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June Reviews Artist of the Month: The
Honorary Title Anything Else But the Truth is one of those records that grows and grows on you with repeated listens. It starts as smidgen and builds into a behemoth. You may think it sounds too much like this or too much like that, but then you relent to its appealing elements. Like fellow Doghousers - well, somewhat - All-American Rejects, the Honorary Title are composed of a songwriting duo enhanced by swath of musicians to fill the product. Precipitated by Jarrod Gorbel's post-college success as a solo artist in NYC, Gorbel reigned in the help of transplant Aaron Kamstra to fulfill his vision. Messing around with the now named the Honorary Title, the duo scored opening dates for Dashboard in 2002 and then picked up serious steam. They decided to sign with Doghouse after sometime probably due to the label's past success in setting bands up for great things - e.g., the Get Up Kids and the Rejects. I'm somewhat surprised after listening to these twelve tracks that a major label didn't pick them up in their latest effort to hedge a sound. This is particularly the case given the Honorary Title's allegiance to indie pop goodness that echoes a folk molesting of Elvis Costello and Pavement. Worthy of a note, Gorbel should try to limit the scratchy, nervous voice characterized by Bright Eyes which comes out time from time on this record. They don't want fall prey to rip-off criticisms. The song exemplar of this is "Revealing Too Much." Anything Else But the Truth starts with and is highlighted by "Frame by Frame," where a slight background piano provides the takeaway moment. The chorus also demonstrates sophisticated, mature piano rock that the Honorary Title are capable of. Not much time for that as "Bridge and Tunnel" comes in with a fuzzed guitar riff that is reminiscent of that holiday song on SNL. "Bridge and Tunnel" may be the most uptempo song on the record. Further showing diversity, "Everything I Once Had" drops the slowed-down mellow acoustic guitar that is of true singer-songwriter cloth. "Cut Short" is probably the most top forty of the songs on Anything Else enhanced with Mike Daly on Pedal Steel. Gorbel tries to expel some crooner demons on "Points Underneath," while the title track picks up the pace with sweetly timed handclaps and accompanying electronics. "Snow Day" crescendos on Gorbel's voice in the first minute, while laying out its plan with deliberate and simple constructions. A bridge section on "Snow Day" will likely make it a favorite amongst a live audience, if they don't already know it from the Doghouse's sampler. "Disengage" offers up some down-home rhythms - though Gorbel's from LI - and the opening start-stop guitars and drums of "The Smoking Pose" gives glimpse of Costello. The addition of keys in "The Smoking Pose" enhances its appeal as a favorite on the record. The album closes on "Petals" and "Cats in Heat" - two songs that display a slower pace and further orchestration as the group brings in cello and upright bass to further the already thick sound. While
certain songs or segments may irk some listeners, you can't deny
the strength of the overall product. It took a bit to be convinced
of the record's brilliance, but now I'm a believer. In the past,
I actually skipped out on a show before the Honorary Title played
and I can tell you that it will never happen again.
This is the latest addition to the BYO Split Series, this one
Volume Five, and clearly one of the best thanks in large part
to Alkaline Trio. While the Rancid/NOFX rocked in its ingenuity
and the inaugural affair of Leatherface/Hot Water Music is classic,
the six songs provided by Alkaline Trio are all winners. For the
Alkaline Trio/Hot Water Music split on Jade Tree, Alkaline Trio
made a bold statement as who rocked harder. Okay, I'm a bit biased
in this regard, because there is another band on this split, BYO's
own punk outfit One Man Army. In further regard to Alkaline Trio,
they have reached the status of other bands trying to steal their
thunder by mimicking their sound (umm, Bayside). You might think
that the band may take it easy on this split after their most
recent acclaimed record Good Mourning. Yet, this is not the case
as all six songs sizzle and rock, along with some acoustic molesting
on "If You Had A Bad Time…". In fact, as a set
I would place these six above the material on Good Mourning. And
the other band? Well, most people are sufficiently less familiar
with the San Francisco based trio of One Man Army. Although they
shouldn't be since OMA has been kicking around since 1996 and
have scores of releases across a number of labels including Fat
Wreck. As consistent with their members, OMA follow an allegiance
to melodic 70s punk rock but they are not a throwback. Like Alkaline
Trio I find the six songs here to be an upgrade on their latest
material, the full-length Rumors and Headlines on BYO. The band
enjoys proliferating their multi-influence foundation as is demonstrated
on their first three songs: the straight 70s punk "The T.V.
Song," the dirty "The Hemophiliac" and the almost
50s be-bob foundation of "All the Way." Would I buy
this split EP? Does the Pope shit in the woods? Seriously, no
Alkaline Trio fan should find themselves without this split.
Atomship Windup
released Atomship's first single "Pencil Fight" a couple
of months ago and we certainly weren't impressed by the standard
mainstream radio humdrum. So when we received this oddly Egyptian
themed product, we didn't expect much. Yet the Mississippi three-piece
of Joey Culver on vocals, Nathan Slade on guitars and Chad Kent
on drums are able to offer up enough moments of appreciation throughout
the long- winded eleven tracks on their debut record. Most specifically,
the opening track "Day of Daze" is something approaching
a prog-rock phenom. Culver's vocals take the song to the next
level and the composition is excellent. This should have been
the first single from Atomship. Yet, the problem is the other
ten tracks don't really approach the opener. While Culver does
replicate the vocal progness from time to time (e.g., "Dragonfly"
and "Agent Orange") the package is not as complete.
It seems at this point that Atomship has a unique decision to
make. Do they want to sound like everyone else in the hard rock
mainstream and make change in the short term? Or do they want
to diversify, possibly not make as much in the short term but
be around for a much longer time? I suppose we will find out.
