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September Reviews Artist of the Month: VHS OR BETA Seemingly out of nowhere comes VHS OR BETA with one of the best records of the year in the twelve-song Bring on the Comets. With bombastic indie rock that can fill arenas and a French-disco funk kick to get your dance on, VHS OR BETA are set to rock you this fall and into the New Year. Surprisingly out of Louisville, Kentucky, VHS OR BETA mix elements of pop rock, dance punk, and French funk into a product that’s addictingly appealing, enough to shake even the most curmudgeon. Started in 1997 to follow in the line of more noise-orientated bands, such as the Skin Graft line-up, the group soon progressed to incorporating electronic dance moves to their sound. This resulted in the 2002 EP Le Funk, followed by 2004’s stellar full-length Night on Fire. Surely, Night on Fire got VHS OR BETA knocked up in the minds and ears of listeners of good music, allowing the band to gain notice and tour with like-minded groups including the Faint, the Bravery, and Scissors Sisters. Though mostly existing throughout its history as the trio of guitarist/vocalist Craig Pfunder, bassist Mark Palgy, and drummer Mark Guirdy, the band is rounded out by multi-instrumentalist Chea Beckley (who is now featured in band promo photos) and guitarist Mike McGill on tour. One of the more startling elements of VHS or Beta is how incredibly powerful Pfunder’s vocals are live since his uber-skinniness appears like it would wither his intensity. Instead, it seems only to intensify the songs. For Bring on the Comets, Pfunder and company wanted to take their sound to the next level; to add richness and depth to the songs without sacrificing catchy pop for simple generic blabbermouth crap. In this endeavor, the band employed producer Brandon Mason (Secret Machines, David Bowie) for help in crafting their music into one that can be pulled off just as well in a club than in an arena; though when played in a club it sounds like VHS OR BETA are going to rip a whole in the roof when rocking. In anticipation of the release of Bring on the Comets, VHS OR BETA and Astralwerks released two singles (or at least streaming on Myspace) to whet fans’ appetites – “Can’t Believe a Single Word” and “Burn It All Down.” Placed side-by-side on the record, these two songs will convert anyone into a fan of VHS OR BETA. “Can’t Believe a Single World,” the fourth song on the record, kicks off with drums and a sliding guitar riff before Pfunder walks in with one go on the verse before the rest of the band comes and then soars on the amazing chorus. The flow, rhythm, riffs, and vocals on the chorus of “Can’t Believe a Single World” will completely grab your shoulders and shake you all around. After this bout of colossal pop rock has worked you over comes the funk bass and electronic drum-driven “Burn It All Down.” Clearly the most dance club-centric song on the record, “Burn It All Down” gets your ass cheeks clapping while still maintaining a modicum of rock. With just these two songs, Bring on the Comets would be considered a strong album. But, what there’s more; another set of songs to push the album from a good album to stellar. Setting the agenda with the minute-long instrumental electro dance “Euglama,” “Love in My Pocket” first illustrates VHS OR BETA and Pfunder’s powerful and catchy vocals. “Love in My Pocket” takes a spell to get moving, but when you hit the chorus, you are rocking along more than expected. “She Says,” featuring Jim James of My Morning Jacket on backing vocals, and “Take It or Leave It” are both solid numbers where album consistency is maintained even if the heights aren’t reached. For your next play in this regard, you turn to the outstanding title track. After the instrumental set up “Alpha Theta,” “Bring on the Comets” slowly builds steam underneath atmospheric guitars with an ending crescendo that leaves you with goosebumps. When VHS OR BETA played “Bring on the Comets” at their show in STL, it was clear that the song is a emotionally highpoint for the band. Following is “Fall Down Lightly” the guitars match the vocal cadence perfectly and the drums and bass offer a dancing feel. “We Could Be One” rides like a lost Depeche Mode number with better vocals, while “Time Stands Still” is somewhat generic pop rock for this band. Bring on the Comets closes on “The Stars Where We Came From” with Carl Broemel of MMJ adding pedal steel to Pfunder’s lighter vocals and epic album closer. Now armed with a terrific new set of songs and a live show to write home about, VHS OR BETA are primed for anything. Link up with these guys now, so you don’t have to regret being so late to the game.
Aa This extensively sweet packaging actually makes me feel bad for both the band Aa and the label Gigantic Music; like a kid with no friends who pays a couple of kids so his mother doesn’t think he’s such a loser. The reason is that gAme is a digipak material with both a thirteen-song CD and an accompanying DVD; and the problem is that Aa border on horrible random noise. gAme doesn’t have you throwing the CD against the wall as there are moments of style and grace; though song titles would have been nice in order to help dismiss the random crap theory. Smartly, Aa include the DVD to illustrate the band’s “true” forte – the live show. But their ‘I just got out of art school and love to do stochastic junk’ just kills any type of enjoyment. The people at these shows all appear primed for awesomeness, but they’re never rewarded. Aa should expend as much effort on their music as they do for their packaging.
All Out War NY’s All Out War seemingly have been floating in the metal hardcore ether for longer than most devotees can remember. But their tenure has been ethereal, as their discography is short but you consistently hear them mentioned among the early influential metalcore acts. On the eleven-song Assassins in the House of God, All Out War step out in powering fashion on opener “Curtain Call for the Crucified,” laying out Slayer-like attack guitars and double-bass as well as adding metalcore guitar riffs to connect to those that throwdown sans long hair. If all the songs on Assassins demolished as much as “Curtain Call for the Crucified” it would be one of the best heavy records of the year hands down. Unfortunately, the other ten songs don’t live up to the opener, but still the flagellation comes at staggering levels. Deficits come from a set of standard hardcore songs that toe the classic old school line, instead of smashing metal in your throat (see, “Politics of Apathy”). Still, songs such as “Behind the Crescent and the Cross,” “Drenched in Defeat,” “The Angels of Genocide,” and “When Your Gods Have Failed” are able to rip your balls off and show them to you.
