Wednesday, April 30, 2008

Review: MySon - Another Shitty Band's First Demo


Label: self-released

Released: 2008

"Warning! The recordings contained on this disc are raw and far from perfect. Just how we like it!" That's the warning on the CD, but it's more like a mission statement and they back it up with the tunes. Another Shitty Band's First Demo is raw beyond belief. Thick, sludgy guitar and bass are essentials in MySon's no-groove approach augmented by wild, erratic drumming. The leads often don't even sound repeatable which might be amateur, but it's also constantly improvisational. At times they are able to even things out like on the spacey "Copenhagen Blues" and the art-punk-ish "The Middle of Everywhere," but a pair of Nirvana covers, including Sub Pop 200 obscurity "Spank Thru," make even Cobain's earliest rumblings seem glossy.

On one hand, this is awful, but it also has the heart, the abandon and the freedom of great rock n roll. It worked for Flipper and, though to lesser extent, it works for MySon. This is art for art's sake punk rock, more interested in dissonance than harmony. The music is plodding and chaotic, but it survives on mad energy. This probably has a very limited audience, but that small group of people can probably sing along with the chaos.

Ratings
Satriani: 3/10
Zappa: 6/10
Dylan: 4/10
Aretha: 8/10
Overall: 6/10

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Tuesday, April 29, 2008

Review: Niki Barr Band - Bloom


Label: self-released

Released: May 24, 2008

I had the chance to catch the Niki Barr Band open for the Cult a few months back and they were an outstanding live band. They played with the confidence and intensity of a headliner, not the caution and tentativeness of a local band opening for an international act. However, when I heard their previous releases, Lush and Go, I was disappointed. Don't get me wrong, it wasn't bad, but it lacked so much of what made their live set so good.

A lot has changed since those releases though and their new EP, Bloom finds the emphasis move from Niki Barr to band. This is the first time that all four members have contributed in all stages of the process and it shows. They've taken a harder approach this time and while songs like "Undivided" and "Alone" can tread a little too heavily in alt metal territory, they also have more edge and texture and that brings this album a little bit closer to their live show. On these first two tracks, they've tried to solidify their sound within the boundaries of rock music, making execution their strength rather than pushing the boundaries.

Things get a little more interesting after that though. "So Cruel" deals more in dissonance and sees the band stretching out a bit. "Burn" has a vaudeville feel that builds in intensity (and weird, creepy energy) until it begins to break apart, but it never does and that's the mark of a band that's onto something good. In a vague way, it reminds me of the trial sequence for The Wall (which is one of the few things Roger Waters did right on that album). "Drowsy" splits the difference between the more straightforward tracks and the tangents of the experiments, ending on a strong note. The doors are now open to experimentation and, despite not stepping all the way through them, the band is clearly on the right path to the Niki Barr Band sound.

Bloom is a solid set of songs. The vocals are richer, the music sharper and the band is more cohesive and focused. They sound better as individual musicians and better as a unit and strong production gives them a bigger, crunchier sound. As good as they were live a few months ago, I have even higher hopes now.

Catch the Niki Barr Band performing the new material at their CD release show on May 24th at the 8X10 in Baltimore.

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

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Monday, April 28, 2008

Interview: THe BAcksliders


THe BAcksliders tap into a wild tradition of Texas rock n roll, mixing garage rock and girl group pop into a manic, melodic ride. Their new album, You're Welcome will be out on June 3rd. I recently had a chance to get a bit of the inside scoop on the band from Chris and Jason Bonner.

RnRnMN: You're Welcome is your second album. How was making this album different than the first one?

Chris: With the first album we were just kinda finding our way. The songs were all over the place. It was made up of a lot of songs Kim,Jason(my brother and new bass player), and I had before hand. With the new album we have found more of our own sound.

RnRnMN: The new album is self-released. What are the challenges faced in releasing an album on your own? What are the benefits?

Chris: Their are many challenges in releasing albums yourself. The first of which is the money. It is always twice as expensive as you think. The other major challenge is making sure everyone involved is doing their job. The most important benefit is quality control.

RnRnMN: Once the album is out, is there a tour planned? If so, what areas do you plan to hit?

Chris: We tour constantly. Our goal is to play 300 days a year, so we will be coming to a town near you soon!

RnRnMN: What are your shows like? What kind of crowd do you typically attract?

Chris: Our shows are at the center of what we do. THe BAcksliders are like a sweaty juggernaut that doesn't ease up until last call. Our crowd varies, generally people who like rock and roll and wanna get effed up.

RnRnMN: Texas has a wild musical tradition. How do the BAcksliders fit into that?

Jason: Texas has a tradition of musical outsiders much like that of Memphis, where Chris and I are from. Doug Sahm, Willie Nelson, etc.... Those guys reinvented the musical landscape mostly by just remembering "the song". Staying true to a well written tune. That what's missing from a lot of music today and what it is I believe THe BAcksliders are doing.

RnRnMN: Do you feel that each of you brings a unique influence to the band or is it your common influences that create your sound?

Chris: We are mostly into the same sort of stuff but above all our respect for song craft creates our sound.

RnRnMN: What do you see as your non-musical influences?

Chris: Adversity.

RnRnMN: Do you expect to "make it" or is success a less measurable thing for you?

Chris: In my mind we have already made it. We just want to produce more work and tour more often.

