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October Reviews Artist of the Month: The
Weakerthans Before I actually heard this latest record from this Canadian four-piece, I knew I had a gem on my hands. It wasn't that the cover design is ingenious. It wasn't that everything of late from the Weakerthans absolutely rules - even their music videos which you can check out on Launch. It wasn't that - everyone one knows - this is the love-lorn bass player from Propagandhi's band. It was because my friend John knew every word to the album in no time flat from day one. John is someone who was not a fan before initially hearing this record. And John is someone who can take something - anything from a two-second move in HK movie to a story of a fight in high school - and spin it into a story that makes you giddy like a school girl. Moreover, Reconstruction Site delivers on everything you could possible want and pushes your expectations higher. The Weakerthans formed in Winnipeg in 1997 for at least one reason as an outlet for John Samson - the bassist in Propagandhi. His songs were such contrasts on Propagandhi's records that they were instantly cool - often literate - affairs. Now the Weakerthans are split between Toronto and Winnipeg, and curiously enough that seems to have made this latest record exceptional. They have two previous full-lengths both on Sub City Records and an EP. While it is hard to categorize their sound - and that is part of their allure - they are essentially a melodic punk band with strong influences from alt-country. When I hear the first note of the opening track "(Manifest)" it instantly conjures up images and memories. Though these are not specific memories of anything based on connections with the Weakerthans, the images emerge of a cold, well-literate, morally-right and just atmosphere. Honestly, the Weakerthans remind me of an ex-girlfriend with an English degree living in Minnesota. While I haven't done a poll on this, I think similar imagery may be common. I have to get this first point out of the way because it is eating me inside. On the cd there are four movies and two are music videos. One video is just a b&w instrumental affair. The other though is for their song "Our retired explore (dines with Michel Foucalt in Paris, 1961)." I initially wasn't entirely convinced that this was the best song to put the effort into making a video. Yet, how wrong I was became clear after a first viewing. The stage is set in Antarctica with Samson as an explorer going to do research. He slips and falls into his domicile and then is quasi-dreaming about having dinner with philosopher Foucalt. Exceptionally weird and funny. In keeping with the philosopher theme, Foucalt gives Samson a book by Derrida. The best part though comes after the line "...je suis comme ci, comme ca. Yes, a penguin taught me French back in Antarctica" - where a stuffed penguin enters the video and there is much dancing. Also on the odd side there is a woman just dancing behind Foucalt during the whole affair. I wound up watching the video like thirty times and playing for everyone I could. On
to the music. The record kicks off with the short and mellow "(Manifest),"
setting the tone for the rest of the record. This is followed
up with "The Reasons," one of the best tracks on Reconstruction
Site. "The Reasons" is more power electric rock than
"(Manifest)" and introduces the listener to the range
of Samson's vocals and harmonies. The title track is a winding
affair with licks of country and Samson telling stories of times
ago. "Psalm for the Elks Lodge Last Call" utilizes backup
from the band and is a slower number. To remind you that the Weakerthans
are a rock band they blast back with the stellar "Plea From
a Cat Named Virtue." Next is "Our Retired Explorer..."
that I went through in reference to the video above. But one point
of emphasis on the song is the timely and well-conceived bass
peaks and valleys complementing the drumming. Again, this song
should be number one everywhere - from elevators to escalators
from country rock stars to gangsta superstars. "Time's Arrow"
and "Uncorrected Proofs" follow along consistent lines.
The Weakerthans come in blind-side with the Western "A New
Name for Everything" with lap steel and pedal steel playing
- this also ranks as one of the best. "(Hospital Verses)"
and "(Past-Due)" add some electronics to the rock. As you probably have guessed Reconstruction Site is one of the best records of the year from a band that is on the up-and-up. I would be baffled if the Weakerthans don't get some serious attention and praise from the record. And unlike Propagandhi, the Weakerthans tour like a mo'fo and are likely to come screaming through your town - and such is clearly a signal and sign for you to do what is right.
Alli
With An I Apparently
Law of Inertia, located in NYC, is a specialist at signing punk
bands from the Chapel Hill area - not that it is all they got.
First the Scaries and now the four-piece Alli With An I have knocked
out great releases for LOI. Starting several years ago out of
various high school bands, Alli is an active local band, playing
shows in central NC all of the time. They are one of those bands,
along with the Scaries, that are always opening for major punk
and indie touring acts. Hence, the exposure, practice and support
that they generated in NC have allowed them to expand and launch
an offensive on the rest of the country. This is their first full-length
for LOI, second in total, and was produced by veteran Brian Paulson
(The Scaries, Superchunk). Alli play indie punk that approximates
Fat Wreck beats and Left Coast mutings, but with an East Coast
flavor. That is, more indie punctuation on vocals and arrangements.