Arrica Rose & the …’s When you come across somewhat random records by outfits you’ve never heard of, speculation runs as high as a Bush press conference. Yet, Arrica Rose and her backing band the …’s (I suppose you would say ‘the ellipses’) illustrate enough indie rock prowess on opener “Turn” that you need to take another look. “Turn” is a three-minute indie rocker that keeps time with a strong chorus. Naturally, if all of this EP sounded like “Turn,” you probably would have heard of Arrica Rose before. Instead, the eclectic sets in on the stretched follower “Occasionally the World’s An Unhappy Place (Plan Accordingly)” and the EP becomes a bit hit or miss. “Rid of You” is countrified indie, “Wreck Me” takes a stab at ambient slow moving, and closer “Silence (Is All We Need)” demonstrates too much of Rose’s singer-songwriter. Arrica Rose & the …’s should focus on the indie and lay off the blah in the future.
Atone As is commonplace for electronic albums and artists, remixes must come about every so often. And this is the case with Atone’s Un An Plus Tard EP. Atone (aka Antoine Monzonis-Calvet) recruited a group of artists to rework tracks off his first album Un An (released in 2006). Those offering talents on this remix EP include The Remote Viewer (“Seul”), The Boats (“Au Revoir”), the sinful remix of “Resonance” by Lullatone, and Tanuki Et Les Choeurs De Paimboeuf on “La Chambre Est Vide….” Save for Lullatone, there isn’t a ton to jump up and down to on this remix EP. Hold out for Atone’s next record.
Bad Religion Every time you think that Bad Religion is through releasing new music, they come back with another album full of classic west coast punk rock. And such is the case on the sixteen songs on New Maps of Hell. Initially presenting a harder, faster face on opener “52 Seconds,” the six-piece soon launch into their standard verse-chorus-verse with bridge song construction, albeit faster than the recent past. With Greg Gaffin, PhD, signature vocals leading the charge and guitarist and Epitaph founder Brett Gurewitz leading the instruments, New Maps of Hell attempts to re-establish and continue Bad Religion as a punk voice of social and political consciousness. Joining Gaffin and Gurewitz in the quest of rocking out anthems like “New Dark Ages,” “Requiem for Dissent,” and “Prodigal Son,” are bassist Jay Bentley, guitarist Greg Hetson (of Circle Jerks fame), guitarist Brian Baker (of Minor Threat fame), and relatively new drummer Brooks Wackerman. After a couple of decades of punk rock records, Bad Religion know how to create well-constructed songs where lyrical messages don’t standout as awkwardly phrased b.s. Besides from the above mentioned songs stunners come from “Dearly Beloved,” “Heroes & Martyrs,” “Grains of Wrath,” “Lost Pilgrim,” and the closer “Fields of Mars.” I guess these guys are going to hang around for few more years; all to our benefit.
Brainworms Brainworms just sounds gross – a word devised by seven year-olds looking to creep out their friends. The band Brainworms from Richmond, VA are not gross, but they are grizzled screaming indie punk dervishes that cut it up at full tilt on the eight-song Which Is Worse. In fact, Which Is Worse is eight straight-up songs and then seven live songs that initially served as the band’s demo; the inclusion of the live material doesn’t do anyone favors save for those at that specific show. Brainworms tackle the eight songs with DC-punk fueled angular guitars, stop-start moods, and constant balls-out yelling by bearded Greg Butler. Kicking ass and taking names is the M.O. here, but Brainworms need more justice-inducing photos. Rock!
Brown Shoe Following up on their strong 2006 release The Wheat Patch, California’s Brown Shoe are back with the thirteen-song, hour-long Vanity. Brown Shoe continue their ethereal, ambient indie rock that pushes on pop as well as tangents off to extended instrumental swirls. And given this continuance in sound, it is shocking that Brown Shoe aren’t signed; though they may be going for the Clap Your Hands approach to the biz. With production assistance from Duane Lundy, Brown Shoe walk a line between the ambient spacey rock and quirky, smart indie rock; it seems that the band may becoming closer and closer to making this combination quite enticing. One of the items holding back Brown Shoe is Ryan Baggaley sometimes ill-fitting vocals matched with ordinary or worse lyrics. Never one for excessive worry on vocals, Baggaley’s vocals sound off-key and trying to fit their instruments too much but not enough (e.g., “Screaming Dinosaurs”). Still, Brown Shoe continues to be one of the more promising talents floating under the music surface.
Cary Brothers Catapulted to notoriety by inclusion of his “Blue Eyes” in the Garden State soundtrack, the expectations for Cary Brothers’ record Who You Are are on the level of Tiger Woods in a PGA event. As many of the artists included on that Grammy winning soundtrack, the commercial success for Brothers was unexpected and somewhat random. (BTW, Cary Brothers is his name and not brothers by the name of Cary). With two EPs released under his own Procrastination Records, Brothers moved to Bluhammock for his first full-length. Although “Blue Eyes” is what Brothers made his name on, he consciously tried to avoid a series of similar-sounding songs on Who You Are. Instead, the eleven songs are a combination of folk, ambient guitars, and pop appeal. The problem though is that Who You Are is at best an average pop album with a smattering of high points and too many so-so songs. The strong folky opener “Jealousy,” the pop title track, “The Last One,” “If You Were Here,” and “All the Rage” are songs that will gain traction with a pop singer-songwriter audience but aren’t going mesmerize the musically transfixed.
