OUR WEEKLY COLLECTION OF SHORTER REVIEWS | |
Destroyer,
Matt Pond PA,
Juno & The Dismemberment Plan,
Fred Everything,
The Intellectos Manifeso,
Elixir,
Mentallo & the Fixer,
River,
Neighborly,
Brave Captain,
December's January,
Pete Diamond,
David Steinhart,
Nathalie Derome,
Sciflyer,
Interplay,
Jeff Krebs,
Tiga,
Sylk 130,
Fred Weaver,
Metroscene,
Mother Superior,
Beauty Pill,
The Standard,
Volante,
Dragstrip Syndicate
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Destroyer / Streethawk: A Seduction / Misra (CD)
Streethawk: A Seduction is a collection of songs by quirky pop-poet Daniel Bejar. It's his fourth release, and this time around he's joined by John Collins (New Pornographers), Scott Morgan (Locil), Stephen Wood and Jason Zumpano (Zumpano). Tetering between full-on baroque pop and the more low-key, Bowie inspired numbers of his past releases, Bejar moves away from previous Pavement-meets-Daniel-Johnston comparisons, instead incorporating piano interludes and atmospheric arpeggios. While eclectic, sometimes droll vocal patterns remain prevalent, Streethawk's overall feel is much less rock than pop, and subsequently the fidelity and production seems more accessible, while still retaining an unprocessed feel. With lyrics like "I'm telling you now/ it leaves scars on the wanton..." coupled with Bejar's eccentric vocals, the album can initially be a little too quirky to stomach, but given a solid listen it comes across as heartfelt and poignant, devoid of the ironic detachment that permeates much contemporary lyricism. -- jw
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Matt Pond PA / I Thought You Were Sleeping EP / File 13
(CD)
If you listen closely, you can hear the emo. That's okay;
Matt Pond PA never strays too far into the realm
of raw-throated histrionics. Contemporary punk-rock
hallmarks are seen in fleeting glimpses, but they're part of
something larger and more refined. The band
apparently prefers to write pop songs, and there are some
beauties here. "Put Your Hair Down" is a rough-edged gem
with a bass hook that'd make Elvis Costello proud, and the
title track is a wonderfully morose treat built from
acoustic strumming and violin. Like The Good Life's recent
Novena on a Nocturn, I Thought You Were Sleeping is a fine example of
a young band crafting a record that's somehow larger than
life, full of magical sparks and dreamy grandeur that allow it to transcend
genre labels. -- gz
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Juno & The Dismemberment Plan / Split / DeSoto (CD)
There’s a certain amount of déjà vu involved in writing this review.
A few months ago I reviewed what was, at the time, an import-only split
7” from these two fine groups. Since then, the aforementioned 7” has
gone out-of-print and DeSoto Records has decided to re-issue it in
digital form, replete with a pair of nifty bonus tracks. In addition to
the D-Plan’s deliriously thrilling "The Dismemberment Plan Gets Rich"
and Juno’s Sugar-aping "Non-Equivalents", we are treated to a pair of
delightful covers. Juno gets down and dirty in grafting DJ Shadow’s
"High Noon" onto an angular guitar/drums/bass axis, while at the
opposite end of the spectrum The Plan get all teary-eyed as they turn
teen pop queen Jennifer Paige’s Top 40 hit "Crush" into a contemplative
slice of swank post-emo. The ad copy pretty much writes itself: Juno & The Dismemberment Plan: come for the
originals, stay for the covers. -- jj
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Fred Everything / Under the Sun / Turbo (CD)
Quickly establishing itself as a repository for Canadian DJs, Turbo Records
nicks another notch in the "wonderful releases" wall with Everything
Under the Sun. A lover of deep, full-bodied beats, Fred Everything
accentuates his bulbous bass with smooth keyboard declarations that grasp
your stereo by its high-end neck and tease it relentlessly.
