Forgotten: Stranger Than Fiction - Motherfungus

Label: self-released

Released: 1991

Baltimore metal fans are probably familiar with Meatjack, but perhaps fewer know of the Daniloski brothers' first band, Stranger Than Fiction. Their Motherfungus demo was released in 1991 (when the brothers were in their early 20s). These were the days just before a band could make a professional sounding demo cheaply, so the thin production dates this every bit as much as the fact that it came on a cassette. However, the tape explores a sinister silliness (à la early Butthole Surfers) using a kind of lo-fi, punk/prog and even free jazz at times. Don't expect prog and jazz chops on Motherfungus though. It's more the grand, avant garde spirit of those genres that lives here in a strange symbiosis with DIY energy and simplicity.

The tape's first side is a tougher listen as it delves deepest into experimentation. Their live version of "God of Thunder" at the end of Side 1 is a turning point. It maintains the over-the-top hard rock appeal of Kiss, yet it's also infused with the strange craziness that pervades the whole album. The second side doesn't stray so far into the bizarre, though it is still a far cry from what was typically coming out of garages in the late 80s and early 90s. The album's finale, "A Little Off the Top," is reminiscent of Henry Rollins' spoken word material on Family Man, where more effort was put into shock than substance, but the music helps by conveying an increasing madness as the song winds through it's nearly 10 minute story of what happens after a man snaps. Motherfungus is anything but a pop album, being more concerned with crazy than catchy. While the Daniloskis' current work isn't exactly in the mainstream, it is not nearly the free, open (and unfocused) work from whence they came.

Ratings
Satriani: 6/10
Zappa: 9/10
Dylan: 5/10
Aretha: 7/10
Overall: 7/10

If you're curious about my rating categories, read the description.

Vinyl: Mars Volta - Deloused in the Comatorium

Deloused in the Comatorium is one of the most incredible debuts I've ever heard. The vinyl is almost as stunning. Yeah, it's silver. It didn't photograph all that well, but you can see it better in the close-up. I also like how they left the labels blank.

Review: The Griefs - Throwing a Tempo Tantrum

Label: Spoonful Records

Released: 2007

The Griefs channel the Who's manic drums, big power chords and brutal loudness in a catchy package. Sometimes there's fuzz and other times there's jangle, but from start to finish, this is an album of loud melodies and rock n roll bombast that many have copied, but few have done this successfully. Throwing a Tempo Tantrum has the hooks of 60s pop without reining in any of garage rock's energy, creating a loud, abrasive vehicle for their wonderful pop songs. They do little if anything to update what came out of garages 40 years ago, but they capture the essence of that period's raw creative insanity as well as its sweet pop sensibility in a way that is seldom matched today. It kinda makes you wanna hum along and bounce off the walls at the same time!

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 7/10
Aretha: 8/10
Overall: 7/10

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Chinese Democracy?

Check this out. Dr Pepper will give everyone in America (except Slash and Buckethead) a can of their soda if Guns N Roses (aka the Axl Rose band) releases Chinese Democracy. It's a good move on Dr Pepper's part, because it gets them a lot of publicity and is unlikely to cost them a cent. I'd rather they keep their can of soda though, because the worst thing that can happen is for Chinese Democracy to see the light of day. Right now, the album has almost mythic proportions. Even if you expect it to be good, which I don't, the chances of it living up to the hype of an album whose recording began a decade ago (and whose roots reach back several years before that) are extremely slim. Everyone is waiting for this album, some for a classic and others for a train wreck. For the former, it's unlikely that this Axl-only project will compare favorably to those albums on which he collaborated with Slash, Duff and Izzy. For the latter, the album itself isn't likely to produce greater evidence that Axl Rose no longer matters musically than his inability to get the thing out. So the first camp will be happiest as long as they have hope for a good record and the latter will be happiest as long as they can laugh at Axl's inability to release the stupid record. Frankly, if he's not embarrassed that he's taken this long, why would a challenge from a soft drink company shame him into anything?

Lesser of Two Evils: Lord Tracy versus Little Caesar

Little Caesar-s/t (1990)

versus


Lord Tracy-Deaf Gods of Babylon (1989)

Metal Mark invited me to participate in this feature over at Heavy Metal Time Machine. It was a chore to listen, but fun to write. Check it out.

A new drummer for the Gypsy Pistoleros

*** Official Press Release ***
Ex Tigertailz Hero joins Gypsy Pistoleros !!!

U.S born, Ace Finchum ( Ex Tigertailz legend of a drummer ) has joined the Gypsy Pistoleros !!!!!
The Pistoleros have just signed to Blastzone Entertainment who will handle all things Gypsy Pistoleros in the US.

Releasing "Para Siempre" the new CD (Out now in Europe & Scandinavia through Bad Reputation ) in the U.S in July, through Nightmare Records & Distribution, KOCH USA and Canada. A limited edition 500 Albums will be pressed & released on Red Vinyl !

Gypsy Pistoleros will also be doing a US tour from late June till Aug. 9th 2008.

Including Rocklahoma 2008 on July 11th headlining the Tri-label stage to promotre the album.

Further bookings will be handled through Ugly But Proud out of Detroit, MI.

They also begin servicing radio with the first single from Gypsy Pistoleros "Para Siempre" album ,which is "Livin La Vida Loca".

So please if you are a Gypsy Pistoleros fan go and request the song.

Blastzone Entertainment Group and Gypsy Pistoleros will have list of stations serviced with "Livin La Vida Loca" very soon. We will also be doing a video of "Livin La Vida Loca" at Rocklahoma 2008 to service to video channels all over the world. If you want to be part of the video make sure you are at Rocklahoma 2008 to see Gypsy Pistoleros live.

Blastzone Entertainment Group and Gypsy Pistoleros have more major to come! So keep checking both our Myspaces at www. myspace. com/gypsypistoleros & www. myspace. com/blastzoneentgroup.

Make sure you add us both also.

Da Revolution is HERE U.S.A !!!

Video: The Raconteurs - Salute Your Solution

Just released, the video was directed by Autumn de Wilde and is comprised of
over 2500 different photographs.

Review: Strangers Die Every Day - Aperture for Departure

Label: This Generation Tapes

Released: March 4, 2008

There are two approaches to marrying rock and classical. The first takes the worst of both and dummies them down for the least common denominator. Trans-Siberian Orchestra and Metallica's S&M have more in common with those old Hooked on Classics albums from the early 80s than they do with either classical or rock. They merely try to superimpose one genre onto the other and call it a marriage, but the simple fact is, it's not. However, for those interested in taking a step outside the mainstream, the relationship between the genres did finally come to fruition...in Godspeed You! Black Emperor. But now, Strangers Die Every Day has succeeded in this as well.

It may seem that being the other band in the genre is a slap in the face, but considering how earth-shaking Godspeed and the related A Silver Mt Zion project are, being second is hardly a point against Strangers Die Every Day. They address the glaring weanesses of both rock and classical, rock's being its inability to break out of its own confines and be truly dynamic and classical's is that it usually feels like the notes are being read rather than experienced.

Aperture for Departure, on the other hand allows the rock to slip its bonds and explore a broader musical landscape. At the same time, it loosens classical up with an off-kilter rawness that typical classical performances miss. It derives its dark mood from the classical layer while getting its drive and its edge from the rock rhythms beneath. On each track, the band strives more for emotional range than technical perfection, recognizing that rock's beauty stems from being blemished not pristine. This allows the music to build into manic noise or restrain itself to quiet passages that have real meaning to the listener, the rock listener in particular.

Overall, Aperture for Departure is classical in a technical sense, but its heart is rock n roll. The band's willingness to be loose and noisy makes for a vulgar classical even when the rock parts aren't overt. It is not simply classical music played with rock instruments, but its own genre that recognizes the two can enhance each other. It finds a common ground between them that has an almost folk nature in its connection with its listeners. No, it's not quite Godspeed, but it's very, very close, making it not just one of the most ambitious albums I've heard in some time, but also one of the best. There was only one 30 second passage on the whole album that failed to completely captivate me. It's that good from start to finish.

Ratings
Satriani: 8/10
Zappa: 8/10
Dylan: 8/10
Aretha: 10/10
Overall: 9/10

Esther mp3
Bicycle mp3

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Review: De Novo Dahl - Move Every Muscle, Make Every Move

Label: Roadrunner Records

Released: March 25, 2008

De Novo Dahl find themselves in the difficult position of following up their amazing Shout EP with a full-length release. Even if they were able to reproduce the exuberance of "Shout" (the best musical expression of joy since U2's "Beautiful Day") over the course of the entire album, I think it may well have killed me (albeit with happiness). What they manage on Move Every Muscle, Make Every Move is to carry over the joy of their EP and to mix it up with different moods and tempos that keep the album interesting and even manage to put the exclamation point into the already exhilarating "Shout."