Cat-A-Tac On this Denver outfit’s debut full-length, Cat-A-Tac offers twelve fuzz pop songs with new wave tinges that bring back darker thoughts of My Blood Valentine or a super depressed Morrissey (in vocals). Without doubt the opening songs on Past Lies and Former Lives bring you with a hypnotic pulse that spites you blind on the short end and keeps you tuned in. Such wonderkind moments come from the strong opener “Needles and Pins,” the title-track which is the highlight on the album and should get college radio play, and the more straight-ahead rocker “Burned.” The problem that many bands have, and Cat-A-Tac is no exception, is the inability to keep the song quality consistent and slippage begins to seep in as you progress through the twelve songs. This begins on the fourth song “Alone” and the second half of Past Lies comes in as hit or miss. Cat-A-Tac have a solid foundation for fuzz pop and shoegazers of the future.
Child Bite / Stationary Odyssey Unquestionably, the coolest thing about the Physical Education release is that it comes in a limited edition tin canister with print art on the cover and number 6 recycling plastic inside. With such stupendous packaging it’s easy to overlook what’s actually inside. Physical Education is a four-song split CD featuring Indiana’s Stationary Odyssey’s “Your Sex Is Pet” and “Education Breakdown,” and Detroit’s Child Bite’s “Beef Up” and “Do the Physical.” Following up on Stationary Odyssey strong previous record Head! Foot! And the Pink Axe!, expectations ran high for these two offerings. Yet, to wrinkle your brow the band includes considerable vocals seemingly causing a detrimental effect. Instead, you need to look to Child Bite for the excitement on Physical Education. “Beef Up” features whiny punk vocals (think 3.1.G. bands) in a noise pop soup where bass plays a major role. This thought is enhanced by the 50s party band “Do the Physical” where you feel like getting up on the dance floor and doing the twist in a toga while swilling beer. With such a close Physical Education makes for a fun time.
Damnation A.D. When Victory announced that veteran metalcore group Damnation A.D. was returning to the fold to unleash a new album, many observers waited with baited breath. And while opener “Knot” offers a strong degree of smashing skulls, the rest of In This Life or the Next doesn’t approach as original and enticing a sound. DC’s Damnation A.D. first ushered into the hardcore scene in the early 90s when Snapcase, Strife, and Earth Crisis ruled the scene on Victory Records. After an eight year hiatus, the scattered members of Damnation A.D. came back together after a quasi-epiphany by Ken Olden and Mike McTernan at Olden’s studio. And after reading the background on the resumption of Damnation A.D., the fact that it started purely as a studio project before getting bumped up to a full-out album and live set doesn’t surprise one in the least. While coursing your way through the twelve songs on In This Life you are struck by interspersed moments of filler, simple and non-inspiring segments, and commonplace hardcore fodder. It literally sounds half-baked in a studio by guys trying out a bunch of different ideas and techniques. Instead of true inspiration, songs are forced and don’t break the goosebump enhancing threshold. This record is certainly not a bad idea and many will welcome Damnation A.D.’s return to the ring, but you might expect more from such a veteran crew.
Death Before Dishonor Though Boston’s Death Before Dishonor have only being kicking around for a couple of years, it seems much longer than that; and that may be indicative of the influence of these tough-guy northeast hardcore bruisers. Reflecting the working class attitude of their scene, DBD has been on a constant touring schedule since releasing their 2005 EP Friend Family Forever (also for B9). Typically I could give two shits about how hard a band works, but 400 shows in two years shows some fucking hard work. The thirteen-song, twenty-eight minute Count Me In continues the sound of the EP, but also a cleaner and tighter sound that brims with choice breakdowns in order to allow the live show to jump off the hook. Keeping the tradition alive and well, look for Death Before Dishonor on their everquest to bringing ass-kicking to the masses.
Dntel Although we all wait with baited breath for the Postal Service’s next album, we can sink our teeth into offerings by one-half of that group: Jimmy Tamborello’s Dntel. Like many of Tamborello’s thoughts, musings, and offerings, Dntel is a simple moniker for him to work with and add to however he chooses; witness his other act James Figurine, who released Mistake Mistake Mistake Mistake on Plug Research in 2006. Yet, this is the first offerings of the Dntel project in the past six years. A combination of side projects, producing, and procrastination led to the five year journey of Dumb Luck. However, with the help of a cadre of indie’s who’s-who, the nine songs on Dumb Luck offer a compelling take on free-form electronics with soft, indie pop vocals on top. It’s not entirely fun and games, as at times you find Tamborello showing off his production skills (e.g., the latter half of “To a Fault”), but magic rests with the title-track opener, the supremely amazing Jenny Lewis vocal-lead “Roll On,” the rambling “The Distance” featuring Arthur & Yu, and Conor Oberst’s extensive vocals on “Breakfast in Bed.” “Breakfast in Bed” is one of the few times I’ve heard Oberst seemingly give deference to another artist in a collaboration; maybe Tamborello and Oberst should create their own side venture. In the past couple months since Dumb Luck’s initial release date, all the indie rock scenesters likely have the record memorized; it is now everyone else’s chance to do the same.
Down to Earth Approach Down to Earth Approach’s debut record for Vagrant, 2004’s Another Intervention, yielded itself as the torchbearer of the once great Get Up Kids. As said in our review of Another Intervention – it was the album that the Get Up Kids should have followed up Something to Write Home About with. These LA transplants, from cursed shithole Batavia, NY, headed back to western NY and later Long Island in order to record their follow-up Come Back to You. For a band of DTEA’s stature to take three years between records is rather odd and suggests problems; though Vagrant also heavily promoted Another Intervention and DTEA spent serious time on the road. Whatever the cause or reason, the eleven-song Come Back to You is a noticeably drop-off from their Vagrant debut. Mind you, the songs here are all solid emo-punk offerings that keep you satiated though not inspired. DTEA sound almost tepid and unsure of where to go after hitting it big with Another Intervention. Part of that translates into safe, moderate tempo that keeps ears happy but doesn’t push the envelope. For Down to Earth Approach to keep rocking and not have to return to Batavia’s drinking holes, they’re going to have to find magical hooks and choruses in the currently fallow ground.
