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August Reviews Artist of the Month: Letter Kills On the opening note of "Lights Out," the first track on The Bridge, you realize that you are in for a real treat from Letter Kills when the heavy guitar riffs come pummeling in. Though Letter Kills are the newest kid on the hardcore-punk crossover block, they may just be the best. If not the best, then damn well near the best. The five-piece Letter Kills formed in Temecula, California in August of 2002 when lead singer Matt Shelton met up with a former Texas acquaintance in guitarist Tim Cordova. Quickly bringing the pieces together, Letter Kills were formed with a mission of bringing the world of rock back into indie music. As the one sheet would have you believe, it seems that the band had a fairly easy road given the plethora of horror stories out there. After forming, Letter Kills were fortunate to tour with a group of notables including Thrice, Finch, the Used and scored a full tour spot on 2003 Warped Tour - even without a full-length. However, they did have March 2003 three-song EP that the band probably used more as a demo then a legit EP. Their touring, along with the EP, got the band noticed by a growing number of labels with Island winning out in the end. Though I don't know the labels involved, but I'm sure I have a good idea given that guitarist from Finch helped them. It may take some time to determine whether signing with a major label was the best option for a long term career. Island does have experience with this burgeoning genre through Thursday, but majors also love to drain the shit out of a hot sound and then dump it. Hopefully the boys from Letter Kills set up a deal that won't destroy them in the end. The back tray photo of the band makes them look like some Scandinavian garage band - like European Hessians. So when the blistering voice of Shelton and the guitars from Cordova and Dustin Lovelis come in on "Lights Out," you are very surprised. With drummer Paul Remund and bassist Kyle Duckworth keeping time, "Lights Out" is one of the hottest songs I've heard all year. It has all the elements that you are looking for: hard riffs, muting, screaming, strong melodic vocals and catchiness. Oh, don't forget a guitar solo where Shelton yells "guitar, that's right, oh baby," in a classic 70-80s cock rock fashion. At first I was annoyed at that comedic piece in the song, but now I love it. If all of the songs on The Bridge sounded like "Lights Out" then this would be the best record of the year, easily. That pre-season title is not diminished on the following "Don't Believe," which is the band's first single and was on their EP. While following very similar elements as "Lights Out," is lacks the jaw-dropping riff and borders slightly on the generic. Yet the regurgitating-sounding vocals of Shelton on the line "we got to get it right" are very impressionable. The sound is not unlike a well-balanced though very drunk man singing karaoke. Comparing the two, "Lights Out" should have been the first song and now should at least be the second. "Whatever It Takes" is more melodic then the opening two, while you can't get the seemingly lame chorus of "you just bought yourself a brand new man" on down-picking "Brand New Man" out of your head. "Clock Is Down" was also on their EP and is the first emergence of a mellow track. The guitars of Cordova and Lovelis are echoed to give a Police and U2 effect, before their crescendoing of vocals and instruments on the awe-inspiring chorus. This chorus is likely to produce an enormous sing-a-along at shows. "Time Marches On" lets out a little more classic rock with the basic foundation and caps off with an overindulging guitar solo which borders on gratuitously acceptable. "Carry On" begins in a similar fashion before resorting to a chorus that could come from a mid-90s Fat Wreck band - though enjoyable all the same. Though it is appreciated that Letter Kills pay homage to Jawbreaker and Beach Boys' harmonics on "Hold My Heart (Part Two)," the song comes off as a detrimental change in direction for the band. "When You're Away" picks up the pace and comes through with an enjoyable chorus, but it only sets the more dynamic "Radio Up." Also on the band's EP, "Radio Up" is considerably more poppy, punk and uptempo than the rest of the record and plays off much better than the "Hold My Heart (Part Two)" deviation. One could easily see "Radio Up" unironically on the radio as a single. Though the band closes on the draining "Hold My Heart (Part One)," they should have ended with the eleventh track "Shot to the Chest." While not necessarily rivaling "Lights Out," it fits the record's overall feel well. It seems Letter Kills would have been wise to drop these "Hold My Heart…" songs. I've become hook, line and sinker for this debut from Letter Kills. It is refreshing that deserving bands are getting picked up by the mainstream and help filtering out the pure generic pop crap. Though some may argue that punk-hardcore amalgam's day has already passed - as in passé - there is still some serious life to be fleshed out. Letter Kills are proof of that.