Bad
Religion As part of American punk rock legends Bad Religion regeneration, The Empire Strikes Back is the second record with the remerged partnership of guitarist Brett Gurewitz (head of Epitaph) and singer Greg Graffin (along with the rest of the bunch) - the first being 2002's The Process of Belief. Along with this record, Bad Religion just re-released completely remastered versions 5 previous records including Suffer and Generator, along with a film about their 1989 European tour entitled Along the Way. Probably the most notable item from The Process was the song "Sorrow" for which they did a video which got seen in a variety of locations - including the Rock Against Bush comp. As Bad Religion goes nuts with their rebirth, I'm interested to know what their fan base is like. Meaning, is it all these older guys from back in the day? Is it all the kids whose punk regiment comes mostly from the hyper-major pop punk - e.g., Good Charlotte, etc.? Is it a mix? Bad Religion is heading up the Warped Tour so they can at least school the youngsters. The Empire Strikes Back, armed with the three guitar wall of Gurewitz, Greg Hetson and Brian Baker, comes out of the gates with serious ferocity on the second track "Sinister Rouge." The song has this bridge with guitar and drums that could come off an industrial album - slightly unexpected. As you might predict from the intellectual and political pens of Graffin and Gurewitz, the album has substantial political and social overtures coursing through its fourteen tracks. While songs focus on what's going on now, Bad Religion have tried to score them so they aren't dated within a year or two. Examples, included the above mentioned "Sinister Rouge," "Social Suicide" and "Let Them Eat War" with an appearance by fellow Epitaph talent Sage Francis. Parallel with previous Bad Religion records, the drumming by Brooks Wackerman is consistent and tight, if not a bit monotonous and generic - though they helped define the standard. Some of the better songs here include "Sinister Rouge;" the smoking "Los Angeles is Burning" with a compelling cadence by Graffin; the politically overt "Let Them Eat War;" the chorus of "God's Love" makes it hot; the harmonics-driven title track and the finale "Live Again - The Fall of Man." Though
an immediate critical response to The Empire Strikes First is
'just what I needed, another Bad Religion album,' on this record
Bad Religion have just cranked up the guitars and simply knock
out a strong album. I've heard a lot of Bad Religion in my time
and often found their albums to have a couple of standout tracks
and the rest is close to filler. Here, the product is more consistent
and reliable good times and, with the Warped Tour, it should help
bring the kids on board. Or at least they better if they expect
to get signed to Epitaph.
Belvedere
I only previously heard Belvedere on Union's past sampler and
they didn't singe into my memory. I was aware that the Canadian
four-piece had been around for awhile and danced that certain
Left Coast/Canadian punk sound. However, I didn't know that the
band has been around since 1995 and released scores of records
and done tons of tours. Nor was I expecting the balls-to-wall
aggressive style of punk that Belvedere unleashes on Fast Forward.
Most of the aggression is sparked through screamy background vocals
matched with their typical uptempo harmonic punk. For the most
part, the core of the band revolves around their harmonic image
more then anything else. I'm not familiar enough to know whether
the screaming parts are part of the repertoire or if they are
something more recent. I should stress that the songs don't dance
back and forth like "screamo," but merge as emphasis
points. Belvedere further characterize themselves through the
use of high-tuned or high-played guitars that mix between scribble
muting and weaving rhythmic solos thanks to the dual guitars (see,
e.g., "Quicksand"). Hence, Belvedere's songs will give
solace to "old-school" Fat Wreck devotees. The only
problem I had with the thickly filled fifteen tracks on Fast Forward
is some bad lyrics that tend to stick out. Generally, lyrical
missteps can be and are hidden amongst the garbled-mouthed vocals,
but there are times when they jab you like pork ribs. There are
few ouch moments here on songs like "All About Perspectives"
and a smidgen of "Quicksand," but otherwise all is kosher.
If you are down on the Canadian punk bands populating the most
recent Warped Tours, then you will be down on this latest from
Belvedere.
The
Beta Band I
sure that I was thinking of a different band from the British
Isles that goes by the name of the Beta Band that previously knocked
me off my feet when I ventured into listening to this record.
In a sense, I was. On Heroes to Zeroes, the four-piece of Stephen
Mason, Robin Jones, Rich Greentree and John Maclean held the reigns
on the production taking a moderately ungodly long time to record
the twelve tracks. For precise post-recording molesting, they
enlisted the capable hands of Nigel Godrich (Air, Radiohead) to
smooth the product. Okay, so maybe this record isn't totally different,
but the pure connectivity between instruments, vocal harmonies
and the listening in your head seems a bit off. I don't know if
they were trying to step out of a pigeon-hole but I demand more
melody - maybe 'demand' is too strong, so how about 'hope' for
more melody. Apparently, the Beta Band tried to marry more of
their noteworthy live show, which has seen time with Radiohead,
to the recording. While songs such as "Assessment" and
"Out-Side" do continue their brilliance, other tracks
slip and slid all over the place. For instance, though containing
the right tripping rhythm, "Easy" diverges with some
odd keyboards for depth but it only adds scariness. It is unfortunate
that Heroes to Zeroes does not live up to the scope of Hot Shots
II and, more particularly, The Three EP's. The Beta Band should
be able to rebound in the future with more lustfulness of past
recordings.
Black
Cross
This record is a compilation of sorts for this artcore band from
Louisville. I suppose part of its release is to couple it with
the National Acrobat compilation that Initial is also releasing
(see review below), since Black Cross is composed in part of the
National Acrobat. As such if you have the material to be listed
then there is no need to pick it up. Otherwise, this is a great
start and filler for novices. As a side note, many of the tracks
here come from when the band was called Black Widows, where later
they changed to Black Cross due to copyright stuff. The twelve-track,
twenty-four minute record includes Black Cross' Initial EP Black
Widows Stops a Beating Heart, the Roll Up Your Sleeves 7",
the b-side of the Screaming 7", an outtake from the full-length
Art Offensive and finally another outtake from the Screaming sessions.
All of this is packaged with a cool, reflective cover and full
booklet. What this record does more then else is demonstrate the
ballsy, speed nature of Black Cross and reinforce their consistency
across releases. I only wish that they would focus on penning
more tracks in their future records so you can be full after a
listen.
