Groovie Ghoulies
Go! Stories
Stardumb Records
Grade: A-
The time is finally here when the pop-punk legends the Groovie Ghoulies have come to take their crown back. After some time in the doldrums (i.e., Travels With Amp and Freaks on Parade), the Ghoulies are in top form on this release. With the core of Kepi on vocals (in the studio on everything) and Roach on guitar, the Ghoulies have maintained their dynasty. Now with their 12th million drummer, Scampi, the Ghoulies are a go. Although, I enjoyed, in more than one way, their last drummer, Scampi appears ready to rock. On Go! Stories, the Ghoulies arrive with new life and energy, saying "hey, world we are back." It's like an ultimate comeback of heroic portions. The fourteen track record has some real diamonds in the rough. Particularly jaw-dropping are "School Is In" (truly amazing), "Chupacabras" (the Super Furry Animals version, not the Reanimation Festival version), "(And) I Don't Wanna Be Like That," "Doin' Fine" (a short, quick ditty) and "The Bay Bridge Club" (a nice refresher). For some reason, they include the classic "Ghoulies Are Go!" from World Contact Day. Regardless, the album rocks and contains the unique and stunning Ghoulie artwork throughout. If you have any interest in the Ghoulies, you definitely must get this release.
Tuesday, February 24, 2009
The All-American Rejects - s/t
The All-American Rejects
S/T
Doghouse Records
Grade: A/A-
Holy shit! This band fucking rocks. Actually, this band is a duo of youngsters named Nick Wheeler and Tyson Ritter from middle-of-nowhere Oklahoma, and this is their first album, and hopefully not their last. Since it is just the two of them, I am not exactly sure who played all the instruments in the recording, which range from the standard three plus piano, synths, etc. If it is just Wheeler and Ritter then mad kudos to them. This is album is amazing and you need to pick it up when it comes out in October. The All-American Rejects take a more poppy and less emo Get Up Kids (circa "Something To Write Home About") approach to their songs. That means amazing harmonies and song structure, which are concurrently uplifting and fulfilling. Rejects my ass. This is the new All-American rock band! You will probably catch a wind of them on MTV2 with their video of "Swing, Swing" in the near future; which is by far the best song on the record. Other standout tracks include "My Paper Heart," "Your Star," "One More Sad Song" and "Don't Leave Me." The All-American Rejects are hitting the road in the fall of 2002 to rock your fucking socks off.
S/T
Doghouse Records
Grade: A/A-
Holy shit! This band fucking rocks. Actually, this band is a duo of youngsters named Nick Wheeler and Tyson Ritter from middle-of-nowhere Oklahoma, and this is their first album, and hopefully not their last. Since it is just the two of them, I am not exactly sure who played all the instruments in the recording, which range from the standard three plus piano, synths, etc. If it is just Wheeler and Ritter then mad kudos to them. This is album is amazing and you need to pick it up when it comes out in October. The All-American Rejects take a more poppy and less emo Get Up Kids (circa "Something To Write Home About") approach to their songs. That means amazing harmonies and song structure, which are concurrently uplifting and fulfilling. Rejects my ass. This is the new All-American rock band! You will probably catch a wind of them on MTV2 with their video of "Swing, Swing" in the near future; which is by far the best song on the record. Other standout tracks include "My Paper Heart," "Your Star," "One More Sad Song" and "Don't Leave Me." The All-American Rejects are hitting the road in the fall of 2002 to rock your fucking socks off.
Matt Skiba & Kevin Seconds - Split
Matt Skiba & Kevin Seconds
Split
Asianman Records
Grade: A-
This amazing release features five songs from Matt Skiba of Alkaline Trio and five from Kevin Seconds of 7 Seconds (duh). The ten tracks are mostly of an acoustic nature with the two playing almost all of the instruments on the recording.
Matt Skiba kicks it off with probably the best song on the album "Good Fucking Bye," reminiscent of some of the best Alkaline Trio songs. Following it up is "The City That Day," which is great story of circling lives with catchy harmonies and chorus. "Next to You" starts off as a lo-fi acoustic sleeper before moving to a full-layered lo-fi treasure. Rounding out Skiba's songs are "In Your Wake" and a cover of 7 Seconds' "Soul to Keep." "In Your Wake" has one of the best lines you will hear in modern-era music; "so with a broken stick in dirt we scrawled 'here lies our dreams come true - here lies Xs for eyes on me and you'" before moving to the catchy chorus. A top-quality show.
Kevin Seconds has a different view of writing songs than Skiba and it becomes starkly evident. Except in one substantial case, Seconds' songs pale in comparison to Skiba's songwriting breadth. This is not to say that Seconds' five songs are bad; in fact, they are all catchy and poppy. But the anchoring effect of have Seconds after Skiba is hard to disavow or dislodge. The one substantial diamond in the rough is "Ugly Mouth." The song is noticeably more mature and thought out than the rest and one can envision some serious mileage of Seconds on this one.
This split is another demonstration of how Asianman Records is redefining what a split should consist of (e.g., last year's Lawrence Arms/Chinkees split). Moreover, Skiba illustrates that he is among the best songwriters in rock today. After initially poo-pooing the Alkaline Trio after a few live shows, their latest material (e.g., the Hot Water Music split) has righted my frame of reference into seeing their invincibility. This split is certainly up there as one of the best of the year.
Split
Asianman Records
Grade: A-
This amazing release features five songs from Matt Skiba of Alkaline Trio and five from Kevin Seconds of 7 Seconds (duh). The ten tracks are mostly of an acoustic nature with the two playing almost all of the instruments on the recording.
Matt Skiba kicks it off with probably the best song on the album "Good Fucking Bye," reminiscent of some of the best Alkaline Trio songs. Following it up is "The City That Day," which is great story of circling lives with catchy harmonies and chorus. "Next to You" starts off as a lo-fi acoustic sleeper before moving to a full-layered lo-fi treasure. Rounding out Skiba's songs are "In Your Wake" and a cover of 7 Seconds' "Soul to Keep." "In Your Wake" has one of the best lines you will hear in modern-era music; "so with a broken stick in dirt we scrawled 'here lies our dreams come true - here lies Xs for eyes on me and you'" before moving to the catchy chorus. A top-quality show.
Kevin Seconds has a different view of writing songs than Skiba and it becomes starkly evident. Except in one substantial case, Seconds' songs pale in comparison to Skiba's songwriting breadth. This is not to say that Seconds' five songs are bad; in fact, they are all catchy and poppy. But the anchoring effect of have Seconds after Skiba is hard to disavow or dislodge. The one substantial diamond in the rough is "Ugly Mouth." The song is noticeably more mature and thought out than the rest and one can envision some serious mileage of Seconds on this one.
This split is another demonstration of how Asianman Records is redefining what a split should consist of (e.g., last year's Lawrence Arms/Chinkees split). Moreover, Skiba illustrates that he is among the best songwriters in rock today. After initially poo-pooing the Alkaline Trio after a few live shows, their latest material (e.g., the Hot Water Music split) has righted my frame of reference into seeing their invincibility. This split is certainly up there as one of the best of the year.
Boy Sets Fire - Live For Today
Boy Sets Fire
Live For Today
Windup Records
Grade: A-
Boy Sets Fire, the quintessential emo-core band from Delaware, is back with a new EP and first release on Windup. Overtime the band has been a high quality machine with widespread appeal and broad support. Always a strongly politically and socially aware band, lead singer Nathan Gray's lyrics do not drop off in the least on this EP. Songs such as "Release the Dogs" discuss the U.S. government and society's move to ultra-militarism and the slippery-slope of giving up on our civil liberties. Hence, this EP is sure to be on high on Ashcroft's 'albums of the year.' But what I like about BSF in general, is that when they attack issues that "matter" it is not done in a trite or weak manner. Often it is done with authority and a unique sense of flow. What surprises me the most about the three new songs on this release is their optimal quality. Surely, this is a combination of BSF maturity and the ability to take their time on producing strong material in the studio. Partially, in song structure, BSF has taken a note from their compatriots Snapcase as in "Release the Dogs." The EP also includes three songs ("After the Eulogy," "Handful of Redemption" and "Rookie") recorded live at Club Krome in South Amboy, NJ. As with most of the releases from Boy Sets Fire, the EP sets itself apart from other releases on the market. Any fan would surely be blessed with this EP.
Live For Today
Windup Records
Grade: A-
Boy Sets Fire, the quintessential emo-core band from Delaware, is back with a new EP and first release on Windup. Overtime the band has been a high quality machine with widespread appeal and broad support. Always a strongly politically and socially aware band, lead singer Nathan Gray's lyrics do not drop off in the least on this EP. Songs such as "Release the Dogs" discuss the U.S. government and society's move to ultra-militarism and the slippery-slope of giving up on our civil liberties. Hence, this EP is sure to be on high on Ashcroft's 'albums of the year.' But what I like about BSF in general, is that when they attack issues that "matter" it is not done in a trite or weak manner. Often it is done with authority and a unique sense of flow. What surprises me the most about the three new songs on this release is their optimal quality. Surely, this is a combination of BSF maturity and the ability to take their time on producing strong material in the studio. Partially, in song structure, BSF has taken a note from their compatriots Snapcase as in "Release the Dogs." The EP also includes three songs ("After the Eulogy," "Handful of Redemption" and "Rookie") recorded live at Club Krome in South Amboy, NJ. As with most of the releases from Boy Sets Fire, the EP sets itself apart from other releases on the market. Any fan would surely be blessed with this EP.
Snapcase - End Transmission
Snapcase
End Transmission
Victory Records
Grade: A-/A
As the fourth full-length from these Buffalo, NY legends, End Transmission is a tremendous record guided by the principles and innovations that have lead Snapcase through the years. Moving into their 12th year on Victory Records, and amassing a broad and deep catalog of releases, End Transmission should take Snapcase beyond the level that Progression Through Unlearning initially placed them. That is, although Lookingglassself made them legends, Progression Through Unlearning allowed them to breakthrough to the heavy music mainstream. This in turn helps(ed) them influence a generation of new bands.
If you are like me, their latest release Designs for Automotion in 2000 lacked the intensity and quality of Progression. Hence, I was worried that End Transmission might once again not provide the chills that Snapcase is characteristic in providing. Pleasantly, the chills are back, as Snapcase have produced one of their best records in End Transmission. Most poignantly, it seems that Snapcase took the flavor from all of their past releases, mix it together and produced a list of hits. The songs move between slow, brooding numbers (e.g., "Ten A.M.") to faster straight-ahead hardcore (e.g., "First World) to a greater reliance on harmonics (unfortunately absent in Designs). Interestingly, the record has this Fugazi-type feel to it, as if Fugazi decided to turn up the distortion and get a bit heavy. Snapcase have also brought out a vast array of sounds to fill out the album. For instance, and I swear, there are a few breakdowns where you hear the echos of piano. That's right there is piano on a Snapcase album. Out of the 13 tracks, it is difficult to point a few out as the stellar. Each has its own quality and appeal, and thus End Transmission possesses that rare quality on records where the songs must be digested as a whole.
If you had any interest in Snapcase in the past, End Transmission should make you believers once again. If nothing else the Empire Strikes Back-esque artwork, showing Buffalo in the winter (scary), should make you take a moment to appreciate it at the record store. End Transmission reaffirms the faith that Snapcase is one of the best, brightest and most innovative bands in the heavy music world. Look for them to expand their international appeal and influence as the music gods bow to this five-piece from Buffalo. If you are pathetic enough to not have seen them live (and you missed years of the tightest live band, with all of the guitar throws and acrobats), you can catch them on the road now with Boy Sets Fire and Atreyu.
End Transmission
Victory Records
Grade: A-/A
As the fourth full-length from these Buffalo, NY legends, End Transmission is a tremendous record guided by the principles and innovations that have lead Snapcase through the years. Moving into their 12th year on Victory Records, and amassing a broad and deep catalog of releases, End Transmission should take Snapcase beyond the level that Progression Through Unlearning initially placed them. That is, although Lookingglassself made them legends, Progression Through Unlearning allowed them to breakthrough to the heavy music mainstream. This in turn helps(ed) them influence a generation of new bands.
If you are like me, their latest release Designs for Automotion in 2000 lacked the intensity and quality of Progression. Hence, I was worried that End Transmission might once again not provide the chills that Snapcase is characteristic in providing. Pleasantly, the chills are back, as Snapcase have produced one of their best records in End Transmission. Most poignantly, it seems that Snapcase took the flavor from all of their past releases, mix it together and produced a list of hits. The songs move between slow, brooding numbers (e.g., "Ten A.M.") to faster straight-ahead hardcore (e.g., "First World) to a greater reliance on harmonics (unfortunately absent in Designs). Interestingly, the record has this Fugazi-type feel to it, as if Fugazi decided to turn up the distortion and get a bit heavy. Snapcase have also brought out a vast array of sounds to fill out the album. For instance, and I swear, there are a few breakdowns where you hear the echos of piano. That's right there is piano on a Snapcase album. Out of the 13 tracks, it is difficult to point a few out as the stellar. Each has its own quality and appeal, and thus End Transmission possesses that rare quality on records where the songs must be digested as a whole.
If you had any interest in Snapcase in the past, End Transmission should make you believers once again. If nothing else the Empire Strikes Back-esque artwork, showing Buffalo in the winter (scary), should make you take a moment to appreciate it at the record store. End Transmission reaffirms the faith that Snapcase is one of the best, brightest and most innovative bands in the heavy music world. Look for them to expand their international appeal and influence as the music gods bow to this five-piece from Buffalo. If you are pathetic enough to not have seen them live (and you missed years of the tightest live band, with all of the guitar throws and acrobats), you can catch them on the road now with Boy Sets Fire and Atreyu.
Beth Orton - Daybreaker
Beth Orton
Daybreaker
Astralwerks
Grade: A-
The newest superstar rocks the musical spectrum on Daybreaker. Lauded by everyone from Moses to Ryan Adams, Beth Orton demonstrates here that she is a force to be reckoned in the near future. This is Orton's third full-length, the first two, both critical acclaimed, Trailer Park (1996) and Central Reservation (1999). This British subject took the musical world by storm on her first two albums and she looks to slay all naysayers on Daybreaker. Orton grabs the acoustic guitar and provides the vocals, while being supported by a full array of musicians (providing everything from the basics to strings and electronics). Taking a page or two from Sarah McClaughlin and Bjork, yet writing her own legend, Orton's songs are uniquely characterized by her warm yet aggressive vocals and vocal range. Besides a wide and exceptional array of musicians, Orton also recruits the Chemical Brothers, who she has a long history with, to engage in some producing.
The opening track "Paris Train" sets the listener up for it is what to come, yet you are still ignorant about what's going to unfold. "Paris Train" merges the simple songwriting of Orton with full orchestral strings, creating an uplifting effect of epic proportions. On "Concrete Sky," Orton enlists rock's other newest superstar Ryan Adams to duet, mixing together into a tremendous chorus. (Contrast this Adams with his other appearance on the Black Flag tribute album, wow!). While these opening numbers excel in the own right, along with the bizarre Vegas-like context to "Anywhere," a few later numbers are the true gems. "Carmella" demonstrates Orton's vocal prowess and songwriting ability. This is just pure excellence. It is one of those songs that you hear and just feel good and start to reminisce about time past. On "God Song," Orton channels the souls of past magical female singers like Joplin or Mitchell in its intensity. This may be due in part to EmmyLou Harris providing tasty vocals on "God Song." This songs meanders along a path of love and faith, and as a special treat Adams provides some backing singing towards the end. Closing the record is "Thinking About Tomorrow," which comes on as a slow, creeping electronic caterpillar, before Orton's voice takes over and drives the train.
This is unconsciously one of the best records of the year. The amount of complexity and depth on the Daybreaker is astounding and it will take at least twenty listens to begin to wrap you head around the genius. Orton has made me a true believer of her ungodly musical talents.
Daybreaker
Astralwerks
Grade: A-
The newest superstar rocks the musical spectrum on Daybreaker. Lauded by everyone from Moses to Ryan Adams, Beth Orton demonstrates here that she is a force to be reckoned in the near future. This is Orton's third full-length, the first two, both critical acclaimed, Trailer Park (1996) and Central Reservation (1999). This British subject took the musical world by storm on her first two albums and she looks to slay all naysayers on Daybreaker. Orton grabs the acoustic guitar and provides the vocals, while being supported by a full array of musicians (providing everything from the basics to strings and electronics). Taking a page or two from Sarah McClaughlin and Bjork, yet writing her own legend, Orton's songs are uniquely characterized by her warm yet aggressive vocals and vocal range. Besides a wide and exceptional array of musicians, Orton also recruits the Chemical Brothers, who she has a long history with, to engage in some producing.
The opening track "Paris Train" sets the listener up for it is what to come, yet you are still ignorant about what's going to unfold. "Paris Train" merges the simple songwriting of Orton with full orchestral strings, creating an uplifting effect of epic proportions. On "Concrete Sky," Orton enlists rock's other newest superstar Ryan Adams to duet, mixing together into a tremendous chorus. (Contrast this Adams with his other appearance on the Black Flag tribute album, wow!). While these opening numbers excel in the own right, along with the bizarre Vegas-like context to "Anywhere," a few later numbers are the true gems. "Carmella" demonstrates Orton's vocal prowess and songwriting ability. This is just pure excellence. It is one of those songs that you hear and just feel good and start to reminisce about time past. On "God Song," Orton channels the souls of past magical female singers like Joplin or Mitchell in its intensity. This may be due in part to EmmyLou Harris providing tasty vocals on "God Song." This songs meanders along a path of love and faith, and as a special treat Adams provides some backing singing towards the end. Closing the record is "Thinking About Tomorrow," which comes on as a slow, creeping electronic caterpillar, before Orton's voice takes over and drives the train.
This is unconsciously one of the best records of the year. The amount of complexity and depth on the Daybreaker is astounding and it will take at least twenty listens to begin to wrap you head around the genius. Orton has made me a true believer of her ungodly musical talents.
Hot Water Music - Caution
Hot Water Music
Caution
Epitaph Records
Grade: A-/A
After messing around with a couple of recent mediocre releases, No Division (2000) and A Flight and a Crash (2001), Hot Water Music's latest endeavor Caution reestablishes them as one of the greatest bands in the indie world. HWM may have been unduly influenced by the Alkaline Trio on their amazing split from last year on Jade Tree. Either way this sixth solo full-length will make old fans simmer with glee and convert new listeners to HWM's prowess.
Using producer Brian McTernan (who also did A Flight and a Crash), HWM go back to the elements of their earlier material to rediscover their signature sound. As such all twelve songs on Caution as exceptional numbers in there own right. Hence, Caution is a sweet contrast to some of the genericism HWM were starting to slip into. Kicking off the record is "Remedy," a fast-paced number mixing dueling guitar solos, muting and solo bass and drums parts. "Remedy" sets the tone of the rest of the record. Without missing a beat "Trusty Chords" picks up the same intensity that "Remedy" left off. (Just listening now to the songs makes you smile real big, like a kid with a huge score of Halloween candy). Most telling about "Trusty Chords" is the first line of the chorus 'I hate this place, I love these chords.' Other tracks take on a more developed post-modern rock feel, even similar to U2 at times. This is seen most starkly on "One Step to Slip" and "It's All Related." Probably one of the best songs on Caution is "Not For Anyone." It has a feel to it like past great HWM songs. I'm talking about songs like "Minno" and "Alachua." While it is easily to argue nothing could achieve such divine intervention, "Not For Anyone" takes a decent shot at it. But the title for best song must battle with the exceptional "Wayfarer," a song, thanks to the chorus, that is destined to be screamed by the fan milieu at any good HWM show. Also, look out for the sneaker hit "The Sense."
Again, Caution brings Hot Water Music back to the top of the indie-music pecking order. The boys really come through on this record and it should bring them a long way to some real recognition. Since Hot Water Music's debut full-length Finding the Rhythms you could make the argument that they are one of the most under-rated bands in America. Hopefully this won't be the case on Caution.