The Album Leaf I find a nice test of mainly instrumental albums to be whether it can keep me awake during long drives. Ideally, one should find the music soothing and mellowing, but not sleep-inducing. The previous champion of this test was Explosions in the Sky. Yet, this latest from the Album Leaf held up quite finely in some tough conditions. The Album Leaf is the solo project of multi-talent San Diego-based musician Jimmy LaValle. LaValle is probably best known for his like-minded offerings in Tristeza, as well as joints in the Locust, GoGoGo Airheart and the Black Heart Procession. Yet, the Album Leaf is LaValle's baby; left to be crafted by his deft hand. After gaining notoriety as the Album Leaf with 1999's An Orchestrated Rise To Fall (Linkwork) and 2003's EPs Lifetime or More (Arena Rock) and Seal Beach (Acuarela), LaValle used his contacts to head to Iceland to record In a Safe Place. This was done at the constant prodding of members of Icelandic superstars Sigur Ros and Mum, who LaValle had befriended during tours of the U.S. In addition to those groups help, Pall Jenkins from Black Heart Procession assisted LaValle craft his latest in Sundlaugin studio in Mosfellsbaer, Iceland. The end product is ten tracks of pure awesomeness. While LaValle includes vocals at minimal points in time, for instance on the murking "On Your Way," In a Safe Place concentrates on presenting sweetly soothing soundscapes of bliss. LaValle says there is little doubt that the alien-like landscape of Iceland played a role in the feeling of the ten tracks. Whatever the reason, we are thankfully something clicked. The record opens slowly and quietly on "Window," before "Thule" comes in with drums, piano and electronics to take you away. After the aforementioned "On Your Way," LaValle creates a wide production on "Twentytwofourteen" by incorporating a swath of instruments including strings and glockenspiel. "The Outer Banks" prospers with electronic drums and thick orchestration while picking up a steady pace. On "Over the Pond," Jon from Sigur Ros and LaValle lay slight whispering vocals of seemingly nonsense over trodding music. With a piano-driven inspirational flair "Another Day (Revisited)" follows and LaValle trades in the grand instruments for quiet acoustic guitars on "Streamside." Before closing on "Moss Mountain Town," LaValle offers up substantial singing on "Eastern Glow" accompanied by a prominent violin and builds up to the ending. "Moss Mountain Town" covers several minutes of minimalist ambient music that serves well as an ending. Based on the evidence from In a Safe Place, LaValle should spend more time with Sigur Ros in the Icelandic environment. Music like this should never be made in San Diego.
Alexisonfire On Alexisonfire's sophomore record for EVR, the band seems like it may have an identity problem. Musically, the record's eleven tracks are all over the place with hardcore here, metal there and bits of emo scattered around. Yet, that is part of this Ontario, Canada five-piece package - a musical cornucopia filled with enough stuff for everyone - and they were able to get noticed international and land on so many great tours. Though the monster/zombie packaging for Watch Out! may give the impression of something along the lines of the Misfits or the modern-day Misfits, the Lillingtons, Alexisonfire offers nothing along the lines of three-chord, chugging punk. Not be held to simply different sounds on different songs, the band likes to illustrate their split personality within songs and with simple back-and-forths (see, e.g., "Control"). The record begins with flailing axe guitars and the screams of vocalist George Pettit on "Accidents." As the song progresses you get introduced to guitarist and vocalist Dallas Green's more melodic verses. "Accidents" is one of the more straight-forward songs on the record and sets you up for what's to come. When Alexisonfire goes into an almost balladry with songs like "It Was Fear of Myself that Made Me Odd" and "Side Walk When She Walks," the record really falls off. Though the band tries to bolster these songs with metal elements, they are mere window dressing. When Pettit is taking charge and screaming out the demons and Green comes into add vocal richness, Alexisonfire is at their best. Thankfully, they do this immediately after the first bout of ballads on "Hey, It's You Funeral Mama" and "No Transitory." "White Devil's" more brutal attack follows "Accidents" line, while "Get Fighted" mixes styles effectively. Unfortunately, Watch Out! ends on another ballad travesty with "Happiness By the Kilowatt." While a thorough consideration of Green's style moves the band from sounding like every other band, they should seriously lay off the ballads. If Alexisonfire promises to not play the ballads live then I promise to make their shows when they are in town.
Alter Bridge This is the first single from the former members of Creed sans Scott Strapp. Myles Kennedy takes over for Strapp on vocals and guitar for Alter Bridge with Scott Phillips on drums, Brian Marshall on bass and Mark Tremonti on guitar and vocals. I know I would feel awkward if I was in Kennedy's position but that goes with the game. "Open You Eyes" is similar to Creed but Kennedy's vocals are much sweeter than Strapp's and the song is more classic rock with an extended guitar solo by Tremonti. As dynamic as Strapp was, Alter Bridge will likely find as much success without him.
Amber Pacific It took a very long time for us to receive this debut EP from Seattle's Amber Pacific. Thanks to the always unreliable USPS in NY, someone had neatly sliced open the package and took the CD, but left the record info and poster. So we had all the pieces to write a review except the only critical piece. Communicating the receipt problem, it took about a month to get this record. While these five songs from AP are not going to blow the doors off anything, it was the worth the hassle of securing the record for review. Taking a smidgen of pride in the fact they are barely out of high school and already rocking for Hopeless, Fading Days tackles familiar song content and structure of contemporary emo punk bands. Though Hopeless plays up the comparisons, the only way that AP is going to survive is to find their own niche and limit simple references to other bands. With Fading Days this may be somewhat problematic as their sound easily draws such parallels; but the future is what's important. The EP opens on "Thoughts Before Me" with lead singer Matt Young offering his oddly off vocals - almost as if he is trying to make his voice sound older. But AP really picks up the pace on "Always You" and "The Last Time" - both strong radio material. "Letters of Regret" follows in a similar vein and the EP ends on the acoustic-driven "Here We Stand." Though bands love to channel Chris Carrabba, "Here We Stand" sounds like AP are trying to gnaw at your ear drums. It would have been wise to drop "Here We Stand" from this EP and include it on a full-length or as a bonus song from their website or something. AP have done a lot within a short time and they have eons left to develop if they so chose.
