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The Downfalls - Last Night

Wed, 2 Jul 2008 00:00:00 EST

]]>San Francisco rock band "The Downfalls" recently released their first full album, titled Last Night. It contains 12 songs that range from classic glam rock to more modern garage influences. If you like artists like The Stooges or The Pixies you will like The Downfalls as well.

"All The Way" is carried perfectly with the voice singer Mark Bornstein, who manages to deliver a hard but re-assuringly smooth voice. "Killing Seventeen," "It Goes On," and "Ghost Of Megan" are interesting songs as well, but "Feels so Good" makes it as the second best track on the album. "Empty Sky" which has a timeless classic rock 'n' roll quality to it is the best song. "California Dream" might be the least interesting track on the album, but overall this is very balanced and should satisfy most rock fans. Take note: you need to listen to the album a lot to "get it." This is not pedestrian music. Your attention is required.

Animal Collective - Water Curses

Wed, 2 Jul 2008 00:00:00 EST

]]>A mini follow up to last year's exceptional Strawberry Jam, Water Curses sounds less like a collection of B-sides and more like a surprisingly cohesive group of nautical themed songs. The glue to the album is water, duh, and the sounds and the weightless feelings associated with the subject.

The title track starts the Water Curses with boundless energy, like a rushing river. It's almost hyperactive in its movement, and is more urgent than anything on Strawberry Jam. "Street Flash" follows and offers an immediate change in tempo. The song is not exactly still, as random screams penetrate, but it's one of the sparsest arrangements the Collective has put out. Drips of water echo behind Avey Tare's voice. The second verse is muffled as if he were singing with his face submerged. Panda Bear chips in vocals on "Cobwebs," and the song continues a slow pace and the back drop sounds like a continuous drip. It ends with bubbles rising to the surface which continues on the album's closer "Seal Eyeing."

MIGGS - Unraveled

Wed, 2 Jul 2008 00:00:00 EST

]]>Don Miggs is nothing short of resilient. After enduring a record label bankruptcy and a change in band-member line-up, he has re-built MIGGS as a three-piece ready to wow, again, the San Francisco scene and beyond. As vocalist and guitarist, along with bassist Michael Lombardo, drummer Brian Totten and a slew of keenly crafted pop pieces on the band's new release Unraveled, everything seems to be in its right place for Miggs.

As well it should be. Unraveled is filled to the brim with melodic masterpieces, with nearly every song poised and ready to be unleashed on the radio. Previous cuts including "Perfect," "Suddenly Wonderful" and the gorgeously yearning "Maybe" shine here, proving once again Miggs' unabashed talent for songwriting. "Taste," with its soaring climax of a chorus and lush guitar is yet another standout.

Echoes of earlier Goo Goo Dolls ring through the driving "Lie To You," while the album as a whole maintains a certain honesty that would speak to fans of the earnest, melody-driven rock of the 90's. While Miggs' vocals may prove too clean for some rock aficionados, the care with which he molds his voice to the sea of moods provided by Lombardo and Totten is undeniable. It is here, unraveled for all to see, that the band as a dynamic trio solidify their sound. Things are indeed "Suddenly Wonderful" for MIGGS, and the future certainly looks bright from here.

Kid Creole - Going Places: The August Darnell Years 1974-1983

Wed, 2 Jul 2008 00:00:00 EST

]]>Usually, when a label puts out a compilation of hits by a certain artist they just release songs that fans already have. This is not the case with Going Places: The August Darnell Years 1974-1983. This album is truly a career spanning completion, in which every track is a masterpiece in and of itself, featuring songs that were either written, performed, or produced by August Darnell. From his times as a key member in Dr. Buzzard's Original Savannah Band and work with Machine to his work as an in house producer for Ze Records, Cristina and Aural Exciters.

Going Places was compiled by DJ Guido of Paris DJs and features relatively unknown but often sampled songs, and even some that are being released on CD for the very first time. The true standout songs on this album are Christina's "Is That all There Is?" which is a hilariously catchy Frank Zappa sounding pop song and a disco cover by Don Armando's Second Avenue Rhumba Band of "I'm An Indian Too" from the Broadway musical Annie Get Your Gun.

The Republic Tigers - Keep Color

Wed, 25 Jun 2008 00:00:00 EST

]]>The Republic Tigers' first full-length, while it shows potential, leaves something to be desired. While the music is for the most part catchy and pulls the listener in, lyrically most of the tracks seem to lack passion and interest. The keyboards, played alternately by three bandmembers, are occasionally inspired but more often they muddy the songs’ overall effect and make them difficult to follow—as do the often faux Brit-rock style vocals. If the Tigers keep refining their sound, they’ll be an act to watch, but unfortunately Keep Color doesn’t showcase their talent well at all.

Dangermaker - Self-titled

Wed, 25 Jun 2008 00:00:00 EST

]]>Dangermaker is a relatively new Bay Area indie alternative rock band that consists of three members. Their current selft-titled EP, includes three songs: "Need," "All For You," and "Looks Good." All three songs are available for a free download at the band's website, including an additional track titled "Delirious." As a bonus, each of the three band members have more songs on their respective MySpace pages. While listening to these samples it almost feels apparent that the main influence in Dangermaker's music style is vocalist/guitarist Adam Burnett's songwriting.

Some have asserted that Dangermaker's style is similar to Rolling Stones', and as far as their best track goes, "Need," that's correct. The vocals and style are reminiscent of the Stones and '70s rock, but with a modern twist. The second best song in the EP is "All For You" which sounds more
rock 'n' roll than the rest of the tracks, but with some clever '80s pop touches too. "Looks Good" is the weakest link in the CD, but that's only because our expectations are already high after the previous two tracks. "Looks Good" is still much better than anything the majority of unsigned bands can produce on their own. The magic behind Dangermaker's music is the
accessibility in the sound, the listener "gets" the melody with the first listen.

After having listened to this EP, the additional "Delirious" track and Adam's own songs on MySpace, I'd rate Dangermaker as one of my top-5 favorite indie bands in the Bay Area. If these guys don't make it big, or if at least the local radios don't start playing them, then this is one fat, unfair, life we all live in.

The Ting Tings - We Started Nothing

Wed, 25 Jun 2008 00:00:00 EST

]]>The Ting Tings have been churning up attention in England since they formed in 2006. They garnered respect for their private shows in Islington Mill (Salford) but have only recently made a splash in the U.S. "Great DJ," the opening track on We Started Nothing, insists that listeners sing along, lest they be accused of having no inner soul. "Great DJ," however, is just a warm up for the next track, "That's Not My Name." Lead singer Katie White addresses those who brushed her aside because she never drew attention to herself: "Don't wanna be a loner / Listen to me oh no / I never say anything at all / So with nothing to consider they forget my name." The album speeds along in the same manner, each song a veritable party in a plastic disc. The Ting Tings sneak in a few ballads, with the songs "Traffic Light" and "We Walk," but have a true gift for creating pop. Katie White sings in a rough-and-tumble, yet slightly childish way, her words like a great big pink bubble of gum popping in your face.

The Notwist - The Devil, You + Me

Wed, 25 Jun 2008 00:00:00 EST

]]>It's the all-too-familiar tale with these crazy early '90s German artist types. No, not really, but it somehow seems fitting that after beginning their career as a hardcore/punk-rock outfit, The Notwist's moodier electronic personas slowly won over, as fully evident on their latest release, The Devil, You + Me.

With an abrupt jolt, this record will tap into your love of spacey, paranoid android Radiohead landscapes gracefully melded together with Belle and Sebastian's delicate-as-a-flower wispy guitar twinklings. There's no indication that The Notwist ever flaunted the energy and brashness that they once did. However, the Acher brothers show a morose understanding of careening melodic arrangements and concise four-minute pop opuses born out of their bruising three-chord punk years.

"On Planet Off" and "Where In This World" share in Johnny Greenwood's affection for harrowing crescendos and vibrant splashes of life amongst the corrosive cracks of NIN-like apocalyptic storytelling.