Blueprint
Car Crash
Coming out of the infamous San Dimas, CA, Blueprint Car Crash
is the latest project to your new favorite label the Militia Group.
The four-piece prides itself on distinctive, thematic merges of
epic rock of the past like Zeppelin and contemporary punk. This
creates a product that parallels attempts like ATDI and a mainstream
Mars Volta. When BCC do concentrate on such compositions as the
opener "Kiss Me One Last Time," the band is brilliant
and demonstrates some noticeable departures from the norm. For
instance, the song begins with thirty-seconds of congas and drums
and then at various parts throughout the band utilizes Pink Floyd/ATDI
contexts. Yet, at other points, the band can be straight generic
emo-core. Part of the characterization comes from the sound and
emphasis that singer Mo Shahisaman puts on the vocals. There are
times when you want to strangle him for it, since you know the
band could sound even more distinct without it. In addition, the
band's search for diversity may lead them down desolate paths
as shown on the brutal abuse of the saxophone on "Terminat
Hora Diem." (I really think that the saxophone should be
banned from all music except jazz/blues, simply because in other
contexts it brings up bad love movies from the 80s with William
Hurt.) Admittedly, the lyrics, which typically I ignore, are more
deeply and thematically drawn than your typical fare. This twenty-seven
minute, six-song EP illustrates that the BCC have the ability
to rock hard and draw from influences near and far. There is fresh
thinking here that needs to be further molded to acknowledge the
band as a path-breaker.
Bohren
And Der Club Of Gore After
creating hardcore in 7 Inch Boots, musicians Morten Gass,Thorsten
Benning and Robin Rodenberg turned into an ethereal saxophone
quartet creating instrumental jazz of the dark-and-doom variety.
This album is the ultra-frigid zero degrees Kelvin of the instro
sound. The pulse of this album is the slow heartbeat of the last
moments of a lonely murder victim. The motion is the frozen legs
fear of a paralyzing nightmare. Take Melvins, strip away the volume
and infuse with a classic, cool jazz vibe and Quaaludes and you
have Bohren And Der Club Of Gore. (-Tom Schulte)
Boyjazz
This is certainly a strange group. With a name like Boyjazz and
on Frenetic Records you probably expect something relatively esoteric
and eccentric involving some electronics and the like. Though
Boyjazz has a bit of that, the two-piece Sexmouth (Adam Hobbs)
and Supertouch (Aaron Levin) rock out in an over-the-top glam
70s rock explosion - not unlike a dirty Spinal Tab. Even after
the first song "Pot Finger," a song that has gotten
comp action, you still don't know what you are in for. Though
some elements are leaked on "Swedish Dates" about the
Swedish music scene, probably the first true show of what Boyjazz
is or at least should be is on "Stank on the Halo."
The song is so 70s-early 80s cock rock that it would be banned
at other times. Sexmouth is in charge of the vocals and guitars
while Supertouch's job is the programmed drums that add that certain
flair of fakeness. Sexmouth's vocals are what really lead Boyjazz
into the 70s-80s rock feel. I guess "Swedish Dates"
does offer up some of this love, particularly in the chorus with
the use of the vocal delay, but "Stank on the Halo"
is unmistakable. Other songs that offer up good times include
the harshness of the physical law of "Gravity," the
echoing laughter on "You + Me = Fight" is classic, the
80s reminiscent cockness of "Tuff Luv," the comedic
repetitive chorus of "Actual Heat" and finally "Dual
Cat Action" with its tripping beats. If you are interested
in a less studio polished and more ballsy Darkness, then this
debut by Boyjazz will fulfill your wish. I'm interested to see
if Boyjazz can translate the recorded product live and with some
sort of theatrics. If they can then they will be a hot number.
Brandtson
Regardless of what happens from here on in, I will always associate
Brandtson with Deep Elm and those Emo Diaries' series. Not that
I'm being negative or anything, but in my mind this is their place
- an anchor if you will. Now with their first release on the ever-building
Militia Group, this four-piece from Cleveland have raised their
status and abilities to the next level. It may somewhat come from
their continuing relationship (their fourth record) with uber-producer
Ed Rose - whose records over the past five years I have all enjoyed.
If I had the means and ability I would send every band to Rose
as he seems to have a magic touch with every album. I always found
Brandtson's previous material to be rather dull and unremarkable
though quite competent. The opening track "Who Are You Now?"
is an explosion of pop with driving echoes of Jimmy Eat World.
Though this will get notice, the quality of the other eleven tracks
will give Brandtson more stature. For instance, the mild natured
"Drawing A Line in the Sand" leads into the 80s modern
rock riff on "Throwing Rocks Tonight." If Brandtson
relies on more of the throwback elements on "Throwing Rocks
Tonight" - particularly with the 80s guitar riff slow moving
from ear-to-ear - then they could carve an ungodly allegiance.
Other tracks to take note of include the breathy melodic "Mercy
Medical," "Mexico" and the grooved-out Weezer-like
"Margot." Though Brandtson has been kicking for some
time now and helped define the sound, they should limit the now
standard indie-emo-punk formula that they moderately express on
"Just Breathe" and "Blindspot." This is a
good start for Brandtson on their new label the Militia Group.
The
Break-Up
In less than a year, the NYC five-piece The Break-Up have established
themselves as one of the top bands in NYC - which says a lot given
the current tenants of the city. Formed from members of bands
such as Crème Blush, Girl Harbor and Blue 88s, the Break-Up
knock out five smoking stripped-down rock songs with flair on
She Went Black. The opening title track kicks off with dirty bass
and light drums before the guitar, keys and vocals swing in bluesy
hot fashion. The chorus contains backup vocals by the sole female
member keyboardist Allie L., which adds nicely to the feel of
the song. Probably the most distinctive element, though, is lead
singer Jamie S.'s vocals that translate an intensity and honesty
that is hard to fake. To be honest, I'm very surprised I haven't
heard this song on the radio as it has top-flight video potential.
