Deerhoof
Milk Man
Kill Rock Stars/5RC
Grade: A-
This latest and sixth record from SF noise-rock divas kicks off on "Milk Man" with an arrangement that sounds like the latest coming of a rock-opera masterpiece. When the four-piece of Deerhoof - drummer Greg Saunier, guitarists John Dieterich and Chris Cohen and vocalist Satomi Matsuzaki - aren't rocking out the oddities in their host of other projects - including Nervous Cop, the Curtains - they find the time to lend their powers to one of the greatest and best indie bands going. Pushing the limits on just strangeness, Milk Man singes with a pop core that demonstrates that for all the projects the members of Deerhoof have their hands in, they save their best material for Deerhoof - and we are all thankful and grateful. If you thought that Apple O' was something to behold you better hold on tight. After initially being put off by Apple O', I found myself humming the pop sections in my head and then I was soon hooked. Milk Man is like that, but only better.
Again, "Milk Man" kicks off like a rock opera with bass playing up the opening riff, then joined by guitar, then bolstered up before the whole kit-n-caboodle comes in. Slowing up to introduce Satomi's sweet, chirpy broken English lyrics, when the song builds into the chorus you are utterly blown away. This is a song that will surely dominant college radio this Spring. With creepy organs, "Giga Dance" ushers you into the world of Cradle of Filth before dissonant guitars give away to Satomi. "Desaparecere" starts on the electro-edge with ambience leading the charge into Spanish lyrics. The instrumental "Rainbow Silhouette of the Milky Rain" with its dueling noise guitars is closer to the music of several of the Deerhoof side projects. "Dog On the Sidewalk" is a short ditty with Satomi's off-English vocals joined by the first emergence of electro-blips. Vocals, guitars and handclapping start "C" as it careens through a bunch of stop-start sections, while "Milking" rips some cool riffs and rocks hard like a crazed stripped-down Japanese indie band. "Dream Wanderer's Tune" is ambient with Satomi's vocals and keys dominating this pop affair - very sweet indeed. With nothing going on for a bit, "Song of Sorn" busts out with pure craziness that is actually catchy. "That Big Orange Sun Run Over Speed Light" provides an instrumental strangeness to lead to the finale "New Sneakers." "New Sneakers" opens with organs and then Satomi singing "Strawberry fields, banana trees..." as the track runs on lo-fi electronics. I discuss Satomi like she is some vocal savior throughout the record - and when you hear the songs you will see why.
With the release of Milk Man, Deerhoof is hitting the road hard with shows in Japan, Europe and the U.S. Though when we checked them out on their last tour they weren't slamming, guitarists Dieterich and Cohen were tight, Saunier was entertaining and when Satomi was doing the gestures it was awesome.
Wednesday, November 26, 2008
Tuesday, November 25, 2008
The Calculators - Circuit Breaking Silence/Simplicity and Style 10" Reissue
The Calculators
Circuit Breaking Silence/Simplicity and Style 10" Reissue
PrinceHouse Records
Grade: A-
The Calculators are a band of what was, what could have been and what is. Existing for a brief time in 1997-1999 in the punk dominated Bay-area, the Calculators struck on a path that is only now being realized fully in independent music. Not that this is a path that hasn't been beaten before, as with most things, but more like its resurgence. The Calculators divulged and indulged in the electronic, synth-driven, new wave reviving punk that is championed today by bands such as the Faint, Interpol and the Rapture. That this is the case is not surprising given that two of the members from the Calculators, Luke Jenner and Vito Roccoforte, formed the Rapture and another, Jeff Fare, went on to form electronic-beat masters Paradise Boys (also on PrinceHouse). So just imagine taking the best of those two groups and combining them into thirteen thrilling and mesmerizing tracks - and that is what this reissue is. Though maintaining the droning, monotone vocals of New Wave greats, the pure instrumentation and construction is the big draw here. After hearing the synth notes to the opening track "Worthless in a World of Wires," it will stick in your head and you will be drawn to listening on repeat like white on rice. Most of the tracks operate at slightly above moderate tempo, but that doesn't seem to degenerate the pure danceability. As expected, the basslines and simple-note picking guitar add mightily to the draw of the synths. I guess that I'm drawn to the tracks with the synths that make your heart skip around. Hence, there are a few. "This is Evolution" is slow with drums, bass and vocals trudging along before the Calculators allow the synths to snap in and pick up the tempo. "Inside" starts off vocally like an electronic Clash as the chorus creeps on you in pure New Wave fashion. "Dead Is Dead" is a dance party within itself with the synths and the enhanced guitars making for a fun time. To round out the record "The Agenda" and "Kill Me Radio" are exquisite. Though I point out these few, there is not a bad song on this reissue. If you have any love for the aforementioned bands then you should definitely pick this up. Though the band itself doesn't exist, be prepared to get hammered by clubs playing these numbers.
Circuit Breaking Silence/Simplicity and Style 10" Reissue
PrinceHouse Records
Grade: A-
The Calculators are a band of what was, what could have been and what is. Existing for a brief time in 1997-1999 in the punk dominated Bay-area, the Calculators struck on a path that is only now being realized fully in independent music. Not that this is a path that hasn't been beaten before, as with most things, but more like its resurgence. The Calculators divulged and indulged in the electronic, synth-driven, new wave reviving punk that is championed today by bands such as the Faint, Interpol and the Rapture. That this is the case is not surprising given that two of the members from the Calculators, Luke Jenner and Vito Roccoforte, formed the Rapture and another, Jeff Fare, went on to form electronic-beat masters Paradise Boys (also on PrinceHouse). So just imagine taking the best of those two groups and combining them into thirteen thrilling and mesmerizing tracks - and that is what this reissue is. Though maintaining the droning, monotone vocals of New Wave greats, the pure instrumentation and construction is the big draw here. After hearing the synth notes to the opening track "Worthless in a World of Wires," it will stick in your head and you will be drawn to listening on repeat like white on rice. Most of the tracks operate at slightly above moderate tempo, but that doesn't seem to degenerate the pure danceability. As expected, the basslines and simple-note picking guitar add mightily to the draw of the synths. I guess that I'm drawn to the tracks with the synths that make your heart skip around. Hence, there are a few. "This is Evolution" is slow with drums, bass and vocals trudging along before the Calculators allow the synths to snap in and pick up the tempo. "Inside" starts off vocally like an electronic Clash as the chorus creeps on you in pure New Wave fashion. "Dead Is Dead" is a dance party within itself with the synths and the enhanced guitars making for a fun time. To round out the record "The Agenda" and "Kill Me Radio" are exquisite. Though I point out these few, there is not a bad song on this reissue. If you have any love for the aforementioned bands then you should definitely pick this up. Though the band itself doesn't exist, be prepared to get hammered by clubs playing these numbers.
Monday, November 24, 2008
Now It's Overhead - Fall Back Open
Now It's Overhead
Fall Back Open
Saddle Creek Records
Grade: A-
As one of the few bands outside of Omaha to grace Saddle Creek's lineup, Now It's Overhead are back with their second record and a phenomenal improvement over the 2001 self-titled debut. Though the self-titled record was a strong and well-done affair, it lacked the elements to grab your memory, thus limiting further interest in listening. Fall Back Open comes at you like a resurgence of 80s modern rock - typified by bands like U2 and the indie cousins - and it is awesome.
Now It's Overhead come from Athens, GA - you know the ‘other' famous Southern college music scene (read: not Chapel Hill) - the home to R.E.M. and scores more. The band or collective as it may be is fronted by Andy LeMaster on vocals, varying instruments and song writing duties. LeMaster also is a player in Bright Eyes (on Saddle Creek) and co-runs the studio Chase Park Transduction in Athens. Rounding out the group are Orenda Fink (bass, keys and vocals), Maria Taylor (keys and vocals) and Clay Leverett (drums and vocals). Many people are surely familiar with Fink and Taylor as the core of Azure Ray - another one of the few bands on Saddle Creek outside of Omaha. Fink also can be found the Elected's new record and Leverett played previously in Athens' Lona. After touring with and combining tours with Bright Eyes, Now It's Overhead and Azure Ray, LeMaster went back to the studio to work and hammer out tracks for the future record. I'm not sure exactly who came into the studio that caused LeMaster to compose this breakthrough - literally, but also meaning really good musicians pushing you to your limits or really bad musicians who make you appreciate the simply notions of rock more concretely. Regardless, though I liked the debut, Fall Back Open absolutely leaves it in the dust.
Although there are only nine tracks, all are well measured and developed. The record opens on "Wait In A Line" with rolling drums as LeMaster builds and Fink and Taylor have some backing harmonies. But where the song kicks into the gear is on the guitar bridge - a sizzling sense of U2ness that many, many listeners will surely get into to. That small section clearly sets the song apart. "Surrender" is closer to what we found on the debut release as it's a straight-forward sweeping melody rock song. "Profile" has a more 80s rock feel with very slight vocal delay, while "Turn & Go" is slower and harmony-ridden with the help of the ladies. The build on "Turn & Go" is influential, helping it standout in its subtleness. "Fall Back Open" is another slow mover that parallels the feel of "Turn & Go" and has a nice closing with Conor Oberst, Fink and Taylor matching vocals with LeMaster. With convincing guitar twang and the folk-feel of a Bright Eyes track "The Decision Made Itself" is one of the stars amongst the nine. "Reverse" is lyrically dense but musically spins its wheels and "Antidote" slithers with a neat guitar riff coupled with sporadic drums and vocals as the intensity rises - and, noteworthy, Michael Stipe adds backing vocals. Closing out the record, "A Little Consolation" highlights more mid-tempo rock and a strong sense of emotion.
Look for Now It's Overhead to be touring the U.S. and Europe quite soon and not unlikely with some combo of Azure Ray and Bright Eyes, or other Saddle Creek bands. If you enjoyed their debut then you will surely love this. If you didn't like the debut - for whatever reason - the nine tracks here will likely make you reconsider especially given their catchiness and impressionability.
Fall Back Open
Saddle Creek Records
Grade: A-
As one of the few bands outside of Omaha to grace Saddle Creek's lineup, Now It's Overhead are back with their second record and a phenomenal improvement over the 2001 self-titled debut. Though the self-titled record was a strong and well-done affair, it lacked the elements to grab your memory, thus limiting further interest in listening. Fall Back Open comes at you like a resurgence of 80s modern rock - typified by bands like U2 and the indie cousins - and it is awesome.
Now It's Overhead come from Athens, GA - you know the ‘other' famous Southern college music scene (read: not Chapel Hill) - the home to R.E.M. and scores more. The band or collective as it may be is fronted by Andy LeMaster on vocals, varying instruments and song writing duties. LeMaster also is a player in Bright Eyes (on Saddle Creek) and co-runs the studio Chase Park Transduction in Athens. Rounding out the group are Orenda Fink (bass, keys and vocals), Maria Taylor (keys and vocals) and Clay Leverett (drums and vocals). Many people are surely familiar with Fink and Taylor as the core of Azure Ray - another one of the few bands on Saddle Creek outside of Omaha. Fink also can be found the Elected's new record and Leverett played previously in Athens' Lona. After touring with and combining tours with Bright Eyes, Now It's Overhead and Azure Ray, LeMaster went back to the studio to work and hammer out tracks for the future record. I'm not sure exactly who came into the studio that caused LeMaster to compose this breakthrough - literally, but also meaning really good musicians pushing you to your limits or really bad musicians who make you appreciate the simply notions of rock more concretely. Regardless, though I liked the debut, Fall Back Open absolutely leaves it in the dust.
