Annie- Sci-Fi Canon Blue(s), (Bulletproof)
The drowsy world that Annie inhabits in their music almost defies description. Imagine
Teenage Fanclub playing Pink Floyd covers after downing a bottle of cold medication. Or
maybe Thom Yorke trying to convince Pulp to swing his way. Either way, it’s baffling; the
amount of lazy passion injected into each song is infectious. On Annie’s debut long-play, Sci-Fi
Canon Blue(s), spindly guitar lines run counterpoint to gorgeous melodies, while pounding
drums, soaked in reverb, anchor this inspired sound to firm ground, like a cannonball attached
to a feather. Comparisons can easily be drawn to Radiohead or Spiritualized. Joel Bordeaux’s
voice is half croon, half anguished, tormented cry. It works best on the grand scale, especially
when belting out such noble, illustrious lyrics as “I give it over to you while I’m pining for your
view...and this life I cannot lose opens gently opens full to you” (from “Means To An End”).
Even on the simple, carol-like “The Ice Storm,” he has just enough faux-British stuffiness
fused in his vocals that you’ll feel stuffy just listening to it. Although the album’s eight tracks
are over way too soon (the album clocks in at a bit over a thirty minutes). It’s subtle misfires
are few and far between (“Shoot First Leap Second” sounds like Elliott Smith’s “Baby Britain”
on speed, complete with an annoying, bouncy piano riff) and it certainly sets up Annie as a
band to look out for in the future. The quiet, contemplative grace that blankets songs such as
“Dining Victoria” (the album’s uncontested high point) and “Censer Silence” is breathtaking in
a weird, somnolent fashion. A stunning debut.
Antarctica- 81:03, (File 13 Records)
After releasing the 23:03 EP late last summer, Antarctica returns with their long-awaited fulllength, 81:03, which surprisingly(?!) clocks in at 81 minutes and 3 seconds on two CDs. My
initial impression was that this virtually unknown band would have a difficult time successfully
extending a full-length into a double disc, but my ears were soon impressed enough to leave
the issue alone. Antarctica have been honing their style through live performances over the
past year and a half or so. While last year's 24:08 was the EP bong freaks could enjoy for
hours, its muddy dirges have been solidified on this release. What began as a sort of modern
psychedelia with droning guitars and tensely emotional vocals has been hybridized with a
sense of synth pop and experimental ambience. While there may be some similarities to the
dark rock of the Cure or late '80s wall of guitar rock a la My Bloody Valentine, the lengthened
droning and extended synthesized movements of Antarctica extend their music outside the
realms of pop music. There are melodic hooks and segments, but these are subtle amidst
epicly long songs (eleven songs span the two discs). The pace of Christie Front Drive is
slightly evident in the vocal phrasing, providing a source of influence to the vocals; but
Antarctica inhabits almost entirely new territory with 81:03, housing a crisp sterility and
almost danceable energy within the context of a warm ambience and psychedelic drone.
Appleseed Cast / Planes Mistaken For Stars / Race Car Riot Split EP, (Deep Elm)
As a fan of this stuff called Emo music and the band Appleseed Cast, I looked forward to
hearing their new split EP with Race Car Riot and Planes Mistaken for Stars on Deep Elm
Records.
I didn't know what to expect from Planes Mistaken For Stars. Their one song on the EP,
"Staggerswallowswell," is hard-driving and intense, but somewhat lacking simply because it
sticks so closely to the formulas of other bands like Appleseed Cast without adding much to it.
There are three songs on the EP by Race Car Riot. "Broken" and "Racing California" are both
instrumentals. The jagged guitars in "Broken" conjure images of painful pinpricks and glass
as they weave through experimental noise somewhat akin to Sonic Youth. "Racing California"
swirls and builds slowly to a climax and ends somewhat abruptly before it grows boring. It
doesn't seem like this one doesn't seem like it was written as an instrumental. There is room
for vocals. The song in between the instrumentals, "Raincheck," is just average. The vocals
are buried a little too much by overly-distorted guitars that sound a bit out of tune. It's not
pretty. The guitars are muddled and not very tight during the harder moments. It's just
there, not really anything special. Maybe with better production, it would be
a descent song.
The two songs from Appleseed cast make up for that. “Tale of the Aftermath” by Appleseed
Cast continues brilliantly from where the band left off with The End of the Ring Wars album.
Though they are a little buried under tough walls of guitars and drums, the words Chris Crisci
sings reveal a broken heart: "I am through with rings / This comic love / I will find my way /
Find this wretched heart." The band's occasional usages of abrupt hard/soft dynamics are well
placed. "Remedios the Beautiful" is an amazing song. It gently flows with occasional sparse,
but beautiful, lead parts on the acoustic guitar. The moody music meshes with the words
perfectly: "Can't see to well / It's all the ending / And you're in hell / Who and where to / Pain
by the pound / I want to help you / But I don't know how." As a Christian, Crisci knows just
how much it hurts when there isn't much more to offer to someone in need except to remind
them of the unchanging nature of God: "Outside the sun never stops shining / Leaves never
fall / These hands never failed you," he sings. After a moment of silence, the songs ends with
a hum of slight distortion that adds to the discomfort and sadness, but never overpowers it.
Fans of Appleseed Cast wanting something to tide them over until their next album should
enjoy this EP, as should fans of Sunny Day Real Estate and Mineral.
The Asteroid Numberfour- Apple Street, (AudioInformationPhenomena)
Hailing from Philadelphia, PA, the Asteroid Numberfour enters the indie pop sweepstakes with
a five song EP of energetic British Invasion pop. 1999 has been the year of those
Beatles/Beach Boys worshipping Elephant Sixers grabbing the indie pop’s underground
“spotlight.” Why not, the collective puts out some of the best modern pop music. TA#4 is
equally adept at songwriting, adding an unbridled energy to the sugary melodies of the
“genre”. This quartet revives the spirit of early Who, Paul Revere and the Raiders, and the
Kinks.
The guitars are crunchy with psychedelic sensibilities. Utilizing solid bass guitar lines, and
drumming reminiscent of Keith Moon, one can’t help but think of another Northeastern indie
pop band: Kurt Heasley’s Lilys. Well, the apple doesn’t fall far from the tree, as Heasley hops
on to co-produce this savory EP. While the influence can be heard (the guitars, the drums, the
psychedelic touch), it is not emulation. Heasley has let the band’s unique garage pop sound
take center stage.
TA#4 wastes no time showing what they are about. The first song, the title track, is full of
guitars accompanied by handclaps and tambourines. Lead singer, Scott Vitt’s vocals are strong
and incredibly solid out in front on the verse (as the guitar plays a steady riff). The chorus
kicks in big and fat as Vitt’s vocal soar. “King Richard” has a pyschedelic vibe with the melody
rising and falling like 1967. Bill Reim’s drumming is the highlighted on this track as cymbals
crash all over, wild drum rolls that bring Keith Moon to mind. TA#4 shows a gentler side on
“Poor Man’s Fella” which is a ballad marked by a pretty flute and acoustic guitar. “Local
Fashion Junky” is a simple guitar based track that leads off with bluesy harmonica. The song
contains a big Stone Rose-y hook with Vitt’s voice leading the charge. “Thank you R.E.A.” finds
the band paying tribute to, all of things, the Rural Electrification Administration. The song is an
all out driving indie pop with a crazy psychedelic guitar jam at the end.
TA#4 delivers a great EP of quality indie pop. One can’t help but believe that Heasley’s
presence brings the best out of the band. From the opening note to the last feedback laden
psycheldelia, this band is one to watch.
Ativin- Summing the Approach, (Secretly Canadian)
This four song EP is the farewell release for this almost unknown instrumental band. Their
style is a jazzy, complicated, and calculated sound. They toured with Tooth and Nail’s
Roadside Monument, holding a common musical heritage. The songs are more subtle and
quiet than on their German Water full-length, much more timid and less explosive than "math
rock" is normally known. The title alludes to the “math” or “calculator” references. The EP
was recorded by rock and roll whore Steve Albini (who also recorded their first EP for Polyvinyl
Records). His recording skills hit the mark for Ativin, helping them to find the proper tones
that fit well with one another. It is a shame to see the ending of such a brilliant instrumental
band, but these four songs capture the band at its peak, interesting enough for those
unfamiliar with the material.
Jessica Bailiff- Hour of the Trace, (Kranky)
This is Jessica Bailiff's second release on Kranky. Although I am unfamiliar with her history,
this album establishes a solid sense of experimental ambience and effects with Bailiff's
soothingly beautiful and breathy voice being the overriding instrumentation. Her vocals call
to mind the brilliance found in Karen Oliver from His Name Is Alive and a small handful of
ethereal bands. It would be unfair to neglect mentioning that Alan Sparhawk from Low
produced the album and played on many of the songs, with his influences heard in many of
the dreamlike ambient effects, sounds, and guitar washes. The album opening "Crush" begins
with thick layers of sound, delicately crafted ambient pieces fit together on a lush organ
backbone, with Mimi Parker and Alan providing background vocals. Parker's slow, but solid
drumming offers coloring for the second track, "Toska." While it would be easy to write this
off as just another band copying the slow sounds of Low, Jessica Bailiff moves into a new
realm, with the song structures being fluid, yet solid. The third track, "After Hours" features a
loudly effected guitar contrasting with her smooth vocals. Bailiff is not afraid of
experimentation, as shown on the sparse sound scapes and extended droning of the
fragmented "Perception" near the album's close. The sense of beautifully melancholy, wispy
melodies carry this album and its truly dreamlike qualities.
Black Box Recorder, England Made Me, (Jetset Records)
Poor Luke Haines. Perennial BritPop also-ran, Haines could never quite make his band, The
Auteurs, crack into high public profile the way fellow countrymen like Cocker, Alborn,
Morrissey and Marr did. Haines latest project, the sinewy Black Box Recorder, capitalizes on
all of The Auteurs strengths but funnels them through decidedly different channels.