Amps II Eleven Coming out of the gritty, dirty hard rock scene of working class Cleveland, Ohio is the five-piece Amps II Eleven. Mildly playing off the Spinal Tap scene, A2E formed roughly two years ago with members of Cleveland area bands Stepsister, Southern Trespass and Shuteye; apparently an affiliation with an 'S' band was required to join A2E. The band focuses on bringing back true blood Southern rock, sprinkling it with 70s punk and assuring it's as grimy as possible. This self-titled record was recorded and engineered in Ohio by the band's guitarist Attila Csapo - and they are true to form with a non-technical recording. While A2E offer up sufficient good times on the record's twelve tracks, the fixation with guitar and bass solos along with lead singer Matt Wroth's never-piercing vocals deteriorates their sound. On some tracks the guitars smoke, such as "Denim and Daggers" and "Blood Runs Black," yet monotony quickly creeps in with song structure. And though Wroth's vocals fit the band's sound - aggressive, slurred and gibbery - he really can't sing. I've heard much worse from oi bands and the like, but that doesn't excuse Wroth. The bottomline is if you like grizzled bar band magic, then you will love Amps II Eleven.
Alexis Antes Alexis Antes has played truckloads of shows over the past decade including the 1999 Lilith Fair and numerous opening slots for major artists including Jewel, Sheryl Crow, Sarah McLachlan, etc. This was mostly due to her debut solo record Stronger which came out in 1998 and ushered Antes into the scene as fully credentialized. Now, five years later, Antes has offered up her follow up. The obvious question is 'what the hell happened?' With such a strong start and with a pearly smooth singer-songwriter voice, you would think she would have "made it" or totally given up by now. While none of the eleven tracks on All Come Down is going to blow you away, the record will at least allow her to keep rocking. Yet, there needs to be a point where she turns her obvious talent to a fruitful endeavor be it producing, studio musician, etc. If you see that Antes is playing a small club in your local town, she should be a treat to check out live.
Will Bowen Somehow Will Bowen is only eighteen years old, but this is his second full-length - and that somehow is very scary. Having been moderately penned in to his native northeastern Ohio, Bowen is looking to expand his reach by touring and getting his music out. He will likely have an audience for his singer-songwriter approach, a la John Mayer, but how far he will get is to be seen. Bowen is backed up by Joe Rohan on drums, Tom Prebish on bass and Curtis Leonard and Jeff Nagel on guitars. The main knock against Bowen's songs is that they are so crafted to a light FM sound and his lyrics, taken in the right state, are often quite lame. Another thing that surely ruffles feathers is his penchant for very repetitive songs particularly with regard to lyrics. If Bowen heads off to college there is no doubt that his shtick will attract the ladies - big time.
By the End of Tonight This reckless four-piece from southeast Texas takes an interestingly line on their debut EP for instrumental powerhouse Temporary Residence Ltd. While By the End of Tonight unfurls your classic and consistent instrumental waves, they tend to throw smidgens of metal sometimes sans le distortion and sometimes avec throughout the songs. This is mightily thrown into your ears on the opening "Delirious, where have you been?" So it may not be odd to find them playing with Dillinger and the like, though they are certainly not a metal band. By the End of Tonight are more like a technical metal band jamming than just complex solos meant to blow your mind. And it is cool. This description may make them sound more generic than they are. While there are elements of familiarity throughout, you are unlikely to hear them composed in such a manner. "Sleeping While Driving Prevents Old Age" follows the opener with a strong reliance on metal riffage and "Video Games Buried in the Desert" rifles with more harmonies but still some love for the double bass drum. The EP ends on the eleven minute "It's Christmas Time Again…" where they follow persistent insanity before opening and ending on a heavenly note that wouldn't seem out of place from Explosions in the Sky or Howard Hello. Another rad thing about Fireworks on Ice is that the band can get someone to sing on it and then release it again and people would still love it.
Comets on Fire When I first heard this third record from Bay Area Comets on Fire, I wanted to boot from its dirtiness and expansiveness - and that's not a complement. Subsequent listens has quelled such visceral reactions, but only on the margins. Comets on Fire are unabashedly old-school stoner and psychedelic rock that makes you think you are back in its heyday. Initially coming from surfing and druggie capital Santa Cruz, Comets now number five and rock out with fury in their new digs. With tracks that run over ten minutes ("Blue Tomb") and others bowing to the allegiance of organs ("Pussy Footin' the Duke"), Blue Cathedral is a dream for some and a nightmare for others. It is entertaining to hear guitars fuzzed in and out all rock with heavy riffs. There is little denying that the band and this record is designed specifically to be played to a bunch of stoners in a chill-out room. At other points in your day and to other people, this record should probably be avoided at all costs; because it is very likely that you will want to pull over, smoke some weed and then go protest. Blue Cathedral will undoubtedly become the best selling Sub Pop record amongst Dead fans ever.