Caution
Epitaph Records
Grade: A-/A
After messing around with a couple of recent mediocre releases, No Division (2000) and A Flight and a Crash (2001), Hot Water Music's latest endeavor Caution reestablishes them as one of the greatest bands in the indie world. HWM may have been unduly influenced by the Alkaline Trio on their amazing split from last year on Jade Tree. Either way this sixth solo full-length will make old fans simmer with glee and convert new listeners to HWM's prowess.
Using producer Brian McTernan (who also did A Flight and a Crash), HWM go back to the elements of their earlier material to rediscover their signature sound. As such all twelve songs on Caution as exceptional numbers in there own right. Hence, Caution is a sweet contrast to some of the genericism HWM were starting to slip into. Kicking off the record is "Remedy," a fast-paced number mixing dueling guitar solos, muting and solo bass and drums parts. "Remedy" sets the tone of the rest of the record. Without missing a beat "Trusty Chords" picks up the same intensity that "Remedy" left off. (Just listening now to the songs makes you smile real big, like a kid with a huge score of Halloween candy). Most telling about "Trusty Chords" is the first line of the chorus 'I hate this place, I love these chords.' Other tracks take on a more developed post-modern rock feel, even similar to U2 at times. This is seen most starkly on "One Step to Slip" and "It's All Related." Probably one of the best songs on Caution is "Not For Anyone." It has a feel to it like past great HWM songs. I'm talking about songs like "Minno" and "Alachua." While it is easily to argue nothing could achieve such divine intervention, "Not For Anyone" takes a decent shot at it. But the title for best song must battle with the exceptional "Wayfarer," a song, thanks to the chorus, that is destined to be screamed by the fan milieu at any good HWM show. Also, look out for the sneaker hit "The Sense."
Again, Caution brings Hot Water Music back to the top of the indie-music pecking order. The boys really come through on this record and it should bring them a long way to some real recognition. Since Hot Water Music's debut full-length Finding the Rhythms you could make the argument that they are one of the most under-rated bands in America. Hopefully this won't be the case on Caution.
Second Story Man - Pins and Needles
Second Story Man
Pins and Needles
Landmark Recordings
Grade: A-
Plowing through wake left by bands such as Jejune, the Anniversary and Mineral, Second Story Man from Louisville, KY, show off considerable talent and ingenuity on their first full-length Pins and Needles. Rocking since 1998, Second Story Man also have released two EPs, which, based on Pins and Needles, seem as chose selections. Interestingly, the record was subsidized from a grant from the Kentucky Foundation of Women. I've never heard of a band doing that, but it is great idea.
Composed of a core duo of female singers (Carrie Neumayer and Kelly Scullin), Second Story Man maintains catchy rhythms over epic landscapes of soft melodious indie rock. Accompanying and at times leading the vocal barrage are Evan Bailey and Jeremy Irvin. This sets up a nice variance and composition to feel the lyrics, as exemplified by bands such as the Anniversary. The songs do not sacrifice harmony and pop sensibilities to random mixes of off-timed changes and pauses; though oddities still exist within. Nor do the songs sit as only background and sleepy time music, though surely they excel at both. This creates a degree of separation among like-minded bands. Standout songs on the 50-minute composition include "Save It For Another," "You You You," "No Pioneers" and "Paddle Your Own Canoe."
One can easily envision, and it should be the case, Second Story Man dominating the college radio waves in the near and far future. All future success appears duly awarded for the hard work and resourcefulness presented on Pins and Needles. Unlike the boring barely-whisper ultra-indie sound expressed recently by schizophrenic former hardcore elitists, Second Story Man make the sound good, fresh and honest again. Second Story Man will be on tour to support the full-length and will probably come to a town near you. Check out the record and check them out live, for you should not be disappointed.
Pins and Needles
Landmark Recordings
Grade: A-
Plowing through wake left by bands such as Jejune, the Anniversary and Mineral, Second Story Man from Louisville, KY, show off considerable talent and ingenuity on their first full-length Pins and Needles. Rocking since 1998, Second Story Man also have released two EPs, which, based on Pins and Needles, seem as chose selections. Interestingly, the record was subsidized from a grant from the Kentucky Foundation of Women. I've never heard of a band doing that, but it is great idea.
Composed of a core duo of female singers (Carrie Neumayer and Kelly Scullin), Second Story Man maintains catchy rhythms over epic landscapes of soft melodious indie rock. Accompanying and at times leading the vocal barrage are Evan Bailey and Jeremy Irvin. This sets up a nice variance and composition to feel the lyrics, as exemplified by bands such as the Anniversary. The songs do not sacrifice harmony and pop sensibilities to random mixes of off-timed changes and pauses; though oddities still exist within. Nor do the songs sit as only background and sleepy time music, though surely they excel at both. This creates a degree of separation among like-minded bands. Standout songs on the 50-minute composition include "Save It For Another," "You You You," "No Pioneers" and "Paddle Your Own Canoe."
One can easily envision, and it should be the case, Second Story Man dominating the college radio waves in the near and far future. All future success appears duly awarded for the hard work and resourcefulness presented on Pins and Needles. Unlike the boring barely-whisper ultra-indie sound expressed recently by schizophrenic former hardcore elitists, Second Story Man make the sound good, fresh and honest again. Second Story Man will be on tour to support the full-length and will probably come to a town near you. Check out the record and check them out live, for you should not be disappointed.
Jazz June - Better Off Without Air
Jazz June
Better Off Without Air
Initial Records
Grade: A-
After releasing one of the best albums of a few years ago with The Medicine, the Jazz June have come back with an odd collection of dissonant and melodious twists and turns. This is the Jazz June's fifth release on Initial, a label notorious for introducing the world to some of the best bands on the planet only to lose them to other labels or to the band breaking up. As such, the Jazz June is a novelty in a world where brevity reigns. Better Off Without Air shrugs off the apparent random jangly indie-pop of past albums and replaces with more experimentation in rhythms and song structures. This is seen on purely instrumental tracks "Hate/Bass" (containing a very cool riff a la Milemarker), "Shots Fired" and "Benny Clarks Can." While the Jazz June should be commended for their efforts, such experimentation seems to misplace their place in nature. On past albums the Jazz June were able to take a bunch of cacophonous pieces and weave a common thread throughout; always bringing the songs back to a common foundation. To some extent the tremendous and distinct songs still exist on Better Off Without Air. "Drugs and Models," "The Uptown Explosion" and "These Pills Won't Calm Your Nerves" encompass the diamonds in the ruff and really bring forth the musical intuition of the Jazz June.
Better Off Without Air
Initial Records
Grade: A-
After releasing one of the best albums of a few years ago with The Medicine, the Jazz June have come back with an odd collection of dissonant and melodious twists and turns. This is the Jazz June's fifth release on Initial, a label notorious for introducing the world to some of the best bands on the planet only to lose them to other labels or to the band breaking up. As such, the Jazz June is a novelty in a world where brevity reigns. Better Off Without Air shrugs off the apparent random jangly indie-pop of past albums and replaces with more experimentation in rhythms and song structures. This is seen on purely instrumental tracks "Hate/Bass" (containing a very cool riff a la Milemarker), "Shots Fired" and "Benny Clarks Can." While the Jazz June should be commended for their efforts, such experimentation seems to misplace their place in nature. On past albums the Jazz June were able to take a bunch of cacophonous pieces and weave a common thread throughout; always bringing the songs back to a common foundation. To some extent the tremendous and distinct songs still exist on Better Off Without Air. "Drugs and Models," "The Uptown Explosion" and "These Pills Won't Calm Your Nerves" encompass the diamonds in the ruff and really bring forth the musical intuition of the Jazz June.
Somehow Hollow - Busted Wings & Rusted Halos
Somehow Hollow
Busted Wings & Rusted Halos
Victory Records
Grade: A-
From the ashes of the disposed Canadian punk gods Grade comes the second release for Somehow Hollow; their first album was released in 2001 on Canadian label East End Industries. Started initially as a side project for Mike Casarin, Kent Abbott and Drew Clark (well, the comings and goings are complicated), it became full-time event earlier this year when Grade crumbled. Picking up where Grade left off, Busted Wings & Rusted Halos is clearly one of the best releases of the new year.
Somehow Hollow plays a very mature style of left coast pop-punk. Hence, you have the innocence and melody of Fat Wreck-type bands but mixed with quickly changing drum beats, multi-layered singing and rhythmic soloing. Besides, obviously to Grade, Somehow Hollow may be compared to Taking Back Sunday, Flashlight Brown, the Movielife, etc. Some of the guitar riffs are simply amazing, drawing the listener in and providing the goose bumps that music should be designed to deliver. This is clearly demonstrated in the opening to "Darkest Day;" among many of the other tracks. In addition to the melody, Somehow Hollow mixes in some metal and hardcore influences on the margin to give the songs some cross-genre resonance (for instance, the beginning of "Busted Stereos and Myself"). Although most of the songs rock, a few standout including "How Winter Killed Our Souls," "Broken Chords" and "The Witch of Glen Cedar Gate."
Based on this release, the music world will much better off if Somehow Hollow hung around for sometime to come. Busted Wings & Rusted Halos is a solid album by a group of seasoned veterans with nothing to prove but looking to play some good music. This record promises to be on of the top releases on Victory this season, so definitely snatch it up.
Busted Wings & Rusted Halos
Victory Records
Grade: A-
From the ashes of the disposed Canadian punk gods Grade comes the second release for Somehow Hollow; their first album was released in 2001 on Canadian label East End Industries. Started initially as a side project for Mike Casarin, Kent Abbott and Drew Clark (well, the comings and goings are complicated), it became full-time event earlier this year when Grade crumbled. Picking up where Grade left off, Busted Wings & Rusted Halos is clearly one of the best releases of the new year.
Somehow Hollow plays a very mature style of left coast pop-punk. Hence, you have the innocence and melody of Fat Wreck-type bands but mixed with quickly changing drum beats, multi-layered singing and rhythmic soloing. Besides, obviously to Grade, Somehow Hollow may be compared to Taking Back Sunday, Flashlight Brown, the Movielife, etc. Some of the guitar riffs are simply amazing, drawing the listener in and providing the goose bumps that music should be designed to deliver. This is clearly demonstrated in the opening to "Darkest Day;" among many of the other tracks. In addition to the melody, Somehow Hollow mixes in some metal and hardcore influences on the margin to give the songs some cross-genre resonance (for instance, the beginning of "Busted Stereos and Myself"). Although most of the songs rock, a few standout including "How Winter Killed Our Souls," "Broken Chords" and "The Witch of Glen Cedar Gate."
Based on this release, the music world will much better off if Somehow Hollow hung around for sometime to come. Busted Wings & Rusted Halos is a solid album by a group of seasoned veterans with nothing to prove but looking to play some good music. This record promises to be on of the top releases on Victory this season, so definitely snatch it up.
Fabulous Disaster - Panty Raid
Fabulous Disaster
Panty Raid
Pink & Black Records
Grade: A-
This is the second full-length from this four-piece from San Francisco. Though I haven't heard their debut, Put Out or Get Out, this is some best punk to be recorded in years. If Fab D's first record is better than this then it should have won a Grammy.
After bustin' balls in the underground punk scene in SF, Fat Mike saw them play the shit out of a show. Afterwards, Fat Mike said "yo, yo," and offered to produce the debut. Meeting with a modicum of success, Fabulous Disaster went to spread their power across the land. This included touring with NOFX, Propagandhi and Avail. Now with Panty Raid, Fab D are all geared up and ready to retake the world by nuclear invasion.
Recorded by Alex Newport (ATDI, Sepultura), Fabulous Disaster blast through fourteen songs of no-holds-barred bad ass punk goodness. Fab D most closely resemble The Eyeliners, but with a noticeably more aggressive edge. That is fast, simple, yet poppy and catchy, straight-forward punk. Laced with this are keyboards and timely rhythmic solos, displayed on such songs as "No Stars Tonight" and "Collide." I would enjoy listing all of the stellar tracks on the Panty Raid, but it would surely be close to all fourteen. Though the lyrics are simple and minimalist, the songs tackle such fantastic topics as love (the good kind), people at work, ass-kicking and crack smoking; well, not the last, but some pill-popping action.
At the end of the day, this is an outstanding punk record that should be on your shelf. If you had an interest in Fab D before, or in bands like the Eyeliners, this is so up your alley that it is scary.
Panty Raid
Pink & Black Records
Grade: A-
This is the second full-length from this four-piece from San Francisco. Though I haven't heard their debut, Put Out or Get Out, this is some best punk to be recorded in years. If Fab D's first record is better than this then it should have won a Grammy.
After bustin' balls in the underground punk scene in SF, Fat Mike saw them play the shit out of a show. Afterwards, Fat Mike said "yo, yo," and offered to produce the debut. Meeting with a modicum of success, Fabulous Disaster went to spread their power across the land. This included touring with NOFX, Propagandhi and Avail. Now with Panty Raid, Fab D are all geared up and ready to retake the world by nuclear invasion.
Recorded by Alex Newport (ATDI, Sepultura), Fabulous Disaster blast through fourteen songs of no-holds-barred bad ass punk goodness. Fab D most closely resemble The Eyeliners, but with a noticeably more aggressive edge. That is fast, simple, yet poppy and catchy, straight-forward punk. Laced with this are keyboards and timely rhythmic solos, displayed on such songs as "No Stars Tonight" and "Collide." I would enjoy listing all of the stellar tracks on the Panty Raid, but it would surely be close to all fourteen. Though the lyrics are simple and minimalist, the songs tackle such fantastic topics as love (the good kind), people at work, ass-kicking and crack smoking; well, not the last, but some pill-popping action.
At the end of the day, this is an outstanding punk record that should be on your shelf. If you had an interest in Fab D before, or in bands like the Eyeliners, this is so up your alley that it is scary.
Friday, February 20, 2009
Sorry About Dresden - Let It Rest
Sorry About Dresden
Let It Rest
Saddle Creek Records
Grade: A-
This is the latest release from the new kings of Chapel Hill indie-rock Sorry About Dresden. With the dissolution of the White Octave and the minimal action of Superchunk, Sorry About Dresden are responsible for keeping the torch lit. For those not in the know, Sorry About Dresden is indie-rock hero Conor Oberst's brother's band. Although, one can pick up similar lyric drifts, the similarities end there. However, for Sorry About Dresden trying to improve on 2001's The Convenience of Indecision is no small feat. On Let It Rest, Sorry About Dresden come close to repeating that magnificence but come up slightly short in harmonies and memorable arrangements. There is a noticeable move to a bit more of a garage rock foundation that provides both appealing and less-so aspects. Also, Sorry About Dresden seem to play up the rhythmic guitar soloing to a compelling degree. Let It Rest kicks off "Beds and Lawns," a song with a catchy upbeat guitar riff and, after some lame lyrics, provides a good opening to the record. "When You Cared" is similar in effect and quality. "This House Unhomed" is a stellar track with a great and memorable chorus that allows you rock out and hum to yourself. "Sick and Sore" sounds close to a happy Bright Eyes number, but it also reminds you of a Prozac-friendly song that should be on Sesame Street. "Perfect Posture" also contains a memorable "chorus" and the song is some type of a cross between Pavement and the Alman Brothers. Filling out the album, "Candid Camera," "Once We Had a Word For This" and "The Approaching Dusk" do a splendid job. At the end of the day, it may take another year to truly digest the entirety of Let It Rest. Though it was easy to recognize the quality of The Convenience of Indecision, the complete greatness did not become apparent to some time after.
Let It Rest
Saddle Creek Records
Grade: A-
This is the latest release from the new kings of Chapel Hill indie-rock Sorry About Dresden. With the dissolution of the White Octave and the minimal action of Superchunk, Sorry About Dresden are responsible for keeping the torch lit. For those not in the know, Sorry About Dresden is indie-rock hero Conor Oberst's brother's band. Although, one can pick up similar lyric drifts, the similarities end there. However, for Sorry About Dresden trying to improve on 2001's The Convenience of Indecision is no small feat. On Let It Rest, Sorry About Dresden come close to repeating that magnificence but come up slightly short in harmonies and memorable arrangements. There is a noticeable move to a bit more of a garage rock foundation that provides both appealing and less-so aspects. Also, Sorry About Dresden seem to play up the rhythmic guitar soloing to a compelling degree. Let It Rest kicks off "Beds and Lawns," a song with a catchy upbeat guitar riff and, after some lame lyrics, provides a good opening to the record. "When You Cared" is similar in effect and quality. "This House Unhomed" is a stellar track with a great and memorable chorus that allows you rock out and hum to yourself. "Sick and Sore" sounds close to a happy Bright Eyes number, but it also reminds you of a Prozac-friendly song that should be on Sesame Street. "Perfect Posture" also contains a memorable "chorus" and the song is some type of a cross between Pavement and the Alman Brothers. Filling out the album, "Candid Camera," "Once We Had a Word For This" and "The Approaching Dusk" do a splendid job. At the end of the day, it may take another year to truly digest the entirety of Let It Rest. Though it was easy to recognize the quality of The Convenience of Indecision, the complete greatness did not become apparent to some time after.
Fairview - We'll Dodge It On The Way Back (+Extras)
Fairview
We'll Dodge It On The Way Back (+Extras)
SideCho Records
Grade: A-
This is one of those records that gets better and better with each listen, to the point where it kicks ass and enters the realm of a favorite. Coming out of Orange County, CA and only rockin' the mic for a short period of time, this record is amazing. We'll Dodge… is sort of a collage of past material, new material and live recordings. Be that as it may, it is supremely exceptional.
The first song "Telegrams" institutes what will become the truth throughout the rest of the record. It is an epic of music that crescendos up to multiple guitars, keyboards and male/female singing. In this sense it is reminiscent of the best of Jazz June or Jejune, but with a much stronger head of pop sensibilities over eccentricism. This excellence is mimicked on "Chinese New Year" and "Revolving Doors." Among the live acoustic songs include the excellent "Telegrams," "Henry" and "Just One Day of Looking Terrific." Also, check out the splendid demo of "Next to Nothing." As an extra on the record is some CD-Rom material including a video for "In a Crowd (Right Now)" and a brief visual history of the band. The song ("In a Crowd (Right Now)") is stellar and the simple indie video fits the band and their essence quite well. It is mostly the band rockin' in an overdone garage mixed with scenes of 80s girls playing a video dating game, staring, of course, the band themselves. The video makes them appear like the second coming of Superchunk. The other visual material includes a bunch of old concert posters and photos.
As you may take from this review, there is a lot to offer on this record and it is well worth the dolla dolla bills ya'll. The "wow" element of Fairview makes them very attractive to the listener. Fairview has made a name for themselves on the road and they are not stopping now. So, check them out when they come to our town.
We'll Dodge It On The Way Back (+Extras)
SideCho Records
Grade: A-
This is one of those records that gets better and better with each listen, to the point where it kicks ass and enters the realm of a favorite. Coming out of Orange County, CA and only rockin' the mic for a short period of time, this record is amazing. We'll Dodge… is sort of a collage of past material, new material and live recordings. Be that as it may, it is supremely exceptional.
The first song "Telegrams" institutes what will become the truth throughout the rest of the record. It is an epic of music that crescendos up to multiple guitars, keyboards and male/female singing. In this sense it is reminiscent of the best of Jazz June or Jejune, but with a much stronger head of pop sensibilities over eccentricism. This excellence is mimicked on "Chinese New Year" and "Revolving Doors." Among the live acoustic songs include the excellent "Telegrams," "Henry" and "Just One Day of Looking Terrific." Also, check out the splendid demo of "Next to Nothing." As an extra on the record is some CD-Rom material including a video for "In a Crowd (Right Now)" and a brief visual history of the band. The song ("In a Crowd (Right Now)") is stellar and the simple indie video fits the band and their essence quite well. It is mostly the band rockin' in an overdone garage mixed with scenes of 80s girls playing a video dating game, staring, of course, the band themselves. The video makes them appear like the second coming of Superchunk. The other visual material includes a bunch of old concert posters and photos.