Fearlessly, De Novo Dahl kicks their latest album off with the very song that sets their own bar so high, offering up the rest of the album to be compared and critiqued beside it. They let things down easy with hooks borrowed from Elvis Costello on "Heartbreaker" and then get a little moody with the agitated pop-punk of "Means to an End." Further in, "Shakedown" dabbles in disco. "Make Some Sense" gets back to pure pop goodness and "Marketplace" masters melodramatic folk-pop. The bottom line is that they did figure out how to keep the album moving and changing and fresh instead of just trying to maintaining the high level of energy in the opening track (as good as it is). And they do it all with an overriding optimism that's every bit as colorful as their outfits. Prior to listening, I suspected that this would be an impossible task. After listening, I just think De Novo Dahl is the best pop band in the world right now.

Ratings
Satriani: 8/10
Zappa: 9/10
Dylan: 10/10
Aretha: 10/10
Overall: 10/10

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Review: Lack of Afro - Touch My Soul

Label: Freestyle Records

Released: March 24, 2008

The cover of Touch My Soul is a take-off on Small Faces' Ogdens' Nut Gone Flake. The song features Steve Marriott's voice right out of "Afterglow (of Your Love)." But if you're expecting Lack of Afro (aka Adam Gibbons) to be much like Small Faces, you've got another thing coming. Sure, "Afterglow" was a pretty soulful rock song, but "Touch My Soul" is funky with hot horn and organ parts. It takes some clues from the Manchester dance scene that produced the likes of the Stone Roses, using tribal rhythms with sixties pop hooks. Lack of Afro just turns up the funk. "The Outsider" steps a bit more into the 70s, but still retains that same sense of wild dance fun. If it's a step down, that's only because "Touch My Soul" is such a hot track.

Ratings
Satriani: 7/10
Zappa: 7/10
Dylan: 6/10
Aretha: 8/10
Overall: 8/10

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Review: Hot Chip - Made in the Dark

Label: Astralwerks

Released: February 4, 2008

Chuck and I tried this once before with Out_Circuit's Pierce the Empire with a Sound. It went well enough that we decided to take another shot at it with Hot Chip's latest, Made in the Dark. Things definitely had a better flow this time and I was surprised at how well we fed off of each other's thoughts. Anyway, without further ado, here's what we thought of the Hot Chip album:

taotechuck: You ready?

bob_vinyl: Sure.

taotechuck: I'm pressing play.

bob_vinyl: The drone is promising.

taotechuck: Yes, it is. Although it reminds of '80s arena rock. Like Aldo Nova or something. I'm waiting for a helicopter. Jee-zus. This sounds like the Knight Rider theme song.

bob_vinyl: Once the music kicks in, it's a letdown. The way the drone builds leads me to expect an explosion and I don't get that. This is like bad 80s pop filtered through hipster smugness. It doesn't do much for me.

taotechuck: I completely agree.

bob_vinyl: Some of the craziness in the background is kinda cool, but overall the song never takes off.

taotechuck: When I worked on my high school newspaper in Albuquerque, I did a monthly column where I interviewed local bands. One of the cover bands I interviewed was bragging about how they would look for the hippest new songs and play them before anyone else did. They mentioned "Tarzan Boy" by Baltimora. It wasn't until years later that I realized how awful the "cutting edge" music was that that rotten cover band was playing. This reminds me of a song that band would've covered.

bob_vinyl: "Shake a Fist" is like better 80s pop filtered through hipster smugness (and a bit of Beck).

taotechuck: "Sounds of the Studio?" Uh, more like, "Sounds of a self-important jackass."

bob_vinyl: Yeah, the whole "sounds of the studio" thing isn't clever, it's just annoying. It reminds me of the skits that popped up on hip-hop albums 15 or so years ago.

taotechuck: Besides, didn't Chemical Brothers make all these sounds like 10 years ago, and they weren't very cutting edge then?

bob_vinyl: True. Hot Chip certainly seems to be impressed with themselves and perhaps that confidence (or over-confidence) has helped them sell themselves. I don't mind being sold something, but I don't like to find out that I bought something empty when I get it home. This is a step up from "Out at the Pictures" though.

taotechuck: Wow. You're absolutely right. They do sound confident. They sound like they truly believe that they're making great music. Which is weird, because I feel like I just took a great dump.

taotechuck: You know, I hated bad Depeche Mode knockoffs in 1987. "Ready for the Floor" is like that, but 20 years too late.

bob_vinyl: "Ready for the Floor" feels a little more natural to me and I like it. It's not dark like Depeche Mode. This is less self-conscious than the previous tracks.

taotechuck: It's got more of a hook than the previous songs. It reminds me of "Everything Counts," which is not Depeche Mode's finest moment. Oh, dear God, "Bendable Poseable." Now we have Radiohead sandwiched with Depeche Mode, without the warmth or humanity of either band.

bob_vinyl: This doesn't have the warmth or humanity of a rock. Now it's back to being forced. Man, if this is their take on Radiohead, it's a pretty pathetic one. Oh, I hope they're not really trying to be Radiohead here.

taotechuck: It is forced. Do you hear what I mean, though? OK Computer era Radiohead?

bob_vinyl: Yeah, I hear it, I just hope they didn't intend it.

taotechuck: It's funny. On my first listen, I thought the production was pretty decent. The second time around, I find the production to be contrived and uninspired. Now we have the Pet Shop Boys with "We're Looking For A Lot Of Love." Great.

bob_vinyl: Any song with "love" in the title should have some kind of emotion or it's an insult to love itself. They might be "looking," but they aren't getting much love tonight, huh?

taotechuck: They could come in here with a crisp 20 dollar bill and they still wouldn't get my love.

bob_vinyl: I wonder what text book they used to learn this stuff.

taotechuck: You're right. It is very by-the-books. It's a lot like the hair metal bands who were trying to get big record deals by emulating Ratt and Dokken. But in this case, they're emulating Boards of Canada and Air and maybe Stereolab's suckiest moments. Hot Chip lacks nearly every element of great dance music. You mention love...the best dance music is all about love, and there is no love here. There was a word that was bandied about in the rave scene... plur. Peace Love Unity Respect. I don't hear any of that in Hot Chip.

bob_vinyl: This just seems like stuff they recorded to be hip and not because it lives in their heart. "Touch Too Much" is another of the decent tracks. Again, it feels more natural than the majority of what they have offered here. When I first put this on, winamp played this song first for some reason. It seemed promising. This is at least a little bit organic.

taotechuck: I suppose, but coming after five derivative and sub-par songs, it's hard for me to hear it with open ears. But... yeah, you're right. The percussion in the background, the harmonies... there is something to it.

bob_vinyl: Now they're doing Jackson Browne on "Made in the Dark." I actually like this one too. There's some emotion.

taotechuck: There's nothing wrong with doing different styles, but this is completely out of place with everything else. And it's not because it's good. But if you heard this on an album of good songs, would you like it? Hmmm... maybe.

bob_vinyl: You're right. If I liked the rest of the album, this would really throw me (in a bad way). I think this would be a good low-key break on a rock album.

taotechuck: The whole album reminds me of all the third-rate '80s bands who were riding the coattails of the handful of innovative bands of that era. It's possible that I hate Human League more than any other band, and this has all of the weaknesses of Human League. There's no depth to it.

bob_vinyl: Ooooh, it's the Fixx!

taotechuck: I thought the same thing! The Fixx!

taotechuck: Hey, now it's New Order, with a bit of Rusted Root thrown in.

bob_vinyl: New Order? You're generous. I was thinking BIlly Ocean. Actually, now the song got going, it's not bad, because the reggae undertones make it fun.

taotechuck: It's kind of fun, but it's still in a very derivative way. That's what's killing me about these guys: I don't hear a single thing that's original. There's nothing here that makes me say, "That's Hot Chip!" This has all the uniqueness of Alphaville, or Information Society, or Human League, or the aforementioned Baltimora.

bob_vinyl: I think that's because there's very little of themselves here. They seem to be more interested in being the next big thing than they do in being their own thing.

taotechuck: This sounds like the kind of band that would have hung out at Studio 54 instead of Paradise Garage or The Loft. These guys are all style and no substance. Unfortunately, their style isn't very interesting. I hate this. It doesn't deserve my mercy. Being as we're coming up on Good Friday and Easter, may I wax philosophical for a moment? This reminds me of the convenient Christianity that is preached at so many megachurches. It's all about feeling good, but there's very little capital-t Truth in it. I don't want church to make me feel good. I want church to challenge me. I want church to call me out on my BS. I want church to point out my failures in a way that inspires me to be a better person. I have no problem with a sermon that is fun or lighthearted or makes me feel good, but there has to be substance. And I feel the same way about music. This music has no substance. It is empty. It is spiritually devoid.

bob_vinyl: Right. You have to believe that the preacher means it.

