|
April Reviews Artist of the Month: Atom
and His Package This is the latest and quite possibly the greatest by the ultra-cool one-man band Atom and His Package. An addictive tourer and writer of quirky songs, Atom (Adam) pursues the magic that has established himself as a bright spot in a sea of sludge. Though I think that Atom's slew of past releases are top-notch, when I first heard this I thought that it was bit recycled. Meaning it seemed that he was just poppin' out the same stuff in the same formula. At heart, that assessment is probably true, yet Atom comes through with the goods on Attention!.
The
Adventures of Jet
Muscle is maybe one of the strangest releases to come out this
year. Not strange like noise-core, randomness nonsense, but strange
due to The Adventures of Jet's (AOJ) musical worship of new wave
pop and 70's prog-rock. The allegiance to electrified 70s rock
is amazing and at times scary. The story of AOJ seems to arm themselves
to produce such music. Formed in 1998 in Dallas out of the ashes
of concept-driven, costume-clad BOBGOBLIN, AOJ quickly worked
to make a new name for themselves. Their first release Part
3: Coping with Insignificance in 2000 met critical acclaim
and propelled them forward to continue on the path laid before
them. As with their previous history, Muscle is a concept album.
It focuses on the power and awesomeness of muscle cars and how
one day you realize life sucks and is fleeting. The songs could
and probably should be anthems for American car companies and
Americans need and desire for horsepower. The album kicks off
with some banter about cars and racing before moving to the afore
mentioned bizarreness. The muscle car theme is easily demonstrated
by song titles like "Run Charger," "Drag,"
"Fairlane" and "The Last Ride." This latest
release by AOJ is the type of album that you want your friends
to hear, at least once, to experience the poppiness mixed with
the testosterone-driven 70s prog-rock.
ANTiSEEN The
Vault of ANTiSEEN continues with the resurrection of this Southern
brand of white trash punk from ANTiSEEN. The album, originally,
was an Australian release. Like many early Australian punk bands,
this album
The
Birthday Machine
This is the forthcoming four-song 7" from this quintet from
Vancouver. The Birthday Machine play mild-mannered and medium
tempo indie-rock that focuses on soft vocals that soothe tempers.
The Birthday Machine moves back and forth in the songs between
male and female singers, but they could benefit from some more
mixing of vocals within songs. As a first 7", this is some
great stuff. The 7" starts off with the ultra-pleasing "The
Birthday Machine," before moving to the oddly familiar sounding
"Victory Chords." This is followed by the title track
that sounds very similar to "The Birthday Machine."
The final song on the 7" is a remix of "Closet Superhero"
by Cowbell (?). The song is of good quality with what appears
minimal over-the-top remixing; but of course you need to know
what the original sounds like to compare. It seems that Vancouver
is an ideal place to pump out good bands like The Birthday Machine,
but I've barely heard of any.
BoySetsFire This ultra-political emo-core band from Delaware continues on their pursuit of perfecting their craft. Started in the mid-90s, BoySetsFire (BSF) have come to distinguish themselves in the cluttered world of punk and hardcore. At their start, BoySetsFire played mostly hardcore bills, where the super melodic changes and soapbox lecturer of lead singer Nathan Gray often created grumbling and at points boos from crowds just looking to throw down. Nevertheless, BoySetsFire never compromised on their sound and what they are about. Since, and particularly recently, bands have used the tracks laid by BSF to launch their own sound. Hence, BSF often find themselves lead a new charge in the underground music world. After bouncing around on a number of labels (e.g., Magic Bullet, Initial, Equalvision and Victory), BSF signed with Windup a short time ago.