The Devil, You + Me is a heavy-handed folk/electronic rock record in most respects. The Notwist thrive on obscurity and plainness when at their best. But their creativity also lies within Acher's fondness for glimmering morose details and heartbreaking lyrical narratives, captured in his deadpan delivery, that elevate their sound from gloomy folksters to hardcore underground newsmakers.

Tilly and the Wall - O

Wed, 18 Jun 2008 00:00:00 EST

]]>On their third album, Tilly and the Wall continue to experiment and progress while delivering what their fans want to hear: super-fun, energetic pop with powerful vocals courtesy of sassy (and occasionally foul-mouthed) singers Kianna Alarid and Neely Jenkins, set to quirky beats created by the feet of tap dancer Jamie Pressnall. The album starts off mellow with "Tall Tall Grass," a gorgeous love letter to rock 'n' roll, and then switches gears completely with "Pot Kettle Black," a fierce, hard-hitting Yeah Yeah Yeahs-style rocker with shouted lyrics tearing down a hypocritical woman.

The rest of the album has plenty of the upbeat, summery pop songs you'd expect to hear on a Tilly and the Wall release, including "Cacophony," "Alligator Skin" and "Dust Me Off." The instantly memorable vocal melodies on "Falling Without Knowing," which uses an electronic beat, and "Bloodflower," which has a darker vibe than most Tilly songs, make them stand out as two of the album's strongest songs. The final track, "Too Excited," starts off with a 30-second tap dance solo and then turns into a ferocious party anthem.

There's plenty here to excite both old and new fans, and to prove that pop sounds the best when it has plenty of both sugar and spice.

Socratic - Spread the Rumors

Wed, 18 Jun 2008 00:00:00 EST

]]>All initial questions about the new identity of Socratic are ultimately quelled upon examination of the personality in the album Spread the Rumors. The lyrics are quirky as usual, as demonstrated by the potential summer anthem "May I Bum a Smoke?" The band has always been masters of mild eccentricity in terms of lyrical composition juxtaposed to the instrumentation. The words to "Long Distance Calls" carry a somber connotation, but the accompanying strums of the acoustic guitar emit a contradictory response through the unconscious swaying of the head.

Musically, Socratic have simplified their techniques, thus creating a more generic pop-rock album. The band depends more on the basic guitars and drums to radiate the feel-good vibe. The record may slightly disappoint previous Socratic fans who adored the flying fingers of pianist Vincent D'Amico; now the piano has bowed out of the limelight and merely plays accompanying chords as ornaments to each song. The one exception, "Diamond in a World of Coal," gives the piano a lovely duet with vocalist Duane Okun's newer, more polished croon; the result is a very dainty track reminiscent of a huge part of Socratic back in the days of Lunch for the Sky.

Above anything else, Spread the Rumors is a very poppy album with lasting value. As much as it easily fits the broad mold of the pop-rock genre, it is quite an enjoyable record that helps the lazy summer hours go by more quickly.

Dolorata - Believer

Wed, 18 Jun 2008 00:00:00 EST

]]>As a female myself, I have this problem with women performing rock 'n' roll. They never sound convincingly "rocky" enough. I just don't see that "girl power" vibe very often. What I usually see are wimpy pretty girls trying to sound pseudo-rock and seduce the male listeners. Well, San Francisco's five-member all-female rock band Dolorota is not that kind of band. It's real rock 'n' roll...hard, brutal, and authentic.

Believer has quality tracks on it: "You've Gotta Want It," "In The Epic Throes Of Sadness," "Resolution," "Got a Way," the best being "The Keys"—one of the best tracks I have listened to recently. The addition of the violin on some songs is clever, without making the listener feel that their sound is country. Similarly, the guitar work is solid too, very melodic and upbeat, while the drums are precise. Some of the other songs swing towards Americana and blues music styles. The vocals are strong and spread a feeling of authority to the listener, while some of the lesbian-flavored lyrics strike gold each time.

The weakest tracks on the album are the punk-inspired "Showtell" and "Hot Rod," although they do remain interesting and relevant with the style of the rest of Believer.

M83 - Saturdays=Youth

Wed, 18 Jun 2008 00:00:00 EST

]]>To me, nostalgia for the '80s feels never-ending and every once in a while an artist is able to tap into the specificity of the moment, and perfectly recreate it. M83 does this with Saturdays=Youth. The tones are reminiscent of The Cure, Kate Bush, Simple Minds and Depeche Mode, but M83 (Anthony Gonzalez) makes them feel relevant.

The '80s are one of the most romanticized decades in terms of pop culture (for good reason), and Gonzalez', at age 26, could not have experienced them from a teens' perspective, so he take cues from the above mentioned artists and iconic John Hughes' films. The album feels like a hybrid of Pretty in Pink and Say Anything. Pretty in Pink was kind of a drag, but "Say Anything" somehow nailed the loneliness and longing of teenage years, and Gonzalez is able to encapsulate these feelings. On "Graveyard Girl" there is a monologue "I wonder if they'll miss me, I won't miss them...waiting for someone to love me, waiting for someone to kiss me. I'm 15 years old and I feel like it's already too late to live." Being so far removed from that age, it is easy to cringe and take those emotions for granted, but Gonzalez is able to remind us and convince us that the pain is real, and a necessary part of growing up. The video for the song takes a page directly from Sixteen Candles with the outsider girl falling for the high school jock.

"Couleurs" plays out like a nine-minute synth jam session. In the movie Rad, at the high school dance, the two main characters do some awesome freestyle BMX-ing to Real Life's "Send Me an Angel," and many of the songs from Saturdays=Youth could have fit this moment just as well. Sorry for all the movie references but when you hear the music it plays out in grand cinematic fashion, with smoke machines cranking away at the high school dance...a time when emotions felt so heavy.

Kelli Hanson - Our Buildings

Wed, 11 Jun 2008 00:00:00 EST

]]>Our Buildings, the second album from singer-songwriter Kelli Hanson, is a mature and diverse collection of pop songs drawing on a wide range of influences. "Chariot" is driven by a peppy '80s synthesizer line, "River" somehow manages to combine the meandering guitar lines of '90s emo with smooth jazz, "Stay" channels the spacey pop of Mazzy Star, and "Any Other Minute" delivers the album's most memorable pop chorus. Hanson is a versatile singer, songwriter and musician who is willing to take risks and able pull them off. She recently returned home to the Bay Area from Seattle, and the local scene is lucky to have her back.

Windsor for the Derby - How We Lost

Wed, 11 Jun 2008 00:00:00 EST

]]>Sounding a bit like Mojave 3 or Human Television—but from Philadelphia—Windsor for the Derby has every reason to fall flat amongst a continent-sized pond of anti-glitter pop peers. Yet the release of their latest, How We Lost, should solidify their rep on the indie circuit with a formula of distorted jangle pop potential.

How We Lost is complicated, in its sequencing and song structure, yet coincidently feels completely free flowing. As frustrating as that analysis is, Windsor for the Derby have been around long enough (nine albums!) to know what's at stake when crafting beloved and appreciated music for the present music generation. Therein lies their greatest attribute: they make music for themselves. The album hurdles inconsistency with careful experimentation. "Maladies" and "Fallen Off the Earth" provide for a few early album pick-me-ups built around wispy harmony accompaniments and playful, sometimes sorrowful melodies, while the remainder of the album hovers just above loneliness, and a little to the left of optimism. If it sounds bleak, rest assured, it’s...not quite.

One thing is for certain, however: WftD left their indie-ego in check long before How We Lost. And as a new crop of innovators quickly fill our MP3 playlists, WftD keep on sifting through their cannon of influences, tackling untouched and unpolished post-rock pleasures.

Nat Baldwin - Most Valuable Player

Wed, 11 Jun 2008 00:00:00 EST

]]>Amidst a flurry of double bass bowing and plucking comes "Lake Erie," the hallucinatory first track from Nat Baldwin's latest release Most Valuable Player. Baldwin's falsetto sways and moans overtop, underneath, and all over the contrabass fury. Drummer Will Glass plays along with the mixture of dynamics and speeds from gentle and soft to ravaging and impetuous, often in the same compositions. Brett Deschenes adds another layer of sound with his trumpet on selections like "Erie" while Matt Bauder plays clarinet and bass clarinet on songs like "Enter the Light Out."

