 |
     
|
 |
|
OUR WEEKLY COLLECTION OF SHORTER REVIEWS
|
Clock Strikes Thirteen,
Holly Golightly,
Gladshot,
Paris@2AM,
The Subliminals,
Spinanes,
Sodastream,
Dora Flood,
Songs for the Jet Set 2000,
Dynomite D,
The Plan,
Redefine the Rockstar Vol. II,
Liberty 37,
Parasol's Sweet 16, Vol. I,
Craig Bennett,
Flupejac,
Call Florence Pow,
Red Elephant,
The D4,
Melophobia
|
 |
Clock Strikes Thirteen / Ever Decreasing Circles / Drive-In
(CD)
Clock Strikes Thirteen plays the kind of elegant, dreamy pop with which the
Stone Roses conquered the world. The songs, which include re-recorded versions of the band's earlier
singles, unfold gently, like a lazy summer day. As you relax in a
chair, sipping a daiquiri and watching clouds go by, the fanciful guitars
and ethereal organ quietly wrap themselves around your brain, drawing you
deeper in ever-decreasing circles. Unexpectedly, you find yourself humming
along and you realize that, at least for this whimsical hour, all is right
with the world. -- rd
|
 |
Holly Golightly / God Don't Like It / Damaged Goods (CD)
He might not like it, but God bless Holly Golightly. The English Headcoatee is
back for her umpteenth solo album and, as expected, it's mighty fabulous. Her unique garage guitar twang is there in all its glory, as is
her sultry, nicotine-coated voice belting out busted-up love songs. The alternating female/male vocals on "Feel Something" are a doozy. The fervent mood of "Pretty Good Love" is enough to make your mouth dry. Please, please, please won't someone get Holly on a
label in the United States with some decent publicity and tour support so that more people can know the genius that she is? Until then,
buy this album, buy all her albums and fall in love with brilliance. -- ha-n
|
 |
Singer/songwriters Mike Blaxill and Debbie Andrews join forces with some
session players to create this rootsy and intricate CD under the name
Gladshot. Several of these tunes remind me of hanging out at your favorite late night neighborhood bar as a band casually strums through its set on
stage. It's relaxing and lucid. A few tunes cross over to the alternative-lite
arena, but the majority submerge themselves in an eloquent set of
speculative lyrics that unwind into an unswerving, moody vibe. Mike belts
out some strong and catchy choruses as Debbie's innocuous B3 and Wurlitzer
piano add some subtle-yet-unique undertones, producing a well-rounded,
satisfying collection. -- am
|
 |
Paris@2AM / It wasn't an accident but it should've been / No Karma (CD)
Perhaps it's just me, but I hear a lot of the deceased d.boon in Cody
Litkey's voice, especially when things slow down a little and the lyrics become almost spoken, as in "Pieces of Betrayal". Take away the words (To complicate things/The lights are growing dim/And I'd rather be outside) and
it might as well be the (latter day) Minutemen. The group definitely sounds
as passionate about their music, and as inspired. Still, you can't separate
the lyrics: rather than screaming "Let's have a war", an emo band seems to
always say, "Let's have a heart-to-heart". And while I think this often
works to better effect than the postpunk bands I grew up with, Paris@2AM
sound like they should be yelling stuff that defies the idea that
Middle America is made up of really sweet people. Thus, when they confess
"I've done my share of wrong/It's easy to admit", I pretend they're cussing. What can I say? You do what you can -- even turn a smart band
into immature twits -- in order to appreciate the albums you own! -- td
|
 |
The Subliminals / Crystal Chain EP / Flying Nun (CD)
I once had a dream that I was trapped outside and it began pouring down crystal vases and Wedgewood serving dishes...none of which has any real bearing on this
review, except that I couldn’t think of a proper opening and, well, crystal vases are sort of like a Crystal Chain. Regardless, I don't know much about
the Subliminals. The Crystal Chain EP offers no informative liner notes. Presumably the group is from New Zealand, as they're signed