Noam
Chomsky If you have never heard of Noam Chomsky than it is most likely that you have been living under a rock or you aren't old enough to have run into intelligent political dissent. The world-renowned Chomsky, professor of linguistics at MIT, has spanned the intellectual world producing work on linguistics, philosophy, politics and media to name a few. This DVD includes a talk on the U.S. "war on terrorism" from Harvard University and a question and answer session from that talk and from MIT. Also, the DVD has Chomsky's bibliography, biography and CV. Throughout the talk at Harvard, Chomsky attempts to place and discuss the war on terrorism in a philosophically logical way. Meaning, start with a set of assumptions, move through a set of arguments and arrive at a set of conclusions about the given topic; here terrorism. While taking slight shots at the Bush administration, Chomsky gives this administration and past administrations the benefit of the doubt in many respects concerning foreign policy and fighting terrorism. Chomsky also discusses the veil of ignorance placed on most Americans by the news media and the historical record. Meaning, people, from whatever country, only know what they are told or experience in the first person. Hence, most Americans know foreign policy through the eyes of the American media; a media that skews facts and distorts motivations to fit the world-view. (Yet, it should be mentioned that all media from different parts of the world filter information through their world-view.) Most importantly, Chomsky discusses the mid-80s (specifically, 1985) and how the terrorist events most discussed were tiny events compared to state "terrorism" in other events in the Middle East. The question-answer section of the DVD includes fifteen questions from both the Harvard talk and a different talk that appears to be at MIT. This is about an hour long and Chomsky comes across as more combative than in his talk; at times, like he is under fire. Well, actually, he is combative at the Q&A at MIT and much less after the Harvard talk. Chomsky fields questions on many topics from the U.S. dealing with terrorism, Israeli-Palestinian relations, U.S. and oil and the war on drugs in Central and South America. The biography and the bibliography should be placed on the CV given that what encompasses a CV. Regardless, here the biography is his academic life in paragraph form. The CV is basically the biography in bullet points. Amongst this, it is interesting that Chomsky grew up in Philly and did all of his schooling at Upenn. He then went to MIT for his first job and has been there ever since. Also, in the past five years or so, Chomsky has received honorary degrees from like 20 or so universities and many of these are the best in the world. The bibliography contains lists of his political books broken up by time. It would have been nice to see more in the bibliography section, e.g., all written material or at least articles on politics; though, it would take up a lot of space. Distorted
Reality is perfect for someone who has Manufacturing Consent
perpetually on their bedside table. Also, it is a nice complimentary
piece to Chomsky's recently published monograph 9/11.
Copeland This is the second release for this four piece from Atlanta and the first on the Militia Group. They put out a split-EP with Atlanta-based Pacifico a short time ago. Copeland is originally from South Florida, but went to Georgia to escape a saturated scene in the Florida. Copeland play mid-tempo indie-rock, emo if you will, and try to vary the landscape of tempo, instruments and meaning throughout the eleven songs on the album. Beneath Medicine Tree starts out in a beautiful and magnificent way with the piano-laden ballad of "Brightest." It is probably the best song on the record and stands out for the most part with its reliance and focus on piano. As such, starting the album with this song may have not been the best strategy as it sets up beliefs of what to expect throughout the rest of the album; beliefs that turn out to be false. Nonetheless, Copeland excel on other avenues on the record. The second song on the record "Testing the Strong Ones" is a light pop rock of goodness and is more characteristic of Copeland's sound. One downside to the record is that as it progresses, lead singer Aaron Marsh employs more high-pitched singing (a la, Onelinedrawing, etc.). Though effective on the emo-tip, it often distracts from good listening. That is, it feels pushed, unnatural, something that may make you cringe. Though the upper range singing works on some songs (e.g., "Priceless"), it falls flat on others (e.g., "California," "When Finally Set Free"). This is unfortunate on a song like "California," which is wonderful otherwise as a long-winded ballad. Other standout songs on the record include "She Changes Your Mind" and "When Paula Sparks." (As a side note and has been the tradition of the Militia Group, the CD booklet design is top-notch and very cool.) There are some good things and some bad things about Copeland, but there is a heavy weight to the good on Beneath Medicine Tree.
Dead
Kennedys The
semi-resurgence of Dead Kennedys comes with political and ideological
baggage. Fans of American punk have to decide whether they are
on the side of ousted vocalist Jello Biafra or the reformed, litigious
band.
Deerhoof
When I first put this latest in from Deerhoof into my player,
I was like "what the hell is this crap?" Partially,
I was not expecting such an extreme amount of art-punk on the
album. Also, I immediately minimalized any of their abilities,
throwing it off to junk that I could whip up in my room in a day.
But what I didn't realize then as I do now is that Deerhoof is
like a virus. Their catchy babbles infect you and you want to
keep listening to it over and over again. However, without the
magic of vocalist and bassist Satomi, Deerhoof would be just random
rock. Although there are lyrics they more like just rhythmic babblings
that dance excitingly with the music. This is the essence of Deerhoof
and one of the main reasons that they will and have had success.
Though Deerhoof is schizo by nature some songs emply traditional
riffs (e.g., on "Dummy Discards a Heart" and "Apple
Bomb") as well as new wave musings (e.g., "L'Amour Stories,"
which sounds hearteningly like 80s "Japanese Boy" by
Aneka). Other stellar tracks include "Dinner for Two"
and "Heart Failure." Deerhoof have scores of other releases
on Kill Rock Stars (this is the fourth for them) and other labels
that are all now fair game for attacking. I now know why rock
genius Thurston Moore is counted among Deerhoof's many fans.
