the more straight-ahead “Reunion Souvenirs,” the lighter rocker “Underground,” “A National Anthem,” the organic rocker “Capture and Develop,” and simmering “Hit Parades.” A close listen on headphones uncovers a smidgen of rough production, but blasting from your stereo you can’t tell any difference. You have just found the latest undiscovered band that makes you cooler than all your friends.
Wednesday, June 4, 2008
Grand Archives - The Grand Archives
Grand Archives
The Grand Archives
Sub Pop Records
Grade: A-/A
Unquestionably, Seattle’s Grand Archives got a leg up given that the group is headed by Mat Brooke of Band of Horses and Carissa’ Wierd fame. And while Brooke’s past benefited Grand Archives (formerly just Archives), the band wouldn’t be where it is now if they didn’t simply just rock. You may have just found your latest craving and pleasure that is anything but guilty.
Grand Archives take the BoH’s basic indie rock frame and layer and molest it with terrific Beach Boys-esque melodies that are absurdly appealing. Helping Brooke perfect lovefest harmonies are drummer Curtis Hall, guitarist/keyboardist Ron Lewis, guitarist Thomas Wright, and bassist Jeff Montano; the band also employs horns and strings to fill out their sound. Even though GA first started up in the fall of 2006, a relentless desire to fine-tune every song led to recording at a number of different studios and taking the longer than normal two years for their debut to see the light of day.
Grand Archives’ debut begins initially with disinteresting string plucking on “Torn Blue Foam Coach,” before ripping into the melodic indie rock that will accompany you for the rest of the ride. “Miniature Birds” employs the more and more common whistling as bridges, while GA move toward shoegazing on “Swan Matches.” However, these first three songs are only a warm-up for the best song on the record – “Index Moon.” “Index Moon” is a wistful, indie rock classic with big guitars and magical melodies. You can’t go wrong by simply putting “Index Moon” on repeat for a few hours. It is hard to match “Index Moon” and followers “George Kaminski” and “Breezy No Breezy” stumble in this regard, though “A Setting Sun” sets you straight once again with a poppy skipping. “Sleepdriving” slows down the tempo and weaves spacey harmonies across the verse and chorus. “Louis Riel” features labelmate Sera Cahoone to waltz down a short poppy path, while Cahoone joins GA on the rocker “The Crime Window.” Along with “Index Moon,” “The Crime Window” has the most gusto as the whole outfit group sings and you imagine the last song of the night at a dueling piano bar. For reasons entirely non-obvious, Grand Archives decide to close their debut with the anti-climatic, organic plucking “Orange Juice.” The only expectation is that they didn’t want the perfect ending for their debut and thought “Orange Juice” was a good way to throw a wrench in the machine.
One is continually amazed how Sub Pop manages to find all these terrific indie rock bands and Grand Archives one of the special ones. Get The Grand Archives and make a special spot for it in your heart and mind.
The Grand Archives
Sub Pop Records
Grade: A-/A
Unquestionably, Seattle’s Grand Archives got a leg up given that the group is headed by Mat Brooke of Band of Horses and Carissa’ Wierd fame. And while Brooke’s past benefited Grand Archives (formerly just Archives), the band wouldn’t be where it is now if they didn’t simply just rock. You may have just found your latest craving and pleasure that is anything but guilty.
Grand Archives take the BoH’s basic indie rock frame and layer and molest it with terrific Beach Boys-esque melodies that are absurdly appealing. Helping Brooke perfect lovefest harmonies are drummer Curtis Hall, guitarist/keyboardist Ron Lewis, guitarist Thomas Wright, and bassist Jeff Montano; the band also employs horns and strings to fill out their sound. Even though GA first started up in the fall of 2006, a relentless desire to fine-tune every song led to recording at a number of different studios and taking the longer than normal two years for their debut to see the light of day.
Grand Archives’ debut begins initially with disinteresting string plucking on “Torn Blue Foam Coach,” before ripping into the melodic indie rock that will accompany you for the rest of the ride. “Miniature Birds” employs the more and more common whistling as bridges, while GA move toward shoegazing on “Swan Matches.” However, these first three songs are only a warm-up for the best song on the record – “Index Moon.” “Index Moon” is a wistful, indie rock classic with big guitars and magical melodies. You can’t go wrong by simply putting “Index Moon” on repeat for a few hours. It is hard to match “Index Moon” and followers “George Kaminski” and “Breezy No Breezy” stumble in this regard, though “A Setting Sun” sets you straight once again with a poppy skipping. “Sleepdriving” slows down the tempo and weaves spacey harmonies across the verse and chorus. “Louis Riel” features labelmate Sera Cahoone to waltz down a short poppy path, while Cahoone joins GA on the rocker “The Crime Window.” Along with “Index Moon,” “The Crime Window” has the most gusto as the whole outfit group sings and you imagine the last song of the night at a dueling piano bar. For reasons entirely non-obvious, Grand Archives decide to close their debut with the anti-climatic, organic plucking “Orange Juice.” The only expectation is that they didn’t want the perfect ending for their debut and thought “Orange Juice” was a good way to throw a wrench in the machine.
One is continually amazed how Sub Pop manages to find all these terrific indie rock bands and Grand Archives one of the special ones. Get The Grand Archives and make a special spot for it in your heart and mind.