RnRnMN: Pick your favorite from each pair:
1. Beatles versus Stones
2. The Ronettes versus the Shangri-Las
3. Big Star versus the Replacements
4. MC5 versus the Stooges
5. White Stripes versus Black Keys


Chris:
1. The Beatles ( quitting while your ahead)
2. The Ronettes ( Be My Baby, I mean come on)
3. Big Star ( ain't no one gonna turn us 'round)
4. MC5 ( Kick out the Jams M****RF*****S)
5. White Stripes

Thanks to Chris and Jason for the interview. Check out You're Welcome on June 3rd! See THe BAcksliders' site for details.

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Friday, April 25, 2008

Review: M83 - Saturdays = Youth


Label: Mute

Released: April 15, 2008

Saturdays = Youth is promising when it opens with "You, Appearing." The piano is as warm and embracing as a fireplace on a cold winter day, and it seems to be laying the groundwork for an incredibly rich album. When the vocals finally kick in, they're slightly urgent and desperate but pleasant and intriguing; they build on the promise that this is going to be a great listen.

Then the second track, "Kim & Jessie," starts, and it's like hearing an alternate-universe version of the Psychedelic Furs, one where Richard Butler couldn't write memorable songs.

Years ago, when I was an aspiring rock star, I had a fight with one of our producers. She said that every good pop song should still sound compelling if it was played on acoustic guitar. I told her that she was full of crap, and that Nine Inch Nails is a perfect example of a band that would sound awful if some twit picked up a guitar and sang one of their songs.

Johnny Cash proved me wrong on that one.

There's nothing on Saturdays = Youth that Johnny Cash could sing. The lyrics are bad poetry, and the melodies are completely forgettable. The only time the album works is when the band moves away from dull '80s pop, like they do on "Couleurs" and "Midnight Souls Still Remain." The rest of the time, it follows a recipe of 1/3 annoying Kate Bush (without the intelligence), 1/3 smarmy Martin Gore (without the pop sensibility), and 1/3 (enter overwrought '80s never-made-it pop band here, e.g. Dream Academy, All About Eve, Icicle Works). The end result is a stew of everything that was lame about '80s synth pop, without any of the elements that made it so charming the first time around.

Ratings
Satriani: 6/10
Zappa: 3/10
Dylan: 4/10
Aretha: 3/10
Overall: 4/10

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Review: The Drift - Ceiling Sky


Label: Temporary Residence Limited

Released: November 6th, 2007

You shouldn't need this CD. After all, you should already have all of the Drift's albums and you should definitely have them on vinyl. However, if you've missed either boat, the kind folks at Temporary Residence feel bad for you and have released this collection of The Drift's non-CD tracks.

For those not familiar with the Drift, their music is a near perfect mix of ambient rock and free jazz, the former giving the latter a huge landscape on which to expand. This isn't some esoteric experiment, although lovers of art as experimentation can find plenty to painstakingly uncover here. The Drift can just as easily be taken passively. If music is a story, the Drift is the setting. That leaves the plot to the listener who can be as active or passive as they'd like in that role.

If this is your first taste of the Drift, you'd be best off checking out Noumena or their fantastic new Memory Drawings LP (with vinyl bonus tracks not on this CD) first, but you'll soon see that these tracks are every bit as essential.

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

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Review: Moby - Last Night


Label: Mute

Released: April 1, 2008

It's strange when a deep artist makes a shallow album. Is its shallowness actually well-disguised depth? Is it ironic? Is it a philosophical statement of the lack of substance in our culture? Or is it simply what it is, a musical treat with no goals other than to be a sugary snack?

Moby is a deep artist. He probably never should have become a household name, but 1999's Play was a great album that transcended all sorts of boundaries and launched Moby into the international spotlight. The man has a lot of opinions, and his inability and/or unwillingness to shut up about them earned him a cultural backlash that is nearly on par with America's backlash against disco.

Moby is a deep artist, but Last Night is a shallow album. This is Moby's tribute to his roots as a New York DJ in the mid- to late-'80s. New York dance music in the '80s was exciting -- hip-hop was exploding in the five boroughs and New Jersey, house was finding its legs on the post-disco dancefloors of clubs like the Paradise Garage, and the musical alchemy of bands like Talking Heads and Blondie was completely changing rock.

Unfortunately, Last Night makes it sound as if Moby was stuck in the DJ booth at some crappy club in the suburbs instead of immersing himself in the great music that was happening a few miles away. I don't hear an inspired reinterpretation of early '80s New York on here; I just hear a bunch of dance music clichés being poured through Moby's mixing board. And that's a shame, because Moby's mixing board has pumped out some pretty incredible dance music over the past 15 years.

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

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Thursday, April 24, 2008

Review: Ministry and Co-Conspirators - Cover Up


Label: 13th Planet Records

Released: April 1, 2008

I'm not much of a Ministry fan. Sure, Land of Rape and Honey was a very good album, particularly for its time, but otherwise they've never grabbed me. Nonetheless, when I saw Al (or Alien as he's listed in the conspiracy-themed liner notes) Jourgensen and friends were releasing an album full of covers, I was intrigued. If irreverence ever served anything well, it would likely be covers of a bunch of rock staples and perhaps no one is as irreverent as Jourgensen.

