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January Reviews Artist of the Month: Ticonderoga As another prime example of why the Triangle has the best indie scene in the world comes the second full-length from Raleigh’s Ticonderoga. And as another example of a brilliant band that I missed in my half-decade in CH, one can only project with imagination. Here comes the rather esoteric thirteen-song offering that is The Heilig-Levine LP. Potentially part of pretentious listening preferences, Ticonderoga make mild tempo amorphous songs that echo acoustic folk melodies, straight up indie rock and slight electronic hints as they move across varying points within and between the songs. Composed of Phil Moore, Mark Paulson and Wes Phillips, Ticonderoga is a self-described band of three songwriters coming together as a singular unit. Writing takes places sometimes as individuals, sometimes as a partial group, sometimes as a full group and the recording falls out in similar fashion. That process, or lack of a precise formula, creates an eclectic record that still manages to hold onto its fluidness. The Heilig-Levine LP is not a disjointed mess, but rather a record of strung-together thoughts. The record opens on “Fucking Around” as Ticonderoga shoots you with a short indie number whose vocals suggest the Smoking Popes if they lost their structure. Yet, “Fucking Around” is literally that, and belies the more natural sound of Ticonderoga. The follower five-and-a-half minute “Centipede” is more inline as words talk over the indie rock before a warm swath of electronics enlightens the sound, thus making “Centipede” one of the highlights on HL. Moving toward acoustic folk “They Can Run” appeals to large margins of listeners, while the more esoteric string-filled “Snakes” could be theater material. After the brief interlude “1” comes one of the best, and most rocking, songs “Poison Control.” “Poison Control” hits you with the right tempo, riff and electronic enhancements, particularly after the first bridge, are something else. Smoking vocals would take “Poison Control” to another level, but you are happy just the same. Ticonderoga jangles the rock on “Flippin’ Burgers” making like a Tim Kinsella effort, while the acoustic guitars come out again on the pedestrian “Why Do You Suppose?” “Sparrow” starts out like buzzing birds before drums and vocals keep a steady pace through the four minute affair before strings wraps the package up. The conveniently titled second interlude “2” opens the dazzling eight-minute Beatles-pop of “Country Mouse” that even though is of epic length sounds complete at ease with itself. The Heilig-Levine LP closes on “Town” and “Chatterton.” The light shouting vocals and random elements of “Town” make it a bit of filler, but Ticonderoga saves themselves with slow ambient “Chatterton.” Not immediately accessible for most, Ticonderoga’s The Heilig-Levine LP is a thick and ornate indie masterpiece. The band is plotting a third, more collaborative record for this coming year. We only hope that it doesn’t fuck with the current non-process.
Agent Sparks LA’s Agent Sparks is sort of like talented and frustrated musicians making one more push for the big time, hoping to make a living and be content at the same time. Featuring family members Ben Einziger (frontman, guitarist) and Paul Fried (bassist), along with second vocalist Stephanie Eitel and drummer George Purviance, the five songs on the Not So Merry EP are quirky rock that dances with pop appeal but also maintains a sort rambling-wreck feel. It is clear that the vocal interplay between Einzinger and Eitel on songs like “Camouflage” and “Choke” help take Agent Sparks to the next level and produce something beyond ordinary rock fair. There isn’t enough here to make a final judgment on Agent Sparks and the album art is sketchy, but this EP is fulfills its job of getting you interested in a full-length in 2006.
AIDS Wolf As unfortunately demonstrated by this LP (in name only), AIDS Wolf may be a bit more over-hyped than we’d hoped. Founded in Montreal in 2003, AIDS Wolf play the art noise randomness associated with the RISD scene – which is consistent with ½ of the band being the graphic design specialists Seripop. Thanks to AIDS Wolf’s connections in the art and music world’s of Montreal, the band were able to jump on some big shows quick and got instant interest. Yet, don’t be deceived as this eight-track affair could have been easily recorded in a weekend with none of the songs previously written. Nothing on the Lovers LP stands out as special, which is vital to survive in this sound. All the instruments suggest marginal competency while the vocals are just screeching ramblings. However, if you enjoy photos of nudist colonies then you might just pick up the Lovers LP for its art.
Blacklisted As another offering to their growing hardcore legions, Deathwish provides us with Philly’s Blacklisted on the thirteen-track …The Beat Goes On. Getting notice playing with similar-minded Hatebreed and Comeback Kid, Blacklisted mixes heavier hardcore with the speed old school; as such those two references bands ain’t bad as Blacklisted exists somewhere in-between. While Blacklisted doesn’t hit you with the thumping of a Hatebreed, the vocals carry a parallel intensity and the instruments just pound you. As is the problem with many hardcore bands, Blacklisted provides very little variation on the standard tempo and structure of hardcore songs that have existed over the past two or three decades. The drums just beat hard, the guitars speed along with occasional breakdowns and gang vocals meet the main on points of emphasis. Still, within the speed tough guy hardcore, Blacklisted is bound to do some serious damage.
Bob Marley Tied in with what would have been Bob Marley’s 60th birthday, the family and labels associated with his music are releasing the first new official Marley collection in over a decade. The obvious question is what Africa Unite has that makes it worth your time and cash? Unfortunately, the majority of the twenty tracks you surely already have – including album versions of “One Love/People Get Ready,” “Waiting In Vain,” “Could You Be Loved,” “Get Up, Stand Up” and “Three Little Birds” – as well as a live version of “No Woman, No Cry” from the Lyceum in London in 1975. The major highlight track on Africa Unite is the previously unreleased “Slogans” that is believed to have been originally recorded in Miami and only recently dug up by sons Stephen and Ziggy at Marley’s mother house. With help on guitar from Eric Clapton, Stephen and Ziggy re-produced the song for Africa Unite and it is sizzling. Though not as immediately appealing as other Marley classics, “Slogans” clearly stands out something to keep on repeat on your iPod. Two other new offerings come from Black Eyed Peas’ Will.i.am’s excellent remix of “Africa Unite” that flairs with contemporary beats and the somewhat odd “Get Up, Stand Up vs. Jamrock” by Ashley Beedle which is a mashup of Marley’s classic and his son Damian’s “Welcome of Jamrock.” Africa Unite: The Singles Collection may be a must-have for some, but you may be able to get the pertinent songs – “Slogans” – from iTunes and the like.
