Alkaline Trio/One Man Army
BYO Split Series Volume Five
BYO Records
Grade: A-
This is the latest addition to the BYO Split Series, this one Volume Five, and clearly one of the best thanks in large part to Alkaline Trio. While the Rancid/NOFX rocked in its ingenuity and the inaugural affair of Leatherface/Hot Water Music is classic, the six songs provided by Alkaline Trio are all winners. For the Alkaline Trio/Hot Water Music split on Jade Tree, Alkaline Trio made a bold statement as who rocked harder. Okay, I'm a bit biased in this regard, because there is another band on this split, BYO's own punk outfit One Man Army. In further regard to Alkaline Trio, they have reached the status of other bands trying to steal their thunder by mimicking their sound (umm, Bayside). You might think that the band may take it easy on this split after their most recent acclaimed record Good Mourning. Yet, this is not the case as all six songs sizzle and rock, along with some acoustic molesting on "If You Had A Bad Time…". In fact, as a set I would place these six above the material on Good Mourning. And the other band? Well, most people are sufficiently less familiar with the San Francisco based trio of One Man Army. Although they shouldn't be since OMA has been kicking around since 1996 and have scores of releases across a number of labels including Fat Wreck. As consistent with their members, OMA follow an allegiance to melodic 70s punk rock but they are not a throwback. Like Alkaline Trio I find the six songs here to be an upgrade on their latest material, the full-length Rumors and Headlines on BYO. The band enjoys proliferating their multi-influence foundation as is demonstrated on their first three songs: the straight 70s punk "The T.V. Song," the dirty "The Hemophiliac" and the almost 50s be-bob foundation of "All the Way." Would I buy this split EP? Does the Pope shit in the woods? Seriously, no Alkaline Trio fan should find themselves without this split.
Friday, October 31, 2008
Thursday, October 30, 2008
The Honorary Title - Anything Else But the Truth
The Honorary Title
Anything Else But the Truth
Doghouse Records
Grade: A-
Anything Else But the Truth is one of those records that grows and grows on you with repeated listens. It starts as smidgen and builds into a behemoth. You may think it sounds too much like this or too much like that, but then you relent to its appealing elements.
Like fellow Doghousers - well, somewhat - All-American Rejects, the Honorary Title are composed of a songwriting duo enhanced by swath of musicians to fill the product. Precipitated by Jarrod Gorbel's post-college success as a solo artist in NYC, Gorbel reigned in the help of transplant Aaron Kamstra to fulfill his vision. Messing around with the now named the Honorary Title, the duo scored opening dates for Dashboard in 2002 and then picked up serious steam. They decided to sign with Doghouse after sometime probably due to the label's past success in setting bands up for great things - e.g., the Get Up Kids and the Rejects. I'm somewhat surprised after listening to these twelve tracks that a major label didn't pick them up in their latest effort to hedge a sound. This is particularly the case given the Honorary Title's allegiance to indie pop goodness that echoes a folk molesting of Elvis Costello and Pavement. Worthy of a note, Gorbel should try to limit the scratchy, nervous voice characterized by Bright Eyes which comes out time from time on this record. They don't want fall prey to rip-off criticisms. The song exemplar of this is "Revealing Too Much."
Anything Else But the Truth starts with and is highlighted by "Frame by Frame," where a slight background piano provides the takeaway moment. The chorus also demonstrates sophisticated, mature piano rock that the Honorary Title are capable of. Not much time for that as "Bridge and Tunnel" comes in with a fuzzed guitar riff that is reminiscent of that holiday song on SNL. "Bridge and Tunnel" may be the most uptempo song on the record. Further showing diversity, "Everything I Once Had" drops the slowed-down mellow acoustic guitar that is of true singer-songwriter cloth. "Cut Short" is probably the most top forty of the songs on Anything Else enhanced with Mike Daly on Pedal Steel. Gorbel tries to expel some crooner demons on "Points Underneath," while the title track picks up the pace with sweetly timed handclaps and accompanying electronics. "Snow Day" crescendos on Gorbel's voice in the first minute, while laying out its plan with deliberate and simple constructions. A bridge section on "Snow Day" will likely make it a favorite amongst a live audience, if they don't already know it from the Doghouse's sampler. "Disengage" offers up some down-home rhythms - though Gorbel's from LI - and the opening start-stop guitars and drums of "The Smoking Pose" gives glimpse of Costello. The addition of keys in "The Smoking Pose" enhances its appeal as a favorite on the record. The album closes on "Petals" and "Cats in Heat" - two songs that display a slower pace and further orchestration as the group brings in cello and upright bass to further the already thick sound.
While certain songs or segments may irk some listeners, you can't deny the strength of the overall product. It took a bit to be convinced of the record's brilliance, but now I'm a believer. In the past, I actually skipped out on a show before the Honorary Title played and I can tell you that it will never happen again.
Anything Else But the Truth
Doghouse Records
Grade: A-
Anything Else But the Truth is one of those records that grows and grows on you with repeated listens. It starts as smidgen and builds into a behemoth. You may think it sounds too much like this or too much like that, but then you relent to its appealing elements.
Like fellow Doghousers - well, somewhat - All-American Rejects, the Honorary Title are composed of a songwriting duo enhanced by swath of musicians to fill the product. Precipitated by Jarrod Gorbel's post-college success as a solo artist in NYC, Gorbel reigned in the help of transplant Aaron Kamstra to fulfill his vision. Messing around with the now named the Honorary Title, the duo scored opening dates for Dashboard in 2002 and then picked up serious steam. They decided to sign with Doghouse after sometime probably due to the label's past success in setting bands up for great things - e.g., the Get Up Kids and the Rejects. I'm somewhat surprised after listening to these twelve tracks that a major label didn't pick them up in their latest effort to hedge a sound. This is particularly the case given the Honorary Title's allegiance to indie pop goodness that echoes a folk molesting of Elvis Costello and Pavement. Worthy of a note, Gorbel should try to limit the scratchy, nervous voice characterized by Bright Eyes which comes out time from time on this record. They don't want fall prey to rip-off criticisms. The song exemplar of this is "Revealing Too Much."
Anything Else But the Truth starts with and is highlighted by "Frame by Frame," where a slight background piano provides the takeaway moment. The chorus also demonstrates sophisticated, mature piano rock that the Honorary Title are capable of. Not much time for that as "Bridge and Tunnel" comes in with a fuzzed guitar riff that is reminiscent of that holiday song on SNL. "Bridge and Tunnel" may be the most uptempo song on the record. Further showing diversity, "Everything I Once Had" drops the slowed-down mellow acoustic guitar that is of true singer-songwriter cloth. "Cut Short" is probably the most top forty of the songs on Anything Else enhanced with Mike Daly on Pedal Steel. Gorbel tries to expel some crooner demons on "Points Underneath," while the title track picks up the pace with sweetly timed handclaps and accompanying electronics. "Snow Day" crescendos on Gorbel's voice in the first minute, while laying out its plan with deliberate and simple constructions. A bridge section on "Snow Day" will likely make it a favorite amongst a live audience, if they don't already know it from the Doghouse's sampler. "Disengage" offers up some down-home rhythms - though Gorbel's from LI - and the opening start-stop guitars and drums of "The Smoking Pose" gives glimpse of Costello. The addition of keys in "The Smoking Pose" enhances its appeal as a favorite on the record. The album closes on "Petals" and "Cats in Heat" - two songs that display a slower pace and further orchestration as the group brings in cello and upright bass to further the already thick sound.
While certain songs or segments may irk some listeners, you can't deny the strength of the overall product. It took a bit to be convinced of the record's brilliance, but now I'm a believer. In the past, I actually skipped out on a show before the Honorary Title played and I can tell you that it will never happen again.
Wednesday, October 29, 2008
Sons of Daughters - s/t
Sons of Daughters
s/t
Meter Records
Grade: A-
Admittedly when I first saw the name of the band I thought they were someone else. In that, the name sounds very familiar. Like the Daughters from Providence's power violence scene? No. The Daughters of the Confederacy? No. Are they that Scottish band that's been riding the Franz Ferdinand wave? No, that's Sons and Daughters. And though the band's name sounded familiar, I had less initial hope for the music. Yet, the six-song, twenty-eight minute EP has a right at home feel to it - something known but new and refreshing. And that is exactly what I was craving. The Sons of Daughters grew out of the disbanded Darrly's Grocery Bag in Alberta, Canada around 2003. DGB had carved out their own trail in Canada, but the trail was a bit wayward. So the Sons of Daughters come in armed with Todd Gesshe and Tyler Toews on guitar and vocals, Jeff Thompson on bass and vocals and Craig Florence on drums. It is hard to characterize the specific sound that the Sons of Daughters display on the EP, but one thing is certain the songs are well-crafted, thought out and dynamic enough to hold an ear. The EP starts on "Scripts and Stories" with an enticing 70s rock guitar riff before Gesshe comes in with his simple and plain but distinctive vocals. While you are waiting for the riff to come back, the guitars provide a toggle-switching AC/DC constancy. "Drop Me In the Well" comes next with all up-picking folk-rock abandon and stringing lyrical story. "Ann-Marie" opens with a light bass line that sounds like the introduction to an indie rock opus. And while it is, it is so much more as guitars trip harmonics and Ed Toews provides background violin. To pick up from the slow-down, Sons of Daughters offer more bluesy guitars on "Hotter Than Heaven." "Three Sheets" slows it down again with Andrea Matchullis adding vocals and pianos to the six-minute affair. The chorus to "Three Sheets" probably has the most top forty rock radio flair on the EP. Sons of Daughters end the record on a high note with "Tonight We Pray for Rain," another song echoing the song and lyrical craft of Neil Young. This is one of the best EPs I've heard in a long time and I'm counting the days until we have a full-length from this Canadian four-piece.
s/t
Meter Records
Grade: A-
Admittedly when I first saw the name of the band I thought they were someone else. In that, the name sounds very familiar. Like the Daughters from Providence's power violence scene? No. The Daughters of the Confederacy? No. Are they that Scottish band that's been riding the Franz Ferdinand wave? No, that's Sons and Daughters. And though the band's name sounded familiar, I had less initial hope for the music. Yet, the six-song, twenty-eight minute EP has a right at home feel to it - something known but new and refreshing. And that is exactly what I was craving. The Sons of Daughters grew out of the disbanded Darrly's Grocery Bag in Alberta, Canada around 2003. DGB had carved out their own trail in Canada, but the trail was a bit wayward. So the Sons of Daughters come in armed with Todd Gesshe and Tyler Toews on guitar and vocals, Jeff Thompson on bass and vocals and Craig Florence on drums. It is hard to characterize the specific sound that the Sons of Daughters display on the EP, but one thing is certain the songs are well-crafted, thought out and dynamic enough to hold an ear. The EP starts on "Scripts and Stories" with an enticing 70s rock guitar riff before Gesshe comes in with his simple and plain but distinctive vocals. While you are waiting for the riff to come back, the guitars provide a toggle-switching AC/DC constancy. "Drop Me In the Well" comes next with all up-picking folk-rock abandon and stringing lyrical story. "Ann-Marie" opens with a light bass line that sounds like the introduction to an indie rock opus. And while it is, it is so much more as guitars trip harmonics and Ed Toews provides background violin. To pick up from the slow-down, Sons of Daughters offer more bluesy guitars on "Hotter Than Heaven." "Three Sheets" slows it down again with Andrea Matchullis adding vocals and pianos to the six-minute affair. The chorus to "Three Sheets" probably has the most top forty rock radio flair on the EP. Sons of Daughters end the record on a high note with "Tonight We Pray for Rain," another song echoing the song and lyrical craft of Neil Young. This is one of the best EPs I've heard in a long time and I'm counting the days until we have a full-length from this Canadian four-piece.
