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 5.13.12
Azusa Plane
WHERE THE SANDS TURN TO GOLD-(ROCKET GIRL)-Right from the get-go Azusa Plane leader Jason DiEmilio began sending me his recordings to review. Most would include a nice letter and a promise that he would send his next one as well. He lived in the Philly area and I had just moved out west from the Philly area so we had plenty to talk about in letter. Over the years our correspondence had become more sporadic but I was still shocked and deeply saddened to hear that he took his own life in late 2006. Apparently DiEmilio had developed both tinnitus and hyperacusis (look it up, I had to) and, well, I’m not sure but perhaps fearing he could no longer create the art that he love so much was too much for him. The Rocket Girl label has released a generous 2 cd/1 dvd set that acts as sort of a best-of of all his releases into one handy released (24 songs in all, 12 on each cd). As has been said before, the cover is an homage to The Smiths THE QUEEN IS DEAD (DiEmilio was apparently a HIGE Smiths fan) but you won’t hear many jangle Marr-esque guitar lines on here, the A.P. music can best be described as drone. Think folks and bands like Flying Saucer Attack, New Zealand’s Roy Montgomery and nearly every band on the Kranky label (LaBradford, Windy and Carl, etc.) and even if you’re not a fan of music not of the regular verse/chorus/verse variety (like me, most of the tome)_ any fan of simply good music can appreciate the gorgeous guitar tones that ooze from nearly every song on here. And if you need further proof of DiEmilio’s complete dedication to music check out these songs titles: “Ode to the Mountain Goats”, “George Harrison Plays a Sitar”, “Underground Velvet”, “Calvin Johnson Has Saved Rock for an Entire Generation”, “Eric Gaffney”, etc. etc. Truly a thing of beauty. www.rocketgirl.co.uk
 5.13.12
The Corner Laughers
POPPY SEEDS-(MUSTERY LAWN MUSIC)-Bobby Conn's a funny guy. Sure, he's made his fair share of political and densely didactic albumsIt’s nice to see that Bay Area pop god Allen Clapp is releasing other music on his own MLM label (he produced this record as well). This 5-piece released a fine little pop gem a few years ago (ULTRAVIOLENT GARDEN , 2009) and here they return with 12 more songs and they still seem to be influenced by all the good stuff (ie: Beach Boys, The Beatles, The Zombies, etc.) but with some kick of the more recent pop mavens (Apples in Stereo, Dressy Bessy, etc.). The lovely opener “Grasshopper Clock” adds strings but also some silliness as well while “Bells of El Camino” kicks the tempo up a notch and adds some more pizzaz. “Laughing Stars” has some nice, jangly guitar work and the minimal “Twice the Luck” is a real finger-snapper and here they include the charming, piano-led single of last year, “Transamerica Pyramid” (with the infectious chorus of “cos’ the Transamerica Pyramid is where I first met you”). These guys seem to know their pop history pretty well and add enough unique twists and plenty of their own enthusiasm to make many of these songs the reason that the repeat button was invented. www.cornerlaughers.com
 5.13.12
Farrar, Johnson, Parker, Yames
NEW MULTITUDES-(ROUNDER)-Yup, this so Son Volt’s Jay Farrar joined by Jim James (Yim Yames) from My Morning Jacket and 2 others (Will Johnson (Centro-Matic) and Anders Parker of Varnaline) doing a set of Woody Guthrie songs (or maybe Guthrie’s lyrics with songs by these gents). You’ll remember that Farrar’s old pal, Jeff Tweedy, teamed up with Billy Bragg several years ago to create MERMAID AVE (2 volumes of it) which were songs set to Guthrie’s poems. Apparently the Guthrie estate asked Farrar to do this so he gathered up his pals and went to work. They all take turns here and as you might guess, each songs reflects the personality of the person who sang/helped write it (they each write 3 apiece). I like Farrar’s songs the most (those first two Son Volt records are classic to me), as they sound like yup, classic Son Volt tunes (the haunting opener “Hoping Machine”, the title track and the acoustic “Careless Reckless Love”) while the underrated Parker’s songs, “Fly High” and “Old L.A.” and “Angels’ Blues” are not to be missed , Johnson’s songs either and James’s songs aren’t bad but my least favorite here). Most of this is soulful, dark and beautiful and as rewarding as Wilco/Billy Bragg set from several years ago and honestly, I think I dig this more than MERMAID AVE and it’s probably been said before but these 4 need to work together again. www.rounder.com
 5.13.12
Lightships
ELECTRIC CABLES- (DOMINO)-Wow, where did this come from? We all know Gerard Love’s name from long-time Scottish poppers Teenage Fanclub (who are still going after two decades on the scene…not only still going but till releasing terrific records) and The Pastels, too. Apparently in between TFC’s recent record/tours he started putting together this immaculate pop record. While Love’s songs on the TFC record are usually more direct the songs on ELECTRIC CABLES are much more low-key and even a bit atmospheric (not unlike one of the classic Flying Nun records from the 80’s…think The Bats). He’s joined by original TFC drummer Brendan O’Hare as well as Belle and Sebastian’s Bobby Kildea and International Airport’s Tom Crossley and the sound is instantly likeable with some pop blurps and bleeps all over the place and a few TFC pals of mine have stated they like this more than any TFC record (while I do like ELECTRIC CABLES, a lot, I can’t say that). It’s a warm, beautiful record and songs (and song titles) like “The Warmth of the Sun”, “Sweetness in her Spark”, “Every Blossom” and “Sunlight to the Dawn” all prove the point and then some (for the record, I don’t dislike any of the songs on here). If you’re looking for a new , comforting companion, you could do a lot worse than this record. www.dominorecordco.com
