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OUR WEEKLY COLLECTION OF SHORTER REVIEWS
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Sunday's Best,
Back Off Cupids,
Knotworking,
The Explosion,
Trash on Demand Vol. III,
UnAmerican,
Chaz Vegas,
Drift Gets Deeper/Reno Kid,
Mary Timony,
Vehicle Flips,
Jason Sack,
Kevlar,
Mary Lou Lord/Sean Na Na,
Moth Wranglers,
Plow United,
Alien Crime Syndicate,
Phil Reavis,
Spring Heel Jack
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Sunday's Best / Sons of the Second String / Market
Participant (7")
Guitar interplay is the key here, as muted notes mingle with diving lines of post-college rockitude to create three songs of moving music that's dreamy without turning into an
expansive space rock revue. Sunday's Best are, in fact, quite the opposite, pulling their sound from the likes of Seam and Mineral,
allowing melodies to take center stage while they direct the tight musicianship that surrounds them with unsettling precision.
Ex-Skiploader member and current band guy Tom Ackerman did an uncannily good job recording these tracks -- they sound first
class on vinyl. -- am
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Back Off Cupids / Back Off Cupids / Drunken Fish
(CD)
Somewhere between Radiohead and the Swans lie the Back Off Cupids.
On this, a mostly instrumental work, the Cupids build up simple guitar motifs
until they topple under their own weight, creating a pleasurable avalanche
of crashing melodies. Intermixed with the soothing ebb and flow melodies
are the quirky twists that make the best dreams memorable. This is a tasty
treat for those willing to savor their music instead of wolfing it down. -- rd
(This is a side/new project from John Reis of Rocket from the Crypt, in case you weren't aware. -- Ed)
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Knotworking / s/t / One
Mad Son (CD)
Knotworking is a brave and important step for One Mad Son
-- it's the label's first "third party" recording, though it's clearly
near and dear to label owner/artist Justin Mikulka's heart.
Essentially the solo effort of one Edward Gorch,
Knotworking begins in roots-folk mode. It's sparse
(guitar/vocals), passionate and a bit grim; these aren't the
sort of songs you write when you're happy and content, unless
you're a big Palace or Songs: Ohia fan. The album's second half
is a bit more fleshed-out and electrified, with the
rollicking-but-downbeat "Wringing" making a particular impact.
Vocally, Gorch seems to work a corner of John Hiatt's field, and
this is most evident on the "louder" songs. Knotworking
requires a greater-than-average degree of depth from the
listener, but rewards in kind. -- gz
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The Explosion / s/t / Jade Tree (CD)
A force majeur of bratty '77 styled punk with hints of the Pistols and The
Clash, Boston's The Explosion fully understands the punk rock credo that
less is better, and does a fine job tearing through each of these six tunes
in no time flat. As a matter of fact, most of these tracks clock in right around two and a
half minutes, creating a tempestuous sound of flaring guitars and snot-nosed
sing-a-longs that goes hand and hand with the few well placed, engaging "fucks" that appear, impromptu, in the lyrics. With a raw recording quality that almost sounds like the band
was playing in your living room, The Explosion's six song attack will have your greedy punk
rock paws clawing all over this release as you smack your lips with satisfaction. -- am
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Various Artists / Trash on Demand Vol. III / Amsterdamned (CD)
Trash on Demand Vol. III is pure and simple rock & roll from Jeff Dahl and the folks over at Amsterdamned Records. It comes from a place where skinny ties paired with checkerboarded Vans and a love of the Knack duel with spiked and leathered rockers taking their musical cues from Ozzy Osbourne and Joan Jett. There is dirt and speed! Witness Crystal Ecstasy's railing "Crossroads" or Black Jesus' "Live Forever". There are better-than-expected covers, like Joe Alcohol's "The Passenger" and Dave Kusworth's "Sympathy for the Devil". There are even shocking and offensive titles like "Liquor Pig Boyfriend" (The Beat Angels), "Blood Orgy" (The Bulemics) or "Fucked from the Start" (the Black Market Babies). And if that ain't enough, Trash on Demand Vol. III showcases trash rock from all corners of the earth: The Killer Dolls (Argentina), Cuban Rebel Girls (Berlin), The Sabrejets (Belfast) and Chinese Takeaway (Sweden). Those who like their sounds hard but with a cosmopolitan verve need look no further. -- dd
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For the first five songs on UnAmerican's eponymous debut, it is easy to feel like you're
on the verge of something wonderful. Tunes like "Mary's Son" and
"Wicked", are infused with the spirit of the Americana groups that have inspired them,
but boast sweeping melodies indebted as much to great British groups like
Pulp or the World Party, for whom UnAmerican leader Steve McEwan once played.
