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 1.30.12
Dwarr
STARTING OVER-(DRAG CITY)-Man, I have to give Drag City credit; they can really dig up some obscurities, and Dwarr is just about as obscure as you can get. It's from the 1980s, and is the basement weird metal-rock kid Duane Warr, and Starting Over was a "lost" "final" album from those heady days. It's a concept album--I think--of destruction. Warr's got a breathy voice that kind of sounds like a blues singer with laryngitis, over spaced-out wah-wahs and heavy metal guitar solos that sound like they've overdosed on codeine. He had a taste for sci-fi and apocalyptic visions. But like most apocalyptic visionaries, the vision isn't really clear for those of us who are listening. For a kid making "outsider metal," this isn't bad; it really is something to hear, especially "Lonely Ecstacy" and "March of the Insects." The last song, "I've Been Thinking," he's in full-on Jimi Hendrix mode, and it's amusing. He gave up his hard-rock visions, became a born-again Christian, and is now selling real estate. Look him up; he looks happy, and probably made the right decision to give up the rock. I hope he still makes music now and then, though--but just for fun. www.dragcity.com JOSEPH KYLE
 1.30.12
The Left Banke
TOO -(SUNDAZED)-The 2nd, much less known record by The Left Banke (from 1968) get the reissue treatment by the much respected Sundazed label (who always nail it). There’s no bonus tracks but that’s ok as the ten here are well worth it and it comes in a colorful gatefold digipak with a beautiful booklet. The record, by all accounts, should have been a stinker, since a few of the major members left the band (Michael Brown was gone) but it’s not. Remaining were vocalist Steve Martin as well as Tom Finn and George Cameron (and keyboardist Tom Feher, too) and despite Brown’s departure this bunch proved that they could still write near-perfect crystal pop tunes. Check out the gorgeous “Desiree” (here in a mono version) or the swooping opener “Goodbye Holly”, the folky “Sing Little Bird Sing” and the brittle “Bryant Hotel” for proof. Some folks consider this one to be the more consistent of the two T.L.B. records and me? While I still like the debut more, and had not previously heard this one, at least not in its entirety, this is still a terrific pop record done by guys who I wish had a few more records in ‘em. Interesting/informative liner notes by Scott Schinder. www.sundazed.com
 1.30.12
Poland
THE SUN AND THE SITTING ROOM -(CLASS M)-Poland’s latest record is a pure delight, a brilliant meld of, say, vintage Randy Newman — when he used lot of clarinets and other band instruments — with Dukes of Stratosphear-era XTC. And, um, I hear a bit of Queen, circa Queen II (the song “Nocturne of Blonde” even hints at “The Fairy Feller’s Master Stroke,” and just for knowing that, this could be the last review I ever write for Dagger). Each song offers surprises at every turn, from sharp melodies (“Toward Albion”), chamber pop niceties (“The Orderly Life of Mr. Barrows) and ELO-type bombast (the amazing final track “Emily and Alice in the Fall, Part 3”). The watchword with this disc is strings: Some combination of violins and violas appear on nearly every track. It’s a departure from the Seattle outfit’s previous efforts that were far more linear and quite transistor-radio friendly (lots of treble, lots of swing), but Sun. . .is no less excellent. It’s is a smart record for all sorts of music lovers,. I absolutely can’t wait to watch this band continue to develop. myspace.com/classmrecords ANDY GIEGERICH
 1.30.12
Roedelius Schneider-Stunden
S/T- (BUREAU B)-This is a quiet record, made by two generations of masterful German music makers. Hans-Joachim Roedelius has been making music for nearly 40 years and is a founding member of the German progressive scene. Stefan Scheider is a generation younger, but has been an active member of the 90s German scene as a member of To Rococo Rot. Stunden is a blending of the two men's abilities: Roedelius and his gentle piano playing and Schneider's tasteful, restrained electronica. Overall the results are very, very mellow; it's the sort of thing you'd play at home for relaxation on a rainy Saturday morning, or perhaps the soundtrack music for a hip bookstore. Occasionally, it's just piano, like on the opening "Stunden I" and "Stunden II." When the two collaborate on "Single Boogie," though, it's an interesting blend. There's a pulsing dance rhythm beating away, whilst pretty jazz piano plays over it. It works quite well because it's both relaxing and active. "Zug" is the only time the duo get frantic and futuristic, and it sort of ruins the mellowness of the rest of the record. Still, Stunden is a wonderful, quiet record, and will soundtrack your quiet moments quite nicely. www.bureau-b.com JOSEPH KYLE
 1.30.12
Walter Rose
CAST YOUR STONE- (SELF-RELEASED)-In contemporary American culture, being over 30 is rarely looked upon as a positive. The Country and Blues music genres might be two exceptions. Going into the blows and challenges through which Walter Rose has lived would cheapen this report. But it seems safe to say that all the living Rose has done in his 30-something years has apparently not been for naught. The tasteful Alt-Country sounds on this debut glow with quiet emotion and maturity; attributes that generally append to old soul/younger-body types, and to artists who’ve been on the planet for some time. Rose’s music feels like it’s been weaned on tradition, and has a intimate relationship with Folk. Case Your Stone sparkles with electric and pedal steel guitar footnotes and punctuation. I like the guitar interplay, and the conversations between guitars and vocals. I like the fact that Rose is emerging. He has enough stories for his dusky, laidback vocals (imagine a more laidback Bob Seger) to haunt the edges of our consciousness for years to come. www.walterrose.bandcamp.com MARY LEARY
 1.23.12
B-Movie Lightning
RAIN ON A RIVER-(MICROPOLIS)-After releasing a few singles in the past few years, Galway, Ireland’s Mike Smalle offers his debut with the help from none other than St. Etienne’s Ian Catt. The attention to detail is what makes this an enjoyable, and emotional, headphone listen. “Triple Trouble” begins with upbeat R&Btronica complete with Mike’s falsetto lead, “ooh ooh” female background vocals and horns. Things slow down for “Take Yourself to the City,” but in a beautiful way and then rises with soaring guitars. (This track was also released as an EP with three remixes.) Next, “The Spooky West” returns with the R&Btronica sound and Mike’s deadpan vocals, but it makes you want to head to the dance floor. By track four, “Foxy Trot,” is where I finally figured out who this record reminds me of, James Yuill. Smalle sings “You should be dancing, and not telling me about all the things you want to be.” Not bad advice when you crank his music. Other references include movie themes, for there are a number of instrumentals here. In fact, “Theme from B-Movie Lightning” fits the true spy thriller mode. Another highlight is “Footfalls at Echo Park” where Tears for Fears’ “Pale Shelter” meets Coldplay. Also, “Pop’s Last Dance” showcases Mike’s deadpan vocals again and flute-like synths(?) that could easily run over the closing credits of a romantic comedy. Throw in a few more instrumentals and you have it. Rain on a River is all over the electronica genre place, which makes me wonder how long this has been in the making. All in all, it was well worth the wait and I look forward to B-Movie Lightning’s next output. www.bmovielightning.com ERIC EGGLESON
 1.23.12
Opposite Sex
S/T -(FISHRIDER)-Fishrider Records head honcho, Ian Henderson is a huge music fan who seems to constantly be listening and discovering. He’s released fine records by his own band the Dark Beaks, a few by his brother’s band The Puddle (who had an early release on the Flying Nun label), a Robert Scott single and now this. Opposite Sex. Who? That’s what I said …..but give it a listen, it is off-kilter pop of the finest order. Despite having a statue of 3 naked men on the cover the first thing you hear in the opening song “La Rat” is a lovely female voice, that of Lucy Hunter, who , along with guitarist Fergus Taylor and drummer/vocalist Tim Player make up this New Zealand band. From the opening tune you think it will be a straight pop record , but both “Sea Shanty” and “Mary Lu” (the latter sung by Player) the cars lost a wheel and headed down a bumpy road to the land of those terrific Messthetics comps that Chuck from Hyped to Death has been releasing (featuring REALLY obscure UK post punk bands from the late 70’s/early 80’s). A few of my other faves include the eerily creepy “Panther Fight” (sounding a bit like an old Marine Girls) track), the shuffling “Dada Creep”, the thumpa/dumpa “Master/Slave” , the bent/tweaked “Got to Eat”, the scattershot “Hamish and Chips” and probably a few others. Come on there punko, instead of taking either the left or the right at that fork in the road go straight through the woods and see where it take you. This will be your soundtrack on that journey. You’re welcome. www.fishriderrecords.wordpress.com
 1.23.12
Wussy
STRAWBERRY -(SHAKE-IT)-Wussy is part late-90s American indie rock, part blue-collar rock and roll, part Southern hoedown, wrapped in deeply personal lyrics and expressive playing. On Strawberry, the band’s fifth (not counting a remix album and a brilliant acoustic reboot of their 2006 debut) and perhaps best album, the combination of new drummer Joe Klug with bassist Mark Messerly creates a tighter rhythm section, allowing the band to add more varied and expressive instrumentation to their arrangements. Here, lush piano adorns many tracks, lap steel guitars float in and out, and various keyboard instruments compliment the songs in ways the band has only hinted at in previous releases. It’s in full force at the :42 mark in “Pulverized,” as singer/guitarist Chuck Cleaver sings “You say no/and I feel pulverized” and the entire band launches into a pulverizing attack of its own. It’s not until the record’s third track, the sublime “Waiting Room” (one of the great songs of 2011), where the record kicks into its highest gear, pausing only briefly for the gorgeous countrified waltz “Grand Champion Steer” before hurtling to a powerful climax with the anthemic “Wrist Rocket," finally letting the listener down gently with the beautiful slow build of “Little Miami.” While past Wussy efforts have largely highlighted the interplay of dual singer/songwriters Lisa Walker and Chuck Cleaver, Strawberry feels like a full band effort, the aforementioned vocalists augmenting – but not dominating – the efforts of an unheralded but great, great American rock band. www.shakeitrecords.com AL CRISAFULLI
 1.23.12
Yukon Blonde
FIRE//WATER- (NEVADO/DINE ALONE)-This terrific Canadian band, who used to be known as Alphababy (they have much better name now IMHO) released an excellent self-titled debut record in 2009 and I was wondering what happened to them. We heard nothing in 2011 and now , in the early stage of 2012, they release this ep. OK, so I was hoping for another full-length but the 4 songs on here are all superb. The band seems to hit that sweet spot where indie pop, garage rock, folk and Americana all come together into one big happy marriage. Like a lot of bands these days, hard to categorize (only a problem for us writers) but hey, when the songs are this good, who cares! Opening cut “Fire” starts out eerily (with lyrics “They’re setting fire to the ocean”) but then this little Beach Boys part kicks in with “Oooh ooh, ah ah ah.” No really, you gotta hear it. “School Kids’ happily bashes away with more gobs of melodies, harmonies and a drummer who’s happily bashing away. The two final songs (on the “b-side”) “Water” and “Choices” are both nearly as good. www.nevadorecords.com www.dinealonerecords.com
 1.23.12
The Howling Hex
WILSON SEMICONDUCTORS- (DRAG CITY)-When the duo of Royal Trux split, the solo careers showed who brought what to the equation. Jennifer Herrema was the metal side, and Neil Michael Hagerty was the lo-fi blues/folk side. Herrema's career as RTX has been consistent and enjoyable; Hagerty solo has been much more inconsistent. This new EP, though, is definitely one of his more enjoyable releases. Jaunty lo-fi acid folk jams that aren't particularly drugged-out and tend towards the singalong. It sounds like he's just recording in his basement, just him and his guitar and his muse; it's very early 90s sounding, in a way. The first three songs aren't bad, but it's the last one that really gets me. It's a ten-minute epic, but it doesn't feel like a ten-minute epic. Hagerty's voice is in excruciatingly fine form; in fact, at times his singing is nearly angelic. It's this brief moment of heaven that makes the song worthwhile; repeated listens have only made me more receptive to it. Though brief, Wilson Semiconductors is a charming little record. www.dragcity.com JOSEPH KYLE
 1.16.12
Kate Bush
50 WORDS FOR SNOW-(ANTI)-Much has been made of Ms. Bush and her unwavering commitment to her muse, and rightly so; she is a true pioneer of modern music. Even when she made an "alternative rock" record (The Red Shoes), or released a bizarre collection of rerecorded songs, her credibility never wavered. Now comes her latest work, a unique record dealing with...snow. It's her darkest record to date; musically, it's as dark as the evenings she is envisioning, often being nothing but a piano and her hauntingly beautiful voice. She has some guests, such as the legendary man of letters, Stephen Fry, on the title track, reciting the fifty words for snow, while she counts them for him. In lesser hands her yelling, "c'mon man, you got 44 to go!" would be a joke. Also interesting is the appearance of her son, Albert, on the opening "Snowflake," in that his voice sounds just like hers. And though there's been a lot of hatred for the track, I have to admit I ADORE Sir Elton John's appearance on "Snowed in at Wheeler Street." For those who value her independent streak and her ability to follow her muse, it is puzzling to see the attacks she's received for having him appear in the song. But 50 Words for Snow is an amazingly beautiful record from a brilliant, undervalued, and important talent. www.antirecords.com JOSEPH KYLE
 1.16.12
Allen Clapp & his Orchestra
MIXED GREENS -(MYSTERY LAWN MUSIC/ MINTY FRESH)-The Bay Area pop tunesmith, Allen Clapp , is probably more known for his work in the Orange Peels. The band he leads with his wife Jill and a few others, than he is for his solo work. Having said that he has released some tremendous work under both the name Allen Clapp & his Orchestra (the 100 PERCENT CHANCE OF RAIN record that Bus Stop released in 1994) as well as stuff under his own name (AVAILABLE LIGHT, 2002 on M arch Records) plus an excellent singles comp from a few years ago that Bus Stop Records released. Perhaps on a slight hiatus from the Orange Peels, Clapp and friends found time to write and record these 10 pop gems and like a sunny day that appears out of nowhere after weeks of cloudy gloom (like we have here in Oregon), MIXED GREENS is a burst of fresh (available) light in execution and delivery. Ever-present is Clapp’s piano which leads the parade into the land of pop goodness. The records opens with the dreamy instrumental (“Picnic at the Hermitage”) and then bounces into the bouncy “Downfall No. 3” and then slips into the soaring “All or Nothing.” The record is a nice mix of styles and tempos and hey, Clapp even shows off his sharp sense o humor with the song title “In the Halls of the Kingdom of the Land Beyond the Sun” (thankfully no prog rock here) and the final two songs, “Autumn Heart” and “The Winter in You”, show the importance of seasons to Clapp in his songwriting. In the end MIXED GREENS is another winner from this (nearly) elder statesman of the pop scene,. You wanna stand up and cheer for the guy and you know what? That’s perfectly alright. Do it! www.mintyfresh.com
 1.16.12
Sharon Jones and the Dap Kings
SOUL TIME! -(DAPTONE)-It's been a quiet year for Sharon Jones, and Soul Time! is a collection of odds-and-sods from the past decade or so. While it's not a bad collection, it does feel exactly like what it is: an odds-and-sods record. There's some really good stuff, but some of the "political" songs like "Ain't No Chimneys in the Projects" and "What If We All Stopped Paying Taxes" are lessons in why being political can come across as heavy-handed and didactic. Skip 'em, because they're definitely lesser material. Instead, go for the primo stuff, such as the "Genuine" (broken down into two parts), the funky "I'm Not Gonna Cry," and the mellow "Inspiration Information." Sharon Jones has made some great music, but even the great have their off moments; unfortunately, those lesser moments are on display here. There's some good stuff, but don't expect the greatness that she's known for. (That's probably why the cover looks like the cheap, quasi-legit soul records of the 1970s) www.daptonerecords.com JOSEPH KYLE
 1.16.12
New London Fire
THE DIRT THE BLOOD THE FAITH- (PAPER TIGER)-Here’s the (promotional) skinny on NLF’s latest release, which comes on vinyl and digitally (a download code’s included with the vinyl): “…The Dirt, The Blood, The Faith, tells the story of those who rise up, only to return to the Earth. It tells us why the next generation must rise again, even if its fate lies in a pool of blood, collecting dirt in the desert.” As you might well reckon, there are lots of twangy guitars, and cataclysmic guitar echoes, which make me want to rewatch The Unforgiven. With D. James Goodwin (Gaslight Anthem) manning the controls in Woodstock, New York, The Dirt… ends up feeling like the soundtrack (with lots of lyrics) to the latest Clint Eastwood western. The off-the-cuff narrative of “Rise” and “Ain’t Wagin’ War,” along with the ambling gait and juicy choruses of “The Jungle,” suit me better than the title track’s busier sound. But then I find myself enjoying the wall of sound (with hand-claps) of “Until the Light Goes Out on Me.” This is the sort of album that feels richer with repeated listens. New London Fire seems to have found its sweet spot with Americana, a genre it’s happy to channel with its boots planted firmly in the ‘70s, along with a host of country-folk strands that came before. www.NewLondonFire.com MARY LEARY
 1.16.12
Void
SESSIONS 1981-‘83- (DISCHORD)-Void , who hailed from the planned community of Columbia, MD and included vocalist John Weiffenbach, guitarist Bubba DuPree, drummer Sean Finnegan and bassist Chris Sover, was one of the lesser known early Dischord bands, at least to me. I was well-versed in the discographies at the time, of bands like Minor Threat, Faith, Scream , Government Issue and a few others. Void, however, only had a handful of songs on the split album they did with Faith (Dischord # 8, 1982). In later years, in things I read both online and in books (American Hardcore, etc.) many bands were talking about how big an influence Void was and especially Void’s guitarist, Bubba Dupree. This 34-song comp, of mostly live tuff, includes mostly demos and a handful of live songs. A bulk of the material are the first 20 songs (the Hit and Run Studios sessions , November 1981, that Steve Carr recorded ) and then 10 more songs from the Inner Ear session (December 1981, that Ian MacKaye recorded and 3 of the songs ended up on the FLEX YOUR HEAD comp). It’s funny to think that back in the mid-80’s , I listened to almost nothing but hardcore and now here, more than 25 years later I hardly ever listen to it but I still get that charge when I do listen to it, it take me back to that same place and time (when Dischord was definitely the preferred label). It’s all here: the anger, the energy, the intensity, the sense of humor and yes, guitarist Bubba DuPree did sound talented and ahead of his time. Give a listen to songs like “Condensed Flesh”, “Dehumanized”, “Suburbs Suck”, “Please Give Us a Chance”, “My Rules” and plenty more for a righteous kick in the chops. www.dischord.com
 1.7.12
Martha Berner and the Significant Others
FOOL’S FANTASY-(POPROCK RECORDS)-Martha Berner’s second release was several years in the making. Apparently, the time was well-spent: Fool’s Fantasy sparkles with vim and passion. Collaboration becomes Ms. Berner. Her sweet, sometimes gritty vocals are beautifully complemented by triple-threat Scott Fritz’s electric guitar runs, some of which recall the fire of Duane Allman. Her classic, ‘70s-rooted songwriting has enough different branches (ballads, mid-tempo movers, bluesy numbers) to hold interest. Downloaders might want to seek out the special magneticism of “Some Stay A While,” “Where Does the Day Go,” “Irene,” “Burning Candles,” and “People Are Crazy” (love those Farfisa-ish keyboards). And, based on reports, visitors (to the Chicago area) would do well to catch a live show. www.marthaberner.com MARY LEARY
 1.7.12
Deardarkhead
OCEANSIDE: 1991-1993 -(CAPTURED TRACKS)-Wow, this was certainly a pleasant surprise that came completely out of the blue. DDH are a long-running band from South Jersey (same neck of the woods I’m originally from….DDH drummer Rob Weiss grew up down the street from me) that have seemed to toil in obscurity for as long as I can remember. When all of the other South Jersey knuckleheads were bustin’ heads at punk gigs (myself included) these guys prayed for rain and aimed for something a bit more cerebral. Taking inspiration from bands like Joy Division , early Cure and Jesus and Mary Chain (among others…as you’ll see in my liner notes) the band mixed a murky low end with generous amounts of guitar fuzz and a singer who could…well, really sing. Though the band has been around since 1988 this comp, as the title implies, cherry picks the best of the bands early recorded works (that were self released) with 14 songs including real early corkers like “Fish” from their original cassette release (which I still have somewhere around here) to the cascading/melodic “Auburn”, the swirling “Lighthouse”, the eerily dizzying “Surf’s Up” up through slightly later near-classics like “Rollercoaster” and “Strobelight.” The band had fractured over the years and has had more lineup changes than Journey (said drummer Rob is the only remaining original member though guitarist Kevin Harrington has been around for quite some time) but this collection of songs, when the band was more intact, is really strong. Major kudos to the Captured Tracks label for including this in their “Shoegaze Archives” series for stoking us old time fans and hopefully bringing in a whole new legion of fans for a bunch of songs (and a band) that could have easily been a mere footnote in the annals of independent music. www.capturedtracks.com
 1.7.12
The Skull Defekts
2013—3012 -(THRILL JOCKEY)-This is one of a number of Skull Defekts releases to come out this year; this mysterious Swedish group features the enigmatic Lungfish leader Daniel Higgs on vocals. If you're not familiar, then this unique twelve inch EP is a good place to start. On the a-side, three tripped-out art-rock numbers; "Children of the Skull Defekts" reminds me of a lost Royal Trux B-side. "Beyond Within" is a ten minute art-rock freakout, whilst the final number, "Embryo," reminds me a LOT of Slint, but without the loud parts. But it gets REAL freaky on the flip-side, where the songs play in reverse, with no alteration--and the record plays from the inner groove to the outer! Freaky, weird. And just the sort of thing these folk do. www.thrilljockey.com JOSEPH KYLE
 1.7.12
Tender Forever
WHERE ARE WE FROM- (K)-It's been a little while since we've heard from Mélanie Valera, but she's returned with a lovely albeit brief EP of gentle, intelligent electronic pop. Not dance, not really new-wave, either--it's more of a straight pop record. The title track, which starts the record, is a wonderful little love-ish song with a great hand-made drum machine; sounds like samples of hand noises programed to sound "electronic"--ya gotta love the scrappers that K Records produces! "Blue" and "Runaway" are kinda downers--not depressing, but not happy, bouncy, either, while "You Have the Woods" finds her stripping things down to the barest of minimums. It kind of reminds me of what Moby was doing a few years ago, but darker, starker. I like it. Just like I like the rest of this EP. www.krecs.com JOSEPH KYLE
 1.7.12
Thee American Revolution
BUDDHA ELECTROSTORM- (FIRE RECORDS)-A side project of Apples In Stereo’s Robert Schneider, Thee American Revolution is a different beast altogether, a wilder, woolier, far more primal beast, one that squalls a lot, tramples the drapes and approaches subtlety with all the finesse of a drunken ape. Dispensing with AIS’s sunny harmonies and buoyant charm, TAR trade instead in a rough, heavily fuzzed-up psych pop that borrows blithely from the garagey teenage hard rock playbook. Second track Grit Magazine quotes Smoke On The Water right out of the gate, fercrissake, while Shoeshine Blues’s chord structure picks at the well picked-over carcass of Wild Thing, and in fact there are raucous Trogglodyte echoes ricocheting scuzzily all over this record. But this is Robert Schneider, and as hard as he might try he can’t avoid the incidental, almost accidental pop hook, as in Electric Flame, where the swirling – and utterly bewitching – psychedelic Beatles melody swims triumphantly above all the noise that’s come to drown it. A mash-up, in essence, the Fab Four if they’d been born the MC5 and it works perfectly. If only it all worked so well. There are eleven tracks on this album and eight of them trudge past in a mostly forgettable blur. The template at work here – and we know this going in – is that of a raw band of high school kids banging out some chords in one of their divorced mom’s basement in the mid-60s, complete with offhand giggling and between-song chatter. What would have been nice would have been more attention to songcraft and less to distortion for distortion’s sake. Even the count-in (up to six, on track 6 – clever!) on Blow My Mind is mired in the red. Though too-little-too-late, the last two tracks make a valiant what-coulda-been effort at redemption. Sleepwalker is a druggy wah wah-laden gem as shiny as any Nugget of Pebble of the period, while In Your Dreams/Japanese Clone – a paean to the singer’s first guitar – rides one of those classic descending progressions through a nostalgic dream of a melody that’s as AIS as anything that come before it and proves a more-than-satisfying outro. An album like this, by musicians like this, of this caliber, can be irritating or it can be irresistible. All depends on how old the musical slumming gets. Buddha Electrostorm, ultimately, lands on the irritating side of the divide, which is too bad, as those moments of irresistibility suggest that, had Schneider thrown a bit more pop suss into the mix and not been quite so in thrall to the garage aesthetic alone, we’d of had a gem on our hands, a diamond in the rough. This is mostly zirconium. www.firerecords.com DAVE CANTRELL
 12.26.11
200 Years
S/T-(DRAG CITY)-This project, featuring Ben Chasny (Six Organs of Admittance) and Elisa Ambrogio (The Magik Markers), highlights when two extremes interact. Chasny has made a career of long, gorgeous guitar drones and melodies, while Ambrogio's projects have been loud, freaky, weird folk-rock and experimental pursuits. Here, though, Chasny restrains his guitar muse and Ambrogio refrains from the weirder elements, going for a straightforward singing style. The slow haze of Chasny's guitar gives a nice psych-rock haze to Ambrogio's singing, and the resulting songs are all ballads, pretty and highly provocative, especially on "Solar System" and "West Hartford." Unfortunately, the melodies all share a similar downbeat tempo, and the stripped-down sound starts that is initially pretty quickly starts to sound same-y. Still, this isn't a bad listen. A little variety in the tempo now and then wouldn't hurt, though... www.dragcity.com JOSEPH KYLE
 12.26.11
The Bats
FREE ALL THE MONSTERS -(FLYING NUN)-In the late 80s, early 90s, New Zealand saved rock and roll. Which, for a country barely the size of Colorado, with a population somewhere south of Kentucky’s, is pretty amazing. Hyperbole? Probably. But to many of us, it’s at least within a sheep’s hair of the truth. Central to this historic rescue, of course, was Flying Nun Records, founded by Roger Shepherd (appropriately enough) in 1981 to capture the punk bands of his native Christchurch. Within a very short time, however, the label found itself instead becoming the voice of the poppier, not-so-punky ‘Dunedin Sound.’ And central to that, along with The Verlaines, The Clean and a clutch of others, was The Bats. In the band’s first full-length since 2008’s The Guilty Office (and their first for Flying Nun since 1995), they not only exemplify that kiwi brand of power-pop folk rock which they had no small hand in helping create (think a pastoral Velvet Underground), they do so with a boisterous consistency that belies expectations anyone might have of an outfit celebrating its 29th anniversary this New Years Eve. Which isn’t to say that the record is an all-out romp. Mostly it cruises along on a constant low boil of the ecstatic, their customary sublime restraint in full flower and always immaculately crafted. Opener “Long Halls” is a succinct case in point, all warm electrified acoustics, fading lights and a melody you could make a bouquet out of. There are exceptions. “In The Subway,” with its Luna-like lope, sports the second-hottest tempo on here, thumping into view already in motion and racing by with a jangle quotient sufficient enough to set the Byrds outside your window atwitter, which, as happens, is exactly the sound the track deliquesces into at the end. Beating that is “Spacejunk,” a quintessential Batsian gem, economy of structure married to a rhythmic hook that just keeps tightening and climbing until you realize there’s a tingling running up and down your spine like a spider on speed. Joy, in a word, joy. And what better word could there be to end on, given that the act of listening to this album is the sonic equivalent of basking in it: Free All The Monsters, simply put, is a joy. www.flyingnun.co.nz DAVE CANTRELL
 12.26.11
Scott H. Biram
BAD INGREDIENTS -(BLOODSHOT)-The style of music that Scott T. Biram makes--rough, taut lo-fi blues all done by one man--could easily fall victim to parody. In fact, I think it'd be safe to say that nine out of ten records like Bad Ingredients fail instantly. Why, then, does Biram succeed? It's hard to explain. The more I think about it, the harder it is to qualify what makes a record like this stand out. Whatever the case may be, Biram has a unique voice, a powerful way with a guitar--whether it's a weepie like "Memories of You Sweetheart" and "Have You Ever Loved a Woman," or a sinnin' song like "Born in Jail," or a redemption song like "Open Road." Biram is an original talent, and Bad Ingredients finds him hitting his stride, proving that he's the real deal, and the resulting record is a satisfying listen and exploration of the blues. www.bloodshotrecords.com JOSEPH KYLE
 12.26.11
Bitch Magnet
S/T- (TEMPORARY RESIDENCE)-Back in the late 80’s I was hungering for some more melodic noisy rock that had some cajones’ and could pin me to the wall. Husker Du had broken up and Moving Targets were probably inactive (yet again) I’m not sure where I first read about Bitch Magnet, maybe in Conflict zine, Anyway, there was an address, 1470 Longleaf Ct. in an ad that I saw. If I recall correctly, somewhere in North Carolina. I think it was BM leader Soo Young Park’s parent’s address. The record was called Star Booty , it was 1988 and the label it was on was called Roman Candle. I stuff my $8 or so in an envelope and waited. The record came a few weeks later, I slapped it on the turntable and I had my new favorite band for the next few months. Sheets of beautiful guitar noise cascaded out of my speakers for weeks coupled with an AMAZING drummer. The 2nd record, UMBER, came in 1989 and added to the band (making it a 4-piece) was Dave Galt. Tunes like “Clay”, “Big Pining” and “Joan of Arc” were more of what made that first record so special but this time the band’s sound was a bit more cohesive and pro (not slick, but that debut sounded like a demo tape at times…not that I minded). A year later (we’re now in 1990 for those keeping track and their 3rd and final record, BEN HUR came about. I don’t even remember hearing it at the time so I probably had moved on but it begins with the nearly 10 minute “Dragoon” (my short attention span self would been soooo over it at the time) but hey, I’ve grown up and the record has grown on me in the past few weeks of listening to it (the final song,. “Crescent” is beautiful). The band would splinter as leader Soo Young would go on to form Seam, guitarist Jon Fine formed Vineland and I’m not sure what the hell happened to drummer Orestes (did I say that guy was AMAZING?!) but for those short few years in the late 80’s these guys were hammering away with the big boys and shearing all of our hair off. The way it was supposed to be. I’m lucky mine grew back. www.temporaryresidence.com
 12.26.11
Ray Bonneville
BAD MAN’S BLOOD-(RED HOUSE)- Considering the reverence with which I regard Flannery O’Connor’s writing, I’m sometimes surprised at the rarity with which she’s touted as an influence. Going by the moniker of “roaming blues poet” as well as that of “musician,” Ray Bonneville has mentioned O’Connor, along with Cormac McCarthy, and a number of places through which his feet have wandered; including Arkansas, Colorado, Montreal, New Orleans, Alaska, Boston, and Seattle. The songwriter’s concise, poetical nature is revealed by beautifully minimal, evocative lyrics, such as these: “Under a no-moon sky/My headlights cut the night.” Just as well-measured are the sublime tones Bonneville pulls from his guitar (guess he’s an effects master, too). Fans of Tom Waits, Jorma Kaukonen, and any number of American musical storytellers should enjoy the rich maturity of Bad Man’s Blood, especially if they like their tales spiked with blues and leavened by good times (“Sugar and Riley,” “Good Times,” “ Ray’s Jump”). I can also recommend Bonneville’s previous release, Goin By Feel, which has a song I dig: “What Katy Did.” www.raybonneville.com MARY LEARY
 12.19.11
Harold Budd
IN THE MIST-(DARLA)-I have a soft spot for the music of Harold Budd; he is one of the few artists I will happily buy based simply on the strength of his name. Like his collaborator and label mate Robin Guthrie, Budd's simple, gentle music doesn't vary much from album to album. It's not to say it's a rubber-stamp review or a churned-out record on his part--it's just that he knows what he's good at and constantly does it. But In the Mist does differ slightly, in that the record doesn't rely too heavily on studio manipulation and atmospheric background; what one hears is pretty much Budd and his keyboards. And it's not all sleepy-time music, either; "Greek George" has a haunting, horror film feel to it (think Tubular Bells), while the sublime "The Art of Mirrors (After Derek Jarman)" is a mournful piano ballad. You expect quality when you buy a Harold Budd record, and In the Mist is another fine addition to his vast discography. www.darla.com JOSEPH KYLE
 12.19.11
Cruddy
NEGATIVE WORLD -(12XU)-There was this kid in junior high that we used to call Cruddy because his hygiene was so poor. Man, this kid was verbally tortured in school . Wait, I’m mixing up 35 year ago memories. The guy we called Cruddy was because his last name was Crudson, but he was clean. Sorry, scratch that story for now…this is the debut full-length by this Austin, TX trio with a previous cassette and 7” to their name. They also had a track on CASUAL VICTIM PILE II comp (where I discovered them). The 14 songs on here nudge up against each other, then get pushy and finally begin taking swings at one another but by the end they’re all one big happy family. OK, so maybe they’re not happy (and even calling ‘em a family might be a stretch) but the songs chop, slice and dice their way into your heart. Like Drunks with Guns they seem to hit that sweet spot between humor and complete paranoia and songs like “Future Disease”, “Moment of Fear”, “Burn It Down” and “Deconstruction Workers” will keep you nervously laughing with sheer terror in your eyes for 24-72 hours. Open, pour, swallow. Time to up the dose, punko. www.12xu.net
 12.19.11
Dntel
LIFE IS FULL OF POSSIBILITIE -(SUBPOP)-Since I rarely have time, these days, for reading anything longer than a magazine article, I appreciate audio stimulation of my gray matter. This expanded reissue of Dntel’s Life is Full of Possibilities sometimes even gets my brain cells holding hands and taking a stab at a waltz. Jimmy Tamborello’s mastered an open-ended approach to electronica. It’s in his feel for subtle mood shifts and nuances, along with the ability to seamlessly integrate digital mechanics, distant emotional breakdowns that seem to have been whispered into space capsules, twinkly star sounds, Casio recorders, and a whole lot more. For sure, life is full of possibilities. Tamborello clearly includes the subconscious in his idea of life. Absorbing these two CDs is very close to experiencing those thoughts and dream snippets that manifest when one is drifting in and out of sleep. Furthermore, titles such as “Why I’m So Unhappy” and “Fear of Corners” seem to imply not only life’s possibilities, but that it’s okay to react to life with sadness or neurosis. What a universally inclusive concept. www.subpop.com MARY LEARY
 12.19.11
Sea Lions
EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT THE SEA LIONS BUT WERE AFRAID TO ASK- (SLUMBERLAND)-Glasgow, London, New York and…..Oxnard, CA.? Yes indeed….this Oxnard bunch are not Nardcore, not even, close. Instead they follow in the breadcrumbs left by greats like Orange Juice, the Field Mice, the Television Personalities and others (I hear a Beat Happening influence, as well) for a shambling (hardly ever use that word but it truly fits here) pop sound that deserves, no needs, to be heard. I caught these guys at the Slumberland pop fest night here this past summer and I enjoyed ‘em enough but this record tops that performance. On EVERYTIHNG YOU ALWAYS….15 songs press up against one another and leader/main songwriter Adrian Pillado comes out smelling like a rose. “I Should Be Sleeping”. “Grown Up”, “A Cloud” and “Rainfall” are all good places to start (well, that is, if you like great melodies, tambourines, reverb, and Rickenbackers) but honestly, there’s not a dog in this pack of 15. Believe it. www.slumberlandrecords.com
 12.19.11
Someone Still Loves You Boris Yeltsin
TAPE CLUB-(POLYVINYL)- I've always found this band's name annoying, its cleverness feeling like a distraction from the music found within. Their records have had their moments, too, but were overwhelmed by generic indie-rock; too by-the-books. Tape Club is a stopgap release of demos, unreleased tracks, and other odds and sods. I've always considered these kinds of releases as somewhat revelatory; you get to see a band when they're not trying too hard, or how they are when the focus isn't intent on perfection. Tape Club contains 26 songs, and well, that's a lot for the not-a-fan but not-a-critic type like yours truly, and, frankly, much of what here only accentuates the band's strong points--and weaknesses, which is they occasionally sound like generic indie rock.The songs range from rough to lush; from stripped-down to fully arranged. Highlights for me were the intro "The Clod and the Pebble," the jaunty "We Can Win Missouri," and the ballad "Bended." There's filler here, so if you're a more hardcore fan, you'll probably enjoy this. Me, I didn't dislike it. www.polyvinylrecords.com JOSEPH KYLE
 12.12.11
The 65’s
STRIKE HARD-(DROMEDARY)-Not sure if this is a new band or not but Al Crisafulli (king of the Dromedary records throne) had found a keeper in this bunch. Oh, and STRIKE HARD is their debut record so there you go. They hail from the NYC/North Jersey area and all four of them have been bashing it out on the indie rock circuit for years (most notably being drummer John Steel who spent quite some time in punk legends Electric Frankenstein). You’ll definitely hear a nod to classic 80’s bands like Husker Du and Moving Targets in their approach (and even some of 90’s UK punks Leatherface in Joe Vocaturo’s gravelly vocals) and like those aforementioned bands, these guys have the tunes to back it up. They start out in 4th gear with punchy rocker “Walk On Selfishly” while “No One Cares About Your Tears” feature those sandpaper vocals. “Greatest Pretense” is pure melody (without sacraficing the cajones’) while “High School” brings all of the band’s qualities together. With this kind of sound you’ve gotta have the songs, plain and simple, and The 65’s have not forgotten that important fact. A baker’s dozen of fine originals here and one entertaining Psychedelic Furs cover (“Pretty in Pink”). www.dromedary-records.com
 12.12.11
The Habit
LINCOLN HAS WON -(SR)-With a great title (one of the best I’ve heard this year), the Brooklyn, New York “cowpunk” band throws down its debut full-length. Arcane Americana/folk fans should take note of the album’s connection with a side project devoted to new renditions of, and lyrics inspired by, “found” lyrics from the 1800s. Heads-up, also, to fans of The Knitters/X’s Americana-inspired excursions, along with high-spirited Pogues romps: this may whet a whistle that’s been thirsting for such sounds for over 20 years. www.thehabitweb.com MARY LEARY
 12.12.11
Office of Future Plans
S/T -(DISCHORD)-Over the last three decades, J. Robbins has made some great music--most notably with Government Issue, Jawbox, and Burning Airlines. His last few projects, however, have been spotty; some, lacking spark, and others just missing the mark. My initial listen to the self-titled debut of his newest project--something felt...off. I enjoyed some of it, but I felt like I'd heard it before. I felt like I'd heard it on a Candy Machine record. I felt like I'd heard it on a Dismemberment Plan record. I felt like I'd heard it on a Smart Went Crazy record. Then I realized...Robbins had a hand in all of those records. Then it hit me: this is the record of a very important, influential fellow, who has had his hand in making a ton of great records. Being in a band isn't seemingly a full-time thing for him any more. When I took that mindset, the second listen was much more rewarding. While lacking the innovation and the power of previous J. Robbins records, this is a subtle record, with simple, enjoyable songs. And yeah, this reminds me a LOT of Dismemberment Plan, especially the catchy "Your Several Selves," "The Beautiful Barricades," and "Lorelei." There are some moments of darker, more melancholy fare, such as the upbeat but still moody "You're Not Alone," and "Riddle Me This." Okay, on second thought, it isn't a bad record. Set aside expectations and let it grow on you. I'm glad I did. www.dischord.com JOSEPH KYLE
 12.12.11
Dale Watson & the Texas Two
THE SUN SESSIONS- (RED HOUSE RECORDS)-Here’s an answer to the quandary faced by Johnny Cash fans who want something in a similar vein – after all, they can’t spin JC tracks 24 and 7, now, can they? Watson’s baritone combines charisma with a tone that’s slightly more soothing than Cash’s. Made on the fly (after he realized a Memphis bar booking had fallen through) at the legendary Sun Studios, these 14 tracks have the resonating-wood warmth of the label’s classics. And it just don’t get more traditionally “country” than “Elbow Grease, Spackle and Pine Sol” (a backhanded apology, and clean-up suggestion, re: the narrator’s violent reaction to a divorce settlement) and one about the sunnier side of domesticity, “My Baby Makes Me Gravy.” Of course, Jesus makes an appearance, as does a train, on maybe my favorite of the lot, “Gothenburg Train.” www.dalewatson.com MARY LEARY
 12.12.11
Wavves
LIFE SUX ep-(GHOST RAMP)- Wavves Nathan Williams is like that neighbor kid you wanna give a left hook too. He’s the kid you think vandalizes your car and breaks into your house (and he probably did) and with all the stories of petulance and cockiness you don’t wanna like him or his music abut hus mjsuic is difficult to ignore. Williams, has, as we say, good pop sensibility, he really does. After a few hyped (but very spotty) records he really came into his own on last year’s 3rd record, KING OF THE BEACH (on Fat Possum). It was one of my favorites and now Nathan Williams refine that sound with the even better LIFE SUX ep. He and his cronies are back with 6 more songs of fuzzed-out punky goodness (with cameos from Best Coast’s Bethany Consetino (his girlfriend?) and Fucked Up’s Damian Abraham) . Opening cut “Bug” (Dinosaur Jr. homage?) is terrific, one of the best songs Williams has written while , despite its novelty title, “I Wanna Meet Dave Grohl’ is a damn good pop tune. “Nodding Off” has some of his signature “Woo oooh oooh oohs” and might be the best song on here. The final three (“Poor Lenore” (which has some “Smells Like Teen Spirit” guitar) , the heavier “Destroh” and the quirky “In the Sand” ) are not as good as the first three, but they’re still good songs. The guy is on a roll and I can’t wait until the next full-length. www.ghostramp.com
 12.05.11
The Bangles
SWEETHEART OF THE SUN-(DOWN KIDDIE)-I’m not even going to try and act like I’ve kept up with these L.A. sun goddesses because I haven’t. Their terrific debut, ALL OVE THE PLACE, which came out nearly 30 years ago still gets time in my cd player and , well, we all know what happened after that, basically I had 70 year old co-workers singing “Walk Like An Egyptian.” They blew up and that was when my punk rock self bailed. Apparently they reformed in the early 2000’s and released a record in 2003 (DOLL REVOLUTION) and this is their first since then. I never heard DOLL REVOLUTION but had heard so many good things about SWEETHEART OF THE SUN that I needed to hear it. Well, their first smart move was hiring Matthew Sweet as producer, Sweet toughened things up on here with grittier guitar mixing with those jangly ones , bits of slithery psych (“Under A Cloud”) and the harmonies sound as good as ever. The difference here, as a good pal (and longtime Bangles fan stated) they sound like A REAL BAND here writing real songs and not some manufactured thing which they turned into a few decades ago. There’s plenty to like here like the punchy “Ball N Chain”, the dreamy “Mesmerized”, the gritty “Sweet and Tender Romance” (a McKinley’s cover from 1964…they end the record with a cover of The Nazz’s “Open My Eyes”) , the paisley underground-ish “Lay Yourself Down” and a few more. The records not perfect and there are a few clunkers but I , for one, had not expected much (or anything) from The Bangles at this stage in the game which makes SWEETHEART OF THE SUN all the more welcome. Bravo for them! www.thebangles.com
