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OUR WEEKLY COLLECTION OF SHORTER REVIEWS
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Ryan Adams,
The Contrail,
Earth Crisis,
Stratford 4,
Mark Kozelek,
In The Nursery,
Jai Agnish,
Caustic Resin,
Barcelona,
John Vanderslice,
Flare,
At the Drive In,
Just Another Taste of Electronic Watusi Boogaloo,
Bablicon,
Freak the Jones,
Robert Kumin,
CTRL-D,
Self-evident,
Ninedollarmelonballer,
Gary K
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Ryan Adams / Heartbreaker / Bloodshot
(CD)
The rumor circulating about Whiskeytown goes like this: W-town
singer/guitarist Ryan Adams is charismatic but essentially
talentless and aimless, managed behind the scenes by violinist
Caitlin Cary, who has ambition and talent but not enough
oomph to front a band herself. This summer, Cary’s touring as
the frontwoman of her own band, and Ryan Adams has
released a gorgeous new album. Guess you can’t always believe
everything you hear. On Heartbreaker, Adams
has written songs that prove he can easily stand on his own.
Starting with the rollicking, Dylan-inspired “To Be Young (is
to be sad, is to be high)”, the CD hands over a number of
memorable tracks. Despite his choice to release this record on
an indie label, it seems like Adams is moving beyond
"y’all-ternative", instead making a bid for a slightly more
mainstream
sound (think Steve Earle, not Shania Twain). Of course, it’s no
surprise: the CD was recorded days after Adams moved to
Nashville from New York. Adams’ duet with Emmy Lou Harris (on
“Oh My Sweet Carolina”) is clearly aimed at staking his
place in the country pantheon, but if he makes it, it'll be on
the basis of his songwriting skills. -- bl
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The Contrail / Correspondence School / Turn (CD)
It's easy to like Correspondence School. The Contrail's music is
eccentric, echoey pop that clearly shares a common ancestry with
Of Montreal and Olivia Tremor Control. The melodies, however,
seem less brittle; despite tinny production (think "recorded in a U-Haul"), The Contrail are
capable of turning out a thick, solid rock sound, as they
demonstrate on "Queen of Dilligence." They really get cooking
on their longer tunes: "The Silver State", clocking in at just
under six minutes, unleashes an absolutely blissful bluster of
meshed, blurry guitar feedback haze. Repeated listens enhance
the album's value, but also hint that the band might be hiding
behind feedback and the shortcomings of shoestring production.
I'd be very interested to see if they can deliver the goods in a
good studio -- but 'til that happens, Correspondence
School will do nicely. -- gz |
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Earth Crisis / Slither / Victory
(CD)
The second coming of metal has given stalwarts like Earth Crisis a new
lease on life. Unfortunately, on their seventh release, the band sounds
like they're cuddling up to the radio. Lyrically, Karl Buechner sticks to
his guns with lines like "I turned myself into a monster to fight against
the monsters of this world," but often delivers them in a polished croon
that smacks of commercial appeal. Things are far more convincing when
Buechner returns to his trademark pit bull delivery. The same criticism
holds for the music: at times it just seems too polished and comes
off more like Ratt than a riot. While excellent moments abound ("Behind
the Wire" is a fantastic track), most of the songs are marred by this
problem which, will probably bother some of the band's more hardcore fans. -- rd
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The Stratford 4 / The Revolt Against Tired Noises / Stratford 4
(CD)
Before absolute confusion settles in, keep in mind that you're not blurring
band names -- there is indeed a Stretford and a Stepford 5 in this world, but we're
talking about San
Fran's Stratford 4 here! The bulky cardboard CD carrier that masquerades as
the CD packaging
is cool enough in its uniqueness, but the dreamy combination of retro-60s
era pop and 90s
effected space rock is what'll attract your attention the most. This
Franciscan foursome
synthesizes a crisp, dogged pop sound with lazy, drawling guitars and
soaring effects that
playfully prod and twist your notions of divided musical genres into a new
realm. Think of
how much rock 'n' roll you've toiled over during your life, then prepare
for this refreshing
surprise, which borrows from familiar genres to make a sparkling explosion of
beautiful
brilliance, teasing you until the end of the EP. -- am
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Mark Kozelek / Rock 'N' Roll Singer / Bad
Man
(CD)
Red House Painters fans have been waiting a long time for
another earful
of Mark Kozelek's dark, moody music. The release of Old
Ramon,
the next proper RHP album, is rumored to be scheduled for
sometime this
year. Until then, fans will just have to make due with this
seven song
helping of Kozelek's solo work. These songs are spare and
simple, with
Kozelek's plain, pretty voice and lyrics being the obvious focal
points.
