50,000 watts of non-stop indie rock

SHE LEFT HIS AMPLIFIER

2011-11-16T14:02:00.000-08:00

It was with bittersweet relief that I recently sent an email to our remaining writers stating that Amplifier was being put to rest. The reasons were many and varied; primarily, an increasingly diminished return in terms of the joy of discovering new music, mixed with the feeling that not enough people were paying attention anyway. I mean, how many music blogs are there? Leave it to long (long) time Amplifier contributor Tom Semioli to state clearly and concisely what I was feeling:

Long live Amplifier!

The other day I was opining amongst my musician comrades over cocktails and pretty waitresses that record and concert reviews, for all intents and purposes, are obsolete; any fan can access video and music via many varied digital and web outlets. Really, the only true job remaining for the music scribe are artist interviews, but even those are best rendered (nowadays) on video, which can be circulated in a flash. Heck, I spend hours on YouTube watching interviews with everyone from George Harrison to Scott Weiland!

The sad fact that artists are now forced to give their music away speaks volumes (pun intended) on the state of the industry. It's over! Let's also take into consideration that the dominant force in popular music the last decade was AMERICAN IDOL...and shows no signs of slowing down with copycat programs such as X FACTOR, etc. The culture is not about music anymore, it's about fame! I have no interest in writing about fame.

And let me say this whilst I'm on a rant - musicianship has sunk to an all time low! As a retired professional bass player, I am shocked at how young bassists just play one note on my beloved instrument! The genre known as rock and its various components has been so watered down that there is nary a trace of blues, soul, jazz or classical influences. I find that I reach for my old Yes, Terence Trent, Clapton, Tina Turner and Stones records to hear harmonies, great songwriting and rhythm! Add to that the horrific Auto Tune....no thanks!

Much heartfelt thanks to Amplifier which gave me the platform to have a professional career as a writer. Methinks that Occupy Wall Street is the beginning of another American revolution -- for the better. Maybe if we have an educated middle class once again - they'll be a place for a cool indie rock magazine like.... Amplifer!
--Tom Semioli

Many thanks to the Readers and my deepest appreciation to Tom, Lee and Brian.

Take Care.

Joe Joyce

The dB's - "Amplifier"

Danny went home and killed himself last night
She'd taken everything, she'd taken everything
Danny went home and killed himself last night
She'd taken everything, she'd taken everything

She took his cash, she took his checks
She took the soda pop, there was nothing left
She took the love letters out of his desk

Danny went home and killed himself last night
She'd taken everything, she'd taken everything
Danny went home and killed himself last night
She'd taken everything, she'd taken everything
[ Lyrics from: http://www.lyricsmode.com/lyrics/t/the_dbs/amplifier.html ]
She took his car, she took his bike
She took everything she thought he liked
And what she couldn't take, she found a way to break
She left his amplifier

An amplifier is just wood and wire
And wire and wood don't do any good when
Your heart is blazing like a wildfire
And all you've got to show for it's an
Amplifier
Amplifier

She took his gun, she took his knife
He took his drugs, they took his life
She took it all in one big haul
She left his amplifier

Danny went home and killed himself last night

RICHMOND FONTAINE

2011-11-08T09:40:00.000-08:00

The High Country
El Cortez [09/13/2011]

Over the past decade or so, singer/songwriter Willy Vlautin, the de facto leader of Portand Oregon’s Richmond Fontaine, has expanded his resume by venturing into the world of literature. He’s written three novels to date, each of which find their focus in characters that have been stricken by desperation and desire. The synthesis of music and the printed page took flight with his second book, Northline, which melded the story’s darker designs with an accompanying CD.

With The High Country, Vlautin and company blur the boundaries even further by turning the album into a gothic soap opera, one that blends themes of love, lust and longing into its dark underbelly. The story line is set up in a spoken preamble: a girl from a dysfunctional family becomes pregnant out of wedlock, forcing her marriage to the young man responsible. She miscarries in the eighth month of pregnancy, he’s subsequently crippled in a logging accident, their marriage crumbles around her and calamity ensues. Consequently, the 17 selections – comprising both songs and dialogue – follow that tragic theme and emphasize the tale’s darkness and despair. There’s a haunting, subdued sound imbued in songs like “Let Me Dream of the High Country,” “The Girl on the Logging Road,” “Claude Murray’s Breakdown” and in fact, most of the material here. It’s not exactly the most uplifting album, but the sentiment will sweep you away.
--Lee Zimmerman

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Richmond Fontaine - "The Chainsaw Sea" by Amplifier_Magazine

PRINCESS CHELSEA

2011-11-05T16:22:00.000-07:00

Lil' Golden Book
Lil' Chief [09/07/2011]

Once upon a time there lived a witty, harmonious princess who strummed magical tunes along a fantastical trail through the mystical land of New Zealand. Honing her craft made little time for Princess Chelsea Nikkel to play, keeping to her room, feeding off established Disney tunes and adopting them as her own. Her privileged upbringing was not evident due to her unkempt appearance, but her passion for song spoke of her status. By the time she graduated high school, the princess had written a fun instrumental experiment entitled “Monkey Eats Bananas” to which she added lyrics a couple of years later. With her stuffed gorilla friend Monkey in hand, Princess Chelsea ventured on, producing a second unrecorded number, “Ice Reign,” while she was a member of the circus punk trio Teen Wolf.

Princess Chelsea would soon join The Brunettes, adding her glockenspiel to the already diverse group. Confident in her abilities Princess Chelsea gained enough courage to step out as herself and formed her own band. All of this began in a small, low lit Wine Cellar in Auckland where the princess breathed in the comfortable ambiance, becoming both excited and afraid moments before grabbing the spotlight and playing long into the New Zealand night. Low and behold, a few years passed and Lil’ Golden Book was given us from her spirited adoration of musical composition. All of Princess Chelsea’s life experiences were put on display within eleven unique tales of morality, presenting themselves as darkened lullabies.

The electronic, melodic opener “Machines of Loving Grace” brings to mind a prejudicial-free world where all things are happy, the song held together by digital and analog synths. The pages filling Princess Chelsea’s manuscript are unsteady at best, though the songs do a fine job conveying her message. The gentle “Cigarette Duet” haunts the record with a dark, carnival-esque beginning, with chiming xylophone echo and surf-cowboy guitar solos bleeding into call-and-response vocals. The princess calculates a 60s pop style in the keyboard ensnared “Too Fast to Live,” willing her inner Molly Harvey to life. In the end it is “Overseas,” “Frack,” “Goodnight Little Robot Child,” and “Ice Reign (Reprise)” that hints where the princess is heading next. And so concludes the tale of this Lil’ Golden Book.
--J.R. Leyvas

Princess Chelsea - "The Cigarette Duet"

YOU CAN BE A WESLEY

2011-11-01T12:39:00.000-07:00

Nightosphere EP
Self-Released [11/01/2011]

When the members of You Can Be a Wesley take a hiatus, they don’t mess around. After the Boston University students recorded their initial demo in 2008, vocalist/guitarist Saara Untracht-Oakner and bassist Nick Curran finished up their degrees in Australia and guitarist Winston Macdonald went for an Ecuadorian walkabout. When they reunited, they recorded their debut full length Heard Like Us and hit the road. YCBW’s initial plan was to work on a new full length this year, but the band’s interim EP, Nightosphere, is a satisfying appetizer until the main course is ready.

YCBW is one of those rare bands that absorbs, reconfigures and transcends its influences, subsequently sporting a sound that is at once subliminally familiar and oddly unique. On the textured and atmospheric Nightosphere, YCBW works a vibe that suggests the Sundays if they’d been raised on Curve, with the Velvet Underground influences filtered through their REM influences with flecks of Broken Social Scene, the Shins and My Bloody Valentine thrown over the proceedings like organic glitter. Untracht-Oakner, who has described the band’s sound as “fuzzy fun sex pop,” sings with an indie pop brightness reminiscent of Suddenly, Tammy!’s Beth Sorrentino and an odd squeak that could be a reined-in Bjork with a Boston accent, while the band, including new drummer Dylan Ramsey, folds their disparate influences into a compelling, complementary grunge/pop
hybrid that is deceptively forceful and quirkily poppy.

Do the full length already.
--Brian Baker

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MATTHEW SWEET

2011-10-27T05:44:00.000-07:00

Modern Art
Missing Piece [09/27/2011]

Few other artists rank as high on the power pop plateau as Matthew Sweet. His lengthy resume may have something to do with it – after all, he’s been plying his talents for the better part of the past 30 years. But tenure alone isn’t cause to put a performer on a pedestal, and Sweet’s stature was elevated early on with the critical kudos reaped by crucial albums like Girlfriend, Altered Beast and 100% Fun.

His fortunes have ebbed and flowed ever since, thanks in no small time part to the game of musical chairs that’s been his series of record company affiliations, but to his credit, he’s never bowed to commercial considerations. Consequently, his new album, Modern Art, is often abstract in its execution, thanks in large part to the psychedelic sheen that inundates this effort. Sweet’s sound obsession with the Byrds remains intact, with the hushed harmonies that waft through “Oh, Oldendaze,” “She Walks the Night” and “Baltimore” recalling the iconic Fifth Dimension and Notorious Byrds Brothers albums in particular. That shouldn’t be surprising to anyone familiar with Sweet’s trajectory since the very beginning, but the odder offerings – “Ivory Tower,” with its angry entreaties (“Come down, come down from you Ivory Tower…”), the rocking “Ladyfingers” and the ever-shifting “Late Nights with the Power Pop” – reflect a raucous side as well.

Whether or not Modern Art will reap the same critical acclaim as his earlier masterpieces remains to be seen. However, it remains a formidable representation of Sweet’s more sublime sentiments.
--Lee Zimmerman

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THE MOMMYHEADS

2011-10-26T11:39:00.000-07:00

Delicate Friction
Dromedary [10/18/2011]

The Mommyheads haven’t had the smoothest trajectory. Death, desertion, less than stable record labels and the inability to bring the band a broader audience all inhibited their progress from the latter part of the ‘90s practically up until the present day. That’s a shame really, because based on the creative prowess demonstrated by this, a comeback effort of sorts, their imaginative approach is still undiminished. Trolling the transom that connects power pop and prog rock, they exhibit a penchant for rich arrangements that still keeps their hooks intact. Sudden shifts of tempo and quick bursts of harmony provide an element of uncertainty, but they never get so indulgent that listeners find themselves lost in the shuffle. Rather, this is an experimental sound that’s both heady and radio ready -- muscular, melodic and inherently pleasing from start to finish.

Happily, any hint of pretense dissipates quickly, and with songs like “I Wanna Stay,” “Moonlight Crawl” and “Delicate Friction,” there’s ample potential for harmonious sing-alongs. Notably too, the Mommyheads demonstrate their ability to transplant their skills from the studio to the stage; three bonus tracks recently recorded in concert in Scandinavia – two of them songs from the studio set – find them easily recreating those arrangements in a spontaneous live setting.

The Mommyheads may not be top of mind as far as connecting to the populace at large, but Delicate Friction ought to bring them at least some of the kudos this bunch clearly deserves.
--Lee Zimmerman

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DEAS VAIL

2011-10-17T15:24:00.000-07:00

Deas Vail
Mono vs. Stereo [09/16/2011]

Are we primed for another indie rock revolution?

Deas Vail started off as "friends just having fun," but they could emerge a commercial force to be reckoned with - if only the stars will align in their favor. The magic of Deas Vail emanates from their fusion of pleasant pop melodies with a fierce rhythm section. DV's husband-and-wife vocalists / keyboardists Wes and Laura Blaylock may not be Buckingham / Nicks, but their smooth, sultry, and often seductive performances in tandem make for a fascinating juxtaposition for drummer Wes Saunders, guitarist Andy Moore and bassist Justin Fronig - who bash away as if their lives depended on it at all the right moments - then intuitively tone things down when the singers need some room.

Jangly pop anthems such as "Sixteen," "Desire" and "Summer Forgets Me" have REM circa 1984 written all over them. The cinematic ballad "Meetings in a Doorway" has its moments of grandeur as the boys in the rhythm section shift gears from verse to chorus to bridge. Kudos to producer Matthew Hoopes of Relient K fame- who expertly balances the band's edgy playing style with polished vocals and harmonies. "Towers" is another spooky ballad worthy of a cover version from the likes of Diana Krall or Elaine Elias. Viva la revolution!
--Tom Semioli

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THE MOMMYHEADS - A VIDEO SERIES / Day 7

2011-10-14T12:50:00.001-07:00

The Mommyheads formed in 1987 in New York City, recorded cult classics Flying Suit (1994) and Bingham's Hole (1996)and built a solid reputation as live performers through relentless US touring.

Their major label, self-titled debut with Geffen was released in 1998 but failed to achieve the necessary commercial success. The band eventually called it quits with successful tours with Guided By Voices, Cake and The Posies as their legacy.

Over the years, the band’s reputation continued to thrive and even grow. Their albums continued to find an audience among indie rock fans. Popular alt-rock bands like Death Cab For Cutie and Someone Still Loves You Boris Yeltsin claimed them as influences. Ardent Swedish fans loudly and persistently called for a comeback.
Realizing their mission was not complete, The Mommyheads reunited and re-recorded older songs for the 2008 album You’re Not A Dream, reissued Flying Suit, released the “best of” collection Finest Specimens and embarked on the first two overseas tours of their career.

During these tours, their love for writing and performing returned. Singer/guitarist Adam Elk, drummer Dan Fisherman, keyboardist/vocalist Michael Holt and bassist bassist Jason McNair entered the studio and recorded Delicate Friction, the band’s first album of all new material in more than a decade. The album will be released October 18th, 2011 through Dromedary Records.

Each day leading up to the album's release, Amplifier will be featuring a live performance video gleaned from the band's Scandinavian tour earlier this year.

"Just Give Me a Reason"

"Worm"

"Moonlight Crawl"

"Angels and Weathermen"

"Saints Preserve Us"

"Another Crowded House"

"I Wanna Stay"

CAVEMAN

2011-10-14T05:31:00.000-07:00

CoCo Beware
Magic Man! [09/13/2011]

The Brooklyn based quintet Caveman echoes music from the laid back Beach Boys days, coating their debut album CoCo Beware with a rhythmic tide of melodramatic tones. Opener “A Country Of Dreams” is a mystical montage of native drumming eliciting images of an island tribe honoring the newly risen sun. Using keyboards and subtle guitar riffs as a spiritual guide, lead singer Matthew Iwanusa mimics Brian Wilson in the alluring track “Decide.” Well suited for its title, the instrumental “Vampirer” conjures “Wipeout,” but with a mellow, yet slightly sinister, undertone. Channeling current tour mate Edward Sharpe (and The Magnetic Zeros), Iwanusa turns in a helpless romantic melody with “December 28th.” Caveman moves indie rock in new directions with CoCo Beware, adopting nostalgic blends of classic styles and mixing them with their own spice and modern flair. A sound from the Bob Dylan era of the mid-1970s breathes again.
--J.R. Leyvas

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A.A. BONDY

2011-10-12T16:11:00.000-07:00

Believers
Fat Possum [09/13/2011]

Having made a drastic detour from his original outfit, the punk/grunge band Verbena, Scott A.K.A. A.A. Bondy has carved himself a comfortable niche as a folk-influenced bard. He’s not the first to take that tack; Peter Case, Ryan Adams and Eddie Vedder have all veered off their original tangents and created a soothing sound decidedly at odds with the rampaging bluster they forwarded early on. But since Bondy’s previous work is not all that well known, in his case there’s little chance that he’ll be judged against any earlier template.

As a result, those who have come lately to Bondy’s body of work will celebrate his efforts without any preconceived notions, and while calling him a full-fledged folkie runs the danger of overstating his intent, there is a certain humility and sobriety to his work. With Believers, the third album of a sublime trilogy etched over the past four years, Bondy opts for atmospheric arrangements and contemplative ruminations that often bring to mind Leonard Cohen or mid-period Joni Mitchell in their hushed reverence. Though it starts on a strikingly fearsome note with the tenuous opening track “The Heart Is Willing,” it’s thankfully all hazy ambiance from that point on. “Down in the Fire (Lost Sea)” recalls the evocative aura of Jesse Winchester’s beautiful “Biloxi,” while the cosmic embers of the instrumental “123 Dupuy Street” bring to mind some faraway dreamland. “DRMZ” and “RTE.28/Believers” are equally evocative and breathlessly haunting at that. So if the lazy, lilting melodies often elude a ready grasp, it’s the overall mood that lingers long after. True to its title, Believers does indeed have the potential to make advocates of all.
--Lee Zimmerman

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EMIL & FRIENDS

2011-10-06T18:40:00.000-07:00

Lo and Behold
Cantora [10/11/2011]

Who is Emil? What is Emil? A wizard? A true star? Or all of the above? Musical geniuses are hard to find in these troubled times we live in. However rock 'n' roll kids need a real hero - Jay Z or Justin Timberlake, or Lady Gaga just won't do. Enter Emil - a myth, a man, a mystery and about as "real" (and intriguing) as Ziggy Stardust. On his daunting debut album, the multi-facted, multi-instrumentalist Emil (his "friends" are a figment of his imagination --and ours) lays all his pop cards on the table - and it's pure genius! Lo & Behold could easily be re-titled "The Many Moods of Emil" - as the lad traverses genres from verse to chorus to coda.

Go figure, it all works! "Endless Waves" melds power pop with folk and disco. The title track commences with a classical intro segment straight out of Disney before settling into a techo-glam torch song. Computerized funk abounds in "Rain Check" with a succession of grooves that would slay Bootsy Collins (hip cats will dig the jazz interludes)! Emil's vocal delivery takes a bit getting used to - despite the fact that he phrases his melodies akin to pop gods of yore, his register is just below a falsetto (old rockers may fondly recall when Todd Rundgren sped the tapes up to raise his timbre on such masterstrokes as Something/Anything and Todd). Emil's libretto is about love tinted with cinematic surrealism.