Sadly, the end result sounds like someone covering Ministry covering these songs. It has all the tell-tale signs of industrial music (overly-distorted guitars, rapid-fire beats), but nothing that sounds like it was done by a founder of the sound rather than an imitator. To be fair though, the album isn't without its fun. "Mississippi Queen" gets a jump start (and keeps the cowbell). The already dirty "Roadhouse Blues" has that dirtiness amplified by the sludgy noise. "Lay Lady Lay" does a great job of walking the not very fuzzy line between Dylan and Ministry. "What a Wonderful World" should be exempt from the kind of mistreatment that I expected to hear on this album, but it's pulled off well enough that I'm not sure it gets disparaged, even when the speed gets turned on. Is there a softer side to Jourgensen? Probably not, but give him credit for making me ask. These few exceptions aside though, the album falls short of the expectations of even a non-fan.

I removed the Dylan rating for this one, because they're all covers.

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

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Review: Star Anna - Crooked Paths


Label: Malamute Records

Released: March 4, 2008

Crooked Paths is an album that is seldom just good. Instead, it sometimes struggles just short of good and at other times pushes fantastic. Without question, Star Anna's voice is wonderful. It's dynamic and has really good movement that can be both subtle and bold. The problem is she doesn't let it loose often enough. The opener, "If Wishes Were Horses," plays it entirely too safe, hanging out in the adult alternative end of the pool. "Black Cat Blues" adds some grittiness, but it isn't until the title track that the album really taps into emotion, being somewhat reminiscent of "Sitting Around Waiting to Die." From there, the album's heart rises and falls with her willingness to trust her voice. In the best moments, she can incorporate soul into her country twang. At her worst, she wanders through countrified alt pop. The band is entirely competent, but also utilitarian, lacking the same trust that Star lacks in her weaker moments.

Crooked Paths certainly has its moments, but by and large, it misses its mark, if just barely. Star Anna's voice is rich, but she plays it safe too often and the result is an album that has far too much adult appeal. It's almost as if she's a bit afraid of her country roots and has dummied it down for people who don't want to work to appreciate good music. She shouldn't be afraid though, because that's all that stands between her and a fantastic record.

Ratings
Satriani: 8/10
Zappa: 6/10
Dylan: 6/10
Aretha: 4/10
Overall: 5/10

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Wednesday, April 23, 2008

Review: THe BAcksliders - You're Welcome


Label: self-released

Released: June 3, 2008

When most people think of the Bangles, they think of "Walk Like an Egyptian" or "If She Knew What She Wants," but before they caved into commercialism, they were an edgy band making garage rock with a great 60s girl group flair. THe BAcksliders aren't playing an entirely different game from the pre-Different Light Bangles. They lean a little more toward garage and away from pop and they add a hint of country twang that gives the tunes a distinctive flavor, but by and large they're doing a lot of the same things. Let's just hope THe BAcksliders don't get wooed away to play Liam Sternberg and Jules Shear songs.

There is little doubt that You're Welcome is a rocker, distilled into its purest form. It doesn't get bogged down in guitar solos or vocal gymnastics. Driven by Taylor Young's poor man's Keith Moon and Nolan Theis' catchy bass lines, the songs drive home with almost Who-like energy. Chris Bonner fattens up the sound with his fuzzy jangle and Kim Pendleton's gritty, vaguely country voice is the music's heart.

For the most part THe BAcksliders split the difference between pop pleasure and raw rock n roll. They do miss on the overly Stonesy "Fat Girls," but they even nail the tracks that depart the straightforward rock n roll approach with cabaret ("Love Field") and folk ("Someone Has Broken"). There really aren't many better raw rockers than "Under the Moonlight" or "Serves You Right" or most of the rest of the album for that matter and "Cry" pours on the soul to finish the album.

You're Welcome is one of those albums that sounds like so many other garage acts on one level, yet stand apart in an almost intangible way. By the title, I guess they already knew I'd be saying, "Thank you."

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

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Tuesday, April 22, 2008

Review: Cavalar - As a Metal of Fact


Label: Voice Music

Released: 2007

The 70s seem to be a bottomless well of influence, particularly in the realm of hard rock and metal. Cavalar don't break any barriers on As a Metal of Fact, but they do a good job rehashing a slightly different past. Twitch nails his take on Ozzy, but unlike so many bands, the primary influence isn't the same sludgey Sabbath riffs. Sure, Sabbath is present, but you'd be hard pressed to find a good metal album where there isn't true. Instead, Cavalar deals more in Ozzy's solo material which gives them a decidedly different energy than many of their peers. Sure, they cover "Hole in the Sky," but that's a decidedly peppy song compared to the most oft-copied Sabbath material.

As a Metal of Fact does draw a bit on 70s hard rock, but also taps some of the 80s metal that got lost between glam and thrash. There is perhaps a hint of the effects of grunge here, but by and large Cavalar sticks to the pre-90s hard rock/heavy metal world. It's nothing new, but at least it's influences aren't quite the typical metal party line. Oh yeah, that heavy groove is hard to beat.

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

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Review: Always April - Seven Singles


Label: self-released (only available at shows)

Released: 2007

Seven Singles seethes with insanity. It reaches the outer limits of craziness without completely losing control. As such, it isn't for everyone, but if you can get past poor production and near chaos, there's something here in which to lose yourself. The drums are so loose that they're all over the place. When they're audible, the bass lines have good movement. The guitar is just contained enough to keep some sense of structure, barley keeping complete mania from ensuing. The real gem on the album is Charmaine's voice. It's bold, strong and darkly sensual. Adding a bit of phaser at times gives it a trippiness that fits right in with the overall sense of crazy.