The other four songs follow suit in a very close way. Although,
"Don't Save Me" starts with sluggish bass and generally
non-descript rambling, the heavenly melodic chorus brings the
song through the clouds. The chorus alone should get the song
play. Though this EP should and has done much for the band, apparently
their live show is where it's at. This is the type of band that
music needs to revive the slipping and generic garage rock sound.
Jon
Chinn
John Chinn has been a staple of Midwestern indie pop with the
band Pretty Mighty Mighty for the past decade and has further
fingered out to various projects, most specifically heading up
Workbook Studio in Columbus, Ohio. As many multi-talented musicians
have been doing in the recent past (e.g., Statistics), Chinn has
decided to extend his resume to a solo act. Part of that process
and the formation of a set of songs came from a weekly show at
a Columbus club in the Spring of 2003. With the help of some friends
to fill out a full band when needed, I Can't Believe… consists
of ten tracks of indie pop that trips across different sounds.
This is mostly a function of how and what instruments are utilized.
For instance, the opening track "Lying Through Your Teeth"
is a fairly standard indie rock track with a strong emphasis on
melody. The next track "Record Sets" is just Chinn and
his guitar rocking out for a short blast of muted punk. Other
tracks simply feature Chinn on acoustic guitar with maybe a hint
of extension including "Accelleration" and "King's
Horses." Though there is little drop off in quality amongst
the ten, probably the standout track is "Stop Being So Dramatic,"
where Chinn employs an arsenal of help and we are left with a
hypnotic and melodic affair. I'm not sure what Chinn plans for
the future with Pretty Mighty Mighty and his studio work, but
with more time this project could be something substantial to
reckon with.
Darling
Waste As
the CD booklet says, Lance Williams is Darling Waste. Yet, there
must be a band to fill out the other parts - at least when live
- though there is no evidence. Part of Williams' adventures in
Darling Waste spuds out of his work as president and owner of
10-34 Records, which also has a store in the Cleveland area. The
twelve real tracks here merge piano-struck songs with emo and
contemporary rock. With respect to the emo angle, I may actually
take the genre's advice and slight my wrists listening to Darling
Waste. The amount of heartfelt agonizingly annoying music out
there already really doesn't need a half-assed entrance to make
it worse. Williams should concentrate on running his label and
store and rethink his activities as a performing artist.
Drowning
Pool It
is always difficult to replace a band member, particularly the
singer since the vocalist typically is instrumental to the sound.
What is even harder is to replace a singer who has passed on.
This is what Drowning Pool had to with the untimely death of singer
Dave Williams a couple of years ago. After a break, the three
remaining members hired Jason "Gong" Jones to replace
Williams and take on the task of recording a new album. And here
it is - eleven tracks of hard thumping rock that echoes and surpasses
some of DP's past material. Whether it was a good idea to use
possibly one of the worst covers in recent memory is up for debate.
The scantily clad woman yielding a baseball obviously fits the
title and is eye catching, but…. DP excels on Desensitized
with the uptempo, balls out crunchy songs, but they slide around
on the quasi-ballads (e.g., "This Life"). When they
enter the world of the ballad, they sound too generic and will
certainly cause negative visceral reactions. But on smokers like
"Step Up," DP is blasting shit everywhere and will certainly
appeal to lovers of heavy music. It was probably the right idea
to include "Step Up" on the Punisher soundtrack as the
song is clearly head and shoulders above the rest of the tracks
here. Other tracks of the good sort include "Think,"
"Forget" and "Hate." There is certainly no
argument that Drowning Pool are back to their former selves and
should do an admiral job of punishing listeners.
Dynamite
Boy
It only took this veteran punk outfit a decade to finally release
their self-titled album, and now their third on Fearless Records.
First off if you have never heard of Dynamite Boy and you are
interested in punk then you have been living under a rock. Second,
whether you actually heard the band or not is a separate issue.
Dynamite Boy has seemed to always be one of those bands that fly
slightly under the radar. For instance, their brand of harmony-laden
punk has been all the rage for a bit now with bands like New Found
Glory, Good Charlotte et al. wrapping up retarded sales. Yet,
DB hasn't scored as big and who is at fault is not the right question.
Though touring with like minded-bands, recently with Matchbook
Romance and Fallout Boy, and often being mentioned in the same
breath they don't seem to get the same love. With this record,
the four-piece should do some serious damage on the charts and
touring. The record opens on "Suspended Animation" with
a guitar-attack that is very SoCal melodic and dribbles with influences.
While the rest of the eleven tracks are consistent, there is still
some hit or miss. Songs to be on the lookout for Fearless to push
should include the ballad-influenced "Man of the Year,"
"Promise," "Suspended Animation," "Sky's
the Limit" and "Bring the Book." One song to avoid
like the plague is "Harmonic" due to the hokey chorus.
Dynamite Boy has positioned themselves to do well in the upcoming
year with these twelve tracks.
The
Frenetics
It may be hard for me to communicate both my excitement and subsequent
disappointment from Montreal punk phenoms the Frenetics. Their
previous record for Union, These Mistakes Took Years of Practice,
is hands down one of the best punk records in the past five years.
I consistently find myself taking it along for long car rides
when I have a stack of records that need to be heard. For those
in dark about this three-piece, and I imagine that may be a lot
since they don't traverse the border too often, the Frenetics
excel in 70s-style punk with the meat of contemporary punk. Think
of an updated Clash and that is pretty close. Though the thirteen
tracks on Grey Veins to the Parking Lot are strong and consistent,
they lack that flair, that insight, that rawness, that uniqueness
that made the songs on These Mistakes to cause unparalleled drooling.
