You either love or hate the Brian Jonestown Massacre. Let’s not even mention that film, because that was a bullshit slam piece that masqueraded as a disturbing portrait of a tortured genius. (Watch the commentary version of the film to discover the disturbing truth about the filmmakers.) Anyway, Brian Jonestown Massacre’s returned, and they’re still as magical as ever. We Are The Radio might be a mini-album, but such a format has always served BJM quite well; it allows Anton Newcomb and his band the ability to display their talents in short bursts, without running the risk of self-indulgence. And, as always, Newcombe delivers the goods. There are five great songs on We Are The Radio, from the psych experimentation of “Teleflow 5 vs. Amplifaction,” the classic BJM stylings of “Time is Honey (So Cut the Shit)" to the gorgeously beautiful “Seer” and “God is my Girlfriend.” It’s a brief record, but if you enjoy BJM’s psychedelic jangle, you’ll definitely enjoy this brief excursion. Let’s hear more, Anton!
--Joseph Kyle
Artist Website: http://www.brianjonestownmassacre.com
Label Website: http://www.teepeerecords.com
September 28, 2005
September 27, 2005
José González "veneer"
With his humble singing and low-key guitar playing, at times José González recalls the humble, low-key Elliott Smith, but thankfully there’s nothing on Veneer that makes you think that Gonzalez is merely imitating Smith’s legacy. But unlike Smith, González has a distinctive guitar sound, one that blends folk with traditional South American guitar playing. The results of this blending are sad, melancholy songs with beautiful, distinctive accompaniment. Songs like “Heartbeat” and “Lovestain” are heartbreakers of the highest order, portraying González as a man who knows how it feels to fail at love. Other songs like “Stay in the Shade” and “Slow Moves” are pretty, simple songs with even prettier guitar picking.
Veneer’s only flaw is that González’s music is occasionally too non-descript. Though he does break the monotony with a few more up-tempo songs, for the most part, Veneer never lags in its rainy-day moping. It’s a common problem with this style of music; melancholy is sometimes difficult to appreciate all at once, and it’s sometimes difficult to sustain interest when composing songs with such a simple, basic formula. Thankfully, González has polished his material, and though occasionally monotonous, Veneer never overstays its welcome, and every song on Veneer is equally high-quality. Besides, when you produce gems like “Crosses,” you can do whatever you want, and that complaint isn't really much of a complaint, it's just an observation.
All things considered, Veneer is as promising a debut as you could want. Given time and a bit of maturity, González could easily deliver great things. After all, he already has....
--Joseph Kyle
Artist Website: http://www.jose-gonzalez.com
Label Website: http://www.parasol.com
Veneer’s only flaw is that González’s music is occasionally too non-descript. Though he does break the monotony with a few more up-tempo songs, for the most part, Veneer never lags in its rainy-day moping. It’s a common problem with this style of music; melancholy is sometimes difficult to appreciate all at once, and it’s sometimes difficult to sustain interest when composing songs with such a simple, basic formula. Thankfully, González has polished his material, and though occasionally monotonous, Veneer never overstays its welcome, and every song on Veneer is equally high-quality. Besides, when you produce gems like “Crosses,” you can do whatever you want, and that complaint isn't really much of a complaint, it's just an observation.
All things considered, Veneer is as promising a debut as you could want. Given time and a bit of maturity, González could easily deliver great things. After all, he already has....
--Joseph Kyle
Artist Website: http://www.jose-gonzalez.com
Label Website: http://www.parasol.com
Harvey Danger "Little by Little..."
Ah, Harvey Danger! They're best known--or, more correctly, only known---for the quirky "Flagpole Sitta," a silly and fun song that betrayed the band's true talents and abilities. Quickly forgotten, the world never had the chance to hear their follow-up, King James Version, because, well...that's how the music business works. Gotta keep the contractual obligations to the also-rans, and when the hits don't come, you've got the wonderful escape clause that allows you to drop them and leave 'em for dead. Which, of course, is exactly what happened. The band got their fifteen minutes of fame, the labels got a little bit richer off of them, and when it was over...it was over. How many bands survive after being thrown through such a well-oiled killing machine? Not many.
While their two previous albums might have been filled with crunchy pop songs with a distinctive power-pop edge, Little by Little... is notable for not being filled with crunchy power-pop songs. Nelson isn't yelling like he used to; instead, he's offering up a damn-near sexy croon, singing heartfelt words of love and joy. So while Harvey Danger might not 'rock' like before, it certainly doesn't mean that they've faltered in the songwriting department. Sure, "Cool James" and "Cream and Bastards Rise" sound like classic Harvey Danger, but for the most part, the band eschewed the loud guitars for quiet, delicate pianos and an overall melodicism that's quite enchanting. It's hard not to love the Ben Folds Five-esque "Happiness Writes White," and the introductory "Wine, Women and Song" is a jazzy little number that reminds more than a bit of the great Joe Jackson.
Harvey Danger's one strength has always been its clever lyrical content, and even though the album marks a dramatic change in the band's musical style, it's refreshing to know that frontman Sean Nelson still retains his keen wit. When considering Harvey Danger's history, one song deserves closer examination. Though it's not completely obvious, one can't help but wonder if Nelson and company are using their previous experiences with the big Music Business world as lyrical fodder. This question comes up on the fast-paced "Cream and Bastards Rise," a cautionary tale where Mr. Nelson sings to one who is "doing everything your people said to" and warns of "people who can buy and sell you." He warns that the person you consider a friend "will eclipse you and he will not miss you." By song's end, one wonders if the song serves less as a cautionary tale and more as a comfort to those who have suffered his fate--the fate of getting one's fifteen minutes of fame.
As a special bonus, Little by Little... comes with a nine-track addendum. Though this little record might initially serve to satiate the hardcore Dangerheads, one shouldn't assume the songs are throwaways. Sure, the writing snippets are silly and nonessential, but the leftover tracks certainly shouldn't be neglected. Check out the jazzy lounge version of "Cream and Bastards Rise," the middle-finger to Declan McManus that is "Elvis I Don't Love You Anymore" and the rather rockin' "Picture, Picture."
Little by Little... is an obscure jewel, but it's certainly a wonderful find. It's also a beautiful flip-off to those who wrote Harvey Danger off years ago, because survival is the ultimate form of revenge. So welcome back, guys...the world's needed you, and let's make up for lost time, shall we?
--Joseph Kyle
Artist Website: http://www.harveydanger.com
While their two previous albums might have been filled with crunchy pop songs with a distinctive power-pop edge, Little by Little... is notable for not being filled with crunchy power-pop songs. Nelson isn't yelling like he used to; instead, he's offering up a damn-near sexy croon, singing heartfelt words of love and joy. So while Harvey Danger might not 'rock' like before, it certainly doesn't mean that they've faltered in the songwriting department. Sure, "Cool James" and "Cream and Bastards Rise" sound like classic Harvey Danger, but for the most part, the band eschewed the loud guitars for quiet, delicate pianos and an overall melodicism that's quite enchanting. It's hard not to love the Ben Folds Five-esque "Happiness Writes White," and the introductory "Wine, Women and Song" is a jazzy little number that reminds more than a bit of the great Joe Jackson.
Harvey Danger's one strength has always been its clever lyrical content, and even though the album marks a dramatic change in the band's musical style, it's refreshing to know that frontman Sean Nelson still retains his keen wit. When considering Harvey Danger's history, one song deserves closer examination. Though it's not completely obvious, one can't help but wonder if Nelson and company are using their previous experiences with the big Music Business world as lyrical fodder. This question comes up on the fast-paced "Cream and Bastards Rise," a cautionary tale where Mr. Nelson sings to one who is "doing everything your people said to" and warns of "people who can buy and sell you." He warns that the person you consider a friend "will eclipse you and he will not miss you." By song's end, one wonders if the song serves less as a cautionary tale and more as a comfort to those who have suffered his fate--the fate of getting one's fifteen minutes of fame.
As a special bonus, Little by Little... comes with a nine-track addendum. Though this little record might initially serve to satiate the hardcore Dangerheads, one shouldn't assume the songs are throwaways. Sure, the writing snippets are silly and nonessential, but the leftover tracks certainly shouldn't be neglected. Check out the jazzy lounge version of "Cream and Bastards Rise," the middle-finger to Declan McManus that is "Elvis I Don't Love You Anymore" and the rather rockin' "Picture, Picture."
Little by Little... is an obscure jewel, but it's certainly a wonderful find. It's also a beautiful flip-off to those who wrote Harvey Danger off years ago, because survival is the ultimate form of revenge. So welcome back, guys...the world's needed you, and let's make up for lost time, shall we?
--Joseph Kyle
Artist Website: http://www.harveydanger.com
September 26, 2005
Caroline "Where's My Love?"
If you have a Myspace account, then you'll know how frustrating it is to be friended by bands you've never heard of. Though meant as a friendly gesture--and as a way to get their music heard--it can be quite annoying. Personally, I very rarely check out a band I've never heard of that friends me, partially becaus I don't have the time, but usually simply because I prefer to hear a real record. My cynicism is not uncommon; when approached by Caroline Lufkin, the folks at Temporary Residence were about as indifferent as you'd expect...until they actually listened to her music. That they overwhelmingly responded to her music with a "sign her NOW" attitude is quite understandable.