Copeland I'm not exactly sure what the point of this EP is. Copeland, an up and coming band who have made big waves this past year, cover five classic pop songs from the past thirty years. While it must have been fun for the band to record the EP, at times you want to kill yourself when listening. For instance, on the opening track "Another Day in Paradise" by Phil Collins I just wish for the end to be near. Vocalist Aaron Marsh tries to squeeze out all possible emotion and it is like skinning a cat. To be fair, the "Another Day in Paradise" cover is probably the worst - whether that is due to Phil Collins or Copeland is still open. The cover of Billy Joel's "She's Always A Woman" with strings and piano is actually quite good, as is "Coming Around Again." But then there is more agony on the "Take Me Breath Away" cover. Copeland ends the five songs with Stevie Wonder's "Part-Time Lover" with a nice update on electronics. To be fully annoying, there are actually ninety-nine tracks on the EP. Track 74 has an electro-clash version of "She's Always A Woman" that excels past any of the regular tracks in sheer innovation. If Copeland had done all the songs in this manner this review may have been totally different.
Divide By Zero Roughly a year after releasing their debut EP Mirrors on Sinister Label in the summer of 2003, Chicago's Divide By Zero have punched out another EP specifically designed to create drool in the mouths of listeners before the fall release of their full-length on Jump Start Records. While Mirrors was a competent affair, this three-song EP is absolutely leaps and bounds beyond previous material. Divide By Zero focus their talents on earnest and honest sounds that punctuate both the varying placed vocals of T.J. Milici and the extended guitar work by both Milici and Tom Aaron. Bassist John Contreras and drummer Brian Lapinski help keep the time, with a thick bass sound peaking through once in awhile. Divide By Zero are like the second coming of Hot Water Music without paralleling their sound too much - lovely. The one sheet on this EP highlights the title track, which is good in its own right, but the second number "Anywhere But Here" absolutely blows it away. "Anywhere But Here" begins with a slow intro before Milici offers up his most sedate singing. As the song progresses, the vocals get gruffer where gang vocals come in and the song careens off into various segments. The EP closes on the relatively straightforward punk "Accusations" - a strong song in its own right, particularly with well-done breakdowns. This "teaser" has succeeded in raising our interest in the forthcoming full-length.
Fifth Year Crush As their first full-length, Gainesville, Florida, four-piece Fifth Year Crush focus on writing rock songs that will appeal to as many people as possible. So imagine the pop rock that ruled mainstream radio several years back - and still to some extent - and that is exactly what you get on Wearing This Life. Clearly, some people really love this kind of music and that may have allowed the band to get a residency with Disney at Pleasure Island, distribution with Sony, as well as endorsements with Bud and Amp Energy drink (which is odd, given they aren't "extreme"). This style of music is also perfectly suited for their locale - Gainesville, the home of the University of Florida. Though they are likely beyond making a living off frat shows, they have likely gone up the ladder with such events. Fifth Year Crush even had enough credibility and funds to get producer Don McCollister to record the album in Atlanta. With previous shows opening for Sheryl Crow, the Goo Goo Dolls and Sister Hazel, I wouldn't be surprised to see Fifth Year Crush in the big time shortly. Though I'm still not buying.
Gatsby's American Dream This five-piece from Seattle enters this latest on LLR with swirls and acid-laden lozenges in their minds and on their tongues. Taking a substantially stronger effort to broaden their core indie rock sound, Gatsby's American Dream add a flair of epic storytelling to the seven tracks on this EP (e.g., "The Badlands"). While their previous record Ribbons and Sugar left a memorable impression, In the Land of Lost Monsters is memorable for slightly less good reasons. It is good to hear bands develop and expand their sound, but this may be a bit out in left field for some tastes. It seems like it would be hard to play these songs live except with some people acting out scenes - it really is that storytelling. If the band had focused on trying to make a musical, these seven songs seem like a good foundation. If this is some part of a drawn out storyline, then it may be quite cool in the long run. I don't know if GAD are plotting such an endeavor, but it would explain a lot.
General Rudie In a non-judgmental way, you can't deny that certain ska songs are really, really good. The sound, if done correctly, is so non-offensive and upbeat that you have to smile at times. Of course, one problem is that too much material sounds the same and is often just stuff rehashed. In a totally judgmental way, then, people often say the sound has crested where all the bands today sound exactly like other groups from ten to twenty years ago. There is a little diversion with bands like Folly, but the sound seems fairly stagnant. This brings us to the latest from Montreal's General Rudie. If you are able to get past the name and put the record in the player, you will absolutely love the opener "Shelter." "Shelter" is a fun-loving good time with just enough traditional ska merged with contemporary flair to sound great. Ten years ago or so, one can easily see "Shelter" getting serious airplay. Yet, when General Rudie goes down the traditional ska path starting with the quality "Step Lightly," but more on "Prizefighter," you begin to get mildly turned off. Their faux-Jamaican "Listen This" makes me want to murder them. As the record progresses, General Rudie slide further into the comfort of traditional ska and more away from the saving grace of pop sensibilities. The takeaway point is if you are a fan of the contemporary traditional ska sound and get off on more of the jazz elements, like a lyric conscious NY Ska Jazz Ensemble, then you will love Take Your Place.
