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our weekly collection of shorter reviews
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A-Set,
Fairmount Girls,
Beluga...On The Rocks 3,
The Flashing Lights,
Chellie Coleman,
The The,
The Jazz June,
Sunday Smoke Kit,
Podunk,
Jaco's Invention,
Wolf Colonel,
Mount Florida,
Mid Carson July,
Leni Stern,
Plastic Bird,
Ryllis Blackwell,
The Little Band,
Mudhoney
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A-Set / Songs From the Red Room / Tree (CD)
After spending time in bands like Mohinder, Calm, Duster and Haelah, Albert Menduno set out to record his own songs on his own under the name A-Set. Those of you who heard any of the three Haelah songs that were available to the public (the best being on a split 7" with Aspera Ad Astra as well as the accompanying compilation as part of the Post Marked Stamps series) know that they were some great pop songs -- the sort of full-bodied, head-nodding songs that get stuck in your head. The A-Set songs on Menduno's second full length seem to be lacking something. They're well crafted and somewhat enjoyable, but there needs to be more. The standout of the bunch is "A Day And The Weight," which is much in the Haelah vein, yet a distracting factor here (as on much of the rest of Songs From the Red Room) is that Menduno sounds a lot like John Linnell of They Might Be Giants. Quite a puzzling release. -- ha-n
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Fairmount Girls / Eleven Minutes to Anywhere / Deary
Me (CD)
It may be the return of flawless, female led vocal harmonies! This Cincinnati group has hooks, melodies and some choice tunes that'll
nab ya if you're a sucker for girl bands. The refined, mature quality of most of these tunes proves to be the glue that cements
Eleven Minutes to Everywhere together. Ranging from radio friendly pop-rock ("1-900-Fairmount") to lush, post-grunge
subversiveness ("Slow Lap Around the Sun"), the Fairmount Girls (and token Fairmount Boy guitar player) will sing their way into
your heart as the music envelops you, leaving an estranged smirk on your face as you willingly gasp for more. For all the rock trivia
types out there, Marnie Jaffe was a member of the avant-noise band Live Skull. -- am
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Various Artists / Beluga...On The Rocks 3 / Beluga Records (CD)
Beluga Records is a fine label devoted to getting Chicago's least known
indiepop groups some attention. Beluga On The
Rocks...3 features 36 songs by 36 different bands, giving listeners
lots of chances to discover a new favorite. For me, the best turned out to
be "Yard Sale" by Muchacha -- a great punk stomper -- followed by
Wesley Willis' "The Ghostbusters Got Busted," which reminded me
quite favorably of a Jilted John song. Other nice bands are included, from
the puta-pons to Autoliner, but the majority of songs are short of melody
and rather disappointing. Since many of these bands might just be saving
their best for their own albums, Beluga...On The Rocks 3 is definitely worth a listen, but it's not really a
compilation to treasure. -- td
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The Flashing Lights / Where the Change Is / spinART (CD)
Prior to hearing Where the Change Is, my only knowledge of
the Flashing Lights came from Splendid's LiveLine review of their appearance with Sloan. If you haven't read that article, suffice it to say that our reviewers
disliked the Lights rather vehemently. This, however, had more to do with the
band's stadium-schlock stage show than their actual music -- which,
as Where the Change Is demonstrates, is actually very good.
A mixture of Kinks/Squeeze/Elvis Costello power pop with a bit of
Beatles thrown in, the Lights also bear more than a passing resemblance
to Sloan. The lyrics are clever and intelligible, the melodies are hummable and the
occasional organ runs are catchy. It's quite pleasant -- not necessarily
an album I'd listen to every day, but definitely a disc I wouldn't mind
hearing a few more times. -- gz
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Chellie Coleman / One Woman, One Vision / Enter the Vision (CD)
23-year-old singer/songwriter Coleman's heartfelt soprono (think Deniece Williams) and simple
melodies on "You" and "Do They Know Something I Don't Know" sound familiar, but they
aren't suffocated by overproduction as is the case with so many R&B songs populating the
airwaves. Coleman saves the best for last with the sexy, no-nonsense groove of "Say the Things U
Mean"; it's a song that I'm sure Janet Jackson wouldn't mind wrapping her thin vocal cords
around. Oh, did I mention that Coleman also arranged and produced all of the songs? If Coleman
can sound this good while working on a graduate degree at NYU, I can't wait to see how her
talent will further evolve when she is freed from her studies. -- dd