The Bosch When you’re a rock band that employs a saxophone, you get knocked down several rungs for such transgressions. In only a tiny number of rock moments are saxophones appropriate and the Bosch’s music isn’t one of them. Pushing past that ugliness, NYC’s the Bosch is essentially a less egregious party rock band. It is clear that these four guys are into having a good time on this nine-song EP. And while that is fine for rocking bars and tiny clubs, the Bosch are going to have a difficult time moving towards a bigger audience. You can give them points on songs like “Metronome” that come off like 60s-influenced Lookout Records pop punk, the surf guitar of “Back to the Laboratory” and in the mildly entertaining “Teenage Symphony,” but that won’t carry the day. Oddly, the Bosch recorded Buy One Get One in Kentucky and not in the producer/engineer/studio-rich NYC – the place they are trying to make their living in. Right now the Bosch are clearly raw, but if they ditched the sax and enhanced the catchiness, they could be an interesting listen.
Bound Stems The Logic of Building the Body Plan EP is a dazzling surprise of rehashed jangly indie rock done Chicago-style. Building off of the Joan of Arc/Tim Kinsella Chicago indie sound with sprites of the Good Life and the Jazz June, Bound Stems present these seven tracks as sort of a teaser for a forthcoming full-length called Appreciation Night in the summer. Composed of three high school friends, a dude from Harvey Danger and one enticing female harmonizer, Bound Stems could become your newest favorite indie band from the Midwest. Several of the tracks on The Logic are just throwaways of samples and random talking that are both arty and annoying. When Bound Stems are concentrating on their signature sound that typically crosses five minute songs, they are compelling. The EP opens on “Crimes and Follies” with swirling guitars, slight distorted keys and Bobby Gallivan’s vocals and the goodness crescendos about a minute-and-a-half in when Gallivan lightly screeches and cusps the chorus. This strong start is followed up with a slower, more melodic and electronic “Totipotent” that quickly makes you a firm believer in Bound Stems. “Wake Up, Ma and Pa Are Gone” is the first song where taped ramblings are heard, though Bound Stems trip past it and wind up with a strong song. “Up All Night [Book of Lemon Swamp Re-Fused]” is notable for Explosions in the Sky-style instrumental in the beginning, but then just crumbles in its short two minutes. Gallivan’s vocals are more singer-songwriter on the rambling, but catchy “My Kingdom for a Trundle Bed” where Janie Porche accompanies him to provide some quintessential male-female vocal indie moments. Bound Stems slow things down on “Risking Life & Limb for the Coupon” and wind up with one of the better songs here. The EP technically ends on the forgettable “Up All Night [Epilogue],” but “Risking Life & Limb for the Coupon” is the real closer and the song that will tie you over until Appreciation Night’s release.
Brother Reade With a name and record design like an emo band, Brother Reader are actually a two-person indie rap group that prefer the cool, laid-back heavily literate style to anything flashy or absurd. Those two individuals consist of beat developer Kill You Me You and wordsmith Jimmy Jael, whose flow is at common cadence. Yet, the differential point on this five-song EP is KYMY’s intricate production that both supports and supersedes Jael’s words. KYMY’s efforts make the perfect music to mellow out and just relax to at a get together of friends. Though a solid effort, future focus on instrumental offerings may take this duo to the next level.
Cat Stevens For most reading this review, the thing that stands out in your memory about Cat Stevens, if anything at all, is that he was taken off a flight from London and deported back to the England last year because his name showed up on a terrorist watch list. Cat Stevens converted to Islam long ago and changed his name to Yusuf Islam and has throughout his career made substantial contributions to various international charities. The Bush administration in all its wisdom designated at least one of these charities as having links to terrorism and Al Qaeda – thus Cat Stevens being on a terrorist watch list. The absurdity of an internationally-known musician, who wrote “Peace Train,” being a pinned as terrorist by Bush was laughable. After two decades out of the music business, Steven’s released a couple of best of’s recently including 2000 The Very Best of Cat Stevens and 2001’s the Cat Stevens Box Set. It is not entirely clear how Cat Stevens: Gold trumps those two releases, but whatever. This two-disc, thirty-one song offering consists of an array of singles that spans his career from 1966 to 1978 and includes basically every 60s and 70s pop song that you ever loved – even if you didn’t know Stevens sang it. The central noteworthy moment comes from Steven’s 2005 benefit song for Tsunami victims entitled “Indian Ocean.” Previously only digitally-available “Indian Ocean” illustrates a deeper voiced Stevens and more a world music flair than his original material. Cat Stevens: Gold reminds you that Stevens was one of the best pop singer-songwriters the world has ever seen and that even the toughest and hardest guys can’t help but be moved by his voice.
The Class of 98 The band immediately makes clear that they didn’t graduate in 1998 – although they may be willing to play 1998 class reunions in the future if the price is right. The name is related to headman vocalist/guitarist Steve Wilson deciding to pursue music as a career in 1998. And that’s nice and all, but this Class didn’t form until 2004. Joined by guitarist Nick Baumhardt, bassist Ben Harmes and Colby Pitts, Wilson and the Class play pleasant melodic punk that doesn’t ruffle feathers and contains enough melody to melt your grandmother’s heart. The Nashville-based Class follow very staid and standard rock structures, take bits from the past and present and bring it together for an exceedingly average product. Distilling what may be classified as ‘the Militia Group sound,’ The Class are perfectly suited for an OC reunion but they will have a hard time being heard. As such, big fans for TMG will enjoy this debut full-length on the label for the Class of 98.
Consumption There is really only one story about Consumption’s Out of the Ashes’ EP. That is the vocal prowess of guitarist/bassist Gina Turner – dark theatrical offerings that sound like epic-restrained for a more rock-focused act. Everything else about Consumption’s six song EP is ignorable. Simply trying to get past the dreadful record design and thrown-together press photos is hard enough, so when Consumption’s rock doesn’t deliver you just give up. Turner might want to do like-wise and jump off this sinking ship.
Cordova Remember that old punk band from the Lehigh Valley named Weston. No? Well if you weren’t from the Northeast and into local punk during the mid-90s, Weston might have passed you by. But at their height, they were fucking awesome. While Cordova is not a revised version of Weston, guitarist James Alex Snyder (the little ‘geeky’ guitarist of Weston that then went by Jim) is back with a new band called Cordova. (Wow, I just spent the last forty minutes searching out my old Weston records and shit is A Real-Life Story of Teenage Rebellion hot). Okay, enough in the past. Besides from Snyder, Cordova features bassist Gil Resto, guitarist Pete Syoum and drummer Matt Balikian who collectively rock an indie punk flair that is sure to get the kids moving on this five-song EP. Lie Until It Becomes the Truth opens on “Atomic Lipstick” with the unmistakably memorable line of ‘shimmy shake.’ Cordova is not an American version of Franz Ferdinand, but “Atomic Lipstick” isn’t that far off from such an image. “Some Killers are Fashionable” follows where the tempo is slowed and wall of effects covers Snyder’s vocals and guitars. At this point, it is obvious that Snyder’s vocals are at a completely different level compared to his crooning in Weston. Bass greets you on “Stars and Math” and it is followed by awkward tempo shifts that cause an uncomfortable plodding effect. Snyder whispers sweet vocals over “Riot in Suburbia” while a hauntingly 70s pop guitar riff spins off and singes it in your mind. Lie Until closes on the similar-minded “The Radio Has Got No Soul” and it becomes clear that Cordova have the ability to rock your socks off if they’d offer a steady diet of faster numbers mixed in the dominant mid-tempo songs.