As you may take from this review, there is a lot to offer on this record and it is well worth the dolla dolla bills ya'll. The "wow" element of Fairview makes them very attractive to the listener. Fairview has made a name for themselves on the road and they are not stopping now. So, check them out when they come to our town.
Thursday, February 19, 2009
Cursive - The Ugly Organ
Cursive
The Ugly Organ
Saddle Creek Records
Grade: A/A-
Here comes the latest and the greatest from Midwestern indie-rock legends Cursive. The Ugly Organ introduces Cursive as the next big thing; the thing that will split your pants in two.
As many know, Cursive has been putting out the records for what seems like an eternity on Saddle Creek and Crank Records. Formed in 1995, this is Cursive fourth full-length (inbetween scores of EPs and 7"s). Yet, Cursive has barely made it this far. In the late 90s, Cursive disbanded to allow their members to pursue other areas of interest. Guitarist Steve Pedersen went to Chapel Hill for school and formed the amazing and now-defunct White Octave. Lead singer Tim Kasher headed to Oregon for awhile and then went back to Omaha. Back in Omaha he reformed Cursive with some local help. Since the reformation, Cursive has become a juggernaut in the indie-rock world. This includes the release of Domestica in 1998 and Bust and Bloom EP in 2001. The most glorious aspect of the "new" Cursive is the excellent addition and subsequent exploitation of cellist Gretta Cohn. This inclusion adds immeasurable to Cursive's already amazing songwriting abilities.
Far and away, The Ugly Organ comes across as the most mature and thoughtful Cursive release to date. While the title does provide some references to sexual organs and the like, at the end of the day who really cares that much. Not withstanding, Kasher's lyrics are thick, metaphorical and oh just so right. As noted above, the songs on The Ugly Organ are uniquely characterized by Cohn's thundering cello lines and rhythms. As if ripping out the guts of an album, Cohn does not joke around with pretty string chords, but goes after the music as if possessed by the essence of Slayer. As the intro "The Ugly Organ" leads into the first song "Some Red Handed Slight of Hand," Cohn comes rumbling in with fast-witted cello lines sweetly complementing the guitar riffs. This is followed up by the previously released CD single of "Art Is Hard;" an argument that is so true. "Recluse" swirls on lethargy mixed with melancholy and the promise of a different life and world. "Recluse" is a sneaky great song; meaning, it takes a bit of a listen to get down on it and it doesn't kick you in the nuts immediately. Yet, the song that does give you that kick is "Driftwood: A Fairy Tale." This is a short story about Mr. Pinocchio's modified life. "Driftwood" has a creepy multi-singing approach to the verse mixed with timely and addictive bass, organ and cello lines. "Driftwood" is followed by one of the other best songs on The Ugly Organ, "A Gentleman Caller." "Gentleman" is reminiscent of some of the best songs from early Cursive material, for instance stuff off of Such Blinding Stars For Starving Eyes. Wildly drunkenly dissonant vocals and rhythms throughout crescendos to a heavenly quite section before building slowly to the hum of "the worst is over." "Bloody Murderer" returns the listener to ultra-heavy distorted guitars and cello, while including eccentric arrangements. "Sierra" immediately comes off as an odd lyrical start, before moving into the catchy and unforgettable chorus that brings you back over and over again. The Ugly Organ finishes on a spacey and melodious fashion with the ten minute "Staying Alive." Taken from the pages of indie a Pink Floyd, "Staying Alive" lifts itself above the rest of the record and provides its own destination.
The whole of The Ugly Organ comes across as something that you read, hear, or listen to that just makes sense; it seems perfect for its space and time. The record can bring to the listener energetic moments just as quickly as lulling you to a restful nap. The Ugly Organ promises to propel Cursive to the forefront of the musical world, not just the indie world. Though it may not necessarily meet with commercial success, The Ugly Organ will be talked about as one of the greats for years to come.
The Ugly Organ
Saddle Creek Records
Grade: A/A-
Here comes the latest and the greatest from Midwestern indie-rock legends Cursive. The Ugly Organ introduces Cursive as the next big thing; the thing that will split your pants in two.
As many know, Cursive has been putting out the records for what seems like an eternity on Saddle Creek and Crank Records. Formed in 1995, this is Cursive fourth full-length (inbetween scores of EPs and 7"s). Yet, Cursive has barely made it this far. In the late 90s, Cursive disbanded to allow their members to pursue other areas of interest. Guitarist Steve Pedersen went to Chapel Hill for school and formed the amazing and now-defunct White Octave. Lead singer Tim Kasher headed to Oregon for awhile and then went back to Omaha. Back in Omaha he reformed Cursive with some local help. Since the reformation, Cursive has become a juggernaut in the indie-rock world. This includes the release of Domestica in 1998 and Bust and Bloom EP in 2001. The most glorious aspect of the "new" Cursive is the excellent addition and subsequent exploitation of cellist Gretta Cohn. This inclusion adds immeasurable to Cursive's already amazing songwriting abilities.
Far and away, The Ugly Organ comes across as the most mature and thoughtful Cursive release to date. While the title does provide some references to sexual organs and the like, at the end of the day who really cares that much. Not withstanding, Kasher's lyrics are thick, metaphorical and oh just so right. As noted above, the songs on The Ugly Organ are uniquely characterized by Cohn's thundering cello lines and rhythms. As if ripping out the guts of an album, Cohn does not joke around with pretty string chords, but goes after the music as if possessed by the essence of Slayer. As the intro "The Ugly Organ" leads into the first song "Some Red Handed Slight of Hand," Cohn comes rumbling in with fast-witted cello lines sweetly complementing the guitar riffs. This is followed up by the previously released CD single of "Art Is Hard;" an argument that is so true. "Recluse" swirls on lethargy mixed with melancholy and the promise of a different life and world. "Recluse" is a sneaky great song; meaning, it takes a bit of a listen to get down on it and it doesn't kick you in the nuts immediately. Yet, the song that does give you that kick is "Driftwood: A Fairy Tale." This is a short story about Mr. Pinocchio's modified life. "Driftwood" has a creepy multi-singing approach to the verse mixed with timely and addictive bass, organ and cello lines. "Driftwood" is followed by one of the other best songs on The Ugly Organ, "A Gentleman Caller." "Gentleman" is reminiscent of some of the best songs from early Cursive material, for instance stuff off of Such Blinding Stars For Starving Eyes. Wildly drunkenly dissonant vocals and rhythms throughout crescendos to a heavenly quite section before building slowly to the hum of "the worst is over." "Bloody Murderer" returns the listener to ultra-heavy distorted guitars and cello, while including eccentric arrangements. "Sierra" immediately comes off as an odd lyrical start, before moving into the catchy and unforgettable chorus that brings you back over and over again. The Ugly Organ finishes on a spacey and melodious fashion with the ten minute "Staying Alive." Taken from the pages of indie a Pink Floyd, "Staying Alive" lifts itself above the rest of the record and provides its own destination.
The whole of The Ugly Organ comes across as something that you read, hear, or listen to that just makes sense; it seems perfect for its space and time. The record can bring to the listener energetic moments just as quickly as lulling you to a restful nap. The Ugly Organ promises to propel Cursive to the forefront of the musical world, not just the indie world. Though it may not necessarily meet with commercial success, The Ugly Organ will be talked about as one of the greats for years to come.
Wednesday, February 18, 2009
Joan of Arc - So Much Staying Alive and Lovelessness
Joan of Arc
So Much Staying Alive and Lovelessness
Jade Tree Records
Grade: A-
Here comes the sixth album from these Chicago stalwarts of the underground indie-sound. On So Much Staying Alive and Lovelessness, this four-piece from Chicago concentrate on bringing back the essence of rock foundations mixed with their sense of punk traditions and indie eclecticism. More importantly, the eleven tracks on the record are considerably easier for the average listener to enjoy and understand than much of their past material. That is, past records from Joan of Arc often floated into a realm of abstraction that few could truly appreciate. At the same time, it is not as if Joan of Arc ever suffered from a lack listeners and people willing to be exposed by the previous material. So Much… was a two-year project where Joan of Arc moved away from computer arrangements and extreme layered tracks and back to live-band-in-studio composition. Also, there is a significant collaboration between elements of JOA and sister band Friend/Enemy. The payoff is huge.
So Much… starts off with "On a Bedsheet in the Breeze On the Roof" that sounds as though it could have been lifted from past Cap'n Jazz material; well, clearly it is a stylistic issue attached to the vocals of Tim Kinsella. "On a Bedsheet…" lays the landscape for the rest of the record; a characterization of guitar-driven indie-rock multiplied by the varying instruments (e.g., cowbell, piano, steel drum, violin, etc.), eclecticism, experimentation and harmonies of past JOA releases. Part of this characterization includes a penchant for five and six minute songs, which forces the listener to take in the whole song or lose out on significant moments. Meanwhile, parts of "Perfect Need and Perfect Completion" sound as though Moby had a hand in producing the track. This track contains a very catchy section that it is armed with a Wurlitzer and pedal steel that receives some heavy head nodding from the listener. This is then followed by the electric piano banging of "Olivia Lost" and violin basting and fast speech of "Diane Cool and Beautiful." One of the coolest songs on the record is clearly "Participation Billy." The song has this French monkey grinder organ under-element and with a trippy piano placed over it. Though the lyrics are inherently melancholy, the music itself is beautiful. "Mean to March" contains a mind-sticking guitar buildup that adds considerably to the enjoyment of the song. Also check out the great slow and methodical march on "Madelleine Laughing."
As with past Joan of Arc releases, So Much… is frightfully in-depth and eclectic, but its refocus on the elements of rock sets itself apart. The songs are all well thought out and planned and one would have a close to impossible task to improve on them. Joan of Arc are hitting the road to support this release, so watch them re-create this masterpiece.
So Much Staying Alive and Lovelessness
Jade Tree Records
Grade: A-
Here comes the sixth album from these Chicago stalwarts of the underground indie-sound. On So Much Staying Alive and Lovelessness, this four-piece from Chicago concentrate on bringing back the essence of rock foundations mixed with their sense of punk traditions and indie eclecticism. More importantly, the eleven tracks on the record are considerably easier for the average listener to enjoy and understand than much of their past material. That is, past records from Joan of Arc often floated into a realm of abstraction that few could truly appreciate. At the same time, it is not as if Joan of Arc ever suffered from a lack listeners and people willing to be exposed by the previous material. So Much… was a two-year project where Joan of Arc moved away from computer arrangements and extreme layered tracks and back to live-band-in-studio composition. Also, there is a significant collaboration between elements of JOA and sister band Friend/Enemy. The payoff is huge.
So Much… starts off with "On a Bedsheet in the Breeze On the Roof" that sounds as though it could have been lifted from past Cap'n Jazz material; well, clearly it is a stylistic issue attached to the vocals of Tim Kinsella. "On a Bedsheet…" lays the landscape for the rest of the record; a characterization of guitar-driven indie-rock multiplied by the varying instruments (e.g., cowbell, piano, steel drum, violin, etc.), eclecticism, experimentation and harmonies of past JOA releases. Part of this characterization includes a penchant for five and six minute songs, which forces the listener to take in the whole song or lose out on significant moments. Meanwhile, parts of "Perfect Need and Perfect Completion" sound as though Moby had a hand in producing the track. This track contains a very catchy section that it is armed with a Wurlitzer and pedal steel that receives some heavy head nodding from the listener. This is then followed by the electric piano banging of "Olivia Lost" and violin basting and fast speech of "Diane Cool and Beautiful." One of the coolest songs on the record is clearly "Participation Billy." The song has this French monkey grinder organ under-element and with a trippy piano placed over it. Though the lyrics are inherently melancholy, the music itself is beautiful. "Mean to March" contains a mind-sticking guitar buildup that adds considerably to the enjoyment of the song. Also check out the great slow and methodical march on "Madelleine Laughing."
As with past Joan of Arc releases, So Much… is frightfully in-depth and eclectic, but its refocus on the elements of rock sets itself apart. The songs are all well thought out and planned and one would have a close to impossible task to improve on them. Joan of Arc are hitting the road to support this release, so watch them re-create this masterpiece.
Atom and His Package - Attention! Blah Blah Blah
Atom and His Package
Attention! Blah Blah Blah
Hopeless Records
Grade: A-
This is the latest and quite possibly the greatest by the ultra-cool one-man band Atom and His Package. An addictive tourer and writer of quirky songs, Atom (Adam) pursues the magic that has established himself as a bright spot in a sea of sludge. Though I think that Atom's slew of past releases are top-notch, when I first heard this I thought that it was bit recycled. Meaning it seemed that he was just poppin' out the same stuff in the same formula. At heart, that assessment is probably true, yet Atom comes through with the goods on Attention!.
Most noticeable on the record is that the music and all its minute parts are so tight that you have trouble understanding how one person could put it all together. On previous Atom releases, there was always a timing mistake here and there or something amiss (though there is one spot of some seriously out-of-tune guitars that I don't think (???) are supposed to be there on "Out to Everyone"). Here all of that is zeroed out, although the power of a drum machine is clear. There is probably not a bad song on the record (though for the inside joke (?) on "Matt Werth Speaks"), though some shine in the faces of others. On most of the best songs, there is the combination of catchy music with funny and witty lyrics. More importantly, Atom varies the essence of songs going from rock to metal riffs to ballads to new wave electronic, as he has characterized himself in the past. Some of the best songs include "Possession (not the one by Danzig)," "Mustache T.V.," "Does Anyone Else in the Room Want to Marry His or Her Own Grandmother?," "I'm Downright Amazed At What I Can Destroy With Just A Hammer" and "Dear Atom, You Do Not Want Children, Love Atom." Probably the standout track on Attention! is "I, Professional Gambler." Under a wave of mind-sticking guitar riffs and high cymbal tapping, Atom sings about his new idea of how to not have to work by becoming a professional gambler; who doesn't imagine that right? Moreover, he doesn't need to spend any time in college "just a brief a lesson in permutative probability."
Atom and His Package has kicked out a gem with Attention! Blah Blah Blah that should take him to new heights. Look for Atom on the road on a town near you. Maybe you will be lucky enough to see him with fellow road companion and new star-extraordinaire Har Mar Superstar.
Attention! Blah Blah Blah
Hopeless Records
Grade: A-
This is the latest and quite possibly the greatest by the ultra-cool one-man band Atom and His Package. An addictive tourer and writer of quirky songs, Atom (Adam) pursues the magic that has established himself as a bright spot in a sea of sludge. Though I think that Atom's slew of past releases are top-notch, when I first heard this I thought that it was bit recycled. Meaning it seemed that he was just poppin' out the same stuff in the same formula. At heart, that assessment is probably true, yet Atom comes through with the goods on Attention!.
Most noticeable on the record is that the music and all its minute parts are so tight that you have trouble understanding how one person could put it all together. On previous Atom releases, there was always a timing mistake here and there or something amiss (though there is one spot of some seriously out-of-tune guitars that I don't think (???) are supposed to be there on "Out to Everyone"). Here all of that is zeroed out, although the power of a drum machine is clear. There is probably not a bad song on the record (though for the inside joke (?) on "Matt Werth Speaks"), though some shine in the faces of others. On most of the best songs, there is the combination of catchy music with funny and witty lyrics. More importantly, Atom varies the essence of songs going from rock to metal riffs to ballads to new wave electronic, as he has characterized himself in the past. Some of the best songs include "Possession (not the one by Danzig)," "Mustache T.V.," "Does Anyone Else in the Room Want to Marry His or Her Own Grandmother?," "I'm Downright Amazed At What I Can Destroy With Just A Hammer" and "Dear Atom, You Do Not Want Children, Love Atom." Probably the standout track on Attention! is "I, Professional Gambler." Under a wave of mind-sticking guitar riffs and high cymbal tapping, Atom sings about his new idea of how to not have to work by becoming a professional gambler; who doesn't imagine that right? Moreover, he doesn't need to spend any time in college "just a brief a lesson in permutative probability."
Atom and His Package has kicked out a gem with Attention! Blah Blah Blah that should take him to new heights. Look for Atom on the road on a town near you. Maybe you will be lucky enough to see him with fellow road companion and new star-extraordinaire Har Mar Superstar.
Sixty Stories - Anthem Red
Sixty Stories
Anthem Red
Smallman Records/The Company with the Golden Arm/Hopeless Records Distro
Grade: A-
Anthem Red is a re-release of Sixty Stories' first full-length that came out last October. Sixty Stories formed in the fall of 1999 with Paul Furgale (formerly of Painted Thin) on drums and backing vocals, Jo Snyder on guitar and vocals and Kelly Martin on bass. By 2001, Sixty Stories were touring across Canada with bands such as Propagandhi and opening for Fugazi and Samiam. Since then, they released a split CD with Painted Thin on Smallman Records and have toured extensively in Canada as well as some time in Germany. Going into the studio to record this record, they had a personal change when Sarah Sangster took over on bass and backing vocals.
Anthem Red starts off with slow keyboards moving to heavy bass, drums and vocals before going into the crux of the song on "Countdown." The ballsy vocals by Jo Snyder and the right backing vocals from bassist Sarah Sangster with the mix of keyboards make this a sweet song. By far and away, this is the best song on the record and is likely to get some serious spins at college stations if not more. Unfortunately, the album takes a distinct downward turn after this epic opening number. This is not to say that the rest of the record is bad or anything like that. It is just that the rest of the songs are not as impressionistic as "Countdown" and some fall into mildly generic renditions and plays on existing material. The second song "First Bell," though, does excel in uniqueness with a strong foundation of keyboards and a powerful chorus based on the title. One problem with a number of the other tracks is that there is a very similar parallel to Weezer. I had to triple-check to make sure that "Second Hand Table & Chairs" was not some cover of a Weezer song. The verse of the song sounds exactly like it is cribbed from Weezer. To lesser extent this is true of "Jessica" and "Less of Me." "It's So Touching" and "Quit My Job" are nice deviations of sound on the record where Sixty Stories employ a more uptempo punk beat that is matched with quicker vocals by Snyder. Anthem Red is rounded out by "Wet Cement" and "Anthem Red." "Wet Cement" contains some great guitar work on the intro and throughout the bridges, while "Anthem Red" has a harmonious chorus of "written in anthem red."
Though there are some inconsistencies on Anthem Red, there is no doubt that you will hear a lot from Sixty Stories in the near and far future.
Anthem Red
Smallman Records/The Company with the Golden Arm/Hopeless Records Distro
Grade: A-
Anthem Red is a re-release of Sixty Stories' first full-length that came out last October. Sixty Stories formed in the fall of 1999 with Paul Furgale (formerly of Painted Thin) on drums and backing vocals, Jo Snyder on guitar and vocals and Kelly Martin on bass. By 2001, Sixty Stories were touring across Canada with bands such as Propagandhi and opening for Fugazi and Samiam. Since then, they released a split CD with Painted Thin on Smallman Records and have toured extensively in Canada as well as some time in Germany. Going into the studio to record this record, they had a personal change when Sarah Sangster took over on bass and backing vocals.
Anthem Red starts off with slow keyboards moving to heavy bass, drums and vocals before going into the crux of the song on "Countdown." The ballsy vocals by Jo Snyder and the right backing vocals from bassist Sarah Sangster with the mix of keyboards make this a sweet song. By far and away, this is the best song on the record and is likely to get some serious spins at college stations if not more. Unfortunately, the album takes a distinct downward turn after this epic opening number. This is not to say that the rest of the record is bad or anything like that. It is just that the rest of the songs are not as impressionistic as "Countdown" and some fall into mildly generic renditions and plays on existing material. The second song "First Bell," though, does excel in uniqueness with a strong foundation of keyboards and a powerful chorus based on the title. One problem with a number of the other tracks is that there is a very similar parallel to Weezer. I had to triple-check to make sure that "Second Hand Table & Chairs" was not some cover of a Weezer song. The verse of the song sounds exactly like it is cribbed from Weezer. To lesser extent this is true of "Jessica" and "Less of Me." "It's So Touching" and "Quit My Job" are nice deviations of sound on the record where Sixty Stories employ a more uptempo punk beat that is matched with quicker vocals by Snyder. Anthem Red is rounded out by "Wet Cement" and "Anthem Red." "Wet Cement" contains some great guitar work on the intro and throughout the bridges, while "Anthem Red" has a harmonious chorus of "written in anthem red."
