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September Reviews Artist of the Month: Denali As my first actual audio experience of the Richmond, VA four-piece Denali, I was stunned. For some odd reason when their came up last year on Jade Tree I had a notion that they sounded like Mineral or Joan of Arc - meaning slow, drawn-out murky songs. I have no idea why and I was so wrong. Lead by the compelling rich and sweet voice of Maura Davis, Denali are simply amazing. Although Maura Davis is the captain of Denali, her brother Keeley was instrumental to the formation of the band in 2000. Keeley, guitarist and singer of indie-rock vets Engine Down, enlisted ED's drummer Jonathan Fuller and Cam DiNunzio (of former notable hardcore bands) to bring Maura's songs to life. After kicking out a demo to get shows and generate interest, they soon were fending off an avalanche of attention from both independent and major labels. They finally settled with Jade Tree - an independent label of ample status and resources - after some months of back-and-forth and realized their critically acclaimed self-titled release a short time later. Though surely influenced by indie-rock foundations, Denali plays closer to Portishead, Bjork and PJ Harvey. This is amplified by Maura's and Keeley's addition of keyboards and electronic tracks to the songs. While the instrumentation on the album's nine tracks is keen, Maura's classical-trained voice brings the songs to life. She had gone to UNCG to train for a more operatic vocation, before deciding she just wanted to rock. Transferring to VCU - the college that almost gets run over by I-95 in Richmond - allowed Maura to germinate the beginning of Denali. Her voice, breathy and ethereal, demonstrates startling range particularly in a field where such talent is often sorely missed. Moreover, Denali contains a bit of cinematic and dramatic flair in the orchestration. Though Denali's existence on Jade Tree may quickly get them associated with more emo exploits - their sound breaks through genre stereotypes and pigeonholes. The Instinct kicks off on "Hold Your Breath" with some drab guitars before light drums and Maura's vocals come through. While following a standard verse-chorus progression, the song slowly gains in intensity - serving as a good prep for what's to come. "Surface" begins in a similar manner, but travels with a much more groove-orientated bass line and a sweet and familiar vocal breakdown. "Run Through" introduces dark wraithlike vocals of Maura laid on top of a bed of electronics and beats - the opening to "Do Something" and "Nullaby" follow in a analogous construction. "The Instinct" and "Real Heat" take advantage of Denali's indie rock roots and are notable tracks on the record - though the record truly excels as an entire being. Several tracks play out like a journey bringing the listener highs and lows, upbeats and downbeats. Such tracks include the inspirational "Do Something," "Normal Days" and the mesmerizing ballad closer "Welcome" - at the end of the day probably the best song on the record. Though
many bands suffer from the sophomore slump, Denali has only gotten
better overtime. This may be partially due to their quick ascension
to star status and the lack of time they had to build up a drawn
out repertoire. Whatever the reason, The Instinct is a gripping
record that will likely drown out all naysayers and produce even
more acclaim. The question now is will you be able to see them
live given the swath of sold-out shows to follow.
Avenged
Sevenfold
I was never smitten about the previous material I had heard from
Avenged Sevenfold - as limited as that may have been. I found
their previous release on Hopeless Sounding the Seventh Trumpet
less than stellar. Yet, as a swath of positive news flooded the
music literature - most notably, Rolling Stone calling their performance
one of the best on the Warped tour - I was interested in whether
this latest release would change my priors on this five-piece
from Southern California. Both visually and in audio, Avenged
Sevenfold present an image of goth hardcore punk - yet, more surprising
is the number of metal riffs that are incorporated in the album's
twelve tracks. Clearly, then, there are comparisons to AFI. Also,
like AFI, Avenged Sevenfold have advanced and matured over the
years to become a stellar group. The metal connection is further
endorsed by the fact the record is almost 70 minutes along due
to the six to seven-minute song average. Hence, all the songs
are journeys in their own right and to truly decipher them will
take a long time on the part of the listener. Even though I have
listened to the record - in pieces and in whole - numerous times,
it never gets old and becomes increasingly difficult to nail down
a single characterization. One of the lasting features on the
record is the tremendous use of double guitars in every possible
manner - including doubling sections for strength, octave building,
muting mixed with solos and pure speed metal. Though some may
be turned off by the goth element of the band, you cannot deny
their talent and the immense effort exerted on this record. Avenged
Sevenfold should find marvelous success from Waking the Fallen,
propelling them to the forefront of hardcore punk music. They
will be join similar minded bands this fall on the Take Action
Tour.