Chief among the differences are the smoky vocals of Sarah Nixey, a true black light chanteuse
who gives Haines ominous prose proper body while positing herself squarely within their
grainy mise en scene. Stepping out of the gaslight like a femme fatale in a pulp novel, Nixey
is more than just Haines mouthpiece: she imbues Black Box with her own shadowy demeanor,
keeping the compositions slow and slithery. Haines spare instrumentation-a bony guitar line
here, a tremolo roll there-serves as stark counterpoint to Nixey's ice blue intonations.
Not that the songs on England Made Me are especially stunning. They writhe and creep
dutifully, some more successfully than others. The album opener "Girl Singing in the
Wreckage" and the horror-film soundtrack "Ideal Home" showcase the band at their strongest,
brooding without heavy-handedness. Likewise "Child Psychology" (which boasts the searing
lyric: "Life is unfair/kill yourself or get over it") recalls PJ Harvey at her most sinister. At worst,
Black Box Recorder is merely forgettable. But England Made Me contains enough flashes of
style to indicate a healthy future.
Brandtson- Fallen Star Collection (Deep Elm Recordings)
Brandtson, falls under the good band category with a finesse and style that sets them apart as
one of Indie Rock’s Great New Hopes (Emo-core Division). Rising out of the ashes of seminal
hardcore outfit Six Feet Deep, Brandtson made waves in 1997 with their independentlyreleased debut, Letterbox. Later picked up and re-issued by Deep Elm, Letterbox was a
startling flurry of guitars, buried vocals, and thunderclap drums, made by four guys who had
the verve to cover Sinead O’Connor’s “Black Boys On Mopeds” and make it their own. Which is
what brings us to Fallen Star Collection, a slightly softer, hazy sophomore outing that is still
long on passion and even longer on dynamics. When not blasting out Promise Ring-like
anthemic jetstreams like “Breaking Ground,” Brandston explores their more melodic side with
“As You Wish” and “Potential Getaway Driver.” Jared Jolley and Myk Porter are twin pillars of
harmony and tandem singing, and Brandtson is in fine form.
Built To Spill- Keep It Like A Secret, (Warner Bros.)
Doug Martsch never learned. That is, he never learned the sacred indie rock trade secret of
alienating the listener. His clipped, almost-soprano voice glides rather than grates. He can
take an overdone cliché like the six minute guitar jam and make you drown in it’s beauty. He
even signed to Warner Bros. after numerous records with indie stalwart Up Records - nearmutiny in snob-rock circles - and, as a result, brought fans 1997’s Perfect From Now On, a
searing, slow-burn of a record, overflowing with orchestral grace and sweeping guitar heroics.
Yes sir, Martsch, Built To Spill’s prolific frontman, is a child of the progressive-rock
battlestance, so nonchalant that on “You Were Right” (from this new album), he quotes lyrics
from both Kansas and Pink Floyd and weaves them seamlessly. Built To Spill does the same
contrasting with their musical influences on Keep It Like A Secret, and the result is one of the
most rewarding and captivating listens unleashed this year.
“Unleashed” is the proper term...seriously. From the first second of KILAS’s, “The Plan,” they
(Martsch, bassist Brett Nelson, and drummer Scott Plouf) pile on the light musical touches
until they become as heavy as boulders. Soaring slide guitars, farty guitar-lines bursting with
feedback and out-of-tune glee, majestic cymbal swells: all are laid under Martsch’s distinctive
singing cadence and cryptic lyrics. Perhaps the most bizarre thing about the song is it’s time three-and-a-half minutes, half the time of the majority of PFNO’s songs. Now that the band
has discovered that their listeners have attention spans, are they unconquerable?
Yes - and no. The surefire bounciness of “Center of the Universe,” the stately shuffle of “Carry
The Zero,” and even the guitar firecrackers of the epic closer “Broken Chairs” are all beautiful
in their own eccentric way. But Martsch and the band still have a fixation with beating a good
idea to death; thankfully they don’t do it as much here as they have in the past. “Sidewalk” is
a little too revved-up, while other songs, such as “Time Trap” and “Bad Light,” ultimately end
up being boring and overdone. But in the end it’s the songs like “Else” - soaked in a blanket of
melodramatic strings and nap-time tempo - that win, making KILAS a charming record that
will steep into your brain and your soul.
Danielson Famile/Soul Junk- Tour Support EP No. 2, (Insound)
Insound presents this Danielson Famile/Soul Junk CD as the second volume of Insound’s “Tour
Support” series. Other releases include Tristeza, vol.1; The Lion Ep (containing June of 44
members), vol. 3; Aspera Ad Astra, vol. 4; and Shyness Clinic, vol. 5. Insound’s plan is to
release a new CD EP each month for the featured group to tour with. They could hardly have
chosen a better pair to document than the evangelical-indie duo, Danielson and Soul Junk.
These guys have toured around the country together on a few occasions and this CD
remarkably captures their soul-saving juggernaut excursions. Listening to the CD you can
hear how both bands bring a little slice of tent revival into the bars of America’s college towns.
The first track is a sixteen minute medley of “A No No,” “Sanctuary,” and “Death Face”
complete with sing-along drama, cow bells, wood blocks, and tambourines. It’s a wild-eyed,
noise-grass, praise-a-thon, which you’ll never find on Trinity Broadcasting Station. The airy
quality of the recording adds to the chaos of the whole EP. And Soul Junk’s rendition of “Alpha
and Omega” harkens back to their “champions of lo-fi days” (albums with years for titles). A
second version of “A No No”—this time in front of a half crazed audience—showcases Daniel
Smith’s Native American squall and ends with a powerful “I Love My Lord” mantra. The fourth
track, is a trashy version of “Wax Presidential.” And like Royal Trux, dirty riffs work well for
Soul Junk. The EP is rounded off with Danielson’s truly eccentric “Lord’s Rest” followed by one
of Soul Junk’s kitsch rap-offs.
If you were one of the chosen ones who were able to get a copy of this limited edition disc
(1000 copies), then God bless you. This tour EP is at once a menagerie of born-again
weirdness and an enchanting window into the bizarre worlds of Soul Junk and Danielson
Famile. Perhaps not for the new initiate, but a must for fans of both groups.
Death Cab for Cutie- something about airplanes, (Elsinor Records/Barsuk Records)
While the obtuse name makes it difficult to discuss in polite conversation without appearing to
be musically holier than thou, Washington State’s Death Cab for Cutie provides some
wonderful indie pop goodness. Their sound is best described as a successful blend of Jeremy
Enigk’s orchestrated compositions with the punchy popiness of Built to Spill. The vocals strike
calmly and casually, unlike Enigk’s more dominating emotional qualities and smoother than
Doug Marsch’s signature strainings. These songs seem to be simmered down pop gems,
plenty of catchy hooks and moving melodies. There is a great sense of fun and energy, which
nicely sums up what this record seems to be about. The sound is clear and overtly pop,
missing the tense noisiness of the aforementioned bands, putting Death Cab for Cutie into
their own defined sound. Perhaps not the greatest pop album ever to come out of the sacred
Northwest, it provides for an interesting and pleasant pop journey.
The Deluxtone Rockets- The Deluxetone Rockets, (Tooth and Nail Records)
The reason that legit rockabilly/swing music will never conceivably hit it big in the Christian
market - are you listening, This Train? - is because it’s, in lieu of a better term, dirty. It’s
greasy and dusty, spiked with sick boy attitude and no-frills guitar licks. Elvis Presley, despite
his background in gospel, was at his largest when he was swiveling his hips on national TV and
singing “Hound Dog,” and there’s boundless energy to be found in Carl Perkin’s yelling “go,
cat, go!” It’s the sort of grit that doesn’t jibe well with bookstores, aside from squeaky-clean
swingsters such as the W’s.
That being said: leave it to Tooth and Nail to market a band like the Michigan-based Deluxtone
Rockets. Judging from their picture, there’s enough pompadours, greaser tattoos, and dourfaced demeanor to make your grandparent nostalgic, which may be part of the gimmick. But
shtick or no shtick, the Rockets’ music is ferocious, fast-paced, and darn good. The guitars are
like a switchblade to your ear, the drums are staccato, the bass pounding. Lead singer Johnny
Rocketti hams it up here, crooning, yelping, and barking like a demon-possessed Jerry Lee
Lewis. The songs, sporting such titles as “Tijuana Jumping Bean,” “Green-eyed Cat” and “Hi-Fi
Daddy,” sound ordained by the Reverend Horton Heat himself.
Sure, the album gets monotonous and routine towards the end, and the finger-snapping, “let’s
go, Daddy-O” vibe of the lyrics have “Hipster Lite” stamped all over them. But the Deluxtone
Rockets are fun, enjoyable, and a little dirty. Clean cut kids need not apply.
Dress Rehearsal- …closed, sealed, and gone., (Independent)
It is not uncommon for unsigned bands to send Tidal Wave Magazine their demos and
independent releases. Each one is accompanied with a letter describing the band’s sound, and
a plea to review the record. Usually, these discs wind up as beverage coasters. So when I
received a copy of Dress Rehearsal, it sat. When I finally sat down to go through my requisite
one time listen, my ears were surprised. The recording sounded damn good, the songs were
well crafted, the vocals delivered, and the record displays a maturing lacking in many of these
self-released efforts.
Dress Rehearsal is an indie rock band from Rockford, IL. The music is reminiscent of the
mellower side of the genre ala Pedro the Lion, Bedhead, and Joe Christmas. But Dress
Rehearsal is not simply minimalist indie rock. The band maintains an emo (gasp!) edge that
works. Unfortunately, emo implies a formula, but DR put an original twist on it, thus making a
unique record. The dynamics of, say, Sunny Day Real Estate is there, but the vocals are not
emulating Jeremy Enigk. The music rises and falls with an ordinary sadness. The guitars
vacillate between indie chord progressions to emo-ish driving.
“West on East” opens this six song EP with a very Pedro the Lion touch. A pretty and soft
guitar line starts off the song as the drums and bass tumble into the melody like a lazy bear.