 5.13.12
The Satin Chaps
MIGHT I SUGGEST…-(SELF RELEASED)-I like it when a group of talented musicians get together and set out to make a record that is unpretentiously fun, and that's what you get with Might I Suggest, the debut from Portland's The Satin Chaps. Comprising of numerous notables including Eric Hedford (ex-Dandy Warhols), these fellows are paying tribute to the easy listening sounds of the late 1950s and 60s, with a little bit of punk sensibility thrown in. They throw in the horns, the theremin, the bongos, the organ, and the occasional shouts and yells, all in a raucous manner that's tight. It's all fun and games, especially on the loud "Lil' Sweater," the mellow "Funky Matador," and the groovy "Hot Chocolate." For those who miss bands like The Coctails and Combustible Edison, or enjoy the instrumental moments of The Dap Kings or The Budos Band then these fellows are for you. I have a feeling that while Might I Suggest is a fun record, their live show is even more enjoyable. www.thesatinchaps.com JOSEPH KYLE
 5.6.12
Johnny Bertram and the Golden Bicycles
NEON CITY-(ESPERANZA PLANTATION)-Before this album, I’d never heard of Johnny Bertram – you? After giving Neon City a few spins, I can say it’s kind of emo, ‘90s, and vocal-driven. With a knack for penning catchy melodies, and his soft, almost conversational tenor, Bertram reminds me somewhat of Matthew Sweet. Therefore, NEON CITY ends up conjuring up happy, pre-9/11 times. But that’s just me. Back to giving you some idea of what this is like: Vocal harmonies abound, sometimes building to that happy-bunch-of-balloons-in-the-air, Beach Boys feeling. There are country shadings, as on “The Sawtooth Range.” There are lots of keyboards, which are mixed with guitar and percussion for a warm, retro range that just feels… nice. And this is one of those cases where you realize that “nice” is a very worthwhile place, and way, to be. How does Johnny (with the Golden Bicycles) manage to achieve that “all’s right with the world” feeling? You know, the one you get on a lovely Sunday afternoon country drive? And, having relocated from Jackson, Mississippi to – where else? – Portland, Oregon (okay, I know someone who isn’t in Portland anymore, but that’s a bit of an inside joke), will the band keep its biscuits-and-gravy, sweet rock sound? My guess is that Bertram and his crew are bringing some traditional, southern-style comfort to the city known for its weirdness. I hope you’ll head over to the website and check Johnny Bertram and the Golden Bicycles out. After all: Who doesn’t need a few golden bicycles? www.johnnybertram.com MARY LEARY
 5.6.12
Bobby Conn
MACARONI-(FIRE)-Bobby Conn's a funny guy. Sure, he's made his fair share of political and densely didactic albums, but he's always retained a sense of humor that's twisted. So when this album arrived, with a cover that's a take on the classic macaroni boxes, I expected comedy. And comedy I got; the title track is a political number that answers the question, "when life gives you a box of dried noodles with a packet of artificial cheese powder, who are we to complain? May as well eat it and try to keep dreaming." And dreaming is what you'll do, as he preaches politics with some excellent music. Whether it's a rant about the government set to a catchy Prince-like anthem that features Kelly Hogan and (the scarcely heard) Nora O'Connor ("Govt."), the catchy Randy Newman/Harry Nilsson-style pop number ("More Than You Need"), a rock disco anthem a la the Stones ("Can't Stop the War"), or some just straight up R&B ("Face Blind") and funk ("Afterschool"), Conn's coverin' all the bases of the musical spectrum. Do you follow, or do you lead? That's the question every entertainer must ask themselves. Conn is a leader--but do you want to follow? That's a deeper question only you can answer. www.firerecords.com JOSEPH KYLE
 5.6.12
Jesse Ruins
DREAM ANALYSUS-(CAPTURED TRACKS)-Wow, I’m not sure where the Captured Tracks talent team keeps finding these terrific bands, but they do. This duo hail from Tokyo and consist of producer/songwriter/instrumentalist Nobuyuki Sakuma on the keys (and other things) and a female vocalist known only as Nah. I guess an air of mystery surrounded this band but as usual, I was late to the party to by the time I walked in the door the facts were known. Anywho, this is their first record, I believe these 8 songs ride the crest of that sweet spot between shoegaze, pop, ambient and electronic, at times being nothing g more than a searing whoosh while others delving deep into all the genres combined. I guess you could think of them as a poor man’s M83 (Not a bad place to be at all). You won’t want to miss the infectious beat of cuts like “Lust & Fame”, “Shatter the Jewel”, “In Icarus” and the title track. Good stuff indeed. www.capturedtracks.com
 5.6.12
Smash Palace