Regrettably, the album also collapses so thoroughly that it seems McEwan has best
mastered Karl Wallinger's gift for filler. Take away the brilliant first
five and you have songs which are long, meandering and dull, begging one to
wonder why major labels are intrigued by bands more influenced by their
music collections than their own unique visions. -- td
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Chaz Vegas and Friends / RockyMountainThunderFuck / CV (CD)
Press release boasts that he is exploring different genres are certainly apparent on Chaz Vegas' sophomore release. The first track is a bongo-heavy reggae/rasta track, the second an extremely whiny slow pop tune, another a straight up blues track, another a bit jazzy and another pure rock. Although each track is adequate, none stand out. Experimentation is fine, but perhaps Chaz should focus on selecting a genre that he likes, and that works best for him, and go from there. -- ha-n
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Drift Gets Deeper/Reno Kid / Split / Nerd Rock (CD)
Nerd Rock records (fantastic name) have brought us a nice split EP from Drift Gets Deeper and Germany's Reno Kid. Drift Gets Deeper kick things off with four sweepingly dynamic, emotionally charged songs. While all are competent and enjoyable, they never really get beyond the "they sound like
Braid" stage, and eventually wind down without too much fanfare. Next, Reno Kid deliver three incessantly strummed, screamingly heartfelt tunes. Unfortunately they, like Drift Gets Deeper, are not able to muster anything to set them apart from the huge glut of emo bands currently riding
Hot Water Music and Elliott's coattails. While both acts show some talent,
this EP sees them unable to elevate themselves -- or their songs -- to greater heights. Nice, but nothing to get yourself worked into a lather
over. -- jj
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Mary Timony / Mountains / Matador
(CD)
As if she wasn't busy enough appearing in Priceline.com
commercials, Helium's Mary Timony has cranked out a solo album
that highlights her peculiar set of talents. Mixing piano, harpsichord
and mediaeval cadences with indie-rock guitar action and punk
ethos, Mountains is both somber and surreal. A few
rock-centric tunes like "Painted Horses" call to mind the
spartan impact of Liz Phair's "Exile in Guyville," while a bevy
of harpsichord-friendly songs, including "Poison Moon" and "The
Golden Fruit," gradually erode the disc's contemporary
anchor-points. Many albums claim to take their listeners to
another world, but Mountains pulls it off better -- and takes you further -- than
most. -- gz
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Vehicle Flips / For You I Pine / Magic Marker (CD)
If the songs on For You I Pine were sung in some language I don't understand -- say, Klingon for example -- then this CD would have quickly joined the "try to sell to naive used CD store employees" pile that's slowly taking over my desk. That is to say, the music on this one is fairly regular: guitar, bass, drums, some keyboards here and there, all pretty much in your basic mellow alterna-rock style. But wait -- there's more to these here songs than the music! From "Graduation Party": "Static was everywhere, but the signal was unmistakably clear. As far as my reception, you might as well have been a carrier-current college radio station." From "Bus Pass": "You were traveling first class, and I was the pilot (or was I the federal aviation authority?), when you made the decision to fly the competition: promised you would catch up with me. That's how you explained it; I'm not so sure of your analogy." I don't know about you, but I'm a sucker for silly, sad songs about rejection and public transportation. And sometimes pleasant, unobtrusive music is just what such good lyrics need. Vehicle Flips really has that combination down. This is great stuff. -- ib
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Jason Sack / Silver City / Orb Weaver (CD)
There's someone besides Freedy Johnston out there churning out contemporary country-pop melodies, and his name is Jack Sack. Sack maintains creative control of his solo debut, Silver City, by playing most of the instruments, writing the songs and producing. Yes, this is pop for discerning adults who like a little bit of country with their gentle, adult-themed rock songs. Opening with a lone harmonica complemented by a sweet and steady pedal steel, "Ain't that Enough" fuses the Eagles with "Heart of Gold" period Neil Young. The jangle of "Something's Gotta Hold" sounds as if Sack's muse made a brief stop in Athens, GA to trade tips with REM's muses. This is not to imply that Sack's songs are borrowed wholesale from Tom Petty and Dylan templates; Silver City is simply another CD that continues the exploration of what happens when country, rock and earnestness mix. -- dd
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Kevlar / Let Me Worry Some More / The First Time (CD)
In order to atone for the Cardigans' terrible sins against the music world, Sweden has given us Kevlar. In sharp contrast to the
aforementioned band's bland musical stylings, Kevlar deliver razor sharp,
phaser drenched punk-meets-shoegazer soundscapes. Let Me Worry Some More
sits somewhere between Jawbox's Grippe and Swervedriver's Mezcal Head, the brash rhythms and lyrical prowess of the former combining with the
shimmering, spaced-out guitar pyrotechnics of the latter to form swirlingly
crunchy space punk nuggets. Songs like "Laughing Stock" and "Accidental
Scene #2" bristle with ferocious energy and lilting melodies, while Johann
Sellman's J. Robbins-like vocal delivery glides over the top. An album of
apparent contrasts, Let Me Worry Some More proves that opposites do attract,
while at the same time allowing Sweden to once again walk proud in musical
circles. -- jj
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Mary Lou Lord/Sean Na Na / split EP / Kill Rock
Stars (CD)
This split EP is Lord's first work since Got No Shadow --
apparently touring took its toll on her, both physically and creatively.