Though there are some inconsistencies on Anthem Red, there is no doubt that you will hear a lot from Sixty Stories in the near and far future.
The Locust - Plague Soundscape
The Locust
Plague Soundscape
Anti- Records
Grade: A-
This is the first release on Epitaph's Anti Records for this four-piece from San Diego. These kings of power-violence, noise and art-core have sought out to destroy everything you know about music in an attempt to just annoy and bother individuals' minds. Through their many releases, most on 3.1.G. Records, the Locust have been successful in this endeavor. Unlike other bands of the same ilk, e.g., Arab on Radar, the Locust actually do display some talent amongst the noise. Formed from the ashes of other San Diego hardcore bands, most notably the Swing Kids who are truly amazing, the Locust sought to change the face of hardcore. After numerous lineup changes, the current four members are also engaged a plethora of side projects, among them Holy Molar. Given that the Locust's songs average about a minute long and are a collection of noise, I would assume they don't spend tons of time perfecting everything. Hence, this allows them to work in other bands.
Plague Soundscape is very much in line with past Locust material, except here the recording quality excels past their earlier releases. Most interesting and defining for the record are the plethora of electronic noises that do sound like swarms of bugs, i.e., locusts, attacking the listener. With songs titled as "Priest with the Sexually Transmitted Disease, Get out of my Bed" and "Who Wants a Dose of the Clap?," there is a family-orientated theme in every song. The music from this album is expected to be heard in the latest Disney animated film coming out this summer.
Though the Locust has an interesting and broad following, they also have a number of critics. This criticism comes not just due to their warm, soothing music, but because of a "rumored" penchant for intense living and drug use. For example, the Locust excel in marketing merchandise and one of their items is a Locust compact - a compact that some simply refer to as "coke mirrors." I suppose if you play extreme music, you might as well live extreme, it worked for G.G. Allin.
Plague Soundscape
Anti- Records
Grade: A-
This is the first release on Epitaph's Anti Records for this four-piece from San Diego. These kings of power-violence, noise and art-core have sought out to destroy everything you know about music in an attempt to just annoy and bother individuals' minds. Through their many releases, most on 3.1.G. Records, the Locust have been successful in this endeavor. Unlike other bands of the same ilk, e.g., Arab on Radar, the Locust actually do display some talent amongst the noise. Formed from the ashes of other San Diego hardcore bands, most notably the Swing Kids who are truly amazing, the Locust sought to change the face of hardcore. After numerous lineup changes, the current four members are also engaged a plethora of side projects, among them Holy Molar. Given that the Locust's songs average about a minute long and are a collection of noise, I would assume they don't spend tons of time perfecting everything. Hence, this allows them to work in other bands.
Plague Soundscape is very much in line with past Locust material, except here the recording quality excels past their earlier releases. Most interesting and defining for the record are the plethora of electronic noises that do sound like swarms of bugs, i.e., locusts, attacking the listener. With songs titled as "Priest with the Sexually Transmitted Disease, Get out of my Bed" and "Who Wants a Dose of the Clap?," there is a family-orientated theme in every song. The music from this album is expected to be heard in the latest Disney animated film coming out this summer.
Though the Locust has an interesting and broad following, they also have a number of critics. This criticism comes not just due to their warm, soothing music, but because of a "rumored" penchant for intense living and drug use. For example, the Locust excel in marketing merchandise and one of their items is a Locust compact - a compact that some simply refer to as "coke mirrors." I suppose if you play extreme music, you might as well live extreme, it worked for G.G. Allin.
Fall Out Boy - Take This To Your Grave
Fall Out Boy
Take This To Your Grave
Fueled By Ramen
Grade: A-
Coming out of Chicago is this four-piece with a punk rock foundation and a pop strong heart. Fall Out Boy formed a little over a year ago when former frontman of the hardcore band Arma Angelus Pete Wentz started to belt out pop songs with guitarist Joe Trohman. This early connection probably allowed Fall Out Boy, after fully assembled, to quickly get their foot in the music door. Fall Out Boy play extremely catchy punk rock, without going too extreme in one direction or the other. That is, they don't play Fat Wreck beat punk and are not simply a rock band. As such, they have a good deal in common with bands such as the All-American Rejects and American Hi-Fi. They are all about ensuring good melodies and catchy lyrics over anything else. The music is outstanding with just the right combination of lyrics and guitars and drums throughout each section of each song. In actual lyrics, Fall Out Boy echo bands such as Taking Back Sunday with lines such as "Boys like you are so overrated. So save your breath" on "Chicago is So Two Years Ago." Though lyrically the songs fall along a common thread (e.g., friends, girls, random b.s., etc.), Fall Out Boy also employ a good deal of wit and an element of comedic cynicism throughout the record. This is most easily seen on title tracks like "Send Postcards From a Plan Crash (Wish You Were Here)," "The Pros and Cons of Breathing" and "Reinventing the Wheel to Run Myself Over." As a special treat, there are guest appearances by Jeff Warren of Knockout on "Grenade Jumper" and Justin "Motor City Soundtrack" on "Chicago Is So 2 Years Ago." Though, as is natural on records, there is variation across the songs, the amazing songwriting quality on each has the potential of punching out a plethora of radio-friendly singles. Not that this is Fall Out Boy's mission, but the outcome may be pre-ordained with the release of the record. Look for Fall Out Boy on tour all over the place in the Spring and Summer.
Take This To Your Grave
Fueled By Ramen
Grade: A-
Coming out of Chicago is this four-piece with a punk rock foundation and a pop strong heart. Fall Out Boy formed a little over a year ago when former frontman of the hardcore band Arma Angelus Pete Wentz started to belt out pop songs with guitarist Joe Trohman. This early connection probably allowed Fall Out Boy, after fully assembled, to quickly get their foot in the music door. Fall Out Boy play extremely catchy punk rock, without going too extreme in one direction or the other. That is, they don't play Fat Wreck beat punk and are not simply a rock band. As such, they have a good deal in common with bands such as the All-American Rejects and American Hi-Fi. They are all about ensuring good melodies and catchy lyrics over anything else. The music is outstanding with just the right combination of lyrics and guitars and drums throughout each section of each song. In actual lyrics, Fall Out Boy echo bands such as Taking Back Sunday with lines such as "Boys like you are so overrated. So save your breath" on "Chicago is So Two Years Ago." Though lyrically the songs fall along a common thread (e.g., friends, girls, random b.s., etc.), Fall Out Boy also employ a good deal of wit and an element of comedic cynicism throughout the record. This is most easily seen on title tracks like "Send Postcards From a Plan Crash (Wish You Were Here)," "The Pros and Cons of Breathing" and "Reinventing the Wheel to Run Myself Over." As a special treat, there are guest appearances by Jeff Warren of Knockout on "Grenade Jumper" and Justin "Motor City Soundtrack" on "Chicago Is So 2 Years Ago." Though, as is natural on records, there is variation across the songs, the amazing songwriting quality on each has the potential of punching out a plethora of radio-friendly singles. Not that this is Fall Out Boy's mission, but the outcome may be pre-ordained with the release of the record. Look for Fall Out Boy on tour all over the place in the Spring and Summer.
The Faint - Danse Macabre Remixes
The Faint
Danse Macabre Remixes
Astralwerks/Saddle Creek Records
Grade: A-
As this Omaha, Nebraska dance-punk outfit stormed across the U.S. in the past few years, establishing themselves as one of the premier live bands, they caught the interest of many in the music world. Possibly most noticeable they caught the attention of ultramega superstar DJ Paul Oakenfold. These connections have lead to this remix album. The Faint themselves did the remix for Blank Wave Arcade, but the Danse Macabre Remixes are done by ten top quality electronic and dance musicians. Although the original Danse Macabre did not match the sheer amaziness of Blank Wave Arcade, this remix album places the Danse Macabre in a new brilliant light and absolutely crushes the previous remix album. The album kicks off with The Thin White Duke performing an exceptional seven-minute version of "The Conductor" (though most of the remixes come in and around the seven minute mark.) This is followed by The Calculators' remix of "Posed to Death." The best part of this remix is how they introduce the song with very slow "oh, oh…" and bring the speed up to normal time and possible a step quicker. Also the Calculators add a sweet female voice overlaid on Faint lead singer Todd Baechle's vocals. Either by design or fate maestro Paul Oakenfold does the remix of "Glass Danse," probably the best song from the original album and probably the best on this remix album. Consistent with Oakenfold's style, but relying a considerable amount on the original structure, the song swirls with catchy soundscapes. Though partially a function of the original songs' quality, other top remixes on the record include Tommie Sunshine's "Let the Poison Spill From Your Throat," Jagz Kooner's "Agenda Suicide" and Junior Sanchez's "Violent." As a special feat of cool, Astralwerks is releasing the album on triple vinyl with a bonus remix by Adam Pyre. You should feel blessed to own this record. Moreover, if you are a fan of the Faint there is no doubt that you should have this record.
Danse Macabre Remixes
Astralwerks/Saddle Creek Records
Grade: A-
As this Omaha, Nebraska dance-punk outfit stormed across the U.S. in the past few years, establishing themselves as one of the premier live bands, they caught the interest of many in the music world. Possibly most noticeable they caught the attention of ultramega superstar DJ Paul Oakenfold. These connections have lead to this remix album. The Faint themselves did the remix for Blank Wave Arcade, but the Danse Macabre Remixes are done by ten top quality electronic and dance musicians. Although the original Danse Macabre did not match the sheer amaziness of Blank Wave Arcade, this remix album places the Danse Macabre in a new brilliant light and absolutely crushes the previous remix album. The album kicks off with The Thin White Duke performing an exceptional seven-minute version of "The Conductor" (though most of the remixes come in and around the seven minute mark.) This is followed by The Calculators' remix of "Posed to Death." The best part of this remix is how they introduce the song with very slow "oh, oh…" and bring the speed up to normal time and possible a step quicker. Also the Calculators add a sweet female voice overlaid on Faint lead singer Todd Baechle's vocals. Either by design or fate maestro Paul Oakenfold does the remix of "Glass Danse," probably the best song from the original album and probably the best on this remix album. Consistent with Oakenfold's style, but relying a considerable amount on the original structure, the song swirls with catchy soundscapes. Though partially a function of the original songs' quality, other top remixes on the record include Tommie Sunshine's "Let the Poison Spill From Your Throat," Jagz Kooner's "Agenda Suicide" and Junior Sanchez's "Violent." As a special feat of cool, Astralwerks is releasing the album on triple vinyl with a bonus remix by Adam Pyre. You should feel blessed to own this record. Moreover, if you are a fan of the Faint there is no doubt that you should have this record.
Darkest Hour - Hidden Hands Of A Sadist Nation
Darkest Hour
Hidden Hands Of A Sadist Nation
Victory Records
Grade: A-
The speed-metallic-hardcore five piece are back with an even more punishing album then their first stellar record for Victory Records So Sedated, So Secure. Clearly, Darkest Hour has moved further into the death metal cauldrons on this release. This record was actually recorded at the home of Swedish death metal Gothenburg, Sweden by the hands of producer Fredick Nordstrom, producer of records by Cradle of Filth and In Flames, among others. After eight years of kicking around metal riffs to a small cadre of adheres, Hidden Hands of A Sadist Nation seeks a more intense and international following. The record is so tight that it is intimidating. If Darkest Hour is this tight live then they have to be counted among the best in metal. The record kicks off with "The Sadist Nation," a song that is fast and brutal, with some amazingly quick guitar playing. As such, "The Sadist Nation" sets up what is to come on the rest of the record. "Pay Phones and Pills" again plays on the speed-metal guitars and closes with a metal-ballad movement. As with most of the nine songs on the record, "Pay Phones and Pills" clocks in at around six minutes. This is followed by "Oklahoma," an homage to being detained by the Feds in Oklahoma for obvious un-American motives. Other vicious songs tackle post-9/11 patriotism and miliarism including "Marching to the Killing Rhythm" and "The Patriot Virus." Other notable tracks include "Seven Day Lie" and "Accessible Losses." Darkest Hour closes out the record with a thirteen-minute instrumental moving across the sound spectrum called "Veritas, Aequitas." As a special treat for Darkest Hour's metal fans, there are guest appearances by some kings of Swedish metal including Tomas Lindberg (At The Gates), Peter Wichers (Soilwork), Anders Bjorler (The Haunted) and Marcus Suneson (The Crown). Though Darkest Hour have toured with luminaries such as Six Feet Under, Dillinger Escape Plan and Drowingman, I think that one tour with such metal powerhouses as Slayer or Pantera (or even on the Ozzfest) would easily propel them to the top of the metal world. It worked for less-musically talented Hatebreed, so why not Darkest Hour.
Hidden Hands Of A Sadist Nation
Victory Records
Grade: A-
The speed-metallic-hardcore five piece are back with an even more punishing album then their first stellar record for Victory Records So Sedated, So Secure. Clearly, Darkest Hour has moved further into the death metal cauldrons on this release. This record was actually recorded at the home of Swedish death metal Gothenburg, Sweden by the hands of producer Fredick Nordstrom, producer of records by Cradle of Filth and In Flames, among others. After eight years of kicking around metal riffs to a small cadre of adheres, Hidden Hands of A Sadist Nation seeks a more intense and international following. The record is so tight that it is intimidating. If Darkest Hour is this tight live then they have to be counted among the best in metal. The record kicks off with "The Sadist Nation," a song that is fast and brutal, with some amazingly quick guitar playing. As such, "The Sadist Nation" sets up what is to come on the rest of the record. "Pay Phones and Pills" again plays on the speed-metal guitars and closes with a metal-ballad movement. As with most of the nine songs on the record, "Pay Phones and Pills" clocks in at around six minutes. This is followed by "Oklahoma," an homage to being detained by the Feds in Oklahoma for obvious un-American motives. Other vicious songs tackle post-9/11 patriotism and miliarism including "Marching to the Killing Rhythm" and "The Patriot Virus." Other notable tracks include "Seven Day Lie" and "Accessible Losses." Darkest Hour closes out the record with a thirteen-minute instrumental moving across the sound spectrum called "Veritas, Aequitas." As a special treat for Darkest Hour's metal fans, there are guest appearances by some kings of Swedish metal including Tomas Lindberg (At The Gates), Peter Wichers (Soilwork), Anders Bjorler (The Haunted) and Marcus Suneson (The Crown). Though Darkest Hour have toured with luminaries such as Six Feet Under, Dillinger Escape Plan and Drowingman, I think that one tour with such metal powerhouses as Slayer or Pantera (or even on the Ozzfest) would easily propel them to the top of the metal world. It worked for less-musically talented Hatebreed, so why not Darkest Hour.
Monday, February 16, 2009
BoySetsFire - Tomorrow Come Today
BoySetsFire
Tomorrow Come Today
Windup Records
Grade: A
This ultra-political emo-core band from Delaware continues on their pursuit of perfecting their craft. Started in the mid-90s, BoySetsFire (BSF) have come to distinguish themselves in the cluttered world of punk and hardcore. At their start, BoySetsFire played mostly hardcore bills, where the super melodic changes and soapbox lecturer of lead singer Nathan Gray often created grumbling and at points boos from crowds just looking to throw down. Nevertheless, BoySetsFire never compromised on their sound and what they are about. Since, and particularly recently, bands have used the tracks laid by BSF to launch their own sound. Hence, BSF often find themselves lead a new charge in the underground music world. After bouncing around on a number of labels (e.g., Magic Bullet, Initial, Equalvision and Victory), BSF signed with Windup a short time ago.
Their EP Live For Today, a pre-cursor to Tomorrow Come Today, was extraordinary and showed their maturity over time. This excellence has carried over to Tomorrow. Most striking between the new and old material is the infinitely better recording time and technology BSF has access to now. For instance, on the opening track "Eviction Article," a slow intro of words and slight noise leads to crisp drumming building to the song's explosion. It is beautiful to hear the best recording technology being used on a band with so much intensity and meaning, instead of just generic mainstream rock. After listening to the record many times, I honestly can't say there is a bad song among the twelve (well, actually thirteen). In fact, just the opposite; all of the songs exist on their own plane and flat-out rock. Very much on par, BSF move between melodic emo-rock (e.g., Last Year's Nest") and straight-up metallic hardcore (e.g., "Release the Dogs"), sometimes in the same song (e.g., "Dying on Principle") and other times whole songs of the ilk. Also, as has characterized BSF's past releases, they tackle meaningful topics on the record including militarism, war, spousal abuse and religious hypocrisy. Unfortunately for collectors of BSF releases, Tomorrow includes "Release the Dogs," "Bathory's Sainthood" and "Handful of Redemption," which were originally on Live For Today. In addition, "High Wire Escape Artist" was on the Daredevil soundtrack.
But by the same token, the limited edition CD version include a Live DVD of a show taped at the Trocadero in Philly on January 25th, 2003, behind-the-scenes and interview footage. The pre-show footage includes a tour of the BSF house, the equipment loading and sound check, as well as an interview on the meaning of BSF. For the show itself, you can opt for either the show in continuous form or for an explanation/commentary of each song than the live song. The quality of the show is top-notch with great audio and a plethora of camera angles. Unnaturally for most of past BSF shows, there is only limited soapboxing by Nathan Gray. The eleven songs performed at the show span from across their releases and includes "Release the Dogs," "Pure," "Handful of Redemption" and "Vehicle." The live DVD makes the purchase of the CD a great buy.
By far and away, in both song and recording quality, Tomorrow Come Today is the best BoySetsFire release to date and sets up high expectations in the future.
Tomorrow Come Today
Windup Records
Grade: A
This ultra-political emo-core band from Delaware continues on their pursuit of perfecting their craft. Started in the mid-90s, BoySetsFire (BSF) have come to distinguish themselves in the cluttered world of punk and hardcore. At their start, BoySetsFire played mostly hardcore bills, where the super melodic changes and soapbox lecturer of lead singer Nathan Gray often created grumbling and at points boos from crowds just looking to throw down. Nevertheless, BoySetsFire never compromised on their sound and what they are about. Since, and particularly recently, bands have used the tracks laid by BSF to launch their own sound. Hence, BSF often find themselves lead a new charge in the underground music world. After bouncing around on a number of labels (e.g., Magic Bullet, Initial, Equalvision and Victory), BSF signed with Windup a short time ago.
Their EP Live For Today, a pre-cursor to Tomorrow Come Today, was extraordinary and showed their maturity over time. This excellence has carried over to Tomorrow. Most striking between the new and old material is the infinitely better recording time and technology BSF has access to now. For instance, on the opening track "Eviction Article," a slow intro of words and slight noise leads to crisp drumming building to the song's explosion. It is beautiful to hear the best recording technology being used on a band with so much intensity and meaning, instead of just generic mainstream rock. After listening to the record many times, I honestly can't say there is a bad song among the twelve (well, actually thirteen). In fact, just the opposite; all of the songs exist on their own plane and flat-out rock. Very much on par, BSF move between melodic emo-rock (e.g., Last Year's Nest") and straight-up metallic hardcore (e.g., "Release the Dogs"), sometimes in the same song (e.g., "Dying on Principle") and other times whole songs of the ilk. Also, as has characterized BSF's past releases, they tackle meaningful topics on the record including militarism, war, spousal abuse and religious hypocrisy. Unfortunately for collectors of BSF releases, Tomorrow includes "Release the Dogs," "Bathory's Sainthood" and "Handful of Redemption," which were originally on Live For Today. In addition, "High Wire Escape Artist" was on the Daredevil soundtrack.