Some songs can bring back such dreams, for instance "The
Bitter Years," "Power Outage at the Pool" and "Plastic
Surgery," but the album as a whole is missing that something
special. One thing that is evident is that their sound has been
fleshed out in the studio from These Mistakes. That may be a draw
back as the guitar 'thinness' on that record added to their power
and prowess. Am I still going to check out the Frenetics live
when they do make their next southern adventure? Hell yes. But
for those who want to experience the best of this band go get
their previous full-length.
The
Gamits
Unlike most of the enhanced CDs we receive, I checked out the
video stuff first since on a recent release I came to dislike
the band more after watching the videos. So I figured to do a
slight experiment and do the reverse. Typically, if a band is
so-so with a hot video you can get easily hooked and sometimes
the reverse is true. So there is definitely some cross-correlation.
The Gamits in that matter due have a hot video for "How to
Escape" that most certainly makes me appreciate the record
more. What is mildly creepy about this three-piece from Colorado
is that they all seem very familiar - eerily so. Maybe it is from
spending too much time in the scenester capital of Chapel Hill
(not in the cool today lame tomorrow sense - umm, Williamsburg).
If nothing else drummer Jason Walker seems like someone I set
eyes for years. Moreover, the Gamits' sound is familiar - somewhat
of a cross between Jawbreaker and a flavor of Lookout punk. This
is the latest incarnation of the band in nearly a decade existence
with only the lead singer and guitarist Chris Fogal being original.
Their history falls out like a lot of Lookout bands - big in Europe
(especially Italy) and Japan and only known in the U.S. The Gamits
have a trunk load of releases which have done best in those locales
and have allowed the group to get onto to a couple of middle-range
U.S. endeavors. While I don't have a reference point in terms
of songwriting and structure, the Gamits seems solidly to be Fogal's
baby and that baby is sweet. Antidote rocks out on eleven tracks
of power-punk pop happiness that is catchy as all get out. Again
a dirty comparison would be to Dear You Jawbreaker mixed with
pop-punk (with a bit of Weezer harmonies; see, e.g., "Like
White Noise") thanks particularly to Fogal's vocals and guitar
work and the mid-tempo harmonies. Besides from the aforementioned
"How to Escape," other tracks to take note of include
"Golden Sometimes," "Dotted Lines" and "Curious
Vanessa Black." I don't know what in Suburban has at M2 and
Fuse, but one could easily find the video for "How to Escape"
reaching the masses. As the band acknowledges, it is hard to differentiate
themselves in this swollen market, so the least that they can
do is be consistent, tight and have fun. Let the trends lead where
they may.
The
Good Life
With time in-between the Cursive juggernaut, headman Tim Kasher
has rejoined with his Good Life cronies (Stefanie Drootin, Ryan
Fox and Roger Lewis) to knock out this six song EP. Not only that,
but the foursome has a full-length coming out in August. With
Kasher at the helm, you would assume that some of influence of
the brilliant Ugly Organ would rub off. Indeed, at times this
is the case with songs like "Entertainer" sounding as
if culled from the Ugly Organ sessions. Other tracks follow more
of their own path consistent with past Good Life releases. The
EP starts off on "Leaving Omaha" about Kasher's brief
move to Oregon and other locales before resettling back to the
HQ Omaha. As mentioned above, "Entertainer" is straight
up Ugly Organ and though is phenomenal, it would fit more on that
release then this. But, hey, the more the better as I see it.
The title track follows a love defense along with some Beattles-esque
organ keys providing backup and bridges. "Always A Bridesmaid"
starts off with a catchy 80s piano that echoes from a film about
college kids in Washington, D.C. or something. The song is impressive
and will likely gain converts quickly and easily. Breaking the
mellow mid-tempo trend, "Friction!" busts out with crazed
punk before slipping into the familiar. "For the Love of
the Song" closes out the record with acoustic guitars in
front for a six-minute slow affair. In your time waiting for the
next Cursive installment you can sufficiently satisfy your Kasher
needs with this latest EP from the Good Life.
Gorge
Trio If
I were to tell you that this three-piece consisted of members
of Deerhoof, Colossamite, Natural Dreamers and the Flying Luttenbachers
what would you think? Well, there could be a number of thoughts
to cross your mind about their sound. One for surely would be
that Gorge Trio uses a wrath of instruments and discordant sounds.
Others can be left to your own imagination. With their third release
and first non-import for the U.S., Chad Popple, Ed Rodriguez and
John Dieterich offer twenty-two tracks of mostly noise that I'm
sure to be missing the point of. Only on a few songs do I find
enough to salvage including "Intimate Addition," "Roof
Halves and Dewdrop Gems" and "Youth Island." I
dig some of the things that this massive collective of artists
knock out (e.g., Deerhoof, Natural Dreamers, etc.), but other
projects seem simply like exercises in noise. Gorge Trio seems
like an exercise. It is a case of hands in too many cookie jars.
Hawthorne
Heights
If I was forced to simplify what Hawthorne Heights sounds like
into a brief statement it would have to be "screamo"
with a darker edge. While the connotations and insinuations thus
abound, it is what it is. Yet, unlike some other recent entrances
to this field, the eleven tracks on The Silence in Black and White
are quite listenable and minimize any negative visceral reactions.
For this Dayton, Ohio five-piece, this is their first release
on the continually increasing mammoth of Victory. HH's signing
to Victory is basically a hardcore band's dream come true. Kicking
around for about two years and doing several tours, Victory took
a liking to their demo and had them come out to play a showcase.
A deal was inked shortly after. What is appealing about the Heights
is though add the common screams and heavy parts to generally
melodic songs, the additions don't sound as forced as in other
cases. That is, there is a flow where often you find a push. A
typical song demonstrating this appeal is "The Transition,"
where screaming is added in small doses to the melody and female
guest vocals add breadth. The band uses a three guitar onslaught
to enliven and thicken the sound, as well as lighter touches like
the female vocals and some piano (e.g., "Blue Burns Orange").