Calico
System
As one of the rest signings to Eulogy's empire, Calico System,
from St. Louis, play on familiar themes of heavy emo-core - or
screamo if you will. Yet, unlike many bands in this generated
classification - and fitting Eulogy's lineup - Calico System concentrate
on wider themes of hardcore and metal. So, they throw down at
moments punctuated by screams and then move to sections that are
more melodic. Thankfully, the movement between modes is not like
night and day, typically achieved through the use of bridges,
etc. Moreover, the songs are constructed by numerous sections
and not a typical verse-chorus-verse pattern. Standout tracks
on The Duplicated Memory include the opener "Like Will Kill
All," "Girl Named Vegas," "It's Fair To Say,"
the very Dillinger "Soft Lips and Headstones" and "Suicide
Common." That said, this four-piece might need to work harder
at adding more separation between themselves and analogous bands.
Though this is a strong debut for Eulogy, this record is not going
to blow down any doors. If Calico System are able to positively
build on this record then they may go a long way in supplanting
themselves as a powerful force in the industry.
Cauterize
After wetting the appetite a couple of months ago with the release
of the single "Something Beautiful," this Canadian four-piece
drop their debut album. As part of Windup's desire to expand the
diversity of their catalog, Cauterize play mainstream pop-punk
though with a stronger reliance on rock foundations. Similar and
quick comparisons can be made to a more rock-orientated Simple
Plan, Good Charlotte, etc. Though the eleven tracks on the record
are all strong and well produced compositions, the ingenuity and
freshness displayed on "Something Beautiful" (which
is the first song on this record) is not carried out throughout
the rest of the album. I like that Cauterize have all the elements
to blast out a stellar punk record (like the hot "Promise
Me"), but the band seems to have been side tracked by what
and how they want to present it. They have the ability and talent
to dominate the burgeoning and growing mainstream punk world,
but So Far is not going be the album to do that. That said and
especially if you are down with the bands mentioned above, other
tracks to check out include "Shooting Stars," "If
You Go" and "Shine" (basically the beginning and
end of the record rocks). We'll see whether Cauterize can capitalize
in the future on the foundation they lay here.
Constantines
The Constantines launch twelve tracks of sweet musical goodness
on their latest release Shine A Light - a release that will likely
earn a number of "featured artist" in scores of publication
(came damn close to artist of the month here). The Constantines
are a five-piece hailing from north of the border in Ontario.
This, as their second full-length, is the first to be widely available
in the U.S. The buzz they created out of their debut self-titled
release on Canadian Three Gut Records in 2001 helped cement them
in numerous festivals and smoke the Canadian college radio charts.
After a quick listen of Shine A Light the reasons are obvious.
The twelve tracks all contain thick instrumental compositions
with Bryan Webb and Steve Lambke providing the vocal content.
Their sound comes across as mature post-punk similar in nature
to Dischord and Saddle Creek releases. However, the Constantines
can pull off a Bruce Springsteen with the best of the them and,
in fact, some of the best songs on the record are those with eerily
similar vocal cadences and a pure dedication to rock. This includes
"Young Lions," "On To You" and "Shine
A Light," songs that singe "Rock" across your forehead.
I wouldn't be surprised if any of these three get picked up as
staples on your local college radio station if not mainstream.
Though these songs are characteristic of their sound, they simply
punctuate the quality of the record. Since their debut release,
the Constantines have added keyboardist Will Kidman, allowing
them to add variance to their song composition strategies. This
comes through on the dazzling "Sub Domestic" and "Insectivora."
Shine A Light will in no doubt propel the Constantines to a shower
of praise and a new level achievement. If nothing else check it
out to imagine what Springsteen might sound like fronting a post-punk
band.