But by the same token, the limited edition CD version include a Live DVD of a show taped at the Trocadero in Philly on January 25th, 2003, behind-the-scenes and interview footage. The pre-show footage includes a tour of the BSF house, the equipment loading and sound check, as well as an interview on the meaning of BSF. For the show itself, you can opt for either the show in continuous form or for an explanation/commentary of each song than the live song. The quality of the show is top-notch with great audio and a plethora of camera angles. Unnaturally for most of past BSF shows, there is only limited soapboxing by Nathan Gray. The eleven songs performed at the show span from across their releases and includes "Release the Dogs," "Pure," "Handful of Redemption" and "Vehicle." The live DVD makes the purchase of the CD a great buy.
By far and away, in both song and recording quality, Tomorrow Come Today is the best BoySetsFire release to date and sets up high expectations in the future.
Sunday, February 15, 2009
Air/Alessandro Baricco - City Reading Tre Storie Western
Air - Alessandro Baricco
City Reading Tre Storie Western
Astralwerks
Grade: A-
In an amazingly interesting work of collaboration, Air provides the music, and well the soundtrack, to Alessandro Baricco's City. Air, as most know, are world-renowned composers of all types of sounds. If you ever saw The Virgin Suicides, you would never forget the astounding and memorable soundtrack provided by Air. Alessandro Baricco is considerably less known in the U.S., but is widely known in his native Italy. Baricco is considered by some to be Italy's greatest contemporary writer and his last several books have garnered international acclaim. One of them is City and here we have Baricco reading passages from the book over the music of Air. Originally, Air and Baricco performed the piece to an audience in Rome and quickly realized they needed to preserve the moment by going to a studio in Paris a month later. There are three central stories ("Bird," "La Puttana Di Closingtown" (The Whore of Closingtown) and "Caccia Alluomo" (Manhunt)) with a number of passages that make up each story; accounting for nineteen tracks on the record. Although a few of you may know Italian or may pick up on a few common phrases, most people are going to be lost on the actual story and just move along to the sweet music. Yet, they have provided the English translation to all of the stories for English-speaking listeners to follow along. The three stories are "told" in the book by Shatzy, a woman with a penchant for making up Westerns. Hence, all three stories have this theme to them. Without getting into all of the pieces, the highlight may be the telling of the second story with its sexually charged narrative. The music throughout varies in intensity but always maintains a smooth and calculated temper. This record is a very interesting piece of artistic coolness. I do hope that this will turn into some kind of trend, maybe with Air leading the charge.
City Reading Tre Storie Western
Astralwerks
Grade: A-
In an amazingly interesting work of collaboration, Air provides the music, and well the soundtrack, to Alessandro Baricco's City. Air, as most know, are world-renowned composers of all types of sounds. If you ever saw The Virgin Suicides, you would never forget the astounding and memorable soundtrack provided by Air. Alessandro Baricco is considerably less known in the U.S., but is widely known in his native Italy. Baricco is considered by some to be Italy's greatest contemporary writer and his last several books have garnered international acclaim. One of them is City and here we have Baricco reading passages from the book over the music of Air. Originally, Air and Baricco performed the piece to an audience in Rome and quickly realized they needed to preserve the moment by going to a studio in Paris a month later. There are three central stories ("Bird," "La Puttana Di Closingtown" (The Whore of Closingtown) and "Caccia Alluomo" (Manhunt)) with a number of passages that make up each story; accounting for nineteen tracks on the record. Although a few of you may know Italian or may pick up on a few common phrases, most people are going to be lost on the actual story and just move along to the sweet music. Yet, they have provided the English translation to all of the stories for English-speaking listeners to follow along. The three stories are "told" in the book by Shatzy, a woman with a penchant for making up Westerns. Hence, all three stories have this theme to them. Without getting into all of the pieces, the highlight may be the telling of the second story with its sexually charged narrative. The music throughout varies in intensity but always maintains a smooth and calculated temper. This record is a very interesting piece of artistic coolness. I do hope that this will turn into some kind of trend, maybe with Air leading the charge.
Friday, February 13, 2009
The Gossip - Movement
The Gossip
Movement
Kill Rock Stars
Grade: A-
Movement starts off on "Nite" with a slow bass drum leading into in a thick slow blues riff and lead signer Beth Ditto wailing "last night, last night, you came a'the house three or four times." This introduces you to one of the coolest records to be released in 2003. Paired with strip downed guitar and drums, Ditto's vocals carry the Gossip through thick and thin while capturing the listener's attention and leaving them begging for more.
Originally from Arkansas and now located in Olympia, WA, the three-piece Gossip attack the music with a strong bent towards roots rock and blues while putting the sound into a punk framework. As such, their sound is truly unique in the indie world. The songs on Movement, the Gossip's second full-length, move between slow tempo bluesy-wallowing numbers to uptempo garage-rock songs. As noted, lead singer Ditto's vocals give the Gossip their signature sound. It is almost as if she has a fire within and can only do so much to keep it in check. Her vocals are powerful variations on traditional gospel and blues cadences. Another aspect of the Gossip's sound is Nathan Howdeshell's tuned-down distorted guitar. Most of the riffs sound as if you crossed Morphine and Sonic Youth with roots and blues. Noticeably, Howdeshell's guitar serves as a brilliant accompaniment to Ditto's vocals. Rounding out the three-piece is Kathy Mendonca minimalist drum-kit and consistent beats. Though the Gossip's musical method differentiates themselves with the rest of the Riot Girl scene, they are unapologetic in their view of the world.
After the opening song "Nite," as discussed above, the songs on Movement take on a life of their own, leaving a number of memorable impressions. The second song "Jason's Basement" starts off with an uptempo Sonic Youth guitar sound before moving to the repeating lyric "I get by with the people I know, get by with the people I know." This is one of several songs on the record that quickly grabs your attention and leaves an immediate impression. After the compelling "No, No, No" and "Don't (Make Waves)," the Gossip come back with some Morphine riffs on "All My Days." As a clearer to tie to their roots music attachment, the music stops about two-thirds through and there is hand-clapping and just Ditto's singing recorded in a faint manner. This is followed by one of the best songs on the record "Yesterday's News." The song begins slow and grinding before going to a faster beat and catchy refrain of the title. Other standout tracks on the record include "Fire Sign," "Confess"…; there is no need to finish since I would just list the rest of the songs on the record. Of note, "Confess" contains a more considerable reliance on traditional punk guitar work than much of the rest of the record. "Lesson Learned" provides some telling lyrics, while "Dangerrr" is set in a more sensuous tone with lyrics like "Well honey, honey, honey, I could be so good to you baby." The album is rounded out with "Light Light Sleep," a drawn-out number (and later some experimental noise hidden song) that goes back to the roots and blues foundation of the Gossip's sound.
Movement has been launched to totally blow you away. After hearing just the first two songs, there is no denying that the Gossip are a force to be reckoned with. There is absolutely no stopping this three-piece. Once Movement is given a fair listen across the musical spectrum, the Gossip will explode and will be cited as a refreshing change to scene doldrums.
Movement
Kill Rock Stars
Grade: A-
Movement starts off on "Nite" with a slow bass drum leading into in a thick slow blues riff and lead signer Beth Ditto wailing "last night, last night, you came a'the house three or four times." This introduces you to one of the coolest records to be released in 2003. Paired with strip downed guitar and drums, Ditto's vocals carry the Gossip through thick and thin while capturing the listener's attention and leaving them begging for more.
Originally from Arkansas and now located in Olympia, WA, the three-piece Gossip attack the music with a strong bent towards roots rock and blues while putting the sound into a punk framework. As such, their sound is truly unique in the indie world. The songs on Movement, the Gossip's second full-length, move between slow tempo bluesy-wallowing numbers to uptempo garage-rock songs. As noted, lead singer Ditto's vocals give the Gossip their signature sound. It is almost as if she has a fire within and can only do so much to keep it in check. Her vocals are powerful variations on traditional gospel and blues cadences. Another aspect of the Gossip's sound is Nathan Howdeshell's tuned-down distorted guitar. Most of the riffs sound as if you crossed Morphine and Sonic Youth with roots and blues. Noticeably, Howdeshell's guitar serves as a brilliant accompaniment to Ditto's vocals. Rounding out the three-piece is Kathy Mendonca minimalist drum-kit and consistent beats. Though the Gossip's musical method differentiates themselves with the rest of the Riot Girl scene, they are unapologetic in their view of the world.
After the opening song "Nite," as discussed above, the songs on Movement take on a life of their own, leaving a number of memorable impressions. The second song "Jason's Basement" starts off with an uptempo Sonic Youth guitar sound before moving to the repeating lyric "I get by with the people I know, get by with the people I know." This is one of several songs on the record that quickly grabs your attention and leaves an immediate impression. After the compelling "No, No, No" and "Don't (Make Waves)," the Gossip come back with some Morphine riffs on "All My Days." As a clearer to tie to their roots music attachment, the music stops about two-thirds through and there is hand-clapping and just Ditto's singing recorded in a faint manner. This is followed by one of the best songs on the record "Yesterday's News." The song begins slow and grinding before going to a faster beat and catchy refrain of the title. Other standout tracks on the record include "Fire Sign," "Confess"…; there is no need to finish since I would just list the rest of the songs on the record. Of note, "Confess" contains a more considerable reliance on traditional punk guitar work than much of the rest of the record. "Lesson Learned" provides some telling lyrics, while "Dangerrr" is set in a more sensuous tone with lyrics like "Well honey, honey, honey, I could be so good to you baby." The album is rounded out with "Light Light Sleep," a drawn-out number (and later some experimental noise hidden song) that goes back to the roots and blues foundation of the Gossip's sound.
Movement has been launched to totally blow you away. After hearing just the first two songs, there is no denying that the Gossip are a force to be reckoned with. There is absolutely no stopping this three-piece. Once Movement is given a fair listen across the musical spectrum, the Gossip will explode and will be cited as a refreshing change to scene doldrums.
Thursday, February 12, 2009
Sonna - Smile and the World Smiles With You
Sonna
Smile and the World Smiles With You
Temporary Residence Ltd.
Grade: A-
The four-piece that is Sonna bring you their latest in their dazzling instrumental display. Their first full-length since the notable We Sing Loud Sing Soft Tonight, Sonna delve into more harmony and catchy focused songs that could easily pass as the best in "emo" instrumental. Again, masterful Steve Albini is on the dials which significantly adds to the feel. Hopefully the lack of vocals will not dissuade some from at least checking out this release. Comparisons to label mates Explosions in the Sky, Sigur Ros and Tristeza can be easily made, but here Sonna excels in catchiness. The record opens with "Frone Taj," one of the best instrumental numbers I've heard. The reason is that it draws you in and has a mid-tempo feel, somewhat reminiscent of Jejune and the like. The other five songs on the record continue this soothing onslaught. Other notable tracks include "Open Ended" and "And the World Smiles With You." This is good material for coming down off a Cradle of Filth or Slayer high. If it can mellow you out from that then it can mellow you out from anything. Ah, the new Buspar.
Smile and the World Smiles With You
Temporary Residence Ltd.
Grade: A-
The four-piece that is Sonna bring you their latest in their dazzling instrumental display. Their first full-length since the notable We Sing Loud Sing Soft Tonight, Sonna delve into more harmony and catchy focused songs that could easily pass as the best in "emo" instrumental. Again, masterful Steve Albini is on the dials which significantly adds to the feel. Hopefully the lack of vocals will not dissuade some from at least checking out this release. Comparisons to label mates Explosions in the Sky, Sigur Ros and Tristeza can be easily made, but here Sonna excels in catchiness. The record opens with "Frone Taj," one of the best instrumental numbers I've heard. The reason is that it draws you in and has a mid-tempo feel, somewhat reminiscent of Jejune and the like. The other five songs on the record continue this soothing onslaught. Other notable tracks include "Open Ended" and "And the World Smiles With You." This is good material for coming down off a Cradle of Filth or Slayer high. If it can mellow you out from that then it can mellow you out from anything. Ah, the new Buspar.
Wednesday, February 11, 2009
Moneen - Are We Really Happy With Who We Are Right Now?
Moneen
Are We Really Happy With Who We Are Right Now?
Vagrant Records
Grade: A-
Here is Moneen, this four-piece from north of the border, embarking on another musical journey and first offering on the ever-amazing Vagrant Records. This is Moneen's third release as a band; the first an EP called Smaller Chairs For Early 1900s and a full-length named The Theory Of Harmonial Value, both released on Smallman Records. The latter is an exceptional piece of work and set up Moneen for a rough time in trying to improve on that. Yet, two years later Moneen have done just that with Are We Really Happy…. Where Harmonial Value meandered without direction at some points, Are We takes that quality but places it in a more structured and focused construction. Moneen play their characteristic powerpunk and emo rock and "jam" on songs, with some spacing out to ten minutes as on "The Last Song I Will Ever Want to Sing," but all of it is very well thought out and massaged. While maintaining a light harmony, Moneen take emo and move it into more intense punk. This separation from more traditional emo does well to enhance Moneen's live show, so you are not just standing around blank-faced. In reality, it's hard to nail Moneen's sound down in words. Comparisons can be made to a better and more artistic Jimmy Eat World or a more emo old Hot Water Music. In addition, lead singer Kenny Bridges' vocals sound as if you plucked Chris Brenner from Digger and put him in an indie rock band. From the opening title track to the final opus mentioned above, each of the ten songs is a journey with a complete and clearly noticeable beginning, middle and end. That is one reason why the record clocks in at over fifty minutes. In general, the record's content is a bit more serious and less school boy-ish then previous releases. But it is not like moving from the Mr. T Experience to Shai Hulud or something. Though each song is its each expedition, a few may be deemed as noteworthy. Among these include the title track, "Start Angry…End Mad," "How To Live With the Thought That Sometimes Life Ends," "Life Just Too Short Little Ndugu," "Thoughts Weight Heavy…Don't Get Drowned in the Weight of it All" and "With This Song I will Destroy Myself." There is little doubt that Are We Really Happy will propel Moneen up the college radio charts and produce some sweet success.
Are We Really Happy With Who We Are Right Now?
Vagrant Records
Grade: A-
Here is Moneen, this four-piece from north of the border, embarking on another musical journey and first offering on the ever-amazing Vagrant Records. This is Moneen's third release as a band; the first an EP called Smaller Chairs For Early 1900s and a full-length named The Theory Of Harmonial Value, both released on Smallman Records. The latter is an exceptional piece of work and set up Moneen for a rough time in trying to improve on that. Yet, two years later Moneen have done just that with Are We Really Happy…. Where Harmonial Value meandered without direction at some points, Are We takes that quality but places it in a more structured and focused construction. Moneen play their characteristic powerpunk and emo rock and "jam" on songs, with some spacing out to ten minutes as on "The Last Song I Will Ever Want to Sing," but all of it is very well thought out and massaged. While maintaining a light harmony, Moneen take emo and move it into more intense punk. This separation from more traditional emo does well to enhance Moneen's live show, so you are not just standing around blank-faced. In reality, it's hard to nail Moneen's sound down in words. Comparisons can be made to a better and more artistic Jimmy Eat World or a more emo old Hot Water Music. In addition, lead singer Kenny Bridges' vocals sound as if you plucked Chris Brenner from Digger and put him in an indie rock band. From the opening title track to the final opus mentioned above, each of the ten songs is a journey with a complete and clearly noticeable beginning, middle and end. That is one reason why the record clocks in at over fifty minutes. In general, the record's content is a bit more serious and less school boy-ish then previous releases. But it is not like moving from the Mr. T Experience to Shai Hulud or something. Though each song is its each expedition, a few may be deemed as noteworthy. Among these include the title track, "Start Angry…End Mad," "How To Live With the Thought That Sometimes Life Ends," "Life Just Too Short Little Ndugu," "Thoughts Weight Heavy…Don't Get Drowned in the Weight of it All" and "With This Song I will Destroy Myself." There is little doubt that Are We Really Happy will propel Moneen up the college radio charts and produce some sweet success.
Tuesday, February 10, 2009
Dropkick Murphys - Blackout
Dropkick Murphys
Blackout
Hellcat Records
Grade: A-
The kings of Irish punk rock are back with their fourth offering. This seven-piece from Boston continue to progress and mature over the years and Blackout is another testament to that notion. Since first throwing down and chanting-along in the mid-90s, the Dropkick Murphys have placed themselves into the top-echelon of punk rock. Relying on the exceedingly cool amalgamation of instruments including bagpipes, mandolins and accordions, there is hardly a dull moment from the drop of the hat on "Walk Away." DK's song themes appeal to hard-working blue-collar workers, and it does not hurt if those happen to be Irish from Boston. A good amount of pride, intensity and spirit bleed through every iota of the record without ever sacrificing harmonies and song-writing craftsmanship. This is emphasized and intensified by the DK's insistence of chanting choruses. As with previous records, Blackout includes a traditional arrangement and, here in particular, DK set Woody Gurthie's lyrics for "Blackout" to punk music. The traditional "Black Velvet Band" is set up and nicely executed by DK. "Worker's Song," written by Ed Pickford, utilizes a well-timed bagpipe with lyrics focusing on the worker's plight in society. This is demonstrated throughout with lines such as "We're the first ones to starve, we're the first ones to die…for the worker is working when the fat cat's about." Quasi-title song "Gonna Be A Blackout Tonight" is where DK puts Gurthie's lyrics to work. In a straight-forward punk rock song, DK call up the demons of Black Flag to give Gurthie the all-star treatment. DK have a video for this song that is included in a separate DVD disk (that I will talk about later). While the song is great, the video is exceedingly boring. "World Full of Hate" is a mellow acoustic number that is potentially the best song on the record. However, the title for best song needs to be battled out with "The Dirty Glass." In back-and-forth singing between the DKs and guest vocalist Stephanie Dougherty, "The Dirty Glass" has all the elements of a classic. The song merges punk, rock, bluegrass and traditional Celtic; wow, so great. Other standout songs include "Buried Alive," "As One" with lovely bagpipes leading the way, a tribute to the Bruins with "Time To Go" and "This Is Your Life." Besides from the video for "Gonna Be A Blackout Tonight," the DVD includes two live performances of "Rocky Board To Dublin" and "Boys On the Dock" from DK's St. Patrick's 2002 performance. Both of these are teasers for a forthcoming DK DVD that contains tons of stuff. The trailer utilizes the aforementioned "World Full of Hate" and really brings out the chills when you watch it. Blackout offers so much to the listener and viewer that it would be crime not get this release.
Blackout
Hellcat Records
Grade: A-
The kings of Irish punk rock are back with their fourth offering. This seven-piece from Boston continue to progress and mature over the years and Blackout is another testament to that notion. Since first throwing down and chanting-along in the mid-90s, the Dropkick Murphys have placed themselves into the top-echelon of punk rock. Relying on the exceedingly cool amalgamation of instruments including bagpipes, mandolins and accordions, there is hardly a dull moment from the drop of the hat on "Walk Away." DK's song themes appeal to hard-working blue-collar workers, and it does not hurt if those happen to be Irish from Boston. A good amount of pride, intensity and spirit bleed through every iota of the record without ever sacrificing harmonies and song-writing craftsmanship. This is emphasized and intensified by the DK's insistence of chanting choruses. As with previous records, Blackout includes a traditional arrangement and, here in particular, DK set Woody Gurthie's lyrics for "Blackout" to punk music. The traditional "Black Velvet Band" is set up and nicely executed by DK. "Worker's Song," written by Ed Pickford, utilizes a well-timed bagpipe with lyrics focusing on the worker's plight in society. This is demonstrated throughout with lines such as "We're the first ones to starve, we're the first ones to die…for the worker is working when the fat cat's about." Quasi-title song "Gonna Be A Blackout Tonight" is where DK puts Gurthie's lyrics to work. In a straight-forward punk rock song, DK call up the demons of Black Flag to give Gurthie the all-star treatment. DK have a video for this song that is included in a separate DVD disk (that I will talk about later). While the song is great, the video is exceedingly boring. "World Full of Hate" is a mellow acoustic number that is potentially the best song on the record. However, the title for best song needs to be battled out with "The Dirty Glass." In back-and-forth singing between the DKs and guest vocalist Stephanie Dougherty, "The Dirty Glass" has all the elements of a classic. The song merges punk, rock, bluegrass and traditional Celtic; wow, so great. Other standout songs include "Buried Alive," "As One" with lovely bagpipes leading the way, a tribute to the Bruins with "Time To Go" and "This Is Your Life." Besides from the video for "Gonna Be A Blackout Tonight," the DVD includes two live performances of "Rocky Board To Dublin" and "Boys On the Dock" from DK's St. Patrick's 2002 performance. Both of these are teasers for a forthcoming DK DVD that contains tons of stuff. The trailer utilizes the aforementioned "World Full of Hate" and really brings out the chills when you watch it. Blackout offers so much to the listener and viewer that it would be crime not get this release.