MVP is produced by Chris Taylor (Grizzly Bear) and features the aforementioned on flute and vocals on a few tracks. Other contributors include longtime friend and music cohort Dave Longstreth, the brains and beauty behind The Dirty Projectors. Having previously played in the Dirty Projectors, Baldwin takes his knack for haunting moments and situations to new levels. The listener can't help getting caught up in Baldwin's spell as he waves his bow across his frets with the precision and fluidity of a conductor's baton.

His lyrics flowing like stream of consciousness poems (no, not like Rosie O'Donnell...) Baldwin puts sentences and phrases together with the same cryptic and spiritual manner as his music. Baldwin is fond of the phrase "blood to the temples" as it appears in two songs on the album ("Dome Branches," "Mask I Wear"). The sway of his words fits with the wavering multi-syllabic vocals, elongating even the shortest of words into three-note, three-letter expressions. Perhaps Baldwin puts it best with a line from "Black Square:" "I felt the pull of the trance..." You and I both, brother.

The Submarines - Honeysuckle Weeks

Wed, 11 Jun 2008 00:00:00 EST

]]>It might be that the sweet smells of blossoming jasmine and orange trees have gone straight to my head, but the sunny, breathy, pretty album that the Submarines have offered up this summer is making me happy, happy, happy (I would put three exclamation points in here but I'm happy, not 12 years old).

Honeysuckle Weeks draws from a diverse set of influences, from dub to electronica, and ends up with a charming, eclectic pop sound. The duo's music man John Dragonetti paints a lush, layered backdrop with considerable skill; and while it is almost certainly all in the form of zeros and ones it nonetheless manages to maintain an organic sound. Blake Hazard supplies her unaffected and lovely voice to the catchy melodies, pleading to the angels of better nature, "Every day we wake up, we choose love we choose light and we try...just trying to get it right."

With this splendid album, I believe they have.

HIJK - The Pen and the Letter

Wed, 4 Jun 2008 00:00:00 EST

]]>The Pen and the Letter is the first full album by Oakland trio HIJK (previously known as "Hijack the Disco"). The band labels themselves as "art-pop," but if you listen closely you will find influences of mainstream pop, alternative rock, hard rock, even punk. There is definitely quite a bit of variety in the album, not only in the music and lyrical style, but also in the vocals, as both the guitarist and the bass/keyboardist take turns in singing.

In most of the songs there is a constant change on the pace, you start with a slow song, you end up with hard rock, some effects added in the mix, and the other way around. On a few of these songs though (e.g. "The Center of Things" and "Elly and Iffy") the pace and melody changes a lot, like it's becoming a completely different song/genre. This can put some listeners off, especially those who don't like such "jazzy-like" tempo changes. These songs feel more experimental in nature rather than consumer-oriented.

Some of the best songs in the album include the indie pop "Alibi" and "The Dresser Speaks," the alt-rock-styled "Smells Like Cigarettes," the punk-influenced "Paper Boat," the instrumental hard rock delight titled "Groove Jet" and the ballads "Her Sleepy Smile" and "Writer's Block." There is
good guitar and drums work on all of the tracks, but what pops out a lot in some of them is the bass element that sometimes sets and carries out the melody.

If you like strong, cocky music without sounding unrefined or harsh, this is a great album to consider.

Mike Glendinning - Random Acts of Grunge Jazz

Wed, 4 Jun 2008 00:00:00 EST

]]>Usually when a musician tries to pull off a new style of music they eventually fail and/or give up. This is not the case with the amazing work that Mike Glendinning has done on Random Acts of Grunge Jazz. Mixing avant-garde, punk, rock, jazz, country, blues, grunge and just about every other genre of music you can think of in a musical blender, the album takes a hypnotizing trip into music that will leave you listening over and over again. From his cover of "I Left My Heart in San Francisco," which sounds like a lost recording of gypsy guitar legend Django Reinhardt to his brilliant, and haunting "Dead Red Summer," this album is sure to please many listeners.

BoDeans - Still

Wed, 4 Jun 2008 00:00:00 EST

]]>Blues-and-roots rock is still the genre of choice for the BoDeans on their eighth release, Still. Although the word, taken out of context, can have several meanings, the BoDeans are "still" doing what they do best. The first few tracks of the disc can become slightly boring with repetitive lyrics ("Hey, ho, pretty ghost" from "Pretty Ghost") and a droning, "ringing" rhythm guitar, but the BoDeans eventually find their groove. The aforementioned "Ghost" involves an ethereal, echoing nature with bongos that almost crosses into psychedelic rock territory. The BoDeans even give nods to genres such as Zydeco and alt-country (if Son Volt and Drive-By Truckers are considered alt-country).

The album was produced by Grammy-winning T-Bone Burnett, and the vocal harmonies take the listener to Thursday nights in 1995 (the Friends theme song) on "Round Here Somewhere," where generic hooks and energetic guitar chords take the place of reverberating guitar-built atmospheres. It doesn't surprise the listener to realize that the BoDeans actually did do the theme song for Party of Five ("Closer to Free").

Things turn around once "Lucille" comes around the corner. Blues and rockabilly influences shoot through the piece as the minor chord progressions create a spooky tone. Kurt Neumann's and Sammy Llanas' vocal harmonies have the perfect amount of grit and slop. One might miss one word while the other holds out a note longer than the other. The result is more natural, less rigid and strict, and completely in sync.

Team Genius - Hooray EP

Sun, 1 Jun 2008 00:00:00 EST

]]>Team Genius is an eight-piece band from Brooklyn who has pasted itself together, adding on members and instruments here and there over time. They seem much like a band that is searching for their own new sound, but in the end, wind up coming across as poor mimics of other more established groups. Their EP starts off sounding like Weezer and ends in the tone of Arcade Fire.

The first three tracks of the EP, Hooray, all begin with the same word—"Let's." Most of Team Genius' songs request that listeners participate in group sex, singing, drinking and doing drugs. They lend plenty of energy to planning their party, but forget about creating the perfect soundtrack. Team Genius' blase attitude about everything becomes tiring, especially during the Devo/B-52's sounding song "I'm Just an Idiot."

The last track, "Must," is Team Genius' savior, despite all of their copycatting. The fluidity of its instruments (guitar, accordion, tambourine, and strings) rivals all the other songs and lays down a beautiful surface for the lyrics to stand on. Singer, Drew Hermiller sings in beautiful, hushed tones full of wonder and uncertainty. Lyrics like "Should we search?/should we go to church?" speak to the masses, as does the simplicity of the lines "Who do we trust?/Is there ever enough?” When you are questioning the meaning of things, give the song "Must" a listen.

Raashan Ahmad - The Push

Wed, 28 May 2008 00:00:00 EST

]]>The Push is the latest release from Crown City Rockers' Raashan Ahmad. Taking what he has learned from being in a live band for the past 8 years—which includes a vast knowledge of music history, catchy beats and emotional, and intelligent lyrics—the Bay Area MC isn't afraid to delve into serious subject matter. From the recent death of his mother from cancer and US politics to fatherhood and world peace, he leaves no stone unturned. The album's tracks are produced by DJ Vadim, Eligh (Living Legends), Headnodic (The Mighy Undadogs/ rown City Rockers), Stro (The Procussions).

The Push comes off as a seamless album mixing some excellent backpack rap and some beats that could only be compiled by someone who has had a lifelong musical interest. Do yourself a favor and support a throw back to when rap was great and spoke more about social issues.