Halfacre Gunroom This record from Memphis-based Halfacre Gunroom arrived with such great promise. Billed as a melancholy alt-country band, the five-piece seemingly could have been a great new band with their debut Wrecked. But the pre-image doesn't live up with the actual audio. Halfacre Gunroom certainly are country but in very little are they alt-country - nor should they be at least partially released by Deathwish. The opening vocals on "Amy" by lead singer Bryan Hartley so closely mimic Cash that it makes you want to boot. Though there are shimmers of hope in some of the uptempo electric guitar driven tracks, it isn't enough to push the record over the edge. If you find yourself at bar in Memphis, totally smashed on bourbon and whiskey, the band you are hearing might be Halfacre Gunroom. In other situations, please avoid.
The Helio Sequence Armed with a renewed sense of experimentation, the duo of the Helio Sequence, Brandon Summers and Benjamin Weikel, knock out ten tracks of eclectic pop on their latest Love and Distance. This is the Helio Sequence's fourth release and first on Sub Pop - and likely will be cited as their best. HS has always existed as sort of a side project with Weikel and Summers finding time to put things together in their spare time. Among various activities, Weikel plays drums on the skyrocketing Modest Mouse. The entire affair of Love and Distance has this 80s psychedelic-pop foundation that instantly creates a reminiscing of about two decades of indie electronic pop music. The record begins on the aptly-named "Harmonica Song" that dribbles with electronic blues from scores of instruments and an oddly high-pitched chorus. This is followed by pop worshipping "Repeater" that is both U2 and Men Without Hats by being neither. These two tracks lead us to probably the best song on the record, "Don't Look Away." This award is courtesy of the insanely catchy music and line from Summers of "Well we all get up and we all get down…." "Don't Look Away" is a pure Brit-pop dance party that is simply looking for a floor. As you listen to Love and Distance you realize that is grows and grows on you as you gain an appreciation for the record's quirkiness. "Let It Fall Apart" is relatively subdued, while "Everyone Knows Everyone" lifts BAD sounds with a sense of melody. Skip past "People of the Secret" to get to the swiftly ambient "Blood Bleeds," where Summers offers some of his best soft harmonies. "S.O.S." flirts with psychedelic Beatles and "So Stop" is one of the best tracks on the record. Weikel joins Summers on the light vocals on top of Album Leaf-esque electronics - a sweet number for sure. Love and Distance ends on "Looks Good (But You Looked Away)" with one of HS's most indie pop sounding songs. Lead by Summers on acoustic guitar and ambient electronics creeping in, the duo does well by ending with "Looks Good…." If you haven't heard the Helio Sequence before and you are a fan of the path laid down by the Postal Service then you should definitely check out Love and Distance.
The Je Ne Sais Quoi This is the debut EP for Sweden's newest export the Je Ne Sais Quoi - accompanied with some great CD packaging. Measuring somewhere between the punk, dirty and electronic, these five songs attempt to make you dance without feeling embarrassed to do so. Reminiscent of early Make Up and sounding like a traditional 3.1.G band, these Swedes prefer the stripped down breakdowns and builds up with shouting simple line vocals by multiple members. Generally, this concentration makes for an adorable music party, but the Je Ne Sais Quoi lack that something special to grab onto. Although some songs contain catchy parts, like the deep bass and handclaps on "Minstrel Show," it's not enough to win you over. This EP is a precursor/sampling to their full-length entitled We Make Beginnings on Coalition. Hopefully, the Je Ne Sais Quoi will bring the love with that release.
Joan of Arc As Chicago-based Joan of Arc's first record on Polyvinyl after an eight-year affair on Jade Tree, the group continues their eclectic ways over the sixteen-track, hour long marathon. As many people know, Joan of Arc has been rocking in some form or another since 1996 with Tim Kinsella at the helm - the only real consistent aspect of the ever-changing collaboration. Joan of Arc formed out of the now-loved Cap'n Jazz outfit, which also help create the Promise Ring. When Jade Tree released the Cap'n Jazz discography in 1998, those people smitten by the discography and the well-known Promise Ring ran to Joan of Arc. They were met by the band's eclectic and eccentric nature with the only similar element being the vocal stylings of Kinsella. This quick attention somewhat turned against the band as they simply continued what they had been doing - moving in various musical directions at each turn - but were viewed as simply being too strange. After several records on Jade Tree and a break up in 2001, they reformed for 2003's So Much Staying Alive and Lovelessness on Jade Tree and then signed on to Polyvinyl a year later. Continuing the collaborative nature of Joan of Arc, this record includes Cale Parks (of Aloha) on vibraphone and percussion and includes love from members of Town and Country, Make Believe and Owen. While there are easily enough odd-off tracks to lance the listener into a write-off (e.g., "The Title Track of this Album," "Deep Rush," "'Still' from Miss Kate's Texture Dictionary,"…), the 'standard' songs push the record over the edge to enjoyment. This goes from the electro-based songs like "I Trust a Litter of Kittens Still Keeps the Colosseum" and the hot "Abigail, Cops, and Animals" to the rock-fused "Questioning Benjamin Franklin's Ghost," the trippy "Queasy Lynn" and "A Half-Dead Girl Named Echo." Joan of Arc, Dick Cheney, Mark Twain… offers something for everyone yet listeners should be forewarned if you never heard Joan of Arc before. You may love one track and despise the next, but you have to realize it is all part of the game.