 12.05.11
Blind Pilot
WE ARE THE TIDE -(EXPUNGED)-Judging by the fancy cd jacket I assumed that they were on some big label that had some money behind it but nope, still on Expunged. Not like I would know though, I ignored this band until a few weeks back when a pal whose opinion I trust (and Music Millennium employee) told me that this new record is good. Then he had it on in the store and I was enjoying it and then, I got a copy in the mail a few days later. Serendipitious? Perhaps. I just remember them as being the two guys who went on a bike tour and, for some reason, I didn’t think they’d be up my alley and well, I’m not sure why. The important lesson here is that I DID get this new record and I DO like it. It’s still the same two guys, Israel and Ryan, but they’ve added folks who play things like banjo, dulcimer, vibraphone pedal steel, harmonium, trumpet, pump organ (yeah!) and more. Add all that on to beautiful harmonies and top notch songwriting. At times they remind me of a few other Pac NW bands, Fleet Foxes and The Head and the Heart but I like B.P.’s songs more, A LOT more. The title track and “Always” are just few of the gorgeous hummers here but on “The Colored Night” they put it all together for an absolute epic tune of pure gorgeousness. A few (just a few) of the song on the 2nd half drag, if just a bit, but overall the record is really strong and just may sneak into my top 15 this year. And yes, you can bet I’m gonna go out and find that debut record. www.expungedrecords.com
 12.05.11
Fonda
BETTER DAYS -(MINTY FRESH)-As a descriptor, “Indie pop” doesn’t really tell us much. “Melodic Indie pop,” the term used on Fonda’s Amazon page, is slightly better. And Fonda’s website repeats a line from Magnet Magazine: “Is it twee? ‘60s pop? Or ‘90s Indie rock?” Regardless of descriptor, I was at first taken aback by the happy-to-have-survived-anorexia, audio girth of these five tracks. On the title song, for instance, skyrocketing guitars and thudding beats are topped by a high-pitched, bagpipe-like sound that reminds me of Big Country. A newcomer to Fonda Country, I found the band’s relatively full mix and galloping beats making all sorts of sense upon learning that it had formed in 1994. Although Better Days is a bit longer on noise and shorter on melody than some of the Fonda stuff I’ve taken in since, I’ve rapidly come to heart everything in Fonda Country. The L.A.-based group, which is helmed by David Klotz and Emily Cook, has apparently been busy for the last eight years – among other occupations, Klotz has been editing music for Glee. Wow. While I might wish to have a word with him re: some of his choices for the TV show, I have only adulation for the wet-behind-the-ears innocence that Fonda emits. This is dreamy, happy, vaguely wistful music (like the ‘90s! like the ‘90s! And Cook sounds a lot like Juliana Hatfield!). Whether you were in grade school, college, or chatting with your own teenagers back then, you have to admit you like this stuff, right? Well, anyway, I have. www.fondamusic.com MARY LEARY
 12.05.11
Hammock
ASLEEP IN THE DOWNLIGHTS- (HAMMOCK MUSIC)-Throughout their storied tenure, Tennessee ambient duo Hammock have oft released "little" nuggets of beauty like this, but this one is different; it is, in part, a collaboration between the band and Steve Kilby and Tim Powles, both members of The Church. Kilby appears on "No Agenda," and provides vocal words (it's not exactly singing, but it's not exactly spoken word, either), adding a depth to the band's gentle melodies. Powles appears on "Verse for Forgiveness," and his vocals help to create one of the band's more "rock" moments. The other two songs, "Sinking Inside Yourself" and "Parkers Chapel," are vintage Hammock, epic, haunting cinematic pieces, though "Parkers Chapel" has vocals--albeit very obscure lyrics. Asleep in the Downlights is another fine addition to the band's already excellent discography. www.hammockmusic.com JOSEPH KYLE
 12.05.11
V/A
FRIENDS AND FRIENDS OF FRIENDS VOL. 4-(TENDER LOVING EMPIRE)- I don’t seem to pay enough attention to the local labels we have here in Portland, but I guess such is the case of most bands/labels. Never finding the respect they deserve in their own hometown and seem to find respect elsewhere. Such is the case of Portland’s T.L.E. and in addition to a label they also have a store where they peddle their record as well as other assorted crafts. This, as the title says, is the 4th volume of this solid compilation, this is a 2-cd set featuring 47 songs in all. The comp isn’t just bands on the TLE roster , though there is the cream of the crop from the label (Radiation City, Typhoon, Jared Mees & the Grown Children, etc.) there’s plenty more not associated with the label ( (Lida Husik, Social Studies, The Builders & the Butchers, Soft Hills, Pigeons, etc.). A few of my favorites here include Radiation City’s dreamy “The Color of Industry”, Agent Ribbons’ dark/groovy “I’m Alright”, Finn Riggins’ driving “Parkour”, Ascetic Junkies quirky “Thought Thief”, Typhoon’s epic “The Honest Truth”, Fierce Creatures crystalline ‘Satan is a Vampire” and plenty more. Plus the cd covers are hand silkscreened in a numbered edition of 1000 (and they sort of fold out origami style). The comp is well-worth hearing from a label that has miles and miles of style. www.tenderlovingempire.com
 11.28.11
Bonnie Prince Billy
WOLFROY GOES TO TOWN-(DRAG CITY)- It’s hard to believe that Will Oldham has been making music for nearly 20 years. I remember when that first Palace Brothers record came to me in a package form Drag City (on vinyl in a slightly oversized jacket) and I wasn’t sure what to make of it. I think that Oldham had hit stride on the next S/T record (also called DAYS IN THE WAKE) and that ep that followed it (HOPE). He also released some amazing singles in that time period (“Trudy Dies”, “West Palm Beach”, etc.) and a few years later morphed into Bonnie Prince Billy. I admit I haven’t kept up with all of the BPB stuff and while I don’t like it as much as those early Palace days, it’s still very good material (MASTER AND EVERYONE, from 2003 is my favorite BPB record). The music on WOLFROY GOES TO TOWN is pretty basic vocals/guitar/bass/drum fare and the songs are languid, warm, organic and , well, like all Oldham stuff, idiosyncratic as always (especially in the lyrics). Highlights for me are the swaying, building opener “No Match”, the six minute plus “Black Captain” and the nearly upbeat ( I said nearly) and fun “Quail and Dumpling.” If you’ve been on this Oldham train for years there’s not going to be a ton of surprises here, just another fine batch of songs from one of America’s most unique songwriters. And housing it all in a pink jewel case/booklet, Will Oldham proves he will not be denied! www.dragcity.com
 11.28.11
Casiokids
AABENBARINGEN OVER AASKAMMEN -(POLYVINYL)-I have no idea what they're singing, those song titles give me a headache trying to pronounce them, and it's a pain trying to figure out how to replicate the language's extra characters, but I still like this. The title track is a hauntingly beautiful instrumental, one that leads right into the jaunty new-wave-y dance pop "Det haster!" The rest of the record sort of follows that lead--occasional dance-pop numbers blended in between slightly more experimental, yet enjoyable, numbers. Then they go all blues ballad for the closing "Aldri ska ma ha det goy," and though the language is a barrier, the beauty is still there. Okay, I may be an ugly American in more than one way, and I may be too lazy to cut and paste the titles of some of the more bulky titles, but I still enjoyed this. Oh, and "Golden Years" isn't a Bowie cover, unfortunately. www.polyvinylrecords.com JOSEPH KYLE
 11.28.11
Sarah Jaffe
THE WAY SOUND LEAVES A ROOM -(KIRTLAND)-A slight complaint, if you will; the latest release by Sarah Jaffe is an EP/DVD combo, with odds-and-sods and a revelatory full-length documentary about this up-and-coming Dallas musician. Unfortunately, I only received a copy of the EP; this is tantamount to sending a book reviewer the first six chapters of a twelve-chapter book. I wanted to see this film, and was disappointed that all I got was the EP. Complaint aside, though, the material found here is top-rate. Okay, so the novelty of the opening two songs, a cover of Drake's "Shut it Down" and Cool Kids' "Louder Than Ever," doesn't really detract from her superb originals. The demo versions are strong on their own; "A Sucker For Your Marketing" is a fine moment of folktronica, and continues to show why comparisons to Beth Orton aren't without merit. Same for the title track and "All That Time." This may be a stopgap release, but it's a wonderfully strong release. Pity I wasn't able to see the DVD, because without it, the EP feels skimpy. www.kirtlandrecords.com JOSEPH KYLE
 11.28.11
The Left Banke
WALK AWAY RENEE/PRETTY BALLERINA- (SUNDAZED)-If there’s going to be a label that is going to release a classic record like this one, well, it might as well be Sundazed. They ALWAYS get the reissues right (though this time the liner notes are by Scott Schinder and not my pal Jud Cost). Though, honestly, I’m not sure what took so long, I’ve been coasting by on that Mercury Records collection from 1992, THERE’S GONNA BE A STORM : THE COMPLETE RECORDINGS 1966-1969) for a few decades now. This NYC band pioneered what they called baroque pop (or baroque and roll, as I’ve seen printed before) with the use of strings woodwinds and a harpsichord too (bands like Cardinal and the Ladybug Transistor have both cited TLB as a big influence) and created a unique approach to pop songwriting. This, their 11 song debut record, yielded them two top 20 hits in the 2 songs on the title and while the real genius here is keyboard player Michael Brown, who wrote most of the songs, credit must be given to not only the players, but to vocalist Steve Martin whose voice went from a fluttery wisp to a rattled shriek (think Arthur Lee), sometimes on the same song. And don’t think that those 2 singles are the only ones worth hearing here, all 11 of these tunes cut the mustard and how! “Let Go Of Your Girl”, “She May Call You Up Tonight”, “I’ve Got Something On My Mind”, the Byrdsy “What Do You Know”, and well, like I said, ALL the tunes. 1967 is regarded by many as one of, if not THE, best years in rock/pop music, this record is one of the reasons why. www.sundazed.com
 11.28.11
Wilco
THE WHOLE LOVE-(DBPM)- So, did someone finally convince Jeff Tweedy to go on some kind of medication? Dude's latest record sounds happy....not just happy happy in the lyrics, but, have you ever heard a loud, long, seven-minute experimental piece that could best be described as "chipper?" That's what I thought when I heard "Art of Almost." Wilco has been turning in records that have that mellow vibe to it for a few years now, losing some of the alt.country crowd AND the experimental crowd they picked up after Yankee Hotel Foxtrot came out. I haven't been particularly interested in their last two records or so, because the records, while nice, sounded same-y. I'm still on the fence with The Whole Love, but there are a few highlights that I really like, so I'm not so quick to dismiss. First of all, there's the soul of "Dawned On Me," an upbeat number with a gospel heart that doesn't overwhelm, but just beats underneath. "Standing O" is an easy rocker, one that recalls the band's earlier years, but with a jaunty Elvis Costello vibe. The title track has a late 70s vibe that almost sounds like...well, I can't think of who, but I'm sure that you'd think said reference was lame, but still. I can't really say that there's anything here that I don't care for, and that's a good sign. Maybe Tweedy and company will react to the positive press with an utterly weird record--or maybe they'll take the strong points found here and expand upon them. Either way, I guess I've used a lot of words to say...hey, this is a pretty good Wilco record! www.dbpmrecords.com JOSEPH KYLE
 11.21.11
Alkaline Trio
DAMNESIA-(EPITAPH)- Some bands make rerecords so that they can make money off of their hits. Some bands rerecord their material because they want their older songs to reflect the way their current incarnation sounds and interprets them in a live setting. Some bands rerecord their old material--simply because they want to. That last one is the case with Chicago-based Alkaline Trio, who have chosen to rerecord their older songs as a gift to their fans, for sticking with them for fifteen years, although I suspect having been on various labels is part of the reason as well. Damnesia isn't exactly an all-acoustic jam; it's simply pairing down the songs from the big rock sound that encapsulated them. They do a fair job of representing each album, though it's their earlier stuff that really seems to shine through--as well as being the most represented here--with 1999's Maybe I'll Catch Fire's "You've Got So Far To Go" is a highlight, proving that great songs stand the test of time. They include three new songs that are pretty atypical of the rest of the album, and one is a cover of the Violent Femmes' "I Held Her In My Arms." Not bad, a pretty good greatest hits collection. (Epitaph Records) JOSEPH KYLE
 11.21.11
A Winged Victory For The Sullen
S/T -(KRANKY)-Man, I really, really love Stars of the Lid. But the band members' concern for releasing new material doesn't seem as great as my desire for them to release music together on a much more frequent basis. Fortunately, the two members of SOTL are super-talented folks, so that it's a fair assumption that what they do will be of equal quality, and this new project of Adam Wiltzie and friend Dustin O'Halloran, who met while Wiltzie was playing on the final Sparklehorse tour. A friendship was struck, and now, a record was borne. Musically, it really doesn't fall too far from SOTL's style of gentle, genteel neoclassical compositions. Not too terribly epic, and not too meandering, this is quiet music for reflective moments. Personal fave is the opener, "We Played Some Open Chords" and the unhurried, lackadaisical "A Symphony Pathetique." There may not be another Stars of the Lid album any time soon, but if the quality of solo projects is this superior, I'm in no hurry for that next record. (Kranky) JOSEPH KYLE
 11.21.11
Gospel Music
HOW TO GET TO HEAVEN FROM JACKSONVILLE, FL -(KILL ROCK STARS)-This record is the work of one Owen Holmes who hails from, you, you guessed it, Jacksonville, Florida and he also plays in the Black Kids (who I’ve never heard before) and plays lots of ukelele. As Gospel Music he has one previous ep (DUETTES) where he did some duets with people in more famous bands (Magnetic Fields, Camera Obscura, Vivian Girls, etc.) and made quite a splash. Here he and his foil, Madeline Long, whip up 11 charming low-fi campfire songs that I really dig (which is saying a lot since I hate camping). In much the same way that artists/.bands like Jonathan Richman, Beat Happening, Ed’s Redeeming Qualities, Half Japanese and others have wormed their way into your hearts and minds with classic songs, well, Holmes does much the same here. One listen to songs like “This Town Doesn’t Have Enough Bars for Both of Us” , “I Can’t Be a Man if I Don’t Have a Woman”, “I Shared Too Much with Her”, and “Death of the Newspaper’ (among others) and you’ll be an instant believer. Holmes sings from the heart with a good dose of humor, I mean, flat out, these are fun songs (even when he’s singing about sad things) and too catchy for words. Just listen, you’ll like it, trust me. www.killrockstars.com
 11.21.11
Cass McCombs
HUMOR RISK- (DOMINO)-Before getting acquainted with Humor Risk, I’d never heard McCombs. It only took a few tracks for me to realize I was in the company of an unusually intelligent, thoughtful musician. Several weeks later, the CD’s still clinging to my stereo. Despite the cornucopia of great rock, pop, and alt. music that’s come out in 2011, only a handful of the recordings I’ve experienced has ended up adding more than a few, selected tracks to the “keeper” bin. But spending time with McCombs is rather like spending time with Nick Drake, John Lennon solo, or Himalyan Bear. His music, along with his off-the-cuff observations (about the similarity of love and pain, or casual betrayal -- “another friend like that, I can’t afford” he sings on “To Every Man His Chimera”), is like one of those late-night conversations that grips so hard, neither of you can get up and leave despite knowing the alarm’s going to be a bitch, next morning. The music with which McCombs accompanies his observations is an unusual combination of compelling/unassuming. His songs are ordered beautifully; consistently holding my interest. Funny (as in LOL-humorous)? Maybe. Funny (as in amusing/sad/strange/real)? Absolutely. http://www.dominorecordco.us/ MARY LEARY
 11.21.11
Prince Rama
TRUST NOW-(PAW TRACKS)- Prince Rama has been making its Krishna –conscious music for several years, and this, their second record for Animal Collective’s label Paw Tracks marks the first time the band has been just the duo of sisters Takara and Niami Larson. It’s a pretty good thing, too; I’m reminded not of Animal Collective or George Harrison’s more pious moments with Radha Krishna Temple, but I AM reminded of Dead Can Dance, especially on the gorgeous world-music flavored opener, “Rest In Peace.” They don’t really lose that world music flavor, except maybe on the goth-like “Trust,” which goes for a more Xmal Deutschland flavor. And that song, with its chanting of the word “Trust,’ is perhaps the lowest moment out of these six songs. They occasionally go into Rasputina territory, which isn’t a bad thing, either. This little curiosity is an enjoyable record, even if it does feel like it’s a bit of shtick. (Paw Tracks) JOSEPH KYLE
 11.14.11
Comet Gain
HOWL OF THE LONELY CROWD-(WHAT’S YOUR RUPTURE?)- One of, if not THE, most unheralded eras of relatively recent rock history in this age of Pavement and Polvo reunions, Simon Reynolds Retromania and Smiths boxsets that cost a month’s rent, is the mid 80s-to-early 90s vein of UK indie. Jasmine Minks, Biff Bang Pow, June Brides et al, bands that were still in thrall to the DIY ethic of post-punk while at the same time married to the warmer, fuller production values of such disparate influences as the Velvet Underground (if Warhol were replaced with Spector), British takes on Northern Soul and early American alternative flavors courtesy the Replacements and the Paisley Underground. Put it all together and you get the above-mentioned post-C86 crowd that luxuriated in swoonsome but not-too-precious pop nuggetry. You also get Comet Gain. Which is not to slight them (far from it) but to bestow upon them a type praise reserved for those trading in rarefied songcraft that will sound as fresh in 20 years as it does now, just as that crop above still sounds eager and timeless today. ‘She Had Daydreams,’ on new release Howl Of The Lonely Crowd, could snug into the intimately exuberant folds of the Weather Prophets repertoire, fercrissake, and that’s no small accomplishment. Elsewhere, tastes of the Weddoes, JAMC and even harder-core Fugazi-like elements make energetic appearances, not to mention the Buzzcocky delight of ‘Yoona Baines’ (“going out of her brains”) So, I hear you say, slavish copyists to the last, eh? And that would be fair cop were it not for the fact that David Bower founded the original Comet Gain in 1992 (the year after punk broke, let’s – ha ha – not forget) and the new album was produced by none other than Edwyn Collins, himself not exactly an artist ignorant to, nor shy about, the joys of incorporating earlier influences into his work. Which is to say that Comet Gain not only comes by this pastiche business quite honestly, they’re also responsible for the original sounds they’re now borrowing, a pretty neat trick, I think you’ll agree, an act akin to self-cloning in the middle of a déjà vu episode. At the tail end of this album’s prettiest song (beauty another attribute that that cabal of bands had no shortage of), ‘After Midnight, After It’s All Gone,’ Bower sings “Don’t forsake the memory ache,” advice he’s taken himself and suggests you do as well. And, if we may also suggest, should that ginger-haired moppet Alan McGee ever choose to recreate Creation, he need look no further for his first signing. www.whatsyourrupture.com DAVE CANTRELL
 11.14.11
Faith
SUBJECT TO CHANGE (PLUS FIRST DEMO) -(DISCHORD)-Some writer, (I can’t remember who) made a perfect point about Faith being a very good band in the shadow of a great one. Meaning that Faith’s vocalist Alec MacKaye is the brother of Minor Threat’s Ian so while he usually played second fiddle to his brother, make no mistake, Faith were a terrific band who deserve all of the kudos they’ve received and more.. Back in the mid-80’s when my Dischord Records listening was at its peak I had in constant rotation M.T, Rites of Spring, Embrace, Dag Nasty, Gray Matter, etc, but I would occasionally forget about Faith and then I’d put the record on (this one or the split they did with Void) and remember, “Oh yeah, how could I forget about Faith?!” This reissue includes the original 8 songs from SUBJECT TO CHANGE as well as 11 more of the band’s first demo (recorded in December 1981) and trust me when I say these aren’t some low-grade demos, they are recorded well (by punk rock standards) totally worth hearing. The Faith stuff was darker, gruffer more jagged than some of the above mentioned bands. Not 1000 mph of Minor Threat but not mid-tempo either and Alec’s vocals especially stand out as a man possessed, being a perfect mix of anger , passion and conviction while the rest of the band (Chris Bald on bass, Mike Hampton on guitar and Ivor Hanson on drums, they later added Eddie Janney, played with Ian in Embrace) grinds and slithers and yeah, when you listen to this reissue of SUBJECT TO CHANGE you realize how great they were. Damn, wish I woulda seen ‘em. www.dischord.com
 11.14.11
Mogwai
EARTH DIVISION -(SUB POP)-For a band that has mastered the loud, big, bombastic epic rocker format, a four-song sixteen minute EP may feel underwhelming, especially after following on the heels of a great comeback LP, Hardcore Will Never Die But You Will. That being said, Earth Division contains some of the Scottish band's most haunting and beautiful music. "Get To France" is a piano-and-strings instrumental duet, something that wouldn't be out of place on a Nick Cave record. "Hound of Winter" is an even more stark song, an acoustic ballad with some gorgeous singing and even more gorgeous strings. "Drunk and Crazy" is perhaps the best way to describe the state of the band when this loud, noisy post-rock number was recorded. But it ends on a gentle note, the song "Does This Always Happen?" the perfect antidote to the previous bout of noise and and insanity. It may be brief, but this is a great little record, and one that shows the continued power and quality of Stuart Braithwaite and company. www.subpop.com JOSEPH KYLE
 11.14.11
Prince Edward Island
THIS DAY IS A GOOD ENOUGH DAY- (CROCFINGERS)-No idea who this band is but from the opening seconds I could tell they’re Scottish (real thick accent) and yeah, I liked it. Initially I was reminded of my old faves Ballboy and I’m still not 100% convinced it’s not them under a different name (and fake names). OK, leader Philip Pearce is quick with a witty phrase (just like Ballboy’s Gordon McIntyre) and the song title are classic , just like Ballboy’s (ok,. I’ll shut up about Ballboy now). Check out some of these humdingers: “Sex in the Morning (I’m Coughing, You’re Yawning)”, “I Nearly Don’t Love You, But Not Quite”, “Like Bouncers We Stand”, “It’s All Over Bar the Shouting”, and …well, you get the picture (and if you don’t you’re checking out the wrong website). The music is real melodic, jangly guitars here, shuffling drums there and easily digestable keyboards but it’s all wrapped up in tunes that are quirky enough so the normies will stay away in droves. Seriously, it’s that good. www.princeedwardisland.co.uk
 11.14.11
Wooden Wand & The Briarwood Virgins
BRIARWOOD-(FIRE RECORDS)- The insanely prolific James Jackson Toth presents the world with a new record with a new backing band, The Briarwood Virgins, and though it's his latest record, it's one of his most cohesive, and, oddly enough, most straightforward records I've heard in a while. Maybe he's tired of the psych-rock/folk scene of the late 60s and has discovered the Outlaw Country movement of the early 1970s, because what's here is barroom country-rock, and though the lyrics kind of go funny here and there, such as on the goofy "Scorpion Glow," for the most part Briarwood isn't up to anything funny. "Winter In Kentucky" kicks off the record, and, honestly, it's like a lost Dylan/Tom Petty collaboration--which isn't a bad thing! I'm also fond of the Skynyrd-esque "Big Mouth USA," the Southern rock love song "Be My Friend Mary Jo" and the blues balladry of"Good Time Man." The songs are kept to respectable lengths, and the one extended jam, "Motel Stationary," sounds like the man's been holed up with a dime bag and a copy of Harvest and On the Beach. Quality control's always been an issue, but here, he plays it straight--and the results are wonderful. If you are reading this, Mr. Toth--follow this newfound instinct. It will serve you well. www.firerecords.com JOSEPH KYLE
 11.7.11
The Beets
LET THE POISON OUT-(HARDLY ART)- From the first note, it’s like there’s a refreshing new soda, in a bright, retro-styled bottle, sweating in my warm hand. This new soda tastes, and fizzes, a lot like things (the Kinks, the Stones circa “Child of the Moon” and “The Singer not the Song;” the Fugs, the Velvet Underground) that I’ve loved, before. But it’s new, and refreshing. And, kids, you know, it isn’t possible to say things like that every day. Especially when some of these songs consist of the same chord strummed, over and over, Chie Mori’s elementary percussion, and nasal vocals bleating around or through the chording. It takes an odd sort of genius, with a heaping portion of guts, to make what could otherwise be monotonous and/or banal into music that feels instantly familiar, essential, fizzy. One could also say this is a Queens, New York-based relative of the San Francisco psych-garage movement, that’s removed most of the distortion and furbelows, along with the backbeat, in favor of moderately appointed, subtle shifts that wander forward with a deliciously ambling gait. In this setting, when the duo backs up for a beat or two, or their guitars hit a comical gridlock (perhaps attempting to emulate Sterling Morrison and Lou Reed), “wrong” sounds absolutely “right.” www.hardlyart.com MARY LEARY
 11.7.11
Jimi Hendrix
HENDRIX IN THE WEST -(REPRISE)-Jimi needs no introduction; his masterful guitar has made him timeless, even though he died way too young at the age of 27. His family has been in the process of cleaning up his discography, giving it added polish, remastering, and revamping. In The West was released in 1972, semiofficially, and the quality of music was not hampered by the sloppy album sequencing and production. On the 2011 reissue, though, the sound has been masterfully cleaned up, the track-listing revamped and expanded, and the artwork and liner notes improved. As for the material, it's recordings made during the last year of his life, the exception being "Little Wing," which was erroneously credited at the time as being from the same set of performances, but instead dates from 1968. No matter; the man was TIGHT; songs "Voodoo Chile," "Fire" "Little Wing" and "Spanish Castle Magic" are all rightly part of the rock canon, and his covers of classics "Blue Suede Shoes" and "Johnny B. Goode" both highlight the man knew his own place in the tradition of music, and even in his last days, he felt honored enough to pay respect. My personal recommendation is the thirteen minute blues jam of "Red House," which he dedicates to everyone listening. 40 years on, the man still sounds fresh, invigorating, and timeless. (Experience Hendrix/Reprise/Legacy Edition) JOSEPH KYLE
 11.7.11
Memoryhouse
THE YEARS -(SUB POP)-This stuff gets called chillwave, but, really, this Canadian duo specializes in vintage dream pop, not unlike Slowdive’s Pygmalion or the gentle mid-90s Projekt roster. The music is hazy, it’s gentle, and at times borders on downright narcotic, the voice of Denise Nouvian being the only thing from keeping you from nodding off (in a good way) during “Lately” and “Modern, Normal.” They go all Cocteau Twins-y on “To The Lighthouse,” which shows that Evan Abeele could very well hold his own with Robin Guthrie. This EP is a rerecord of an EP of the same name, and is a foretaste of what is to come with their forthcoming full-length debut. These songs prove that the wait will be entirely worth it. www.subpop.com JOSEPH KYLE
 11.7.11
The Quags
PRICELESS GRAINS OF SAND- (PAISLEY POP)-I somehow lost track of these Portland Beatles/Byrds/Kinks disciples (I also hear echoes of late 70’s UK stuff like The Jam and Buzzcocks). I’m not sure how I lost track of them, mind you, I mean, we’re in the same town and all, but it’s ok you know why? Because they’ve still got it…and in spades! PRICELESS GRAINS OF SAND is only the third record by this bunch in their decade-long existence and their first since 2005’s DEVILS MUSIC but they have lost nothing on their game and I’d say they’ve even improved. The band is led by underrated pop tunesmith Dennis Mitchell, and he and they kick out 11 terrific guitar pop nuggets that would make Ray Davies proud. Cuts like classic opener “Human Thing”, the punchy “Favorite Parasite”, the jangly “Dear Memory” and plenty of others will tickle that pop funnybone. And if you wait until after the final song, “Later Than You Think”, ends you’ll be treated to a gem of a hidden track, a cover of Steven Schayer’s (formerly of The Chills and now currently in The Black Watch) “Do Yourself a Mischief.” Welcome back! www.paisleypop.com
 11.7.11
The Wellingtons
IN TRANSIT-(ZIP)- This Melbourne, Australia power pop band has been around for a some time and while I have enjoyed their records enough, none of them really hit me like IN TRANSIT has. On here the songwriting is tighter and the tunes pack more punch then previously, oh and those sticky sweet melodies are clearer on this one, too. To record (and mix ) this puppy the band traveled to London where they tore out and shined up and then put the finishing touches on these 13 songs (and the record was mastered at Abbey Road) and it sounds superb. Leaders Zac Anthony and Kate Goldby share the vocals duties and they add plenty of keyboards, horns and yes, even strings (check out “I Fell For You”) to these rollicking tunes (a few of my faves include “Adamant”, “Keep Me Holding On” and the positively ebullient “I Just Want to Love You Girl” to name a few). If this record doesn’t put ‘em in the upper crust of power pop bands , well, nothing will. www.ziprecords.com
 10.31.11
Astral
FOREVER AFTER-(VIBRAPHONE)- Long-running band Astral has been around for a decade, but it sounds like the band has been mining the “alternative” music scene for much longer. Forever After opens with a rolling bass line that recalls Joy Division and New Order, but when the singing comes along, it turns straight towards the hackneyed modern rock sound that was big a couple of years back. It’s not bad, per se, but it just feels a little bit generic, and that’s the biggest flaw for Forever After; it sounds good, sure, but it sounds a bit too been there, done that. Don't fret; there are some not-bad highlights; the dreamy “Until the Day” has a dreamy atmosphere that works; it’s hooky without sounding like Peter Hook, and escapes the genre trap. When they break out of the trappings of radio-rock, they sound great. So maybe I don’t think it’s that bad after all, and I think you might dig it, but be warned—some of it may sound tired, though I like it when they turn on the shoegazing charm on “Walk and Tall” and “Not Too Late.” The beautiful “A Million Miles From Nowhere,” towards the end of the record, is a highlight as well. www.vibraphonerecords.com JOSEPH KYLE
 10.31.11
Casiokids
AUBENBARINGEN OVER AASKAMMEN -(POLYVINYL)-Those quirky Casiokids! Wearing party (or marauding, medieval farmer) hats made from newspapers in their promo pic! Titling their album with words that translate from Norwegian as “the revelation over the mountain.” You’ve probably already guessed that the group’s addicted to keyboards. Its other addiction is, apparently, goofy inventiveness. One of the album’s finest interludes occurs with the title track’s minor-toned collation of Casio tones, chamber music, and nature sounds. More often, however, the kids make their machines swirl like skating-rink Wurlitzers, with the kind of bobbing, electronic embellishments that sonically recreate a disco ball. But these are often THOUGHTFUL casio kids. Bouncy as most of these tracks may be, they often open and close with meditative trails of audio detrita. Rhythms are varied. Melodies are taken into account: “Elefanenes hemmelige gravplass” is especially catchy. “Aldri ska me ha det goy” is also rather sweet. In fact, sweetness is all over this thing. Ketil Kinden Endresen’s vocals sound a lot like Peter Svensson’s: soft and breathy enough to be the voice of an animated girlie mouse. I’m kinda over the synth-pop revival – but then, I’ve never adored the form; only tending to shell out fresh nickel for the most extraordinary producers (Ryuichi Sakomoto; Brian Eno circa Taking Tiger Mountain). For other consumers, this second Casiokids full-length may be cause for folding newspapers into marauding-farmer hats. www.polyvinylrecords.com MARY LEARY
 10.31.11
Dot Dash
SPARKS>FLAME>EMBER>ASH -(THE BEAUTIFUL MUSIC)-As the saying goes, you can’t keep a good man down and that is true. In this case the good man is Terry Banks. For those in the indie pop./rock scene who’ve followed Banks’ career they’ll be thrilled that he has a new band (I sure was) . After all this is the same guy whose been in such inspired outfits as Tree Fort Angst, Glo-Worm, The Saturday People, Julie Ocean and probably several others (and yes, he did spend some time in St. Christopher when he briefly lived in the UK) and lived to tell about it. In DD he’s joined by his old pal Hunter Bennett on bass, Modest Proposal guitarist Bill Crandall and DC legend Danny Ingram on drums (from the D.C. Youth Brigade, I guess he was also in Swervedriver but I didn’t know that) and they offer up 14 tunes, most under the 3 minute mark (just the way I like ‘em). Though they take their name from a Wire song this is not quite that post-punky (though it is a bit) and has more melody, which suits me fine (no disrespect to Wire, I love them too). This batch o’ tunes connects more with guitars that meet right where jagged meets melodic with a powerful, thumping rhythm section and Banks soaring vocals. A few of my faves that are already in constant rotation are “That Was Not, This is Then”, the moodier “There And Back Again Lane” (Sarah Records reference there), the scattershot “No Reverie”, the TVPs-ish “I’m Going Home” and plenty more. Dig in folks and make sure you have an extra big fork, ‘k? www.thebeautifulmusic.com
 10.31.11
Social Climbers
S/T- (DRAG CITY)-Drag City has a mischievous reputation, and at first, it would be easy to think that Social Climbers is a put-on. It’s easy to think it might be a put-on, as the record—a collection of wacky new-wave/power-pop minded numbers with wacky vocals and wacky subject matters, but no, apparently it’s real; these guys formed in Hoboken some time around 1981, released this record, and then disappeared. It is a little bit puzzling, but at least somewhat understandable, why these two--Mark Bingam and Jean Shaw--weren’t at least able to get some notice. What they did isn’t far-flung from the world that gave us Oxo, Wall of Voodoo, and Oingo Boingo—bands Social Climbers should have called contemporaries. Yet it’s easy to appreciate why they may not have gotten beyond the pressing plant and high aspirations. “Chicken 80” has a catchy melody, and would have probably been a fun single to play at parties. “That’s Why” starts off as a mellow ballad, showing a softer side to the comedic edge, though the music turns into a children’s-style sing-along, but that subject is about girls. “Western World” has that slightly political edge that you’d find on the early Talking Heads records. “Tickhead” shows the band could pull it off live, though this performance is a bit more experimental, and not as comedic as the rest of the album. Still, in the world of shoulda-been and never-gonna-be’s, Social Climbers is a rare find. www.dragcity.com JOSEPH KYLE
 10.31.11
Toro y Moi
FREAKING OUT-(CARPARK)- Chazwick Bundick is a one-man dynamo, exploring different musical styles and genres that share a common heritage in electronica. This six-song EP, coming just a few months after his second album, Underneath the Pine, finds Toro y Moi exploring disco and house music, sounds with a definite lineage in 80s R&B/pop. Think Cameo, think Debarge, and, really, you aren't off. But as novel as it may seem, it's not; Bundick does quite well with these styles; the title track is jumpy and fun; "Sweet" sounds like a remix of a lost 80s hit, and "I Can Get Love" is a nonstop disco number, not unlike VHS or Beta or Daft Punk, and it calls for instant slams on the "repeat" button. Admittedly I'm not entirely familiar with the Toro y Moi discography, and not everything I've heard have I liked, but in the case of Freaking Out, I call myself a fan, for I love this little record. www.carparkrecords.com JOSEPH KYLE
 10.24.11
Mates of State
MOUNTAINTOPS-(BARSUK)-It’s their 7th album, and really at this point, Mates of State should be writing rock opera. Oh look, they already have… 10 of them! MOUNTAINTOPS’ collection of vivid theatrical pop is so a-MAZE-ing (emphasis on "maze") that I want to see the movie of every song and I want Joss Whedon to direct. Each track is a mini-musical unto itself, with so many distinct parts it’s like 5 songs for the price of one EVERY time. Plus, it’s FUN. If Jason’s and Kori’s songs were any more rollicking and anthemic, I’d swear they were Swedish (they're from San Francisco). At first glance, the synth-y new wave pop is bubbly, hook-laden, candy-coated, with the occasional side of ballad-y longing and pathos. But come closer, come clo-o-o-s-s-er. The sophistication of composition here, the energy, the emotion, the infectious girl-vs-boy vocal interplay, is familiar on one hand, but like nothing else on the other. Imagine if Jim Steinem & Stephen Sondheim took over for Abba’s Benny & Bjorn. Harmonies, dramatic tempo-changes, multi-tracking, echoes, shadows and blinding light… punctuated with clever smirks, like the galloping drum machine at the end of album opener “Palomino.” I’d love to corner you and force you to explore them all, especially “Unless I’m Led” (sleeping in the wrong bed, waiting on another mess), “Basement Money,” (ups & down of making a living somehow…for now…) “Total Serendipity” (how a phone message undelivered could alter history), they are all so good. But *sigh*, we don’t have all day… Soooo…. Let’s pick one. On this album of opuses, the closer, “Mistakes,” is MoS’ magnum. Boy reminisces about the first time he invited her upstairs, says “Welcome to no-good…” Girl laments in the background “ooooh-ooooohh.” The tale unwraps convoluted emotions, accusations, attempted resolve. He’s defensive, “just remember that we all make mistakes, and one big slip-up makes it all go away.” She’s bendy and vulnerable: “you stepped over the line… well, whose side are you on?” And then! She stands straight-up to deliver a breath-taking “I-I-I-I-I… know WHE-E-E-E-RE… I-I-I-I-I-I… sta-a-a-and!” (I sing along every time, it literally steals my breath). The lines and melodies converge and tumble, the way a real-life argument can feel like a choreographed swashbuckling. His “…and I don’t blame you…” overlaps hers “…that would do no good…” with murmurs of “I love you” tucked into cracks, until it all bombasts, as she sums up the issue, repeating over and over again (with all the other lyrics wandering around underneath): “I… I need you… but it’s not normal… if I refuse… to be by myself.” By dénouement, it feels like a twisty life-long rollercoaster of a relationship, crammed into, what, 4 minutes? And I am spent, yet exhilarated, so I hit repeat. Again and again. www.barsuk.com VICKY WHEELER
 10.24.11
P.G. Six
STARRY MIND -(DRAG CITY)-P.G. Six is the project of Pat Gubler, and for this record, there ain't six of 'em, but don't you pay that no-nevermind, for it doesn't really matter. The journey here is psych-rock, with a little folk thrown in for good measure, and no matter the mixture, this is some damn good stuff that could pass as vintage. Think Pearls Before Swine, think Roky Erickson, and think that, whoa, this guy's that good. Most of the songs on here go well past the five minute mark, so you know the guy's doing heavy stuff. But the moments of relative brevity are equally lovely, such as the gentle folk of "Days Hang Heavy" or the Derek and the Dominoes heavy blues closer of "This Song." Not all of the bigger songs work; some feel like they could use a friendly edit here or there. That doesn't include the opening "January" and "Crooked Way"--those songs ROCK. The band also features Bob Bannister, which I know is what the kids go for these days. www.dragcity.com JOSEPH KYLE
 10.24.11
Radio Moscow
THE GREAT ESCAPE OF LESLIE MAGNAFUZZ -(ALIVE NATURALSOUNDS)-The term “psychedelic” gets thrown around a fair amount. I’m in agreement with its usage about half the time, if that. This time, the label fits. Radio Moscow is seriously committed to a muscular combination of effects, feedback, and sound-towers that makes for a bracing listen next to Hendrix, Blue Cheer, and Robin Trower. And I agree with those who’ve noted the powerful trio’s liking for trippy effects Whether or not that goes with a herbally-enhanced experience, I’ll leave up to you. We’re anxious to hear your reports… uh, what’s that you say? Can’t hear ya; got my old-school headphones up too loud, playing “Creepin’” for the third time in a row, after which I’m going to throw on some Free, whose “I’ll be Creepin’” would kill, after this. www.radiomoscow.net MARY LEARY
 10.24.11
Rocket from the Tombs
BARFLY- (FIRE))-There are two reactions the unitiated might have in response to Barfly, the new album from Rocket From The Tombs: “Rocket From The Tombs, aren’t they that 90s band from San Die-“ No, they’re not. RFFT is the legendary proto-punk band formed in 1974 in Cleveland, Ohio by the then-future Pere Ubu frontman David Thomas and soon-to-be Dead Boy Cheetah Chrome. As befits – and arguably guaranteed – their legendary status, the band never released an album in their lifetime, which was essentially as short as a buzzing housefly’s. Their one posthumous album, The Day The Earth Met The Rocket From The Tombs (Smog Veil, 2002) was a collection of live recordings and demos released long after each of their subsequent bands gained a measure of fame. The second response might be “Sounds just like 1977,” which would be both succinctly accurate and as untrue as its flip laziness would lead the astute Daggerzine reader to believe Sure, opener I Sell Soul’s initial kick of drum and the propulsive bass/rhythm guitar that immediately follow might give that impression but this is one of those fabulous records that serves you that sharp taste of nostalgia wrapped inside 21st C. sonic values. You won’t hear much DIY on this, but there will be plenty of OMG. For anyone familiar with both Pere Ubu and the Dead Boys, it could be difficult to escape the idea that what they’re hearing is either David Thomas fronting the latter or the former’s songs played by the Dead Boys, and if you think this is anything less than a very good and exciting thing, you’re reading the wrong zine. With Television foil Richard Lloyd on board (and even, on ‘Sister Love Train, the trumpet services of session titan Andy Diagram), you’re assured of not just a powerfully wild ride but one in a classic chassis with a wickedly greased, finely-tuned and charging 357. True, on the slower tracks, ‘Birthday,’ for instance, Thomas, the wry and rotund Beefheart for the post-punk generation, has a hard time shedding his Ubuian past, but that’s a churlish thing to grouse about, surely. On the rockier tunes (the album is pretty well-balanced) such as ‘Maelstrom,’ the snarl and authority of the Dead Boys is on full display, though again, more sonically realized than was possible in the halcyon days of spit and aggro. But mellowed? Hardly. Barfly rips a fresh new hole in the fabric of 2011, and the majority of younger rival bands would do well to simply grab on to one of the dangling threads and hold on. www.firerecords.com DAVE CANTRELL
 10.24.11
Wiretree
MAKEUP-(SELF RELEASED)- The first thing I thought of when I heard this was that I was instantly brought back to the golden age of indie rock when bands like The Feelies and Dumptruck were the toast of the town (well, for a few minutes, anyway) and R.E.M. , well, they were still thought of as an indie band (or at least a college rock band). This Austin, TX bunch is led by Kevin Peroni and this is their third record (read some good stuff about their sophomore effort, LUCK, but still have yet to hear it) and while the songs on here aren’t the most original , well, who cares. It’s solid pop/rock with memorable hooks and plenty of meaty guitar riffs and at 9 songs they don’t wear out their welcome. Songs like the title track, “The Shore” , “Dakota” , “Tonight” and a few others will make your mix tapes for sure. And don’t gimme any of this Ipod crap friend, if you read the DAGGER site you still make mix tapes, right? RIGHT?! www.wiretreemusic.com
 10.17.11
Dan Mangan
