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March Reviews Artist of the Month: Cursive Here comes the latest and the greatest from Midwestern indie-rock legends Cursive. The Ugly Organ introduces Cursive as the next big thing; the thing that will split your pants in two. As many know, Cursive has been putting out the records for what seems like an eternity on Saddle Creek and Crank Records. Formed in 1995, this is Cursive fourth full-length (inbetween scores of EPs and 7"s). Yet, Cursive has barely made it this far. In the late 90s, Cursive disbanded to allow their members to pursue other areas of interest. Guitarist Steve Pedersen went to Chapel Hill for school and formed the amazing and now-defunct White Octave. Lead singer Tim Kasher headed to Oregon for awhile and then went back to Omaha. Back in Omaha he reformed Cursive with some local help. Since the reformation, Cursive has become a juggernaut in the indie-rock world. This includes the release of Domestica in 1998 and Bust and Bloom EP in 2001. The most glorious aspect of the "new" Cursive is the excellent addition and subsequent exploitation of cellist Gretta Cohn. This inclusion adds immeasurable to Cursive's already amazing songwriting abilities. Far and away, The Ugly Organ comes across as the most mature and thoughtful Cursive release to date. While the title does provide some references to sexual organs and the like, at the end of the day who really cares that much. Not withstanding, Kasher's lyrics are thick, metaphorical and oh just so right. As noted above, the songs on The Ugly Organ are uniquely characterized by Cohn's thundering cello lines and rhythms. As if ripping out the guts of an album, Cohn does not joke around with pretty string chords, but goes after the music as if possessed by the essence of Slayer. As the intro "The Ugly Organ" leads into the first song "Some Red Handed Slight of Hand," Cohn comes rumbling in with fast-witted cello lines sweetly complementing the guitar riffs. This is followed up by the previously released CD single of "Art Is Hard;" an argument that is so true. "Recluse" swirls on lethargy mixed with melancholy and the promise of a different life and world. "Recluse" is a sneaky great song; meaning, it takes a bit of a listen to get down on it and it doesn't kick you in the nuts immediately. Yet, the song that does give you that kick is "Driftwood: A Fairy Tale." This is a short story about Mr. Pinocchio's modified life. "Driftwood" has a creepy multi-singing approach to the verse mixed with timely and addictive bass, organ and cello lines. "Driftwood" is followed by one of the other best songs on The Ugly Organ, "A Gentleman Caller." "Gentleman" is reminiscent of some of the best songs from early Cursive material, for instance stuff off of Such Blinding Stars For Starving Eyes. Wildly drunkenly dissonant vocals and rhythms throughout crescendos to a heavenly quite section before building slowly to the hum of "the worst is over." "Bloody Murderer" returns the listener to ultra-heavy distorted guitars and cello, while including eccentric arrangements. "Sierra" immediately comes off as an odd lyrical start, before moving into the catchy and unforgettable chorus that brings you back over and over again. The Ugly Organ finishes on a spacey and melodious fashion with the ten minute "Staying Alive." Taken from the pages of indie a Pink Floyd, "Staying Alive" lifts itself above the rest of the record and provides its own destination. The whole of The Ugly Organ comes across as something that you read, hear, or listen to that just makes sense; it seems perfect for its space and time. The record can bring to the listener energetic moments just as quickly as lulling you to a restful nap. The Ugly Organ promises to propel Cursive to the forefront of the musical world, not just the indie world. Though it may not necessarily meet with commercial success, The Ugly Organ will be talked about as one of the greats for years to come.
Arab
On Radar Several years ago, someone told me that they thought Arab On Radar was the worst band they have ever heard. While that is certainly not accurate, it is not necessarily far from the truth. Arab On Radar play art-noise dissonance that is designed to annoy the hell out of you. On this particular release, there are 12 songs from various 7"s over the past seven years. Truly, the only hip and cool thing about AOR is that they come from the Fort Thunder family in Providence, RI. This family has brought the likes of Lightning Bolt (and the label Load Records) and various artistic oddities to the world. The other interesting tidbit is that this record is released on Three.One.G, the label of the quintessential noise band The Locust. Hence, it is possible that AOR will pull themselves together in the future. Arab On Radar may be a great live band, consistent with the enormous gulf between Lightning Bolt recorded and live, but I honestly can't tell you.