Although there are only nine tracks, all are well measured and developed. The record opens on "Wait In A Line" with rolling drums as LeMaster builds and Fink and Taylor have some backing harmonies. But where the song kicks into the gear is on the guitar bridge - a sizzling sense of U2ness that many, many listeners will surely get into to. That small section clearly sets the song apart. "Surrender" is closer to what we found on the debut release as it's a straight-forward sweeping melody rock song. "Profile" has a more 80s rock feel with very slight vocal delay, while "Turn & Go" is slower and harmony-ridden with the help of the ladies. The build on "Turn & Go" is influential, helping it standout in its subtleness. "Fall Back Open" is another slow mover that parallels the feel of "Turn & Go" and has a nice closing with Conor Oberst, Fink and Taylor matching vocals with LeMaster. With convincing guitar twang and the folk-feel of a Bright Eyes track "The Decision Made Itself" is one of the stars amongst the nine. "Reverse" is lyrically dense but musically spins its wheels and "Antidote" slithers with a neat guitar riff coupled with sporadic drums and vocals as the intensity rises - and, noteworthy, Michael Stipe adds backing vocals. Closing out the record, "A Little Consolation" highlights more mid-tempo rock and a strong sense of emotion.
Look for Now It's Overhead to be touring the U.S. and Europe quite soon and not unlikely with some combo of Azure Ray and Bright Eyes, or other Saddle Creek bands. If you enjoyed their debut then you will surely love this. If you didn't like the debut - for whatever reason - the nine tracks here will likely make you reconsider especially given their catchiness and impressionability.
Friday, November 21, 2008
Leatherface - Dog Disco
Leatherface
Dog Disco
BYO Records
Grade: A-
The seminal UK post-punk band Leatherface is back with their eighth full-length (and technically fifth for BYO thanks to reissues) as they continue on their re-birth journey. Forming in 1988, Leatherface - whose name admittedly makes you think of some type of grindcore death metal band - sought to combine influences through guitar powered songs and headman's Frankie Stubbs vocals. My first listening exposure to these guys came on the 1998 split on BYO with Hot Water Music, which was quickly followed by seeing them live and checking out stellar earlier albums Mush and Cherry Knowles.
Part of the mystique of Leatherface comes from the fact they broke up in 1993 and yet their work influenced such bands as Dillinger Four and Hot Water Music - bands they would later open for. I remember reading somewhere a long time ago that Stubbs pushed for the dissolution because he felt the band didn't have enough commitment and intensity. This was partially stemmed out of the less-than-ideal promotion by quasi-major Seed (subsidiary of Atlantic). The dissolution allowed Stubbs to play in Jesse and Pope, bassist Andy Crighton to form Snuff and guitarist Dickie Hammond to found Dr. Bison. Hammond instigated the reformation of the band, but decided not to throw his own hat back into the rink. So, Stubbs and drummer Andy Laing assembled talent and recorded their first new material for the split with Hot Water. Since then Leatherface has been marching on with their punk onslaught with records such as Horsebox for BYO.
Probably the thing that strikes you immediately with Leatherface is the raspy, gravel-lined vocals of Stubbs. Audibly and visually, Stubbs looks like a former coal miner who has had the life beaten out of him and yet perseveres. While grizzled, Stubbs still has elements of harmony and melody pushed out to the front. As noted above, the dual guitars are a mesmerizing affair and complement Stubbs vocals. Other members of Leatherface add vocals from time-to-time but in a very limited manner.
The first time I heard Leatherface I found it rather odd that the vocals sounded recorded lower than the music, making them barely decipherable. I figured it was some function of mixing - and also that it was on vinyl. Yet, as demonstrated again here, Leatherface, for whatever rationale, prefers the mix as such - maybe as a means to add to Stubbs gruthness. Often times you can only figure out the lyrics on the chorus as illustrated by the exceptional opener "Hoodlum." As one of the best tracks on the record, one of the lines on the chorus 'you smoke dope everyday, while I drink my nights away…" sums up Leatherface succinctly. Consistent with previous material, the songs on Dog Disco are always driven by heavily distorted and melodic guitars. Other tracks worth your time include "Small Yellow Chair" with chipper guitars, the balls-to-the-wall "Eggbound," the sweet ballad "Plastic Surgery" and the finale "Heart is Home."
Leatherface has been cited in the past for not having any single tracks that grab you and that are likely to be heard on college radio. Though this tradition continues, the core of Dog Disco is very tight and consistent. Leatherface will probably still fly below the musical radar after this record but that makes them even more intriguing. Also, you have to see Stubbs do this jig when he is playing guitar - pure awesomeness. Maybe this time around they will be able to open for the bands they influenced instead of the other way around. On an absolutely random note, I'm not sure if the cover art is one of the worst things I've ever seen or what. Also, for whatever reason and I love dogs (got 3), bands having the word 'dog' in their name or record titles makes me want to boot - I knew there was a reason I didn't like Keanu Reeves.
Dog Disco
BYO Records
Grade: A-
The seminal UK post-punk band Leatherface is back with their eighth full-length (and technically fifth for BYO thanks to reissues) as they continue on their re-birth journey. Forming in 1988, Leatherface - whose name admittedly makes you think of some type of grindcore death metal band - sought to combine influences through guitar powered songs and headman's Frankie Stubbs vocals. My first listening exposure to these guys came on the 1998 split on BYO with Hot Water Music, which was quickly followed by seeing them live and checking out stellar earlier albums Mush and Cherry Knowles.
Part of the mystique of Leatherface comes from the fact they broke up in 1993 and yet their work influenced such bands as Dillinger Four and Hot Water Music - bands they would later open for. I remember reading somewhere a long time ago that Stubbs pushed for the dissolution because he felt the band didn't have enough commitment and intensity. This was partially stemmed out of the less-than-ideal promotion by quasi-major Seed (subsidiary of Atlantic). The dissolution allowed Stubbs to play in Jesse and Pope, bassist Andy Crighton to form Snuff and guitarist Dickie Hammond to found Dr. Bison. Hammond instigated the reformation of the band, but decided not to throw his own hat back into the rink. So, Stubbs and drummer Andy Laing assembled talent and recorded their first new material for the split with Hot Water. Since then Leatherface has been marching on with their punk onslaught with records such as Horsebox for BYO.
Probably the thing that strikes you immediately with Leatherface is the raspy, gravel-lined vocals of Stubbs. Audibly and visually, Stubbs looks like a former coal miner who has had the life beaten out of him and yet perseveres. While grizzled, Stubbs still has elements of harmony and melody pushed out to the front. As noted above, the dual guitars are a mesmerizing affair and complement Stubbs vocals. Other members of Leatherface add vocals from time-to-time but in a very limited manner.
The first time I heard Leatherface I found it rather odd that the vocals sounded recorded lower than the music, making them barely decipherable. I figured it was some function of mixing - and also that it was on vinyl. Yet, as demonstrated again here, Leatherface, for whatever rationale, prefers the mix as such - maybe as a means to add to Stubbs gruthness. Often times you can only figure out the lyrics on the chorus as illustrated by the exceptional opener "Hoodlum." As one of the best tracks on the record, one of the lines on the chorus 'you smoke dope everyday, while I drink my nights away…" sums up Leatherface succinctly. Consistent with previous material, the songs on Dog Disco are always driven by heavily distorted and melodic guitars. Other tracks worth your time include "Small Yellow Chair" with chipper guitars, the balls-to-the-wall "Eggbound," the sweet ballad "Plastic Surgery" and the finale "Heart is Home."
Leatherface has been cited in the past for not having any single tracks that grab you and that are likely to be heard on college radio. Though this tradition continues, the core of Dog Disco is very tight and consistent. Leatherface will probably still fly below the musical radar after this record but that makes them even more intriguing. Also, you have to see Stubbs do this jig when he is playing guitar - pure awesomeness. Maybe this time around they will be able to open for the bands they influenced instead of the other way around. On an absolutely random note, I'm not sure if the cover art is one of the worst things I've ever seen or what. Also, for whatever reason and I love dogs (got 3), bands having the word 'dog' in their name or record titles makes me want to boot - I knew there was a reason I didn't like Keanu Reeves.
Thursday, November 20, 2008
Jawbreaker - Dear You (Reissue)
Jawbreaker
Dear You
Blackball Records
Grade: A
I remember when I picked up this record used for three dollars in 1996 at a record store in western NY. That I night I saw some fellow compatriots for some drinking where upon telling one that I got the CD, he said it was the worst record he had ever heard. And so it was - a telling visceral reaction to what would become one of the most influential records on modern day indie rock. This is the record that would also lead to the downfall of one of the most important groups of contemporary rock music.
After the three-piece Jawbreaker released three stunning full-lengths on indie labels, Unfun (Shredder, 1990), Bivouac (Tupelo/Communion, 1992) and 24-Hour Revenge Therapy (Tupelo/Communion, 1994), they did the unthinkable - sign with major label DGC. At that point, DGC was home to bands such as Nirvana and Sonic Youth, but Jawbreaker had always extolled the fact that they were staying indie. Blake Schwarzenbach (guitar and vocals), Chris Bauermeister (bass) and Adam Pfahler (drums) scored a million dollar payday for signing with DGC and they set out to record their fourth full-length. As the story unfolds, Schwarzenbach quartered himself off at Fantasy Studios in Berkeley and set to writing the music and lyrics. Bauermeister and Pfahler would come and do their requisite parts, but played a much smaller role than ever before. Another big change was instead of recording the record in a matter days, it became eight weeks - an astonishing long time at that point, especially for Jawbreaker. What emerged from those eight weeks with producer Rob Cavallo was what my friend, the die-hard Jawbreaker fan, would vomit upon.
Under the tutelage of Cavallo's sound massaging, Schwarzenbach's once raspy and off-kiltered vocals were molested to sweet perfection. Though still unique Schwarzenbach, the melody and smoothness startled long term fans. In addition, the wall of fuzzed-out guitars also was a departure of previous recordings of the band. Essentially, Dear You (1995) had all the hallmarks of a major label release from a core indie band - and that pissed people off to no end. Stories abound of people going to Jawbreaker shows just to boo the band when they played songs off of Dear You. Though the band was drifting apart to some extent before Dear You, the angry reaction they received and the marginal sales (for a major) finally but the nail in the coffin for Jawbreaker.
So what is the deal with Dear You being released again? For one, shortly after its release, it became out-of-print as DGC wasn't about to keep fresh copies of a failed record out in stores. Yet, the so-called failure and sellout of a record was on the verge of essentially starting a musical movement - emo. Scores of contemporary bands from Dashboard to Thursday to Saves the Day cite Dear You as a substantial influence on their sound. Members of Jawbreaker have countered that they were influenced by all the punk and indie bands before them so it is a natural progression. Regardless, Dear You emerged as a kind of required listening for scenesters. In what I wished I had known about, copies were being sold on places like Ebay for upwards of seventy dollars as demand skyrocketed over supply.
