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July Reviews Artist of the Month: Helicopter
Helicopter There are not enough words in the English language to give due praise for Helicopter Helicopter on Wild Dogs with X-Ray Eyes. Or maybe, more significantly, there are not enough quality words in the description of a sound that is just so right, so good, that it is hard to define. The ancients like Plato and Aristotle had a similar problem (see the Timaeus) and they would have likely failed here (after they understood how sound was coming out of these black boxes). Yet, I will try to muster something with explanatory and descriptive power. Before the superlatives, here is the run down on H2. The four-piece come from Boston where they have reigned supreme for about five years. After several releases on upstart Boston label Lunch records, Initial managed to score them for this record; much in the same way with the beginning of BoySetsFire on Initial. While the song construction is good on its own right, H2 weave sweet melodious indie rock with some hard rocking elements. However, the true juiciness comes with the multi-layered singing of both Chris Zerby and Julie Chadwick. Oh, God, how excellent. It's like taking Park Ave. and giving them some serious rock abilities. Just writing this short characterization gives me chills. Onto the dogs. Wild Dogs with X-Ray Eyes starts with "Helicopter Fight Song," which serves as a good introduction for what's to come. That is, light poppy and catchy rock verses moving to cascading and building instruments and vocals on the chorus. True to form, H2 possess some of the best bridges and breakdowns in the business. The opening is followed up with the Tom Petty-laden (circa 1990) "Harsh Light." Again, delightful verses moving to a memorable and melodious chorus. "Talented Socialites" comes in with swirling guitars and poppy vocals by Zerby, soon enough joined by Chadwick. Yet, the magic of the song comes at the end with the refrain "you are talented socialites." After the quietly compelling "The Devil," H2 pick things up again on "1234." "1234" has the ability to bring tears to your eyes and chills to your spine when played at a high volume, so be warned. Lead by an uptempo Chadwick, "1234" has everything you want in a song, including a bass solo breakdown. Though a comparatively short number, it packs quite a punch. "Like Detroit" comes at you as a creeping nightcrawler of guitars, vocals and drums. The catchy "The Misfit" only wets your mouth for the catchier "Talk the Flyer Down." Before the finale, "Time Machine" grabs your ear and illustrates H2's consistency. Like on the many of the other tracks, "Time Machine" includes a dazzling breakdown before for the climax. The record's finale is "Waves Roll Into Boston." Coming in like an electric guitar wave, the song builds slowly with a single guitar matched by a fluttering guitar then some drums and bass. As the song builds, the tension builds and finally explodes into an inspiring chorus that you are not likely to easily forget. When the song and the album ends and has you dreaming of more, you realize you have just witnessed one of the best records of the year if not of the decade! In my meager attempt to demonstrate the brilliance of this record, I hope I've at least developed a festering interest. Surely, if Wild Dogs with X-Ray Eyes does not go platinum in the first week is should be deemed a crime against all that is good and right in the world. Don't be a fool (cause I pity the fool) and miss out on experiencing this sensation and catching Helicopter Helicopter live.
A
Northern Chorus Call this southern Ontario group "chamber pop" or "orch pop". The group adds flute, violin, viola and additional instrumentation to its indie pop that varies from the delicate, ethereal arrangement of "A Fragile Day" to the a restrained wall of sound on "Song & I". The group uses the many facets of its instrumentation to providing shifting layers of sound in this dense collage of a tranquil and reflective beauty. (-Tom Schulte)
Astrid
Oto
Cauterize
This is the first single for this four-piece out of the great
white north. "Something Beautiful" will be on their
forthcoming album in August. Cauterize's sound is punk rock with
a stronger allegiance to complex rock foundations than most three-chord
punk. The vocals and backing vocals are well placed and developed,
which is always key to separation in the genre. As such, Cauterize
stand together with new label mates Boy Sets Fire as highlights
of style in the similar-mannered bands of Windup. After this single,
I look forward to hearing their full-length.