A high point is a reworking of AC/DC's classic "Rock 'N' Roll
Singer",
which Kozelek turns into a ponderous country-rock number. This is
a fairly
casual, mellow sounding CD, and lacks the quiet intensity that
is something of a Red House Painters trademark. Still, that
shouldn't
stop you from appreciating this batch of calm, pretty
songs. -- ib
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In The Nursery / Exhibit / ITNCorp
(CD)
Intended for the South American market (but available as an
import), this retrospective covers ten years' worth of ITN's
neo-orchestral output, from 1988's striking Koda to
1998's gorgeous and scholarly Lingua.
The disc's perspective makes it easier to observe growth -- both
of the Humberstone brothers' skill, and of the technology they
use. Compare the intricate orchestrations of "Poema" to the
stark unreality of the martial "Guarded Rites". ITN's music has
always been challenging and exciting, and whether you're a brand
new South American fan or a US/UK-based completist, you'll
revel in the beauty, mystery and expansive vision of these
compositions. -- gz
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Jai Agnish /
Automata /
Blue Bunny (CD)
Jai Agnish has had tracks on many compilation CDs alongside the
likes of
Will Oldham, Lou Barlow, John Davis, Swirlies, Danielson and
Soul-Junk. He
has performed with the Danielson Famile. He is also the
creative spirit
behind the variety zine Flygirl, which explores the
intersection
between indie culture and Christianity. Automata sounds
like you'd
expect it to: it's catchy DIY pop music, full of toy store
instrumentation
and lo-fi production values. Think Takako Minekawa minus the
irresistible
cute factor, minus the production talents of Buffalo Daughter.
If you're a
die-hard do-it-yourselfer you'll dig this for its indie cred
alone;
otherwise you'll find it lacking the charm it needs to succeed.
"How You
Dream" is earnest enough, and for my money the best song on the
disc. -- nw
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Caustic Resin / The After Birth / Alias (CD)
Caustic Resin has always sounded too much like Built to Spill to suit my tastes. The After Birth continues this rather undesirable trend and sees
the band introducing a distinctly Modest Mouse-ish element into the fold. Opener “Longdrive Jam” sounds like one of the band's homework assignments from the
files of the Doug Martsch Institute of Guitar Pyrotechnics -- and one that they got an “F” on, to boot. “Rotten Man” sees the MM aping in full swing, with the highly affected
vocals and oddly tuned swirling guitars that Lonesome Crowded West pioneered. Though talented musicians in their own right, Caustic Resin do not strive to
break any new ground or even expound upon the sound of their Pac-Northwest contemporaries. The After Birth is quite disappointing indeed. -- jj
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Barcelona / Robot Trouble EP / March(CD)
Summer's here, and that means it's time for great songs about robots.
Barcelona gives us a fantastic one about a robot named Paul ("Motherboard
and CPU control the way Paul thinks") who is the best friend of its
inventor, and who seems like "trouble" to the young inventor's parents.
"Robot Trouble" is a rare example of pure pop perfection, with its greatest
strength being Jennifer Carr's refrain. When Carr cries that she
"only wanted a best friend", a song that seemed frivolous turns into
something as emotionally moving as an OMD song, but with greater
originality. This song, to be featured in their second full-length
(ZeRo-oNe), is followed by two pointless remixes that minimize or
nullify Jennifer's vocal input (and which, therefore, don't live up to the
great originals), as well as "Social Engineering" (which is slightly less
affecting than "Robot Trouble"). To close out the EP, we have a remake of
Men Without Hats' "Pop Goes the World". It is oh-so-sunny and infectious,
and easy to play again and again. Jason sings it great, and the keyboards
are clean and pristine. Since I think it'll only be available here, it makes the poor remixes irrelevent. People need as much
Barcelona in their lives as they can get, so get this now! -- td
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John Vanderslice / Mass Suicide Occult Figurines / Barsuk(CD)
While the adage goes that all press is good press, I don't think
"Bill Gates
Must Die" is a song title that will help the music in John
Vanderslice's
first solo album get the attention it deserves (Or then
again, maybe it will -- Ed). Instead, this
amazingly
talented musician is likely to be exposed to the same audience
who rushed to get Mojo
Nixon's "Don Henley Must Die" -- and they won't find much reason
to laugh in
this rather sad song about life's misdirections. After the
shocking lack of
guffaws, though, I defy even Debbie Gibson's two-headed love
child to
dislike these songs. Vanderslice (of MK Ultra fame) has a knack
for potent
rock, fine lyrics and an absolutely staggering gift for ballads.