For some reason, the eleven tracks all clock in close to four
minutes, thus lending some difficulty in breaking up the songs
in your head. The number one problem Hawthorne Heights are going
to have to overcome following the release of this record is being
blindly cast off as a clone of the current 'hot' sound. A quick
speed listen, particularly from a skeptical listener, will produce
this outcome, but given the chance Hawthorne Heights should get
some favorable nods.
The
Hero and the Victor
How this four-piece from California are not signed on to a notable
independent label is baffling - though this baffleness should
end in the near future with the release of this seven song album.
THATV certainly are fixated most on devising complicated compositions
fronted by double guitars that cover upwards of seven minute songs.
That is, lyrics are at a minimum and are actually all printed
in decent size font longwise in the booklet. We are not talking
about esoteric instrumentals that characterize labels such as
Temporary Residence (although they might fit in there), just a
de-emphasis as compared you standard indie-punk amalgam. Therefore,
THATV travel like a less polished Jazz June that is interested
in instrumental jams. One of the downsides of Snapshots is you
can quickly pick up on the less than stellar recording with a
pair of headphones. It is not bad or anything, just that the instruments
sound thin and the vocals don't seem to be fully picked up by
the mics. However, all of these 'problems' can be easily solved
in the future with more of a budget towards recording. Songs that
standout include "Taxi Driver," "Anchored Down
Depart" and the closer "Spin the Globe." I figure
this time next year, THATV will be releasing a highly improved
album with a distinguished label that will allow for a tight product.
Right now, you can purchase this record at THATV site www.theheroandthevictor.com.
Indifference Indifference
has been spurting in modest anonymity outside of their home base
of Youngstown, Ohio over the past few years. Yet, they have been
able to have three releases before this EP and they seem destined
to continually push further until they are forcefully stopped.
Drawing influences from grunge and contemporary hard rock acts
like Nickelback, The Mud Spider EP offers six tracks that are
likely to draw visceral reactions. Individuals interested in the
cited sound will likely enjoy this underground band as a new find.
Others with less interest and possibly more disgust will leave
the speakers scratching their heads trying to figure out why a
band would choose this sound. If Indifference is able to get some
exposure opening for the like-minded bigger acts (like the Windup
crew) then they may be able to make it. Otherwise, working as
local popular rock act is the only avenue left.
Kill
Verona Coming
from that 'other' city in the Northeast, Philly, this earnest
five-piece work to massage your ears with a blend of melodic hardcore,
space rock and punk. This is Kill Verona's second EP for Livewire
- the first coming in the spring of 2002 entitled Little League.
With cool and tight packaging, Trauma offers five songs of well-thought
out and developed song constructs. More often than not, the five
songs have an even-keeled approach that doesn't agitate too much
between dullness and hyper-excitement. In that respect, I can
really enjoy the band recorded but may not be as down on their
live show, unless they are able to unleash some beasts. Kill Verona's
sound can be quite soothing without putting you asleep at the
wheel. This effect is neatly seen on "Danger Boy" and
the awe-inspiring "Mirror." The EP opens on "All
of This and Learning" with a minute-and-a-half intro before
the vocals come in. This is followed by the mid-tempo guitar-muting
concentrated "You're Talking to My Guy All Wrong" and
the poppiest number here "Hard Times, Black Lines."
At times, "Hard Times, Black Lines" has echoes of one
of the best bands of all times, Blankface. Besides from "Hard
Times, Black Lines," the final "Danger Boy" and
"Mirror" rise above the first two. Like many bands in
their situation, Kill Verona are going to be on the road for a
long ass time supporting this EP. Check them out and let us know
the verdict.
Bonnie
McKee I've
know several women who have started as crap lives via drugs and
shit to turn it around to be something. But none in a more visible
and expressionable way as 19-year-old Bonnie McKee. McKee was
a teenage runaway, crystal meth head who apparently woke up one
day and went 'What the fuck? I got this amazing voice and I use
it by smoking on this pipe.' Well, it might not have gone down
like that but it must have been something of that sort. So now
we find McKee as a rock vixen channeling women stars like Joplin
and McLaughlin while keeping herself more towards the pop world.
Whether by her own doing or the power of market forces, she presents
herself as a sensuous and seductive sultriest. However that may
come off, given she is 19, is another matter. But what is not
in doubt is McKee's voice - wistful, rangy and pure gold. I would
love for her to do American Idol as a ringer just to fuck with
everyone. Unfortunately, as you may expect, many of the tracks
don't do her well given their genericity. They all let her push
her vocals, but many sound like lame studio musicians producing
the same garbage - feel-good rock/pop. The worst is when the sound
parallels the pop stars like Christina (e.g., "January").
It is only in moments where McKee and music come together for
real goodness that you understand her abilities. Probably the
best track, and the most quirky and fun, is the last "Confessions
of a Teenage Girl." It sounds like the Incredible Moses Leroy
wrote the number for McKee and it rocks. If the whole album had
this much flair, we would be having a totally different conversation.
There are actually a couple of tracks worth hearing including
"When It All Comes" a likely single, "Honey"
and "Marble Steps" for the balladness of it and the
stellar acoustic guitar driven "Sensitive Subject Matter."
I would love to have a singer like McKee front an indie rock band
or something of the sort. It would be such an awesome use of ability
in an original manner that she would instantly become the darling
of all. Call me! With that said, look for McKee to be blasting
from your top 40 radio in the near future.