Tuesday, October 28, 2008
Secret Machines - Now Here Is Nowhere
Secret Machines
Now Here Is Nowhere
Reprise Records
Grade: A-
If you are searching for epic rock soundscapes then you should look no further then Now Here Is Nowhere from NYC-based the Secret Machines. With a ton of pre-release press, promotion and audio streams of the record, I was really surprised when this nine track, fifty-minute album delivered on the goods. With the opening "First Wave Intact," a spacey, drawn out, yet sweetly catching nine-minute affair, you may begin to wonder how a band could dream up such sounds on the streets of NYC. That's because the three-piece of guitarist/vocalist Ben Curtis, his brother bassist/keyboardist/vocalist Brandon Curtis and drummer Josh Garza hail from the big D - Dallas. All three rocked out in numerous Dallas bands in the nineties, including Tripping Daisy. Around 2000, they got together to do their own thing and in their own place. After a quick trip to Chicago to record some material, they settled into the position of struggling artists in NYC. Perseverance, dreams and some good luck helped establish the Secret Machines as a chose live band in the city. This plus an EP on Ace Fu Records in 2002 from the Chicago recordings, opened doors for the band leading them to sign to Reprise in late 2002. Scoring the creative powers of producer Jeff Blenkinsopp, Secret Machines recorded Now Here Is Nowhere at Stratosphere Sound in New York. That studio's name is one of the most apropos things I've heard given the band's sound on the record. What is uniquely refreshing is that the Secret Machines sound so totally un-NYC's sound right now. It is safe to say that the Secret Machines want to take on a mind-trip with a resurgence of spacey, psychedelic, wistful music that echoes Eno's endeavors and Pink Floyd to name a few. Though "First Wave Intact" is the longest song here, only one falls beneath four minutes ("Light's On") and you should skip that one anyway. "Sad and Lonely" continues with a similar feel but with more sunshine rock than space. The Secret Machines actually turn things down on the ambient, softly song "Leaves Are Gone." "Nowhere Again" is one of the more standard rock tracks that will likely get picked up on the radio. In case you were missing Depeche Mode, the Secret Machines give such constructs some love on the guitar-bolstered "Road Leads Where It's Led." Do yourself a favor and skip "Pharaoh's Daughter" to get to the piano-creeping "You Are Chains." "You Are Chains" also picks up a modern rock theme after making an attempt to usurp the instrumental band title. The record closes on the nearly nine-minute title track, which features alternating singing by the Curtis brothers. The song continues and tries to crescendo with a wave of instruments but never truly reaches its peak. Now Here Is Nowhere is not an album for quick hitting listening pleasure. Rather, it is something to put in and enjoy on a recliner.
Now Here Is Nowhere
Reprise Records
Grade: A-
If you are searching for epic rock soundscapes then you should look no further then Now Here Is Nowhere from NYC-based the Secret Machines. With a ton of pre-release press, promotion and audio streams of the record, I was really surprised when this nine track, fifty-minute album delivered on the goods. With the opening "First Wave Intact," a spacey, drawn out, yet sweetly catching nine-minute affair, you may begin to wonder how a band could dream up such sounds on the streets of NYC. That's because the three-piece of guitarist/vocalist Ben Curtis, his brother bassist/keyboardist/vocalist Brandon Curtis and drummer Josh Garza hail from the big D - Dallas. All three rocked out in numerous Dallas bands in the nineties, including Tripping Daisy. Around 2000, they got together to do their own thing and in their own place. After a quick trip to Chicago to record some material, they settled into the position of struggling artists in NYC. Perseverance, dreams and some good luck helped establish the Secret Machines as a chose live band in the city. This plus an EP on Ace Fu Records in 2002 from the Chicago recordings, opened doors for the band leading them to sign to Reprise in late 2002. Scoring the creative powers of producer Jeff Blenkinsopp, Secret Machines recorded Now Here Is Nowhere at Stratosphere Sound in New York. That studio's name is one of the most apropos things I've heard given the band's sound on the record. What is uniquely refreshing is that the Secret Machines sound so totally un-NYC's sound right now. It is safe to say that the Secret Machines want to take on a mind-trip with a resurgence of spacey, psychedelic, wistful music that echoes Eno's endeavors and Pink Floyd to name a few. Though "First Wave Intact" is the longest song here, only one falls beneath four minutes ("Light's On") and you should skip that one anyway. "Sad and Lonely" continues with a similar feel but with more sunshine rock than space. The Secret Machines actually turn things down on the ambient, softly song "Leaves Are Gone." "Nowhere Again" is one of the more standard rock tracks that will likely get picked up on the radio. In case you were missing Depeche Mode, the Secret Machines give such constructs some love on the guitar-bolstered "Road Leads Where It's Led." Do yourself a favor and skip "Pharaoh's Daughter" to get to the piano-creeping "You Are Chains." "You Are Chains" also picks up a modern rock theme after making an attempt to usurp the instrumental band title. The record closes on the nearly nine-minute title track, which features alternating singing by the Curtis brothers. The song continues and tries to crescendo with a wave of instruments but never truly reaches its peak. Now Here Is Nowhere is not an album for quick hitting listening pleasure. Rather, it is something to put in and enjoy on a recliner.
Monday, October 27, 2008
Miss Kittin - I Com
Miss Kittin
I Com
Astralwerks
Grade: A-
With her first solo album, Miss Kittin (aka, Caroline Herve) has preceded to rock the electronic DJ shit out of our indie rock asses. Delving further into the electronic music scene, I realize that I shouldn't have written it off a decade ago. With such a wide span of great music out there, Miss Kittin's I Com is clearly some of the hottest shit going.
Born in France, Miss Kittin got into electronic music in her home town of Grenoble at the precipice of the rave explosion circa 1990. Working in clubs and traveling to raves when possible, she began to the live the life. But it wasn't until 1994 that she started to get into mixing and DJing. Once she found she could hold her own and rock out just as hard as anyone else it opened up an entirely new life. A short time later she stopped her art schooling in France and became a full-time DJ. This lead to playing shows all over Europe and in the U.S. Her first recorded material ("Frank Sinatra," Champagne EP, Intimites EP) came with long time friend the Hacker on DJ Hell's International DJ Gigolo label. Miss Kittin came to further notice when she and the Hacker released Miss Kittin and the Hacker - The First Album on International DJ Gigolo in 2001. As a coincidence of circumstances, Felix Da Housecat was making his own waves in the U.S. and together they helped push "electro-clash" to notice. Having residencies all over Europe and a new home in Berlin, Miss Kittin knocked out I Com with producers Tobi Neumann and Thies Mynther this past year.
I Com starts off on "Professional Distortion" with rock undertones to a host of blips while Miss Kittin's vocals come across like the Waitresses. "Professional Distortion" is a straight-forward commentary on life as a nightlife mover, with lines like "I have to sing,I have to tease\\I have to kiss so many cheeks\\I got the flav, I got the tricks\\I have to put guests on the list." This is followed by one of the hottest song's on the record "Requiem For a Hit." Featuring Chicago-based L.A. Williams on vocals, the song follows the refrain of "I beat that bitch with a hit" over and over with Miss Kittin repeating it towards the end after a breakdown. The slow moving and sensuous "Happy Violentine" is next with Miss Kittin taking the lead on vocals. To totally change gears, Miss Kittin follows this with the psycho-electro-punk "Meet Sue Be She." Sounding like a track from Japan's Polysics, Miss Kittin rocks a song to her manager car style as "Meet Sue Be She" is Mitsubishi, "Sue Zoo Key" is Suzuki and "Be Aime Double You" is BMW. The take away point is that it's a fun song that pumps the adrenaline. "Kiss Factory" brings back the sexiness to I Com and reinforces Miss Kittin's own appeals. "Allergic" is a song I'm feeling right now as Miss Kittin's fighting off allergies to herself. The song starts a bit robotic but builds back the smoothness. In her own words, "Soundtrack of Now," programmed and performed by the Hacker, is a mainly instrumental tribute to Detroit. This song is probably the most 'techno' that you are going to find on the record. "Dub About Me" is a seven-minute voyage of slow tempo dribbles from Miss Kittin. Measuring scattered beats around with off-English French accents, "Clone Me" illustrates Miss Kittin's ability to bring up new wave sounds to contemporary listeners. As a treat for older listeners, Miss Kittin does a cover of Indochine's 1985 European Hit "3eme Sexe" (Third Sex). I'm not familiar with the original French version, but the song has some sweet elements but they aren't taken far enough. I Com closes with "I Come.com" and "Neukolln 2." "I Come.com" finds Miss Kittin muttering some technology babble that would make a tech-head wet with very minimal beats and blips underneath. Miss Kittin rocks out more traditional tempo electronics on "Neukolln 2."
As Miss Kittin's first adventure in soloism, I Com is a stunning musical product. As much disdain you may have for general electronic exploits, one cannot deny the magnetism of at least a majority of the tracks on I Com. I am sold to its power and I hope to find other items in parallel appealing forms.
I Com
Astralwerks
Grade: A-
With her first solo album, Miss Kittin (aka, Caroline Herve) has preceded to rock the electronic DJ shit out of our indie rock asses. Delving further into the electronic music scene, I realize that I shouldn't have written it off a decade ago. With such a wide span of great music out there, Miss Kittin's I Com is clearly some of the hottest shit going.
Born in France, Miss Kittin got into electronic music in her home town of Grenoble at the precipice of the rave explosion circa 1990. Working in clubs and traveling to raves when possible, she began to the live the life. But it wasn't until 1994 that she started to get into mixing and DJing. Once she found she could hold her own and rock out just as hard as anyone else it opened up an entirely new life. A short time later she stopped her art schooling in France and became a full-time DJ. This lead to playing shows all over Europe and in the U.S. Her first recorded material ("Frank Sinatra," Champagne EP, Intimites EP) came with long time friend the Hacker on DJ Hell's International DJ Gigolo label. Miss Kittin came to further notice when she and the Hacker released Miss Kittin and the Hacker - The First Album on International DJ Gigolo in 2001. As a coincidence of circumstances, Felix Da Housecat was making his own waves in the U.S. and together they helped push "electro-clash" to notice. Having residencies all over Europe and a new home in Berlin, Miss Kittin knocked out I Com with producers Tobi Neumann and Thies Mynther this past year.
I Com starts off on "Professional Distortion" with rock undertones to a host of blips while Miss Kittin's vocals come across like the Waitresses. "Professional Distortion" is a straight-forward commentary on life as a nightlife mover, with lines like "I have to sing,I have to tease\\I have to kiss so many cheeks\\I got the flav, I got the tricks\\I have to put guests on the list." This is followed by one of the hottest song's on the record "Requiem For a Hit." Featuring Chicago-based L.A. Williams on vocals, the song follows the refrain of "I beat that bitch with a hit" over and over with Miss Kittin repeating it towards the end after a breakdown. The slow moving and sensuous "Happy Violentine" is next with Miss Kittin taking the lead on vocals. To totally change gears, Miss Kittin follows this with the psycho-electro-punk "Meet Sue Be She." Sounding like a track from Japan's Polysics, Miss Kittin rocks a song to her manager car style as "Meet Sue Be She" is Mitsubishi, "Sue Zoo Key" is Suzuki and "Be Aime Double You" is BMW. The take away point is that it's a fun song that pumps the adrenaline. "Kiss Factory" brings back the sexiness to I Com and reinforces Miss Kittin's own appeals. "Allergic" is a song I'm feeling right now as Miss Kittin's fighting off allergies to herself. The song starts a bit robotic but builds back the smoothness. In her own words, "Soundtrack of Now," programmed and performed by the Hacker, is a mainly instrumental tribute to Detroit. This song is probably the most 'techno' that you are going to find on the record. "Dub About Me" is a seven-minute voyage of slow tempo dribbles from Miss Kittin. Measuring scattered beats around with off-English French accents, "Clone Me" illustrates Miss Kittin's ability to bring up new wave sounds to contemporary listeners. As a treat for older listeners, Miss Kittin does a cover of Indochine's 1985 European Hit "3eme Sexe" (Third Sex). I'm not familiar with the original French version, but the song has some sweet elements but they aren't taken far enough. I Com closes with "I Come.com" and "Neukolln 2." "I Come.com" finds Miss Kittin muttering some technology babble that would make a tech-head wet with very minimal beats and blips underneath. Miss Kittin rocks out more traditional tempo electronics on "Neukolln 2."