The piano
and vocals behind "Gruesome Details" makes it sound a lot like
Quasi, yet
better than anything that glorious Quasi may ever do; just a
little later on
the record, you get "Foothills of My Mind", which makes ELO's
"Mr Blue" look
like absolute crap. Vanderslice is simply upping the ante in
lots of indie
music categories, gracing his album with song after smartly
arranged song; all of them
live fast, grow sadder and bid the listener adieu through a
sweeping orchestral
movement which suggests the opening of clouds and the
resurrection of mass
suicide occult figurines! If you like Beulah, or just enjoy
owning eardrums, then get this record; John is among the
greatest American popsters
making music now. -- td
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Flare / Celebrate the Misery / Mother West (7")
This 7" is so low-key and unassuming that it even made my friend's visiting
cat let out a large yawn. Fortunately, cats can't write (or type), so I'll
take up the slack. Flare gently sifts through these two numbers with a
tortuous and alarmingly humble pose that quite frankly reminds me of
Morrissey on a bunch of (additional) depressants. Violin, cello and tasteful
keyboards accompany the slow burning "Another Bridge" as it tosses and
turns through almost seven minutes of beautiful, twisting agony. The only
way you can call the A-side, "Celebrate the Misery", upbeat is if you're
comparing it to its neighboring flip-side, as this remix by Stephin Merritt
is equally soporific. This pensive ballad produces such a haunting
atmosphere that you'll be afraid to breathe, as you may disrupt the fragile
recording spinning on the turntable. A chilling bath of sound that’ll
give you the creeps and, puzzlingly, comfort you at the same time. -- am
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At the Drive In / One Armed Scissor / Grand Royal (CD)
Very few bands are a "must see" live act these days, but At the Drive
In are most definitely on that short list. You really cannot
imagine what the experience is like until you’ve stood five feet in
front of them and watched them erupt like Krakatoa. To see them nearly
inflict bodily harm upon themselves as well as their audience is quite
an uplifting experience. Now, hot on the heels of their split EP with
Sunshine comes the band’s first release for their new label, Grand Royal.
One Armed Scissor is a three-song taster for the band’s forthcoming
Relationship of Command LP. A word of warning, though: put this in into
your CD player and then run for cover or it's going to leave you
picking shrapnel out of your ass for months. The title track explodes
out of you speakers with twin guitars blazing a nuclear rhythm section
and Cedric Bixler’s furious quasi-political howl. Next comes “Pattern
Against User”, which actually manages to rock harder than its predecessor,
utilizing its same bombastic formula to an even more stunning effect.
The third and final offering, “Incentardis”, will not appear on the new album, which should scares the shit out of every other band out
there because it’s so damn good, yet ATDI use it as a throwaway
B-side. Be afraid...be very afraid, because this fall ATDI are coming
with Relationship of Command -- and if One Armed Scissor is even remotely
indicative of its quality, we’re all in big, big trouble. -- jj
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Various Artists / Just Another Taste of Electronic
Watusi Boogaloo / Kindercore/EWB (CD)
I was expecting great things from this disc, which is intended
(I think) as America's introduction to Sweden's Electronic
Watusi Boogaloo label. The label, which releases the work of
the Ultra Wide Band collective, sounded like they'd have a new
and unique approach to electronic music...and they probably do;
it simply isn't on display here. Just Another Taste...
is distressingly somnambulent, favoring mid and down-tempo
tracks that wield their jazzy loops in a distinctly
chillout-friendly fashion. The four artists represented here
are appropriately quirky, but too often they're quirky without
actually being terribly interesting. In fact, there's a
distinct lack of truly mind-blowing tunes, though Oh Polo's
material stands out, as does Babalu's "Happiness" (and their
loungey "Taste the Great Humpback Whale", which scores points
for its name alone). It's certainly far too early to judge, but
I hope this isn't the best Electronic Watusi Boogaloo can do. --
gz
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Bablicon / Orange Tapered Moon / Misra (CD)
All of you Mangum-aholics out there waiting for a new Neutral
Milk Hotel album will have to continue waiting; this is not a
new NMH record. What
it is, is the second installment of NMH drummer Jeremy Barnes’
rhythmically inclined side-project. The
Chicago-by-way-of-Athens trio explores the more
eclectic end of the musical spectrum on Orange Tapered
Moon. Free-jazz noodling, skewed pop, raucous rock, slow
motion funk: it’s all there, rising and falling
in and out of the mix -- with, coincidentally, mixed results.
When the formula works, the album is great, as evidenced by
opener "Silicon)(Bucktown", which winds a
warped groove around barely audible vocals and lo-fi string
overdubs that would make ELO proud. Similarly, "The Well
Tempered Alligator" succeeds on the
strength of its whirring electric piano and maudlin rhythmic
undertones. But when the formula doesn't quite work, as with
“An Orange Moon” and “210(2)”, the results are less
than spectacular. Song structures crumble and crack under the
pressure of incessant instrumentation and the sound is akin to
what happens when you start your car with a cat
sleeping on the manifold. All things considered, Orange
Tapered Moon is a flawed but still worthy release from this
talented trio, and one that should at least
hold fans over until that new NMH record is released. -- jj
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Have you freaked your jones lately? If so, please spare me the
details! If
not, now's your chance! Atlanta-based funk/rock outfit Freak
the Jones,
has returned with its third full-length. I reviewed Pass
the Salt last year and so am somewhat familiar with the
Jones sound.