The Kooks - Konk

Wed, 28 May 2008 00:00:00 EST

]]>America's favorite indie Brit-rockers have done it again with their second offering. Konk is laced with signature, occasionally snarky—but always clever—lyrics, laid over catchy tunes and a youthful honesty that brings to mind Hard Day's Night-era Beatles. The Kooks have done an excellent job of creating a sophomore outing that will stand the test of time, that flows easily and begs listeners to hit repeat. Standouts include the subtly biting yet romantic "Mr. Maker" and the uplifting "Shine On." This album—already a #1 on the UK charts—will hang on to its rightfully earned place in stereos and on the airwaves this summer, as it's perfect sunny day music throughout.

Tapes 'n Tapes - Walk It Off

Wed, 28 May 2008 00:00:00 EST

]]>Tapes 'n Tapes debut The Loon was a thrill to listen to. It had a raw-ness that was inviting, and the band reminded us of other bands that we love...sounding like the Pixies on one song and Pavement on the next while keeping it fresh throughout. It seems like the goal with Walk It Off—the bands' long overdue second album—was to further carve out their identity. While Tapes 'n Tapes has given us their best songs to date with Walk It Off, the album as a whole seems to lack something that the first one didn't. Cohesiveness, perhaps?

"Le Ruse" starts the album and gets nearly "two owls" on its own. The guitar work is inspiring here, and as lead singer Josh Grier sings "I'm on trial, I'm on fire, I'm on trial, I'm on fire" he is forcefully overtaken and drowned out by his own guitar. The guitar SPEAKS! It's ridiculously visceral and goose bump inducing. "Time of Song" is an excellent follow up, and echoes some of the themes of Radiohead's "Videotape" with center of the song being "I'll be on the record when you're gone." "Hang Them All" is nearly as energetic as "Le Ruse," and the shifts make the song surprising. (The video for this song is awesome.)

Three songs in and I was ready to declare this record a "classic," but too many average songs follow. While "Say Back Something" is an excellent song, "Headshock," "Conquest," "Anvil" and "Lines" hardly do the band any justice. The less said about the terrible "Demon Apple" the better. It's almost unlistenable. If this had been an EP with four or five songs it would easily be one of my best albums of 2008, but there are too many average to poor tracks that reveal chinks in the armor.

"Hang Them All"

Soundpool - Dichotomies & Dreamland

Wed, 28 May 2008 00:00:00 EST

]]>Soundpool derive their blunt 'n' beautiful treasures of melody from a careful appreciation of shoegaze sanctuaries and psychedelic seances. Their latest effort, Dichotomies & Dreamland, focuses on aiming to—and successfully interpreting—the likes of the Catherine Wheel and My Bloody Valentine into contemporary reflections of originality.

Lead singer Kim Field's singing lands somewhere between Asobi Seksu's Yuki Chikudate and Arthur & Yu's Sonya Westcott, sprouting ethereal vocal splendor. Field gingerly paces the length of each note but never shies from capsizing the limitations in each song's mindful elegance and structure. "The Divides of March" and "Do What You Love" are smothered in echoey guitar and flittering, pulsing keyboards perfectly aligned with James Renard's undervalued percussive meanderings.

As Soundpool jockeys for position in an already crowded field of torch-bearing noise pop suitors including Sereena Maneesh and Asobi Seksu, it's clear that Dichotomies & Dreamland has the instincts and relatability to feed the masses with just one more brilliant take on a timeless genre of exploration.

Mike Relm - Clown Alley In 3D

Wed, 21 May 2008 00:00:00 EST

]]>Clown Alley In 3D is a DVD produced, directed and edited by Bay Area multi-media artist Mike Relm. For those not familiar with Mike Relm's work, he mashes up video clips and music with amazing results. Most notably, he has taken the infamous "Oh face" scene from "Office Space" and remixed the dialogue with a drum beat that can make the whole room dance.

Clown Alley In 3D has clips of his performances from Coachella 2007, Winter Games 2007, a hometown show at the Mezzanine, the Palace of Auburn Hills in Detroit (from his recent tour with the Blue Man Group), unnecessary clips shot in 3D of him being chased and held captive by "The Side Show" and a montage of dirty self-defense tricks.

To be completely honest, Mike Relm's show is better appreciated live. I will admit the 3D glasses had their novelty, but it wore out fast as you wish the whole concert was shot in 3D not just some the black and white "filler skits." Buy this if you're a huge Mike Relm fan, but your money would be better spent on the live experience. The 3D glasses are pretty cool though.

Push Puppets - A Living Experiment

Wed, 21 May 2008 00:00:00 EST

]]>The music industry has seen more and more creative, viral record releases over the past year as artists scramble for space in a dying market, but Push Puppets may have one of the best gimmicks for the release of their debut, A Living Experiment. Clicking your way to pushpuppets.net will reveal a cyberspace playground of interactive art "games," tied in with the album's themes.

The title track leads off the 11-song lineup, and from the very beginning it's apparent that singer/songwriter Erich Specht is determined to push the boundaries, with a powerful, pointed chorus and an upbeat and unexpected banjo melody woven throughout. Other standout tracks include the sweet, slightly yearning "Small Doses," which brings to mind Dog Problems-era Format in both vocals and melody, and the closing track "Reboot," an acoustic, echo-laden tune that invites listeners to keep hitting that "repeat" button.

Cut Copy - In Ghost Colors

Wed, 21 May 2008 00:00:00 EST

]]>In Ghost Colors is a head-spinning parlay into deliciously vibrant rhythm and melody. The album hits the dance floor running with the help of flailing distorted guitars clasping electric vines of shimmery synth madness. Any one of these tracks from Australia's peppy prepsters, in one form or another, could end up as a sweaty indie-kid riddlin' flavored rave-up.

Cut Copy indulges in a smattering of influences. "Midnight Runner" sneaks a bit from Suicide's gritty beat pioneering, and "Hearts on Fire" mixes early '90s R&B top-forty influences, which is never a bad thing considering I can sing every note—pitch perfect, mind you—of C&C Music Factory's "Everybody Dance Now." The ridiculous computer voice pop-in from "Feel the Love" is a bona fide loose end that I have never heard from their supposed influences of Ride or My Bloody Valentine. And although they are missing the lyrical playfulness of MGMT, Cut Copy assumes some sort of a torch-bearing front for either the Pet Shop Boys or Lansing Dreiden devotees. Or both.

It's a welcome light at the end of the tunnel, however, and for those who can relate to an over-saturated electro-pop scene, Cut Copy fills a voided space between PSB's quirky synth melodrama and LD's more formidable concoction of gutter dance punk eyeliner. Either way, In Ghost Colors is an album of wonderful escape and nonstop studio trickery inviting a ridiculous amount of fun from every angle.

Kelley Polar - I Need You To Hold On While the Sky is Falling

Wed, 21 May 2008 00:00:00 EST

]]>Master violist and synth wizard Kelly Polar (Apple Hill Chamber Players) is keeping the disco and prog flames alive—which is both awesome and annoying, just like disco and prog. I Need You To Hold On While the Sky Is Falling has all the funky stuff you love from that excessive era but suffers many of the pitfalls that made it such a big target for a stripped-down punk backlash that wanted nothing to do with its "concepts."

The album starts with a rambling attempt at poetic profundity ("At the top of the mountain there is a special sensation at the center of your body, and you can feel the earth moving under your feet in the deepest part of the ocean" ... blah blah). It might make perfect sense after six straight hours of dancing, but for a sober mind, it's nonsense. Eventually it morphs into a laid-back "Thriller"-esque background jam with Polar throwing in just about every synth sample on his keyboard. Awesome? Yes. But annoying too.

"Entropy Reigns (In the Celestial City)" is club gold. Polar's channeling of New Order is apparent not only through similarities in composition but through the verbal allusion "Tell me now how does it feel?" Expect to hear this one in clubs worldwide. The explicit drug references certainly won't hurt its dance-club appeal either. "Rosenband" is similarly electro post-punk, taking focus off soaring disco-y vocal & string highs and replacing them with soft spoken, abstract muttering-in-key. Polar is at his best on these tracks.

"Chrysanthemum" is pure Sergio Mendes & Brazil 66. Just listen to it. The classic lounge feel with the female chorus and retro-futuristic synths makes it feel like a remix of the classic Brazilian supergroup.