The recordings are very live, visceral, in the moment and on one level that acts as a strength. Nonetheless, Always April needs to find a way to harness their energy into a more recordable insanity. They hint at this on "Th1rt3en," but they aren't quite there. "Elvira," the album's noisiest, remains the strongest track. Whatever they manage to put down in the studio, I'd bet money that they're practically a nervous breakdown live and that has to be worth hearing.

Watch for a full-length release this summer!

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

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Friday, April 18, 2008

Various Artists - In the Name of Love: Africa Celebrates U2


Label: Shout! Factory

Released: April 1, 2008

While covers are a common thing, they are also tricky. Most artists end up falling into one of two traps: They either cover the best known rendition of the song rather than just the song itself or they lose all real sense of the song's true nature. It's a tough game making the song your own while keeping what's really essential. One thing that's really great about In the Name of Love is that most of the artists navigate these difficult waters with at least some success.

I'm not suggesting that these are now the definitive versions or even that they all fully succeed, but they are interesting and worth hearing despite not supplanting U2's performances. While none of the versions here are too straightforward, a few lose too much sight of the song. Ba Cissoko's "Sunday Bloody Sunday" gets lost in its world-jazz noodling, losing the song's essence, while Keziah Jones' "One" simply drops the song into a new framework, trying to force it rather than feel its way. Other songs achieve some, but not all, of what they set out to accomplish. Cheikh Lô's "I Still Haven't Found What I'm Looking For" brings amazing rhythmic variety to the song, but never quite captures the gospel roots that are so essential. While turning "Mysterious Ways" into a lighter pop song, Angelique Kidjo also gives it a more natural feel. The low-key power of "Where the Streets Have No Name" finds new energy through Tony Allen's afro-jazz spin.

While much of the album succeeds, but not fully, there are a few real gems that U2 and world music fans alike should make the effort to hear. Vieux Farka Touré keeps the seething anger of "Bullet the Blue Sky" despite departing from much of the original's structure. The percussive nature of "Seconds" naturally lent itself to Sierra Leone's Refugee All Stars African rhythms even as the guitar parts crossed back over to a Western sound. While the African Underground All-Stars don't really cover "Desire" in full, their use of the song's chorus is brilliant in their hip-hop structure, making it broader and more lyrically direct than the original. The one track that makes In the Name of Love an essential listen though is "Pride (in the Name of Love)." The Soweto Gospel Choir takes the hopeful, edgy protest song and turns it into a celebration and who has greater cause to celebrate the cause of civil rights than the people of South Africa. The album is full of interesting re-interpretations, but "Pride" is the one version that needed to be done. If a song could have more than one definitive version, this would be the other.

Two other things are worth noting. First, the insert includes detail not only about each artist, but also about their country with demographic and humanitarian information. There's some quick good information about that much-neglected part of the world. Additionally, a portion of the proceeds from the sale of the album benefits the Global Fund. The goodness here goes beyond the music.


Rating: 7/10

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Wednesday, April 16, 2008

Review: Van Morrison - Keep It Simple


Label: Lost Highway

Released: April 1, 2008

Van Morrison has done some of his best work over the last decade or so. The old curmudgeon has shown that he still knows how to put his entire soul into song, whether he's making an album that concentrates on folk or soul or even skiffle. That makes Keep It Simple kind of puzzling. Everything he's been bringing to his music for over 40 years is strangely absent here.

First of all, there is entirely too much blues on this album. Morrison has a soul voice. It's rich and smooth and deceptively powerful. Blues is neither as clean nor as subtle so it robs Morrison of his strengths. One of those strengths is his ability to know just how much to give and how much to withhold from a song. It comes both from knowing the song and trusting himself. Instead, on this album, he seems detached from the songs and he over-trusts himself. That arrogance leads him to go through the motions rather than get into the songs. Sure, he loosens up on a few, like "That's Entrainment" and "End of the Land," but most of the album is stiff with Morrison stumbling through music from which he's a thousand miles away.

It has long been said that Morrison has never shown much regard for his fans, though he almost always cared about his music. But not here. He's just going through the motions and he's not the kind of singer that can get away with that. He needs the subtleties that come with intimacy, but this album has no love, only a cold feeling of obligation.

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

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Tuesday, April 15, 2008

DOA announce 30th Anniversary Tour


In the past thirty years D.O.A. have released: 13 albums, 20 singles, EPs and 7"s, 10 videos and been apart of 14 compilations. D.O.A. have sold one million albums in their storied career. Band Leader Joe Shithead Keithley has gone on to start his own label Sudden Death records and with members of D.O.A started a side project called Band of Rebels. Keithley captured his musical history in his Canadian bestseller autobiography I, Shithead - A Life In Punk (Arsenal Pulp Press). In 2003, Vancouver Mayor Larry Campbell declared December 21st to be "D.O.A. Day" in honour of the band's 25th anniversary.

Keithley has teamed up with co-conspirators bassist Randy Rampage and drummer James Hayden to come up with a ton of great new songs for a new album to be released this summer. Bob Rock, who has produced albums for Metallica, Motley Crue, Cranberries, Bon Jovi, The Cult and others is producing the band's 13th full length album, Northern Avenger, in time for their 30th anniversary.

What did the godfather of punk rock have to say about working with Rock? "" Working with Bob Rock is fucking cool,” says Keithley. “D.O.A. and Bob go a long ways back to the early days of Vancouver's punk rock scene. If there ever was a guy who can record a heavy sound, it's Bob and D.O.A.'s a heavy band, so it bloody well makes sense!"