In that regard they are comparable to other hometown heroes like
Digger, Sleepasaurus, the Scaries and even a punk Blankface -
and the not-so-local MXPX. The record starts off on "For
Future Reference" with a long introduction to Matt Sileno's
distinctive vocals. This song does a good job of capturing what
Alli is all about. The next nine tracks fall in similar arrangement
and pronouncement with Mike Magarelli from the Scaries providing
additional vocals on "Don't Look Down" and "Letting
Go." Amongst the set, standouts include "Set In Stone,"
the aforementioned "Don't Look Down," "Merry Go
Around" and "Last Parade." Though a local sensation,
Alli With An I is on the up-and-up nationally. It will be interesting
to see whether they can break through the West Coast bias for
this style of punk.
Beat
Happening There
is a loose, uneven aspect to this album that varies from lazy,
drawled cow punk ballads ("Look Around", etc.) to feisty
garage rock ("Sea Babies", etc.). It is like Velvet
Underground meets Dead Milkmen. However, the songs, considered
one at a time, are generally very good. The compilation brings
together Beat Happening songs recorded between 1984 and 2000.
This includes tracks from out of print singles and
Bouncing
Souls When a band like the Bouncing Souls come out with a new record, expectations are high, very high. Can one of the greatest punk bands in the world improve on previous material? Can they capture the magic? Will they deviate from the path of goodness? And will that deviation be effective? Such were the questions when I put in the latest from this four-piece of NY punk gods (well, technically NJ punk gods). The Bouncing Souls with their early records of The Good, the Bad and the Argyle and Maniacal Laughter placed themselves on the map as a fun time NY punk band with a distinctive sound highlighted by Greg Attonito's exceptional vocals. Songs about 80s movies, late nights of love lorn and liking your mom only laid the foundation for their amazing and always jammed-packed NYC shows. After signing with Epitaph they put out a lackluster self-titled record, but then followed it up with probably their best and one of the best punk albums ever with Hopeless Romantic. That record renewed the faith in the disheartened. Yet their latest How I Spent My Summer Vacation, while consistent and strong, did not deliver the punk that droolers were looking for. Now after much maturity, reflection and effort, the Bouncing Souls offer Anchors Aweigh. As a initial impression to the above, the overall quality is somewhere inbetween Hopeless and Summer Vacation. That is, a great new batch of songs, though not a classic collection. Though besides from Hopeless, most of the other records had several classics though not a motherload - so maybe this isn't far off. The record kicks off with the hard-slamming "Apartment 5F," which travels along the balls-to-the-walls speed and sing-a-longs of early material - also of such characterization is "Born Free," "Better Days," "Highway Kings" and "Blind Date." This is followed by "Kids and Heroes," a more introspective song that has a video on the enhanced cd. While a good song, the video itself is mediocre in excitement, especially after the Weakerthans video selection, with the clips showing the band playing the song. A song like "New Day" provides the hot bass and vocal breakdown that is oh so appealing and really demonstrates Greg's abilities. Other tracks that will likely stick with you after a first listen are "Simple Man," "Night Train" and "I'm From There." What these three tracks have in common is that they are all on the mellow side and demonstrate the Souls abilities and maturity as a band. I remember people freaking out when the Souls started putting "ballads" on their records, but the thing is often those are the best tracks. Besides from the video for "Kids and Heroes," the enhanced cd has some footage of recording the record and a trailer for a Bouncing Souls documentary called Do You Remember? At the end of the day, the Bouncing Souls do deliver a stellar record with Anchors Aweigh. While it doesn't approach the pure awesomeness of Hopeless it is not far behind.
Christiansen The last time I left off with Christiansen they were a sweet and innocent emo band. That was a couple of years ago. Now they are a anthemic rock band with testosterone-driven guitar riffs and belting vocals. I'm not sure where Christiansen found their renewed and powerful voice, but it is both scary and awesome at the same time. It is scary because I'm unsure why there was a change in sound, was it due to honest pursuits or contemporary waves? It is awesome because the eleven tracks smoke with a punk version of 70s stadium rock prowess. Even songs that start off marginally (e.g., "Cocaine Summer") come back with sections that channel the rock gods. If you are like me and didn't know jack about this alteration, then you get squarely kicked in the nuts with the opening "Kentucky Goddamn." All of the songs are multi-segmented and thus each is its own voyage - and, more importantly, there is strong consistency of quality between the tracks. I could see this latest record from Christiansen getting them well-noticed and riding the wave with bands like Vendetta Red.