to Flying Nun Records. The album was recorded in a woodshed, but far from being a twangy backwoods romp, the Crystal Chain EP reveals itself to be an
atmospheric explosion of dissonant guitar shapes and wicked vocals. Instrumentals such as the title track and “Bug Powder” begin slowly, methodically stacking
layer upon layer of textured, feedback-drenched guitars to form feverishly spiraling mantras to the heavens. Elsewhere, as on the crushing “Compulsion Engine” the
band couple a placid strum with chiming, crunching guitars and neurotic vocals to create a beautifully demented wall of sound. Mysterious, imported and fantastic -- that’s the Crystal Chain EP. -- jj
|
 |
Spinanes / Imp Years / Merge (CD)
This one should be a no-brainer. Pulling together the Spinanes'
two essential Imp Records singles and a couple of hard-to-find
tracks, Imp Years will fill the holes in your Spinanes
collection -- or start it at its historical beginning. Though
the last two Spinanes albums tended towards codeine-laced
musical understatement, Rebecca and Scott could rock quite
capably when the occasion warranted, as "Rummy" and "Messy
Shitty" prove. Frankly, a pop gem like "Hawaiian Baby"
justifies the cost of Imp Years by itself. If you don't
own the original 7" singles, you need this. Period. And if you do
own the original 7" singles, you no longer have to worry about wearing 'em out (if you haven't already). -- gz
|
 |
Sodastream / Practical Footwear / Drive-In (CD)
John Peel featured this Melbourne duo in his Festive 50 for 1998. I should have listened to
the old fogey. Sodastream went on to play at the Bowlie Weekender Festival that same year. I should
have gone. The band has something good going on this EP. Their music is inoffensive and
austere. Led by Karl Smith's tender, matter-of-fact mumbles, Sodastream's folk rock delivers a
kind of aural wallpaper. The sober and elaborate piano, cello and violins blend with Smith's
voice and dreamy guitar to produce diffuse, twinkling tunes such as the lilting "Autumn Song" and
the haunting goodbye called "West 45th". "Hope Grocery" has the pace of a world-weary hitchhiker
on the highway, and juxtaposes a morose bass and languid guitar. Without giving too much away,
Practical Footwear sounds lyrically and musically like an emotional journey in which a
harrowing search for one's place is mistaken for courageous perseverance. If you've ever had a
soft spot for the musical truth-speaking of Belle and Sebastian, Aimee Mann or the Smiths, then
strap on some Practical Footwear. -- dd
|
 |
Dora Flood / Lost on Earth / Double Play (CD)
Like a strange trip through 60's psychedelia craftily blended with shoegazer
dramatics and Brit-pop charm, Dora Flood strolls through some familiar
territory to make a distinctive and inviting CD. Vocalist Michael Padilla
reminds me of Radiohead's Thom Yorke, while the music is an arousing
mixture of Spacemen 3 cloudiness and The Verve's early days of low gravitational pull pop. It sounds confusing, I know, but Dora Flood does a
great job pulling these distinct influences together into a cohesive bundle
of gorgeous sonic bursts; it'll calmly burn through you with an unnerving
and passionate modesty that's anything but sluggish or compromising.
Exceptional cuts include the low key, slow buildup of "Mafioso" and "1000
Yard Stare," with its slinky pop lines and memorable melody. -- am
|
 |
Various Artists / Songs for the Jet Set 2000 / Jetset (CD)
As you've probably guessed, this is the latest in Jetset's series of cinematic
retro-futuristic pop compilations. The regular stable of bands, including
Tomorrow's
World, Death By Chocolate and Wallpaper (all suspiciously exclusive to this
compilation series), are back with another batch of
cheery tunes perfect for your next international vacation. Not as sugary
as other pop compilations, Songs for the Jetset 2000 seems to have moved
its focus further along the sixties style timeline, embracing the psychedelic
pop aesthetic on tunes like Death By Chocolate's highly hummable "My Friend Jack".