D.O.A. has always maintained an uncompromising anarchist populist political stance. The band is known for its outspoken political opinions and has a history of performing for many causes and benefits. Its slogan is "TALK-ACTION=0". The band has been active on many issues, including anti-racism, anti-globalization, freedom of speech and the environment.

Need I say more?

DOA 30th Anniversary Tour

B.C. Shows
April 18th The Lucky Bar, Victoria, BC w/Day Glo Abortions
April 19th The Waverly, Cumberland, BC

Ontario Shows
Tuesday May 6th, The Casbah, Hamilton, ON
DOA will record live at around 2 PM on XM satelliteWed. May 7th
Wed. May 7th, The Dungeon, Oshawa, ON
Thur. May 8th, Call The Office, London, ON
Friday May 9th, The Dominion, Ottawa, ON
Sat. May 10th, The Horseshoe, Toronto, ON
Sun. May 11th, Time To Laugh Comedy Club , Kingston, ON
Mon. May 12th, L3, St. Catherines, ON

Alberta Shows
Mon. June 9th Wild Bill's, Banff, AB
Tues. June 10th, The Doghouse, Medicine Hat, AB
Wed. June 11th, The Zoo, Innisfail AB
Thur. June 12th, The Warehouse, Calgary, AB
Fri. June 13th, The Starlite, Edmonton, AB
Sat. June 14th TBA in Alberta
Sun. June 15th TBA in Alberta
Wednesday Night Heroes will be support on all Alberta shows

More Canadian dates to be added in addition to U.S. dates fall 2008

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Review: Caleb Klauder - Dangerous Me's and Poisonous You's


Label: Padre Records (available through CDBaby.com)

Released: March 1, 2007

Caleb Klauder's band Foghorn Stringband is instantly contagious. Its authentic bluegrass instantly wraps you in its warm, genuine strings and heartfelt twang. Klauder's Dangerous Me's and Poisonous You's, on the other hand, takes some time to sink in, not because it isn't as good, but because it has more dimension and depth.

The album mixes old-time string band music with 50s rockabilly and the result has the rootsiness of the former and the energy and pop sense of the latter. Klauder's songs remain largely upbeat while maintaining a certain sadness and his voice has an imperfect beauty whose dissonance evokes a sense of country desperation. Lyrically, the songs speak to people in common themes that we all understand, but avoids silly truisms. Klauder mixes in hints of gospel, mixing the spiritual and the secular in a way that brings out both the joy and sadness in country music's heart.

The cover art is really the best clue to what is contained within. It depicts a man and woman dancing, wrapped up in ecstatic joy. But he's holding a gun and she a snake. Dangerous Mes and Poisonous Yous is a celebration of life yet a rejection of worldliness. It is the struggle between love of life and that sense that we must remain detached from its pleasures. It is the celebration of real lives, both good and bad. And it's a really good Americana record to boot.

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

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Monday, April 14, 2008

Review: Social Distortion - Greatest Hits


Label: Time Bomb Recordings

Released: June 26, 2007

I'm not usually that big on greatest hits collections unless they're from a singles-only pop band where there is no real context on the regular albums anyway. Every now and then though, a collection can tell you something that the individual albums didn't. Such is the case with Social Distortion's Greatest Hits.

Mommy's Little Monster was one of the first punk records I bought and as such will always have a special place in my heart. While it is one of the best albums to come out of the early 80s Orange County punk scene, it is also limited by its young, snotty view of the world. However, when taken into consideration with the later material, the depth of songs like "Another State of Mind" and "It Wasn't a Pretty Picture" (sadly absent from this set) comes into greater focus. It also makes something else clear: Mike Ness is a bit of a punk rock Johnny Cash.

Sure, they cover "Ring of Fire," but that does little other than plant the seed for the comparison. A close look will show the parallels. "Another State of Mind" mirrors the pledge of fidelity despite adversity in "I Walk the Line." Pop culture today glorifies time in prison, yet Social Distortion's "Prison Bound," like Cash's "Folsom Prison Blues," tells the other side, the real side, of the story. From early on, Ness had the "Man in Black" mentality. Even when immersed in his own dark side, his lyrics, while desolate, are critical of the world that had gone awry around him and yet they offer a vague hope. The last line of "Mommy's Little Monster" is "Don't take her life away," not "Now her life is over." Over the subsequent years, after Ness had kicked his nasty drug habit, that hope became less vague, striving for a better life in "Ball and Chain" and finding faith in "Bad Luck." That hope is extended to the hereafter in "When the Angels Sing" and a dimension of redemption and reconciliation brings this evolution to fruition on "I Was Wrong."

Like Johnny Cash, this evolution from hell raiser to hope to redemption has a religious quality and in the true spirit of the Man in Black, the joy found in the end is not a shiny, happy joy, but a deeper joy that co-exists with, perhaps even requires, sadness and desperation. It is in context of this Greatest Hits collection that I finally understand why Social Distortion resonated with me 25 years ago and why their music still resonates with me today. The collection may be a few tracks short of perfect, but the lesson isn't about being perfect, just better than the day before and the album certainly accomplishes that.