The
Dandy Warhols
For the Dandy Warhols' fourth full-length album, they embark on
a different voyage than previous material. The preceding three
albums moved as well-endowed garage rock - in contrast to the
stripped-down version - and many people associated them with a
new and strong presentation of pure rock. Particularly, the Dandy
Warhols' previous album Thirteen Tales from Urban Bohemia (2000)
brought the band to new heights, particularly in Europe where
the album went platinum in a bunch of countries and people drooled
at the thought of them. After getting off the rollercoaster for
awhile, the Dandy Warhols went back home to Portland, OR, bought
a warehouse and renovated it to an artist gathering spot, home
studio and living quarters. Beginning to work on a new record,
the band decided to take a different sound-orientation with them
- namely, more synths, glam and less garage. Given their wide
array of fans, interest in helping them produce and record the
album ran high. The band employed the help of Tony Visconti in
NYC and Nick Rhodes in London (of Duran Duran), as well as songwriting
help from Simon LeBon (on "Plan A") and Evan Dando (on
"You Were the Last High"). Based simply on that knowledge
and the quality of their previous work, high expectations exist
for Welcome. And in the thirteen tracks from this reborn four-piece,
they deliver the goods in big way. Certainly on many tracks, it
is as though the Dandy Warhols have reincarted the essence of
Duran Duran, Love and Rockets and the like, yet have injected
it with a stronger allegiance to rock. One of the most striking
aspects of the record, and partially due to the variety of help
they received, is how each song is quite distinct from the next.
While reading like a collection of singles, the songs do work
as a cohesive unit. After a brief intro, "We Used To Be Friends,"
the first single, greets and slays all doubters. Mellow verses
by lead singer Courtney Taylor-Taylor move to catchy chorus punctuated
by rising background synths. Next is the LeBon collaboration "Plan
A," containing a similar construction with LeBon adding high-pitched
vocals. "The Dope" has a pumping beat that will likely
be the recipient of club mixes and "The Dandy Warhols Love
Almost Everyone" is a total psychedelic organ affair. Probably
the best song on the record, besides from "We Used To Be
Friends" is the Dando colloboration "You Were the Last
High." While maintaining the synths, the song has the strongest
rock foundation and is catchy beyond all belief. "You Were
the Last High" should spark some serious interest from radio
stations around the world. "I Am Sound" and "Hit
Rock Bottom" close out the album in a strong way. The Dandy
Warhols will be playing all over the world in support of the record,
including a stint opening for David Bowie (one of their biggest
fans). Given the band pulls off a risky venture in manipulating
their sound, their international acclaim should rise from Welcome
to the Monkey House.
Daughters
This is the debut release for this Providence, RI noise-core band.
That Providence - home to such like-minded bands as Lightning
Bolt and Arab on Radar - produced this onslaught is not surprising.
What is more surprising is that Daughters are less art and more
trendy trailer-trash in visually aspects. Several of the members
in Daughters were in the well-known hardcore band As the Sun Sets
and thus there is strong pedigree. Although this five-piece could
simply be the Locust's bastard cousin, the ten tracks (clocking
in at eleven minutes) do contain a significant element of tightness
and technical construction. It is not just random noise thrown
together in a "cool" way and you have a notion they
know what they are doing - which is well appreciated in this field.
With several things in the works including a split with NYC Ex-Models,
you are likely to hear much from these guys in the near future.
Hold onto you 31G hats.