Fred takes his time mixing, skillfully laying out
danceable, funk-inspired rhythms, then applying layers of vocal samples,
percussive hits and other unexpected interjections, making each of these
tunes slow burning masterpieces that quietly sink into your body. Can Fred
take your body for a spin? Drop this platter into the player and see what
transpires as you begin a metamorphosis into the world of blooming, booming house
music. -- am
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Various Artists / The Intellectos Manifesto / Intellectos (CD)
Take 21 bands of disparate nationality, all with a generally playful attitude
towards music, throw them together on one CD and you've got The
Intellectos Manifesto. The scope of this review precludes a discussion
of each track here, so I'll just highlight a few. Winterbrief's "209bpm" is
a surf-inspired, Atari-Teenage-Riot-lite thing with a declarative vocal
style, Dick Dale guitar licks and a drum machine. Fonda's "Theme From 'The
Operatives'" is an epic pop concept piece with Mission Impossible
overtones (thematically, not musically). The whole "Go! Fight! Run! Duck!
Break! Kick! Jump! Gonna Save the World!" chorus thing reminds me of the
regrettably defunct Scottish grrrl-band Lung Leg. Atom and His Package have
a mildly anthematic submission entitled "Stephanie Says". Its cheesy
electronic sound provides enough camp to enable the faux-serious lyrics to
achieve true ridiculousness. A rousing chorus is just enough to put the
whole thing over the top. The eighteen tracks I haven't mentioned offer similar
spills and thrills. -- nw
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Elixir / Self-Titled / Self-Released (CD)
Elixir's four song release suffers from the low volume, slightly muddy
mixing and production not uncommon with homemade releases. Careful listening
proves that while the band has some things to learn in the recording area,
they've actually got quite a bit of potential. The combination of Patrick
Hart on keyboards (and songwriting duties) and David Lofton's soft, clear
vocals provides the backbone, while the rest of the band fills in the spaces
with the usual guitars, drums and bass. The only odd moment rears its ugly
head during the last two minutes of "More Than Friends", when Lofton abandons
the vocals that work so beautifully on the other tracks and morphs into what
sounds like a fourth Hanson brother. He may want to re-think going down that
road. -- al
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Mentallo & The Fixer / Return to Grimpen Ward /
Metropolis
(CD)
Brothers Gary and Dwayne Dassing have been making music together in
various groups since the early 1980s. Mentallo & the Fixer has been
their main outlet since 1990. This disc is "A Remix Retrospective of
Revamped Material". Since I've never heard any of their stuff before, I
can't really say much about the quality of the remixes. The music is
very much in the spirit of unintentionally goofy early 1990s industrial
bands, with lots of square drum machine beats, "evil" sounding vocals,
samples of movie dialog and preset synth sounds. The sound quality and
production on these songs is good, and some of the sounds are pretty
interesting, but there isn't really anything here that distinguishes
these tunes from countless others in the genre. If you're really into
Mentallo and the Fixer or you just can't get enough of "evil" guys
singing songs with titles like "Legion of Lepers", "Decomposed" and
"Grim Reality", then maybe you'll want to check this one out. Otherwise
your Skinny Puppy collection will probably suffice for now. --
ib
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River / Once Upon a Time / Best Kept
Secret (CASS)
Despite being the solo effort of Fabrice Herve, River most closely resembles
the female-fronted Frente! and New Order spinoff the Other
Two. These short pop tunes are constructed from acoustic guitar, simple
drum loops and Herve's ephemeral voice, and they range from curious folk to
Hacienda dance. Unfortunately, the sound quality weighs down most of the
high points. Depending on the track, the sound is either too muffled or
too tinny, which distracts from some of the more interesting melodies.