Mission19 This
is the second record for this Fort Collins, Colorado situated
four-piece. Formed and fronted by vocalists and guitarists Ryan
McConeghy and Joe Nolan, Mission19 is rounded out by Jeff Janssen
on drums and Blake Osmond on bass. The dynamic duo started the
group while they attended Colorado State in Fort Collins and then
worked to expand their horizons past this college town. This has
included being the runner-up in the Rolling Stone/Budweiser True
Music Live competition and opening for such artists as John Mayer
and Hootie. Opening for those groups and like-minded ones gives
you a good picture of Mission19's sound. They fall into the Adult
Contemporary rock bin and prefer to rock out with mild-temper
five minute harmony-laden tracks that seek to appeal to as many
people as possible. As such I'm sure they are very successful
within the college party and festival scene as a live band. I
have such a hard time with this type of music. For instance, the
majority of the twelve tracks on Five Days From Home sound just
as a good as those you stumble across on the radio. But why Mission19
should wallow in relatively obscurity over more 'major' and 'commercial'
acts doesn't make any sense. Several radio stations in the surrounding
areas of Colorado have picked up a track or two from this record
for play - specifically, "Make Up Your Mind" at Denver's
KBCO. Hence, maybe Mission19 will soar up and be rightfully captured
into the larger market from such exposure. If you enjoy mainstream
rock then give a listen to Mission19 for some new sounds - they
might become your new favorite band.
The
National Acrobat
The ungodly amount material included on this discography is stunning.
The National Acrobat formed in Louisville in the late 1990s and
took their place amongst similar conceived spastic, speed hardcore
bands (e.g., Dillinger and Harkonen). Yet, as often is the case
with hardcore, the band existed for only a short time and weren't
able to punch out the releases they desired. Also, consistent
with the past, the dissolution of the band led to the formation
of other groups including Christiansen and Black Cross. Personally,
I always had a hard time reconciling the band's name with the
music, as the name suggestion something along the lines of sunshine
and butterflies and not murder. This thirty-track endeavor consists
of the EPs Can't Stop Casper Adams, The National Acrobat, For
All Practical Purposes, is Dead and The National Acrobat. There
is also the 7" It's Nothing Personal, an unreleased cover
of "Pretty Vacant," a couple of live tracks and comp
tracks. The booklet contains a list of every show the band played
- a shit load in 2000. What stuck me immediately about the sequence
of the record is that it is very similar to the Minor Threat discography.
In that, the first score of tracks are short bursts of madness
and then the songs get progressively longer as you move along.
Yet, the order of the releases is actually the reverse with the
earliest released material stuck at the end and the newest at
the beginning. With this knowledge it becomes clear that later-day
TNA sounded very similar to modern-day Black Cross, while the
early stuff had similar threads but entailed more context and
flushness. That said, if you are a fan of Black Cross then you
will like this (and know their origins), and if you were a fan
of TNA and want everything then this is it.
The
Paper Chase I was initially suspicious of what the hell was going on with the Paper Chase's third record and first on KRS. Would it simply be another exploit of noise for its own sake? Would it be one of those sneaky amazing records that blindsides you like getting slapped in the face by a piece of bologna? The upper, lower case lettering of the band name in the press release was not reassuring. Yet, on the first track "Said the Spider to the Fly," the four piece of the Paper Chase show they can molest slight discordant compositions into something highly enjoyable and rocking. Led by uber-producer John Congleton on vocals/ guitars/electronics, bassist Bobby Weaver, drummer Aryn Dalton and Sean Kirkpatrick on piano, etc., the Paper Chase knocks out fourteen tracks of epic storytelling bliss. This amalgam of artists replicates a thick combination of sounds to deliver the verse from song to song. Though Congleton notes that the record is a reflection of current events in an existential frame, it is merely secondary for the casual listener. What matters more are the oddly catchy and melodic songs that seem always ready to take a turn for the worse but never do. In some similar respects, fans of Mike Patton's forays into Mr. Bungle and the Paper Chase fans have much in common - and I recommend cross listening if not done already. While there are a couple of short, throwaway tracks, the others encompass upwards of five minute walks. Besides from the opener mentioned above, compelling tracks include "One Day He Went Out For Milk and Never Came Home," "Ready Willin Cain and Able," "Lets Be Bad Henry, Lets Be Really Bad" and "Dying with Decent Music." The Paper Chase are one of those underground underground bands that I'm very happen to have been exposed to - and so should you.
Paper
St.
Forming roughly three years ago, Paper St. have worked to make
a name for themselves in the Erie, PA area. On the four-piece's
second record, Music for the Desperate, the band offers up seven
tracks of hard bar band rock mixed with slight tastes of balladness.
Honestly, listening to the first track "Cut Me Down,"
I feel like its Airheads with awful Hollywood-strip bands propagating
everywhere. At other times, Paper St. sound like the distant cousin
of some bad Windup band. A lot of this anger is directed towards
the vocals of lead singer Ryan Ray whose rock-empathetic singing
is cause for strangulation. The coolest thing about this band
is their sponsorship by Labatt Blue Beer. Beyond that there may
not be much hope.
The
Soviettes Hailing
from Minneapolis, the four-piece the Soviettes pride themselves
on fast, short, melodic pop-punk numbers. Another big word for
the fearsome foursome is fun. As denoted by the album title, this
is the Soviettes second record (both on Adeline). They also have
a 7" and split with the Valentines on Pop Riot Records. The
distinctive aspect of the band is that they are composed of three
women and man and they all sing. So you get some really cool sounds
from song to song - not unlike a rawer, more punk version of the
Go-Go's. Not only that, but all four members have rocked in other
bands including Cadillac Blindside, Bombshell and the Short Fuses
- and they have been helped by punk legends Dillinger Four. Songs
that get stars for the day include "Ten," "Pass
the Flashlight," "Tonight," "Channel X"
and "Come on Bokkie!" The Soviettes are not going to
break any ground for ingenuity, but they are going to have a fucking
blast rifling through their set on stage.
The
Stepford Five
In a city more known for football, the four-piece of The Stepford
Five work to ensure that Columbus, Ohio, is steeped in indie rock
culture on their third full-length release A New Design for Living.
The band seems to pride itself on being a guitar rock band, though
that aspect seems to be simply part and parcel of the whole product.
Meshing guitar work by Keith Jenkins and Jason Dziak, the eleven
songs here do offer unique layers of fuzzed guitars lurking about.
Yet, the composition is not necessarily beyond what you might
expect from a talented indie rock band with songwriting experience.