Now this is what 21st Century pop music is supposed to sound like!
--Tom Semioli

Stream the entire Lo & Behold album courtesy of Cantora Records.

EVANGELISTA

2011-10-05T08:50:00.000-07:00

In Animal Tongue
CST [09/20/2011]

The road makes for good records. Just ask Bruce Springsteen or Willie Nelson. Evangelista - helmed by singer/songwriter / instrumentalist Carla Bozulich (you may remember her from Ethyl Meatplow and the Geraldine Fibbers) - takes a decidedly dark turn on her fourth record under this moniker aptly titled In Animal Tongue which is a song-cycle comprised of compositions created as a result of her "escape from Los Angeles" and consequential nomadic existence.

To the uninitiated ear, Bozulich's voice may remind you of a young Patti Smith since her timbre and phrasing evoke striking memories of Radio Ethiopia, as does her penchant for talk-singing. But that's where the similarity ends as her uber-Goth band-mates (bassist Tara Barnes, pianist Dominic Cramp) and guest musicians (Sam Dickens of The Dead Science, Shahzad Ismaily from Laurie Anderson, John Eichenseer of jhno) forge a gloomy, sparse backdrop with tempos so darn slow that they hardly exist! The violins which sustain "Bells Ring Fire" creep along in a low register as Bozulich's stark vocal melodies incorporate interesting jazz-like melodies at various interludes -she should offer this composition to Cassandra Wilson or Tony Bennett! Car radio effects and chimes add an extra measure of spookiness in the angular, expressionistic "Die Alone." Open high-hat rhythms provide the basis of the title track whilst Bozulich's craggy voice navigates an apocalyptic canvas of keyboards and strings (The chorus provides the album's single memorable melodic hook!)

This long-long long player comes highly recommended for fans of experimental, spoken word, and punk poetry. Editors Note: Be sure to check out Bozulich's re-interpretation of Willie Nelson's Red Headed Stranger under her own name wherein she emerges as a rather conventional and most engaging songstress.
--Tom Semioli

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FANZINE

2011-10-04T05:42:00.000-07:00

"Roman Holiday"
Fat Possum [11/22/2011]

Fanzine are finally set to release their official debut single. "Roman Holiday/ My Stupid Brain" will be released as a double A-side 7" through Fat Possum on November 22nd. There will also be a CD-R version of the single that'll come with an illustrated fanzine, similar to their self-released debut EP1. All in all this promises to be a very exciting limited run of 500.

OAX

2011-10-03T15:06:00.000-07:00

The Distance EP
Bladen County [7/12/2011]

OAX, the nom de plume of multi-instrumentalist Giorgio Angelini, makes an auspicious debut with a five-song EP that emphasizes some darker designs. With incidental aid from Spoon’s Jim Eno and occasional collaborator Chris Simpson, Angelini rumbles his way through various degrees of upheaval. There’s seemingly a lot of ground covered between the sweeping, screeching opening volley of “Pretty Good Start” and the sturdy strum of closing track “Sutures,” but the storm clouds that hang heavy over this effort overall rarely recede in-between. The best songs are those that breathe a bit more life -- specifically, the elastic pulse that propels “Love and Crashing” and the rollicking rhythm that buoys “Scoundrel.” Ultimately This Distance doesn’t go far enough in defining OAX’s MO, so it remains to be seen what OAX will offer further on.
--Lee Zimmerman

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THE KOOKS

2011-09-25T07:45:00.000-07:00

Junk of the Heart
Astralwerks [09/13/2011]

When we last met these intrepid Brits, they were stepping out of their shell and demonstrating that any similarity in branding to the, um, Kinks was more than mere coincidence. Of course, it would be presumptuous to say that at that juncture – or this – that they emulate the song skills and adroit execution claimed by one of the best bands of all time, even though certain similarities bound the bands together. There are times when singer Luke Pritchard manages to capture Ray Davies’ droll delivery, particularly when it comes to one of the rare ballads like “Petula” or the crooning caress that accompanies a track like “Taking Pictures of You,” the very title of which sounds like it was lifted from the Kinks katalogue. Likewise, the Kook’s exuberant, over-the-top enthusiasm effectively captures the Kink’s early glories, especially on “Junk of the Heart (Happy),” “How’d You Like That” and “Eskimo Kiss,” where the barely contained choruses send those songs into high gear. Whether or not they will ever earn the right to stand side by side with their presumed namesakes remains to be seen – indeed, it’s way too early to tell -- but given their apparent intentions, not to mention their vibrancy and velocity, they certainly deserve credit for trying.
--Lee Zimmerman

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THE ZOMBIES

2011-09-21T11:25:00.000-07:00

Breathe Out, Breathe In
Red House [05/28/2011]

Reconvening an age-old outfit after an absence of several decades is, at best, an iffy proposition even in the best of circumstances. It’s even more treacherous when various core members have deserted the ranks and, for whatever reasons, don’t feel inclined to return. It’s easy to then suspect that there’s no other goal for the willing other than money, or perhaps desperation to reclaim the fame that might not be possible when individual players venture out on their own. To their credit then, the Zombies’ chief mainstays Rod Argent and Colin Blunstone elevate their names on the marquee in order to make it clear this is their venture and theirs alone. While all the original Zombies reunited several years back in celebration of their unabashed masterpiece, Odessey & Oracle (released, ironically, after their initial split and thus never performed in concert), this gathering includes only Argent and Blunstone, augmented by some stringers, most notably bassist Jim Rodford who lends some cred thanks to his stint with Argent in… Argent. They’ve been touring together for some years now and recorded as well, re-establishing the brand with a reconstituted trio.

Sound-wise, the new Zombies veer closer to the elegiac chamber pop that marked Odessey & Oracle, although Breathe Out, Breathe In offers little that’s as original or as masterful as that sterling ’68 template. Argent’s ornate keyboards and Blunstone’s lofty vocals still shimmer, and there’s still more than a hint of their stately ambitions on songs such as “I Do Believe,” “Let It Go” and “A Moment In Time.” Yet, even the song titles hint at the lack of that certain spark that steered them early on. One would be hard pressed to find anything on this album that could compare with, say, “She’s Not There” and “Tell Her No,” much less “Time of the Season.” At most, it’s enjoyable, and its occasional flourishes – the Beach Boys-like vocals on the title track, the rough-hewn “Play It For Real” (which recalls the shuffling time changes of the Beatles’ “Hey Bull Dog”) – add interest if not fascination. If Argent and Blunstone weren’t forced to measure up to precedent, it might even be considered a triumph. Yet, knowing that the original Zombies is in fact dead and buried, the mandate established by Breathe Out, Breathe In doesn’t resurrect them now.
--Lee Zimmerman

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THE VEDA RAYS

2011-09-20T05:26:00.000-07:00

Gamma Rays Galaxy Rays Veda Rays
Alleged [09/20/2011]

They don't make bands like the Veda Rays anymore! Which is great news for these lean, mean, dexterous, dangerous lads: Jim Stark(vocals/guitar/keyboards); bassist Tyson Reed Frawley (bass); Jimmy Jenkins (guitar/keys) and Jason Gates (drums). Akin to numerous legendary ensembles of yore - ranging from the Stones to Aerosmith to the Dolls to the Pistols to Guns 'n' Roses etc. the Rays were borne in a swaggering haze of sex, drugs (metaphorically speaking) and of course, rock 'n' roll. Yet unlike a bazillion indie rockers, contemporary and otherwise, the Rays know how to write songs that stick in your memory banks! And dig this, they can play live too - just check out a few of their gonzo gig videos on YouTube - no Pro Tools trickery for this lot - what you hear is what you get!

The music: a muscular mélange of glam, punk, and classic rock with no song exceeding the four minute mark. Every track could qualify as a single - but we'll pick out two: "Honey Pot" which affords Stark ample opportunity to flex his expansive vocal chops (whatta range!) as his mates bash behind him, tempering their dynamics from verse to chorus. And "All Your Pretty Faces" - an anthem for all eras wherein the Rays start off seductive and understated before they bust into an arena rock chorus that would scare Bono into retirement.

If the Veda Rays don't catch on to the masses, we might as well fold our rock 'n' roll tent and go home to watch….the X Factor? Never!
--Tom Semioli

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MATES OF STATE

2011-09-19T15:41:00.000-07:00

Mountaintops
Barsuk [09/20/2011]

It seems logical that Mates of State have dubbed this disc Mountaintops, because indeed, from the evidence presented herein, this giddy combo offers the impression they reside on top of the world. From the opening stroke of “Palomino,” with its soaring harmonics and driving determination, to the spunky new wave-like wallop of “Basement Money” and the insistent chorus that repeats “We wait/We don’t give up,” this spirited bunch makes a perky impression. Kori Gardner’s lithe vocals and hubby Jason Hammel’s harmonies and propulsive beats somehow manage to work well in sync, one reason why the duo make such an instant impression. Nevertheless, it’s a timely transition when the pair settles into a more serious stance, first with the breathtaking ballad “Desire,” and then with the earnest yet compelling “Change,” perhaps the best example of the couple’s ability to temper their surging tempos with a darker delivery. Likewise, as the two harmonize on the heartfelt “Mistakes,” their synchronicity proves especially effective. The take away lesson from all this is clear; when Mates of State focus less on frenzy and more on good, solid song craft, they elevate their intents and suggest it's time to take them seriously.
--Lee Zimmerman

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BLITZEN TRAPPER

2011-09-17T09:42:00.000-07:00

American Goldwing
Sub Pop [09/13/2011]

Blitzen Trapper may be its own worst enemy. With a name that offers no hint as to their musical orientation – not to mention a track record that’s found them pulling in disparate directions -- it’s been a bit of a challenge to get a handle on Blitzen Trapper’s intents. Fortunately, the band’s new album, American Goldwing, goes a long way towards making matters clearer. Following hot on the heels of their previous disc, the ambitiously-bannered Destroyer of the World, it settles into a comfortable country rock niche that consolidates earlier advances and erases many of the ambiguities that plagued them from the beginning.

Granted, there a couple of blurps here and there – the unruly squeal that kick-starts album opener “Might Find It Cheap” and the chaotic crunch that previews the down-home, back- porch plunk of “Street Fighting Sun” – but for the most part, the album finds a mellow, meandering stride that persists throughout. The rootsy “Fletcher” and a rugged, roughshod title track turn up the tempo and prove exceptions to the weary, rugged sway that pervades Blitzen ballads like “Girl in a Coat,” “Stranger in a Strange Land,” and “Taking It Easy Too Long.”

Those unfamiliar with band’s earlier efforts ought to find American Goldwing a good place to begin, while veteran admirers ought to find further reason for admiration.
--Lee Zimmerman

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ROMA!

2011-09-15T15:37:00.000-07:00

The Wild Party
Self-Released [09/13/2011]

I saw the future of rock 'n' roll and its name is….Roma! Actually, the future of rock 'n' roll sounds a lot like its past, but that's to be expected in the post-post-post modern world we live in where everything old is new again. When we last heard from singer / songwriter / multi-instrumentalist and downtown NYC bon vivant Kenyon Phillips he helmed glam rock raconteurs Unisex Salon - a legend on the Gotham hipster scene for nearly a decade. The ever evolving Phillips has shed his oft techno-inspired musical skin for a primal, all-female ensemble named Roma! and entered into a songwriting partnership with David Barratt who counts David Bowie, Robert Plant and Yellow Note among his esteemed collaborators.

Dig this: The Wild Party is a concept album (go ask your parents what that means) based on a wicked, salacious poem penned by Joseph Moncure March in 1927 - (please refer to the outfits worn by the Roma! ladies and the 1975 film of the same name starring James Coco and Raquel Welch). To further enhance the enjoyably sleazy libretto, a select roster of Manhattan underground personalities offer naughty spoken (and shouted) vignettes between tracks, notably Village Voice columnist Michael Musto, transgender actress Jamie Clayton (Hung, TRANSform Me) and Jeffrey Williams (The Fashion Show).

So what about the music? You can't miss the overt influence of the Velvet Underground and early Roxy Music, however unlike a many of Lou/John/Mo/Nico/Doug/Sterling/Bryan/Andy/Brian/Phil copycats (I won't name names - but ya'll know who I'm talking about….) Roma! offers the genre a much needed 21st century make-over. The girls' musical skills are as basic as it gets - no solos, no fills, absolutely no frills, and nary a harmonic embellishment - all of which affords the listener ample opportunity to focus on the lyrics and melodies, which are plentiful. The title track echoes Lou's "Walk on the Wild Side." Staccato power chords and Phillips' snarky phrasing push "Eddie" over the top (that's gotta be the single!). "Yeah Yeah Yeah" unintentionally borrows from Lennon's "Polythene Pam" - which borrowed from Elvis who borrowed from…

The Wild Party comes highly recommended for those of you who love your rock 'n' roll with a decidedly theatrical flair - viva Roma!
--Tom Semioli

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Burrs by Roma!

LUKE TEMPLE

2011-09-14T16:41:00.000-07:00

Don't Act Like You Don't Care
Western Vinyl [08/16/2011]

Building on a modest solo career, even while maintaining a parallel stint with the vaguely psychedelic Here We Go Magic, Luke Temple continues to assert the irrepressible charm that made each of his two previous albums so inviting. A folk singer at heart – he hails from the fertile environs of New England after all – Temple has a way with casual, carefree melodies and an airy, effervescent attitude, and those talents pervade practically every verse of this lithe third LP.

If the title seems prophetic, then so be it; that’s an acceptable consequence of Temple’s easy, breezy stance. And while some songs may appear slight, and lingering impressions aren’t always easy to come by, Temple’s winsome attitude more than makes up for any perceived deficiencies. Ultimately, the jaunty amble of “In the Open” and the carefree strut of “How Could I Lie” and “Ophelia” reflect the sound of an artist whose confidence is clearly rising. Inevitably though, it’s left to the final entries of this nine-song set – specifically, “So Long, So Long,” “You Belong to Heaven” and “Luck Part” – to provide gentle assurance. These quiet hymns are conveyed with an unassuming lilt, and beg repeated listening, if only to soak up the sincerity.

Calm and clarity may not count for much any more, but that’s all the more reason why Temple’s tunes are well worth savoring.
--Lee Zimmerman

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UME

2011-09-09T08:11:00.000-07:00

Phantoms
Modern Outsider [08/30/2011]

'Twas a time called the 1990s when girls with loud guitars became rock stars: Veruca Salt, Throwing Muses, Sleeper, L7, Lush, Hole, to name a few. Since then, sadly, the majority of women in mainstream music look or sing like whores - or both. Enter the trio Ume (pronounced "ooo-may"), lead by alternative rock guitar goddess Lauren Larsen. She's got the style, she's got the chops - but most importantly - she's got the songs!

Phantoms is a rock record made the old fashioned way featuring hooks aplenty, four-minute tracks, and a kick-ass rhythm section that lives and dies for the song (tip 'o the hat to hubby bassist Eric Lauren and drummer Rachel Fuhrer). Mrs. Larson's six-string wizardry is everywhere to be found, especially in the cut "Destroyer" wherein she croons like an angel and tosses out angular riffs akin to Adrian Belew, Edge, and Robert Fripp on steroids. "Captive" is an arena rock anthem worthy of the young and mighty U2 - imagine Bono with a…vagina! And to prove they're not one trick ponies, the final cut -"The Task" - takes it's inspiration from Ennio Morricone's spaghetti western soundtracks as Mrs. Larson's acoustic prowess rivals her voltage enhanced brilliance.

Ume has been heartily endorsed by Joan Jett, Gang Of Four’s Dave Allen and Of Montreal’s Bryan Poole - and with good reason: this band delivers! Highly recommended for fans of the above mentioned references and alt-rock fans of all ages.
--Tom Semioli

Photo: Ryan Muir

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THE WANDAS

2011-09-08T11:41:00.000-07:00

The Wandas
TFMRA [08/30/2011]

Turn off your mind, relax and float downstream. This critically acclaimed Boston quartet has a trophy case full of honors – Time Out Magazine’s Band of the Year (2010), Boston Music Awards Best Band of the Year (2010) – plus a host of hosannas from the such revered outlets as the Boston Globe and WBRU to name a few. Heck, Guitar World and USA Today have already cited The Wandas among the best albums of 2011 and the darn thing isn’t even out yet as of this writing!

So what’s the fuss all about? Well, it’s certainly one of the most mellow albums you’ll hear this year. Singer / keyboardist Keith MacEachem has his cool quotient turned up to 11 – his croon is both seductive and convincing (I hear traces of Bryan Ferry and Marc Bolan – but I may be getting on in years!) His Fender Rhodes mastery will certainly remind mom and dad of the sunny 70s wherein Stevie Wonder and Paul Simon ruled the airwaves. The rhythm section of bassist Ross Lucivero, drummer William Bierce, and guitarist Brent Batty (nice slide licks on “I Think It’s Time”) are quite flexible too, laying down a blue-eyed soul (warning: don’t use that analogy in the presence of Darryl Hall) palette for MacEachem to pour his heart out – and their vocal harmonies are nothing short of lush.

“Forever and Ever” is the single – and if it reminds you of a cut Christine McVie would have written for Rumors or Tusk – you’re in good company. The folksy “Mr. Mister” has nothing to do with the 80s ensemble of the same name, however I would recommend that they give it a shot – it’s got enough hooks to pull them off the oldies circuit. “Shotguns and Booze” is the sort of track that Elton John put on the b-side of his big hits.