Lead vocalist Jeff nearly mumbles the verse (which is simply “Young women in love with
running”), and the music builds to the chorus (which is simply “Driving away”), and Jeff’s
vocals soar. This is where the emo creeps in, but it works. The song is more instrumental,
minimalist, simple, and, ultimately, solid.
On “I Hate White Rabbits”, the bass lays down the foundation as the band hops right in, the
transition is smooth as silk. More true to the pop song format than other tracks on the record,
the hooks are shy. The track also characterizes DR’s uncanny ability to take indie rock and
emo, and meld them into something original. This is evident on “Till Death Do Us Part” a song
that slowly crescendos into a sturdy rocker. “A Different Kind of Greatness” is the high-water
mark of this record. Dynamically: lazy to urgent, soft to controlled loud. The verse gradually
build to he chorus of “Now you’ve gone too far”, where Jeff’s vocals are on the verge of
cracking, yet still exuding a certainity.
As with all independent releases, Dress Rehearsal does have its troubles. The songs, while
well-crafted, tend to go on a bit long by repeating the same riffs and lyrics. The lead vocals
are good for the most part, but when they attempt to add backing vocals, the result is less
than desirable (perhaps it is the mix or the limits of the recording). Nevertheless, the band
shows more than potential, and a maturity beyond the time they have been together (which is
only since 1998).
Dressy Bessy- Pink Hearts Yellow Moons, (Kindercore)
Yes, this band is a member of that music collective, Elephant 6. Yes, the guitarist, John Hill, is
a member of the Apples in Stereo. Yes, the lead singer is a female. Yes, the music is that
sugary indie pop. Ok, already, don’t quit reading.
Dressy Bessy may not be doing anything new. But that is not the point. The point is how well
they do it. And guess what? Dressy Bessy delivers a solid indie pop record complete with fuzz
bass, super cool melodies, great vocals, and great hooks. The record sounds excellent for
being a four and eight track recording, no doubt due the engineering and mixing assistance
provided by Robert Schneider (Apples in Stereo).
The opening track, “I Found Out,” sets the tone for Pink Hearts Yellow Moons. The melody is
simple and glorious propelled by Tammy Ealom’s vocals. Like each song on the record, the
guitars are shiny and take off with a healthy dose of fuzz bass. On “Just Like Henry” Hill’s
squealing guitar is the centerpiece.
Each song is full of hooks and catchy choruses. “Makeup” is a groovy happy go lucky tune that
demonstrates everything that is right with indie pop. Dressy Bessy also wonderfully
compliments their songs with new wave keyboards like on “You Stand Here”. The song has
one amazingly catching change that segues perfectly into the chorus. The song moves along
seamlessly with such a smiley dancey melody. Ealom’s vocals are pure sunshine. “My
Maryanne” is real Apples in Stereo with a trippy guitar line.
Dressy Bessy have made one of the happiest and shiniest records of the year. While it may
not score points for originality, the fact that these are 11 solid pop songs, makes the point
moot.
Ester Drang- That Is When He Turns Us Golden, (Independent)
The debut EP for Broken Arrow, Oklahoma's Ester Drang is not anywhere near as beautiful as
the band's performance on the New Band Stage at Cornerstone Festival this summer, but it
certainly has its moments. Done in a similar fashion as their live show the CD contains
interludes between songs, which are short tracks with various noises and feedback. As a
result the record sort of just sucks you in and puts you in a trance, or as the descriptive word
of the genre would suggest, looking down at your hundred dollar New Balance sneakers. The
recording and production process for a small band is never easy and as a result the material
recorded almost a year ago is just now available to the public. Still, it is a good representation
of the band's sound, which many people put in the category of Spiritualized, the Autumns, and
Starflyer 59. If anything this record showcases a band with a lot of promise, who should be
making noise with more than just their instruments.
To contact the band write: 3701 S. Poplar Broken Arrow, OK 74011.
Euphone- The Calendar of Unlucky Days, (Jade Tree Records)
After leaving Chicago’s Hefty records, Euphone’s debut for Jade Tree seems to be a bit of a
departure. Gone are the truly complex drumming pieces for which Euphone is known; gone is
the over the top funkiness that infiltrated their previous efforts. These instrumental
compositions have a true indie rock sensibility, holding much more in common with the
musical roots of Joan of Arc. Their evolving sound makes them an obvious choice for Jade
Tree, yet the live show returns to the more energetic and passionate style. The band exhibits
a musicianship with a jazz influence more than the punk rock schools of old and while the
post-rock tag might be overused when it comes to modern instrumental ensembles, the
description could be fitting. This is a smart record, crisp and calculated, but catchy and highly
melodic. Recording effects and techniques round out the style and feel with a wonderful
sample of ‘60s era dieting and self-actualization flavoring at least one track. (The live
performances often feature bizarre readings and spoken words from Joan of Arc¹s Tim
Kinsella.) This is the stuff the great modern pop is made of and Euphone are defining their
own patch of the new frontier.
Fastbacks- The Day That Didn’t Exist, (spinART records)
Seattle’s Fastbacks have been playing the pop punk game for nearly 20 years. They were
doing this (and not to mention better) long before Green Day, Blink182, and Lit. Kim Warnick,
Kurt Bloch, Mike Musburger, and Lulu Gargiulo comprise this amazing band. They have been
quietly (and not so quietly) making records the whole time, even during the mind numbing
grunge explosion.
1999 finds the Fastbacks releasing a concept record (their first record in three years) on New
York’s spinART label. The record is based around a day that didn’t exist (hence the title!). The
story is fairly compelling, but the music is where it’s at. The band has not missed a beat in
their hiatus.
“One More Hour” opens the record with straight ahead blistering pop punk/rock. There is really
no turning back from this song. Each song builds on the groundwork laid down by this song.
The Fastbacks don’t allow you to recover, especially as you reach the third song, “Like Today.”
Warnick’s sweet vocals carry the melody perfectly. While the song does have its softer
moments, the band doesn’t let you sit still. As soon as the song seems to be coming to
conclusion, a huge guitar riff and cymbal crash grab you by the head. The harmonies on each
song are simply right on. The energy emitted by this record is amazing (see “I Was Stolen”,
“Have You Had Enough?, and “Maybe.”) The record ends on “The Day That Didn’t Exist” which
is like an exhausted sigh of a ballad. A fitting end.
Though the record does have its odd moments. One is the weird nearly heavy metal
breakdown in “As Everything”. As with many of the pop punk records out, a whole record can
be rough. The songs begin to blend together. Thankfully, this is a minor complaint.
The Get Up Kids- Something to Write Home About, (Vagrant Records/Heroes
&Villains)
The Get Up Kids bridge the gap between pop, pop punk, and emo in a stylish way that 15-25
year old kids can feel proud about. It's the band that everyone rallies around and secretly
loves deep down inside. Their recent ep, Red Letter Day, showcased two tracks from the fulllength, demonstrating a more polished, pop-oriented sound, incorporating a wide variety of
their signature hooks with less straight on punk rock and a Jimmy Eat World influence in the
melodic structure and keyboard additions. Also on the full-length is "I'm a Loner Dottie, A
Rebel" from their long out-of-print split 7" in the Post Marked Stamps series, a promiscuous
classic that Pee Wee Herman himself would be proud of. The songs included find the 'Kids at
their rocking best, some energetic moments with hooks galore. The lyrics have the weight of
summer, a passive innocuous sentimental style which addresses lost love, traveling, forgotten
friends and memories. There are two or three tear jerking, lighter waving anthematic ballads
(in a sort of early '80s heavy metal way) to give the sensitive emo/punk rock kids something
to carry home. The album ends on such a note, from the transitioning "Long Goodnight" to the
almost perfect ballad "I'll Catch You." The Get Up Kids are a fun band and this record shows
off their best traits in a solidly accessible way. Besides their all-intrusive hype, the only
problem with the Get Up Kids are the other kids who seem to like them or their silly antics in a
live concert; stick with listening to the record in light hearted moments and enjoy.
Christine Glass- Love and Poverty, (Rustproof Records)
Christine Glass produced one of the most interesting debuts of 1997. Though a bit inconsistent
musically, the lyrics spoke of humanity, pain, salvation and a search for hope.
On Glass’s return, Love & Poverty, the music is consistent-along with more humanity,
salvation and search for hope. Glass has a voice that is capable of a gentle strength, quiet
and soothing-yet in the same moment a strong sense of urgency. This shows through on
songs such as “The Way You’re Calling”, and “Love, Breath of Life” and “Machine”.
With “Breathe of Life”, Glass gives us a look into the experience of faith, “I have experienced
love after death.” The song (with a musical bed that would be at home on a Cure record)
closes with a bright admission: “I have tasted sunshine.”
Poverty speaks volumes about our culture, whether Glass means to or not; softly begging for
poverty in her life, to help her find her way to God, and to simply let go. It has a gentle feel
throughout the music, as if to avoid overriding her voice. “Rise Up” picks up tempo and has an
urgent call to “rise up and walk with me”. “Mysterious” is a unique song of praise, with a
slight echo to Glass’s voice, and a refrain of “I wonder, I really wonder” throughout that
chorus. Her voice has a beautifully haunted quality throughout the song to draw the listener
in.
“Waterfall” and “Over Me” are overt presentations of a theme that resonates throughout the
whole CD (Including the cover, with Glass standing in near waist deep water). This is imagery
of the cleansing of our hearts through Christ’s blood. “Waterfall” has a bright upbeat pop
sound to it, but it does so without appearing like a crass attempt at a radio hit. “Over Me”
keeps the upbeat feel, with some nice layered vocals.
Only one song on the disc feels very out of place, and that is “Many Waters” from the Wedding
Cantata. While it keeps with the theme, the music just feels out of sync with the rest of the
disc. An aside: one would think this would be more at home on that third At the Foot of the
Cross Steve Hindalong and Derri Daugherty- who worked on Love and Poverty- have said they
want to make.
It is worth noting that the CD was produced by Hindalong and Marc Byrd. It shows through in
much of the music, with more than a few of the songs having a feel similar to the excellent
Delicate Fade from Common Children. This is noticeable throughout the disc, but especially on
“And Love” and “The Way You’re Calling.” Glass’ songwriting shines brightly in both “Over Me”
and “Brave Night.” Overall, Glass (with help from her producers) has managed to surpass her
debut, (which was a wonderful disc in it’s own right) creating an album that is well worth the
price of admission.