Friday, February 6, 2009
Cex - Being Ridden
Cex
Being Ridden
Temporary Residence Ltd.
Grade: A-
Rjyan Kidwell (aka, Cex) is back on his fifth release to unleash more geeky white rap mixed with an amazing sense of harmonies, folk roots and indie rock. Kidwell released his first album "Role Model" in 2000 while a freshman at Johns Hopkins for Kid606's label Tigerbeat6. Over time, Kidwell has redefined and sharpened his craft, thus producing one of the coolest records of 2003 with Being Ridden. Though the construction of Cex is centered on electronic hip-hop, it is better characterized and completed through a plethora of musical styles. Some songs are straight up hip-hop, others employ piano, others acoustic guitars. Hence, each song is different from the previous or next and thus each is a memorable experience. Though as a pure rap lyricist Cex may be slightly below par of the top players in the genre, for pure ingenuity he ranks among the very best. Some songs you would characterize as "silly," others may be noted for satirical wit. With guests on the record including Craig Wedren and Venetian Snares, Kidwell often prefers to provide his own backing vocals, which fits the music concept perfectly. Among the hip-hop orientated tracks includes "The Wayback Machine" which is a nice introduction to Cex and contains a great mid-song onslaught of electronic thrash. "Earth-Shaking Event" is a very funny number that delivers hits against pop and rap music as well as shots at Kidwell himself. "Not Working" is a song about Kidwell as the artist of Cex and all the potential bad things that accompany such a personality and lifestyle. "Stamina" kicks off with the unforgettable line of "I'm driving a hearse full of bikini-clad girls" and then goes on to dazzle. "Cex At Arm's Length" is essentially an emo song with a well-laid electronic beat underneath. This song easily cross-pollinates so many genres that it transcends inherent musical biases. The acoustic instrumental on "See Ya Never, Sike" and "Nevermind" adds to this mystic. Being Ridden is such a spellbinding release you would do well to pick up this magic.
Being Ridden
Temporary Residence Ltd.
Grade: A-
Rjyan Kidwell (aka, Cex) is back on his fifth release to unleash more geeky white rap mixed with an amazing sense of harmonies, folk roots and indie rock. Kidwell released his first album "Role Model" in 2000 while a freshman at Johns Hopkins for Kid606's label Tigerbeat6. Over time, Kidwell has redefined and sharpened his craft, thus producing one of the coolest records of 2003 with Being Ridden. Though the construction of Cex is centered on electronic hip-hop, it is better characterized and completed through a plethora of musical styles. Some songs are straight up hip-hop, others employ piano, others acoustic guitars. Hence, each song is different from the previous or next and thus each is a memorable experience. Though as a pure rap lyricist Cex may be slightly below par of the top players in the genre, for pure ingenuity he ranks among the very best. Some songs you would characterize as "silly," others may be noted for satirical wit. With guests on the record including Craig Wedren and Venetian Snares, Kidwell often prefers to provide his own backing vocals, which fits the music concept perfectly. Among the hip-hop orientated tracks includes "The Wayback Machine" which is a nice introduction to Cex and contains a great mid-song onslaught of electronic thrash. "Earth-Shaking Event" is a very funny number that delivers hits against pop and rap music as well as shots at Kidwell himself. "Not Working" is a song about Kidwell as the artist of Cex and all the potential bad things that accompany such a personality and lifestyle. "Stamina" kicks off with the unforgettable line of "I'm driving a hearse full of bikini-clad girls" and then goes on to dazzle. "Cex At Arm's Length" is essentially an emo song with a well-laid electronic beat underneath. This song easily cross-pollinates so many genres that it transcends inherent musical biases. The acoustic instrumental on "See Ya Never, Sike" and "Nevermind" adds to this mystic. Being Ridden is such a spellbinding release you would do well to pick up this magic.
Thursday, February 5, 2009
Armor for Sleep - Dream to Make Believe
Armor For Sleep
Dream to Make Believe
Equalvision Records
Grade: A-
This record has the official "Berry Seal of Approval." Who is Berry you ask? Berry is my dog and she decided that Armor For Sleep was so delicious that she ate their press release, sticker, envelope and probably the CD if I didn't come home when I did. This is the only time she has ever done that, so I had to get a listen of Dream to Make Believe, so that I could believe what Berry believed. Armor for Sleep are a four-piece from New Jersey. They are led, in part, by singer and guitarist Ben Jorgensen (no relation to Ministry I assume) who initially constructed and conceptionalized AFS. Jorgensen, joined by slight backing vocals at times, has a focused and tight singing style that flows seamlessly with the music. And such, AFS have a very close union of vocal cadence and music; an objective often reached for but rarely achieved. The eleven tracks, well really ten because the opening is filler, are soft and pleasing to the ears. AFS do not take any risks in their sound, but the level of familiar movements are quite first-rate and could be appreciate by scores of listeners. The first half of the record is upbeat and mid-tempo, while the second slows down. I think that AFS does much better with the mid and up-tempo material. Among the standout tracks are "My Town," "Dream To Make Believe," "Being Your Walls" and "All Warm." "The Wanderers Guild" is noticeable for a chorus that sounds just too familiar. It is haunting me and I am not sure that if I've heard it before on something or whether it just is the same construction as another song. Armor for Sleep have toured with a number of bands leading the new wave of rock including Thursday, Taking Back Sunday and Piebald. Look for them to do more of the same in the near future. We shall see what becomes of Armor for Sleep and whether Berry was correct in her prediction. I may start taking mailings and leaving them in a room with her and she which ones she decided to destroy.
Dream to Make Believe
Equalvision Records
Grade: A-
This record has the official "Berry Seal of Approval." Who is Berry you ask? Berry is my dog and she decided that Armor For Sleep was so delicious that she ate their press release, sticker, envelope and probably the CD if I didn't come home when I did. This is the only time she has ever done that, so I had to get a listen of Dream to Make Believe, so that I could believe what Berry believed. Armor for Sleep are a four-piece from New Jersey. They are led, in part, by singer and guitarist Ben Jorgensen (no relation to Ministry I assume) who initially constructed and conceptionalized AFS. Jorgensen, joined by slight backing vocals at times, has a focused and tight singing style that flows seamlessly with the music. And such, AFS have a very close union of vocal cadence and music; an objective often reached for but rarely achieved. The eleven tracks, well really ten because the opening is filler, are soft and pleasing to the ears. AFS do not take any risks in their sound, but the level of familiar movements are quite first-rate and could be appreciate by scores of listeners. The first half of the record is upbeat and mid-tempo, while the second slows down. I think that AFS does much better with the mid and up-tempo material. Among the standout tracks are "My Town," "Dream To Make Believe," "Being Your Walls" and "All Warm." "The Wanderers Guild" is noticeable for a chorus that sounds just too familiar. It is haunting me and I am not sure that if I've heard it before on something or whether it just is the same construction as another song. Armor for Sleep have toured with a number of bands leading the new wave of rock including Thursday, Taking Back Sunday and Piebald. Look for them to do more of the same in the near future. We shall see what becomes of Armor for Sleep and whether Berry was correct in her prediction. I may start taking mailings and leaving them in a room with her and she which ones she decided to destroy.
Wednesday, February 4, 2009
Yeah, Yeah, Yeahs - Fever To Hell
Yeah, Yeah, Yeahs
Fever To Hell
Interscope Records
Grade: A-
What can be said about the Yeah, Yeah, Yeahs. Probably every adjective, verb and superlative in the English language has been used in some manner to describe their sound and lead singer Karen O's stage prowess. The articles that have been written in Rolling Stone to Spin and everywhere in between could fill a ten-volume set. Nonetheless, we take a shot at describing the latest release by the hottest rock band in the world.
For those who have living under a musical rock, the unfolding of the YYY has proceeded as follows. About three years ago, former NYU film student Karen O (Orzolek from NJ) ran into guitarist Nick Zinner at a NYC club. They first formed this odd acoustic folk amalgamation called Unitard before switching to an electrified punk version of their former selves. To make that transition they need to locate a drummer. Karen O contacted a former Oberlin classmate named Brian Chase. Though Chase fits into the band, stylistically he is clearly set apart by his mild-mannered, "normal" appearance. This is contrasted with Karen O wearing wild punk outfits of yesteryear designed by Christian Joy and the ultra-skinny and dark appearance, along with wild hair, of Zinner.
YYY got their first show before really actually forming, opening for some bums named the White Stripes. Their live show quickly started to get the buzz throughout NYC and soon the rest of the country. This is mostly due to the YYY's focus and attention in making their set as entertaining and electrifying as possible. Most specifically with the antics and vocals of Karen O. Most have characterized her as being over-sexed and sexual-charged with a bit of drunken wildness. With their two previous EPs and the every growing number of people coming out to experience the YYY, record labels began lining up at the door. Not just big independent labels, but major labels. As a bidding war began to form around signing YYY to a mega-contract, YYY fought for space and set out to record a record before they had any deal signed. They wanted to capture their electrifying live show into a recording, an endeavor that is often very difficult to achieve. To accomplish this they tried to keep as close to the conditions of a live show as possible, with Karen O in states of drunkedness. Towards the end of this, YYY finally decided to sign with Interscope.
From this journey spawns their first full-length Fever To Tell. The record kicks off with some sythesizers on "Rich" before Karen O comes in with pseudo-bragging lyrics and the rock comes popping through the speakers. From then on Karen O's shrieking and wailing help characterize the rest of the songs. The minimalist drummer of Chase and guitar playing of Zinner accompanies O. Across all the eleven songs most have some theme or reference to sexuality, though this is not to say there is actually a porno aspect here. The stellar "Date With the Night," that is a non-stop party of fun and beats, follows the opening number. "Man" starts off the lyrics "I got a man who makes me want to kill,…" showering the listener with images of dark night lustiness. "Tick" comes with some actual "ticking" by the ever amorphous O. One of the best tracks on the record is "Black Tongue," starting with O's short shrieks. As the song progresses, O calls out repetitively "boy you just a stupid bitch and girl your just a no good dick." This line will stay with the listener long after the actual song is over. "Pin" begins with short quick guitar playing before blasting into the full-throttle chorus. "Cold Night" is good track that tells the listener exactly what is about to go down with the opening line "cold light, hot night/be my heater, be my lover/and we can do it to each other." The music comes off this standard spastic punk sound of YYY with the closing tracks of "Maps," "Y control" and "Modern Romance." All three are way down-tempo compared to the rest of the record, particularly "Modern Romance." O croons on "Maps" "wait, they don't love you like I love you;" possibly a reference to her boyfriend in the Liars from NYC and the swell of fans on the road. "Y control" has more of a 80s guitar-driven new wave feel. It contains a very distinctive sound that easily gets you on your feet and your heart pumping. Either songs could find some serious commercial audiences. The finale is "Modern Romance" where O is barely audible accompanied by some very light and deliberate drums and guitar. This is a good closure and a nice way to demonstrate the versatility and ability of YYY.
Now that all that needs to be said has been said, you need to get into some of this action. Fever To Hell will make you smile again about the state of underground rock and what the future may hold. If the Yeah, Yeah, Yeahs comes through your town check them out immediately. They are not overly fond of touring and it may be awhile until you can see them again.
Fever To Hell
Interscope Records
Grade: A-
What can be said about the Yeah, Yeah, Yeahs. Probably every adjective, verb and superlative in the English language has been used in some manner to describe their sound and lead singer Karen O's stage prowess. The articles that have been written in Rolling Stone to Spin and everywhere in between could fill a ten-volume set. Nonetheless, we take a shot at describing the latest release by the hottest rock band in the world.
For those who have living under a musical rock, the unfolding of the YYY has proceeded as follows. About three years ago, former NYU film student Karen O (Orzolek from NJ) ran into guitarist Nick Zinner at a NYC club. They first formed this odd acoustic folk amalgamation called Unitard before switching to an electrified punk version of their former selves. To make that transition they need to locate a drummer. Karen O contacted a former Oberlin classmate named Brian Chase. Though Chase fits into the band, stylistically he is clearly set apart by his mild-mannered, "normal" appearance. This is contrasted with Karen O wearing wild punk outfits of yesteryear designed by Christian Joy and the ultra-skinny and dark appearance, along with wild hair, of Zinner.
YYY got their first show before really actually forming, opening for some bums named the White Stripes. Their live show quickly started to get the buzz throughout NYC and soon the rest of the country. This is mostly due to the YYY's focus and attention in making their set as entertaining and electrifying as possible. Most specifically with the antics and vocals of Karen O. Most have characterized her as being over-sexed and sexual-charged with a bit of drunken wildness. With their two previous EPs and the every growing number of people coming out to experience the YYY, record labels began lining up at the door. Not just big independent labels, but major labels. As a bidding war began to form around signing YYY to a mega-contract, YYY fought for space and set out to record a record before they had any deal signed. They wanted to capture their electrifying live show into a recording, an endeavor that is often very difficult to achieve. To accomplish this they tried to keep as close to the conditions of a live show as possible, with Karen O in states of drunkedness. Towards the end of this, YYY finally decided to sign with Interscope.
From this journey spawns their first full-length Fever To Tell. The record kicks off with some sythesizers on "Rich" before Karen O comes in with pseudo-bragging lyrics and the rock comes popping through the speakers. From then on Karen O's shrieking and wailing help characterize the rest of the songs. The minimalist drummer of Chase and guitar playing of Zinner accompanies O. Across all the eleven songs most have some theme or reference to sexuality, though this is not to say there is actually a porno aspect here. The stellar "Date With the Night," that is a non-stop party of fun and beats, follows the opening number. "Man" starts off the lyrics "I got a man who makes me want to kill,…" showering the listener with images of dark night lustiness. "Tick" comes with some actual "ticking" by the ever amorphous O. One of the best tracks on the record is "Black Tongue," starting with O's short shrieks. As the song progresses, O calls out repetitively "boy you just a stupid bitch and girl your just a no good dick." This line will stay with the listener long after the actual song is over. "Pin" begins with short quick guitar playing before blasting into the full-throttle chorus. "Cold Night" is good track that tells the listener exactly what is about to go down with the opening line "cold light, hot night/be my heater, be my lover/and we can do it to each other." The music comes off this standard spastic punk sound of YYY with the closing tracks of "Maps," "Y control" and "Modern Romance." All three are way down-tempo compared to the rest of the record, particularly "Modern Romance." O croons on "Maps" "wait, they don't love you like I love you;" possibly a reference to her boyfriend in the Liars from NYC and the swell of fans on the road. "Y control" has more of a 80s guitar-driven new wave feel. It contains a very distinctive sound that easily gets you on your feet and your heart pumping. Either songs could find some serious commercial audiences. The finale is "Modern Romance" where O is barely audible accompanied by some very light and deliberate drums and guitar. This is a good closure and a nice way to demonstrate the versatility and ability of YYY.
Now that all that needs to be said has been said, you need to get into some of this action. Fever To Hell will make you smile again about the state of underground rock and what the future may hold. If the Yeah, Yeah, Yeahs comes through your town check them out immediately. They are not overly fond of touring and it may be awhile until you can see them again.
Tuesday, February 3, 2009
Statistics - s/t EP
Statistics
s/t EP
Jade Tree Records
Grade: A-
Since Omaha doesn't have enough amazing bands - as well as totally reconceptualizing music as we know it - Denver Dalley throws his hit into the rink with this debut five-song EP. Dalley is better known for his role in the Saddle Creek collective of Desaparecidos and their out-of-nowhere critical recognition. Potentially spending time with the magnificent new-wave revivers the Faint helped lead Dalley down his own road of electronic rock-pop. Among the five songs, Dalley utilizes a variety of instruments though most important in the amalgamation is the synths and the drumming of Mike Sweeney from Bright Eyes. The best songs on the EP are the ones where Dalley provides traditional vocal structure - in this case, two songs "Another Day" and "Hours Seemed Like Days." The other three songs are good on their own right, but seem more for Dalley's own electronic pleasures. A full-length is coming in the winter from Jade Tree and if it is like the two songs mentioned above it will be a stellar affair.
s/t EP
Jade Tree Records
Grade: A-
Since Omaha doesn't have enough amazing bands - as well as totally reconceptualizing music as we know it - Denver Dalley throws his hit into the rink with this debut five-song EP. Dalley is better known for his role in the Saddle Creek collective of Desaparecidos and their out-of-nowhere critical recognition. Potentially spending time with the magnificent new-wave revivers the Faint helped lead Dalley down his own road of electronic rock-pop. Among the five songs, Dalley utilizes a variety of instruments though most important in the amalgamation is the synths and the drumming of Mike Sweeney from Bright Eyes. The best songs on the EP are the ones where Dalley provides traditional vocal structure - in this case, two songs "Another Day" and "Hours Seemed Like Days." The other three songs are good on their own right, but seem more for Dalley's own electronic pleasures. A full-length is coming in the winter from Jade Tree and if it is like the two songs mentioned above it will be a stellar affair.
Monday, February 2, 2009
Criteria - En Garde
Criteria
En Garde
Initial Records
Grade: A-/A
Trying to keep Stephen Pedersen away from writing music and playing in a band is like keeping a crackhead from smoking the rock. Pedersen works real hard at trying to be a lawyer, but is always drawn back to the power of music.
As many know, Pedersen was originally in Cursive - before the introduction of Gretta Cohn on cello - yet still amazing and performed powerfully within the setup. He then left to go to Duke law school and given the indie rock center of Chapel Hill, Pedersen was quickly drawn back into the fold with the White Octave. Though with the knowledge of what the deal was with the Octave, the first time that I saw them was possibly one of the best shows ever when Sorry About Dresden and the Octave opened for the Faint. At that point, the Octave were on the cusp of releasing the well-received Menergy on Initial; their second album after Style #6312 on Deep Elm, an album that contained some remarkable songs. As the Octave were quickly ascending in the music world, Pedersen, done with school, headed back home to Omaha to partially engage in being a lawyer. Yet, once there, and with the abundance of startling music coming out of Omaha, Pedersen soon dipped his hands back into to the pot with a new batch of songs and hence Criteria was born.
Utilizing the arsenal of Omaha musicians to record En Garde, including drummer Mike Sweeney (Bright Eyes), some keys by Ian McElroy (Desaparecidos) and bass by A.J. Mogis (Lullaby For The Working Class), Pedersen picks up where the White Octave left off. Most of the ten songs have a familiar feel of being centered on guitar and strong bass riffs and Pedersen's unique vocal stylings. The vocals typically are a bit distant and very slightly distorted like he is standing back from the mic. This is seen most evidently on the opening "The Coincidence," where a light opening moves to Pedersen's vocals, drums and bass carrying the song before moving to Pedersen coming back half way through with guitar. This type of song construction is present across the rest of the songs, though often lead by a single guitar's musings (or doubled), and is a defining characteristic. In addition, Pedersen adds anguished gut-wrenching intensity through the varying sections of most of the songs. As with Menergy, there is a high degree of consistency between the songs, making it hard to pick and choose among the songs and, thus, forcing the listener to just go with the flow across the record. Though one interesting note is the apparent partial theme throughout "It Happens" of going back to Omaha and now working in the explosive scene of Omaha. Also, as with a final track on Menergy, Pedersen adds a touch of British accented-vocals, as well as some electronics, on Rescue Rescue. Basically, one could spend several thousand more words dedicated to dissecting the songs on En Garde.