taotechuck: Absolutely. I don't believe these guys. And that's sad, because the greatest dance music -- whether it's by Kraftwerk or Larry Levan or Kerri Chandler -- makes you believe what they're preaching.

bob_vinyl: I wonder if we'd feel differently if we hadn't lived through crap like this the first time? On "Hold On" they could have really bolstered it with with something that takes off the way "Don't Leave Me This Way" or "Give Your Body Up to the Music" takes off. This is so wooden.

taotechuck: When he sings "I learned all I know from wrestling," I believe him. Pro wrestling requires strength and skill, but it's ultimately fake. It's a show. Just like this.

bob_vinyl: "Wrestlers" at least isn't trying to inspire. It's lame, but its aspirations are lower so I can live with it more than "Hold On".

taotechuck: Hey, wanna make a bet? Five bucks says Pitchfork gave this at least a 7.6. I promise I haven't checked.

bob_vinyl: Okay, I'll take the under.

taotechuck: Dang. Pitchfork gave it a 7.0. "Good record but not a great one." I owe you five bucks.

bob_vinyl: "Don't Dance" might be renamed "Don't Dance Because This Isn't Worth Dancing To"...but that would end with a prepostition so I guess that's why they shortened it.

taotechuck: How about "Don't Dance Because This Isn't Worth Dancing To Because It Sucks"

bob_vinyl: Where were you when they were naming the songs?

taotechuck: Listening to something good.

bob_vinyl: "Whistle for Will" is another one that just sticks out like a sore thumb, but it's not as good as "Made in the Dark."

taotechuck: That's true. And it's not as if the vocals have anything particularly special. This is what Death Cab's "I Will Follow You into the Dark" would sound like if it weren't charming.

bob_vinyl: I like this last song. It's another one that doesn't fit and it's an odd choice to close the album with two oddball tracks. I really like the whoa-ohs in the backing vocals.

taotechuck: I agree. "In the Privacy of Our Love" is, hands down, the best song on the album. It's got a doo-wop feel to it. In a really odd way, it reminds me of some of Shudder to Think's stranger moments.

bob_vinyl: This crap at the end is just stupid. It was like, "Oh no, we have to have some kind of electronic crap at the very end."

taotechuck: Indeed. Wow. So I sat through 12 songs I hated to get to one song that was good, but I'll never play again.

bob_vinyl: If the whole album was this good, this conversation may have been a lot less fun.

taotechuck: Okay, here's my rating: Satriani: Suck/10; Zappa: Suck/10; Dylan...Okay, joke's old.

bob_vinyl: I think the album as a whole is one of the most self-conscious I've ever heard and that's fundamentally what killed it.
Satriani 6/10
Zappa 1/10
Dylan 4/10
Aretha 2/10
Overall 3/10

taotechuck:
Satriani: 6/10
Zappa: 2/10
Dylan: 3/10
Aretha: 1/10
Overall: 2/10

bob_vinyl: I had given it Aretha 1/10 too, but it got a full extra point for the last song.

taotechuck: I thought about doing that, but the pain and suffering I'm feeling wasn't alleviated by "Privacy."

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Eels invite President Bush to their DC show on March 29th

E (aka Mark Oliver Everett of the eels) sent this letter to the president:

Mr. President,

My name is Mark Oliver Everett. I am the singer in an American rock band called EELS You may recall using our album "Daisies of the Galaxy" as an example during your campaign for the presidency in 2000 The album was supposed to be a bad example for the kids of America. Something about inappropriate language and messages. You even had my lyrics on your website. lt was quite an ordeal I even wrote about it in my new book, Things The Grandchildren Should Know (coming out this fall in the U.S. - it's already a bestseller in England, where it just came out!)

Mr. President, I know that you're a Christian, and Christ taught forgiveness. So in the spirit of forgiveness and fence-mending, I'd like to let bygones be bygones and invite you and the First Lady to attend our Washington, DC concert, March 29th lt's right down the road from you at the Sixth & | Historic Synagogue. lt's a really cool place for concerts. lf you're more comfortable at a different house of worship, we're also doing concerts at churches in Philadelphia and New Haven the nights before and after the DC show. In the name of tolerance, we are trying to represent many faiths on this tour.

lf you come to the show, I would be happy to give you complimentary copies of our brand new best of and rarities CDs, "Meet The EELS" and "Useless Trinkets" (which feature some of the very tracks your campaign used as bad examples for our country's youth) that i will even be happy to autograph for you. These tracks can be loaded onto your Presidential iPod as well. lf you're busy, I understand, but I wanted to put it out there: Let's forgive and forget. lt's the only way to change the world.

Thank you for your time, Mr. President.

Sincerely,
E

Review: Mouse Fire - Wooden Teeth

Label: Lujo Records

Released: November 6, 2007

If I tell you that a band reminds me of ELO in any way and you're turned off, it's understandable. When I say it this time though, don't tune out, because you'll miss something very cool. Here I go. Mouse Fire reminds me of ELO. Now let me allay your fears a bit. There's nothing on here that sounds like "Evil Woman." What Mouse Fire really learned from ELO was how to make slick pop, but they made that their own by maintaining an intimacy that often eludes even the most down-to-earth bands. In other words, Mouse Fire is slick without being bloated, fake or light. The music ranges from low-key ballads to guitar-driven rock to angular post-punk. They even take a few lessons, not from disco, but from disco's effect on rock music at times when their pop perfection becomes vaguely funky and danceable.

Mouse Fire builds lush layers that never become overbearing, because nothing, not even its synthiest moment, ever gets detached. They fit right in with the resurgence of post-punk's sharp corners, yet they even those corners out into something far easier to digest. "Slick" is so often a derogatory term that implies a style over substance approach is hiding something. Not on Wooden Teeth though. This slickness is a strength. Rather than hiding shortcomings, it enhances everything else that they do right. Mixed with the album's angularity, these hooks aren't the sort that let you know you're being hooked. They come from all sides too. Any layer is easy to get caught up in while another makes its move for attention. The album wraps its smooth and rough sides into a package that is at once more palatable and more satisfying.

Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 9/10
Aretha: 7/10
Overall: 8/10

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Review: Clams - EP

Label: self-released

Released: 2007

Many bands take the Great Leap Forwards approach to modernization, taking an older sound and dragging it kicking and screaming through recent history into the present. Clams doesn't take that road though. Their self-titled EP channels 70s hard rock without forcing anything unnatural to happen. Whether the rhythms are driving or more laid back, the riffs are monsters with plenty of swagger and the vocals are emotional without overwhelming the music. They have plenty of crunch, but don't avoid hooks for the sake of heaviness. Even their nod to the 90s on the Alice in Chains-ish "Dead to the World" doesn't feel like they're alt rock-ifying their sound so much as just taking a natural path. "Fractures" is their most ambitious track, showing that they are equally adept at straightforward rock and prog meanderings. While this EP isn't breaking much new ground, it takes a pattern that is oft misused and sets it straight.

Ratings
Satriani: 7/10
Zappa: 4/10
Dylan: 6/10
Aretha: 7/10
Overall: 7/10

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Los Campesinos! - International TweeXcore Underground video

Check out the review of their 7" over at FensePost.

Review: Mike Seeger - Early Southern Guitar Sounds

Label: Smithsonian-Folkays Recordings

Released: 2007

New Lost City Rambler Mike Seeger (half-brother of Pete) serves up 28 traditional songs, some with vocals, some without. These are old songs, songs that have been around awhile, songs that Seeger probably learned from old scratchy 78s. Seeger approaches these songs with love, appreciation and authenticity. Some of the guitars he used are as old as the songs themselves, but Seeger does have a technological advantage over the past: recordings today are much better. On Early Southern Guitar Sounds, he doesn't rehash old recordings, he relives old performances, the way people heard them live decades ago, but could only be sufficiently recorded today.

These are the kind of recordings that a serious guitar player can appreciate. At times, Seeger sounds like more than one player. The liner notes include information about history, but also tunings and hardware. This is a guitarists' album. But it's not just a guitarists' album. For the rest of us, it's just beautiful, timeless music.

Ratings
Satriani: 10/10
Zappa: 6/10
Dylan: 10/10
Aretha: 10/10
Overall: 10/10

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Review: Fight - K5 (The War of Words Demos)

Label: Metal God Entertainment

Released: January 8, 2008

At the time, Judas Priest's Painkiller seemed like a breath of fresh air. Ram It Down was a decent album, but not enough to assure metalheads that Turbo was a mistake Priest wouldn't make again. Painkiller, on the other hand, seemed like Priest had not only abandoned their pop metal ambitions, but were attempting to fuse their sound with the 80s underground metal that they helped influence earlier in that decade. But that was then. Now Painkiller shows a band struggling a bit for relevance without simply reliving their past. It was a noble effort, but their thrash and hardcore leanings (largely courtesy of new drummer Scott Travis' playing) never really gelled with the remnants of the old Judas Priest sound.