The Wandas may be the sleeper hit of the year – no pun intended!
--Tom Semioli

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GOLDEN BLOOM

2011-09-02T06:31:00.000-07:00

March To The Drums EP
The Sleepy West [08/23/2011]

Who knew that riding the train every day in New Jersey would inspire such greatness? Golden Bloom is a disguise for the many mesmerizing moods and musical meanderings of crooner/composer/multi-instrumentalist Shawn Fogel, who, according to his bio, conjures his lyrics on the Garden State's mass transit system! Fogel and his team of producer Peter Katis (Frightened Rabbit, National Interpol, Tokyo Police Club) and studio collaborator Ryan Ball have emerged with a short, sharp, seductive "EP" (whatever that term means nowadays) which recalls the classic era of singer songwriters wherein an artist was free to express themselves without having to adhere to a specific marketable formula.

"In The Beginning" recalls Brian Wilson circa 1966 with its neatly orchestrated intro and sweeping verses - pity Mike Love, Bruce Johnson, Brian, and Al Jardine weren't in on the sessions. The single (whatever that means nowadays) "You Go On (& On)" melds sentimentality and melody much like Ray Davies did in his younger days when he sang of growling old, and in his present senior citizenry wherein he reminisces over his youth. Two brief yet wildly diverse instrumental vignettes - the acoustic "Passing" - and the electronic "Still Beat the Same" - prove that the album format can survive in modern times. One wishes Fogel would take his time and produce a bona fide long-player. Until then we'll gladly march to the March To The Drums.
--Tom Semioli

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MATTHEW RYAN

2011-09-01T06:19:00.000-07:00

I Recall Standing As Though Nothing Could Fall
The Dear Future Collection [08/23/2011]

There are some artists who will likely never concede an upward glance, no many how much sentiment they betray or what circumstances contribute to their muse. The examples are obvious – artists like Leonard Cohen, Nick Cave, Jeff Buckley and Tom Waits have made those low-cast designs such an intrinsic part of their signature sound that any hint of optimism might seem wholly out of character. Over the course of his dozen albums, Matthew Ryan has more or less followed suit, offering darkly-lit ruminations fused to a pensive perspective. Haunting and bewitching, the music is so consistently somber it often makes many of those aforementioned artists sound absolutely giddy by comparison.

Of course, Ryan isn’t nearly as well known as those kindred spirits, but his twilight templates have established him as a foremost purveyor of downcast deliberation. An insightful artist with an intuitive ability to convey mood and emotion, he writes dirge-like melodies that hang like a shroud, each draped in a dense atmospheric overlay. In that regard, I Recall Standing As Though Nothing Could Fall varies little from that conceit. Yet, as a haunting, eerily beautiful dissertation on the troubles that afflict mere mortals in this troubled world, it’s unerringly affecting, not to mention both beautiful and beguiling.

Despite any initial optimism that the title might suggest, I Recall Standing As Though Nothing Could Fall’s haunting dissertation on romance and mortality mostly dispels any notion that glee will prevail over gloom. The ambiance is all encompassing, propelled by skittish tempos and scant piano, Ryan’s languid vocals draped in desperation and despair. His slur and sprawl in “Harmonium Song” and the ominous elasticity that informs his singing on “I Don’t Want a Third World War” only heighten that sense of urgency and intrigue. “My darker side has come to this,” he moans on “My Darker Side,” a song well suited as a potential signature song. In truth, that darker demeanor arrived awhile ago. I Recall Standing As Though Nothing Could Fall merely confirms it’s here to stay.
--Lee Zimmerman

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THE FEATURES

2011-08-31T11:25:00.000-07:00

Wilderness
Bug Music / Serpents and Snakes [07/26/2011]

There’s a wealth of familiar sounds wafting through this third album by the Features, and some are so startling as to make the listener do an aural double take. This Sparta, Tennessee outfit has had a respectable career up until now, but so far there’s been little that would make the unawares take extra notice.

This time around, any indifference may shift in their favor, although ironically that may owe more to the familiarity factor that’s instilled throughout. Singer Matthew Pelham sounds strikingly similar to Robert Plant on “Rambo” and the band as a whole takes on a Led Zep-like vibe on the funky “How It Starts.” However, there’s more of a modern reference found on songs like “Golden Comb” and “Another Day,” where the jittery rhythms bring to mind Kings of Leon. Still, it would be unfair to rate the Features solely on the basis of comparisons. The sheer energy inherent in “Offer Up,” “Big Mama Gonna Whip Us Good,” “Love Is…” and “Chapter III” betrays an emphatic energy that’s literally hard to resist.

Ultimately – and to their credit – the Features are difficult to typecast, and all other references aside, this is a band that clearly is still coming into its own. Wilderness rocks and provides anticipation for whatever revelry they may beget in the future.
--Lee Zimmerman

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CINEMATIC - BLITZEN TRAPPER

2011-08-30T09:18:00.000-07:00

Watch the brand new video for “Love The Way You Walk Away” here.

New album, American Goldwing, out September 13th on Sub Pop Records.

Beginning October 7th in Petaluma, CA, Blitzen Trapper will embark on a six-week North America co-headlining tour with Dawes.

TOUR DATES (more to be announced shortly):

October 7th Mystic Theatre Petaluma, CA
October 8th SoHo Santa Barbara, CA
October 9th Belly Up Solana Beach, CA
October 10th Crescent Ballroom Phoenix, AZ
October 13th Club Dada Dallas, TX
October 14th Utopia Fest Utopia, TX
October 15th Manship Theatre Baton Rouge, LA
October 18th Variety Playhouse Atlanta, GA
October 19th Mercy Lounge Nashville, TN
October 20th Headliner’s Louisville, KY
October 21st Orange Peel Asheville, NC
October 22nd Cat’s Cradle Chapel Hill, NC
October 24th The Black Cat Washington, DC
October 26th Webster Hall New York, NY
October 27th The TLA Philadelphia, PA
October 28th Royale Boston, MA
October 30th Opera House Toronto, ON
November 1st Beachland Ballroom Cleveland, OH
November 2nd Calvin College Grand Rapids, MI
November 3rd The Metro Chicago, IL
November 4th First Ave Minneapolis, MN
November 7th Fox Theatre Boulder, CO
November 11th The Neptune Seattle, WA
November 13th McDonald Theatre Eugene, OR
November 15th The Fillmore San Francisco, CA

ARCTIC MONKEYS

2011-08-29T11:19:00.000-07:00

Suck It And See
Domino [06/07/2011]

To this reviewer at least, the Arctic Monkeys have never seemed the most engaging group of musicians. Long on attitude, competent in terms of aptitude, and unsparing in their use of amplitude, they’ve come across as posers in the worst way. Alex Turner’s arched vocals and his band mates’ indie insurgency seemed to suggest they were more intent on maintaining their insolent image as opposed to upping the ante overall. Bearing all that in mind, the defiant title of their fourth album, Suck It And See, seemed to imply more of the same. So it’s with a degree of caution that one dives headfirst into this new aural exposition; thankfully then, the band’s toned down some of their trademark verbosity and opted instead for what might be described as more accessible circumstance.

It’s best to draw attention to opening track “She’s Thunderstorms,” “Black Treacle,” “Reckless Serenade” and “The Hellcat Spangled Shalalala,” given that this streamlined template hews to more of a traditional pop precept. The noise quotient is never wholly off the table -- the more potent rockers “Brick By Brick,” “All My Own Stunts” and “Don’t Sit Down ‘Cause I’ve Moved Your Chair” prove that -- and indeed there’s nothing here to suggest that the group’s moving into mellower terrain. Still, those willing to investigate further and pay a return visit need not shy away. While Suck It And See may not seem the most gracious invitation, it may be more suck-sessful (sorry) in terms of attracting an even wider sphere of devotees.
--Lee Zimmerman

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DEAD BLACK HEARTS

2011-08-27T14:20:00.000-07:00

The Southern Front EP
Monolathe [08/23/2011]

The Dead Black Hearts are five young lads from Austin, Texas with a multitude of influences ranging from punk to experimental to Americana to jangle pop - I wish I could reveal their identities and their respective instruments to afford credit where credit is due however it seems as if the concise and informative "press release," among some imprints, has become a lost art (according to Facebook they are Brian, Reid, Austin, Aaron, James).

DBH's singer may remind some of you older folks of a fresh faced Wayne Coyne at times by way of his nasal, high-pitched delivery. Yet the rhythm section is far from progressive, opting to lay down a heavy, almost plodding backdrop which actually works given their simple compositions. "Spit Shine" melds angelic harmonies and church bells with blotto fuzz guitar motifs and honky-tonk piano - go figure! Don't let those hand-claps and acapella vocals at the onset of "How To Win An Argument" fool you - by the time the first verse kicks in you'd think Joy Division came bursting through the door. The Neanderthal bass intro to "Ambush!" is the stuff of Goth glory, however the singer's command of a strong hook in the chorus provides much needed pop relief. 'Twould have been nice if DBH fleshed this set out to a full album.

Highly recommended for Arcade Fire, Flaming Lips, Bright Eyes fans. Who are these guys again?

--Tom Semioli

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PEPPER RABBIT

2011-08-26T06:58:00.000-07:00

Red Velvet Snowball
Kanine [08/09/2011]

Someone tell Brian Wilson that he can finally retire - Xander Singh and Luc Laurent are here to carry the mantle of chamber pop to its next level. The duo, known to the world as Pepper Rabbit - have essentially waxed an album that should have been the follow-up to the real version of Pet Sounds. Abetting standard rock instrumentation with ancient musical utensils Singh found out about whilst working in a music store, including ukuleles, bells, clarinet, horns, kazoos, and the almighty analog synthesizer, Red Velvet Snowball emerges as a timeless record with one foot in the past and the other in the future.

Singh's high pitched voice, which effortlessly breaks into a falsetto (you might make mistake him for a female at times or Mike Love, or one of the Wilson brothers - or a combination thereof!)is the perfect vehicle to navigate through PR's penchant for the surreal. The "Annexation of Puerto Rico" illustrates what makes the band special by way of its various movements which draw from folk, psychedelic, and avant-garde as the composition glides from verse to chorus and ultimately to a bridge worthy of Frank Zappa & The Mothers' Freak Out. Quieter moments such as "In Search of Simon Birch" excel via percolating sound-effects and layered vocal harmonies embellished with a combination of strings and trumpets drenched in reverb. Laurent's firm military beat beneath "Lake House" holds the track together as Singh's disparate sound collages hazily drift from speaker to speaker until the song ends in a swirl of cacophony.

Sounds like Surf's Up for Pepper Rabbit - highly recommended pop fans with otherworldly tastes.
--Tom Semioli

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FOUNTAINS OF WAYNE

2011-08-25T07:49:00.000-07:00

Sky Full Of Holes
Yep Roc [08/02/2011]

Let’s hope it’s only a matter of time until the world wakes up to the fact that Fountains of Wayne are, simply stated, one of the best rock bands in the world. That’s no idle proclamation. While the Stones, U2, Coldplay and others of their ilk may dominate the airwaves, FOW are easily in a position to win the hearts and minds of the music loving populace, with awesome hooks and exuberant refrains that take hold from the get-go.

Then again, let’s not get overly excited. The band’s been around for over a dozen years and has come close to mass stardom before, even to the point of getting a Grammy nomination in 2003 after being ordained “Best New Artist.” Likewise, their last album, Traffic and Weather pretty much confirmed their status as pop perfectionists. But the fame that once seemed so imminent still managed to elude them, and here we are in 2011 with those prospects unfulfilled. So it’s time for the faithful to rally and spread support for Sky Full Of Holes, another album that proclaims FOW’s pop profundity. Bearing the similarities they farmed before – Squeeze, early Kinks, early Costello, Sloan, They Might Be Giants and the like – they mine the intricate details that confirm their craft. They somehow manage to name check both Cracker Barrel and Will Ferrell on the wistful “A Road Song” and etch a plaintive vignette about an everyday dreamer with “Action Hero” (“He is on his hands and knees/He is searching for his keys/At a small Vietnamese/Place on East 11th Street…”) But overall, it’s those elusive yet engaging melodies that command attention immediately – the driving acoustic guitar intro to “The Summer Place,” the rousing whoops of “Radio Bar,” the idyllic reflection of “A Dip in the Ocean” and the riveting rush of adrenalin that fires up “Someone’s Gonna Break Your Heart.”

With Sky Full of Holes, Fountains of Wayne shoots for the stars. And their aim, as always, never falters in the slightest.

--Lee Zimmerman

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BOSTON SPACESHIPS

2011-08-24T05:58:00.000-07:00

Let It Beard
Guided By Voices [08/02/2011]

If you ever lose your classic rock record collection due to climate change, natural disaster, austerity measures, divorce, debt ceilings, or incarceration by way of Homeland Security - not to worry - Let It Beard has got it covered! Commandeered by former Amplifier Magazine cover model and prolific underground rock super-god Robert Pollard of Guided By Voices legend, the Captain and his mighty Boston Spaceships (ex-GBV member Chris Sluserarenko and The Decembertists' John Moen) have waxed a bona fide magnum indie-pop opus which draws heavily from the heaviest albums of the late 1960s - 1970s: a grand and mythical time wherein rockers habitually haberdashed in capes, frilly shirts, and platforms, and Roger Dean posters, gatefold albums, Circus Magazine, Crawdaddy, and bongs were omnipresent items amongst the proletariat . Dig this: in the words of Mr. Pollard LIB is "a subconscious concept album about the sorry state of rock 'n' roll… the White Album meets Quadrophenia meets Jesus Christ Superstar….nobody writes songs like 'Happiness is a Warm Gun' anymore - I wrote a bunch of em!" Enough said!

Along for the journey to the center of your mind are such familiar names as Mitch Mitchell, J. Mascis, Steve Wynn, Mick Collins, Dave Rick, and Colin Newman, among others. Fans of GBV will "do the collapse" over the hooks, riffs, and athemic melodies which effortlessly and endlessly flow from Pollard and his posse from track to track (or side one through four - this is technically a "double album"). There is no need for this writer to afford you a song by song description - Pollard's above mentioned quotes will more than suffice. Simply put, Let It Beard is a record that harkens back to a time when rock 'n' roll really mattered. When Pollard dies, he will take rock 'n' roll with him. Until then… let it beard.
--Tom Semioli

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GOMEZ

2011-08-23T08:06:00.000-07:00

Whatever's On Your Mind
ATO [06/21/2011]

To all but the most keen-eyed observers, it would seem easy to take Gomez for granted. After all, it was early on that they distanced themselves from the competition with a series of colorfully appointed album covers and the receipt of a prestigious Mercury Prize. Since then, they’ve pretty much gone about their business, earning a devoted fan following while offering the impression that making good albums is simply a result of some astute quality control. That’s a fine reputation to harbor, but it does little in the way of shoring up anticipation or making the unknowing take heed. Which is a shame, because in a way, their consistency almost works against them.

Time, then, to take notice, and with Whatever’s On Your Mind, the opportunity is at hand. For those who are late to the game, it may provide a nice surprise, given its wealth of pleasantly tapered melodies and an easy, appealing sound that’s as accessible as it is alluring. Songs like “Options,” “Just As Lost As You,” “That Wolf” and the title track mine a cozy pop palette and veer towards a radio-ready MO, suggesting the band are intent on reestablishing some commercial concerns. There’s tenacity mixed in – the barbed retort that accompanies “The Place and the People” (“Now that you know me very well/Go to hell…”) and the hazy shuffle spun from “I Will Take You There” are the two most obvious examples – but by and large this is an agreeable set of songs and one capable of expanding their base. Suffice it to say that Whatever’s On Your Mind is wholly conducive to a reassuring return.

--Lee Zimmerman

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TIDELANDS

2011-08-18T11:35:00.000-07:00

If...
Independent [07/26/2011]

When rock legend Bob Weir hands you your very first guitar - you'd better make good use of it! Such is the case with Gabriel Montana Leis - the male half of the San Francisco based Tidelands duo. Leis, along with his female co-conspirator Mie Araki (drums, keyboards vocals) have created an extraordinary debut album which draws on such disparate genres as folk, prog-rock, and classical. This mesmerizing mix of flavors should come as no surprise: Araki studied jazz, classical and European music. Leis has composed for cello, violin, and trumpet and has experimented with loops.

In addition, the band was introduced to the conductor of the Magik * Magik Orchestra (Minna Choi) who worked on the charts - which also feature various members of Magik *Magik. Every track is essentially a mini-opera. "Holy Grail" blends punk-y guitar rhythms with a swinging orchestral backdrop whilst Leis' icy vocals recall Ian Curtis and Peter Murphy (be sure to check out the video which was put together from over 1000 watercolor paintings by Ami Kutata). Leis' rapid fire delivery complements his brisk guitar playing on "The Ship" as Araki fractures the back-beat and the strings and synthesizers forge on and on and on. Things quiet down for beginning of "Eyes of God" - a dreamy, mid-tempo track featuring cinematic choruses constructed with odd time signatures and cacophonic blasts - and a coda Lou Reed would have died for circa 1968.

You'd be hard pressed to find a collective that sounds anything like Tidelands - highly recommended for rock 'n' roll fans who are tired of bands recycling the same old ideas
--Tom Semioli

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THE DEAD TREES

2011-08-18T11:15:00.000-07:00

WHATWAVE
Self-Released [07/19/2011]

You can always judge a band by the company they keep! Collaborators with The Strokes' Albert Hammond Jr. and Fabrizio Moretti, The Dead Trees (singer/guitarist Michael Ian Cummings, bassist/singer Todd Dalhoff, guitarist/singer Matthew Borg and drummer/singer Noah Rubin) also specialize in borrowing heavily from the past (in particular the Velvet Underground circa Loaded) and putting somewhat of a modern spin on things. As there is enough nostalgia to go around these days to keep both bands working (TDT has roamed the planet with such kindred spirits as Little Joy, The Whigs, Adam Green, and MGMT) Whatwave rocks in all the right places with minimalist expertise (no guitar heroes here folks, and beginner drummers are welcome) and a sloppy bar-room veneer last perfected by The Replacements (though the aforementioned pretty boys from the East Village came close).