Criteria Trying to keep Stephen Pedersen away from writing music and playing in a band is like keeping a crackhead from smoking the rock. Pedersen works real hard at trying to be a lawyer, but is always drawn back to the power of music. As many know, Pedersen was originally in Cursive - before the introduction of Gretta Cohn on cello - yet still amazing and performed powerfully within the setup. He then left to go to Duke law school and given the indie rock center of Chapel Hill, Pedersen was quickly drawn back into the fold with the White Octave. Though with the knowledge of what the deal was with the Octave, the first time that I saw them was possibly one of the best shows ever when Sorry About Dresden and the Octave opened for the Faint. At that point, the Octave were on the cusp of releasing the well-received Menergy on Initial; their second album after Style #6312 on Deep Elm, an album that contained some remarkable songs. As the Octave were quickly ascending in the music world, Pedersen, done with school, headed back home to Omaha to partially engage in being a lawyer. Yet, once there, and with the abundance of startling music coming out of Omaha, Pedersen soon dipped his hands back into to the pot with a new batch of songs and hence Criteria was born. Utilizing the arsenal of Omaha musicians to record En Garde, including drummer Mike Sweeney (Bright Eyes), some keys by Ian McElroy (Desaparecidos) and bass by A.J. Mogis (Lullaby For The Working Class), Pedersen picks up where the White Octave left off. Most of the ten songs have a familiar feel of being centered on guitar and strong bass riffs and Pedersen's unique vocal stylings. The vocals typically are a bit distant and very slightly distorted like he is standing back from the mic. This is seen most evidently on the opening "The Coincidence," where a light opening moves to Pedersen's vocals, drums and bass carrying the song before moving to Pedersen coming back half way through with guitar. This type of song construction is present across the rest of the songs, though often lead by a single guitar's musings (or doubled), and is a defining characteristic. In addition, Pedersen adds anguished gut-wrenching intensity through the varying sections of most of the songs. As with Menergy, there is a high degree of consistency between the songs, making it hard to pick and choose among the songs and, thus, forcing the listener to just go with the flow across the record. Though one interesting note is the apparent partial theme throughout "It Happens" of going back to Omaha and now working in the explosive scene of Omaha. Also, as with a final track on Menergy, Pedersen adds a touch of British accented-vocals, as well as some electronics, on Rescue Rescue. Basically, one could spend several thousand more words dedicated to dissecting the songs on En Garde. Though
Pedersen used a collective of musicians to record the album, he
has enlisted most of their help - with the inclusion of Aaron
Druery on guitar and without Ian McElroy - to take Criteria on
the road. Given the shows with the White Octave, one should not
miss out on the astounding stage presence and intensity that Pedersen
conjures up each night. Now with an album cover not unlike a Calvin
Klein ad, hopefully Criteria will have some lasting power.
Diffuser
This is the second album for Diffuser on Hollywood. Their first
record, Injury Loves Melody, did well, making various billboard
charts and sealing their place in the Hollywood lineup. Diffuser
play a brand of pop-punk that is highly attuned to rock sensibilities
and song construction - always straight-up rock, yet never dull
or overdone. At times they are reminiscent of a more rock orientated
All-American Rejects in the type of pop that permeates the twelve
songs. As such, Diffuser is a unique band on the Hollywood roster.
The record kicks off on "New High" with some muting
building to full rock and breaking as Tomas Costanza offers the
first line. "New High" sets the tone for the rest of
the album and places a yardstick from which to judge. It is also
issues the main and well-known song theme about relationships
and failed love, etc. This is followed by the catchy "Get
It On," which is fabulous except for a dim line in the chorus.
Either one of these songs could be hot singles and will likely
get some serious airtime. Yet, several of the songs on Making
the Grade could probably fall into this classification. Though
getting directly at the heart of bad relationships, "I Wonder"
is song that I skip when listening to the record for way too obvious
childish lyrics (though not content). Other songs that could find
their way to radio and make some waves include "Here's To
You" (though edited), "Only in the Movies" and
"Nothing Let to Say." Though Diffuser does have a Blink
182 element to their songs, I think at the end of the day they
concentrate more on good harmonies, melodies and plain-old rock.
Evanescence This
is the latest single for the break out hard rock band Evanescence.
Coming off the impressive hit of "Bring Me to Life,"
Windup is looking to push "Going Under," which is the
first track on their album Fallen. Though not as sweet as "Bring
Me to Life" or the ballad "My Immortal," "Going
Under" is characteristic Evanescence that is carried again
by Amy Lee's amazing vocals. Look for "Going Under"
to be playing on the airwaves during the course of the summer.