The
Curtains I love Deerhoof and the oddness of them, but they are really distinguished by lead singer Satori - at least recorded. As in our review of Deerhoof's show in Chapel Hill in August, the other members of Deerhoof stole the stage particularly the guitarists. The Curtains are a side project of sorts of those other members of Deerhoof - though guitarist Chris Cohen went to Deerhoof from the Curtains. The other member employed is Deerhoof's drummer Greg Saunier (here on keyboards). The final member of the trio is Andrew Maxwell (also of Open City) on drums. The twenty-two, almost all instrumental, tracks simply sound like the music of Deerhoof extracted - extracted into thirty minutes. I know this is a rough and dirty characterization, but it is more or less accurate. However, most of the tracks are distinctive for playing to a more cartoony experimentation that emphasizes Saunier's keyboards and Cohen's guitar dueling it out while being complementary. This aspect of the music I really enjoy. If you are down with the above characterization then you will be down with the Curtains.
Electric
Frankenstein / El Nada Electric Frankenstein get together with El Nada and each contribute four tracks to this split CD. The music is fast and proud, it wants to be played from a mighty car and mighty loud, at that. This high-octane, revved up rock exemplifies the big car-loving drag rock that spring up like 454-roar from under the hood of indie rock in the late '90s. Both bands do this style very well that has appeal for punk, hardcore and metal fans in the dual exhaust of accelerated rock speed trials captured here. (-Tom Schulte)
Feable
Weiner This
band is all about fun and comedy. The foursome from Tennessee
write medium-length pop-punk ditties mostly about girls from an
80s perspective. In fact, the album is designed as a Trapper Keeper
notebook from an original 80s design - that is cool. What is even
cooler is that their current tour is called "Why Don't You
Change Your Name Tour" - high comedy about themselves. Originally
this record was self-released and then after some success, Doghouse
picked them up and added four new songs and re-mastered the record.
The opening track "San Deem Us Ready" - which is this
first video - essentially sets the tone for the record. Poppy
punk that has a strong sense of laughter, which becomes evident
in their repeating a word way longer than normal or necessary.
This is followed by the great "Strawberry Debutante"
and lines like "I got one letter from a really, really hot
chick." "Catalyst"plays on similar themes with
lyrics of meeting girls who were cool, so they pursued them even
though they may have been unattainable - like hot married girls.
And that is generally how the record plays out. Other tracks that
dazzle include "Lameface" (with "you said ‘this
song is lame,' and I said ‘so is your face'"), "7th
Grade"and "Sally Be." By the way, this record is
recommended for fans of Cradle of Filth.
Give
Up the Ghost This is the latest offering and second full-length on EVR for this hardcore five-piece from Boston. This band has such serious buzz for such a long time that they were destined to get noticed nationally big time. Some of their mystery stems from name changing from American Nightmare to Give Up the Ghost (and if I remember right, a couple of different very shortly lived names inbetween). Most notable in formation and direction is that the guitarist was the guitarist of Boston hardcore legends Ten Yard Fight. While the foundation of Give Up the Ghost is high-tempo old-school hardcore, other factors, most noticeably the vocals of Wes Eisold, give the band a modern-day transformation. On some levels it exists within a screamo motif, other times just straight-up hardcore. Regardless of pigeon-hole one thing is clear, Give Up the Ghost are very, very talented and tight. This is quickly demonstrated on the opening "Love America," instantly a classic song. While their heads are down, rushing full-speed for most of the album's thirteen tracks, they do pick them up in spots to add sound variance. This is seen on the exceptional breakdown on "Young Hearts Be Free Tonight," "The Last Supper After Party," "A.E.I.O.U." and "We Killed It." As my first real introduction to the Give Up the Ghost, I'm really impressed and expect them to make lasting trails on the nation this year.
Junkyard This six-song EP is the first studio effort since 1991 for this now five-piece from L.A. Junkyard originally formed in 1988 and were subsequently signed to Geffen - where they released two albums and then were dropped - not sure the circumstances. Now they have reformed for a new onslaught of dirty L.A. strip rock - where fusion between punk and bluesy rock exists. This is clearly evident amongst the six songs. The EP starts off with the punk "Fight," where aggressive guitars and vocals from founder David Roach take control. This is followed by the ho-hum 80's-metal "Waste of Time" and then the Aerosmith-inspired ballad of "Tried and True." "Tried and True" is actually a tight ballad that should garner attention from the major rock stations around the U.S. - measured against the other ballad "Simple Man." After this sort of L.A. rock characterization, Junkyard throws off the listener with the rock-a-billy "Old #4." It will be interesting to see how and whether this EP will be picked up and received by stations and rock fans. The six tracks fit the late-80s rock decade very well, but we will see if people are ready for a rebirth of that.