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

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Thursday, April 10, 2008

Review: Asia - Phoenix



Label: EMI America

Released: April 15, 2008

I was never quite sure if Asia was actually all that good. They were one of the first bands that I got really into once I got over Kiss. On one hand, they seem an awful lot like an AOR band. On the other hand, it's three prog giants along with the a guy who brought us the quirky "Video Killed the Radio Star" (and played on Yes' Drama album). Their pedigree is good, but I still wonder if "Heat of the Moment" and "Only Time Will Tell" appeal to me because they're actually good or simply because they caught me at a young age when everything was new and exciting. Over the years, I've wavered on this subject. Asia, AOR or not, is a solid, albeit safe, rock album. Of course, Alpha just had a catchy pop song and a lot of filler. After that point, only Geoff Downes was a constant with Palmer, Wetton and Howe in and out of the band over the course of several forgotten albums. For whatever reason, I can neither dismiss Asia nor shake the nagging suspicion that they aren't all that good.

Phoenix is the first effort from the original lineup since 1983. With their first new material in 25 years, perhaps Asia could answer my question now that I could hear the music without all the nostalgia that surrounds the old songs. The album opens up promisingly enough. "Never Again" isn't quite on par with the material onAsia, but it's in the same vein. Unfortunately, that's the last decent track on the album. "Nothing's Forever" starts off with some of the same grandiose prog-pop, but quickly devolves into a synthy lite-soul ballad that reeks of everything bad about the 80s. After "Heroine," I'm pretty much done with Phoenix. It's supposed to be emotional and heartfelt, but the lyrics are laughable and the music flat. From that point on, it's just a chore to continue. There are a few so-so prog parts in "Sleeping Giant/No Way Back/Reprise," but they more than offset those few moments of listenability with the New Age-y "Wish I'd Known All Along," a Howe-penned song so bad that it probably makes his career a wash. The rest of the album just makes me wonder why at least someone among these four seasoned musicians didn't stop and ask, "Why are we doing this?"

So, was Asia a guilty pleasure? If they were ever as good as they seemed to me 26 years ago, I'd think they'd have something left even today. Because Phoenix has practically no redeeming quality, it seems Asia's debut is to be sadly relegated to something I like despite itself. Phoenix doesn't even fare that well, because there is simply no pleasure, guilty or otherwise. I guess everything that rises from the ashes isn't good.

Ratings
Satriani: 9/10
Zappa: 4/10
Dylan: 2/10
Aretha: 1/10
Overall: 2/10

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Wednesday, April 09, 2008

Review: Ivoryline - There Came a Lion


Label: Tooth & Nail Records

Released: February 5, 2008

There Came a Lion is an entirely listenable album, but it is almost completely indiscernible from hundreds of other emo records. Sure, it's well played and the songs are nearly perfect fits for the formula, but Ivoryline is really just a modern Foreigner, flawlessly executing the script and doing nothing to make it their own.

Ivoryline's skills are top-notch. The rhythms are crisp and sharp beneath churning guitar and melodic leads. The harmonizing between parts is pristine. Unfortunately, the price for technical perfection in this case is creativity and heart. "We Both Know" is just a stones throw from AOR. While it has elements of the Descendants' mix of technical and pop punk, its heart is not that of the Descendants, but that of commercial rock. Likewise, "Hearts and Minds" has more in common with late 80s power ballads than it does with Rites of Spring. It tries to show emotion, but it's paper thin and that's really the problem with most of the album. The music is trying to convey passion. The vocals are trying to sound emotional. Instead, both come off like techniques from a book rather than an attachment to real feelings. "The Last Words" is, at least, a refreshing ending. It's use of strings may be entirely clichéd at this point, but it brings an organic sense that the album lacks everywhere else.

Ivoryline can't be fully blamed for their faults though. Emo is a genre that has for some time been drifting further away from the trait which gave the genre its name and moving into the realm of cold, hard execution. In the current state of emo affairs, Ivoryline fits right in. They excel even. The trouble is that they excel at something that has become a shell of its former self. Ivoryline has played it entirely safe, putting style over substance. They list five sponsors on their Myspace page, but only one is music-related. The others are clothing companies. Does this convict Ivoryline of crimes against rock on its own? Of course not. The ties between music and fashion are long established. It is another piece of evidence that appearance is what this band is about though. Don't scratch the surface too hard, because it's just skin deep...and it's a shame, because it could be so much more.

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

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Tuesday, April 08, 2008

Review: Bushwhack - s/t


Label: self-released

Released: 2007

These kids can play. There's no doubt about that. They're outstanding technicians and, at their age (all 18 and 19 years old), almost unparalleled. Beyond the technical though, they really struggle.

Their sound eases its layers back and forth between airy and heavy, but neither conveys anything meaningful other than that they've practiced. Hints of life in "Guacamole" are quickly stamped out by senseless complexity. Stabs at incorporating Middle Eastern and Latin influences too often devolve into bad jazz fusion. "Sirens" almost finds a groove, but it's too little to save it from horrendous synth parts and overuse of the phaser. They spend too much time showing off as individuals and not nearly enough making music together. The big keyboard swells have all bombastic arrogance, but without any punch. Acoustic guitar parts don't even sound acoustic. The rhythms are stiff and icy and the over-processed production robs any richness that the songs might have by overdosing on cheap, clichéd electronics. It's one thing to make a record that is intentionally cold. Those records still have life, however desolate and desperate that life might be. Bushwhack on the other hand have created something whose life, if it ever had any, has been subjugated and ultimately destroyed by technique that gives us the worst of both worlds, being neither interesting nor moving.