As Miss Kittin's first adventure in soloism, I Com is a stunning musical product. As much disdain you may have for general electronic exploits, one cannot deny the magnetism of at least a majority of the tracks on I Com. I am sold to its power and I hope to find other items in parallel appealing forms.
Friday, October 24, 2008
Hockey Island - Chopping Block
Hockey Island
Chopping Block
Grade: A-
So, your first reaction to the name Hockey Island may be something on the order of - 'well that's an odd name.' 'Do they write songs about playing hockey like the Zambonis?' No, at least not yet. 'Do they live on an island?' Well, sort of - if you count the actual island of Long Island. Initially conceived as an art school endeavor, the present day lineup is about the umpteenth version, but the first serious one. So the name has been passed around a bit and now it has landed with its rightful owners. At the helm of this NYC four-piece is Virat Shukla, guitarist of the Oranges Band (Lookout Records). His duty as lead guitarist and vocalist is to reign in the creative juices of guitarist Greg McKenna, bassist Elena Fox and drummer Matt Petz - all artists in their own right. Several years with the Baltimore-based Oranges has certainly rubbed off Shukla's songwriting on this six song demo. A simple characterization of Hockey Island is the Oranges' foundation but with scores more hooks, melodies and pure indie popness. In that respect, this is probably the best 'demo' I've ever heard and certainly trumps a swift majority of signed indie rock bands. The record starts on "Fire" with a dual guitar buildup to a startling synth hook that creeps in as a bridge throughout the number. But, "Fire" is simply a warm up to one of the best songs I've heard this year - "Two Hippies." My admiration and affection for "Two Hippies" has been independently confirmed both by individual listeners as well as the band's live show audiences. The song itself is about Shukla's parents, but that is secondary to the day-dreaming melodies. "Two Hippies" seduces you in slowly with the verse, then grabs you with the chorus and takes you over the top with the closing. "Two Hippies" is one of the few times you will have reason to use that repeat button on your stereo. "Dark Weather" follows with CCR reminiscent guitars and more solid songwriting love from Shukla - with a highlight on the multi-vocal harmony bridge. "Never Be Mine" has a free flow summertime feel to it, while "I Lost My Voice" echoes Beatles-esque catchy subtleness but with its own signature. The record closes on the lurking "B25 (Everything Twice)" about a WWII pilot fretting over his last mission. One of the appeals of this demo is that each song has its own identity, each burning itself to your memory, yet together they form a cohesive unit. And the best part is that this is just the beginning for Hockey Island. Check them out at www.hockeyislandsings.com
Chopping Block
Grade: A-
So, your first reaction to the name Hockey Island may be something on the order of - 'well that's an odd name.' 'Do they write songs about playing hockey like the Zambonis?' No, at least not yet. 'Do they live on an island?' Well, sort of - if you count the actual island of Long Island. Initially conceived as an art school endeavor, the present day lineup is about the umpteenth version, but the first serious one. So the name has been passed around a bit and now it has landed with its rightful owners. At the helm of this NYC four-piece is Virat Shukla, guitarist of the Oranges Band (Lookout Records). His duty as lead guitarist and vocalist is to reign in the creative juices of guitarist Greg McKenna, bassist Elena Fox and drummer Matt Petz - all artists in their own right. Several years with the Baltimore-based Oranges has certainly rubbed off Shukla's songwriting on this six song demo. A simple characterization of Hockey Island is the Oranges' foundation but with scores more hooks, melodies and pure indie popness. In that respect, this is probably the best 'demo' I've ever heard and certainly trumps a swift majority of signed indie rock bands. The record starts on "Fire" with a dual guitar buildup to a startling synth hook that creeps in as a bridge throughout the number. But, "Fire" is simply a warm up to one of the best songs I've heard this year - "Two Hippies." My admiration and affection for "Two Hippies" has been independently confirmed both by individual listeners as well as the band's live show audiences. The song itself is about Shukla's parents, but that is secondary to the day-dreaming melodies. "Two Hippies" seduces you in slowly with the verse, then grabs you with the chorus and takes you over the top with the closing. "Two Hippies" is one of the few times you will have reason to use that repeat button on your stereo. "Dark Weather" follows with CCR reminiscent guitars and more solid songwriting love from Shukla - with a highlight on the multi-vocal harmony bridge. "Never Be Mine" has a free flow summertime feel to it, while "I Lost My Voice" echoes Beatles-esque catchy subtleness but with its own signature. The record closes on the lurking "B25 (Everything Twice)" about a WWII pilot fretting over his last mission. One of the appeals of this demo is that each song has its own identity, each burning itself to your memory, yet together they form a cohesive unit. And the best part is that this is just the beginning for Hockey Island. Check them out at www.hockeyislandsings.com
Thursday, October 23, 2008
Down to Earth Approach - Another Intervention
Down To Earth Approach
Another Intervention
Vagrant Records
Grade: A-
This is the record that the Get Up Kids should have made after Something To Write Home About. Neat, crisp, melody-laden music that makes you feel good populate the eleven tracks on Another Intervention. The four-piece Down to Earth Approach initially hail from the sticks of western New York, Batavia, but now they are living in LA. And with good reason. Since, I went to school near there I can verify that absolutely nothing happens in Batavia - at all. It's the kind of place that people living there refer to Rochester, NY as the "city." That makes it all the more amazing that these guys are able to come up with such good shit out of such a desolate place. As the above mentions, Down to Earth Approach take a good deal of their swagger from the Get Up Kids, but sprinkle a bit more contemporary pop-punk to sweeten the deal. In that respect they walk a thin line. When lead singer and guitarist Jonathan Lullo's vocals are nearing the whining of today's pop-punk, you want to strangle him mostly because you hear how damn good they are without the whine. These accents may turn off the casual listener who may characterize the band as simply another clone. Since this is DTEA's debut on Vagrant, the band has time to mature and for Lullo to find his own vocal sound. Another Intervention starts out on "Exhibit of the Year" with enthusiasm and pop that is enhanced by thoughtful guitar work. "Exhibit of the Year" is a choice track to lay out the basic plan for the next ten songs. Other songs that smoke include "We're Sleeping," "Honey and Vinegar," "Face First" and "Lights" with its phenomenal opening. Honestly, save for the whines Another Intervention is one of the best records I've heard all year. If Vagrant pushes hard enough for these guys, they will very likely make a colossal splash with Another Intervention. Look forward to seeing these guys as they support the record this summer and fall.
Another Intervention
Vagrant Records
Grade: A-
This is the record that the Get Up Kids should have made after Something To Write Home About. Neat, crisp, melody-laden music that makes you feel good populate the eleven tracks on Another Intervention. The four-piece Down to Earth Approach initially hail from the sticks of western New York, Batavia, but now they are living in LA. And with good reason. Since, I went to school near there I can verify that absolutely nothing happens in Batavia - at all. It's the kind of place that people living there refer to Rochester, NY as the "city." That makes it all the more amazing that these guys are able to come up with such good shit out of such a desolate place. As the above mentions, Down to Earth Approach take a good deal of their swagger from the Get Up Kids, but sprinkle a bit more contemporary pop-punk to sweeten the deal. In that respect they walk a thin line. When lead singer and guitarist Jonathan Lullo's vocals are nearing the whining of today's pop-punk, you want to strangle him mostly because you hear how damn good they are without the whine. These accents may turn off the casual listener who may characterize the band as simply another clone. Since this is DTEA's debut on Vagrant, the band has time to mature and for Lullo to find his own vocal sound. Another Intervention starts out on "Exhibit of the Year" with enthusiasm and pop that is enhanced by thoughtful guitar work. "Exhibit of the Year" is a choice track to lay out the basic plan for the next ten songs. Other songs that smoke include "We're Sleeping," "Honey and Vinegar," "Face First" and "Lights" with its phenomenal opening. Honestly, save for the whines Another Intervention is one of the best records I've heard all year. If Vagrant pushes hard enough for these guys, they will very likely make a colossal splash with Another Intervention. Look forward to seeing these guys as they support the record this summer and fall.
Wednesday, October 22, 2008
Communique - Poison Arrows
Communique
Poison Arrows
Lookout Records
Grade: A-
This record delivers way more than I was expecting from this Oakland, CA five-piece. Part of their strong anchoring is that four of the five were in the veteran punk group American Steel. The guys decided to rename and refocus the band as their interests began to deviate towards more electronic-based endeavors during 2001 and 2002. And thus Communique was born. Yet, there were a few bumps along the way to this full-length debut. First, they had to convince American Steel fans that they hadn't gone soft and weren't trying to break fans' hearts. Next, original drummer Jamie Kissinger left the band before they recorded their 2003 debut EP A Crescent Honeymoon. With session drummer Eric Alexander, the group recorded the EP, took to the road and won the respect of the electro-indie rock world. Kissinger later came back and the band hired keyboardist Cory Gowan as a full-time member to fulfill their musical vision. Now with ten new songs, Communique is making another run at the big time. I admit that I've become a sucker for all these electro-indie/new new wave bands - or what you want to call them - and Poison Arrows delivers your fix in droves. Most importantly, Communique are all about writing really good pop songs that stick with you then simply adding esoteric electronic layers. In that respect, they should be on the cusp of grabbing some Faint fans who have become disappointed by their less poppy elements. Though some may back away from Communique's at times light FM melodies (handing them the moniker Communigay), you can't deny the poppiness makes you feel chipper - as long as your not being cynical. Admit that some pop songs are good and devour Poison Arrows. Also, how can you not love a band for using images of space from Caltech's Jet Propulsion Lab. There is little point to mention the songs track-by-track because all get you moving and each gives you something to look forward to. As part of Lookout's path of diversifying their previous pop-punk foundation, the label has scored big time with Communique. With enough effort on the label's part, Communique will blow up. I'm off to pick up A Crescent Honeymoon EP right now.
Poison Arrows
Lookout Records
Grade: A-
This record delivers way more than I was expecting from this Oakland, CA five-piece. Part of their strong anchoring is that four of the five were in the veteran punk group American Steel. The guys decided to rename and refocus the band as their interests began to deviate towards more electronic-based endeavors during 2001 and 2002. And thus Communique was born. Yet, there were a few bumps along the way to this full-length debut. First, they had to convince American Steel fans that they hadn't gone soft and weren't trying to break fans' hearts. Next, original drummer Jamie Kissinger left the band before they recorded their 2003 debut EP A Crescent Honeymoon. With session drummer Eric Alexander, the group recorded the EP, took to the road and won the respect of the electro-indie rock world. Kissinger later came back and the band hired keyboardist Cory Gowan as a full-time member to fulfill their musical vision. Now with ten new songs, Communique is making another run at the big time. I admit that I've become a sucker for all these electro-indie/new new wave bands - or what you want to call them - and Poison Arrows delivers your fix in droves. Most importantly, Communique are all about writing really good pop songs that stick with you then simply adding esoteric electronic layers. In that respect, they should be on the cusp of grabbing some Faint fans who have become disappointed by their less poppy elements. Though some may back away from Communique's at times light FM melodies (handing them the moniker Communigay), you can't deny the poppiness makes you feel chipper - as long as your not being cynical. Admit that some pop songs are good and devour Poison Arrows. Also, how can you not love a band for using images of space from Caltech's Jet Propulsion Lab. There is little point to mention the songs track-by-track because all get you moving and each gives you something to look forward to. As part of Lookout's path of diversifying their previous pop-punk foundation, the label has scored big time with Communique. With enough effort on the label's part, Communique will blow up. I'm off to pick up A Crescent Honeymoon EP right now.