As Schwarzenbach went on to form Jets to Brazil (Jade Tree) and Bauermeister went to graduate school, Pfahler after some time founded Blackball Records. The first two releases was Jawbreaker's final show in San Francisco entitled 4/30/96 and a compilation of rare material entitled Etc. Since, DGC was not about re-release it, Pfahler through some serious legal wrangling final scored the rights. And now the hot commodity Dear You is presented for your listening. Besides the thirteen original tracks, the re-release includes five extra songs "Shirt," "Into You Like a Train," "Sister," "Friendly Fire" and "Boxcar." Pfahler has also included some awesome pictures in the booklet to accompany the songs. My favorite is a letter from the Oyster Bay (NY) Historical Society - oh, the Long Island connections run deep - requesting information on the song "Oyster" as they are compiling a list of music with word 'oyster' in the title. Now that is the kind of mail that I wished I received. One with Kurt Cobain wearing a Jawbreaker is another favorite. Finally, there is an enhanced portion with the video for "Fireman."
Look there is no point in actually specifically reviewing the music contained here. The tracks are all a stunning musically and lyrically dense affair that really is requisite listening. I personally am not a fan of "Oyster" and "Jet Black" (though I love the Annie Hall quote), but I still prefer the two over most other music. For many this reissue is a means to finally buy their own copy and to score several other Jawbreaker songs - songs that smoke.
At the end of the day, I'm sure my friend still hates Dear You and wishes it never came out - and others still have similar hostile feelings for it. For those who didn't get sucked into the spectacle originally surrounding the record, there is no reason not to own this. Since a Jawbreaker reunion is not in the cards for the near future, check out Schwarzenbach still keeping the faith in Jets to Brazil. However, never say never as evidenced by the Pixies reunion.
Dear You
Blackball Records
Grade: A
I remember when I picked up this record used for three dollars in 1996 at a record store in western NY. That I night I saw some fellow compatriots for some drinking where upon telling one that I got the CD, he said it was the worst record he had ever heard. And so it was - a telling visceral reaction to what would become one of the most influential records on modern day indie rock. This is the record that would also lead to the downfall of one of the most important groups of contemporary rock music.
After the three-piece Jawbreaker released three stunning full-lengths on indie labels, Unfun (Shredder, 1990), Bivouac (Tupelo/Communion, 1992) and 24-Hour Revenge Therapy (Tupelo/Communion, 1994), they did the unthinkable - sign with major label DGC. At that point, DGC was home to bands such as Nirvana and Sonic Youth, but Jawbreaker had always extolled the fact that they were staying indie. Blake Schwarzenbach (guitar and vocals), Chris Bauermeister (bass) and Adam Pfahler (drums) scored a million dollar payday for signing with DGC and they set out to record their fourth full-length. As the story unfolds, Schwarzenbach quartered himself off at Fantasy Studios in Berkeley and set to writing the music and lyrics. Bauermeister and Pfahler would come and do their requisite parts, but played a much smaller role than ever before. Another big change was instead of recording the record in a matter days, it became eight weeks - an astonishing long time at that point, especially for Jawbreaker. What emerged from those eight weeks with producer Rob Cavallo was what my friend, the die-hard Jawbreaker fan, would vomit upon.
Under the tutelage of Cavallo's sound massaging, Schwarzenbach's once raspy and off-kiltered vocals were molested to sweet perfection. Though still unique Schwarzenbach, the melody and smoothness startled long term fans. In addition, the wall of fuzzed-out guitars also was a departure of previous recordings of the band. Essentially, Dear You (1995) had all the hallmarks of a major label release from a core indie band - and that pissed people off to no end. Stories abound of people going to Jawbreaker shows just to boo the band when they played songs off of Dear You. Though the band was drifting apart to some extent before Dear You, the angry reaction they received and the marginal sales (for a major) finally but the nail in the coffin for Jawbreaker.
So what is the deal with Dear You being released again? For one, shortly after its release, it became out-of-print as DGC wasn't about to keep fresh copies of a failed record out in stores. Yet, the so-called failure and sellout of a record was on the verge of essentially starting a musical movement - emo. Scores of contemporary bands from Dashboard to Thursday to Saves the Day cite Dear You as a substantial influence on their sound. Members of Jawbreaker have countered that they were influenced by all the punk and indie bands before them so it is a natural progression. Regardless, Dear You emerged as a kind of required listening for scenesters. In what I wished I had known about, copies were being sold on places like Ebay for upwards of seventy dollars as demand skyrocketed over supply.
As Schwarzenbach went on to form Jets to Brazil (Jade Tree) and Bauermeister went to graduate school, Pfahler after some time founded Blackball Records. The first two releases was Jawbreaker's final show in San Francisco entitled 4/30/96 and a compilation of rare material entitled Etc. Since, DGC was not about re-release it, Pfahler through some serious legal wrangling final scored the rights. And now the hot commodity Dear You is presented for your listening. Besides the thirteen original tracks, the re-release includes five extra songs "Shirt," "Into You Like a Train," "Sister," "Friendly Fire" and "Boxcar." Pfahler has also included some awesome pictures in the booklet to accompany the songs. My favorite is a letter from the Oyster Bay (NY) Historical Society - oh, the Long Island connections run deep - requesting information on the song "Oyster" as they are compiling a list of music with word 'oyster' in the title. Now that is the kind of mail that I wished I received. One with Kurt Cobain wearing a Jawbreaker is another favorite. Finally, there is an enhanced portion with the video for "Fireman."
Look there is no point in actually specifically reviewing the music contained here. The tracks are all a stunning musically and lyrically dense affair that really is requisite listening. I personally am not a fan of "Oyster" and "Jet Black" (though I love the Annie Hall quote), but I still prefer the two over most other music. For many this reissue is a means to finally buy their own copy and to score several other Jawbreaker songs - songs that smoke.
At the end of the day, I'm sure my friend still hates Dear You and wishes it never came out - and others still have similar hostile feelings for it. For those who didn't get sucked into the spectacle originally surrounding the record, there is no reason not to own this. Since a Jawbreaker reunion is not in the cards for the near future, check out Schwarzenbach still keeping the faith in Jets to Brazil. However, never say never as evidenced by the Pixies reunion.
Wednesday, November 19, 2008
John Frusciante - Shadows Collide With People
John Frusciante
Shadows Collide With People
Warner Brothers
Grade: A-
WOW. Up-front, I'm a fan.
I first bought Niadra LaDes & Usually Just a T-shirt, John's first album, in college on a whim. I had heard it was a must own album of epic proportions...It throughly blew my mind. It sounds like a heroin addict locked in a house recording this thoughts into freaky acoustic song form...and well...it pretty much was just that. Flash forward a few years and John re-joins the Red Hot Chilli Peppers. They release an album of finely crafted tunes, devoid of most all of the aggro bad boy rapisms that most everyone had grown out of (you hear me Fred Durst!). It wasn't too hard to figure out that with John back in RHCP his song writing and vocal harmonies brought life back into his former band. After Smile From the Streets You Hold, John released To Record Water For Only Ten Days. One can safely assume that now having kicked the "horse" John was free to write more "song" oriented...songs. To Record Water... was an impressive piece of Depeche Mode tinged acoustic goodness. Next, another RHCP album that yet again made the Peppers an even MORE melodic band with John all over the album....
Which brings us to Shadows Collide with People as damn near the best album I've heard in years. 18 tracks of the best rock in ages. Frusciante has really come into his own. The songs have layers and layers of beautiful vocals and perfectly found keyboards. This album is just amazingly good. Frusciante finds new ways to sing notes in an order that you never thought of until that moment. The album is peppered (ha!) with appearances from fellow band mates and friends, but make no mistake this album is ALL John. Not only does John play some of the meanest, most unique sounding guitar riffs, he has crafted the most listenable yet original album in recent memory. You can't call yourself a music fan and not own this album. Nuff said - go get it!
Shadows Collide With People
Warner Brothers
Grade: A-
WOW. Up-front, I'm a fan.
I first bought Niadra LaDes & Usually Just a T-shirt, John's first album, in college on a whim. I had heard it was a must own album of epic proportions...It throughly blew my mind. It sounds like a heroin addict locked in a house recording this thoughts into freaky acoustic song form...and well...it pretty much was just that. Flash forward a few years and John re-joins the Red Hot Chilli Peppers. They release an album of finely crafted tunes, devoid of most all of the aggro bad boy rapisms that most everyone had grown out of (you hear me Fred Durst!). It wasn't too hard to figure out that with John back in RHCP his song writing and vocal harmonies brought life back into his former band. After Smile From the Streets You Hold, John released To Record Water For Only Ten Days. One can safely assume that now having kicked the "horse" John was free to write more "song" oriented...songs. To Record Water... was an impressive piece of Depeche Mode tinged acoustic goodness. Next, another RHCP album that yet again made the Peppers an even MORE melodic band with John all over the album....
Which brings us to Shadows Collide with People as damn near the best album I've heard in years. 18 tracks of the best rock in ages. Frusciante has really come into his own. The songs have layers and layers of beautiful vocals and perfectly found keyboards. This album is just amazingly good. Frusciante finds new ways to sing notes in an order that you never thought of until that moment. The album is peppered (ha!) with appearances from fellow band mates and friends, but make no mistake this album is ALL John. Not only does John play some of the meanest, most unique sounding guitar riffs, he has crafted the most listenable yet original album in recent memory. You can't call yourself a music fan and not own this album. Nuff said - go get it!
Tuesday, November 18, 2008
Atom and His Package - Hair: Debatable
Atom and His Package
Hair: Debatable
Hopeless Records
Grade: A
My first full-scale introduction to Atom and his Package came during the ascension of Napster. On a whim, after non-stop talking about Atom and his Package from various sorts, I did the illegal and downloaded "Pumping Iron for Enya." That one song, I still think one of his best, made me a big time fan. One of my crazy friends saw Atom open for someone in NYC in the late nineties and told of this insane guy who is a solo act. After hearing more of Atom's stuff I finally connected the two.
So who is Atom and his Package? Atom is Adam Goren - a self-referencing Jew from Philadelphia who rocks out like closest case rock star. "His Package" is an electro-box that Atom programs in drums, guitars, keys, blips, sounds, etc. He then sings and sometimes plays guitar to the package. Getting the timing right live with one of those things takes some real skill, simply because if you screw up the timing a tiny bit your just fucked. His sound would be best described as quirky comedic electro-punk - not like the Rapture or something over-the-top like that. He mixes that with an underlying allegiance to lame 80s synth pop. His songs all average around two minutes often containing some of the funniest lyrics you have ever heard - though he maintains he is horrible at and hates writing lyrics. This may partially be a function of the song subjects - from a punk rock high school to a girlfriend who only is a head to hanging out with the Ghetto Boys on Halloween. In addition, almost every song as one section that absolutely rocks your balls off. The song maybe marginal then all of a sudden he drops like the best sound on a chorus and it takes off.
Atom has been doing this deal since around 1995 for shits and giggles - or more specifically a way to play and write music without the hassle of having to deal with band members and all the separate issues. In previous endeavors he found himself doing almost everything anyway, so why not go solo. This decision helped add a completely different sound and voice to the punk genre.