Track six and much of the rest of the album are way over the top. But when you're a Juilliard-trained violinist turned electro wunderkind, you have the privilege of being misunderstood rather than corny. Frankly I don't know what to do with material like "We Live in an Expanding Universe." The space/time/mind/body concept goes throughout the album, but is more digestible when coupled with a killer backing track (learn from Bowie).

The line "Everything is music" in "Sea of Sine Waves" sums up the lyrical depths Polar is willing to go to in order to satisfy the catchphrase needs of inebriated club-goers. "Der. Everything IS music! Woah!" It also kinda sums up the concept of this very concept-laden work of retro appreciation: even if it's half-baked, it's still music if you can dance to it.

Wallpaper - T Rex EP

Thu, 15 May 2008 00:00:00 EST

]]>Before even listening to Wallpaper's EP I'd give it 5 outta 5. Have you seen the "T REX" video? Have you seen the live show? Do I even have to justify my perhaps over generous giving of good reviews? Well, yes, actually, I probably do. So for those of you who haven't stalked the goodness that is Wallpaper and need a reason to listen to an absolutely fantastic EP or to get yourself to a live show, here's the deal.

Ricky Reed (aka Eric Frederic of the also awesome Facing New York) is a "glitz 'n grit champion of the groove," as the band's label Eenie Meenie Records puts it. If you're anywhere near my age and can remember the Hyphy hip-hop era of the late '80s/early '90s and have a fondness for satire, you'll love Wallpaper; or if you really like getting down to groovy electro-pop. With songs like "Txt me yr love" and "The Remix," (which is a song about being a remix) it's easy to just enjoy the ridiculousness of it all.

But of course, there's a deeper meaning to the seemingly superficial lyrics, like "I never lose a Wallstreet wife / but sometimes I lose yours," on "So Hot." I could go on and one about it's commentary on the greed of society, our obsession with gadgetry, etc. But I'll leave that for you to discover. The fact that the songs work on both levels of pure enjoyment and social commentary are what really earn the full five for me, even if I'd be tempted to dish 'em out just because of the dinosaur in acid wash jeans (do I have to tell you to check out the video again?)

"T Rex" by Wallpaper

Jason Collett - Here's to Being Here

Wed, 14 May 2008 00:00:00 EST

]]>Jason Collett's Here's to Being Here is a perfect summer record. It's mellow and relaxed in a country sort of way and prettier than a July sunset. It will make you want to slump down in a chair, kick your feet up and chew on some straw. While it may make you relaxed, the album is far from lazy on craftsmanship. Like other Broken Social Scene alumni—Leslie Feist and Kevin Drew—Collett continues a tradition of accessible and "cool" music. (When local radio station, KFOG gets their hands on this record, it's going on a continuous loop.) While Collett's album is a little more country than Feist's, it is every bit as good as The Reminder.

"Roll on Oblivion" starts the album with a methodical guitar riff sounding like it could have been on Wilco's Summerteeth. Colletts' voice has a bit of a drawl, and it sounds great, especially on "Not Over You" and "Charlyn, Angel of Kensington," which has a great bass line. Although the album has laid back tracks, there are still a few good toe tappers like "Out of Time."

Here Here - The Boy with an Orange

Wed, 14 May 2008 00:00:00 EST

]]>Artful, layered, and completely DIY, San Francisco's chamber pop septet/collective weaves together a homespun orchestral sound on their debut EP, The Boy with an Orange. From the short-and-sweet intro track layered over the sound of children on a playground to the rockin', syncopated pop of the last track, "Poor Sailor," the EP unfolds like a concerto, each song hinting at variations on a central theme.

Despite the chamber qualities and arrangements, Here Here's songs are unpretentious—for me, they invoked visions of sitting in an outdoor amphitheater, surrounded by an orchestra wearing plaid flannel and galoshes rather than symphonic sable. Sometimes, in the middle of a stringed movement, an electric guitar drops in with distortion to bring us back into the pop realm. Here Here opts for arrangements hemmed in with modesty rather than the epic, sweeping proportions that a chamber structure could inspire. They stick to a waltzy...time on many tracks, making the album feel more familiar and comforting than daunting.

Maybe the most curious element of all is the work of Here Here's lead vocalist (who is also the group's sole songwriter). A more lilting or softer voice could have given these songs wings and soared off to the ethereal, but there's something very earthy and human about Christian Lyon's vocals that keeps these songs firmly planted in our imperfect world. Slightly flat and straining to hit the higher registers, Lyon sings the way people live—always striving for something just out of reach, only in brief moments attaining it. Maybe that's what lends The Boy with an Orange its poignancy. It's beautiful and imperfect.

American Music Club - The Golden Age

Wed, 14 May 2008 00:00:00 EST

]]>American Music Club is back with a quietly beautiful work of sprawling Americana, proving that their 2004 album Love Songs for Patriots was thankfully not a one-shot deal after their 10-year hiatus. The combination of Mark Eitzel's soothing vocals with delicate guitar playing and intermittent swells of choral vocals is irresistible. He never gets lazy or relies on a formula, though, so while these elements are present throughout the album, the songs are surprisingly diverse, carving out their own spaces within the realm of the mellow.

"The Decibels and the Little Pills" is a gently rollicking song with Nick-Drake style guitar playing and a memorable chorus on which Eitzel breaks the news that "No one here's gonna save you." "All the Lost Souls Welcome You to San Francisco" is a laid-back gem enhanced by horn flourishes. "The Stars" shakes things up with big, ringing guitar chords that shimmer with distortion and create an ominous sense of intensity.

The Golden Age is a mature, nuanced and lovely album that makes perfect background music but is far too good to be left on in the background and half-ignored.

I'm From Barcelona - Let Me Introduce My Friends

Wed, 7 May 2008 00:00:00 EST

]]>Based on the title, one could assume this record might sound like an international freak folk collective mixing Devendra Banhart and Animal Collective. It's not like that at all. In fact they aren't from Barcelona either, they're from Sweden of all places and the band got there name from a character featured in a BBC show. Once you get past the initial confusion, you are greeted by sunny universal pop songs in the same vein as the UK's The Boy Least Likely Too. There are many layers (thanks to the 29 band members), and lead singer Emanuel Lundgren has a cool relaxed delivery, reminiscent of Stephen Malkmus on a few tracks.

The album opens with "Oversleeping." A grating digital alarm clock starts the album, but immediately we hear a xylophone, and being late is not so bad "I don't care just pretend that it's Sunday." Like sleeping in later than you're supposed to, there's a guilty luxury associated and the song brings about pleasant feelings. Even though our protagonist proclaims "damn," he's not too worried about it. Slices of life moments are the core of the album and besides the familiar situations, ultra catchy melodies make the music accessible. At first songs like "Ola Kala," with the lyrics "Have you ever felt that nothing's ever going your way? Every good thing that you find is always running away. Don't be afraid, cause everything is gonna turn to be okay" are so free of cynicism that it's easy to be a little embarrassed by them, but after a few spins you're singing along, and more importantly believing it.

Thee Silver Mt. Zion Memorial Orchestra... - 13 Blues for Thirteen Moons

Wed, 7 May 2008 00:00:00 EST

]]>Divine chaos takes the listener to several places on Thee Silver Mt. Zion Memorial Orchestra & Tral-La-La Band's newest incarnation of meditative folk and punk post-rock meanderings. With just four lengthy tracks, the meat of the album at first blush might seem negligible; but such is not the case. What proceeds is a full band (two guitars, two violins, cello, contrabass, and drums) explosion of free jazz, folk, punk rock and a bevy of other genres.

The main part of the album resides in tracks 13-16, each lasting about 15 minutes. The first twelve tracks were not forgotten; they exist as a single high-pitched tone (think a wet finger dancing across a crystal glass) lasting about 30 seconds and broken up accordingly. The beginning of the album (track 13) starts with a repetitive, building chanting of the track's title ("1,000,000 Died to Make This Sound") and about three minutes into setting the stage, the full band enters the picture. The track involves a punk and rock 'n' roll presence along with harmonies that shift from dissonance to resolution. Noise and feedback add texture and grit to the process.