Days Like These On New Jersey’s Days Like These second full-length for Lobster, the sextet (why?) has slide further down the slope of terribleness. Their debut a couple of years back, Charity.Burns.Green, was average but not a half bad listen. Across the twelve songs on Inventure, Days Like These establish that they are completely ordinary and sometimes downright annoying. Well, much of the annoyances come courtesy of singer Angel Santiago’s frustrating vocals that hedge on ‘rock!’ but don’t have enough power to make Santiago sound anything except a headman of a Wind-up band. Back to the fact that Days Like These have six members. It is not completely clear why they need six. They do incorporate Chris Applegate’s keyboards, but they aren’t anything over the top that Santiago may be able to hold down on his own. But, also a keyboardist can typically fill in for at least one guitarist – depending on the music. While Days Like These don’t commit any serious sins with six members (not like the Oranges’ three guitarists playing the same thing), it is just frustrating that it takes six guys to create such an mediocre sound. If you enjoy mainstream quasi-bar rock that is supported by great labels (Lobster is one), then Days Like These is for you.
The Dead Betties The Dead Betties seem to be having too much of a good time on Summer of 93 to actually concentrate on writing worthwhile songs – or at least ones that illustrate their innate talent. Formed in NYC in 2002, the Dead Betties released a series of three EPs before this ten-track full-length for local Heartcore – which is now technically being re-released on Donna Dresch’s Chainsaw Records. Musically, the Dead Betties work hard to dredge up early 90s dirty grunge – not unlike a male version of Hole or less-talented Nirvana demos. The three-piece of Eric Shepherd, Derek Pippin and Joshua Starr care little about harmonies and melodies as they thrash through explosive distorted attacks with Starr’s vocals at a cross between screaming and whining. Based on a bunch of evidence, the Dead Betties seem best enjoyed live with a small crowd already really into them. These guys have no incentive to clean up their recordings in the future, so if you are feeling an early 90s rock revival check out Summer of 93 and a new forthcoming full-length this year.
Diamond Nights A seemingly common theme for musical transplants to NYC is that they become infused with the essence of rock as hashed out in the 60s and 70s; in whatever form that might exactly be – folk, garage punk, classic rock, etc. In this case, Diamond Nights take classic cock rock, shine up the edges and flavor with contemporary spin on their debut full-length Popsicle. Not in the complete glam fashion of the Darkness, Diamond Nights still enjoy punching out guitar rock riff songs with vocals that move from manly testosterone onslaughts to high-pitched imps. Moments drag when Diamond Nights inch towards slight funk – as on “Drip Drip” – but they often are able to offer some redeeming quality to salvage the damage – as the chorus on “Drip Drip.” Highlights to get your rock on include “Saturday Fantastic,” the previously released “The Girl’s Attractive” that features a simple, repetitive form that sticks to your memory while engulfed on synth enhancements, the slower “Snakey Ruth” and the absolutely smoking “Dirty Thief” – the best number on Popsicle. Don’t think that Diamond Nights aren’t above just ripping off early 70s metal as the Sabbath parallel “It’s a Shokka” and even “Beyond the City of Love” clearly demonstrate. With a sizzling live show, Diamond Nights are so the hot band it’s not even funny.
Fake H As part of Biohazard’s Billy Graziadei’s growing producing efforts, this four-piece from New Brunswick, NJ offers five songs of groove hardcore on their debut EP. A quick glance has you turning away with images of meathead rock, but Fake H actually has more to offer than many similarly-minded tri-state area rock bands. And it isn’t the slower numbers such as “Blood Flow Fading” and “Two At a Time.” Instead, it is the harder hitting songs like the tremendous opener “Ez Pass,” the more melodic muting of “It’s Getting Worse” and the solid “Half Ass Hustler.” The trick for Fake H is to move beyond a bar band playing originals – like the scores that you walk away from at bars on LI – and focus on the legit venues. Another set of heavier songs would also help Fake H pick of devotees and maybe a national opening slot.
The Fire Still Burns As is often the case, if the rest of this six-song EP was as awesome as the opening number - “Insert Motivation Here” - it would be one of the best of the year. And should it surprise you that The Fire Still Burns has a late 90s melodic hardcore sound? Absolutely not as the five members are ex-members of Lifetime, Ensign and Vision. As the one-sheet rightly says, The Fire Still Burns’ sound is a timeless piece of hardcore sweetness that will always stay with you. The only things holding them back are the need for more harmonies and a more intense vocal attack from Alf Bartone. Not more intense like screaming and shit, but a more convincing delivery and cadence where you can imagine Bartone throwing every last shred of being into the song. Match that with the consistent rhythmic solos from Nathan Gluck and Scott St. Hilaire and The Fire Still Burns instantly becomes your favorite punk band. If you are a bit older and a fan of the aforementioned bands, you are going to love Keeping Hope Alive. Here’s to hoping even better things from The Fire Still Burns’ debut full-length.
The Flatliners It has been sometime since we were slapped with a legit punk-ska outfit with political balls and a raw intensity. And while Toronto’s the Flatliners don’t measure up to an Op Ivy, Rancid or even early Suicide Machines, they do create space for themselves in a relatively marginalized sound. Even though these four guys are just out of high school they don’t come off as fake and their non overly-produced sound gives hints at what a live show may be like. Keeping ska influences to intermittent up-picking ska beats, the Flatliners rejuvenate old-school punk ska with a look to the future. That is also sort of their undoing as you won’t walk from Destroy to Create thinking you’ve heard the next torch bearers. This is particularly the case when they stick too close to more-or-less old school hardcore songs (e.g., most of “My Hands Are Tied”); though if the Flatliners could get respect playing a Bridge Nine lineup show that would say a lot. Songs to look out for include “Fred’s Got Slacks,” “There’s A Problem,” “I’m Am Abandoned” and “Broken Bones.” If the Flatliners were to drop some more melodies to their balls-out thrash – like an Anti-Flag – they would surely pick up devotees.