Between four full-lengths and assorted other releases on labels like Hopeless and No Idea, he has create quite a large catalog of songs. His best are chronicled on this live CD/DVD of his last show ever in Philadelphia on August 29, 2003 at church that was hot as balls. Why was it his last show? A succinct of saying why it is because of life circumstances. The long way is that his wife is pregnant and he has been diagnosed with diabetes. Hence, he needs to find a steady job with full health coverage. The show was with the similar minded the Zambonis, Excelsior and This Radiant Boy. The twenty-five songs played at this show include almost ever thing you would want him to do from all of his material. This includes such classics as "…the Metric System," the aforementioned "Pumping Iron for Enya," "Mind's Playing Tricks on Me," "What we do on Christmas," "Avenger" and "Punk Rock Academy." I couldn't think of anything else I would have wanted him to do except the "Break Down the Walls" cover where he does the Cookie Monster voice. As is explained in the linear notes, Atom was going to use a digital recorder to record the show, but it failed to work before he went on. So, the sound guy mixed the show on the spot and there is less immediate precision, but it quickly gets good - not that it ever sounds bad. Honestly, and I think this partially due to package knocking out all of the sounds from one central place, this is phenomenal live recording. Also, Atom live vocals strictly mirror the recorded in a very sharp way.
Though the over-an-hour live CD rocks, the full magic comes on the accompanying DVD. Unlike the growing trend to include the most tangential material on an enhanced CD or a short DVD, this is some great stuff. The DVD includes the entire show shot on digital video by like five cameras set up around the stage. But what makes this one of the best recorded live performances is that it is all in the now and the immediate. For instance, often when you watch recorded shows they have these long shots that make the show look so insignificant and boring - which it may be. Here, one of the cameras is set up the on the mic stand which gives a great perspective when Atom is playing guitar and at the stationary mic. It also helps overwhelmingly that Atom gets totally into it and everyone there knows all the little ins and outs of all the songs. Among the few additions or changes that I wished for was that Atom would play some death metal axe riffs on "Me and My Black Metal Friends." The finale "Punk Rock Academy" is something special that instills the requisite chills.
Besides from the extraordinary live recording, the DVD includes a twenty-minute documentary on the pre-last show and what led up do it by Benni Berman. This also includes brief interviews with Atom's wife Jenn Schumow Goren, roommate Brian Sokel and sister Aliza Rabinowitz. There is an older shorter documentary by Katie Akana and some odd 'Philly Music Profile' that is sort of 'who is Atom and his Package.' Though the sound is well off, the DVD also includes Atom doing "Goalie" with the Zambonis and then they bash a piñata of Atom's head. Finally, the video for "Undercover Funny" is included with all the pseudo-Muppets made for free by Keith Scofield. Atom tells the story of how it was made in the linear notes when he went down to NYU to meet Scofield where Atom lip synched the song several times in front of a green screen - which as he denotes accounts for some of the sheer awkwardness. Then Scofield added in all the assuming computer graphics.
At the end of the day, this is a must have for fans, either now or at anytime, of Atom and his Package. The amount of awesomeness is immeasurable and it is hard to think of a day going bye with not watching or listening to it. Yet how long Atom is actually out of the game appears not to be too extensive. He has been playing in a band with some friends called Armalite and continues to pen solo numbers. I would suspect with all that is happening in the world, we will see an emergence of hot new material from Atom and his Package in the next few years.
Hair: Debatable
Hopeless Records
Grade: A
My first full-scale introduction to Atom and his Package came during the ascension of Napster. On a whim, after non-stop talking about Atom and his Package from various sorts, I did the illegal and downloaded "Pumping Iron for Enya." That one song, I still think one of his best, made me a big time fan. One of my crazy friends saw Atom open for someone in NYC in the late nineties and told of this insane guy who is a solo act. After hearing more of Atom's stuff I finally connected the two.
So who is Atom and his Package? Atom is Adam Goren - a self-referencing Jew from Philadelphia who rocks out like closest case rock star. "His Package" is an electro-box that Atom programs in drums, guitars, keys, blips, sounds, etc. He then sings and sometimes plays guitar to the package. Getting the timing right live with one of those things takes some real skill, simply because if you screw up the timing a tiny bit your just fucked. His sound would be best described as quirky comedic electro-punk - not like the Rapture or something over-the-top like that. He mixes that with an underlying allegiance to lame 80s synth pop. His songs all average around two minutes often containing some of the funniest lyrics you have ever heard - though he maintains he is horrible at and hates writing lyrics. This may partially be a function of the song subjects - from a punk rock high school to a girlfriend who only is a head to hanging out with the Ghetto Boys on Halloween. In addition, almost every song as one section that absolutely rocks your balls off. The song maybe marginal then all of a sudden he drops like the best sound on a chorus and it takes off.
Atom has been doing this deal since around 1995 for shits and giggles - or more specifically a way to play and write music without the hassle of having to deal with band members and all the separate issues. In previous endeavors he found himself doing almost everything anyway, so why not go solo. This decision helped add a completely different sound and voice to the punk genre.
Between four full-lengths and assorted other releases on labels like Hopeless and No Idea, he has create quite a large catalog of songs. His best are chronicled on this live CD/DVD of his last show ever in Philadelphia on August 29, 2003 at church that was hot as balls. Why was it his last show? A succinct of saying why it is because of life circumstances. The long way is that his wife is pregnant and he has been diagnosed with diabetes. Hence, he needs to find a steady job with full health coverage. The show was with the similar minded the Zambonis, Excelsior and This Radiant Boy. The twenty-five songs played at this show include almost ever thing you would want him to do from all of his material. This includes such classics as "…the Metric System," the aforementioned "Pumping Iron for Enya," "Mind's Playing Tricks on Me," "What we do on Christmas," "Avenger" and "Punk Rock Academy." I couldn't think of anything else I would have wanted him to do except the "Break Down the Walls" cover where he does the Cookie Monster voice. As is explained in the linear notes, Atom was going to use a digital recorder to record the show, but it failed to work before he went on. So, the sound guy mixed the show on the spot and there is less immediate precision, but it quickly gets good - not that it ever sounds bad. Honestly, and I think this partially due to package knocking out all of the sounds from one central place, this is phenomenal live recording. Also, Atom live vocals strictly mirror the recorded in a very sharp way.
Though the over-an-hour live CD rocks, the full magic comes on the accompanying DVD. Unlike the growing trend to include the most tangential material on an enhanced CD or a short DVD, this is some great stuff. The DVD includes the entire show shot on digital video by like five cameras set up around the stage. But what makes this one of the best recorded live performances is that it is all in the now and the immediate. For instance, often when you watch recorded shows they have these long shots that make the show look so insignificant and boring - which it may be. Here, one of the cameras is set up the on the mic stand which gives a great perspective when Atom is playing guitar and at the stationary mic. It also helps overwhelmingly that Atom gets totally into it and everyone there knows all the little ins and outs of all the songs. Among the few additions or changes that I wished for was that Atom would play some death metal axe riffs on "Me and My Black Metal Friends." The finale "Punk Rock Academy" is something special that instills the requisite chills.
Besides from the extraordinary live recording, the DVD includes a twenty-minute documentary on the pre-last show and what led up do it by Benni Berman. This also includes brief interviews with Atom's wife Jenn Schumow Goren, roommate Brian Sokel and sister Aliza Rabinowitz. There is an older shorter documentary by Katie Akana and some odd 'Philly Music Profile' that is sort of 'who is Atom and his Package.' Though the sound is well off, the DVD also includes Atom doing "Goalie" with the Zambonis and then they bash a piñata of Atom's head. Finally, the video for "Undercover Funny" is included with all the pseudo-Muppets made for free by Keith Scofield. Atom tells the story of how it was made in the linear notes when he went down to NYU to meet Scofield where Atom lip synched the song several times in front of a green screen - which as he denotes accounts for some of the sheer awkwardness. Then Scofield added in all the assuming computer graphics.
At the end of the day, this is a must have for fans, either now or at anytime, of Atom and his Package. The amount of awesomeness is immeasurable and it is hard to think of a day going bye with not watching or listening to it. Yet how long Atom is actually out of the game appears not to be too extensive. He has been playing in a band with some friends called Armalite and continues to pen solo numbers. I would suspect with all that is happening in the world, we will see an emergence of hot new material from Atom and his Package in the next few years.
Monday, November 17, 2008
Sondre Lerche - Two Way Monologue
Sondre Lerche
Two Way Monologue
Astralwerks
Grade: A-/A
During the past two years all I've heard is Sondre Lerche this and Sondre Lerche that. Rolling Stone had orgasms over his first record Faces Down naming it one of the year's best. So who, what and where is Sondre Lerche? For one, he is your new favorite artist.
Lerche comes from the frozen tundra of Bergen, Norway, is barely into his twenties and is the rebirth of solo artist melodic acoustic folk-rock. Lerche was signed to Virgin Norway before he was out of school, allowing him to offer several EP's for the Norwegian contingent. Recorded a few years ago, but held off the release for a bit so he could finish school, Faces Down smashed the music world and thus opening a path to the fruitful U.S. Lerche was able to do some extensive touring in the U.S. and since then and has built up a critical mass of appreciation. Instead of getting sucked into the NYC/LA recording prowess (umm, Conor Oberst), Lerche recorded Two Way Monologue in his hometown of Bergen with HP Gundersen and Jorgen Traeen (note:imagine that name with Norwegian emphases). The product is a phenomenal piece of craftmanship that will likely ring up further endorsements.
Besides from the dominant poppy folk-rock core, Lerche enjoys molesting influences from past masters of melodic rock including Burt Bacharach, Elvis Costello, good Cardigans, the Beach Boys and later day Beatles. With a plethora of instrumentation including a full array of strings, horns, electronics and keys, Two Way Monologue is certainly the rebirth of Bacharach (e.g., "Days That Are Over"). Though a jaded listener may accuse Lerche of cribbing too much material from the masters, he does it in such a refreshing and integrated way that he has made it his own.
Two Way Monologue starts with a minute-and-a-half instrumental dominated by strings to open the affair. "Track You Down" echoes some serious Beatles with Lerche massaging his vocals and coaxing the acoustic guitar for the full band entrance. When the simple drum beat comes in it adds another layer for sweetness, setting up the dreamy chorus. "On the Tower" is more straight-up pop lounge with a guitar following Lerche singing and heavenly pings about half-way through. Following a more dirty acoustic recording, the title track begins in a plain manner before crescendoing on the chorus and organ to bring you back to the verse. As noted above, "Days That Are Over" seriously sounds like an ode to Bacharach and I envision Lerche singing the song in a lounge in a Las Vegas casino with a sexy red velvet outfit. Oh, the possibilities for a video off this song are endless. "Wet Ground" reminds me of some Christmas carol for a new generation as Lerche allows his vocals to edge on the raspy and some warm melodic vocal overdubs and backup. Back to the folk-rock, "Counter Spark" issues a standard Lerche song with a little strangeness from high octave organ and some ‘bah, ba-ba-bahs' for good measure. "It's Over" starts moderately creepy with Lerche's vocals doubling in each speaker as piano and strings accompany him. As probably the peppiest intro and one of the best tracks, "Stupid Memory" just trances along with simple drums, picking acoustic guitars but then an uber-catchy electronic riff comes in to grab your memory. (There was some electro-group from Scandinavia who had a song that was about with a similar sound and it captured my interest for probably longer than natural.) The addition of steel guitar and female backup vocals only adds to the mesmerization. "It's Too Late" dances around the dial paralleling some Beatles, while "It's Our Job" swings in like a lazy daydream. What makes "It's Our Job" entrancing is the simple guitar riff paralleling Lerche's vocals - I could listen to this song and "Stupid Memory" on repeat for significant amounts of time. The record closes on the mellow, mid-tempo "Maybe You're Gone" with Lerche and guitar pushing the Beatles envelope before he utilizes the full onslaught of strings, accordion, etc.