Ohm still recalls Living Color somewhat, but actually the
most
immediate comparison is with big southern rock outfits of the
'70s, like the Allman
Brothers and Lynyrd Skynyrd. Just listen to the down 'n' dirty
riffing in
"Behind the Stone" to hear what I mean. Is this still great
rock 'n' roll?
Absolutely! Is it earth-shatteringly original? Alas, no. -- nw
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Robert Kumin / She Went Up To Heaven / Robert Kumin (CD)
Robert gives me the innocuous task of reviewing the one and only track on
His latest CD-R, a song called "She Went Up To Heaven." Kumin mixes acoustic guitar
chords
and a grand, swooshing electric guitar with fuzzed out effects; his vocal delivery reminds me of the bastard offspring of the late El Duce
(from The Mentors) and that dog sock-puppet from the pets.com commercial.
Yes, when you think to yourself "Man, that sounds totally fucked up!"
you'd be adequately describing this singer-songwriter. Kumin will do one of
three things to you: (1) inspire you to record your own music because you
decide it can't get much worse than this; (2) suspect that Kumin has
several mind-rattling emotional problems that have clandestinely altered
your own emotional path or (3) anger you that you've spent four minutes
listening to someone's personal foray into four-track recording land. Go
ahead, pick a number... -- am
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This is good stuff. CTRL-D recall a time when loud rock had
found its way underground, but
had yet to divorce itself from hooks and melody. In a more
enlightened, less hype-fueled time, many of these songs could've
been huge on the radio. And on CD, what you hear is
what you'll get when you see CTRL-D live (which, unless you're
some kind of cardigan-wearing pussy, you'll want to do); the
thundering precision drumming, stomach-rending bass and
flesh-cleaving guitars were all recorded pretty much live,
without studio trickery. You'll notice a distinct sonic
resemblance to some of the Pacific Northwest's best-known
worthies, including a touch of Cobain in the vocals, but
CTRL-D kick it up a notch with dizzying guitar action and
punk-rock velocity. Inasmuch as there's anything "just" about
rocking, CTRL-D just rock. -- gz
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Self-evident / what we sound like / Doom Nibbler
(CD)
My guess is that the boys in Self-evident are pretty serious
fellers.
Their lyrics tend to be short and to the point, and often seem
to be the
type of internal micro-conversations we all have when we're too
confused
to talk to anyone else. The music, too, is spare and somewhat
introspective, with occasional bouts of squealing rock abandon.
While
Self-evident isn't really adding anything new to the classic
guitar/bass/drums/serious boy singer equation, their music is
consistently interesting and well played, with lots of detailed
rhythmic
interaction between the players. The singer's voice is fine, if
a little
reserved. Self-evident is an interesting band -- I can't help
but wonder
what would happen if they let go a little bit more and opened
themselves
up to some of their less rational impulses. -- ib
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Ninedollarmelonballer / Seeing In the Dark / Surgeland
(CD)
I have ogled nine dollar melon ballers in fancy kitchen shops.
You know, the kind with a cushy handle, the kind that make you
want
to go home and scoop up thousands of melon balls, even if you
can’t stand the stuff. I have to confess that if someone handed
me an
extra tenner, I’d probably rather have a melon baller than this
CD. No doubt, Ninedollarmelonballer has the potential to do
quite well
on commercial alternative radio if they get the right breaks.
But their Hootie-meets-Live sound, edged with a bit of metal
(call it
Hootallica™ if you like) is ultimately bland and mushy,
not unlike a cantaloupe gone bad. -- bl
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Gary K / Hawkin' the Chalk / Best Kept Secret (CASS)
Releasing tapes is almost an immoral recording act in this day of the CD-R and
the home burner. Scoffing at technology, Gary K saunters through 28
chilling tracks on this cassette release for Italian label Best Kept Secret.
With a touch reminiscent of Goblin's innocently brutal Argento film scores, this
enigmatic Brit steers cautiously through tracks like "Coated
Aspirins" and "Lawn for Lawn"; you'll feel as if he's creeping through your house while
you're semi-comatose in your warm 'n' snuggly bed. You keep expecting Gary K to explode with a torrent of
filthy noise, but he retains his composure like a mental patient teetering between reality and the 53rd dimension. Exceptionally
well conceived and executed, this casual exploration of the psyche should
be a stiff reminder that you shouldn't turn your nose up at tapes just yet --
there's plenty of outlandish and compelling music left on those unassuming strips of brown magnetic magic. -- am
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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 | bl - beth lucht
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