The Fully Down Although there is nothing crushingly innovative about the melodic punk of the Fully Down, there is something in the ether that makes you hold on to the thirteen-track Don’t Get Lost In a Movement longer than ordinarily. It may be that this Ottawa-based six-piece actually makes use of having three guitars more than just to layer power chords. Or it could be that vocalist Gab Bouchard draws you in with melodic vocals that are convincing instead of simply using the most popular cadence. Ignoring the Fully Down’s penchant for annoyingly long song titles, the oft-multi-sectioned songs are just diverse enough without the band sounding like their purposely trying different influences. None of the songs on Don’t Get Lost are clearly superior to any other, but several standout and stick to your memory. After the strong three openers – “Cost of Comfort,” “Descent, Rebellion, and All Around Hell Raising,” and “Live and Die By the Shotgun Rules” – comes the excellent “Revenge is Profitable, Gratitude Is Expensive,” which gets you on the super catchy chorus. Other tracks flow with parallel interest though none really touches “Revenge Is…” until the twelfth number “A Question of Perspective” drills you with another superb chorus. That could be one fault with Don’t Get Lost – a majority are strong, solidly designed catchy songs, but few take you to the next level. Further, “No Fate…” is probably the only place where the Fully Down really drop the ball. Skeptics and cynics can be forgiven for giving Don’t Get Lost a quick listen and assuming that the Fully Down are just another band off the conveyor belt. But give them another listen, where you care less about innovation and more about pop appeal.
Get Hustle The near perfect combination of Northwest grrrl-voiced indie rock and voices and 3.1.G. noise esotericism, Get Hustle offers their latest record for the confused masses. Essentially, Get Hustle’s Rollin’ in the Ruins is all about Valentine Falcon’s sprawled, jabbing soulful vocals layered on top of Maxamillion Avila’s jazz drums and Mac Mann’s electric piano rambles. The first five songs on Rollin’ are all similar plugs on this onslaught and Get Hustle just save the real stochastic mess for the last song. Rhythms come in spots – as on “Revolution Van” and “W.S.T.P.” – but you are going to have search for them. The aforementioned fourteen-minute final track “Don Quixote & I” is like something you made on your Fischer Price recorder in grade school that is an inside joke for only those involved. If you’ve enjoyed any of Get Hustle’s previous releases on GSL, 5RC, etc., then you’d enjoy Rollin’ in the Ruins.
Gleasons Drift The four guys that comprise Gleasons Drift could be one of the best bar bands playing originals going on right now. Clearly, that’s a blessing and a curse. The curse is that the straight up rock with tinges of alt-country of Gleasons Drift sounds so suited for a rock bar – not a meathead bar – that it is hard to imagine them anywhere else. The upside is that Gleasons Drift have to be one of the best at rocking this environment. All ten songs on Beaver are heavy on indie guitar solos and maintaining a foot tapping beat that makes you smile. As a point of reference Gleasons Drift sound like a less harmony concerned and dirty Limbeck – which ain’t necessarily a bad thing. One possible way for Gleasons Drift to burst out is to tighten their visual image as an alt-country rock band and then have Beaver reworked as a smooth product. If Gleasons Drift is playing at a bar you find yourself in, shut up a minute and take a listen.
Head Wound City I like a record that I can listen to three times on my way to work. And such is the case with this seven-track effort by super group Head Wound City. How super is this group? Extraordinary – and that is part of the let down. HWC is composed of Nick Zinner of the Yeah Yeah Yeahs, Gabe Serbian and Justin Pearson of the Locust, and Jordan Blilie and Cody Votolato of the Blood Brothers. Right, so that should make HWC the best noise outfit in the world hands down. Yet, that isn’t really the case here. The seven songs are parallel to 3.1.G. offerings that don’t really hint at the talent behind the noise. Probably the biggest deficiency is that lack of crystal precision that both the Locust and the Blood Brothers are notorious for. Still, Head Wound City will likely blow every other punk noise band out of the water live. And if these boys ever cross your city make sure you check them out – they’ll probably be opening for one of their main groups. Of final note, the writing on the record art is exactly how someone with a head wound would write – scrawling.
HiSoft Pulsating 60s pop punctuates this five-song EP from HiSoft – a bunch of Philly heavyweights. That is, the four-piece of HiSoft is comprised of past members of the Lilys, Ink & Dagger, Hot Snakes, Delta 72, Burning Bridges, etc. – not that those bands have much to do with HiSoft’s sound. Fronted by Gerhardt Koener’s quasi-spaced psychedelic vocals, HiSoft leads you through five well comprised pop feasts on Amateur. Not unlike a more rock Silver Sunshine, HiSoft rarely come off the tracks from this sound and such times are placed quickly back in rhythm (e.g., “Kenzo”). For a nice calming soundscape, Amateur easily suits your fix. And check out the Crimson and Clover riff on the closer.
I Am Ghost It is very easy to consider Long Beach’s I Am Ghost as a poor man’s My Chemical Romance on their debut full-length for Epitaph. In the grand scheme of things, that designation isn’t a slight. It is just that My Chemical Romance so brought the goth melodic hardcore/punk thing to the front of everyone’s minds that they are impossible to rub off. Well, My Chemical Romance may be considered quasi-goth. I Am Ghost take things further to the Vampire-staring level, not unlike AFI and Bleeding Through, and proceed to punch out a record full of solid melodic hardcore numbers on We Are Always Searching. Working in the OC punk scene, I Am Ghost did a bunch of the DIY promotion stuff before getting scooped up by Epitaph. Still, I Am Ghost are certainly fortunate to be in the right place, right time set up with nearby Epitaph and the current environment. And for all the poo-pooing that is occurring in this review, We Are Always Searching is unquestionably a rocking album that will get people’s attention quickly. Songs such as “Pretty People Never Lie/Vampires Really Never Die,” “Eulogies and Epitaphs,” “Civil War and Isolation Thirst” and the excellent “Kiss Me Like You Wanted – We Will Never Tell” completely rock. I Am Ghost has a lot of space and room to grow and we’re hoping that they are around long enough to realize it.
Imogene Imogene leave no doubt in your mind of their musical intent within the first thirty seconds of the opener “Sunny Day Child.” That intent is a heavy reliance on distorted bass and keyboards to drive the band to a quasi-stoner psychedelic experience. However, Imogene really falls off and crumbles when they include awkward R&B and wah-wah sounds as on the follower “Not to Be.” In such moments, Imogene is less the cool, slower parallel to Queens of the Stone Age and more of a lame college jam band. Some of the better songs on this self-titled effort include “Paper Dolls,” obviously the great opener “Sunny Day Child,” the melodies on “Wasteoids” and the riff-soaked “Daath.” If Imogene stuck with the heavier, instrumental-based groove rock, they could be very special.