The Huntingtons- Get Lost, (Tooth & Nail Records)
The Huntingtons have to be one of the most productive bands out today. In the last couple of
years we have seen the full length High School Rock (with the amazing single “Aloha, It’s
You”), a live record (The Good, The Bad, & The Ugly), and a second Ramones cover record
(File Under Ramones). The band returns with a new full length of their own tunes.
Yeah, these are heavily Ramones influenced tracks. The Huntingtons don’t try to mask the
influence that borders on serious mimicry. But the thing with Get Lost (and to an extent High
School Rock) is there is something going on here that isn’t all tribute. “Aloha, It’s You” from
High School Rock found the Huntingtons writing a damn good song. They deliver a few more
damn good songs on this record.
“Hooray for You” is a straight up, nearly power pop, rock and roll song with a great Moog line.
The melody is great, and lead vocalist, Mikey Huntington, finds a new voice. Perhaps this
came from the aforementioned Ramones cover album. Mikey’s vocals are similar to the ones
he delivered on “Poison Heart” and “Pet Sematary.” “Hooray for You” is as catchy as they get
with a great tight guitar riff at about the two minute mark. The Huntingtons showcase their
songwriting strength on “Poster Kids”, “Samantha Doesn’t Want Me,” and the incredible final
track “I Don’t Want It to End This Way.” Again, Mikey’s vocals are darker and smoother than
on the “Ramones” tracks that are standard Huntingtons fare. Songs like these show maturity
in the band’s songwriting, that they aren’t necessarily a one trick pony. They are darker, more
compelling than the three chord rock bop that the Ramones made perfect.
When they play the Ramones card, it is epic. “What Would Joey Do?” is a double jab at the
current state of rock music, and the ludicrousy of the WWJD marketing blitz. Mikey sings, “If
we put his name on a bracelet/If we put his name in lights/Joey would he come and save us
tonight?”. Not doubt this will cause a bit of a stir in the bible thumping Christian industry (that
is if they even notice).
The Huntingtons are showing that this just isn’t some weird joke or some odd goal of actually
being the Ramones with some great songs in between their punk rock tunes.
Isotope 217– Utonian Automatic, (Thrill Jockey)
Isotope 217’s second full-length release finds their avante jazz sound influenced both by a
presence of 70s funk and 60s lounge. Bass parts are complicated and changing, intermingled
with jazzy, almost blues influenced guitar melodies. This is the essence of a jazzy Vegas
lounge act, perhaps less showy, but packed with technical skill and high musicianship. The
album opens in a more stripped down, experimental vein, blending 60s space age electronic
lounge elements with polished rhythms and effects. The cornet parts on "Looking After Life
On Mars" are nearly perfect, ushering in a heavy jazz element while showing off amazing
range and skill in an experimental free form expressive way, akin to the depth of John
Coltrane. The jazz parts are quickly thrown down into odd keyboard patterns and beats in a
sort of calculated, but graceful shift. More lounge styled tunes break up the overall jazz
cohesiveness, giving the album a more colorful feel. At times, the record dips into the more
unconventional sounds present on their remix EP, lunging into a quiet land of more
atmospheric music, providing a lush background soundtrack for everyday life. Odd recording
techniques and effects add color not typical of such a free form style. Though this is a modern
record released into an "indie rock" categorization (perhaps due to the involvement of
members of Tortoise and the artiness of presentation), Utonian Automatic holds much in
common with jazz and is an engaging and moving instrumental release.
Joan of Arc- Live in Chicago 1999, (Jade Tree)
The indie rock irony is thick, even in the title, with Live in Chicago 1999 not being a live
recording. The artwork is inspired by Goddard’s film “Weekend,” though this has little to do
with the content of the songs. Joan of Arc’s first two albums mixed very experimental
electronics with a quirky indie rock sound, colored by singer Tim Kinsella’s signature voice.
Here, the electronics are almost non-existent, leaving a subtle pop sound. Sure, there is a
hefty dose of quirkiness, but the songs seem more in line with Kinsella’s solo contribution to
the Post-marked Stamps 7” series. The songs are spacious, almost empty sounding in a sort
of homage to minimalism. The song titles give reference to the band’s obscurity: “It’s Easier
to Drink on an Empty Stomach than Eat on a Broken Heart”, and “Who’s Afraid of Elizabeth
Taylor?” are two examples. Perhaps the most bizarre (and personal favorite) inclusion, is an
out there Scott Walker lounge-esque cover of “Thanks for Chicago, Mr. James.” During live
shows, Kinsella sings the song karaoke style, accompanied by a pre-recorded track. Literary
references abound; Kinsella’s English major background fully evident. There is melody and
occasional hooks to be found amidst the quiet experimentation. To be sure, there are not
radio hits. These are challenging compositions, demonstrating the true depth that can be had
in an indie rock model, keeping the irony real.
The Juliana Theory- Understand This is a Dream, (Tooth & Nail Records)
The Juliana Theory will grow on you if you if you give it a chance. On first listen, Understand
This is a Dream sounded too much like pop-punk rockers Samiam to me. I was almost ready
to dismiss them as another Christian band trying to make a living by copying something in the
mainstream. Like Samiam, Jimmy Eat World, and Promise Ring these guys also play a blend
of well-written power pop with occasional touches of emo. With time, I have learned to
appreciate the things that distinguish The Juliana Theory their influences.
Like many of the emo-influenced bands that grew out of the hardcore scene, The Juliana
Theory clearly features a talented group of musicians, including former members of Zao,
Pensive and Noisome. Brett Detar, formerly a guitarist for Zao is the group's songwriter and
lead singer. Don't let the band's roots fool you though; The Juliana Theory is far from
hardcore.
Understand This is a Dream is a solid CD filled form start to finish with songs dealing mainly
with love and friendship. These guys get deeper lyrically and musically than most of the stuff
you'll hear in the mainstream, but they could easily fit into a modern rock play list between
bands like Blink 182 and Jimmy Eat World. "August in Bethany" and "The Closest Thing" are
both catchy mid-tempo pop songs that deserve to be heard. Both start with soft acoustic
guitars and slowly build into gems.
Switching gears like an emo ballad in "The Closest Thing," Detar sings several flattering lines
telling of the paradox of love: "You're the words that come out easy and I am speechless at
best....You're the beauty that is deeper than eyes can merely see / the closest thing to perfect
but the farthest thing from me." While most of songs don't deal with "Christian themes," it's
clear that The Juliana Theory draws their inspiration from a search for goodness that many of
the artists that get the attention ignore. Powerful, intelligent lyrics are what set The Juliana
Theory apart from the mundane music that surrounds us these days. Detar conjures images
without forcing them: "You're the dream that hasn't ended and I'm still anxious for rest."
Though most of the songs are good, Understand This is a Dream isn't perfect. The over
simplicity and monotonous repetition in "Show Me the Money" is boring when compared with
the pop gems that surround it. This isn't only the weakest song on the album - it's one of the
weakest rock songs I've heard this side of some of the bands on Forefront Records. The
biggest problem is the repetitive nature of the lyrics. The entire song is the same 18 words
repeated over and over again without change: "I thought about what you said / it's not your
money that I really want and I don't care." Some other songs like "Duane Joseph," "This is Not
a Love Song" and "P. S. We'll Call You When We Get There" are good, but not great.
"For Evangeline" is one of the best songs on the album. Jagged distortion erupts as Detar
sings, "The deepest embraces creation." "Constellation" begins with an interesting vocal
delivery over finger-picked chords. At the beginning, Detar's voice is distorted and his
delivery is more like a spoken-word piece (much like the Edge's delivery in U2’s "Numb") as
he sings "Some things can never be explained / Why every sky still looks the same / And I
wonder how my world would look without you." Later, he adds "Why does your love remain
unchained / cause I know it wouldn't be the same without you...please don't forget my name."
But the best part hasn't come yet. After building for a few minutes, everything drops out
except for a single lead guitar part. Slowly, they add a few layers of vocals all singing
something slightly different, but similar enough that it's captivating. After everything builds to
a perfect point of chaos, the drummer pounds on his toms and all the instruments except for
the voices cut out. The voices continue to echo for a moment before waves of distortion crash
down again. Even if the rest of the songs on the album were horrible, I would love this album
just for these forty seconds of beauty.
June of 44– Anahata, (Quarterstick)
June of 44’s new album challenges history, betraying their initial calculated metal heritage that
captured the listening ears of the creative indie rock fringe. Yet, this is a good thing, finding
the band grasping melodies, complex instrumentation, and finding more of a sound and less of
a conceptual gimmick. While those gimmicks have been entertaining and pleasing, here is a
certain depth that we listeners weren’t quite sure that June of 44 had inside. The results are
truly pleasing and pop influenced. 1997’s Four Great Points hinted as the more pop essence;
Anahata delivers the goods in a more accessible way. Additions of trumpets on the opening
track strike the ear that this is a different band and a very different record; the trumpets
continue to add just the right amount of spicy color. The math rock of old is intertwined, to be
sure, but there are more melodic devices and a concentration of pop hooks that just never
existed in the past. Perhaps even a nod or two to the more pop years of Sonic Youth, the
album is intelligent and well
constructed. Overall, a nice departure and progression for June of 44 whom have created a
brilliant accessible and captivating record.
Kid Silver- Dead City Sunbeams, (Jetset Records)
What if Beck was raised on the Beach Boys and Burt Bacharach instead of Muddy Waters and
Delta blues? What if Robert Pollard took more than two minutes each to write a song? You
might have Kid Silver, a.k.a. Ken Griffin, an eccentric singer/songwriter whose songs are not
just ear candy, but soul candy. It’s easy to get lost in Dead City Sunbeams’s pillowy synth
cushions, jazzy breakbeats, and groovy melodic plunge. On the opening title track, Griffin
sings “la-la-la-la-LA” like his life depends on it, while a simple beat strolls underneath it,
dream-like.