As with the previous two volumes, Vol. 3 can't really boast any
moments of show-stopping brilliance, but is bubbling over with pleasant (if
lightweight) diversions. -- gz
|
 |
Dynomite D / By the Way! / Team Slabco (CD)
I'm no connoisseur of hip hop instrumentals, but you'll find some great ones on By the Way!, with classical bass grooves that keep your mind on the good
things in life, like your heartbeat. Spiced with lively, humorous samples
that actually add context to the individual songs, the record continues
along the sort of smooth playfulness many have come to expect from Dynomite
D's notoriously good remixes (of songs by Modest Mouse and the Beastie
Boys). Clocking in at just under thirty-five minutes, the 15 tracks on
By the Way! are also blessed by Dynomite's knowledge of economy and
his reluctance for repetition. It's also a highly recommended gift for any of
your friends who want to get started in rap; even if their rapping sucks,
you could sure dance to it if Dynomite D is backing them up. While I never
would have imagined a time when I would start preferring the music over the
words in this genre, this introduction to the mastery of Dynomite D makes it
time to reassess. -- td
|
 |
The Plan / This Time is not This Place / Matlock
(CD)
If you gave instruments to four rabid, super-intelligent madmen, this is the
sound they would make. Trapped somewhere between hardcore and math-rock,
the Plan create convoluted, challenging diatribes with enough twists to
make Shudder to Think jealous. Although it is almost impossible to
comprehend the yelped lyrics, they offer stream-of-consciousness poetry
to match the twisted music. The combined effect is incredibly urgent in
a non-specific direction and creates a troublesome soundtrack for an
uncertain new century. -- rd
|
 |
Various Artists / Redefine the Rockstar Vol. II / 3:16 Productions (CD)
The bloke who devised the blueprint for Brit boybands recently wrote about the bland contemporary
music landscape, saying "...all of the taboos have been broken. Pop [rock before it became
fluffy pop] has always needed to provide something that will shock parents." Well, umm... he is
so not looking in the right places. This is just that sort of disc that will have Dad out of the
la-z-boy and at junior's bedroom door in 3.5 seconds, while finally deciding to have the
youngster taken away and "re-educated". Fury, fire and musical mayhem is what this second
installment from New York City's 3:16 Productions' Redefine the Rockstar series is all about. The disc features a cross-section of talent covering indie rock (Life of Riley's "Dishwasher"), speed punk (Five Cent
Deposit's "Things Ain't Fine") and thrashcore (Orcus' "Here Comes the End"). Charnel's House's "A
Tale of Murder" and Salted Wounds' "Dead Alive" sit on the fast and dirty, fuck-off end of the
continuum. Sitting way on the other end, Dead Emotion's vocalist sings with a Mark Burgess-like
despondency on "Nothing to Die For", while "Asgardian Jam" is an organ-led, Doors-like instrumental
by Forgotten Gods. For teens augmenting their rebellion with an audio arsenal, Redefine
The Rockstar: Volume II is essential. -- dd
|
 |
Liberty 37 / The Greatest Gift / Beggars Banquet
(CD)
These Welshmen, already on their third band name (you might know
them as Travis Inc. -- not to be confused with the other
Travis -- or Applecore), are getting a lot of attention on the
metal front. That's rather odd, as they're basically a really
solid, robust power pop band, specializing in
intricately-layered guitar harmonics. It's a formula that
includes a little bit of Britpop, a frisson of
Hüsker Dü and a spoonful of Pearl Jam, with the
melodic heights and mainstream lows that the combination
implies. At its worst occasionally anonymous, The Greatest
Gift is always listenable. If you buy rock and roll records for the
guitar action, you'll definitely get your money's worth here. -- gz
|
 |
Parasol's Sweet Sixteen Volume One / V/A / Parasol (CD)
My first thought on hitting play was, "Hey, what's
a Belle and Sebastian song doing on a Parasol Records compilation!?!" So
I started poking around the liner notes and discovered a strange thing
-- at the end of the blurb about each band, there's a little note that
says: "Most common comparison:" Sure enough, for the first band,
Starlet, the "Most common comparison" is Belle & Sebastian. Now I don't
know about you, but I'm not so sure that setting things up that way is
such a good idea. It's hard enough to write reviews without
endlessly refering to other bands, but to have the record company do it
for me makes me think of those cheapo perfumes: "If you like that
expensive perfume, Smells Like Feet, you'll love our new scent Smells
Like Ankles, at only $.65 an ounce!" My point is that it's now
impossible for me to listen to this CD without thinking of the "Most
common comparison" bands instead of the band I'm listening to! And the
spooky part is that an awful lot of these bands really do sound a lot
like their comparison bands...the aformentioned Starlet tune "Diary &
Herself" is dead-on Belle & Sebastion. Very Secretary's "Sister Psyche"
will sound awfully familiar to Elliot Smith fans. "Chemical King" from
St. Christopher is not un-Suede-like. You get the idea. On the upside,
this is a really fun CD, with a wide range of guitar-based alterna-pop
by 16 fine bands. Still, the whole
"Most common comparison" thing feels kind of cheap to me, as if these
bands aren't good enough to stand on their own without a little "Pop
Music For Dummies" guide thrown in. They are. -- ib
|
 |
Craig Bennett / More City Sadness / Black Cottage
(CD)
Craig Bennett is a kind of cross between catchy Brit-pop and pensive American
indie rock circa early REM. Jaunty rhythms, punchy drums, catchy choruses,
breathy vocals, dour demeanor and the occasional string part combine to
make the
effect. Clever lyrics abound. They generally go something like this (from the
title track): "The good news is, I can read your mind. The bad news is, it
was a
short read." I can't say I'm smitten by More City Sadness, but I can't
say it's a bad album either. I know people who think it's brilliant. For me,
it's a bit too moody for its catchy melodicism. And I'm actually quite
annoyed by
Bennett's whiny vocal style, I guess there's no accounting for taste! -- nw
|
 |
Flupejac / Like It Is / Flupejac (CD)
Flupejac's bio claims that their style is a mixture of Hüsker Dü and Black
Sabbath. While I hear the intense, sonic-reducing Dü quality embedded in
several of these songs, I can't recognize any Sabbath, except for a few
brief noodlings. Nonetheless, Flupejac lets loose a volley of focused
vocals that piggyback on top of McRitchie's guitar lines, creating a group
of sturdy numbers that could easily ride the indie rock radio waves.