Tuesday, October 21, 2008
Atreyu - The Curse
Atreyu
The Curse
Victory Records
Grade: A-
The Curse starts out on "Bleeding Mascara" like the second coming of Slayer - or at least their red-headed stepchild. Partway through "Bleeding Mascara," Atreyu let off the death-metal and slice shit up with their own brand of metalcore. And this is how Orange County, CA's favorite hardcore band start off their second record for Victory.
When their debut Suicide Notes and Butterfly Kisses hit the ground in 2002 (also just re-released with bonus material), I remember thinking they were like the weaker, little brother of labelmates Darkest Hour. Yet over the course of the past two years, Atreyu has found their own notch in the hardcore world that is easily demonstrated on this record. The five-piece have worked hard on these thirteen tracks to try to divvy up flat-out screaming and melodic utterings. Given the current nature and plethora of 'screamo' bands this is a challenging endeavor. Atreyu have an edge, though, with their swirl and crunch of metal guitars and darker undertones. Part of this tightness was surely precipitated by producer GGGarth and the band's own anal demoing. As such, the final product is a substantial improvement over the debut, though is still not a picture of perfection.
After "Bleeding Mascara's" blast, "Right Side of the Bed" (the first single) comes with an oddly-catchy 80s rock riff that surely grabs your attention. Besides from the riff the next ear catching moment comes from the lyrics "she'll fuck you just for a taste" (a line surely to be edited for radio). Connecting that line to the scantily clothed 'vampire' woman on the cover makes it even more impressionable. Also, keep an ear for the break down on "Right Side of the Bed." "The Flesh of Tomb," while tight, is moderately indistinguishable for the band save for the metal guitar work near the end. "You Eclipsed By Me" is more balls out heavy and "The Crimson" takes the always unfortunate slow delay guitar solo before melting into the meat. "The Remembrance Ballad" takes a similar voyage as "The Crimson," but continues the drudgery past acceptability. I do appreciate the melodic breakdown on "The Remembrance Ballad," but they drop the ball in the next breath. After the instrumental "An Interlude," the thrash guitars come from below on "Corseting" and continue on with the high pitched doubling guitar effect on "Demonology and Heartache." "Demonology and Heartache" does absolutely rock and rivals "Right Side of the Bed" as the shooting star song. Atreyu illustrates some grind on "My Sanity on the Funeral Pyre" and mix it up with some melodic vocals. "Nevada's Grace" and "Five Vicodin Chased with a Shot of Clarity" close out The Curse in climatic dress.
Given the initial success Atreyu had with their first record, The Curse should do much more to blow the doors off the place. Atreyu are going to be rocking the second-stage for the all dates of Ozzfest, so if you interested in some hardcore goings on at the show check them out.
The Curse
Victory Records
Grade: A-
The Curse starts out on "Bleeding Mascara" like the second coming of Slayer - or at least their red-headed stepchild. Partway through "Bleeding Mascara," Atreyu let off the death-metal and slice shit up with their own brand of metalcore. And this is how Orange County, CA's favorite hardcore band start off their second record for Victory.
When their debut Suicide Notes and Butterfly Kisses hit the ground in 2002 (also just re-released with bonus material), I remember thinking they were like the weaker, little brother of labelmates Darkest Hour. Yet over the course of the past two years, Atreyu has found their own notch in the hardcore world that is easily demonstrated on this record. The five-piece have worked hard on these thirteen tracks to try to divvy up flat-out screaming and melodic utterings. Given the current nature and plethora of 'screamo' bands this is a challenging endeavor. Atreyu have an edge, though, with their swirl and crunch of metal guitars and darker undertones. Part of this tightness was surely precipitated by producer GGGarth and the band's own anal demoing. As such, the final product is a substantial improvement over the debut, though is still not a picture of perfection.
After "Bleeding Mascara's" blast, "Right Side of the Bed" (the first single) comes with an oddly-catchy 80s rock riff that surely grabs your attention. Besides from the riff the next ear catching moment comes from the lyrics "she'll fuck you just for a taste" (a line surely to be edited for radio). Connecting that line to the scantily clothed 'vampire' woman on the cover makes it even more impressionable. Also, keep an ear for the break down on "Right Side of the Bed." "The Flesh of Tomb," while tight, is moderately indistinguishable for the band save for the metal guitar work near the end. "You Eclipsed By Me" is more balls out heavy and "The Crimson" takes the always unfortunate slow delay guitar solo before melting into the meat. "The Remembrance Ballad" takes a similar voyage as "The Crimson," but continues the drudgery past acceptability. I do appreciate the melodic breakdown on "The Remembrance Ballad," but they drop the ball in the next breath. After the instrumental "An Interlude," the thrash guitars come from below on "Corseting" and continue on with the high pitched doubling guitar effect on "Demonology and Heartache." "Demonology and Heartache" does absolutely rock and rivals "Right Side of the Bed" as the shooting star song. Atreyu illustrates some grind on "My Sanity on the Funeral Pyre" and mix it up with some melodic vocals. "Nevada's Grace" and "Five Vicodin Chased with a Shot of Clarity" close out The Curse in climatic dress.
Given the initial success Atreyu had with their first record, The Curse should do much more to blow the doors off the place. Atreyu are going to be rocking the second-stage for the all dates of Ozzfest, so if you interested in some hardcore goings on at the show check them out.
Monday, October 20, 2008
Athlete - Vehicles & Animals
Athlete
Vehicles & Animals
Astralwerks
Grade: A-
Though some have called Athlete the Beta Band's little brothers, Vehicles & Animals kicks Beta Band's ass 99% of the time. It took a bit for this foursome from South London to find their sound, which is some merger between Pavement, Gomez and the like. The sound push for singer/guitarist Joel Pott, bassist Carey Willetts and drummer Steve Roberts came from the addition of long time friend Tim Wanstall on keyboards. This allowed them to sufficiently add keys and electronics to the slacker rock standard. Scoring producer Victor Van Vugt (Nick Cave, PJ Harvey), Athlete went into a London studio and knocked out the twelve track record - along with a bonus track for the U.S. release. Though Athlete's songs are certainly inscribed around Britain, often they sound closer in heart to American alterna-folk and indie rock. This mesh of sounds puts them in the unique position of appealing to the Shins/Sub Pop crowd and the Brit rock crowd. Athlete has already established their popularity in the UK with a top 40 hit with "You Got the Style" - including in both song and video on Vehicles & Animals and a Mercury Music Prize nomination. As with nearly all records there are ups and downs between tracks. Yet, the ups are really fucking high.
The record starts with a familiar introduction on "El Salvador," before moving to the harmony driven British accented verse and chorus - a chorus that has magical appeal. Though "Westside" was one of Athlete's first songs, it pales in comparison to the rest. "Shake Those Windows" has undoubtedly Pavement influences but less on the quirkiness and more on harmony. In a non-flashy way, "Shake Those Windows" shines as one of the best songs here and anywhere. "New Project" begins with piano and vocals as electronics slide into thicken the sound. As mentioned above "You Got the Style" has already set Athlete up in Britain and it easy to see why. With a very contemporary sound, Athlete rock out the quasi-reggae backbeat chorus with a Sting-like flair. The video only adds to the song's enjoyment, whose only critique is that it could be a minute shorter without detracting from the product. Interestingly, "You Got the Style" is actually about the South London race riots of 2001. The title track follows with a sound that echoes an Elton John composition, which is a very good thing. As Pott describes it the song and the cover art is inspired by his nephew and how as a child happiness comes in small packages - namely toys. Pott strums an acoustic guitar and sings solo as "Dungeness" opens up with light drums and bass coming in part of the way. A defining moment on "Dungeness" is the group chorus of "let's go to Dungeness." "You Know" has its Pavement moments but Athlete take it beyond with one of the best sounding and feeling choruses in recent memory. Along with "El Salvador," "Shake Those Windows" and "You Got the Style," "You Know" is a standout number. The UK released version closes on the slow moving, electronic-based "Le Casio." But the U.S. version ends on the short, folksy "A Few Differences." It's nice to see a non-American artist releasing special versions of records in the U.S., as it seems to almost always be the other way around.
With enough PR love and a fair listen, Vehicles & Animals should play very well in the U.S. Though Athlete may get criticized for sounding too much like one band or another, you can't deny the appeal of the record's melodic songs. It may be derivative, but Athlete have taken all the good and shaken off all the bad.
Vehicles & Animals
Astralwerks
Grade: A-
Though some have called Athlete the Beta Band's little brothers, Vehicles & Animals kicks Beta Band's ass 99% of the time. It took a bit for this foursome from South London to find their sound, which is some merger between Pavement, Gomez and the like. The sound push for singer/guitarist Joel Pott, bassist Carey Willetts and drummer Steve Roberts came from the addition of long time friend Tim Wanstall on keyboards. This allowed them to sufficiently add keys and electronics to the slacker rock standard. Scoring producer Victor Van Vugt (Nick Cave, PJ Harvey), Athlete went into a London studio and knocked out the twelve track record - along with a bonus track for the U.S. release. Though Athlete's songs are certainly inscribed around Britain, often they sound closer in heart to American alterna-folk and indie rock. This mesh of sounds puts them in the unique position of appealing to the Shins/Sub Pop crowd and the Brit rock crowd. Athlete has already established their popularity in the UK with a top 40 hit with "You Got the Style" - including in both song and video on Vehicles & Animals and a Mercury Music Prize nomination. As with nearly all records there are ups and downs between tracks. Yet, the ups are really fucking high.
The record starts with a familiar introduction on "El Salvador," before moving to the harmony driven British accented verse and chorus - a chorus that has magical appeal. Though "Westside" was one of Athlete's first songs, it pales in comparison to the rest. "Shake Those Windows" has undoubtedly Pavement influences but less on the quirkiness and more on harmony. In a non-flashy way, "Shake Those Windows" shines as one of the best songs here and anywhere. "New Project" begins with piano and vocals as electronics slide into thicken the sound. As mentioned above "You Got the Style" has already set Athlete up in Britain and it easy to see why. With a very contemporary sound, Athlete rock out the quasi-reggae backbeat chorus with a Sting-like flair. The video only adds to the song's enjoyment, whose only critique is that it could be a minute shorter without detracting from the product. Interestingly, "You Got the Style" is actually about the South London race riots of 2001. The title track follows with a sound that echoes an Elton John composition, which is a very good thing. As Pott describes it the song and the cover art is inspired by his nephew and how as a child happiness comes in small packages - namely toys. Pott strums an acoustic guitar and sings solo as "Dungeness" opens up with light drums and bass coming in part of the way. A defining moment on "Dungeness" is the group chorus of "let's go to Dungeness." "You Know" has its Pavement moments but Athlete take it beyond with one of the best sounding and feeling choruses in recent memory. Along with "El Salvador," "Shake Those Windows" and "You Got the Style," "You Know" is a standout number. The UK released version closes on the slow moving, electronic-based "Le Casio." But the U.S. version ends on the short, folksy "A Few Differences." It's nice to see a non-American artist releasing special versions of records in the U.S., as it seems to almost always be the other way around.
With enough PR love and a fair listen, Vehicles & Animals should play very well in the U.S. Though Athlete may get criticized for sounding too much like one band or another, you can't deny the appeal of the record's melodic songs. It may be derivative, but Athlete have taken all the good and shaken off all the bad.
Friday, October 17, 2008
Andi Camp/We're From Japan! - You Are the Vehicle
Andi Camp/We're From Japan!