Brian Lisik For a short moment on the first real track of Baggage "Toronto," I though this might be a tremendous record. Well, more like a unique treasure. The reason was the overindulgence in some type of keys that sound close to a xylophone. While the song didn't fully deliver, it wasn't a bad start for the strictly independent musician Brian Lisik. Unfortunately, some of that quirkiness isn't featured much beyond "Toronto." Filled out by "Jet Black" Eddie Tomecko, Kehri Spicel, Craig Lisik, Sam Ramirez and Robb Myers, Akron, Ohio-based Lisik offers up ten tracks on his debut solo affair. Lisik certainly channels the Midwestern rock flair of John Mellencamp, particularly on songs like "Crossing Myself" and "Bad Reputations." In that respect, Lisik will easily be able to support his music as bar and small club fodder for years to come. To move beyond this, he will at least need to get picked up as a tour support act for some notable band.
The Megan Slankard Band As a piece of fantastic marketing, Megan Slankard appeared on the fabulous TLC show What Not to Wear - a show that is much better with that new guy instead of that beast. Slankard got tips on dressing, makeup and hair during the show and got several thousand to spend on new outfits - score. All the while, she got people to find who the hell she was when her new record Freaky Little Story came out. Slankard, who is only 21, has been working hard over the past few years to make it in the industry including entering various contests, like Pantene Pro-Voice, and playing wherever and whenever possible. Though Slankard heads the band on vocals and acoustic guitar, filling out the group is Mike Hsieh on guitar, Dave Moffat on bass and Ian Stambaugh on drums. The thirteen tracks on Freaky Little Story, her second record, all illustrate how she is able to distill the sweetness and quality from female musicians such as Alanis Morissette and Lisa Loeb and make it her own. Though there are a number of tracks that do smoke on the record (e.g., "Too Bad You," "Captain Madness" and the acoustic "Flying Backwards"), she is simply missing that breakout track. Slankard may want to breakdown and get one of those over-priced producers to help her push over the top (umm, the Matrix and Avril Lavigne). That may go against all that right in the world and Slankard's belief system, but it may allow her to continue her musical career for a very long time. Although it appears that Slankard hasn't been picked up by a major label that seems like only a manner of time. For instance, Slankard and Bonnie McKee have similar foundations, yet Slankard is infinitely more talented in every respect but McKee has a deal with Reprise. But, honestly, I don't know the whole story. I expect to hear a lot coming from the Megan Slankard Band in the very near future.
The New Transit Direction With the members of Superchunk working hard to make Merge Records successful, they have devoted less time to the Chunk's music. That slack has been tried to be picked up by Salt Lake City's the New Transit Direction. After a self-titled and self-released three song EP in 2001, TNTD began to pick up attention and pushed to explore the East Coast where their sound really lived. This led to a deal with Some Records and now their first full-length. On this eleven-track debut for Some, TNTD truly sound like the early recordings of Superchunk - most specifically, the Tossing Seeds era. That there are very few bands that try to match the Chunk's indie-clunk, I suppose this is a refreshing parallel. Besides from similar song constructions, the thing that pushes TNTD to this comparison is the vocals Josh Asher. His mimicking of Mac's nasally-pitched vocals makes you double check that he isn't in the band. This record has done a really unique job of both pleasuring my ears and annoying the shit out of me. All of the eleven tracks have elements and sections that are appealing, but at the same time there are parts that you wish didn't exist - very bizarre. It's like creating a visceral reaction in both directions all in the same breath. It may be some kind of anger at how TNTD sound just like Superchunk, but that I like the sound. So there are songs like "Means To An End" and "Anonymous" with catchy guitars and vocals that eases recall where all the songs are roughly the same length. But none of the tracks are so blissful awesome that you hit repeat and forgive the band. Other tracks that bring you in include "Houston" and "Fictional." With some time passed, I think I'll be able to come out of the liking limbo hole that I'm in with this band. I'm glad that a band like TNTD exists in SLC since all things I've ever heard about that city and independent music revolved around insane straight-edge kids.
Odd Project While it is easy to brand Odd Project's latest as simply another entry into the growing metalcore scene, Odd Project is way too brutal to allow such a suggestion. Forming in 2000, these boys from Huntington Beach built a name for themselves through the heavy use of the internet mp3 sites for their demos. With this release on the ever-growing Indianola Records, Odd Project will hopefully truly break into the consciousness that bands like Atreyu have established. But, honestly, what's with the name? Odd Project sounds like a dumb high school punk/ska outfit. Anyway, The Second Hand Stopped kicks off on "Statistics Like Cigarettes" with a standard metalcore attack, but you slowly realize they advance beyond the norm with small inclusions like minimal background choral vocals. While they use the back-and-forth screaming-to-light vocals on tracks like "The Phone Is Such A Blunt Object," Odd Project stay away from an overly formulaic approach. There are few times when Odd Project move to some weak metal reverberating guitar tributes, like on "Love" and the horrible "Wanderer," but they make up for it with powerful metal attacks. Some tracks to take note of include "A Hero's Trial" with a lead-in guitar riff that is epic, the Cradle of Filth opening of "A Perfect Smile & Broken Wings," "Tear Stained Lies" and the finale "Silver Screen Lovers." The record from Odd Project came out of nowhere to bite us. With a video for "Tear Stained Lies" and a spot at Hellfest 2004, look for Odd Project to explode during the course of this next year.