DO IT AGAIN- (ZIP)-Emo is dead, thank god. But some musicians remembered that emo came from pop-punk, for bBrothers Brian and Stephen Butler were in a band called Quincy but when the other band members wanted to change direction the brothers left and formed the power-pop band Smash Palace. Though the Philly band isn’t well-known among most indie rock fans they have been around for quite some time and have several strong records out (eight to be exact and in the dedicated power pop community they are much more well known). It’s hard to beat the opening cut, ”Living It Lonely”, a near perfect pop tune while “It’s Easy” adds a bit more bite. A few of the slower tunes didn’t strike my fancy (like the bluesier title track or the moody “Tell her Now”) but when they crank it up, that’s when they hit paydirt. These Butler Brothers known what they like, namely any band that begins with the letter B (start with The Beatles and Byrds and go from there). www.ziprecords.com
 5.6.12
Alexander Tucker
THIRD MOUTH-(THRILL JOCKEY)-Alexander Tucker has a way with arrangements; chiming bells, acoustic guitars, organs, and harmonies are all set to "trippy," while his voice is warm and inviting, angelic at times, at times disturbing, but always engaging and interesting. I really dig the songs here, especially "Andromeon," which sounds like a middle eastern bazaar...on Jupiter. Occasionally there's a bit of humor involved, like the silly Syd Barrett-ish "Sitting on a Bardo Pond." and the epic closing "Rh." makes the whole affair worthwhile. Repeated listens make Third Mouth even more palpable, and the one low spot for me, "A Dried Seahorse," warmed up after a listen or two. Don't rush into Third Mouth; if you do, you're liable to get hung up on something to not like and will be quick to dismiss. That'd be a shame, as the colors within the grooves of this record take a little time to unfurl, but unfurl they will. This is mellow folk for people who like mellow psych-rock. Me likey. www.thrilljockey.com JOSEPH KYLE
 4.30.12
Baby Grand
ARTS & LEISURE-(TEST PATTERN)-…and just when I think that this terrific Sacramento, CA band is not gonna release another record out they come with another record (this is their 4th) . Leader Geri White is an unsung talent who really needs more attention paid to her but while she writes the songs, the whole band (a 6-piece) is spot on in its exquisite arrangements and lovely melodies. The band that is always brought up as a comparison is Scotland’s Camera Obscura and while there are similarities Baby Grand have enough of their own personality so as to not make it a rip off or anything. In addition to Geri White, I believe it’s her husband Tim (on drums) ,who is also in the band (as well as The Frenchmen’s Leon Levy on bass, a longtime popster on the Sac scene…..hey, how about another Frenchmen record while you’re at it???). 12 ultra-melodic pop songs like the first cut “Cherry Blossoms”, the girl group-ish “Show & Tell”, the dreamy “Fool For Your Love”, the acoustic “I’ll Say Goodbye” and plenty more. When music like this is done well I can’t get enough of it and on ARTS & LEISURE, it’s done really well. www.testpatternrecords.com
 4.30.12
Guantanamo Baywatch
CHEST CRAWL-(DIRTNAP)-And Dirtnap releases a …..surf record?!! Well, good for them, I love surf music and this Portland trio are no ordinary surf band. Sure, they have the twang and the reverb like any goods surf band worth its salt has but they add a good dose of gusto and wacked-out-ness to the proceedings to make it on fine, rockin’ record (healthy dollops of 60’s garage and high energy 50’s rock n’ roll). This is the band’s 2nd record (first for Dirtnap) and honestly, when I lived in Portland (just moved away a few months ago) I must’ve missed these guys playing a dozen or so times, what the hell was I thinking ?(ok , so I wasn’t thinking)??!! Oh and dig these songs titles: “Boomerenga”, “Frizella” and my favorite, “Massage My Taj Mahal.” And who do you think they cover on here? Black Flag? Nope. The Meatmen? Naw. The Cramps? Nope. Poison Idea? No way. They cover Mr. Paul Anka (“Diana”) so put that in your leather jacket and smoke it. www.dirtnaprecs.com
 4.30.12
Justin Jude
5 KINDS OF RAIN-(SELF-RELEASED)-There’s something to be said for knowing when to be calm, and when to shout: When it finally breaks away from quiet ripples, the shout’s powerful. It bears mentioning that Jude was deemed “Oregon’s Best Singer/Songwriter” at Bite of Oregon in 2007. And if the meticulously arranged acoustic guitar, solo vocals, violin, pedal steel guitar, and piano strata on 5 KINDS OF RAIN accurately reflect Jude’s live performances, that choice is no mystery. The album is quietly lovely; balancing mature, restrained delivery of Jude’s passions and perceptions with his boyish tenor. A winning combination emerges from the subtle conflict in that teetery balance. Jude’s anguished delivery of the lines, “Who cares who’s to blame?/Or who fired first?/ Oh, the need to be right/Is always a curse” is, by itself, worth the price of admission. www.justinjude.com MARY LEARY
 4.30.12
Say Anything