You Are the Vehicle
Grafton Records
Grade: A-/A
When I tell you this I shit you not: this split EP has the coolest package ever! Its breathtaking charm can only be understood by holding it in your hands and unpacking to get to the CD. My meager description wouldn't do it justice, but it's folded up paper with an ink drawing on the cover (silkscreened) with a string on the back holding it together. The original artwork was done by We're From Japan guitarist John Reed Dunn. You unfold it to get to the silver paper info sheet and black paper CD holder. Mine is hand numbered no. 253 - I feel special. I was infinitesimally worried that the music would not hold up to the packaging - yet I've apparently spent the past decade in the dark as to not to have heard of Andi Camp's Grafton Records HQ in Portland (which may be true given my goth days - just kidding). Andi Camp is a solo singer songwriter who used to head Ribbon Fix but now rocks herself out on piano. We're From Japan! are another phenomenal instrumental band from Portland that can secretly destroy you when you give them a fair shake. Having done a couple of tours together, Camp and the Japan four-piece decided to put their efforts into an EP. Each does two songs and then they have a massive collaboration orgy on the fifth. Camp, helped by Joey Prude on drums, lays out "Lion's Den" and "Hailstorm" for your pleasure. Both songs feature Camp's shockingly splendid voice that sounds straight up Coheed - and if that dude from Coheed died then look no further - with a slight measure of dirty distortion on the recording. "Lion's Den" rumbles and tumbles with rocking piano and an uptempo beat, before bashing into pure indie Armageddon. "Hailstorm" is more swirling pianos and drums fills, but shines just the same. We're From Japan! lay out a six-minute joint on "To Temple Grandin" as a warm up to the dazzling "All at Once." "To Temple Grandin" is good but falls too close to ordinary instrumental bands listlessness. Maybe it is the addition of Camp for a little piano on "All at Once" that makes it better than better. Regardless, the song should be in a movie that wins an Oscar and the band gets famous. "All at Once" is the best instrumental song I've ever heard. Given that lead in, the full-on collaboration on "I'm on Fire" slips from "All at Once," but still gives Springsteen just cause to sing these bands' praises. If you can find this record then buy it immediately. If nothing else you can dazzle people with the packaging and by saying 'yeah, this is fucking no. 253!'
You Are the Vehicle
Grafton Records
Grade: A-/A
When I tell you this I shit you not: this split EP has the coolest package ever! Its breathtaking charm can only be understood by holding it in your hands and unpacking to get to the CD. My meager description wouldn't do it justice, but it's folded up paper with an ink drawing on the cover (silkscreened) with a string on the back holding it together. The original artwork was done by We're From Japan guitarist John Reed Dunn. You unfold it to get to the silver paper info sheet and black paper CD holder. Mine is hand numbered no. 253 - I feel special. I was infinitesimally worried that the music would not hold up to the packaging - yet I've apparently spent the past decade in the dark as to not to have heard of Andi Camp's Grafton Records HQ in Portland (which may be true given my goth days - just kidding). Andi Camp is a solo singer songwriter who used to head Ribbon Fix but now rocks herself out on piano. We're From Japan! are another phenomenal instrumental band from Portland that can secretly destroy you when you give them a fair shake. Having done a couple of tours together, Camp and the Japan four-piece decided to put their efforts into an EP. Each does two songs and then they have a massive collaboration orgy on the fifth. Camp, helped by Joey Prude on drums, lays out "Lion's Den" and "Hailstorm" for your pleasure. Both songs feature Camp's shockingly splendid voice that sounds straight up Coheed - and if that dude from Coheed died then look no further - with a slight measure of dirty distortion on the recording. "Lion's Den" rumbles and tumbles with rocking piano and an uptempo beat, before bashing into pure indie Armageddon. "Hailstorm" is more swirling pianos and drums fills, but shines just the same. We're From Japan! lay out a six-minute joint on "To Temple Grandin" as a warm up to the dazzling "All at Once." "To Temple Grandin" is good but falls too close to ordinary instrumental bands listlessness. Maybe it is the addition of Camp for a little piano on "All at Once" that makes it better than better. Regardless, the song should be in a movie that wins an Oscar and the band gets famous. "All at Once" is the best instrumental song I've ever heard. Given that lead in, the full-on collaboration on "I'm on Fire" slips from "All at Once," but still gives Springsteen just cause to sing these bands' praises. If you can find this record then buy it immediately. If nothing else you can dazzle people with the packaging and by saying 'yeah, this is fucking no. 253!'
Thursday, October 16, 2008
The National Rifle - Wage Life
The National Rifle
Wage Life
Self-released
Grade: A-
Philly’s the National Rifle are probably the best indie-punk that you’ve never heard of, as well as one of the best unsigned bands kicking around. Featuring social and political undertones, the National Rifle sticking point is their favorable comparison to poppier Clash songs with are infused with melodies and a sometimes perfect vocal cadence. You may also think a lighter Anti-Flag. But a near-perfect comparison is to the Quebec band the Frenetics. Whatever your anchor point, a few of the songs on Wage Life will make you extremely glad that you haven’t lost your hearing. Unquestionably the top song is the opener “Baby Stole My Gun” – a song that makes you take notice the second the vocals kick in. After the average “Gaggers” comes “Girls at the Clinic,” which begins in similar manner to the opener but utilizes 50s pop harmonies in places that offers an interesting twist. “Crustache” is an odd electronic-based song, while “Gay Rock n’ Roll” ushers in uptempo Elvis Costello-tinged punk rock. Wage Life finishes up on the horn-orgy “Kickin’ Dogs,” which is fairly bad, and “Tina” recorded dirtily live. With a bit of polish The National Rifle might become an exciting diversion to your life.
Wage Life
Self-released
Grade: A-
Philly’s the National Rifle are probably the best indie-punk that you’ve never heard of, as well as one of the best unsigned bands kicking around. Featuring social and political undertones, the National Rifle sticking point is their favorable comparison to poppier Clash songs with are infused with melodies and a sometimes perfect vocal cadence. You may also think a lighter Anti-Flag. But a near-perfect comparison is to the Quebec band the Frenetics. Whatever your anchor point, a few of the songs on Wage Life will make you extremely glad that you haven’t lost your hearing. Unquestionably the top song is the opener “Baby Stole My Gun” – a song that makes you take notice the second the vocals kick in. After the average “Gaggers” comes “Girls at the Clinic,” which begins in similar manner to the opener but utilizes 50s pop harmonies in places that offers an interesting twist. “Crustache” is an odd electronic-based song, while “Gay Rock n’ Roll” ushers in uptempo Elvis Costello-tinged punk rock. Wage Life finishes up on the horn-orgy “Kickin’ Dogs,” which is fairly bad, and “Tina” recorded dirtily live. With a bit of polish The National Rifle might become an exciting diversion to your life.
Wednesday, October 15, 2008
City Light - Down the Pacific
City Light
Down the Pacific
Burning Building Recordings
Grade: A-
Initially devised by Seattle-based Matthew Shaw and then developed further by Nick Andre, Andy Fitts, and the well-known indie maestro Denver Dally (Desaparecidos and Statistics), Down the Pacific is an album that will knock you on your ass without you truly realizing. Shaw and Co. go for the mid-tempo, busy high guitar riffs, light scratchy vocals, and slight ethereal feel that you would get from a Her Spacey Holiday or even Statistics. Lacking any true home runs, but also mostly devoid of items for the heap pile (though “City Scape” is a candidate), Down the Pacific provides solace on opener “Waiting,” the excellent “Let’s Not Speak,” the riff-heavy and group-vocal happy “Hour on the Floor,” and the more lo-fi closer “Night Train.” Depending on how much time these guys can give this side project, City Light might evolve into something truly fantastic.
Down the Pacific
Burning Building Recordings
Grade: A-
Initially devised by Seattle-based Matthew Shaw and then developed further by Nick Andre, Andy Fitts, and the well-known indie maestro Denver Dally (Desaparecidos and Statistics), Down the Pacific is an album that will knock you on your ass without you truly realizing. Shaw and Co. go for the mid-tempo, busy high guitar riffs, light scratchy vocals, and slight ethereal feel that you would get from a Her Spacey Holiday or even Statistics. Lacking any true home runs, but also mostly devoid of items for the heap pile (though “City Scape” is a candidate), Down the Pacific provides solace on opener “Waiting,” the excellent “Let’s Not Speak,” the riff-heavy and group-vocal happy “Hour on the Floor,” and the more lo-fi closer “Night Train.” Depending on how much time these guys can give this side project, City Light might evolve into something truly fantastic.
Tuesday, October 14, 2008
My Chemical Romance - Three Cheers for Sweet Revenge
My Chemical Romance
Three Cheers for Sweet Revenge
Reprise Records
Grade: A-
New Jersey's My Chemical Romance first graced the musical consciousness following the release of their debut I Brought You My Bullets, You Brought Me Your Love in 2003. From that point onward, you could constantly find them on some bill in some city. This included shows in the swath of the U.S. and Western Europe during the following year. Of course, as interest and their following grew there was a natural movement from the small Eyeball Records in New Jersey to bigger things. Although the choice of a major label is debatable, and only time will tell, their signing opens numerous possibilities. Some may get the band's nod to novelist Irvin Welsh, but all will get the band's name etched into their memory.
The first thing to strike you on Three Cheers for Sweet Revenge is the majesty of MCR on "Helena." This is mostly attributable to lead singer Gerard Way's vocals and the always climbing guitars by Ray Toro and Frank Iero. MCR has that epic feel of Coheed, but are more down-to-earth and focused on simpler rock anthems. "Give 'em Hell, Kid" follows as more head-straight fast-paced composition illustrating speed. The lyrical blitz on songs like "To the End" show that MCR are heavyweight songwriters, even with only a short affair in this business. To trip things up a bit, MCR give this lounge, up-picking to "You Know What They Do To Guys Like Us In Prison," before relenting to the punk flash of the chorus. In one of the few instances where a major label is dead on correct for highlighting tracks from indie/punk bands, "I'm Not Okay (I Promise)" is the album's highlight by far. Without mimicking any one band or song, MCR succeeds in knocking out possibly the most familiar sounding song possibly ever. When the high-pitched prog guitars come in for the breakdown you think you are rock heaven - and you may just be when they offer up a little piano to instill further drooling. The pure intensity that MCR gives to the recording of "I'm Not Okay (I Promise)" is something to behold. If all rock was like this, people would have no time for anything but listening to music. Even if you have written off the marginal genre that MCR falls into, you can't deny the splendid power of "I'm Not Okay (I Promise)." There is some drop off on "The Ghost of You" as may be expected after such a thrilling number. But "The Jetset Like Is Gonna Kill You" picks up any slack left over. The track begins with organs and the drums building as vocals and guitars continue the voyage. To satisfy the band's metal wet dreams, "Thank You For the Venom" begins with pure metal riffage, though the rest of the song takes a while to fulfill some of your melodic dreams. Whistling makes me want to kill people, so when the whistling on "Hang 'em High" moves to power violence I feel happy. "It's Not a Fashion Statement, It's A Deathwish" is slightly too average compared with the regalness of other tracks. "Cemetery Drive" gets back on track with Way's opening Coheed-like whispers getting taken over by crescendoing song construction - though slap MCR for dropping the line "singing songs that make you slit your wrists" and similar utterances on "Cemetery Drive." Three Cheers ends on "I Never Told You What I Do For A Living," which is always on the edge of moving to a stunning section but never achieving it.
Three Cheers for Sweet Revenge is clearly one of the best records so far this year and probably best the rock record Reprise will put out all year. The only slight against the band on Three Cheers is that Way's vocal cadence often follows the same path across the record. I promise to never let a chance to see My Chemical Romance go bye again. I think that we have found a new savior of rock music.
Three Cheers for Sweet Revenge
Reprise Records
Grade: A-
New Jersey's My Chemical Romance first graced the musical consciousness following the release of their debut I Brought You My Bullets, You Brought Me Your Love in 2003. From that point onward, you could constantly find them on some bill in some city. This included shows in the swath of the U.S. and Western Europe during the following year. Of course, as interest and their following grew there was a natural movement from the small Eyeball Records in New Jersey to bigger things. Although the choice of a major label is debatable, and only time will tell, their signing opens numerous possibilities. Some may get the band's nod to novelist Irvin Welsh, but all will get the band's name etched into their memory.