Paris Texas Maybe you knew this, but I had no idea that New Line - the film company - had a record label. I don't what their history is on the music end, but this latest from Paris Texas is a good step; though it must be said that having all eleven songs at almost all the same length - in the three minute range - is quite annoying. As with most bands, Paris Texas has had their ups and downs, good times and bad. With members moving in and out of the band, Paris Texas released a full-length entitled So, You Think It's Hot Here? on the great Polyvinyl Records and then later released the Brazilliant EP. As chance dictates this record almost never came out as a backhoe ran through the studio in Madison, WI just hours after they had finished recording. If the band was killed and Like You Like An Arsonist was never made would it have changed the face of music? No, probably not. While all eleven tracks are solid, Paris Texas is not going to win any awards for ingenuity. Their sound is a modern amalgam of dirty punk rock with clarity as a diversification tool. When they do diverge off the generic punk sound they become a different and much better band. This is specifically case on the hot "Your Death" where there is an emphasis on guitar flutters and harmony-laden lines. It is almost as if the sensitive, nurturing side of Paris Texas took over one day in the studio and "Your Death" is the by-product. In fact, the next track "Strike My Heart" is in a similar though less extreme vein of "Your Death." The song that precipitated a flurry of label interest in Paris Texas is "Hip Replacement." The striking thing about "Hip Replacement" is that it's the most emo-punk song on the record and is way off target from the rest of the album. If I had only heard this song then I would think the band was simply trying to jump on the backs of the trend. And there it is. Paris Texas has the ability and talent to be a noteworthy band as demonstrated by the second half of Like You Like An Arsonist. It is just getting the whole package together that they slip up on.
Please Mr. Gravedigger The key in understanding the six-piece Please Mr. Gravedigger is that a bunch of members used to be in As I Lay Dying. That life, associated with other affairs, has created the spasm-fueled dirty punk rock of PMG. After tooling around a bit in 2002, the band released a 7" on Phantom Records, then signed with Texas' Pluto Records for the first full-length. The feel you get from the twelve-track Here's To the Life of the Party is a band like Tora Tora Torrance with more talent and a hardcore singer. A nice element to PGM's sound is the keyboards helmed by Thomas Kosich that ring out in songs like "Last Call" and "This Is Something." Yet it is fairly surprising that PGM don't sound more diverse given there are six guys in the band. Even still, the songs are straightforward punk of days gone by often with the keys just following the guitars. The longer songs on the record tend to be the most diverse and thought out with highlights from the amazing "This Is Something," "Diagnosis," "Last Call" and "Twenty Seven." If the label is going to push any of the songs for radio or whatever "This Is Something" is the clear choice. PGM are probably best devoured live than recorded - or at least, devoured recorded after an addicting live performance.
Replicator This latest from Bay Area-based Replicator is not an easy listen. With more spins you gain more appreciation from their quasi-noise art rock. Yet, a quick listen through makes you want to throw the record across the room. You can't exactly discern how much of an anarchic recording they were trying to make versus the pure quality of the band. I tend to the former given bassist Benjamin Adrian records bands for a living. Amongst the eight tracks on You Are Under Surveillance there is an abundance of samples, shouting vocals, heavily distorted guitars and a fair share of random shit. Replicator seems closest to reviving 80s electronic noise bands which consisted of actual song structure and not today's pure noise contingent. Part of Replicator's sound, as self-acknowledged, comes from using the band as an outlet for their mostly banal working stiff jobs. You definitely get the sense that Replicator is a band best experienced live than recorded.
River City High After becoming a victim of major label b.s. at the hands of MCA's demise in 2003, Doghouse Records picked up the slack for this punk rock four-piece. Yet, River City High - who often is confused with River City Rebels on Victory - weren't one of these flashy new bands with majors randomly searching for the new thing. They actually earned their unanticipated shakedown by offering up several releases and touring all over the place with bands like Blink, New Found Glory and a few stints on the Warped Tour. All five songs on this EP have the same indie pop-punk feel that kicks off on "Waste Your Time." References that immediately come to mind include Weston and Digger, but RCH has their own signature stamp. Besides from the substandard "Heads & Tails," the other three tracks are consistent with "Waste Your Time" with muting, vocal builds and weaving dual guitars. It is nice to see a musical beat down get back up for another swing at the big time.