OH FORTUNE-(ARTS & CRAFTS)-I had never heard Canadian-based folkie Dan Mangan before, but the first song, "Almost As Helpful As You Can Be Without Being Helpful At All," drew me in with its gentle instrumental orchestrated opening, for its big Western style reminded me of Bonanza of Gunsmoke. Yeah, I know, dumb sort of thing to find myself reacting to, but that's how it is. It opened me up to the rest of the album, because while I like the occasional singer-songwriter folk record, I don't seek that style out. But that's what I like about this; it is your standard, but Mangan--who has a voice that recalls Nick Drake, as well as Tim Buckley and even a little Mickey Newbury--adds little flourishes here and there in his arrangements that give it an edge. Whether it's a bluesy strum of guitar as heard on "Death and Dying," the giddy-up bar-band rock of "Rows of Houses," or the slightly psych-rock drone on "Daffodil," or even just the plain ol' naked voice pushed to the forefront on beautiful closer "Jeopardy"--there's enough variety here to make a tired sound and style sound fresh. Not bad, sir. www.arts-crafts.ca JOSEPH KYLE
 10.17.11
Masters of the Hemisphere
MAYBE THESE ARE THE BREAKS -(MAGIC MARKER)-These Athens, GA popsters arrived on the scene in 1996, hung around for about 6 years (if I’m correct here), released some darn good music and then poof, they were gone. Sean Rawls, one half of the songwriting team (the other being Bren Mead) hightailed it outta Georgia and headed straight for San Francisco where he immediately cajoled every friend he had into joining his new band, Still Flyin’ (including Mead). Rawls and Mead both realized they hadn’t made their first million yet so decided to reform M.O.T.H. and attain that goal and while they may not make a million it won’t be for lack of trying as MAYBE THESE ARE THE BREAKS is an excellent record, maybe their best yet. Though it has been 9 years since their last record (2002’s PROTEST THE DARK ANNIVERSARY) this new records shows the band not missing a step and picking up right where they left off. From the gentle opener “Eggshell” into the slightly more rockin’ ”In the Volcano” (love those synths) to the moodier (bit still catchy) “Wait It Go Away” the band is in primo form. The reggae tinged “One More Time” sounds like Still Flyin’ while they tackle breezy country music on the excellent “Half A Fool” (I’d love to hear the band do a full record of this style) and pay tribute to Jim Belushi in a song called, well, “Jim Belushi.” MAYBE THESE ARE THE BREAKS prove that these guys aren’t just masters of the hemisphere but masters of many styles, too. Don’t miss this. www.magicmarkerrecords.com
 10.17.11
Buck Owens
BOUND FOR BAKERSFIELD: 1953-1956 THE COMPLETE PRE-CAPITOL COLLECTION -(ROCK BEAT)-It wasn’t until later when I began learning about the musical career of Mr. Buck Owens, the man whose name is synonymous with the Bakersfield Sound (with Merle Haggard). I knew him from hosting the 1970’s television show Hee Haw (along with Roy Clark). As I began to follow the roots of country music more and more I began to understand just how influential of a musician he really was. He later had a slew of hits for Capitol records in the 1960’s and 70’s but this 24-song collections showcases his recorded output prior to that. Apparently he showed up in Los Angeles in 1951 (at the ripe old age of 21) from Phoenix and wanted nothing more than a career in music and he sure got it. BOUND FOR BAKERSFIELD opens with some studio chatter and then goes right into with Buck doin’ what Buck does best. For several songs on the disc there’s multiple versions which usually include the single version and an alternative take. Some of the jewels on here are honky tonk numbers like the real early (1953) “Down on the Corner of Love”, “It Don’t Show On Me”, the shuffling “Hot Dog”, the charming “Sweethearts in Heaven” the finger-snappin’ “Honeysuckle” and plenty more. If you’re a Buck fan or have any interest in the early roots of country music then by all means tune in. It ain’t that prettied up Nashville crap that passes for country these days, it’s the real deal. www.rockbeatrecords.com
 10.17.11
The Pine Hill Haints
WELCOME TO THE MIDNIGHT OPRY- (K))-With a name like that, you would probably feel like you are going to get something that's really, really weird, yet with a hint of something rooted in the rustic. Guess what? That is exactly what you get! The opening song, "I Wish I Was a Jack-O-Fire," starts off with a singing saw and a snare drum and what sounds like an acoustic guitar. Their album wears the proud logo of the shielded K, which should, of course, tell you much. This is vintage K Records material, and it's excellent. But ya gotta like yelping, people howling like ghosts and dogs, fiddles and hoedowns from Hell, and a lo-fi charm, because this record is gothic country for people who wish Jeff Mangum was a little bit darker. At times it sounds like the soundtrack to a ghost movie, other times it sounds like weird sea shanties ("Carols to Break the Ice"), while at other times it sounds like the kind of thing you'd hear in a saloon ("My Heart is a Star Beneath the Frost in the Ground," "Midnight Opera"), and other times, it's just unclassifiable. You want weird but fun music? Check here first. www.krecs.com JOSEPH KYLE
 10.17.11
Still Corners
CREATURES OF AN HOUR-(SUB POP)- Whisper, whisper, whisper: If Tessa Murray’s breathy vocalizations weren’t so sexy – and, sometimes, creepy, with creepy instrumentation; Creatures of an Hour could be used to calm a cranky toddler. Indeed, “Demons” boasts one of the most engaging sets of hooks in this lot of carefully placed audio elements. Another standout, “Submarine” benefits from aroused electric guitar lines and fresh-brewed percussion that might be too bouncy for lullaby-time. Of course, if a group of babies was caught in a Twin Peaks sorta, parallel-universe, tracks such as “The Twilight Hour,” with its Julee Cruise-ish vocals and Angelo Badalementi-ish instrumentation, would be right on time. This hypnotic debut was masterminded by a London-based multi-talent; Greg Hughes. www.stillcorners.tumblr.com MARY LEARY
 10.10.11
Kathryn Calder
BRIGHT AND VIVID-(FILE UNDER: MUSIC)-The stage for Kathryn Calder’s second solo release is set (by musical pals including Lane Arndt, Stefan Bozenich, and Superchunk’s Jon Wurster) with nuanced intrigue: Her fuzz-clouded, breathless vocals are preceded, then accompanied by a distorted cello, electric guitars (one humming ominously), and staccato drum beats. With her feet in the ‘90s, Calder’s immediacy and emotion offer essential listening to anyone nestling into a funk; especially one of the in-love variety. Calder’s taste for Celtic lilts and arcane acoustics reminds me just a little of Mary Timony. But this is a case where a minstrel benefits from musical history – partly per more advanced chops (than Timony’s), and the now-commonplace trend of mixing acoustic, electric, folk and rock elements, Calder’s sweet, worn-in-sweater vocals go where Timony’s (despite her fertile imagination) couldn’t. The ultimate levitator is the exceptional songwriting -- Calder has an uncanny ear for hooks that have already settled into my psyche; showing no sign of leaving any time soon. I’ll consider it fair warning to share that this habitation occurred stealthily, without warning. So far, my favorites (or, re: their persistence in my mind; worst offenders) are “One Two Three,” “Turn a Light On,” “All the Things,” “City of Sounds,” and the especially addictive “Who Are You?” www.kathryncalder.ca MARY LEARY
 10.10.11
Dum Dum Girls
ONLY IN DREAMS -(SUB POP)-That last DDG’s full-length (I WILL BE, their debut) was solid though it did have a lot of loose hairs hanging all over it while the ep that followed it (HE GETS ME HIGH) straightened things out which bring us to this terrific full-length. Well, the hairs are now in a cleaned-up ponytail and a brush is going through it over and over which sio top say, the band NAILS it here. They once again brought in hipster old timer Richard Gottherer (Blondie, Go Go’s) who co-produced the record along with the gal from The Raveonettes and what you have is 10 heartfelt, memorable tunes that are free of any of the things that dragged the debut down (just a bit really, as that was solid record). This time the DDG’s are a real band and not just leader Dee Dee recording by herself in her bedroom and it sounds as if they are a tight unit all going for the brass ring (and speaking of brass, Dee Dee’s vocals remind me a bit of Chrissie Hynde) and succeeding. Despite the personal subject matter (apparently Dee Dee lost her mother during the recording of the record, most evident in the lyrics to “Caught in One”) they still have a slightly punked-up Shangri-La’s vibe to them and honestly, there’s too many superb songs here to name but start with the pumping “Always Looking”, the janglier “Bedroom Eyes”, the epic “Coming Down”, the emotional “Caught in One”, the beautiful “Heartbeat”, and plenty more. These gals ought to be damn proud, one of 2011’s best records. www.subpop.com
 10.10.11
Gem Club
BREAKERS -(HARDLY ART)-I think what the title of this record refers to is that this is an album of breathtakingly sad songs. It’s Christopher Barnes on piano, with haunting violin in the background, and, really, that’s it for the arrangements. Lead singer has a voice that fits perfectly with the melancholy melodies behind him, and though the pace remains at “dour” for the entire record, it does not take away from the power of the record. If you like the sadder moments of Nick Cave or the sadder moments of Crooked Fingers, or the sadder moments of Sun Kil Moon, you’ll like this. I don’t know what happened to this guy or if he is naturally morose—my studies of New Criticism make me want to dismiss the notion that the guy is sad simply because his music is sad—but there’s a natural feel to Breakers that gives it a credibility that other sad records miss. Piano records are rare, but ones that are this powerful are even rarer. Highlights include the sad “Red Arrow,” the sad “Tanager,” the sad “Breakers,” and the sad “In Wavelengths.” www.hardlyart.com JOSEPH KYLE
 10.10.11
Lydia Loveless
INDESTRUCTIBLE MACHINE- (BLOODSHOT)-Hot damn, I knew I was gonna probably fall for Bloodshot Records' latest signing, the lovely (and I mean that in more ways than one) Lydia Loveless, but when I read that she considers The Exploding Hearts to be one of her influences, well, that just sealed the deal. This twenty-one year old singer has a powerful-as-hell voice, backed by an equally tight band. I've seen comparisons to Loretta Lynne, and the opening track, "Bad Way to Go" proves that that's not off the mark. The album that follows that killer opener blends crunchy punk (think X, and, well, even the Go-Gos), rockabilly, and country-rock in an amalgam of lovely, powerful, and at times heartbreaking songs. "More Like Them" is a case in point, she's standing her ground whilst singing about heartbreak. It's strength like that, well, I fall for it every time. Though only nine songs, it's an impressive-as-hell nine songs, and I've hit repeat on pretty much every track. I love every number on here, and I think you will, too. www.bloodshotrecords.com JOSEPH KYLE
 10.10.11
Vegas with Randolph
ABOVE THE BLUE-(CAGED GIANT) I enjoyed this band’s 2009 self-titled debut and this follow-up is even better. From what I understand ABOVE THE BLUE is a collection of singles that the band released The bands songwriters are the team of Eric Kern and John Ratts and they seem to know a thing or two about power pop as this record exceeds in both the power and the pop part of it and he seems to take cues from all of the masters: Beatles, Kinks, Byrds, Beach Boys, The Hollies, etc. ”The Better Part” is a solid opener but by track 2, the title track the band is firing on all cylinders, rocking your socks off but not afraid to occasionally to change gears and slip into a different territory before you know it (both lyrically and musically). The harmonies on “Some Time to Live” are superb while the slightly slower, moodier “A Lesser Fool” fares just as well and “Summertime” is ebullient, unabashed power pop (no surprise there, based on its title) that is not afraid to show its true colors. The record ends after song 10…..well, not really. From there it enters a collection of song suites called “Double Play” and these range from 30-second interludes to full-on 3 minute songs and it’s all there: guitars (acoustic and electric) , bass , drums , horns, strings, the whole shebang and each song blends into the next. I normally bitch about the length of a record and think that bands can usually do more with less, but not here. Kern and Ratts outdid themselves here and though ABOVE THE BLUE was released this past summer, it’s really essential listening for ANY season. Side note: the executive producer is none other than Don Zientara who recorded all those classic , early Dischord records). www.cagedgiantrecords.com
 10.03.11
Richard Buckner
OUR BLOOD-(MERGE)-There is a back-story about this, alt.country troubadour Richard Buckner's first album in five years, involving stolen equipment, broken dreams and tape machines, poverty, day jobs, and murder accusations. I'm not sure where truth ends and bullshit begins, but no matter; it fits the story, because, well, Our Blood is, simply put, Buckner's finest release to date. The songs here, for the most part, simply feature Buckner and a guitar, with occasional flourishes of noise and organs here and there, and though previous records with a band have sounded great, when he places the focus simply on his singing, the results are amazing. In terms of his previous work, Our Blood seems to fall in line with the curiosity The Hill. There's an odd concept at play; the song titles are all one words, and those words have to do with criminal activity or police accusation. Is there a theme here? There may be, but I'm not hearing it; I am too busy being way too impressed by the haunted beauty of "Collusion," the painful words of "Confession," and the gentle beauty of "Escape." They say adversity can flavor art in ways that cannot be measured, and though the struggles the man went through are certainly not ones I would want anyone to experience, he has persevered with the finest record of his already storied and impressive career. www.mergerecords.com JOSEPH KYLE
 10.03.11
Guitar
IT’S SWEET TO DO NOTHING -(CLAIRE)-Guitar is a one-man band and the work of German Michael Luckner. He has been releasing records as Guitar for nearly a decade though he has ridden way under the radar (I was unaware of his music until Claire Records had sent me a few of his cds a few years ago). This one, his 7th, is a concept record about relaxation and is less shoegaze (like his other stuff) and more…well, nearly ambient and classical. It’s basically electronic bedroom pop with classical music textures for the indie pop set. Parts of this are truly beautiful whole others slip into pretension, but nevertheless, it is always interesting. Some of the long, instrumental passages go on for a bit too long but Lueckner is never at a loss for an interesting hook or passage. One of the best of these is the dreamy “Wild Tennel” while “I Dream the Dusty Roads Over There” creates some tension with little more than a drum machine and a synth. Lueckner took a chance and did a complete about face on this record and I give the guy major props for trying something new. Still though, if you still listen to the first few Trembling Blue Stars record religiously then you’ll be ok with this. Best song title: “The Girl with the Freckles That Sounded Like Two Bells.” www.clairecords.com
 10.03.11
Man or Astroman?
YOUR WEIGHT ON THE MOON- (OVERGROUND) One of the most prolific band of the 90’s and early 2000’s was this bunch who claimed to be from outer space but were really from Auburn, Alabama (one in the same really, right?). Once they hit the ground in like 1992 or so they hit it running and released a slew of all sorts of records: 7”s, 10”s, cds, vinyl, cassettes, etc. This record contains 19 songs which includes all 10 songs of the YOUR WEIGHT ON THE MOON 10” ep as well as two early eps (the Mission into Chaos 7” and the Return to Chaos 7” as well) . The band spearheaded the surf revival with other like minded bands (Phantom Surfers, Canada’s Shadowy Men on a Shadowy Planet, etc. as well as a few bands on then Estrus label) but added elements of garage, as well as other bits of outer space gunk and spazz electro into a clearly unique stew. This record has some of the band’s finest tunes on it including rip roarers like “Shockwave”, “Special Agent Conrad Uno”, “Space Patrol”, “Happy Fingers’ and plenty more. You can thank John at Overground for offering us this killer reissue and heck , when you’re getting 19 songs, and most of them are ace, you can’t really complain too much now can you? www.overgroundrecords.co.uk
 10.03.11
Maylene and the Sons of Disaster
IV- (FERRET/WARNER)-True confessions: I grew up in the south. It will always have a place in me. I love “Wise Blood” (both the book and the film). I have a weakness for outlaws. I grin when I read tags like “stoner rock” (another story) & tend to have an open mind toward anything called “metalcore.” So I’m determined to ignore the cries of dismay that are being leveled at Maylene and the Sons of Disaster’s new full-length, IV. I pull the CD out of its wonderfully-burnished-feeling, “grainy” digipak. I do the involuntary wince at the groans the bass is making under the raised-fist vocals on the first track (metal-heads know that wince is a good thing). Whatever “In Dead We Dream” is about, it’s killer… until it lapses into the slower chording that fits the “stoner rock” tag. Happily, the slower stuff is brief. But it makes me a little nervous, like: Did we really need that? The next track’s a pretty standard, ‘90s-does ‘70s anthemic thing with a good run-time and really nice, ringing guitars. “Faith Healer (Bring Me Down),” the third track, is entirely ‘90s-pleasant; it’s the kind of rock that for me doesn’t really qualify as rock (the beat’s a little two sway-inducing). However, I’m starting to see what long-term Maylene fans are on about. The track’s much lighter-weight, and more mainstream, than the near-scorching opener. The fourth one, “Open Your Eyes,” sounds entirely too much like Christian arena rock masquerading as metallic rock for my personal taste. What can I say? My recommendation’s meant to avoid any further blow-by-blowing: Sample the free stream currently available on AOL. New fans may attach to the less bloodthirsty tracks (“Taking On Water” could induce “the wave” on a show like American Idol). Old fans can still wrap sweaty hands around “In Dead We Dream,” “Fate Games,” “Cat’s Walk,” and a couple others. It’s not like these guys aren’t tight as hell, and very talented. www.mayleneandthesonsofdisaster.us MARY LEARY
 10.03.11
Devon Williams
EUPHORIA-(SLUMBERLAND) Slumberland’s deal with the Devil continues to reap wonderful rewards, as Devon Williams, one of the label’s myriad wonderful new signings, has released a record that, while indie-pop in nature, is less Sarah/C86 in nature, and more of the hippie, slightly British psychedelic folk-pop variety. Okay, I take that back, because, well, that first song, “Revelations,” was hippie-dippy, and I kinda assumed, because the rest of the record kind of reminds me of the college-rock era of the late 80s, and I ain't complaining. Most obvious influence? I’m reminded of The Ocean Blue a LOT, especially on “Favor Tree,” “Sufferer,” and “How Is There Always Room?” The rest of the record falls into that vein, a little jangle here, a little pop there. Occasionally they go ballad-y, like on the Christopher Cross-like “Tired of Mulling,” which is one of Hinely’s faves, so it’s a sure bet he’d like this. It’s a sure bet you’ll like this, too. www.slumberlandrecords.com JOSEPH KYLE
 09.26.11
B.C. Fitzpatrick
LOST, STOLEN & STRAYED-(SAINT ROSE)-BC Fitzpatrick is Brian Fitzpatrick and while he might not be a guy on your radar, he was certainly on mine in the mid 90’s when I was living in Santa Rosa, California. He was a guitarist/singer in alt country faves Cropduster (which also featured Andy Asp who was in Nuisance prior to and The Pattern after Cropduster). Cropduster played some terrific gigs, released one underrated record and then vanished as did Brian. It was the usual stuff: marriage, kids, job, mortgage payment, etc. As it says in the liners, the song were written overt a two year period and record with help from several Sonoma County musicians and the whole thing has a real homespun feel bring to mind, at different times, Tom Wait, Neil Young or the acoustic Springsteen stuff. In addition to being a talented guitarist, Fitzpatrick is also an expressive storyteller, spinning yarns about his own exploits or of a lifetime of meeting other musicians, drifters or characters we run into day to day. Be it in “Rollaway Town” (“My cold nose in place of your kiss, I found comfort in whiskey”) or “China Bird Tree” (“I love the valley where I was born, I rolled off the mountain straight into your arms”). With a heart full of gold and a guitar in hand, Fitzpatrick wants to break your heart. My advice is to simply let him because LOST , STOLEN & STRAYED is a keeper. www.saintroserecords.com
 09.26.11
Pallers
THE SEA OF MEMORIES -(LABRADOR)-Ok, so it’s not as if Johan Angergård needed to get any busier. Aside from running the Labrador label he also plays in the Acid House Kings, Club8 and The Legends (and who knows, maybe a few others) but it is obvious that music is in the guy’s blood, something he needs to do and he’s a huge music fan to boot. With this new band he is joined by his pal Henrik Mårtensson and apparently it took them a few years to complete this debut record and it’s a blissful melding of frozen beats, dreamy vocals and lush melodies. The first few songs set the tone with that overactive drum machine keeping the rhythm while the murmured vocals and lush melodies complete the picture. “Come Rain, Come Sunshine” is one of the dreamier (and best) songs on a record full of dreamy and quality songs. By the track 4, “Tropical Fishbowl” they add an acoustic guitar tho ‘the song ends way too early (it’s an interlude, really) and “The Kiss” is minimalism at its best (think New Order). The rest of the record is more of the same: songs of love, life, dreams and death all brought together in a sea of synths and hope. Are you ready for this? Of course you are. www.labrador.se
 09.26.11
Robbers on High Street
HEY THERE GOLDEN HAIR- (ROCCO GRECCO RECORDS) I’m not going to beat around the bush. Re: this third Robbers on High Street release, you can color me amazed. Okay, now I’ll back up a step: Lately, I’ve been in a Raspberries phase (strange but true factoid: until recently I had no idea how amazing were the Raspberries). Anyway, when you’ve been in a Raspberries phase, along with listening to Joni Mitchell at her peak (“Blue,” “Court and Spark”), and you’ve been reviewing an unusually impressive bunch of new releases, by the time you get to one by a band with a kind of “huh?” name, like ROHS, you aren’t expecting much. When that one immediately evidences the one thing that tends to be lacking from even the best contemporary releases – classic songwriting with two or even three parts (kind of like the Raspberries), your jaw drops open. This melody-embracing, beautifully produced, vibrant set makes me want to delve into the band’s back catalog, and to find out what colors the band members like, and their favorite foods. It makes me want to dance down the street with Hey There Golden Hair in my ears- and I’ve never been fond of how I look in headphones. But when a band incorporates soulful horns, a remarkable grasp of the happy innocence in mid-late‘60s pop, and a grip on how to incorporate Beatles sounds, along with songwriting that reminds me of the Grassroots, Spoon, Chicago, and the Cardigans… well, who cares how I look in headphones? Hey There Golden Hair is available in several forms, including digital release via the conneXtion/Pledge Music, and vinyl. The most endearing thing I’ve heard about it, though, is that “premium options” available to “pledgers” include “the recording of a cover song of your choice” and/or “driving around Brooklyn with the band in their van, ‘The Gentleman’s Cruiser.’.” www.robbersonhighstreet.com MARY LEARY
 09.26.11
Ty Segall
GOODBYE BREAD- (DRAG CITY)-Ty Segall sure is exciting. The live shows are incredible. The albums are great. Even The Traditional Fools, his early band, were young and raw and
full of energy. Melted, Ty Segall's record from 2010, is mind bending psychedelia, fuzzed out garage and downright good songs. This year Ty gave us Goodbye Bread, which I am guessing is his belated tribute to David Gates. While it is a little(a lot) more mellow and maybe even more "grown up" compared to the previous garage stomp records, I can't help but notice that it is also a little boring. The 35 minutes that it actually runs seems like an hour or more. It's not all bad, though. Mr. Segall is still very young and releasing records at an accelerated rate. He is a captivating live performer and has shown great songwriting instincts in the past. I am also quite sure that if I had heard Goodbye Bread prior to hearing Melted I would feel differently about the whole thing. We should have another offering from
the world's greatest one man band soon. I hope he gets back to the garge-psych thing, 'cuz Goodbye Bread is Toast. www.dragcity.com KIP KELGARD
 09.26.11
Veronica Falls
S/T-(SLUMBERLAND) …and the record on everyone’s mouths this summer (and now, Fall) is this debut by this UK quartet and I must say, with good reason too as it’s one of the best records of the year so far. Apparently two of them, Patrick and Roxanne , moved to London from Glasgow where they met the other two over a shared love of Shop Assistants and Felt. After a few singles on the Captured Tracks label the Slumberland label snatched ‘em up for this debut. And also, like many great pop songs, there’s a dark undercurrent to these sprightly , layered pop tunes. Take the opener “Found Love in a Graveyard”, ok, maybe that one is too obvious (great song, though) so take the rickety “Right Side of My Brain” with its chorus of “Take your hannnnnnds offff me!”) or perhaps the dreamiest, most melodic track on the record, one that just happens to be called “Misery” (love those harmonies!). You want more? Check out “Bad Feeling”, “Beachy Head” (2nd single on Captured Tracks….apparently about an infamous suicide spot) or the choppy “The Box” (with its MBV-ish guitars at the start). I could go on but I’ll shut up now, it’s time for you to turn on, tune in, drop in and discover one of the most exciting and unique bands of the year. It’s gonna be on my top 10 list for 2011 and probably yours too. www.slumberlandrecords.com
 09.19.11
The Bye Bye Blackbirds
FIXED HEARTS-(RAINBOW QUARTZ)-It was nice to see that this talented Bay Area band made the jump to the Rainbow Quartz label after self-releasing an ep and a full-length (both solid and occasionally very good). Leader Bradley Skaught seems like though he is influenced by the three B’s (Beach Boys, Beatles and Byrds) he is able to inject enough of his own personality into the tunes so it doesn’t come off like a slavish imitation (like a few of the bands on the R.Q. could be guilty of ). Opening cut “Elizabeth Park” begins with the perfect amount of snap , hooks and horns (courtesy of Beulah’s Bill Swan) while “Jack Frost” is pure Byrds (serious Roger McGuinn influence on those jangly guitars). “Hats” slows it down and shows a more pensive side of the band and the jagged guitar of “Every Nights at Noon” reminded me a bit of an Old 97’s tune while “Mermaids” is the kind of song Elvis Costello used to write before he got all comfy and sedate . A few of the tunes drag a bit (“New River Sunset” being one) but most of FIXED HEARTS is a pleasant listen. Not hing you haven’t heard before, but certainly a likeable bunch if songs played by guys with their hearts in the right place. www.rainbowquartz.com
 09.19.11
Cave
NEVERENDLESS -(DRAG CITY)-This band isn't inspired by Krautrock, these guys ARE the new breed. Neverendless is one unending groove on top of groove, unending in its pace and never less than a 100-mph drive down the Autobahn of your soul, baby. I could take these songs, make up a fake German-sounding name, slap the year 1972 on it, and no one would be the wiser, this record is THAT good. The opening track, "WUJ," kicks things off in high gear, and though only once do they really slow things down--but even "slow" is a relative term, for the stoned grooves of "Adam Roberts" are more in tune with a pace car, settling things down for a brief time, before things kick into high gear. Everything old is Neu! again, they say. Neverendless sure is a fun ride. www.dragcity.com JOSEPH KYLE
 09.19.11
Iceage
NEW BRIGADE- (WHAT’S YOUR RUPTURE?)) They've obviously heard the right art-punk records, as this Danish band seems to be channeling the zeitgeist, if not the spirit, of the records from both the New York no-wave scene and the European post-punk movement. These eleven songs (not counting the noise at the beginning that serves as an "intro," ugh) are raw as hell, keep threatening to collapse inward, imploding into a god-awful mess. They keep things short, to the point; of these songs, only one song, "Never Return," breaks the three-minute mark, and that one feels positively endless compared to the rest of the cacophony going on here. It's hardcore, it's noise, it's art-rock, it's all of the above. Not for everyone--not even sure it's for ME. Still, I bet these guys put on a crazy-ass live show. www.whatsyourrupture.com JOSEPH KYLE
 09.19.11
Shimmering Stars
VIOLENT HEARTS- (HARDLY ART))- Something’s goin’ on with Hardly Art’s pop/rock output. Especially of late, SubPop’s sister label’s locked into some serious momentum. Shimmering Stars is the latest example - Rory McClure, Andrew Dergousoff, and Brent Sasaki seem as enamored of meaty melodies and orgiastic vocal harmonies as the Fleetwoods, Everly Brothers, and Mascots. Where Shimmering Stars diverges from those artists is the heavy, sometimes ponderous production (“Into the Sea,” “Believe”), as well as instances when a run-of-the-mill song’s dragged out beyond reason (“East Van Girls”). While the Phil Spectorish approach to retro renewal has been in vogue for some time, I’m more stoked (no shock!) by skinnier arrangements. When you’ve got to-the-point instrumentation, good melodies, and juicy harmonies (“Nervous Breakdown,” “I’m Gonna Try,” “Dancing to Music I Hate”), what more do you need? At its best, Shimmering Stars cuts gems shiny enough to sit next to the best from La Sera, Morning Benders, and Dum Dum Girls. www.hardlyart.com MARY LEARY
 09.19.11
Widowspeak
S/T-(CAPTURED TRACKS) I dunno…on paper this sounded like a snoozer. A Mazzy Star soundalike in pretty much every review I had read. Don’t get me wrong, I loved Mazzy Star but most of the bands that have sounded like them….ho hum. Vocalist Molly Hamilton DOES sound like Mazzy’s Hope Sandoval (especially on “Harsh Realm” and a few others) and there’s a creeping moodiness to the music as well. I have to admit that on the first play this didn’t do much for me either, but this BKNY (via Tacoma, WA) trio slowly snuck their way into my mind and heart upon further listens. And while there is definitely a darkness to it but it’s not all doom and gloom as they had a nice jangliness to the cuts too. Opening cut “Puritan” is a perfect mix of those two styles and the bands even adds sort of a gothic , Southwestern flavor (think Calexico) on cuts like “Gun Shy” and “Hard Times.” While a tune like “Nightcrawlers” ads some killer organ and a nice shuffle to the proceedings. With help from Woods’ Jarvis Taveniere the band has transformed what could have been a generic debut record into a memorable one. Good for them. www.capturedtracks.com
 09.12.11
Bad Sports
KINGS OF THE WEEKEND-(DIRTNAP)-This is the 2nd record (the debut was on Douchemaster) by these Denton, TX punks. Just lookin’ at the photo of ‘em on the cover for the cd it looks like they’re saying, “Take a picture, asshole, it’ll last longer” (so someone snapped their picture). So that photo had me intrigued plus the fact that it’s on the always reliable Dirtnap label and viola! You have a record that I listened to every morning for a month or so on the way to the gym at 5:30 AM (true story). These 14 tunes rips by in about a half an hour and you’ll hear some Ramones-isms on here as well as that classic Texan band that updated the Ramone sound in the best way possible, I’m talking about, of course, the Marked Men (MM’s Mark Ryan produced this). “Off Switch” gets things moving from the get go and grinds it into 4th gear from the start (why bother with gears 1-3?) with a swift kick to the gut as does “Can’t Just Be Friends” and the insanely catchy “Sweet Sweet Mandi.” Cut #3, “Teenage Girls” slows it down a tad (reminded me of an Exploding Hearts tune) as does the piercing “Inside and Out.” While there’s a few just ok tracks (no real clunkers) the songwriting quality is pretty strong throughout. If you’re looking for a cd to play to impress your next date then you may have found the right one. You’ll be smiling, she will be smiling, you’ll probably get a kiss goodnight (or maybe more) and you can thank me later. www.dirtnaprecs.com
 09.12.11
Collection of Colonies of Bees
GIVING -(HOMETAPES)-It's been a busy, active past few years for the CoCoBees fellows, as attention has been on Volcano Choir, a "side project" with Bon Iver's Justin Vernon, as well as other side projects. Be that as it may, this four-song mini-album is a pleasant reminder of their collective (hee hee) roots. Though the song titles are actually the singular and plural forms of "Lawn" and "Vorm," there's not that much similarity between the corresponding titles. Instead, what you have is the band's trademark, signature instrumental post-rock sound, though, at this late stage of the game, what IS post-rock? These songs also have a nice, upbeat, almost sunny vibe to them, which makes a nice, refreshing change from dense, dark, and negative instrumental music. From what I recall of their earlier recordings, Giving is a helluva lot more ACCESSIBLE than previous records, and that's a good thing. Can't say I didn't enjoy the half-hour I spent here. I may come back to it just for the nice vibe. www.hometapes.com JOSEPH KYLE
 09.12.11
Tommy Keene
BEHIND THE PARADE- (SECOND MOTION) It seems like every Tommy Keen review I say the same thing. That he has been making melodic, guitar pop for a few decades, how criminally overlooked/underrated he is and how if more people knew who he was the world would be a better place. Now those statements are all very true but then again, maybe Tommy might (just might) read my review and be like “Whoah, easy Hinely. I’m happy with my little lot in life. Don’t go trying to muck it all up. Wha…you want me to get TOO famous? Then I can’t even go out for a burger without being mobbed. In other words, Hinely, shut your pie hole. Oh, and thanks for the review.” Fine, so I’ll just go on record saying that BEHIND THE PARADE is another terrific, low-key, intelligent record with several fine pop songs on it played with passion by a lifer. Is it his best record? That I’m not sure but it is very good and as far as I’m concerned as good a place to start as any. The Matador label revived his career in the mid-90’s then he bounced around a bit and now he seems to have found a solid home on the Second Motion label. If you’re a longtime fan then you probably already have this but if not, give the guy a chance , will ya’, but please don’t tell him I sent you. www.secondmotionrecords.com
 09.12.11
Oupa
FORGET (FAT POSSUM))- If London band Yuck is the second-coming of Dinosaur Jr and alt-rock, then Oupa, the side project of Yuck's Daniel Blumberg is the second coming of--I dunno, the cassette-based side projects of artists in bigger, well-known bands, that you'd find here and there on the merch tables and band's hometown record stores. This is most definitely not Yuck; it is soft, it is distant, it is morose, it is melancholy, it is dark. It's kinda like slowcore, but not. The closest thing I could compare this to would be My Morning Jacket, but that's only a superficial thing. Blumberg sounds like he is singing in the next room, and that next room is the clouds floating above Heaven. The vocals are powerful in this stripped-down, minimalist accompaniment. This isn't easy listening; recorded over a January in London, this sounds like the work of someone stranded from the cold, and dealing with demons. The best part of this is the epic closing, "Those Are the Senses," which sounds utterly possessed, despondent, and, oddly, compelling. Probably shouldn't come here if you're expecting Yuck, and you definitely shouldn't come here when you're feeling low. www.fatpossum.com JOSEPH KYLE
 09.12.11
V/A
Our Lives Are Shaped By What We Love: The MoWest Story-(LIGHT IN THE ATTIC In 1970, Motown made the (bizarre) decision to relocate its office from Detroit to Los Angeles, and for two years the label had an imprint called MoWest, which featured an impressive yet small array of talent that blended the labels traditional soul with more heady, psychedelic fare. The label folded in 1973, with no real success. It wasn't for a lack of talent; the label featured Frankie Valli and the Four Seasons, The Commodores, Thelma Houston, and Syreeta, then-wife of Stevie Wonder. For the intangible reasons (as well as label and business issues), these songs simply did not cause a splash with the record audience, and when it ceased to be, it was declared a failure. Our Lives Are Shaped On What We Love only scratches the surface of some great records, but hearing the women of SIsters Love sing "Give Me Your Love," the funky gospel of "Act Like a Shotgun," Lodi's folk ballad "I Hope I See It In My Lifetime," or Odyssey's psychedelic soul title track, one is left wondering what went wrong, because these songs are great. Ah, well, this compilation may make you wonder why, but like The Commodores sing on the very funky, "Don't You Be Worried," don't let the label's failure bring you down. Instead, enjoy this picture album and history of this business misadventure. www.lightinthrattic.net JOSEPH KYLE
 09.05.11
Cliffie Swan
MEMORIES COME TRUE-(DRAG CITY)-I have to say that Drag City's done a fine job bringing the world "freak folk," and then rescuing from obscurity some great artists from the 60s and 60s who might fall into that category. But you can only excavate a genre for so long, before it's tapped out. Cliffie Swan (formerly known as Lights), a modern band, points towards one distinctive area/genre: late 70s pop. I'm thinkin' Suzy Quatro here. Lead singer Sophia Knapp has a WONDERFUL voice, that can be both husky AND gentle, both hard and soft, and always, always GREAT. With the help of musical partner Linnea Vedder, Memories Come True is always lovely, whether it be ballads (like the title track), poppy fair ("Yes I Love You"), or more rock-oriented material ("California Baby"). Knapp is versatile in her abilities, and as a result, the record never fails to hold your attention. This is a great record, period! www.dragcity.com JOSEPH KYLE
 09.05.11
Cults
S/T -(COLUMBIA)-As I’ve been reading recently , I guess a big deal was made about this band for how quickly they got signed but , as usual, I was late on that information (the record was released in early June). This much I do know, I heard the band was good, got a copy of the cd and have been enjoying it ever since. The figureheads for the band are guitarist Brian and vocalist Madeline (though I’m guessing that more folks played on this record) and let me tell you, they write infectious little ditties that are catchy as all get out. “Go Outside” was a song that the band released (or was leaked) first and that was one that caused the stir and I’ll bet you can’t listen to the song just once, it’s that good. I hear bits of Magnetic Fields (just a bit, really) moody/synth pop, plus some girl group majesty as well (“You Know What I Mean”). In fact the whole record is bathed in this warm glow, most of the songs do take the 60’s girl group theme and these two drench them, in reverb, samples and a gorgeous warm fuzzy glow. “Most Wanted” is another one, so is “Walk at Night” and so is “Never Heal Myself” and….oh heck, the whole record (just under 34 minutes) is good. No really. You’ve probably already hear this, but if you haven’t then you’ve got your assignment for tomorrow. www.cultscultscults.com
 09.05.11
Jacuzzi Boys
GLAZIN’- (HARDLY ART)-When will the barrage of bratty-voiced, reverb-drenched, garage crunch end? Hopefully, based on the verve with which Jacuzzi Boys whine and stomp… never. For me, this is so much better a reason to get out of bed in the morning than the syrupy-romantic strain of retro-colored garage music emanating from every sixth speaker in Hipster Nation. “Glazed” is full of chunky beats, twangy guitars, and the kind of “Oh-oh-ohs” that sound more like Richard Hell and the Dragons than like, well, the syrupy/supposedly romantic kids. If they didn’t occasionally bounce within view of Seeds/Knickerbockers/Ty Segall-level grit, Jacuzzi Boys could be the new Archies; just waiting for the world to enter a bubble gum-twang-smack time warp wherein the blare of a tie-in cartoon show annoys their fans’ folks. “Hunx”/Seth Bogart, along with Heavy Hawaii’s Matt Bahamas & Waaves’ Nathan Williams, are already beating a path. www.hardlyart.com MARY LEARY
 09.05.11
Arrica Rose & the …’s
LET ALONE SEA (pOprOck Records)- Ms. Rose has a detailed, rather interesting bio, which includes Television and Beat Happening among her influences (so cool). The upshot is that she’s been into music forever; so much so that when she indulged her movie-love via attendance at USC, she was drawn to scoring films more than making them. Some of her music has been used on TV shows, and she’s popular with Starbucks. Rose’s fifth album, Let Alone Sea, shows that influences don’t necessarily show up in whatever the influenced is doing now. The first two tracks, “Sail Away” and “Everybody,” are quiet frames for Rose’s unusual vocal tone (kind of a cross between Bjork and Dusty Springfield.). But “We Made Out Alright” could be a textbook showcase for melding minimally perfect single-note guitar-driven verses (underscoring Rose’s punk/Indie leanings) with deliciously atmospheric choruses. This is the kind of music for leaning back with headphones; the kind of stuff that can distract a driver from the road. So much of it is so good, I can’t even hold the Starbucks thing against Rose. http://arricarose.com MARY LEARY
 09.05.11
Tarwater
INSIDE THE SHIPS-(BUREAU B)- What impressed me about Inside the Ships, the first proper album since 2007's Spider Smile, was its overwhelming commitment to diversity. These fellows have made some great records over the course of a career nearly two decades long, spanning the gamut of electronica, dance, progressive, and jazz, whilst remaining a unique listening experience. When I heard the first song, "Photographed," I thought the singer was David Byrne--and had to look it up before I became convinced it was Ronald Lippok. Inside the Ships is mellow overall, but that doesn't mean that it's less than interesting. An electronic blip here, a tribal rhythm there, a pop melody over in the corner, a dance melody right over the hill, it's enjoyable fare. The only misstep is the prog-jazz take on obscure John Lennon song "Do the Oz," but otherwise, Inside the Ships doesn't falter in its pleasures. www.bureau-b.com JOSEPH KYLE
 08.29.11
Big Talk
S/T-(EPITAPH)-Big Talk is the new project of Ronnie Vannucci, the drummer for mainstream rock band The Killers. I've always had a love/hate thing with his main band; not a big, big fan, but I like 'em well enough. When I heard some of the samples of this record, though, I thought it'd be worth a check-out, and I was right! Vannucci is an excellent songwriter on his own, and his sound and style doesn't stray too much from the Killers fold--leading one to think he's more than a mere drummer. "Katzenjammer" opens the record on a strong note; think 1980s rock, and you'll be right; it's utterly catchy, fun, party music. Starting an album on such a high note might be dangerous, but Vannucci keeps up the pace deftly. "Getaways," which follows, is even STRONGER than the opening track. He can do mellow, too; "No Whiskey" is a sad lament, and "The Next One Living" is a mellow ballad, sort of Hall and Oates, but only in a good way. Overall, Big Talk reminds me of The Cars, only if it had been fully led by the late, great Benjamin Orr. This is a good debut, and shows that if the Killers were to break up, Vannucci has a good thing going on his own, for this is no self-indulgent side project. www.epitaph.com JOSEPH KYLE
 08.29.11
Braid
CLOSER TO CLOSED -(POLYVINYL)-Champaign-Urbana band Braid were a great band; in the 1990s, they impressed with their final album, Frame and Canvas, an album that was catchy, hooky, and intelligent, and would become a foundation for the nascent emo movement that would take off shortly after their demise. It isn't surprising they reunited. However, unlike other recently-reunited bands of that same era, Braid has made baby steps back into the contemporary scene. Closer to Closed is a four-song EP, and...well...some things should be kept pure. Technically, this is a good record, in the sense that the band doesn't sound like they've aged. Problem is...Braid doesn't sound like it's aged. It's just that between then and now...their style of music...has become terribly, terribly dated. Of course, Closer to Closed is a veteran band doing what it did best--melancholy songs, clever lyrics, tight, raw production--courtesy of J. Robbins--and heartfelt sincerity in droves. So what is my problem with Closer to Closed? I'll fess up. I...don't know. Is it that I've changed, and they've stayed the same? Is it that, in trying to reclaim their place in history, they've highlighted the undeniable fact that what was their sound would become so watered-down and tame in the hands of the mainstream? There is one awesome, redeeming song here: closer "Universe or Worse" is an epic, non-pop pop song, not unlike labelmates Joan of Arc, and possessing a livelier spirit than the previous three selections. Maybe it's because it feels like something other than a product placement or a "soundtrack to your life" thing like so much of that emo stuff did a few years back. Still, in writing this review, I can't tell you if it's Braid who sucks, or if it's me. I think it's the latter. Maybe this is a good record. Maybe I'm missing the point. Maybe there IS no point. Or maybe I'm just wanting to move on from holding onto my youth, whilst maintaining this notion that I still understand "the kids." Not that any music critic has ever done that sort of thing.... www.polyvinylrecords.com JOSEPH KYLE
 08.29.11
Curtains For You
AFTER NIGHTS WITHOUT SLEEP- (SPARK AND SHINE)-Bands that put out nearly flawless or at least memorable records shouldn't be punished if their future efforts aren't quite as lofty.