The first thing to strike you on Three Cheers for Sweet Revenge is the majesty of MCR on "Helena." This is mostly attributable to lead singer Gerard Way's vocals and the always climbing guitars by Ray Toro and Frank Iero. MCR has that epic feel of Coheed, but are more down-to-earth and focused on simpler rock anthems. "Give 'em Hell, Kid" follows as more head-straight fast-paced composition illustrating speed. The lyrical blitz on songs like "To the End" show that MCR are heavyweight songwriters, even with only a short affair in this business. To trip things up a bit, MCR give this lounge, up-picking to "You Know What They Do To Guys Like Us In Prison," before relenting to the punk flash of the chorus. In one of the few instances where a major label is dead on correct for highlighting tracks from indie/punk bands, "I'm Not Okay (I Promise)" is the album's highlight by far. Without mimicking any one band or song, MCR succeeds in knocking out possibly the most familiar sounding song possibly ever. When the high-pitched prog guitars come in for the breakdown you think you are rock heaven - and you may just be when they offer up a little piano to instill further drooling. The pure intensity that MCR gives to the recording of "I'm Not Okay (I Promise)" is something to behold. If all rock was like this, people would have no time for anything but listening to music. Even if you have written off the marginal genre that MCR falls into, you can't deny the splendid power of "I'm Not Okay (I Promise)." There is some drop off on "The Ghost of You" as may be expected after such a thrilling number. But "The Jetset Like Is Gonna Kill You" picks up any slack left over. The track begins with organs and the drums building as vocals and guitars continue the voyage. To satisfy the band's metal wet dreams, "Thank You For the Venom" begins with pure metal riffage, though the rest of the song takes a while to fulfill some of your melodic dreams. Whistling makes me want to kill people, so when the whistling on "Hang 'em High" moves to power violence I feel happy. "It's Not a Fashion Statement, It's A Deathwish" is slightly too average compared with the regalness of other tracks. "Cemetery Drive" gets back on track with Way's opening Coheed-like whispers getting taken over by crescendoing song construction - though slap MCR for dropping the line "singing songs that make you slit your wrists" and similar utterances on "Cemetery Drive." Three Cheers ends on "I Never Told You What I Do For A Living," which is always on the edge of moving to a stunning section but never achieving it.
Three Cheers for Sweet Revenge is clearly one of the best records so far this year and probably best the rock record Reprise will put out all year. The only slight against the band on Three Cheers is that Way's vocal cadence often follows the same path across the record. I promise to never let a chance to see My Chemical Romance go bye again. I think that we have found a new savior of rock music.
Monday, October 13, 2008
Rogue Wave - Out of the Shadow
Rogue Wave
Out of the Shadow
Sub Pop Records
Grade: A-
Picking on the now classic indie pop sound that Sub Pop is noted for thanks to bands like the Shins, Rogue Wave from SF comes a-knockin' with a re-issue of their 2002 debut Out of the Shadow. Heading this outfit is multi-instrumentalist Zach Rogue who began the group as a breath of fresh air for himself. Zach took a vacation to NYC to do record some songs with a friend and wound with a whole record worth of material and a new musical direction in life. Back in SF, he collected Pat Spurgeon, Sonya Westcott and Gram LeBron to fill out the band's needs. And they were off. Again, this record was released by the band on their Responsive Recordings and now Sub Pop have brought them into the fold and reissued it to whet the public's appetite for future releases. After a quick listen of the record's first track, "Every Moment," it is clear why Sub Pop would do so and why band's like the Shins, Spoon and Super Furry Animals would want them on tour. "Every Moment" is pop happiness coupled with moog to punctuate the sound and guitar swirls to fill things out. Acoustic guitars lead "Nourishment Nation" into the amazing Elliott Smith-esque "Be Kind & Remind." The pop-driven "Seasick on Land" opens the path to the acoustic slacker "Kicking the Heart Out." "Postage Stamp World" is slow, with pedal steel and that lazy picking, while "Sewn Up" falls back to pop dribble. Double vocals open "Falcon Settles Me" that produces a Simon and Garfunkel effect with acoustic guitars laying the foundation. The familiar beginning of "Endgame" makes you feel like you are in lollipop land and Zach's vocals definitely don't dissuade you from the sentiment. "Endless Shovel" picks up the pace with electronics and more orchestration and banjos lead the way on "Man-Revolutionary!" Out of the Shadow closes out on the hard, yet slow acoustic picking "Perfect." Though "Perfect" is a competent affair, this probably should not be the closer. With tours behind them and before them, look for Rogue Wave to become your new favorite band. They have the sound to make everyone drool, including the British. If by some act of God Rogue Wave doesn't succeed in the U.S. they should certainly fit into the British scene (and that will pique Americans interest, then they move back here and take over).
Out of the Shadow
Sub Pop Records
Grade: A-
Picking on the now classic indie pop sound that Sub Pop is noted for thanks to bands like the Shins, Rogue Wave from SF comes a-knockin' with a re-issue of their 2002 debut Out of the Shadow. Heading this outfit is multi-instrumentalist Zach Rogue who began the group as a breath of fresh air for himself. Zach took a vacation to NYC to do record some songs with a friend and wound with a whole record worth of material and a new musical direction in life. Back in SF, he collected Pat Spurgeon, Sonya Westcott and Gram LeBron to fill out the band's needs. And they were off. Again, this record was released by the band on their Responsive Recordings and now Sub Pop have brought them into the fold and reissued it to whet the public's appetite for future releases. After a quick listen of the record's first track, "Every Moment," it is clear why Sub Pop would do so and why band's like the Shins, Spoon and Super Furry Animals would want them on tour. "Every Moment" is pop happiness coupled with moog to punctuate the sound and guitar swirls to fill things out. Acoustic guitars lead "Nourishment Nation" into the amazing Elliott Smith-esque "Be Kind & Remind." The pop-driven "Seasick on Land" opens the path to the acoustic slacker "Kicking the Heart Out." "Postage Stamp World" is slow, with pedal steel and that lazy picking, while "Sewn Up" falls back to pop dribble. Double vocals open "Falcon Settles Me" that produces a Simon and Garfunkel effect with acoustic guitars laying the foundation. The familiar beginning of "Endgame" makes you feel like you are in lollipop land and Zach's vocals definitely don't dissuade you from the sentiment. "Endless Shovel" picks up the pace with electronics and more orchestration and banjos lead the way on "Man-Revolutionary!" Out of the Shadow closes out on the hard, yet slow acoustic picking "Perfect." Though "Perfect" is a competent affair, this probably should not be the closer. With tours behind them and before them, look for Rogue Wave to become your new favorite band. They have the sound to make everyone drool, including the British. If by some act of God Rogue Wave doesn't succeed in the U.S. they should certainly fit into the British scene (and that will pique Americans interest, then they move back here and take over).
Friday, October 10, 2008
Divide By Zero - Timber
Divide By Zero
Timber
Waste of Time Records
Grade: A-
Roughly a year after releasing their debut EP Mirrors on Sinister Label in the summer of 2003, Chicago's Divide By Zero have punched out another EP specifically designed to create drool in the mouths of listeners before the fall release of their full-length on Jump Start Records. While Mirrors was a competent affair, this three-song EP is absolutely leaps and bounds beyond previous material. Divide By Zero focus their talents on earnest and honest sounds that punctuate both the varying placed vocals of T.J. Milici and the extended guitar work by both Milici and Tom Aaron. Bassist John Contreras and drummer Brian Lapinski help keep the time, with a thick bass sound peaking through once in awhile. Divide By Zero are like the second coming of Hot Water Music without paralleling their sound too much - lovely. The one sheet on this EP highlights the title track, which is good in its own right, but the second number "Anywhere But Here" absolutely blows it away. "Anywhere But Here" begins with a slow intro before Milici offers up his most sedate singing. As the song progresses, the vocals get gruffer where gang vocals come in and the song careens off into various segments. The EP closes on the relatively straightforward punk "Accusations" - a strong song in its own right, particularly with well-done breakdowns. This "teaser" has succeeded in raising our interest in the forthcoming full-length.
Timber
Waste of Time Records
Grade: A-
Roughly a year after releasing their debut EP Mirrors on Sinister Label in the summer of 2003, Chicago's Divide By Zero have punched out another EP specifically designed to create drool in the mouths of listeners before the fall release of their full-length on Jump Start Records. While Mirrors was a competent affair, this three-song EP is absolutely leaps and bounds beyond previous material. Divide By Zero focus their talents on earnest and honest sounds that punctuate both the varying placed vocals of T.J. Milici and the extended guitar work by both Milici and Tom Aaron. Bassist John Contreras and drummer Brian Lapinski help keep the time, with a thick bass sound peaking through once in awhile. Divide By Zero are like the second coming of Hot Water Music without paralleling their sound too much - lovely. The one sheet on this EP highlights the title track, which is good in its own right, but the second number "Anywhere But Here" absolutely blows it away. "Anywhere But Here" begins with a slow intro before Milici offers up his most sedate singing. As the song progresses, the vocals get gruffer where gang vocals come in and the song careens off into various segments. The EP closes on the relatively straightforward punk "Accusations" - a strong song in its own right, particularly with well-done breakdowns. This "teaser" has succeeded in raising our interest in the forthcoming full-length.
Thursday, October 9, 2008
The Album Leaf - In a Safe Place
The Album Leaf
In A Safe Place
Sub Pop Records
Grade: A-
I find a nice test of mainly instrumental albums to be whether it can keep me awake during long drives. Ideally, one should find the music soothing and mellowing, but not sleep-inducing. The previous champion of this test was Explosions in the Sky. Yet, this latest from the Album Leaf held up quite finely in some tough conditions.
The Album Leaf is the solo project of multi-talent San Diego-based musician Jimmy LaValle. LaValle is probably best known for his like-minded offerings in Tristeza, as well as joints in the Locust, GoGoGo Airheart and the Black Heart Procession. Yet, the Album Leaf is LaValle's baby; left to be crafted by his deft hand. After gaining notoriety as the Album Leaf with 1999's An Orchestrated Rise To Fall (Linkwork) and 2003's EPs Lifetime or More (Arena Rock) and Seal Beach (Acuarela), LaValle used his contacts to head to Iceland to record In a Safe Place. This was done at the constant prodding of members of Icelandic superstars Sigur Ros and Mum, who LaValle had befriended during tours of the U.S. In addition to those groups help, Pall Jenkins from Black Heart Procession assisted LaValle craft his latest in Sundlaugin studio in Mosfellsbaer, Iceland. The end product is ten tracks of pure awesomeness.
While LaValle includes vocals at minimal points in time, for instance on the murking "On Your Way," In a Safe Place concentrates on presenting sweetly soothing soundscapes of bliss. LaValle says there is little doubt that the alien-like landscape of Iceland played a role in the feeling of the ten tracks. Whatever the reason, we are thankfully something clicked. The record opens slowly and quietly on "Window," before "Thule" comes in with drums, piano and electronics to take you away. After the aforementioned "On Your Way," LaValle creates a wide production on "Twentytwofourteen" by incorporating a swath of instruments including strings and glockenspiel. "The Outer Banks" prospers with electronic drums and thick orchestration while picking up a steady pace. On "Over the Pond," Jon from Sigur Ros and LaValle lay slight whispering vocals of seemingly nonsense over trodding music. With a piano-driven inspirational flair "Another Day (Revisited)" follows and LaValle trades in the grand instruments for quiet acoustic guitars on "Streamside." Before closing on "Moss Mountain Town," LaValle offers up substantial singing on "Eastern Glow" accompanied by a prominent violin and builds up to the ending. "Moss Mountain Town" covers several minutes of minimalist ambient music that serves well as an ending.
Based on the evidence from In a Safe Place, LaValle should spend more time with Sigur Ros in the Icelandic environment. Music like this should never be made in San Diego.