Two Way Monologue is clearly one of the best records to come out so far in 2004 and will likely maintain that status for the upcoming months. Though Lerche will probably dominant the college charts, you should look for him lingering on the billboard. I think that if he and Astralwerks(/Virgin Norway) decide to do a video for "Days That Are Over" in the manner suggested above there would be no end to the record's chart trouncing. I do find a perplexing relationship between Sondre Lerche and Conor Oberst's work in Bright Eyes. It is almost as if they are playing with the same coin but different sides. A tour between the two, though, may cause a tsunami of excitement, not unlike the fat captain of the Mexican cliff-diving team doing a plunge from ninety feet up - oh happy day.
Two Way Monologue
Astralwerks
Grade: A-/A
During the past two years all I've heard is Sondre Lerche this and Sondre Lerche that. Rolling Stone had orgasms over his first record Faces Down naming it one of the year's best. So who, what and where is Sondre Lerche? For one, he is your new favorite artist.
Lerche comes from the frozen tundra of Bergen, Norway, is barely into his twenties and is the rebirth of solo artist melodic acoustic folk-rock. Lerche was signed to Virgin Norway before he was out of school, allowing him to offer several EP's for the Norwegian contingent. Recorded a few years ago, but held off the release for a bit so he could finish school, Faces Down smashed the music world and thus opening a path to the fruitful U.S. Lerche was able to do some extensive touring in the U.S. and since then and has built up a critical mass of appreciation. Instead of getting sucked into the NYC/LA recording prowess (umm, Conor Oberst), Lerche recorded Two Way Monologue in his hometown of Bergen with HP Gundersen and Jorgen Traeen (note:imagine that name with Norwegian emphases). The product is a phenomenal piece of craftmanship that will likely ring up further endorsements.
Besides from the dominant poppy folk-rock core, Lerche enjoys molesting influences from past masters of melodic rock including Burt Bacharach, Elvis Costello, good Cardigans, the Beach Boys and later day Beatles. With a plethora of instrumentation including a full array of strings, horns, electronics and keys, Two Way Monologue is certainly the rebirth of Bacharach (e.g., "Days That Are Over"). Though a jaded listener may accuse Lerche of cribbing too much material from the masters, he does it in such a refreshing and integrated way that he has made it his own.
Two Way Monologue starts with a minute-and-a-half instrumental dominated by strings to open the affair. "Track You Down" echoes some serious Beatles with Lerche massaging his vocals and coaxing the acoustic guitar for the full band entrance. When the simple drum beat comes in it adds another layer for sweetness, setting up the dreamy chorus. "On the Tower" is more straight-up pop lounge with a guitar following Lerche singing and heavenly pings about half-way through. Following a more dirty acoustic recording, the title track begins in a plain manner before crescendoing on the chorus and organ to bring you back to the verse. As noted above, "Days That Are Over" seriously sounds like an ode to Bacharach and I envision Lerche singing the song in a lounge in a Las Vegas casino with a sexy red velvet outfit. Oh, the possibilities for a video off this song are endless. "Wet Ground" reminds me of some Christmas carol for a new generation as Lerche allows his vocals to edge on the raspy and some warm melodic vocal overdubs and backup. Back to the folk-rock, "Counter Spark" issues a standard Lerche song with a little strangeness from high octave organ and some ‘bah, ba-ba-bahs' for good measure. "It's Over" starts moderately creepy with Lerche's vocals doubling in each speaker as piano and strings accompany him. As probably the peppiest intro and one of the best tracks, "Stupid Memory" just trances along with simple drums, picking acoustic guitars but then an uber-catchy electronic riff comes in to grab your memory. (There was some electro-group from Scandinavia who had a song that was about with a similar sound and it captured my interest for probably longer than natural.) The addition of steel guitar and female backup vocals only adds to the mesmerization. "It's Too Late" dances around the dial paralleling some Beatles, while "It's Our Job" swings in like a lazy daydream. What makes "It's Our Job" entrancing is the simple guitar riff paralleling Lerche's vocals - I could listen to this song and "Stupid Memory" on repeat for significant amounts of time. The record closes on the mellow, mid-tempo "Maybe You're Gone" with Lerche and guitar pushing the Beatles envelope before he utilizes the full onslaught of strings, accordion, etc.
Two Way Monologue is clearly one of the best records to come out so far in 2004 and will likely maintain that status for the upcoming months. Though Lerche will probably dominant the college charts, you should look for him lingering on the billboard. I think that if he and Astralwerks(/Virgin Norway) decide to do a video for "Days That Are Over" in the manner suggested above there would be no end to the record's chart trouncing. I do find a perplexing relationship between Sondre Lerche and Conor Oberst's work in Bright Eyes. It is almost as if they are playing with the same coin but different sides. A tour between the two, though, may cause a tsunami of excitement, not unlike the fat captain of the Mexican cliff-diving team doing a plunge from ninety feet up - oh happy day.
Friday, November 14, 2008
V/A - Rock Against Bush Vol. 1
V/A
Rock Against Bush Vol. 1
Fat Wreck Chords
Grade: A-
Besides from NOFX's recent full-length Franco Un-American, this is Fat Mike's and punkvoter.com's first musical onslaught against Bush. While punkvoter.com started out as a semi-serious site with good intentions, the revised version is straight up professional and the mockery comes mostly second-handed through posted cartoons and the punkvoter merch (e.g, "Not my president" shirts). Along with the twenty-six tracks from some of the best punk bands, and actually an eclectic group, the booklet has some rants. This includes an encompassing forty reasons to hate Bush where they annoyingly keep referring to W as Bush Jr. which isn't correct. While it is true that W was able to fool people with the name to win his first governorship of Texas - that is some people thought they were voting for the elder Bush - the present president is George Walker Bush and the father is George Herbert Walker Bush. It might not matter much to you, but to a political scientist that distinction is important - that is why everyone calls him Dubya and not Junior. While there are no bad songs here, it is probably just worth mentioning the previously unreleased material. This includes Sum 41's "Moron" that sounds suspiciously like Fat Mike on the mic; Alkaline Trio's "Warbrain;" Anti-Flag's "School of Assassins" about the School of the Americas; "Lion and Lamb" by the Get Up Kids; Ministry's "No W" which uses quotes from Bush, not unlike the quotes from their "New World Order;" a reinvigorated The World/Inferno Friendship Society on "The Expatriate Act;" a better than expected New Found Glory song "No News Is Good News;" NOFX's "Jaw, Knee, Music" and Less than Jake featuring Billy Bragg on "The Brightest Bulb Has Burned Out." There is a DVD second disc with all sorts of stuff including a documentary previews, videos and anti-bush ads. The videos come from a stunning Anti-Flag, Bad Religion, Strike Anywhere and still amazing "Franco Un-American" by NOFX. The Anti-Flag video for "Turncoat" has hooked me completely and I have watched it like a million times. The smattering of ads are good on the whole with the first two on the deficit and kids running for president as highlights. David Cross provides a comedy stint down in Bush's heartland of Texas in 2002. As you might suspect the documentaries are some fairly serious shit done in strong and professional manner. In regards to whether you should buy this, if you don't then you are a Toby Keith fan - enough said.
Rock Against Bush Vol. 1
Fat Wreck Chords
Grade: A-
Besides from NOFX's recent full-length Franco Un-American, this is Fat Mike's and punkvoter.com's first musical onslaught against Bush. While punkvoter.com started out as a semi-serious site with good intentions, the revised version is straight up professional and the mockery comes mostly second-handed through posted cartoons and the punkvoter merch (e.g, "Not my president" shirts). Along with the twenty-six tracks from some of the best punk bands, and actually an eclectic group, the booklet has some rants. This includes an encompassing forty reasons to hate Bush where they annoyingly keep referring to W as Bush Jr. which isn't correct. While it is true that W was able to fool people with the name to win his first governorship of Texas - that is some people thought they were voting for the elder Bush - the present president is George Walker Bush and the father is George Herbert Walker Bush. It might not matter much to you, but to a political scientist that distinction is important - that is why everyone calls him Dubya and not Junior. While there are no bad songs here, it is probably just worth mentioning the previously unreleased material. This includes Sum 41's "Moron" that sounds suspiciously like Fat Mike on the mic; Alkaline Trio's "Warbrain;" Anti-Flag's "School of Assassins" about the School of the Americas; "Lion and Lamb" by the Get Up Kids; Ministry's "No W" which uses quotes from Bush, not unlike the quotes from their "New World Order;" a reinvigorated The World/Inferno Friendship Society on "The Expatriate Act;" a better than expected New Found Glory song "No News Is Good News;" NOFX's "Jaw, Knee, Music" and Less than Jake featuring Billy Bragg on "The Brightest Bulb Has Burned Out." There is a DVD second disc with all sorts of stuff including a documentary previews, videos and anti-bush ads. The videos come from a stunning Anti-Flag, Bad Religion, Strike Anywhere and still amazing "Franco Un-American" by NOFX. The Anti-Flag video for "Turncoat" has hooked me completely and I have watched it like a million times. The smattering of ads are good on the whole with the first two on the deficit and kids running for president as highlights. David Cross provides a comedy stint down in Bush's heartland of Texas in 2002. As you might suspect the documentaries are some fairly serious shit done in strong and professional manner. In regards to whether you should buy this, if you don't then you are a Toby Keith fan - enough said.
Thursday, November 13, 2008
The Futureheads - This Is Not the World
The Futureheads
This is Not the World
Nul Records
Grade: A-
There is probably little that I can tell you about these indie hipsters that you haven’t heard already. And so, let me reiterate that the Futureheads are much more than just another hyped young dance punk band that has little substance. Any band that can create songs that have as much melody, catchiness, and joy as This is Not the World deserve more recognition than pure skepticism. With that in mind, continue to check out brilliant opener “The Beginning of the Twist,” “Walking Backwards,” “Think Tonight,” “Radio Heart,” “Work is Never Done,” the super quick “Broke Up the Time,” and “Everything’s Changing Today.” Good times.
This is Not the World
Nul Records
Grade: A-
There is probably little that I can tell you about these indie hipsters that you haven’t heard already. And so, let me reiterate that the Futureheads are much more than just another hyped young dance punk band that has little substance. Any band that can create songs that have as much melody, catchiness, and joy as This is Not the World deserve more recognition than pure skepticism. With that in mind, continue to check out brilliant opener “The Beginning of the Twist,” “Walking Backwards,” “Think Tonight,” “Radio Heart,” “Work is Never Done,” the super quick “Broke Up the Time,” and “Everything’s Changing Today.” Good times.
Wednesday, November 12, 2008
Peasant - On the Ground
Peasant
On the Ground
Paper Garden Records
Grade: A-/A
For reasons of pure difficulty, it took me a very long time to write this review of On the Ground by Peasant. It is not difficulty based on how terrible the thirteen songs are, but instead how I was going to be able to provide an adequate description and praise that an album of such quality as On the Ground truly deserves. See, Peasant is one Damien DeRose and he pens songs that channel a more-content Elliott Smith and like-minded acoustic-based indie hipsters that you would hear in a Zach Braff film. Most musicians who try to go the route of slow, quiet acoustic ramblers fall flat on their faces with songs that make you cringe instead of standing up and getting chills up your spine. DeRose is one of those who can give you massive goosebumps with only a guitar and a voice – electricity not needed. Of course, there are stand out songs on On the Ground, but you are best off just putting in the record and letting it spin into your heart. Peasant is truly a great source of music.