Finger
Eleven As
the third release from this Canadian five-piece, we can only hope
them to improve on their previous release for Windup. Finger Eleven
come across as one of those bands but blends many elements from
mainstream rock that succeed in not sounding like any other band.
Yet, at the same time they sound eerily reminiscent of every other
band. You find yourself saying "oh, this segment sounds like
x, and this bit sounds like y." Hence, Finger Eleven will
likely find a large audience for their music, but it does little
to distinguish themselves or breakdown walls. This self-titled
release starts very promising with a sweet element of hard rock
swirling guitars, but then retracts into some sludge as the verse
starts on "Other Light." Not to rewrite the song, but
it have been cool to come in with some chainsaw guitars to accompany
the swirls. This is a consistent finding amongst the other eleven
tracks. Each song has rocking sections, but also dull and generic
sections. Though it is nice to see Finger Eleven pushing themselves
in certain songs. For instance, the first single "Good Times"
finds singer Scott Anderson moving significantly back-and-forth
in vocal range. Also, there is good sounding Ozzy breakdown that
can bring smiles. As an addendum to the record, Windup is releasing
limited edition versions that come with a one-hour DVD packed
with stuff. The DVD includes a live show that finds F11 running
through eight songs off their releases to a packed house. Although
using an array of cameras, some angles and clarity may be deemed
shoddy for a high profile production. If memory serves me the
production/editing job on the Boy Sets Fire live show DVD for
Windup was quite good - don't know what happened here. Also, there
is the video from the first single on the record "Good Times"
- a straight-up video of the band playing in an ice/stone structure.
Finally, there is footage of F11 in the studio in Chicago and
some from L.A. It is always fun to watch bands in behind-the-scenes
scenarios. There is little doubt that you will be hearing from
Finger Eleven in the near future, yet you decide if that is a
good thing or not.
Kittens
For Christian As
one of the first releases on System Of A Down's Serj Tankian imprint,
Kittens for Christian put forth some truly strange material on
Privilege Of Your Company. KFC sound like some alter ego of odd
new wave music from the 80s - not unlike Thomas Dolby on "Weird
Science." Not the poppy dancey music, but the darker-edged
arty stuff. This partially may grow out of the fact that KFC is
over a decade old and have roots that go way back. The core of
Hiram Fleites and Neil Young (right, not the same) founded the
band in 1991 and, after several drummers, they are back with Ed
Diffner. Though the three-piece focus on bass, guitar and drums,
they have their bit of synths and the like to add extra bit. In
fact, their sound is reminiscent of the several decade-old L.A.
noise punk band The Screamers - where no doubt KFC should have
been on their recent cover comp. Naturally, KFC have releases
before this through their own Dirtbox Records. Probably the most
defining aspect of KFC's sound here are the vocals of Fleites.
The vocals are whiny, at times monotone and are easy to either
fully enjoy or hate with a passion. You have plenty of time to
do either among the record's fifteen tracks. For instance, on
the second song "Red Rover," Fleites blips of "it's
just a body politic" make me want to strangle him with brute
force. Yet, on a song like "Love International" and
"Water" the vocals are heavenly and sweet. Other songs
in the positive light include "Grubby Hands," "Gun
Country" and "Feedback." Musically, KFC borrow
a lot from various sounds including the long guitar riffs of bands
like the Dead Kennedys and the contextual feel of the Cure. With
Tankian working hard for them, hopefully KFC will dazzle in the
live experience.