ANARCHY, MY DEAR- (EQUAL VISION)-Emo is dead, thank god. But some musicians remembered that emo came from pop-punk, for better or worse. Those that continue on in 2012 are either holding onto what was once artistically and financially viable ten years ago, or are ones who give the finger to any consideration and make music for themselves. Say Anything's one of those bands. Leader Max Bemis saw chart success and all the rock-star trappings offered by being the teen's big thing, then saw his fifteen minutes fade. This album is an interesting reaction to that; at times it's snarling at his audience (wait, the FAKE audience members, into the 'scene' as opposed to the music), recognizing that all is folly and fake and that there's humanity to be enjoyed...and that's just the first song! A cross between crunchy pop songs about love and too-clever social commentary, that's about the whole of Anarchy, My Dear. For some, this review might be the kiss of death--but then again, he's not singing to you. If you can put aside those things, you'll find some catchy pop songs about growing older, being weird, and the dichotomy between being "cool" and being "real." Yeah, the music is in that blend I mentioned at the beginning, but when he gets mellow, like on "So Good" and "Sheep," it's quite enjoyable. But be forewarned, Bemis's pop-culture references are sometimes a little too much and feel a bit too heavy and forced. I sometimes wish he'd stop trying to make everything a, "Hey, look at me, I'm being clever over here!" statement; he's a talented musician, and it betrays his talents at arrangements. Still, Anarchy, My Dear isn't a bad record; pity the kids who need to hear this album's message have moved on and don't care, and the ones who are hearing it already get it. www.equalvision.com JOSEPH KYLE
 4.30.12
World Blanket
2012-(NO APPLAUSE)-If everything on 2012 were as ingratiating as “The Holiday Song (For No Holiday in Particular),” I’d be searching for a sign-up sheet for World Blanket Groupies, United. I tingle to the warm-honey sweetness of the violin that flies over a delicately plucked banjo, Mike Pomranz’s ingratiatingly scratchy vocals, and fat, rocking percussion. It’s good enough to soundtrack so many things: a TV show set in Portland, the happy interlude in a filmed loved story, my cat’s (the one pictured inside the digipak is of a Russian Blue that looks kinda like my sweetie, Gabby) life? As it happens, five of the other six tracks on World Blanket’s third album are relative degrees of ingratiating, too. If not as elating as the holiday song, they’re at least good enough for first-year film student documentaries. Kidding. For me, the Brooklyn, New York-based cooperative, which cloaks itself in good-humored secrecy, is a happy revelation. Good-humored secrecy? For one, an iconographic band image that was appropriated (in silkscreen style, a la Warhol) from a famous National Georgraphic picture of a beautiful Afghani. And a band logo that appropriates the Starbucks logo. These are just a few reasons why that’s amazing: (1) Like McDonalds, Starbucks has pretty much blanketed the world with its image and products, (2) It’s fun to rip off Starbucks, which has put many “mom and pop” coffeehouses and cafes out of business; stealing the livelihoods of many and deleting performance sites for musicians, etc., and (3) It says so much with so little. The only track I don’t embrace is the sixth, “Time Was,” which gets over-emphatic relative to its audio and emotive content. But do stick around for, or skip to, “2012 (Side B),” which outros the album with quietly stimulating atmospherics.This is true Indie Pop/Rock/Whatever/Alt. Folk. HIGHLY recommended. www.worldblanket.com MARY LEARY
 4.23.12
Guy Capecelatro III
NORTH FOR THE WINTER-(DROMEDARY)-Al from Dromedary told me that Guy Capecelatro III played with Unbunny. And we all know how I feel about Jared Del Deo (a/k/a Unbunny, but if you don’t know, “obsessed” is pretty apt). Then I was told by a New Hampshire pal that there’s a dish at The Friendly Toast restaurant in Portsmouth called “The Guy Scramble” named for him, and we all know how I feel about scrambled food, too. So I was fairly primed to dig this record and I tried to stop calling him Guy Capiwhatshisface by thinking “cup of cilantro” (yeah, um, sorry, Guy) and took my shovel to the songs (better to dig with)… which aren’t so much songs as musical novellas. Above all else, this guy named Guy with his boyishly buoyant voice and Neil-Young-ish melodies (not the rock Neil, really, but the plaintive “Flying on the Ground is Wrong” *song* Neil), is a tale-telling poet and a master of imagery that is nothing short of cinematic. Sure, sure, these are irrepressibly catchy guitar/bass/drum affairs mostly, disarmed with singing saw, lap steel, church organ, mournful banjo, and so forth… but keep listening: every track is a story that could be a book that could be a movie. “Switch” is about a serial killer whose final victim gets him to give himself up to the authorities, but not before he gives himself to her. “Hope and Destiny” are sisters who couldn’t be more opposite but who would die without the other, and, uh, no spoilers, but aaaah whatever, they drown, and no kidding, I cried the first time I heard it. “Wedding” (vocals by Juliet Nelson, from the terrific Tiger Saw) is a bittersweet ode to an ex’s sister’s nuptials, watching from a distance as the ex flirts with a caterer, and “what am I doing here” (question mark intentionally omitted). There’s “Joe the Sailor,” who is a bad cop, and the whore that takes him down and the son who wishes there was something else he could have said to or had from his father. And oh my glob, the album opener, “Like Anything,” perfectly soulfully illustrates the convoluted meandering thoughts and actions in the final moments of a doomed relationship. Even the little songs (there are 18 of ‘em, whew, and some are super short) are rich as the most decadent layer cake between the lines. “Ferris Wheel” is a minute-long remembrance of a first date with an undie-less paramour, “a delightful show” indeed. My favorite song on the record, “Sorry