Motorchrist For this new album - their fourth release - from this four-piece from L.A., Motorchrist tackled producer Brad Cooke (Queens of the Stone Age) to knock out twelve tracks of L.A. sleaze rock. The members also share duties in similar minded bands like Faster Pussycat and the Dwarves. A quick and dirty comparison could be made to a dirty version of QOTSA. Though, unfortunately, Motorchrist cannot hold the consistency that a band like the Queens can muster. At the same time, this record contains a number of powerful rock numbers. Probably the star of the record is the second track "Someday." "Someday" swoons with tight musicianship, production that packs a punch on the chorus and there after - this should be their "single." While some songs are significant turnoffs, the stars of the Bonneville Salt Falts, besides from "Someday," include "Nuthin' Right," "6 Shooters, 6 Strings and 6 Packs" and "I Lost It." While the above mentioned numbers are hot times, Motorchrist may have benefitted from more concentration on consistency.
The
Planet Smashers The veterans of Canadian ska are back with their fifth full-length on founder's Matt Collyer's Stomp Records. After quickly dominating the Canadian badlands in the mid-90s, The Planet Smashers successfully took on the U.S. and Europe. Their rise was aided by the surge of ska in the mainstream (e.g., the Bosstones) and by their own efforts of non-stop playing. Though the ska scene may have slipped from the mainstream music consciousness, the Planet Smashers have continued and continue to make inroads where ever possible, including tours of Japan, Australia and various Warped Tours. For Mighty, they employed producer Rod Shearer (Bran Van 3000), as well as themselves, and laid down 18 tracks of fun. That's right, 18 tracks clocking in over fifty-minutes. That's a lot of fun. Probably the first thing that hits you about the record is the track "Explosive" featuring Neville Staples from the Specials. "Explosive" is the first single and certainly deserves such a distinction. The song starts out very Rancid-esque with Staples before busting into your classic upbeat ska composition and moving to a mesmerizing chorus. The title-track, as the first song, introduces you to the mid-tempo ska and Collyer's crystal clear vocals that are set to follow. Though familiar with the Planet Smashers' material from the 90s, I don't remember Collyer's vocals sounding so good. They really help this record standout in an often played-out genre. "Missionary's Downfall" is another good fare with an island flare to it, while "Keep On Coming" draws on the title to make you dance in your seat. "Recollect" starts out with some indie rock acoustic guitar before the horns push through - adding some needed variety. Other tracks of note include "Opportunity" and the partying "Never Going to Drink Again." While there is a degree of monotony in the record, the Planet Smashers work to have at least minimal variation. They might have done well to reduce the number of tracks to the best and leave the mediocre at home. That said, the tracks noted above are likely to bring the Planet Smashers back into the light, as well as their upcoming grueling touring schedule.
Ripcordz This is the first release for Mayday - part of Union Label Group - so it is fitting that it is by a band that has been around since 1980. As their tenth full-length, as well as releasing scores of EP's, the three-piece from Canada appear to not have lost much swagger over time. The fifteen songs contain well-guarded elements of toughness, honesty and comedy in a more or less political punk context. The record starts off on "X" with fast-tempo instrumentation leading to the catchy - if not lyrically-odd given their age - of "...we are the youth, we are the truth, we are the X, we are the next...;" though this is an exercise in projection. This is followed by the stripped-down old-school Lookout Records style "Punk Rules." Follow this with the political "D'Oh Canada" and you have a good characterization of the tracks on the record. It is nice to find that the Ripcordz have such varying styles on each song - moving from street punk to Lookout to melodious themes all with lead singer Paul Gott's raspy vocals. Among the strong tracks include "Ian Starts It," "The Fence," "Gone Too Soon" and "Weekend Punk." This is solid release from a veteran punk outfit, showing the old guys can still knock out fresh material.
V/A For their fiftieth release, Saddle Creek releases this double-disc collection of one new and one old song from all of their current artists. If you have been living under a rock, Saddle Creek have been taking the world by storm out of their headquarters in Omaha with bands such as the Faint, Bright Eyes, Cursive.... Those bands along with Now It's Overhead, Rilo Kiley, Son, Ambulance, Desaparecidos, The Good Life, Azure Ray, Sorry About Dresden and Mayday are featured on this release. For the old tracks, Saddle Creek have added the best from most of the bands and not necessarily the latest. For instance, the old Cursive track is "The Martyr" from Domestica. While some of the new songs are just quickly added types, some at quite good expositions. The Faint's "Take Me to the Hospital" is a hip hit, while Now It's Overhead "Dark Cycle" demonstrates a mature and talented direction. The Desaparecidos "Popin' Off At the F" adds some music and late vocals to a vocal track of an instructional tape on nuclear tests. Other new tracks that rock include Rilo Kiley's "Jenny, Your Barely Alive," The Good Life's "Aftercrash" and Bright Eyes' "One Foot In Front of the Other" - which borders on being a classic. Finally, the first disc includes forty-five short weekly movies that they had on their website during 2002. Some of these are for band lovers and others are quite comical (e.g., Cursive with elimidate and the Faint after playing with No Doubt). This disc doubles as an introduction to the label and as must have for Saddle Creek fans.
V/A This
is the third installment of the Take Action! compilation - previously
being co-tied with the
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