On the Ground
Paper Garden Records
Grade: A-/A
For reasons of pure difficulty, it took me a very long time to write this review of On the Ground by Peasant. It is not difficulty based on how terrible the thirteen songs are, but instead how I was going to be able to provide an adequate description and praise that an album of such quality as On the Ground truly deserves. See, Peasant is one Damien DeRose and he pens songs that channel a more-content Elliott Smith and like-minded acoustic-based indie hipsters that you would hear in a Zach Braff film. Most musicians who try to go the route of slow, quiet acoustic ramblers fall flat on their faces with songs that make you cringe instead of standing up and getting chills up your spine. DeRose is one of those who can give you massive goosebumps with only a guitar and a voice – electricity not needed. Of course, there are stand out songs on On the Ground, but you are best off just putting in the record and letting it spin into your heart. Peasant is truly a great source of music.
Tuesday, November 11, 2008
Rise Against - Appeal to Reason
Rise Against
Appeal to Reason
DGC/Interscope
Grade: A-
As part of the swath of punk bands to sign with major labels during the mid-00s, Chicago’s Rise Against, like Against Me!, is constantly under strict-scrutiny by punk fans to measure how they veered toward pop commercial schmaltzy crap. Yet, on the band’s third major label record, Appeal to Reason, Rise Against keep the aggression and punk tight and edgy, sounding like the modern incarnation of a Midwestern Bad Religion.
Using noted punk producers they worked with before and heading to the Air Force-infused locale of Fort Collins, CO, to record Rise Against squarely reinsures their place among the top current punk bands. As a likely combination of the political environment, particularly foreign policy and the wars, much of the material on the thirteen-track Appeal to Reason is political and social in nature. And that’s only the songs that made the record. In a different norm than usual, the band wrote a truckload of songs in studio and picked among the best for the record; instead of developing only a set number tracks known exactly to fit the record. The song that mostly directly makes this connection is the acoustic “Hero of War,” which can be painfully awkward if not in the right state of acceptance.
Most folks aren’t going to hit up “Hero of War” as the go-to-track on Appeal to Reason. Instead, you are immediately bombarded by the hard-hitting Bad Religion-infused “Collapse (Post-Amerika),” which pumps up your heart beat and readies you for the rest. “Long Forgotten Sons” utilizes a more broken-down approach that only builds up on the choruses, while “Re-Education (Through Labor)” serves as the album’s first single. The song contains the requisite sections of choruses, verses, and melody, but for my money I would have unleashed the hell-bender “The Dirt Whispered” as the first single from Appeal to Reason. “The Dirt Whispered” has a more indie and favorite local band sound to it; one that sticks in your ears, choruses that you sing loud, and when Rise Against breaks it down it soars in awesomeness. “Kotov Syndrome” pushes forth in standard form, but is saved by a phenomenal guitar breakdown two minutes in and an unique closing that makes you hit repeat. Taken together “The Dirt Whispered” and “Kotov Syndrome” makes the record great. “From Heads Unworthy” and “The Strength To Go On” pale comparison, while “Audience of One” redeems the album with a solid, melodic chorus. The following “Entertainment” isn’t so much and “Savior” begins as if Rise Against are channeling for Chicagoans Alkaline Trio. Appeal to Reason closes on the similar “Hairline Fracture” and “Whereabouts Unknown” – two hard-hitting though not necessarily special songs.
Rise Against maintains their status as one of the best in the business with Appeal to Reason. Again, look to “The Dirt Whispered” and “Kotov Syndrome” to take the album to the next level.
Appeal to Reason
DGC/Interscope
Grade: A-
As part of the swath of punk bands to sign with major labels during the mid-00s, Chicago’s Rise Against, like Against Me!, is constantly under strict-scrutiny by punk fans to measure how they veered toward pop commercial schmaltzy crap. Yet, on the band’s third major label record, Appeal to Reason, Rise Against keep the aggression and punk tight and edgy, sounding like the modern incarnation of a Midwestern Bad Religion.
Using noted punk producers they worked with before and heading to the Air Force-infused locale of Fort Collins, CO, to record Rise Against squarely reinsures their place among the top current punk bands. As a likely combination of the political environment, particularly foreign policy and the wars, much of the material on the thirteen-track Appeal to Reason is political and social in nature. And that’s only the songs that made the record. In a different norm than usual, the band wrote a truckload of songs in studio and picked among the best for the record; instead of developing only a set number tracks known exactly to fit the record. The song that mostly directly makes this connection is the acoustic “Hero of War,” which can be painfully awkward if not in the right state of acceptance.
Most folks aren’t going to hit up “Hero of War” as the go-to-track on Appeal to Reason. Instead, you are immediately bombarded by the hard-hitting Bad Religion-infused “Collapse (Post-Amerika),” which pumps up your heart beat and readies you for the rest. “Long Forgotten Sons” utilizes a more broken-down approach that only builds up on the choruses, while “Re-Education (Through Labor)” serves as the album’s first single. The song contains the requisite sections of choruses, verses, and melody, but for my money I would have unleashed the hell-bender “The Dirt Whispered” as the first single from Appeal to Reason. “The Dirt Whispered” has a more indie and favorite local band sound to it; one that sticks in your ears, choruses that you sing loud, and when Rise Against breaks it down it soars in awesomeness. “Kotov Syndrome” pushes forth in standard form, but is saved by a phenomenal guitar breakdown two minutes in and an unique closing that makes you hit repeat. Taken together “The Dirt Whispered” and “Kotov Syndrome” makes the record great. “From Heads Unworthy” and “The Strength To Go On” pale comparison, while “Audience of One” redeems the album with a solid, melodic chorus. The following “Entertainment” isn’t so much and “Savior” begins as if Rise Against are channeling for Chicagoans Alkaline Trio. Appeal to Reason closes on the similar “Hairline Fracture” and “Whereabouts Unknown” – two hard-hitting though not necessarily special songs.
Rise Against maintains their status as one of the best in the business with Appeal to Reason. Again, look to “The Dirt Whispered” and “Kotov Syndrome” to take the album to the next level.
Monday, November 10, 2008
Private Lessons - False Alarms
Private Lessons
False Alarms
No No Records
Grade: A-
After starting with a non-descript instrumental intro track, the two-piece attack on "False Alarms" with robot voices and electro-clash indie rock. As the first release on upstart No No Records, False Alarms is sizzling. Private Lessons consists of Jesse Atchison and Darren Tablan, who were both previously in the new-wave Floraline, along with a drizzle of instruments. In some respects Private Lessons is like the stepchild of electro-kings Postal Service, but less polished and more eccentric. With electric drum beats, keys, blip-blips, guitars and random ambient sounds, the sixteen tracks bring you a little bit of everything from this world. Hence, there is a new wave element but less brazenly obvious. I guess having previous experience in this sound has helped Private Lessons to push the structure and not just rely on the formulaic. I'm somewhat surprised how well Atchison and Tablan's vocals sync together in melody so effectively. "Beach Blankets" is a long drawn out whimsical affair, while "Vacationers" is a hip dance punk number that is pure club material. In fact, "Vacationers" may be the best song on the record with a compelling underlying keyboard riff. "Good Life" has a more of a compelling rock feel with sweet harmonies. With a tremendous opening riff, "White Lines" only builds and builds the greatness. The record closes out with guest vocals on the exceptional "Untitled 1" by Robbin Wright and the pure new wave instrumental "Untitled 2." If nothing else I could see this record getting some seriously play on college radio, if not some love in the clubs.
False Alarms
No No Records
Grade: A-
After starting with a non-descript instrumental intro track, the two-piece attack on "False Alarms" with robot voices and electro-clash indie rock. As the first release on upstart No No Records, False Alarms is sizzling. Private Lessons consists of Jesse Atchison and Darren Tablan, who were both previously in the new-wave Floraline, along with a drizzle of instruments. In some respects Private Lessons is like the stepchild of electro-kings Postal Service, but less polished and more eccentric. With electric drum beats, keys, blip-blips, guitars and random ambient sounds, the sixteen tracks bring you a little bit of everything from this world. Hence, there is a new wave element but less brazenly obvious. I guess having previous experience in this sound has helped Private Lessons to push the structure and not just rely on the formulaic. I'm somewhat surprised how well Atchison and Tablan's vocals sync together in melody so effectively. "Beach Blankets" is a long drawn out whimsical affair, while "Vacationers" is a hip dance punk number that is pure club material. In fact, "Vacationers" may be the best song on the record with a compelling underlying keyboard riff. "Good Life" has a more of a compelling rock feel with sweet harmonies. With a tremendous opening riff, "White Lines" only builds and builds the greatness. The record closes out with guest vocals on the exceptional "Untitled 1" by Robbin Wright and the pure new wave instrumental "Untitled 2." If nothing else I could see this record getting some seriously play on college radio, if not some love in the clubs.
Friday, November 7, 2008
Onelinedrawing - The Volunteers
Onelinedrawing
The Volunteers
Jade Tree Records
Grade: A-
Starting off like the latest from Mr. Bungle, as vocals reminisce of strange 50s sci-fi, Jonah Matranga's Onelinedrawing unleashes his second full-length for Jade Tree. Many people are probably more familiar with Matranga's previous endeavor in the mid to late-90s band Far - though those numbers may be dwindling given the newer generation. After the band's dissolution following two major label releases, Matranga began twiddling his fingers on his own. Self-releasing four EPs of quiet home recordings, Matranga toured like a mutha-fo in a similar manner to the voyage of Atom and His Package. After Far, Matranga formed the New End Original which released a strong Jade Tree record, but as he puts it the group was essentially a full band version of Onelinedrawing. So New End broke up, but Jade Tree was like you da bomb and agreed to release Onelinedrawing's first full-length. That full-length was last year's Visitor which was still very home done and straight-up challenged your manhood with songs whispered like sweet nothings.
The follow up, The Volunteers, is head-and-shoulders better than Visitor. For starters the recording is top-notch and presents much fuller musical soundscapes across the tracks. As Matranga has mixed up the style, tempo and core of different songs, there is strong diversification and allows people with strongly-held different beliefs on sounds to find something to like. With the help of Ian Love (Rival Schools), Matranga fills rock into songs like "Stay," "Over It" and "We Had a Deal." In fact, on some the more straight up rock songs, the sound is very akin to New End Original material. But Matranga still pledges allegiance to whispers and sweetness on tracks like "Superhero," "As Much To Myself As to You" and "Believer." One of the few faults with the record is that it is front-loaded. "Over It" and "A Ghost" are both phenomenal tracks and will dominant college radio stations for sure. For "Over It," Matranga had the crowd at shows in Connecticut, NYC and New Jersey sing the final chorus and then melded them together with his family doing the same. This makes for a cool folk-explosion party. I can't get the chorus of "A Ghost" out of my head, which is: "of course, a ghost cannot affect this world." (As I'm apt to do I like to substitute my dog's name for "a ghost" and sing it to her.) Besides from the rock tracks mentioned above, these two songs smoke and there is slippage otherwise. If you put the CD in your computer there are demos and alternate takes of the some of the best tracks on the record including "Over It" and "A Ghost."
Onelinedrawing has been on the road this past year with such all-stars as Thursday, Coheed and the Weakerthans. Though I would go check him out solo, any combination with those types of bands is a hot package. For those not familiar with Onelinedrawing if you enjoy "groups" like Dashboard, the Rocket Summer and Bright Eyes, you will surely find solace on this record.