Kate” (featuring Gregg Porter from the awesome cerebral bluegrass band Milkweed) is under 2 minutes, the reading of a quick letter to a friend about the friend’s ex, with “bruises on her back in the shape of a snake, ESSing down to her aaaaaass,” annoyed that she was “using all the oxygen up in the room with dumb remarks,” but then, uh oh, “…raggedy hair tangled…with dried flowers and sticks... she slipped and fell right into my arms…” and oooops, he’s sorry, Kate. NORTH FOR THE WINTER is so dense with ideas and inimitable phrasing, it’s almost ridiculous. Even the flippant lines sparkle, like on “Girlfriends” (with Jarid Del Deo singing, and oh yeah, Jarid did the painting on the album cover, too), “Hey, all you old girlfriends, do you still take your dresses off reeeal sloooow…?” Argh! I didn’t even get to “New Year” which is my 2nd favorite, or the one about kicking junk (I think he means drugs) on a Greyhound to North Dakota. There is SO MUCH MORE, I feel bad I can’t indulge myself here and tell allllll the stories. I never say this and I think it’s rude in a record review (or otherwise) to tell people what to do, but you should just buy it. You’ll thank me. And you’re welcome. www.dromedary-records.com VICKY WHEELER
 4.23.12
It’s a Musical
FOR YEARS AND YEARS-(MORR MUSIC)-I totally missed the boat on this band’s debut and I’m usually hit or miss on the stuff on the Morr Music label (though I find the stuff more hit than miss) but this one had an interesting looking cover. It was one of those ones that I had a feeling I’d like (though I’d never heard of the band before) and by golly, I was right. The band is a duo of Ella Blixt and Robert Kretzschmar, Ella plays keys and Robert drums and together their voices mix well together (there’s some occasional guitar as well as some other extra percussion, too) . There’s some wistfulness to the lyrics (apparently they broke up as a couple after the first record) but overall the sound is bouncy and ebullient (think Stereolab or Mates of State at their poppiest). My favorite tracks are the opening title track, the zippy “The Nap”, the carnival-esque “Peace and Trees” plus “The Team That Never Wins”, “Pictures’ and others. To be honest, most of the record is really good. The songs are hooky and well-written and I really hope they make it to the States for a tour this year. www.morrmusic.com
 4.23.12
Orcas
S/T-(MORR MUSIC)-Orcas is a new project between Benoit Pioulard's Thomas Meluch and Rafael Irisarri, and for those familiar with Pioulard's work, you'll be happy to know that this collaboration does something that's been long in coming--fleshing out Meluch's pop tendencies, while blending his more recent explorations into heavy, epic drone. The result? A sound that's true to form for its creators' strengths, yet something that's wonderfully different without the shock of the new. The drones are fleshed out with hushed, distant piano and guitar, sounding rainy and miserable, while the two men's voices, both laconic and detached, fit together quite nicely, two different tones of the same shade. The instrumentals aren't, really; "Standard Error" and "A Subtle Escape" may feel that way, but closer listening reveals nondescript vocal harmonizing that simply sounds out of this world. Also superb is their cover of Broadcast's "Until Then," a touching tribute to the late Trish Keenan. Orcas is music for rainy days, overcast days, or times when you want to feel cold, yet warm. A more beautiful record could hardly be found. www.morrmusic.com JOSEPH KYLE
 4.23.12
Pinata Protest
PLETHORA- (SAUSTEX)-This record was originally released in march of 2010 but ,as the back of the cd says, the band now has a revamped, more solid lineup so this new band re-recorded the tunes. I never heard the first version but if it’s half as good as this then it kicks ass. Like if The Pogues were born and raised in Mexico. Yup, it’s that good. If I ever meet main songwriter Alvaro Del Norte I swear I’ll buy the guy a steak dinner (and if he doesn’t eat meat well, then he’s out of luck). Some of my favorite chestnuts on here include “Cantina”, “Suckcess”, “Love Taco” , “Rocket” and , well, the 9 others. My advice to you is to buy this record, grab a loved one (and a cold one) and make sexy time. www.saustexmedia.com
 4.23.12
Throwback Suburbia
SHOT GLASS SOUVENIR-(SELF RELEASED)-Kept hearing big things about this Portland power pop band a few years back when their S/T 2nd record was released but never actually heard the record. Caught ‘em once live at an in-store at Music Millenium and was curious but said record somehow escaped my grasp. Fast forward a few years and a rep from the band sends me this record AND the previous one (thank you). You won’t mistake the band’s sound as this is textbook power pop but that’s not a slag on the band , just that they fit into a specific genre (and are probably proud of it). I hear elements of bands from the 60’s (Beatles, Badfinger, etc.) 70’s (The Shoes, The Knack, etc.) 80‘s (Cheap Trick) and 90’s (Velvet Crush) and beyond. The songs are hooky and well-crafted with crunchy guitars, thumping rhythms, melodic keyboards and vocalist Jimi Evans ever so slightly snotty vocals. The first three songs (“Give and Take”, “Setting Sun”, “It’s You” ) all bring it and hey, they even throw in a power-pop ballad “Here Again” (if you have you cigarette lighter in your pocket) and as for the rest of the record, on most of them the band delivers as well. They’ve got this songwriting thing down and honestly, if power-pop weren’t such a bastard-child genre (or so it seems) these guys would be a lot bigger than they are. www.throwbacksuburbia.com