“67 Cities of Light” swings with mellow, laid-back cool, while “Hey Tresspasser” is the type of
novelty song that radio programmers latch onto like flies on a dead bird. It, like the rest of
this remarkable album, is accessible, grandiose, and fun. Imagine Ronnie Martin sipping
martinis with Brian Wilson, and you have an inkling of what Kid Silver sounds like it. Call it
space age bachelor pad music if you will...Kid Silver has the New Sound.
LA Symphony- Composition No. 1, (Eartube Empire)/The Cross Movement - House
of Representatives, (Cross Movement Records)
Streetwise church kids with their ear to the pavement will tell you one thing: save for a few
notable exceptions (SFC, Future Shock), Christian rap has always had the unfortunate
presumption of, well, sucking. Clunky beats, basic rhymes, and an overall lack of style has
pockmarked “holy hip-hop,” but the last two years have been different; in fact, they’ve been
exciting. Notable emcees such as the Brainwash Projects and Sup the Chemist have brought
innovation and form to the scene, and there’s more to come.
LA Symphony and the Cross Movement are almost yin-yang in their respective styles. The
Symphony’s tight but abstract form of hip-hop is laid back and packed with bizarre samples
and wacky verses, while the Cross Movement’s brand of music is stuffed with blustery but
exceptional rhymes and head-bobbing beats. In short, the two groups are night and day - but
both ring with the authority of emcees who “keep it real.” On LA Symphony’s long-awaited
debut, Composition No. 1, hot mic rockers such as Brainwash Projects and Flynn Adam Atkins
(established artists in their own right, each with solo albums out) rock alongside newer artists
like Joey Lawrence and the Eternals. Quite simply, LAS is a rag-tag collective of rappers and
DJs that hearken back to the days of the Native Tongues Posse. Their style, spiced with equal
parts Southern California art-bohemian vibe (members of Havalina Rail Co. and Sup the
Chemist make appearances) and self-depreciating humor (who else starts out their record
with the steadfast proclamation of “we suck”?), is like the Wu-Tang Clan on reruns of “Good
Times”: mob mentality, super-tight clique, dope rhymes, and unrepentant fun. The
Symphony’s world is one where you can rap slightly-skewed lyrics about clogged toilets,
flirtatious honeys, and ego-trips, and still keep it realer than Real Deal Holyfield.
On the East Coast tip, the Cross Movement is that rare rap posse – both well-versed in the
language of the street and of theology. It’s refreshing to see artists that study their Greek
concordances and apply them to intricate rhymes - in this sense, the CM is the kind of clique
that easily fuses credibility with Christian music. They’re a group of eight emcees (including
ringleader the Ambassador - a showboat of an emcee that could easily stand up against Nas
and Jay-Z) that employ as many metaphors and similes as possible, making their rhymes
dizzying (and the included lyric sheet a God-send). Although the majority of the tracks on
their sophomore effort, House Of Representatives, are thumping beats washed in sinewy
strings and haunting orchestral grace (at times comparable to the Wu-Tang Clan’s RZA); it’s
the Puffy-like glitz of the funky, danceable “I Am” and the acoustic guitar fills on “Just For
You” that stand out. The Cross Movement is well on their way to becoming the Renaissance
men of hip-hop. 
Labradford- E luxo so, (Kranky)
It is a rare occasion when an album comes along that is so radically different in its approach it
requires the listener to take notice. It is even more rare for that album to be composed of
instrumental tunes. With their fifth album E luxo so, the Virginia band Labradford has
accomplished both of these rare tasks, and in doing so, have managed to create one of the
most stunning albums of the year.
Minimalism of the highest degree is the key word here. Labradford has been through an
evolution from a keyboard-oriented ambient-like band on earlier albums, to a haunting,
twangy, Ennio Morricone-influenced sound on last year’s Mi Media Naranja. On E luxo so the
band has managed to further reduce everything to a powerful sonic essence, much like a chef
will reduce a cooking stock to an intense flavor. This is an extremely quiet album; so quiet in
fact, it makes the sparse instrumentation bear even more impact.
Where guitars were the predominate sounds on Mi Media Naranja, the piano takes center
stage on E luxo so. The intricate, desolate piano melodies are often interspersed with delicate
strings that breathe throughout the compositions like a gentle breeze.
Despite the sparse musical nature of the album, this is not background music. Listening to E
luxo so is like trying to eavesdrop on a distant conversation. The meditative quality of the
songs demands the listener to remain focused. The result is the reward of actually hearing
the album in all of its minute-scale subtlety and majesty. It truly is a wonderful and
refreshing experience.
E luxo so establishes Labradford as one of post rock’s preeminent performers. Those
unfamiliar with the band may be taken aback by the unique characteristics of this
groundbreaking performance, but the shock will soon be replaced with the delight of
discovering something truly unique and wondrous.
Lost Dogs- Gift Horse, (BEC Recordings)
Back in the late 80s, a supergroup of aging rockers slash folkies got together and called
themselves the Traveling Wilburys. The Wilburys were one of the first groups comprised of
very accomplished singer/songwriters (Petty, Dylan, Harrison, Lynne, and Orbison) that
experienced huge success. I don’t know exactly how much the formation, and subsequent
success, of the Wilburys had on the Lost Dogs coming to be, but face it, the Christian rock
scene is based on replication of the secular (so speculation is not unwarranted). Enter four
“classic” Christian rockers: Terry Taylor (Daniel Amos), Derri Daugherty (The Choir), Mike Roe
(77s), and Gene Eugene (Adam Again), Christendom’s Wilburys?
The idea was great; each had a solid following from their work in their own bands. Heck, they
were all getting up in years and considered the forefathers of alternative Christian rock. The
trouble: highly inconsistent records that were all over the musical map and fell short of the
expectations. Not all the Dogs did were bad, they just missed more than they hit.
Apparently the band was listening. In the past, each Lost Dog would bring in a few songs for
the recording. This time, Terry Taylor had over twenty songs while the other Dogs had one or
two each. The group decided to make an album of only Taylor penned songs acknowledging
the lack of consistency in their previous releases.
The results are stunning. Stylistically, the record is 100% alt.country (think Whiskeytown, and
The Jayhawks). Lyrically, the songs are Faulknerian stories of true grit (“Wall of Heaven”, “A
Vegas Story” and “Rebecca Go Home”) and spiritually themed words of wisdom (“Diamonds to
Coal” and “Blessing in Disguise”). Prior to Gift Horse, one listen, straight through a Lost Dogs
record was not possible. Taylor may have written every song, but it is obvious he allowed each
to add his signature to the songs: Daugherty’s haunting guitar and light vocals (“Ghost Train
(To Nowhere)”), Eugene’s nicotine drawl (“A Vegas Story”), Roe’s trademark ringing guitar
sound and smoke stained Beach Boy vocals (“Loved & Forgiven”), and Taylor’s Lennon/Dylanesque whine (“Ditto”) all shine through. Whether this was conscious or not can only be truly
answered in the feature, not the review. The Lost Dogs wonderfully ice the cake with second
to none harmonies, which bring to mind what the Beach Boys could have done had they
played the country card.
On “If You Loved Here, You’d Be Home by Now” the band seems to be trying a bit too hard.
The song doesn’t really fit with the rest of the No Depression style. It’s as if this song was
recorded for the “Boot Scootin’ Boogie” slash New Nashville country/rock crowd and a hit on
“young” country radio. But this is not what Gift Horse is about. Gift Horse is a collection of
Taylor’s songs uniquely branded by each Dogs’ trademark (voice and/or guitar sound) then
filtered through Gram Parsons. It is that good.
Macha- See It Another Way, (Jetset Records)
Originality. Music connoisseurs and critics are always on the lookout for something unique to
catch the ear. In a day when Top Forty radio is dominated by plastic boy bands, sex kitten girl
acts, machismo hip hop, and cookie cutter alternarock followers, it is harder to find something
different. Even the underground is seemingly directionless. Radio is an easy target. But the
indie scene is more difficult. To criticize the arty side of things, is to brand yourself
“uninformed” or exhibiting a “lack of depth” by those in the know.
Arty indie rock, whether it be post-rock weirdness or avant folk or post-millennial electronica,
usually receives accolades due to the sheer absurdity of it all. Bands like Tortoise, Danielson
Familie, and a slew of electronic musicians are lauded as pure genius, when in some cases it is
more accurately pure idiot savant. No doubt, the same could be said about Jetset recording
artists Macha. The point is this: is this stuff listenable?
Macha sheds all the pretension and delivers an incredible blend of indie rock and the Far East.
To think a band that is based on odd instrumentation (Javenese zither, hammered dulcimer,
vibraphone, Indonesian gongs) could be listenable, even accessible, is out of mind. Nevermind
the preconceived notions, toss them aside, Macha is the real thing. From the opening indie
rock made for the Chinese restaurant of “Until Your Temples are Pounding” to the songcraft of
“The Nipplegong”, this record demands attention. “Salty” defines Macha’s ability to play the
traditionalist card while creating an utterly modern sound.
This is not novelty. The songs are instensely reflective, mysteriously catchy, and divinely
sobering. While serious musicians (obviously), the music makes the head bob along with
Southeast Asian rhythms and serpentine melodies slide back and forth. The previously
mentioned “The Nipplegong” is as good as it gets. From driving dulcimer rhythms to the
ambient electronics to the Scott-McCloud-on-ludes vocals, Macha proves that they aren’t doing
this for the sake of being “out there.” They strike a balance with the unique choice of
instrumentation by incorporating a solid drum beat and a big bass line.
It is baffling how this group can take something so far from rock and roll and make it
completely engaging. It has to be heard to be believed, and once the listen takes place, there
is no turning back.
Micromars- International Pop Modulations, (AudioInformationPhenomena)
While the Scandinavian Rock and Roll Revival is in full swing (Hellacopters, Gluecifer, etc.),
Micromars (from Norway) bring over a heavenly garage synth pop record. Ten songs of
absurdly simple melodies, blips and bleeps, staccato rhythms that bring to mind the sounds of
Stereolab, Air, and Joy Electric.