Yet that's exactly what I did with the Posies' Frosting on the Beater, which, after the stunning Dear 23, sounded measured and predictable. It's with that backdrop that Seattle's Curtains For You's After Nights
Without Sleep arrives, having to build on the remarkable What A Lovely Surprise To Wake Up Here. One of 2009's best records, Surprise. . .landed top-notch harder-edged pop songs from top to bottom. The first five selections — Nuclear Age, Dead World, the infectiously grabby Dumb Angel, Title Bout and the gorgeous Chain Link Fence — comprise one of the top LP sides in recent memory. So, here we are with After Nights Without Sleep. .Far from being Billy (not to mention Fred) Ripken to Cal Jr., After Nights. . .is a great record. It's an A, a Rolling Stone-scale 4.5 out of 5, a Pitchfork-scale 8.97 out of 10. I can't stop listening to it. I love it more every time I listen to it. And yet, I'm a jerk because I keep comparing it to Surprise. . ., thinking one day, it could sound as good as that absolute gem. On After Nights. . .Curtains maintains its bounce and detail, with many songs consisting of four or five parts (each section as captivating as the one before it). The overall feel, while straight-ahead pop, also has Left Banke chamber-ish elements. And, this might sound a bit odd, but I also hear tinges of a more modern, and detached, 10cc. Which is why I love this band. Toss in excellent harmonies, such surprises as the jerky drums on opener Daisy and the home run song triumvirate of The Great War, Cold Wind and Eggs Over Toast and, yes, Curtains For You has crafted a more-than solid follow-up to Surprise. Pop fans new to the band shouldn't try to cut this baby in two. Both of these records are well worth getting. And now, to dig out my long-ignored copy of Frosting on the Beater. www.sparkandshine.com ANDY GIEGERICH
 08.29.11
The Red Button
AS FAR AS YESTERDAY GOES- (GRIMBLE RECORDS)- OK,. So it’s been four years since their smashing debut (SHE’S ABOUT TO CROSS MY MIND) and in that time one half of this duo, Seth Swirsky, released a solid solo record and of these 12 songs, 9 of them were co-written by Swirsky and his partner Mike Ruekberg (while Swirsky wrote the other 3 by his lonesome) and these two just seem like they were born to write music together, they just do. The band’s debut was met with favorable reviews across the board and I was one of them. What was not to like, sugary, upbeat Beatles-ish pop that gave you a few cavities upon the first listen. They tone down the upbeatness if just a bit on this sophomore effort and that’s ok and by saying that I like the debut a smidge more doesn’t mean I don’t like this one, it just means I like the debut a smidge more. First cut “Caught in the Middle” could have been on the debut , a pure rush while “As Far as Yesterday Goes” , an apology to a girl with the writer wracked with guilt, slows it way down. “Picture” has enough “bah bah bahs” to qualify as a Beach Boys-influenced cut while “Easier” sounds like a moodier McCartney. From there on out the songs waver between the two styles: chiming, fist-pumping pop and slower, moodier pieces. So there you have it, a more subdued than the debut but still goin’ strong. I hope it’s not four years for record #3. www.theredbutton.net
 08.29.11
Speck Mountain
SOME SWEET RELIEF-(CARROT TOP)-Speck Mountain are definitely one of my new favorite bands and I am ashamed of myself for not finding out about them when they lived right in my own neighborhood! They started out in Brooklyn and with a single and their debut album under their collective belt, relocated to Chicago and shacked up with Carrot Top. They’ve had a few line-up changes along the way, but no matter – the core is intact and it is super good. There have already been a slew of glowing reviews about this particular record and mine is not going to be any less glowing, although I think they get compared to Mazzy Star too much. I mean, yes, there are some slow numbers with vibrato’d Fender Telecasters and reverb-y female vocals, but they are by no means a copy-cat band. They actually swing way more than Mazzy Star ever did (who always came off very cold and deliberate to me). I would actually compare them more to Roback’s previous, more bluesy incarnation with the imitable Kendra Smith, Opal. There are also obvious nods to folks like Eno, the Velvets, Spacemen 3 and Neil Young, but Speck Mountain are definitely carving out their own warm little corner of the scene in a slow, subtle way. They haven’t played live in a couple of years but that will hopefully change soon. They’re currently working on their third record and if it’s anything close to this one it’s gonna be a beauty. This is a must… www.carrottoprecords.com JEREMY GRITES
 08.22.11
Cute Lepers
ADVENTURE TIME-(1234 GO)-Just when you think you’re on top of some new band you come to realize that they aren’t new at all and have been around for 5 years or so with a few full-length and several singles under their belts. Such is the case with this Seattle bunch who need a name change. But seriously, aside from the goofy band name they have the songs down pat and if upon first release they reminded me of a few of the earlier Dirtnap records band, like The Briefs, well it is because Brief’s guitarist Steve E. Nix is also in this band (main songwriter, I think). They take most of their inspiration from some pretty famous late 70’s UK bands (Gen X, Buzzcocks, The Jam, The Undertones, etc.) but inject enough energy, hooks and humor into ‘em that it doesn’t sound like some ’77 punk rip off but a current well-oiled machine who know how to write a good song (and have a good time doin’ it). In addition to the female backing vocalists you hear some piano, trumpet, sax and the like and it’s truly a fun listen. Check out tunes like “’77”, “Damaging Acts”, “I Can’t Do Things”, “Tribute to Charlie”, and plenty more. 12 songs in just over a half hour and it’s a total gas. My sadness over the demise of The Briefs has been lifted. Hallelujah! www.1234gorecords.com
 08.22.11
everyBoy
PARACHUTE MIND-(CATLICK)-This is much better than the debut. Every Boy is still hard to characterize/imagine a market “niche” around. But “Parachute Mind” lands in our arms feeling so warm and authentic, the market niche issue fades into a moot point. Fountains of Wayne/Pink Floyd producer John Holbrook’s mix is luscious. And where the debut showed promise, “Parachute Mind” comes through with a cohesive, consistently gripping steam of songwriting and delivery. Bruce Nathan (EB) can sing almost softly enough to appeal to John Mayer fans, with a bite nipping at the edges. On tracks like “Change,” “Ego Solo,” and “Narcisuss” he fashions savory slices of what I can only label “classic rock” (the sort born in the ‘70s, epitomized by Tom Petty, Jackson Browne, and/or Squeeze). There are delicious moments that smack of ‘60s harmonies and/or power pop. And “TV News” sounds like the kind of thing we expected from Rivers Cuomo at this point. Categories, schmategories. www.everyboy.net MARY LEARY
 08.22.11
Gold Leaves
THE ORNAMENT- (HARDLY ART)-Gold Leaves is the solo project of Grant Olsen. If his name sounds familiar it is because he is one half of another Hardly Art band duo Arthur and Yu. From what I’d heard he had began working on this solo record 4 years but his laptop was stolen so it was back to square one. That is a major bummer but hey, however long it took him to finish THE ORNAMENT he should be damn proud because this is wow, reaaaal nice. It put it on numerous times and listened to the whole thing from start to finish and each time have just basked in its warm glow. It mixes elements of folk, soul, some doo wop and then big, grand, majestic pop too. Some of it reminded me of some of Scott Walker’s solo stuff while some of the folkier elements I thought of his Seattle brethren, Fleet Foxes. That first cut, “The Silver Lining” unfolds and basks and you honestly won’t want it to end. Same with the more upbeat, shuffling title track. On cut #3, “Endless Dope” I kept thinking he was saying endless love and the n found out that I was right and it’s closer in feel to the bounce of the title track. From there on the record, 9 songs in all, goes through peaks and valleys but each pit stop is worthy of deep exploration. I wasn’t too surprised to read that Papercuts’ Jason Quever helped out a lot on this record since his music is nearly as beautiful. THE ORNAMENT has etched its way into the deepest recesses of my mind and it’s not going to leave. And honestly, I don’t want it to. www.hardlyart.com
 08.22.11
Sam Prekop
OLD PUNCH CARD- (THRILL JOCKEY)- Ok, so here’s the deal: Sam Prekop officially owes me $20 and I want it back. Let me start by saying that I have been a fan of Sam in every incarnation going back to his days in Shrimpboat. I anxiously awaited each Sea & Cake record in the 90’s, I loved his gorgeous solo debut, hell, I even like his paintings. But this record is a SLAP IN THE FACE. Real talk: this is nothing more than two sides of computer, keyboard, effects pedal wanking / editing that’s all squeaks, farts, hiss and complete bullshit. I know that it’s probably “art” and my small brain can’t comprehend it, but seriously it’s bullshit. So much so, that I think if you’re going to release a record like this you should put a warning sticker on the front of it. I mean it. I allowed myself to buy ONE new record that day in the record store (because they are so expensive now) and I was choosing between this and the Teenage Fanclub re-issue of Bandwagonesque. I feel like I got robbed. Considering the absolute ROLL that the Sea & Cake have been on recently I thought for sure this was the right choice. Nope. Totally disappointing and then infuriating – I mean give me ONE SONG! Just one song, with some structure, maybe a few lyrics mumbled out like usual? Nope, denied. Well folks, I’ll tell you this: I’m never buying another Prekop record (solo or otherwise) until I get my $20 back – either from Thrill Jockey or Prekop personally. I work too hard for my money to throw it away on garbage like this. I should’ve known by the album cover which is equally half-assed. A waste of precious petroleum - buyer beware. www.thrilljockey.com JEREMY GRITES
 08.22.11
Release the Sunbird
COME BACK TO US-(BRUSHFIRE)-I don't know what the status is of Zach Rogue's band Rogue Wave, but I must admit that I find Come Back to Us, the debut record from his new project, Release the Sunbirds, to be a refreshing departure from his main band's indie-rock. Gone are the new-wave tinged pop songs; it's all mellow, hazy folk, with a hint or two of country. Rogue Wave has always had a few album cuts similar to the overall fee, so it's not a particularly new sound for Zach. It is, however, nice to see him delve into what had previously been an aside. This is no mere one-man recording project; he works with a band, and most notably is joined by the lovely accompaniment of Kate Long, whose embellishments on songs such as "Why Can't You Look at Yourself" and "Everytime You Go" add dimensions not found on his previous work. Don't worry, though, that this mostly acoustic affair doesn't provide catchy songs; the upbeat songs like "Back Strikes Back" and "We'll Begin Tomorrow" break up the monotony, and, yes, sound like acoustic takes on louder Rogue Wave songs. With his label promoting this as a solo/not solo project, Come Back to Us proves to be a strong, captivating, enjoyable listen, and could easily prove to be a nice side road to an already talented and storied career. www.brushfirerecords.com JOSEPH KYLE
 08.15.11
The Buffalo Killers
3-(ALIVE RECORDS)-Never much loved Joe Walsh, although I’ve tapped my toes to Crazy Horse. BKs make me nostalgic for hearing Walsh on the radio even though I was never consciously aware of any JW-love. Jeez, was I in denial! BK’s build such a great mix of songs that feel (instantly) familiar-as-your-favorite-sneakers, with juicy acoustics and just enough of that stomp-your-boot (or sneaker)-to-shake-the-dirt off thing – it’s downright ingratiating. It’s easy to see why Black Crowes invited the band to open for ‘em. It’s even kind of easy to see why Kelley Deal recently collaborated with BK’s for her entry on an upcoming Guided by Voices tribute. These guys probably need a social secretary just to field all the kegger invites. Recommendations? If/when I see the band I’ll be requesting “Lily of the Valley,” “Jon Jacob,” “Time was Shaping,” and the gorgeous closer, “Could Never Be.” I don’t know from the “psychedelics” other folks say are in these sounds. But if I were “on a trip,” I definitely wouldn’t throw Joseph Sebaali or the Gabbard Bros. out of bed for eating funny crackers. www.buffalokillers.com MARY LEARY
 08.15.11
Drive-By Truckers
UGLY BUILDINGS, WHORES AND POLITICIANS-(NEW WEST)-In his liner notes to this greatest hits cd Rolling Stone writer David Fricke says that he came to the Truckers right on time, for 2001’s Southern Rock Opera. For me I could have come then, a pal, Mike D (from the Portland band I Can Lick Any Sonfofabitch in the House) was talking ‘em up back then but I was only halfway listening. It took a few more years for me to finally get it, but get it I did and have been a fan ever since. Calling this 16-song collection a “greatest hits” is kinda funny too since this band hasn’t had any real “hits”, at least not in a traditional sense of the word (though in a just world some of these songs would be). Oh sure, I could moan about some of my favorite DBT songs not being on here, but heck, this is a pretty darn good collection and a great place to start if you’re a newcomer. And what is it that they do, you ask? Well just write some of the meatiest, hookiest odes to the south that these ears have ever heard, but this isn’t just rock music to prove your manhood to. The ‘truckers tell stories, spill emotions and basically let it all hang out in a 3, 4 5 minute songs that has as much beauty as it does sorrow. It’s all here laid out on a proverbial silver platter: “The Living Bubba”, “Ronnie and Neil”, “The Righteous Path”, “Carl Perkins’ Cadillac” , “Let There Be Rock”, “3 Dimes Down”, and my personal DBT’s favorite, “Uncle Frank.” There’s three things for certain in life: death, taxes and getting your moneys’ worth with the Drive By Truckers. Amen. www.newwestrecords.com
 08.15.11
FM Belfast
DON’T WANT TO SLEEP- (MORR MUSIC)-“Pow pow drip drip/from the chin/Pow pow drip drip/I’m the(?) American…” One certainly doesn’t hear these lyrics every day. Straightaway, FMB gets points for originality, along with being a bit “out there.” If drugs and/or alcohol aren’t somehow involved in this loosely-membered (between eight and 25, at least onstage), unisex, Icelandic posse’s output, then it’s a group of addled geniuses. FMB is almost child-centric enough to remind me of Peelander-Z. Almost. Don’t Want to Sleep alternates aggressive electro-laced dance-pop with tracks that are somewhat more laidback. In other words, the album’s likely to stay in your ears for its entirety per a healthy sense of dynamics; of just how much upbeat cleverness listeners can handle. One gets the sense that the song “I Don’t Want to Go to Sleep Either” needed to be born so the band wouldn’t go on some sort of spree: lacing seniors’ tea with acid, killing nuisance insects, or tie-dying clothes nicked from the mall. www.fmbelfast.com MARY LEARY
 08.15.11
Purling Hiss
LOUNGE LIZARDS- (MEXICAN SUMMER)- How is it possible that one little dude (Philadelphia's Mike Polizze) can make all that noise? While this record is fairly classified as "garage rock", it also has a touch of "Slash/Van Halen shredding", "noise rock" and general "awesomeness". The opener, "Voices", sounds like someone spilled metal into their indie rock ("Hey, you got Slayer on my Sebadoh!" "No, you got Sebadoh on my Slayer!"). The next track "The Hoodoo" is a little more laid back, almost subdued. The rest of the EP kind of breaks down from there. "Midnight Man" has those dreaded "affected" vocals that I loathe."City Special" sounds like 6 songs stacked on top of each other. The finale "Karaoke Night" is an unintelligible wall of noise that comes off rather spectacularly. This little fella' has balls. And swagger. I'll bet the live shows are staggering. www.mexicansummer.com KIP KELGARD
 08.15.11
Umber
MORNINGS’S PASS-(SELF RELEASED)-Umber is the moniker of Nottingham-based minimalist Alex Stewart, and this, Umber's debut EP, is a stunner. Containing six unhurried tracks of pure instrumental beauty, Morning's Pass ebbs and flows with the quiet intensity of a Sunday morning, a Wednesday evening, and an infant's nap time. He blends in piano, keyboards, guitar, banjo, and the slightest of drones into a gentle mix that creates a sonic imagery that is instantly restful. This isn't so much of a time, as it is the music of the mind, of that oh-so-important respite one needs from the stresses of the day, the frustrations of work and family, and the daily confusion and puzzlement of life. Stewart sounds like a disciple of Harold Budd, and that is only a good thing. The short pieces like "We'll Throw Out Some Old Shoes" and "The Day We Left For Earth" sound double and triple their actual running time, while the epic numbers that open and close this record sound positively infinite. Though it runs only thirty-eight minutes, it is easily the most relaxing thirty-eight minutes you could spend. I honestly have to say I cannot wait to hear what this young man will do next; on his website, he is currently adding a song a week. Essential listening, and a fine welcome to a stunning new talent. http://www.soundsofumber.co.uk/ JOSEPH KYLE
 08.08.11
Archers of Loaf
ICKY METTLE-(MERGE)-Shortly after the split of Archers of Loaf, I had the opportunity to talk to former Archers of Loaf frontman Eric Bachmann about his former band. "I don't think it's right for a band to reconsider a reunion or revisiting its back catalog until they've been broken up for as long as they were together." One thing you have to say about the man--he's true to his word, for the band's recent reunion and reissue campaign falls squarely into line with those rules. Icky Mettle, the band's first album and the first foray into the back catalog reissue series, is a loud reminder of what made them so damn appealing anyway. Fortunately, rock and roll never forgets, nor does quality music ever sound dated; the first notes of instant-classic "Web in Front" still ring true, and still thrill. The remaster job done makes this record sound even brighter, and yet, even more taut and gaunt, reminding of the power of a lean, mean rockin' machine. Songs like "Wrong" and "Backwash" also having lost none of their urgency. As this is a reissue, there's also a second disc, containing contemporary singles and EPs; there's nothing really new found here for the old-school fan--almost all of the bonus material can be found on The Speed of Cattle, which leads one to think that the obscurity and poverty the band must have faced in its early days meant that nothing was wasted, and there are some powerful numbers here, with "What Did You Expect?" originally released on the band's only Merge release during its life, is perhaps even more powerful than the album, which also hints that the band had matured greatly in its short life. It's good to know that some things will never change; much like I'm sure the men's dorm at my old alma mater will reek of pot and body odor, Icky Mettle's strengths will be a constant throughout the ages. www.mergerecords.com JOSEPH KYLE
 08.08.11
Christian Death
THE ONLY THEATRE OF PAIN-(FRONTIER- REISSUE)-Released May, 2011. Admittedly, Church bells, reverbed drums and cymbals peeling away to reveal squealy, circular guitar riffs, thudding bass and raspy, androgynous vocals do not make the soundtrack for any of the 9 levels of Hell, at least not as well as any track by Shining, Gorgoroth or even Cannabis Corpse. It does, however, launch the most influential California punk album of all time. Christian Death's 1982 debut, The Only Theatre of Pain (TOToP), was THE Gothic American Punk album that defined the look and sound of the multiple genres spawned in it's wake. Every long, black haired, clove smoking, black finger nailed and black lip sticked punk kid (that guys had to keep looking at closely to figure out if it was a hot chick or risk masturbating over a guy later that night) had this lp on their Close N' Plays. Personally, this album swung heavy in the gallows of influence over my old band back in 1984. Our guitarist was especially afflicted with the Christian Death disease, though I doubt any guy ever mistakenly masturbated over Chuck's calamitous attempt at androgyny. Christian Death's Satanic imagery and odes to christian defilement should have sent a ripple of knotted panties through the PMRC in the 80's but Rozz William's execution of content was evidently too subtle for Tipper Gore to be able to rationalize any indignation over. So, while Tipper slugged it out in court with Frank Zappa over The Mentors lyrical fascination with anal emanations, the churning punk grit of The Only Theatre of Pain, defined by guitarist Rikk Agnew (Social Distortion, The Adolescents, D.I.), freely stole the souls of disaffected punk youth yearning for a misanthropic outlet (that they could party to!) beyond the jockish violence of Hardcore. Unfortunately, when Rikk left the following year to join D.I., the signature sound of Christian Death vamoosed to boot. Even though Rozz was the founder of the group, he only stalked Christian Death for their next 2 lp's. Nothing he recorded with them or they recorded after his departure ever approached the seamy, smoke filled, hashish sodden, psychedelic-goth-punk sonic squall of this legendary lp. Frontier Records has just remastered and reissued this landmark recording on vinyl and CD. Now's your chance to rock out to the dark creepiness of "Dreams for Mother", the dirgy punk of "Spiritual Cramp", and to ponder lyrics like, "...Invocations are invitations, to the bloody red sheets, the circle is broken, by the silence, a sacrifice of one." OH, HELL YEAH! (Sorry, I'm all gothy and giggly now). The CD also includes the Death Watch ep while the limited Violet Vinyl Version includes previously unreleased material on a bonus 7". Cripes, I can't wait to hear what Lady Gaga will produce once she gets an earful of this one. www.frontierrecords.com VICTOR GARRISON
 08.08.11
For Against
BLACK SOAP EP- (WORDS ON MUSIC)-This thing is pretty awesome. Black Soap is an EP comprised of three impossibly rare tracks from For Against’s first recording session that were never released until now and they are totally worth it! I liked For Against back in 80’s but I never connected the dots with them and realized just how much they loved Pylon! Their love of the Gang of 4, Joy Division and the Cure is certainly evident as well (meant in the best way possible). It’s SOOOO 80’s! But don’t get me wrong, it’s great and you should check it out. Apparently Words on Music is re-issuing a bunch of For Against stuff that was rare or unreleased and I for one am looking forward to them all. Cheers mates! www.words-on-music.com JEREMY GRITES
 08.08.11
The Loose Salute
GETTING OVER FOR BEING UNDER- (GRAVEFACE)- OK, this one has been out for a few months now but it got lost in the shuffle (not too difficult in my office) and I really wanted to review it as I really enjoyed their debut. This sophomore effort is solid with some terrific highs and only a few lows. If the band sound is familiar it is because T.L.S. is led by Mojave 3 drummer Ian McCutcheon and it must be said that his voice sounds A LOT like Mojave leader Neil Halstead’s. Honestly, on the beautiful opener “It’s a Beautiful Thing” I had a hard time telling the difference but it’s ok, I enjoy both of their voices and it’s a excellent song and on song number two they throw us for a loop by having two women, Lisa Billson and Charlotte King, take lead vocals and do a fine job of it. Not much of a loop really though as both women (or just Billson) sing on a lot of the record and it’s not a lot different than the debut: sunny, bucolic 60’s pop melodies (think The Byrds, etc.) with some pedal steel and Hammond organ added for effect as well. “Hermosa” is a tad on the light side, the Billson-sung “Perhaps She’ll Fly” had a nice little Belle & Sebastian thing going on (I think it was the horns), “Happy I Don’t Count” may be warm and fuzzy on the outside (musically) but the lyrics say something else. “Sister Corita” was a bit too jammy for me (made me think of Big Brother and the Holding Company) but they make up for it on the superb “So Out of Time” with its Byrds bashing and squirrely pedal steel and the record closes with a few gentle, acoustic tunes. This will certainly hold me over until the next Mojave 3 record (assuming there’s going to be one) and then some. www.graveface.com
 08.08.11
R.E.M.