Driver Side Impact Unsurprisingly, Driver Side Impact is unsurprisingly generic for contemporary melodic punk outfits on their debut full-length for Victory. Out of Cleveland and unnecessarily utilizing six members, DSI jogs through thirteen songs guided by the deft emo hand of producer Sal Villanueva. Save for a handful of breakdowns and entrances DSI’s strategy of adding electronics to their sound is minimally useful. And thus the rationale for six members becomes heavily diluted. The true issue with DSI, though, is the slow-to-moderate songs that completely lack any punch and come across as entirely uninspired, plus the added distraction of weak vocals. Driver Side Impact will need to add some juice to their sound if they hope to continue the rock parade.
Elvis Presley You probably think that Elvis’ song collection has been mined to all levels of absurdity. Well, here’s another release – featuring sixteen live tracks from various shows in Las Vegas from 1963 to 1972. This release was inspired by ABC’s documentary on Elvis’ Vegas years, from when he had trouble connecting with the Vegas’ audience to becoming an uber-dominate force in the late 60s and early 70s, mainly through his shows at the International Hotel. “Viva Las Vegas” (from 1963) opens the album before the next song “See See Rider” truly opens the live material with a 1970 show from the International. Most of the songs included here were recorded from a spat of dates in February and August 1970 at the International, with the remaining numbers cut from a 1972 show at the Vegas Hilton. You can make the argument that every Elvis song is a classic, but those that standout on this live set are “The Wonder of You,” “Let It Be Me,” “I Just Can’t Help Believen’,” the cover of Simon & Garfunkel’s “Bridge over Troubled Water,” the cover of “You’ve Lost that Loving Feeling,” “Never Been to Spain,” and the closer “The Impossible Dream (The Quest).” There are enough Elvis fans in the world to make any Elvis release marketable and it is certainly the case with Viva Las Vegas.
Feist In the past month or so, people have been crapping in their pants over this latest record from Canadian prairie land songstress Feist. Her folky acoustic anthems have been held up as the next coming of the female singer-songwriter starlet. Yet, the songs on The Reminder that draw you in, make you smile, and have you coming back for more are not of this sort. Within ten seconds of the second track “I Feel It All” it become so obvious the type of songs that Feist should be focusing on and excelling at that the rest of the album becomes a sham of lesser interest. “I Feel It All” is an indie rock – or just rock – anthem if there ever was one. With a guitar riff that takes a Springsteen to knock out and choruses to pop the radio speakers apart, “I Feel It All” is one of the best songs of the year and the one that everyone (including the label) should be rocking to. The second song that deviates from the rest of The Reminder is the thumping lounge “My Moon My Man,” that’s been extensively used for commercials. Not as awe-inspiring as “I Feel It All,” the thumping bass line of “My Moon My Man” will keep you hypnotized. And the rest of The Reminder? Mostly acoustic singer-songwriter fair that raises Feist slightly above a Nashville bar band, but not so much so. Wrinkles are implanted with the uptempo “Sealion” and “Past in Present,” but more is needed to keep you placated. Feist has much to work with and true talent, but The Reminder is not her crowning moment. Hopefully that will come in the near future.
Fields Undoubtedly, Fields are significantly better than you may imagine from a cursory glance upon the record. Not unlike a more poppy and arena-rock Denali or Glos, UK’s Fields makes smart use of male-female vocal routine of Nick Peill and Thorunn Antonia, with synths and guitars adding a psychedelic shoe-gazer vibe. Another example of absurdly quick ascension to the known, Fields only fielded their lineup of Peill, Thorunn, Jamie Putnam, Mattie Derham, and Henry Spenner in 2006 and soon found themselves rocking Europe and the US supporting their EP 7 from the Village. On their debut full-length, Fields makes use of major label studio support by substantially richening and filling their acoustic guitar base. Majestic, storybook, while being accessible, the ten songs on Everything Last Winter are all well-measured rock songs with highlights coming from the stunning opener “Song for the Fields” (also on the EP), the quirky acoustic “”You Don’t Need This Song,” the shoe-gazing “You Brought This On Yourself,” and “Skulls and Flesh and More.” Fields are able to fit in with a variety of audiences, which will be to their benefit.
Flight of the Conchords With an increasingly popular show on HBO following their comedy exploits as a New Zealand rock duo in NYC, this is a six-track teaser EP from Flight of the Conchords. Featuring three studio recordings – “Business Time,” “If You’re Into It,” “I’m Not Crying” – and three live tracks – two songs “The Most Beautiful Girl in the Room” and “Robots” and a banter track of them talking about banter. There is no doubt that Flight of the Conchords is weird, but on the show their comedy makes all of the comedy songs considerably funny. Without that AV experience, the effect isn’t nearly the same, so this EP only dribbles forth. Maybe their full-length will include some video material.
Fridge In recent years, Fridge has attained a cult-like status; heroes of the under-heralded, on more RIYL lists than ever even though few people actually had an intimate knowledge of the group. Back with their first full-length in six years, distracted by the members side projects, this UK trio offers the ten-song, one-word titles The Sun (of course coming in a double LP). Featuring Kiernan Hebden, Adem Ilhan, and Sam Jeffers, Fridge tramps along with a series of compelling, moving instrumental tracks including such stellar offerings as the seven-minute “Clocks” which builds a hypnotic crescendo of instruments that puts a smile on your face; the sort-of rocker “Drums of Life” that focuses around a heavy guitar riff and water electronics; and the ambient “Lost Time” where non-word vocals are used as another instrument. Fridge’s appeal comes from eschewing random bits of noise as art and instead tying intermittent moments of glory from strings, electronics, and percussion.