Japanther A cool name and neat design still doesn’t get NYC’s art outfit Japanther too far on this eight track EP for Menlo. Music for moving installation art, Yer Living Grave holds some melody and harmony, but the wall of distortion and fuzz hurts more than it helps, as exemplified on the standout track “The Gravy.” Much of the rest is like recording a dead body with the worst four-track ever and doing it in like five minutes. Yer Living Grave is another testament to the fact that some bands are simply better observed live than heard recorded.
The Lovemakers This Oakland, CA’s four-piece debut for Interscope is filled with hit singles while at the same time being plagued by inconsistency. The hits make Times for Romance an exceedingly easy record for Interscope to promote, but the in-between times make you shake your head and say why. The Lovemakers (Scott Blonde [vocals/guitar], Lisa Light [vocals/bass/violin], Jason Proctor [electronics] and Josh Kilbourne [drums]) make electronic dance rock that is unabashedly driven by the best of 80s New Wave – music that makes even the most stoic tap their feet and make take a step or two. When the Lovemakers focus on the rock side of their sound, they are nearly untouchably awesome. Expert moments include the already singles “Prepare for the Fight” and “Falling Apart” – both of which are instantly endearing. When the Lovemakers decide to forsake rock for dance, things get annoyingly trashy pop; stuff for split moments in time. Such numbers include “Set Me Free,” “Gonna Find,” “We Should Be Taking Our Clothes Off” and “Hypnotised.” In certain ways, Times for Romance is uniquely geared towards the electro-dance crazed European market than the American one. Surely, you will be hearing more from the Lovemakers.
Make Believe By this point in Tim Kinsella’s musical career, you can tell one of his songs within ten seconds; particularly if his voice belts out. And such is the case with his latest Chicago endeavor Make Believe. More or less, Make Believe sounds like Cap’n Jazz hung together for a full fifteen years and now are both quirky, uptempo, eclectic and extremely fucking tight. Kinsella, with current bandmates bassist Bobby Burg, drummer Nate Kinsella and guitarist Sam Zurick, most recent press surrounded the random coming and goings of Joan of Arc. Leaving JOA behind, Make Believe should be able to quickly establish themselves as one of the brightest among the complex, esoteric-though-accessible indie rock that dominates the midsection of the US. Excluding JOA’s terrible Guitar Duets, inclinations of goodness crept back into their 2003’s So Much Staying Alive and 2004’s Joan of Arc, Dick Cheney and Mark Twain. Make Believe takes those highlights and pushes them to the next level. Still, Shock of Being isn’t a pop song, catchy chorus love fest of joy. The thirteen songs continue to move at angles, sharp and otherwise, with Kinsella’s voice leading nearly ever turn; the type of indie rock that some would quickly write off a pretentious private New England college jibba-jabba. The bottomline on Make Believe’s Shock of Being is if you like Tim Kinsella and his past bands than you will love this record. Equally informed souls devise a more negative connotation.
Model One As the first EP in a strange decision of releasing four EPs instead of a full-length, this four-song effort presents soothing melodic rock that is neither non-threatening nor that interesting. The Chicago four-piece has the ability to put together a rock song that works well for tepid studio execs, but Model One’s sound won’t raise many hairs on your neck. Model One’s only step outside of calm moderate tempo rock, “The Model,” is ripe with bad lyrics and off-mixed backing vocals. The one good thing about releasing four successive EPs is that Model One can offer thematic collections and learn from past mistakes.
Opus Dai Not the same name as the devoutly Catholic sect made known in Dan Brown’s The Da Vinci Code, this Opus Dai is a blend of rock that blends metal, goth and classic rock into a singular element. Formed in LA from the dissolution of O.H.M., Opus Dai is already a slick, tight and competent band. This is evident by the fact that Actum Procul is actually a five-song live EP recorded at the Roxy in West Hollywood and it sounds better than many band’s studio efforts. This is both a nod to the band and to the recording equipment at the Roxy – though mostly to the band. Although the minimal talking between songs is annoying if you aren’t a fan, the five songs here makes clear that Opus Dai is like a perfect opening act for System of a Down. Add their slight world music influences to the rock and it is even more obvious. Opus Dai are releasing a full-length this coming year and hopefully it won’t be too studio smoothed to sound believable. As you might imagine Actum Procul isn’t widely available, but you can get from the band’s site, iTunes, Double Blind, Interpunk and Smartpunk.
Paperface This may be one of the strangest rock records that has been released all year. The brother duo that comprises Paperface, Chris and Andrew Merritt, don’t create bizarre music like say Tarantula AD, but they merge and meld such an array of pop rock into this thirteen song record that it is mind-boggling. Completely off the map from Takeover’s punk image, Paperface are a piano-driven pop song compendium not unlike a slightly immature Ben Folds Five or Jack’s Mannequin. Slightly theatrical, fun and talented, Paperface’s immaturity comes from this apparent inability to stay focused too long on one singular theme in a song. And while these quirks and blips serve to preserve the Merritt brother’s identity, they also weigh down certain songs from being sensational affairs. The perfect example of this comes from “Good Times” where the core harmony is Beach Boys’-esque with a sprinkle of Jackson 5, but Paperface just lace the song with amateur-hour moments that preclude true enjoyment. A less egregious example follows “Good Times” on “Familiar Faces” which is an otherwise gorgeous piano and string song that is tainted by repetition of an obviously off line. Yet, the fifty-minute Legend of Harley Knowles presents flashes of pop talent that suggests Paperface could become a serious player in a short amount of time. Songs with more consistency include the Smoking Popes-esque “Darkside,” “Fired Up” and the absurdly dance-infused “Dance Karate;” also take a listen to the epic “One-Track Mind” and “Three Times a Week.” You should minimally keep Paperface in the back of your mind in case they are able to fulfill the promise of the Legend of Harley Knowles.
People In Planes Ignoring the fact that the provided one-sheet was for Wales-based People In Planes forthcoming full-length As Far As the I Can See, Wind-up laid off the usual hyperbole and has signed another band completely at odds to the ‘Wind-up’ sound (Creed and its derivatives). With The Exit and People In Planes on their roster, Wind-up may begin to shake off the stupid mistake of getting rid of Boysetsfire. At heart, People In Planes is a pop rock band on this four song EP. They make use of slight effects and distances, but the rhythms and vocals of Gareth Jones are perfectly suited for pop ears. The EP certainly doesn’t start with such an obvious pop love fest. The first thirty seconds of “If You Talk Too Much (My Head Will Explode)” is an operatic woman singing the title with distant piano and birds in the background. That opening required a second glance at the label to assure this was actually coming out on Wind-up. But, soon enough “If You Talk…” moves to the melody that will cover the next three songs. “For Miles Around (Scratch To Void)” and “Moth” are of similar ilk, while “Falling By the Wayside” slows things down. Knowing Wind-up’s promo machine, People In Planes may soon become a big deal.