Minus
If you were fortunate to experience at least one listen to Minus'
2001 release Jesus Christ Bobby, you will be stunned when you
hear this latest from this Icelandic five-piece. Recorded when
the sun never shines in Iceland, Halldor Laxness takes a page
from the plethora of stripped-down garage punk style bands coming
out of mainland Scandinavia. Though some heavier riffs are expressed
and included amongst the record's twelve songs, the heart of the
music is pure rock. Minus has literally transformed their entire
being including physical looks and relatively everything about
their sound. Gone are the machine gun and buzzsaw guitars, distorted
anguish screaming of vocals and hardcore drumming. The move on
this latest release is baffling. On Jesus Christ Bobby, Minus
stood out and differentiate themselves from any sub-sub genre
or band through a mind-blending array of sounds, arrangements
and attacks. Now people will easily characterize Minus as just
another band to be pigeoned into the Scandinavian wave. Though
the songs on Halldor Laxness are easier on the ears than Jesus
Christ Bobby, the change is haunting. The only similar change
that I can compare it with is how Cave In went from metal-core
to space-rock; yet that took a number of years and the progression
was gradual. Although the opener "Boys of Winter" comes
in with a heavy riff and some screaming and a few other songs
have their hardcore moments (e.g., "Romantic Exorcism"
and "Flophouse Nightmares"), it is all smoke and mirrors.
Although I like the music and there are some standout songs, including
"Who's Hobo," "Here Comes the Night" and "My
Name is Cocaine," I just can't shake the change. If Minus
had changed their name and put this record maybe it would be easier
to swallow; I don't know. If you have never heard Jesus Christ
Bobby then you may really enjoy this release, especially if you
dig the Scandinavian wave.
The
Receiving End of Sirens
As one of the best unsigned bands of the emo-indie-hardcore amalgamation,
this demo from the Receiving End of Sirens dazzles. RES come out
of Boston and like city-mates Helicopter Helicopter, this five-piece
work hard to create unique and compelling song compositions. Each
of the three songs here is jammed packed with harmonies, breakdowns,
churning guitars, multi-layered vocals and the occasional metal
and screaming. I would be very surprised if RES does not get a
sweet record deal by the time you finish reading this review.
For more information on the band, including tour dates, and your
opportunity to check out the demo go to www.thereceivingendofsirens.com.
The
Revolution Smile
From the ashes of the standout hardcore band Far comes the four-piece
The Revolution Smile out of Sacramento, CA. Former Far guitarist
Shaun Lopez leads this band on their debut and onslaught across
the country including dates on the Ozzfest. While Smile is not
likely to be throwing down on a bill with Hoods anytime soon (maybe,
maybe not), they work hard to satisfy varying rock tastes. Signed
by Fred Durst to his imprint Flawless, the first thing you want
is for the band to significantly differentiate themselves from
anytime of rap-metal, etc. Unfortunately, the immediate impression
on "Bonethrower" does not overcome that stereotype.
"Bonethrower" kicks off with sludgy distorted guitars
played in drop D or, actually probably, quite lower. But thankfully,
the opening track is not characteristic of the rest of the record.
This is realized with the much mellower and harmony-laden "Payday."
"Payday" has a groove rock feel to it that flows seamlessly
between segments. While the two opening numbers set the boundaries
for the variance in their rock spectrum, the rest of the eleven
songs (totaling over 50 minutes) fill the vacuum. After several
ho-hum numbers, "The Ride of Los Angeles" introduces
some synthesizers and a memorable chorus to recharge the listener.
Again, after some filler, "Indiana Feeling" comes in
with a classic hardcore opening with pounding drums and swirling
guitars. Though I may be biased, Smile's "softer" songs
like "Looking Down the Barrel" and the couple mentioned
above truly show off their talents and abilities. At the end of
the day, Above the Noise has several great songs that could get
serious airplay. But the problem is that you have cut through
some filler to find the gems. Possibly, a paired down version
would have maintained the aforementioned quality.
Simply
Saucer This is a CD reissue of a 1989 vinyl LP that culled together a 1974 recording session and a 1975 live set from pioneer Canadian psychedelic rock project Simply Saucer. This is an interesting amalgamation of three strains of then-current underground music. First we hear in the guitars and vocals the American proto-punk sound: Velvet Underground and Modern Lovers. The British psychedelic scene of the earliest Hawkwind and Pink Floyd can be heard in the mix. Finally we hear the wild experimentation of krautrock, as exemplified by Can. The CD is filled out with a significant amount of bonus material over the original vinyl release. There is a set of 1977 rehearsal songs and a trio of songs recorded live in 1978. The last two tracks are off the only official release of the band's career, the 1978 Pig Records single "She's a Dog" b/w "I Can Change my Mind". (-Tom Schulte)
Spitalfield
Parallel to many journeys that former hardcore band members have
gone since the mid to late-90s, the members of Spitalfield's degrees
are in hardcore but as Spitalfield they are pure indie-pop. Many
people argue that Chicago makes people angry and bitter, mostly
due to the weather, and thus you find a lot of aggressive, angry
and dark music come out of the city. Even the "pop-punk"
likes of Alkaline Trio have such a dark approach to their songs
and one reason why Milemarker left the safe and comfortable confines
of Chapel Hill for Chicago. Yet the four-piece of Spitalfield
shuttles such nonsense aside, even though their pictures in the
sleeve captures moments giving you bone-chilling temps like "03.04.2003
5:35PM Lake Shore Drive Chicago, IL Temp: 10 ." This is not
to say that Spitalfield's songs are the new Prozac moment lyrics-wise.