Though her debut record, Where's My Love, is a mere CD-single, it's a record that instantly leaves you breathless. The title song is a quiet, pretty pop song, built upon a beautiful electronica foundation, layered with simple, gentle beats, beautiful piano and some rather touching wind chimes. It's minimalist, to say the least, but when you have an overwhelmingly pretty singing voice like Caroline's, you really don't need a fancy accompaniment. Her childlike voice only accentuates the extremely innocent lyrics, words that might otherwise sound painfully trite: "Where's my love?/Don't hide from me/I'll be good to you , I will, honestly/Oh, love, come to me." That she sings them with the sincerity of Dorothy singing about places somewhere over the rainbow only adds to the song's simple charm.
The other two songs are good, but not quite as essential. The remixed version of the title track removes her vocals and expands on the instrumental backing, throwing beats together with gamelan and some vocal manipulation. As you'd expect, it sounds quite beautiful, and instead of looking at it as a remix, one should consider it a fascinating reprise of the lovely song it follows. "Time Swells" is also pretty, following the same formula, but it's not quite as captivating. It's a bit more generic sounding, not unlike the work of Lali Puna or any other member of the Morr Music family. It's still pretty, but it's definitely not quite in the same league as the title song.
Where's My Love is a gorgeously beautiful little pill, even if it is criminally brief. Here's to the future for this young and quite promising young woman. Her talent is obvious, and anything she does in the future is to be anticipated with baited breath. My first reaction to this song was, "OH MY GOD, CHECK THIS OUT NOW!" and I think you'll feel the same way, too. Too bad this wasn't a full length, because we're looking at a contender for one of the year's best debuts.
--Joseph Kyle
Artist Website: http://www.myspace.com/caroline
Label Website: http://www.temporaryresidence.com
Though her debut record, Where's My Love, is a mere CD-single, it's a record that instantly leaves you breathless. The title song is a quiet, pretty pop song, built upon a beautiful electronica foundation, layered with simple, gentle beats, beautiful piano and some rather touching wind chimes. It's minimalist, to say the least, but when you have an overwhelmingly pretty singing voice like Caroline's, you really don't need a fancy accompaniment. Her childlike voice only accentuates the extremely innocent lyrics, words that might otherwise sound painfully trite: "Where's my love?/Don't hide from me/I'll be good to you , I will, honestly/Oh, love, come to me." That she sings them with the sincerity of Dorothy singing about places somewhere over the rainbow only adds to the song's simple charm.
The other two songs are good, but not quite as essential. The remixed version of the title track removes her vocals and expands on the instrumental backing, throwing beats together with gamelan and some vocal manipulation. As you'd expect, it sounds quite beautiful, and instead of looking at it as a remix, one should consider it a fascinating reprise of the lovely song it follows. "Time Swells" is also pretty, following the same formula, but it's not quite as captivating. It's a bit more generic sounding, not unlike the work of Lali Puna or any other member of the Morr Music family. It's still pretty, but it's definitely not quite in the same league as the title song.
Where's My Love is a gorgeously beautiful little pill, even if it is criminally brief. Here's to the future for this young and quite promising young woman. Her talent is obvious, and anything she does in the future is to be anticipated with baited breath. My first reaction to this song was, "OH MY GOD, CHECK THIS OUT NOW!" and I think you'll feel the same way, too. Too bad this wasn't a full length, because we're looking at a contender for one of the year's best debuts.
--Joseph Kyle
Artist Website: http://www.myspace.com/caroline
Label Website: http://www.temporaryresidence.com
September 19, 2005
Sparrow "The Early Years"
Because it’s raining and cold outside and it’s kinda feelin’ like England, I find myself in a Sixties 'retro' mindset. Who better to spend time with than Jason Zumpano, the man who created some great bubblegum-pop records in the mid 1990s? True, The New Pornographers’ Carl Newman was in the band, and he gets a lot of the attention these days, but Zumpano’s not to be written off easily as an also-ran.The Early Years (not actually a collection of early tracks, it’s all new material) is just as sunny and as bright as Zumpano’s other work, even if it’s not as crunchy or as ornate. There’s a definite mid-60s British invasion feel to the record (more Kinks, less Beatles), but The Early Years isn’t particularly ‘retro,’ either.
Instead, what we’ve got here is a batch of sunny pop songs that simply shimmer. Personal favorite? I’m a sucker for “The Early Years,” with its upbeat tempo and Zumpano’s lackadaisical chorus of “How do I get from heeeeeeeerrrreeeeeee?” that’s tempered with a really nice mixture of strings and trumpet. But I’m also a sucker for the boy/girl harmonies throughout the record, which are provided courtesy of Lucy Brain. Take, for instance, “I’m Just Not There.” Before listening to it, it’s hard not to think of “She’s Not There,” and yeah, the vocal tag reminds a little bit of that classic Zombie tune, but it’s not a rip-off or anything like that. There’s plenty of strings and brass but not too much; The Early Years’ songs are not heavy duty baroque pop, it’s just a guy havin’ a good time making music that sounds like the records he likes.
I guess that’s what makes The Early Years’s retro-pop stylings so nice; they’re sugary and sweet and they don’t sound like a damn rip-off of someone else. Plus, any band that uses a damn trumpet is a-okay in my book!
--Joseph Kyle
Artist Website: http://www.inflightmusic.com
Label Website: http://www.absolutelykosher.com
Instead, what we’ve got here is a batch of sunny pop songs that simply shimmer. Personal favorite? I’m a sucker for “The Early Years,” with its upbeat tempo and Zumpano’s lackadaisical chorus of “How do I get from heeeeeeeerrrreeeeeee?” that’s tempered with a really nice mixture of strings and trumpet. But I’m also a sucker for the boy/girl harmonies throughout the record, which are provided courtesy of Lucy Brain. Take, for instance, “I’m Just Not There.” Before listening to it, it’s hard not to think of “She’s Not There,” and yeah, the vocal tag reminds a little bit of that classic Zombie tune, but it’s not a rip-off or anything like that. There’s plenty of strings and brass but not too much; The Early Years’ songs are not heavy duty baroque pop, it’s just a guy havin’ a good time making music that sounds like the records he likes.
I guess that’s what makes The Early Years’s retro-pop stylings so nice; they’re sugary and sweet and they don’t sound like a damn rip-off of someone else. Plus, any band that uses a damn trumpet is a-okay in my book!
--Joseph Kyle
Artist Website: http://www.inflightmusic.com
Label Website: http://www.absolutelykosher.com
Iron & Wine/Calexico "In the Reigns"
The pairing of Iron & Wine and Calexico might seem a bit curious, but in actuality, the collaboration works really well. Iron & Wine’s mastermind, Sam Beam, sings with a dirty, dusty, whiskey-drenched croon that resides somewhere between haunting and desolate, while Calexico’s music has always sounded like the soundtrack to a Spaghetti western’s dirty, dusty barroom. So it’s really not a surprise that the In the Reigns a too-brief seven song EP, is quite wonderful.
Many of the songs on In the Reigns sound like extensions of Iron & Wine’s regular sound. Songs like “He Lays in the Reigns” and “Sixteen, Maybe Less” are typical sad-sack Beam affairs. With the help of Calexico, though, these songs have an added depth, thanks to the additions of such things as pedal steel, piano and vibes. These songs are nice, but In the Reigns is truly rewarding when the two parties bring their talents together and create music that’s different from their repertoire. “Red Dust” is a surprisingly funky barroom-blues rocker, accentuated by some great singing and a really great organ lick, while “Burn That Broken Bed” is the best song the 1970s-era Crosby, Stills & Nash never produced. The real winner, though, is “A History of Lovers.” This number is a beautiful, upbeat country love song; while Beam might be known for making sensitive music, he’s never sound this joyously happy before.
Collaborations like this often tend to be one-off affairs. While that’s simply the nature of this game, it would be a shame if the two parties never paired up again. If that is the case, In the Reigns is a beautiful document of a brief love affair. But let’s hope that this is the start of a beautiful friendship.
--Joseph Kyle
Artist Website: http://www.ironandwine.com
Artist Website: http://www.casadecalexico.com
Label Website: http://www.overcoatrecordings.com
Many of the songs on In the Reigns sound like extensions of Iron & Wine’s regular sound. Songs like “He Lays in the Reigns” and “Sixteen, Maybe Less” are typical sad-sack Beam affairs. With the help of Calexico, though, these songs have an added depth, thanks to the additions of such things as pedal steel, piano and vibes. These songs are nice, but In the Reigns is truly rewarding when the two parties bring their talents together and create music that’s different from their repertoire. “Red Dust” is a surprisingly funky barroom-blues rocker, accentuated by some great singing and a really great organ lick, while “Burn That Broken Bed” is the best song the 1970s-era Crosby, Stills & Nash never produced. The real winner, though, is “A History of Lovers.” This number is a beautiful, upbeat country love song; while Beam might be known for making sensitive music, he’s never sound this joyously happy before.
Collaborations like this often tend to be one-off affairs. While that’s simply the nature of this game, it would be a shame if the two parties never paired up again. If that is the case, In the Reigns is a beautiful document of a brief love affair. But let’s hope that this is the start of a beautiful friendship.
--Joseph Kyle
Artist Website: http://www.ironandwine.com
Artist Website: http://www.casadecalexico.com
Label Website: http://www.overcoatrecordings.com
September 16, 2005
xbxrx "sixth in sixes"
You really have to have a certain level of patience to deal with a band like xbxrx. Their music is best described as a flash of intense, loud noise accompanied by all kinds of screaming. Melody? Not relevant. Just hit ‘em where it hurts and get outta there. Throw in some feedback, keyboards and tribal drums, and you’ve got an interestingly arranged burst of loud noise. Repeat the formula over and over and over again, but never do it for more than a minute—two minutes, tops. Lyrics? Make ‘em weird, make ‘em oblique, make ‘em offensive…just make ‘em so listeners wonder why you even bother to make ‘em. At some point, you’ve got to wonder if a band like this is being clever, but then you quickly realize that you’re giving them a tad too much credit. Any band that can make a minute seem like an eternity is either doing something terribly wrong or something wonderfully right. After making an attempt to listen to Sixth in Sixes, I’m not sure which is which, and I'm not sure I really want to know...