The white boy funk (I'm talking Marc Bolan, not the Red Hot Chilli Peppers) of "My Time Has Just Begun" succeeds by way of a pleasant melody coupled with twice as much attitude. The single/video "World Gone Global" must have been lifted from Ray Davies: snarky in all the right places and you get another hum-able melody to boot! Producer Noah Georgeson of Devendra Banhart, Joanna Newsom, Little Joy fame opts to leave in the mistakes and turn the reverb up a few notches. Hey, I'll bet the Clash would have been proud to have included "Play Your Hand" on side 4 of Sandinista! It's only rock 'n' roll…you know the rest.

--Tom Semioli

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The Dead Trees: "WHATWAVE" by wearesolidgold

OXYGEN PONIES

2011-08-18T08:33:00.001-07:00

RACHAEL YAMAGATA

2011-08-18T08:20:00.001-07:00

Rachael Yamagata
Get More:
Rachael Yamagata, MTV Hive

WASHED OUT

2011-08-17T17:27:00.000-07:00

Within Without
Sub Pop [07/12/2011]

Don't let the cover art fool you - this is not the latest ad for Abercrombie & Fitch! Washed Out is actually the nom de plume of Atlanta based techno-popster Ernest Greene. This follow-up to two acclaimed EPs (whatever that means in modern times) harkens back to the days when Ronald Regan was president, folks walked the earth with Walkman, and MTV seemed like a good idea at the time. Akin to such sizzling, seductive syth-artists of yore including Sade, Eurasure, Human League, and OMD - Mr. Greene is a master of subtle hooks. Heck, that might be Bryan Ferry crooning "Amor Fati" or "Far Away" - two tracks that could have been a b-side to "Avalon" (yes, they made 45's back then). The debut single "Within Without" froths with icy keyboard textures, cool poly-rhythms, and vocals so hushed that the listener cannot decipher the lyrics - early Michael Stipe anyone? Greene's co-conspirator on this platter (I'm showing my age here) is Ben Allen - a gent who has collaborated with such kindred spirits as Animal Collective, Gnarls Barkley, and Deerhunter. Anthemic harmonies abound in "Eyes Be Closed" - a sure sign that the 80s will never die. Give this one an extra star if it comes out on cassette. Highly recommended for fans of the above mentioned references - and a nice anniversary present for moms & dads in their early 50s!
--Tom Semioli

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THE RED BUTTON

2011-08-15T09:15:00.000-07:00

As Far As Yesterday Goes
Grimble [06/21/2011]

Call it déjà vu. Or merely truth in advertising. After all, when the Red Button titles their sophomore set As Far As Yesterday Goes, the intent couldn’t be clearer. The Lennon-esque vocals, the cooing harmonies, the seductive slide guitar… even the handclapped rhythms – all of it suggests the early Merseyside sounds of the Beatles and their fellow Anglophile invaders -- Gerry and the Pacemakers, The Searchers and the Hollies among them. Given the Red Button’s Brit pop propensity, the similarities in sound are all but unmistakable.

Of course, this tact isn’t anything out of the ordinary. Bands as far back as Badfinger, the Raspberries and the Shoes have mined a very distinct niche simply by emulating the Fab Four’s charms. The approach is, of course, pre Pepper in origin, when innocence and idealism generally came to the fore. But you have to admire the Red Button’s unabashed exuberance and lack of inhibition. Their strategy was clear – mine this retro regimen and rekindle it as if the world was still waiting. And there’s no doubt about it – these cooing melodies still sound as fresh as ever. Try as one might to dismiss them as just another nod to nostalgia, songs like “Caught in the Middle,” “On a Summer Day” and “Girl, Don’t” are so irresistibly infectious, they get under the skin from the get go.

Of course, the bubblegum factor veers precipitously close at times, an unavoidable hazard that can befall even the most sophisticated power pop practitioner. Yet, that’s hardly worth the worry. Enthusiasm and authenticity provide reason enough to give the green light to the Red Button for this endeavor.
--Lee Zimmerman

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FEIST

2011-08-12T09:34:00.000-07:00

LISTEN TO "HOW COME YOU NEVER GO THERE", THE FIRST
FULL LENGTH TRACK TO BE RELEASED OFF OF METALS

TOUR DATES

Oct 15 Amsterdam, Holland / Carre Theatre
Oct 17 London, UK / Palladium
Oct 19 Brussels, Belgium / Cirque Royale
Oct 22 Berlin, Germany / Tempodrom
Oct 29 Philadelphia, USA / World Café Live 20th Anniversary
Nov 02 Brooklyn, USA / Howard Gilman Opera House
Nov 04 Chicago, USA / Riviera Theatre
Nov 06 Atlanta, USA / Tabernacle
Nov 08 Dallas, USA / Majestic Theatre
Nov 12 Los Angeles, USA / Wiltern Theatre
Nov 14 San Francisco, USA / Warfield Theatre
Nov 16 Portland, USA/ Arlene Schnitzer Concert Hall
Nov 17 Seattle, USA / Moore Theatre
Nov 18 Vancouver, Canada / Performing Arts Centre
Nov 20 Edmonton, Canada / Northern Alberta Jubilee
Nov 21 Calgary, Canada / Jack Singer Concert Hall
Dec 01 Toronto, Canada / Massey Hall
Dec 03 Montreal, Canada / Metropolis
Dec 05 Ottawa, Canada / National Arts Centre
Dec 06 Quebec City, Canada / Grand Theatre Du Quebec

BOY + KITE

2011-08-12T08:53:00.000-07:00

"Think In Stereo"
From the album Go Fly
Self-Released [07/26/2011]

Having won the “Your Shot to Rock” contest on local rock station 101X, Austin’s Boy + Kite will be a featured act at The Toadies yearly Dia De Los Toadies Festival, along with The Sword and The Black Angels. The festival takes place at the Whitewater Amphitheater in New Braunfels, Texas on August 26th and 27th. “Think In Stereo” is the first single from the album Go Fly.

Tracklisting:
01. Neighbors
02. Ohio
03. Deciphering Static
04. Think In Stereo
05. One
06. Skipping Backwards
07. Dear Lovely
08. Isometrics
09. Alone With A Microphone
10. Satellite

MATES OF STATE

2011-08-11T11:16:00.001-07:00

DAWES

2011-08-11T06:21:00.000-07:00

Nothing Is Wrong
ATO [06/07/2011]

After an initial album that had critics fawning with admiration, Dawes elevates the anticipation with Nothing Is Wrong, a tellingly titled sophomore set that affirms their quick ascension to the top tier of the Americana underground. A band much loved and admired by all who have a fondness for the Laurel Canyon crowd, specifically the ‘70s sensibilities pervaded by Joni, Jackson, Stephen, David, Graham and Neil, Dawes builds on the borrowed template that was so eloquently expressed in their debut, North Hills.

While those golden embers of faraway innocence are still embedded in every wistful sentiment, the consolidation of two years’ worth of touring and a successful side project birthed in the lo-fi conglomerate Middle Brother help affirm their authority. The songs are still draped in incense and patchouli, patched jeans and tattered quilts, but the day-glo designs burn brighter and create a sound suitable for more than merely navel gazing. “Time Spent In Los Angeles,” “If I Wanted Someone,” “My Way Back Home” and “Coming Back to a Man” introduce the album with some exceptionally rousing and resolute refrains, and with few exceptions, the set holds to that tack throughout. “How Far We’ve Come” and “Fire Away” find a celebratory stance that tempers even their most forlorn façades, suggesting that exuberance and empathy need not be mutually exclusive.

An album certain to clinch a nod at the top of the pundits’ preferred picks for 2011, Nothing Is Wrong is nothing less than a beauty to behold. --Lee Zimmerman

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JESSE SYKES & THE SWEET HEREAFTER

2011-08-08T11:45:00.000-07:00

Marble Sun
Thirty Tigers [08/02/2011]

The Sweet Hereafter turns rather turbulent with this, the band’s fourth release. Singer Jesse Sykes and guitarist Phil Wandscher remain at the helm and their ethereal harmonies continue to dominate the core of the proceedings, but the slow burning melancholia that characterized their earlier efforts has given way to a clearer cosmic inclination. Sounding less like the Americana partisans they were in the beginning, and more like some psychedelic merger of early Grateful Dead and Syd Barrett-era Pink Floyd, they rumble their way through opening track “Hushed By Devotion,” transitioning from unbridled ferocity through a quiet hush and eventually the free flying coda that brings the proceedings to a close. The rest of the set retains a dreamy haze, Sykes’ eerie vocals providing a lilting allure even as the songs drift through the ether, cloaked in a hazy cosmic sheen. The trippy ambiance of “Come To Mary” and the circular spin of “Ceiling’s High” maintain that ‘60s sensibility, purveying an aura of smoke rings, incense and dayglo dalliances.

Once elusive and unobtrusive, Jesse Sykes & The Sweet Hereafter have obviously upped the ante with Marble Son. Nevertheless, there’s still a certain amount of circumspect, ensuring that the Sweet Hereafter remain as haunting as ever.
--Lee Zimmerman

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CENTRO-MATIC

2011-08-01T08:38:00.000-07:00

Candidate Waltz
Undertow / 30 Tigers[06/21/2011]

In Centro-matic’s view, there’s a fine line that divides insurgency from Americana, and that’s never been more evident than on Candidate Waltz, the latest in a series of daringly defiant albums that this ragged conglomerate has purveyed for the past twenty years. Helmsman/mainstay Will Johnson takes a pragmatic view, but his arch defiance shapes both the melodies and his mantra. There’s abject determination evident in nearly every entry, as manifest by the unrelenting surge of “All the Talkers” and “Iso-Residue” or the simple statement of fact that ushers in “Against the Line” and “If They Talk You Down.”

Johnson and company aren’t content to merely make noise – they do plenty of that – but they also inject a ferocity that reverberates through every corner of this set, shaking it up with jarring effect. That makes for some disquieting moments, particularly when it comes to the rumbling undertow that underscores the otherwise assertive “Only In My Double Mind,” a title that’s more than suggestive of their conflicting intent. Ultimately though, Candidate Waltz comes across as an extreme if unerring indictment of our modern malaise, spoken from the heart of a band primed to persevere.
--Lee Zimmerman

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THE ROSEBUDS

2011-07-29T19:15:00.001-07:00

Loud Planes Fly Low
Merge [06/07/2011]

You’d think after six albums, the Rosebuds would be better known than they are. Admittedly, the personnel changes that have plagued them from the very beginning – along with an often times frustrating attempt to establish their own identity -- have hamstrung their efforts to entrench themselves in the indie firmament. New album, Loud Planes Fly Low, finds them pulling out all the ammunition in their arsenal to gain the traction that’s averted them so far, and while it’s not so much a drastic departure, it does etch an impression that will hopefully serve them well. The cushy harmonies that grace the first two tracks, “Go Ahead” and “Limitless Arms,” provide a promising beginning and the buoyant pop that bolsters “Come Visit Me” serves that purpose equally well. Still, all is not rosy in the Rosebuds’ world – “Without a Focus” and “Waiting For You” find them in contemplative mode and their resurgence via the dance designs of “Woods” seems somewhat forced and perfunctory. The dreamy stance of “A Story” may be the most distracting divergence however, given a wailing vocal that brings to mind Robert Plant cooing and crooning back in the day. Still, you have to give credit to a band that’s willing to expand its own parameters and in that regard, it’s clear the Rosebuds are still in full bloom.
--Lee Zimmerman

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ALBUM STREAM - THE DEAD TREES

2011-07-27T11:42:00.000-07:00

WHATWAVE
Self-Released [07/19/2011]

The Dead Trees released their sophomore full-length, WHATWAVE, produced by Noah Georgeson (Devendra Banhart, Joanna Newsom, Little Joy) on July 19, 2011.

The Dead Trees are Michael Ian Cummings (vox, guitar), Todd Dalhoff (bass, vox), Matthew Borg (guitar, vox) and Noah Rubin (drums, vox).
The album was recorded earlier this year in the Hollywood Hills at New King Sound, and features musical contributions from Little Joy's Fabrizio Moretti, Binki Shapiro and Rodrigo Amarante.

"I feel inspired by LA," says Cummings. "There is space here to think and write without getting distracted. I know no one here, and I kind of like it that way. The sunshine doesn't hurt either."

Enjoy the stream……thanks to Jeff Anderson at Solid Gold.

The Dead Trees: "WHATWAVE" by wearesolidgold

CINEMATIC - OK GO

2011-07-27T06:24:00.001-07:00

"All Is Not Lost"

MIRACLE PARADE

2011-07-26T14:58:00.000-07:00

Hark!... And Other Lost Transmissions
Little Record Company [06/21/2011]

Ambition is one thing. Execution is quite another. And oftentimes the two don’t equate. Fortunately, Christopher Pappas, who goes by the alter ego Miracle Parade, has both avenues covered. A prolific songwriter, composer and conductor, his work with the band The Everyday Visuals attracted the ears of knowing observers, who offered equal praise for his original work “Pope! An Epic Musical” and then cheered his performance with a 30 piece orchestra at a noted Boston nightspot.

Still, despite Pappas’ penchant for outside activity, Miracle Parade seems the ideal vehicle for his everyday activities, a sensitive, softly strummed set of carefully crafted folk/pop musings. Influences abound – a hint of Simon and Garfunkel on the bucolic “Regarding the Haunting at 16 Fairfield” and strains of Fairport Convention on the sturdy “Los Feliz Spiritual” – but the album clearly reflects Pappas’ originality and ingenuity. The material is delivered with a soft strum and a gentle hush, and yet, the melodies are assertive and engaging even in the midst of the atmosphere and ambiance.

An intriguing introduction, the beguiling Hark!... And Other Lost Transmissions bodes well for future endeavors. Make note – Miracle Parade seems to suggest an interesting progression.
--Lee Zimmerman

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NOEL GALLAGHER'S HIGH FLYING BIRDS

2011-07-25T09:57:00.000-07:00

"Noel Gallagher's High Flying Birds is me and whoever is around at the time of whatever it is that I'm doing, a loose collective kinda thing" - Noel Gallagher

Video for the 1st single off the upcoming album:
"The Death Of You And Me"

The album Noel Gallagher's High Flying Birds will be released November 8th in the U.S. Co-produced by Noel and David Sardy, the album was recorded in London and Los Angeles and will feature 10 brand new Noel Gallagher songs.

THE FLING

2011-07-24T09:03:00.000-07:00

When The Madhouses Appear
Dangerbird [05/03/2011]

Hailing from Long Beach, California, the Fling is an imaginative combo that regurgitates a number of familiar influences – folk, psychedelic, retro/roots – and recycles them into a musical brew they can conveniently claim as their own. Their initial offering, When the Madhouses Appear, provides a promising introduction, one that bodes well for future entries. For now anyway, the new album shows the band’s agility in balancing mood and melancholia and harvesting an intriguing sound in the process.

While various ethereal effects in the form of distorted guitars and cosmic cacophony account for the stratified textures that inhabit their sound, the music is anchored by the Fling’s three-part harmonies which frequently add an Abbey Road kind of effect -- dreamy at times and yet also strangely soothing. That’s particularly true on songs such as “Cold Control” and “Dry the Rain” which bear an overload of psychedelic suggestion. It’s intriguing no doubt, but the supple sway of “Nothing Makes Sense,” the acoustic guitars of “Elinor” and “Devil’s Man,” and the lazy drift of “Day I Find” prove equally effective. Dustin Lovelis (guitars, vocals), Graham Lovelis (bass, vocals), Justin Roeland (guitars, keys, vocals), and Justin Ivey (drums) seem to have found an effective mesh and the confidence that Dustin, Justin, Justin and Graham display so early on indicates they’re about to become major alt contenders. Consider this Fling to be a fling well worth engaging in.
--Lee Zimmerman

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NIGHT MOVES

2011-07-23T11:43:00.000-07:00

Colored Emotions
Afternoon [05/24/2011]

Okay let's get the Bob Seger jokes out of the way….but seriously folks, you have to check out Night Moves (rockers beware: scores of cheap tuxedo and mullet hair-do wearing wedding/ Bar Mitzvah bands are roaming the United States with the identical moniker, so don't even attempt to Yahoo/Google these lads…).This Minneapolis based trippy, neo-hippy trio excel in orchestral dream-pop akin to the many noteworthy modern-day indie ensembles inspired by big daddy Brian Wilson and the late great Syd Barrett: namely Ladybug Transistor, the Flaming Lips, Of Montreal, The Electric Soft Parade and the like. (Note: NM's identities and credits are a mystery as they have no official press materials, and their web-pages are woefully absent of information.) "Headlights" kicks off the album with a mid-tempo psychedelic mish-mash of jangly reverb laden guitars, falsetto vocals, other worldly string arrangements, and assorted blips, bleeps and bloops that will have your dog chasing its tail! Austin Powers fans will revel in "Cosmic Titties" (now there's a title Frank Zappa must have missed…") which cops the sounds of Swingin' London circa 1967 quite accurately. The sweeping "Country Queen" breaks out into a full fledged rocker at the coda thanks to the drummer who forges a heavy groove amongst the layers of multi-tracked keyboards and guitars. Though the lyrics are mostly unintelligible and the arrangements from song to song are impossible to tell apart, Colored Emotions is an enjoyable romp through the past, present, and future.
--Tom Semioli

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THIS WILL DESTROY YOU

2011-07-14T19:02:00.000-07:00

Tunnel Blanket
Suicide Squeeze [05/10/2011]

Is it music or is it background music? Sometime in the 1990s a genre aptly dubbed "post-rock" emerged wherein ensembles such as Tortoise, Sigur Ros, Stereolab and Sea and Cake, among others, tossed out the rock 'n' roll playbook (i.e. intro, verse, verse, chorus, verse, bridge, chorus, fade) in favor of sounds and textures as opposed to melodies and hooks. Of course, older hipsters will rightfully inform you that John Coltrane and Miles Davis blazed this trail the generations ago, discarding chord changes and song structure all together - which caused much consternation among the jazz police (to this day Wynton Marsalis and Stanley Crouch froth over the thought of electric instruments on the jazz bandstand). And lest we forget Pink Floyd's space-rock masterstrokes: Saucerful of Secrets and Ummagumma, along with Brian Eno's ambient revolution which broke whatever barriers were left.