Rogue Wave Picking on the now classic indie pop sound that Sub Pop is noted for thanks to bands like the Shins, Rogue Wave from SF comes a-knockin' with a re-issue of their 2002 debut Out of the Shadow. Heading this outfit is multi-instrumentalist Zach Rogue who began the group as a breath of fresh air for himself. Zach took a vacation to NYC to do record some songs with a friend and wound with a whole record worth of material and a new musical direction in life. Back in SF, he collected Pat Spurgeon, Sonya Westcott and Gram LeBron to fill out the band's needs. And they were off. Again, this record was released by the band on their Responsive Recordings and now Sub Pop have brought them into the fold and reissued it to whet the public's appetite for future releases. After a quick listen of the record's first track, "Every Moment," it is clear why Sub Pop would do so and why band's like the Shins, Spoon and Super Furry Animals would want them on tour. "Every Moment" is pop happiness coupled with moog to punctuate the sound and guitar swirls to fill things out. Acoustic guitars lead "Nourishment Nation" into the amazing Elliott Smith-esque "Be Kind & Remind." The pop-driven "Seasick on Land" opens the path to the acoustic slacker "Kicking the Heart Out." "Postage Stamp World" is slow, with pedal steel and that lazy picking, while "Sewn Up" falls back to pop dribble. Double vocals open "Falcon Settles Me" that produces a Simon and Garfunkel effect with acoustic guitars laying the foundation. The familiar beginning of "Endgame" makes you feel like you are in lollipop land and Zach's vocals definitely don't dissuade you from the sentiment. "Endless Shovel" picks up the pace with electronics and more orchestration and banjos lead the way on "Man-Revolutionary!" Out of the Shadow closes out on the hard, yet slow acoustic picking "Perfect." Though "Perfect" is a competent affair, this probably should not be the closer. With tours behind them and before them, look for Rogue Wave to become your new favorite band. They have the sound to make everyone drool, including the British. If by some act of God Rogue Wave doesn't succeed in the U.S. they should certainly fit into the British scene (and that will pique Americans interest, then they move back here and take over).
Spinning Images The first line on the one sheet for this record is baffling. It says that Spinning Images, who are from Long Island, are going where few local artists have gone before - insinuating that, first, they have been no successful LI bands and, second, that Spinning Images are good. Neither of these propositions are the case. To begin with LI has been designated the 'screamo' capital of the world with recent bands like Taking Back Sunday, Brand New, Glassjaw, and various derivatives (e.g., Bayside now, VOD before), taking the music world by storm. Compared with the current state of affairs of music on LI, Spinning Images are significantly deficient. The core of DNA has some Wind Up/Creed vocals placed on top of weak song constructions with random shit sprinkled around. Spinning Images are like a Wind Up band that sucks - digest that for awhile. For good measure, they try to offer up some screamo on the opening "Til Tuesday" and in the process fail miserably - making fifteen year old kids bands' sound awesome. If you want to stick hot coals in your eyes then watch the enhanced portion of the CD. The fact that WLIR had Spinning Images' "Maybe" in rotation is just another testament to why the only radio you should listen to is NPR.
Robin Stone Robin Stone is the new guitarist of Slayer and this is her latest solo effort. Well, the second part is true, but it would be funny if the first was true as well. Robin Stone is a Cleveland-based singer-songwriter and Rushmore is her third record and second on her own She Loves You Records. Working over the past few years to dominate the Cleveland music scene, Stone is slowly trying to creep into your living rooms and car stereos. This thirteen track, nearly eighty-minute record gives you a lot of Stone and probably too much to the uninitiated. Although, most of the songs deviate from the terribly paralleling Ani DiFranco-styled "No Fool," there is still pain along the way. Stone seems too stuck in trying to write 'professional' sounding songs to really try to innovate the over-wrought sound. Stone certainly believes in her path and what she is doing and if that is what all that matters then let it be.
12 Stones After a successful run on their debut, the four-piece 12 Stones are back with a sophomore record (Potter's Field) to be released in late August. 12 Stones probably became best known for having vocalist Paul McCoy add his love to Evanescence's hit "Bring Me To Life." "Far Away" is consistent with past material, but I find it considerably less annoying than their debut record. This may be turn out to be good thing with the forthcoming record.
V/A It's hard not to love Hopeless Records in the aggregate - meaning on the whole it is gorgeous with just a couple of bumps. The latest Hopelessly Devoted to you compilation demonstrates how far this little label has come in their ten year existence. The first Hopelessly comp with its Grease cover art was an exercise in pop punk with such favorites as Digger and 88 Fingers Louie. Now Hopeless has a breadth of new bands across the punk spectrum with eight featured here, including Melee, Amber Pacific, Avenged Sevenfold and Thrice. Five bands include a previously released song and an unreleased track with highlights coming from Amber Pacific's "Leaving What You Behind" and Melee's "Francesca" - and I'm sure Atom and His Package would have included an unreleased track if he was still rocking. Other unreleased tracks of note include Common Rider's "Where the Wave Are Highest" and Stairwell's "Ancient Ruins." Finally, the comp is enhanced with sweet videos for "Deadbolt" from Thrice and Avenged Sevenfold's "Unholy Confessions" - which is an absolutely fan devotion fest. Look the bottom line is that the CD retails for like four dollars and you can never go wrong with that.
Yesterdays Rising copyright exoduster.com 2004 |