The Volunteers
Jade Tree Records
Grade: A-
Starting off like the latest from Mr. Bungle, as vocals reminisce of strange 50s sci-fi, Jonah Matranga's Onelinedrawing unleashes his second full-length for Jade Tree. Many people are probably more familiar with Matranga's previous endeavor in the mid to late-90s band Far - though those numbers may be dwindling given the newer generation. After the band's dissolution following two major label releases, Matranga began twiddling his fingers on his own. Self-releasing four EPs of quiet home recordings, Matranga toured like a mutha-fo in a similar manner to the voyage of Atom and His Package. After Far, Matranga formed the New End Original which released a strong Jade Tree record, but as he puts it the group was essentially a full band version of Onelinedrawing. So New End broke up, but Jade Tree was like you da bomb and agreed to release Onelinedrawing's first full-length. That full-length was last year's Visitor which was still very home done and straight-up challenged your manhood with songs whispered like sweet nothings.
The follow up, The Volunteers, is head-and-shoulders better than Visitor. For starters the recording is top-notch and presents much fuller musical soundscapes across the tracks. As Matranga has mixed up the style, tempo and core of different songs, there is strong diversification and allows people with strongly-held different beliefs on sounds to find something to like. With the help of Ian Love (Rival Schools), Matranga fills rock into songs like "Stay," "Over It" and "We Had a Deal." In fact, on some the more straight up rock songs, the sound is very akin to New End Original material. But Matranga still pledges allegiance to whispers and sweetness on tracks like "Superhero," "As Much To Myself As to You" and "Believer." One of the few faults with the record is that it is front-loaded. "Over It" and "A Ghost" are both phenomenal tracks and will dominant college radio stations for sure. For "Over It," Matranga had the crowd at shows in Connecticut, NYC and New Jersey sing the final chorus and then melded them together with his family doing the same. This makes for a cool folk-explosion party. I can't get the chorus of "A Ghost" out of my head, which is: "of course, a ghost cannot affect this world." (As I'm apt to do I like to substitute my dog's name for "a ghost" and sing it to her.) Besides from the rock tracks mentioned above, these two songs smoke and there is slippage otherwise. If you put the CD in your computer there are demos and alternate takes of the some of the best tracks on the record including "Over It" and "A Ghost."
Onelinedrawing has been on the road this past year with such all-stars as Thursday, Coheed and the Weakerthans. Though I would go check him out solo, any combination with those types of bands is a hot package. For those not familiar with Onelinedrawing if you enjoy "groups" like Dashboard, the Rocket Summer and Bright Eyes, you will surely find solace on this record.
Thursday, November 6, 2008
Iron & Wine - Our Endless Numbered Days
Iron & Wine
Our Endless Numbered Days
Sub Pop Records
Grade: A-/A
Our Endless Numbered Days has been one of the most secretively anticipated records this spring. It has been more of an expectation of great things to come from this singer-songwriter Sam Beam. In all avenues of music outlets, Beam has been getting tremendous praise for this record and previous work. In fact, in a recent interview conducted by this site with Cam DiNunzio of Denali, he cited Beam as the person/group that he is most interested in touring with.
So who are Iron & Wine and Sam Beam? Beam lives in Miami where he is a father and teaches cinematography at a local college. In September 2002 he released his debut record The Creek Drank the Cradle and followed it up with his Sub Pop debut The Sea and The Rhythm EP in September 2003. These two releases brought Beam acclaim across the board for his simple songs with hushed vocals over acoustic instruments. Beam has spent much of his time this past year touring with the likes of the Shins, the Decemberists and Fruit Bats. Though the enterprise is very solo-minded, Beam is joined on this recording and often as a touring band by his sister Sarah Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki and Jonathan Bradley. Consistent with previous recordings, Our Endless Numbered Days was recorded at Beam's home, but also in Chicago with like-minded Brian Deck. The end product is a stunning masterpiece.
Iron & Wine tie Beam's rich, calm and compelling vocals with a strong element of Southern folk-country ballads that hints of just a touch of indie rock. Though one could make the argument that the essence of blues exists throughout the twelve tracks, certain tracks are more exemplar than others (e.g., "Teeth in the Grass"). The tracks are so mellow and calm that it took me a bit to get hooked - moreover it is not necessarily the best music to tune out people on the train. While I could see some not giving Iron & Wine enough of a listen to become addict, since the ballads are not everyone's bag, I simply ask for you to give it an honest listening in a relaxed state.
My initial pause may have been due to my least favorite song being the first, "On Your Wings." It probably contains the least melody, harmony and bright spots amongst the twelve. Listening to it, I get a sense of a murky swamp with bugs and snakes all over the place - not pleasant. I usually skip this song when I put on the record and go directly to "Naked As We Came." "Naked As We Came" gives you the first taste of how Beam can match his vocals with acoustic guitar to produce a magical moment. "Cinder and Smoke" is a less-pleasant tale of a house burning down with music coming parallel to "On Your Wings." "Sunset Soon Forgotten" starts with acoustic guitar swirling quickly reminding you of some amazing solo ballads of yesteryear. The sound is so familiar, but at the same time new. "Sunset Soon Forgotten" is clearly one of the standout tracks. As mentioned before "Teeth in the Grass" contains strong blues elements, while "Love and Some Verses" has some hypnotic guitar playing. "Love and Some Verses" along with many of the songs here have that late-afternoon, dusk feel of summer while sitting on the porch enjoying a breeze. There is something magical here. "Radio War" is a short song where Beam sings over a one-strum-at-a-time ukulele. This is followed by another standout in "Each Coming Night," about times past and what memories will hold laid on top of acoustic guitar and a little banjo for good measure. "Free Until They Cut Me Down" is bluesy Southern ballad with some creepy sounds and "Fever Dream" sounds closer to what many British indie band consider ballads. All the discussion up to this point was just to get out of the way for the absolute star track here, "Sodom, South Georgia." I have listened to this song more times then I can count and still haven't gotten tired of it - a true classic. With standard Iron & Wine acoustic fare, the lyrical prowess coupled with Beam pushing his vocals to their most earnest makes this an exceptional song. Beam tells the tale of his father dying at the same day his baby Edith was born and how it all seemed to make sense. This could be one of the best songs written all year - stunning. While "Sodom, South Georgia" might not get as much play as it deserves given its slow ballad nature, if you want someone to like Iron & Wine play them this song. Beam closes out the record in strong lyrical fashion on "Passing Afternoon" - a song that echoes great singer songwriters of the past.
Typically it takes a lot to get me to be this down on acoustic material. Iron & Wine on Our Endless Days Are Numbered deliver twelve tracks of unparalleled brilliance. Though I haven't heard how good Beam is live, if he can come close to bringing this record to life then he can expect scores of attention.
Our Endless Numbered Days
Sub Pop Records
Grade: A-/A
Our Endless Numbered Days has been one of the most secretively anticipated records this spring. It has been more of an expectation of great things to come from this singer-songwriter Sam Beam. In all avenues of music outlets, Beam has been getting tremendous praise for this record and previous work. In fact, in a recent interview conducted by this site with Cam DiNunzio of Denali, he cited Beam as the person/group that he is most interested in touring with.
So who are Iron & Wine and Sam Beam? Beam lives in Miami where he is a father and teaches cinematography at a local college. In September 2002 he released his debut record The Creek Drank the Cradle and followed it up with his Sub Pop debut The Sea and The Rhythm EP in September 2003. These two releases brought Beam acclaim across the board for his simple songs with hushed vocals over acoustic instruments. Beam has spent much of his time this past year touring with the likes of the Shins, the Decemberists and Fruit Bats. Though the enterprise is very solo-minded, Beam is joined on this recording and often as a touring band by his sister Sarah Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki and Jonathan Bradley. Consistent with previous recordings, Our Endless Numbered Days was recorded at Beam's home, but also in Chicago with like-minded Brian Deck. The end product is a stunning masterpiece.
Iron & Wine tie Beam's rich, calm and compelling vocals with a strong element of Southern folk-country ballads that hints of just a touch of indie rock. Though one could make the argument that the essence of blues exists throughout the twelve tracks, certain tracks are more exemplar than others (e.g., "Teeth in the Grass"). The tracks are so mellow and calm that it took me a bit to get hooked - moreover it is not necessarily the best music to tune out people on the train. While I could see some not giving Iron & Wine enough of a listen to become addict, since the ballads are not everyone's bag, I simply ask for you to give it an honest listening in a relaxed state.
My initial pause may have been due to my least favorite song being the first, "On Your Wings." It probably contains the least melody, harmony and bright spots amongst the twelve. Listening to it, I get a sense of a murky swamp with bugs and snakes all over the place - not pleasant. I usually skip this song when I put on the record and go directly to "Naked As We Came." "Naked As We Came" gives you the first taste of how Beam can match his vocals with acoustic guitar to produce a magical moment. "Cinder and Smoke" is a less-pleasant tale of a house burning down with music coming parallel to "On Your Wings." "Sunset Soon Forgotten" starts with acoustic guitar swirling quickly reminding you of some amazing solo ballads of yesteryear. The sound is so familiar, but at the same time new. "Sunset Soon Forgotten" is clearly one of the standout tracks. As mentioned before "Teeth in the Grass" contains strong blues elements, while "Love and Some Verses" has some hypnotic guitar playing. "Love and Some Verses" along with many of the songs here have that late-afternoon, dusk feel of summer while sitting on the porch enjoying a breeze. There is something magical here. "Radio War" is a short song where Beam sings over a one-strum-at-a-time ukulele. This is followed by another standout in "Each Coming Night," about times past and what memories will hold laid on top of acoustic guitar and a little banjo for good measure. "Free Until They Cut Me Down" is bluesy Southern ballad with some creepy sounds and "Fever Dream" sounds closer to what many British indie band consider ballads. All the discussion up to this point was just to get out of the way for the absolute star track here, "Sodom, South Georgia." I have listened to this song more times then I can count and still haven't gotten tired of it - a true classic. With standard Iron & Wine acoustic fare, the lyrical prowess coupled with Beam pushing his vocals to their most earnest makes this an exceptional song. Beam tells the tale of his father dying at the same day his baby Edith was born and how it all seemed to make sense. This could be one of the best songs written all year - stunning. While "Sodom, South Georgia" might not get as much play as it deserves given its slow ballad nature, if you want someone to like Iron & Wine play them this song. Beam closes out the record in strong lyrical fashion on "Passing Afternoon" - a song that echoes great singer songwriters of the past.
Typically it takes a lot to get me to be this down on acoustic material. Iron & Wine on Our Endless Days Are Numbered deliver twelve tracks of unparalleled brilliance. Though I haven't heard how good Beam is live, if he can come close to bringing this record to life then he can expect scores of attention.
Wednesday, November 5, 2008
V/A - Thank You
V/A
Thank You
Temporary Residency Ltd.