There's a little bit of repetition here, but for a debut, Flupejac have
craftily created an unblemished sound that probably translates excellently
when you see 'em live. Get ready to digest some distortion, feedback,
melodious vocals and tight musicianship, and sit back for a robust musical
meal. -- am
|
 |
Call Florence Pow / These Are the Plans... / Spongebath (CD)
I pretended to be in a band for a time when I was in 11th grade, and duped friends with
homemade tapes of the Replacements' Shit Hits the Fan, claiming that it
was my band in concert. Due to the bad sound quality and sheer lack of
musicianship on display, everyone believed me...and were unimpressed. Had I
tried to pretend I was in Call Florence Pow, though, there'd be disbelief
and jealousy. This amalgam of hip hop and acoustic pop is what happens when
clever young musicians use their gifts to help them remember facts about the
periodic table (I'll just rock you everyday/With hydrogen located/On the
left side of Group A) or the game of love. The songs are rich, varied, and
always centered within the lives of what young people are really thinking
about: hence, there are even lines about LA Gears on this CD. If Call
Florence Pow could get a video on MTV, I bet they'd be bigger
than LFO. -- td
|
 |
Red Elephant / ...more sounds from spaghetti westerns / Aware (CD)
Damn it, I really need to stop reading the press materials that come
with review CDs. More often than not the marketing crud has exactly the
wrong effect on me, and ends up coloring my perception of the music. For
instance, Aware Records goes on and on about the fact that there's a
'cello on this CD. Which of course made me think: "A 'cello, no way,
like what's a fancy classical music instrument like a 'cello doing on a
cool alterna-rock CD? These must be really advanced, sophisticated
musicians to have such an esoteric and hard-to-play instrument on their
record. How daring and unconventional of them." Barf. Okay, I'm over it
now. Anyway, this is a pretty nice CD. The singer, Ken Fountain, has a
versatile voice that's sort of a mix between Julian Cope and that Eddie
Vedder fellow. In fact the music has a definite Pearl Jammy side to it,
although it's funkier and generally more mellow, almost lounge-y in
places. The playing and orchestration is consistantly interesting, and
the band has really managed to create a cohesive, identifiable sound,
with 'cello and sax nicely complementing the standard guitar/bass/drums
rock setup. The downside of that is that the songs are a bit hard to
tell apart, at least after the first few listens. They're more groove-oriented than melodic, which is good for your butt but makes it a little
hard to sing along. No worries though, this is good stuff, and well
worth a few extra listens. -- ib
|
 |
This Kiwi foursome dishes up Stooges-descended three-chord rawk
for those who need their musical roughage. Brash, loud and
greasy, this quartet of feedback-washed tunes is a perfect
soundtrack for sitting around drinking beer, smoking, fighting
and bragging about your exploits with the opposite sex. It also sounds good in your car,
turned up far louder than your speakers can handle. There are
absolutely no surprises here, but that's okay -- this is
primaeval stuff, and all it needs to do is rock...and if you say
it doesn't, I've got a broken beer bottle with your name on it. -- gz
|
 |
Melophobia / Strategic Marketing / Isis Productions (CD)
In everything that I have read about this Canadian duo, much ado has been made about their age (19)
and their "polished, professional CD produced...in their basement" for $8000. Why is it so
surprising to find young musicians who are talented and exhibit a professional and meticulous
control when making their music? Mike Southworth and Craig Newness' variety of acoustic-electric rock
is a dense and polished debut. The duo's sincere guitar pop dips into Dave Matthews and
Radiohead territory whilst avoiding a case of carbon copy-itis. Precious moments include "Lumen",
a tune which owes a debt of thanks to the Smashing Pumpkins' "1979", and the piano-strewn poetry of "My
Synthetic Heaven" in which Southworth sings, "I heard the sound/when my dreams hit the ground".
Many of the tracks contain an eyebrow-raising emotional maturity, as on the tender "Like Paul
and Linda" and the reflective "30 Years". Age ain't nothin' but a number to these guys. They just
get on with it. -- dd
|
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
|
|
|
Think you're hard, d'yer? Then subscribe to Splendid's weekly e-mail update!
|
|
|
| |