Though Pedersen used a collective of musicians to record the album, he has enlisted most of their help - with the inclusion of Aaron Druery on guitar and without Ian McElroy - to take Criteria on the road. Given the shows with the White Octave, one should not miss out on the astounding stage presence and intensity that Pedersen conjures up each night. Now with an album cover not unlike a Calvin Klein ad, hopefully Criteria will have some lasting power.
En Garde
Initial Records
Grade: A-/A
Trying to keep Stephen Pedersen away from writing music and playing in a band is like keeping a crackhead from smoking the rock. Pedersen works real hard at trying to be a lawyer, but is always drawn back to the power of music.
As many know, Pedersen was originally in Cursive - before the introduction of Gretta Cohn on cello - yet still amazing and performed powerfully within the setup. He then left to go to Duke law school and given the indie rock center of Chapel Hill, Pedersen was quickly drawn back into the fold with the White Octave. Though with the knowledge of what the deal was with the Octave, the first time that I saw them was possibly one of the best shows ever when Sorry About Dresden and the Octave opened for the Faint. At that point, the Octave were on the cusp of releasing the well-received Menergy on Initial; their second album after Style #6312 on Deep Elm, an album that contained some remarkable songs. As the Octave were quickly ascending in the music world, Pedersen, done with school, headed back home to Omaha to partially engage in being a lawyer. Yet, once there, and with the abundance of startling music coming out of Omaha, Pedersen soon dipped his hands back into to the pot with a new batch of songs and hence Criteria was born.
Utilizing the arsenal of Omaha musicians to record En Garde, including drummer Mike Sweeney (Bright Eyes), some keys by Ian McElroy (Desaparecidos) and bass by A.J. Mogis (Lullaby For The Working Class), Pedersen picks up where the White Octave left off. Most of the ten songs have a familiar feel of being centered on guitar and strong bass riffs and Pedersen's unique vocal stylings. The vocals typically are a bit distant and very slightly distorted like he is standing back from the mic. This is seen most evidently on the opening "The Coincidence," where a light opening moves to Pedersen's vocals, drums and bass carrying the song before moving to Pedersen coming back half way through with guitar. This type of song construction is present across the rest of the songs, though often lead by a single guitar's musings (or doubled), and is a defining characteristic. In addition, Pedersen adds anguished gut-wrenching intensity through the varying sections of most of the songs. As with Menergy, there is a high degree of consistency between the songs, making it hard to pick and choose among the songs and, thus, forcing the listener to just go with the flow across the record. Though one interesting note is the apparent partial theme throughout "It Happens" of going back to Omaha and now working in the explosive scene of Omaha. Also, as with a final track on Menergy, Pedersen adds a touch of British accented-vocals, as well as some electronics, on Rescue Rescue. Basically, one could spend several thousand more words dedicated to dissecting the songs on En Garde.
Though Pedersen used a collective of musicians to record the album, he has enlisted most of their help - with the inclusion of Aaron Druery on guitar and without Ian McElroy - to take Criteria on the road. Given the shows with the White Octave, one should not miss out on the astounding stage presence and intensity that Pedersen conjures up each night. Now with an album cover not unlike a Calvin Klein ad, hopefully Criteria will have some lasting power.
Friday, January 30, 2009
Helicopter Helicopter - Wild Dogs with X-Ray Eyes
Helicopter Helicopter
Wild Dogs with X-Ray Eyes
Initial Records
Grade: A-/A
There are not enough words in the English language to give due praise for Helicopter Helicopter on Wild Dogs with X-Ray Eyes. Or maybe, more significantly, there are not enough quality words in the description of a sound that is just so right, so good, that it is hard to define. The ancients like Plato and Aristotle had a similar problem (see the Timaeus) and they would have likely failed here (after they understood how sound was coming out of these black boxes). Yet, I will try to muster something with explanatory and descriptive power.
Before the superlatives, here is the run down on H2. The four-piece come from Boston where they have reigned supreme for about five years. After several releases on upstart Boston label Lunch records, Initial managed to score them for this record; much in the same way with the beginning of BoySetsFire on Initial. While the song construction is good on its own right, H2 weave sweet melodious indie rock with some hard rocking elements. However, the true juiciness comes with the multi-layered singing of both Chris Zerby and Julie Chadwick. Oh, God, how excellent. It's like taking Park Ave. and giving them some serious rock abilities. Just writing this short characterization gives me chills. Onto the dogs.
Wild Dogs with X-Ray Eyes starts with "Helicopter Fight Song," which serves as a good introduction for what's to come. That is, light poppy and catchy rock verses moving to cascading and building instruments and vocals on the chorus. True to form, H2 possess some of the best bridges and breakdowns in the business. The opening is followed up with the Tom Petty-laden (circa 1990) "Harsh Light." Again, delightful verses moving to a memorable and melodious chorus. "Talented Socialites" comes in with swirling guitars and poppy vocals by Zerby, soon enough joined by Chadwick. Yet, the magic of the song comes at the end with the refrain "you are talented socialites." After the quietly compelling "The Devil," H2 pick things up again on "1234." "1234" has the ability to bring tears to your eyes and chills to your spine when played at a high volume, so be warned. Lead by an uptempo Chadwick, "1234" has everything you want in a song, including a bass solo breakdown. Though a comparatively short number, it packs quite a punch. "Like Detroit" comes at you as a creeping nightcrawler of guitars, vocals and drums. The catchy "The Misfit" only wets your mouth for the catchier "Talk the Flyer Down." Before the finale, "Time Machine" grabs your ear and illustrates H2's consistency. Like on the many of the other tracks, "Time Machine" includes a dazzling breakdown before for the climax. The record's finale is "Waves Roll Into Boston." Coming in like an electric guitar wave, the song builds slowly with a single guitar matched by a fluttering guitar then some drums and bass. As the song builds, the tension builds and finally explodes into an inspiring chorus that you are not likely to easily forget. When the song and the album ends and has you dreaming of more, you realize you have just witnessed one of the best records of the year if not of the decade!
In my meager attempt to demonstrate the brilliance of this record, I hope I've at least developed a festering interest. Surely, if Wild Dogs with X-Ray Eyes does not go platinum in the first week is should be deemed a crime against all that is good and right in the world. Don't be a fool (cause I pity the fool) and miss out on experiencing this sensation and catching Helicopter Helicopter live.
Wild Dogs with X-Ray Eyes
Initial Records
Grade: A-/A
There are not enough words in the English language to give due praise for Helicopter Helicopter on Wild Dogs with X-Ray Eyes. Or maybe, more significantly, there are not enough quality words in the description of a sound that is just so right, so good, that it is hard to define. The ancients like Plato and Aristotle had a similar problem (see the Timaeus) and they would have likely failed here (after they understood how sound was coming out of these black boxes). Yet, I will try to muster something with explanatory and descriptive power.
Before the superlatives, here is the run down on H2. The four-piece come from Boston where they have reigned supreme for about five years. After several releases on upstart Boston label Lunch records, Initial managed to score them for this record; much in the same way with the beginning of BoySetsFire on Initial. While the song construction is good on its own right, H2 weave sweet melodious indie rock with some hard rocking elements. However, the true juiciness comes with the multi-layered singing of both Chris Zerby and Julie Chadwick. Oh, God, how excellent. It's like taking Park Ave. and giving them some serious rock abilities. Just writing this short characterization gives me chills. Onto the dogs.
Wild Dogs with X-Ray Eyes starts with "Helicopter Fight Song," which serves as a good introduction for what's to come. That is, light poppy and catchy rock verses moving to cascading and building instruments and vocals on the chorus. True to form, H2 possess some of the best bridges and breakdowns in the business. The opening is followed up with the Tom Petty-laden (circa 1990) "Harsh Light." Again, delightful verses moving to a memorable and melodious chorus. "Talented Socialites" comes in with swirling guitars and poppy vocals by Zerby, soon enough joined by Chadwick. Yet, the magic of the song comes at the end with the refrain "you are talented socialites." After the quietly compelling "The Devil," H2 pick things up again on "1234." "1234" has the ability to bring tears to your eyes and chills to your spine when played at a high volume, so be warned. Lead by an uptempo Chadwick, "1234" has everything you want in a song, including a bass solo breakdown. Though a comparatively short number, it packs quite a punch. "Like Detroit" comes at you as a creeping nightcrawler of guitars, vocals and drums. The catchy "The Misfit" only wets your mouth for the catchier "Talk the Flyer Down." Before the finale, "Time Machine" grabs your ear and illustrates H2's consistency. Like on the many of the other tracks, "Time Machine" includes a dazzling breakdown before for the climax. The record's finale is "Waves Roll Into Boston." Coming in like an electric guitar wave, the song builds slowly with a single guitar matched by a fluttering guitar then some drums and bass. As the song builds, the tension builds and finally explodes into an inspiring chorus that you are not likely to easily forget. When the song and the album ends and has you dreaming of more, you realize you have just witnessed one of the best records of the year if not of the decade!
In my meager attempt to demonstrate the brilliance of this record, I hope I've at least developed a festering interest. Surely, if Wild Dogs with X-Ray Eyes does not go platinum in the first week is should be deemed a crime against all that is good and right in the world. Don't be a fool (cause I pity the fool) and miss out on experiencing this sensation and catching Helicopter Helicopter live.
Thursday, January 29, 2009
Roy - Tacomatose
Roy
Tacomatose
Initial Records
Grade: A-
As their first release on Initial, Roy serves a secret alterna-life for its members. Specifically, the four-piece from Tacoma, WA, hail from Botch, These Arms Are Snakes and Harkonen. On this five-song EP, Roy sets out to dominate the indie world with lanky and swirling song structures and, more noticeably, guitars. Roy's influences spread far and wide though they limit the range of variance in their own songs. For instance, on the best song on the EP "The Bolivian Army Lays Siege to Seattle," the echoes of the Pixies fly far and near - that helps bring it to the top. The poppiness to the song underlies the stop the coke snortin' in the NW message. Probably one of the best-named songs seen around in several months of releases is the opening track "T Town Concrete." I assume it's a play on E-Town Concrete, everyone's favorite hoodcore band from Elizabethtown, NJ, which makes it all the more funny given it's coming from an indie band. "We Didn't Evolve" pursues the acoustic mellow track to rock, while "Tell It True" is considerably poppy and has an element of Beach Boys' harmonies squeezing out. The EP concludes with "Lightweights Exclusively" - another mellow song with a slow Promise Ring harmony. Roy possesses so much talent that hopefully they will devote more time to their indie pursuits from their hardcore day jobs.
Tacomatose
Initial Records
Grade: A-
As their first release on Initial, Roy serves a secret alterna-life for its members. Specifically, the four-piece from Tacoma, WA, hail from Botch, These Arms Are Snakes and Harkonen. On this five-song EP, Roy sets out to dominate the indie world with lanky and swirling song structures and, more noticeably, guitars. Roy's influences spread far and wide though they limit the range of variance in their own songs. For instance, on the best song on the EP "The Bolivian Army Lays Siege to Seattle," the echoes of the Pixies fly far and near - that helps bring it to the top. The poppiness to the song underlies the stop the coke snortin' in the NW message. Probably one of the best-named songs seen around in several months of releases is the opening track "T Town Concrete." I assume it's a play on E-Town Concrete, everyone's favorite hoodcore band from Elizabethtown, NJ, which makes it all the more funny given it's coming from an indie band. "We Didn't Evolve" pursues the acoustic mellow track to rock, while "Tell It True" is considerably poppy and has an element of Beach Boys' harmonies squeezing out. The EP concludes with "Lightweights Exclusively" - another mellow song with a slow Promise Ring harmony. Roy possesses so much talent that hopefully they will devote more time to their indie pursuits from their hardcore day jobs.
Wednesday, January 28, 2009
Divide By Zero - Mirrors
Divide By Zero
Mirrors
Sinister Label
Grade: A-
This is the first EP for this punk band from Chicago. However, the core of the band comes from the fall of Chicago's Logan's Loss, so it is just another release in a long history of outings. While concentrating on the basics of punk, Divide By Zero have a bit of love that is hastingly being called "screamo" by such stalwarts as the New York Times. And, hence, Divide By Zero wouldn't be out of place with such bands as Taking Back Sunday, Thursday and Glassjaw. The four-piece is really carried by the vocal range and honesty of lead singer T.J. Milici. Part of this comes from the wisely used procedure of dropping music in the middle of songs to allow just vocals to shine before the music comes in full-tilt. Hot Water Music are the kings of this process and Divide By Zero are trying to capture some of the magic from early HWM records. This description is sweetly demonstrated on the best track of the EP "One More Reason." This track should get picked up college stations looking to add quality to their rotation. Other noteworthy songs amongst the five include "Was It Worth It" and "Drive These Roads." Given this debut I would be surprised if you don't hear a lot about Divide By Zero by this time next year.
Mirrors
Sinister Label
Grade: A-
This is the first EP for this punk band from Chicago. However, the core of the band comes from the fall of Chicago's Logan's Loss, so it is just another release in a long history of outings. While concentrating on the basics of punk, Divide By Zero have a bit of love that is hastingly being called "screamo" by such stalwarts as the New York Times. And, hence, Divide By Zero wouldn't be out of place with such bands as Taking Back Sunday, Thursday and Glassjaw. The four-piece is really carried by the vocal range and honesty of lead singer T.J. Milici. Part of this comes from the wisely used procedure of dropping music in the middle of songs to allow just vocals to shine before the music comes in full-tilt. Hot Water Music are the kings of this process and Divide By Zero are trying to capture some of the magic from early HWM records. This description is sweetly demonstrated on the best track of the EP "One More Reason." This track should get picked up college stations looking to add quality to their rotation. Other noteworthy songs amongst the five include "Was It Worth It" and "Drive These Roads." Given this debut I would be surprised if you don't hear a lot about Divide By Zero by this time next year.
Tuesday, January 27, 2009
Vessels - White Fields and Open Devices
Vessels
White Fields and Open Devices
Cuckundoo Records
Grade: A-
Vessels are probably the best (mostly) instrumental rock band that you’ve never heard of. Using vast soundscapes that are dominated by rapidly playing guitars, Vessels offer an intense rock take on atmospheric rock you find from Sigur Ros or Mono. This serves the five-piece from Leeds exceptional well as brilliantly illustrated on the multi-sectioned “A Hundred Times in Every Direction.” Recorded by the deft hands of John Congleton (Explosions in the Sky producer), the ten songs on White Fields and Open Devices offer a plethora of sounds for every instrumental rock fan. Vessels may have benefited from more atmospheric elements and less speed metal drilling, but at present they do offer an alternative to what is expected. Vessels are a band to keep on the tip of your brain.
White Fields and Open Devices
Cuckundoo Records
Grade: A-
Vessels are probably the best (mostly) instrumental rock band that you’ve never heard of. Using vast soundscapes that are dominated by rapidly playing guitars, Vessels offer an intense rock take on atmospheric rock you find from Sigur Ros or Mono. This serves the five-piece from Leeds exceptional well as brilliantly illustrated on the multi-sectioned “A Hundred Times in Every Direction.” Recorded by the deft hands of John Congleton (Explosions in the Sky producer), the ten songs on White Fields and Open Devices offer a plethora of sounds for every instrumental rock fan. Vessels may have benefited from more atmospheric elements and less speed metal drilling, but at present they do offer an alternative to what is expected. Vessels are a band to keep on the tip of your brain.
Monday, January 26, 2009
Thursday/Envy - Split
Thursday/Envy
Split LP
Temporary Residence Ltd
Grade: A-
An idea generated by Thursday frontman Geoff Rickly and Envy fan, this split LP matches up the punk band Thursday with the intense, emotional epic punk of Japan’s Envy. If nothing else, it is good that Thursday is getting back to what they seem truly interested in doing and not navigating record label b.s. The four Thursday offerings span a wide range of sounds from the opening rocker “As He Climbed the Dark Mountain” to the epic instrumental “In Silence,” it sounds as if Thursday could successful pursue several different musical tracks. (Maybe Thursday would want to do some epic instrumentals for TRL?) Envy offers three songs that fit their past work – slow building soundscape elements with Japanese spoken on top before an explosion of intensity and noise. In the back-and-forth of emotions look to “An Umbrella Fallen Into Fiction” and “Pure Birth and Loneliness” to knock you on your ass. This is a find for many.
Split LP
Temporary Residence Ltd
Grade: A-
An idea generated by Thursday frontman Geoff Rickly and Envy fan, this split LP matches up the punk band Thursday with the intense, emotional epic punk of Japan’s Envy. If nothing else, it is good that Thursday is getting back to what they seem truly interested in doing and not navigating record label b.s. The four Thursday offerings span a wide range of sounds from the opening rocker “As He Climbed the Dark Mountain” to the epic instrumental “In Silence,” it sounds as if Thursday could successful pursue several different musical tracks. (Maybe Thursday would want to do some epic instrumentals for TRL?) Envy offers three songs that fit their past work – slow building soundscape elements with Japanese spoken on top before an explosion of intensity and noise. In the back-and-forth of emotions look to “An Umbrella Fallen Into Fiction” and “Pure Birth and Loneliness” to knock you on your ass. This is a find for many.
Friday, January 23, 2009
The Moondoggies - Don’t Be a Stranger
The Moondoggies
Don’t Be a Stranger
Hardly Art
Grade: A-
I’ve always had a theory that every band with the name ‘dog’ in it was awful, or if they weren’t terrible the name made me think of bad outcomes. Well, apparently ‘doggies’ isn’t nearly as off-putting as I don’t have a visceral reaction to the moniker and this Americana, roots indie band can sure rock. The Moondoggies led by Kevin Murphy immediately hit you with their harmony-drenched Americana on the opener “Ain’t No Lord;” it is just beautiful music. With a feeling you might get from the Band or the Byrds, or some mainstream 70s southern rock band (thanks in large part to Rhodes piano), the Moondoggies continue to dazzle your eardrums with such winners as “Black Shoe,” “Changing,” the gospel dirge “Undertaker,” the long ass rocker “Jesus on the Mainline,” “Make it Easy,” and closer “I Want You to Know.” Don’t Be a Stranger is by far, in my estimation, the best record Hardly Art has put out to date and if they’re not careful they may take over sister label Sub Pop in putting out the coolest music.
Don’t Be a Stranger
Hardly Art
Grade: A-
I’ve always had a theory that every band with the name ‘dog’ in it was awful, or if they weren’t terrible the name made me think of bad outcomes. Well, apparently ‘doggies’ isn’t nearly as off-putting as I don’t have a visceral reaction to the moniker and this Americana, roots indie band can sure rock. The Moondoggies led by Kevin Murphy immediately hit you with their harmony-drenched Americana on the opener “Ain’t No Lord;” it is just beautiful music. With a feeling you might get from the Band or the Byrds, or some mainstream 70s southern rock band (thanks in large part to Rhodes piano), the Moondoggies continue to dazzle your eardrums with such winners as “Black Shoe,” “Changing,” the gospel dirge “Undertaker,” the long ass rocker “Jesus on the Mainline,” “Make it Easy,” and closer “I Want You to Know.” Don’t Be a Stranger is by far, in my estimation, the best record Hardly Art has put out to date and if they’re not careful they may take over sister label Sub Pop in putting out the coolest music.