 4.16.12
John Wesley Coleman III
THE LAST DONKEY SHOW-(GONER)-Had received this Austin dude’s previous record from the Goner label and liked it quite a bit (had never heard of him before that) so was pleased as punch when I got this one. He looks like the kinda guy who would look good in a Nudie suit, just add a few rhinestones to what he is wearing on the drawing of him on the cover and he’d be all set. Coleman’s music is a wiggy mix of garage, pop and soul with a slight hint of western throw in for good measure (and apparently , in addition to being a musician, he has taken the stage as an artist, poet, comedian and possibly a few other things so in my book that counts him as a renaissance man, too). Again, Coleman is a bit of a unique mix, not really fitting completely into the garage rocker category but not a pop maven either but the can write a damn good song. The songs kick, pump and swing and it’s hard not to get swept up in his preacher-like fervor. Try on tunes like “A Clown Gave You a Baby” or “Don’t Waste My Time” on for size and I guarantee they’ll fit just right (unless you have crappy taste in music in which case you should just go away). He also lassoed in players of the French Horn, pedal steel, sax and a few other instruments I may not be aware of. If you’re bored with life and looking for that next big adventure then go out and buy this record. It just may change your life. www.goner-records.com
 4.16.12
The Darcys
AJA-(ARTS & CRAFTS)-Man, I'm a bit mixed on this record. Yes, it's the Steely Dan record, covered by young Canadian band The Darcys. I'm mixed on this not because I'm a big Steely Dan fan (I own a few of their records and like 'em okay), or because the Darcys aren't good enough to take it on, or that this album is ironic. I'm mixed because this is a really great band--their self-titled debut from last year was a highlight--and releasing a cover of a classic record just seems to be partially a promotional stunt that's wasting time from their recording and releasing more great, original music. That aside, how does it sound? It ain't bad, especially their version of the title track and "I Got The News." If you like the original album, this isn't going to be a better version, even though they do a good job of covering the 'Dan. I enjoyed their take of "Deacon Blues," too. Okay guys, play time's over, let's get crackin' on that assuredly awesome all-original record I know ya got in you! www.arts-crafts.ca JOSEPH KYLE
 4.16.12
The Explorer’s Club
GRAND HOTEL-(ROCK RIDGE MUSIC)-Ok, so a few years back on their fine debut (FREEDOM WIND) , they totally aped the Beach Boys and this time around it’s….I dunno, Sergio Mendes and Brazil ’66? 70’s AM radio pop? A bit of both, perhaps? The odd thing is that this time they got Beach Boys’ engineer Mark Linnet to mix this record but it’s less beach Boys-y than the debut. Aw well, you know what, I feel like I’m splitting hairs here and GRAND GHOTEL is another terrific record by this South Carolina bunch. There’s a plethora of musicians on this but the main guy seems to be Jason Brewer who sings and plays guitar and organ. The thing is the guy doesn’t try to hide the fact that he loves all of those 60’s pop icons (Wilson, Bacharach, The Association, etc.) and again, GRAND HOTEL is more varied than the debut as it seems to be an homage to early 70’s AM radio pop (and any reader of this site will know that that’s fine by me). First off you have the pop charm of (first single) “Run, Run Run” while both “Anticipatin’” and “Bluebird” both have that 70’s pop dust rubbed off on them as well. The swingin’ horns on the instrumental title track could’ve been background music on THE NEWLYWED GAME (where are you Bon Eubanks?!) and “Go Fur You” has some real snap n’ sizzle to it as well. Ok, so with what I’ve written about so far we’re basically about halfway into the record so there’s still another 8 or so to go and they are (almost) all quality as well. Again, if 70’s sunshine pop is your bag then this will be right up your alley and as I’ve said before, I don’t mind this type of slavish homage as long as the songs are good and they are. www.rockridgemusic.com
 4.16.12
King of Prussia
TRANSMISSIONS FROM THE GRAND STRAND- (SELF RELEASED)-Wow, here is a band I had nearly forgotten about. They released a terrific debut on the Kindercore label in 2007 then ….vanished. Not only the band but I thought it was going to be a resurgence of the Kindercore label (which has been dormant for a few years) but alas, I never heard from the label again either (though according to the press sheet the band release an ep , THE TIME OF GREAT FORGETTING, on the label in 2010. I need to find that.). One half of the core duo is still here , Brandon Hanick still sings and plays guitar but the other half, Trey McManus, is gone. Still, the core of the band is 7 players (and they get help from many others) and they still have it. It being that 60’s pop/psych songwriting gold that bands like The Clientele have (who these guys remind me of a bit). The record starts off with a bang with a slew of great songs including the first four (“Oh Me”, “The Shake Shake”, “Pedals on the Delay”, “Arabian Thoroughbread.” The rest of the record isn’t bad, in fact of the remaining 7 songs many of them are very good as well (check out “Your Graduating Hours”, “Transatlantic (the new frontier).” A few of the tunes drift off into otherworld territory, but overall this is a real strong record with terrific songs by a band I was happy made a return (and still not sure how I missed that 2010 ep). TRANSMISSIONS FROM THE GRAND STRAND is well-worth blowing at least part of your next paycheck on. www.myspace.com/wearekingofprussia