Enter the quartet This Will Destroy You comprised of guitarists Jeremy Galindo and Chris King, bassist/keyboardist Donovan Jones, and drummer Alex Bhore - who evoke comparison to all the above mentioned references. On their second studio effort the group is in mellow minimalist mode, spreading the barest of motifs over lengthy compositions. "Powdered Hand" slithers along with lower register string passages provided by guest player Christopher Tignor. Jones' somnambulent keyboards dominate "Little Smoke" as he crawls from note to note whilst his mates stay out of the proceedings. In midst of "Killed the Lord, Left for the New World" drummer Bhore breaks into a stirring military beat until Jones' keyboard approximates white noise into the fade out.

Is it music or is it background music? You decide!
--Tom Semioli

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TYPHOON

2011-07-14T07:02:00.000-07:00

"Summer Home"
From the EP A New Kind Of House
Tender Loving Empire [03/15/2011]

“Akin to the Fleet Foxes, Decemberists, Belle & Sebastian, and Rilo Kiley - Typhoon exist in their own cosmic world.” Tom Semioli -- AMPLIFIER

Tender Loving Empire’s Typhoon is heading out on a coast-to-coast summer tour in support of their latest EP, A New Kind of House (see AMPLIFIER review. In addition to their headlining tour, the band will play a select number of dates with The Decemberists and will make appearances at Lollapalooza, the Osheaga Music & Arts Festival, the Newport Folk Festival and MusicFest NW. Typhoon will also be making a number of in-store performances at record stores across the country!

Typhoon will also make their national television debut on The Late Show with David Letterman performing their single “The Honest Truth”.

Typhoon - The Honest Truth (Radio Edit) by Tender Loving Empire

TOUR DATES
July 19 Jacksonville, OR Britt Pavilion*
July 20 Boise, ID Idaho Botanical Gardens*
July 21 Salt Lake City, UT Twilight Concert Series*
July 22 Missoula, MT Big Sky Brewery*
July 23 Bozeman, MT The Filling Station VFW
July 25 Minneapolis, MN Cedar Cultural Center
July 28 Northampton, MA The Iron Horse Music Hall
July 29 Philadelphia, PA The North Star Bar
July 30 Newport, RI Newport Folk Festival
July 31 Montreal, QB Osheaga Festival
August 2 New York, NY The Mercury Lounge
August 3 Brooklyn, NY Littlefield
August 4 Washington, DC Sixth & Synagogue
August 6 Chicago, IL Lollapalooza
August 8 St. Louis, MO The Old Rock House
August 9 Kansas City, MO The Riot Room
August 10 Denver, CO Hi-Dive
August 12 Boise, ID Record Exchange
September 10 Portland, OR MusicfestNW @ Pioneer
Courthouse Square^

*w/ The Decemberists
^w/ Explosions in the Sky, The Antlers

LE BUTCHERETTES

2011-07-12T17:52:00.001-07:00

Sin Sin Sin
Rodriguez Lopez Productions [05/10/2011]

For some recording artists who are too young to remember literate and politically charged rockers such as Patti Smith, Dead Kennedys, or Gang of Four the first time around, the calendar ceases to exist past the apex of the punk era circa 1976. However, that is not necessarily a bad nor lazy means to make rock ‘n’ roll considering all the iconic records that were created when the average gallon of gas was $0.62 and President Jimmy Carter was trying in vain to tell America to get its shit together. Witness Le Butcherettes, a wild and crazy Tapatio (that’s slang for someone from Guadalajara) garage punk band led by charismatic and most explosive singer /songwriter / guitarist Teri Gender Bender (nee Teresa Suaréz) –who is a woman and looks like one too – her name refers to the blurred and oft misguided social roles that men and women assume in what passes for modern society these days.

Her band (which is now based in Los Angeles and features bassist Jonathan Hischke and drummer Gabe Serbian) began as a bass-less duo which became quickly renowned for their symbolically gory stage antics in their native Mexico which included Ms. Bender dressed as an oppressed, blood drenched housewife whilst her drummer assumed the guise of a domineering, abusive male. Though their hearts and minds were in the right place and they accrued critical acclaim (opening for Dead Weather, Yeah Yeah Yeahs and scooping up a couple of Indie-O awards), it took producer Omar Rodriguez-Lopez of Mars Volta fame to get their music together. And that’s the jagged beauty of Sin Sin Sin – a well constructed, sonically brilliant, kick ass record laden with powerful messages in support of equal rights for women from the workplace to the bedroom.

Akin the best socially conscious writers that rock ‘n’ roll has produced to date – including poet laureates Dylan and the aforementioned Smith – Bender is neither preachy nor condescending. Extremely heavy, no frills over-driven guitars coupled with an even heavier rhythm section thrust Ms. Bender’s hooky melodies and thought provoking lyrics to the forefront like a jackhammer to the forehead. Tracks such as “Henry Don’t Got Love” “Tonite” and “Dress Off” might be too much of a shock to the system for a young pop audience dumbed down by corporate music brands such as Lady Gaga or Beyonce. Or they may be the battle cry of a new rock ‘n’ roll revolution. I’m hoping for the latter.
--Tom Semioli

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JARED MEES & THE GROWN CHILDREN

2011-07-11T06:55:00.000-07:00

Only Good Thoughts Can Stay
Tender Loving Empire [05/10/2011]

If ever an album delivered on its title, Only Good Thoughts Can Stay is indeed the one. Jared Mees and company proffer jaunty rhythms, a carefree attitude and enough unabashed exuberance to make even an initial encounter suggest there’s cause for further indulgence. Backed by a band that seems more the freewheeling conglomerate, Mees possesses a vocal swoon and casual saunter that often brings Ray Davies to mind, a style that’s especially conspicuous on tracks like the jittery “Hungry Like a Tiger” and “Inaudible Song” where the band indulges in no small amount of wooziness and whimsy. Likewise, when this otherwise offhanded ensemble manages to build momentum, as reflected through the swelling flourish of “Even Little Mountains” in particular, then Mees performs the role of a perennial cheerleader who elevates the activity. The mood is mostly nonchalant throughout – the exception coming in the form of the hyper “Graverobbers” and the aforementioned “Even Little Mountains” – suggesting that the good thoughts are not only being sustained, but actually encouraged to linger longer.
--Lee Zimmerman

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DELAY TREES

2011-07-07T15:15:00.000-07:00

AMPLIFIER ALBUM REVIEW

Delay Trees
Friendly Fire [05/10/2011]

By the way, which one's Pink? Delay Trees - a young Scandinavian quartet aptly named for their love of the forest and instrumental reverb effects - catch the eternally ethereal vibe of the above referenced Floyd (read your history books, kids) at the precise moment in time when the legendary Brits made their historic transition from Syd Barrett's band to David Gilmour and Roger Waters' vehicle for rock 'n' roll space travel. Singer / band-leader Rami Vierula certainly displays a penchant for pop song-craft - hence the Barrett comparison (his voice is somewhat similar too). However his nimble and wildly experimental band-mates; Sami Korhonen (bass/synth), Lauri Jarvinen (guitar/synth/backing vocals), and Onni Oikri have decidedly set the controls for the heart of the sun. The result is a brilliant debut album with one foot in the past and another in the future.

Anywhere you metaphorically drop the needle on this platter (Note to the record company - put this album out on vinyl!!!), you're likely to be transported to a mystical world of hypnotic melodies, somnambulant sound collages, and epic instrumental passages. Tracks such as "Gold" slowly gestate from a simple ballad to a cinematic tour-de-force as the lads kick-in on the second verse with Oikri bashing away whilst his pals maintain a druggy tempo. Vierula's voice is drenched in - you guessed it, reverb - for the buoyant, folksy "About Brothers" (Roger McGuinn could have used this one for Notorious Byrd Brothers). "Tarantula / Holding On" is another fine rocker outfitted with spacey effects and trippy interludes, which once again build into a grand finale.

Delay Trees have a classic rock album in them - but for now, do turn on to Delay Trees before the world finds out about them!

--Tom Semioli

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delaytrees.com

BODIES OF WATER

2011-07-06T07:54:00.000-07:00

AMPLIFIER ALBUM REVIEW

Twist Again
Thousand Tongues [06/21/2011]

Pardon the pun, but Bodies of Water are a fluid bunch. Alternately smooth and supple, then boisterous and effusive, the band’s third full-length album is unfailingly engaging, the type of record that could propel them to a larger audience if it was to get the attention it deserves. Occasionally compared to Arcade Fire and Polyphonic Spree primarily due to their grand ambitions, Bodies of Water is neither as complex or as perplexing as those two entities, and yet at times, they’re every bit as compelling.

The melancholic, overwrought essence of “Mary, Don’t You Weep” and the gentle serenade that unfolds as “Lights Out Forever” each attest to the group’s ability to caress, while “Triplets,” “Rise Up, Careful” and “In Your Thrall Again” up the ante on energy and intensity. The group’s two singers, Meredith Metcalf and David Metcalf, put their individual spin on these tunes, with Meredith playing the sultry siren and David offering a hushed, haunting presence that brings to mind Nick Cave at his most eerie and ominous. Nevertheless, there is a consistency, an overall flow that keeps the music moving and imbued with allure. Ultimately, that ensures Twist Again lives up to its title completely.
--Lee Zimmerman

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.NET

STEVE HACKETT

2011-07-05T17:36:00.000-07:00

AMPLIFIER ALBUM REVIEW

Live Rails
Out of the Tunnel’s Mouth
Inside Out [05/03/2011]

Those that pine for the passing of progressive rock, and more specifically, lament the creative demise of Genesis following their split with Peter Gabriel, ought to find some consolation in these two simultaneous offerings by one of that band’s early mainstays, guitarist Steve Hackett. Hackett, who contributed to early albums like Foxtrot, Selling England By the Pound and The Lamb Lies Down on Broadway, helped etch Genesis’ stellar reputation as true prog purveyors. While the band’s commercial fortunes didn’t necessarily wane following his departure, their music certainly suffered and their adventurous instincts seemed rote by comparison. Yet, when Hackett embarked on a striking series of solo albums, his virtuosity and versatility remained undeterred.

That’s never been more evident that on these two albums, each offering abundant examples of Hackett’s remarkable prowess. There’s quite a bit here for even diehards to digest, although some duplication is found in the live bonus disc that accompanies the studio set, Out of the Tunnel’s Mouth. In total, it’s an inspired four sides, each allowing Hackett to demonstrate his virtuosity in both a delicate acoustic setting and with the flash and sizzle of his searing electric workouts. He has an ace band in tow, and the combination of his fret board finesse with rich, resonate vocals, majestic keyboards, complex percussion and the added allure of flute, violin, and, on the studio sides, a cameo from Yes bassist Chris Squire, create a dazzling, somewhat symphonic impression. There’s brilliance manifest throughout each of these sets, and the live takes of classic Genesis songs like “Firth of Fifth” and “Fly on a Windshield” are as breathtaking now as they were in their original incarnations. The newer material is equally impressive, not to mention stunning, surreal and utterly absorbing, from his rapid-fire pyrotechnics on “Sleepers,” through to the stoic sensibilities of “Ghost in the Glass” and the ethereal airs that surround “Nomad.”

Hackett himself describes the new music as “screeching hot metal, along with a virtual Andalusion dance troupe -- whirling dervishes and a whole platoon of sugar plum fairies.” Given its daunting complexity and intensity, his assessment might very well suffice. As for the live sides, suffice it to say his Live Archive, a multi-disc set that extensively retraced his career over three decades, remains his definitive document. However, with Live Rails retracing some of the same terrain, it too creates an impression that’s just as monumental as it is mesmerizing.
--Lee Zimmerman

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.COM

GRUFF RHYS

2011-07-04T08:34:00.000-07:00

AMPLIFIER ALBUM REVIEW

Hotel Shampoo
Wichita Recordings [05/03/2011]

Despite a day job that finds him helming the supremely eccentric Super Furry Animals, Gruff Rhys shows that in his off time, he’s equally ambitious on his own. With three solo albums under his belt, Hotel Shampoo finds Rhys offering up his most effusive effort yet, one that liberally borrows the Furrys’ penchant for invention and ingenuity. Throughout each of its fifteen tracks, this Welshman never falters, keeping the energy at a high mark throughout. Exotic intent predominates, in the tropical haze of “Shark Ridden Waters,” the sumptuous strings and breezy sway of “Vitamin K,” the distinctly Eastern accent of “Follow the Sunflower Trail (Theme Tune for a National Strike),” and the merry mariachi melody accentuating ”Sensations in the Dark.”

Notably then, Rhys often leans towards extravagance and sometimes the exceedingly meticulous arrangements actually threaten to undermine the melodies. Fortunately, the material finds favor in its cheery Brit pop and the inducement of ear candy that’s as entertaining as it is extravagant. That offers ample reason to pay extra attention and succumb to repeated listens in order to reap the full benefit of his ingenuity. An accomplished genuine auteur, this emboldened artist proves he’s capable of holding his own, even in comparison to other oddballs and mad caps, Syd Barrett and Brian Wilson included.

Suffice it to say, Hotel Shampoo deserves all the time it takes to soak it all in.
--Lee Zimmerman

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Gruff Rhys Web

FLEET FOXES

2011-07-04T08:06:00.000-07:00

AMPLIFIER ALBUM REVIEW

Helplessness Blues
Sub Pop [05/03/2011]

Time and again, pop music has proven that there is such thing as an overnight sensation. Certainly Fleet Foxes affirmed that notion with the instant acclaim accorded their self –titled debut. An album that encouraged other bands with similar sensibilities – Dawes, Blitzen Trapper, Middle Brother, Midlake and Mumford & Sons, among them – it suggested that Fleet Foxes would be the band that might bring the so-called nu-folk scene full circle. Look to Helplessness Blues to elevate that already stellar reputation by further rekindling the comparisons to the Laurel Canyon crowd. Indeed, Fleet Foxes re-imagine those homespun trappings by using utilizing guitar strums, fiddles, mandolin and dulcimer to add authenticity, even as moogs and mellotrons alter the ambiance.

Numerous references come immediately to mind, particularly Crosby Stills and Nash, thanks to the swelling harmonies and the brow-furling sentiment. One need look no further than “Sim Sala Bim,“ given the way the quiet acoustic guitars blossom into a furious send-off that echoes the frenzied farewell of “Suite Judy Blue Eyes.” The influences don’t end there either; hints of Fleetwood Mac, Fairport Convention, and the Beach Boys are etched in their template. Likewise, the cascading choruses that soar through the songs “Montezuma,” “Bedouin Dress” and “Blue Spotted Tail” can’t help but leave a more majestic impression. It’s a mesmerizing allure that makes Helplessness Blues sound so dramatic and distinct. Flush with reverence and circumspect, it etches an aura all its own.
--Lee Zimmerman

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Fleet Foxes WWW.COM

DAVID KILGOUR AND THE HEAVY EIGHTS

2011-07-01T08:00:00.000-07:00

Left By Soft
Merge [04/26/2010]

Kilgour, the former front man of the Clean offers another example of a gently cushioned sound that effectively breaches the divide between today’s indie revisionists and the classic instrumental swell of bands like the Byrds and the Barracudas. Having his current band the Heavy Eights in tow adds a certain amount of oomph, as demonstrated by the opening instrumental “Left By Soft” and “Way Down Here,” which finds the band veering from a gentle meandering intro to a Foo Fighters-like crush. Yet it’s the semi-psychedelic lilt of “Autumn Sun” and the adroit instrumental “Purple Balloon” that affirm their particular prowess as far as juxtaposing some sturdy resolve with a dreamy dalliance. The approach can be a bit hazy at times, as the hallucinatory “Theme” seems to indicate, but overall this a solidly assertive effort, one that finds Kilgour and company moving ahead confidently and leaving some melodious tunes in their wake. In the refrain of “I’ll Climb Back Up That Hill,” they attest to that resolve, and at this point it’s clear they’re remaining true to their word.
--Lee Zimmerman

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David Kilgour site

GARAGE A TROIS

2011-06-27T12:05:00.000-07:00

Always Be Happy, But Stay Evil
Royal Potato Records [04/12/2011]

Music critics (like those stuffed shirts in the New York Times, or smarty-pants Rolling Stone writers) will opine that very few bands live up to the title "super group." Not true. Assemble great musicians in a studio and something amazing is usually apt to occur, even if it takes a few decades to understand it (from electric Miles Davis to Blind Faith to Chickenfoot…well, maybe not Sammy Hagar's last disaster but…). Enter Garage A Trois who are indeed a super group and are most worthy of the aforementioned moniker of doom. Actually GAT is a "post-rock-freak-jazz" super group and somewhere in the cosmos, Frank Zappa is smiling (and perhaps transcribing a few licks!).