Since Herve has a CD release on the horizon, I recommend beginning there
and returning to this recording if you find yourself hooked. -- rd
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Neighborly / Grass is Greener / SunSeaSky
(CD)
If I tell you that Neighborly is fronted by Sunday's Best
drummer (and former Skiploader frontman) Tom Ackerman, will
that give you some idea of what to expect? Yes, you could
probably add Neighborly to the long list of "e-word" bands,
but I found their sound more tolerable than most; between
their melody-intensive, slightly retro-leaning songwriting
and Ackerman's better-than-average voice, Neighborly sounds
a bit like a younger, angrier Replacements. They're not as
whiny and over-wrought as most young bands these days, and
their music seems more robust, with more chunky riffs and
fewer bland, anemic minor-key melodies. So basically, while
Grass is Greener isn't a life-changing experience,
you won't mind hearing it more than once. -- gz
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Brave Captain / Nothing Lives Long, He Sang, Only the Earth and Mountains / Thirsty Ear
Recordings (CD)
Nothing Lives Long, He Sang, Only the Earth and Mountains has to be the longest album title I've heard in a long while. Fortunately, the album lives up to the size of its name. Martin Carr (of Boo Radleys fame) has channeled quite a
few solid stars through the funnel of his own particular musical vision, and has delivered a fairly original product. Carr calls in odd percussion (e.g., "egg"), sound samples of unknown objects, doors, growling dogs,
glockenspiels, special Colombian zithers, drones, masking tape...and lays these found sounds over and through more traditional sounding pop melodies. The result is generally gorgeous, instrumentally speaking, although I can't confess to being overly fond of poor Mr. Carr's voice, which is high, thin and a bit strangulated. There are also occasions when Carr's experiments go drastically wrong: for instance, "The Tragic Story" repeats its chorus ("the tragic story of the working
people") so many times that I could barely stand it. Perhaps the idea was that the chorus would sound like a Greek chorus in a tragedy, but in practice it turned out to be annoying, rather than inspiring. However, "Tell Her You Want Her" and "Big Red Control Machine" are not to be missed for their dreamy vocals, soaring strings and creative, almost anthropological
percussion work. As an experimental pop work, the album is flawed, but then even the greatest works of art are. Definitely worth owning, playing and using for the
soundtrack to your more creative dreams. -- js
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December's January / Adventures in Rhoton / Aisle 2 (CD)
On Adventures in Rhoton, December's January deliver on the promise of
last year’s self-titled EP. While that first release relied
solely upon ferocious energy to emphasize its points, Adventures... finds the
band maturing, both in terms of their songwriting and performance. Tracks
like "New Defense" and "Singapore Sling" shimmer like diamonds in the
sun, their soaring melodies and tightly wound rhythmic structures
underpinning razor-sharp guitar lines and saccharine-laced vocal
harmonies. And though the band is often (unfairly) lumped in with the
current emo crowd, Adventures in Rhoton proves that December's January are
head and shoulders above the majority of their peers. "Open Shutter"
has the sort of melodic chops that Appleseed Cast would give their power-blue shirts
for, while "My Voracious Friends" reveals a tattered heart beating
beneath the band’s staunchly rocking veneer. This is a
solid debut album from a young band who could some day hear their name
mentioned in the same bated breath as Mineral and Giant’s Chair.
Enjoying December and January in April...who woulda thunk it? -- jj
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Pete Diamond / Funny Cry Happy Gift / Red Delicious (CD)
This is amiable, radio-friendly rock, punctuated (or stabbed) with
lyrics that come across as dull and undistinguished, or at least very odd ("A is for
apple, P is for punk, C is for Serious Mystic"). It's assumed that words are
present just to give Pete the singer something else to do during the songs (he
also plays respectable guitar), but this style of songwriting only seems
to work for bands that favor harder, more aggressive tempos. Since none
of Pete's personality is really put forth, the laid back
delivery makes it all the more glaringly obvious that Funny Cry Happy Gift is a
platter of gibberish. The vocals are pleasant, though, and bear a smoke-free
trace of Tom Petty, along with a smithereency bit of Pat Dinizio. The
choruses, in addition, are
freqently catchy (who knew the repetition of the phrase, "I'm gonna feel my way
through" could not only be bearable but enjoyable?), but there is no single moment here that isn't
easy to forget. This is a shame, because the beginning of "Miss Believer"
makes it clear Pete Diamond might be an artist with a promising future. -- td
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David Steinhart / Clean / Stonegarden (CD)
The line between kitsch and sophistication can be very, very
narrow. Case in point: if the jazz elements
on Clean were played up a little bit more, and
Steinhart added a little more punch to his delivery, he
might have a short-term hit on his hands. Fortunately, this
isn't what Steinhart is about. He's had a long, if
inadequately distinguished, career as a pop musician, and
Clean shows him to be a confident and skillful
purveyor of slick, maturely jazzy jangle. Sound-wise, he's
pleasantly understated -- a mixture of Louis Phillippe's
charming sophistication and Kitchens of Distinction's
straightforward narrative honesty (minus the shoegazer
effects and sexual identity angst). The question here is
whether Clean, an intelligent but understated record,
will stand out in a musical climate dominated by loud,
stupid characters. All too often, material like Steinhart's
is dismissed as dull if it doesn't ignite right away;
stylish and sophisticated, sadly, doesn't always mean
successful. -- gz
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Nathalie Derome / Les Quatre Ronds Sont Allumes / DAME (CD)
Only lazy reviewers rely solely on promotional copy to write their reviews.