A young band usually struggles with technique or songwriting to get their own sound, but makes up for it with passion and excitement. Bushwhack is the opposite. They're textbook musicians and textbook writers, but they play like old men who've spent their days honing their skills rather than honing their souls. They play as if rigor mortis has already set in. Nothing is loose. There are no chances, no improvisations. It is safe and sterile and those are two traits that never make up great rock n roll.

Ratings
Satriani: 9/10
Zappa: 4/10
Dylan: 4/10
Aretha: 2/10
Overall: 4/10

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Monday, April 07, 2008

Static Radio NJ - Tour / New Album Updates

* Eight West Coast shows with The Bouncing Souls starting today
* Debut Full-Length An Evening of Bad Decisions out on Black Numbers this Summer
* Get access to exclusive online content from the new record

Beginning today, Static Radio NJ (New Brunswick, N.J.) is joining The Bouncing Souls for eight days worth of West Coast shows.
Dead To Me will also be playing most dates.

The good news for anyone in attendance - other than the fact that they'll see three awesome bands tearing it up on stage - is that they can grab free digital dropcards from the Static Radio boys at the shows. These cards will offer exclusive online content - including two free songs and album art - from their upcoming debut full-length, An Evening of Bad Decisions. The record, which is due out this summer from Black Numbers, was recorded in Hoboken, New Jersey with acclaimed production company The Machine Shop (Armor For Sleep, Boys Night Out, Every Time I Die).

And for all us losers on the East Coast and Midwest who feel like we're missing out, email Phil from Black Numbers and he'll hook you up with the keys to the secret page as well.

TOUR with The Bouncing Souls

APR 07 - Long Beach, CA @ Alex’s Bar w/ Dead To Me
APR 08 - San Louis Obispo, CA @ Downtown Brew w/ Dead To Me
APR 09 - San Francisco, CA @ Great American Music Hall w/ Dead To Me
APR 11 - Portland, OR @ Berbati’s Pan w/ Dead to Me
APR 12 - Seattle, WA @ El Corazon w/ Dead to Me
APR 13 - McCall, ID @ Brundage Resort
APR 16 - Salt Lake City, UT @ Club Sound / In the Venue
APR 17 - Denver, CO @ Gothic Theatre

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Vinyl: My Chemical Romance - The Black Parade

My Chemical Romance released The Black Parade as a regular double LP and because both the music and artwork are incredible, I had been looking for it. Chuck found it down at Sound Garden and called to see if I wanted him to pick it up or...there was this incredible box set of The Black Parade as well. I just couldn't justify the $50 though and told him to hold off. He didn't though. Instead, he picked it up for me as a thank you for some work I'd done on his site. The $50 price tag crossed a line for me, but, while my heart was in the right place, my head wasn't. Fortunately Chuck's was and now I have what is probably the nicest item in my record collection.

  

The box features two LPs, both on 180 gram audiophile vinyl and two 15 page booklets, all in a slipcase. So what you say? Well, first of all, the booklets fold out and when sat next to each other, form the Black Parade itself. The CD might have the same image, but this one is 12" by 48" and it is hauntingly beautiful...and huge.



Inside, the booklets don't feature a bunch of band photos and lyrics, but a two volume Making of the Black Parade. The first is the story of how the album was conceived and created from the concept to the music to the artwork. The second is track by track commentary from the band about what the album means to them. Both maintain the artistic excellence of the standard artwork, keeping the same antiqued pages and sepia images.






All of this fits into a slipcase that is equally beautiful. The box isn't just a haphazard bunch of extras thrown together to make an expensive package, but a piece of art that provides both style and substance. Is it worth $50? Every penny. (Especially since it was Chuck's pennies.) Oh yeah, they only made 2500 of them.

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Saturday, April 05, 2008

Vinyl: Bad Brains - Build a Nation 7" Box Set

Last year, Megaforce Records released the Bad Brains' Build a Nation on fantastic red, gold and green vinyl. That sold out, but there is still cool Bad Brains vinyl to be had. On April 1, they released the Build a Nation 7" box set. It consists of four records (one red, one gold, one green and one picture disc) and a poster. If that's not enough, there's also a bonus track (sorry CD buyers).
  

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Friday, April 04, 2008

No Idea Records is running auctions to benefit Cal Robbins

No Idea, one of the best label around from both a collector's and a fan's viewpoint, are running a series of auctions on Ebay to benefit Callum Robbins, son of long-time contributor to the punk scene, J Robbins. Cal has Spinal Muscular Atrophy and many of his treatments aren't covered by insurance. Check out the really cool stuff (including test pressings) the folks at No Idea have put up to help out Cal and his family.

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Thursday, April 03, 2008

Review: Carcrashlander - s/t


Label: Parks and Records

Released: January 2008

I've seen Carcrashlander compared to Randy Newman and I can't stand Randy Newman. After listening to the debut album (and first release by green-focused Parks and Records), one of two things must be true: Either the Randy Newman comparison is inaccurate or I need to reconsider my feelings about him. Or perhaps there is a third possibility: Carcrashlander gets very close to a line (that Newman crosses) which divides good from cheesy. One thing I know though, is that this album is really, really good.

Carcrashlander is really Cory Gray who played with the haunting Desert City Soundtrack. While this is somewhat of a departure from that band's work, it maintains the same quirkiness. The piano-driven music is dynamic, countered by low-key, droning vocals. Dissonance tugs on the album's pop elements, making it colorful and multi-dimensional. At times, the ambient noise behind the piano gives it an airy trippiness reminiscent of pre-Dark Side Pink Floyd's more mellow moments. At other times, it shifts back and forth between poppiness and moodiness. Sometimes the songs fall into schmaltzy piano pop and other times they expand out into a bit of free jazz.