Spitalfield finds themselves squarely in the air of indie rock
not unlike Taking Back Sunday and a mellow Somehow Hollow/Grade.
The recording is top-notch, but for the past few years for Victory
that is the rule rather than the exception. I am going to cut
to the chase on this release. The best song on the record and
a class-act hit is the final number "Make My Heart Attack."
This sure fire strike has an amazing and memorable chorus that
makes you sing along and rightly closes out a solid album. Sweetly,
they add a quasi-bass solo in a breakdown before going back to
the chorus. It reminds me of how Blankface closed out their only
record. With the right push, this song will get serious radio
action and possible more. Though "Make My Heart Attack"
is the hit, the other nine songs are nothing to sneeze at. Other
standout songs include "Those Days You Felt Alive,"
"Kill the Drama," "You Can't Stop" and "Fairweather
Friend." Remember Right Now is fun indie-pop album that will
sure to dazzle and comes at a good time for this type of sound.
The
Star Spangles Though visually the Star Spangles appear like the crass, snearing and snotty punk types, musically they have a more innocent and harmonious manifestation on Bazooka!!! Several years in the making, the Star Spangles were formed in the lower east side when lead singer Ian Wilson and Tommy Volume made the move from a small town in upstate NY. Living the underground NYC punk life - a life glorified in punk music for the past three decades - the Star Spangles managed to eke out a life for themselves before labels started to take interest. Part of their life is, as you might guess, consumed in alcohol-driven partying, rocking and squeezing by in life. When Capitol signed them, they were finally able to purchase a full onslaught of equipment and stopped borrowing various pieces from friends. After spending most of their time playing in NYC and the UK, the Star Spangles are ready to reinvade the U.S. As mentioned above the Star Spangles come across as a very harmony-orientated garage punk band - with thankfully the lack of whiny singing that makes you want to punch out a number of bands in the genre. Among none of the thirteen songs are you dazzled by musicianship - though all are competent - it is the basic rock structures and constructions that strike the listener as first-rate and right. As such, the sound is reminiscent of the Ramones, the Replacements, and even some straight up pop-punk bands like the Groovie Ghoulies (e.g., "In Love Again"). A strong attraction of the Star Spangles' sound is the terrific vocal presence of Ian Wilson. Wilson's magnetism comes across immediately on the opening "I Live For Speed" - though not the pharmaceutical type. The Star Spangles carry out the opening formula on other notable constructions like "Which One Of The Two Of Us Is Gonna Burn This House Down," "I Don't Wanna Be Crazy Anymore," the Clash-esque "L.A." and the finale "Party." Bazooka!!! also contains two covers, "Crime of the Century" by Johnny Thunders/Wayne Cramer and "I'll Get Her Back" by the Hoodoo Gurus. This is a good opening salvo for the Star Spangles on Capitol and they contain enough separation from the plethora of bands in the genre to standout.
Statistics
Since Omaha doesn't have enough amazing bands - as well as totally
reconceptualizing music as we know it - Denver Dalley throws his
hit into the rink with this debut five-song EP. Dalley is better
known for his role in the Saddle Creek collective of Desaparecidos
and their out-of-nowhere critical recognition. Potentially spending
time with the magnificent new-wave revivers the Faint helped lead
Dalley down his own road of electronic rock-pop. Among the five
songs, Dalley utilizes a variety of instruments though most important
in the amalgamation is the synths and the drumming of Mike Sweeney
from Bright Eyes. The best songs on the EP are the ones where
Dalley provides traditional vocal structure - in this case, two
songs "Another Day" and "Hours Seemed Like Days."