Three years later, Fight's War of Words gave Halford and Travis the opportunity to explore their higher energy approach unencumbered by the Judas Priest sound hanging over their heads. The result was even more refreshing than Painkiller seemed...and it's held up much better. The album generally sounds much more natural, because the new sound isn't being superimposed onto the past. However, War of Words had plenty of support behind it and the end product just may be a bit too polished.

Enter K5 14 years later. These are the demos that Fight recorded before it was cleaned up for radio, MTV and mass consumption. These raw sessions tap into the thrash and hardcore for which Halford and company formed Fight in the first place. K5 trims two and a half songs from the War of Words track list, but they're songs that had less of the new Fight sound. These are replaced by four songs that never made the original album, all of which are nice additions. "Jesus Saves," a track hidden in War of Words' final track, stands on its own for the first time on K5.

K5 is not essential, but for those of us who wanted to know what these songs sounded like before they were cleaned up to be sold, it's an interesting window and, in a sense, a better album that gets at the essence of what Halford was trying to achieve with Fight. While it might be construed as a filler release, just remember Judas Priest is working on a concept album about Nostradamus, so this is the best we're gonna get out of Halford for awhile.

Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 6/10
Aretha: 7/10
Overall: 7/10

Website

Myspace

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Review: Voodoo Six - Faith

Label: White Knuckle Records

Released: 2007

England's Voodoo Six prefaced First Hit for Free, due out on March 24th, with this three song EP of their modern hard rock. "Faith" is the teaser's first and best track. It takes 70s hard rock and filters it through the 90s, largely influenced by Soundgarden's more mainstream, metally albums. The song isn't particularly original, but all elements are solid and Voodoo Six injects a fair amount of energy into it. They follow this up with "Feed My Soul" which is no more original, but lacks the previous song's electricity. The rhythms are lackluster, the riffs are flat and the solo is gratuitous. Like "Faith" though, it does display technical competence even if the songwriting and performance fizzle. "Crawl" splits the difference between the two, bringing back some of the punch of "Faith" without matching it. While I didn't find the Faith EP to be particularly compelling, it did show that the members of Voodoo Six are entirely competent even if they do struggle to standout. To their credit though, their skills are strong enough that they could be very flashy, yet they show quite a bit of restraint. Their biggest hurdle, even greater than a lack of any real originality, is their sacrifice of swagger for precision. Faith feels like everything is by the book rather than being elastic enough to show the band's personality.

Ratings
Satriani: 8/10
Zappa: 3/10
Dylan: 5/10
Aretha: 4/10
Overall: 5/10

Website

Myspace

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New Raconteurs Consolers of the Lonely album out suddenly on March 25th

From their press release:

"Album" meaning: full length vinyl, CD and digital formats; and "everywhere" meaning: local mom and pop Indie retailers, corporate superstores, supermarkets, iTunes, Amazon, the band's own website and any other location that could get the record up and going this quickly (some places couldn’t move this fast, so they will join in as soon as they can).

It contains 14 new recordings and is being released globally on Third Man Records in conjunction with our marketing/distribution partners, XL Recordings and Warner Brothers Records.

The album was mastered and completed in the first week of March. It was then taken immediately to a vinyl pressing plant. Then to a CD pressing plant. Then preparations to sell it digitally began. March 25th became the soonest date to have it available in EVERY FORMAT AT ONCE. The band have done no interviews or advertisements for this record before this announcement.

The purpose: to get the album to the fans as soon as possible and as we promised. We wanted to get this record to fans, the press, radio, etc., all at the EXACT SAME TIME so that no one has an upper hand on anyone else regarding it’s availability, reception or perception.

With this release, The Raconteurs are forgoing the usual months of lead time for press and radio set up, as well as forgoing the all important "first week sales". We wanted to explore the idea of releasing an album everywhere at once and THEN marketing and promoting it thereafter. The Raconteurs would rather this release not be defined by it's first weeks sales, pre-release promotion, or by someone defining it FOR YOU before you get to hear it.

Another purpose was to also allow people to have their own choice as to exactly which format they would like to hear the album in IMMEDIATELY, rather than having to wait for their favorite format to become available. The band are also not releasing any version of this record that contains bonus tracks. Musically this album will be the same as the band created it no matter what format it is purchased in (The sound quality of each format however, is a different story. The Raconteurs recommend hearing it on vinyl, but the choice is of course up to the listener).

The band also prefer that fans buy the album as a whole instead of breaking up the tracks, but until iTunes and other digital services allows bands to release their albums with the option of NOT breaking it up, it will be sold in that fashion on those particular sites. On the band's website however, the album will be sold in its entirety as an mp3 at 320kb bit rate. Also in Japan, fans will be able to download the record via their mobile phones, as that is how a majority of recorded music is consumed there.

The reason we are announcing this release one week ahead of time is because of retail pre-ordering and stocking, information about this album's imminent release was bound to come to light and could be confusing to fans. Also in the event that the record leaks, we didn’t want this method of release to be seen as a REACTION to such a leak. It's not. The actual worst thing about a leak is the usual poor sound quality, akin to watching a movie on a wristwatch instead of in a theater. Which for the album's creators is a bit of a letdown, but again, it is completely up to the listener.

There will be a video up on the internet for the first single, "Salute Your Solution", on the 25th as well, provided it gets edited in time. We just filmed it the other day!

We hope not to confuse anyone with too many options, or deny them the formats that they like best. The Raconteurs feel very strongly that music has worth and should be treated as such. Thank you to all those who respect music in this fashion, and thank you to our label partners for working with us to get this album to fans in as many formats as possible all at once.

Thank you, and we hope that you enjoy "Consolers Of The Lonely".

Sincerely,
The Raconteurs

Website

Review: Ride Your Bike - Bad News from the Bar

Label: Deep Elm Records

Released: December 10, 2007

Ride Your Own Bike's debut, Bad News from the Bar, gets off on the right foot with "We All Have Our Own Shoes," whose strings slowly give way, but never completely, to a more traditional rock arrangement. After that, the creativity is pretty hit or miss though. For every clever or catchy moment, there's also some standard issue indie rock like "Sticks and Stones." Of course, some of the more original moments also struggle to work such as the horns on "Knack for Faith" (which are somewhat reminiscent of mid-70s McCartney). Likewise, some of the straightforward moments work simply on a good hook. At times their creativity shines, but just as often, it fizzles and their playing never really soars enough to compensate.

"Bad News from the Bar" is a concept album, but to its credit, it doesn't have to be taken as such. The narrative is there, but the songs, even the weakest among them, can all stand on their own, so nothing gets consumed by the concept. That extra dimension helps, but still doesn't push Bad News from the Bar over the top.

I first listened to this album while talking a walk in the snow and, to its credit, it made a real connection with me. It's the kind of record that has its time and place. The trouble is it doesn't snow that much here.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 5/10
Aretha: 5/10
Overall: 6/10

Website

Myspace

If you're curious about my rating categories, read the description.

Review: Mechanical Bull - A Million Yesterdays

Label: Woodstock Musicworks

Released: November 1, 2007

A Million Yesterdays's brand of Americana generally alternates between country and country rock, finding the most consistency with the former, but perhaps their best moments with the latter. Their more traditional songs show clear command of the genre. Avalon Peacock's voice might get a little shaky in her vibrato, but that along with rough male/female harmonies give the songs color more often than hindering them. Their upbeat country tunes are their best, because they find that irony between the bright surface and the sad undercurrent.

When Mechanical Bull throws more rock into the mix, they don't reach the heights of the bands like the Allmans, at least partially because they're too low-key for that kind of energy. However, they do at times approach the Eagles (if only the Eagles had soul), managing to be catchy without too much pop. The result is sometimes generic, but at other times they mix things up with odd instrumentation (see the sax part on "Desert Air") that shows they have personality and that they should show it more, because it works.

All in all, A Million Yesterdays has some very bright moments, but doesn't consistently let itself shine. When they're a typical Americana band, Mechanical Bull isn't bad. It's when they aren't typical though that they approach something really special.

Ratings
Satriani: 6/10
Zappa: 7/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

Website

Myspace

If you're curious about my rating categories, read the description.

Review: Various Artists - Take Action! Volume 7

Label: Hopeless Records/Sub City

Released: March 4, 2008

The seventh installment of the Take Action compilation series is, as usual, a mixed bag of bands, but a pretty good one nonetheless. It dabbles in everything from from hardcore and metal (Every Time I Die) to noise rock (Drop Dead, Gorgeous) to progcore (Chiodos) to straightforward punk (The Matches), but most of the album fits somewhere into the overlapping genres of pop punk, power pop and emo. Some is remarkably well-written like Silverstein and some is quirky and creative like Cute is What We Aim For, but most are just solid examples of what those genres have to offer. The album is long on sappy and short on edge, but whichever end of the spectrum you like, there's still enough to make this worth the price.