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The The fans rejoice! NakedSelf marks the first release of original material from Matt Johnson and friends in some seven years (Johnson released an album of Hank Williams covers, Hanky Panky in 1995, and Epic/Sony squashed the release of Gun Sluts, an "extreme and experimental" album in 1997). Those enamored of Johnson's famously dark world view will find a lot to like here, as will fans of lush, U2-ish, slightly dancey guitar-pop. There is an "experimental" edge to some of these tunes, mostly in the form of short, feedback/distortion soundscapes at the beginnings and ends of songs. The disc's packaging is worth mentioning too -- a cardboard sleeve containing the CD jewelbox, a booklet with lyrics and another booklet of sepia-toned, mostly gloomy photographs with captions like "Kentucky Fried Genocide" and "Strangers touching the parts that love cannot reach." In all it's a dark, pretty release that's sure to please newcomers and The The aficionados alike. -- ib
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The Jazz June / Breakdance Suburbia / Initial
(CD)
Yeah, that's right, the sometimes-too-familiar "emo" description hits home on this compilation CD which encompasses many of The
Jazz June's 7" releases and other recorded material. However, unlike many bands that mope about in this overexposed genre, The Jazz
June tends to express its pain with fits of anger that constrict and lunge forward like a vexed viper that's ready to strike. On several
tracks the band takes the low road, disregarding depression-ridden lyrics in favor of incensed, rockin' numbers that let the
guitars do the talking (instead of some woe-ridden teenage punk who doesn't know shit from shineola). These kids have a temper and
aren't afraid to express it. An assemblage that'll help ya burn off any of that excess testosterone that's raging in your system without
turning you into a Camaro-driving headbanger. -- am
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Sunday Smoke Kit / Uncertain Smiles / Planting Seeds (CD)
SSK's third album is apparently a collection of outtakes and
oddments left off of previous recordings. I don't know if it was
really necessary to admit this, though. As a way for major label
acts to finish off their contracts, the concept is fine, but let's be honest --
most indie bands' albums already sound like a collection of outtakes
and oddments, and nobody seems to mind. I didn't notice any lack
of quality or cohesiveness on Uncertain Smiles other than the
tinny, slightly muffled tone typical of CD-R releases. SSK's music is
jangly, upbeat pop that should appeal to fans of Belle and Sebastian,
the Apples in Stereo and even My Bloody Valentine; in that context,
much can be forgiven if a band gets the basic sound right, as SSK do.
Outtakes or not, I enjoyed it. -- gz
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Podunk is one of the most popular bands to come from Abilene (Texas), and
Throwin' Bones, their latest, is as aggressively commercial as a
Bon Jovi album. To appreciate most of the songs, or at least to get them in
your head, you need to hear them repeatedly -- a service radio
programmers seem to be paid to provide. On the first few listens, though, it's hard not
to wish these fellas chose the stock market rather than the pop metal
market as their route to get rich. One grand exception is "Ditty", a
beautiful 90-second closer that proves the band has everything it takes to
make a great album. I'm not sure, though, if that will ever be a priority
for Podunk, which is a shame. -- td
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Jaco's Invention is the husband and wife team of Danny and Michelle Jaco. After starting out in the Dallas, Texas coffeehouse scene, the pair thought that perhaps their sound would fit better with the stylings of Los Angeles. Despite the move, the Jacos still sound as if they belong in a coffeehouse on open mike night. Song titles like "Eagles Fly Alone" and "The River Song" give a good idea of the generic college town coffeerock these two produce. -- ha-n
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Wolf Colonel / Vikings of Mint / K (CD)
It took me a while to get my ears around this thing. The first few listens had me wondering whether I should wash my dishes or do my laundry (Dishes won, as usual). Then I listened a couple more times and started to think that maybe Vikings of Mint is not the exact same gtr/bass/drums/guy singing CD that we've all heard a gazillion times. Then I listened again and it dawned on me that some of these songs are pretty darn catchy. Now when I listen I actually find myself singing along. That's not to say that this isn't your basic gtr/bass/drums/guy singing CD, but on close inspection you'll find some pretty redeeming features, such as: great song titles ("these aquatic droids"); goofy lyrics ("the indian ocean"); fun sing-alongs ("dear elliott"); nice harmonies and prominent tambourine parts ("t-resistible"). Nothing will knock your Keds off (or get you to do your laundry), but it's definitely worth a listen or seven. -- ib
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Mount Florida / Stealth / Matador Europe (CD)
The latest EP from the Glaswegian duo of Twitch and MP Lancaster
mixes ambient dub rhythms with occasional Eastern melodies. "Lost
in Satie" highlights its dense, menacing rhythm with dreamy flutes
and a pervasive pseudo-Arabic melody, while "Roc the Vonnegut"
creates a complex, multi-layered tune from tightly-interwoven drumbeats
and a percolating, computerish accompaniment. "A Tribute to Muslimgauze,"
is predictably percussive, frenetic and nicely reminiscent of the late artist. Interesting stuff, but not essential. -- gz
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Mid Carson July / Ten Years On AutoPilot / Workshop Records (CD)