GG
Allin and ANTiSEEN This is the 10-track 1991 album of Allin with ANTiSEEN that defined what being a murder junky is. While it is all bloodlust on the opening "Murder for the Mission", one cannot but feel some comic relief on the rap-nspired "I Love Nothing". This re-mastered album includes an eight-page booklet of color photos. The murder is further beefed up with five bonus tracks from the Violence Now 7" as well as from GG's final recording session in 1993 as GG Allin & The Carolina Shitkickers. Bursting at the seams with explicit language, this is a continuation in TKO's Vault of ANTiSEEN series brining up from the vaults archival ANTiSEEN material. (-Tom Schulte)
Ghost
Orchids Teaming up with producer Dustin Donaldson (of I am Spoonbender), this San Francisco four-piece knocks out twelve tracks of electro-indie dance punk on their sophomore album (first with Princehouse). Fronted by Julian Myers on bass/guitar and vocals, Ghost Orchids concentrate on deep, dark new wave that is propagated by the growing trend towards punk. At times, Bonnie Pipkin (synths) joins Myers on vocals and vice-versa. This is hauntingly the case on the great "Keep Your Secrets," with Pipkin adding the monotone vocals like Miss Pussycat on the latest Quintron album. Then on the next song "Love Inversions," the two switch roles. One of the big draws to the Ghost Orchids is Myers' convincing vocals across the songs (see "Synthesizer Bruises"). Though heavily bass driven, Ghost Orchids utilize practically any and all electronic sounds you can get out of synthesizers, as well as from percussion (by Christian Beaujean). The tracking of the songs moves from direct dance numbers (e.g., "A New Blood Type" and "Keep Your Secrets") to more drawn out instrumental experiments (e.g., "A Hole in the Speaker" and "The Sensual Woman"). Tracks to get you moving, besides from the above, include "Fierce Child," "Synthesizer Bruises" and the sweet "Nothing Can Hurt You (A Sharper Version)." Apparently, the Ghost Orchids are a hot time live with their own visual artist Chris Golden providing lighting and projections. I'm quite interested in seeing whether they can give the Faint a run for their money as a live band.
The
Kinison
This Left Coast five-piece hardcore punk outfit releases an onslaught
of fervor amongst the five songs on this EP. Forming in the middle-of-nowhere
Illinois, the Kinison headed out to LA to record a demo and then
stayed to live out their dreams. The spastic vocals coming from
lead singer Chris draw quick comparisons to bands like Tora Tora
Torrance. There is the same kind of fun upbeat no-holds-barred
crazed explosions as TTT on the five songs here. This becomes
clear on the first track "Hey Hey Hey" - a song that
most memorable section actually does contain a vocal-only "hey
hey hey." "New Way To Dance" follows with lackluster
vocals throughout much of the song. However, "The Way I Used
to Be" redeems the Kinison, before a solid closing with "Sorry,
I'm a Pushover" and the elongated "The Kinison's Area
53." The Kinison present a solid foundation on this EP, though
they certainly could benefit from enhanced songwriting abilities.
Motion
City Soundtrack
The Minneapolis quintet of the Motion City Soundtrack are one
of those bands that you are constantly hearing about but rarely
actually hear. By the amount of attention that Epitaph has given
MCS over the past year, you would have thought this album came
out two years ago. Though wetting people's appetites with a split
on Doghouse - I Am the Movie clearly shows why Epitaph is all
high on this band. Initially formed in 1999 and after several
lineup changes, the band headed out to the plains of Kansas to
record with probably the hottest indie producer in the country
right now, Ed Rose. Seriously, Rose is punching out so many rocking
records recently that it did not come as a surprise his hands
were on this after a quick listen to the fourteen tracks. With
signing to Epitaph, MCS were able to go back to Lawrence and put
finish touches to the initial "rough" version. Often
when I'm working on the computer - and lacking listening material
- I put on the Launch "punk" station. And, hence, several
of the tracks from I Am the Movie were quite familiar to me before
I spun the disk. Specifically, "The Future Freaks Me Out"
and "My Favorite Accident" drew quick attention and
awe. "The Future Freaks Me Out" is a track that you
have surely heard but may not have known who it was. Unlike most
of the other tracks, it is brimming with pop goodness and finds
lead singer Justin Pierre hitting some high notes. One of the
elements that quickly comes to attention with MCS is the sweetly
layered keyboards (Moog) from Jesse Johnson. This then draws easy
comparisons to bands like All-American Rejects and, yet, they
present a much fuller portfolio. An example of this is the amazing
track "Indoor Living" - a track that has a similar feel
to the great Dismemberment Plan songs. This is mostly due to Pierre
varying the intensity between verse and chorus and the buzzing
keyboard lead ins. With the Plan RIP now, people searching for
comparable love may and should gravitate to MCS. Other standout
tracks on the record include "Perfect Teeth," "Capital
H," "Autographs and Apologies" and "A-Ok."