LIFE’S RICH PAGEANT (25th Anniversary Deluxe Edition)-(UNIVERSAL)-Life's Rich Pageant is considered by many fans of the Athens, Georgia band as being their first classic. (Then again, each album has its fair share of fanatics who proclaim that album as REM's first classic, but i digress.) It is an auspicious sort of claim; in terms of popularity, it contained the first hints of the band's pop potential. With the minor success of "Fall on Me" and "Superman," it deftly placed the band at the crossroads: would they continue to be a "college rock" success, or would they go onto greater things? Musically, it's slicker and smoother than their previous records, and they certainly seemed to have larger goals in mind, and it's certainly no surprise that the record went gold in the US. That aside, there are some wonderful album cuts on here; "The Flowers of Guatemala" can definitely be seen as a precursor of big-ballads like "Everybody Hurts," but is lovely in its way. Then there's the wonderful "What If We Give It Away," that clearly shows the DNA link between them and 10,000 Maniacs. "Hyaena" is a fast, catchy rocker, reminiscent of the band's early records, and "I Believe" is merely R.E.M. at their best. This being an anniversary reissue, this comes with a second disc, and much like Fables of the Reconstruction, the second disc is primarily demos recorded at home in Athens, and, while lovely, are not particularly revelatory, though the early version of "What if We Give It Away?" is as good as the original, if not better. Greater things were soon to come; Life's Rich Pageant proved to be the clouds on the horizon, threatening something big. www.universalmusic.com JOSEPH KYLE
 08.01.11
Robin Guthrie
EMERALDS-(DARLA)-Former Cocteau Twin Robin Guthrie has been solo longer than he has been a Twin, but still, thirty years on, the man's sound is instantly identifiable; his shimmering guitars are always a pleasure. Emeralds is this year's reminder of why he is an important guitarist; he offers little in the way of surprises, and gives the audience what they want: beautiful, haunting, restful melodies, that never meander, but fill out magnificently the three to four minutes that they take. If you've followed the man's career for as long as I have (twenty-plus years!), then you know that this is no rubber-stamp record, it's simply ten brief glimpses of some of the most beautiful instrumental guitar you'll ever hear. A new Robin Guthrie record, as fungible as they may seem, is ultimately, a gift for the ears and the soul; every year or so he releases one, and every time he does, I buy it, and may it forever be so. www.darla.com JOSEPH KYLE
 08.01.11
Kid Congo And the Pink Monkeybirds
GORILLA ROSE-(IN THE RED)-Kid Congo’s legendary status is well-deserved: He founded the Gun Club, was in the Cramps, hung out at the Masque club in sleazy, 70’s Hollywood and even played geetar for Mr. Nick Cave. He has that kind of “terminally cool” way about him that few people possess and it seems like everything he does manages to be intrinsically good. That’s pretty hard to do over a 30+ year career. Gorilla Rose, which is a dedication to a seminal, influential LA punker of the same name, is no different. It swings from genre to genre, gets weird, rocks out, makes you laugh and gives you a history lesson - all the while effortlessly blending every era that Kid Congo has lived through and been a part of. If ever there was a soundtrack for a slinky, late-nite house party where spikey silhouetted figures dance cooly through the smoke plume, illuminated only by the string of tiny lights across the ceiling and the strike of matches in the corner, this is it. Dig. www.intherecrecords.com JEREMY GRITES
 08.01.11
Las Kellies
S/T- (FIRE)-Argentinean-based trio has exactly one music style, and it's a doozy: punk-funk. From the first notes of "Prince in Blue," you know a few things: these ladies know their musical history, probably own the complete discographies of The Raincoats, B-52s, Devo, Au Pairs, The Slits, Bratmobile, Throwing Muses, Tom Tom Club, and ESG. That's okay, because all those bands are cool as shit, and Las Kellies is, too. Throughout this records' fourteen brief tracks, you will find some amazing (and amazingly groovy) bass rhythms, little-girl singing voices, some great harmonies, and, better still, a great sense of humor. And some cowbell. This tribal funk-punk thing looks good on paper, and sounds even better. This sort of sound has always had a little niche in the underground, going in and out of vogue, but Las Kellies' style is tight, true, and taut, and this self-titled debut album shows that the early-80s punk/funk/disco/new/no-wave amalgam still holds a power, when placed in capable hands, like these ladies. A most-exciting debut! www.firerecords.com JOSEPH KYLE
 08.01.11
The Nighty Nite
DIMPLES- (GRAVEFACE)- John Congleton was the leader of Dallas-based doom-rockers the pAper chAse, a band that released a fair number of extremely dark, extremely disturbing records. Apparently that time has come to an end, but Congleton has returned with a new project, The Nighty Nite. That dead apple doesn't fall too far from the tree; Congleton and his new band continue on in the same dark manner; in fact, these songs are reputedly leftovers from the pAper chAse era. "Dimes in Your Dimples" is Congleton at his best: funny lyrics, an odd childlike nature, and a feeling that will leave you looking over your shoulder. Things get inherently darker with "The Silly Bag," a song about death (natch), and "In a Hospital Gown" is equally weird and freaky. The final song is a cover of The Magnetic Fields' "Meaningless," which is heavy-handed and though it's hard to beat the original, they do a good job of sending it in a different direction. It may be a little while between this and a full-length, but this is a wonderful appetizer for more greatness. www.graveface.com JOSEPH KYLE
 08.01.11
Robert Scott
ENDS RUN TOGETHER-(FLYING NUN)-As leader of New Zealand pop tunesmiths the Bats , Scott has long been regarded as one of the finest pop songwriters around (including his work with the folkier Magick Heads and we can’t forget about The Clean, either). He has released a handful of solo records over the years as well, mostly as imports and most have been of the more experimental side of things. I have to admit that the handful of his solo tunes I’ve heard over the years really didn’t do it for me which make the string of gorgeous gems on ENDS RUN TOGETHER all that more compelling. It is a wonderful batch of songs, 13 in all, many of which could easily run alongside his best Bats work and the record is well worth repeated listens. The soaring opener “On the Lake” could have been on any Bats record and stood out while “Carmilla” and “Days Run Together” are both spacier folk tunes on the more downbeat side. “Too Early” is a chugging guitar pop tune (one of my favorites on the record) as Scott’s pal David Kilgour adds some tasty guitar work to it while on “Greenwood Tree” he slows it down with gently plucked guitar and supple melodies reminding me of a Mojave 3 song (same with the beautiful, string-laden “Born in a Tent”). I’m not sure when the Bats record will be (I do know that Scott spends lot of time painting, not surprising as his songs seem to evoke beautiful images much as a painting does) but this will certainly more than satisfy in the meantime. www.flyingnun.co.nz
 07.25.11
Brilliant Colors
AGAIN AND AGAIN-(SLUMBERLAND)-Slumberland is really on a roll here and I am really liking this new Brilliant Colors record. It keeps finding its way back to my cd player (yup, I still use one of those). Their debut (INTRODUCING) from a few years back was a solid batch of jangly, noise pop tunes but this one ups it no doubt. The songwriting is stronger and the production a bit better (not slick by any means, though). There’s 10 songs in about 30 minutes and with any and all of the fat trimmed off , just the way I like it. Opener “Hey Dan” starts things off in a exquisite fashion with the perfect amount of reverb on the guitars and vocals (courtesy of frontwoman Jess Scott) and a solid, shuffling rhythm section ((Michelle Hill on bass and Diane Anastasio on drums) and it all adds up to a nice head-bobber of a song/record. “How Much Younger” speeds it up a bit while “Value Lines” eeks in more C86 influence. On “Round Your Way” Scott’s vocals are at their dreamiest where words often come out with an ethereal glow on them (it’s that way on most of the record and I like it) and the same on my fave song on the record, the choppier “Back to the Tricks.” Parts of it remind of some of my favorite New Zealand (Flying Nun) bands like Look Blue Go Purple and The Clean (mostly in the vocals and rhythms of the former and the guitar of the latter). I’ve only described the first half of the record and the 2nd half is more of the same and yes, I’ll let you borrow it if only I could stop playing it. www.slumberlandrecords.com
 07.25.11
Grand Pianoramax
SMOOTH DANGER-(OBLIQSOUND)-Can’t say this is more of the “same-old.”Unless I’ve been missing something, Grand Pianoramax is concocting unusually off-the-chart sonics. This third outing from the Berlin-based duo continues to be anchored by the brilliant keyboarding of Leo Tardin, who looks like an angry Ringo Starr and whose skill has been recognized and awarded at the Montreux Jazz Festival. The set commences with an acoustic piano- and kit-based tour de force, “Infidel.” From there, it’s a wild ride that employs funk, progressive kinetics, out jazz, and hip-hop vox as dictated by mood and composition. The collage of acoustic piano steps and electronics on “Midnight Morning” make for a stunning closer. Heads-up to fans of King Crimson’s more kinetic excursions. www.obliqsound.com MARY LEARY
 07.25.11
Dex Romweber Duo
IS THAT YOU IN THE BLUE?- (BLOODSHOT)-For those of you alive and buying records in the 80’s, you probably remember Dex from his days in the now hallowed Flat Duo Jets. If not, there’s a great, albeit a little sad, documentary about him/them that will catch you up nicely if you’re so inclined. At any rate, although the ‘Jets called it quits Dex never stopped writing songs and banging away at his old Silvertone and this new chunk of songs may be the best thing he’s released in a decade (or 2). Honestly, it’s really good. His vocals and guitar playing are absolutely killer and while it’s reminiscent of the ‘Jets, I think I like this better! The awesomely ominous track “Nowhere” (in which Dex totally channels Eric Burdon) is worth the price of admission alone. A stunner for sure. And if that’s not enough for you there’s an amazing cover of “Brazil,” in there for you - plus 12 more tracks that just don’t quit. From raucous surf instrumentals, to noir waltzes to 50’s-style ballads to twangy country rave-ups – it’s all in there. So go get it. Welcome back Dex. www.bloodshotrecords.com JEREMY GRITES
 07.25.11
Shabazz Palaces
BLACK UP- (SUB POP)- When you think of Dagger you don't think about hip-hop (unless you're talking about the trend called daggering, which we did NOT invent--our crack legal team wanted us to make that perfectly clear). But Shabazz Palaces is...different. They turned heads by being the first "rap" act on Sub Pop, but they're not rap. They're marginally hip-hop. I say this not to negate their role within the genre; Palaceer Lazaro has bona fides, but that's not important here, because what he does here is totally different. The sounds are minimal, stark; somewhat of a drone, simply because sometimes they are downright atonal, with occasional percussion and other weird sounds and vocal manipulations. This isn't Hot 97 material, at all; if anything, it sounds a lot like a 21st century take rebirth of the Last Poets. No samples, either! It's all about vocals and noise. And I have zero idea what he is talking about, but I do know that "Youology" and "Are You...Can You...Were you? (Felt)" and "yeah you" are some of the most compelling things I've heard. Same thing for the wonderful "Swerve... the reeping of all that is worthwhile (Noir not withstanding)," that closes Black Up, which is catchy and appealing whilst sounding not like much of anything you've heard before. This is compelling, innovative music, one of the most unique listening experiences I've had all year, and I only go back for more. www.subpop.com JOSEPH KYLE
 07.25.11
Wooden Shjips
WEST-(THRILL JOCKEY)-The opening guitar riff of album opener "Black Smoke Rise" would make you think you're about to hear some major Blue Cheer-style metal, but hang in there; when the farfisa and the singing begin, you'll think you are listening to Stereolab's older biker-brother. Though it's been a few years since the last major Wooden Shjips release, the band's gone through some line-up changes and a new label, and the resulting record, West, is perhaps the best in their storied, noisy career. Certain elements are still there, the loud guitars, the organs, the stoner-rock ways, but they have been enhanced, honed, and cleaned up to the point where the results are utterly mindblowing. With a better production, the guitars are tougher, the singing is much more powerful, and the vibe is wayyyyy trippier than what they did before. Hell, there's even a weird Southern rock nod here and there, especially on "Looking Out." And I especially love the closing freak-out, "Rising." West is some heady, hard-going psych-rock, if that's what you need. I need. www.thrilljockey.com JOSEPH KYLE
 07.18.11
Fonda
BETTER DAYS ep-(SELF RELEASED)-It’s hard to believe that 8 years have passed since this Los Angeles band had released their last record but yes, it indeed has been that long. The band founders, David Klotz and Emily Cook, say that those life things like kids and mortgage payments got in the way. Back then the Mighty Lemon Drops Dave Newton was also in the band but I think this 5-song ep is just David and Emily and it sounds the same as it did in the late 90’s/early 00’s. The band has been described as everything from Brit pop to shoe gaze to dream pop to indie pop and everything in between and all of those are accurate to a degree. The 5 songs here are all very good and it looks like time has not done them wrong at all. Cook’s vocals sound superb and the melodies here are ace. From the swirling opening title track to the soaring “A Love That Won’t Let You Go” to the driving (sung by Klotz) “In the Coach Station Light” (Field Mice reference?) to the quieter “Summertime Flight” (my least favorite song here but still not a bad song) to the killer, Lush-esque closer “My Heart is Dancing.” Pick it up, pop it in and it’s like the last 8 years never happened! www.fondamusic.com
 07.18.11
Gold Bears
ARE YOU FALLING IN LOVE?-(SLUMBERLAND)-The latest salvo in Slumberland Records' attempt to conquer the world one jangle-pop band, Gold-Bears is the work of Jeremy Underwood, who impressed this reviewer several years back with his band Plastic Mastery. Gold-Bears is pure pop crunch; loud guitars, louder drums, and some sweet, charming crooning. "Record Store" kicks off this over-caffeinated pop record, and from there, the band just DOES NOT STOP when it comes to catchy melody. Yeah, yeah, you've heard this before, but they do have a tendency to slow down and make some slightly psych-rock pop, like on the title track. Elsewhere, like on "Totally Called It" and "In This City, I'm Invincible," they simply tear it up with speed and sass and punk-rock charm. It could all fall apart at any moment, but it never does; that's part of the fun! I bet these guys are FUN live; this concise and lively record is almost as good! www.slumberlandrecords.com JOSEPH KYLE
 07.18.11
Joel Jerome
WHEN BECK WAS COOL Vol. 1- (FUTURE FARMER)-Apparently people who laughed and raised thumbs to Beck’s “Loser” video when they were 10 are feeling nostalgic, ‘cause this is the second time in the last couple weeks something inspired by the guy has ended up on my desk. I know I laughed out loud, first time I saw him pushing a weed blower around a stage, and I was older than 10 when that video dropped. The way Beck collaged and co-opted hip-hop, spoken word/slam, and alt. rock, along with being the first artist to say anything about those infernal noise-makers (this is before cell phones and the widespread sonic pollution of car alarms – a looong time ago, kids) – well, it was something to make you jerk your head up from that soup, or bong, or quilt you were immersed in. As with many groundbreakers, Beck inspired a lot of imitators and genuflectors. And just as it can be fun for musicians in their mid-late ’20s to sink their teeth into Weezer, folks for whom Beck was the Beatles are now getting courageous. Joel Jerome usually plays with Dios/Dios Malos. On When Beck Was Cool he takes a respectful approach to “Cyanide Breathmint,” “Got No Mind,” “MTV Makes Me Want to Smoke Crack,” “Girl Dreams,” and about six more. The words “Headphones recommended” string out of a pic of headphones on the back artwork, and it’s an apt suggestion: Jerome’s tenderly crafted Beck songs brim with multi-layered harmonies and sumptuous sonics. www.futurefarmer.com MARY LEARY
 07.18.11
Stars
THE BEDROOM DEMOS- (ARTS & CRAFTS)- Sometimes albums don't click; is it an arrangement thing? Does it have to do with the songwriting itself? It's hard to gauge this intangible factor; such was the case with Stars' album, In Our Bedroom After the War. Perhaps it was too didactic; perhaps the arrangements didn't gel with the songs--whatever the reason, it didn't fully satisfy this reviewer. Perhaps the band realized this as well, for their latest release, The Bedroom Demos, the band has revisited the early version of that record. It's an interesting concept, to re-present the record to the world. As records go, there's plenty of similarity between this and the finished product; the versions of "The Night Starts Here" and "Take Me To The Riot" don't sound radically different to their finished counterpart. In other instances, the rougher versions sound better. "The Ghost of Genova Heights" is a great example. The finished version's drums are clunky and somewhat dull; here, they are brighter, louder, and snappier--less jazzy than the album version, more 80s pop in style. "Bitches in Tokyo (Fuck U I Love You)" is hazier and more shoegaze than the finished version, and, honestly, is less forgettable than the final version. Also good are the unreleased songs; "Division (Monkees)" sounds like a Submarines outtake, whereas "The Worst Thing (Whitey Jam)" is a singalong, not unlike, say, Beach Boys' Party! The Bedroom Demos is an interesting revisiting of a flawed record, and one that has caused me to want to go back and check that record out. www.arts-crafts.ca JOSEPH KYLE
 07.18.11
Washed Out
WITHIN AND WITHOUT-(SUB POP)-This full-length debut is a yummy set of dreamy bedroom thump (my new term); perfect for some people’s summers in Newport, Santa Barbara, or Monaco (poorer person’s version: dozing on the roof of their Brooklyn tenement with a glass of something cold at the ready). But the kicky drums do feel “sandy.” Vocals and well-tempered synths float above them like cool breezes and sky-blue rayons. “Echoes” even fades with a cricket-like hiss. Washed Out/aka Ernest Greene, who’s based in Atlanta, Georgia, gets his purely flavored tones and effects with some help from Ben Allen, who’s known for working with Deerhunter, Animal Collective, and Gnarls Barkley. See if your toes tingle when Washed Out comes to your town, or one within driving distance, this coming September. Just make sure to down some caffeine if you’re playing this on the drive. And I have to hand it to Sub Pop, once again, for making its customary stand against an all-digital audio world. The packaging for its last few CDs has made quite a case for things we can hold in our hands. The digipak for WO is pretty darned erotic. The one for the recent Shabazz Palaces release, with its black “velvet” and red sparkles, was off the chain. And the one for the Sebadoh reissue was simultaneously desirable and a crack-up. www.subpop.com MARY LEARY
 07.10.11
Johan Agebjorn and Friends
CASABLANCA NIGHTS-(PAPER BAG)-As the promo material says (more or less), “Swedish DJ and Producer Johan Agebjorn has released a disc of nu-disco pop with collaborators from the European and North American electronic scenes, including Le Prix, Lake Heartbeat, CFCF, Lovelock and Sally Shapiro.” Yes, and it’s an accomplished album of oft-‘80s-inflected club/disco (the title track sounds a bit like Duran Duran), with some more laidback, lounge-y beats. While some of it’s too thumpity-thump for me, I may keep lounge-ier tracks, like “Memories of Satie,” and “This Case is Closed.” The set’s likely to work for seekers of dreamy, sexy, danceable fodder. www.johanagebjorn.info MARY LEARY
 07.10.11
Beach Fossils
WHAT A PLEASURE ep-(CAPTURED TRACKS)-I had been wanting to get to this one for a while Beach Fossils’ self-titled debut from last year was one of my favorites of the year (and many other folks, too). The jangly guitars, wispy melodies, stoic drum (machine) beats, and leader Dustin Payseur’s far away vocals reminded me of 80’s UK bands like Felt and the Pale Fountains (some Trash Can Sinatras, too) and though it seemed like a lot of bands were doing this sort of thing last year, no one did it better than Payseur. He returns with 8 more songs , some written solo, a few written with bassist John Pena and one co-written by Wild Nothing’s Jack Tatum (Wild Nothing also released a strong pop record last year, on the same label and with a similar sound). The sound here isn’t too much different from the full-length, perhaps a bit cleaned up and a bit more melancholy, but otherwise more of the same. A few of the gems on here are the short , almost-instrumental opener “Moments”, the upbeat title track, the ethereal “Out in the Way” (the song co-written with Tatum), the near-perfect “Distant” (stellar guitar work) and the REM-ish “Calyer.” 2 of the 8 tracks here were just ok so 6 out of 8 isn’t bad. I know from my interview with Payseur that he’s in for the long haul and wants to keep writing songs. I’m ready. www.capturedtracks.com
 07.10.11
The Black Lips
ARABIA MOUNTAIN- (VICE RECORDS)-To some, The Black Lips hiring Mark Ronson to produce their new album is counter-intuitive. It makes perfect sense to me. Top 40 producers cleaning up a garage bands sound is nothing new. The Hives and Pharrell Williams, the Mooney Suzuki with the Matrix. In both examples it brought the bands into a more mainstream light, while alienating some devoted fans that viewed it as nothing more than a money and fame grabbing venture. The ultimate sell out. Fortunately that is not the case with the new Black Lips record "Arabia Mountain". The ever-present Stones influence is put on display in "Dumpster Diving", "Modern Art" refers to an acid trip at a museum(with Sean Lennon on theremin), "Go Out And Get It" is possibly the catchiest track the band has ever written and "You Keep On Running" sounds like a trip through a seriously fucked up haunted house. If this is not the Lips finest offering ever, it is at least the best since 2007's "Good, Bad, Not Evil" and a definite step up from 2009's misguided "200 Million Thousand". The Black Lips will never sell their souls. Thank God. www.vicerecords.com KIP KELGARD
 07.10.11
The Cynics
SPINNING WHEEL MOTEL- (GET HIP)- Long, long ago (The 80’s!) some bands brought back the fuzz-toned snarl of those brief mid-1960’s days before hippies took over. One of the best of those 1980’s GARAGE bands was Pittsburgh’s the CYNICS. You may be shocked and amazed to find this veteran band is not only still playing, but still GREAT! After a hiatus in the late 1990’s they “came back” in 2002 and have 3 LP’s since then “Spinning Wheel Motel” is the latest. Still a 60’s inspired sound, twangy, ringing guitars, tambourine, some occasional organ, a rich full sound. But the mature, bitter quality of the songs has actually gotten BETTER. There are some gentle Byrds/Love style Folk rock numbers but they can still bring the fuzzed out ROCK.As music de-generates into lame beard wearing crap the Cynics still play rock and roll with punch, snap and something to say. Refreshing! Put ‘em in my Old Guy Rock hall of fame! www.gethip.com RYDER GREENE
 07.10.11
Golden Bloom
MARCH TO THE DRUMS ep-(THE SLEEPY WEST)-Speaking of waiting patiently after a strong full-length (see Beach Fossils review above) . Shawn Fogel (ie: Golden Bloom) released a terrific sleeper of a record in 2009 called FAN THE FLAMES that seemingly came out of nowhere. Fogel wasn’t brand new to the music industry as he had been in a few other combos, but it was the debut for the G.B. and most of that record was absolutely fantastic. In comes this 6 song ep that is actually more like a 3 song ep since the first and last songs are more like intros and outros and one of the other songs was a short one, too (and apparently some of these song were released as a Daytrotter session but I had not heard them previously). Of the three songs left, two of them are very good and one is flat out great. On “Rhyme the Reason” he snags the riff from The Kinks “:Waterloo Sunset” but that’s ok as Fogel makes it his own soup and it’s damn tasty. The next song, “You Go On (and On) is the great one as acoustic guitars and pianos/synths collide with Fogel’s soaring vocals to equal one of the best pop tunes of the year. Yes, give me 10 more like it! Oh, wait, “We Have Grown” is damn close to it with majestic strings added to the mix (and another intoxicating melody). Enough of this tease Mr. Fogel, bring on the sophomore release! www.goldenbloom.net
 07.03.11
Dennis Crommett
IN THE BUFFALO SURROUND-(SIGNATURE SOUNDS)-Per Dennis Crommett’s website, he also plays guitar with Winterpills, fronts a more rocking unit, Spanish for Hitchhiking, and waxes electronically as City of Domes. A little more research reveals that In The Buffalo Surround is named after a chapter in a book called These Were the Sioux. The first bit of info makes me wonder how Crommett pays his rent or mortgage. The second tells me this guy tends to run on intuition, which is a very nice way for an artist to be. And, as it turns out, In the Buffalo Surround is a very nice way for anyone to spend time. Crommett sticks to pretty conventional structures, but you can tell he listens to all sorts of sounds. It’s a sign of all that listening, and how good he is at what he does that he uses folk and folk-rock forms as springboards. “New Year’s Resolution” is more upbeat (a la the Byrds) and “High Cotton,” with lovely mandolin playing, has a traditional ring. “All the Great Long Afternoon” could pass for soft, contemporary “Indie rock” – that is, if “All the Great Long Afternoon” didn’t shine with clarity and simplicity that tend to be missing from a lot of soft, contemporary Indie rock. It’s like Crommett’s absolutely, casually naked with this work. And what he’s channeling is timeless. In the Buffalo Surround is a warm, evocative interlude with a sensibility that usually only exists in memories of a cleaner world. That Crommett seems to live in that place – well, it’s downright wonderful. www.denniscrommett.com MARY LEARY
 07.03.11
Thurston Moore
DEMOLISHED THOUGHTS-(MATADOR)-Seriously, what's with the old, loud former SST rock stars going mellow this year? I didn't think it would be possible to get more mellow than J. Mascis' solo album, but Mr. Moore has done just that. You want loud noise? Move along. Here, he's just doing his thing, by himself, and occasionally with friends (notably Beck), but nothing here pushes the decibels. Instead of feedback, we get violins. Instead of loud drums, we get gentle piano and acoustic guitar. And ya know what? It ain't bad! Moore's so well-known for Sonic Youth, to hear him stripped down to basics is nice. I love "Blood Never Lies," with its gentle arrangements, and haunting violin. Dig that song, "Space," it's like, he goes all trippy, and then he pulls it back, as if to say, "Man, not today." Then he goes all spaced-out on "Orchard Street," but, again, not too much. Hey, he's got to give his props to Glen Branca somewhere on here! This is a sleeper of a record; don't expect yr idols' noise, but DO expect some gentle, beautiful sounds. www.matadorrecords.com JOSEPH KYLE
 07.03.11
Sebadoh
BAKESALE REISSUE- (SUB POP)-BAKESALE is a very good record and definitely one of Sebadoh’s better records. It is not my favorite one (that would be III) and I’m, not even sure I like it more than the first two cut and paste/tape hiss/bedroom records (which endeared me to the band in the early days) but I do like it, a lot and it definitely deserved to be reissued. The record is a nice mix with both leader Lou Barlow and bassist Jason Lowenstein trading off songs n’ styles (drummer Bob Fay chips in with one of his own too, “Temptation Tide”) and at this stage in the game I felt that Lowenstein was a better foil for Barlow than Eric Gaffney was (though Eric was perfect for those first two records). Though Lowenstein’s song weren’t as good as Lou’s, he still writes some good ones and was starting to come into his own as a songwriter. Oh about the songs, you have Barlow’s cranky/angular opener “License to Confuse”, the jarring/powerful “Careful”, Lowenstein’s biting (ok, pissed) “Not Too Amused” (one of the best songs on the record) , the catchy single “Skull”, the hooky “Rebound” and the gorgeous Lou love song that closes it all, “Together or Alone.” The 2nd disc is 25 songs worth of b-sides, outtakes and demos and other than a few highlights, it isn’t essential listening. Of the stuff I did dig, there is a demo of “Not a Friend”, acoustic versions of “On Fire” and “Rebound” and a different version of “Not Too Amused.” You’re getting this for the main cd, not the extras disc, now go on…. www.subpop.com
 07.03.11
These Trails
S/T- (DRAG CITY)- The Drag City label has been reissuing some real odd/obscure stuff lately and this would count as one of them. Apparently not really a band but more of a collection of friends who came together to record this one record in 1973 (originally released in a small pressing in the Sinergia label, or so I’m told). It was mainly the work of Margaret Morgan (guitar. Dulcimer and vocals) and Patrick Cockett (guitar, slide guitar, table and vocals) , two friends who grew up on the island of Kauai and eventually made it to Honolulu to record this record with the help of friend Dave Choy who played Arp synth, recorder and helped with arrangements and a few other friends. It’s music that you could see Davendra Banghart (or Damon & Naomi) doing backflips over, a healthy mix of folk, psych, traditional Hawaiian music, world music and the like. It all might sound like some hippy-dippy batch of songs but honestly, it’s not. The songs really work and while they do often have an other-worldly feeling about them, occasionally eerie, there’s a subtle beauty to Morgan’s vocals and the arrangements are not overblown (and the fact that most of the songs are under 3 minute helps, too). A few highlights include the opening whimsical title track, the trippy pop bounce of “Our House in Hanalei”, the gentle “El Rey Pescador”, the beautiful “Hello Lou” and a few others. Kudos to the Drag City label for unearthing a long lost musical document that could have easily been left under the carpet for years, but instead has been given a new life. www.dragcity.com
 07.03.11
Neil Young and the International Harvesters
A TREASURE-(REPRISE)-This is a compelling live document of Neil Young in the 1980s, more specifically, 1984; unlike the grunge godfather he would soon become, and after his angry troubadour phase of the 1970s, he took a turn at...straightforward contemporary country music. This collection finds him sounding not unlike Randy Travis or Dwight Yokum--eschewing the rock noise or quieter folk he became known for, it's all pedal steel guitar, fiddles, piano, standup bass, and country swing. For a man whose career has always provided the unexpected, this is surprisingly different, and different doesn't necessarily mean BAD. A Treasure features good number of unreleased songs, a few oldies (including a merely OK version of "Flying On The Ground is Wrong,"), and contemporary songs from his then-current albums. When the hoedown kicks up on "Get Back To The Country," you sort of wish...you were there. His backing band is TIGHT, and this diversion of style, especially on the epic "Southern Pacific," is quite enjoyable. He'd soon turn back to his hard-rock ways, but this document--which, it is said, is merely a trimming down of what could have been a multi-disc set--shows that this was no self-indulgent trip. Surprisingly essential. www.repriserecords.com JOSEPH KYLE
 06.20.11
Delay Trees
S/T-(FRIENDLY FIRE)-Delay Trees’ name is about the Helsinki-based quartet’s “love of reverb and forests alike.” You hear lots of reverb on this first full-length. The hearting of forests can be harder to identify via audio stimuli. And, as often occurs with Nordic artists, one senses the presence of considerable pondering: of the long winters, of leaves and branches; of water, sky, life, and butter. Filed under dream pop, S/T exhibits some of the genre’s excesses (wash upon wash of echoey waves for the sake of echoey waves) that can substitute for sleep aids. Happily, the band rarely dwells there over-long. On “4:45 AM” those waves shift into an enchanting acoustic interlude before ending with the best house music you’ve never heard at Toys r Us. There’s joie de vivre in the move from near-experimental rumbling into near-danceable synth pop on “Cassette 2012.” Perhaps the most breathtaking track, “Whales & Colors” engages with whale sounds, a choice melody delivered with heavenly harmonies, the measured tambourine beats of a vintage Stones track, and lovely acoustic guitar. Digital only. www.friendlyfirerecordings.com MARY LEARY
 06.20.11
Kids on a Crime Spree
WE LOVE YOU SO BAD-(SLUMBERLAND)-When I did the interview with KOACS leader Mario Hernandez last year for the Dagger site he mentioned his new band but I was focusing more on his older work with Ciao Bella and From Bubblegum to Sky and didn’t delve into his new combo. I should have, this is the best record that Hernandez has been involved with. While the two previously mentioned combo were solid and occasionally great, this new band, with the help of Becky Barron (ex-Poundsign) on drums and Bill Evans on guitar contains his stickiest batch of songs yet with killer pop songs and some melodies to die for. He seems to take a basic 50’s/60’s approach to songwriting but then adds several layers of fuzz (a big C86 influences here) and voila , you have one of the surprise records of the year (and they put on one of the best sets a few weeks back during the Slumberland night of the San Francisco Indie Pop Fest). These 8 songs breeze by in under 21 minutes but it’s ok because you have less time these days anyway (like we all do). Listen to the pure summertime rush of cuts like “I Don’t Want To Call You Baby Baby”, the surfy “Trumpets of Death”, the rousing “To Mess with Dynamite” and the epic (all 2:17 of it) “It’s in My Blood” (the best song Hernandez has written to date). This will be near the top of my list for best eps of 2011, believe it. www.slumberlandrecords.com
 06.20.11
The Melvins
SUGAR DADDY LIVE - (IPECAC)-One would think that any bands 10th live release would be a tired retread(get it? Tired retread? That's awesome) of the same old shit. The Melvins however, defy standard logic on many levels. For example, the band existed as a three piece with a seemingly weekly change of bass players for their first 23 years. In 2006, Buzz Osborne(guitar, vocals) and Dale Crover(drums) added the great duo Big Business to create a dual drumming, dual vocal attack that is in my opinion the finest lineup in the bands history. Jared Warren(Karp, Tight Bro's From Way Back, The Whip) is a fine bassist and a better screamer. Coady Willis(Murder City Devils) adds additional drums. While this live offering gives us many songs from 2006's "A Senile Animal" and 2008's "Nude With Boots", it also flashes to Mr.'s Warren' and Wiilis' elementary school years with tracks from 1987's "Gluey Porch Treatments". We start with "Nude With Boots", followed by "Dog Island" and "Dies Iraea" from the same 2008 album. The fourth track, "A Civilized Worm", is from 2006's "A Senile Animal" and is as poppy as The Melvins get. From there we go back to "Kicking Machine" from "Nude With Boots". "Eye Flys" from 1987 and "Tipping The Lion" from 2001's "Stag" are followed by "Rat Faced Granny", "The Hawk", "You've Never Been Right" and "A History Of Bad Men", all from 2006's "A Senile Animal". A strange, nearly instrument-less version of "The Star Spangled Banner" is played before the final track, the classic "Boris" from 1991's "Bullhead". While no live album will ever please all of The Melvins fans, this is about as good as it gets. Buy the studio albums, buy the live albums, but much more importantly, see this band in the flesh. www.ipecac.com KIP KELGARD
 06.20.11
Chris Mills
HEAVY YEARS: 2000- 2010- (ERNEST JENNING)- Not only is Brooklyn via Chicago songwriter Chris Mills not a household name, he is most likely not known by many independent music fans, and that needs to be changed. Mills began his career in the late 90’s with a few records on Chicago’s now defunct Sugar Free label but I didn’t hear his stuff until 2002’s SILVER LINE (Powerless Pop Recorders) which added some bits of orchestration to his pop nuggets. Over the ensuing decade he has released 3 other records in addition to SILVER LINE (including my personal favorite, 2008’s LIVING IN THE AFTERMATH) and this cd collects the best of those years including 14 songs, 2 of which were unreleased. “Atom Smashers” is a nice riveting kick to the gut while “A Farewell to Arms” was more of the orchestrated pop he perfect ton SILVER LINING and “Such a Beautiful Thing” is a cry in your beer tune with pedal steel and Mills’ more downcast vocals. “You Are My Favorite Song” (from the WALL TO WALL SESSIONS) is a lovely waltzy pop tune with horns and a nifty swagger to it from start to finish (“Suicide Note” is another terrific one in this mold). While Mills is quite respected by other songwriters (both Jon Langford and Sally Timms, from the Mekons, sing his praises as do many others) he far too unknown my music fans. HEAVY YEARS is a terrific introduction to change all of that. www.ernestjenning.com
 06.20.11
Giorgio Tuma
IN THE MORNING WE’LL MEET-(ELEFANT)-I have no idea who Giorgio Tuma is, and I’m sure you don’t, either. But let’s not let obscurity get in the way of the very obvious point that In The Morning We’ll Meet is one of the most perfect soft-pop records. Beach Boys circa Friends, the early Clientele singles, Plush, the Free Design, the soundtrack to Virgin Suicides, and the Beach Boys tribute, Caroline No—think these things and you will have a firm and honest understanding as to what is in store. Tuma sings with a lush, delicate croon that fits well with the equally gossamer-light arrangements. Nothing found on here really breaks much of a sweat; it is clearly doused in mellow. And don’t let the fact that there are sixteen tracks bother you; five of those are minute-long interludes, and they’re really not as superfluous as it seems. If anything, these little bits make the entire album a cohesive whole. There are many moments of pure perfection here—the tasteful orchestration of “Innocenza Cetra” makes me dance a waltz, whereas the charm of “Sitting on the Little Church Steps” brings a tear to eye, and for some weird reason, I can’t help thinking of ELO on “An Enchanting Blue.” My favorite is the epic centerpiece, “Old Old Kiss,” which builds from a simple piano ballad into a weird jazz-prog mix that enraptures one’s heart, before making a left turn again into Van Dyke Parks/Brian Wilson territory. In The Morning We’ll Meet may be an obscure record by an obscure European act, but don’t let that put you off—it’s one of the best things you’ll hear all year. www.elefant.com JOSEPH KYLE
 06.20.11
Bob Dylan
IN CONCERT BRANDEIS UNIVERSITY1963-(COLUMBIA LEGACY)-Bob Dylan's been doing his thing for nigh on six decades; his straight-up folk early days, while creating many modern-day standards, have been painfully neglected for his more palpable, less specific later years. Then again, he quickly abandoned the traditional folk scene, which was an astute, career-saving move. Bob Dylan In Concert: Brandeis University 1963 captures him in the rare, live solo folk troubadour setting. This brief set, barely over a half-hour long, features seven songs; only one of which, "Masters of War," is a "classic." These songs are all long, five minutes long talking ballads; they're amusing, but not essential; they provide a young man in transition, one who isn't much of a singer, but is a pretty good storyteller. "Talkin' John Birch Society Blues" and "Talking Bear Mountain Picnic Massacre Blues," are fun and topical, and probably some of the funniest material of his early years, but are they important moments in his catalog? Not really, no, and other than "Masters of War," I don't think he's performed any of these songs since the Kennedy administration. Still, it's fun to see the portrait of this artist as a young man; the recording is surprisingly good, and it's not a total waste of your time. www.columbiarecords.com JOSEPH KYLE
 06.13.11
The Ladybug Transistor
CLUTCHING STEMS-(MERGE)-I’m glad to see that no matter who is in the lineup , and many folks have passed through the ranks of this terrific Brooklyn, NY based pop band, that leader Gary Olson stills keeps the sound fresh and the songwriting strong. This is the bands first record in four years and if you missed the last few records gone are folks like Sasha Bell and Jeff Baron but still in is bassist Julia Rydholm (who has been on the last several records) and keyboardist Kyle Forester as well as 3 new folks. But they’re not just hanging on or phoning it in, on the contrary, I’d put CLUTCHING STEMS right up there with their best records (THE ALBERMARLE SOUND is my personal favorite) and a pleasure from start to finish (honestly though ,aside from their just ok first record, they have not released a bad one yet). From the early days Olson has not wavered in wanting to create melodic, intricate , 60’s inspired pop music and he has done that again here, almost perfectly. The instrumentation is spot on and Olson’s vocals sound more confident, more assured and with backing vocals from Frida Eklund, it only makes that part of the record even stronger. From the opening title track to the driving “Light on the Narrow Gauge” to the organ-soaked “Fallen and Falling” and on and on, CLUTCHING STEMS is a real treat. It’s nice to see a band at this stage in its career growing and improving and this is already on my top 10 list for 2011. www.mergerecords.com
 06.13.11
The Middle Class
OUT OF VOGUE- THE EARLY MATERIAL - (FRONTIER)-Though not nearly as well known as some of their other Orange County counterparts (The Adolescents, Agent Orange, Social Distortion, etc.) the Middle Class still made their mark on the early U.S. hardcore scene.. The band consisted of the 3 Atta Brothers (Jeff on vocals, Mike on guitar and Bruce on drums) along with their pal Mike Patton (not the Mr. Bungle guy) on bass recorded what is considered to be the first hardcore record. I’m not sure if that’s true or not but they existed quite early but the band didn’t record much and released less. Their first proper release, 1978’s Out of Vogue 7”, is included here along with the T & N sessions, Scavenged Luxury ep (from 1980) and some early demos. 15 songs in all and while I sure wish they could have tacked on an extra cd and included the band’s only full-length, 1982’s HOMELAND on here, well, you can’t have everything, right? The earlier stuff is faster but still gritty and definitely holds up. The T & N Sessions stuff is a bit rougher but heck, this is early 80’s punk rock so it’s not like it sounds like Toto or anything. The four songs from the Scavenged Luxury ep is my favorite stuff on here (especially “Home is Where” and “Last Touch) and shows maybe where a band like Rifle Sport or Naked Raygun got their influence. Jittery guitar, jerky yet militant rhythms and dark, moody vocals. I’m still waiting to hear HOMELAND (hopefully next week if all goes as planned) but in the meantime pick this up, it’s terrific. www.frontierrecords.com
 06.13.11
The Submarines
LOVE NOTES/ LETTER BOMBS- (NETTWERK)- Album number three for this husband and wife duo--and it's a keeper! Their last album, Honeysuckle Weeks, found the two exploring themes of daily life of a married couple, making the mundane sound so wonderful. Album number three finds them continuing this path. It's easy to write love songs; it's a bit more difficult to write love songs about each other, but the duo of John Dragonetti and Blake Hazard make it seem as breezy as their music. This time around, they've incorporated more dance-minded elements, making the album a bit more rhythmic and catchy. Not that those elements weren't there from the get-go, but they've developed more harmonies within these simple melodies, such as on "Where You Are" and "Fire." Yes, their music still sounds sugar-sweet; Hazard has one of the best voices in pop music, and though some critics might also say that they're on autopilot with Love Notes/Letter Bombs. I can understand such sentiment, but when your autopilot produces consistently lovely, smile-inducing pop music, then what's the problem? Not one. Besides, like the songs on their previous album, I'm sure you'll hear some of these songs in hip TV ads. This is simple, catchy pop music by two people in love--not only with each other, but with their muse. Can't beat that! www.nettwerk.com JOSEPH KYLE
 06.13.11
James Yuill
MOVEMENT IN A STORM-(MOSHI MOSHI/101 DISTRIBUTION)-Nice acoustic guitar playing has become pretty commonplace. Deft manipulation of digital media is becoming such an every-third-household activity, it’s almost a snore. To add to the ho-hums: I’ve been surprised by the depth of renewed interest in what was called synth pop b.i.t.d. (in the contemporary arena it’s “folktronica,” “electro-pop,” or… this is where my eyes tend to glaze over). Whatever you call James Yuill’s music, it’s noteworthy. Cleverness + intuition + engaging emotion is a good mix, which occasionally noses its way into very, very goodness by way of unusually accomplished songwriting. Yuill's casual meshing of acoustic style and instrumentation with electronica often reminds me of Mice Parade, a composer and producer I've enjoyed so much that you can call him Indie, shoegaze, or late for dinner, and I’d still go to his show. And don’t hate Yuill ‘cause “Sweet Love” (from Turning down Water for Air) was a Starbucks/iTunes “Pick of the Week” and was featured on Grey’s Anatomy. Or do hate the Limey upstart – I’ll just share that I started breathing more freely when I realized how cool it is not to hate something just because it smells of “mainstream.” Sure, this is the kind of stuff that could help sell t-shirts at Abercrombie and Fitch. I guess someone’s gotta make it. Yuill’s Movement in a Storm releases on CD in the U.S. this month. www.jamesyuill.com MARY LEARY
 06.06.11
James Leg
SOLITARY PLEASURE-(ALIVE RECORDS)-With his sandpaper vocals and palm-of-the-hand grasp on American roots sounds (blues, N’awlins, soul, rock); only the rock ‘n’ roll keeps Leg from impersonating Tom Waits for the currently hip early-30s crowd – well, the rock ‘n’ roll plus the fact that Waits’s songwriting brilliance is pretty rare. This break from Leg’s post with Black Diamond Heavies incorporates the percussion of Andrew Jody (Barrence Whitfield, Oxford Cotton), some leads from Dillon Watson, and some horns and backing vocals. Legs plays piano and a Fender Rhodes axe. Despite the sturdy thread of his acquired-taste voice, the set’s handy assortment of sounds and approaches makes Solitary Pleasure consistently involving. The reward for Most Creative goes to “No License (Song for the Caged Bird).” The reward for most rockin’ is split between “Whatever it Takes” and “Have to Get it On.” Best Barroom” (Legs at his best and most unique, along with when he’s at his Most Creative, imo): “Nobody’s Fault” and “Drinking Too Much” (the Kill Devil Hill song). And finally, for Best Roadhouse (after the preacher’s started passin’ the jug and the tables are piled with fried chicken): “No Time to Tarry.” www.alive-totalenergy.com MARY LEARY
 06.06.11
Miracle Fortress
WAS I THE WAVE-(SECRET CITY RECORDS)-Graham Van Pelt’s vocals still sound like Brian Wilson’s. He still has a penchant for catchy refrains upon which he builds and expands. And when it comes to synthesizers, he might be headed for a 12-Step program. On this sophomore effort, which he calls “bedroom club,” the Montreal-based musician and producer has whipped up an electronically-informed smorgasbord of ‘80s-referencing sounds that tend to lean more toward elegance than preciousness. And that’s, as they say, a good thing. While this second full-length hasn’t yet received the acclaim and attention that answered his first release (the general consensus being that it’s sleepier and/or that the synth-pop trend is losing its sheen), it’s an agreeable rack of sounds. I prefer bouncier (on the bed?) fodder, such as “Tracers” and “Everything Works.” And, although I’m more or less a casual observer of the electronic pop genre, it seems to me that “Everything Works” has elements of brilliance: Van Pelt mixes vocals and beats here in a way that’s somewhat similar to Van Dyke Parks’s engagingly quirky collages. As it happens, Parks helped Brian Wilson write some of the Beach Boys’ most expressively “artsy” music (“Surf’s Up,” “Heroes and Villains”). Was I the Wave is a fairly incohesive mash (if we’re going to demand stylistic consistency) that works just fine as the current signature of an artist who wouldn’t surprise me by going all experimental or pop with the next one. After being glued to electronics for the first nine tracks, the composer switches playing fields with the simple, bell-like tones and guitar harmonics of the closer, “Until.” It’s the kind of thing one imagines being thrown down by an elf combo as the inhabitants of Lothlorien tuck into a starlight supper. Whether or not Van Pelt will have a nervous breakdown or an incredible breakthrough; going “new age” for the next one, you can groove to his bedroom club textures and beats this summer, when he tours the U.S., often with Junior Boys in tow. www.miraclefortress.com MARY LEARY
 06.06.11
Reatards
TEENAGE HATE + FUCK ELVIS, HERE’S THE REATARDS - (GONER)-Okay, first things first, let’s talk about fidelity. There’s none to be found here. Songs, too, are a thing of subjectivity. Instead, you’re going to get sludgy garage rock that sounds like something right out of Bogey Creek, swampy and dirty and smelly. What you DO get, though, is pure teenage energy, led by the late Jay Reatard. There’s no pretense here. This is nasty and raw and amateurish, and it sounds so fucking perfect because of it. This comp is a mess, of course; at 39 songs, it’s a helluva meal for one sitting. He sings, with utter sincerity, “I gotta rock and roll or I’ll lose my fucking mind,” and you believe him. Still, the talent that Jay Reatard would become is clearly in evidence on these three albums, even if they sound fucking horrible when you listen to them. If you’re a fan of the man, I cannot stress enough, you NEED these sides. If you’re not familiar, or have never heard Reatard before—this ain’t the best place to start, but once you understand who the man was, you’ll understand exactly why this is one important reissue. www.goner-records.com JOSEPH KYLE
 06.06.11
The Riffbrokers
EVER PILOT’S BLINDED BY THE SUN- (UNSMASHABLE)- This is this Seattle band’s 5th release and is yet another strong effort. For about a decade now, they have consistently delivered their uncompromising brand of garage/power pop with one solid release after another. This LP is no exception .It’s a fine collection of thoughtful songs by one of roots rocks most underrated acts. With an almost total disregard for fashion , the redoubtable Nick Millward and company forge on delivering their timeless brand of power twang. A lot of influences come to mind when listening to this record (Elvis Costello, The Jayhawks to name a couple). The Lyrics on this record are brilliantly understated and on songs like the poignant “Hard to Look At “ & “Please Forgive the Worst In Me” , Millward’s voice sounds like a whiskey filled, double pumper carburetor . He also once again wins indie rock’s annual Graham Parker Glass is Half Empty Trophy as he gripes on “Down from Down” the album’s third track, “ I’ve got more dirt than time now on my hands and I’m sadder than ten country western bands.” Although this release displays the band’s trademark first-rate songwriting, they also chose to lay down two souped up Gosdin Brother tunes to close out the album. Over the years this band has shuffled a few different players through the lineup, but the husband and wife team of Nick and Heather Millward continue to scratch out a place for themselves and march on with guitar straps around their necks and hearts on their sleeves. Most buzz bands don’t really deserve half the hype they get , The Riffbrokers do! www.unsmashablerecords.com DANIEL CRAIG