Grade: A-
The story on this, TRL's first compilation, is that they wanted to do something special for their fiftieth release and eighth year in existence. Yet, they didn't want to knock out some junk filled comp or a comp with just songs picked off of the bands' records. And as they rightly say, you can count the number of good compilations on one hand. So for this concept they asked their bands and friends to put together new material for the comp - and that they did with an album of eleven new tracks. They also had people contribute original art to be included in the booklet. The end product is something special and well worth picking up. As I have gleaned in the past several years of reviewing TRL releases, the bands that I have enjoyed in the past don't disappoint here, as well as groups I'm less familiar with. Fridge starts off the record with the nine-minute "Five Combs," which is followed by recent fave Howard Hello's "The One." "Five Combs" took a smidgen to appreciate, but now I dig fully and "The One" may not smoke as much as some of the songs on Don't Drink His Blood but it has enchanting keyboards. Kilowatthours' (w/ JDV) "Jignauseum" is a refreshing acoustic-driven instrumental and Tarentel's "Bell Jar" is aptly a modern composition with a slow crescendo. The moderately spastic Rumah Sakit leads into the all-stars Explosions in the Sky's "The Long Spring." The song falls right into line with the material from The Earth Is Not A Cold Dead Place and the word I would use to describe the band, the song and their record is breathtaking. I could see people buying the comp for this song alone. Kammerflimmer Kollektief offers more their oddity before a gem from Sybarite falls into your lap. I previously wasn't familiar with the "group" (since it's just Xian Hawkins) but now my ears are open. Parlour's "Landlaked" is probably has the most traditional rock foundations of any of the songs though that is rivaled by Halifax Pier's "And California." Closing out the record is TRL's own Sonna with "The Closer" recorded by the notable Steve Albini. Consistent Sonna's previous endeavors, "The Closer" follows the minimalist ambient waves in a nine-minute escape. Again, there is little doubt that this is a great comp. If enjoy TRL's bands and releases then there is little reason why you wouldn't want this comp.
Thank You
Temporary Residency Ltd.
Grade: A-
The story on this, TRL's first compilation, is that they wanted to do something special for their fiftieth release and eighth year in existence. Yet, they didn't want to knock out some junk filled comp or a comp with just songs picked off of the bands' records. And as they rightly say, you can count the number of good compilations on one hand. So for this concept they asked their bands and friends to put together new material for the comp - and that they did with an album of eleven new tracks. They also had people contribute original art to be included in the booklet. The end product is something special and well worth picking up. As I have gleaned in the past several years of reviewing TRL releases, the bands that I have enjoyed in the past don't disappoint here, as well as groups I'm less familiar with. Fridge starts off the record with the nine-minute "Five Combs," which is followed by recent fave Howard Hello's "The One." "Five Combs" took a smidgen to appreciate, but now I dig fully and "The One" may not smoke as much as some of the songs on Don't Drink His Blood but it has enchanting keyboards. Kilowatthours' (w/ JDV) "Jignauseum" is a refreshing acoustic-driven instrumental and Tarentel's "Bell Jar" is aptly a modern composition with a slow crescendo. The moderately spastic Rumah Sakit leads into the all-stars Explosions in the Sky's "The Long Spring." The song falls right into line with the material from The Earth Is Not A Cold Dead Place and the word I would use to describe the band, the song and their record is breathtaking. I could see people buying the comp for this song alone. Kammerflimmer Kollektief offers more their oddity before a gem from Sybarite falls into your lap. I previously wasn't familiar with the "group" (since it's just Xian Hawkins) but now my ears are open. Parlour's "Landlaked" is probably has the most traditional rock foundations of any of the songs though that is rivaled by Halifax Pier's "And California." Closing out the record is TRL's own Sonna with "The Closer" recorded by the notable Steve Albini. Consistent Sonna's previous endeavors, "The Closer" follows the minimalist ambient waves in a nine-minute escape. Again, there is little doubt that this is a great comp. If enjoy TRL's bands and releases then there is little reason why you wouldn't want this comp.
Tuesday, November 4, 2008
The Good Life - Lovers Need Lawyers
The Good Life
Lovers Need Lawyers
Saddle Creek Records
Grade: A-
With time in-between the Cursive juggernaut, headman Tim Kasher has rejoined with his Good Life cronies (Stefanie Drootin, Ryan Fox and Roger Lewis) to knock out this six song EP. Not only that, but the foursome has a full-length coming out in August. With Kasher at the helm, you would assume that some of influence of the brilliant Ugly Organ would rub off. Indeed, at times this is the case with songs like "Entertainer" sounding as if culled from the Ugly Organ sessions. Other tracks follow more of their own path consistent with past Good Life releases. The EP starts off on "Leaving Omaha" about Kasher's brief move to Oregon and other locales before resettling back to the HQ Omaha. As mentioned above, "Entertainer" is straight up Ugly Organ and though is phenomenal, it would fit more on that release then this. But, hey, the more the better as I see it. The title track follows a love defense along with some Beattles-esque organ keys providing backup and bridges. "Always A Bridesmaid" starts off with a catchy 80s piano that echoes from a film about college kids in Washington, D.C. or something. The song is impressive and will likely gain converts quickly and easily. Breaking the mellow mid-tempo trend, "Friction!" busts out with crazed punk before slipping into the familiar. "For the Love of the Song" closes out the record with acoustic guitars in front for a six-minute slow affair. In your time waiting for the next Cursive installment you can sufficiently satisfy your Kasher needs with this latest EP from the Good Life.
Lovers Need Lawyers
Saddle Creek Records
Grade: A-
With time in-between the Cursive juggernaut, headman Tim Kasher has rejoined with his Good Life cronies (Stefanie Drootin, Ryan Fox and Roger Lewis) to knock out this six song EP. Not only that, but the foursome has a full-length coming out in August. With Kasher at the helm, you would assume that some of influence of the brilliant Ugly Organ would rub off. Indeed, at times this is the case with songs like "Entertainer" sounding as if culled from the Ugly Organ sessions. Other tracks follow more of their own path consistent with past Good Life releases. The EP starts off on "Leaving Omaha" about Kasher's brief move to Oregon and other locales before resettling back to the HQ Omaha. As mentioned above, "Entertainer" is straight up Ugly Organ and though is phenomenal, it would fit more on that release then this. But, hey, the more the better as I see it. The title track follows a love defense along with some Beattles-esque organ keys providing backup and bridges. "Always A Bridesmaid" starts off with a catchy 80s piano that echoes from a film about college kids in Washington, D.C. or something. The song is impressive and will likely gain converts quickly and easily. Breaking the mellow mid-tempo trend, "Friction!" busts out with crazed punk before slipping into the familiar. "For the Love of the Song" closes out the record with acoustic guitars in front for a six-minute slow affair. In your time waiting for the next Cursive installment you can sufficiently satisfy your Kasher needs with this latest EP from the Good Life.
Monday, November 3, 2008
Bad Religion - The Empire Strikes First
Bad Religion
The Empire Strikes First
Epitaph Records
Grade: A-
As part of American punk rock legends Bad Religion regeneration, The Empire Strikes Back is the second record with the remerged partnership of guitarist Brett Gurewitz (head of Epitaph) and singer Greg Graffin (along with the rest of the bunch) - the first being 2002's The Process of Belief. Along with this record, Bad Religion just re-released completely remastered versions 5 previous records including Suffer and Generator, along with a film about their 1989 European tour entitled Along the Way. Probably the most notable item from The Process was the song "Sorrow" for which they did a video which got seen in a variety of locations - including the Rock Against Bush comp. As Bad Religion goes nuts with their rebirth, I'm interested to know what their fan base is like. Meaning, is it all these older guys from back in the day? Is it all the kids whose punk regiment comes mostly from the hyper-major pop punk - e.g., Good Charlotte, etc.? Is it a mix? Bad Religion is heading up the Warped Tour so they can at least school the youngsters.
The Empire Strikes Back, armed with the three guitar wall of Gurewitz, Greg Hetson and Brian Baker, comes out of the gates with serious ferocity on the second track "Sinister Rouge." The song has this bridge with guitar and drums that could come off an industrial album - slightly unexpected. As you might predict from the intellectual and political pens of Graffin and Gurewitz, the album has substantial political and social overtures coursing through its fourteen tracks. While songs focus on what's going on now, Bad Religion have tried to score them so they aren't dated within a year or two. Examples, included the above mentioned "Sinister Rouge," "Social Suicide" and "Let Them Eat War" with an appearance by fellow Epitaph talent Sage Francis. Parallel with previous Bad Religion records, the drumming by Brooks Wackerman is consistent and tight, if not a bit monotonous and generic - though they helped define the standard. Some of the better songs here include "Sinister Rouge;" the smoking "Los Angeles is Burning" with a compelling cadence by Graffin; the politically overt "Let Them Eat War;" the chorus of "God's Love" makes it hot; the harmonics-driven title track and the finale "Live Again - The Fall of Man."
Though an immediate critical response to The Empire Strikes First is 'just what I needed, another Bad Religion album,' on this record Bad Religion have just cranked up the guitars and simply knock out a strong album. I've heard a lot of Bad Religion in my time and often found their albums to have a couple of standout tracks and the rest is close to filler. Here, the product is more consistent and reliable good times and, with the Warped Tour, it should help bring the kids on board. Or at least they better if they expect to get signed to Epitaph.
The Empire Strikes First
Epitaph Records
Grade: A-
As part of American punk rock legends Bad Religion regeneration, The Empire Strikes Back is the second record with the remerged partnership of guitarist Brett Gurewitz (head of Epitaph) and singer Greg Graffin (along with the rest of the bunch) - the first being 2002's The Process of Belief. Along with this record, Bad Religion just re-released completely remastered versions 5 previous records including Suffer and Generator, along with a film about their 1989 European tour entitled Along the Way. Probably the most notable item from The Process was the song "Sorrow" for which they did a video which got seen in a variety of locations - including the Rock Against Bush comp. As Bad Religion goes nuts with their rebirth, I'm interested to know what their fan base is like. Meaning, is it all these older guys from back in the day? Is it all the kids whose punk regiment comes mostly from the hyper-major pop punk - e.g., Good Charlotte, etc.? Is it a mix? Bad Religion is heading up the Warped Tour so they can at least school the youngsters.
The Empire Strikes Back, armed with the three guitar wall of Gurewitz, Greg Hetson and Brian Baker, comes out of the gates with serious ferocity on the second track "Sinister Rouge." The song has this bridge with guitar and drums that could come off an industrial album - slightly unexpected. As you might predict from the intellectual and political pens of Graffin and Gurewitz, the album has substantial political and social overtures coursing through its fourteen tracks. While songs focus on what's going on now, Bad Religion have tried to score them so they aren't dated within a year or two. Examples, included the above mentioned "Sinister Rouge," "Social Suicide" and "Let Them Eat War" with an appearance by fellow Epitaph talent Sage Francis. Parallel with previous Bad Religion records, the drumming by Brooks Wackerman is consistent and tight, if not a bit monotonous and generic - though they helped define the standard. Some of the better songs here include "Sinister Rouge;" the smoking "Los Angeles is Burning" with a compelling cadence by Graffin; the politically overt "Let Them Eat War;" the chorus of "God's Love" makes it hot; the harmonics-driven title track and the finale "Live Again - The Fall of Man."
Though an immediate critical response to The Empire Strikes First is 'just what I needed, another Bad Religion album,' on this record Bad Religion have just cranked up the guitars and simply knock out a strong album. I've heard a lot of Bad Religion in my time and often found their albums to have a couple of standout tracks and the rest is close to filler. Here, the product is more consistent and reliable good times and, with the Warped Tour, it should help bring the kids on board. Or at least they better if they expect to get signed to Epitaph.
Subscribe to:
Posts (Atom)