If Motion City Soundtrack are able to match the clarity and sweetness
of this recording - and most reports say so - then they will be
a force to reckon with in the coming years.
Paradise
Boys The Paradise Boys, centered in San Francisco, were founded by Jeff Fare (also partially runs PrinceHouse) and percussionist Bertie Pearson in Spain several years ago after common run-ins. Separating in location, they came back together in SF to rock out dance pop for the masses. Adding Christian Beaujean and Elizabeth Hanley, the Paradise Boys now seek to spin and remix the past. The first 12" Your Love takes the song by the same name originally by Jamie Principal/Frankie Knuckles and unleashes the Paradise Boys' rich beats and Hanley's sweet vocals on it. Blaktronics from Oakland get into the mêlée with their own version playing on heavier, crunchier beats and more sexualization. The second 12" contains the great Paradise Boys' original "Gonna Make You Mine" (which is also featured on the PrinceHouse comp Death Before Disco) and remixes by the Boys and one each from Broker/Dealer and Nikki Anderson and All the Way Lovers. Broker/Dealer strips down the song and adds a much stronger techno flavor while repeating the word "tonight" - this is hot stuff. Nikki Anderson et al.'s version has a stronger thumping bass with strapping elements of acid house and electro-skewed vocals. For the final track, the Paradise Boys come back with their own remix after assessing what has been offered by the two previous remixes. Both of these 12"s must be played like mad in dance clubs. Radio
Berlin
This is the third full-length release from this four-piece from
Vancouver. After initial praise on their previous releases, Radio
Berlin exchanged keyboardists and drums (with Lyndsay Sung now
rocking out keyboards and Rob Zgaljic on drums) and engaged on
their third offering. With an odd single dance-fever cover and
touring exploits with bands like the Faint, the listener may be
expecting a high-tempo electronic explosion. Yet, Radio Berlin,
though playing to the electro-dance gods, concentrate on thicker,
slower and darker new wave themes. Once you rub off the "I
want another dance-punk band" fixation than you can fully
appreciate Radio Berlin's sound. "Gauze" kicks off the
record and sets the tone for the record. Punching bass lines,
spinning guitars, drum machine percussion accompany the eccentric
vocals. The more synth-focused and deep vocal "A Suitcase"
follows this before moving to the notable "The Hyphen,"
which contains a mellow chorus crescendo. However, the best song
on the record comes next with "D.E.S." Maybe I'm biased
- given a desire for more dance punk - but the song just rocks
and is quintessential hip with a haunting keyboard line. "Rote
Lippen" and "Aftermath" excel in conjuring up the
dark new wave of decades ago, particularly with the early-Cure-like
intro to "Aftermath." Radio Berlin close the album on
a mild down-note with "Knives" and "How Fast Can
You Run?," though it is partially a function of the quality
of "D.E.S." and "Aftermath." This is a positive
eight song outing by Radio Berlin and will surely put smiles on
the people who go out to 80s night dance parties.
Sick
Of It All The
undisputed kings of NYC hardcore are back with their seventh full-length
and the fourth for Fat. It seems like yesterday when SOIA signed
with Fat - a label whose roster had consisted of solely SoCal
punk bands. Now SOIA has spent some time with them and knock out
this fifteen-track release of hard-hitting old school hardcore.
Even though SOIA's earlier classic albums (e.g, Scratch the Surface
and Blood, Sweat, and No Tears) contain stellar tracks, often
the quality varied from song to song. The first records on Fat
(e.g., Call To Arms), while more consistent, seemed to float towards
an allegiance with punk foundations. Admittedly not hearing every
SOIA album between the first and now, Life on the Ropes sounds
like SOIA have come to throw down like the old days, yet with
the maturity and consistency of a seasoned group. Notably, this
is the first time SOIA produced their own record and the results
are stellar. The record kicks off on "Relentless" with
Lou meeting the guitars' onslaught with the same precision and
intensity. Though one of the best tracks this also stands out
from the other tracks as an apparent ode to Snapcase. The rest
of the record takes more of the typical fast tempo verse-crew
chorus-verse-breakdown…. Among the notable tracks includes
"All My Blessings," "Paper Tiger" (w/ John
Joseph from the Cro-Mags), "The Innocent," "For
Now," "View From the Surface" (one of the more
melodic tracks), "Kept in Check" (great breakdown) and
"On the Brink" (should be their first "single"
off the Life on the Ropes). Although SOIA aren't breaking from
their craft, it is amazing how they are able to keep the material
sounding so fresh year after year. This is one of SOIA's best
album's to date and again shows how they have implemented everything
they have learned into fifteen tracks. Naturally, you should check
them out if you can given their great live shows and who knows
how long they will still be playing.