“New Pop Sound” is the defining moment. The tracks Stone Rose-y tight melody is supported
by a driving rhythm guitar and cheesy Farfisa riffs. It opens with a trashy distorted guitar riff
that abruptly stops as electronic gadgets tip and tap. Again, the song stops abruptly and the
Farfisa lays down the basis. Stereolab-like repetition drives while Christer Jensen’s vocals are
soft yet confident. “Alpha Beta” is another gem that moves along sing-songy over the
repetitive keyboard riff. Both of these songs bring the spirit of the pop alchemists of Japan by
utilizing cut and paste trickery (for example, the production moves from the boom box to the
full studio effect).
On “Smile Decoy”, a marvelously ballad, Jensen keeps it simple by singing “I love it when I
see you smile.” “Fast Five” also showcases the mellower less kinetic side of Micromars. This
number is a lazy Stephen Merritt sounding delicacy. The melody is like a buoy bobbing on the
ocean. Jensen is also fond of the instrumental tracks such as the opening “Cheesynova” and
“Trembling Sustain Filter” which bring to mind the minimalist ambient stylings of u-ziq.
Whether Jensen wants to be straight ahead pop or mellow instrumental, the results are
extremely enjoyable.
The record was created using a multitude of gadgets such as Farfisa, Moog Prodigy, Roland
Compurhythm, Korg MS-20, Korg Polysix, Fender Stratocaster and more. Jensen knows how
to skillfully place and effectively integrate them all into his songs. This is a full-length of
masterful garage electronica that is utterly lovely: not too basic, nor too far out there. A
perfect balance between post-rock pop and early 80s synth/new wave. If there is any doubt,
skip to track nine, “French Fi”, turn it up, and boogie.
The Minders- Cul-de-Sacs & Dead Ends, (spinART)
Following up their debut LP, Hooray For Tuesday, with Cul-de-Sacs & Dead Ends, The Minders
are culling from their old and new repertoires. The cd compiles four of the group’s out of print
singles, a few new numbers, and some earlier, unreleased material as well. Oddly enough, it
doesn’t come off as an ersatz construction, but is genuinely cohesive. The glue that holds this
collection together is an adroit rendition of mid-sixties mod pop. And if your at all a fan of
what the Beatles, Kinks, Monkees, and Stones did from ‘65 to ‘66, then you’ll love this cd.
Martin Leaper, headman of the outfit, is a Brit. And maybe because of this his sonic grave
robbing, unlike some fellow e-6ers, comes off with more ease and panache. In fact, Cul-deSacs outdoes Hooray For Tuesday (which at times sounded slavishly retro) in both originality
and song smithing. Some of the better tracks are wonderful rebirths of “birth of cool” era
pop; not yet psychedelic, yet safely distanced from bubble gum. It would be fitting if The
Minders donned colonial uniforms and ruffled lace when they recorded these songs. The first
track, “Build”, sounds like it could complete a base-driven, backwards-guitar trilogy with the
Beatles’ “Rain” and “I’m Only Sleeping”. Other exceptional tracks include the hooky “Chatty
Patty”, “Better Things”, “Now I Can Smile”, and the ultra-catchy “Hand Me Downs”. But the
important thing is that this disc is packed with hits.
The trick for rock & roll luddites (including The Minders, the Lillys, the Apples in Stereo, and
Kleenex Girl Wonder) is to avoid the pitfalls of derivation. Luckily, Martyn Leaper’s studied
approach on the sixties keeps it interesting enough that it doesn’t sound like an homage to a
bygone era. Cul-de-Sacs & Dead Ends would make a fabulous addition to any pop enthusiast’s
collection.
Momus, Stars Forever, (Le Grand Magistery)
It has been said that necessity is the mother of invention, and nowhere is that more obvious
than on Stars Forever, a collection of portrait songs by cocky Scot Momus. When the artist
found himself in legal hot water after a well-intentioned tribute song on his Little Red
Songbook failed to flatter its inspiration, Momus decided to pay for his legal bills in essentially
the same way he created them: by composing songs for and about friends and fans for the
price of $1,000 each. The resulting album is an intriguing, if uneven, collection of wry
baroque pop.
The biggest ball chained to Momus's ankle is the length of the album: at 30 songs (plus eight
parody songs send in by Momus fans), Stars Forever is entirely too long, and most of Momus's
classic dirty-boy humour grows familiar by the start of the second disc. The nature of the
project presents a greater conundrum: by chaining himself to the perspective of others,
Momus cannot allow his often rapier wit to romp as freely as it did on last year's Little Red
Songbook, and many of the turns of phrase become surprisingly predictable.
That being said, Stars Forever is not a ship completely sunk. Momus is a whiz with melodies
(he has written several hits for Japanese pop chanteuse Kahimi Karie), and songs like the
sweet marriage proposal "Shawn Krueger" or the pulsing "Paolo Rumi" showcase his skills at
their finest. Composing all of his songs from various vintage keyboards causes the
compositions to sound torn from a compilation from the 70s: the 1870s. And even though
Momus experiments with vaudeville and showtunes, his clearest identity is as a reinvented
chamber composer. His affectionate portrayals of "Miles Franklin" ("the shelves we put up at
the foot of the stairs/make me long to be a couple like the ones at Ikea") and "The Minus 5"
("Beam me up, Scott McCaughey") are___.
But then there are numbers like the dreadful "Natsuko Tayama" and the too-long "Indiepop
List" (though this, in fairness, is not Momus's fault- 40 members from the e-mail list each
contributed to be included in the same song). It is moments like these the listener longs for
the coyness of past Momus compositions. All the same, it is a great relief that Momus has
taken these steps to free himself from wiry legal tentacles. Now he can return to writing
records from the only perspective fans and followers care about: his own.
The Mountain Goats- Bitter Melon Farm/Protein Source for the Future Now, (Ajax
Records)
These two recently released CDs compile a barrage of seven inch, cassette, and compilation
appearances from John Darnielle’s Mountain Goats. He is the prolific and lyrically ironic
brainchild behind the Mountain Goats, the recordings consisting primarily of him and his
acoustic guitar, with occasional additions of keyboards and his girlfriend’s vocals. For owners
of the originals, these songs have been more finely mastered, improvements from the highly
lo-fi sounds typical of older Goats’ material. The third in the series, Ghana, is to be released
late in this century, making the trilogy complete. What makes The Mountain Goats wonderful
is John’s ability to take ordinary events and explode them into an interesting description or
heightened ironic story. At times humorous, occasionally with deadpan seriousness, the lyrics
are mixed with catchy acoustic melodies which hammer the words home. His sometimes offkey voice makes everything all the more beautiful. An interesting retrospective and wonderful
collection of the sometimes out of print collections, but missing the narrative of times and
places, people and things one would expect from John in introducing his songs.
Pavement- Terror Twilight, (Matador Records)
Billy Corgan once infamously alleged that "Pavement does not write emotional music", an
accusation largely logged because of Pavement's own snide slam on Corgan on Crooked Rain,
Crooked Rain's slacker anthem "Range Life".
One is tempted to wonder whether Corgan might eat his words were he to get an earful of
"Spit on a Stranger", the oddly affecting, souffle-light love ballad that opens Pavement's fifth
full-length recording. Over a gracefully ascending guitar line, Stephen Malkmus warmly
intones "Honey, you're a prize and I'm catch, and we're a perfect match" with nary a trace of
a smirk. It's enough to make an optimist of Denis Leary.
Long purveyors of the minimal, Pavement opts for luxury on Terror Twilight, recording on 24
tracks, guided by the sure hand of Nigel Godrich (Radiohead's OK Computer). While Godrich's
much ballyhooed manning of the production helm does not afford Pavement any substantial
shifts in sound, it does enable the five aging indie rock wise-asses to unearth a treasure
heretofore undiscovered: their hearts.
It's not that Terror Twilight is spilling over with obvious sentiment. Malkmus still manages the
same heady turns of phrase the band built its legend on ("architecture students are like virgins
with an itch they cannot scratch," he sings in "The Hexx"), but beneath each of the tracks is a
palpable sense of warmth and optimism. The melodies glide effortlessly from verse to
chorus, becoming more memorable and endearing with each listen. Seven years after Slanted
and Enchanted blasted out of dorm rooms across America, Pavement is uncovering the trick of
aging gracefully where most of their peers have become bloated (see Sebadoh) or imploded.
The songs on Terror Twilight brim with good-natured confidence, be it the valentine card of
"...Stranger", the soft pleading "Major League", or the entendre-laced "...And Carrot Rope".
The creak of Malkmus' voice is more sympathetic than sardonic, Scott Kannenberg's angular
guitar is drenched in echo, filling all available spaces with gentle tones.
When the material moves to more bellicose terrain ("Platform Blues", "Cream of Gold"), the
eruptions of sound are natural--the expected explosion after bars of tension rather than
indiscriminate wake-up calls to the listener. Pavement has become more adept at the art of
songcrafting, and songs like the seemingly sympathetic "Ann Don't Cry" manage a melodic
sensibility that is all too rare.
All told, Terror Twilight is less a reinvention of Pavement than it is an expansion: five indie
legends brought to their natural conclusion. After nearly a decade, Pavement still do not
pander to the obvious or play for the easy payoff. Remarkably, the rewards have never been
greater.
Plankeye- Relocation, (BEC Recordings)
In the realm of Christian Alternative Music, everyone knows how history goes. Both Scaterd
Few and the Altar Boys beget Plankeye; Plankeye, in turn, beget an entire fleet of power pop
outfits with melodic punch, radio-ready dazzle, and working-man charm. In fact, you can
thank (or chastise; your choice) Plankeye for Quayle, Driver Eight, the Corbans, and a million
other bands whose names you forgot by the time 1997 was through.