Evanescence
This four piece from the unlikely locale of Little Rock, Arkansas,
first smashed onto the national scene a couple of months ago with
the release of their first single from Fallen and the Daredevil
soundtrack "Bring Me To Life." "Bring Me To
Life" quickly made the mainstream rock world begin to salivate
over the future music of this band. Now it is here and it does
little to disappoint. The essence of Evanescence is Amy Lee's
beautifully epic lyrics over the post-industrial rock background
driven by guitarist Ben Moody. Truly without the power of Lee's
vocals, Evanescence just be another ordinary mainstream rock band;
Lee takes them to the next level. Evanescence also slows it down
with some nice piano action on songs such as "Hello"
and "My Immortal," the song during the funeral scene
in Daredevil. Other standout tracks on Fallen include "Tourniquet,"
"My Last Breath" (which promises to be a hit single)
and "Whisper." Based on the already proven success of
"Bring Me To Life," it appears that Evanescence is about
to explode and be the next big thing.
Joan
of Arc Here comes the sixth album from these Chicago stalwarts of the underground indie-sound. On So Much Staying Alive and Lovelessness, this four-piece from Chicago concentrate on bringing back the essence of rock foundations mixed with their sense of punk traditions and indie eclecticism. More importantly, the eleven tracks on the record are considerably easier for the average listener to enjoy and understand than much of their past material. That is, past records from Joan of Arc often floated into a realm of abstraction that few could truly appreciate. At the same time, it is not as if Joan of Arc ever suffered from a lack listeners and people willing to be exposed by the previous material. So Much… was a two-year project where Joan of Arc moved away from computer arrangements and extreme layered tracks and back to live-band-in-studio composition. Also, there is a significant collaboration between elements of JOA and sister band Friend/Enemy. The payoff is huge. So Much… starts off with "On a Bedsheet in the Breeze On the Roof" that sounds as though it could have been lifted from past Cap'n Jazz material; well, clearly it is a stylistic issue attached to the vocals of Tim Kinsella. "On a Bedsheet…" lays the landscape for the rest of the record; a characterization of guitar-driven indie-rock multiplied by the varying instruments (e.g., cowbell, piano, steel drum, violin, etc.), eclecticism, experimentation and harmonies of past JOA releases. Part of this characterization includes a penchant for five and six minute songs, which forces the listener to take in the whole song or lose out on significant moments. Meanwhile, parts of "Perfect Need and Perfect Completion" sound as though Moby had a hand in producing the track. This track contains a very catchy section that it is armed with a Wurlitzer and pedal steel that receives some heavy head nodding from the listener. This is then followed by the electric piano banging of "Olivia Lost" and violin basting and fast speech of "Diane Cool and Beautiful." One of the coolest songs on the record is clearly "Participation Billy." The song has this French monkey grinder organ under-element and with a trippy piano placed over it. Though the lyrics are inherently melancholy, the music itself is beautiful. "Mean to March" contains a mind-sticking guitar buildup that adds considerably to the enjoyment of the song. Also check out the great slow and methodical march on "Madelleine Laughing." As with past Joan of Arc releases, So Much… is frightfully in-depth and eclectic, but its refocus on the elements of rock sets itself apart. The songs are all well thought out and planned and one would have a close to impossible task to improve on them. Joan of Arc are hitting the road to support this release, so watch them re-create this masterpiece.
Muggs DJ
Muggs is legendary as a producer for Cypress Hill, but do not
put this on looking for phat beats about fat blunts. There is
a downbeat, atmospheric beauty that is more like Joy Division
crossed with The Smiths
Party
of Helicopters This is the latest from this relatively veteran rock band from Ohio. Started in '95, Party of Helicopters (POH) have essentially released something everything year and this is probably their best to date. Obsessed with front-loaded fuzz lead guitars, POH attempt to sway the listener into their world of rock eclecticism. Hence, many people of varying musical persuasions can find solace in their songs. POH also tends to utilize high-pitched vocals, but when those are minimalized one can detect a competitor to Sebadoh. However, before you can enjoy the record you first have to get through amazing packaging job done by Velocette; including a wicked sticker over the opening to the card-paper case. While POH are noted for tackling issues with amazing verbiage (e.g., the Swedish invasion), I am most interested in the pure rock formulation. While POH have a penchant for epic five minute songs, which do add goodness, the most beautiful, omnipresent tracks include "Cover Me," "Mic My Mind" "Brutal Enigma" and the very poppy chorus-orientated "Neverending Cycle," which is likely to get serious spins at college stations. For accustomed tastes of indie-rock this is exactly what you want on your shelf.