--Joseph Kyle
Artist Website: http://www.xbxrx.com
Label Website: http://www.polyvinylrecords.com
--Joseph Kyle
Artist Website: http://www.xbxrx.com
Label Website: http://www.polyvinylrecords.com
Boyracer "Insults & Insights"
It’s been a year and a half since I last reviewed a Boyracer record in Mundane Sounds. Since then, they’ve released one full-length album, three 7-inch singles and FOUR mini-albums. Insults and Insights isn’t even their most recent release --- it just happens to be the one that my editor gave me to review. I guess that Stewart Anderson is using the breakup of Guided by Voices (my OTHER favorite band) as an opportunity to soundly thrash him in the prolificacy department. Then again, he lives with his equally talented wife Jen Turrell in the desert, on a cattle farm that doubles as a recording studio. I’d record a billion songs a day too if I were in his position! Fortunately, Anderson is a better editor than Pollard. Boyracer releases have a much higher signal-to-noise ratio now than they did in the ‘90s, and this eight-song EP is yet another small triumph in a discography that’s already chock full of small triumphs.
Opener “Louise” begins with Stewart slowly plucking out a chord on his acoustic guitar. At first, I thought the song was going to be a ballad…until Stewart started strumming in his normal hyperactive style and the drums kicked in. Before 30 seconds had passed, the fuzzy guitars had taken over and I was once again jumping around my apartment like an idiot, like all the best Boyracer songs compel me to do. Stewart sings about a woman who has one-night stands with all the wrong boys, and Jen (who, at this point, is also Stewart’s sole band mate) backs him up with sweet unison vocals. It sounds like business as usual, until something comes along that I’d never expect to hear on a Boyracer song: SOLOING! Stewart gives us a guitar solo AND a drum solo before wrapping the song up right at the two-minute mark. It’s a fitting introduction to an EP that finds him and Jen taking chances and stretching their songs out.
“The Sadness in You” is built on a four-on-the-floor drum pattern and chicken-scratch rhythm guitar, and it’s the closest that Boyracer have ever come to actually being funky. “The Second Fiddle” goes even further out, not only by approaching the six-minute mark (!!!), but by juxtaposing Stewart’s mellow finger-picking and (mostly) sweet crooning with booming timpani and screeching synthesizers. Closer “Tell Me What You Want (Then Tell Me What You Need)” lays on the speed, distortion and feedback even thicker than usual, and even takes a page from the My Bloody Valentine songbook in the way that Stewart’s and Jen’s voices imitate the pitch-imperfect guitars. Last but not least, both members seem to have shaken off the timidity that has hindered their vocal performances on recent releases, partially the otherwise great Happenstance album. They project and stretch their voices much more now, which can occasionally lead to some painfully off-key singing (“The Second Fiddle”) but more often yields great and unexpected melodies “Fast Boyfriends”).
Insults and Insights is a fitting summary of Anderson’s approach to writing lyrics. His words are passive-aggressive rants about interpersonal drama that just happen to be shoehorned into verse/chorus format. Whether he’s trying to encourage a troubled friend (“The Sadness in You”) or being forced to deal with people he doesn’t like (“Smile on Cue”), Anderson always sounds as if he’s singing to a particular person in his life. The universality of his topics and the catchiness of his songs keep solipsism at bay, though.
What more can I say? Boyracer keeps on churning out great songs at a rate that puts most other bands to shame, and Insults and Insights is as good a starting point as any for those who haven’t yet been exposed to Anderson’s brand of heartfelt noise-pop.
--Sean Padilla
Artist Website: http://www.indiepages.com/boyracer
Label Website: http://www.kittnet.com
Opener “Louise” begins with Stewart slowly plucking out a chord on his acoustic guitar. At first, I thought the song was going to be a ballad…until Stewart started strumming in his normal hyperactive style and the drums kicked in. Before 30 seconds had passed, the fuzzy guitars had taken over and I was once again jumping around my apartment like an idiot, like all the best Boyracer songs compel me to do. Stewart sings about a woman who has one-night stands with all the wrong boys, and Jen (who, at this point, is also Stewart’s sole band mate) backs him up with sweet unison vocals. It sounds like business as usual, until something comes along that I’d never expect to hear on a Boyracer song: SOLOING! Stewart gives us a guitar solo AND a drum solo before wrapping the song up right at the two-minute mark. It’s a fitting introduction to an EP that finds him and Jen taking chances and stretching their songs out.
“The Sadness in You” is built on a four-on-the-floor drum pattern and chicken-scratch rhythm guitar, and it’s the closest that Boyracer have ever come to actually being funky. “The Second Fiddle” goes even further out, not only by approaching the six-minute mark (!!!), but by juxtaposing Stewart’s mellow finger-picking and (mostly) sweet crooning with booming timpani and screeching synthesizers. Closer “Tell Me What You Want (Then Tell Me What You Need)” lays on the speed, distortion and feedback even thicker than usual, and even takes a page from the My Bloody Valentine songbook in the way that Stewart’s and Jen’s voices imitate the pitch-imperfect guitars. Last but not least, both members seem to have shaken off the timidity that has hindered their vocal performances on recent releases, partially the otherwise great Happenstance album. They project and stretch their voices much more now, which can occasionally lead to some painfully off-key singing (“The Second Fiddle”) but more often yields great and unexpected melodies “Fast Boyfriends”).
Insults and Insights is a fitting summary of Anderson’s approach to writing lyrics. His words are passive-aggressive rants about interpersonal drama that just happen to be shoehorned into verse/chorus format. Whether he’s trying to encourage a troubled friend (“The Sadness in You”) or being forced to deal with people he doesn’t like (“Smile on Cue”), Anderson always sounds as if he’s singing to a particular person in his life. The universality of his topics and the catchiness of his songs keep solipsism at bay, though.
What more can I say? Boyracer keeps on churning out great songs at a rate that puts most other bands to shame, and Insults and Insights is as good a starting point as any for those who haven’t yet been exposed to Anderson’s brand of heartfelt noise-pop.
--Sean Padilla
Artist Website: http://www.indiepages.com/boyracer
Label Website: http://www.kittnet.com
September 14, 2005
Need New Body "Where's Black Ben??"
If there’s any adjective that neatly sums up the music of Philadelphian quintet Need New Body, it is “self-indulgent.” Even their staunchest apologists have to admit that the members of Need New Body are more concerned with entertaining themselves than they are with entertaining their audience. All three times I’ve seen them live, vocalist Jeff Bradbury would take an occasional moment to run into the audience and dance to his band mates’ accompaniment. Even then, it felt like there was no one else in the room but him and his four comrades. Need New Body’s shows and records are platforms through which they indulge any and every whim that comes to their heads. This freewheeling aesthetic has its pros and cons. On one hand, it enables them to dance around genres like punk, jazz and bluegrass with ease, and to blur the lines between composition and improvisation with often hilarious results. On the other hand, it occasionally forces listeners to sit through long stretches of nothingness.
Need New Body’s first two albums, especially 2003’s UFO, had a surprisingly high signal-to-noise ratio, and their latest release Where’s Black Ben? certainly gets off to a good start. On opening track “Brite Tha’ Day,” the rhythm section lays down a funk groove that would make the Ohio Players proud. It is quickly sabotaged by shards of feedback and some of the most intentionally lame rapping ever recorded. Bradbury saves the day with a sung chorus that sounds like an AM radio crooner overdosing on nitrous oxide; he even bursts into laughter in mid-song, which should tell you a lot. About halfway through, the feedback and the rapping stops being irritating and instead becomes endearing. By straddling such a fine line and ending up on the RIGHT side of the divide, this song ends up being a perfect example of their aesthetic.
Another example of this can be found on the fifth song, “Mouth Breather.” During the first half of the song, one of the members hyperactively chants “one, two, check” into the microphone over and over again. Just when you’re ready to eject the CD and use it as a Frisbee, the song blossoms into a distorted keyboard fugue that sounds like the soundtrack to an old Super Nintendo game…and THEN they throw in a dulcimer solo! Other songs are less of a challenge to the listener. “Poppa B” is a catchy banjo-driven romp about love, friendship and dancing. “Peruvidia” mimics the tribal pounding and munchkin wailing of the Animal Collective. “So St Rx” is a hilarious and danceable tribute to downtown Philly, in which the band members expertly recreate the random conversations they hear on South Street. Last but not least, there’s the free-jazz one-two punch of “Outerspace” and “Inner Gift.” The former is a Sun Ra cover and the latter sounds like a tribute to John Coltrane’s “Ascension.”
Despite the wealth of good ideas on display, Black Ben ends up being Need New Body’s weakest album because of its atrocious sequencing. On previous albums, the least inspired tracks were brief, few and far between. Black Ben, on the other hand, gives you the crap in concentrated doses. Take, for example, the three-song medley of “Abstract Dancers,” “Pearl Crusher” and “Pax N Alf” near the album’s end, which is basically four minutes of the band abusing their samplers and flat-handing their keyboards. If these tracks were scattered across the album, they’d probably be tolerable palate cleansers. Grouped together, though, the medley only serves to give more ammunition to critics who already think that Need New Body isn’t up to much.