That being said, Plankeye shows no sign of slowing down, despite their almost-elder status in
Christian rock (Relocation is the band’s fifth effort) and the fact that last year found them
losing not one, but two members, including lead singer Scott Siletta. On Relocation, guitarist
Luis Garcia and bassist Eric Balmer take over songwriting and vocal duty, and as the title
suggests, the songs are a bit of a move from past Plankeye offerings, without straying too far
from their trademark harmonic thrust and guitar crunch. It’s a crying shame that the songs
aren’t as good as they could be - it’s frustrating, really.
Out of the twelve songs here that make up Relocation, “ I Can’t Complain” and “Call Me Liar”
are the real corkers here, tuneful smart bombs that twist and coil against Garcia and Balmer’s
pleasant vocals. “Indivisible” is the biggest knockout, an eerily-melodic tip of the hat to the
Police. “You Got It” burns with a Stooges-like clatter, until the band ruins it with predictable
chord changes, as they do a couple other times over the course of the album. A good chunk of
Relocation sounds half-baked, but the songs that do work, work good. Plankeye should focus
on the songs, and breathe life back into Christian rock and roll - unfortunately, they just don’t
do it here.
Ply- Somewhere Beyond Farewell, (Burnt Toast Vinyl)
Turning out releases as quickly as Burnt Toast Vinyl does, it seems that the individual records
don't always receive the attention they deserve. This is one of those records, which seems to
have come out unnoticed. Following a release some time ago now of a seven inch, Ply offers
up a debut full length. The seven inch showed signs of better things to come, and this record
proves that by grabbing the listener with a catchy brand of indie-rock. I'm not talking indiepop, just plain old catchy rock with a sensitive nature. Digging through this record I'm
reminded of a band out of Chicago called Seam. Perhaps it is the way the songs build up, or
just that like Seam I think of water when listening to this band. Oddly enough (like Seam) it
is the vocals that are my least favorite trait of the band. Fortunately, the music is solid
enough to carry the band and make this a pleasant debut effort. I must add that the use of a
flute on the song “Oceanic Eyes” is a very nice touch. In addition the packaging on this one
definitely earns an A, but that has come to be expected with those Burnt Toast Vinyl releases.
Promise Ring- Very Emergency, (Jade Tree)
With the first few notes and phrases on "Happiness Is All The Rage," I realize that there is
something different, in that there is not much that's different. Last year's Boys and Girls three
song EP hinted at an entirely new direction for the Promise Ring (following 1997's highly noted
Nothing Feels Good). There was a lot of talk of fame and fortune for indie rock turned
popsters and their ride to the sell-out bank and full-on stardom. Very Emergency seems to
forget that the EP was ever released. With all due respect, Very Emergency does add depth
and meaning to that Nothing Feels Good sound due to more layers, fuller sound, and overall
intricacy, but that total embrace of pop is left behind. While not a bad thing in and of itself,
the EP was an interesting departure, mixing in a slow, dark pop element, yet Very Emergency
emerges with mostly over the top guitar oriented rock songs. However, after more than a
dozen listens, I have grown to the conclusion that there is magic to be found on this record,
more magic than my initial impressions allowed me to find. "Happy Hour" is a full-on rock and
roll number with very catchy hooks. There are some subtle treasures found on tracks like
"Things Just Getting Good" a slow tempo ballad with added in strings (even a wry Leonard
Cohen reference) and some guest vocals by Jenny Toomey (Tsunami/Grenadine/Licorice/etc).
The album winds down in an almost perfect manner, with the strikingly smooth "All of My
Everything" and its mysteriously melodic line "Why did we ever part and give back our hands."
In the end, I find another layer of polish on a solid old model with enough subtle tricks and
slickness to catch and hold my attention for another round.
Rachel’s– Selenography, (Quarterstick)
Perhaps it is the comparative lackluster appearance of the packaging that affects my aural
experiences, but Selenography falls short of the lush post-rock style their past compositions
have established. This album maintains that greatness, but does little to further the efforts.
There are additional instruments, such as the harpsichord compositions. Yet, these seem
strained and don’t add much to the typically complex and full-on orchestrated songs for which
the Rachel’s have been renowned. And while it may seem as though I secretly despise the
record, this is surely not the case; while not the best Rachel’s release to date, in my opinion,
this band is the best at what they do. Their neo-classical compositions and full fledge
instrumental experimentations are supreme, rivaled by none. Perhaps if you have not
experienced the beautiful intricacies of the Rachel’s, this would be a fine introduction, but for
me, I would rather continue to listen to 1996’s The Sea and Bells over and over again.
Rainer Maria- Look Now Look Again, (Polyvinyl Records)
The girl (Caithilin de Marrais) finally sings mostly on key for the whole record. That, for me,
sums up what this release is about. After a truly, vocally, terrible first EP, and semi-tragically
sounding full-length, Rainer Maria actually have a chance to shine with Look Now Look Again.
Their mission has been complicated, to mix in female vocals. Somehow, this formula has
never taken hold on the recordings, but has been successful at live shows. Rainer Maria is a
very interesting and engaging live act to watch and the vocals somehow come across as
pristine. The guy (Kyle Fischer)/girl duo vocals characterize the Rainer Maria sound. Their
songwriting skills have always been solid and interesting, borrowing from the "emo" camp in
the indie rock world. Their songs aren’t necessarily spectacular without that vocal element,
escaping the poetic brilliance their name may allude, though, they are interested in such
elements. The lyrics take on common themes of tragedy in relationships, and the search for
love in general, the stuff that all of emo kids live for. This record has stayed on my turntable
much longer than their other releases have combined. There are gems to be sure, found in
the very quiet song “Rise” or rocking album ending “I’m Melting!” where Caithlin hits the
vocals dead on. Check out “Centrifuge” which somehow captures the essence of the
male/female vocal duo in an energetic formula. Perhaps the third full-length will truly unfold
with a breathtaking brilliance that somehow seems to exist in the raw on Look Now Look
Again. The third times a charm, "they" always say.
Red House Painters– Retrospective, (4AD)
Red House Painters frontman Mark Kozelek could be a poster boy for individualism. He
formed the band in the late eighties and shrouded it in mystery. His approach can best be
described as minimalist, at least on the surface, in every aspect. Each RHP album cover
features some mysterious photograph of inanimate objects such as a bed, a rollercoaster and
a bridge. The booklets accompanying each CD provide little or no information, other than the
obligatory song title, author information and running times. The songs are often strange,
weird-tempo exercises that meander through some sonic landscape where time is irrelevant
and the expected verse-chorus-verse pattern is often non-existent. Kozelek’s lyrics are often
disturbed, enigmatic and presumably introspective. He has often been reluctant to participate
in photo sessions and interviews. All of these elements combined to create an aura around
Red House Painters that led to the creation of an ardent following of devoted fans who have
tended to mythologize Kozelek and his reclusive nature.
Kozelek’s association with indie label 4AD appeared to be a natural fit. 4AD label chief Ivo
Watts-Russell has always favored bands with an ambient/minimalist approach and bands with
unique sounds that never quite fit into any sort of mainstream pattern. Yet it was Kozelek’s
fierce independent nature that ultimately led to his parting with 4AD (over what started as a
Kozelek “solo” record and ultimately became Songs for A Blue Guitar – an album Watts-Russell
rejected, which led to the mutual parting of the band from the label).
Retrospective is a look back at those recordings (now out of print, but soon to be reissued)
released on 4AD. The package features two discs. The first features a sort of “greatest hits”
of RHP’s finest moments from five different 4AD releases (Down Colorful Hill, two self-titled
discs often referred to as “Rollercoaster” and “Bridge”, the Shock Me EP (released only in the
UK), and Ocean Beach). The second features a collection of demos, outtakes and live
recordings, assembled with the help of Kozelek himself.
From a musical perspective, the CD’s provide something for everyone. The RHP novice will
have a chance to hear the band’s best work on songs like “Medicine Bottle,” “Katy Song,”
“New Jersey,” “Grace Cathedral Park,” and virtually every other song on the first disc. A very
clear picture of Kozelek’s strange, intimate, obsessive nature is apparent when the songs are
absorbed. The second disc provides longtime fans several morsels available previously only
on poor bootleg recordings, and then only to those who had “connections”. In either case, the
listener can revel in the wonder and beauty that is Red House Painters.
In more recent years, Kozelek has seemingly decided to shed his cloak of mystery. He has
spent a great deal of his time since the release of his Supreme/Island debut Songs for a Blue
Guitar on the road with an acoustic guitar. His shy brooding nature has waned somewhat, as
he has been known to joke and converse with fans from the stage. He has openly admitted
that much of his influence comes, not from suicidal types like Nick Drake or Tim Buckley as
many fans had surmised, but from mainstream singer/songwriters from the seventies like
John Denver. (Kozelek has been working on a Denver tribute compilation for a couple of years
now.) He has admitted much of his earlier attitude owed as much to his fear of performing
publicly as any sort of unique individuality.
It remains to be seen whether a brighter and happier Mark Kozelek will actually emerge as
Red House Painters continues to evolve. Nevertheless, Retrospective yields an essential look
at an artist of great depth and intelligence.
Red Stars Theory- Life In A Bubble Can Be Beautiful, (Touch and Go)
Red Stars Theory is an odd breed borrowing from many styles of music. The technical,
calculated, drum rhythms represent a post-punk math rock intelligence. The highly effected,
dirgy guitar colors evoke the best in space rock. The overlying moodiness of strings brings the
intensity of all that is held esteemed in post-rock. All of these parts interact and are over
washed with a melancholy soft vocal line and a quiet influence of ambient effects and sound
washes. A strikingly different female vocal colors "A Sailor's Warning" in an almost jazz/R&B
style, taking this sweetly darkened style into new dimensions. Life In A Bubble Can Be
Beautiful is a fragile, moody assembly, perfect for a rainy day, to set the pace of a gray
melancholy; a tragic soundtrack to life. Upon repeated listens, the intensity and mood grows,
like all too familiar feelings and situations.