The DVD has 20 videos that cover similar ground. Truly good videos are even harder to come by than good songs, but once again, there is enough here for every punk/emo/screamo fan. The Plain White T's "Making a Memory" is one of those feel-good clips, but even though it's geared toward people half my age, it somehow resonated with me. I've had enough of 80s imagery, but Every Time I Die's spoofing of some that decade's cheesiest films is pretty funny. A Life Once Lost has a metal freakout in the "Firewater Joyride" reminiscent of the Butthole Surfers' "Who Was in My Room Last Night." While the DVD is less essential than the CD, it's still some nice bonus material.

A portion of the proceeds from the artists and the label (5% of the suggested retail price) goes to Do Something. Hopeless Records has long been involved in making the world a better place, so it's hard to question them, but what about the bands? Every track on here has been previously released. Why do they need to make anything? The Take Action comp is good exposure for these bands. While compiling and releasing the CD has some cost associated with the release that Hopeless needs to recoup, I don't see what the bands have invested. Maybe I'm off-base here, but it seems to me that this might not be as much of a charity release as it's portrayed to be. I'd like to get other opinions on this though. What do you think?

Ratings: 6/10

Website

Review: Alive in Wild Paint - Ceilings

Label: Equal Vision Records

Released: March 18, 2008

"The sky was cold-fire sunrise, the clouds alive in wild paint, but all of it blurred in the dynamite crescendo."

These words from Richard Bach's Illusions not only give Alive in Wild Paint their name, but also their essence. Not only do they evoke soundscapes every bit as vivid as these words, but they also have the same seemingly divergent natures of peace and chaos. Ceilings is an album that relies more on piano and layers of ambient noise than it does on the brash guitar, bass and drums of a typical rock band. The first reaction is that they've tapped into Ok Computer-era Radiohead, but the deeper influence is perhaps the Church who created a similar ebb and flow of soothing yet moving noise surrounding an almost folky organic center. This organic, human element is what separates them from similar bands. It isn't until "Sleep With Your Soul In," the album's seventh track, that there seems to be any harshness in Celings, yet its gentleness is a strange one, more unsettling than peaceful. Alive in Wild Paint doesn't break a tremendous amount of new ground so much as they bring a new approach, one that takes something that tends to be overly clever and under emotional and rehumanizes it. Like the Bach quote, they describe things in a strange way that touches something beneath the intellect.

Ratings
Satriani: 8/10
Zappa: 7/10
Dylan: 7/10
Aretha: 7/10
Overall: 7/10

Website

Myspace

If you're curious about my rating categories, read the description.

One Win Choice on tour

One Win Choice is taking their righteous anger on the road for two tours in March and April in support of their Never Suspend Disbelief album. Check 'em out if you can.

TOUR 1
MAR 15 - Elkton, MD @ Joe's Basement (196 Elk Ranch Park Rd)
MAR 16 - Richmond, VA @ Ramakin's w/ The Campaign 1984
MAR 18 - Asbury Park, NJ @ Asbury Lanes w/ The Campaign 1984
MAR 19 - Philadelphia, PA @ The M Room w/ The Campaign 1984
MAR 21 - Pittsburgh, PA @ House Show w/ The Campaign 1984
MAR 22 - Grand Rapids, MI @ Skelletones w/ The Campaign 1984
MAR 24 - Lansing, MI @ Mac's Bar w/ The Campaign 1984
MAR 25 - Detroit, MI @ Von's w/ The Campaign 1984
MAR 26 - South Barrington, IL @ Penn Road Pub w/ The Campaign 1984
MAR 27 - Seymour, IN @ 2nd Street Live w/ The Campaign 1984
MAR 28 - Belleville, IL @ Illegal Tones w/ The Campaign 1984
MAR 30 - Parma Heights, OH @ The Davenport
MAR 31 - State College, PA @ The Brewery

TOUR 2
APR 16 - Richmond, VA @ TBA
APR 17 - Somewhere, NC @ TBA
APR 18 - Chattanooga, TN @ TBA
APR 19 - Belleville, IL @ Illegal Tones w/ Astpai
APR 20 - St. Louis, MO @ TBA w/ Astpai
APR 21 - Peoria, IL @ TBA w/ Astpai
APR 22 – WI / IA @ TBA w/ Astpai
APR 23 - Minneapolis, MN @ TBA w/ Astpai
APR 24 - Milwaukee, WI @ TBA w/ Astpai
APR 25 - Chicago, IL @ Ronny's w/ Astpai
APR 26 - Lansing, MI @ TBA w/ The AKA's, Astpai
APR 27 - Trenton, OH @ Trenton Fisherman's Club w/ Astpai
APR 28 - Pittsburgh, PA @ Howler's w/ American Armada w/ Astpai
APR 29 - State College, PA @ The Brewery w/ Astpai
APR 30 - Saratoga Springs, NY @ TBA w/ Astpai
MAY 01 - Albany, NY @ 289 Delaware Ave w/ After the Fall, Astpai
MAY 02 - East Stroudsburg, PA @ Penn Monster Factory w/ Astpai
MAY 03 - Philadelphia, PA @ Disgraceland w/ Jena Berlin, Giving Chase, Astpai
MAY 04 - Toms River, NJ @ The Shed

Interview: Bad Habit

I recently had a chance to interview Joe Michelizzi, singer for up and coming Maryland hardcore band Bad Habit. For a band that's been together only a short time, their demo was pretty exciting (and even had a touch of the silly). So, here's what Joe had to say:

RnRnMN: How long have you been together?

Joe: We haven't been together for very long. Technically we have been together since about July 2007. That is when we first got together and played music. It was only once though before Daniel, our drummer, went to Boston for about a month for a summer program at Berklee. He came back sometime in August and that is when we began to practice regularly and tried writing our own music. So I guess it has been about seven months or so. I feel, and hopefully others do to, that we have come a long way in that time.

RnRnMN: Do you have experience in previous bands?

Joe: All of us have previous experience in other bands. I have the least experience though, having only sang in one other band called Strange Days, more of a modern hardcore band. We didn't play very many shows and we weren't very good but it was fun nonetheless and definitely very worth the time and effort. Matt, our bassist, and Anthony, our guitarist, have been in and out of bands together since high school. They were also both in Strange Days. They were also in a metalcore band in high school called Ink the Heart. Daniel is the youngest of us all but is easily the best musician out of all of us. He played with a punk band early in high school called Shug Clowns and up until recently a metalcore band called For Better For Worse. We're lucky to have him. It is so hard finding a drummer, and a good one at that.

RnRnMN: What band or album got you into punk/hardcore?

Joe: Integrity and Ten Yard Fight. Nah, I'm gonna be honest, I haven't been in the hardcore community for a very long time, a couple years at most. I remember Dookie by Green Day being the first cd i ever bought, and I picked up Punk In Drublic by NOFX when i was about thirteen or fourteen. I still listen to that album all the time. I have to thank Minor Threat, The Descendents, and my brother though for getting me into hardcore. My brother went to college with some hardcore kids and he played bass so they all formed a band name Bail Out! even though he knew nothing about hardcore and wasn't a fan. I was a junior in high school when they started and that's when I started getting into everything. In early 2005, I took a day off of school and went on a weekend tour with Bail Out!. One of the shows they played was with Ruiner, Van Damage, and The Spark. It was at that show when I realized this shit was for me. I still remember everything about the show. Anyway, enough about me. I asked Anthony for his input on the question and he told me NOFX- Pump Up The Valuum did a lot for him and that My War by Black Flag was the angriest shit he ever heard and loved it. Daniel went with AFI, the Misfits, and Minor Threat. Matt, like always, was indecisive.

RnRnMN: Your sound is strongly rooted in early hardcore. What do you offer that's new?

Joe: I don't really like this question haha. I feel like answering it will force me to have a better opinion of my band than maybe I should, if that makes any sense? Also, I feel were equally influenced by the new as well as the old. Personally, I would say our biggest influences are Minor Threat, Black Flag, the Descendents, Outbreak, and Kid Dynamite. Its hard to bring something completely new and innovative to hardcore, a lot of shit has already been done time and time again and we don't want to just remake an old album. I guess what we are trying to do is bring some intensity back into the scene and play fast as shit, and there are definitely some good bands that are doing something similar.

RnRnMN: From the looks of your schedule, it seems you'll play shows at regular venues as well as basement shows. What are the ups and downs of both?

Joe: We play shows wherever we can get shows. Normally, we will only turn something down if one of the members can't make it to the show or we truly feel we don't fit or belong on a specific show. So far we have played in D.A.V./K.O.C. halls, basements, bars, holes in the wall, and of course Charm City Art Space. In April we are opening a show at the Ottobar on Modern Life Is War's farewell tour. That will probably be our biggest show to date. I don't really like playing on stages, I don't know why. Thats probably the only downside of a bigger venue for me. The only other downs of any show I can think of would just be a lack of kids showing up, and we have definitely played to next to no one before. I would say our basement shows tend to draw less kids than a show at a regular venue. Basement shows are so personal though, it is kind of hard to not get into the bands playing. However, we have also had really fun crowds, and that is what really makes it all worth it. There is no other feeling like seeing kids you don't know and will never meet sing songs that you wrote. But regardless of the crowd, shows are always fun because that is what it is all about. And if nothing else, at least we are getting in some extra practice.