The
Patty Duke Fanzine #4
This is somewhat odd and confusing, but this is a double 7"
that comes with the Patty Duke Fanzine (#4). There are six cover
songs by artists that I've never heard of Patty Duke songs (or
cover of a Patty Duke cover). Except for the first song by Mark
Robinson, the other five songs are some form of electronica. One
of the best is Steward's rendition of "The World is Watching
Us," with a great catchy chorus along with the right static
and keyboards. Panicsville's "My Own Little Place" uses
a robot voice with slightly off-timed keyboard blinks throughout.
Following this is The W-Vibe's "Save Your Heart For Me,"
which sounds like that dude Dr. Demento (?) who sang that "Fish
heads, Fish heads" song. Delta Waves provide a spacey feel
along with robot vocals and throbbing feedback on "Dear David
(theme from Me, Natalie)." Rounding out the record is Frankie
& the S.E.M.M.'s long-winded, video game and radio static-orientated
"Blowin' in the Wind." The stuff here is pretty cool,
but I get the feeling that I am missing out on an inside joke.
Stairwell
Initially released on Takehold Records in 2001, this is a debut
re-release by Hopeless Records of The Sounds of Change
by Stairwell. Started in 1995, Stairwell comes out of the constantly
explosive scene of Orange County, CA, but they try to distance
themselves from Orange County's punk beat reputation. Stairwell
plays mid-tempo, upbeat and poppy rock. Nothing is done too fast,
nothing is done too slowly. At the same time, they are not too
bad, but not too great. Stairwell writes very pleasing songs,
but does little to elicit an emotional response from the listener.
Hence, Stairwell's songs are often forgettable after the song
is over. Often times they are close to kicking out great songs,
but seem to miss on a few spots here or there. For instance, "Breathless"
could be an amazing song, but they seem to be just offer target
in their arrangements and construction. Given the "no harm,
no foul" style of music on The Sounds of Change, I
honestly believe that Stairwell will find success in their musical
endeavors within the mainstream rock market.
The
Trembling
This is an enhanced CDEP coming out in May from these indie-rock
specialists from Detroit. It is enhanced by some video components
that weren't on the copy I got, so I can't vouch for that. But
what I can vouch for is that the Trembling are way better than
I could have imagined at first glance. They play a dirty style
of up-tempo indie-rock that sounds like the fast songs from early
Superchunk material. Main vocalist Kelli Miller provides memorable
guitar rhythms and is backed by the thumping bass of Monday Busque
and consistent drumming of Brandon White (on the EP; now Jason
Vast-Binder Sherman provides the beatings). Miller's vocals are
like the way-too-art-school girl that you can't believe actual
sounds like that. Hence, you can't also ignore similar comparisons
to bands like Sleater-Kinney. The sound quality and arrangements
are somewhat sloppy, but that is the way that it has to be. One
of best songs on the six-song EP is "Dilapidate." It
is about some stuff, but most memorable is the chorus about hanging
out with them in Detroit (basically, everyone says it sucks, but
maybe not, okay maybe it does) before going double time in a bridge
that leads to the verse. Other standout tracks include "When
I Die" and the poppy bass orientated "Catch Up."
In a battle of Detroit cool between Eminem and the Trembling,
I take the Trembling.
US
Bombs US
Bombs is upset with what it sees as government crimes of a conspiratorial
nature. Here the group delivers its case in melodic but potent
and punchy punk rock. The B-Side is "Framed", a laundry
list of reasons
Waterdown This second Victory release by this six-piece German band makes their first and critically acclaimed debut album Never Kill the Boy On the First Date look like child's play. Formed in 2000 out of the Ashes of varying hardcore and metal bands in Germany, Victory Records quickly signed Waterdown after catching the eye of Grade's Kyle Bishop. The Files… is an amazingly tight and cohesive record and is one of the best punk and hardcore releases so far in 2003. Part of this transformation may be due to the added complexity brought by the addition of jazz-trained drummer Phil Meyer. Although hardcore by nature, Waterdown also gives blind allegiance to emo-punk harmonies and melodic rock-based bridges and breakdowns. Interestingly, Waterdown comes closer to resembling mid-career Boy Set Fire on this release. Kicking off the record with powerful riffs, harmonies and feedback is "Bulletproof," probably their best song the record; a sweet way to start off the record. At times, Waterdown sound as though they took the best of Snapcase and mixed with a bit of black metal (a la, Darkest Hour). This movement is most clear on "A Fortress" and "Disgrace." Other songs express more of a reliance on punk song bases and add a bit of screaming here and there as on "Transient," "Dodging Bullets" and "Going Back." Then you have the ultra-melodic and musically upbeat "Decaffeinated" and "At the Waterfront." Again, while Never Kill… was an epic debut, The Files You Have On Me buries Waterdown's previous album.
copyright exoduster.com 2003 |