Pink Noise Following on their Come on Senses EP, Brooklyn’s Pink Noise offer up their debut full-length All Is Nu; a ten-song expanse on melodic art rock featuring and defined by the vocals of Sharron Sulami. Joined by Yuval Lion, YZ and Itamar Ziegler, Sulami’s vocals are hauntingly intense all in the range of goth, punk and rock. Pink Noise shares similar characteristics in citymates Made Out of Babies, but less crazy and, well, less scary. By the third song, “Bland,” you have a fairly strong grasp of Pink Noise’s low-energy art rock – that meanders along and is punctuated by yelps and screams of anguish. This is both a good and not-as-good (not bad) thing. The good is that All Is Nu is extremely consistent and solid record. The bad is that Pink Noise doesn’t deviate much from a defined sound and can get lost in which song is which. Without question, when Pink Noise tackles actual noise (e.g., halfway through “Come Over Pt. II”) and anger (e.g. “Waiting For You”) they are a much more entertaining outfit. All Is Nu establishes that Pink Noise is a band to be on the lookout for, particularly if you can catch one of their shows in NYC.
Pleasant As another piece of evidence that the Triangle has the best indie scene anywhere comes this brilliant full-length from Chapel Hill’s Pleasant. Comprised of Sean Parker, Eric Hermann, Maria Albani and Mario Gonzalez, Pleasant offer up twelve quirky, jangly indie rock numbers that have near perfect ingredients of catchiness, pop and tempo on Awkward as a Beehive. Pleasant are another example of the many bands that I missed out on while buried in that school thing. Now that I’m a thousand miles away, I’m enviable of people catching Pleasant opening for the big name indie touring acts. Anyway…Awkward as a Beehive is clock-full of glorious moments, not the least of which come courtesy of “Welcome Come In,” “Fight Song,” the dazzling “Lowly” and the cool wordy “Everything Here’s Gold.” Many of these highlights are due to Parker’s enticing vocal cadence and intertwining guitars of Parker and Hermann. If Pleasant are able to hit indie hot spots such as Athens (GA), Chicago, Omaha and Portland, they’d be huge. Clearly, Pleasant is one of your favorite bands that you’ve never heard of yet.
The Ringout A really cool album design is not enough to save these New Jersey power pop rockers from dropping the ball on Ghost of an Acrobat. Featuring members of Full Surrender and Million Time Winner, The Ringout merge somewhere between melodic punk and jam-infused mainstream rock across these five songs. Obviously, the melodic punk side is much preferred, but it only peers out time to time when the guitars avoid picking and just swirl (consider “Promised Land” as the key example). Whether it is the vocals of Jeff Ulrich or the guitars of Ulrich and Tim Bennett that causes the jam sound is beside the point. That it occurs through this EP is the problem. These mid-tempo songs are near-perfect for wooing drunk college girls at parties, but drag in other locales. A couple of sections should be avoided (e.g., the opening to “The Phoenix”), but there is enough to salvage for future recordings. The Ringout should just cut out the earnest, sensitive band crap and just rock.
Sabrosa Purr Is it patriotic to close down to a record that opens with a track of a girl speaking French about how Wyoming only has one House Member? Maybe. Are you from Wyoming? It may just be LA’s Sabrosa Purr mourning the loss of their bass player Meg Taylor to the Swiss Alps. Either way, Sabrosa Purr is a band that comes up the way that most bands should. Held at the front by Will Love and filled out by Jeff Mandel on guitars and Jacob Thompson on drums, Purr took awhile to develop. Love trekked to LA from San Diego with a bunch of song ideas and spent some time locating Thompson and then Mandel (through the latter two’s band Longer Now). The developing sound is eclectic rock that is quickly flushed out on this eight-track offering. After the French, “Sabrosa Purr, Pt. 1” is a slow mover with background electronics and muttering guitars that is like Air with LA rock fashion. This is followed by “…by the Water” which sulks for a majority but is crested by a rock attack halfway through where Love nears screaming. But, no need to worry that this is an anomaly. “The Lovely People” is like a totally different band with screeching guitars and voices with a melodic chorus. Come down from the high on the echoing “All the Leaves…” and the slight rocker “God Damn You.” “Pink” is Purr’s psychedelic rock creeping back, while “Liars, Petty Thieves and Pets” is acoustic Love hitting vocal cadences similar to Billy Corgan. And there you have it: Sabrosa Purr with many faces, none hitting on the core of what the Purr is probably all about.
Shattered Realm Shattered Realm’s From the Dead End Blocks is just pure simple beat down hardcore designed to unleash your aggression upon hapless souls. With a new lineup from 2002’s Broken Ties…Spoken Lies, this Northeastern five-piece offers one of best brutal hardcore attacks this year. Surely on the heels of Madball and Hatebreed, Shattered Realm would do well to pick up the pace in more spots on this eleven-song, twenty-two minute record. Not the four-on-the-floor old school style speed, but just more shifts in tempo to complement the machine gun guitar onslaught that characterizes SR’s sound. If From the Dead End Blocks had a greater diversity in shifts it would be a classic. If Shattered Realm can keep this lineup intact, they are going to do some serious damage in the hardcore scene this coming year. Be afraid, very afraid.
Sublime Even Sublime as an existent act has only been gone for a decade, it might as well be an eternity. A completely enveloping band, Sublime drew fans from far and wide helping to establish the laid-back SoCal ska-punk beach lifestyle, as well as providing the soundtrack to many a frat party. With the untimely death of leadman Brad Nowell in the mid-90s, the other members bassist Eric Wilson and drummer Bud Gaugh pushed the release of the posthumous self-titled record – their third and possible best. Wilson and Gaugh went on to their own things, including Wilson’s Long Beach Dub All-Stars, but Sublime was their calling card. Can’t say much for the kids today, but nearly anyone who was roughly college age in the late 90s had a Sublime record lying around. If you don’t/didn’t then now is your chance for an excellent collection. Sublime: Gold consists of 42 songs on two discs from across the band’s three records. Unless you are a complete Sublime junky, every Sublime favorite is here. This includes fourteen songs off of their debut 40oz. of Freedom (including “Date Rape” and “KRS-One”), ten off of the less known Robbin’ The Hood (including “STP”) and fifteen off of the self-titled (including “Santeria,” “What I Got” and “Wrong Way”). That more or less sums up the magic. And if you want more Sublime retrospectives, two more are coming your way in 2006. The first is a deluxe reissue of Sublime’s 1996 self-titled record with all the bells and whistles. The second is a retrospective box set that includes three CDs and a DVD full of live performances, radio stuff and demos. It is safe to say this next year will be beautiful for Sublime fans.