Occasionally, though, nothing sums up a record more succinctly, as is the
case with Les Quatre Ronds Sont Allumes. "In a
short film atmosphere," reads the press info, "Nathalie Derome performs a
few of her songs with Guillame Dostaler and René Lussier." Making use of vocals (both sung and spoken),
guitar, keyboards and synthesizers, Derome leads the listener through a
moody, carnivalesque soundscape. With the lyrics and the lyric sheet written in
French, English-speakers may find it hard to follow the plot. The
album's first half recalls Tom Wait's mid-'80s Rain Dogs period,
while the second half employs sparse instrumentation and quietly emotional
vocals. Although the album contains many interesting moments, the press
quote above highlights Les Quatre's main drawback: you may feel as
though you're listening to the audio portion of a film, detached from its visual imagery. -- rt
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Sciflyer / Self-Titled / BU (CD)
Imagine the extraordinary leaps in production and musical structure that Spacemen 3 made in their transition to Spiritualized. Now calibrate that change on your indie-rockometers. Finally, take that same step backwards from your Spacemen 3 starting point and you have Sciflyer. Their self-titled full-length is a sun-drenched wash of fender telecaster, epiphone bass and Star Wars walkie-talkies, making for a sometimes meandering but always brawny neo-psychedelic record. The record is far from delicate, filling every blank space with a cacophonous attack of guitar and sparse (as in, the production is so washed-out that you can barely hear them) vocals. The production clearly falls under the "this stuff is indie even by indie-rock standards" category. There's definitely some promising stuff here; songs like "Come Up To My Cloud" and "Sovereign" take on a texture akin to a poor man's My Bloody Valentine, but the disc's dynamics are lost in the lows of lo-fi engineering. A band like Sciflyer would be best experienced in a live setting, where small recording budgets and an archaic four-track don't hinder them. -- jw
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Interplay / Pick Up the Pieces / JazzScapes
(CD)
Interspersing choice standards, including Wes Montgomery's "West Coast
Blues" and Oscar Pettiford's "Tricotism", Interplay sends forth an
invigorating round of jazz that capitalizes on the sensual without muddying
itself in murky soft-jazz waters. Multi-instrumentalist Tom Williams leads
this quintet through several beefy bits that are brought together by the
strong bass playing of Geoff Harper and Tim Murphy's intricate piano
runs. What's most captivating about Pick Up the Pieces is its
lively, club-friendly ambiance. As the CD player scans track to track, the band's
upfront, personal style provides a warm and welcoming feel, as
if you just stepped into the cozy confines of your local jazz hangout. Cool
without being contentious, Interplay showcases each member's unique talents
as well as the capable efforts of a band that can arrange the rhythms and
show off the solos that make jazz fans' ears perk up with interest. -- am
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Jeff Krebs / Keep an Eye Out / Head Information
(CD)
Though he hails from the upper peninsula of Michigan, Jeff Krebs' second
solo disc has the murky feel of the deep South. Banjos, accordions and
swampy melodies drive this music, which sucks you in like the bayous of
Louisiana. From the rail-yard sing-along "Emily Take It Back" to the
ghostly march "The Same Train", Krebs takes listeners on a dusty ride
through the back woods and captures the feel of the musical varieties that
thrive in the humid heat. He even detours through Mexico for the
Latin-tinged "Extravagaria!" and adds a flamenco touch to "Tango delle
Rose". While he can certainly drop names well (He played with Art Alexakis
(Everclear) and Kyle Statham (F*ck) in the alt-country band The Easy Hoes),
Krebs' songs are so close to perfection that this coat-tailing is
unnecessary. Sharing producer Kevin Ink with Mark Eitzel, Krebs slides
easily into either the singer/songwriter or the country category. His
musical tales, however, are powerful enough to easily transcend such narrow confines. -- rd
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Tiga / Mixed Emotions: Montreal Mix Sessions Vol. 5 / Turbo (CD)
Including the bonus "Electro Funk" CD, Mixed Emotions is an ambitious
39 track wonder. Borrowing from a huge list of artists, Tiga blends one
electronic beat after another, culminating in the perfect party soundtrack
for the host or hostess too cheap to actually hire a DJ (or unwilling to let