Closer
Than Kin Coming out of the legendary Boston hardcore scene, Closer Than Kin unleash their biggest release to date in their two-plus year existence. Pursuing a heavier and more metal-orientated approach to their music than Boston stalwarts such as Slapshot and Ten Yard Fight, Closer Than Kin nicely mix screaming and harmonic vocals over both dissonant and melodious guitars. Having shared the stage with such bands as the Misfits, Sick Of It All and Hatebreed, as no doubt the 'local' opening act in Boston, CTK seem to be on their way to big things. That is if they can hold the band together, which as we know is all to common an occurrence in the hardcore realm. The list of bands that have died before they exhausted their contributions is endless. Nonetheless, at this point CTK show no reason to believe this to happen with them. Most of the songs mix both slow and fast sections as on "When Toys Are Traded For Tears," "If Demons Could Weep," "Misery Flirts with Infinity" and "Take the Green Line To Heart Break." CTK's talents are most developed on songs such as these. These songs are reminiscent of top-notch metalcore bands like Darkest Hour. Other slower heavy tracks such as "3 Words 3,000 Tears" pass the test but are certainly not exemplary. And then acoustic guitar with testosterone-driven in the beginning of songs like "The Uncertainty of Sanity" adds diversity but make you wonder what's going on. Hopefully, Closer Than Kin will be able to effectively differentiate themselves amongst the swollen market of hardcore bands in the near future.
Fairview This is one of those records that gets better and better with each listen, to the point where it kicks ass and enters the realm of a favorite. Coming out of Orange County, CA and only rockin' the mic for a short period of time, this record is amazing. We'll Dodge… is sort of a collage of past material, new material and live recordings. Be that as it may, it is supremely exceptional. The first song "Telegrams" institutes what will become the truth throughout the rest of the record. It is an epic of music that crescendos up to multiple guitars, keyboards and male/female singing. In this sense it is reminiscent of the best of Jazz June or Jejune, but with a much stronger head of pop sensibilities over eccentricism. This excellence is mimicked on "Chinese New Year" and "Revolving Doors." Among the live acoustic songs include the excellent "Telegrams," "Henry" and "Just One Day of Looking Terrific." Also, check out the splendid demo of "Next to Nothing." As an extra on the record is some CD-Rom material including a video for "In a Crowd (Right Now)" and a brief visual history of the band. The song ("In a Crowd (Right Now)") is stellar and the simple indie video fits the band and their essence quite well. It is mostly the band rockin' in an overdone garage mixed with scenes of 80s girls playing a video dating game, staring, of course, the band themselves. The video makes them appear like the second coming of Superchunk. The other visual material includes a bunch of old concert posters and photos. As you may take from this review, there is a lot to offer on this record and it is well worth the dolla dolla bills ya'll. The "wow" element of Fairview makes them very attractive to the listener. Fairview has made a name for themselves on the road and they are not stopping now. So, check them out when they come to our town. GG
Allin
George
Harrison
The
Goodwill Having now officially been out of LI for too long, I have failed to know about one of the hot new emo-punk bands out of the area, The Goodwill. Maybe the memory retrieves a speckle of an insight of seeing them on a flyer; don't know, too much crack smoking. Regardless, the Goodwill comes on the wave created by Taking Back Sunday and the Movielife. Playing harmonious punk that crosses consistent and familiar themes, The Goodwill are on track for achieving big future success. They maintain a nice balance of muting, bass solo intros and convincing singing. A few of the standout tracks include "Let It Go," "Lying Alone," "The Boyscout" and a nice changeup on "Broken." The bottom line is if you rock out to Taking Back Sunday's last album, this album will give you another kick in the nuts.
John
Sid It may be a virtually impossible task to characterize John Sid on For Loving You. That is, the songs move between pop-rock, stadium rock, metal, etc. However, the first question one may ask is what exactly is the objective of the record? Clocking in at over 70 minutes, it is certainly not a demo. Yet, should it be a freestanding record? Probably not. There is no question that Sid has tremendous versatility and is a quality musician, particularly in terms of guitar solos. At the same time, a trimmed version of this record would be a great demo. A significant negative on the record is the inconsistent recording quality and very programmatic nature of the arrangements. Given that John Sid plays all the instruments the programmatic music is somewhat natural. But it is also sometimes abrasive to the listener. This good musical venture could turn into something more substantial with some polishing in the future.
The
Movielife Coming off the amazing 2001 EP The Movielife Has a Gambling Problem, Long Island emo-punk natives bust forth with their new full-length Forty Hour Train Back To Penn. The album title comes from their well-known ordeal of a van flip/crash in snow in North Dakota. This is a topic, which I always ask and think about, "why do bands tour in the North in the dead of winter?" My band would only tour in the South in the winter and then the North in the summer; play it safe. Anyway, The Movielife is back on track with this new full-length. One drawback from what I've heard is that the songs have trouble distinguishing themselves from other similar and like-minded bands. This is partially due to the national onslaught of similar bands coming out of LI-NYC-NJ area in the recent past. For instance, it is particularly a problem on "Spanaway." Nonetheless, I would rather listen to The Movielife than 95% of the stuff out there. Most of the other tracks include enough infectious rhythms and lyrics to soothe your appetite. By the looks of the Tower Records in Massapequa, LI this past Tuesday, The Movielife is bound to find significant success due to Forty Hour Train Back To Penn.