Frontman (and co-founder) Efrim Menuck (Godspeed You! Black Emperor) strains and pushes his voice to considerable lengths. After all, it takes a lot to stand out in front of such a group of musicians. His layered dual vocals push through the muddy soundscape with a certain frustration in unison. It is the building and release of such emotions, echoed by the shift in dynamics, that really matter. Also, this release marks the first album with drummer Eric Craven (ex-Hangedup), who provides a solid, ever-emerging rhythm. All of these elements work together for an ever-evolving album.

Les Savy Fav - After the Balls Drop

Wed, 7 May 2008 00:00:00 EST

]]>Les Savy Fav found they had a lot to celebrate on New Year's Eve 2007. Their first show in 2008 would be spectacular as they coursed newfound vitality with bloodthirsty fans in their adopted hometown of New York City. After almost six years on hiatus—incredibly, due to frontman Tim Harrington's severe case of writer's block—LSF capped off the second half of 2007 with the release of a new record and graced Bowery Ballroom's stage for an especially raw and punctured post-punk rock and roll spectacle, captured on After the Balls Drop.

LSF is the band you hate to miss live. Their studio efforts occasionally lack the depth of their notoriously hyper-frenzied smackdowns, but as crisply evident on After the Balls Drop, their live shows even the world out as Harrington's guzzled, screeching riot barks mount an all-out attack on unsuspecting eardrums. Like their punk forefathers Fugazi and the Pixies, LSF have three-chord flair for melody and a frustratingly good pension for pure aggressiveness. Songs from their recent album such as "Patty Lee" and "The Lowest Bitter" elevate their punk crossover appeal to new heights, while "We'll Make a Lover of You" and "Sweat Descends" savagely inject fermented classics from an earlier '90s repertoire of sweaty barroom bandages. As if it couldn't get better, LSF pile on the bonuses to include playful covers of "Hey Tonight," "Debaser," and "Sliver" during their encore performance.

As with any stunning live recording, After the Balls Drop captures a moment in time. LSF still sustain one of the last great rock shows, folks, and not only can you go out and buy their records, because they're going to be around for awhile, but you can actually insert yourself into one of their live shows via one of many screaming fans in the background somewhere.

The Unlovables - Heartsickle

Wed, 7 May 2008 00:00:00 EST

]]>Fans of classic female-fronted pop punk bands like the Muffs are likely to squeal with delight at some point during the first 20 seconds of The Unlovables' Heartsickle, knowing they're in for a treat. The NYC quartet's songs have all the right ingredients: strong vocals with just the right amount of attitude (courtesy of bassist Hallie Bullit), tight harmonies, memorable choruses, great energy and plenty of enthusiastic whoa-oh's. Highlights include the particularly spirited "Everything's Overrated," the ode to an awesome chick "Samantha," and the anthemic closer "Crazy Tonight." This is the stuff that secret bedroom dance parties are made of.

Akimbo - Navigating the Bronze

Wed, 30 Apr 2008 00:00:00 EST

]]>Hailed as the flagship band of the longstanding Alternative Tentacles label, Akimbo proves there is no slowing down or fading out for the aging label or the punk they push. Not your traditional political Jello Biafra fare, Akimbo is hard driving power metal with punk finesse. If all you want to do is put the pedal to the metal and never stop, then simply put Navigating the Bronze on repeat and aim for your nearest black hole in the sky.

The lyrics are sparse and what little can be heard are almost indistinguishable. Pounding drums and power chords take front and center here. Adrenaline mixed with a heavy dose of flossy cool serves up a delicious mixed concoction. All ten tracks sound about the same and pull many familiar riffs, but believe that if you are hooked on the first, the following nine will be just as delicious. Drum kit variations break up the electric guitar ride halfway through at track five but then it's right back to more of the awesome you came for.

Any fan of the underground heavy metal scene at its best is who this record is for. Any fan of old Tool or Helmet should pick this up and relive the old days in their rawest form.

The Matches - A Band In Hope

Wed, 30 Apr 2008 00:00:00 EST

]]>The way some people would have it, the third album is the hardest. Maybe no one told The Matches that. Initially, it feels as though the disc leaves something to be desired in the wake of 2006's stellar Decomposer, with true rock-out moments seeming few and far between. The band's unconventional multi-producer tactics worked for their sophomore release, but this one flounders a bit for lack of flow and cohesiveness. However, that doesn't mean the album isn't worthy of the band's legacy.

A Band In Hope opens with "AM Tilts," one of the catchiest and most accessible tracks, and proceeds through the '80s rocker "Their City" and the first single, the poppy "Wake The Sun." The second half of the disc is where the true Matches ingenuity begins to shine, though, with two of the album's strongest tracks—the sing along anthem "Point Me Toward the Morning" and the alternately creepy and heartbreaking "From 24C." "24C" is a hands-down contender for best track on the album, with signature quirky Harris lyrics and a deviously weird and catchy drum part from percussionist Matt Whalen. Closing the album is the longtime crowd favorite "Yankee In A Chip Shop," which is one of the only tracks that really captures the mischievous, fist-pumping sound of the band's first release.

All in all, A Band In Hope is a near-complete reinvention of The Matches sound, but it's still The Matches, so we can't help but love it.

The Morning Benders - Talking through Tin Cans

Wed, 30 Apr 2008 00:00:00 EST

]]>Berkley's The Morning Benders certainly know their way around a well-constructed pop song. In their latest release, Talking through Tin Cans, the Benders fuse '60s feel-good summer pop with uplifting melodies about heartbreak. Currently touring with Britain's the Kooks, the band has reached a comfortable setting for their catchy tunes. Singer Chris Chu (who also plays guitar, organs and piano along with Joe Ferrell) perhaps expectedly conjures images of Brian Wilson's treble leanings; however the filter through which he sings creates a unique grainy quality that meshes well with the nostalgic vibe the band rocks. The CD itself honors the classic LP appearance with a black outer ring and vintage font. The liner notes echo the sentiment, breaking the tracks into "Side A" and "Side B."

The album flows as if a concept album on the process of breaking up with someone repeatedly. The disc begins with "Dammit Anna," a short jaunty tune chastising a lover for her transgressions that seamlessly segues into "I Was Wrong." "Wrong" begins with two notes trading off behind full and heavy drums (by Julian Harmon) and continues with the two note theme consistently running, without dragging the outfit into predictability. The next track ("Loose Change") again flows from its predecessor, and the tracks could actually form a single epic pop track hypothetically. With each song comes at least one single memorable lyric line (as conveniently laid out in the liner notes). "I've been working too many hours only for your loose change," on "Change" works both literally and metaphorically. Chu's voice slides from one extreme emphasized note to the other with an engaging urgency, especially in "Patient Patient."

A solo bass-line (by David Perales) opens "Wasted Time" with more of a restrained format that continues in the bridge. The haunting vocal harmonies reflect the singer’s ending patience with members of the opposite sex, as does the guitar's manipulation of feedback that adds a little bit of noise to the fold. "You're a beast in a woman’s frame," sings Chu, with the ultimate realization that he's "Chasing a Ghost." Ultimately, the album simmers down with the hushed reality check of "When We're Apart." The album on the whole is worth multiple listens, from its ironically enthusiastic tunes to its deeper-set meanings.

Full of Fancy - Sweet Baby Jesus

Wed, 30 Apr 2008 00:00:00 EST

]]>Listening to this collection of exuberant lo-fi pop songs that recall Dressy Bessy and the Moldy Peaches, it's easy to picture Full of Fancy playing a really fun basement show where everyone is clapping along, dancing with abandon, and feeling all warm and fuzzy inside. All three members list "Fancy" as their last name, their album cover has a lot of gummy bears on it, and they like to reminisce about things like that one really great day at the beach ("Human Pudding") and "Halloween 1987, Halloween 1986, back when things were real" ("Polly-O String Theory"). Sometimes, Erin and Miranda are driving past your house, wondering if you're watching Degrassi ("Los Angeles, Louisiana") and sometimes they really wish you’d show a little heart and write them some love letters ("Forget Me Now"). Above all, they’re real, they're honest, and they’re having a good time living and loving and writing songs about it.