--Sean Padilla
Artist Website: http://www.neednewbody.com
Label Website: http://www.5rc.com
Need New Body’s first two albums, especially 2003’s UFO, had a surprisingly high signal-to-noise ratio, and their latest release Where’s Black Ben? certainly gets off to a good start. On opening track “Brite Tha’ Day,” the rhythm section lays down a funk groove that would make the Ohio Players proud. It is quickly sabotaged by shards of feedback and some of the most intentionally lame rapping ever recorded. Bradbury saves the day with a sung chorus that sounds like an AM radio crooner overdosing on nitrous oxide; he even bursts into laughter in mid-song, which should tell you a lot. About halfway through, the feedback and the rapping stops being irritating and instead becomes endearing. By straddling such a fine line and ending up on the RIGHT side of the divide, this song ends up being a perfect example of their aesthetic.
Another example of this can be found on the fifth song, “Mouth Breather.” During the first half of the song, one of the members hyperactively chants “one, two, check” into the microphone over and over again. Just when you’re ready to eject the CD and use it as a Frisbee, the song blossoms into a distorted keyboard fugue that sounds like the soundtrack to an old Super Nintendo game…and THEN they throw in a dulcimer solo! Other songs are less of a challenge to the listener. “Poppa B” is a catchy banjo-driven romp about love, friendship and dancing. “Peruvidia” mimics the tribal pounding and munchkin wailing of the Animal Collective. “So St Rx” is a hilarious and danceable tribute to downtown Philly, in which the band members expertly recreate the random conversations they hear on South Street. Last but not least, there’s the free-jazz one-two punch of “Outerspace” and “Inner Gift.” The former is a Sun Ra cover and the latter sounds like a tribute to John Coltrane’s “Ascension.”
Despite the wealth of good ideas on display, Black Ben ends up being Need New Body’s weakest album because of its atrocious sequencing. On previous albums, the least inspired tracks were brief, few and far between. Black Ben, on the other hand, gives you the crap in concentrated doses. Take, for example, the three-song medley of “Abstract Dancers,” “Pearl Crusher” and “Pax N Alf” near the album’s end, which is basically four minutes of the band abusing their samplers and flat-handing their keyboards. If these tracks were scattered across the album, they’d probably be tolerable palate cleansers. Grouped together, though, the medley only serves to give more ammunition to critics who already think that Need New Body isn’t up to much.
--Sean Padilla
Artist Website: http://www.neednewbody.com
Label Website: http://www.5rc.com
September 12, 2005
Rogue Wave "10:1"
Rogue Wave’s Sub Pop debut, Out of the Shadows, was nothing more than a reworked version of their debut album from a year before. Thus, it’s been a bit of a wait for new Rogue Wave material, and 10:1 is the first single from the band’s highly anticipated second album, Descended from Vultures. The title track is a blistering rocker; so impressive it is, it will make you forget all about their first album. Zach Rogue sounds like he’s singing from the bottom of a well, but that’s okay, because it really sounds cool. The organ grinding’s cool, too. Overall, it’s an explosive little number.
The other three songs are exclusive numbers and are a bit mellower, but, again, that’s okay, too, because the songs are delicate and pretty and charming. The harmony and the downbeat music of “Interruptions” can best be described as “sounds like 1974.” “Wait for It” is a pretty acoustic number that kinda has a stripped-down Mercury Rev feel to it, and Zach’s singing is simply wonderful. “Crush the Camera” is a mellow country-rock number, which, again, is quite pretty.
So you’ve got one part rocking and three parts pretty. Sounds like a great combination! 10:1 is a nice little sample, and if this little taste is any indication, then Descended from Vultures might just be a terrific album.
--Joseph Kyle
Artist Website: http://www.roguewavemusic.com
Label Website: http://www.subpop.com
The other three songs are exclusive numbers and are a bit mellower, but, again, that’s okay, too, because the songs are delicate and pretty and charming. The harmony and the downbeat music of “Interruptions” can best be described as “sounds like 1974.” “Wait for It” is a pretty acoustic number that kinda has a stripped-down Mercury Rev feel to it, and Zach’s singing is simply wonderful. “Crush the Camera” is a mellow country-rock number, which, again, is quite pretty.
So you’ve got one part rocking and three parts pretty. Sounds like a great combination! 10:1 is a nice little sample, and if this little taste is any indication, then Descended from Vultures might just be a terrific album.
--Joseph Kyle
Artist Website: http://www.roguewavemusic.com
Label Website: http://www.subpop.com
This Microwave World "Red States"
Keeping up with the Austin music scene can be a simultaneously exciting and frustrating task. There are frequent infusions of new blood; bands come, go and splinter off into new permutations on a monthly basis. Of course, this occasionally means that a potentially great band will dissolve just when they seem to be getting started. This Microwave World serves as a perfect example. After their second EP, the band broke out of the “electro-clash” ghetto by trading in their drum machine for a real drummer. It was the best thing that ever could’ve happened to them. Their subsequent EP Love Your Zine Let’s Go to Bed found them carving their own niche in the increasingly crowded world of dance-punk, and their live shows grew ever more intense. Red States, their long-awaited debut album, was supposed to capitalize on this increasing momentum by setting the local music scene ablaze. Unfortunately, the band decided to break up mere weeks before its official release.
Like front man Sean O’Neal other (and equally beloved) band the Arm,
This Microwave World’s sound can be broken down to a few basic elements: high-pitched organs, vigorously strummed guitars, hard metronomic drumming, tuneful bass lines and sneered vocals. Unlike the Arm, TMW place a much greater emphasis on melody, which means little more than that the vocals are sung instead of shouted. You won’t confuse this band with the New Pornographers any time soon; the only real harmonies on this record come when Spoon front man Britt Daniel contributes background vocals to “The Party Line.” The band has an unwavering dedication to its sound, which can make Red States a bit of a tough slog despite its brief duration. Each of its 10 songs would sound great on a mix tape, but when placed next to each other on an album the differences between them become increasingly difficult to spot.
There are three songs on Red States, though, that achieve near-classic status. Second track “You Are a Riot” finds Sean O’Neal wailing in the upper range of his voice, something he doesn’t do very often, and his siren-like vocal delivery makes the music sound positively apocalyptic. “She’s Insecure” is one of the few songs that coalesce around an actual hook, and has a tick-tock drum part recorded so loudly that the snare drums sound like gunshots. Album closer “The Hours” is the album’s slowest song (which isn’t saying much). The interplay between O’Neal’s guitar and Evan Lawrence’s organ is especially fine, and the lyrics express a growing apathy toward the local scene: “We play music we don’t like anymore/You’re in places that you’ve been in before/I swear to God I can’t do this again.”
If the lyrics of “The Hours” reflect the band’s true feelings, then it might be for the best that This Microwave World is no more. The rest of us, though, have been robbed of a chance to see yet another promising Austin band slowly inch itself toward greatness. At least I have these 10 songs to remember them by. I can put them on random mix CDs to mail to out-of-towners, in an effort to convince them to move here on the premise that if they don’t, they’ll miss out on bands like this.
--Sean Padilla
Artist Website: http://www.thismicrowaveworld.com
Label Website: http://www.tightspotrecords.com
Like front man Sean O’Neal other (and equally beloved) band the Arm,
This Microwave World’s sound can be broken down to a few basic elements: high-pitched organs, vigorously strummed guitars, hard metronomic drumming, tuneful bass lines and sneered vocals. Unlike the Arm, TMW place a much greater emphasis on melody, which means little more than that the vocals are sung instead of shouted. You won’t confuse this band with the New Pornographers any time soon; the only real harmonies on this record come when Spoon front man Britt Daniel contributes background vocals to “The Party Line.” The band has an unwavering dedication to its sound, which can make Red States a bit of a tough slog despite its brief duration. Each of its 10 songs would sound great on a mix tape, but when placed next to each other on an album the differences between them become increasingly difficult to spot.
There are three songs on Red States, though, that achieve near-classic status. Second track “You Are a Riot” finds Sean O’Neal wailing in the upper range of his voice, something he doesn’t do very often, and his siren-like vocal delivery makes the music sound positively apocalyptic. “She’s Insecure” is one of the few songs that coalesce around an actual hook, and has a tick-tock drum part recorded so loudly that the snare drums sound like gunshots. Album closer “The Hours” is the album’s slowest song (which isn’t saying much). The interplay between O’Neal’s guitar and Evan Lawrence’s organ is especially fine, and the lyrics express a growing apathy toward the local scene: “We play music we don’t like anymore/You’re in places that you’ve been in before/I swear to God I can’t do this again.”
If the lyrics of “The Hours” reflect the band’s true feelings, then it might be for the best that This Microwave World is no more. The rest of us, though, have been robbed of a chance to see yet another promising Austin band slowly inch itself toward greatness. At least I have these 10 songs to remember them by. I can put them on random mix CDs to mail to out-of-towners, in an effort to convince them to move here on the premise that if they don’t, they’ll miss out on bands like this.
--Sean Padilla
Artist Website: http://www.thismicrowaveworld.com
Label Website: http://www.tightspotrecords.com
September 10, 2005
Lichens "The Psychic Nature of Being"
Just because Lichens is the project of TV On The Radio/90 Day Men guitarist Robert A Lowe II, you should not expect it to sound like either of those bands. Lichens is so different from either band, one might not know of the connection based upon mere listening. The Psychic Nature of Being, Lichens' proper debut, constists of three slow, long and heavy soundscapes, all of which were improvised without overdubs. Though the three mostly consist of glacial-like drones, they are augmented with acoustic guitar and vocal manipuations, as well as other interesting little tidbits such as percussion and loops. The overall result sounds not unlike a John Carpenter film as scored by Brian Eno.