The Sun Blame It On the Youth is simultaneously one of the most annoying and cool musical offerings in awhile. The simple reason is the Blame It is not a CD, but a DVD that serves as a CD with just videos for all the songs (though you can put the songs on your hard drive to listen without the videos). That is fairly revolutionary for a band that isn’t a mega seller to make videos for all their songs and release it as such. You get fools like 50 Cent re-releasing records with the videos for various songs he did, but nothing like the Sun. Of course, this format is annoying if you want to just rock it on your stereo. Ignoring the totally fucking irritating bio, this Ohio quintet plays garage rock with pop hipness smarts. Actually saying ‘garage’ is a misdiagnosis as it more just rock with a pop washing keyboard. And you would never guess the Sun is from Ohio – maybe LA, maybe England, but definitely not Ohio. As the fourteen videos make clear, the Sun’s headman Chris Burney is someone you just can’t keep your eyes off. Burney’s got this weird nerdy charm that makes him a compelling frontman and at least elicits initial interest. More importantly, the videos do their job and enhance your interest in otherwise mostly ho-hum songs. The songs that don’t need any visual help include the rocker “Say Goodbye” that picks up halfway through, the chorus of amazement on “Lost at Home” (a chorus that echoes a Franz moment and one of the few to feature someone other than Burney), “We Tried” and “Valentine.” The video that you must check out is the animation for “These Heights,” which forms the album art for Blame It, and features Burney as a Kola. If nothing else, the Sun’s Blame It On the Youth is a rock novelty worth owning.
Super Deluxe If Super Deluxe could maintain the dreamy pop love fest of the opening, tremolo-filled song “Come Down,” Surrender! could be a major offering. Yet, these veteran pop rock kings don’t entirely deliver on the enticing appetizer. Formed in 1995, Super Deluxe spent the better part of the past decade providing Warner Bros. with radio-friendly pop that most either love or despise. But, it is hard to deny a great power pop song even if your idea of melody is a Locust record. After some time away from music, Super Deluxe got back together with a batch of new songs for a new label – The Control Group. To re-pique interest in the band, Super Deluxe released the Lolita EP and got decent interest in their hometown of Seattle. The eleven songs on Surrender! merge somewhere between the Lookout Records’ pop punk and Urge Overkill. At times, the cross-product of appeal creates memorable songs designed to stick in your noggin’. Other times, it sounds like Super Deluxe are stretching to find innovative and interesting harmonies. Again, if every song sounded like the opener “Come Down,” praise would be raining down like a monsoon in Burma. Still, the follower and standout “Knockout,” “Safe and Sorry” and the closer “Get Off” offer their own moments.
Travis Abercrombie There are a number of immediately disturbing things about Travis Abercrombie and his band – which includes Steve Ebe, Chris Donohue, Audley Freed, George Cocchini and Ron Bennett. Travis started off his musical career playing in a college band at Clemson University – a notoriously conservative and privileged fraternity atmosphere school in western South Carolina. Right, and his name is Abercrombie! Besides from that he released a spiritual album on his own before heading to Nashville to do more pop rock – yet the first song is titled “God.” Ok. Ignoring the fact that his promo photo makes him look like an ex-lineman wearing a little eyeliner and cleaned up like an ‘average guy,’ the twelve-song Tied is highly generic radio pop rock. Abercrombie admittedly has a strong voice, but his talents seem lost on music with no innovation or personality. Maybe Abercrombie et al should try a different out-of-body experience than one with God.
Turin Brakes This digital-only four-song EP from the UK’s Turin Brakes is unquestionably focused on fans of the band. The duo of Turin Brakes (Gale Paridjanian and Olly Knights) found a renewed interest in acoustic workings after touring the US last year while supporting their amazing record JackInABox. As such, they decided to offer up a little four-song EP to get their acoustic thoughts out and suggest slightly new future directions. The EP opens with an acoustic-dominate reworking of the fabulous “Red Moon” off of JackInABox. This is followed by the new “Jet Trail” and “Love Is All You Deserve,” both of which possessing heavy acoustic singer-songwriter flair that is rather endearing. “Jet Trail” could easily become one of your new favorites. The EP closes on a cover of the Red Hot Chili Peppers’ “Breaking the Girl” from one of Turin Brakes live radio sessions in LA. If you enjoyed JackInABox then you should download this bad boy soon.
Unearth This conveniently named record is also a very strange and perplexing release. The Massachusetts-based metalcore Unearth has been slaying demons through records and live for a number of years now and their place as one of the heaviest, tight and tough hardcore bands is unquestioned. But Our Days of Eulogy is weird. The thirteen-track record consists of five live songs recorded at the Downtown in Farmingdale, Strong Island, the band’s Endless EP and their Above the Fall of Man EP. It makes sense to reissue the Above the Fall of Man EP as it was previously out-of-print, but the rest is less obvious. The Endless EP is readily available and live songs have become more of a free bonus than something you lay down cash for – though I must say that the five tracks sound pretty damn good for a hardcore band playing a small club (though the Downtown is outfitted with absurd equipment thanks to some cross-ownership of music equipment stores). It’s not clear whether Unearth is fulfilling a contract or if Eulogy is trying to squeeze out a juiced up product.
V/A 20 Nights of Wine and Song serves as the 20th release for Portland, OR indie Greyday Productions. Unfortunately not also consisting of 20 songs, this fourteen-band fourteen-song compilation is an excellent representation of the low-key singer-songwriter indie nature of the label (and possibly Portland as well). All the songs are unreleased and come from artists on the label’s catalog – though not necessarily dropped tracks for releases on Greyday. If you aren’t from the Portland/LA areas or even the West Coast, then you are likely not going to recognize many of artists here. Yet, as this compilation makes clear, you should quickly get familiar with them. The artists on 20 Nights fall into two general categories: the aforementioned low-key indie and those that aren’t. Amongst those that aren’t includes the electro “Slinky Slur” from Books on Tape, the excellent electro-faux 60s French pop of London’s Piney Gir on “Hello Chanel,” and the dance remix of “Drawing a Blank and Framing It” from Portland’s The Empty. Thus, the majority are of the latter ilk. Highlights of the low-key indie include Consafos’ “Take Me Home,” Leaving Rouge’s “Any Color You Want,” super indie girl Bronwyn’s “Two Hearts in the Night,” the opener “Box of Cassettes” from Minmae and the impressive “1974” from Gone Done Wrong. Since Greyday and their artists aren’t necessarily on the lips of as many people as they should be, do yourself a favor and pick this up.