Tuesday, June 3, 2008
Life In Your Way - Ignite and Rebuild
Life In Your Way
Ignite and Rebuild
Indianola Records
Grade: A-
Apparently my dad recorded this latest from Connecticut’s Life In Your Way; ask me about it later. Apart from this oddity, LIYW’s second full-length is secretly awesome with a full assault of metal, hardcore and melodic punk. In the parallel with a tone-downed Shai Hulud, the ten tracks on Ignite and Rebuild all brim with riffs, complex constructions and variance across vocal styles. It is easy to poo-poo LIYW as another ‘screamo’ amalgam, but their cornering and vocal progression are quite natural between screams, melodic vocals and traditional speaking. Particularly with the implementation of riffs and speaking on songs such as the mind-numbing “Light in Mine,” LITW brings back images of early Cave In – something that is sorely missing in today’s musical hodge-podge. While songs like “Light in Mine” won’t rip your ass off like “Crossbearer” or “Flypaper,” they are some of the best attempts heard in long time. Other gems come in the form of “Threads of Sincerity,” “This, the Midnight Express” and “More Than Effects.” The one downside to Ignite and Rebuild is the often and strange use of gang vocals on songs like the closer “The Change” – LIYW get so much done without gang vocals they should leave them out in the future. In a staid world where bands are just mixing shit together to sound different and only accomplish sounding like everyone else, Life In Your Way is a refreshing treatise on how to do it right, make it natural and smooth out the awkward edges. And if nothing else, Life In Your Way seems a band that could produce goosebumps galore during a live set.
Ignite and Rebuild
Indianola Records
Grade: A-
Apparently my dad recorded this latest from Connecticut’s Life In Your Way; ask me about it later. Apart from this oddity, LIYW’s second full-length is secretly awesome with a full assault of metal, hardcore and melodic punk. In the parallel with a tone-downed Shai Hulud, the ten tracks on Ignite and Rebuild all brim with riffs, complex constructions and variance across vocal styles. It is easy to poo-poo LIYW as another ‘screamo’ amalgam, but their cornering and vocal progression are quite natural between screams, melodic vocals and traditional speaking. Particularly with the implementation of riffs and speaking on songs such as the mind-numbing “Light in Mine,” LITW brings back images of early Cave In – something that is sorely missing in today’s musical hodge-podge. While songs like “Light in Mine” won’t rip your ass off like “Crossbearer” or “Flypaper,” they are some of the best attempts heard in long time. Other gems come in the form of “Threads of Sincerity,” “This, the Midnight Express” and “More Than Effects.” The one downside to Ignite and Rebuild is the often and strange use of gang vocals on songs like the closer “The Change” – LIYW get so much done without gang vocals they should leave them out in the future. In a staid world where bands are just mixing shit together to sound different and only accomplish sounding like everyone else, Life In Your Way is a refreshing treatise on how to do it right, make it natural and smooth out the awkward edges. And if nothing else, Life In Your Way seems a band that could produce goosebumps galore during a live set.
Monday, June 2, 2008
Dropkick Murphys - The Warrior's Code
Dropkick Murphys
The Warrior’s Code
Hellcat Records
Grade: A-
At first listen or so, I thought that the Warrior’s Code fell a bit from the 2003’s Blackout and the songs were too insular to Boston and friends. Yet, several listens in, I finally succumbed to the brilliant Irish punk love thrown up by the continuously punishing seven-piece. With shortened time and longer playlists, the Warrior’s Code has been one of the few records to quickly grow on me after an initial ho-hum feeling. One fear of any DK fan is the wildly spinning success of the band of the past few years will lead to a possible watering down of the product. This includes getting playing a Boston Bruins game, coming up with an theme for last year’s Boston Red Sox (“Tessie” featured here as a bonus track), among other endeavors. Yet, the Warrior’s Code may be the band’s most solid record, even if doesn’t contain ‘the’ best song of the band. Seriously, when you hear bagpipes accompanying perfectly-pitched punk songs how can you not love that? Songs that instill and force a sense of pride to brim to the surface? While there are a number of songs written specifically about/for Boston locals, there is enough outside appeal to reel anyone in. Check out highlights from the opener “Your Spirit’s Alive,” the title track, the traditional Irish “Captain Kelly’s Kitchen,” the odd pop chorus on “Sunshine Highway,” “Wicked Sensitive Crew,” “Take It And Run,” “The Auld Triangle” and “Last Letter Home” revolving around true letters from and between soldiers in Iraq and their families, including one who died and had wanted a DK song played at his funeral. As the Dropkick Murphys make their way towards the top of the music world, their honesty, pride and hardworking appeal seems as solid as ever on the Warrior’s Code.
The Warrior’s Code
Hellcat Records
Grade: A-
At first listen or so, I thought that the Warrior’s Code fell a bit from the 2003’s Blackout and the songs were too insular to Boston and friends. Yet, several listens in, I finally succumbed to the brilliant Irish punk love thrown up by the continuously punishing seven-piece. With shortened time and longer playlists, the Warrior’s Code has been one of the few records to quickly grow on me after an initial ho-hum feeling. One fear of any DK fan is the wildly spinning success of the band of the past few years will lead to a possible watering down of the product. This includes getting playing a Boston Bruins game, coming up with an theme for last year’s Boston Red Sox (“Tessie” featured here as a bonus track), among other endeavors. Yet, the Warrior’s Code may be the band’s most solid record, even if doesn’t contain ‘the’ best song of the band. Seriously, when you hear bagpipes accompanying perfectly-pitched punk songs how can you not love that? Songs that instill and force a sense of pride to brim to the surface? While there are a number of songs written specifically about/for Boston locals, there is enough outside appeal to reel anyone in. Check out highlights from the opener “Your Spirit’s Alive,” the title track, the traditional Irish “Captain Kelly’s Kitchen,” the odd pop chorus on “Sunshine Highway,” “Wicked Sensitive Crew,” “Take It And Run,” “The Auld Triangle” and “Last Letter Home” revolving around true letters from and between soldiers in Iraq and their families, including one who died and had wanted a DK song played at his funeral. As the Dropkick Murphys make their way towards the top of the music world, their honesty, pride and hardworking appeal seems as solid as ever on the Warrior’s Code.
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