The other three songs are good on their own right, but seem more
for Dalley's own electronic pleasures. A full-length is coming
in the winter from Jade Tree and if it is like the two songs mentioned
above it will be a stellar affair.
This
Day Forward After
several lineup changes and the move to EVR from Eulogy, This Day
Forward releases probably their best record to date with In Response.
As this five-piece from Pennsylvania has grown and played nonstop
across the country, they have become very tight and accomplished
musicians. The eleven tracks on In Response demonstrate their
ability and creativity to produce a musically thick record that
will likely be considered one of the best amongst emo-core relatives.
With a songwriting foundation that mimics ATDI and a much less
metal Shai Hulud, This Day Forward does employ a unique sound.
As such, each song is essentially a multi-section disparate segmented
affair and yet maintains a well-developed continuum and not wild
eclecticism for the sake of itself. This is seen in such songs
as "In the Past…On the Ground," "Voice"
and "Nouveau." As a growing trend of incorporating such
varying musical styles, This Day Forward does well to pay tribute
to all. Hence, the vocals of Mike Shaw and, more importantly,
the rich textured guitars of Brendan Ekstrom and Vadim Taver (both
relatively new to TDF) more between metal, emo, indie, punk and
space rock. Shaw's vocals often come across as a Tommy Corrigan
(Silent Majority/Blood Red) with an infinite better range and
aptitude. Given what has been said above it is difficult to specifically
remember each track and recognition only comes in with certain
refrains or choruses. In Response is a sweet release that will
likely spread the umbrella of "hardcore" further and
reign in more supporters at the same time as minimizing musical
boundaries.
Tora!
Tora! Torrance! Tora! Tora! Torrance! are not some art-snobs from the hinterlands of L.A., as there name may imply. They are a fearsome five-piece from the civilized frozen tundra of Minneapolis, Minnesota. A quick and easy comparison could be made to the stripped-down garage rock coming out of NYC, yet the particular and exact influences cannot be concisely derived. Last year TTT released their debut Get Into It on the ever excelling Huntington Beach label the Militia Group. Where that record had some fatal flaws and lacked song consistency, A Cynics Nightmare is exceedingly tighter, well-conceived and well-produced. As the opening track "Yr All On Our Dance Card" comes in with defining guitars, the listener is immediately struck by singer Nick Koenigs' vocal style. The vocals have a whiny, snotty punk element to them, which can be both cool and annoying at the same time; yet one cannot question their intensity. The ever-working guitars backed by eccentric dancing bass and drums carry a marked degree of consistency throughout. This may be most evident on "Another Drink To Yr Health," "Sweet Sweat" and "Dr Badd." Of note, "Sapphire Jungle" is an odd amalgamation of a myriad of instruments like accordion and horns that may be extended unnecessarily. TTT may be one of those bands that do well recorded, but rule the day live. The written word has them being explosive on stage, so you should probably check them out if they come through your town.
Ultimate
Fakebook
After the sparkling power-pop-rock full-length Open Up and Say
Awesome in 2002, the Ultimate Fakebook are back with a switched-on
seven song EP. UF have traded in their version of Midwestern Urge
Overkill here for a prog-rock and electronic flair approach to
their songs. The results are great. Where much of the material
on Open Up and Say Awesome seemed like manufactured rock, the
songs on this EP are quite unique and refreshing. The EP starts
on "Rotting on the Vine" with a rumbling of drum machines
and synthesizers before moving to the rock. After the short disemboweled
bass ditty "The Cobra," UF come back with the Weezer-esque
"We'll Go Dancin'"; probably the best song on the EP
and a likely hit. But that title has to battled out with "Record
Release Party," a song with an average verse but standout
chorus. The EP ends with "Slick's Theme," an odd assortment
of sounds and chaos, and a remix from producer Ed Rose of "Inside
Me, Inside You" (from Open Up and Say Awesome). The EP also
contains two videos and additional remixes, but I hope you have
better luck than I did in loading them. While not a status quo
shifting release, Ultimate Fakebook seems like they had a truck-load
of fun in making Before We Spark. This apparent freedom has done
wonders for their creativity.