Get Cape. Wear Cape. Fly At first glance or first listen as it is on opener “Once More with Feeling,” you think that this Getting Cape guy ain’t too bad. “Once More with Feeling” is folksy Americana with classic touches and harmonies. Good show indeed. However, as the second song “An Oak Tree” begins with its quasi-lounge guitar work and timing, and marginal vocals, you begin to rethink your initial assessment. And as you progress through the twelve-song The Chronicles of a Bohemian Teenager the eclectic and subpar nature of the material begins to limp through. The record literally sounds like the rambling bedroom recordings of a bored teenager with production help and some smart moments. Without question Get Cape’s best comes from the stripped-down folk songs such as “Once More with Feeling,” “Lighthouse Keeper,” “If I Had Pound…,” and “War of the Worlds,” and not from pop offerings. With more focus, there might be some stellar future moments from Get Cape. Wear Cape. Fly.
Glos What do you do when you have indie rock royalty looking for a new musical outlet; particularly if part of the royalty happens to be flesh-and-blood brother and sister? Well, you form Glos of course. Initially formed as a tertiary side project of former Engine Down bandmates Keeley Davis (now in Sparta) and Cornbread Compton (now in Heavens) throwing ideas around via computers from two coasts, the duo enlisted Davis’ sister Maura Davis (the sultry former frontwoman of Denali). Keeping in line with their previous dense indie rock outings, and less near their current employment, the trio of Glos rock eleven even-keeled songs on Harmonium. While all the songs are solid and comforting, none raise their heads much past and above the noteworthy. What you get is compelling background music, but little up front to rock you silly. I’ll still take Glos any day over another schmaltzy screamo or punk band with eyeliner.
Goon Moon For some, gendering that Jeordie White is part of some band will immediately bring to mind machine industrial music; as White was part of Marilyn Manson’s heyday as well as now working with A Perfect Circle and Nine Inch Nails. Eschewing his past image as well as consciously attempting to incorporate a full-swath of sounds and influences, White joins Chris Goss (of Masters of Reality and QOTSA) in the genre-challenging Goon Moon. With a cadre of support from drummer extraordinaire Zach Hill and Josh Homme (head of QOTSA), Goon Moon sounds like a crossroads between one of Mike Patton’s fantasies and a side project of QOTSA (witness “My Machine” with the choice line of ‘I appreciate the reach around’). While there is hardly a label you can place on Goon Moon, songs such as opener “Apple Pie,” the scuzzy, dirty guitar-riff driven “Feel Like This,” the oddly poppy and catchy “Pin Eyed Boy,” the cover of the Bee Gee’s “Every Christian Lion Hearted Man Will Show You,” and soothing, distorted pop of “Lay Down” will have you nodding along.
Handsome Furs Since Sub Pop is becoming more and more the designated label to release side projects of their most fantastic groups (witness Dntel and Postal Service), here comes the fantastic side project of Dan Boeckner of Wolf Parade – Handsome Furs. In this endeavor, Boeckner is joined by fellow Montreal resident, writer Alexei Perry (and fiancée). As if Wolf Parade jettisoned all of their songs for slow-to-moderate tempo, heavy synth-influenced indie anthems, so are the nine songs on Plague Park. Utilizing a very basic set up of guitars, keyboards, and simple drums (mostly via drum machine), Boeckner adds his Springsteen-like throat to such tremendously gorgeous gems as “Hearts of Iron,” “Handsome Furs Hate This City,” “Cannot Get Started,” and “Dead + Rural.” Anyone of those songs would be standout numbers on a Wolf Parade album – and that says a lot. With a basic comparison to the other notable Wolf Parade side project – Sunset Rubdown – it is clear that Boeckner adds a substantial part of the magic that makes up WP. You can easily fool your friends that Plague Park is the new Wolf Parade record; and thus it serves as strong fix to your WP jonesing. Yes!!!
Howard Hello/Greenness In actuality this double-CD release could have easily been one, except for Greenness’ desire to include an orgy of collaborators for eleven extra tracks on disc two. However, you splice it, though, this is a stellar split release and all for a good cause – all proceeds go to support Children’s Musical Education in St. Augustine, FL. The first CD includes five songs from Howard Hello (Kenseth Thibideau with a gaggle of vocal help) that fall inline with previous HH material – and thus it is awesome. The slow strumming, atmospheric and ambient songs flow strong from Thibideau and company with standout numbers courtesy of the trippy “Way Out” and the mesmerizing closer “It’s O.K.” Greenness (featuring Thibideau’s bandmate in Rumah Sakit Mitch Cheney along with John Citrone, and Reed Berin) start out with four instrumental songs nearing twenty minutes of light gymnastics mixing with heavier grunge attacks. The following eleven songs, which make up the remaining forty minutes, include collaborations from a million different artists including Sunset Club, Library Tapes, and Species Being. Many of these tracks pass as noise jazz, but the whole business ain’t half bad. Regardless of the cause this is still a cool record to have on your shelf.
I Concur The only rationale for why the Leeds-based I Concur have not been signed is that they’ve only been kicking around for a short time. With this self-released four-song EP, I Concur offer up a demo for all those interested in helping them achieve NME love. After the rather unremarkable opener “Demons & Slaves,” comes the well-conceived and constructed post-punk “Oblige” which springs into atmospheric, space rock instrumentals towards the end. With bass thumping along, “Oblige” is a song to get you to take notice of I Concur. “Decimal Places” is a mid-tempo rock song where atmospheric guitars swoon in to add a nice texture. The EP concludes on the average “Exits Are Blockades” where QOTSA guitar picking paces the verse and chorus. Look for more soon from I Concur.