RnRnMN: Have you had the opportunity to tour or are you largely playing fairly local shows?

Joe: As of now, we are a generally local band. We have only played one out of state show and that was at Championship Records in Lemoyne, PA. We would love to play any out of state show and hopefully we can play a lot more in the future. Touring is definitely on our to do list. It is going to be very hard considering most of us have jobs and go to school full-time, but we are going to find a way to make it happen. We actually have a small weekend tour this May, and if we can all get the time off, we will be heading up to Massachusetts in early April. On May 9th we will be in Pittsburgh, PA at the Roboto Project with Pulling Teeth, Gray Ghost, and the Pyramid Scheme. On May 10th we will be in York, PA for a basement show with Pulling Teeth, Gray Ghost, Trapped Under Ice, and a new band Re-Ignition, who will be playing their first show. Nothing is official for May 11th, but there are a couple people looking into something for us, so we should have word on that soon. We also have a one off date in Richmond at Ramakins on May 24 with The Reserve and some other locals. So if anyone sees this, and wants to see us somewhere in VA,PA,NY,NJ or any other area relatively close...we are down.

RnRnMN: What are the upcoming plans for Bad Habit?

Joe: Other than playing shows in and out of state and working on new songs, Bad Habit doesn't really have any official plans. We are going to be making some t-shirts in the very near future. Right now, we are just trying to put the demo into the hands of everyone we can and get noticed. We send them out free to anyone who asks for one, but right now we are out. We should be making some more fairly soon. We're not trying to rush anything. We have only written three new songs since our demo came out, so its not like we are brimming with material for any releases. If a label were to show interest, we would definitely be interested, but we feel we haven't established ourselves enough to be looking into releasing a 7" or anything. I think a split with another band would definitely be awesome and lay the groundwork for our own release. So really, just listen for some new songs live and look for some shirts on the merch table.

RnRnMN: Has Natalie Portman heard "Israeli Girl?"

Joe: Why did I know something about Ms. Portman was going to come up? Yes it is true, I have an enormous crush on Natalie Portman, and unfortunately she has not yet heard the song, at least not to my knowledge. She could be a closet hardcore fan, I dunno...I sure hope so. Everyone keeps telling me to send it to a fan club or something, so if I get some extra time I will probably look into it. I mean, if she hears it, I'm totally in. There is no way the song isn't going to melt her heart, am I right?

RnRnMN: Pick your favorite from each pair:

Joe:
Pick my favorite from each pair...ugh.

• Beatles versus Stones - I am definitely going to go with the Stones on this one, mainly because I cannot get into the Beatles at all. Anthony will be very disappointed when he sees this...he is an enormous Beatles fan. Plus the Stones have "Paint It Black," and that song kills.
• Sex Pistols versus The Clash - Definitely The Clash, mainly because I own "London Calling" and own nothing from the Sex Pistols. To be honest, I'm not really a big fan of either. I'm such a shitty hardcore kid.
• Minor Threat versus Black Flag - This one is hard. I love both bands to death. I'm gonna have to go with Minor Threat though, mainly because like i said earlier, they played a big part in getting me into hardcore. Nothing at all against Black Flag though, they are equally amazing.
• NOFX versus The Descendents - This is my favorite one because both names popped up in the question about what got me into hardcore/punk. While Nofx will always hold a special place in my heart, I am going with The Descendents hands down. They are probably my favorite band ever. The Descendents are just sooooooooo good, you can't dislike them, and if you do...fight me. Also, it would be pretty stupid of me to choose Nofx when I have Descendents tattoos.
• Hot Water Music versus the Draft versus Chuck Ragan - Is it bad that I've never really listened much to any of them? I'm gonna go with Hot Water Music because they're the only one of the group I've heard. I'm not big on folk so I've never really checked out Ragan's solo stuff. Since I was never into HWM I've never even heard of the Draft until now.

Slingshot Dakota on tour

Brooklyn, N.Y. / Easton, P.A. duo Slingshot Dakota begins a six-week trek across the U.S. today.

The tour - which covers both coasts and just about everything in between - is in support of the band's latest self-released record, Their Dreams Are Dead, But Ours Is The Golden Ghost. The Slingshot kids are currently streaming five tracks from the album on their myspace page.

Ten irresistible songs recorded by Latterman's Phil Douglas, you can order a copy of Golden Ghost directly from Slingshot Dakota via their myspace page or pick up a copy directly from Carly and Tom at a show.

MAR 14 - Brooklyn, NY @ Brooklyn Cat House w/ Street Smart Cyclist
MAR 15 - Lehigh Valley, PA @ Jan's Room
MAR 16 - Philadelphia, PA @ The 43rd Ward
MAR 18 - Washington, DC @ The Girl Cave
MAR 19 - Richmond, VA @ Rumors (clothing store)
MAR 20 - Silver Spring, MD @ The VT Hurler
MAR 21 - Lexington, KY @ The Shrieking Shack
MAR 22 - Louisville, KY @ Pad Tight (house show) w/ Ghost Mice
MAR 23 - St. Louis, MO @ The R Building
MAR 24 - Columbia / Kansas City, MO @ TBA (help needed)
MAR 25 - Tulsa, OK @ The Monolith
MAR 26 - Ft. Worth, TX @ 1919 Hemphill
MAR 27 - Austin, TX @ Red 7 (all ages)
MAR 28 - El Paso, TX @ TBA (being booked)
MAR 29 - Anytown, NM @ TBA (help needed)
MAR 30 - Scottsdale, AZ @ Chyro Arts
MAR 31 - Riverside, CA @ The Pizza Factory
APR 01 - Los Angeles, CA @ TBA
APR 02 - Fresno, CA @ The DLC House
APR 03 - San Francisco, CA @ TBA (help needed)
APR 04 - San Francisco / Sacramento, CA @ TBA (help needed)
APR 05 - Arcata, CA @ The Greenhouse
APR 06 - Portland, OR @ Sweetpea Vegan Bakery
APR 08 - Seattle, WA @ TBA (being booked)
APR 09 - Olympia, WA @ TBA (being booked)
APR 10 - Portland, OR @ TBA
APR 11 - Boise, Idaho @ TBA
APR 12 - Salt Lake City, UT @ The Boing! Collective
APR 13 - Denver, Colorado @ TBA
APR 14 - Lincoln, NE @ The Ghost House
APR 15 - Anytown, IA @ TBA (help needed)
APR 16 - Madison, WI @ The Palindrome House
APR 17 - Chicago, IL @ TBA (help needed)
APR 18 - Peoria, IL @ This Is Ours Fest
APR 19 - Peoria, IL @ This Is Ours Fest
APR 20 - New Buffalo, MI @ TBA
APR 21 - Cincinnati, OH @ Blue Rock Tavern (free show, all ages)
APR 22 - Columbus, OH @ The Monster House!
APR 23 - Parma Heights, OH @ The Davenport (all ages)
APR 24 - Pittsburgh, PA @ Lava Lounge w/ Karmella's Game
APR 25 - Buffalo, NY @ The Death Trap
APR 26 - Rochester, NY @ TBA (being booked)
APR 27 - Syracuse, NY @ 113 W Borden Ave
APR 28 - Oswego, NY @ TBA (being booked)
APR 29 - Oneonta, NY @ House Show!
APR 30 - Winooski, VT @ The Monkey House
MAY 01 - Medford, MA @ The Oxfam Cafe
MAY 02 - Eliot, ME @ Eliot Grange Hall
MAY 03 - Vestal, NY @ Binghamton University Old Union

Disco

Some people say it sucks. I think they're mistaken and here's why.

Look Mexico video and tour info

Check out this incredible video for "You Come Into My House, While I Sleep?" It features animation by Travis Miller and illustrations by Look Mexico's drummer Joshua Mikel. Very crazy, very cool.