 06.06.11
Seapony
GO WITH ME-(HARDLY ART)-I made the mistake of thinking that Seapony’s latest album, Go With Me, was a release on the venerable indie-pop label, Slumberland. It’s easy to make that assumption; the cute, C-86 style guitar pop and the singing of vocalist Jen Weidl remind of Amelia Fletcher. And that’s not a bad thing, my friend; this Seattle-based trio can write a keen, sweet, and bittersweet song. What Seapony does is a little shoegaze, a little indie-pop, and while it’s not the most original of sounds, or the most innovative of records, it’s hard to find much fault in the simple pleasures their music provides. You want to be happy and upbeat? Listen to “I Really Do” or the new wave jaunt of “Always.” You need to feel sad? Give “I Never Would” or “So Low” a spin. Want to feel somewhere in between? There are eleven more songs for that, and I’m sure you’ll find something to your liking, I know I do. www.hardlyart.com JOSEPH KYLE
 05.30.11
John Brodeur
TIGER POP TEN-(MR. DUCK RECORDS)-Does it make sense for an artist as far under the radar as John Brodeur to include two versions of the same album (even though the new release boasts the energy of other musicians and some additional instrumentation) in this package? How many people are likely to want to hear either or both of them? On the other hand, there’s something to be said for the contemporary DIY environment: 25 years ago, a musician could only dream of having this much attention and care lavished on his or her work. About 60% of TPT (either version) could be assimilated into young-adult-TV-drama soundtracks. The albums as entireties are harder sells. Brodeur’s nasal lead vocals can grow annoyingly monotonous after two or three tracks. And he’s a little too enamored of his own audio doodles. Songs that would work best with a more casual approach are over-embellished, and often charged with an intensity that comes across as nagging. It doesn’t help that I’ve recently been immersing myself in Big Star’s first two albums, or that I’m so familiar with Todd Rundgren (with whom Brodeur’s been compared). Even listening to Howie Beck doesn’t help: while Beck’s extended wallows in romantic obsession can suffocate, several of his tracks are as gorgeous as modern pop gets. Be any of that as it may, Brodeur’s work deserves a wider hearing than it’s gotten so far. Were it being released into a world of classic AM or even classic college radio, the cream of his crop would be presented at its best: one track at a time. The cream of his crop has a way of feeling oddly familiar, in many of the right ways, after a few listens. The infectious changes in “Infected” and “Confidentially” would be played between tracks by Big Star, Todd Rundgren, and Howie Beck. The group energy elevating the new versions of “Remains of a Heart” and “Changing Your Mind” would prompt viewers of Parenthood or Life Unexpected (I know, canceled, but…) to seek and download. www.johnbrodeur.com MARY LEARY
 05.30.11
David Kilgour & The Heavy Eights
LEFT BY SOFT-(MERGE)-You don’t need me to tell you that David Kilgour’s band The Clean (also The Great Unwashed) was a major seminal influence on DIY and indie pop of the 1990s. Most likely, you worshiped all that Flying Nun stuff, too, and you’ve fantasized your own jangling parallel paradise existence in New Zealand (OK, maybe that part is just me). Many moons, incarnations, and a bottomless mix of soaring, languid, vivid, pondering, incandescent and totally distinctive pop songs later, Kilgour (a stalwart, as they say) is still making music that flows as freshly as ever, this time with his band The Heavy Eights. “Way Down Here” starts off quietly, asking in echoes, “Which one of you can see right through?” and then revs up into a driving reverbed jaunt about what it’s like “way down here,” on the “other side of the curve.” From there, with lines like "...could be on my way..." and "... back up that hill..." the whole album is a wandering hook-laden expedition of inspiration. We are reminded that things change on “Break in the Weather,” but “that’s all it is,” just a break, so you might want to brace yourself. He asks somewhat accusingly if you “swallowed a bucket of words” in a clever and decidedly un-pop ballad about the promise of a pop song. In the warm blues-y “Autumn Sun” (my favorite track), he cautions that you can “shut the world out… but it comes back again.” “Diamond Mine” points to signs that “are all saying 'Go Back'… but if you dig deeper… the sky will break through… on the other side.” The album starts, finishes, and is mid-sectioned by gorgeous instrumentals that could easily bed, say, some kind of lushly photographed high-def travel doc. Throughout, the guitar sound Kilgour gets is so clean and pure--even the fuzzy feedback bits--that I imagine it floating like Ivory Soap in those old TV commercials and I want to go take a bath in it. Forever. LEFT BY SOFT is the kind of record that feels like a really great friend, one who knows you inside out, and will show up unannounced, even after your most crazy crashing trauma or whatever, to not try to talk you into anything, just to hang or go for a drive. Like it understands intrinsically that it’s not always about the bombast, the throb, the syncopation or confrontation… it’s about the crevices and the cracks, the charms of maintenance, the hope that lies in the now, and the peace of a long lonely road. The kind of thing that gets you through. To the other side. www.mergerecords.com VICKY WHEELER
 05.30.11
Peoples Temple
SONS OF STONE- (HOZAC)-Okay, a few things here. 1. This band makes analog-recorded vintage garage rock with a side of psychedelia. 2. This band is named People's Temple. If your mind automatically brings you to the conclusion that this record will sound like BRIAN JONESTOWN MASSACRE, then you are forgiven. Your mind would also be RIGHT, because this Michigan band owe much (and admit to nothing less than total devotion to) Anton Newcomb. I always hate to say a band "shows promise," because it always seems to sound dismissive, but People's Temple is an extremely promising band. They are raw, rough, and raunchy; dig those blasts of fury on "Visions of the Sun" and "Axe Man," but they can also get into heady places, such as on "Sons of Stone" and "Never Really (Saw Me Comin' Round)." Sure, you could play spot the influence, but don't bother, just let the ROCK MUSIC move yer soul. Long may these youngsters roam... www.hozacrecords.com JOSEPH KYLE
 05.30.11
Sleepy Vikings
THEY WILL FIND YOU HERE- (NEW GRANADA)-The music feels real, as in “present.” And if often feels really good, like Percodan if you don’t let yourself get addicted. The third track, “Flashlight Tag,” kinda nails the vibe. That vibe’s kinda like the Velvet Underground circa the original, stripped-down version of “Sweet Jane” – for me, one of the most happy-trance-inducing cuts in all of alterna-rockdom. That’s Sleepy Vikings at its best, when I’d bet decent money that at least two or three of the six members know the joyful abandon of running barefoot through warm, summer grass. “These Days,” has a relaxed sexiness, as in, “This is the new ‘70s (or ‘90s).” The band itself puts it as “Think Pavement + Sonic Youth + hick towns + beer.” Other than the quiet-loud-quiet thing, I don’t really get “Sonic Youth,” but I buy the rest of those bread crumbs. How does SVs reach this mellow-while-somehow-awake place? With two pretty, to-the-point guitars (one lead, one rhythm); a to-the-point bass guitar, a snare drum, and a vocalist who just sings lead – and vocal harmonies from various parties. I just checked a SVs video, and was amused to see that three of the six members wears a baseball cap – and only one of the six is a guy. That’s the kind of “boho” you can’t buy at the corner store. As far as the name goes, I’m clueless, although it has the kind of poetic ring that could come from Jonathan Richman. If the band’s hinting that we should keep our eyes on ‘em, I’m already there. www.newgranada.com MARY LEARY
 05.30.11
Times New Viking
DANCER EQUIRED-(MERGE)-These folk toured with Guided By Voices, and it’s easy to see why; they are the continuation of the famed Ohio lo-fi sound. The sound here is totally fuzzy, grainy, and a little stoned; their propensity for titling songs in ways that challenge pronunciation is a bit frustrating; in other words, no, that’s NOT a cover of the Buzzcocks. Singer Beth Murphy sounds a bit like Kim Deal, too, and at 14 songs in 31 minutes, there’s a great deal of economy going on. They also have the habit of sudden breaks and transitions in song, which is another GBV habit. And speaking of, the way that Murphy and drummer Aaron Elliot trade singing duties gives these gristly songs a nice edge/ These (rather obvious) comparisons aside, the music found on Dancing Equired is rather enjoyable, even if it isn’t particularly groundbreaking. Like so many shitgaze bands, I think these songs probably sound great live, especially killers like the anthemic “Don’t Go to Liverpool,” the mellow and kinda down “No Room to Love,” or the all-around existential “Want to Exist.” This record will win you over with its simple charms. www.mergerecords.com JOSEPH KYLE
 05.23.11
Vinicius Cantuaria and Bill Frisell
LAGRIMAS MEXICANAS-(ENT. ONE MUSIC)-Bill Frisell is something of a sorcerer: at first or even third listen, his elegant meditations can seem deceptively simple; even verging on boring. But listeners with the patience to allow his subtle tones and darting harmonics to nestle in are in for several rewards. A good example is “Mi Declaracion,” which is probably best translated as “my profession” (of love). It starts off almost transparently, gradually building to a subtly jazz-inflected take on Latin folk music. The second track is more directly melodic, leaving the guitarist room to weave and bob with it and Cantuaria’s slight vocals. Frisell has a way of stopping just short of full-on-lovely, which has a slightly surreal effect, almost like, “You can take it or leave it, but I’m painting this watercolor with oil paint – you’ll have to dive in to really experience it.” Which isn’t to say there’s no kick to tracks like the title one, which is piquant as a fresh Oaxacan mole. Or that ambitious, talented players and artists of all stripes can’t learn oodles from Frisell’s masterful shifts and choices. www.billfrisell.com MARY LEARY
 05.23.11
Fan Modine
GRATITUDE FOR THE SHIPPER-(DANIEL 13 PRESS)-I did not realize that Fan Modine, (ie: Gordon Zacharias) has released his first record in 1998 (on the Slow River label) and had 4 full-lengths out. I have his previous one (2004’s Homeland on the Grimsey, the label that also released his 2nd record in 1999’s Pageantry). The bottom line here is that Zacharias is a terrific songwriter and , as a fan (being selfish here) , I sure wish he would release records more often. It is obvious from these classy pop songs that he is influenced by the biggies, (Brian Wilson, McCartney/Lennon, etc.) but it is not slavish imitation here, Zacharias has carved out his own little niche in the pop world and GRATITUDE FOR THE SHIPPER has 12 perfect examples of it. Oh sure, Zacharias had some help, namely in his terrific backing players (which include Polvo’s Ash Bowie) and Chris Stamey who helped produce at least part of this record but in hearing Zacharias’s vocals and piano playing, those sneaky melodies and the gentle pop structures it’s obvious that he has a knack for this stuff. After a short, dreamy intro it kicks right into the ebullient “Julu Road” and onto the bouncy title track (which could have been playing on any 1960’s AM radio station) then on to the majestic “Through the Valley” (after another low-key intro) and on and on. Even with the 7 years in between records and being on a micro-indie label , with songs this good I’m really surprised this guy has not blown up. And if the numbered edition on the back means anything (I got #343 out of 350) then it’s either going quick or gone. Act fast. www.fanmodine.com
 05.23.11
Fleet Foxes
HELPLESSNESS BLUES- (SUB POP)-Simply a thing of great beauty; destined to be on a lot of Best-of-2011 lists. It would have to be, to get in this way to me, who usually doesn’t like higher-pitched vocal harmonies; who’s often bored with anything less than the highest-caliber singer-songwriters, and who has heard so very, very much. Who got tired of Crosby, Stills and Nash faster than some other people (but not when those names were followed by “Young”). Who hears “Our House” to the pulse and note in parts of “Someone You’d Admire,” and who would usually feel an uncomfortable déjà vu around that. What makes me sing this unexpected tune is the synchronous cohesion of talent glowing from the first cut through the end of Helplessness Blues. Fleet Foxes make such a good case for albums as entireties/complete experiences that recommending single tracks would miss the point. Sure, the first song to stun me is “Bedouin Dress.” And “The Cascades” is one of the ones prompting me to go, “Oh, my God – Robin Pecknold and his comrades are dwelling in a place toward which artists can aspire for a lifetime: that golden, elysian field wherein they get to be absolutely clear channels for something beyond any one person or musician.” This sort of experience is about “more than the sum of its parts.” And some would say it’s about something beyond, a divine energy. Whatever it is, I’m getting chills from it at this moment. Phew (taking a breath): Never thought I’d hear anything that would actually progress from the intuitive trajectories mapped and/or attained by the Beatles, Joni Mitchell, Laura Nyro, Fairport Convention, and the Band. Even people who think they don’t like “this kind of music,” or who are 75 years old, or 12, owe it to themselves to check it out. www.fleetfoxes.com MARY LEARY
 05.23.11
Kreidler
TANK- (BUREAU B)-With the first few notes of opening song “New Earth,” a few things should be self-evident: this is a German group, and they are indebted to the Berlin School of music, a musical style oft dismissively referred to as “Krautrock.” But the groove that Kreidler make is definitely in the lineage of Tangerine Dream, Klaus Schultze, Kraftwerk, and Neu! But that’s not a bad thing; they can make a long, driving groove sound real good, such as on the pulsating “Evil Love.” They have a tendency to go for a more tribal sound, as heard on “Gas Giants” and “Saal.” Thankfully, it is to their credit that they mix up the grooves on Tank, so that it’s not all fast and not all slow. Want music to drive long distances to? This’ll suit that need as you’re driving down the autobahn! www.bureau-b.com JOSEPH KYLE
 05.23.11
Starfucker
REPTILIANS-(POLYVINYL)-REPTILIANS is splattered with irresistible hooks that become more than the sum of themselves through chronic infusions of trippy effects/brow-lifters, organic shifts, and excerpts from metaphysician Alan Watts’s lectures. It could be an untenable load of input if the Portland, Oregon quartet lacked an elegant sensibility; a knack for timing and placement. The album’s purportedly focused on the death of songwriter John Hodges’ grandmother – AND THE END OF THE WORLD. And there’s nary a wilting effect. If anything, the life coursing through the title track, “Born,” and “Astoria” could induce wistful thoughts about not wanting to die – you know, the way it feels when you’ve just swapped sweat with someone you really, really like. Further, Starfucker shines with the ability to fold varying influences (prog-rock, club/disco, Euro-pop) into a sound that’s inexplicably satisfying. www.myspace.com/strfkrmusic MARY LEARY
 05.16.11
Amor de Dias
STREET OF THE LOVE OF DAYS-(MERGE)-“Chamber Pop,” eh? Ummm… okay… that description means no more to me now than it did the last time I heard it. However, this is one of those occasions when promoters and record label lackeys aren’t just spewing nicely-dressed BS. Amor de Dias, alias the Clientele’s Alasdair MacLean and Pipas’ Lupe Nunez-Fernandez, has concocted a sublime, unusually sophisticated audio banquet. But while it’s restrained, Street of the Love of Days gracefully skirts the neighborhood of Boring. The songwriting’s remarkably accomplished, at best filling the need for grade-A Cardigans with a dash of Sergio Mendes. The ambience? It hovers before, during, and after the late ‘60s. So if you like Pink Floyd’s mellower moments, you can get some “San Tropez” deliciousness from this album’s title track. “Harvest Time” would go nicely with “Scarborough Fair.” “Season of Light,” “Touchstone,” and “Wild Winter Trees” wouldn’t be insane choices after a song by Nick Drake. Lest it sound like the set’s dominated by what in the ‘70s would have been labeled “progressive folk” (wacky or inadequate labeling wasn’t invented yesterday), Amor de Dias has the knack of stirring its loves -- from purist acoustics to lounge -- into a fresh brew. “Wandering” boasts an irresistible bossa-nova lilt. And the promoters aren’t just swilling martinis and making things up when they say Satie is an influence: “Foxes” could be a stoned Frenchman’s take on “Gymnopedie No. 1.” For soundtracking home movies and watching the souffle rise, Street of the Love of Days should be at the top of the pile. www.mergerecords.com MARY LEARY
 05.16.11
Peter Case
THE CASE FILES-(ALIVE RECORDS)-When it comes to pigeon-holing his music, Peter Case says this on his website: “I tell people now I play folk-rock, & they seem to understand ...but the whole truth is more complex: I'm a singer/ songwriter that uses all the American styles to get my stories across : Blues. Rock.n Roll. Country. Soul. R&B ...& Folk... plus some rhythmic influences from around the world. I'm trying to forge my own style out of those inherited materials.” By my second listen to The Case Files, I’m convinced the man’s accomplishing much more than trying to forge his own style: his open ears, and years of experience--including those with seminal power pop charmers the Nerves—are paying off in spades. This is the kind of singer/songwriter work that makes the genre respectable. Songs like “The End” and “Anything (Closing Credits)” reveal a direct line to Case’s Nerves input, as well as how the Nerves were influenced by the Stones, among others. I’d love it if Case kept things there – he’s a pop-composition master. But The Case Files is a love letter to Americana – “The End,” for instance, echoes nicely of Tom Petty and Dwight Twilley -- along with a younger Peter Case. “Give Me One More Mile” sounds like Case locked himself in a room with Bruce Springsteen and Bob Dylan for a week. The dynamics of “Let’s Turn This Thing Around” show those “rhythmic influences from around the world;” it would be a great campaign song if a Green Party candidate ever became a serious contender. The slow blues of “Good Times, Bad Times” don’t really move me, although it should be noted that Case sounds remarkably like John Lennon in blues mode. And a roll through “Milk Cow Blues,” a standard I love best with a Western Swing treatment, isn’t particularly inspired. But Case holds a pretty impressive artistic license. In other words, if spending time with those loves and influences helps him reach the grail he’s attaining on the stronger cuts, it’s all good. A friend who caught one of his performances this spring raved about it. www.petercase.com MARY LEARY
 05.16.11
Dylan Champagne
LOVE SONGS OF THE APOCALYPSE, VOLUME 1- (BROKE IN OAKLAND)-At times, kinduva Leonard Cohen/Nick Cave thing. Champagne’s voice and approach occasionally remind me of Gary Wilson and of a talented, relatively unknown Austinite named Nathan Payne. His low tenor (high baritone?) vocals sometimes ramble through folk, sometimes through more of a rock set-up. There’s enough drama in the shifting dynamics to hold the attention of the most ADD-afflicted. And there are high points, as when the instrumentation mounts to several moderate explosions in “The Daily Albatross.” That track then transitions back to guitar scratches, with Champagne’s vocal, before rocking again. . At moments (“California Song”) there are bursts of oddly charming sounds. This stuff isn’t an easy sell -- reviewers pretty much slammed its ’08 precursor, New Equation. But there’s something in the feeling that brings back the early new wave. It’s like Champagne’s considering each moment – both in composition and performance – as a fresh chance to see what he can do, what he has to say, and where a song can go. That’s something I don’t hear that often, and it has very little to do with motivations toward popularity, trends, or marketability. An easy label would be “experimental” – one gets the sense that Champagne might be pretty intimate with the work of Frank Zappa and Mike Watt. “Eccentric” definitely fits. And while I doubt Champagne will ever become even an Indie household name, I’ll defend his right to express himself; charting a path no one else may wish to follow. Love Songs of the Apocalypse, Volume 1 is individualistic, different, and bracing. www.brokeinoakland.com MARY LEARY
 05.16.11
Sarah Jaffe
EVEN BORN AGAIN- (KIRTLAND)-Dallas-based singer Sarah Jaffe impressed critics with her debut album, with dark, introspective songs sung with a husky, smoke singing voice that instantly draws you in. Even Born Again is a reissue of her debut EP, and it’s easy to see why it was reissued: the songs are beautiful, hinting at greater things to come. Paired up with the assistance of master producer John Congleton, Jaffe's songs are fleshed out into Backed with a simple acoustic guitar and tasteful accompaniment with either a string section (“Even Born Again”) or a bass and drum combo (“Black Hoax Lie”), or just singing by herself (“Adeline,” “Backwards/Forwards”), whatever the arrangement, her voice haunts and lulls you in. Comparisons to Cat Power’s Chan Marshall aren’t inaccurate; the remix of “Two Intangibles Can’t Be Had” make me think that Jaffe is some serious competition to the Beth Orton crown. If you haven’t heard her debut, this little EP is a great start. www.kirtlandrecords.com JOSEPH KYLE
 05.16.11
Mi Ami
DOLPHINS-(THRILL JOCKEY)-This four-song twelve-inch finds the once noise band delving into...dance music territory. And guess what? It ain't bad? It's part disco, part new wave, and part club music. Gone are the harder, noise-like elements found on Steal Your Face and Water Sports; instead, the grooves hinted at on those records are REALLY refined here; each track is long, over five minutes, but they draw you into their element, where you're dancing on your own, feeling like you're pounding away on some seedy dance floor in Ibiza. Personal favorite is "Sunrise," which reminds me of The Orb, and really has a trance-like groove that makes you feel like you're dancing at sunrise. When the vocals--which had been a centerpiece on previous releases--are honed in with the groove, the effect makes you remember why Happy Mondays, who weren't the best vocalists in the world, were so appealing. May this mini-album be the start of great things to come! www.thrilljockey.com JOSEPH KYLE
 05.09.11
Antietam
TENTH LIFE-(CARROT TOP-For me there’s always been something comforting about hearing a new Antietam record. I began following the band back in the mid-80’s when their debut record appeared courtesy of the Homestead label and then MUSIC FROM ELBA followed it up the following year. They then had a run of records on the Triple X label and now, since the 00’s on Chicago’s Carrot Top. The core of the band, guitarist/vocalist Tara Key and her bassist hubby, Tim Harris, have always been the core of the band, which when they added drummer Josh Madell became a trio and it’s been that lineup since the early 90’s I believe. Their last effort was the wigged-out 2 cd/3-lp OPUS MIXTUM which appeared in 2008 and now comes the terrific, TENTH LIFE, their 8th studio record. The songs on here are more of the pop variety (well, as close to pop as Antietam gets) and while the rhythm section is certainly solid the real treat here is Key, and it’s not just her killer guitar playing. She is underrated as a vocalist with her far-reaching, quavering, raspy yelp. Opening cut “Numbered Days” is a nifty little guitar workout while the next cut, “Something’s Gonna Give” with a dusty hook to die for, adds some whirring keyboards and Key’s unique vocals. “Basra Bound” has more of that guitar magic while the appropriately named “Kick it Hard” show’s where those Neil Young (think Crazy Horse) comparisons come from and “Big Bluff Love” again shows the band’s more melodic side. The band isn’t flashy (and never had been) and aren’t the flavor of the month (and never will be) but if you want to hear a band (like their pals Yo La Tengo) who have stuck around for the sheer love of music , well, you won’t find one more committed than Antietam. www.carrottoprecords.com
 05.09.11
Black Joe Lewis & The Honeybears
SCANDALOUS!-(LOST HIGHWAY)-Man, this Austin-based R&B really has the market on straight-up funky R&B/rock and roll hybrid! Horn section? Check. Guitars loud and ringing when necessary? Yup. Slowed-down blues licks when necessary? Yep yep yep! Organs so grinding that they sound like the club on Saturday night AND the church the morning after? You got it! This isn't homage, novelty, or irony; this is the real deal. Lewis is a shouter of the best way, raw in a way that others who attempt to do this kind of raw music just do not muster. You'll be yelling along to "Booty City" within five seconds of hearing it; gettin' low and dirty with "Black Snake," feelin' the low-down blues on "Messin'," and feeling the loving longin' with their cover of Ivory Joe Turner's classic, "Since I Met You Baby." Lewis can really hit the same kind of home runs that James Brown did, while stirring up passions like his Chess Records forebears. The most recent act to come this close is Raphael Saadiq, but his music is nowhere near as raw. Scandalous makes me want to see them live; watching Youtube videos of them play confirm that this would most definitely be a worthwhile proposition. www.losthighwayrecords.com JOSEPH KYLE
 05.09.11
Empress Hotel
EMPRESS HOTEL- (PARK THE VAN)-For a veritable theme park of likes and influences, check EH’s Myspace. Among the N’awlin-based band’s preferences you’ll find David Bowie, Bobby Womack, Michael McDonald, Fleetwood Mac, Pink Floyd, Hall and Oates, Men At Work, Prince, Rick James, the Smiths, Sparks, Destiny's Child, the Talking Heads, Television, the Cars, Ace, and Dwight Twilley. As is so often the case, EH doesn’t sound exactly like any one or even two of those. What you do hear in this five-song debut is the result of being so open-minded; of folks with so many likes coming together. The surprise? How much I like this -- I usually don’t care for lead vocals with what I think of as that cutesy-wutesy, Modest Mouse sorta lilt. And I don’t tend to like music that’s very busy, unless the minds behind the machines are, well brilliant (King Crimson; The Mothers of Invention). But this stuff’s growing on me like a bad suit: It’s sweet, creative, and mentally stimulating. Opener “Bells Ring” effectively meshes retro guitar reverb, rinky-dink keyboards, lovely harmonies and an intensely present single-note rhythm… that’s before it opens up into a convincing sort of life celebration that makes sense in light of one of the band’s other influences (Paul McCartney/Wings),“Mach Bach” is even busier, and somewhat catchier. A back-step into the moodier ambience of the title song is a good move; this one’s oddly lovely. Opening with about 40 seconds of instrumental niceties, “Search Lights” is in no hurry to reach a similarly atmospheric place. And “Here Comes the New Challenger” hints at EH’s soulful influences. The band passes any test you could give for bringing together a whole lot of stuff and ending up sounding like… EH. And while I don’t care for the quite popular, somewhat similar meanderings of Beach House, there’s something about EH – maybe a pop sensibility – that makes the band’s work much more palatable, at least to this palate. www.parkthevan.com MARY LEARY
 05.09.11
Girls Names
DEAD TO ME- (SLUMBERLAND)- ..and the Slumberland label continues to travel the globe to bring you the best in noisy, crash pop bands. This trio is from Northern Ireland, Belfast to be exact (and they had a release on the Captured Tracks label, too) and carry the first names of Cathal, Neil and Claire . The first listen through I could not find anything super interesting about them. I heard lots of brittle, noisy guitars but not a whole lot in the way of songs. Lucky for me I have a bit more patience these days and decided to give it some more plays and voila! songs began sticking. The first cut, “Lawrence” (Is that about Felt’s old singer?) is a nice mix of jangle and that stabbing guitar technique while the drums were all pure slap and “I Could Die” has a 1950’s feel to it, sort of a doo wop for the 00’s indie set and on “When You Cry” it all comes together (including some of that speedy Wedding Present-ish guitar). It’s not all slash and attack though, they even offer a few almost ballads in “When You Cry” and “Kiss Goodbye.” They seem to fit in nicely with the current crop of Slumberland bands like Crystal Stilts, Brilliant Colors and Frankie Rose and the Outs and while DEAD TO ME isn’t a great record it is a good one (with a few very good songs) which is to say that they’re on their way. www.slumberlandrecords.com
 05.09.11
Morning Teleportation
EXPANDING AWAY-(GLACIAL PACE)-Okay, these guys are INSANE! When you kick off a record with screaming that launches into a heavy-duty garage-rock surf guitar groove, as found on "Boom Puma," you ain't gonna get soft, gentle music, and that's for damn sure! Throw in some vocal gymnastics, some naughty playing around on the vocoder, while a heavy metal guitar straight out of Appetite For Destruction rings over the loud Pentecostal-style gospel yeah-yeahing of lead singer Tiger (yes, that's his name) while the band gets really weird behind him, which then stops! And goes straight into gentle Beach Boys territory, which is followed by mellow drones and wordless harmonies. By the time you reach the end of this insane adventure, you're gonna be a spent force. And that's just the first song a five minute dose of utter weirdness and in-your-face intensity! Rest of the record? Take those elements, mix and match them randomly, and you've got Expanding Anyway. Utter genius. But don't go into it tired! www.glacialpace.com JOSEPH KYLE
 05.02.11
The Clutters
BREAKING BONES-(CHICKEN RANCH)-At 1st or 2nd listen, the Clutters seem to be duct-taping a dizzying assortment of elements: a lead vocalist who’s closer to a snarling Bon Scott reincarnation than any I’ve heard; keyboards that want to be a Farfisa organ, a track that with a pair of Marshalls cranked to the fullest would be an AC/DC hit (and best song in about two decades), garage-rock structures with the abandon of Grade-A Nuggets tracks, a sick girl drummer;, a guitarist who knows when to be in-your-face dirty, when to let loose with some Johnny-Thunders-style wails, and when to help build the general attack… Anyway, you can guess the rest: By Listen No. 3 or 4 I’m a Clutters convert, breathlessly Googling for the band’s whereabouts . Then I feel like a big fat dummy, learning that Breaking Bones is the band’s third full-length (Where have I been? Where have they been? Nashville). Anyway, this band loves rock ‘n’ roll. It captures that passion so well that it’s going to be hard to wrest the CD from my player to make room for the next victim. ‘Cause along with rockin’ like crazy and having a great sound, this band knows how to write songs (especially “Under Suspicion,” “Never Know My Name,” “I Wanna Be Known,” “Not Tonight” and “There is No We in I.” Talk about havin’ it all (including a love, per their Facebook profile, for two of my faves, the Pixies and Sonics). www.chickenranchrecords.com MARY LEARY
 05.02.11
Ha Ha Tonka
DEATH OF A DECADE-(BLOODSHOT)-The name had me a bit curious (because it’s so odd plus the fact that they’re on Bloodshot). Found out later that the name is of a state park in the Ozarks in their home state of Missouri. Had no idea that they had two previous records out and I have to admit, this one took me some time as it was grower. The songs didn’t stick immediately but something on that first listen had me want to at least play it one more time. One writer called what these guys do “dixie friend indie rock” and I like that, it fits. The band , who have a drummer named Lennon Bone (coolest name in rock?) makes good use of a mandolin and these guys are one of the few bands out there that are able to play with both passion and a serious sense of fun, too. Opener “Usual Suspects” is all slap happy drums, aforementioned mandolin and vocals that make it sounds like a real party while “Westward Bound”, my personal favorite, seems to be about a forlorn romance while spouting out the chorus of “I realize the youth is wasted on the young and I know I’ve wasted more than some.” The opening guitar on “Made Example Of” has a real sense of drama, like a chase through the wildest of west and again, that mandolin makes an appearance to full effect. The best part is that these guys can really play and it sounds like instead of only 3 records in, it sounds like they’ve been at it for decades. That’s the makings of a (very) good band. Well done. www.bloodshotrecords.com
 05.02.11
High Llamas
TALAHOMI WAY- (DRAG CITY)-This two-decade old pop project of Sean O'Hagan has always been the source of some inner conflict. On one hand, these guys are all studio masters, and O'Hagan has the ability to make some utterly gorgeous, 60s-inspired pop. You want pop perfection? Go seek out their album Hawaii. The problem is…their sound can become entirely monotonous, especially when they don’t reign in their records’ lengths. General rule of thumb: if you’re making sunny 60s pop, and the length of your record would equate to a two-for-one reissue of a vintage 60s band, then what you’re doing is too long. But taken in small doses, what these guys do is often fantastic, and that’s what makes this, their first album in three years, so appealing. Everything they do well is here---but it’s less than 40 minutes long. I know that sounds like a petty complaint, but it isn’t; the succinctness makes this record quite enjoyable. You’ll find Bacharach-style horns, Smile-era bass clarinet and oboes, harmoniums, lovely percussion blocks, tasteful strings, and Hagan’s pleasant, lackadaisical crooning. If you’ve heard one High Llamas album, then you know what you’re in for with Talahomie Way. Still, consistency of product, in a refined dose such as this, can be a good thing. www.dragcity.com JOSEPH KYLE
 05.02.11
Overlord
IN SOVIET RUSSIA, MY HEART BREAKS YOU- (STORM TOWER)-This Brooklyn, NY via Philly combo (led by pop enthusiast George Pasles) has languished in obscurity long enough. It is up to me, the DAGGER emperor to end this band’s fan drought and demand that each and every one of you purchase not one but two copies of this record. Why you ask? Because invariably, one will wear out, that much I can promise. Their previous record, 2006’s TICKER SYMBOLS, flew way under the radar as well but once I heard it I’d realized that it’s nearly criminal that this band is so unknown. Guitarist/vocalist/main songwriter Pasles is obviously a big fan of the Beach Boys (maybe the New Pornographers ,too..check out “Battle Hymn of the Romantic”) as tunes like “What Do You Want me For” and “Oh, My Mechanical Heart!” both attest to some serious Wilsonian love though “I Don’t Either” sounds a bit like early Magnetic Fields. The 2nd half of the record is a bit less chirpy and a bit more dramatic but no less effective (check out the terrific “Keep It From the Baby”). Pasles sounds like one o those guys who’s too smart for his own good (he is an Ivy League grad- Univ. of Pennsylvania) so maybe it will take the rest of the world a few years to catch up, but hopefully no more than that. www.overlordusa.com
 05.02.11
The Pains of Being Pure at Heart
BELONG-(SLUMBERLAND)-I am not concerned with the moron, the ordinary hairless ape, who takes everything in his stride; his only childhood memory is of a mule that bit him; his only consciousness of the future a vision of board and bed. What I am thinking of is the man of imagination and art, whose courage is infinite because his curiousity surpasses his courage. Nothing will keep him back. He is the ancient curieux, but of a hardier build, with a ruddier heart. Any true artist(not, of course, the fraudulent mediocrity, whose only treasure is the ignorance he hides like a bone)should be capable of experiencing that sensuous pleasure of direct and divine knowledge. He may be twenty and he may be eighty-five, but without that tingle there is no art. And of that stuff Kip Berman is made. Belong is the title of the new album by Pains Of Being Pure At Heart. The album opens with the title track, a beautifully penned pop gem and a seemingly natural progression from the previous self titled album and the Higher Than The Stars EP. Heaven's Gonna Happen Now, the second track, was my first exposure to the new album and secured my purchase on the day of release. As my long winded(though excellently written) intro has taken up to much space, I will end with this: The addition of a full time second guitar player and more intricate word play written over beautiful pop instrumentation is worth every penny. Buy two, you'll need one for the car. www.slumberlandrecords.com KIP KELGARD
 04.25.11
Artificial Peace
THE COMPLETE SESSION: NOVEMBER 1981-(DISCHORD)-I was drawn to this band for two reasons: one, I loved their appearance on the seminal comp FLEX YOUR HEAD, and because these guys would become the excellent hardcore group, MARGINAL MAN--a perennial favorite for us here at Dagger. Artificial Peace doesn't quite have that slower, more melodic edge of Marginal Man; these recordings are pretty atypical hardcore circa 1981--loud, fast rules; the longest (and slowest) song here is a cover of "Wild Thing," that was probably a lot of fun to see in concert, but probably should have remained unreleased. There are moments where you start to see the spark of what would come shortly after the band disbanded; "No Escape, No Excuse" and "Watcher" could easily have been found on the band's Dischord EP, Identity, while the songs "Spook Surf" and "Against the Grain" find the band breaking from the otherwise generic DC hardcore sound, and hint that had they developed more, they would have been a pretty rad band. But that didn't happen, and thanks to Dischord to saving these sessions from obscurity and giving them to the world. www.dischord.com JOSEPH KYLE
 04.25.11
The Black Watch
LED ZEPPELIN FIVE-(ESKIMO)-Nestled in between my Black Tambourine and Blades of Grass cds are several cd by this band from Los Angeles who have been perfecting their craft for over two decades (yup). Led by singer/guitarist/main songwriter/professor John Andrew Frederick, the band has cornered the market on tense, literary pop. Anytime, in a review when I called them underrated John reminds me that they have a press kit the size of a Los Angeles-area phone book so maybe underrated is not the right word for them. Anywho, they are back with another solid record with some terrific, crunchy pop music on it. Though the record is called Led Zeppelin Five the bands sounds nothing like Led Zep and in fact garners more comparisons to Aussie pop royalty the Go-Betweens (ok, so they don’t sound exactly like the Go B’s either but I do hear some similarities). Along with partners in crime Scott Taylor (bass) and Rick Woodward (drums ) is the addition of long time scenester Steve Schayer (Chills, Clay Idols, etc.) they twist and weave their way through these 11 songs and come out glistening on the other side. You want to know what the songs sound like? Go buy the damn record yourself (and once you do make sure you check out glistening pop gems like “Cognate Objects”, “Like in the Movies”, “How Much About Love”, “Only Lasted” and plenty more). Heck, they even named song “Easy Grey Tea” just for you, punker AND ended the record with 7 and a half minute song (“Kinda Sorta” and an 8 minute song (“Weirdly” …this last one fading out and then back in again). If this one doesn’t make them stars well, there’s always the NEXT one. www.myspace.com/theblackwatch
 04.25.11
The Feelies
HERE BEFORE- (BAR-NONE)-Wow….The Feelies?! Really?! Heard they began playing reunion gigs a year or so ago but a new record! And it’s good. Very good. Honestly, it seems like they never left and even though it has been 20 years (exactly, TIME FOR A WITNESS was released in 1991) it seems like this would have been the follow-up no matter what year it was. This is the later (well, 2nd record) line-up of the band (my favorite), the one that recorded everything from THE GOOD EARTH on and all the elements that made those records, specifically THE GOOD EARTH , so classic are all here. The guitars are a perfect mix of strummy, acoustic and those wiry, tense leads (Glenn Mercer and Bill Million could write this stuff in their sleep) , the driving rhythms (and let’s not forget percussionist Dave Weckerman…can we beg for a new Yung Wu record, Dave?). This is a record that if someone told me that these songs were record at the same time as the ones on THE GOOD EARTH and just being released now I would have no reason not to believe them. Opening “Nobody Knows” is prime Mercer/Million. Mercer wrote it but the mix of his wired electric guitar and Millions strummy acoustic just sounds so right. “Should Be Gone” is one of those too . “Again Today” is another instant favorite while the speedier, “When You Know” adds a touch more grit. Of the 13 songs Glenn Mercer wrote 8 on his own while he and Million co-wrote the 5 others but again, it’s THEIR SOUND. Can’t believe it’s been 20 years, welcome back. www.bar-none.com
 04.25.11
The Megaphonic Thrift
DECAY DECOY- (SONIC UNYON)-So the word on the (cyber) street is that this new-ish Norwegian band’s sound probably wouldn’t exist if Sonic Youth and Dinosaur Jr. (and I’ll add the oft-under-considered Don Fleming/Velvet Monkeys/Dim Stars/Gumball) hadn’t existed first. The next thing observers have been saying is that this is okay, ‘cause the band does such a good job of it. Well, that’s a relief. I’d hate to think The Nerves sucked ‘cause they were clearly influenced by the Beatles, or that The Flamin’ Groovies didn’t matter ‘cause they were such a Beatles/Stones hybrid, or that Thee Oh Sees weren’t worthy of consideration because they’re influenced by every cool, raw thing that happened between 1956 and 1994. Hey, everything comes from somewhere, right? All right - not to launch into a metaphysical/philosophical diatribe would be the smart choice here: First, I don’t have any sort of advanced degree in either, and second, Daggerzine isn’t the place. But I will say this: One of the reviews I scanned said something about “shoegaze,” to which I reply: “Shoe-gaze, me arse!” The second slice (“Talks Like a Weed King”) of this sweet little sweat-inducing pie may have my head down and forward, but it’swingin’ back and forth so furiously, my shoes are a blur, and it’s the kind of music where my head’s gonna jerk back up at ecstatic intervals. The Thrift is that good: Good enough for me to wish they would come play in my town. Good enough for me to feel that crazy-good, roughly ’87-’94 SY vibe. For a dirtier SY approach I can recommend No Joy, a Montreal-based combo I saw a few months ago. www.sonicunyon.com MARY LEARY
 04.25.11
Graham Repulski
ELECTRIC WORRIER cd, MY DREAMS HAVE ARMS / NO EXPECTATIONS limited edition double-EP cassette-(SHORTER RECORDINGS)-It is impossible to approach Graham Repulski without pulling out that lazy record review peanut: “I liked them better when they were called ________.” In this case, Guided By Voices. This certainly is not the first auditory outing inspired by Bob Pollard, but it may be the most shameless. Aaaah, the song snippets, the home-taping, the lo-fi, the fake British accent. Just for a sec, pretend you've never heard GBV but you are into June Panic, Unbunny, Kicking Giant, crappy solo Neil Young bootlegs. Graham Repulski's moist tinny guitar, whiny kazoo vocals, and forlorn chord progressions could be your new best friend. If I can indulge a moment of techy digression, I find it lame that artists pour heart/musicianship/$$$$ into a recording and then everybody listens to the stuff via crappy mp3s. So, it is impressive that Graham Repulski's website offers digital downloads super cheap, like $3, in FLAC format for audiophiles. But I had to snicker upon hearing the music, since it sounds like it was made on a 1970s Realistic tape recorder off an AM car radio during a rainstorm. Now kids, I came of age musically on lo-fi indie pop, and eventually learned to judge Top 40 by whether or not it could endure a ruthless strip-down. Like, what if Calvin Johnson covered Paula Abdul (yeah, it was the '90s)? Would theSONG survive? So during this current lo-fi revival, let us look, perhaps perversely, at the reverse. Give Graham Repulski to ARK Music Factory, spread soulless synths and autotune all over it, stick an unidentified black rapper in the middle! Have American Idol force contestants to submit to Graham Repulski Night, with extravagant strings, brass section, gospel choir! Does Graham Repulski have the X Factor or what? Whew. I am thrilled to report that the song-writing is totally there. Really REALLY good. The melodies sweep and wave on “Crab Feast” and “Come On, Ancient Clouds” from ELECTRIC WORRIER, and the irresistible “Zing Zang” and “Dad Talks About Alan Parsons” and “I'm Love” from MY DREAMS HAVE ARMS. “Kickface” is all penetrating sonic drive. Throughout, the lyrics have a cryptic melancholic feel, poetic but not pretentious. But then, sigh, the esoteric noisy numbers, especially “Big Wet World” and “Super Lady...” are basically skip-worthy. Guess I'm saying that as much as I luuuuv the lo-fi, it comes off as a gimmick here. Still, I am eager for more, and I sincerely hope Graham Repulski will ditch the GVB friend (Todd Tobias, God bless him) that helped “produce” these efforts, finish the songs (most of them trail off inside of a minute), and develop a style of his/their very own, one that will allow these sparkly little gems to crack open, escape the Pollardverse, and soar. (http://grahamrepulski.bandcamp.com/) VICKY WHEELER
 04.18.11
Clara May
HUSH-(CD BABY)-Everything about this duo, and their debut album, is refreshing: First we have the subjects, which are about as far from “Oh, oh, he (or she) does/doesn’t love me” as you can get. We’re talking about the war in Iraq, racism, ethnic conflict… and a commitment to devoting 10% of profits to charity. To boot, co-brainchild Nicole Sotelo is a divinity scholar who conducts retreats for Christian women healing from abuse. All of which disposes me toward music that otherwise might seem kind of off-putting: scratchy baritones like Tom Silva’s aren’t my usual preference for lead vocals. And conventionally-formatted singer-songwriter and Indie rock forms aren’t my usual structure and instrumentation leanings. But Clara May’s back story seemed to demand at least a couple of good listens…. and I’m happy to report that it gets better. The songs build nicely, not too far from Leonard Cohen and/or The Crash Test Dummies, with pleasant trajectories and resolutions. Lyrics about “despair and waste” could be pretty hard to stomach if the instrumentation weren’t so nice (Phillip Amerson of Bitterson and Barmey Ung/guitars, Marcus Smith/keyboards, Kyle Hernandez/upright bass, and someone on cello). Sotelo contributes lead vocals on welcome interludes provided by quieter material. Her light soprano takes things on a much more effervescent journey that recalls the classic folk of Joni Mitchell and Judy Collins while sounding entirely contemporary, providing the set’s highlights – that is, other than when the sound gets more rocking, as on “The Chosen,” for which Clara May’s made a stirring video on the Iraq War. Shades of ‘60s protesters! It’s an ambitious menu of goals and sounds that inspires my best wishes for this project. www.claramay.com MARY LEARY
 04.18.11
Lake
GIVING & RECEIVING-(K)-Now this, this is what I call NICE. The indie-pop collective has made some great records over the years, but this album is their great leap forward. With a pronounced horn section, tasteful pop arrangements that sound inspired from Carole King’s post-Tapestry albums, and a catchy, upbeat sensibility throughout, its hard not to find yourself smiling as you go about your day listening to this record. An inkling of greatness was hinted at in K Records’ digital singles released in the past few months, which, when they featured LAKE, would always include a song by each individual member and each song was a great piece of stand-alone music. The combination of such great talents simply cannot miss, and Giving and Receiving most certainly doesn’t. Ya want some LA-style singer/songwriter fare? Check out the lovely “Pilgrim’s Day.” Want a little funky keyboard and horn number? You’ll love the ditty “Stumble Around.” The song “Roger Miller” makes me think of Suzanne Vega, but only in a good way. Giving and Receiving will give you some wonderfully sunny songs, and you’ll receive a smile on your face for the rest of the day. That’s more than a fair trade-off, don’t you think? www.krecs.com JOSEPH KYLE
 04.18.11
J. Mascis
SEVERAL SHADES OF WHY- (SUB POP)-Though J. is known as the leader of Dinosaur Jr., the band he started back in the mid-80’s with Lou Barlow (Sebadoh) and Murph (back together as of a few years ago after nearly a 2-decade hiatus) a band that folks used to walk out on due to the sheer volume of their sets, it doesn’t seem out of place for Mascis to record a solo acoustic record. He almost seems as at home playing these much lower volume songs than the ones he does in Dino Jr. His 1996 solo record, MARTIN AND ME , was mostly acoustic but this is his most fully realized effort and it’s really a terrific batch of songs. Getting help to flesh out the songs by folks like Kurt Vile, Pall Jenkins (Black Heart Procession), Kevin Drew (Broken Social Scene), Ben Bridwell (Band of Horses), Sophie Trudeau (with some gorgeous violin on the title track) and others . With mostly gorgeous instrumentation (and the occasional wiggy lead) , Mascis has really hit upon something on these 10 songs. He still sounds a bit like he has marbles in his mouth (just a bit) but seems to be opening up a bit, allowing folks in and singing directly from his heart (parenthood could be working this wonder now that Mascis is a father of a young boy). Songs like “Not Enough”, “Is It Done”, “Listen To Me” , “Where Are You” and other shows Mascis who, along with some terrific Dinosaur Jr reunion records, is hitting another peak just like he did in the late 80’s and it’s a real pleasure to sit here and simply take it all in. www.subpop.com
 04.18.11
The Mountain Goats
ALL ETERNALS DECK- (MERGE)-And then there's the story of how once upon a time, a long time ago, I pulled my VW Scirocco off the road, sobbing over a bad boyfriend, to scribble a fan postcard to this guy called Mountain Goats. Didn't mention the boyfriend, the tears... just that I was hopelessly in love with “The Window Song” and its chorus, “I know you. You're the one. I have spent 3 seasons trying. To pretend. That I. Never knew.” I didn't know from DIY, so the straight-to-boombox recording of that reedy tenor and urgent sloppy guitar strum and girly-girl backing vocals was unlike anything I’d ever heard, closer to some Alan Lomax field recording than the glossy layers of CocteauStyleYazTwinsCouncil that was my then obsession. But what really floored me was the profound – prescient, even – understanding of my pain. Maybe every long-time Mountain Goats fan has a similar story? Like a first truly devastating heartbreak, that shit changes a person.