Jeff Buckley This may be considered the late Jeff Buckley’s best-of as eloquently described and discussed, as always, by Rolling Stone writer David Fricke. Having only released one actual studio album (Grace) before his death at age 30, fans and music lovers have consistently feasted on any material from Buckley. So Real collects fourteen songs – a collection of originals and covers including live material from Japan and one of his favorite NYC locales Sin-E. The songs come from Grace, Legacy’s deluxe 2005 re-issue of Grace, and the posthumorously double-disc Sketches for My Sweatheart the Drunk. Among the more interesting offerings her are an alternate take of “Dream Brother” from the Legacy Edition, the acoustic version of “So Real” from a live show in Japan, live versions of “Mojo Pin” and “Je N’en Connais Pas La Fin” (of 1930s singer Edith Piaf) both from Sin-E, and a live studio cover of the Smiths’ “I Know It’s Over” off of The Queen is Dead where Buckley doesn’t ape Morrissey but illustrates his own soft and deep take on the song; and of the course the glorious cover of Leonard Cohen’s “Hallelujah” that appeared on Grace. Without doubt So Real: Songs from Jeff Buckley is a must-have for Buckley fans.
Juhu Beach In sound shapes that parallel North Carolina’s Bifocal Records, this mathy, angular post-punk collective from Seattle rock out to four songs of whole goodness on the EP Scenes of Abandoned Industry. An unimaginable shock that such rock would not have Juhu Beach signed to some hot label, the songs present an imagine of confused, bothered, angered art school kids who offer this rock as a way out of the daily drudgery called life. Unquestionably opener “Empty Coil” sets the stage as pure awesome and the EP is sandwiched by the other brilliant track, closer “Less Impressive Organisms.” The two are filled with the ordinary “Hibernating Mammals” and “But the Captain’s Still Out There.” Scenes of Abandoned Industry is a strong example of what indie punk should be.
Like a Martyr Without loss of generality, Like a Martyr are an amateurish Wind-up Records band. That is, manly vocals, ROCK guitars with a full-assault of gratuitous solos, and light breakdowns. Mix that with less than stellar production and you get a Vancouver band looking to fulfill cock rock dreams.
Maserati Using Maserati as a moniker brings to mind many different images of what the band will sound like; most involving some type of snobbiness. But when you hit the central component of opener “Inventions” on Maserati’s first record in four years the only image felt is a purely awesome band. After two records on Kindercore Records and the addition of Gerhardt Fuchs, Maserati swoon their way along to a brilliant soundscape of kraut-rock, atmospheric rock, and instrumental catchiness on the eight songs of Inventions of the New Season. Easily soundtrack material, to a movie or your life, this record has you believing in unicorns by the end of “Inventions.” And such brilliance continues to shine as you progress through the similarly flush next seven songs. Maserati lets you take a rainbow ride for cheap.
Nine Inch Nails Critics, fans, listeners, and even your parents are calling Year Zero Trent Reznor’s best work in years. And that may be true, but at the end of the day the magic and place of Nine Inch Nails has passed by. Reznor brought heavy industrial music to the pop masses in the late 80s and early 90s, and may continue to be doing a similar thing today. But, for those initially drawn into Nine Inch Nails and went on to explore the more underground and better heavy material, Reznor’s rebirth is considerably less stunning than you would wish. Creating a complicated marketing scheme for his thematic album about a dictatorial future you envision an austere future sound that is all aggressive, intense, and entirely unique. Unfortunately, Reznor doesn’t trade enough in such offerings and even though he’s as jacked as ever, the sixteen tracks falter in bringing Nine Inch Nails back to the summit. The songs maintain the industrial precision with guitars and keys playing both fills and driving forces, and Reznor switching his vocals between the light verses and wild, scream-filled choruses. With all the talent, resources, and knowledge, Year Zero should be an album that totally annihilates every other heavy music album of the year. Instead, it only serves as a solid offering. Oh, little goth eyes will be crying themselves to sleep.
Pierce the Veil In an overcrowded world of melodic punk hardcore with vocals moving between soft heartfelt moments and screams, Pierce the Veil simply offer themselves as another band to keep track of. This SoCal band do their best to mix up their sound by adding massive breakdowns where pianos and balladry is commonplace, not unlike Portugal the Man and Circa Survive, but as the full picture emerges it becomes evident that Pierce the Veil aren’t going to take you to a place of majesty. The eleven-song A Flair for the Dramatic will play well to teenage fans of melodic punk, but those with more music discretion may be disappointed by Pierce the Veil.
Rob Crow Somewhat oddly, Temporary Residence is releasing a set of singles for Rob Crow’s (of Pinback) solo full-length Living Well on TRL. This is the first of them and includes the hip, two-minute short title track along with two songs not on Living Well – the 80s instrumental “Sea Sawn” and the ambient, sludgy “Slick.” There is also a video for the title track on the CD. This single is lightly priced, so if you’re a big Rob Crow fan it might be worthwhile.
Rob Crow This is the second single release from Rob Crow’s recent solo record Living Well on TRL. The first single for “I Hate You, Rob Crow” included simply two so-so songs, while this single includes three new songs that weren’t included on the full-length as well as the video for “Up.” The song “Up” is hip indie pop acoustic rambling with Crow’s catchy vocals holding the pace. Unfortunately two of the new songs are only thirty seconds long and constitute a wooden shaft stuck up your…. The ‘real’ song, “Forced Letter,” parallels the best from Living Well and “Up” itself with Crow’s soft vocals walking on top of a heavy picking riff.
Seven Storey Mountain With Jawbreaker-like vocal cadences and inflections, and hard post-punk of Jawbox, Seven Storey Mountain pound through ten songs on their latest full-length At the Poles. Seven Storey Mountain is mathy to a point but they also maintain raw, abrasive guitar dynamics as accentuated by songs like “Twelve Times,” “Reason for Rhyme,” and “Sweet Forty-Nine.” While SSM move through the record the dour angles come from moderate tempo, similar-sounding rock that quickly is forgotten. Besides from the above mentioned, the hard opener “So Cursed,” “The Crux,” the riff-laden “Bad Day,” and the slow building “Take the Lead” break this pattern and establish At the Poles as a strong record. With Lance Lammers at the helm, Seven Storey Mountain hint at the potential for great things to come.