Don't miss Look Mexico on tour:

MAR 14 - Austin, TX @ SXSW Team Grizzly Showcase / Pangaea’s Patio w/ Band Marino, Clock Hands Strangle
MAR 15 - Dallas, TX @ The Door / The Side Stage
MAR 16 - Austin, TX @ SXSW / Red Seven w/ Circle Takes The Square, Maps and Atlases, Portugal The Man, Caspian, more
MAR 17 - Houston, TX @ The White Swan w/ Constants, Junius, Buxton
MAR 18 – Baton Rouge, LA @ Q and Data’s w/ Constants, Junius, Cougars Den
MAR 19 – Pensacola, FL @ The Handlebar w/ Constants, Junius
MAR 21 – Brandon, FL @ The Porch w/ Constants, Junius
MAR 22 - Charlotte, NC @ Tremont Music Hall w/ Constants
MAR 25 - Greenwood, DE @ The Barn w/ Constants, Makeout Party
MAR 26 - Philadelphia, PA @ The Khyber w/ Constants
MAR 27 - Clifton, NJ @ The Clash Bar w/ Constants
MAR 28 - Brooklyn, NY @ Union Pool w/ Constants, Goes Cube, The Hull
MAR 29 - Cambridge, MA @ TT the Bears Place w/ Constants
MAR 30 – Portland, ME @ The Big Easy w/ The Killing Moon, The Last Goodnight
APR 04 – Richmond, VA @ Canal Club (downstairs) w/ Love and Reverie
APR 05 - Clemson, SC @ Clemson University / WSBF Annual Spring Concert w/ Dave Dondero, Army of Ponch

Live: The Bowmans

March 12, 2008, Baltimore Chop Books, Baltimore, Maryland

This was a night of endangered and lost arts: folk music, storytelling, community...and geography. That's right, geography. Over the course of an intimate night of folk music in a small (and very cool) independent book store, Sarah and Claire Bowman, through the stories attached to and included in their music, illustrated the importance of geography, where you are, to everything from scenery to relationships to state of mind. When you hear great harmonies like the Bowmans display on their Far From Home album, you have to wonder how many takes it took or how much help they might have gotten in the studio. Seeing them live in a small space not designed specifically for music answers that question: they can do it at will, no tricks whatsoever. The sisters simply have an innate sense of each other when they sing and it is simply amazing to hear it in person. Their songs, including a few new ones, could be so delicate that they mixed with the breeze blowing flyers hanging in the doorway or so bold that they literally filled the room. Their sound, with just their two voices, a guitar and light percussion, was stronger and clearer than just about any I've heard even plugged in and mixed in venues designed only for music. They trusted their music enough to bring Joe, a guy from the audience with whom they had never played in person, up to join them for a song.

Baltimore Chop Books has regular musical guests and it's a great place to see some great music. One couple brought their infant daughter and it was entirely appropriate. Others in the crowd ranged from 20s to maybe 60s. While an artist sketched the performance, others discussed baseball and news during the break. There was even a dog at the show! It was the kind of event where there were no barriers between people other than those brought with you (and even some of those were likely broken down). The place just had a real sense of human community. Add the music and it probably can't be beat.



Website

Myspace

Review: Russians - s/t EP

Label: self-released

Released: October 2007

The Russians' founder Scott Janovitz is a veteran of the Boston music scene and recently lent his talents to Graham Parker as one of the Latest Clowns, so the well-crafted pop of their second EP should come as no surprise. They aren't shy about their love of the Beatles (even segueing each song into the next a la side two of Abbey Road), but they draw on a range from vaudeville and baroque pop to power pop to ambient. The best part is that they find their own voice in their hooks. They might draw a lot from some great bands, but in the end, it's their signature catchiness that makes this EP a great listen.

Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 7/10
Aretha: 7/10
Overall: 7/10

Website

Myspace

If you're curious about my rating categories, read the description.

Review: Mistletoe - demo

Label: self-released

Released: 2007

Syracuse's Mistletoe plays some wild punk rock. It's not quite focused though. "Ghost Relatives" leans toward churning hardcore, "Poor Timing" toward angular Fugazi-influenced post-hardcore and "Stop Growing Up" toward the gritty rootsiness of Avail. Still, they do manage to find the commonality in all of that to make up their sound. That mixes with a great ability to throw change-ups in both tempo and heaviness and an innate sense of just how much noise will convey their passion without straying into chaos. All in all, this demo is a very promising start and it's worth hearing. Even more so, it makes Mistletoe a band to keep an eye on.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 6/10
Aretha: 7/10
Overall: 7/10

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Lizzy Borden - Tomorrow Never Dies video

This one's over-the-top, but we expect no less from Lizzy and company.

Chapter 27 trailer

This movie is likely more about insanity than music, but it delves into the mind of Mark David Chapman's obsession with John Lennon. The film is based on crime journalist Jack Jones' 1992 book Let Me Take You Down: Inside the Mind of Mark David Chapman. The film, whose title comes from Chapman's idea of an unwritten 27th chapter to Catcher in the Rye, certainly shows more taste in naming than the book. The film hits New York theaters on March 28th.

Review: Dirty Penny - Take It Sleezy

Label: self-released

Released: 2007

Dirty Penny's clear love of Mötley Crüe might be hard to take had the Crüe not stopped making good records way too early (two records, good as they were, is a short legacy), but under the circumstances, it turns out to be a lot of fun. I'm not exactly the world's biggest hair metal fan. Sure I like early glam, but too few bands from the 80s tap into the New York Dolls or Sweet or T Rex. Dirty Penny manages to touch on that though, albeit via Crüe. Still, if you're going borrow heavily, do it from a good band, particularly one who either quit or got sidetracked before their time.

While Dirty Penny won't get any award for originality, they get plenty of points for enthusiasm. Particularly early and late in the album, they really have a great ability find that perfect line between heavy and hooky. The first few tracks are in a sense what I expected to follow Shout at the Devil and even 25 years later and from a different band, I'm happy to hear it. Oddly enough, Take It Sleazy trades its punch for slickness for a few tracks in the middle (beginning with "Take a Bite"), sounding more like later, lighter Crüe. The album regains both its energy and swagger (and just a bit of Judas Priest crunch maybe) on "Vendetta" which leads to a strong finish...except for the acoustic redux of "Sleaze Disease," whose grandiose strings and overly clean, cold playing are overbearing and underwhelming. That last track, even viewed as a bonus track of sorts, is a shame, because it taints an otherwise really good album.

While Dirty Penny's metally riffs are refreshing, the solos tend, as most solos do, to be mundane. The mandatory guitar solo is really a fault of the genre's formula, but Dirty Penny keep theirs thankfully short and to the point. Solos aside, they have a true band sound where the whole is greater than the individuals that comprise it. Considering the genre, I didn't expect poetry in the lyrics and lines like, "Pedal to the metal, I'm gonna go the extra mile; Whoa-oh, I'm runnin' wild" came as no surprise. Still, their clever play on Elvis' "Love Me Tender" in "Black n Blue" brought a chuckle and I got more than I'd hoped right there. Another source of the album's strength is solid production. Dirty Penny, even on this studio recording, has a lot of live energy and that's captured here without sacrificing quality.

At this point, hair metal is a niche market (albeit a growing niche). While it will never reach it's commercial heyday again and it has more than a few lackluster practitioners, there are a handful of bands that actually breathe some life into it. There's nothing new on Take It Sleazy, but in this case that's not the end of the world. Had this come out 25 years ago, it would have been outstanding. Now, it's just very good...and very fun.

Ratings
Satriani: 6/10
Zappa: 4/10
Dylan: 5/10
Aretha: 6/10
Overall: 6/10

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Fall of Troy on tour

w/Protest The Hero, Chiodos
Apr 11 Vancouver, BC Croatian Cultural Centre
Apr 13 Calgary, AB MacEwan Hall Ballroom
Apr 14 Edmonton, AB Edmonton Events Centre
Apr 15 Saskatoon, SK The Odeon
Apr 16 Winnipeg, MB Burton Cummings Theater


w/The Dear Hunter, Foxy Shazam, Tera Melos
Apr 19 Lawrence, KS The Bottleneck
Apr 20 Minneapolis, MN Triple Rock
Apr 22 Chicago, IL Reggie’s Live
Apr 23 Detroit, MI Magic Stick
Apr 24 Grand Rapids, MI The Intersection
Apr 25 Covington, KY The Mad Hatter
Apr 26 Cleveland, OH Beachland Tavern
Apr 29 Rochester, NY The Club @ Water Street Music Hall
Apr 30 London, ON The Salt Lounge
May 1 Toronto, ON The Mod Club
May 2 Montreal, ON Club Lambi
May 3 Poughkeepsie, NY The Loft @ The Chance
May 4 Bamboozle E. Rutherford, NJ
May 6 New Haven, CT Toad’s Place
May 7 Baltimore, MD The Ottobar
May 8 Wilmington, NC The Soapbox Laundrolounge
May 9 Atlanta, GA The Masquerade
May 10 Orlando, FL The Social
May 11 Miami, FL Studio A
May 13 Metairie, LA The High Ground
May 14 Houston, TX Meridian Red Room
May 15 Dallas, TX The Door
May 16 Corpus Christi, TX House of Rock
May 17 San Antonio, TX White Rabbit
May 19 Tempe, AZ The Clubhouse Music Venue
May 20 Pomona, CA Glasshouse
May 21 Hollywood, CA Knitting Factory
May 22 San Francisco, CA Bottom Of The Hill
May 23 Portland, OR Hawthorne Theater
May 24 El Corazon Seattle, WA

Review: Pretendo - ][

Label: Country Club Records

Released: March 4, 2008

Pretendo play a dark angular pop that revolves around its rhythms, whether that is principally percussion, bass or guitar (or most often the interplay between them), while keyboard or guitar build an unsettling ambiance. The songs vary from the subtley Stones-influenced swagger of "Chronicle a Free Subletting" to the post-punk/dance meld of "Angsti Nervosa" to the Floyd-ish trippiness (and peculiar lyrics) of "Mindy." They manage to draw a variety of small pieces from across decades into a sound that's very modern, allowing them to move forward into the future without abandoning the past. Even within a song, they manage to traverse influences. "Smoking Pipe to Dance" has a short guitar solo that starts off bluesy and finds its way into post-punk quickly and seamlessly. The dirge-like "Cynthia" slows the album's pace with its seedy desperation without derailing its energy. Pretendo realize their potential to push the psychedelic envelope on "Sherman Speaks," a freakout that Syd Barrett may well have been proud of, and even push a bit over the edge of the album's tortured closer, "Pong." Over the course of the album, they shift the musical landscape without shifting their focus, keeping the scenery interesting without losing their way in the process.