a friend with more confidence than skills make a fool of him/herself behind
the decks). The mood tends to
lean towards the '80s glam scene a bit more heavily than towards the sort of
stuff that's big in clubs today, but it's a nice change of pace for
those who are looking for something a little off-center. -- al
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Sylk 130 / Re-Members Only / Six
Degrees (CD)
The liner notes describe Re-Members Only as "King
Britt's soulful, sophomoric Sylk 130 sojourn through the 'me
decade', you know...the '80s." Take that -- except for the
"sophomoric" part -- with a pinch of salt. The disc asks us
to imagine that we're listening to "WISH 130", a
particularly funky and/or fresh radio station that's having
the party of the century. Unfortunately, like most on-air
"parties", Re-Members Only seems tepid as fuck-all
from my side of the speakers. Despite a batch of
interesting guest vocalists, including Yaz's Alison Moyet,
ABC's Martin Fry, De La Soul's Pos and Trugoy and even
Grover Washington Jr., the album sputters like a dud
firework. There are a few sparks, such as Kathy Sledge's
rousing vocal turn on "Rising", but these are extinguished
by King Britt's flat, soulless cover of Nu Shooz's "I Can't
Wait". Looking for a low point? Check out the ultra-banal
"interview" tacked onto the end of "Cobbs Creek", which
makes Soul Train's Shemar Moore sound like David
Frost. About as soulful as a Connecticut soccer mom, Re-Members
Only's festivities are only marginally more interesting
than a nursing home birthday party. -- gz
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Fred Weaver / Those Ancient Skies... Came Sweeping Wide. /
Ace In The Hole
(CD)
Fred Weaver sure does get around. In the last couple of years he's
played about seventeen thousand solo shows in venues from Texas to
Pennsylvania. He just might be the hardest working Baton Rouge-based
acoustic guitar pounding art punk currently touring the states on a
Greyhound bus! His songs are raw and intense -- some might even say
emo -- but don't let that scare you. There's nothing affected about this
guy; you can bet that the same passion and frustration that he puts into
breaking his guitar strings also keeps him up at night. An intense guy
banging on a guitar isn't exactly cutting edge music, but it doesn't
really matter. This is heartfelt, honest music -- there's nothing wrong
with that. --
ib
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Metroscene / First Light At Last Orders / Self-Released (CD)
The first full-length release from Atlanta-based Metroscene is a pop whirlwind of pulsating guitars and over-the-top vocals, somewhat resembling the Britpop approach. Drawing influences from The Smiths and the more playful leanings of the Merrymakers, First Light... is distinctly pop, but imbued with a sense of urgency and punch that kick-starts the album into fine form. There is never a dull moment as the quartet soars through fifteen songs of varied dynamics and structures. Songs like "The Modern Decline" and "Theme from M", (spaced-out, pop-free for alls that sounds like guitar versions of Wendy Carlos on speed) juxtapose themselves with more unassuming rock numbers like "Magdalene Sam" to the point where you'll wonder if there are two separate bands playing on the record. Rather than disturbing the album's balance, it works, retaining sufficient semblance of conformity to link the songs, while at the same time making for an engaging musical concoction. -- jw
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Mother Superior / Self-Titled / Triple
X (CD)
Mother Superior's balls-to-the-wall rock sound recalls Kiss and Sammy Hagar -- blues-tinged guitar riffs, Paul Stanley-like vocals and a generally
loud volume and raunchy attitude. Fans of the classic L.A. hard rock sound
will find this eponymous release of particular interest. "Whore" is a fine
example of Mother Superior's work; spouting the sentiment "Fooled by a
whore like you…", it is a rambunctious hit 'n' run that liberally fires
off salvos of guitar fury and hard rock attitude. The whole thing is
completely lacking in subtlety and nuance...but it rocks. That's an observation
that can be extended to the album at large. It's like an offering placed on
the altar of the guitar gods -- flashy, ballsy and extroverted. If you like
it down 'n' dirty, Mother Superior may be for you. -- nw
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Beauty Pill / The Cigarette Girl From the Future / DeSoto/Dischord (CD)
While they were still around, Smart Went Crazy existed in a kind of
warped parallel universe relative to the rest of the Dischord roster.