La la la... fast forward, rewind, press play and record... In 15yrs or more, not a mix-tape goes by around here without a Mountain Goats song. Of course, things are different now, and not just because my heart is tougher and I drive a Ford Focus. John Darnielle left the boombox for lusher production pastures years ago. On ALL ETERNALS DECK, Jon Wurster (Superchunk drummer with the Superfunny tweets) and Peter Hughes (long-time MG bassist) have been enlisted to provide landscaping. Right away, the loose and hooky “Birth of Serpents” is my favorite, “like a hundred thousand cuckoo clocks,” he sings, and I am giddy. “Age of Kings” and “Outer Scorpion Squadron” are romantic, achy, propelled by gorgeous Bacharachian strings. I want to lullaby my babies to sleep with sweet, soaring ballads like “Sourdoire Valley Song,” “Never Quite Free,” or even “For Charles Bronson.” It's not hard to imagine stadiums full of fans shouting “Every martyr in this jungle... is GONNA GET HIS WISH!” from the driving frenetic anthem that is “Estate Sale Sign.” The whole record just feels good, like home, like sustenance, like a blanket fresh out of the dryer, like a ferris wheel ride so intoxicating you forget about your fear of heights. And I know that ALL ETERNALS DECK will grow and evolve in my heart and mind, with new discoveries no matter how many times I hit repeat. I think it might be time to scribble another postcard. Once again, I am hopelessly in love. www.mergerecords.com VICKY WHEELER
 04.18.11
Vivian Girls
SHARE THE JOY-(POLYVINYL)-It’s hard to believe that it was only three short years ago that the Vivian Girls terrific S/T debut came out and seemed to jumpstart the whole love of C-86/girl group bands that followed (Dum Dum Girls, Best Coast, etc.). I know that is probably not the case but it sure seemed that way and its 21 minutes was over before you knew it. Their sophomore effort sure was a disappointment and now comes this, record #3. I wasn’t expecting much, thinking they’d be spinning their wheels, and thus, got way more than expected. In fact, this might be even better than the debut. The record starts and ends with a pair of 6-minute epics (“The Other Girls” and “Light in Your Eyes”) and in between you get some moody melodic ones (“I Heard You Say”), more C-86 (“Dance If you Wanna)”), pounding near-thrash (“Lake House”), a Green on Red cover (“Sixteen Ways”), 50’s/60’/s girl group (“Take It As It Comes”), and plenty more. A few reasons for the improvement is that they have a new drummer (Fiona Campbell), a new producer (Woods’ Jarvis Taveniere) and some new-found maturity with songwriting focusing on some deeper themes instead of just love lost. Also, the songs seem to be able to spread out and breathe a bit more and Cassie Ramone even bends some cool guitar leads (especially on the opening “The Other Girls”). For those of us who thought this band had blown their wad and was idea-less, well, they proved us all wrong. For reals. www.polyvinylrecords.com
 04.11.11
Brown Recluse
EVENING TAPESTRY-(SLUMBERLAND)-The first time I heard Philadelphia's Brown Recluse, it was the song “Impressions of a City Morning,”, and I was excitedly reminded of another [now defunct] Philly band, Mazarin (the good one who made my favorite WATCH IT HAPPEN record, not the lame one who forced Quentin Stolzfus to stop using that name). When I got the cd I was psyched to see Brian McTear (worked with Mazarin and lots of other bands; was in Marinernine, who I also adore) credited with mixing 3 of the tracks. Love when that happens. EVENING TAPESTRY will fit snugly with your Belle & Sebastian (check “At Last” particularly), early Aztec Camera, Of Montreal, and the entire Sarah Records catalogue. You know what I'm saying, Pet Sounds- and Odessey/Oracle-inspired cerebral indie pop, refreshingly complex time signatures, layered tonal effects, airy multi-tracked harmonies, seductively breezy melodies that try hard but never quite succeed in obscuring the occasionally sad and disturbing imagery of the lyrics. I'm pretty sure I have never before heard anyone so cheerfully sing about about eviscerating clouds that spill their guts all over me and drown me indiscriminately (“Monday Moon”) or about smearing one's own blood on a neighbor's fencepost (“March to Your Tomb”). Grab your partner and do the stroll to the enchanting 2/4 shuffle of “Statue Garden,” surrounded by the decaying ancestral house and dark cobwebs of time. “Paisley Tears,” with its minor chords and creepy bubbling noises, is the only track that takes its melancholy seriously, although “Beautiful Light” tries, to a dreamy sort of Twin Peaks-ish effect. Gotta hand it to Slumberland, the timing on this record release is perfect. Brown Recluse is like today's weather forecast, which happens to be: partly sunny but chilly, with a chance of storm clouds if not a full solar eclipse, and a fractious hint of spring that leaves us pining for summer, wondering if maybe, just maybe, summer might never come. www.slumberlandrecords.com VICKY WHEELER
 04.11.11
Exene Cervenka
THE EXCITEMENT OF MAYBE-(BLOODSHOT)-I have to admit it has been a long time since I’ve listened to Exene Cervenka. Oh sure, I still play my old X records (and Knitters, too) but knew nothing of her solo career. I know that in the last decade she has released a few records by The Original Sinners, a band more in the tradition of X but this lovely solo record probably cuts closer to her more country-inflected work with The Knitters. This isn’t a straight country record though but she has a stellar band including The Blasters’ Dave Alvin playing guitar on most of these songs as well as a rock solid rhythm section and piano/organ and horn players too. The arrangements are excellent and Exene’s voice sounds as good as it ever has (these are smoother, sweeter vocals than the raspy shout she bellowed in X). Did I say the songwriting is excellent? The opening tune, “Already in Love” starts things off in fine fashion with cuts both melodic and uplifting (“Already in Love”, “Brand new Memory”, “Falling” ) and moodier, haunting (“Alone in Arizona”, “I Wish It Would Stop Raining”, etc.). I hate to sound like a turd but I really wasn’t expecting much from Exene at this stage in the game but from what I’ve read her last solo record was really good too. I’ll eventually pick that one up, but in the meantime I’ll continue basking in the glow that is THE EXCITEMENT OF MAYBE. www.bloodshotrecords.com
 04.11.11
The Head and the Heart
S/T- (SUB POP)-The members of THATH sound completely engaged – and like they probably dip toast into fried eggs together on a regular basis. Of course, such an assumption might also be made about the Pixies, and in that case, as we know, it just ain’t so: Symbiotic onstage; oddly estranged offstage. But yeah, this debut’s drenched in absolute presence and creativity – no, not the out-of-the-box creativity of DonVan Vliet, Robert Fripp, or even Laura Nyro. THATH is, after all, based in folk-rock, which occasionally employs the intense drama of cabaret. So you can tap your foot along with two-thirds of a song that then shifts into quieter vocals or a fiercer attack. The “rock” part of folk-rock gets meatier on several cuts, as happens with “Heaven Go Easy On Me.” Other times, as with “Winter Song,” transitions are subtly prompted by bass murmurs and light keyboard strokes. At its most “on,” the group seems motivated by gospel-level fervor, with vocal harmonies helping to compensate for the lack of ingenuity in weaker compositions. When it all comes together, as on “Cats and Dogs” and “Sounds Like Hallelujah,” the group hits such a sweet spot that raves about its live shows make all sorts of sense. I’d place a pretty solid bet to the effect that scores of Iron & Wine and Moondoggies fans are all over this debut, which was originally put out by the band last July. “Sounds Like Hallelujah” has been captured anew for Sub Pop’s package, along with a fan fave missing from the self-release, “Rivers and Roads.” www.subpop.com MARY LEARY
 04.11.11
L'altra
TELEPATHIC- (ACUARELA DISCOS)- It's been six years since Chicago's L'altra released a record, so one would be forgiven for forgetting about them. Some things have changed; the band is now down to a duo of Joseph Costa and Lindsay Anderson, and their slow-core post-rock sound has been replaced with a...pop sensibility. Nothing found here is nearly as languid as their earlier work, nor as melancholy; a good thing, that. The moments that are slower, though, such as "Either Was the Other Mine," are arranged with subtle instrumentation that most definitely breaks from the somewhat atypical sounds of their earlier records. What's most surprising are songs like "Winter Loves Summer Sun" and "Nothing Can Tear It Apart," where the duo sounds remarkably like pop band The Submarines. The only constant that remains from their earlier incarnations is the mellowness; here's to growing up and coming back strong! www.acuareladiscos.com JOSEPH KYLE
 04.11.11
Kurt Vile
SMOKE RING FOR MY HALO-(MATADOR))-Though he had releases before his 2009 Matador debut (CHILDISH PRODIGY) that was the record that seemed to hoist Philly’s Kurt Vile (his real last name, I’m told) into the indie world and being such a strong record, he certainly deserved it. On this new record, he still has his backing band, The Violators though they are not as prominent on this one. Though the production isn’t quite as fuzzy on this one, it’s cleaned up a bit, the songwriting is just as good, maybe better. The record opens with the Mascis-ish slacker folk of “Baby’s Arms” , which does make Vile appear to be in the doledrums though on cut #2, “Jesus Fever” he and his cohorts pick up the pace and some beautiful melodies for one of the best songs on the record. “Puppet to the Man” swirls with bleary sonics and a sneering attitude but again, you can’t deny the song’s strength. “On Tour” nearly equals the previous song but gets a bit lost in its own moribund haze while other tunes really showcase Vile’s talent as a guitarist (“Runner Ups”, “Peeping Tomboy”, etc.). It’s with this musical talent, wise-old-man lyrics and those melodies, those sneaky melodies, that’ll keep me coming back and see what he has in store for us next time. It’s hard to see how this won’t end up on a lot of best of 2011 list, I know it’ll be on mine. www.matadorrecords.com
 04.04.11
Keith Canisius
THE OCEANIC VOYAGE:: 2006-2009-(DARLA)-Hot on the heels of his last opus, THIS TIME ITS OUR HIGH comes this collection of home recordings and solo work from the Danish dream-popper. This album is a bit different, though; the super-sweet singing over loud blustery cathedrals of sound is not to be found; instead, this is a collection of more ambient works, and is part of a series of releases he has planned for the coming year. This collection shows that there's more to Canisius than the blissed-out tones he is known for; instead of sounding like My Bloody Valentine or any number of shoegazer-era bands, what he's done here would be more of a fit for, say, Kranky Records. There's more drone and gentle cascading sheets of noise than pop delights, but that's okay. These songs are reminiscent of artists like Brian Eno, Harold Budd, or Tim Hecker, and are unique and beautiful. There's moments of loudness, like "Bright Smiles" and "Rainbow Moment," but there are overwhelmingly beautiful moments of subtle, quiet beauty, like "Eyes That Are Mirrors" and "Saturdays." The real winner, though, is the killer title track--a nearly thirteen minute epic of unrestrained melody. This Time It's Our High was the sound of Europe on a Friday night, but The Oceanic Voyage is the sound of dawn breaking on a Saturday morning--gentle, tranquil, yet cerebral. www.darla.com JOSEPH KYLE
 04.04.11
Obits
MOODY, STANDARD AND POOR-(SUB POP)-Those of us who loved two of San Diego’s hardest-rockin’ outfits -- Rocket from the Crypt and Drive Like Jehu – have cause for celebration. Obits, which is fronted by DLJ and Hot Snakes vox-meister Rick Froberg, are smokin’ hot partly due to his the fact he’s jerkin’ around the mic. While Obits may lack some of the joie de revelry of RTFC, DLJ’s manic fervor is alive and, with a bit of age and tempering, well in The Obits. The band’s vehement sonic rolls, exclamations and lift-offs provide lots of twirlin’-with-a-beer-in-hand fodder. In case any of the above is Greek to ya, The Obits are inheritors of the mid-‘80s to mid-late ‘90s “I love rock and punk with justa little metal” fever. Some of that’s about the instrumentation and mix, which paint these sweet, after-midnight sonic textures, which stretch back to The Seeds, The Stones, and The Stooges. And some of it’s just classic So-Cal (or No. Cal, in the case of the Groovies) four-to-the-floor stompin’ ecstasy. But none of that would mean searching feverishly for the next Obits-in-my-town date if the quartet didn’t ooze with songwriting chops and creativity. It’s consistently hot, but the ones particularly likely to make ya lean forward and shake it harder include “Killer,” “New August,” “You Gotta Lose,” and “No Fly List” – those are hot like “there’s a four-alarm fire in the kitchen.” www.obitsurl.com MARY LEARY
 04.04.11
Olin & The Moon
FOOTSTEPS- (SELF RELEASED)-LA-based Olin & The Moon are carrying the torch for that loveliest of sounds, LA singer-songwriter country-folk rock. Of course, to some, that sound may be played out--and rightly so; Olin & The Moon face a bit of a struggle in the fact that. a.) their sounds aren't the most original, and b.) Footsteps is too long. With fifteen songs, and over an hour's worth of music, it's too big a portion, and it can become monotonous. Here's something I noticed: you could remove any five of these songs, and they wouldn't really be missed. That sounds bad, but it's not: it's a testament to these guys' strong songwriting and compositional ability.Those negatives aside, these guys have a big sound, and they fill it out with pedal steel, banjo, acoustic guitars, and some pretty sweet harmonies. They never get past the "mellow" stage; this is music for those off work, Friday five o'clock somewhere moments. "Say Goodbye," which opens the record, is a pretty nice highlight, and it sets the standard for the rest of the album. Personal favorite is "Repeat," which is as close as this record gets to "rocking out." Work on the editing; all these songs are nice, but a more concise album would have been a stronger statement. olinandthemoon.com JOSEPH KYLE
 04.04.11
Caitlin Rose
OWN SIDE NOW- (THEORY 8)- From the lyrics about love both found and mostly lost you’d this gal was twice the age of her 23 years. Born into a Nashville-based musical family Rose released her debut ep in 2008 and then this full-length last year. Only problem, was it was only released in the UK, nearly year before it was released here last month. It’s obvious that the players she has on here are real pros (pedal steel player Luke Schneider is a real treat here but everyone shines here) but the standout instrument is Rose’s honey-sweet voice. Sounding at times like Zooey Deschanel (like on the slow, soulful “For the Rabbits”) and other times a little like Iris Dement (like on the lovely “Things Chang”) but mostly she just sounds like Caitlin Rose, a young singer forging a distinct talent that really deserves (no, needs) to be heard. Elsewhere she covers a Stevie Nicks-penned Fleetwood Mac tune (“That’s Alright”) but Rose wrote most of the other 9 songs singlehandedly (a few were co-written) and really she keeps it all heartfelt , simple and beautifully understated. I can’t believe that the first time I played this I barely noticed it and now, well, I cannot stop playing it. What a wonderful surprise. www.theory8records.com
 04.04.11
Those Darlins
SCREWS GET LOOSE-(OH WOW DANG))-I’ve read/heard some folks bellyaching that this isn’t the same band that made the terrific tweaked country record in 2009 because they changed the sound up a bit. True, this time out they go for a more revved up, hooky garage pop/ girl group sound but come on folks, it comes down the songwriting and SCREWS GET LOOSE has got it in spades. Nikki, Jessi and Kelley (an now with a male named Linwood in the band) are the same 3-packs a day/whiskey sippin’, roughneck gals from a few year back but they’re just added some garage polish to the tunes. The opening title track swirls like a Spector tune if old Phil was forced to wear overalls instead of suits while “Be Your Bro” has the noteworthy lyrics, “I just wanna run and play in the dirt with you but you just wanna stick it in.” They stick the mic in front of Linwood’s face on “Let U Down” and the magic is still there, another reverb-soaked, terrific tune. You want more? Well good for you because the hits just keep comin’ via the chunky “Hives”, the Link Wray-ish “$” (“That’s why the green in my pocket ain’t a friend you can keep.”) and the supremely melodic “Boy” are all righteous as well. As good as the debut is, these gals have outdone themselves this time. I’m glad, even after reading some lukewarm reviews, that I gave SCREWS GET LOOSE a chance. If you’re like me then you’ll want to play this one again and again ( I also dig their choice of lingerie). www.myspace.com/ohwowdang
 3.28.11
Brave Irene
S/T-(SLUMBERLAND)-Whenever Rose Melberg has a new combo the indie pop folks (like me) stand up and take notice. She did it with Tiger Trap, she did it with Go Sailor, she did it with The Softies ,she did it with her solo records and now, she is doing with this new (possibly short-lived?) 5-piece from her adopted hometown of Vancouver, BC (that’ Canada, kids). It’s Rose and 4 other friends (she sings and plays guitar) , it’s got 8 songs and clocks in at well under a half hour but again, what can you say. It’s more of those winning (no Sheen styley here) pop tunes with just there right amount of guitar fuzz, a cool chirping organ (courtesy of Jessica Wilkin) and of course those unmistakable vocals. Comparisons have been made to both Lush as well as New Zealand’s 80’s all-female band Look Blue Go Purple and both are fairly accurate. Tunes like “No Fun”, “Tangled Line”, “Longest Day” and “Campfire” are the sort of life-affirming tunes I NEVER get tired of hearing. www.slumberlandrecords.com
 3.28.11
Dearling Physique
DEADEYE DEALER-(MARBLE HOUSE)-The cover of a previous Dearling EP, Impressions of the Night, features three clean-cut, retro-(as in ‘30s-‘50s)-looking adults who also seem rather European… and who happen to be wearing 3-D glasses. Providing the backdrop is a sultry woman of the sort who might have been termed “vixen” back in the day. It’s kind of like a Kraftwerk cover if that band hadn’t been so robotic and vaguely (or clearly, for all I know – never met ‘em) gay. The artwork on the group’s first full-length, Deadeye Dealer is a top-of-the-line, black and white graphic: this time there’s just a large, aged hand making a sort of beckoning gesture – kinda spooky! Dearling Physique-on-record is apparently just a taste of the performance-art-informed, highly dramatic shows imagined by composer and front man Domino Davis, who’s even more androgynous than Prince. To the chase: For anyone who’s impatient with this sort of thing but who likes healthy, rather industrial dance beats, there’s lots of relief within hearing. Basically, DP feels like what Bryan Ferry and The Human League could only dream of doing… it’s futuristic, spacey, disorienting and rocking (in a Club) sense – often, all at once. Prepare for a blizzard of carefully-programmed and played (keyboards, electric guitar, percussion) noise. Of course there’s a website: www.dearlingphysique.com MARY LEARY
 3.28.11
Dusty 45's
FORTUNATE MAN- (SELF RELEASED)-Americana is a hot genre on the indie music scene these days and right now there is no hotter band than The Dusty 45's ( Seattle, Wa. )So hot in fact, that they caught the attention of none other than the Queen of Rockabilly herself Wanda Jackson ( the band will be backing her as part of her tour this summer ) These guys have been doing their own brand of fireball roots rock for over a decade now and they were doing it before it was fashionable to do so. Their latest self released full length " Fortunate Man " extends even further the bands understanding of what true Americana really is. This record explores elements of swing/jump/stomp/blues/rockabilly/mariachi and surf rock . Bespectled front man Billy Joe Huels is a natural born band leader who takes charge on the Buddy Holly-ish tunes "Only Want to Be With You" and "Walking in the Rain". Guitarist Jerry Battista lays down some nice guitar work on songs such as the tele- chuggin "32 Quarters " and the riffy tasty "Cold Woman". There are many excellent and nostalgic tunes on this effort but my click to pick is the timeless sounding and harmony laden "Peace of Mind" which features some front porch harmonica work from drummer Kelly Van Camp. During their famous live sets the band often works the crowd into such a heated frenzy that Huels trumpet will burst into flames ! No joke, his trumpet will actually catch fire ! -- www.dusty45s.com Daniel Craig
 3.28.11
Wanda Jackson
THE PARTY AIN’T OVER- (NONESUCH)- I will be honest and say I was eagerly awaiting this new album by Ms. Wanda Jackson; I am a HUGE fan, investing in pricey box sets from Bear Family that collect most of her recorded work. She was one erroneously called "the female Elvis," and it's somewhat fitting a description. She was the "Queen of Rockabilly," a chanteuse of fine country ballads, and an all-around impressive talent. Thus, her getting the hipster rediscovery via Jack White--it was something that excited me, and I couldn't WAIT to hear this self-titled "comeback" record. When I got it, though, at first I thought Jack White kind of screwed it up. His Loretta Lynn work brought her back doing edgy stuff, one that complimented her discography, without sounding like a rehash, but this--I'm on the fence. She was a great songwriter, but here she's doing old rock and roll and country numbers like "Rip it Up," "Shakin' All Over" and "Dust on the Bible," and these faster, louder songs don't necessarily work. They sound like a pale imitation of Wanda Jackson. These songs have a youthful vigor and rely on the energy of a young person to be really convincing. Better are the slower songs like "You Know That I'm No Good" and "Teach Me Tonight," because she has a lovely tone that has only bettered with age. If you want to hear more of that style, I recommend her album, Heart Trouble, which came out about ten years ago and featured the likes of the Cramps as well as members of the Blasters and X. Still, The Party Ain't Over is a pretty good record, and on second listen those rock covers aren't that bad! www.nonesuch.com JOSEPH KYLE
 3.28.11
The Jayhawks
HOLLYWOOD TOWN HALL-(AMERICAN/ SONY))-The Jayhawks are one of those rare bands that falls in the category of "influential" while also falling into the category of "criminally unknown." And unlike many smalltime bands on small indie-rock labels that earned their respect postmortem, The Jayhawks were poised, signing to a major label at the same time that bands like REM, Soul Asylum, and The Black Crowes were making real chart success with a blend of "roots rock," "alternative-rock," and "Americana." (One can't claim them as "alt.country" as they started well before that trend became known.) HOLLYWOOD TOWN HALL was their major-label debut, expanded here with five bonus tracks. Sure, they polished up their roots-rock sound, and they went for a more radio-friendly style, but that is okay, because they had the song-writing chops to back it up. Gorgeous harmonies abound. Wonderful melodies do, too. And the album? Twenty years later, it's still a stunner; every song feels so...familiar. "Waiting For the Sun" was the "hit," the album made the bottom of the top 200 charts, but yet...this record, for all its critical acclaim, should have been bigger. Other great numbers like "Take Me With You (When You Go)" and "Settled Down Like Rain" -- as well as the rest of the songs found here, to be honest -- all sound like should-have-been hits, and are easily the best of the Gary Louris/Mark Olson collaborations. This being a "Legacy Edition," there are five bonus songs, but they neither add nor detract from the rest of the record--B-sides from European singles, mainly. If you like your music to be a little bit country, a little bit rock-and-roll, and if you haven't heard this record, you NEED to. The beginnings of the "alt.country" movement started with these guys, even though I doubt they meant to start a revolution. http://www.jayhawksofficial.com/news.html JOSEPH KYLE
 3.21.11
Julianna Barwick
THE MAGIC PLACE-(ASTHMATIC KITTY)-If I were writing promotional copy for this record, I would say it is an "instrumental exploration of the potentials of the human voice." For, you see, there are vocals on this album--just not lyrics. Barwick and her company of musicians (numbering up to nine) have, for The Magic Place, composed an album of dreamy, ethereal, and sometimes droned-out instrumentals that happen to use Barwick's vocalizing as an additional instrument. Sure, there are words, but unlike the Cocteau Twins or Sigur Ros, they're not in some unintelligible, made-up language or dialect. If anything, this reminds me of Enya and Julee Cruise, except with an accompaniment from any one of the artists on Kranky. Setting aside its incomprehensibility, The Magic Place is, indeed a magical place. Barwick sounds like some kind of dark angel on the title track, "Vow," or the gorgeous closer, "Flown." I dig those songs inbetween those I mentioned, too; this isn't a record to understand, it's a record to experience. Lovely! www.asthmatickitty.com JOSEPH KYLE
 3.21.11
Papercuts
FADING PARADE-(SUB POP)-Lovers of dreamy, retro-flecked pop, light rock, or, in this case, easy listening, have lots to choose from these days. Jason Robert Quevers, a/k/a Papercuts (with various supporting players, and lots of self-instrumentation – hmm… that came out funny…) has been at this longer than, say, Best Coast, Heavy Hawaii, The Dum Dum Girls, or any of the other retro/dream-pop crafters who’ve been forcing the party-throwers to throw big tents up outside. It sounds like Quevers has been at it for some time: his pleasant, oft-unassuming melodies feel natural; unforced, and his whispery vocals are certainly dreamy. The melodies are embellished by gelatin-bright guitar burbles and quivers. The rhythms, which are steadfastly supportive, add at least stick figure movement (Quevers is joined here by two players from live ‘Cuts shows, Frankie Koeller and Graham Hill; bass/drums). But the rhythm section’s awfully respectful (pause)… and in this case, that might not be optimal. I’d like to hear Quevers busting out with the creativity and innovation that tend to stem from collaboration, healthy arguments – things that would challenge his vision, which can feel a bit claustrophobic. There are a few geniuses who can do entire albums without opening the windows (Todd Rundgren with Runt: The Ballad of… and Something/Anything, to name one). Quevers is simply not at that level. Being any of that as it may, several tracks on Fading Parade approach goose bump territory (the beautifully drifty “Winter Daze,” Do You Really Wanna Know,” and “Wait Till I’m Dead”). “Wait Till” glistens with six-string sugar that would probably get nods of approval from Graham Nash and Gerry Marsden. For Ipoding the current crop ‘o dream-retro-pop-rock-reverie-inducing matter, I’d say those three belong on the shopping list. The CD and vinyl editions carry Sub Pop’s usual panache. www.subpop.com MARY LEARY
 3.21.11
Thao & Mirah
S/T- (KILL ROCK STARS)-Way back last fall, the little YouTube side bar thingy suggested I view a home-made living room video of Thao & Mirah duetting acoustically on a song Thao wrote called "How Dare You" . Well, since I love Mirah's records (favorite song? “Person Person” from You Think It's Like This... or “Oh September” from Black Mountain Music Project) and I spent last summer totally obsessed with Thao & the Get Down Stay Down, I eagerly clicked on the clip. And I thought, “duh! this makes perfect sense, what with their quite distinct yet perfectly complimentary respective soulfulnesses” (yes, I thought it just like that) and having been baited, I waited, bated, for this collaboration to materialize. Thao's voice reminds me of Chan Marshall, all smoky, seductive, slippery, slide-y. She mentions being “raised by wolves” in “Folks,” and I kind of believe it. When she croons “I have...Teeth I...Must bare,” it's downright squirm-inducing. And good grief, the way Thao nails everything down with her signature “ooooo-oooo-ooos” is effing magic (emphasis on the eff, because I'm pretty sure that's what the “oooos” want to do). Mirah has a sweeter voice, clean as porcelain on the surface, but lined with a corduroy vibrato and effortless loping trills. She's folksy mostly, but then slings these jazz/funk bits around, like on “Rubies and Rocks” and “Sugar and Plastic” with a defiant Laura Nyro deftness. Merill Barbus of Tune-Yards, who also co-produced the record, helps fill spaces with amazingly intricate hand-claps, lap-slaps, and lip-smacks that function as percussion throughout the record (along with regular ole drums). The lyrics mostly revolve around dysfunctional relationships and loss, heart-breaking at times, but not without hope, or as Thao chants insistently on the aforementioned “Teeth,” “Next time I swear, more hope, less fear.” Flexible melodies, stretchy harmonies, soulful rhythms, meditative moments, slightly atonal finish, a decadent sweaty-ness throughout... hmmm, sounds like i'm describing some kind of indie rock yoga, and now that I think about it, that's kind of how listening to this record front-to-back feels. But you know, without the patchouli or pretense. According to Thao's newsletter, Thao and Mirah are touring the US and Canada in June, “with an all-woman band (and crew), as inspired by Beyonce.” www.killrockstars.com VICKY WHEELER
 3.21.11
Yuck
S/T- (FAT POSSUM)- his UK bunch, led by pals Max Bloom and Daniel Blumberg (who were in Cajun Dance Party together) have apparently been caught up in a swirling storm of hype with Yuck since last year. What the hell do I know, this cd sat in a box for at least a month and I tossed it on not because I had heard of the band and was eager to check it out but just, well , for the hell of it. Opening cut “Get Away” mixes heavy and melodic, you know, the same kind of songs that J. Mascis (or Kevin Shields) can write in his sleep (and often does). But the song is GOOD. So is the next one, the heavy-on-the-wah-wah “The Wall” (the ripping “Holing Out”, too) The next one too, “Shook Down.” Though that one isn’t as heavy and takes cues from Teenage Fan Club more than Dino Jr. but again, it’s dripping with melody. If you’re thinking the band is a one-trick pony forget about it, they can ease up and quiet down too as proved on “Suicide Policeman” , “Suck” and “Stutter.” By tune number six, the wonderfully fuzzy/bouncy “Georgia”, you wonder if this band is even capable of a bad song and while there are a few not bad ones, nothing on here is truly a bummer. From a group that, what I understand , are really young , these guys sure have made a confident debut. Let’s see what kind of cajones they have on stage, but until then, this one is staying put in my cd player (remember those, Ipod nation?). www.fatpossum.com
 3.21.11
Various Artists
CASUAL VICTIM PILE II-(12XU)-Local scene compilations are generally hit-or-miss affairs; even the most musically vibrant cities rarely boast enough strong bands to sustain a full-length album of individual tracks. A notable exception was Matador’s 2010 Austin music comp CasualVictim Pile. A tongue-in-cheek anagram of that city’s reputation as America’s “Live Music Capital,” that record strung together such solid acts as Woven Bones, Harlem, and Dikes of Holland in one of the better such releases in recent memory. This stripped- down followup somehow dredges up 18 additional artists to compliment the original 19 while improving on the initial effort. From the album’s opening sound, OBN IIIs vocalist Orville spitting a venomous “Bullshit,” the collection conjures images of a dynamic scene of punk/garage throwbacks, punishing drum heads and wringing sweat out of guitar necks with near manic intensity. Repeated listens, though, reveal uncanny variety and depth, tied together by a raw, edgy urgency that is a hallmark of the adventurous music that indie rock is supposed to be. While there’s not really a clunker in the bunch, standouts include the hook-laden (but not clichéd) power pop of Sally Crewe & The Sudden Moves; the glorious, near-anthemic wall of sound of Literature; the NYC- flavored street rock of A Giant Dog; the psychedelic “beer rock” of The Bottle Service; and the aforementioned garage punk of OBN IIIs. A record that achieves what is probably the goal of any regional comp – motivating the listener to think “I’ve got to see this band live.” Get the vinyl at http://casualvictimpile.com/mailorder.html. AL CRISAFULLI
 3.14.11
The Asteroid No. 4
HAIL TO THE FIGURINES -(THE COMMITTEE TO KEEP MUSIC EVIL)-The Asteroid No. 4 may be one of the last vestiges of the 1990s wonderful "Psychedelphia" scene, but on Hail to the Clear Figurines, their sixth album, the band never sound less than fresh and contemporary. Perhaps it's because they take their time with their music; perhaps it's because they're not too busy trying to "sound" like the 1960s, or perhaps it's because Scott Vitt and company simply have no pretense when it comes to their muses. Whatever the case may be, these guys can be relied on for making slightly stoned, occasionally countryfied psych rock. Hail... has a mellowness that's not quite as pronounced on other records, but that's definitely no complaint. "Wild Opal Eyes" sounds like a Syd Barrett song, and it's hard not to think that the song isn't about him, either. The gorgeous harmonies of "Vesta" will transform your current state into a place that hasn't aged since 1969, and you'll only want more. Yet they fall into a more modern, contemporary vibe on "Ignition Slated for Eight" (recalling Dandy Warhols and Black Angels), and the sweet pop of "The Unknown" is, simply, timeless. While previous records would occasionally bring on the jams, Hail to the Clear Figurines is a much more concise, succinct work--which is also a part of its charm; it doesn't overstay its welcome, nor does it grow tiresome. It's just the right amount of time for a sweet psychedelic trip. www.thecommitteetokeepmusicevil.com JOSEPH KYLE
 3.14.11
Drive-By Truckers
GO-GO BOOTS-(ATO)-Once again, the hardest working band in showbiz is here to break your heart and give you a real good time while doing it. On this, record #11 (counting a live record in 2009) the crew led by Patterson Hood and Mike Cooley (buddies for well over two decades) they’ve done it again. As usual, Hood writes the bulk of the material, including the anthemic opener “I Do Believe” while Cooley chips in with a few (usually more upbeat-/mid-tempo ones…check out the excellent “Cartoon Gold”) and Tucker adds one (the beautiful, slow-burnin’ “Dancin Ricky”). Overall this record is more laid back than other with fewer rockers and more of an overall intimate as aside from the previously-mentioned opener, most of Hood’s songs on GO-GO BOOTS creep by at a snail’s pace and envelop you in a warm groove (check out the title track, with its crying slide guitar, “Assholes”, “Ray’s Automatic Weapon”, the 7-plus minute “Used to be a Cop” and the 8-plus minute “The Fireplace Poker”). In addition the band adds two Eddie Hinton covers in the beautiful “Everybody Needs Love” and “Where’s Eddie” (Hinton was a Muscle Shoals session player with Hood’s dad). For a band to be thus consistent for this long and show no signs of slowing down is truly a thing of beauty. The band sounds like its peaking, and has been for quite some time, and GO-GO BOOTS is yet another fine slice in pie that you want more and more of. www.atorecords.com
 3.14.11
Dum Dum Girls
HE GETS ME HIGH- (SUB POP)-“Tell me what you dream when you are fast asleep…” is mouthed with moderate urgency over a repetitive tom-tom, intro-ing “Wrong Feels Right.” It’s a good drive-around track that’s a bit over-orchestrated to these ears: I’d like the Dum-Dums more with a simpler format. Further, some of my ambivalence is about how Kirsten Gundred never seems fully engaged, although some of that has to be about how far her vocals are buried in the mix. I guess the group’s fans dig all the decoration – or they feel an immediacy that for me is lost in excessive arrangements that tend to drone on rather than exit or escalate. It’s clearly a matter of preference, but I know I’m not completely alone: TV Buddhas, Kelley Stoltz, and Eternal Summers all opt for a cleaner approach. And in case I’m coming off like a total Dum Dums pooper, I thought “Jail La La” was the cream of the debut set, partly because of the simpler, more delineated mix. Anyway, la la, the EP appeals to me more than the full-length (I Will Be). The short-and-sweet format (four songs; 13 minutes) suits the Girls’ AM-single style. On the best cut, the balladic “Take Care of My Baby,” walls of glistening guitars highlight the Dum Dums’ ability to paint a love-sick atmosphere. For good or ill, the Smiths cover, “There Is a Light that Never Goes Out,” underscores the importance of songwriting – more specifically, of strong melodies with choruses that surprise, strengthen the song, or do something that invites the terms “riveting” or “essential.” From its first bars, the post-punk classic provides a pleasant mood shift. Whether or not I buy the narrative from anyone other than Morrissey (a hard sell), it’s a gutsy move for Gundred: Morrissey’s vocal style is pretty darned idiosyncratic. Gundred gets close to his Celtic-lilt vibrato, which she may or may not have wished to emulate – in any case, the tune ends up a bit boring as it, again, drones on through walls of noise. The cover definitely shows taste, as does the VERY fun Dum Dum site – worth a visit just for the Big Star video currently running – pity the Girls don’t emulate BS’s lusciously crystalline mix. www.wearedumdumgirls.com MARY LEARY
 3.14.11
Marcellus Hall
THE FIRST LINE- (GLACIAL PACE RECORDINGS)- OK, somebody broke this guy's heart. Repeatedly. And this is what happens when a really smart and musically gifted fella has his heart pummeled – he writes an album of gorgeous soulful stories, and sings them in a way that makes a girl like me want to find the one who done him wrong and cuss at her. And then thank her, because, well, sorry for your pain, Mr. Hall, but I can't pry your melodies from my swaying hips, and I could quote your words all day. Marce Hall is a lyricist on par with, oh, let's see... F. Bruno, Nilsson, Darnielle, Costello, Randy Newman or even--*gasp*--Dylan. Yeah, that's right. I said that. So there. Plus! Amazing pictures. He draws them, has been published in The New Yorker, The Atlantic, Wall Street Journal, Time, my personal diary (I wish), and in his own books of illustrations . This album is packaged with a FORTY-PAGE BOOKLET of original artwork (score!). Despite its tragic subject matter, The First Line is a genuinely fun record. If you were into Railroad Jerk or White Hassle (if not, go get it NOW), right away you'll recognize the crusted-over throaty tenor croon, wordy quasi-low-country folk blues style, and killer harmonica. The arrangements here are fuller, with cello and saxophone and mandolin, and background singers that sound like random high-school kids. The swingy southern feel of "Back Where I Started” and “Broken Phone” balances and compliments broodier efforts like “Don't Go” and “Wishing My Heart Was Made of Stone.” Best song? The title track, a hooky self-reflexive number about being clever enough to both finish the song at hand, and also find/rescue/keep a lover regardless of the books she's read. Or wait, no... “One Drop Of Rain,” a tragic tale of unconsummated long-distance romance that will make you cry. No! Wait! Ugh. This is hard, but I hereby choose the infectious bittersweet ode to break-ups, “Star Position” with its unimpeachable chorus, “Aaaaaand... The key. Is in. The. Ignition. When you're single you can sleep in the star position.” Indeed. www.glacialpace.com VICKY WHEELER
 3.14.11
Left Lane Cruiser
JUNKYARD SPEED BALL-(ALIVE RECORDS)-Looking more than ever like two prison and/or trailer park escapees, Freddie “Joe” Evans IV and Brenn “Sausage Paw” Beck are back with another pile of steamy, distortion-fueled boogie. For anyone who hasn’t heard the duo’s potent, electric-slide--driven shtick, just think on R.L. Burnside, T-Model Ford, and Jon Spencer – if you can remember how you felt while vibrating to any of them, you have a good read on Left Lane Cruiser. The message launching Junkyard Speed Ball, “Lost My Mind,” is transmitted with gritty, frenetic credibility. It’s all good (for drinking, dancing, and – you didn’t hear this from me: driving), but I’m particularly inclined toward the tracks that dig deep into the soul of an acid-soaked Delta (blues). It’s such a cliché, but hell, it fits: If you ain’t shakin’ your thang to the raunchy strut of “Circus,” makin’ like a cage girl (or boy) to “Hip-Hop,” and shifting into third with “At the Denny’s,” I have to inquire after your health. Occasionally aided by The Black Diamonds’ Reverend James Leg on keys, and Jim Diamond on bass, LLC like to fabricate quivering walls of sound. “Represent” and “Cracker Barrel” are powerful enough to inspire a dream show, with LLC opening for Mountain. www.alive-totalenergy.com MARY LEARY
 3.7.11
Bardo Pond
S/T -(FIRE)-They've been around for nearly two decades, and they still sound like nothing you've ever heard. Okay, maybe the times have become a bit more friendly to their "weird" sounds, but this collective's blend of heady psych-rock, folk, space-rock, and out-and-out weirdness has aged quite well, and this self-titled affair does not disappoint. The eight-minute "Sleeping" takes its title seriously, as it's a beautiful drift into space. "Undone" is the album centerpiece, and is what could generously be called "earthy." I dig the album's other epic, the thirteen-minute long "The Stars Behind," a space journey that sounds like it's straight out of 1968. What you expect from Bardo Pond is all in place, so while it's not all surprising a record, but all in all Bardo Pond is a none-too-surprising album from the masters--and the definers--of the genre. www.firerecords.com JOSEPH KYLE
 3.7.11
Buffalo Tom
SKINS-(SCRAWNY)- Wow, now THIS is the Buffalo Tom I remember. The band returned in 2007 (after a decade long break) with THREE EASY PIECES and while at the time I raved (because I was so happy that the band was back) looking back in retrospect, it was a solid record but not a great one. SKINS is a great one. And fear not, it is the same three guys: Billy, Chris and Tom and once again they pour their hearts out on SKINS with a stunning mix of rockers and ballads (forget Skid Row, THESE guys know how to do a power ballad). Opener “Arise, Watch’ begins like a powerful folk number then kicks into a crashing bridge while “She’s Not Your Thing” is the mid-tempo pop tune that the band can write in their sleep at this point and “Down” is one of those, powerful power ballads with their regular Joe lyrics (with lyrics like “I’m just an average Joe, just someone you would know”). Belly’s Tanya Donelly does co-vocals on the beautiful “Don’t Forget Me” and the catchy “Guilty Girls’ is most likely the single. You want more? The hit’s keep coming: the piano bounce of “Miss Barren Brooks”, the anthemic “Here I Come”, the jagged “Lost Weekend” and plenty more. This is what you’ve come to expect form a Buffalo Tom record and more. Yup, more. MUCH More. www.buffalotom.com