Thursday, January 22, 2009
Death Vessel - Nothing Is Precious Enough For Us
Death Vessel
Nothing Is Precious Enough For Us
Sub Pop Records
Grade: A-/A
The first introduction of Death Vessel to your ears will completely shock your system from what you were likely expecting. First off, there’s the name – Death Vessel. With a name like that you are thinking metal, hardcore, or at least some type of macabre music. Yet, you know that DV is on Sub Pop and the Seattle label generally doesn’t trade in heavy music any more. Then you hear the start of the opener “Block My Eye,” and you worry that DV might just be another Sam Beam wannabe. Indeed, DV trade in soft acoustic numbers that conjure up traditional folk, bluegrass, and Americana. But after a listen or two of “Block You Eye” you hear how damn good the lyrics are; who uses ‘genuflecting’ in a song? Ok, you are slowly being sold on the attractiveness of DV. And then a big surprise hits you – the soft young girl voice you’ve been listening to is actually a man named Joel Thibodeau. What? DV has backing vocals from women, but Thibodeau is the one with the light, Antony-voice. I still can’t believe it; there is a disconnect in my mind that can’t be resolved. Ok, be fine with it, because the songs are glorious. And with that in mind, besides from “Block You Eye,” check out “Jitterakadie,” “Bruno’s Torso,” the galloping “Obadiah’s Oblivion,” the surprisingly memorable “Fences Around Field,” and “Circa.” Hug Death Vessel and feel the magic.
Nothing Is Precious Enough For Us
Sub Pop Records
Grade: A-/A
The first introduction of Death Vessel to your ears will completely shock your system from what you were likely expecting. First off, there’s the name – Death Vessel. With a name like that you are thinking metal, hardcore, or at least some type of macabre music. Yet, you know that DV is on Sub Pop and the Seattle label generally doesn’t trade in heavy music any more. Then you hear the start of the opener “Block My Eye,” and you worry that DV might just be another Sam Beam wannabe. Indeed, DV trade in soft acoustic numbers that conjure up traditional folk, bluegrass, and Americana. But after a listen or two of “Block You Eye” you hear how damn good the lyrics are; who uses ‘genuflecting’ in a song? Ok, you are slowly being sold on the attractiveness of DV. And then a big surprise hits you – the soft young girl voice you’ve been listening to is actually a man named Joel Thibodeau. What? DV has backing vocals from women, but Thibodeau is the one with the light, Antony-voice. I still can’t believe it; there is a disconnect in my mind that can’t be resolved. Ok, be fine with it, because the songs are glorious. And with that in mind, besides from “Block You Eye,” check out “Jitterakadie,” “Bruno’s Torso,” the galloping “Obadiah’s Oblivion,” the surprisingly memorable “Fences Around Field,” and “Circa.” Hug Death Vessel and feel the magic.
Wednesday, January 21, 2009
Blitzen Trapper - Furr
Blitzen Trapper
Furr
Sub Pop Records
Grade: A/A-
Let’s keep this short and sweet – Blitzen Trapper’s latest album is fucking amazingly brilliant even with its warts and moles (mostly in some off-putting lyrics). The fourth record from this Northwestern collective combines an archipelago of sounds and shines when the warm pop melodies and harmonies invade the indie rock soul. At very least, take a listen and look at a few songs off of Furr because they're all warm and cozy.
Furr
Sub Pop Records
Grade: A/A-
Let’s keep this short and sweet – Blitzen Trapper’s latest album is fucking amazingly brilliant even with its warts and moles (mostly in some off-putting lyrics). The fourth record from this Northwestern collective combines an archipelago of sounds and shines when the warm pop melodies and harmonies invade the indie rock soul. At very least, take a listen and look at a few songs off of Furr because they're all warm and cozy.
Tuesday, January 20, 2009
Albert Hammond, Jr. - Como Te Llama
Albert Hammond, Jr
Como Te Llama
Black Seal Records
Grade: A-
With the Strokes at various stages of permanent hiatus, guitar Albert Hammond, Jr has taken his energy and skills and developed a solid solo career. Hammond and his band offered up his 2007 debut Yours to Keep and the conclusion was that it didn’t sound just like the Strokes and that Hammond is a pretty good singer. Quickly on the heels of Yours to Keep comes this thirteen-track album that’s even tighter, cleaner, and better than the debut; that’s called moving in the ‘right direction’. Probably the one element that stands out is Hammond’s vocals – way stronger and drenched in fuzzy melodies. For love check out “In My Room,” “Gfc,” the awesome riffs of “The Boss Americana,” the sexy “Victory at Monterey,” the Strokes-like “You Won’t Be Fooled By This,” the quick strumming “G Up.” It appears that Albert Hammond, Jr doesn’t need the Strokes to continue on as a rock star.
Como Te Llama
Black Seal Records
Grade: A-
With the Strokes at various stages of permanent hiatus, guitar Albert Hammond, Jr has taken his energy and skills and developed a solid solo career. Hammond and his band offered up his 2007 debut Yours to Keep and the conclusion was that it didn’t sound just like the Strokes and that Hammond is a pretty good singer. Quickly on the heels of Yours to Keep comes this thirteen-track album that’s even tighter, cleaner, and better than the debut; that’s called moving in the ‘right direction’. Probably the one element that stands out is Hammond’s vocals – way stronger and drenched in fuzzy melodies. For love check out “In My Room,” “Gfc,” the awesome riffs of “The Boss Americana,” the sexy “Victory at Monterey,” the Strokes-like “You Won’t Be Fooled By This,” the quick strumming “G Up.” It appears that Albert Hammond, Jr doesn’t need the Strokes to continue on as a rock star.
Thursday, January 15, 2009
Limbeck - Hi, Everything's Great
Limbeck
Hi, Everything's Great
Doghouse Records
Grade: A-/A
As the second album from this Southern Californian four-piece, Limbeck has truly out done themselves with a spectacular offering on twelve tracks of rock goodness. Taking a stronger turn towards the alt-country branch of the family, the theme of Hi, Everything's Great is the greatness of the American road (get it - the title is what you write on a postcard). As will be dutifully described, this is an album that is hard to get tired of listening to.
Limbeck first broke onto the scene with This Chapter Is Called Titles in 2001 and took their place amongst the other hundred pop-punk orientated bands in Orange County, CA. Probably deciding that they wanted to distinguish themselves a bit more from the fold, singer-guitarist Robb MacLean and the band took the memories of the road and put them to song. Crossing the Rockies to spend time in the plains of Kansas, Limbeck recorded Hi with the ever-amazing producer Ed Rose. Ed Rose is noted for a number of projects, but is mostly associated with producing the Get Up Kids releases. Taking a lesson from country and alt-country bands like Old 97's, Uncle Tupelo and Hank Williams, Limbeck sought to put some of this Americana flavor to a new set of tracks - and a new musical life. Patrick Carrie fiddled with MacLean on finding the right sound for the guitar work and Justin Entsminger and Matt Stephens filled out the rhythm sections. And thus, Hi was born.
Hi starts off on "Honk + Wave," with MacLean describing a lost love and now he finds himself in her state, the Beehive state, Utah. Out of this song you get the memorable line in the chorus of "if we drove side-by-side on a highway in the Beehive state, then we can honk and wave." While MacLean doesn't lament on this, he is more out to inflict a sense of sorrow on this unfortunate soul. Regardless of meaning, "Honk + Wave" musically sets the tone for the rest of the album. "Silver Things" starts out slow then builds admirably with a bit of country guitar fills and well-timed and quick-tempo hi-hat taps. Both of these tracks sets up the stellar track "Julia." "Julia" is featured on the latest Doghouse sampler and for good reason. As another song concerning traveling and the like, this one revolves around the ex-goth kid Julia and their conversations. While entrancing, there is a bridge on this song that gets your fists pumping like in "Dr. Worm" from They Might Be Giants. After a bad start to "This Place Is Deserted," Limbeck is able to revive the patient - by later chorus - but you may be inclined to skip past this one. "I Wrote This Down" only shows off its greatness after the opening salvo where Limbeck use a quietly-distorted guitar in an up-tempo pace chorus. While the use of the distortion is strategically planned, a wider use throughout the album might have been charming. After the solid "The Sun Woke the Whole State" and "Tan + Blue," "Gamblin' Man" truly goes after the road warrior spirit in country music. This is in no doubt amplified in the use of lap steel guitar and telecaster-driven solo fills. This is followed by the acoustic-focused "In Ohio on Some Steps," where MacLean is joined by Rachael Cantu on vocals and Chris Cron on keyboards that fill the room. The title of the song is what you might write on a picture that you took - and the song is a literal description of a day in Ohio. After the upbeat "Brand New Orange" and "Albatross + Ivy," the record closes on "Comin' From Tucson." Like "Julia," "Gamblin' Man" and "In Ohio on Some Steps," this song stands out as one of the album's best. "Comin' From Tucson" is a simple description of driving back to OC late at night from Tucson while everyone sleeps in the van. Again utilizing lap steel guitar, MacLean - with the help of Carrie on emphasis - describes the drive with wistful and longing lyrics that can only produce wide smiles for listeners.
Having just gotten off a tour with their superstar label mates the All-American Rejects, Limbeck have been able to plant their foot firmly in the rock world. Yet, with the release of Hi, Everything's Great their stock will surely rise faster than a crackhead with a just-scored twenty-rock.
Hi, Everything's Great
Doghouse Records
Grade: A-/A
As the second album from this Southern Californian four-piece, Limbeck has truly out done themselves with a spectacular offering on twelve tracks of rock goodness. Taking a stronger turn towards the alt-country branch of the family, the theme of Hi, Everything's Great is the greatness of the American road (get it - the title is what you write on a postcard). As will be dutifully described, this is an album that is hard to get tired of listening to.
Limbeck first broke onto the scene with This Chapter Is Called Titles in 2001 and took their place amongst the other hundred pop-punk orientated bands in Orange County, CA. Probably deciding that they wanted to distinguish themselves a bit more from the fold, singer-guitarist Robb MacLean and the band took the memories of the road and put them to song. Crossing the Rockies to spend time in the plains of Kansas, Limbeck recorded Hi with the ever-amazing producer Ed Rose. Ed Rose is noted for a number of projects, but is mostly associated with producing the Get Up Kids releases. Taking a lesson from country and alt-country bands like Old 97's, Uncle Tupelo and Hank Williams, Limbeck sought to put some of this Americana flavor to a new set of tracks - and a new musical life. Patrick Carrie fiddled with MacLean on finding the right sound for the guitar work and Justin Entsminger and Matt Stephens filled out the rhythm sections. And thus, Hi was born.
Hi starts off on "Honk + Wave," with MacLean describing a lost love and now he finds himself in her state, the Beehive state, Utah. Out of this song you get the memorable line in the chorus of "if we drove side-by-side on a highway in the Beehive state, then we can honk and wave." While MacLean doesn't lament on this, he is more out to inflict a sense of sorrow on this unfortunate soul. Regardless of meaning, "Honk + Wave" musically sets the tone for the rest of the album. "Silver Things" starts out slow then builds admirably with a bit of country guitar fills and well-timed and quick-tempo hi-hat taps. Both of these tracks sets up the stellar track "Julia." "Julia" is featured on the latest Doghouse sampler and for good reason. As another song concerning traveling and the like, this one revolves around the ex-goth kid Julia and their conversations. While entrancing, there is a bridge on this song that gets your fists pumping like in "Dr. Worm" from They Might Be Giants. After a bad start to "This Place Is Deserted," Limbeck is able to revive the patient - by later chorus - but you may be inclined to skip past this one. "I Wrote This Down" only shows off its greatness after the opening salvo where Limbeck use a quietly-distorted guitar in an up-tempo pace chorus. While the use of the distortion is strategically planned, a wider use throughout the album might have been charming. After the solid "The Sun Woke the Whole State" and "Tan + Blue," "Gamblin' Man" truly goes after the road warrior spirit in country music. This is in no doubt amplified in the use of lap steel guitar and telecaster-driven solo fills. This is followed by the acoustic-focused "In Ohio on Some Steps," where MacLean is joined by Rachael Cantu on vocals and Chris Cron on keyboards that fill the room. The title of the song is what you might write on a picture that you took - and the song is a literal description of a day in Ohio. After the upbeat "Brand New Orange" and "Albatross + Ivy," the record closes on "Comin' From Tucson." Like "Julia," "Gamblin' Man" and "In Ohio on Some Steps," this song stands out as one of the album's best. "Comin' From Tucson" is a simple description of driving back to OC late at night from Tucson while everyone sleeps in the van. Again utilizing lap steel guitar, MacLean - with the help of Carrie on emphasis - describes the drive with wistful and longing lyrics that can only produce wide smiles for listeners.
Having just gotten off a tour with their superstar label mates the All-American Rejects, Limbeck have been able to plant their foot firmly in the rock world. Yet, with the release of Hi, Everything's Great their stock will surely rise faster than a crackhead with a just-scored twenty-rock.
Wednesday, January 14, 2009
Street Dogs - Savin Hill
Street Dogs
Savin Hill
Crosscheck Records
Grade: A-
This is the debut album from this Boston four-piece. Yet, the Street Dogs' pedigree is deep and rich. The band is fronted on vocals by Mike McColgan, the original singer of the Dropkick Murphys - the same McColgan who left DK several years ago to become a fireman. McColgan is joined on drums by Jeff Erna (ex-DK), Rob Guidotti on guitar and Johnny Rioux (ex-Hellcats, Roger Miret and the Disasters) on bass. Street Dogs have all the elements to make them great: powerful vocals, melodies and that raw punk-hardcore sound that makes you smile. This is immediately evident on the title track "Savin Hill" - instant hit material. Probably the only thing that doesn't make sense is that Crosscheck Records, with releasing this record, is based in LA - eh? McColgan's honest and strong vocals bring a lot to the table including tracks "Cut Down on the 12th" and "Fighter." "Fighter," a tribute to a late friend, has a similar feel to it as Bouncing Souls' classics and, well, DK classics - immensely moving. Dicky Barrett adds vocals to the less-than-stellar "Justifiable Fisticuffs," but Ken Casey's and Al Barr's vocals on the next track "Stand Up" more than makes up for any misstep. Other tracks that will help Savin Hill travel include "When It Ends," the acoustic drinking number "2 Bottles," "Last Call" and the working class "Modern Day Labor Anthem" (including some pontificating from McColgan). As Street Dogs' opening salvo, Savin Hill is an impressive affair that should garner them serious attention. As one of the strangest - though not baffling - promotional events, McColgan will be singing the National Anthem at Fenway on September 24. If you can check that out it should be well worth the effort.
Savin Hill
Crosscheck Records
Grade: A-
This is the debut album from this Boston four-piece. Yet, the Street Dogs' pedigree is deep and rich. The band is fronted on vocals by Mike McColgan, the original singer of the Dropkick Murphys - the same McColgan who left DK several years ago to become a fireman. McColgan is joined on drums by Jeff Erna (ex-DK), Rob Guidotti on guitar and Johnny Rioux (ex-Hellcats, Roger Miret and the Disasters) on bass. Street Dogs have all the elements to make them great: powerful vocals, melodies and that raw punk-hardcore sound that makes you smile. This is immediately evident on the title track "Savin Hill" - instant hit material. Probably the only thing that doesn't make sense is that Crosscheck Records, with releasing this record, is based in LA - eh? McColgan's honest and strong vocals bring a lot to the table including tracks "Cut Down on the 12th" and "Fighter." "Fighter," a tribute to a late friend, has a similar feel to it as Bouncing Souls' classics and, well, DK classics - immensely moving. Dicky Barrett adds vocals to the less-than-stellar "Justifiable Fisticuffs," but Ken Casey's and Al Barr's vocals on the next track "Stand Up" more than makes up for any misstep. Other tracks that will help Savin Hill travel include "When It Ends," the acoustic drinking number "2 Bottles," "Last Call" and the working class "Modern Day Labor Anthem" (including some pontificating from McColgan). As Street Dogs' opening salvo, Savin Hill is an impressive affair that should garner them serious attention. As one of the strangest - though not baffling - promotional events, McColgan will be singing the National Anthem at Fenway on September 24. If you can check that out it should be well worth the effort.
Tuesday, January 13, 2009
Motion City Soundtrack - I Am the Movie
Motion City Soundtrack
I Am the Movie
Epitaph Records
Grade: A-
The Minneapolis quintet of the Motion City Soundtrack are one of those bands that you are constantly hearing about but rarely actually hear. By the amount of attention that Epitaph has given MCS over the past year, you would have thought this album came out two years ago. Though wetting people's appetites with a split on Doghouse - I Am the Movie clearly shows why Epitaph is all high on this band. Initially formed in 1999 and after several lineup changes, the band headed out to the plains of Kansas to record with probably the hottest indie producer in the country right now, Ed Rose. Seriously, Rose is punching out so many rocking records recently that it did not come as a surprise his hands were on this after a quick listen to the fourteen tracks. With signing to Epitaph, MCS were able to go back to Lawrence and put finish touches to the initial "rough" version. Often when I'm working on the computer - and lacking listening material - I put on the Launch "punk" station. And, hence, several of the tracks from I Am the Movie were quite familiar to me before I spun the disk. Specifically, "The Future Freaks Me Out" and "My Favorite Accident" drew quick attention and awe. "The Future Freaks Me Out" is a track that you have surely heard but may not have known who it was. Unlike most of the other tracks, it is brimming with pop goodness and finds lead singer Justin Pierre hitting some high notes. One of the elements that quickly comes to attention with MCS is the sweetly layered keyboards (Moog) from Jesse Johnson. This then draws easy comparisons to bands like All-American Rejects and, yet, they present a much fuller portfolio. An example of this is the amazing track "Indoor Living" - a track that has a similar feel to the great Dismemberment Plan songs. This is mostly due to Pierre varying the intensity between verse and chorus and the buzzing keyboard lead ins. With the Plan RIP now, people searching for comparable love may and should gravitate to MCS. Other standout tracks on the record include "Perfect Teeth," "Capital H," "Autographs and Apologies" and "A-Ok." If Motion City Soundtrack are able to match the clarity and sweetness of this recording - and most reports say so - then they will be a force to reckon with in the coming years.
I Am the Movie
Epitaph Records
Grade: A-
The Minneapolis quintet of the Motion City Soundtrack are one of those bands that you are constantly hearing about but rarely actually hear. By the amount of attention that Epitaph has given MCS over the past year, you would have thought this album came out two years ago. Though wetting people's appetites with a split on Doghouse - I Am the Movie clearly shows why Epitaph is all high on this band. Initially formed in 1999 and after several lineup changes, the band headed out to the plains of Kansas to record with probably the hottest indie producer in the country right now, Ed Rose. Seriously, Rose is punching out so many rocking records recently that it did not come as a surprise his hands were on this after a quick listen to the fourteen tracks. With signing to Epitaph, MCS were able to go back to Lawrence and put finish touches to the initial "rough" version. Often when I'm working on the computer - and lacking listening material - I put on the Launch "punk" station. And, hence, several of the tracks from I Am the Movie were quite familiar to me before I spun the disk. Specifically, "The Future Freaks Me Out" and "My Favorite Accident" drew quick attention and awe. "The Future Freaks Me Out" is a track that you have surely heard but may not have known who it was. Unlike most of the other tracks, it is brimming with pop goodness and finds lead singer Justin Pierre hitting some high notes. One of the elements that quickly comes to attention with MCS is the sweetly layered keyboards (Moog) from Jesse Johnson. This then draws easy comparisons to bands like All-American Rejects and, yet, they present a much fuller portfolio. An example of this is the amazing track "Indoor Living" - a track that has a similar feel to the great Dismemberment Plan songs. This is mostly due to Pierre varying the intensity between verse and chorus and the buzzing keyboard lead ins. With the Plan RIP now, people searching for comparable love may and should gravitate to MCS. Other standout tracks on the record include "Perfect Teeth," "Capital H," "Autographs and Apologies" and "A-Ok." If Motion City Soundtrack are able to match the clarity and sweetness of this recording - and most reports say so - then they will be a force to reckon with in the coming years.
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