For the record GAT's fearsome foursome are keyboard whiz Marco Benevento, saxophonist Skerik, drummer Stanton Moore, and punk rock vibraphonist (I'm not making that up, it's in his official bio) Mike Dillon. Akin to The Bad Plus (jazzers who rock) and Tortoise (rockers who play jazz) GAT dips its fingers into many genres: from ambient to psychedelic to indie rock to avante garde (haven't got a clue?) and then some. What we have on this collection are essentially tracks that will appeal to open minded indie rockers ("Omar," "Chimp & Flower") and others that will have you reaching for a bottle of Advil ("Dark Bogul"). Benevento and Moore are the anchors of GAT as they provide a fairly solid harmonic foundation whilst Skerik and Dillon are free to improvise. For those of you who dig Tortoise, Bad Plus, Stereolab, and Gastr del Sol - Always Be Happy… will make you very happy. For those out of the experimental loop, wait another ten years and give this one a listen!
--Tom Semioli

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Garage a Trois Myspace

ELBOW

2011-06-24T05:32:00.000-07:00

Build a Rocket Boys!
Fiction/Downtown [04/12/2011]

After four albums of what the band itself famously referred to as “prog without the solos,” Elbow has produced their warmest, most reassuring effort yet, one that’s embossed with a luminous glow and a sound etched with beauty and framed by sheer emotion. Singer Guy Harvey has never sounded so radiant; indeed, his vocal on both the title track – and its entreating chorus in particular -- and “Dear Friends,” the solemn, subdued ballad that bids the album farewell, rank among the most gorgeous entries in Elbow’s catalogue. This is as spectacular an affair as any British band of their ilk has offered in recent memory, and while comparisons to Keane and Coldplay may continue to haunt them, it’s obvious they’ve advanced well beyond that starting block.

Given the fact that no producer is listed among the credits – and that Harvey himself was charged with the arrangements – Elbow themselves (Garvey, keyboardist Craig Potter, guitarist Mark Potter, bassist Pete Turner and drummer Richard Jupp) can claim this victory wholly on their own, further evidence that these Mercury Prize winners deserve the kudos they’ve been accorded. Always a thinking man’s band – their 2005 opus, Leaders of the Free World was noted for its political commentary and media observations – Build a Rocket Boys! demonstrates that their thoughtful approach remains intact, evident in the careful rumination of songs like “The Birds,” and its pensive reprise, plus “Jesus Is a Rochdale Girl,” and ”The River,” all of which are so carefully crafted that modesty and majesty are thoroughly intertwined. When things turn celebratory, as on “Neat Little Rows” and “Open Arms,” the sense of triumph is palpable, with brass and choir adding to the collective triumph.

Elbow again proves themselves to be one class act, and with Build a Rocket Boys! they’ve hit new heights.
--Lee Zimmerman

Elbow Website

SLEEPY VIKINGS

2011-06-23T06:11:00.000-07:00

They Will Find You Here
New Granada

They're not sleepy. They're hardly Vikings (unless climate change affects their native Tampa, which is very likely in the near future). And they're certainly not metal, as their moniker suggests. Give me a blindfold test and I'd guess someone found a tape of an unreleased post-John Cale Velvet Underground album - which is quite refreshing in this era of auto-tune and Pro-Tools tomfoolery! Akin to the hallowed VU and their third generation offspring (Pavement, Sonic Youth), these five ladies and a lad are more "sound architects" than accomplished musicians - (whatever that means in modern times) but they do know how to compose a pop tune as evidenced on their brisk debut disc.

Singer / keyboardist Tessa McKenna and lone dude guitarist Julian Conner croon in tandem with a sexy yet icy detachment reminiscent of Nico/Reed, Slick/Balin, and Doe/Cervenka whilst their mates forge their way through jangle pop ("These Days"), folk pop ("A Backyard Funeral"), and post-punk pop ("White Wolves"). And for those of you who howl "where have all the alt-rock guitar heroes gone!" (I'm referring to Johnny Marr and John Squire here...) be sure to tune into Conner's reverb laden blotto brilliance on his lead break for "Calm" - pure genius. The band is currently tearing it up on the indie circuit - be advised to jump on the SV bandwagon before everyone else does!
--Tom Semioli

Photo: Kelley Jackson

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Sleepy Vikings website

DALE EARNHARDT JR. JR.

2011-06-22T09:38:00.000-07:00

It’s a Corporate World
Quite Scientific/Warner Bros. [06/07/2011]

With their first official full-length, this unlikely duo from Detroit makes a bold statement, one that finds them coming a long way from their DIY beginnings. They’re still as confounding as ever, thanks to a sound that’s best described as… well, indescribable. It’s a strange mix, fastidious pop driven by vigorous rhythms, scattershot arrangements and a dreamy, shimmering musical tapestry. Most of the songs meander nonchalantly, and even when they reluctantly coalesce -- most notably on “Vocal Chords” and the title track -- the results are both ebullient and effusive. Nevertheless, even the most overt attempt to replicate more perfunctory pop -- the soulful “Almost Lost Detroit,” the lush, melodious “The Fisherman” – seems suspiciously askew.

Then again, any band that takes its moniker from a renowned racecar driver can’t be expected to conform to convention. The fluttery effects that erupt from the otherwise inexplicable “An Ugly Person On A Movie Screen” and the shrill whistles that mesh with the instrumentation on “Skeletons” and “Simple Girl” seem somewhat unnerving on an initial encounter. All of which confirms the fact that Dale Ernhardt Jr. Jr. are an unusual act, one reason why they’ve already earned the distinction of being one of the year’s most notable new arrivals.
--Lee Zimmerman

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www.daleearnhardtjrjr.com

MY MORNING JACKET

2011-06-15T08:10:00.000-07:00

Circuital
ATO Records [05/31/2011]

Has it already been more than a decade and half a dozen albums already? It seems like only yesterday since My Morning Jacket made their understated debut, spinning out the subdued atmospherics of their early trilogy The Tennessee Fire, At Dawn and It Still Moves while building early enthusiasm via a combination of hazy psychedelia and subdued yet sensual grooves. Since that time, they’ve evolved into stadium sensations and steady stalwarts on the festival circuit, with a well-maintained thread that connects to both the jam band and southern rock faithful.

Regardless, Circuital marks a new start of sorts, one that boosts the volume and amplifies the energy to create a more vibrant pastiche. Jim James, under current nom de plume Yim Yames, continues to mine more introspective terrain – the beautiful acoustic ballad “Wonderful (The Way I Feel),” the aptly named “Slow Slow Tune” and the closing piano lament “Movin Away” provide prime examples – while opening up the possibilities for generating some rarely-expressed wide-eyed optimism. Their swampy grooves and dark deliberation notwithstanding, the stealth-like stance invested in songs like “Victory Dance” and the title track support the melodies rather than define them. Yames and company even take a cheeky tone on occasion, whether delivering a druggie’s unrepentant confession (“Outta My System”) or firing up an opus dedicated to the end of days (“The Day Is Coming”)… and that despite the fact that the Rapture has come and gone.

Ultimately, Circuital unfolds as a lush celestial celebration, a mesh of ambiance and intrigue that surges beyond boundaries and into more experimental realms. And given that combination, it offers a genuine sense of revelation.
--Lee Zimmerman

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mymorningjacket.com

WHEELER BROTHERS

2011-06-13T12:26:00.000-07:00

Portraits
Bismeaux [06/21/2011]

It’s rare to find an introductory album that creates such an immediate impression. After all, most rookie outfits take at least two or three outings before they fully come into their own. Yet the Wheeler Brothers’ confidence is clearly a given, and Portraits provides proof that they’re ready to ascend into the big leagues on only a moment’s notice. Their songs undergo deft transitions in texture and tone, from a quiet lilt to an assertive stomp, but the changes in dynamic only add to the intrigue. Like other brother acts, Nolan, Tyler and Patrick Wheeler have an intrinsic bond that’s obviously instinctive, and with their knack for crafting exuberant melodies, this Austin-based outfit proves they can rock relentlessly without negating any subtler nuances.

The brothers’ craft is evident straight away on the opening entry, “Long, Hard Road,” a tangled, triumphant set up that boasts a whooping whistle to herald this effusive introduction. The rest of the set follows suit, and songs such as “Mississippi,” “Jersey” and “Call Me to the Morning” boast a sound that’s easy on the ears, the didactic rhythms and wailing refrains notwithstanding. It all contributes to some instant appeal, and fortunately the Wheelers’ penchant for twists and turns doesn’t dislodge that essential accessibility. However, they also defy categorization and any presumption of folk, rock or Americana quickly becomes somewhat irrelevant. Portraits offers a singular sound and it’s all the more impressive for it.
--Lee Zimmerman

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wheelerbrothersmusic.com

SHERI MILLER

2011-06-09T07:39:00.000-07:00

Winning Hand
Independent

If Gram Parsons had met Sheri Miller (in a parallel universe that is, Ms. Miller was born long after the father of country rock left this mortal coil) he would have dubbed the aforementioned singer/songwriter as America’s foremost “cosmic cowgirl.” (Writer’s note: Parsons was christened as the original “cosmic cowboy” by his famed biographer Ben Fong-Torres.) When we last heard from Sheri Miller on her fine debut disc (Mantra 2008) this writer proclaimed Miller as “New York City’s best kept singer songwriter secret.” Well the blame this time around lay squarely on the shoulders of Mayor Bloomberg’s moneyed metropolis, which sadly has devolved into a frat-boy hang as opposed to a hallowed place where artists come to flourish (there’s a book in that line somewhere, ask Patti Smith…). In the interim Miller spent time in Nashville singing, performing, and composing with such local luminaries as J.D. Souther and Shawn Mullins, among others, and the hard work and experience has paid off in spades for her superior sophomore effort Winning Hand.

Though Miller can put her attitude pedal to the metal with the best of them (as evidenced in feisty “Hungry For The Truth” ) an unmistakable and doggone sexy twang emerges in her delivery which likens her to latter day Shelby Lynne (another rocker at heart) or Sir Elton in Tumbleweed Connection / The Union mode. The chorus of “Satellite” – a neo-psychedelic four-to-the-bar rocker – is where Miller earns her cosmic stripes as the all-star cast of bassist Will Lee (de-tuning his bass to greater depths and swooping into the upper register ala Sir Paul), drummer Charlie Drayton, keyboardist Andy Snitzer, and guitarist Gerry Leonard turn the clock back to 1969, side 2, Led Zeppelin II. The title track shows off Miller’s bluesy side and formidable vocal chops. There’s even a track about spooning in bed (not to worry, it’s the way middle aged married people hug after hours…)

Cinematic lyrics, hooky melodies, and a band to die for - Winning Hand is all that its title implies. So why is everyone paying attention to such imposters as Lady Gaga? When is it Miller time?

--Tom Semioli

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www.sherimiller.com

HERE WE GO MAGIC

2011-06-07T06:44:00.000-07:00

The January EP
Secretly Canadian [05/10/2011]

It would seem somewhat late in the game – now 40 + years on -- for a band to want to emulate Yes, but damn if singer Luke Temple’s sonic soprano and the group’s giddy, percolating rhythms don’t bring to mind Close to the Edge and other epics from Jon Anderson and company’s earlier era. After a didactic intro, “Tulip” provides a catchy start to this six song EP, with “Hands in the Sky” offering shimmering assurance and a pulsating “Backwards Time” returning the set to full throttle. Not surprisingly then, the band seems intent on establishing a sort of atmospheric ambiance that gives a handle like Here We Go Magic plenty of credence. Indeed, it makes for a pleasant enough pastime, but when their precocious tendencies are taken too far and revert to new age doodling, as on the all-so-airy “Hollywood” and the EP’s epilogue, the aimless “Mirror Me,” the case for some solid songwriting becomes ever more compelling. A few clever bits and buoyant melodies can carry a band only so far, because as lofty and luminous as it aspires to be, January is a bit too murky to provide a real clear connection.
--Lee Zimmerman

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herewegomagicband.tumblr.com

EZRA FURMAN & THE HARPOONS

2011-06-06T05:51:00.001-07:00

Mysterious Power
Red Parlour [04/05/2011]

It’s amazing that there are actual photographs of Ezra Furman and his compadres
in the Harpoons; given their pace over the past five years, even if they sit still long enough for a photographer to focus on them, a high speed setting would be advisable. In 2006, the Chicago area quartet self-released their debut, Beat Beat Beat, an album that was recorded in their dorm rooms at Tufts University. Over the next two years, Furman and the Harpoons signed with Minty Fresh and released a pair of wildly acclaimed albums, 2007’s Brian Deck-produced Banging Down the Doors and 2008’s Inside the Human Body. With their Minty Fresh contract wrapped up, the band released 2010’s Moon Face, a series of road recordings which, at the time of release, included a track written specifically for the purchaser based on information provided by them.

For their fourth album and debut for Red Parlour, Mysterious Power, Furman and his Harpoons continue to churn out a quirkily effective stylistic gene splice that includes folk, punk, doo wop, roots rock and pop at the intersection of melodicism and dissonance. At varying points, Furman sings with an unhinged zeal that channels Gordon Gano, Ryan Adams, Dan Bejar and Jonathan Richman as the Harpoons (bassist Job Mukkada, guitarist Andrew Langer, drummer Adam Abrutyn) provide an appropriately manic soundtrack for Furman’s vocal gyrations and mad lyrical collages that are every bit as compelling as his vulnerable voice. “Heaven at the Drive-In” sounds like the greatest song the Mael brothers never wrote, “I Killed Myself But I Didn’t Die” is a swaggering Violent Femmes-meets-the-Cardinals anthem and “Hard Time in a Terrible Land” has the purposeful lope of a Midnight Oil sermon with the Femmes as the church choir.

Ezra Furman & the Harpoons have always shone with a cracked brilliance, but Mysterious Power focuses it with laser-like precision and intensity.
--Brian Baker

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www.myspace.com/ezrafurman

SCATTERED TREES

2011-06-03T11:18:00.000-07:00

Sympathy
Roll Call [04/05/2011]

Although they can hardly be considered purveyors of melody in any traditional sense, the young combo from the suburbs of Chicago that calls themselves Scattered Trees are obviously adept at conveying tone and texture in a most eloquent way. Melding obtuse soundscapes to low-gazing vocals, they demonstrate a sensual style that’s positively intoxicating, even though it mostly remains remarkably subdued. From the opening hum and drone that becomes a choral cascade on “Bury the Floors,” to the mellow yet majestic turn of “Five Minutes,” Sympathy is a joy to behold, all beguilingly beautiful invention that takes subtle shifts into elevated terrain. “Where are you Jesus,” they implore over the pulsating tempo of “I Swear to God,” as if devoid of faith and filled with futility. It’s doubtful their prayers will go unanswered, because within these mesmerizing passages, there’s a grace and sense of purpose that’s all but impossible to resist. Given its obtuse structure and experimental designs, Sympathy wouldn’t seem like an obvious draw initially, but it quickly asserts itself and becomes a mesmerizing sojourn throughout.
--Lee Zimmerman

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scatteredtreesmusic.com

THE BRIGHT LIGHT SOCIAL HOUR

2011-06-01T07:58:00.000-07:00

The Mercury Lounge, New York City, May 2011

Note to all music loving hipsters, party animals, and curiosity seekers – you can toss out the vinyl and worn cassettes you inherited from your parents, and while you’re at it, delete the music files from your iPhone and save the space to watch movies. The answer is The Bright Light Social Hour – who, within the span of an approximately forty-five minute set, aptly covered the history of popular music as they see it. Four young lads from Austin, Texas: guitarist/vocalist Curtis Roush, bassist/vocalist Jack O’Brien, keyboardist A.J. Vincent, and drummer Joseph Mirasole blew the doors off the Mercury Lounge, which is (unfortunately) situated in the over-crowded ghetto posh confines of the East Village of New York City. I pitied the band that had to follow them (name withheld to protect the innocent). With shoulder length hair, mutton-chops, beards, and outfits that only Foghat and the first incarnation of the Doobie Brothers could love, Messrs. Roush, O’Brien, and Vincent are probably the finest three vocalists to sing solo and harmony since Hutton, Negron, and Wells ruled the airwaves in the late 1960s – early 1970s (guffaw all you want over Three Dog Night, but when you score 21 consecutive Top 40 hits, three number one hits, seven million selling singles, and twelve gold albums – we’ll talk).

Rendering tracks from their recently released self-titled debut, it’s easy to see and hear why these hairy gents swept the 29th Annual Austin Music Awards. Their deft command of hard rock, funk, prog, disco, soul, blues, and boogie is nothing short of outstanding – Frank Zappa would have hired these cats in a minute. However the source of this ferocious foursome’s appeal is not their collective and individual instrumental expertise --they can shred with the best of them. It’s Bright Lights' almighty reverence of the groove that makes this band exceptional. “Shanty” displayed enough funky licks, keyboard riffs, and falsetto harmonies to fill a Rufus greatest hits album – though Roush was able to up the ante with crafty guitar leads that would do Derek’s Dominos proud. Mirasole’s mad drum solo introduced the incendiary “Bare Hands Bare Feet” – which evokes thoughts of what the Doors, Cheech & Chong and MC5 would have sounded like if they were locked in the same jail cell (O’Brien’s insane Spanish-language rant in mid-song was worth the price of admission alone).

The band responded to calls from the audience for “Whipping Post” with a history lesson of their own – pumping out a killer rendition of The Who by way of Mose Allison’s “Young Man Blues,” and a daring take on Muddy Water’s “Mannish Boy” with O’Brien once again preaching from his rock ‘n’ roll pulpit. Roush’s growling lead vocal on the bleary, blues drenched “Detroit” was bolstered by O’Brien’s galloping bass-lines and Vincent’s syncopated and jazzy Farfisa organ patterns. You won’t find a better band on the road today than The Bright Light Social Hour. Be advised to pick up their studio debut, which somehow captures the fervor of their live show – and check them out in the flesh. And bring mom and dad too, after all, it’s only rock ‘n’ roll…..
--Tom Semioli

Photo: Santiago Calderon

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thebrightlightsocialhour.com

ALCOHOLIC FAITH MISSION

2011-05-31T05:24:00.000-07:00

And The Running With Insanity (EP)
Paper Garden Records [03/29/2011]

Indie-folk is alive and well…in Copenhagen! Though they convened in the hipster haven Brooklyn, New York over five years ago, Gustav, Sune, Thorben, Morten, Anders and Kristine returned to their native Denmark wherein they have achieved much critical acclaim: and deservedly so. With the spirit of an alcohol fueled (no pun) back-porch sing-a-long, AFM's all too brief EP is indeed a joyous occasion. Built upon angelic, choral harmonies and earthy melodies rendered by the sextet on both traditional instruments (acoustic guitar, bass, accordion) and not-so-traditional instruments (synthesizers), Running With Insanity will please fans of new school Fleet Foxes, old-school Waterboys and even older school Fairport Convention. Though they are folkies at heart, AFM grooves mightily on the title track (yes, you can dance to it). "Drowning In Myself" is a somebody-done-me wrong tear-jerker abetted with layers upon layers of vocals not unlike something you'd expect from Brian Wison in his heyday The biggest surprise is "When They Bleed" which employs electronic beats beneath blissful motifs aplenty. How did they do that? Short and sweet, Insanity is instantly appealing. As for the band moniker, it was derived from a Brooklyn church "Apostolic Faith Mission" - after an evening of heavy libations. Now that's the power of positive drinking!
--Tom Semioli

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alcoholicfaithmission.com

Alcoholic Faith Mission - Legacy from Bryn Chainey on Vimeo.