 4.16.12
The Magnetic Fields
LOVE AT THE BOTTOM OF THE SEA-(MERGE)-We love The Magnetic Fields, and when we heard they were back on Merge, we were happy; their last few records were good, but they missed a certain spark. With the return to friendlier waters also finds Merritt and company returning to the synths and the pop of earlier records. That the avowed atheist starts the record with "God Wants Us To Wait," a song that could very well be a straightforward Christian song about the virtue of chastity? Well, it shows that Mr. Merritt still has his sneaky, clever side, and is followed by "Andrew in Drag," a song about falling in love for a drag queen?(I have a theory that this song is, instead, about falling in love with Andy Warhol--more specifically, the drag queen shots that he took in the early 80s.) Does the rest of the record hold up to the one-two punch? Um...no. There's some good stuff found here, especially the heartbreaking "Quick!" and the fun, Gary Numan/Future Bible Heroes-esque "Infatuation (With Your Gyration)." But there are some moments on here that just feel off; maybe it's just that Merritt needed to get his bearings back. Though nothing here is over three minutes, fifteen songs still feels a bit too much. Ah well, compared to the acoustic chamber-pop of previous records, Love at the Bottom of the Sea is a nice return to arrangements that seem to have been neglected for too long. Glad to know the old curmudgeon still has it in him. www.mergerecords.com JOSEPH KYLE
 4.9.12
Cuppa Joe
TUNNEL TREES-(DROMEDARY)-Central Jersey’s Cuppa Joe bounced around the NJ scene in the 90’s for a few years, released a few solid records and then broke up (their last record was in 1999). The trio, now reformed, has been whittled down to a duo with Doug Larkin still on vocals and guitars (as well as bass, keys and banjo) and Steve Spatucci on drums, percussion and backing vocals (if I’m correct, I believe Doug’s brother Rich was the third band member). The 10 songs on here are just as I remember the band, just nice, jangly pop tunes. They’re not gonna make you forget The Chills or anything (who seem to be an influence on Cuppa Joe and a damn good influence to have) but they’re a helluva lot better than a lot of bands out there masquerading as “pop” bands. A few of my faves on TUNNEL TREES are the tender “Brush”, the melodic “Some Might Call Us Happy”, the moodier “A Couples While” and the very indie pop-ish singalong (fine with me) “Forty.” Always glad to see bands like this return for the sheer love of music (they sure as hell ain’t doin’ it for the money) and a bonus is that they can still write good pop songs. Bravo for them. www.dromedary-records.com
 4.9.12
Sophia Knapp
INTO THE WAVES-(DRAG CITY)-Last year I raved about Sophia Knapp's band, Cliffie Swan, stating that I felt her voice was placed perfectly between 70s retro and modern day indie rock. Well, this is more of the same...and whoa, what great more-of-the-sameness! I was hooked by the opening "Glasses High" with its gorgeous but potentially copyright-infringing Stevie Nicks style "Oooh ooooh oooooooh"s, its tasteful strings, and its lovely piano work. After fighting the desire to neglect the rest of the record by obsessively listening to "Glasses High" on repeat, I found a wonderful record that never strayed from that simple, basic formula. I don't think of a record like Into the Waves as a retro record inasmuch as the record of someone who <I>really</I> loves the genre they're working with. I know that I loved those records by Sylvia, Suzi Quatro, Stevie Nicks, Pat Benatar, and Linda Ronstadt--all of whom are an obvious influence on Knapp. When she goes mellow and trippy on "Evermore" (another thing; you can find 70s and early 80s references in every song, w/o them necessarily having anything to do with the song itself), she breaks away from the tribute to the era and creates something new and beautiful. I know that when I heard the Cliffie Swan record, I wanted more. Damn it, Into the Waves delivers that more, and gives you even more. Just you wait until you hear that final ballad, "In Paper." Whoa. Total pop heaven. www.dragcity.com JOSEPH KYLE
 4.9.12
La Sera
SEES THE LIGHT-(HARDLY ART))-Whether or not Darker My Love’s Rob Barbato’s production has bearing, Sees the Light feels like a skip forward for Katy Goodman; songwriter and center of La Sera. Once the opener, “Love that’s Gone,” kicks in, it’s obvious that Goodman’s craft has moved from green apple status to that of a Rome Beauty that’s getting rosier as it sits on the windowsill. The lovely, more mature depth of “Love that’s Gone” and “Real Boy” is about meshing retro Pop influences into whatever makes Katy Goodman… Katy Goodman. While closer to the surface, “I Can’t Keep You in My Mind” is nice, too. After playing with the form (with Vivian Girls, and on La Sera’s debut) Goodman’s nestled into her chosen genre with confidence: Nothing to prove to anyone. Sure-footed enough to throw in some ‘70s guitars and arrangements, to boot. I still like the ballads and mid-tempo tracks best, and hope Goodman sticks to those in future (or incorporates a player who’s born to the four-to-the-floor task). My real problem (with the faster stuff) may be that airy vocals over faster beats don’t really feel like r-a-w-k. Highlights: “Drive On,” “Real Boy,” “Love That’s Gone.” www.hardlyart.com MARY LEARY