The first two pieces, "Kirlian Auras" and "Shore Line Scoring" are seemingly interchangable, as the drone doesn't differ all that much, and if you weren't paying attention, you would be hard-pressed to know where one ended and the other began. The first part of the twenty-minute "You Are Excrement If You Can Turn Yourself Into Gold," falls into the same category, but at the ten minute mark, Lowe ditches the drone in favor of guitar, synth, bells and what sounds like a very faint sitar. He incorporates all of these sounds for the next ten minutes, brining The Psychic Nature of Being to a beautiful, blissful conclusion.
Though Lichens is quite different than Lowe's previous and current bands, Lichens is still a beautiful and sometimes disturbing project. It will be interesting to see how he applies these ideas to the upcoming TV On The Radio album.
--Joseph Kyle
Artist Website: http://www.kranky.net/artists/lichens.html
Label Website: http://www.kranky.net
The first two pieces, "Kirlian Auras" and "Shore Line Scoring" are seemingly interchangable, as the drone doesn't differ all that much, and if you weren't paying attention, you would be hard-pressed to know where one ended and the other began. The first part of the twenty-minute "You Are Excrement If You Can Turn Yourself Into Gold," falls into the same category, but at the ten minute mark, Lowe ditches the drone in favor of guitar, synth, bells and what sounds like a very faint sitar. He incorporates all of these sounds for the next ten minutes, brining The Psychic Nature of Being to a beautiful, blissful conclusion.
Though Lichens is quite different than Lowe's previous and current bands, Lichens is still a beautiful and sometimes disturbing project. It will be interesting to see how he applies these ideas to the upcoming TV On The Radio album.
--Joseph Kyle
Artist Website: http://www.kranky.net/artists/lichens.html
Label Website: http://www.kranky.net
September 09, 2005
Chin Up Chin Up "S/T"
Chicago's Chin Up Chin Up history has had a great deal of sadness, yet it's one that is seemingly hopeful and ultimately uplifting, one that shows the power of perseverence through tragedy. In February 2004, bassist and founding member Chris Saathoff was killed by a drunk driver. The band had recently completed demos for its upcoming full length album, We Should Have Never Lived Like We Were Skyscrapers, and his death sent the band into a tailspin. Had they decided to split up would have been understandable, but instead of giving into tragedy, they pressed onward, releasing their debut album last fall, to much criticial acclaim.
Chin Up Chin Up is an expanded reissue of the band's debut EP, which they self-released in 2002. As self-released debut records often do, Chin Up Chin Up captures the young Chicago band in its formidable years, as they had yet to develop their smooth indie-rock post-rock groove later heard on Skyscrapers. "Virginia Don't Drown," which the band would soon rerecord, starts off the EP, and this version is much looser and somewhat slower than the dense (and excellent) album version. Other songs, such as "Fuck You, Elton John" and "Pillage the Village" are not without their charm, even if they are a little bit plodding a tad generic math-rock in sound and are not quite as well-developed. On "For All the Tanning Salons in Texas" and "The Soccer Mom Gets Her Fix," the band starts to develop the ideas that made their debut album wonderful; again, these ideas are loose and not quite as polished, but they aren't bad, either. Expanding the album with three songs of later vintage--two remixes of album songs and a new number, "Falconz and Vulcanz," gives the record a grander feel, but these songs don't quite have the same magic as the original album versions and they kind of feel out of place here as well.
In perhaps a fitting twist, the reissue of Chin Up Chin Up coincided with the conviction and jail sentencing of Saathoff's murderer. Perhaps this is a fitting way to close the paniful first chapter of Chin Up Chin Up's life. Here's to Chin Up Chin Up's future.
--Joseph Kyle
Artist Website: http://www.chinupchinup.com
Label Website: http://www.flameshovel.com
Label Website: http://www.recordlabelrecordlabel.com
Chin Up Chin Up is an expanded reissue of the band's debut EP, which they self-released in 2002. As self-released debut records often do, Chin Up Chin Up captures the young Chicago band in its formidable years, as they had yet to develop their smooth indie-rock post-rock groove later heard on Skyscrapers. "Virginia Don't Drown," which the band would soon rerecord, starts off the EP, and this version is much looser and somewhat slower than the dense (and excellent) album version. Other songs, such as "Fuck You, Elton John" and "Pillage the Village" are not without their charm, even if they are a little bit plodding a tad generic math-rock in sound and are not quite as well-developed. On "For All the Tanning Salons in Texas" and "The Soccer Mom Gets Her Fix," the band starts to develop the ideas that made their debut album wonderful; again, these ideas are loose and not quite as polished, but they aren't bad, either. Expanding the album with three songs of later vintage--two remixes of album songs and a new number, "Falconz and Vulcanz," gives the record a grander feel, but these songs don't quite have the same magic as the original album versions and they kind of feel out of place here as well.
In perhaps a fitting twist, the reissue of Chin Up Chin Up coincided with the conviction and jail sentencing of Saathoff's murderer. Perhaps this is a fitting way to close the paniful first chapter of Chin Up Chin Up's life. Here's to Chin Up Chin Up's future.
--Joseph Kyle
Artist Website: http://www.chinupchinup.com
Label Website: http://www.flameshovel.com
Label Website: http://www.recordlabelrecordlabel.com
Hail Social "Hail Social"
Hail Social's greatest asset is restraint. The music world is already oversaturated with bands making music that sounds "like Weezer meets Spoon meets The Cars meets Franz Ferdinand." These bands fail to cause much excitement in part because they can't restrain the influence of their influences. The result? A band that appeals to the superficial nature of music listeners and a record that sounds so been there, done that that ultimately it causes cynicism among listeners who expect something more than stylistic rehash. (Let's not even talk about how frustrating such bands are for music writers.)
Though Philadelphia's Hail Social's style sounds familiar--a poppy dance-rock sound that's a blend of post-punk nor new wave-tinged indie-rock that never really sounds like either--but it's to their credit that they do a good job of breaking from the monotony of today's music scene. Though Hail Social is brief, such brevity ultimately makes the record quite succinct; the music sounds fresh and it never bores. The Peter Hook-esque bass lines are addictive, and Dayve Hawk's singing, which sounds not unlike Rivers Cuomo on a Howard Jones tip, is quite appealing. Whether it's a hard, upbeat rocker like "Hands Are Tied" and "Track #1" or it's a mellower dance-pop groove like "Repetition" or "More Time," the results are the same--just pleasant, intelligent pop music that's not snooty like Interpol or superficial like Hot Hot Heat.
Hail Social's mission is simple: make great pop music that's not too hard but not too soft, either. In this, they succeed, and what they do, they do quite well. In a sea of over-serious po-faced records, Hail Social is merely a fun record, fun for listening in the car and probably great for parties, too.
--Joseph Kyle
Artist Website: http://www.hailsocial.com
Label Website: http://www.polyvinylrecords.com
Though Philadelphia's Hail Social's style sounds familiar--a poppy dance-rock sound that's a blend of post-punk nor new wave-tinged indie-rock that never really sounds like either--but it's to their credit that they do a good job of breaking from the monotony of today's music scene. Though Hail Social is brief, such brevity ultimately makes the record quite succinct; the music sounds fresh and it never bores. The Peter Hook-esque bass lines are addictive, and Dayve Hawk's singing, which sounds not unlike Rivers Cuomo on a Howard Jones tip, is quite appealing. Whether it's a hard, upbeat rocker like "Hands Are Tied" and "Track #1" or it's a mellower dance-pop groove like "Repetition" or "More Time," the results are the same--just pleasant, intelligent pop music that's not snooty like Interpol or superficial like Hot Hot Heat.
Hail Social's mission is simple: make great pop music that's not too hard but not too soft, either. In this, they succeed, and what they do, they do quite well. In a sea of over-serious po-faced records, Hail Social is merely a fun record, fun for listening in the car and probably great for parties, too.
--Joseph Kyle
Artist Website: http://www.hailsocial.com
Label Website: http://www.polyvinylrecords.com
September 08, 2005
Cave In "Perfect Pitch Black
I'm sure Cave In realizes that it's time to make up for lost ground. Their last album, Antenna, was an excellent record and one of the best releases of 2003. Before that, Cave In's third album, the utterly breathtaking masterpiece Jupiter, was larger than life, and its heavy atmospherics and breathtaking music only improves with time. Building upon Jupiter's heights, Antenna was ambitious; it was heavy, it was poppy, and it should have been a critical success. But RCA, their label at the time, dropped the ball on Cave In's success, and the world really missed out on a great album from a great band. Of course, not everyone was happy with Antenna; many longtime fans bemoaned how slick and radio-friendly it sounded. Some wished that they would return to their roots and grace the world with another heavy, in-your-face record like Until Your Heart Stops.
Perfect Pitch Black isn't a return to those days, but unlike Antenna, those days aren't neglected, either. Calling this record a proper follow-up to Antenna might be somewhat dubious, as most of the songs found here have been in Cave In's vault for the past few years. Still, it's quite clear that the band felt it necessary to revisit some of their older, harder ideas, and it's to their credit that they did so without distancing themselves from their most recent accomplishments. Some fans will be happy to hear bassist Caleb Scofield's grumbling hardcore vocals on "The World Is In Your Way" and "Trepanning," and yes, it is a most welcome treat to hear those rumbles of the past. Thankfully, such moments don't overwhelm Perfect Pitch Black; spending too much time trying to recreate the past would be counterproductive, and for a great band like Cave In, it would rightfully be a shame if all they did at this point was try to recreate the magic of their previous records' triumphs.