In A Safe Place
Sub Pop Records
Grade: A-
I find a nice test of mainly instrumental albums to be whether it can keep me awake during long drives. Ideally, one should find the music soothing and mellowing, but not sleep-inducing. The previous champion of this test was Explosions in the Sky. Yet, this latest from the Album Leaf held up quite finely in some tough conditions.
The Album Leaf is the solo project of multi-talent San Diego-based musician Jimmy LaValle. LaValle is probably best known for his like-minded offerings in Tristeza, as well as joints in the Locust, GoGoGo Airheart and the Black Heart Procession. Yet, the Album Leaf is LaValle's baby; left to be crafted by his deft hand. After gaining notoriety as the Album Leaf with 1999's An Orchestrated Rise To Fall (Linkwork) and 2003's EPs Lifetime or More (Arena Rock) and Seal Beach (Acuarela), LaValle used his contacts to head to Iceland to record In a Safe Place. This was done at the constant prodding of members of Icelandic superstars Sigur Ros and Mum, who LaValle had befriended during tours of the U.S. In addition to those groups help, Pall Jenkins from Black Heart Procession assisted LaValle craft his latest in Sundlaugin studio in Mosfellsbaer, Iceland. The end product is ten tracks of pure awesomeness.
While LaValle includes vocals at minimal points in time, for instance on the murking "On Your Way," In a Safe Place concentrates on presenting sweetly soothing soundscapes of bliss. LaValle says there is little doubt that the alien-like landscape of Iceland played a role in the feeling of the ten tracks. Whatever the reason, we are thankfully something clicked. The record opens slowly and quietly on "Window," before "Thule" comes in with drums, piano and electronics to take you away. After the aforementioned "On Your Way," LaValle creates a wide production on "Twentytwofourteen" by incorporating a swath of instruments including strings and glockenspiel. "The Outer Banks" prospers with electronic drums and thick orchestration while picking up a steady pace. On "Over the Pond," Jon from Sigur Ros and LaValle lay slight whispering vocals of seemingly nonsense over trodding music. With a piano-driven inspirational flair "Another Day (Revisited)" follows and LaValle trades in the grand instruments for quiet acoustic guitars on "Streamside." Before closing on "Moss Mountain Town," LaValle offers up substantial singing on "Eastern Glow" accompanied by a prominent violin and builds up to the ending. "Moss Mountain Town" covers several minutes of minimalist ambient music that serves well as an ending.
Based on the evidence from In a Safe Place, LaValle should spend more time with Sigur Ros in the Icelandic environment. Music like this should never be made in San Diego.
Wednesday, October 8, 2008
Letter Kills - The Bridge
Letter Kills
The Bridge
Island Records
Grade: A-
On the opening note of "Lights Out," the first track on The Bridge, you realize that you are in for a real treat from Letter Kills when the heavy guitar riffs come pummeling in. Though Letter Kills are the newest kid on the hardcore-punk crossover block, they may just be the best. If not the best, then damn well near the best.
The five-piece Letter Kills formed in Temecula, California in August of 2002 when lead singer Matt Shelton met up with a former Texas acquaintance in guitarist Tim Cordova. Quickly bringing the pieces together, Letter Kills were formed with a mission of bringing the world of rock back into indie music. As the one sheet would have you believe, it seems that the band had a fairly easy road given the plethora of horror stories out there. After forming, Letter Kills were fortunate to tour with a group of notables including Thrice, Finch, the Used and scored a full tour spot on 2003 Warped Tour - even without a full-length. However, they did have March 2003 three-song EP that the band probably used more as a demo then a legit EP. Their touring, along with the EP, got the band noticed by a growing number of labels with Island winning out in the end. Though I don't know the labels involved, but I'm sure I have a good idea given that guitarist from Finch helped them. It may take some time to determine whether signing with a major label was the best option for a long term career. Island does have experience with this burgeoning genre through Thursday, but majors also love to drain the shit out of a hot sound and then dump it. Hopefully the boys from Letter Kills set up a deal that won't destroy them in the end.
The back tray photo of the band makes them look like some Scandinavian garage band - like European Hessians. So when the blistering voice of Shelton and the guitars from Cordova and Dustin Lovelis come in on "Lights Out," you are very surprised. With drummer Paul Remund and bassist Kyle Duckworth keeping time, "Lights Out" is one of the hottest songs I've heard all year. It has all the elements that you are looking for: hard riffs, muting, screaming, strong melodic vocals and catchiness. Oh, don't forget a guitar solo where Shelton yells "guitar, that's right, oh baby," in a classic 70-80s cock rock fashion. At first I was annoyed at that comedic piece in the song, but now I love it. If all of the songs on The Bridge sounded like "Lights Out" then this would be the best record of the year, easily. That pre-season title is not diminished on the following "Don't Believe," which is the band's first single and was on their EP. While following very similar elements as "Lights Out," is lacks the jaw-dropping riff and borders slightly on the generic. Yet the regurgitating-sounding vocals of Shelton on the line "we got to get it right" are very impressionable. The sound is not unlike a well-balanced though very drunk man singing karaoke. Comparing the two, "Lights Out" should have been the first song and now should at least be the second. "Whatever It Takes" is more melodic then the opening two, while you can't get the seemingly lame chorus of "you just bought yourself a brand new man" on down-picking "Brand New Man" out of your head. "Clock Is Down" was also on their EP and is the first emergence of a mellow track. The guitars of Cordova and Lovelis are echoed to give a Police and U2 effect, before their crescendoing of vocals and instruments on the awe-inspiring chorus. This chorus is likely to produce an enormous sing-a-along at shows. "Time Marches On" lets out a little more classic rock with the basic foundation and caps off with an overindulging guitar solo which borders on gratuitously acceptable. "Carry On" begins in a similar fashion before resorting to a chorus that could come from a mid-90s Fat Wreck band - though enjoyable all the same. Though it is appreciated that Letter Kills pay homage to Jawbreaker and Beach Boys' harmonics on "Hold My Heart (Part Two)," the song comes off as a detrimental change in direction for the band. "When You're Away" picks up the pace and comes through with an enjoyable chorus, but it only sets the more dynamic "Radio Up." Also on the band's EP, "Radio Up" is considerably more poppy, punk and uptempo than the rest of the record and plays off much better than the "Hold My Heart (Part Two)" deviation. One could easily see "Radio Up" unironically on the radio as a single. Though the band closes on the draining "Hold My Heart (Part One)," they should have ended with the eleventh track "Shot to the Chest." While not necessarily rivaling "Lights Out," it fits the record's overall feel well. It seems Letter Kills would have been wise to drop these "Hold My Heart…" songs.
I've become hook, line and sinker for this debut from Letter Kills. It is refreshing that deserving bands are getting picked up by the mainstream and help filtering out the pure generic pop crap. Though some may argue that punk-hardcore amalgam's day has already passed - as in passé - there is still some serious life to be fleshed out. Letter Kills are proof of that.
The Bridge
Island Records
Grade: A-
On the opening note of "Lights Out," the first track on The Bridge, you realize that you are in for a real treat from Letter Kills when the heavy guitar riffs come pummeling in. Though Letter Kills are the newest kid on the hardcore-punk crossover block, they may just be the best. If not the best, then damn well near the best.
The five-piece Letter Kills formed in Temecula, California in August of 2002 when lead singer Matt Shelton met up with a former Texas acquaintance in guitarist Tim Cordova. Quickly bringing the pieces together, Letter Kills were formed with a mission of bringing the world of rock back into indie music. As the one sheet would have you believe, it seems that the band had a fairly easy road given the plethora of horror stories out there. After forming, Letter Kills were fortunate to tour with a group of notables including Thrice, Finch, the Used and scored a full tour spot on 2003 Warped Tour - even without a full-length. However, they did have March 2003 three-song EP that the band probably used more as a demo then a legit EP. Their touring, along with the EP, got the band noticed by a growing number of labels with Island winning out in the end. Though I don't know the labels involved, but I'm sure I have a good idea given that guitarist from Finch helped them. It may take some time to determine whether signing with a major label was the best option for a long term career. Island does have experience with this burgeoning genre through Thursday, but majors also love to drain the shit out of a hot sound and then dump it. Hopefully the boys from Letter Kills set up a deal that won't destroy them in the end.
The back tray photo of the band makes them look like some Scandinavian garage band - like European Hessians. So when the blistering voice of Shelton and the guitars from Cordova and Dustin Lovelis come in on "Lights Out," you are very surprised. With drummer Paul Remund and bassist Kyle Duckworth keeping time, "Lights Out" is one of the hottest songs I've heard all year. It has all the elements that you are looking for: hard riffs, muting, screaming, strong melodic vocals and catchiness. Oh, don't forget a guitar solo where Shelton yells "guitar, that's right, oh baby," in a classic 70-80s cock rock fashion. At first I was annoyed at that comedic piece in the song, but now I love it. If all of the songs on The Bridge sounded like "Lights Out" then this would be the best record of the year, easily. That pre-season title is not diminished on the following "Don't Believe," which is the band's first single and was on their EP. While following very similar elements as "Lights Out," is lacks the jaw-dropping riff and borders slightly on the generic. Yet the regurgitating-sounding vocals of Shelton on the line "we got to get it right" are very impressionable. The sound is not unlike a well-balanced though very drunk man singing karaoke. Comparing the two, "Lights Out" should have been the first song and now should at least be the second. "Whatever It Takes" is more melodic then the opening two, while you can't get the seemingly lame chorus of "you just bought yourself a brand new man" on down-picking "Brand New Man" out of your head. "Clock Is Down" was also on their EP and is the first emergence of a mellow track. The guitars of Cordova and Lovelis are echoed to give a Police and U2 effect, before their crescendoing of vocals and instruments on the awe-inspiring chorus. This chorus is likely to produce an enormous sing-a-along at shows. "Time Marches On" lets out a little more classic rock with the basic foundation and caps off with an overindulging guitar solo which borders on gratuitously acceptable. "Carry On" begins in a similar fashion before resorting to a chorus that could come from a mid-90s Fat Wreck band - though enjoyable all the same. Though it is appreciated that Letter Kills pay homage to Jawbreaker and Beach Boys' harmonics on "Hold My Heart (Part Two)," the song comes off as a detrimental change in direction for the band. "When You're Away" picks up the pace and comes through with an enjoyable chorus, but it only sets the more dynamic "Radio Up." Also on the band's EP, "Radio Up" is considerably more poppy, punk and uptempo than the rest of the record and plays off much better than the "Hold My Heart (Part Two)" deviation. One could easily see "Radio Up" unironically on the radio as a single. Though the band closes on the draining "Hold My Heart (Part One)," they should have ended with the eleventh track "Shot to the Chest." While not necessarily rivaling "Lights Out," it fits the record's overall feel well. It seems Letter Kills would have been wise to drop these "Hold My Heart…" songs.
I've become hook, line and sinker for this debut from Letter Kills. It is refreshing that deserving bands are getting picked up by the mainstream and help filtering out the pure generic pop crap. Though some may argue that punk-hardcore amalgam's day has already passed - as in passé - there is still some serious life to be fleshed out. Letter Kills are proof of that.
Tuesday, October 7, 2008
Now Sleepyhead - Nocturne
Now Sleepyhead
Nocturne
Exotic Fever/Pop Faction
Grade: A-
When Now Sleepyhead’s album Nocturne opens with soft male and female vocals using an entrancing cadence on “Eternal Damnation,” you expect something magical is about to flow forth. But, when the atmospheric rock courses through “Eternal Damnation” a minute in and the song soars, you piss your pants, sit up, and take notice of a band worth your time – a rarity these days. There is slippage on follower “Who the Fuck,” a rambling acoustic number, before the ship is righted with “Pro Deo.” “Pro Deo” begins with more atmospheric riffing and simply piano as the band unfolds into the core of the song. The rest of dark imagery of Nocturne moves like this – enticing numbers and fillers – and those of the former include “Ghost World Part Two,” the slow “Use Your Bicycle as an Antenna,” and the most instrumental “Byrd Park.” We would all appreciate having Now Sleepyhead around for awhile.