Their brand of kinetic avant-punk was unlike anything else our
nation’s capitol was churning out at the time. Now, some three years
after their break-up, they have come to represent the current DC
aesthetic. This shift is represented by a slew of bands (Dismemberment
Plan, Q and not U, El Guapo) that obviously took the group’s hectic and
uncompromising sound to heart. Beauty Pill is a new project featuring
SWC alumni Chad Clark and Abram Goodrich, and it takes the group’s
oddball nature and pushes it even further out into left field. The
Cigarette Girl From the Future sounds like a
cross between the soundtrack of an Indian-themed B movie and outtakes
from Blonde Redhead’s In an Expression of the Inexpressible. "The Idiot
Heart" swells with dramatic percussion and serpentine guitars, while
"Rideshare" marries a loose groove with aquatic vocal effects and a
twisted bass figure. The album makes it clear that Clark and Goodrich are once again a musical force to be reckoned with. This time around, with any luck, it won't take them three years to catch on. -- jj
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The Standard / Self-Titled / Barbaric (CD)
The Standard combines chunks of emo, metal-rock and pop into a better mix than most pure emo bands are coming up with lately. Remniscent at some
moments of the Pixies, Sebadoh and Built to Spill, The Standard has a sure handle on where they're going, and I think that with time they'll probably improve (jokes
about the Standard having been set notwithstanding). Tim Putnam claims to be inspired by science when he writes, but that seems strangely inconsistent with the winning formula he's worked up in the band's sound. The hard-driving guitar and bass rule the day, but the synth rounds out
their sound nicely, in a non-over-produced-eighties-ish kind of way. The band's passion gives the album the perfect finish. If they
get any better, they'll have to have NISO approve their tracks. -- js
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Volante / 45 Degrees North / Guilt Ridden Pop (CD)
Don't let the subtle, gray-washed cover or the name of the label fool you:
Volante rocks. To some extent they rock in ways that you've probably heard
before, compiling quiet/loud dynamics, Dischord-style guitars and driven
vocals into a propulsive sound. The liner note "Produced by Volante and J
Robbins at Inner Ear" attests to the quality of the album (has Robbins
produced a bad album lately?) and explains its careening-yet-controlled sound.
Fugazi are the most obvious reference point, from the guitar tones and song
structures to the capitalist critique of some of the lyrics ("Take it or
leave it, make up your mind/Package the product, get out and buy/A good
consumer, leading your life"). Musical strength does not rely solely on
innovation, however. While the building blocks of this Minneapolis
quartet's debut album will be recognizable to anyone familiar with the
noisier end of the alt-rock spectrum, these energetic, well-crafted songs
are completely enjoyable in themselves, and point toward even better things
ahead. -- rt
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Dragstrip Syndicate / Volume / Beluga (CD)
Dragstrip Syndicate are a back-to-basics rock band built upon the foundation
of a pair of great lead guitarists and an energetic lead
singer. Their songs seem caught between the Black Crowes, heavy metal,
Chicago blues and Keith Richards/Nicki Sudden-style rock; just name
the song that first drove you to drunkenness, and you will find pieces of it
here. While they'd be great to hear in a bar, I imagine Dragstrip Syndicate would be a little less
fun on the radio, as the musicians repeatedly make space in these loosely
structured tunes to impress the listener with their skills. Still, the
guitar solos always generate power -- never just noise -- and the drums are loud
enough in the mix that you'll bang your hands against your knees at least a
couple of times. While none of the songs really distinguish themselves from the
rest of the pack, it's hard to fault the execution or even the design. Not
all great rock songs need to be incessantly catchy, and the Syndicate succeeds because their greatest strengths are not intrinsically wrapped in up any of the songs. In a call-response situation, these songs would answer back in blasts of buckshot...so rock lovers will enjoy making deer deaf with Dragstrip Syndicate's meaty, aggressive tunes. -- td
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gz - george zahora | nw - noah wane | am - andrew magilow | ib - irving bellemead | jj - jason jackowiak | td - theodore defosse | rd - ron davies
js - jenn sikes | rg - rodney gibbs | rt - ryan tranquilla | al - amy leach | jw - john wolfe | az - alex zorn
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