Street
Dogs This
is the debut album from this Boston four-piece. Yet, the Street
Dogs' pedigree is deep and rich. The band is fronted on vocals
by Mike McColgan, the original singer of the Dropkick Murphys
- the same McColgan who left DK several years ago to become a
fireman. McColgan is joined on drums by Jeff Erna (ex-DK), Rob
Guidotti on guitar and Johnny Rioux (ex-Hellcats, Roger Miret
and the Disasters) on bass. Street Dogs have all the elements
to make them great: powerful vocals, melodies and that raw punk-hardcore
sound that makes you smile. This is immediately evident on the
title track "Savin Hill" - instant hit material. Probably
the only thing that doesn't make sense is that Crosscheck Records,
with releasing this record, is based in LA - eh? McColgan's honest
and strong vocals bring a lot to the table including tracks "Cut
Down on the 12th" and "Fighter." "Fighter,"
a tribute to a late friend, has a similar feel to it as Bouncing
Souls' classics and, well, DK classics - immensely moving. Dicky
Barrett adds vocals to the less-than-stellar "Justifiable
Fisticuffs," but Ken Casey's and Al Barr's vocals on the
next track "Stand Up" more than makes up for any misstep.
Other tracks that will help Savin Hill travel include "When
It Ends," the acoustic drinking number "2 Bottles,"
"Last Call" and the working class "Modern Day Labor
Anthem" (including some pontificating from McColgan). As
Street Dogs' opening salvo, Savin Hill is an impressive affair
that should garner them serious attention. As one of the strangest
- though not baffling - promotional events, McColgan will be singing
the National Anthem at Fenway on September 24. If you can check
that out it should be well worth the effort.
Streetlight
Manifesto
Streetlight Manifesto is sort of a super-ska group from New Jersey.
Formed by members of Catch-22 and One Cool Guy, the six-piece
SM play similar themed upbeat ska. Not overly punk, not overly
traditional and not overly jazzy, the band present twelve well-balanced
and strong tracks on their debut album. Apparently, it took SM
a long-ass time to actually finish all the pieces of this record
and for it to see the light of day. As such, the songs are excellently
composed and try to differentiate themselves within the genre
by adding touches of instrumental diversity (see, e.g., "If
And When We Rise Again"). However, that differentiation is
not enough to spark separation from the level of quality that
ska bands from the mid-90s laid. Streetlight Manifesto are brilliant
at what they do, but they are not the breakthrough artist that
the ska scene needs at this time.
V/A This
is a fourteen-song compilation serving as an introduction to PrinceHouse
Records and the Bay Area's electronically orientated music scene.
At the same time, it is an exercise in excitement for PrinceHouse
since much of the comp is not from their bands but just stuff
they like and where they want the label to go. The fourteen tracks
range in all types from electro-dance, and all its variants, to
garage rock to punk…. The record starts with the Ghost Orchids
and the best song from their latest album (The King Is Dead) "Keep
Your Secrets." Following this up is another amazing track
by Adult. called "Glue Your Eyelids Together" - Adult.
(from Detroit) may be the only non-West Coast band. Though most
tracks are hip good times, standouts include Gogogo Airheart's
"When the Flesh Hits," nice beats from I Am Spoonbender
with Jimmy/Margaret on "My Rhythm Box Has Teeth," Pattern's
"Fragile Awareness," the mellow "No Style"
by The Pleased, the super fun "Internet Girlfriend"
by The Lovemakers and Paradise Boys' "Gonna Make You Mine."
At the end of the day, this great compilation promises a lot from
upstart PrinceHouse.
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