Rock
Kills Kid This is the first EP from this four piece out of Southern California. Forming only in October of 2001, Rock Kills Kid has quickly made a name for themselves in the music environment. The six songs on the EP characterize Rock Kills Kid as punk and indie-influenced but with a very unique sound. The guitars weave and shine through across the EP; most noticeably on the first track "Dream." There is an almost spacey feel throughout the EP. Yet, Rock Kills Kid works hard at adding tremendous harmonies along with a non-cookie-cutter style of rock. This is clearly evident on "Miracle" and "Everything to Me." With that said, each of the six songs takes a very different approach. If I put all the songs on a mix tape without information of the tracks, you might assume it is a different band playing on each. For instance, "Everything to Me" stands out separately as more mainstream modern rock style, while RKK comes back with more indie harmonies on "Be There." The fifth track "Immanuel" contains a chorus that sounds like one of the main songs in the Karate Kid; I forget the name of it, but it is near the beginning. Hence, the song is both cool and kinda creepy. This EP from Rock Kills Kid is a quality exploration in indie musicianship.
Smoking
Popes The early-mid 1990s saw the emergence of one of the quintessential power pop rock bands of the punk offering in the Smoking Popes. The Popes truly hitting the world over the head in 1995 when Capitol released the originally small released Born to Quit. With heavy MTV play of "Need You Around" and a whirlwind of press, the Smoking Popes entered everyone's homes, while making a lasting impact on many. Part of this success can be traced to the excellent mellow crooning of lead singer Josh Caterer. This record, The Party's Over, was recorded in 1998, but was never released as the band broke up to pursue other endeavors. Particularly, lead singer Josh wished to engage in more spiritually orientated rock music and formed Duvall with brother and guitarist Eli. The Party's Over will be released on the same day as the Smoking Popes tribute album (that is reviewed below). The ten songs on the record are all covers of varying influences on the Popes including Patsy Cline, Judy Garland and Willie Nelson, among others. They do not try to do punk covers of the record, as Me First and the Gimme Gimmes would be apt to do. Instead, most of the tracks are slow rock ballads that truly add girth to the talents of the Smoking Popes. At the same time, the slow songs will throw your head for a trip if you are a big fan of Born to Quit. Standout covers include "The Party's Over," "Zing Went the Strings of My Heart," "Wake Up Crying" and "Valentine." This is a nice completion album for Smoking Popes fans, but if you are just hearing for the first time, past material would be a better set up.
Sorry
About Dresden This is the latest release from the new kings of Chapel Hill indie-rock Sorry About Dresden. With the dissolution of the White Octave and the minimal action of Superchunk, Sorry About Dresden are responsible for keeping the torch lit. For those not in the know, Sorry About Dresden is indie-rock hero Conor Oberst's brother's band. Although, one can pick up similar lyric drifts, the similarities end there. However, for Sorry About Dresden trying to improve on 2001's The Convenience of Indecision is no small feat. On Let It Rest, Sorry About Dresden come close to repeating that magnificence but come up slightly short in harmonies and memorable arrangements. There is a noticeable move to a bit more of a garage rock foundation that provides both appealing and less-so aspects. Also, Sorry About Dresden seem to play up the rhythmic guitar soloing to a compelling degree. Let It Rest kicks off "Beds and Lawns," a song with a catchy upbeat guitar riff and, after some lame lyrics, provides a good opening to the record. "When You Cared" is similar in effect and quality. "This House Unhomed" is a stellar track with a great and memorable chorus that allows you rock out and hum to yourself. "Sick and Sore" sounds close to a happy Bright Eyes number, but it also reminds you of a Prozac-friendly song that should be on Sesame Street. "Perfect Posture" also contains a memorable "chorus" and the song is some type of a cross between Pavement and the Alman Brothers. Filling out the album, "Candid Camera," "Once We Had a Word For This" and "The Approaching Dusk" do a splendid job. At the end of the day, it may take another year to truly digest the entirety of Let It Rest. Though it was easy to recognize the quality of The Convenience of Indecision, the complete greatness did not become apparent to some time after.