SKYBOMBERS

2011-05-30T16:48:00.001-07:00

Black Carousel
429 Records [03/29/2010]

Australia has produced more than its share of impetuous young rockers, from the Easybeats to AC/DC, and an identical strain of genes seems to run through Skybombers, a brash and bold young combo whose new LP reflects a similar off-kilter sensibility. With songs that boast a penchant for kinetic rhythms and impulsive instincts to boot, Black Carousel becomes a wayward ride from start to finish, loose in the fringes but singularly propulsive. “Love Me Like You Used To,” “Lies,” “I Could Tell You Something” and “Sister Jealousy” offer a sound that’s seems sinister at times but also impetuous to a great degree, one that dares their listeners to follow along and maintain the pace despite the frequent rumble. Only occasionally do they veer from their MO -- through the swampy backwoods realms inhabited by the title track and the rambling barroom sway of “Sister Jealousy.” After two albums, this Aussie outfit seems to be still finding its way, and a more cohesive set is likely still on the horizon. For now however, they’ve more or less made their mark, offering ample reason to give Black Carousel repeated spins.
--Lee Zimmerman

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www.facebook.com/skybombers

THE DAMNWELLS

2011-05-29T12:20:00.000-07:00

No One Listens to the Band Anymore
Poor Man [03/15/2011]

The Damnwells’ combination of tenacity and tenderness has never been more striking than on their latest album, the strangely dubbed opus, No One Listens to the Band Anymore. The fact is, this offering ought to get the fans listening intently, what with its rollercoaster of emotion and a stirring determination that asserts both their authority and defiance. The Brooklyn-by-way-of-Austin-based band has been quietly ruminating below the surface for several years, but finally struck critical pay dirt with their last effort, One Last Century, an album that saw a dramatic move forward in terms of song craft and execution.

Happily then, the band continue to pursue that trajectory with their new disc, effortlessly navigating the divide between fierce intention (“She Goes Around,” the title track, “The Experts”) and wrenching, heartfelt reflection (“The Great Unknown,” “Werewolves,” “Sophia”). At times, they even manage to meld the two extremes, as demonstrated on “The Monster,” where a teeming, understated introduction segues into a soaring dramatic ascent. The end result is a compelling set of songs that embraces the listener early on and never relinquishes its grip until the final notes fade. A gritty statement on today’s malaise, with an insurgent attitude to boot, the Damnwells demonstrate yet again that true damnation is often simply a state of mind.
--Lee Zimmerman

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thedamnwells.com

RICHARD ASHCROFT

2011-05-24T04:02:00.000-07:00

United Nations of Sound
Razor & Tie [03/22/2010]

Richard Ashcroft has always been an artist with grand ambitions. Beginning with his band The Verve and culminating in the big breakthrough achieved with their opus “Bitter Sweet Symphony,” he quickly established himself as someone of significance, elevating himself into the British Rock hierarchy in the process. Unfortunately though, his progress has sometimes been impeded, hampered by illness, band break-ups and lawsuits that derailed his forward momentum at its most crucial junctures.

Notably then, United Nations of Sound marks an assured and assertive return. His first album in four years and fourth overall, it represents his most ambitious effort yet. The torrent of effusive instrumentation borne by “Are You Ready” signals Ashcroft’s intents to make this a grandiose statement, one that embraces exorbitant arrangements, soaring strings and steadfast rhythms. Still, despite the infectious sentiments and cascading choruses that amplify songs like “America,” “Glory” and “This Thing Called Life,” rock purists may recoil from the fact that the album’s overseer is none other than hip-hop producer No I.D., whose work with Kanye West, Jay-Z and Common seemingly puts him at odds with Ashcroft’s Anglophile approach. On selections such as “Beatitudes,” “Good Lovin’,” and “Royal Highness,” the tumultuous beats and orchestrated outpour seem better suited to the producer’s palette rather than a standard rock regimen. Whether this will prove a career maker or a career breaker remains to be seen, but Ashcroft’s bold gamble proves a daring move indeed.
--Lee Zimmerman

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richardashcroft.co.uk

THE OXYGEN PONIES

2011-05-23T15:54:00.001-07:00

Exit Wounds
Hidden Target [05/17/2011]

The Chinese proverb (or curse, depending on your disposition) goes something like "may you live in interesting times…. Enter the Oxygen Ponies, a.k.a. singer/songwriter Paul Megna, who has managed to turn melancholy and personal mayhem into melody on the deep, dark, and introspective Exit Wounds. Megna's battered voice and bruised psyche captures the desperation and dejection of modern day America. Yet tough times do make for great art. And Megna's sparse arrangements (lots of space between the notes!) and flair for the dramatic is cut from the classic stuff of Dylan's Blonde on Blonde, Wait's Closing Time and just about anything by Leonard Cohen or Elliot Smith. "Good Things" boasts ambient Eno /Edge atmospherics as it commences as a down-and-out folk dirge then suddenly blossoms into an up-tempo rocker (keep an eye on Bono, he may borrow this one). Garage rock abounds on "Wild Animals" as Megna reaches for is inner Replacements/Ronnie Wood (an un-credited female co-vocalist adds a bit of sex appeal too). The press release warns that "Drink Myself Alive" is not suitable for airplay (remember that we live in a country wherein a radio monopoly banned Lennon's "Imagine" at the beginning of one of the three endless American wars) - though I can't detect what harm would be done from hearing a ballad from an angry drunk with shards of guitars effects crashing all around him. The country honk "The Land that Time Forgot" would do the Band proud. May you rock in interesting times…
--Tom Semioli

Photo: Bernie DeChant

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oxygenponies.com

THE RURAL ALBERTA ADVANTAGE

2011-05-19T20:19:00.000-07:00

Departing
Saddle Creek [03/01/2010]

If ever there were moniker that accurately reflected a band’s stance, The Rural Alberta Advantage would seem to fit the bill. As products of the great Canadian hinterlands, their songs reflect both the grandeur and expanse of their regional environs. Hometowns, their 2009 debut earned a torrent of critical kudos, foreseeing their rise into the indie elite. Departing, its title notwithstanding, furthers those initial gains by opting for an epic sweep that oscillates dramatically in both tone and texture. Without exception, these songs command attention from the get-go, an instant appeal embellished by the kinetic shuffle of “The Breakup,” the effusive outflow of “Muscle Relaxants” and the pure, shimmering sparkle of “Coldest Days.” Although the references aren’t generally specific, the atmosphere and ambiance sets the songs apart. There and elsewhere, singer Nils Edenloff’s emotive vocals soar on yearning and desire even as the band underscores his sentiments with its rich tempestuous undertow. Few bands carve such indelible imagery so early on, and even fewer are able to sustain it over the course of a career. Admittedly then, it may be premature to tout their triumphs at this stage in their trajectory, but there’s no ignoring the indications that their best is yet to come.
--Lee Zimmerman

Photo: Vanessa Heins

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theraa.com

MARITIME

2011-05-17T16:04:00.001-07:00

Human Hearts
Dangerbird [04/05/2011]

When Maritime formed in 2002, the quartet faced an almost crippling level of expectation. Davey von Bohlen had been the key ingredient in Cap’n Jazz and the charismatic frontman in the Promise Ring, widely regarded as the single most important band in the nascent emo movement. Drummer Dan Didier had been the velvet hammer that propelled the Promise Ring’s beautifully irregular heartbeat, bassist Eric Axelson had provided the malleable and powerful bottom for the Dismemberment Plan and guitarist Dan Hinz powered a tackle box full of Weezeresque power pop/punk hooks with the Benjamins. As a result, Maritime’s initial releases - 2003’s Adios EP and 2004’s Glass Floor - were slightly underwhelming, but perhaps only because they offered the unexpected sound of transition, maturation and growth when a good many of us were just looking for the Promise Ring Mk. II.

With Maritime’s fourth full length, Human Hearts, the band delivers not on the unrealistic expectation of their formation but on the potential that was hidden between the lines of their first releases. Which is not to say that Maritime(minus Axelson and featuring Justin Klug on bass since 2006) has been lacking with their subsequent releases; 2006’s We, the Vehicles and 2007’s Heresy and the Hotel Choir were deliberately crafted and deservedly well received. Human Hearts benefits from a breezy swing and relaxed exuberance that push this album beyond anything they’ve done to date. The ten tracks on Human Hearts represent some of the most dynamic and spontaneous music that Maritime has ever produced,from the propulsive new wave bluster of “Paraphernalia” to the tribal pop/punk of “Black Bones” to the expansive Jimmy Webb/Shins/Smashing Pumpkins mash-up of “Faint of Hearts.” Von Bohlen’s lyrical tongue is still firmly in cheek, the more encrypted aspects of his message safe from all but the most intuitive indie codebreakers, but never has he had such a dynamic and jubilant soundtrack for his brilliantly puzzling wordplay. Leave it to Maritime to make a completely accessible album that draws on their every strength without compromise or homogenization.
--Brian Baker

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maritimesongs.com

COMPANY OF THIEVES

2011-05-16T13:49:00.001-07:00

Running From A Gamble
Wind Up [05/17/2011]

Twas a (better) time when you'd discover a hip indie rock band via radio or in a record shop, or even by word of mouth (yes, folks once conversed face to face before twitter twatter and iPhones)….or an indie rock print/ webzine such as Amplifier. Witness the soon-to-be-great (we hope) Company of Thieves, who made their bones when their first single "Oscar Wilde" garnered attention by way of "Gossip Girl: Real NY Stories Revealed" as part of the Dove Go Fresh ad campaign (one only wonders what the 19th century author would have thought!). Though the indie rock brand (no pun intended) prevails in modern times, something's missing - i.e. that one group that brings it all together akin to R.E.M. and U2 at the dawn of the 80s when indie rock was born. Perhaps it will be Company of Thieves. All the parts are firmly in place: Not only is Genevieve Schatz an intriguing lyricist (be advised to YouTube the above referenced "Oscar Wilde" video), but her vocal style oozes charisma in an age of American Idol-ized homogenization - and she's very pretty. Despite their beards and checkered -shirts, the boys in the band are bona fide rockers: guitarist Marc Walloch, drummer Chris Faller, bassist Marcin Sulewski, and keyboard player Eitan Bernstein kick ass and then some.

Tracks such as "Death of Communication" put classic Guns 'n' Roses to shame, and if Tom Petty 's Heartbreakers cut the rhythm tracks to "Queen of Hearts" you wouldn't blink an eye. COT also have a more pensive side, as evidenced in "Take Me for A Man" - a fine mid-tempo cut abetted by Bernstein's weepy organ pads and a solo straight out of the Ray Manzarek school of rock. For some reason, this album is being made available for free through a partnership with FYE - as revealed on the band's official website (see below). I don't know how this helps the record industry or what's left of it - but Running From A Gamble is well worth your time…and money!
--Tom Semioli

Photo: Michel Megherbi

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companyofthieves.net

RAVISHERS

2011-05-13T11:58:00.001-07:00

Ravishers
Timber Carnival [05/10/2011]

The Ravishers are a hyper bunch, a band bursting with energy and rhythms that hit with an immediate wallop. Shimmering keyboards and a Costello-like croon affirm their pop priorities, all of which are enveloped in the Portland duo’s eponymous debut. While the competition is fierce these days, the Ravishers set themselves apart from the pack mostly based on enthusiasm alone. If the start-stop shuffle of album opener “I’m Him” and the stealth-like groove of “Underachievers” seem to underplay their usual upbeat attitude, the sparkling arrangements ensure their resilience. Likewise, there’s some obvious insurgence seeping into “Lessons in Leaving,” especially when they whisper, “Need a little bit of danger in your smile, and a brain that ushers thoughts through a turnstile.” Hmmm. That line may be open to interpretation, but given further contemplation, it’s somewhat telling too.

Still, there’s more resolve than reserve in most of these songs, and the spiraling vocals imbued in “How I Feel About You,” the triumphant “Nobody Falls in Love Anymore” and the almost-quirky “Keep You Around” don’t diminish that impression. The Ravisher rampage continues unabated and it’s all the more ebullient for the effort.
--Lee Zimmerman

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ravisherstheband.com

RAVISHERS - UNDERACHIEVERS from NORTH KOREAN BBQ on Vimeo.

SHENANDOAH AND THE NIGHT

2011-05-10T18:58:00.000-07:00

Shenandoah and The Night EP
Self-Released [05/02/2011]

Based on the name alone, it would be easy to get the impression this is some sort of old school folk outfit, named for the celebrated river that inspired the traditional tune of the same name. As for The Night… well, such arcane references usually inspire shadowy musings, which would account for that portion of the billing as well. Surprisingly then, an initial listen to the group’s eponymous EP tosses these assumptions aside, because aside from one hoary cover, “Dink’s Song,” the material is both contemporary and compelling, sans sepia tinting. Appropriately, Shenandoah Ableman is the star of this show, and if her handle seems somewhat unconventional, her delivery is anything but. She’s a soul singer in the truest sense, zealous and invested, a talent whose twist of a phrase and adroit enunciation indicates she’s well versed in her craft. From the searing first stanzas of “So Fine,” through “Dink’s Song” and its resplendent serenade, and on to the torch song testimonial “All the Beautiful Ladies,” Ableman’s powerful performances create a consistently emphatic impression. With all due respect to her colleagues, Shenandoah makes The Night shine bright.
--Lee Zimmerman

Photo: Mara Taber

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shenandoahandthenight.com

Shenandoah and The Night EP release show at Spike Hill May 28th.
Address: 184 &186 Bedford Ave, Brooklyn, NY

ADEBISI SHANK

2011-05-10T14:38:00.001-07:00

This Is The Second Album From A Band Called Adebisi Shank
Sargent House [03/15/2011]

What do you call the follow-up to a debut entitled This Is the Album of a Band Called Adebisi Shank? See above! Nowadays it seems that instrumental virtuosity, complex composition, and the tasteful use of digital technology (i.e. gizmos and gadgetry that create unique sounds as opposed to replicating old ones) are a lost art in the rock genre. Enter Irish trio Adebisi Shank. Rightfully lauded by NME, The Daily Telegraph, and other Euro press for their explosive live shows - the triumvirate of bassist Vin McCreith, guitarist Lar Kaye, and drummer Mick Roe forge a refreshing brand of progressive, metal punk, (hipsters refer to this as "math rock" a term which makes no sense but…) and outright avant garde which should surely appeal to both old school prog-rockers (get out your Soft Machine, and King Crimson records!) and those who dig the current generation of experimental rockers including Coheed and Cambria, Protest the Hero and Sparta.

Kaye emerges as a modern day guitar whiz who can assume multiple identities in the span of one composition - witness "Genki Shank" - a tune based on Heart's timeless "Barracuda" riff - wherein Kaye summons the ghost of surf rock god Dick Dale for the intro, then shreds akin to Joe Satriani and/or Steve Vai for the ensuing verses. The track simply identified as "(-_-)" evokes comparison to Peter Gabriel, David Byrne and Adrian Belew's celebrated forays into world music wherein Roe creates an alluring poly-rhythmic dance beat to underpin Kaye's fluid reggae/calypso motifs. Kaye's brew of angelic guitar melodies, repetitive loops, white noise, and operatic harmonies coupled with Roe's thrashing ("Europa") makes for a perfect soundtrack to the revolutions commencing in Tunisa and Egypt. These guys are definitely onto something….
--Tom Semioli

adebisishank.com

[live tv] #026 Pt.2-2 - Adebisi Shank - Shunk from RaRaRa on Vimeo.