Slide Show Baby Imagine if Yellowcard cranked up the violin making a more Celtic/Irish feel and then amped up the cheese level, and you have Nashville’s Slide Show Baby. At a crossroads of melodic pop punk and Irish folk, Slide Show Baby have the skills to appease the average mainstream music listener (as long as the radio tells them to like it), but the eleven songs here easily rub you the wrong way. There is a potential for grand things given the interesting juxtaposition of instruments, sounds, and influences but this record hasn’t reached it yet. Time will tell.
Stereo Total With their hundredth quirky electro-pop punk album Paris -- Berlin, the French-German Stereo Total have slowed down and slowed dumbed their fun. Actually, their previous record came out in 2005, Do the Bambi, but in-between KRS released a gaggle of ST reissues. The fourteen songs here travel similarly to ST’s previous offerings, but as hinted above there is a serious dropoff in the magic angle. ST’s past records all had throw-away songs, but they also had hot electro-pop punk that added electro fun on top of 80s Lookout Records punk. A few numbers keep their head above the fold – “Plastic,” “Baisers De L’Enfer De La Musique,” “Mehr Licht,” “Relax Baby Be Cool,” and “Patty Hearst” – but not enough to keep the diehard satiated. Surely, Stereo Total rock it during live performances, so the magic should exist there even with the subpar songs on Paris -- Berlin.
Sum 41 Knocking around Sum 41 and lead singer Deryck Whibley is the easiest form of sport that it has just become lazy effort to do so. Sure, low-lying tabloid fruit is easy to pick, but what about what else is going on. After years of being pop-punk’s punching bag, a turn to serious shit with a trip to the Congo and the heavier record Chuck, and original guitarist Dave Baksh leaving the band, the boys from Sum 41 have hit a high note by taking us back about ten years in punk history on Underclass Hero. That point is when Blink-182 first burst on the national and commercial scene with oodles of catchy punk and tight riffs. Underclass Hero may have more serious content (political stuff oozing out everywhere), but the music is pure fun, joy, and rocking without regret for tomorrow. Songs that will hit single status include the opening title track, “Walking Disaster,” “Count Your Last Blessings” with Linkin Park-like keys, the punk rocking-chair “The Jester,” “Pull the Curtain,” and “Confusion and Frustration in Modern Times.” Sum 41 are not reinventing the wheel or even the current state of rock, but by bringing back the stadium-ready melodic punk, they provide a nice change from the twelve million new melodic hardcore bands that seem to be birthed every five seconds. Scores of people are already knocking Underclass Hero as Blink-182 derivative fodder, and it is, but they’re missing the bizarre freshness of this sound.
The Destro You can never go wrong with snakes and half-evil names in order to provide your latest metal wet dream. And this is exactly what Texas’ the Destro do on their first full-length As the Coil Unwinds. Clearly this four-piece can rip shit up with the best of them, but you want more a connecting point than they provide. Some of the luster comes off by standard screaming and banshee vocals that only keep things even-keeled but not explosive. This is unfortunate as songs like the opener “Rivers Bottom” include superified machine gun guitars matched to uber-quick double bass, and you are thinking magic will continue to unfurl with the duest of speed. Songs that do light the magic match of metal glory include “The Offering,” the title track, the groove “Sever the Ties,” and “Structures Collapse.”
The Horrors The Horrors are horrible. That was too easy. But like a hanging curve ball, I had to hit it out of the park. Trying to invade our shores with dirty garage punk rock enhanced by synths and the like, the Horrors on Strange House try to demonstrate they’re too awesome actually to care about good music. Granted the Horrors may be a site live, but recorded you simply write them off as an average of an average rock band. The one place where I can imagine the Horrors truly paying off is on Halloween. Many songs such as “Horror’s Theme” and “She Is the New Thing” have a ghouly, haunted sound – perfect music for your own scenester haunted house.
The Johnbenders With album art that recalls 80s Bowie – but as if the artist was vomiting something fierce – the Johnbenders also take 80s culture for their sound – dark new wave punk. The three-song EP opens on “Nine Pound Hammer” with a solid rendition of the above mentioned sound – one approaching Action Action. “Thirteen Lights” and “Dissolution” continue the theme but are slight dips in enjoyment from “Nine Pound Hammer.” The Johnbenders have the prowess to do well for themselves, but one must wonder if it’s all just a fad.
The Maccabees Touted as another one of those ‘next big things’ by the British music press, the Maccabees actually have the skills to back up the accolades. The five-piece plays quirky pop indie rock that reminds you everything familiar without aping one sound or band; big enough sound to attract the majors, but enough fun and kookiness to appeal to the more indie breed. Though the moniker, the Maccabees are not religious in any aspect, not that surprising for atheist Britain, but the name sounds sexy so why not mix sexy with the bible. After the typical local area rocking, the band began to make waves with the single “X-Ray” put out by Promise Records. “X-Ray,” the opening number on Colour It In, starts off with standard garage rock guitars before morphing into something resembling a Nintendo cover band. Yet, when Orlando Weeks kicks in his vocals, you come to realize the Maccabees are neither; though may exist at the crossroads of those two sounds. “X-Ray” got the band hot opening spots for bands like the Artic Monkeys and for Fierce Panda label to release the second single “Latchmere.” Unlike “X-Ray,” “Latchmere,” referring to where the boys learned to swim, is considerably more catchy and sucks you in several levels particularly on the chorus. Such attention led the Maccabees to being signed to Fiction Records (and Geffen here). Besides from the aforementioned singles attention should be drawn to “About Your Dress,” “Tissue Shoulders,” and “First Love.”
The Midwestern Is this simply good enough for government work? Hell no, this is way better than what government contractors could spit out while billing the shit out of us taxpayers. This debut EP from St. Louis’ the Midwestern features four songs on (mostly) instrumental indie rock that nears the majestic like Russian Circles but is straight more forward than you ordinarily encounter; that is, little floating soundscapes that rise and fall like a concerto. When the Midwestern include vocals on “Showcase” it actually decreases the power, while at the same time bringing to mind images of a less-polished Piebald. With this neat start in their back pocket, hopefully the Midwestern will continue to sharpen and complicate their instrumentals.