t.A.T.u. Guilty pleasure, guilty pleasure, guilty pleasure…. When they are not making out with each other, Lena and Julie provide the vocals to hot Euro pop trash. Although it is all mostly marketing and entertainment, the songs on 200 Km/H… are actually better than I could have imagined. There are eleven tracks but two are Russian versions and one is an extended mix; so, there are really only eight tracks. For the most part, the music has a more biting and punk influence than standard electronic pop. I have been told it is closer to European techno et al., but whatever because it actually sounds good. The only song that flat out sucks is "Stars," because of the way too slow tempo and oddly placed saxophone. "All the Things She Said," their first single and video, is well represented in both an English and Russian version. Although the song is certainly different from the other songs on the record, the others are certainly not beneath it. To get the heartbeat up check out "Not Gonna Get Us," "Malchick Gay" and the cover of the Smiths' "How Soon Is Now?" That's right, they do a cover of the Smiths. Damn that is cool. Included on the record is the video from "All the Things She Said" and some behind the scenes stuff (though I can't get them to work). This may be the lamest record in retrospect in a year from now, but now it is ultra-hip.
Teen
Idols/Squirtgun This is a nice little four song split EP from these stalwarts of the pop-punk worlds. Both Teen Idols and Squirtgun are now on Honest Don's, but they decided to share some love with Asianman. The Teen Idols include "Backstabber" and "Shadowman." "Backstabber," with a great rhythmic solo, clearly outpaces the minimally dynamic "Shadowman," but both fall into line with past Teen Idol releases. Squirtgun provides "Dysfunctional" and "Chemical Attraction." Here, "Dysfunctional" is hotastic, while "Chemical Attraction" is borderline lame as it relies on over repetition. This is limited release EP, so fans of either group need to score this soon.
Thundercrack On the CD intro this group has a technique of vocal reverb and clamorous alt-blues that recalls The Jon Spencer Blues Explosion. However, "Cheap Cosmetics" is a fusion of hyperactive spy theme guitar with a shade of Elvis Presley in the vocals. "Big Fat Lady" is thunder-soul from Thundercrack with a raw primitivism that could be a side of one of the highly sought seven-inch albums from The Gories. A wide spectrum of sound and roots in the best styles makes The Crack a winning album. (-Tom Schulte)
V/A As the Daredevil movie, with the likes of Ben Affleck et al, drops here comes the requisite soundtrack. However, unlike most soundtracks, regardless of the film's quality and nature, the Daredevil soundtrack includes twenty new songs (encompassing seventy-four minutes) from some of the best musicians in the rock business. This is quite an impressive enterprise when they could have just cribbed existent songs from a smattering of artists. Tracks come from almost all of Wind-Up's roster as well as Nickelback, Moby, Drowning Pool and Nappy Roots. Though variance exists throughout the twenty tracks, they all exist within a continuing theme. Besides of the theme of all being directed toward the film, storyline and plot, most of the tracks have that post-industrial modern-rock mainstream feel to them. Hence, a few years from now the songs will be able to characterize this moment in mainstream rock. Some of the notable tracks include The Calling's "For You" (fits the film well), Drowning Pool with Rob Zombie on "The Man Without Fear," "Bring Me To Life" by Evanescence (as noted earlier on the site), Chevelle's "Until You're Reformed," Boysetsfire's "High Wire Escape Artist" and "Raise Your Rifles" by Autopilot Off (a nice punk change among the tracks). At the end of the day, this soundtrack kicks Kangaroo Jacks' (and many more films') soundtrack ass.
V/A To be released at the same time as the Smoking Popes final studio album The Party's Over, this is a thirteen-song tribute album to the legacy of the Smoking Popes. As is natural, I am only well acquainted with the Popes' Born To Quit and I have heard a few times the follow-up Destination Failure. Hence, on the record I am only familiar with the four songs or so that I recognize on past albums. For the most part, the bands included on this record are not widely known, save for Grade, Death On Wednesday and the Ataris. Nonetheless, the bands on the record rock out on some excellent songs. This includes Death On Wednesday on "Let Them Die," Notaword on "Off My Mind," Tom Daily's "Waiting Around," Grade on "Days Just Wave Goodbye" (this is one of the last tracks of the former band that was Grade) and The Red Hot Valentines on "Rubella." Notable on among these is Tom Daily's cover that has this great Pixies-esque sound that adds immeasurable coolness to "Waiting Around." In addition, former Popes Josh and Eli Caterer's band Duvall include "Do Something" and former drummer Mike Felumlee adds "Don't Be Afraid." Since Josh Caterer was the singer of the Popes, "Do Something" sounds quintessential Popes. This tribute album is one of the records that grows and grows on the listener. Even if you are only familiar with the Popes through Born To Quit you will thoroughly enjoy this record.
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