Lord's music works best in small doses, and the three tracks here are just about
the right size dose.
The rockabilly bop of "Bang Bang" gives way to the charming
twang of Lucinda Williams' "Hard Road", and on "Aim Low" Lord
once again proves that she can pull any Bevis Frond song out of
obscurity. However, it's Sean Na Na, aka Sean Tillmann (you
know him from Calvin Krime), who delivers the disc's true pop
treasure: "Princess and the Pony," a skewed pop anthem that ends
at his funeral, where he urges his friends to drink whiskey and
"shake your ass around my casket." The sing-along-able "Stretch
Marks" and the Lucky Jeremy cover "My Old France" deliver
satisfying pop goods as well, making for a truly well-balanced
EP. If nothing else, it's an enjoyable way to spend 15 minutes. -- gz
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Moth Wranglers / self titled / Mother West
(7")
I don't know whether to crack up laughing or shy away in disgust from the Moth
Wranglers. For lack of a better description, "Turnabout" sounds like a swingin' country 'n'
western tune in which Morrissey grabs the mic and sings about British serial killer/cannibal Dennis Nielson. Sounds too good to be
true, huh? The flip side, "New Mission Terrace #47," is a dreary, moaning number in which haunting harmonica lines drift in and out of
consciousness as the Loud Family's Allison Faith Levy trips through a hazy-yet-striking verbal lamentation. A band with a bipolar
personality that's equal parts amusing and alluring, it's time to enjoy the Moth Wranglers. -- am
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Plow United / The Dustbin of History / Coolidge (CD)
Ahh, the days of early 90's pop punk all-boy trios! If you missed the Plow United bus way back when, not to worry. Coolidge has gathered all the songs you might have missed -- b-sides, compilation tracks and the like -- and put them together on an expansive 27 song CD. All the great songs like "Dance (Better Than I've Ever Seen)", "Beat Up Radio", "Yes Sir!" and countless others are here. One nice thing about this comp is the band themselves comment on every song in the liner notes; they offer tidbits about when they first played the songs, identify extraneous noises in the songs and give other golden nuggets of information to impress your friends with. A nice addition to anyone's punk collection. -- h a-n
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Alien Crime Syndicate / Dust To Dirt / Collective Fruit (CD)
Alien Crime Syndicate's Dust To Dirt is a wonderful space-and-surf pop album whose songs
deserve a bigger galactic chunk of the radio than the omnipresent Smashmouth. Quirky lyrics ("Did you come here before, little astronauts?") and
even quirkier lyrics ("If you could spread the sea while passing the time")
give timeless pleasure to the well-constructed pop songs, making this an album well worth owning. Though a stronger lyrical obsession with space could have
made Alien Crime Syndicate educational to boot, it's welcome enough to have
songs like "Atmosphere" beaming off our radio and into the suns. -- td
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Phil Reavis / Drive Through the Fields / Self-Released (CD)
A veteran of nearly a dozen bands, Phil Reavis has most likely played just
about every type of music imaginable. Drive
Through the Fields gives him the opportunity to let fly with waves of lo-fi bluesy surf guitar
licks. Reavis' influences stem from Dick Dale to Stevie Ray Vaughan, showing
equal love for each's distinct style of play. "Return to Zero" adds muted
horns over Reavis' dueling cascade of gentle strum and Dale-like noodling.
Reveling in its lo-fi roots, the album has a warm, lived in quality. A
worthwhile experience Drive Through the Fields proves to be nothing too
flashy -- just a nice instrumental journey through those lazy rural summer
nights. -- jj
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Spring Heel Jack / Treader / Thirsty Ear
(CD)
This is Spring Heel Jack's first album since 1997. Once
heralded as bright stars of the drum'n'bass future, Spring Heel Jack never quite found
an audience -- or at least not a big enough audience to matter. Perhaps their time has
come with Treader. Rather than opting for the brutal
simplicity of µ-ziq-style drill'n'bass, John and Ashley
have once again pursued a jazzier, noir-ish mood
(somewhat in the vein of We or DJ Spooky), fusing "traditional"
d'n'b sounds with massive, cinematic washes of dischordant
sound. The results are rockier and less predictable, only
occasionally lapsing into the overly familiar rhythms that
characterize -- or rather, fail to characterize --
bog-standard drum'n'bass. Songs that pursue less obvious
percussion choices, like "Winter" and "1st Piece for La Monte
Young", are Treader's high points. -- 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 | rd - ron davies
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