Though the characterization may be fair, the Five is further highlighted
by strong melodies, harmonies and catchy songs. What strikes me
is that they seem to be on the verge of being awesome, but aren't
quite there yet. Like you want them to change some part of a song
or wish they would go somewhere else, but they don't deliver on
the tantalizing morsel. This may be most specifically seen on
the initial non-descript "Failure to Communicate." Drummer
Mark Kovitya-penned "Ted Hughes" is a refreshing change
in sound as the band utilizes slower melodies, strings and simple
thoughts. Besides from this slowed down number other standout
tracks include "Recognition for the Lonely Ones," "The
Company We Keep" and "No Use." Given the quality
of this release and that these guys have been for awhile, I'm
surprised I've never heard of them before this.
Toothpick
Toothpick (aka Doug Ray) takes on molesting words and raps into
eleven tracks on his debut Drive Easy. Before his voyage as Toothpick,
Ray headed the band Bad Ronald which got some notice on MTV before
dropping off. Schooled by New York sounds, the enigmatic voice
of Toothpick layered on top of a full rock band presents clatter
of unimaginable depth. While, most the background music is folk-pop,
Toothpick verses demonstrate considerable talent. Furthermore,
it is pretty neat that Ray also heads up the songs on acoustic
guitar. In both respects, some will see an immediate comparison
to a more rap-focused Soul Coughing and a less punk Cex. What
is mildly scary, though, on certain tracks (e.g., "Scars
for Entertainment"), is that Ray seems one-step removed from
heading a rap-metal band - I hope to God that doesn't happen.
Drive Easy kicks off in hot fashion with "Time Travelin'
Couch" that is one of the best songs I've heard in awhile.
Ray references such things as Nostradameus, bringing back Optimus
Prime to sell on Ebay, Back to the Future, historical events,
smoking cigars with Castro, etc…pure awesomeness. Clearly,
if this album is going to have a single, "Time Travelin'
Couch" is the easy choice. Other tracks with a similar flair
include "Knockout Punch," "Dirty Politician"
and "Green Monster." Toothpick has been getting some
serious attention through opening for O.A.R. and Robert Randolph
& The Family Band. It is only a matter time before everyone
has heard of Toothpick.
V/A
This is a compilation of San Diego bands that consume the entire
independent music spectrum and some undefined as of yet. In that
regard, there are some gems and some junk in the nineteen tracks,
but overall the comp is better than not. Highlighting the stars,
the comp starts off strong with Comfortable For You's "Double
Barrel Breakfast Cereal" that falls off the truck on the
emo-core but dances closely. The widely known The Black Heart
Processional offers the circus-esque "From the Shores of
a Washed Up Heart" which was previously only available in
Japan. After taking awhile to get into the form, Goodbye Blue
Monday's "I Am the One" rocks hard lightly distorted
vocals and compelling guitar interplay. Album Leaf-generated Via
Satellite's "Close As I Can" is another track worth
noting. Though I never heard Champagne Kiss, I've heard of them
before and knew they fell into a certain electronic sound. Yet,
what I didn't know, as at least demonstrated on the track here
"Her Name Was Kanada" from their latest EP, is that
the singer sounds just like Conor Oberst with unnerving tremors
in the vocals. Don't know if I can deal with that. I was blown
away by Sin Sin 77's "Lies." Sin Sin 77 is Petey X of
RFTC's side project which is characterized by light electronics,
80s modern rock guitars and is highlighted by a female singer.
The sweet melodic acoustic song "Wait For Me There"
by Ryan Ferguson (of No Knife) is a highlight. Though I didn't
know most of the groups on this comp, the one that totally knocked
me off my feet even further than Sin Sin 77 was Resolver with
"Inside Synthetic." It may be that I'm partial to concurrent
male-female vocals, but the song leads in with a magical guitar
riff and drifts with mid-tempo pace. If you like Jejune and Park
Ave. then you will drool with Resolver. Though this not a phenomenal
introductory compilation, it is much better than I expected it
to be. This comp seems like the perfect record to be i-tuned.
V/A The story on this, TRL's first compilation, is that they wanted to do something special for their fiftieth release and eighth year in existence. Yet, they didn't want to knock out some junk filled comp or a comp with just songs picked off of the bands' records. And as they rightly say, you can count the number of good compilations on one hand. So for this concept they asked their bands and friends to put together new material for the comp - and that they did with an album of eleven new tracks. They also had people contribute original art to be included in the booklet. The end product is something special and well worth picking up. As I have gleaned in the past several years of reviewing TRL releases, the bands that I have enjoyed in the past don't disappoint here, as well as groups I'm less familiar with. Fridge starts off the record with the nine-minute "Five Combs," which is followed by recent fave Howard Hello's "The One." "Five Combs" took a smidgen to appreciate, but now I dig fully and "The One" may not smoke as much as some of the songs on Don't Drink His Blood but it has enchanting keyboards. Kilowatthours' (w/ JDV) "Jignauseum" is a refreshing acoustic-driven instrumental and Tarentel's "Bell Jar" is aptly a modern composition with a slow crescendo. The moderately spastic Rumah Sakit leads into the all-stars Explosions in the Sky's "The Long Spring." The song falls right into line with the material from The Earth Is Not A Cold Dead Place and the word I would use to describe the band, the song and their record is breathtaking. I could see people buying the comp for this song alone. Kammerflimmer Kollektief offers more their oddity before a gem from Sybarite falls into your lap. I previously wasn't familiar with the "group" (since it's just Xian Hawkins) but now my ears are open. Parlour's "Landlaked" is probably has the most traditional rock foundations of any of the songs though that is rivaled by Halifax Pier's "And California." Closing out the record is TRL's own Sonna with "The Closer" recorded by the notable Steve Albini. Consistent Sonna's previous endeavors, "The Closer" follows the minimalist ambient waves in a nine-minute escape. Again, there is little doubt that this is a great comp. If enjoy TRL's bands and releases then there is little reason why you wouldn't want this comp.
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