The Muggabears For reasons only known to the Brooklyn three-piece, the Muggabears have dropped their indie pop sound from 2004’s Kim Berlin full-length and 2006’s Teenage Cop EP in favor of a dirty city, Sonic Youth-type molestation of indie rock. Indeed Travis Johnson’s vocals ape Thurston Moore’s drugged-out word-emphasis style as uniquely demonstrated on such tracks as “The Goth Tarts.” For hardworking bands looking to make it, it seems this new avenue of expression might not help so much save for in art circles.
The Toasters In the past couple of years, ska has tried to make a comeback with past notables like Reel Big Fish and others putting out new records and playing Ska Ain’t Dead shows. Now, one of the true originals is back with a new album: The Toasters’ One More Bullet. In the 90s, the Toasters dominated the New York City ska scene and for that matter US ska scene, including but not limited to Bucket’s Moon Ska Records. I mean if you wanted to locate some good old-school style ska/reggae music than Moon Ska was the place for you. Yet, with the downfall of ska from the upper reaches so went the way of Moon Ska which folded (somewhat unexpectedly). With a gaggle of notable players, the Toasters twelve-song One More Bullet is classic Toasters’ ska – which is also the problem. There is nothing unexpected or new on One More Bullet. It could have been released 10, 15, 20 years ago and you wouldn’t know it. Without some way for the Toasters and ska in general to renew and rejuvenate music listeners, one finds it hard to imagine a true comeback.
The Winter Sounds Sneaky, sneaky, thou is the Winter Sounds. Almost the reverse of usual, this Athens, GA contingent sounds significantly better heard through headphones than belting it out of radio. Typically, a headphone listen uncovers all the messiness and mistakes, but the layers in the thirteen-song Porcelain Empire come off considerably more refined. Like their Athens HQ of yore, the Winter Sounds excel at indie pop rock with an 80s modern rock sheen placed on the top. The one main fault on Porcelain Empire is the length (50 minutes) coupled with a set of songs not always and necessarily too distinct from one another. This gives the sordid image of the same song played over and over again. Still you get off to the strong opener “Windy City Nights,” the smart xylophone-filled “Gone to Save Mankind,” the multi-sectioned “A Call of Arms,” the very 80s hip “Poor Sailors” (probably the closest thing to a catchy single on Porcelain Empire), and “The Great Forgotten.” All the Winter Sounds need are a couple of catchy signature songs to make the next leap to awesomeness.
To the Lions From the best hardcore label north of the border comes To the Lions’ debut record Baptism of Fire. Like a swift kick to the nuts, Baptism of Fire opens with all-out attacking “Ride the Apocalypse” as hardcore punk guitars meets tempered tough-guy shouting. Closer to 90s hardcore of Unbroken and Strife, To the Lions (which features members from Grade) don’t let their foot off your throat as they pound through the next nine songs. The best thing about Baptism of Fire is that the band doesn’t try to incorporate emo-core, bring us back to dumb old school punk-hardcore, or go super heavy cookie monster vocals. Instead, Baptism of Fire is something that true hardcore fans can easily get behind and support. Check out the band show youngsters the way to get shit done.
Tulsa Drone A smart moniker for a band from Richmond that pounds out ten long, and indeed droning, mostly instrumental tracks on Songs from a Mean Season. Following up on 2004’s No Wake, the five-piece of Tulsa Drone quest for ingenious instrumental movements that circle around a dulcimer while being filled out by the normal set. While the dulcimer is a nice alteration to a possible staid sound, the deficit on Mean Season is the apparent lack of flow and crescendos. There needs to be more interplay within songs in order to give the feel of being on some type of journey. Instead, you feel like most of the material is head-down, basic atmospheric rock; as if you took away the vocalist from a band playing a light show. I want Tulsa Drone to provide chills and tingles, and create light in a dark world. Luscious, but we want more magic with the droning.
Ulrich Schnauss Gorgeously atmospheric, ambient electronic shoegazing is the sound that greets you on the opener “Never be the Same” on Ulrich Schnauss’ third album Goodbye. Similar in thought to Schnauss’ first two records – Far Away Trains Passing By and A Strangely Isolated Place (originally released on City Centre Offices and then reissued by Domino in 2006) – Goodbye sets so many moods of electronic indie that it is superbly impressionable even to the most stubborn and jaded. With a wall of instruments several hundred feet thick, Schnauss manages to hint influences far and wide, and still sound entirely unique and un-derivative. Naturally, moods, spaces, and passages remind you of one band or another, but the product in its entirety is different and special. Joining Schnauss in crafting these ten tracks is the breathy voice of Judith Beck; a voice that’s timeless indie electronic. Besides from the opener, time should be spent on “Stars,” “Here Today, Goodbye Tomorrow,” billion walls of sound from “Medusa,” and the more standard rock number “Shine.” Goodbye is an album that will be well-mined by filmmakers.
V/A In theory, this Punk Goes Acoustic compilation, like the first one, is grand and magical, and will bring you to the paradise of your heart-on-sleeve love fest. In practice, this fifteen-track record engages a gag-reaction more often than it should. Some of these bands just shouldn’t record acoustic songs – seriously. They probably shouldn’t play live any of their songs acoustically – only if they’re only in their rooms and trying to sleep. The several that keep their heads above water include opener “Bruised” by Jack’s Mannequin, All Time Low’s surprising “Jasey Rae,” “Three Cheers for Five Years” by Mayday Parade, and Sherwood’s “The Only Song.” If you fit the emo-punk image then you probably have all these songs memorized by now.
copyright exoduster.com 2007
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