But Cave In's magic has always been the Stephen Brodsky/Adam McGrath relationship. McGrath's hard-as-hell guitar work has proved the yin to Brodsky's softer, more melodic yang. The combination works quite well; it doesn't seem much of a stretch for the band to go from harder moments like "Trepanning" and "Off To Ruin" to much softer, headier material like the space-rock "Paranormal" or "Down the Drain," on which Brodsky's soft singing fits in nicely with some dark, heavy and slightly ambient soundscapes. Brodsky can go from yelling rather hard to creating softer, more melancholy material like "Tension In The Ranks," and it shows that the young man has really impressive range. Heck, Cave In just wants to rock, as the straightforward "Droned" and "Screaming In Your Sleep" prove. On those songs, Cave In does nothing more than really boogie, and it's obvious that Brodsky and company are simply having a fun time playing great rock & roll. That the mixture of these different facets never sounds contrived is simply part of Cave In's magic.
It's obvious that Cave In is much more interested in moving forward with their sound. While Perfect Pitch Black might not be Cave In's most obvious step forward, it is clear that the band definitely has some really great ideas formulating in their belly, and that's ultimately what makes Perfect Pitch Black so promising. As a roundup of various material from the past few years, it's incredibly cohesive; as a collection of new material, it might not be Cave In's strongest record, but it's still one that anyone who likes Cave In would be happy with, and for those who haven't heard this wonderful and terribly underrated band, Perfect Pitch Black is a great place to start. For those still skeptical about what Cave In can do, all I can say is this: wait.
--Joseph Kyle
Artist Website: http://www.myspace.com/cavein
Label Website: http://www.hydraheadrecords.com
Perfect Pitch Black isn't a return to those days, but unlike Antenna, those days aren't neglected, either. Calling this record a proper follow-up to Antenna might be somewhat dubious, as most of the songs found here have been in Cave In's vault for the past few years. Still, it's quite clear that the band felt it necessary to revisit some of their older, harder ideas, and it's to their credit that they did so without distancing themselves from their most recent accomplishments. Some fans will be happy to hear bassist Caleb Scofield's grumbling hardcore vocals on "The World Is In Your Way" and "Trepanning," and yes, it is a most welcome treat to hear those rumbles of the past. Thankfully, such moments don't overwhelm Perfect Pitch Black; spending too much time trying to recreate the past would be counterproductive, and for a great band like Cave In, it would rightfully be a shame if all they did at this point was try to recreate the magic of their previous records' triumphs.
But Cave In's magic has always been the Stephen Brodsky/Adam McGrath relationship. McGrath's hard-as-hell guitar work has proved the yin to Brodsky's softer, more melodic yang. The combination works quite well; it doesn't seem much of a stretch for the band to go from harder moments like "Trepanning" and "Off To Ruin" to much softer, headier material like the space-rock "Paranormal" or "Down the Drain," on which Brodsky's soft singing fits in nicely with some dark, heavy and slightly ambient soundscapes. Brodsky can go from yelling rather hard to creating softer, more melancholy material like "Tension In The Ranks," and it shows that the young man has really impressive range. Heck, Cave In just wants to rock, as the straightforward "Droned" and "Screaming In Your Sleep" prove. On those songs, Cave In does nothing more than really boogie, and it's obvious that Brodsky and company are simply having a fun time playing great rock & roll. That the mixture of these different facets never sounds contrived is simply part of Cave In's magic.
It's obvious that Cave In is much more interested in moving forward with their sound. While Perfect Pitch Black might not be Cave In's most obvious step forward, it is clear that the band definitely has some really great ideas formulating in their belly, and that's ultimately what makes Perfect Pitch Black so promising. As a roundup of various material from the past few years, it's incredibly cohesive; as a collection of new material, it might not be Cave In's strongest record, but it's still one that anyone who likes Cave In would be happy with, and for those who haven't heard this wonderful and terribly underrated band, Perfect Pitch Black is a great place to start. For those still skeptical about what Cave In can do, all I can say is this: wait.
--Joseph Kyle
Artist Website: http://www.myspace.com/cavein
Label Website: http://www.hydraheadrecords.com
September 06, 2005
Richard Jobson "Ten-Thirty on a Summer Night & An Afternoon in Company"
"I'm very honoured you think those records are very nice, because most people think they're awful, particularly pretentious," Richard Jobson, 1986.
The notion of a punk rocker eschewing the music scene in favor of releasing poetry albums might seem extremely pretentious, and perhaps on some level it is, but that's exactly what Richard Jobson did. In the early 1980s, Jobson was the leader of The Skids, but having tired of that scene, he decided to embark on a career as a poet and writer--in 2003, he would adapt one of his books, 1987's 16 Years of Alcohol, into a screenplay, which has since become a successful independent film. Ten-Thirty on a Summer Night & An Afternoon in Company collects two of those albums plus a handful of compilation tracks.
Ten Thirty On A Summer Night, released in 1982, is actually based upon a novel by Marguerite Duras. In this story a woman, Maria, discovers her husband Pierre is cheating on her with her best friend, Claire. While on vacation, she has a run-in with a murderer on the run, Rodrigo. It's a fascinating and beautiful story, and Jobson's interpretation is enhanced greatly by his use of musical accompaniment, from tribal drums to gentle acoustic guitars, it's hard to think of this as just 'poetry.' The piano accompaniment by Cecile Bruynoghe throughout is simply breathtaking, and "The Kiss, The Dance, and the Death" is one of the most moving spoken word pieces I have ever heard. Though one initially might not think so, his words are actually made more effective by his thick Scottish accent.
An Afternoon in Company was Jobson's second solo album, though it was not released until 1984. Unlike his previous record, this collection is not a cohesive story; rather, it is a collection of sixteen brief poems, written as a recollection of his post-Skids world travel. These pieces may be brief, but they are quite pretty, again due to the gorgeous musical accompaniment. This time, he has the help of members of Tuxedomoon, Josef K and Durutti Column. Their assistance makes these brief pieces quite moving, especially "Jericho," "Autumn," and "Verbier," which features some of Vini Reilly's most affecting accompaniment. Though Jobson occasionally tends to be somewhat melodramatic in his reading, his presentation doesn't disguise the beauty of his words. The bonus tracks mainly continue An Afternoon in Company's theme, the most notable of which, "The Happiness of Lonely," is a later recording and features Virginia Astley on piano.
Jobson's talents might not have been appreciated in the mid 1980s--and, to be honest, there is a bit of pretense involved in spoken word recordings--it doesn't change the fact that he was and is a talented writer and composer. Ten-Thirty on a Summer Night & An Afternoon in Company might be pretentious, but that doesn't change its beauty, and it's a remarkable collection that highlights the magic of the spoken word.
--Joseph Kyle
Artist Website: http://www.ltmpub.freeserve.co.uk/rjobsonbio.html
Label Website: http://www.ltmpub.freeserve.co.uk/
The notion of a punk rocker eschewing the music scene in favor of releasing poetry albums might seem extremely pretentious, and perhaps on some level it is, but that's exactly what Richard Jobson did. In the early 1980s, Jobson was the leader of The Skids, but having tired of that scene, he decided to embark on a career as a poet and writer--in 2003, he would adapt one of his books, 1987's 16 Years of Alcohol, into a screenplay, which has since become a successful independent film. Ten-Thirty on a Summer Night & An Afternoon in Company collects two of those albums plus a handful of compilation tracks.
Ten Thirty On A Summer Night, released in 1982, is actually based upon a novel by Marguerite Duras. In this story a woman, Maria, discovers her husband Pierre is cheating on her with her best friend, Claire. While on vacation, she has a run-in with a murderer on the run, Rodrigo. It's a fascinating and beautiful story, and Jobson's interpretation is enhanced greatly by his use of musical accompaniment, from tribal drums to gentle acoustic guitars, it's hard to think of this as just 'poetry.' The piano accompaniment by Cecile Bruynoghe throughout is simply breathtaking, and "The Kiss, The Dance, and the Death" is one of the most moving spoken word pieces I have ever heard. Though one initially might not think so, his words are actually made more effective by his thick Scottish accent.
An Afternoon in Company was Jobson's second solo album, though it was not released until 1984. Unlike his previous record, this collection is not a cohesive story; rather, it is a collection of sixteen brief poems, written as a recollection of his post-Skids world travel. These pieces may be brief, but they are quite pretty, again due to the gorgeous musical accompaniment. This time, he has the help of members of Tuxedomoon, Josef K and Durutti Column. Their assistance makes these brief pieces quite moving, especially "Jericho," "Autumn," and "Verbier," which features some of Vini Reilly's most affecting accompaniment. Though Jobson occasionally tends to be somewhat melodramatic in his reading, his presentation doesn't disguise the beauty of his words. The bonus tracks mainly continue An Afternoon in Company's theme, the most notable of which, "The Happiness of Lonely," is a later recording and features Virginia Astley on piano.
Jobson's talents might not have been appreciated in the mid 1980s--and, to be honest, there is a bit of pretense involved in spoken word recordings--it doesn't change the fact that he was and is a talented writer and composer. Ten-Thirty on a Summer Night & An Afternoon in Company might be pretentious, but that doesn't change its beauty, and it's a remarkable collection that highlights the magic of the spoken word.
--Joseph Kyle
Artist Website: http://www.ltmpub.freeserve.co.uk/rjobsonbio.html
Label Website: http://www.ltmpub.freeserve.co.uk/
Kevin Tihista "Home Demons, Volume 1"
Kevin Tihista may very well be the best pop composer you've never heard. He's a Brian Wilson on a Jandek budget, and as hyperbolic as these things may seem, it's true; Tihista has released three extremely wonderful albums over the past few years and had a brief stint on a major label; his most recent record, Wake Up Captain, was easily one of the best records of 2004. One must consider, though, that Tihista makes his music by himself in his tiny Chicago apartment, only wandering out now and then to a nearby studio, where like-minded souls await this pop maestro. Discovering Tihista naturally elicits two feelings: joy that you've discovered his music and regret that you hadn't heard of him sooner.