THE DISCIPLINES

2011-05-04T06:28:00.000-07:00

Virgins of Menace
Spark & Shine [03/01/2011]

If one is known by the company one keeps, suffice it to say that the impression of Ken Stringfellow being a pop perfectionist will be dashed to pieces after an initial listen to the Disciplines, an extracurricular outfit that Stringfellow indulges in when he’s not plying his day job with the Posies. Edgy and aggressive by turns, this Norwegian based foursome specializes in a sound that’s raucous and raw, a far cry from the fine-tuned melodies that the Posies are well known for. That prognosis is evident from the outset, with the title track and “Fate’s a Strong Bitch” (featuring guest vocalist Lydia Lunch) establishing their ferocity. It’s an ideal vehicle for Stringfellow to vet his more tenacious tendencies, but being that this is the band’s sophomore set, it’s also clear that this is more than a momentary respite. Subtlety isn’t necessarily part of the mix, and anyone that considers acquisition strictly for the Stringfellow connection may ultimately find him or herself disappointed. On the other hand, those that crave a raucous, rollicking good time should relish the Disciplines’ unhinged execution.
--Lee Zimmerman

thedisciplines.com

TYPHOON

2011-05-02T11:07:00.000-07:00

A New Kind of House (EP)Tender Loving Empire [03/15/2011]

You have to admire a band that has been lauded by Nietzche ("God is dead, for the light of his glory has forever eclipsed by the gale-force brilliance of Typhoon's majesty."), Susan B. Anthony ("Every time I listen to Typhoon, I give up on this whole suffrage business and follow them on tour full time."), Ernest Hemingway ("Oh my god, Oh my god…") and Gaius Julius Caesar Augustus ("Show me a man who isn't moved by Typhoon and I'll show you a man who has given up on life"). Facts, accuracy, and truth be damned (after all, we live in the age of Fox News) - I'll believe anything this expansive (over a dozen members) Portland ensemble says (though methinks the above mentioned JC Augustus quote is a fake - Gaius was an emo rocker for sure.) Band members Alex, Casey, Dave, Devin, Eric, Grant, Jen, Jimmy, Kyle, Nora, Paige, Pieter, Ryan, Shannon, Toby, Tyler, and sometimes, Danielle, Maia and Anna and whomever else render organic, laid-back chamber-pop Americana compositions on a myriad of instruments that would not be out of place in a marching band. But it rocks - in places. Akin to the Fleet Foxes, Decemberists, Belle & Sebastian, and Rilo Kiley - Typhoon exist in their own cosmic world. The title track trudges along with a doomed bravura not heard since the sinking of the Titanic (especially when the "Hallelujah" coda emerges). "Claws Pt. 1" excels by way of a fat back-beat, spooky electric guitar textures, and a horn chart left over from Blood, Sweat & Tears first album. Could Dylan have written "Kitchen Tile" for Blood On the Tracks? Quite possibly! Highly recommended for fans of the above mentioned references and folks who dig Timberland indie rockers with beards.
--Tom Semioli

wearetyphoon.com

myspace.com/wearetyphoon.com

Typhoon - Old Haunts, New Cities recording from Matthew Ross on Vimeo.

YOUNGER BROTHER

2011-04-26T17:06:00.000-07:00

Vaccine
Twisted [04/26/2011]

As Mike Myers / Dieter Sprockets would often proclaim: "now is the time on Sprockets vhen ve dance!" The electro-funky trance trio of Simon Posford, Benji Vaughan and Ruu Campbell (abetted by various side musicians) are seeking to strike gold in the USA with their third album Vaccine, and they just may succeed…that is, if Coldplay decides to take some time off. Gwyneth Paltrow would fail a "guess who's the vocalist" blind-fold test between Mr. Martin and Younger Brother. However, rock history shows us that such "influences" never stopped Keane, Travis, or even Coldplay for that matter - the latter of whom co-opted their platinum Brit-pop sound from Thom Yorke (the Radiohead commander-in-chief probably has as many imitators as Bob Dylan by now). Whatever the source of inspiration, YB weaves fine linear melodies atop mechanical beats akin to such 1980s legends as Depeche Mode, The Cure, and OMD. Tracks including "Shine" are brilliantly built for the masses by way of tried and true anthemic chord progressions and an all-important pulsating back-beat. You can't miss the Pink Floyd hook in "Spinning Into Place" - another cut worthy of alienated teen adulation. "Tetris" is a spooky ballad quite reminiscent of the Bowie/Eno collaborations wherein man and machine are inseparable. Everything old is new again, Vaccine delivers the goods despite its obvious nod to the above mentioned references.
--Tom Semioli

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youngerbrother.co.uk

ROBOTANISTS

2011-04-22T11:26:00.001-07:00

Plans in Progress
Overhead [02/15/2011]

You may not know the Robotanists, but Thom Yorke does. This deep, dark, and decidedly noir Los Angeles based indie-pop ensemble recently forged a few ripples in hipster circles and the rock press when they quickly covered Radiohead's King of Limbs in its entirety within 24 hours of its digital release in February. Ironically, singer Sarah Ellquist DeBlanke does Yorke better than Thom on the seductive and ethereal Plans in Progress - a mini, seven track album (whatever that means nowadays) which melds the mechanical (synthesizers, midi-sequencing etc.) with the mortal (i.e. real instruments played by humans) akin to the legendary lads from Abingdon, Oxfordshire along with the sleek sexuality (and grooves) of latter day Blondie and Everything But The Girl.

Though the bleached blonde, buxom bombshell DeBlanke garners most of the attention, kudos must be afforded to her dexterous, multi-instrumental mates (Daniel DeBlanke, Keith Boyarsky, and Preston Scott Phillips) and producer Danny Kalb (Beck, Karen O, Feist) who have the uncanny ability to thrash like punks, swing like cocktail-jazzers, or assume the mantle of arty rockers whenever necessary. The title track traverses disco and techno by way of vintage octave bass-lines and cheesy keyboard sounds worthy of the Regan-Thatcher years. "Terminal A" and "Luggage vs. Baggage" excel by way of their bleary, druggy melodies and cinematic accompaniment. Vocalist DeBlanke reaches deep into her lower register for "Have We Met Before?" as the lads lazily waltz behind her. Highly recommended for fans of the above mentioned references. I dare Radiohead to cover Plans in Progress!
--Tom Semioli

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robotanists.wordpress.com

"On/Off The Ledge" by ROBOTANISTS from Robotanists on Vimeo.

CINEMATIC - MANCHESTER ORCHESTRA

2011-04-22T11:11:00.000-07:00

Manchester Orchestra - "Simple Math" from DANIELS on Vimeo.

THE MEGAPHONIC THRIFT

2011-04-21T06:56:00.000-07:00

Decay Decoy
Sonic Unyon [03/08/2011]

You have to be wary when a group is compared in the rock press to such noisy ensembles as Dinosaur Jr., My Bloody Valentine, and Sonic Youth. Chances are they're more adept at creating a clamor as opposed to something you'd actually listen to whilst sober. Not so with Nordic "super-group" The Megaphonic Thrift, a muscular quartet comprised of singer/guitarist Richard Myklebust (Stereo 21), bassist Linn Frøkedal and guitarist Njål Clementsen (Low Frequency In Stereo) and drummer Fredrik Vogsborg (Casiokids, Syme). On their debut record, MT harnesses the power of almighty guitar within song structures that may be somewhat non-conventional, but are within the grasp of your every-day, average rock 'n' roll listener (which is very odd considering that MT boast of their disregard for demos and yen for spontaneity).

Also to be commended is MT's emergence as collective of concise composers as well - with most of the selections clocking in at four minutes or so. However most impressive is this band's massive wall of sound coupled with a pulsating rhythm section that could drive a band through a brick wall and then some. Whether you’re a fan of guitar driven bands such as Television or the ancient Thin Lizzy (who belong in the RR HOF while we're at it) - MT's flair for six-string dramatics is the stuff of great rock 'n' roll. Myklebust apes a young Johnny Rotten in "Candy Sin" as his mates vacillate between punk pop and pure mayhem. "Undertow" commences with dark guitar textures which gradually morph into a catchy tune you'd expect from Bob Mould's Sugar or The Strokes. "Mad Mary" evokes thoughts of VU's quiet, classic self-titled album by way of Vogsborg's bongo rhythms underpinning druggy counter-melodies. Frøkedal offers a sexy co-vocal on the break-neck "Talks Like A Weed King" which is most reminiscent of Debbie Harry. If America ever gets over its Glee pop fixation, The Megaphonic Thrift could make serious (sound) waves here.
--Tom Semioli

www.myspace.com/megaphonicthrift

THE LOW ANTHEM

2011-04-20T07:25:00.000-07:00

Smart Flesh
Nonesuch [02/22/2011]

After the surprising success of last year’s critically acclaimed Oh My God, Charlie Darwin, Smart Flesh further affirms the Low Anthem’s subtlety and savvy, as evident in the understated approach that finds a compelling case for hushed, hollow-eyed introspection and their keenly literate musings. Relative novices with only two earlier albums on their resume, their strong showing last time out says much about both their fragility and finesse. Here however, there are indications that the Low Anthem is morphing into something oddly obtuse; opening track “Ghost Woman Blues,” for example, may be the most unobtrusive album introduction ever, given its mournful wail and spectral feel. Few of the succeeding tunes rise above a whisper, with songs like “Love and Altar,” “Matter of Time” and the title track establishing a sense of solitary despair and persistent melancholia.

Fortunately, Smart Flesh still finds a means to betray its charms, even despite its ethereal ambiance. “Boeing 737” packs a punch, bringing the Low Anthem their closest contender to an actual anthem-worthy rocker, while the rolling folk rock take on “Hey, All You Hippies!” and the overtly trad-sounding “Apothecary Love” reaffirm their talent for forging a genuine folk finesse. Likewise, the band’s ability to create a distinctly dreamy sound all but ensures their allure and fascination. No, the Low Anthem won’t rock your socks off, but given a chance, they’ll both challenge and charm you all the same.
--Lee Zimmerman

lowanthem.com

JONNY

2011-04-15T09:31:00.001-07:00

Jonny
Merge [04/12/2011]

Here’s an easy question. What do you get when you combine the talents of two of Britain’s foremost pop practitioners? Don’t spend too much time pondering the answer because it’s actually quite simple. You get one of the purest, most effusive pop records in recent memory, an outstanding example of retro rock celebration simply dubbed Jonny. Euros Child of Gorky’s Zygotic Mynci and Norman Blake of Teenage Fanclub make perfect partners, and its refreshing for once that a pairing which looks so good on paper actually exceeds expectations in practice.

Both artists take a traditional rock stance in their day jobs, all effusive melodies with an abundance of hooks and choruses so catchy they’re all but impossible to ignore. Naturally then, Jonny’s eponymous debut follows suit, simply by borrowing from the basics. Opening track “Wich Is Wich” sets the standard, an unabashedly sunny display of pure giddiness and all happy-go-lucky vibes. Likewise, the eager and infectious “Waiting Around For You” recalls the mid ‘60s English invasion, and though it may sound like a cliché, it offers a purely Beatlesque embrace. So too, the softly strummed acoustic guitars and hushed harmonies that waft through songs like “The Goodnight,” “I’ll Make Her My Best Friend” and “Circling the Sun” imbue those songs with a summery sheen that recalls English country crooners like Bronco and Brinsley Schwarz, and in turn, their obvious influences in the likes of the Flying Burrito Brothers and American Beauty-era Grateful Dead. And those with a fondness for some silly psychedelia should get a kick out of “Bread,” a theatrical aside that would have made the Bonzo Dog Band pass on their approval.

Innocent and innocuous, Jonny’s still damn good.
--Lee Zimmerman

Merge Records

Jonny - Candyfloss from Merge Records on Vimeo.

THE DROVES

2011-04-13T07:10:00.000-07:00

Out of Herself
Eastern Spurs [08/22/2010]

After launching his career under a solo banner that identified him simply as C. Gibs, Christian Gibbs’ current trio, The Droves, advances his cause considerably by taking the music well beyond any preconceived parameters. The first offering of this Brooklyn-based band boasts both melody and mayhem in equal measure, while consistently keeping its listeners guessing as to its next detour. It’s interesting and inspired, but, as one might expect, somewhat off-kilter at times, especially on tracks like “Dying Fits of Laughter,” All Lies Begin With I” and “Tiny Skin,” songs which find the band drfting off track and veering into dissonance. As a result, the better offerings are those that find them holding together cohesively, especially the album opener “Mackenzie,” which boasts a ringing guitar refrain, and “Better Than You,” a rare acoustic interlude that allows for some much-needed rumination. “I’ve been wasted all night and I’m tired of these medications,” Gibbs confesses on “Wasted.” To the skeptic, that might explain a lot. However, for those who can appreciate Gibbs’ sense of adventure, such an episode would seem little more than a small distraction.
--Lee Zimmerman

myspace.com/thedrovesnyc

THE APACHE RELAY

2011-04-12T06:41:00.000-07:00

American Nomad
Thirty Tigers [04/12/2011]

For an indie roots band, Nashville's The Apache Relay (yes, the name emanates from a Ben Stiller / Disney flick) are doggone polished! Perhaps it's not only because they are dedicated road warriors, logging in scores of gigs annually, but producer Nielson Hubbard wisely opted to leave a few rough edges just as they should be - on the damn record! Vocalist / tunesmith Michael Ford Jr. is among that rare breed of lead singers with an instantly identifiable croon and an expansive range that does not overpower his hard-working mates (think Tim Boothe of James, Depeche Mode's Dave Gahan…). Warning: the band can actually play their instruments! American Nomad displays a decidedly orchestral bent (a hillbilly "wall of sound" anyone?) with strings, keyboards, mandolins, and guitars a blazing and coalescing to a sum much, much greater than its parts. Add to that a rhythm section with a funky gallop in its arsenal (somebody digs vintage Motown - heck, even Ford breaks into a falsetto worthy of Al Green on "Watering Hole") and you have a band that could redefine what it means to be called "roots." The all important anthem track (driving beat, soaring melody, big chorus) turns out to be the title cut - which is somewhat derivative of Simple Minds, U2, Echo & The Bunnymen, Midnight Oil, The Waterboys etc. but gets extra points for the swift violin harmonies and the patented Bruce Springsteen "1-2-3-4" in the coda (hey, the 80s were a lot more fun than they get credit for). "Power Hungry Animals" is a tirade against the music industry, however the good news is that the music industry doesn't really exist anymore, and bands such as The Apache Relay are free to fill the void. Highly recommended!
--Tom Semioli

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theapacherelay.com

CINEMATIC - THE MELIGROVE BAND

2011-04-02T15:53:00.000-07:00

CHEMICAL BROTHERS

2011-04-02T15:25:00.000-07:00

escape 700 by Hannamovie

CINEMATIC - VANDAVEER

2011-04-02T10:17:00.000-07:00

THE BLACK WATCH

2011-04-02T08:41:00.000-07:00

Led Zeppelin Five
The Eskimo Record Label

As an outlet for John Andrew Fredrick’s musical ambitions, the Black Watch has been around for the better part of the last 25 years, despite rotating line-ups and only occasional record label interest. To his credit, Fredrick’s managed to persevere, pursuing his muse while maintaining a teaching position at the University of California in Santa Monica. Brushing aside the scholarly approach of his day job, Frederick opts for easy engagement and a tuneful tack that emphasizes gorgeous pop melodies imbued with psychedelic suggestion. The end result sounds like a fanciful combination of the Soft Boys’ spectral ambiance and the sweep and spectacle of the Moody Blues. Yet while the concept may seem retro, it never comes across like a rehash.

That conclusion seems especially well founded on Led Zeppelin Five, its inexplicable title likely the result of some inside joke. There’s ample evidence of Fredrick’s forte found on “How Much about Love,” “Emily, Are You Sleeping” and “Earl Grey Tea,” songs that allow his anglophile inclinations to be swept to the fore. And while the lithe and lilting “Like in the Movies” and the smooth, genial caress of “The Maid’s Been Found” and “Only Lasted” provide the few moments of repose, the set’s so irrefutably engaging over all, even the slower tracks don’t diffuse the momentum. The recruitment of an actual band – which, besides Fredrick, now also includes guitarist Steven Schayer, drummer Rick Woodard and bassist Scott Taylor – should help further Fredrick’s creative designs and perhaps even encourage some wider acclaim. Not surprisingly then, Led Zeppelin Five boasts the kind of luster and allure that continues to make the Black Watch tick.

--Lee Zimmerman

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The Black Watch Myspace

THE DEARS

2011-04-01T07:00:00.000-07:00

Degeneration Street
Dangerbird [02/15/2011]

Despite a career trajectory that recently exceeded the fifteen year mark, Montreal-based band the Dears never cease to surprise, providing an extraordinary experience with every offering. Every individual album becomes something of an opus, one in which drama and overarched intents lead to sheer spectacle. Leader and co-founder Murray Lightburn sets the standard here, his opulent croon and knack for theatrics serving as the booster for the band’s higher ambitions. Despite the band’s revolving chairs – a sizable number of players have come and gone – the formula’s held for the better part of their lifespan without realizing any kind of declining returns.

To the contrary, Degeneration Street, the Dears’ latest disc, is as extravagant as ever, a blend of swelling arrangements, subtle synths, operatic vocals and percolating rhythms. Consequently, subtlety isn’t exactly the key word here; most of the tracks – “Omega Dog,” “5 Chords,” “Blood” and “Thrones,” to simply cite the first four -- literally spill over with an effusive rush of pomp and circumstance. It’s not exactly material of the hummable variety, but the audio impact is still quite formidable. Once again, the Dears produce a dazzler.
--Lee Zimmerman

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thedears.org

Download “Blood”

RANDI RUSSO

2011-03-30T05:41:00.000-07:00

Fragile Animal
Hidden Target [03/29/2011]

In a pop universe polluted with the banal, predictable drek of Stefani Joanne Angelina Germanotta - Fragile Animal is a godsend. Ms. Russo's third album intentionally rocks a hullava lot more than her previous efforts, landing comfortably among the American underground of the late 80s and the alt-rock revolution of the 90s as best exemplified by Liz Phair, Belly, Kristin Hersh, and The Breeders. The key here is the energy of a live band in the studio - I'm not sure if Russo and producer Paul Megna recorded it that way, but it sure sounds like it!

Throughout the ten tracks which comprise Fragile Animal, Russo spreads her creative (and sonic) wings aplenty. Diversity is Russo's strength as her songs embrace a wide array of moods and attitudes, ranging from the pulsating "Alienation" wherein Don Piper's lead guitar rips gracefully (Tom Verlaine, Robert Quine anyone?) whilst the singer ruminates in a rather "alienated" mono-tone, to the alt-country ramblings of "Get Me Over" (kudos to Lenny Molotov's weepy lap steel). Russo flexes her experimental muscle on the quirky, angular "Head High," an offering peppered with syth-sitars, no wave guitars and a hypnotic plastic drum beat (Bowie / Eno / Fripp would be proud). "Restless Raga" traverses the psychedelic by way of Russo's legato melodies amongst the Indian instrumentation, all of which eventually breaks into a rock coda worthy of George on Sgt. Pepper. Pay attention to Randi Russo, not Lady Gaga!
--Tom Semioli

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Photo: Francine Daveta

www.randirusso.com