Ratings
Satriani: 7/10
Zappa: 7/10
Dylan: 6/10
Aretha: 7/10
Overall: 7/10

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Rocklahoma

Metal Mark and I have plenty to say about the Rocklahoma nostalgia fest. Check it out at Heavy Metal Time Machine.

Cool Vinyl: Simple Minds - New Gold Dream

I picked up this copy of the Simple Minds' New Gold Dream on ebay. I don't remember any marble vinyl like this as early as 1982, but apparently it did exist. Even by today's standards when there's so much great colored vinyl out there, this one looks really nice.

DVD: Kurt Cobain - About a Son

Label: Shout Factory

Released: February 19, 2008

It's hard to ask someone to talk about themselves over an extended set of interviews and not seem self-absorbed. For Cobain, it would probably be impossible to ask that over a twenty minute sit-down let alone something this extensive. Cobain comes across as a whiner, whether he's crying about his childhood, his health issues or his fame. It makes it clear why he struggled so much with fame. It was so counter to all that he wanted to believe in. And it was counter to who we wanted him to be. He says that punk rock fed his low self-esteem, because punk didn't expect him to be a rock star. Things sure did change.

The interviews aren't what makes this film special though. About a Son recognizes that the story is about more than Kurt Cobain. Other than a few old stills scattered throughout, there isn't a picture or a video of Kurt or Nirvana. Instead, it focuses on places and the everyday people in those places. We've all seen live footage of Nirvana at all phases of their career, but here we get to see what Aberdeen and Olympia and Seattle were really like. There are no Nirvana songs here either. Instead, it's filled with the music that was part of the environment that made Kurt and everyone in that scene who they were as people and artists. That music is filled in with scoring by Ben Gibbard (a master of both mood and simple honesty) and Steve Fisk.

About a Son takes a common though extensive set of interviews and turns them into a work of art all their own. This tells more than Kurt's story. It tells the story of the towns, the scenes and all of us in the process. I've often wondered, "Why Nirvana? Why were they the voice of the musical revolution? Of a generation?" I don't know if there will ever be a good answer to that, but this film at least gives some insight by reflecting not Cobain's image back, but that of the people and the times.

Rating: 10/10

Review: Crash Street Kids - Chemical Dogs

Label: Hot City Records

Released: 2007

As their name implies, Crash Street Kids are big fans of Mott the Hoople. Even without that reference though, it would still be pretty clear. Their ability mix sugary pop with hard rock edge also raises the specter of early Sweet, but some of those guitar lines are unmistakable homages to Mick Ralphs. Throw in some of Thin Lizzy's grit, a healthy (though not compared to Queen themselves) dose of Queen's theatrics and a (surprise) rock star storyline and you have Chemical Dogs.

Does it sound derivative? In a sense, it does, but it also breathes some life into the original glam sound that often stands in the shadow of its inferior bastard child from the 80s. The vocals are down-to-earth, but lack power and range. The guitars are gritty and the rhythms straightforward. Sometimes, the Kids drift into a bit of AOR territory, but more often they're just enough over the top with grandiose string arrangements and flamboyant vaudeville piano parts. Sure, they aren't great technicians, but they play with heart and swagger...and it works! Crash Street Kids might not live up to their influences, but hearing them try is a good time nonetheless.

Ratings
Satriani: 5/10
Zappa: 4/10
Dylan: 6/10
Aretha: 7/10
Overall: 6/10

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Review: Anarchy Club - A Single Drop of Red

Label: self-released CD Baby

Released: March 4, 2008

Okay, I'll admit White Zombie was kinda fun...for about ten minutes. I don't know that I could ever take them in album-length doses. When the first track of A Single Drop of Red was nothing short of an homage to White Zombie, it was already off on the wrong foot. Unfortunately, it never recovered. Their focus on 90s shock-rockers like Zombie, and to lesser extent Danzig and Marilyn Manson, doesn't really give them much to work with. After all, these bands used their horror shtick to draw focus away form their generally boring tunes. Anarchy Club skips the novelty of the slasher movie mentality, but that merely exposes the shortcomings of their songwriting. Their cover of Sweet's "No You Don't" robs the song of it's fun pop sense and further shows Anarchy Club's inability to tap into what made their influences tick. The remixes that make up the second half of the album are really just a third-rate stab at NIN's gift for melding hard rock and electronica that sadly errs on the side of hard rock. At their best, Anarchy Club are a thinly veiled White Zombie tribute. At their worst, they're a celebration of all that was terrible in 90s shock rock.

Ratings
Satriani: 5/10
Zappa: 2/10
Dylan: 2/10
Aretha: 2/10
Overall: 3/10

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Left Lane Cruiser on tour!

From Alive/Naturalsound:

Los Angeles, CA - March, 2008 - Left Lane Cruiser is on tour in support of their debut Alive Records release "Bring Yo Ass to the Table." Comprised of Joe Evans on slide guitar and vocals with Brenn Beck on one big-ass bass drum, harmonica and a toolbox full of percussive gear, the raw blues duo of LLC have honed a sound unlike any other where everything is an instrument: trash cans, paint trays, hubcaps, ladders, you name it.

"While it suddenly seems fashionable to crank out a few Robert Johnson slide guitar riffs alongside a meth-fuelled drummer, Left Lane Cruiser actually possess enough chops to write some memorable songs. What’s at the root of them is the unshakeable rhythm that singer/guitarist Freddy J IV and drummer Brenn “Sausage Paw” Beck create together, leaving plenty of space for Freddy to strut and holler over top. The line between hip-hop even blurs slightly on heavy stomps like 'Big Momma' and 'Pork ‘N Beans' But it just goes to prove that when reduced to its basic elements, the music is all rock’n’roll." - Jason Schneider / Exclaim!

Left Lane Cruiser - Busket MP3


Confirmed U.S. tour itinerary:
March 13 @ Printer's Alley - Memphis, TN
March 14 @ Finnegan's Wake - Alexandria, LA
March 15 @ SXSW showcase - Hole in the Wall, Austin, TX
March 17 @ Finnegan's Wake ST. Patty's Party - Alexandria, LA
March 18 @ HMF Tattoo Tavern - Chatanooga, TN
March 19 @ Highlands Taproom - Louisville, KY
March 22 @ Mid City - Fort Wayne, IN
March 29 @ Coody Browns on Lake Witmer - Wolcottville, IN
April 18 @ The Voodoo Lounge - Bowling Green, OH
April 19 @ The Stone House - Detroit, MI w/Jawbone
April 20 @ The Boathouse - Saugatuck, MI
April 24 @ The Rox - St. Cloud, MN
April 25 @ Shaws - Minneapolis MN
May 18 @ Broadripple Art Fair - Indianapolis, IN
May 24 @ MidCity Grill - Fort Wayne, IN w/ Buffalo Killers
July 19 @ The Deep Blues Festival - Lake Elmo, MN
More dates coming soon

Review: Vendetta Valentine - There's Nothing Safe

Label: self-released

Released: March 4, 2008

The opening track of There's Nothing Safe sounds like a cross between 80s synth pop and the Runaways. Over the course of the album, they throw in alt rock, new wave and post-punk. It may sound like a pretty bland stew that they've cooked up here, but they've largely taken the strengths of these genres and turned them into a sound that, while not entirely unique, does give them a voice. In a sense, they've found the danceability in everything they bring into the mix and that's what gives it cohesion. There's also a definite coldness in the music that is at odds with its more human elements. Their ability to sit on both sides of that emotional fence keeps the sound big, especially for a three piece. With a good sense of catchiness, some punk rock urgency and a touch of soul for good measure, Vendetta Valentine has a pretty good album on their hands.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

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