Occasionally, Carcrashlander falls into the singer-songwriter trap of craft taking precedence over emotion, but more often it finds a way of being oddly comforting in its sadness and moodiness. Both musically and emotionally, the album seems to be on different pages at the same time, but it somehow finds an alternate synchronization that is pretty amazing.

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

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Wednesday, April 02, 2008

Review: New Found Glory - Hits


Label: Geffen Records

Released: March 18, 2008

A New Found Glory has always been a bit long on sappiness and short on edge, but when I bought Nothing Gold Can Stay, an album whose title is probably more a reference to S.E. Hinton than Robert Frost, it connected with me. It was an album that was geared toward kids 10 years or so younger than I was at the time, but rather than missing the 28 year-old that I was, it connected with the 18 year-old that was still within me. Sappy or not, that album will always be amazing to me for that reason. I sing along rather than cringe at its pop culture references.

New Found Glory not only dropped that charmingly awkward "A" from their name, but they also dropped everything else that appealed to me. Their self-titled album did include "Hit or Miss" and wasn't completely devoid of their special ability to make silly emo and pop-punk songs seem real, but it was waning. Beginning with Sticks & Stones, New Found Glory was just another band swimming in the overdramatic sea that had grown out of a promising genre. Whatever was special before was now entirely gone. They had succumbed to the formula.

Unfortunately, Hits culls its tracks from the days when there was nothing new about New Found Glory. Sure, "Hit or Miss" is there, but the real best of A New Found Glory is still Nothing Gold Can Stay. Hits may be aptly titled as it draws from their commercially successful period, but it is far from their best work.

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 4/10
Aretha: 3/10
Overall: 4/10

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Tuesday, April 01, 2008

Cool New Stuff from Red Leader Records

RED LEADER RECORDS - Limited Edition 10-inch Birthday Picture Disc Available Now!

* Only 500 Pressed

* Featuring covers from Scream Hello, The New Dress, Attica! Attica! and Nakatomi Plaza
SCREAM HELLO - New EP!

* Pre-order Smart & Stupid from Interpunk

The hits keep coming from the Red Leader camp these days as label has just released an extremely limited, hand-numbered 10-inch picture disc featuring four amazing covers from four amazing bands. This delicious piece of vinyl was originally conceived as an elaborate birthday surprise from one half of the Red Leader team (Matt) to the other half (Claire)...with a little help from four "sweetheart" bands on the label, too.
Scream Hello tackles Superchunk's "Hyper Enough," The New Dress takes on "No Depression" by The Carter Family (as inspired by the Uncle Tupelo version) while Attica! Attica! covers "No Children" by The Mountain Goats. Rounding out the compilation is Nakatomi Plaza's rendition of Build To Spill's "Car." Of course, like all things totally awesome, there is a finite number available, and the slices of this delectable birthday disc will disappear quickly. Limited to 500 copies (and never to be repressed), the ten inch is available exclusively from Red Leader and the bands at shows. You can go here to order your copy now. The label will also send you the mp3s for all the songs, not to mention some extra goodies. Plus, a few randomly chosen orders will have the option of receiving a test pressing of the record. Happy Birthday, vinyl freaks!

Moving on, New Brunswick, N.J. four piece Scream Hello are preparing for the release of their new EP via Red Leader, Smart & Stupid. These four incredible songs are the precursor to Everything Is Always Still Happening, the band's upcoming full-length due out in the Summer of 2008. Smart & Stupid will be out on April 8th but you can pre-order a copy from Interpunk. Take it from someone who has spun both the LP and EP approximately seven kabillion times...these new songs are truly incredible. You can stream a couple tracks on their myspace page. Get psyched!

Beside the new releases, the next two months will find Scream Hello getting way active on the road, playing shows with Weston and Ensign...plus a short tour with The Gaslight Anthem. Get doubly psyched!

And finally, don't forget that Red Leader has made their new 20-song sampler free to download! Go here for unreleased/rare tracks from End Of A Year, Marathon, Nakatomi Plaza, Dear Tonight, FireWhenReady and Scream Hello...plus awesome released material from Polar Bear Club, De La Hoya, Attica! Attica! and The New Dress.

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Desoto Jones Giveaway at Deep Elm

CLICK HERE to WIN

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Review: Liam Finn - I'll Be Lightning


Label: Yep Roc Records

Released: August 6, 2007

Liam Finn has a Beatlesque knack for writing great pop songs. Perhaps that comes from his father Neil of Crowded House/Split Enz fame, but Liam walks his own path, making the connection to his father more trivial than musical. The singer-songwriter thing can be pretty limited, but Finn's generally folky pop has at different times elements of psyche, baroque pop and reggae. He even manages to incorporate the deliberate plodding of grunge as an undercurrent to some of his songs. His hooks are easy to get wrapped up in, yet they come as curveballs and change-ups as often as fastballs. Finn does borrow a bit from Elliot Smith's pleasant, sad melodies, but not without adding his own unmistakable mark that sets him apart. As catchy as I'll Be Lightning is, and it is very catchy, it is neither slick nor shiny nor maudlin. Finn covers a range of emotions from the soothing "Lullaby" to the wild "Lead Balloon" and everything in between. Over the course of the album, he gained such power over me as a listener that I suspect he's one of those rare artists who could hold an arena captive to his music just as easily as he could a small club.

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

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