University
This is the debut self-released EP from this rock quartet from
Chicago. Building on traditional and contemporary rock foundations,
University seeks to manufacture their own niche into the standard
rock anthem. The signature to their sound among the six songs
on this EP is the piano work (not on all songs), the excellent
vocals of Jay Rutherford and slow, heavy guitar solos placed throughout.
Though they utilize piano on the recording, it is not clear whether
they employ it in live settings. Given their signature it is not
unlike an indie-focused Elton John or Koufax with smarter harmonies.
As such, there is a familiar feeling across the six songs that
tend to bring a smile to your face. The EP kicks off with the
stellar "She Moves In Black" - where Rutherford's vocals
make the song sound not unlike a rootsy U2 song with a classic-act
piano. This song, with its rich layers, is an excellent choice
as an opener on an EP where one is trying to garner attention.
Other standout songs include "Love Will Find A Way"
and "Make It With The Fakers." Given the quality of
this EP, I look forward to hearing much more from University in
the future.
Verbena
Verbena's musical pedigree is rich and true to their sound. A
sound that is easiest described as bluesy rock but mixed with
some stronger guitar power reminiscent of old Soundgarden (see
"Way Out West"). Verbena come out of Birmingham, AL
and have busted their ass to get to where they are today. After
an EP and debut full-length (Souls For Sale) on Merge Records,
Verbena quickly got noticed and were picked up by Capitol. This
outcome was in no doubt helped by Dave Grohl spewing praise and
love for this three-piece. That love was transformed into Grohl
producing 1999's Into the Pink. Though without a true reference
point, La Musica Negra picks up on their previous release and
adds further intensity and rock power to their songs. At a quick
listen it is easy to come away thinking that Verbena is just a
pumped up bar band; the type that wanders through the dives of
L.A. for eternity. For one, there are enough testosterone-driven
guitars to satisfy any classic rock fanatic, yet not done in an
extravagant or overly wrought manner. Second, Verbena invest in
a considerable degree of harmony. The latter is well appreciated
and helps Verbena to differentiate themselves from Hollywood trash.
In addition, Verbena is uniquely characterized by Scott Bondy's
bluesy vocal style. When he lays off the over-cooked slurring
singing, Bondy's singing prowess really comes through and grabs
the listener. This is seen most poignantly on "Me and Yr
Sister." While "Way Out West" is a bit stereotypical,
other tracks like "Killing Floor (Get Down On It),"
"White Girls," "All the Saints" and "It's
Alright, It's Okay (Jesus Told Me So)" shine. With a sweet
production job by Rob Schnapf (Beck, Elliot Smith), it is easy
to imagine a wide audience for their sound. It would be a safe
wager that as Verbena goes, goes mainstream bluesy rock. Verbena
is off to a good start, let's see if the rest of the world follows.
Yellowcard After releasing One For the Kids on Santa Barbara's Lobster Records and The Underdog EP on Fueled By Ramen, the now Southern California - located quintet sets their sights higher and offer thirteen ripe punk songs on Ocean Avenue. Yellowcard's major label debut quickly and immediately excels past their previous material starting with the opener of "Way Away." Yellowcard play upbeat, melodic punk with smart harmonies and song construction. Yet, defining their sound is the violin work of Sean Mackin - not unlike how Gretta Cohn's cello work helps to define the new material of Cursive. Most of the time Mackin's violin is subtly laid into the songs and is used to emphasize segments of the songs, for instance on "Breathing" and "Miles Away." While there are moments on Ocean Avenue where Yellowcard play too much of a Blink 182 card, particularly on "Life Of A Salesman," Yellowcard do best when they are defining their own sound like on the opening track and "Ocean Avenue." Lead singer Ryan Key's vocals have a sweet tone and help to maintain a tight continuum between songs. Most of the thirteen songs have lush components and the multi-segments add to the song complexity that most punk bands sorely lack. Several other notable songs include "Twentythree" (sung by Mackin), "Back Home" and "Believe." At the end of the day, Ocean Avenue is chock-full of hits and will likely be well received amongst a wide musical spectrum. Look for Yellowcard on this summer's Warped Tour. copyright exoduster.com 2003 |