Cloud Cult - Feel Good Ghosts (Tea-Partying Through Tornadoes)

Wed, 23 Apr 2008 00:00:00 EST

]]>Over the course of several excellent albums, released in rapid succession, Cloud Cult has proven itself to be not only prolific but one of the most creative and thoughtful bands around. Feel Good Ghosts is a party album for the worst of times, celebrating life while acknowledging the inevitability of death. The musical arrangements alternate between electronic, organic and orchestral, with Craig Minowa's unmistakable vocals conveying a poignant blend of childlike wonder and adult pain as he continues to struggle with the sudden death of his two-year-old son Kaidin in 2002.

On the upbeat and delicate "Journey of the Featherless" and the catchy electronic track "Hurricane and Fire Survival Guide," he is determined to celebrate life and keep on going despite the agony. However, he can't always keep from falling apart; on the short, Go! Team-style anthem "It's What You Need," the mood is more desperate than celebratory, and on the upbeat, accordion-driven track "The Will of a Volcano," Minowa appears to be talking to Kaidin and possibly losing his mind. On the (only somewhat) lighter side, "Everybody Here is a Cloud" is a lovely gem of single driven by hushed urgency, with Minowa delivering what could be the band's manifesto with lines like "everybody here will evaporate" and "there's so much more to see in our darkest places."

Feel Good Ghosts is an uncommonly moving, vital album from a band that is constantly evolving and daring to ask life’s biggest questions.

The Heated - Self-titled

Wed, 23 Apr 2008 00:00:00 EST

]]>The Heated consists solely of one woman—Cristina Espinosa, along with her guitar and some homemade instruments. At first listen, Cristina's voice is firm and reassuring, like that of an old friend who plays sparse guitar and writes honest lyrics (think of early '90s Liz Phair). The opening track, "Hot Bastard!" is a severely catchy, foot-tapping tune sung in an upbeat tone, despite its serious subject matter. Although sung sweetly, The Heated's quiet anger is clear in the protest-style song, "Blame Reagan" with the lyrics "This country don't like the looks of me/Taxable income; where we're all equal/I blame the government cuz they're so hell bent/On making sure that I can't marry my girl."

The EP becomes sleepy halfway through, lacking its initial intensity, and the songs begin to unravel, creating abstract pictures of loss and confusion. It pauses to momentarily pick itself up again with "Every Imperfection," a tongue-in-cheek song, half spoken, half sung, about breakups and rejection. The Heated's message is simple: take the time to snap your fingers along to a good song, watch out for hypocrisy, and always remember, "Everything can be used again."

The Brian Jonestown Massacre - My Bloody Underground

Wed, 23 Apr 2008 00:00:00 EST

]]>Like a badge of honor, from their press kit to Web site introductions, The Brian Jonestown Massacre proudly call attention to the gazillion "members" who have contributed over the last 15 years to anarchism and mainstream defiance that typify their artistic spirit. In less remarkable terms, most people look upon such conditions with dysfunction or bedlam, and only in a way that "ex" band members could possibly begin to understand. But probably the sickest part of the equation has to do with the quality of music released over the years. BJM has consistently released elaborate, yet spontaneous—sublime, yet chaotic—indie, shoegaze, folk-rock, and psychedelic music throughout this period of revolving membership.

Everyone knows Anton Newcombe runs the show. Even if you haven't heard of the band, you've heard of crazy Anton. He'll continue to be the focal player with the big picture rock 'n' roll idealism perfectly suited for Mr. Underground Superstar status. In fact, I'd like to propose a name change in; henceforth, they shall be Anton & the Shapeshifters. Anyway, beyond the band, their latest release, My Bloody Underground, is a contender.

BJM is fully rejuvenated in 2008, proving the good fight is still there to make an album full of droning syncopated highs and lows with Anton's entire vastness of instrumentation and studio wiz ability in the forefront. You can actually hear Anton laboring over this record. In the past, prolific BJM rehearsed a few songs, put it together with some other interesting riffs and numbers, recorded and released an album in a matter weeks. My Bloody Underground is deliberate, but not slow. Tracks like "Just Like Kicking Jesus" or "Who Cares Why" explore neo-shoegaze harmony with perilous dreamlike lyrics, finding Anton at a new place in his writing and composing.

But in other moments on the album, like "Ljosmyndir" or the amusingly titled "Bring Me the Head of Paul McCartney on Heather Mill’s Wooden Peg (Dropping Bombs on the White House)," Anton's indulgence creeps in a bit much.

My Bloody Underground is a tasking album as numerous tracks run on the six minute-plus side, which may provide barriers for some listeners. However, as always with BJM, their raw energy combined with an acute attention to detail in the studio define BJM's illustrious psychedelic-rock movements. And just remember: if you happen to catch a BJM show and only Anton shows up, don't worry--that's par for the course.

Tokyo Police Club - Elephant Shell

Wed, 23 Apr 2008 00:00:00 EST

]]>On 2006's breakout EP, A Lesson in Crime, Tokyo Police Club gave us some thrills with their fresh perspective. It was fast like punk and post-punk but relied heavily on melody, and focused on instrumentals. Well written lyrics were delivered cleanly and took the listener through stories of our Robot Masters trying to kill us in the year 2009, as well as heist tales. Along with a killer live show, the boys from Ontario were driving expectations through the roof for their first full-length. The debut LP with Saddle Creek, Elephant Shell more than delivers on their promise, and easily ranks as a top album candidate for '08.

Much has been made of the length of not only Tokyo Police Clubs songs, but the length of their albums. As if length were a measure of value. Ridiculous, I say! There is so much movement within the songs that a two-minute TPC song accomplishes what many bands struggle with in twenty minutes. Besides, length has never been an indicator of good pop music. Many Beatles songs don't break the three-minute mark.

The album starts with "Centennial" and the listener is immediately hit with Dave Monk's imagery, "This is skin, you can wrap all of your arms and legs in." The difference in the previous work is immediate, as the music is given a chance to shine, and the band seems completely at ease and not in a hurry.

The intellectual detachment of Dave Monks' lyrics really draws in the listener and paints a vivid picture. If The Decemberists' Colin Meloy makes literary pop epics, Monk is crafting eloquent short stories. There is a similarity to the singing style of the two men as well.

The three songs that start the album are great, but the album really takes off with "Juno" and never let's up. Monk sings "I've got a place in the Arctic Circle/I've got a place that I've painted white. I've got a home a in the salty ocean (so right, so right). All of the lions in your bedroom/All of the tigers we ignore. Pulling the wool down over your eyes (yes sir, yes sir.) You and your soapy eyes called it off so late at night." Abstract yes, but Monk provides enough imagery to keep you grounded. "Tessellate" picks up the pace further, and each part of the band truly shines, particularly Greg Alsup on drums and keyboardist Graham Wright. "The Harrowing Adventures of..." explores an intimate and slower pace for the guys, and it totally works. "Nursery Academy" has strong melodies, "Listen to the Math" and "The Baskervilles" continue to show the new tones that band is becoming comfortable with, while showing some serious growth.

"Your English is Good" is the only excess track, as it has appeared on EPs before. It carries plenty of energy, but it feels like a throw in, and sounds like it doesn't belong with the newer tracks. It's still a great song and only distracts slightly. The album as a whole is a well-crafted and well-conceived piece of pop that holds up after countless spins.

Bray - Dracula (single)

Wed, 16 Apr 2008 00:00:00 EST

]]>Call in the priests – Bray is on the loose. The San Francisco singer will doubtless have the fainthearted reaching for their crucifixes with his elegant, almost demonic single, Dracula. With a slow, heart-thumping guitar and drum intro – reminiscent of the Misfits in simplicity and tone - tempered by Bray's seductively jazz-infused vocals and lyrics like "Look into my eyes/and loosen your grip on your mind," it's possible that the prince of the undead has never sounded quite this attractive. Featuring Prince keyboardist Dr. Fink on a perfectly contrasted piano piece, there's just about nothing to detract from this delicious tribute to one of society's most notorious nightmares.