 3.7.11
Champagne Riot
MOONSTRUCK ep- (MATINEE)-Matinee Records is a strong and consistent label, and their latest signing, Champagne Riot, is no exception. Unlike the C86/indie-pop jangle that they're known for, Champagne Riot is a straight-up new-wave pop band. And that's...okay, because this little EP is wonderful! Champagne Riot is a Danish combo (featuring Caspar Bock, of Matinee's other dark-pop band, Northern Portrait), and in looking at a picture of the duo, I can't help thinking Erasure. That's not a bad comparison, either; Anders Reuter plays the Vince Clark to Bock's Andy Bell. "Moonstruck" kicks things off with a dance-inducing melody, though they slow down a little bit for the next three songs. "Goldrush" (which definitely DOES remind of Erasure's classic Chorus). "Heart Stab" is a nice, epic number, and "A Friend of a Friend" is a lovely love song. This EP's only flaw? It only has four songs! The band says a full-length is a-comin', and I for one am TOTALLY waiting to hear it. www.matineerecordings.com JOSEPH KYLE
 3.7.11
Middle Brother
S/T- (PARTISAN)- I always say I’m never going to use the word “supergroup” when describing a band with members from other, more well-known bands but then you know what/ I always end up using the term that I say I loathe so much. This trio consists of a few heavy hitters from the Americana scene. Namely Taylor Goldsmith from my bellowed Dawes, John McCauley from Providence’s Deer Tick and Matthew Vasquez from, Delta Spirit. They share the songwriting chores on this 12 song debut and while you hear elements of each band these three seem to create some magic here on not all but a good handful of these tunes (and since there is 3 distinct songwriters, there’s some nice diversity in the tunes , too) . McCauley sings the gritty , acoustic opener “Daydreaming” while Vasquez handles the looser, more stomping (and hookier) “Blue Eyes” and Mr. Goldsmith appears on track three, the plaintive “Thanks for Nothing” an all four of ‘em chip in on songwriting on the title track (actually more theme song, “Middle Brother”) and let’s not forget the little known Replacement’s cover, “Portland.” The playing is loose yet sturdy, heartfelt yet fun and it appears that these three leave the attitudes at the door and wrote this batch of songs because they genuinely enjoy each other’s company (what a concept). Will there be more? www.partisanrecords.com
 3.7.11
Occult Detective Club
CRIMES-(ALIVE RECORDS)-Boy, this brings back some happy moments. The band’s promoters say: “Occult Detective Club is the sound of today with a nod to the past.” Well, I’m gonna have to differ with ‘em: I hear the sound of the past with nary a nod to “today.” And when a band of four young-ish guys from Texas rocks the punk sound this hard, what the hell is wrong with that? I think you’ve guessed the answer: Nothing. There’s a bit of Damned/Clash/early Jam about ‘em, with some Joey Ramone in the vocals – I just call that classic punk – and, as with all classics, those who can deliver the goods are welcome at my party. If you threw this on, and I knew nothing about it, I’d have said it was from 1978 www.alive-totalenergy.com MARY LEARY
 2.28.11
Dynamic Truths
UNDERSTANDING IS OVERRATED -(LITTLE BLACK CLOUD)-Richmond, Virginias Honor Role was a big deal to me (especially their early singles and first full-length) and the band that H.R. vocalist Bob Schick was in after that, Coral, was damn good too. Had completely lost track of is after that but found out only recently that after Coral he formed another band, one called Dynamic Truths. Apparently they existed for about 4 years or so in the later 90’s and then called it a day. Well, it was long enough for them to record 15 songs and I have to say, this stuff is flat-out terrific. Right from the driving opener, “You Take It All” you just know that this combo is some special. While in Honor Role he had a nimble rhythm section it was guitarist Pen Rolling who really helped create that band’s sound. In Dynamic Truths guitarist David Jones is pretty special himself eeking out truly electrical riffs while the rhythm section of drummer Bill Walker and whomever was on bass (the band had three, including former HR-er Chip Jones and many of the tunes seem to follow the low end of Peter Hook) but Schick’s commanding vocals and as always, highly intelligent lyrics put this combo over the top into greatness. I already mentioned the superb opening cut and “Profit from Loss” is murky in the best way possible and “Headed for the Halfway House” is low-key but overtaking at the same time (with a hook to die for). That’s the first three songs and there’s 12 more , all worthy of your time. Major kudos to Little Black Cloud label for bringing this (previously unknown) gem to light. www.littleblackcloudrecords.com
 2.28.11
Eddie Spaghetti
SUNDOWNERS-(BLOODSHOT)- Eddie Spaghetti is a national treasure. For the last two decades he's released a ton of great records with his band The Supersuckers, and the only thing more fun than one of their records is one of their live shows--consummate live performers, they are a band that knows how to have fun. Over the past decade, though, Spaghetti has released a solo record or two--but Sundowner is his first record for the esteemed Bloodshot Records. Like his previous work, he blends familiar country songs (Willie Nelson's "Always on my Mind"), pop songs ("Party Dolls and Wine" by Dean Martin), and obscure barroom country-rockers("Girl on the Billboard"), and he even takes on the Dwarves "Everybody's Girl." Musically, Sundowners is pretty predictable; straight-up barroom rock that's a little bit country, a little bit rock-and-roll. But sometimes predictability is exactly what you need--and it's that consistency of product that makes you come back for more! www.bloodshotrecords.com JOSEPH KYLE
 2.28.11
Fergus & Geronimo
UNLEARN- (HARDLY ART)-This one’s a bit of a head-scratcher. Some tracks are instant downloads; others… not so much. It’s like two sometimes brilliant guys got the go-ahead to make an album at some “gifted kids” program but then no one told them what works and what doesn’t (kind of like those classrooms where every child receives a gold star for his or her story so no one will feel bad). At their best, Andrew Savage & Jason Kelly amble into gonzo-land, as on the opener, “Girls with English Accents.” Guitars balanced between fuzzy/edgy throw the gates open before some slightly fuzzy twang (shades of TFUL 282 and lots of “eastern-influenced,” mid-late‘60s folk-rock) supports the sorta back-dropped vocals. “Forced Aloha” is another nice merging of ‘60’s structure with a contemporary feel. “Wanna Know What I Would Do?” would bring the Fugs to mind if it weren’t so mean-spirited; spending its three minutes/20 seconds sending-up hippies (new? old? all?), including a few especially offensive moments. The classic late-‘50s/early ‘60s melody of “Powerful Lovin’” leads to another name-drop, and that’s an album by Jeff Simmons (with Frank Zappa), the brilliant Lucille Has Messed My Mind Up. Unlearn is miles from that album’s trippy intensity. There are too many shifts (maybe partly ‘cause both guys contribute songs, which for some bands works beautifully – here, again, an editor’s sorely in absentia). Some of those shifts drift into stuff that seems too Indie-rock “normal” for the rest of the material (“Baby Don’t You Cry”). “Michael Kelly” is better; almost pretty as Avi Buffalo’s stuff, but it loses heat by wandering off in a daze. Brooklyn, the environment currently cradling F&G, should be a great place for these guys to be disabused of any excesses. Brilliance sprouts every few blocks in the naked city, and the inconsistently amazing tends to shrivel for lack of regular watering. So the assignment, should the pair choose to accept it, is to start noticing which songs are leading to yawns and glazed eyes. And which, like “Unlearn,” elicit nods and giggles. www.hardlyart.com/fergusgeronimo.html MARY LEARY
 2.28.11
Iggy Pop and James Williamson
KILL CITY- (ALIVE/BOMP)-Ok folks, here’s the straight dope: Kill City is Iggy Pop’s Exile on Main Street. Don’t dispute me. This is the record that started out as ‘demos’ for Iggy to use to get a new record deal after the Stooges had called it quits. It turned out to be one of, if not the best thing he’s ever done. Yes, it’s that good. (I mean, yes, there are a few annoying / poorly recorded saxophone parts dotting an otherwise solid-rock landscape, but hey, it was the 70’s and having a bad saxophone was almost a rule.) To make up for the saxophones, how about this: Iggy recorded all of his vocals over weekends while on supervised furloughs from a fucking mental hospital! What more could you ask for!? The best part is that this re-mastered version makes these tracks shine like gold! The recording quality was actually very good and the songs are well written and arranged. Iggy’s voice is immediate and strong and his performances are tough, gritty and vital. James Williamson was no slouch on this record either - his guitar parts and solos are pretty killer and must’ve turned the heads of folks like Keith Richards and Ron Wood. As we all know, 1977 was a pretty heavy year for music and in my opinion Kill City is one of the highlights of it. By the way, if you are only familiar with the original, muddy/muffled version of this record, do yourself a favor and check out this reissue – it’s night and day. Worth every penny… www.bomprecords.com JEREMY GRITES
 2.28.11
My Disco
LITTLE JOY-(TEMPORARY RESIDENCE)-Now THIS...this, I like. I like it in part because this band is, as they say, "All over the map." Are they a pop band? Are they a dance band? Are they a rock band? Are they an electronica act? I could make a convincing point or two for each of those questions, and yet I still would feel as if I were neglecting some side of this Australian band. I see an arc in what they're doing. The first three songs are fast-paced, that get you up, get you dancing. The next four songs are heady, mellower songs, to help you chill out after getting your feet moving. They return to the groove for the final two songs, leaving you with a hypnotic closer that segues nicely back into the first song--which, incidentally, is called "Closer." I like the kinda bluesy "Sun Bear," but I also dig the loudness of disco hit "Young," and I really enjoyed the menacing "Rivers," too. Sometimes variety like this makes a record suck, but My Disco has wisely made the changes in broad strokes, and not song-to-song. Would love to see how these guys pull it off live! www.temporaryresidence.com JOSEPH KYLE
 2.21.11
Hellogoodbye
WOULD IT KILL YOU? -(WASTED SUMMER)-The heyday of emo is thankfully behind us, and while many bands that dominated that genre are kaput, there are some still making music and quietly distancing themselves from that once-beloved tag. Hellogoodbye have broken from the schlock and overbearing humor of their early years--which blended cheesy humor with synth-pop rock, and while it was fun for "the kids," it was hard to take them seriously as anything other than a teen-pop band. They've toned down the humor, the cheesy productions, and have released a rather decent record. Lead singer Forrest Kline's singing style has a snarky quality, but with the softer arrangements and mellower style, the snark has become oddly addictive. There are catchy songs, like "Finding Something to Do," and the slower songs like "Betrayed by Bones" and "When We First Kissed" are touching and effectively sweet. There's also a wonderful use of ukulele here on "The Thoughts That Give Me The Creeps," and on further listening, it pops up throughout the entire record. I have a feeling that, without the budget and the hype of their major label experience, the band was able to mature into the band it wanted to become. A surprising record, this--and I look forward to hearing more from these guys! www.hellogoodbye.net JOSEPH KYLE
 2.21.11
James Kinds
LOVE YOU FROM THE TOP-(DELMARK)- It’s great to see Delmark recording veterans like James Kinds – gotta mean a lot to a hardworking blues man who on his own probably wouldn’t have the money and wherewithal for a recording of this quality - let alone the promotion and distribution. Love You From the Top is about 12-bar blues – Kinds is neither an innovator nor a “character” (at least via audio), although, notably, he penned all the compositions. Would I include a stop to see him in a Chicago junket itinerary? Hells to the yes. The hot live recording of “Lying So and So” on Kinds’s Myspace adds even more fuel to the fire. And while Kinds isn’t exactly an innovator, he’s definitely a channel for emotion. His naked run through “I Got a Woman” would go well with classic soul. He does happy blues well too, as in “Oo Wee Baby,” “Katie,” “Body Slam,” and the subtly raunchy “Peggy Sue.” Backing band The All-Night Riders produces an engaging vibe, with Kinds’s bright, medium-metallic guitar tones spiking through. “High Heel Shoes” has that first-shot-of-whiskey feel of vintage Fleetwood Mac (circa Green, Kirwan and Spencer). Even if that kudo seems a bit bass-ackwards, from this corner, it’s a big thumbs-up. www.delmark.com MARY LEARY
 2.21.11
The Radio Dept.
PASSIVE AGGRESSIVE: SINGLES 2002-2010- (LABRADOR)-Even as big a fan as I am of this Swedish pop powerhouse it’s been hard for me to keep up with all of their singles as they’ve got a ton of them. (plus three proper full-lengths). Their most recently full-length, CLINGING TO A SCHEME, was my favorite record of last year and now her comes this. It’s a 2-disc set , 14 songs on each disc and guitar/vocalist Johan Duncanson is still leading the pack (now whittled down to a trio though the band was a quintet for a lot of these songs) . The first disc is the A-sides and includes brilliant (fuzzier) early stuff like “Where Damage Isn’t Already Done” and “Why Won’t You Talk About It?” (both from their debut, LESSER MATTERS) plus a standout track from their much mellower sophomore effort (PET GRIEF) in “The Worst Taste in Music.” Stuff from CLINGING… includes the sublime “David”, the dubby/dancey “Heaven’s on Fire” (is that Thurston Moore’s voice at the beginning?) the Trembling Blue Stars-ish “Never Follow Suit.” Other stuff on disc one includes the gorgeous “Ewan” , the dreamy “Pulling Our Weight” and a solid (not great) cover of the Go Betweens “Bachelor Kisses.” Disc 2 isn’t as strong but still includes some surprises like the speedier “Liebling”, the majestic “You and me, Then?”, the beautiful “What You Sell” and others. It’s the incredible attention to detailed songcraft that makes this band so special, hardly any notes out of place or wasted space. This is as good a place as any to start. www.labrador.se
 2.21.11
Smith Westerns
DYE IT BLONDE- (FAT POSSUM)-These young ‘uns from Chicago made quite a splash last year with their fine debut and now here they are with record number two and it’s even better. A bit older and a bit wiser (perhaps) they come out with both barrels firing on this terrific record and don’t even bother looking back. The band includes Max Kakacek and Cullen Omori (Cameron Omori, Cullen’s kid bother, was brought in later) and it’s obvious that these two know their rock history, everything from The Beatles and Beach Boys to Marc Bolan (a T-Rex influences was all over the debut and is still there) as well as a heaping spoonful of 60’s garage bands. Opening with the catchy, chugging “Weekend” was a smart move (it sounds a bit like a rawer Magic Kids tune, a band they shared a split 7” with) which then rips right into the wonkier “Still New.” Elsewhere, both “Imagine Part 3” and ”Dance Away” have glistening pop hooks while” All Die Young” is more Mott the Hoople (let’s give it up for Ian Hunter!) than Bolan. Even the worst tracks on here, like “Fallen in Love’ and “Only One” are still good but just a few notches below the excellent stuff. I love the slightly fizzed lead vocals a well as the occasional to-die-for choruses. As much as I liked the debut this is head and shoulder above it. Well done, really well done. www.fatpossum.com
 2.21.11
The Ugly Beats
MOTOR-(GET HIP)-If aliens came to my apartment and looked at my record collection and asked, “what type of music does the Get Hip record label make?” I would just hand them this album by the Ugly Beats and that would be that. This is a near perfect slab of retro garage-rock that pushes all of the right buttons and leaves out all of the clichés that would normally annoy the shit outta me. The guitars, vocals and harmonies all sound great (Recorded on tape! Yes!), and everything sits nicely in the mix. Thankfully, the ‘Beats understand the truism that it’s cool to have a Farfisa (especially if it’s played by a cute chick in a short dress), but keep that shit low in the mix or it will kill your record – listen to any Mondo Topless disc and you’ll see what I mean. Anyway, these cats have fashioned an album that’s a terrific combo of early Beatles, Hollies, and Byrds with newer bands that loved them like the Flamin’ Groovies, Romantics, Sadies and nearly every group on the original Nuggets boxed set. I’ll admit that I’m a sucker for this stuff, but on the real: the Ugly Beats did a really great job on this album. Right On. www.gethip.com JEREMY GRITES
 2.14.11
Acrylics
LIVES AND TREASURE -(FRIENDLY FIRE)-Whether you call it dream pop, emo, or young-adult easy listening, the Brooklyn-based Acrylics have molded a thoroughly pleasant album. Yeah, some of it’s kinda sleepy (the denouement of final track “The Catacombs” could lull a body into dreamland) and there’s not much in the way of standout compositions. It starts with a story, of a sort: Jason Klauber’s almost-meek vocals (about tossing and turning) top synth sounds before Molly Shea’s bright, unpretentious soprano helps build to candy-box harmonies that don’t cloy – there’s enough airiness to preclude that possibility. Things get a bit more rocking in an ‘80s synth-pop vein with the next track, “Molly’s Vertigo.” And from there it goes -- the album only diverges from these formats mildly, when it delves deeper into tasteful effects. The energy/angst level increases palpably with “Asian Pear.” “Sparrow Song” is lovely. The songs seem to be about infatuation, distress, and, possibly, obsession-unto-stalking (“Molly’s Vertigo”). Whatever the duo’s on about, the effect’s pleasant as throwing some elbow action into washing windows with a nice organic cleanser on a sunny morning. The more I listen to this, the more I hear the kind of songs that, in the absence of phenomenal riffs, still have a way of settling into one’s bones; eventually feeling oddly essential. One never feels slammed over the head with evidence of “genius” or sonic overload. www.friendlyfirerecordings.com MARY LEARY
 2.14.11
Bart Davenport
SEARCHING FOR BART DAVENPORT-(TAPETE RECORDS)- I have always liked when artists tackle all covers records and here we have yet another one from Bay Area guy Davenport. I caught him once back in the 90’s when he was fronting R & B combo The Loved Ones and he seemed to exude charisma but with a seemingly real loose attitude (ie: he wasn’t a dick). I never heard his next combo, The Kinetics, but have always liked his solo records (I think I have 3 of the previous 4). Out of these 12 songs, while I’m familiar with all of the artists, I had only heard three of these songs, (“Cayman Islands” by Kings of Convenience, a lot of the songs on here reminded me of KOC tunes by the way, “Wonder People (I do wonder)” by Love which was a bonus track on the reissue of FOREVER CHANGES and a song called “In the Dark” by an obscure pop band called The Changes which was released in 2006 on Drama Club Records). Elsewhere he tackles Broadcast, Incredible Stringband, David Byrne, Bert Jansch and others with mostly just his voice and an acoustic guitar. Davenport, while not a great crooner, is still solid on vocals and makes the best use of what he has while his acoustic guitar playing is spare and inventive. The collection is real low-key and enjoyable and I’m glad Davenport released this to see if we were still listening (we are). www.tapeterecords.com
 2.14.11
The Twilight Singers
DYNAMITE STEPS- (SUB POP)-Greg Dulli's Twilight Singers have released a number of records over the years, and while all of them were good, they never quite captured the R&B magic of the band's debut, Twilight as Performed by The Twilight Singers. Until now, that is. Dynamite Steps is the cumulation of everything right and magical Dulli has done over his two-decades long career. You want soulful ballads? Just check out "Be Invited" and "Get Lucky. You want something hard? Dulli will give you that on "Gunshots." You want some crazy blues? Check out "Waves." You want tender pop? "The Beginning of the End" is perfectly suited for your needs. And check out that title track that closes the record--it sounds like an outtake from his work with Fila Brazillia. Dulli knows what he does and he knows his muse, and the combination found here works. Yes, his music still sounds that ideal downtown bar on a rainy Friday night, which you and your special someone are about to leave for a more intimate moment. And in my book, that's the PERFECT Greg Dulli record. This is a winner on all counts. www.subpop.com JOSEPH KYLE
 2.14.11
Kurt Wagner and Cortney Tidwell
PRESENT KORT: INVARIABLE HEARTACHE- (CITY SLANG)-What do you get when you combine Lambchop mastermind Kurt Wagner, country crooner Cortney Tidwell, and a bunch of obscure vintage country songs? Easy answer: a great record! Tidwell is a Nashville-based musician, and her grandfather was the owner of Chart Records, a small but influential country record label. This record pays tribute to that label, as these are new versions of the label's "greatest hits," all done in a style that is very reverential to the originals. Kurt and Cortney's voices play well together; she's all honey-sweet, when singing love songs ("A Special Day") or weepies, ("I Can't Sleep With You") while his is equally sweet. While they take turns on solos, when they come together, like on "Let's Think About Where We're Going," the results are simply gorgeous. While Invariable Heartache feels like a one-off, here's hoping they do something together again--we need a good country duets team; it's been too long! www.cityslang.com JOSEPH KYLE
 2.14.11
The White Wires
WW II-(DIRTNAP)-Ottawa, Canada would seem to be about as far from the beach as you can get but this trio, hailing from the Great White North, make it feel like summer is here and everywhere. Standing single file in a long line of terrific bands on the Dirtnap label these guys hold their own against (or with) past greats like The Exploding Hearts, The Minds, The Briefs, The Marked Men and plenty of others. The opening cut, “Let’s Go to the Beach” kicks it into hyper-overdrive with jagged guitar work and a hook to die for while “Roxanne”, no not The Police song, slows it down a bit and gets even edgier. “Did You Forget My Name” is another top-notch pop tune as are “Hands”, “Popularity” and the possible Beach Boys homage, “Be True to Your School (‘til you get kicked out).” You can tell by singer Ian Manhire’s vocals that all he wants is a little peace, love and understanding and if you’ve got 27 minutes he has no problem asking for those 3 things. Heck if this was 1982 these guys would be on the Beach Blvd comp and playing shows with the likes of The Descendents, The Crowd and The Last but it’s 2010 and they’re proving that good songwriting never goes out of style.. It’s only record number two but it’s safe to say these guys have earned their keep. www.dirtnaprecs.com
 2.7.11
Agony Aunts
GREATER MIRANDA-(MYSTERY LAWN MUSIC)-This terrific little pop record, in the cool green sleeve, was made by a Bay Area bunch who are usually busy with other musical project. I know at least a few of these folks are in the also terrific Corner Laughers. Also helping out on the record is Mr. Allen Clapp (and the Mystery Lawn Music is his label) so that is always a good sign. The sound is straight out of 1968 with lots of swirly guitars, organ, tambourines, male/female vocals and plenty of bah-bah-bahs. I can just see the band now with lots of paisley, go- go boots on the females and the smell of incense and peppermint in the air. The songwriting is really good too, most of the cuts clock in between 2-3 minutes with more hooks than you can shake a stick at and they mix it up nicely, too. They launch right into the thick of it on the excellent opening title track and then dirty up the guitars a bit on “Me Being Maximum” and then slow it down a bit on the more tender (male sung) “Sorting Out the Rules.” Other gems include the dreamy, Zombies-esque “Reap the Pains Sown”, the shuffling “Adam’s Rib”, the groovy “RB&YM” and a few others. Not everything on here is GREAT (but a lot are) but there are really no BAD songs. The band did a bang up job and you , dear reader, should really check this one out. www.agony-aunts.bandcamp.com
 2.7.11
Tim Lee 3
RAUCOUS AMERICANUS-(COOL DOG SOUND)- He’s Baaaaaaaaack. For those who thought that after 80’s jangle poppers The Windbreakers called it a day that one of half of that songwriting team , Mr. Lee (the other 50% being Bobby Sutliff ) was gonna hang up his guitar for good, well, you were sadly mistaken. Oh sure, he took some time off in the 90’s but returned nearly a decade ago and this 2-cds set (yep) is his first since 2008’s (excellent) GOOD2B3. Recording a bulk of this stuff at Wavelab (in Tucson) while most of the rest was recorded by his old buddy Mitch Easter (who also plays on a few tunes as well). He and his bandmates , including his wife Susan and drummer Matt Honkonen, , hit the gas pedal from the get-go, opener “What I Have Not Got” is a real melodic barn burner while the next cut, “Bigger’ sits right between Tom Petty’s “Even the Losers” and a Crazy Horse guitar workout. “Something Else” takes no prisoners with Susan on vocals while whomever is ripping on the harmonica on “Broken Line Fever” (Mr. Wavelab, Craig Schumacher) adds some real kick to the tunes engine. Disc 2 starts off with the kickin’ “Bullets in the Barn” (cool surf /tremolo guitar) and barely lets up from there. “Salty Tears” is pure 70’s Stones and “Hit the Ground” recalls Lee’s jangle days in The Windbreakers. I’ll say, out of these 21 songs there’s not much filler, hardly any actually. Lee may not be the most prolific songwriter but what he does release, he really makes then count. This COUNTS. www.timleethree.com
 2.7.11
Loch Lomond
LITTLE ME WILL START A STORM- (TENDER LOVING EMPIRE)-Ritchie Young leads this Portland, Oregon-based troupe, and they specialize in a lovely baroque-pop/folk mix, and it sounds real...good. Though Little Me Will Start a Storm is actually the latest in a number of singles, mini-albums and EP's, and serves as a good introduction. I've read comparisons to The Decemberists, and those comparisons are fair, but with their boy/girl vocal exchange, Loch Lomond also reminds me of late 80s folksters Shelleyan Orphan. I give these folks credit--their records never seem to go over ten tracks, leaving the albums as concise statements, and Little Me... is no exception. I love the simplistic exchanges, the genteel, tasteful arrangements, and the singing. Okay, I'll admit the record kind of runs together, and the songs never really make an impression on an individual level, but Little Me is cohesive in a way that makes the listening experience a complete cycle--with each song never overbearing the next, while creating a half-hour of enjoyment for the listener. Don't listen for the songs, listen for the experience. www.tenderlovingempire.com JOSEPH KYLE
 2.7.11
Corin Tucker Band
1,000 YEARS- (KILL ROCK STARS)-This is Corin Tucker’s first musical outing since putting Sleater Kinney on hiatus and becoming a stay-at-home mom, and while it is a bit if a departure (certainly from her days in Heavens to Betsy) it’s also immediately recognizable. Tucker’s unique voice and signature prickly / angular guitar playing are both front and center on 1,000 years, just toned down slightly. That aspect combined with some other lovely instrumentation (soft piano, acoustic guitars, strings and wurlitzers) makes for a fine listen. The production is spot-on as well and the opening tracks actually had me believing that she convinced Brian Eno to produce this thing! At any rate, all of this is done to great effect and the record is a pleasant as it is powerful and as eerie as it is soothing. There are definitely moments that hearken to the S-K days (see: “Doubt”), but there are a lot of other twists and turns in here that I really enjoyed like the song “Thrift Store Coats,” which crosses from a warm, piano number into a Dream Syndicate/True West haze halfway through. And, honestly, it’s just nice to hear her sing without screaming her friggin’ head off for once. With her former bandmates now in other bands playing Radio City Music Hall and/or starring in hipster TV shows, some might think that Tucker would just fade into indie-rock obscurity. This record proves that she isn’t going anywhere. Excellent. www.killrockstars.com JEREMY GRITES
 2.7.11
John Vanderslice
WHITE WILDERNESS-(DEAD OCEANS)-John Vanderslice is well known in indie rock circles as someone who always makes sonically pleasing records. So it was a bit surprising to hear that on his latest release White Wilderness ( Dead Oceans ) he had turned the production responsibilities over to John Congleton ( St. Vincent - The Walkmen ) Using mostly all live tracks recorded over the course of a few days , it is apparent that JV is trying to shake things up a bit artistically and approaching this release with a fresh perspective. On White Wilderness , an orchestra replaces the usual blips and bleeps of ear candy that Vanderslice fans have come to know and love as he collaborates with the 19 piece Magik Magik Orchestra, a collective of classically trained musicians from the San Francisco Bay area . Strings, horns and reed instruments characterize this album and while Convict Lake is the most accessible track , this album has many fine moments. Structurally the tunes ring familiar and sound as though they could have fit quite nicely on some of his more recent releases. Minna Choi is credited with arranging and conducting the orchestrated pieces and she interprets the songs beautifully. His intimate vocal style blends perfectly with the MMO and Choi's arrangements. The Piano Lesson is a playful and frantic tune that musically hints at the sense of wonder a beginning piano student might feel in the early stages of instruction . English Vines and 20K are gentle pieces that bring the album to a soft landing. All in all this was a bold, deliberate effort that came off sounding very polished and relaxed , a testament I suppose to the fine musicianship of the Magik Magik Orchestra, Choi , Congleton and one of the most perceptive minds in pop music, John Vanderslice. www.deadoceans.com DANIEL CRAIG
 1.31.11
Badfinger
ASS-(APPLE)-If the problems with Straight Up were frustrating, things would only get worse. ASS, Badfinger's final album for Apple, is a mixed bag, due to business hassles and label falling-out; the album was actually recorded in early 1972, but did not see release until late 1973, and, in England, mid 1974. Pete Ham wore his heart on his sleeve, and the fact that the relationship between band and label had failed looms large on his contributions; the opening song, "Apple of My Eye," is a heartbreaking farewell to the people who gave the band their lucky break. And though the album, which was produced by the band and held up for release, reflects a definite malaise and an undertone of failure, some of the band's hardest-rocking and most powerful songs can be found here, especially the heavy hitting "Blind Owl" and the upbeat "The Winner." There are some tender moments, too; "Timeless" is a wonderful, haunting epic," and "When I Say" is one of the finest rock ballads of the 70s. Though doomed to failure on release--Ass was released with little promotion, and within weeks of the band's self-titled Warner Brothers debut. (To show how cursed the band was, WB lost the artwork for the album's original title, For Love Or Money, and released the cover art as-is, without the band's consent.) In its way, this Badfinger record represents the lost gem trend of the mid-70s; Ass easily belongs next to "Third/Sister Lovers," Neil Young's "Time Fades Away," or Emmitt Rhodes' last albums. While the Badfinger story is not a pretty one at all; it is steeped in tragedy and is a cautionary tale. Still, the records they produced while on Apple are essential rock and power-pop albums. www.applerecords.com JOSEPH KYLE
 1.31.11
Duke Garwood
DREAMBOATSAFARI-(FIRE)-Seems like today's modern interpreters of the blues fall into two categories: artists exploring the novelty of lo-fi recording technology with the raw, spontaneous feel of early 20th century recordings, or going for a heavy, deep, atmospheric, Southern Gothic feel that's humid and oppressive inasmuch as it is thoughtful and literate. Duke Garwood's latest album, Dreamboatsafari, splits the difference between the two; a lo-fi aesthetic, with an occasionally heavy moment, but he doesn't really spend too much time trying one way or the other. So while it's safe to say that what Garwood is doing is the blues, it's not, say, the same sort of blues ground covered by such folk as Mark Lanegan, Seasick Steve, or Nick Cave. He's got musical chops, and his voice is heavenly, but not worn-down; "Wine Blood" exemplifies the beautiful side of his singing. There are flourishes of weirdness--the jazz freakout on "Tapestry of Mars" wasn't expected, and the sexy sounds of "Taras Bulbous" also are appealing, if not exactly what you would expect. Unfortunately, the Bluesman's primordial moaning never musters more than a slightly coherent mumble. While I can't say I dislike Dreamboatsafari, I have this feeling that in a live setting, all of these elements come together in a pleasant way that just doesn't quite gel here. www.firerecords.com JOSEPH KYLE
 1.31.11
The Get-Up Kids
THERE ARE RULES-(QUALITY HILL)- Talk about a long time coming...the "reunion" has been going on for the past year or two, with reunion shows, and deluxe reissues of the band's previous glories, but with THERE ARE RULES, the band shows that their getting back together was worthwhile. It's noticeable from the first seconds of album opener "Tithe" that the band has lost NONE of the energy it once had--if anything, they found the power of their earliest records that they seemingly lost with stylistic turns into a softer, folkier, alt.country-style sound. While There Are Rules finds them returning to form, they've also not made the sacrifice to imitation of past glories; instead, this is what the Get Up Kids would have sounded circa 2011. For the most part, the alt.country elements are out, and the screechy emo of the early records is gone, too. There are flourishes of electronica and new wave here and there, such as "Rally 'Round the Fool" and "Better Lie," but those don't detract from the overall crunchy rock and roll found throughout. I have a feeling that There Are Rules is the album that these guys would have released in 2011, had they continued after releasing GUILT SHOW a few years ago. Matt Pryor is in fine voice; the band sound like the weathered professionals they are, and the analog production by Ed Rose (their earliest producer) certainly adds to the magic. An early contender for one of the best records of 2011? Cliches sometimes are right. The only disappointment to be had by THESE ARE RULES is that it had to end... www.getupkids.com JOSEPH KYLE
 1.31.11
Reading Rainbow
PRISM EYES- (HOZAC)-Robbie Garcia and Sarah Everton used to call Richmond, VA home and has a band there called Forensic Teens. From what I understand their drummer bailed so the two of them played and then figured who needs flakey drummers anyway. They then decided they liked cheese steaks more than, I dunno, whatever food Richmond, VA’s known for and moved to Philly. They took their name from a 80’s children show and with their fuzzy pop sound would seem to fit nicely in with the whole Vivian Girls, Best Coast, Babies, Dum Dum Girls crew but the thing is, I’m not sure any of those bands have made a song as flat out catchy as “Wasting Time.” The song that leads off this sophomore record but that is not to say that PRISM EYES isn’t chock full of the kind of punchy, head-bobbing pop that would make any Vaselines or Shop Assistants fan proud. Side A (as the band includes sides on the cd) also includes killer cuts like the choppy “White Noise” (love those drums!) and the jarring “Underground” while side B sports ace tunes like “Must be Dreaming”, “Cut in Two” (very Dum Dum Girls-ish) and the bottom heavy (without a bass, I think) title track. I still find it hard to believe that this genre is being played out but these two belong on the A-team. They’re worthy. www.hozacrecords.com
 1.31.11
Southern Culture on the Skids
THE KUDZU RANCH- (KUDZU RECS)-If I’m not mistaken I believe that the mighty SCOTS have reached (or are damn near) the 25 year mark as a band – and with the exact same line-up! That is simply stunning. And you know what? They’re only getting better with age. Rick Miller seems to have as many twangy hooks left up his sleeve as he does vintage guitars and amps at his Kudzu Ranch studio / bunker, and Goddammit if Mary Huff isn’t still as hot as Waffle House coffee! This record bares few surprises – impeccably recorded sizzling, surfy instrumentals, country-fried rave-ups about neighbors burning trash and eating pork meat, as well as a Neil Young cover and a Nirvana/Pink Floyd medley! Mary sings a couple of tracks, Rick sings the rest, and drummer Dave Hartman stomps through the tunes like a stubborn old mule. I still attribute the loss of certain frequencies in my hearing to one of their blazing live shows about 10 years ago. They are a truly great, fun band with some serious chops and you’d be wise to listen up. Now go get one of these things and testify. www.scots.com JEREMY GRITES
 1.31.11
V/A- Space Escapade
UNIT 1/(AVENTURA ESPACIAL) DESTINATION:PLUTO, SECTOR 69-(ELEFANT)-Ok, the title is a real mouthful and , as with most Elefant products the packaging is quite special. A lovely fold-out digipak with some cool artwork (and the phrase, “The Universe’s Most Experienced Spacelines” on the front). Disc one starts off with the electronic pop sound of La Casa Azul then from there it is the always charming Helen Love with “New Boy in Town.” Elsewhere on disc one you have Trembling Blue Stars (“All Our Tomorrows”), Camera Obscura (“Lloyd, I’m Ready to be Heartbroken”), The School (“Is He Really Coming Home?) , the superb Speedmarket Avenue (with the great “Way Better Now”) plus plenty more. On disc two is more of the bands I just mentioned plus many bands I had not heard of that are certainly worthy of your time (The Carrots, Modular, Bla, Sucrette, Single, Ibon Errazkin (former frontman of Le Mans) and plenty more since there’s 44 songs in all (22 on each disc just to keep it uniform). Judging by the notes it looks like most of these songs are previously released but there are a handful of exclusives and heck, the batch of songs is so good that even that they are previously released it’s still a great bunch of tunes to spin at your next space-age bachelor pad party. Do you want to impress your friends (of course you do) if so then don’t wait, go to one of these websites NOW: www.elefant.com (for those outside of the US) or www.darla.com (for those in).
1.24.11
Badfinger
ASS-(APPLE)-If the problems with Straight Up were frustrating, things would only get worse. ASS, Badfinger's final album for Apple, is a mixed bag, due to business hassles and label falling-out; the album was actually recorded in early 1972, but did not see release until late 1973, and, in England, mid 1974. Pete Ham wore his heart on his sleeve, and the fact that the relationship between band and label had failed looms large on his contributions; the opening song, "Apple of My Eye," is a heartbreaking farewell to the people who gave the band their lucky break. And though the album, which was produced by the band and held up for release, reflects a definite malaise and an undertone of failure, some of the band's hardest-rocking and most powerful songs can be found here, especially the heavy hitting "Blind Owl" and the upbeat "The Winner." There are some tender moments, too; "Timeless" is a wonderful, haunting epic," and "When I Say" is one of the finest rock ballads of the 70s. Though doomed to failure on release--Ass was released with little promotion, and within weeks of the band's self-titled Warner Brothers debut. (To show how cursed the band was, WB lost the artwork for the album's original title, For Love Or Money, and released the cover art as-is, without the band's consent.) In its way, this Badfinger record represents the lost gem trend of the mid-70s; Ass easily belongs next to "Third/Sister Lovers," Neil Young's "Time Fades Away," or Emmitt Rhodes' last albums. While the Badfinger story is not a pretty one at all; it is steeped in tragedy and is a cautionary tale. Still, the records they produced while on Apple are essential rock and power-pop albums. www.applerecords.com JOSEPH KYLE
 1.24.11
Destroyer
KAPUTT-(MERGE)- Dan Bejar's released records under the moniker Destroyer for ten years, some more likable than others--some of them simply being too dense and heavy for repeated listening. Kaputt isn't those records--it's something much different. It's a pop record. Yes, a pop record. Think Pet Shop Boys. Think New Order. Considering that his previous release, Archer on the Beach, found him exploring ambient sounds with veteran Kranky artists, this album marks another quick, sudden left-field turn. The PSB reference isn't really off the mark, as on "Downtown" and "Savage Night at the Opera," (just two out of nine examples to be found here, really) Bejar is channeling Neil Tennant's distinctive singing style. A saxophone here ("Blue Eyes"), a drum machine beat there ("Song for America"), and I could see people who prefer the heavier, tar-thick songs of Destroyer simply hating this. To this writer--who, admittedly, has never really been a big Destroyer fan--Kaputt is a pleasant surprise. If you're expecting the Destroyer of Your Blues, The Night, or Destroyer's Rubies...you are going to be disappointed. www.mergerecords.com JOSEPH KYLE
 1.24.11
Le Concorde
HOUSE- (LE GRAND MAGISTERY)-Le Concorde is actually Los Angeles resident Stephen Becker (his previous band was called Post Office) . The guy has a Phd from Northwestern U. so he’s not slogging it out in the indie rock ranks as a day job but every few years a Le Concorde record will appear and they are usually very good
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