Starflyer59- Everybody Makes Mistakes, (Tooth and Nail)
If I could buy a pint of what Jason Martin’s drinking for every boring, pretentious indie rock
singer/songwriter, I’d do it twice. Martin, he of Starflyer59 fame, evolves with every guitar
tremble and feedback squeal he squeezes out of his conscious. Back in 1997, after two albums
and two EP’s of same-y, whispered drone pop that showed us Martin’s inner Ride, he
unleashed Americana, a blistering, loud rock album (his first with a full band) that gave the
public a glimpse of his inner Black Sabbath. And ever since then, it’s been Splitsville for Martin
and Predictability. 1998’s subtle The Fashion Focus was a pop dream that echoed with synths,
meaty drums and brittle guitars. What’s more, with his marriage (booting him out of the
Bummed-Out-Over-A-Girl-School-of-Lyric-Writing), he began penning thoughtful, concise odes
to the boring minutiae of every day life. “I Drive A Lot” was about driving a lot; “Card Games
and Old Friends” was about card games and old friends. Things got simple and to the point,
and, with the release of Starflyer59’s newest opus, they’ve remained that way.
Some may take the title of Everybody Makes Mistakes as a disclaimer or warning; not so. It’s
just the reasonable next step in the evolution of a band that is changing the way people view
Christ-based art. Martin still undersings, but he never underplays: the guitar playing on this
record is balanced and poised, never veering off into an unneeded shriek-fest or wanker jam.
Throughout it all, the band plays with new sounds. “No New Kinda Story” glistens with gaunt
strings and a cloven-hoofed breakbeat that pushes the song into perfection, while “20 Dollar
Bills”, although a bit aimless, resounds with grand piano and Jason’s straight delivery. “A
Dethroned King” is dirty, a great Led Zeppelin-like crawl through swampy guitars. The untitled
hidden track even flirts with avant-jazz, throbbing with misty keyboards and a saxophone solo
that burns with tension.
Everybody Makes Mistakes, while in the same stylistic vein as The Fashion Focus, is still
unmistakably fresh; a dirty rock’n’roll record that let’s Martin’s aforementioned inner Ride and
inner Black Sabbath shake hands and be friends. Here’s hoping that Martin continues evolving;
Christian music needs him.
Stereo Total, My Melody, (Bobsled Records)
In the early 1960s rock ‘n’ roll made its way from America and England to Germany, France
and the rest of Europe. The result was a bizarre monster; as absurd as it was distressing. For
example, in 1965 the BBC aired a show that featured the music of Lennon and McCartney . . .
as sung by Euro celebs, evoking Les Beatles of cobbled cabaret. This is one of the fields
where pan-nationalists, Stereo Total, go digging. My Melody, their second U. S. release,
conflates lounge, pop, rock, rap(?), and avant-whatever in a smorgasbord of po-mo debris.
Granted, there are a host of kitsch-riddlers out their disguising their music behind a fetish
mask of irony (Fantastic Plastic Machine, Cornelius, Kahimi Karie, and Pizzicato Five to name a
few), but there’s something really intriguing about Stereo Total. And it’s not just that they
sing in a babel of tongues (five altogether). It’s also not the diffusion of styles. The key is,
rather, that they write catchy, mythical pop songs.
Their formula is a winner. They employ head-bobbing-pre-mod Beatles, franco lounge, and
some kind of sultry kraut mix-up to construct engaging songs. What’s more, they are
proficient in every lo-fi idiom know to man or robot (enough to make GBV blush
uncontrollably). Of the original songs, those that stand out include the enticing “Tout Le
Monde Se Fout Des Fleurs,” “Plötzlich Ist Alles Anderes,” the angular-pop “Beauty Case,” and
the pidgin English numbers, “I love you, ono”and “In/Out.” Their covers include a score of cult
favorites by Gainsbourg, Spector, and Wolfgang Müller. Melody also contains a few homages
to the Beatles, such as “Ringo, I Love You,” the Love Me Do induced “Partir Ou Mourir,” and a
French language version of Drive my Car. A recurrent automobile motif adds to the record’s
levity (Renaults and Les Cars go honking and screeching about select tracks).
There is rarely a dull moment on Melody. It’s definitely not for the parochial in spirit, but if
you like to travel and enjoy exploratory pop songs, this could be your cd de jour.
Summer Hymns– Summer Hymns 7", (Made In Mexico)
The amazing Zachary Gresham (ex-Joe Christmas, guitarist/vocalist) is back with a new band.
These two songs feature a drippy southern indie rock style. The A side continues on with a
Joe Christmas range of sound, colored fully by Gresham’s voice, which was an element that
made the band so endearing. The B side stretches the boundaries, mixing in odd effects and
an almost tropical guitar sound. The vocal melodies have an old time gospel style to them,
creating a very different sounding song. In the end, two songs prove to be too few, but it’s
Gresham and I’m sure not complaining.
Superchunk- Come Pick Me Up, (Merge)
The indie legends, as if world indie has been around long enough to dub bands as legendary,
are at a crossroads. Records by such geezers as Pavement, Guided by Voices, and The
Flaming Lips have all exhibited a new direction of sorts. Superchunk joins these curmudgeons
with their new record, Come Pick Me Up.
They waste no time showing a sweeter, more grown up sound on the opening track, “So
Convinced”, as well as, the following song, “Hello Hawk.” Mac McCaughan’s vocals are
smoother, and the guitars are more subdued. Yet, this is still Superchunk. This means poppier
rather than punkier, more indie rock less chaotic, and the keyboards are a nice addition.
Superchunk have not totally abandoned their punk roots (that needs to be said one more time
in a review right?). “Cursed Mirror” is catchy as all get out while maintaining the energy that
Superchunk has been known for. The band experiments with a slight variation on their sound
with “Pulled Muscle.” The keyboards are reminiscent of the light Beach Boys-esque licks on
their more “progressive” songs. This is another example of how Superchunk has found a
balance between indie rock and their power punk pop. “Good Dreams” finds the thirtysomethings that cut their indie rock teeth on On The Mouth, giving high fives; this is the
sound that put Superchunk on the map. This kind of stuff doesn’t let you down. The chorus
soars as McCaughan’s sings in a Beach Boys/Matthew Sweet glee: “Hold me all night, give me
sweet dreams.” When Superchunk delivers a solid song, they completely deliver.
While the record maintains a high standard with the aforementioned tracks, the rest of the
record gets bogged down by songs that don’t exactly grab you. “1,000 Pounds”, “Pink Clouds”,
and “Honey Bee” are good songs, but just lack something. It may be the unbridled energy, or
a solid hook, it is hard to tell. By no means are the songs throwaways, but they are missing
something. Each song has an element of excellence, but taken as a whole, the bullet just
misses the bullseye.
Overall, this Superchunk record is a solid release, though it isn’t always clicking on all
cylinders. It is a tall order to be sure, so perhaps one can overanalyze. Just sit back, relax,
and enjoy the ride. Sometimes the scenery is just there, other times you’ll see something
extremely interesting.
Tristeza- Spine and Sensory, (Makato Recordings)
After last year’s amazing 2 song seven inch, Tristeza’s instrumental full-length is one of the
most remarkable releases thus far in 1999. Hailing from San Diego, Tristeza manages to
escape the more emotional hardcore essence, rampant in their scene counterparts. The songs
are introspective, brooding, highly melodic. Influences come from an indie and punk rock
background. The music is technical, but not overtly calculated, keeping them from a "math
rock" categorization and escaping a sense of neo-classicism. A comparison could be made to
the Tortoise school of post-rock, yet Tristeza is distinctly different, offering a healthy dose of
melodic hooks and purpose, having done their indie rock homework.
Vermont- Living Together, (Kindercore Records)
It seems as though the trend is to make slow pop albums with a heavy acoustic presence
these days. Some folks from the Promise Ring (singer Davey Von Bohlen and Dan Didier)
seem to be riding on the bandwagon, picking up a friend from Pele/Loomis (Chris Rosenau)
along the way. In concept, the album is an amazing and different effort. The stripped down
sound allows a new direction, apart from their more intense bands. In reality, the rawness of
Von Bohlen's voice is (at times) whiningly straining and occasionally painful on the strange
(see "Bee, Leave Me Be", while this might work for the emo crowds, here it is almost out of
place). He hits it more solidly on "Tiny White Crosses" which offers a sort of reprise of the
Promise Ring classic "Pink Chimneys." Rosenau seems more quietly at home in this genre,
especially with the smooth "Where Planes Go Down." There are some brilliant slow pop
contributions, with quiet hooks to linger about. The lyrics are sometime introspective, deep,
and intelligent, but other times overly wry and ironic, take the opening "Indiana Jones": "I
wonder if any Indiana Jones movies come on tonight?" The chorus are often greatly
repetitive, creating a mood of lingering melody or annoyance, depending on the listeners
mood and take on the situation. An interesting departure and an interesting listen, but not
the most amazing album of the year. The title track "Living Together" should have been the
side A of a splendid 7", showcasing the mastery of this trio's slow pop qualities, with the
brilliance of "Where Planes Go Down" providing an amazing B side.
The World Inside- Roobrik
Having almost vanished from the music world, with the exception of the low-key instrumental
release under the name Sunsites, Jesse Sprinkle of Poor Old Lu fame returns with a new band
a new record. Actually, the band has since been formed to tour off the record. Now residing
in upstate New York, which Robert Deeble reveals in his song "Billboards" when he says, "Hey
Jesse, how's New York?" Roobrik seems to answer that question with a confident “Good”, as
Jesse has a fresh offering of tunes departing from his previous efforts and regional sound
where he grew up. Having previously been a drummer in the aforementioned band, one
would expect this. Even still, it's all in there, just covered over by acoustic guitar sounds and
instrumentation. It's not hard to tell listening to the World Inside that Jesse's influences cross
between the rock and folk genre, a blend done so often in such a mediocre way, but pulled off
well here. The strength of this recording lies in the song-writing and the potential the songs
have to appeal to listeners with a broad range of tastes. Whether the term college rock still
applies today or not, this is a record I could just as easily hear playing in a dorm room at
college as a shy music lover with the volume low enough to not exceed the noise level enough
to be heard. However, the addition of a Connels tune at the end of the record, at the same
time seems to suggest that maybe like the Connels this music will lost on the younger
generation. One could only wish music in the mainstream sounded this good.