Love Is Chemicals - Song of the Summer Youth Brigade

Wed, 16 Apr 2008 00:00:00 EST

]]>Love is Chemicals writes the best kind of pop songs: they have hooks galore, but not the kind you get sick of after a week; they shimmer with wistfulness, but not in a cloying way; and they possess an emotional resonance that sneaks up on you rather than hitting you over the head.

"Our Darkest Days and Nights" and "The Blossom and the Butterfly" are upbeat and wonderfully catchy, while "Let Me Come Down" and "The Agitator" traffic in Death Cab for Cutie-style melancholy. "My Ticker Tape Parade" stands out as especially moving, with vocalist Nate Grover singing despondently that "All my plans are laid, and now I can hardly wait for my ticker tape parade to come rolling by." "Meet Me On The Tarmac" is a delicious slice of electronic dance pop anchored by a duet between Nate and keyboard/bass player Courtney Grover.

The band's ability to really let loose and rock out is hidden until the end of the album, on the glorious, crashing finales of "Roads Lead Underground" and "The Drift," a devastating song on which the narrator recounts a dream about dying tragically before getting the chance to propose to his girlfriend. When it's over, you may find it hard to believe that Love is Chemicals isn't already an indie rock household name.

Raised By Robots - The Auctioneer

Wed, 16 Apr 2008 00:00:00 EST

]]>On their debut disc, Bay Area's Raised by Robots fail to skimp on energy and endurance while managing a few smatterings of alternative songwriting creativity. However, the fun pretty much ends there. What potentially sounds like an exploratory rebirth of Husker Du and Henry Rollins, turns out to be a special concoction of 90's hard rock Nyquil and cheap booze.

The Auctioneer borderlines on weight-room adrenaline Spoon, with a sensitive helping of their finest Jeff Buckley-inspired riffs. But what may detract many listeners is the constant back and forth yawning between progressive alternative and 90's corporate radio rock. Just when you want the album to change up and explode—songs like "6ircles" and "Villians, Getting Away" will ground the notion that Raised by Robots will take your experience to the next level, effectively losing any artistic momentum.

As The Auctioneer comes to an end, and tracks line up one-by-one, shoulder-to-shoulder, you'll probably have difficulty differentiating the lot. Unfortunately, their influences will be more noticeable when partitioning their strongest songs, and you may end up visiting your record store the very same day, hungering for Black Flag or Rage Against the Machine.

Various Artists - Live From SFxSXSW

Wed, 16 Apr 2008 00:00:00 EST

]]>While the 2007 album Live From SFxSXSW showcases the eclecticism of the San Francisco music scene, it ends up sounding like a bad mix tape. The album spans many different genres, from radio-friendly rock and pop-Ska to hard rock and acoustic ballads. It is easy to glaze over the entire album due to its lack of cohesiveness. The songs act as repelling magnets, detracting rather than complimenting each other. It was difficult to sit through the album, although the one saving grace was "Release" by Built for the Sea. Singer Lia Rose's voice lulls the listener into a pleasant mood, urging "The fire's here / Release your fear."

Various Artists - 30 Days Of Night Soundtrack

Wed, 9 Apr 2008 00:00:00 EST

]]>Talk about versatile. Brian Reitzell has composed scores for the movie, Stranger Than Fiction, and primetime drama, Friday Night Lights. From this resume of lighthearted sounds, the score for 30 Days of Night sticks out as a sharp and frightening masterpiece. These searing, atmospheric tracks provide the perfect imagery for what was a gritty, new millennium horror flick.

Yet this isn't an album that has much practical use, unlike other horror soundtracks such as 2006's Silent Hill composed by Jeff Danna. There, we had a terrifying sound that was piled on to basically industrial songs in terms of structure. Reitzell's tracks could hardly be called songs. But I'm sure that won't stop you from checking it out if you like provocative and stunning scores. Use on Halloween to scare the shit out of little kids who have the nerve to ask you for free candy. F-ing freeloaders.

The Raveonettes - Lust Lust Lust

Wed, 9 Apr 2008 00:00:00 EST

]]>Lust Lust Lust opens with "Aly, Walk With Me," a brooding, minor-key song in the style of the Raveonettes' Whip it On EP. The rest of the album, however, is defined by the deadpan delivery of lyrics about heartbreak and disintegrating relationships over a warm, sparkling classic pop sound drenched in distortion. Sune Rose Wagner and Sharin Foo sing most of the album in harmony, bringing the simplest and most repetitive of melodies to life as they sing lyrics like "that sparkle turned to black" and "I'm tied down to an evil heart" (on the delightfully catchy "Dead Sound" and "Blitzed," respectively). The 1950's confection "You Want the Candy" sounds at first like it may be the album's only happy track, but it turns out the candy in question "tastes so sweet, makes good love bad" rather than the other way around. However, since The Raveonettes' music is ultimately defined by the duo's unmistakable sound, not their lyrics, Lust Lust Lust ends up being somewhat of a feel-good album despite the often depressing sentiments expressed on it.

Garcia - Life Unscripted

Wed, 9 Apr 2008 00:00:00 EST

]]>Life Unscripted burns hot. Miami based Garcia is putting heat on the scene since this underground record has got nothing but ghetto gold potential laminated all over it. Due credit to the Miami booty bass scene, but Garcia comes out spitting strong lyrical talent without having to rely on beats or album shenanigans that take away focus. It is all Garcia here, everything more and nothing less. Adding to that is some original beats that can't be stamped from any one place. The heavy bottom end and tinny snares—typical of booty bass—ring true but a heavy influence of east coast NY style bravado prevails strong as well.

Garcia's Cuban roots also ring loud as he raps in Spanish and sprinkles a Latin chorus frequently. DJ Honda brings a smooth production on "Clear My Mind," providing introspection on growing up in a broken home. Executive producer N.O.R.E., of Capone n-Noreaga fame, also drops guest vocals throughout. Hoochie club tracks also rep the Miami culture it resides in. There's almost everything one could want to taste out of the Miami scene on this record.

Mission of Burma - Signals, Calls, and Marches and Vs.

Wed, 9 Apr 2008 00:00:00 EST

]]>Truth be told—I had always heard of Mission of Burma, knew their influences and followers, possibly even lied and said I loved them in a Post-Punk conversation, but had never really engaged in the act of listening to Mission of Burma, per se. I knew it was now or never, so I jumped at the chance to review the latest re-mastered round of their first two studio albums, released in 1981 and 1982, respectively.

Released as an EP to their first full length album, Signals, Calls, and Marches (1981) forges the beginnings of Mission of Burma's gritty, no nonsense whirlwind of PunkArt while simultaneously, bands like the Replacements, Husker Du, Gang of Four, and the Mekons (to name just a few) were all creating and invigorating the Post Punk scene and inspiring one another to revolt against the embedded catatonic "punk" aesthetic of the time. "That's When I Reach For My Revolver" and "Academy Fight Song" remain astounding capsules of brooding attitude and fist-pounding nihilism.

Vs. (1982) traces the band's evolution beyond dance/punk where they delve head first in various percussive inflections, jaunty guitar playing, melodic tracings, and unconventional recording innovations. "That's How I Escaped My Certain Fate" is most aligned with their British punk influences where epical riffings underpin choruses of raucous lyrical jeering, while "Dead Pool" and "Learn How" solidified the heights this band could have reached if they had lasted.

In short, Mission of Burma were a shooting star—an intense one at that—lasting only 3 years before their lead singer would dissolve the band due to severe hearing problems (although they reunited in 2002). The re-release of these recordings solidifies their legacy as forthright provocateurs whose legacy of early work is felt every time bands like the Oxford Collapse or the Walkmen juice up their amps.