If one were to describe Tihista's songwriting in one word, it would be simple: romantic. His songs are pretty and heartfelt; he has the keen ability to capture the most basic of emotions, and what he does, he does quite well. "Can I Count On You?" is as soft and as sensitive and as pleading as the title would suggest; "I Don't Blame You" offers up an apology in a beautiful, heartfelt way; "Sweet" (a demo version of a Wake Up, Captain song) is just as sweet and as saccharine as you'd expect from a song called "Sweet." His cover of Dave Mason's "We Just Disagree" is also beautiful, and it passes for an original Tihista composition; if it leaves you scratching your head thinking "Have I heard this before?" then you are not alone.
For most of Home Demons,Tihista played and arranged these songs from the confines of his small apartment, leaving the listener to go think, "Wait...these are HOME DEMOS?!??!?!" One listen to the "kind of sucks" song "15 Hundred Miles" will win you over. It's a beautiful, sunny pop song, clearly inspired by the Beach Boys, but clearly an original song all its own--and it makes you realize just what kind of wonderful service Parasol Records is doing by releasing his music. But not everything works; "Jim Henson's Blues/You're Not Bad" and "Do You Know What We Should Do Now?" are kind of self-indulgent rockers that don't quite share the overall feel of the record. (And, for the record, the "track 11 kind of sucks" comment is in reference to the British version of Home Demons, Volume 1, which contains twenty tracks.)
Not only is Tihista talented, he's also extremely prolific. Home Demons, Volume One is merely the first in a multivolume series; rumor has it that he has ten CD's worth of material in this 'demon' form stockpiled for release. If such is true, then the world's in for a real treat. This reclusive pop composer's name might not mean much to you, but please, please, do yourself a favor and rectify this situation! You'll be most glad you did.
--Joseph Kyle
Artist Website: http://www.parasol.com/artists/kevintihista.asp
Label Website: http://www.parasol.com
If one were to describe Tihista's songwriting in one word, it would be simple: romantic. His songs are pretty and heartfelt; he has the keen ability to capture the most basic of emotions, and what he does, he does quite well. "Can I Count On You?" is as soft and as sensitive and as pleading as the title would suggest; "I Don't Blame You" offers up an apology in a beautiful, heartfelt way; "Sweet" (a demo version of a Wake Up, Captain song) is just as sweet and as saccharine as you'd expect from a song called "Sweet." His cover of Dave Mason's "We Just Disagree" is also beautiful, and it passes for an original Tihista composition; if it leaves you scratching your head thinking "Have I heard this before?" then you are not alone.
For most of Home Demons,Tihista played and arranged these songs from the confines of his small apartment, leaving the listener to go think, "Wait...these are HOME DEMOS?!??!?!" One listen to the "kind of sucks" song "15 Hundred Miles" will win you over. It's a beautiful, sunny pop song, clearly inspired by the Beach Boys, but clearly an original song all its own--and it makes you realize just what kind of wonderful service Parasol Records is doing by releasing his music. But not everything works; "Jim Henson's Blues/You're Not Bad" and "Do You Know What We Should Do Now?" are kind of self-indulgent rockers that don't quite share the overall feel of the record. (And, for the record, the "track 11 kind of sucks" comment is in reference to the British version of Home Demons, Volume 1, which contains twenty tracks.)
Not only is Tihista talented, he's also extremely prolific. Home Demons, Volume One is merely the first in a multivolume series; rumor has it that he has ten CD's worth of material in this 'demon' form stockpiled for release. If such is true, then the world's in for a real treat. This reclusive pop composer's name might not mean much to you, but please, please, do yourself a favor and rectify this situation! You'll be most glad you did.
--Joseph Kyle
Artist Website: http://www.parasol.com/artists/kevintihista.asp
Label Website: http://www.parasol.com
September 04, 2005
California Oranges "Souvenirs"
What is it with indie-pop bands ditching the twee and making really, really glossy, radio friendly pop? It's been happening quite a bit lately, it seems--the most notable one being The Orange Peels--and I've gotta say, this is a trend I like. Well, count California Oranges in with this latest trend, and let's just say that this is a welcome thing, because their third album, Souvenirs, is a wonderfully succinct treasure chest of pop goodness. Why should you expect any less from them? Considering that frontman John Conley led the legendary pop band Holiday Flyer, it's understandable why the band sounds like a group of people who are experts at making sweet pop music
Souvenirs starts with the instantly catchy "Three Orange Tigers," a song that sounds like a more twee Imperial Teen, accentuated with great boy/girl vocals, loud, crunchy guitars and some extremely catchy synth lines. While the lyrics might be a little too cutesy for my tastes, it's hard to deny the song's overall power. That initial power never ceases; in fact, Souvenirs grows stronger. Whether it's the hard-rocking (and I say hard with absolutely no trace of irony) "Run Away," "Next Season," or "Racing Here," or it's the sweet pop of "Falling Back" or "Time You Spend," Souvenirs never falls guilty to the indie-pop trappings of being too twee or too wimpy. Unlike previous records, vocalist Verna Brock's voice is never overwhelmed by the music behind her, with each song having a nice balance between vocals and instruments. Each song is glossed with a nice pop sheen, clearly indicating that a lot of love and care went into making this record sound awesome. Thankfully, that bold gambit worked, and the results are simply wonderful.
Souvenirs is a great-sounding record, and it has an oddly out-of-date feel. It sounds like a record that should have been released ten years ago, back when bands like Letters to Cleo, Eve's Plum, The Posies and Weezer ruled the airwaves. Still, it's a great pleasure now, and it's an album that's definitely worth your time.
--Joseph Kyle
Artist Website: http://www.thesinkingships.com
Label Website: http://www.darla.com
Souvenirs starts with the instantly catchy "Three Orange Tigers," a song that sounds like a more twee Imperial Teen, accentuated with great boy/girl vocals, loud, crunchy guitars and some extremely catchy synth lines. While the lyrics might be a little too cutesy for my tastes, it's hard to deny the song's overall power. That initial power never ceases; in fact, Souvenirs grows stronger. Whether it's the hard-rocking (and I say hard with absolutely no trace of irony) "Run Away," "Next Season," or "Racing Here," or it's the sweet pop of "Falling Back" or "Time You Spend," Souvenirs never falls guilty to the indie-pop trappings of being too twee or too wimpy. Unlike previous records, vocalist Verna Brock's voice is never overwhelmed by the music behind her, with each song having a nice balance between vocals and instruments. Each song is glossed with a nice pop sheen, clearly indicating that a lot of love and care went into making this record sound awesome. Thankfully, that bold gambit worked, and the results are simply wonderful.
Souvenirs is a great-sounding record, and it has an oddly out-of-date feel. It sounds like a record that should have been released ten years ago, back when bands like Letters to Cleo, Eve's Plum, The Posies and Weezer ruled the airwaves. Still, it's a great pleasure now, and it's an album that's definitely worth your time.
--Joseph Kyle
Artist Website: http://www.thesinkingships.com
Label Website: http://www.darla.com
September 02, 2005
Tenement Halls "Knitting Needles & Bicycle Bells"
Chris Lopez’ previous band, The Rock*A*Teens, dealt in dark rock music covered in an unholy amount of reverb. Some people dug it, other people thought they should get over it, because, well, they were too good a band to hide their pretty melodies underneath such an ungodly-and ultimately monotonous-racket. One always suspected that underneath all the noise were some really great songs, and those who saw the band live experienced their songs without the reverb overdose. In 2001, the band broke up, and four years later, Chris Lopez has returned with a new project, Tenement Halls. Though he still sounds like a Southern version of Gene Love Jezebel’s Jay Aston, thankfully, he’s all but abandoned the reverb, allowing his songwriting to finally stand out.
Knitting Needles & Bicycle Bells is deeply indebted to the past-especially 60s pop, but it’s not a case of a band imitating a sound. For Tenement Halls, Lopez took inspiration from bands like the Kinks and the Beatles, and applied it to mid-90s indie-rock as well as the Rock*A*Teen’s sensibilities. In fact, the rootsy music and the dank lyrics might lead you to think you were listening to the bizarro-world version of The Shins. At its worse, Tenement Halls sounds like a rip-off of label mates Destroyer, with Lopez’s singing occasionally taking on an over-the-top turn not unlike what you’d expect from Dan Bejar. But unlike those bands, Lopez’s songs are sad and depressing. On “Marry Me” he sings with a pained lilt in his voice, calling out to the woman who abandoned him at the altar, singing as if she were still in his life. Then there’s “Starless Night,” a song with a wonderfully upbeat melody but with downright depressing lyrics.
The main problem with Knitting Needles & Bicycle Bells is similar to the main complaint of the Rock*A*Teens-he can write great songs and catchy melodies, but he buries them in poor mixing. Listening to Knitting Needles is frustrating, because one wishes that the songs didn’t sound so damn muddy. It’s hard to pay attention, because the record starts to sound monotonous two or three songs in, because even though the songs seem to have some interesting arrangements-toy pianos, wurlitzers, banjos, strings-it’s downright impossible to tell what’s going on. When the songs are a bit more stripped down, like on “Promise a Place,” the record sounds really good, and one wishes that the mixing process had produced more songs like this.