It's always a pleasure to come across literate punk, and Mid Carson July
provide their finest effort in this genre with Ten Years On Autopilot. At eight songs, and slightly under twenty-four minutes, the CD is a
compact burst of energy, with "The Truth About Liars," "Something About
Small Talk," and "Three Minutes In Logan" rising slightly above the rest. Of
these, the latter two could make a big splash on college radio, as they
boast exceptional playing, booming choruses and honest lyrics that
highlight Mid Carson July's greatest attribute: their pure gusts of
passion for that punk rock thing they do. These songs are for all who liked
the aggression of Braid or the dead serious anger that would often rise
from the Minutemen (and from other pissed-off punks who had brains to
boot). -- td
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Modern jazz fans should immediately recognize this German-born guitarist's name; she's
well known for her exceptional guitar work. However, this 7" is a far cry from Stern's jazz
accomplishments, as she instead turns to a more folk oriented, lyric-heavy approach. The
instrumentation on both tracks is smartly conceived, with brittle melodies that are
confidently executed. However, Stern's lyrics are shallow and her vocals are cliché,
resulting in two forgettable numbers. -- am
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Plastic Bird / Soar / Gabby Records (CD)
The city of Lexington, Kentucky, is deservedly famous for its well-preserved
books, cemeteries and local history. Where it seems to lag is in the
upkeep of fine, interesting rock artists. Among these are the
36-year-old Rob Roemer, the individual behind Plastic Bird. While Soar
suffers from poor production and its electric guitars sound like
dentist drills, it has a distinct charm, which is best exemplified by the
ever-repeated lyrics of "It's Alright" ("It's alright if you think
I'm a dick"). By the end of that song, as Roemer name-checks his family, it's
hard not to feel for the struggling performer, and one hopes his good voice
and ear for melody generate some interest and recognition. -- td
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Ryllis Blackwell / From the Seven Directions / RB (CD)
From the Seven Directions is Ryllis (rhymes with Phyllis)
Blackwell's first collection of original songs, and its thematic focus is women. Blackwell is
equally comfortable dabbling in bluegrass or countrified folk with the help of some exceptional
performances from Kara Barnard on the guitar, mandolin and banjo. The songs sound like the
testimony of a small town chronicler reflecting on such themes as marital complexities (the waltzing
"Sweet Allis") and arid everyday life. The amusing "My Baby's Two" contains a simple chorus
guaranteed to have a two-year old sit still long enough to sing along. No, Blackwell's rootsy
folk and songs of female domestic drudgery don't have the edginess of say, Michelle Shocked, but
From the Seven Directions is an enjoyable CD which is perfectly capable of carrying her
smooth, clear voice to an audience outside the borders of her native Indiana. -- dd
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The Little Band / The Little Band / General Ludd Music (CD)
The Little Band played a few college party type gigs in Claremont, California back in 1992. In 1997 they released a cassette of their old recordings, and now those same recordings are available on CD. So says the charming booklet, "The History of the Little Band," which comes with the CD. Said booklet also states that Hüsker Dü was the starting point for The Little Band's music. I admit it's been awhile since Candy Apple Grey came screaming out of my speakers, but jeez, I just don't hear a hint of the Dü boys on this CD. What I do hear is earnest, jammy, jangly, guitar-based rock music -- pretty much what you'd expect from a college band in 1992. It's not bad stuff, and in fact I can imagine that if this was your friend's band in college you'd think they were pretty good, but it would be hard for me to recommend this CD to anyone but hardcore collectors of early 1990's college rock. (See Jason Jackowiak's review of one of singer Bill Foreman's more recent recordings for another angle...) -- ib
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Mudhoney / March to Fuzz / Sub Pop (CD)
First, the cynical view: ten-plus years ago, Sub Pop grew rich on
the likes of Mudhoney. Now they're going to squeeze the last
few dollars' worth of milk out of the grunge cash cow. And now, the
optimistic view: Mudhoney sound even better now than they did
twelve years ago. If you don't own their best moments, or only
own them on vinyl, why not grab a double-disc of cherry-picked
high points? Or you could spend the money on a couple of anonymous
emo clone CDs that'll only be good as coasters five years hence. It's
your call, really. There are no surprises on March to Fuzz, but
if you were indifferent to Mudhoney in their day, you may be surprised
to learn that time has warmed you to their sound. Screw the record label
politics -- they're not your problem. Just enjoy the music. -- gz
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gz - george zahora | nw - noah wane | am - andrew magilow | ib - irving bellemead
jj - jason jackowiak | ha-n - heidi anne-noel | dd - deirdre devers | td - theodore defosse
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