V/A The creator and writer of the OC was just on one of those late night talk shows saying that one reason for having bands play live in episodes (and having such artists released in these compilations) is to give unknown bands exposure. Based on this twelve song compilation, and previous compilations, that is partly true. It is true in the sense that your average, middle-America, middle-aged person is not going to know any of these bands. So, putting them on mainstream TV will provide exposure. But, for those who pay an ounce of effort on indie music, the majority of bands on this fifth edition of the OC comp are already household names. Among those who you surely know include the Shout Out Louds, LCD Soundsystem, Kasabian, Phantom Planet and the Gorillaz. Even those that ignore indie music for mainstream radio know the recently five-Grammy nominee Gorillaz. The other downside to this comp is that at least a majority of the songs have been previously released. So, in a very real way, this comp is to get people in the mainstream interested in these indie outfits. Still, the choice selections, not unlike the Garden State soundtrack, are strong. Notables include LCD Soundsystem’s “Daft Punk Is Playing At My House,” Rogue Wave’s “Publish My Love,” Kasabian’s “Reason Is Treason,” Youth Group’s cover of “Forever Young,” the surprisingly strong “Requiem For O.M.M” from quirky Of Montreal, Kaiser Chiefs “Na Na Na Na Naa” and the hauntingly brilliant “Your Ex-Lover Is Dead” from Stars. If you own nothing by these groups, then The OC: Mix 5 should be next on your pickup list.
Velma Outside of Great Britain, us Americans know and appreciate very little music from Europe. The brightest lights are shone of extreme metal of Germany and Scandinavia, as well as the techno-electronica crush of dark clubs and Mediterranean islands. Whether a statement on quality, the already oversaturated American market or simply biases, scores of talented European artists are missed by Americans in our quest for cool shit. The material of the French label Monospone appears to be such a case – a similar avenue as Autres Directions. With a handful of releases under their belt, Monospone is well-positioned with the release of Swiss trio Velma. On Velma’s fourth album, and first with Monospone, the trio mix low-grade electronics with margins and sprinkles of drums/bass and rock. Sung in a combination of English and French, Velma runs the gamut of sounds across the eleven-song, fifty-five minute record. Although Velma collaborate with Dalek on the solid “Voices in the Ether,” La Pointe Farinet, 2949 m. is a bit hit or miss. Many of the misses come courtesy of songs one may described as ‘too artsy’ – e.g., “Quotidien” and “100% Sure.” Yet, moments like “Voices,” “Blanquette,” “Private Perfection,” “Growing Confusion,” “Sleeping Underwear” and “No Risk To Be Taken” have you coming back for more. If nothing else, La Pointe Farinet, 2949 m. is an excellent record to serve as background fodder to your thinking mind.
Vincent Black Shadow That a band is playing stoner metal outside of the dirty South is enough to perk up your ears and take notice. Vincent Black Shadow comes courtesy of Baltimore – a city with similar problems to New Orleans – and they blast heavy rock riff with the mid-tempo momentum of a bunch of stoners. Whether they fashion themselves as an indie Bongzilla or not, there are good times across the eight songs on this vinyl-only recording (though iTunes, et al. should exist). Yet, one may question whether the slow-tempo allows the guitars to achieve some of the riffs they parlay (versus ball-ripping speed). One secondary problem is that the recording is rather low-grade and the mixing volume can be screwed (particularly on the opener “Child of Orion” and “Blow It Up On Sunshine”); though, it is quite possible that our CDR-copy is not the final smoothed production job. If you get off to NOLA-and-area stoner metal – e.g., Suplecs, SuperHeavyGoatAss, etc. – but reside in the Baltimore-area, you should definitely check out Vincent Black Shadow’s offerings.
Voodoo Screw Machine Record art only suggests a slim chance that A Kiss Before Drowning will be anything except fucking awful. And while Voodoo Screw Machine isn’t the worst thing that’s ever been recorded, the twelve tracks of campy horror metal provide little solace from your initial impression. In fact, the unfortunately intermittent guitar work of Stony Curtis displays some serious talent that seems wasted on VSM. Every theatrical metal band needs an absurd leader and for VSM that comes in the form of Thermos X Pimpington whose main skill and focus is to make you cringe – in anyway possible. This is mostly achieved through terrible lyrics and vocals – though Pimpington would prefer the cringing to be an effect of VSM’s shock rock. Just pass on by.
Walk the Line: Original Motion Picture Soundtrack This sixteen-track soundtrack for Walk the Line – the Johnny Cash biography featuring Joaquin Phoenix and Reese Witherspoon – serves as an audio file for the film. You wouldn’t buy this soundtrack to have Johnny Cash songs given these songs are played by the film’s cast and not Cash; of course, if you want Cash recordings there are billions including the recent rash of best of’s and boxes. You would pick this up if you loved the film and wanted the Cash songs played in the film. As with the film, the most amazing part of the soundtrack is the excellent performances by Phoenix as Cash and Witherspoon as June Carter Cash. Witherspoon and Phoenix bring them back through more than just mimicry. Through the musical direction of T. Bone Burnett (O Brother, Where Art Thou?), the soundtrack also includes Waylon Malloy Payne doing Jerry Lee Lewis’ “Lewis Boogie,” Johnathan Rice doing “You’re My Baby,” Tyler Hilton on “That’s All Right” and “Milk Cow Blues” and Shooter Jennings on “I’m A Long Way From Home.” This soundtrack is also enhanced with two cut performances from the film of “Rock ‘N’ Roll Ruby” and “Jackson.”
World Leader Pretend Through the ruin of New Orleans comes this very not NO-style debut for World Leader Pretend on WB. Riding on an American version of Coldplay, WLP works fourteen tracks of pop smart rock songs that come off like respectable radio rock. With the backing of WB, the range of instruments and quality of production on Punches smoothes over a rather dull pop heaven. That is, none of the songs grab you and stick in your mind, while at the same time the songs roll along and keep you complacent. Even though WLP utilize such thick instrumentation, Keith Ferguson’s vocals sometime suggest a garage act like the Strokes; if there was a defining element of WLP’s sound it would be Ferguson’s voice. Still, tracks like the slower, misty “Lovey Dovey” and the rum-induced “Tit for Tat” help to keep the faith and make you take a second look at Punches. If you enjoy moderate tempo, contemporary modern rock then you will surely find solace here.
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