Tenement Halls could be a good start. There are some interesting ideas to be found here, but ultimately the record falls apart underneath a poor sound, and that’s a shame, because Lopez is much better than that. Knitting Needles & Bicycle Bells is a disappointment, and hopefully Lopez will rectify these problems when it comes time for the next record.
--Joseph Kyle
Artist Website: http://www.mergerecords.com/band.php?band_id=105
Label Website: http://www.mergerecords.com
Knitting Needles & Bicycle Bells is deeply indebted to the past-especially 60s pop, but it’s not a case of a band imitating a sound. For Tenement Halls, Lopez took inspiration from bands like the Kinks and the Beatles, and applied it to mid-90s indie-rock as well as the Rock*A*Teen’s sensibilities. In fact, the rootsy music and the dank lyrics might lead you to think you were listening to the bizarro-world version of The Shins. At its worse, Tenement Halls sounds like a rip-off of label mates Destroyer, with Lopez’s singing occasionally taking on an over-the-top turn not unlike what you’d expect from Dan Bejar. But unlike those bands, Lopez’s songs are sad and depressing. On “Marry Me” he sings with a pained lilt in his voice, calling out to the woman who abandoned him at the altar, singing as if she were still in his life. Then there’s “Starless Night,” a song with a wonderfully upbeat melody but with downright depressing lyrics.
The main problem with Knitting Needles & Bicycle Bells is similar to the main complaint of the Rock*A*Teens-he can write great songs and catchy melodies, but he buries them in poor mixing. Listening to Knitting Needles is frustrating, because one wishes that the songs didn’t sound so damn muddy. It’s hard to pay attention, because the record starts to sound monotonous two or three songs in, because even though the songs seem to have some interesting arrangements-toy pianos, wurlitzers, banjos, strings-it’s downright impossible to tell what’s going on. When the songs are a bit more stripped down, like on “Promise a Place,” the record sounds really good, and one wishes that the mixing process had produced more songs like this.
Tenement Halls could be a good start. There are some interesting ideas to be found here, but ultimately the record falls apart underneath a poor sound, and that’s a shame, because Lopez is much better than that. Knitting Needles & Bicycle Bells is a disappointment, and hopefully Lopez will rectify these problems when it comes time for the next record.
--Joseph Kyle
Artist Website: http://www.mergerecords.com/band.php?band_id=105
Label Website: http://www.mergerecords.com
The Carolines "Meet Me at the Marriott"
Back in 2003, a little band from Portland, Oregon released one of the best records of the year. Youth Electronics is still a great record, five years running. After an extended period of silence (grumble, grumble), it was easy to fear that this great young band had simply disappeared. But thank goodness, no! Though their silence has been frustrating, they have scraped together Meet Me at the Marriot, a three-song EP that’s a teaser for the band’s upcoming third album, and it’s good to learn that the band has lost none of the magic that made Youth Electronics so wonderful.
The first song, “Ooh Ooh Satisfied,” packs a hell of a punch; with a really tough guitar lick and a wonderful amount of “ooh ooh” accompaniment, the song’s feel is smooth, sophisticated and more than a little sexy. This song is one that simply burns with rock-hard intensity. The next song, “Too Late,” pours a lot of emotion into the rock machine, a power-pop love story for the heartbroken, and though it lacks the intensity of the first song, it’s still quite excellent. The final song, “Good for Me,” turns down the rock and turns up the melody; it’s a quiet but pretty love song, highlighted by Aaron Trueb’s angelic singing, and it sounds like a long-lost Badfinger outtake.
It’s good to know that The Carolines are still around, and Meet Me at the Marriot is an excellent jolt of pop-rock that makes me very excited about the prospect of their next full-length.
--Joseph Kyle
Artist Website: http://www.thecarolines.com
The first song, “Ooh Ooh Satisfied,” packs a hell of a punch; with a really tough guitar lick and a wonderful amount of “ooh ooh” accompaniment, the song’s feel is smooth, sophisticated and more than a little sexy. This song is one that simply burns with rock-hard intensity. The next song, “Too Late,” pours a lot of emotion into the rock machine, a power-pop love story for the heartbroken, and though it lacks the intensity of the first song, it’s still quite excellent. The final song, “Good for Me,” turns down the rock and turns up the melody; it’s a quiet but pretty love song, highlighted by Aaron Trueb’s angelic singing, and it sounds like a long-lost Badfinger outtake.
It’s good to know that The Carolines are still around, and Meet Me at the Marriot is an excellent jolt of pop-rock that makes me very excited about the prospect of their next full-length.
--Joseph Kyle
Artist Website: http://www.thecarolines.com
The Makers "Everybody Rise!"
The Makers have been making garage-rock since well before The Strokes had pubes, and they’ve been doing it quite well for almost as long. That they’ve been a bit of a secret for the few who know their name isn’t their fault; the world just hasn’t been ready for them. Sure, music trends have come and gone, but the Makers have remained rock-solid firm in their commitment to the principles of making quality rock and roll music. Fifteen years in, they’ve yet to make a disappointing record. That their latest album Everybody Rise! may very well be their masterpiece is saying a lot, as their previous album, 2002’s Strangest Parade, was damn near perfect.
Though there’s been a bit of a lineup change (veteran guitarist Tim Maker is back in the band, and they have a new drummer, Aaron), it doesn’t really affect the band’s music at all; the new line up is extremely tight, and from the first moments of Everybody Rise!, it’s instantly apparent that The Makers are back, baby.
And damn, they’ve delivered some of the best rock music 2005’s seen so far. From the joyous blues-rock punch of “Matter of Degrees” and the sly “Good as Gold” to the beautiful ballad “Ordinary Human Love,” The Makers cover every possible emotion. They get sexy (“Tiger of the Night”) but then they turn around and get rather tender (“Run with Me Tonight”) and they do so with natural grace and ease. Though they still have a sound that’s rough and rocky and reminiscent of the first decade of the Jagger/Richards collaboration, the fifteen-year-old Makers still sound better than the forty-five year old Rolling Stones.
Special love should be given to “The Story of You & I,” though, because it’s a song that has so much magic. With a Hammond organ riff that’s totally stolen from Bob Dylan’s “Like a Rolling Stone,” Michael Maker has composed a beautiful, beautiful love song. It’s about falling in love and not getting the love back you deserve, but it’s also a rather positive message: I love you, even though you totally broke my heart, but the feeling of love is greater than your cheatin’ heart. This song is so wonderful, it deserves to be pressed up on a seven inch and shipped to all the hip jukeboxes of the world, then it needs to make an appearance on The OC, and even though such things are kind of mainstream and lame, The Makers deserve the opportunity to show you how much they rule.
Everybody Rise! is simply a damn good rock record. No more, no less.
--Joseph Kyle
Artist Website: http://www.themakersband.com
Label Website: http://www.killrockstars.com
Though there’s been a bit of a lineup change (veteran guitarist Tim Maker is back in the band, and they have a new drummer, Aaron), it doesn’t really affect the band’s music at all; the new line up is extremely tight, and from the first moments of Everybody Rise!, it’s instantly apparent that The Makers are back, baby.
And damn, they’ve delivered some of the best rock music 2005’s seen so far. From the joyous blues-rock punch of “Matter of Degrees” and the sly “Good as Gold” to the beautiful ballad “Ordinary Human Love,” The Makers cover every possible emotion. They get sexy (“Tiger of the Night”) but then they turn around and get rather tender (“Run with Me Tonight”) and they do so with natural grace and ease. Though they still have a sound that’s rough and rocky and reminiscent of the first decade of the Jagger/Richards collaboration, the fifteen-year-old Makers still sound better than the forty-five year old Rolling Stones.
Special love should be given to “The Story of You & I,” though, because it’s a song that has so much magic. With a Hammond organ riff that’s totally stolen from Bob Dylan’s “Like a Rolling Stone,” Michael Maker has composed a beautiful, beautiful love song. It’s about falling in love and not getting the love back you deserve, but it’s also a rather positive message: I love you, even though you totally broke my heart, but the feeling of love is greater than your cheatin’ heart. This song is so wonderful, it deserves to be pressed up on a seven inch and shipped to all the hip jukeboxes of the world, then it needs to make an appearance on The OC, and even though such things are kind of mainstream and lame, The Makers deserve the opportunity to show you how much they rule.
Everybody Rise! is simply a damn good rock record. No more, no less.
--Joseph Kyle
Artist Website: http://www.themakersband.com
Label Website: http://www.killrockstars.com
September 01, 2005
Mon Frere "Real Vampires"
Seattle's Mon Frere is a two-boy, one-girl trio of rockers who enjoy the simple pleasures of a good song. Their debut EP, Real Vampires EP is a pretty snazzy collection of rock songs with a bit of a bite, due in large part to some rather rad synth parts and the passionate, lusty singing of Nouela Johnson. And despite the French band name and the record's title, there's nothing particularly 'gothy' about Mon Frere at all. Instead, they have a hard rock/new wave style, as heard on great songs like "Real Ultimate Power" and "Orcs Don't Know It." On songs like "Up Circle" and "Bunch of Broccoli," though, the band overwhelms Johnson's singing, forcing her to over-emote. But for the most part, her singing is a full-on blues-rock ass kicking in the tradition that one would have expected from the late, great Mia Zapata. Though they're not reinventing the wheel, Mon Frere's simply having a good time, and Real Vampires EP is a fun little debut record.
--Joseph Kyle
Artist Website: http://www.monfrere.net
Label Website: http://www.cakerecords.com
--Joseph Kyle
Artist Website: http://www.monfrere.net
Label Website: http://www.cakerecords.com
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