Nocturne
Exotic Fever/Pop Faction
Grade: A-
When Now Sleepyhead’s album Nocturne opens with soft male and female vocals using an entrancing cadence on “Eternal Damnation,” you expect something magical is about to flow forth. But, when the atmospheric rock courses through “Eternal Damnation” a minute in and the song soars, you piss your pants, sit up, and take notice of a band worth your time – a rarity these days. There is slippage on follower “Who the Fuck,” a rambling acoustic number, before the ship is righted with “Pro Deo.” “Pro Deo” begins with more atmospheric riffing and simply piano as the band unfolds into the core of the song. The rest of dark imagery of Nocturne moves like this – enticing numbers and fillers – and those of the former include “Ghost World Part Two,” the slow “Use Your Bicycle as an Antenna,” and the most instrumental “Byrd Park.” We would all appreciate having Now Sleepyhead around for awhile.
Monday, October 6, 2008
Jr. Juggernaut - Ghost Poison
Jr. Juggernaut
Ghost Poison
Suburban Home Records
Grade: A-
Ghost Poison hits you like an invisible sledgehammer – you never saw it coming but it leaves a hell of a mark. Neither I, you, nor anyone would ever peg Jr. Juggernaut as coming from the pseudo-world of LA – with their rootsy, alt-country punk rock accompanied by raw vocals you’d pick someplace like Richmond or other southern locales. If you are a fan of bands like Drag the River, Lucero, or even the Constantines, you should check out Ghost Poison today.
Founded in 2003, Jr. Juggernaut is simply the trio of Mike Williamson, Kevin Keller, and Waleed Rashidi, who combine blistering guitars with undeniable Americana punk harmonies. After releasing the EP Cut It Brighter in 2005, Williamson horned in Keller and Rashidi to complete the band’s first full-length, Ghost Poison. This ten-song offering walks a fine line between sounding like a local bar band and a well-oiled, smooth machine. And that is part of their appeal. When I hear Jr. Juggernaut, I think of Pennsylvania band called Gleason’s Drift that has a similar sound but has never executed like Jr. Juggernaut. Besides from better melodies and harmonies, it is not clear how Jr. Juggernaut excels past bar band status – it may simply be the magical ‘it.’
Ghost Poison starts in enticing fashion on “Lit by Winter,” where Williamson begins slowly and first employs his raw vocals. Well into “Lit by Winter” it is still not clear whether Jr. Juggernaut are good or even if they are more country than rock. Any doubts about either are quickly dashed by follower “Believe in Something” – a song that rocks to a scratchy but catchy guitar riff. Forming a triumphant of awesomeness is the third song “Coming in Backwards.” “Coming in Backwards” doesn’t strike you at all until the band hits the chorus and makes you a believer that Jr. Juggernaut are the real deal. Naturally, Jr. Juggernaut have difficulty on the rest of Ghost Poison in replicating the superiority of the first three songs. However, several do grab your ear including the poppy “Gone Before You Start” and the very Social Distortion-esque “Another Two Weeks.”
Ghost Poison is not nearly the best album of the year, but the album and the band are one of the most unexpected delights of 2008. And any happy surprise these days is welcoming. Now we just have to figure out the hell the deal is with their moniker.
Ghost Poison
Suburban Home Records
Grade: A-
Ghost Poison hits you like an invisible sledgehammer – you never saw it coming but it leaves a hell of a mark. Neither I, you, nor anyone would ever peg Jr. Juggernaut as coming from the pseudo-world of LA – with their rootsy, alt-country punk rock accompanied by raw vocals you’d pick someplace like Richmond or other southern locales. If you are a fan of bands like Drag the River, Lucero, or even the Constantines, you should check out Ghost Poison today.
Founded in 2003, Jr. Juggernaut is simply the trio of Mike Williamson, Kevin Keller, and Waleed Rashidi, who combine blistering guitars with undeniable Americana punk harmonies. After releasing the EP Cut It Brighter in 2005, Williamson horned in Keller and Rashidi to complete the band’s first full-length, Ghost Poison. This ten-song offering walks a fine line between sounding like a local bar band and a well-oiled, smooth machine. And that is part of their appeal. When I hear Jr. Juggernaut, I think of Pennsylvania band called Gleason’s Drift that has a similar sound but has never executed like Jr. Juggernaut. Besides from better melodies and harmonies, it is not clear how Jr. Juggernaut excels past bar band status – it may simply be the magical ‘it.’
Ghost Poison starts in enticing fashion on “Lit by Winter,” where Williamson begins slowly and first employs his raw vocals. Well into “Lit by Winter” it is still not clear whether Jr. Juggernaut are good or even if they are more country than rock. Any doubts about either are quickly dashed by follower “Believe in Something” – a song that rocks to a scratchy but catchy guitar riff. Forming a triumphant of awesomeness is the third song “Coming in Backwards.” “Coming in Backwards” doesn’t strike you at all until the band hits the chorus and makes you a believer that Jr. Juggernaut are the real deal. Naturally, Jr. Juggernaut have difficulty on the rest of Ghost Poison in replicating the superiority of the first three songs. However, several do grab your ear including the poppy “Gone Before You Start” and the very Social Distortion-esque “Another Two Weeks.”
Ghost Poison is not nearly the best album of the year, but the album and the band are one of the most unexpected delights of 2008. And any happy surprise these days is welcoming. Now we just have to figure out the hell the deal is with their moniker.
Thursday, October 2, 2008
Ofer - Short Story Long
Ofer
Short Story Long
Big Wheel Recreation
Grade: A-
Short Story Long is a record that continually grows on you. When I first heard it, I was pleased by the melody and harmonies, but certainly wasn’t stung with admiration. Yet, after more and more spins, I began to love it more and more. Ofer consists of one Ofer Moses, with the help of various backing musicians. Some might recognize Ofer from his days skating for World Industries, but that love has been traded in for the love of music. Now Ofer has channeled the gap that Elliott Smith has left, but with a bit more poppiness and upbeatness on his debut.
Short Story Long begins in non-dramatic form on “Submission,” one of the more full-band tracks on the record. While the chorus of “Submission” introduces you to the melodic package that Ofer is about to beat you with over the next nine tracks, it is not a standout. “Your Reality” follows in similar form but with more drum roll buildups. “Bothered” is the first track where the true singer-songwriter in Ofer begins to take over. Ofer tramps with acoustic guitar and bass for a bit before a full-instrumental chorus again demonstrates his penchant for big harmonies. But probably the first of song that Ofer places his own power-stamp, signature sound on is “On the Other Hand.” “On the Other Hand” polishes along in a quasi-trippy atmosphere that exceptionally echoes Smith’s best work and is a star here. For some unfortunate reason Ofer covers “Time in a Bottle,” a cover that you really need to skip. “Sunshine” starts out like a classic Smith track with a smidgen of Brit pop laden in places. The following “Bittersweet Fat” carries on in parallel fashion, though utilizing a bit more grand production. Besides from the instinctual use of harmonies, “Devil’s Winning Hand” is a bit ho-hum. “Recipes” and “Avenue of Mystery” close out the album. “Recipes” has a creepy, western dark theme that could have been penned by Johnny Cash’s shadowy mind. “Avenue of Mystery” brings the listener back to more sunshine and butterflies with an introduction of acoustic guitar, harmonic and soft vocals and then moves on to add strings.
Once again, Short Story Long is an album that might not grab you immediately, but will if you keep it spinning. You can’t deny Ofer’s glow and attraction and you have to eventually succumb. A perfect tour for Ofer would be with Sondre Lerche that would provide exposure he deserves.
Short Story Long
Big Wheel Recreation
Grade: A-
Short Story Long is a record that continually grows on you. When I first heard it, I was pleased by the melody and harmonies, but certainly wasn’t stung with admiration. Yet, after more and more spins, I began to love it more and more. Ofer consists of one Ofer Moses, with the help of various backing musicians. Some might recognize Ofer from his days skating for World Industries, but that love has been traded in for the love of music. Now Ofer has channeled the gap that Elliott Smith has left, but with a bit more poppiness and upbeatness on his debut.
Short Story Long begins in non-dramatic form on “Submission,” one of the more full-band tracks on the record. While the chorus of “Submission” introduces you to the melodic package that Ofer is about to beat you with over the next nine tracks, it is not a standout. “Your Reality” follows in similar form but with more drum roll buildups. “Bothered” is the first track where the true singer-songwriter in Ofer begins to take over. Ofer tramps with acoustic guitar and bass for a bit before a full-instrumental chorus again demonstrates his penchant for big harmonies. But probably the first of song that Ofer places his own power-stamp, signature sound on is “On the Other Hand.” “On the Other Hand” polishes along in a quasi-trippy atmosphere that exceptionally echoes Smith’s best work and is a star here. For some unfortunate reason Ofer covers “Time in a Bottle,” a cover that you really need to skip. “Sunshine” starts out like a classic Smith track with a smidgen of Brit pop laden in places. The following “Bittersweet Fat” carries on in parallel fashion, though utilizing a bit more grand production. Besides from the instinctual use of harmonies, “Devil’s Winning Hand” is a bit ho-hum. “Recipes” and “Avenue of Mystery” close out the album. “Recipes” has a creepy, western dark theme that could have been penned by Johnny Cash’s shadowy mind. “Avenue of Mystery” brings the listener back to more sunshine and butterflies with an introduction of acoustic guitar, harmonic and soft vocals and then moves on to add strings.
Once again, Short Story Long is an album that might not grab you immediately, but will if you keep it spinning. You can’t deny Ofer’s glow and attraction and you have to eventually succumb. A perfect tour for Ofer would be with Sondre Lerche that would provide exposure he deserves.
Wednesday, October 1, 2008
Constantines - s/t
Constantines
s/t
Sub Pop Records
Grade: B+
This is a reissue of the phenomenal Constantines’ first record that was originally released in 2001 on Canada’s Three Gut Records. The Toronto-based four-piece first stunned the international music world with last year’s Shine A Light, a record that smoked and singed your indie rocking eyebrows right off. It is clear on this thirteen track debut why the increasingly awesome Sub Pop signed these guys. While most of the American music press slept on this record when it was released, it was thoroughly embraced by Canadian college radio and got them nominated for a Juno Award for best alternative album. For those who have missed on Constantines, the band excels in a traditional rock-based indie moments with their defining sound coming from vocals that echo a possessed Bruce Springsteen. Most tracks move at a moderate pace with bluesy elements floating in from time to time and with vocal stresses coming in the choruses. Some highlights from this record include “Arizona,” “The Long Distance Four,” “No Ecstasy,” “Steal This Sound” and “Little Instruments.” Even after the Constantines’ great Shine A Light, we haven’t heard much about them; and that is embarrassing for all that is right and good in the world. Hopefully with the added push for this re-issue, the Constantines will get their due notice.
s/t
Sub Pop Records
Grade: B+
This is a reissue of the phenomenal Constantines’ first record that was originally released in 2001 on Canada’s Three Gut Records. The Toronto-based four-piece first stunned the international music world with last year’s Shine A Light, a record that smoked and singed your indie rocking eyebrows right off. It is clear on this thirteen track debut why the increasingly awesome Sub Pop signed these guys. While most of the American music press slept on this record when it was released, it was thoroughly embraced by Canadian college radio and got them nominated for a Juno Award for best alternative album. For those who have missed on Constantines, the band excels in a traditional rock-based indie moments with their defining sound coming from vocals that echo a possessed Bruce Springsteen. Most tracks move at a moderate pace with bluesy elements floating in from time to time and with vocal stresses coming in the choruses. Some highlights from this record include “Arizona,” “The Long Distance Four,” “No Ecstasy,” “Steal This Sound” and “Little Instruments.” Even after the Constantines’ great Shine A Light, we haven’t heard much about them; and that is embarrassing for all that is right and good in the world. Hopefully with the added push for this re-issue, the Constantines will get their due notice.
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