 4.9.12
Nada Surf
THE STARS ARE INDIFFERENT TO ASTRONOMY- (BARSUK)-I think I’ve said this in Nada Surf reviews before but I’ll say it again. No one can blame you for not thinking this NYC band would amount to much after the just ok debut (HIGH/LOW from 1996, which yielded a novelty hit in “Popular”). The band got dropped and released their next record, THE PROXIMITY EFFECT on their own Mar-Dev label. It seemed like the band was done for when 4 years later, 2002, now signed to Seattle’s Barsuk label, they released the magnificent LET GO. It has been all gold since then and they have really been on a roll. THE STARS ARE INDIFFERENT TO ASTRONOMY is yet another solid to great record that the band has been releasing for the past decade. Singer/guitarist Matthew Caws, who along with bassist Daniel Lorca and drummer Ira Elliot (they write the songs together) had some help on this record in the name of ex-GBV/ex/current Death of Samantha Doug Gillard and Calexico’s Martin Wenk (now both touring members of the band) plus excellent utility infielder Joe McGinty. And the songs? Terrific once more They are really on a roll and at the top of their game, I’m not sure if anyone else out there does earnest, catchy, poignant pop better than these guys. The home runs here include the driving opener “Clear Eye Clouded Mind”, the nearly-as-good “Waiting for Something”, the chunky “Teenage Dreams”, the hooky “Looking Through” and at least a few others. Like death and taxes, a very good (and occasionally great) Nada Surf record is something you can always count on. www.barsuk.com
 4.9.12
Whitejacket
HOLLOWS AND ROUNDS-(SELF-RELEASED)-HOLLOWS AND ROUNDS runs through so many emotions; many of them suitable for a rainy day, that I’m torn between donning a classic London Fog trenchcoat and kicking my heels up in some puddles, and sitting at home, staring out the window at the downpour. But I didn’t need to read this statement by Chris McDuffie, aka Whitejacket, to sense his deep Beatle-love: “The genesis of the record came from my long-standing admiration of the baroque pop of the late sixties and seventies.” Hearing about the former Apples in Stereo keyboard and percussion player’s unabashed leanings brings a smile to my face. As does the balance of HOLLOWS AND ROUNDS. That is, when listening to it doesn’t make me feel strangely sad. Why “sad”? McDuffie’s voice sounds so much like John Lennon’s, that’s why. Whitejacket also reminds me of the Kinks, along with the Beach Boys’ darker moments. I don’t know why that should make me feel sad. Maybe it’s the way so many tracks, such as “Easy Now,” bask in blue-grey moods. And Whitejacket reminds me that the whole Carnaby Street scene is long gone (and that I missed out on that epoch) – man, life goes by quickly. Anyway, before this gets depressing: If you like rich harmonies, thoughtful, often keyboard-based compositions, and, yes, the Beatles (along with the Raspberries, Kelley Stoltz, and Robbers on High Street), you’ll probably want to hear HOLLOWS AND ROUNDS. http://www.whitejacketmusic.com MARY LEARY
 4.2.12
Allo Darlin'
EUROPE-(SLUMBERLAND)-Man, these kids have been on a major learning
curve! Europe, their latest record, is everything right about modern-day indie-pop. Gorgeous girl vocals? Yep, on every dad-gum song. Literate love songs and poppy songs of pain? Check out "The
Letter" and "Some People Say." Delicate little tunes with ukuleles while tributing indie-poppers past? Check out "Tallulah." I'm in love with the voice of Elizabeth Morris but isn't that the entire point of
music like this? Yeah, I guess it is. If you're a fan of Camera Obscura, The School, and pretty much any band on Slumberland, take your pick--the label that snagged 'em and the only label that can do
them right--then you're going to love this. It ain't brain surgery, it's simple pop music for smart people. Ya dig? www.slumberlandrecords.com JOSEPH KYLE
 4.2.12
Burning Hearts
EXTINCTION-(SHELFLIFE)-I had not heard this Finnish band before their amazing debut from 2009, ABOA SLEEPING (also on Shelflife) but boy did I know who they were after I heard it. They jumped into the ranks of pop royalty on that first record. The band, which had been the duo of Jessika Rapo (from another Shelflife band, Le Futur Pompiste) and Henry Ojala (from the terrific Cat’s on Fire) is now a quartet with the addition of two new members (though Jessika and Henry still write all of the songs). As far as I’m concerned, these two were BORN to make music together. While the basic framework on this sophomore effort is the same, the songs on EXTINCTIONS are a bit moodier. The soothing melodies are still there, the lyrics are quite sad (press release says that “the record was written as a consequence of many tragic stories that touched the band. Quite a few of the songs are dedicated to people or creatures that no longer exist.” ). Still though, the band’s near-perfect melodies shine through on cuts like (first single) “Into the Wilderness”, which has a warm , slightly eerie melody and is one of the band’s best songs. The swaying “Modern Times” (my wife’s favorite on here) is nearly as good. “The Swallows” has a nice, dancey groove to it while Rapo’s gorgeous vocals shine through on “Trade Winds.” EXTINCTION is pure pop gold and on a label full of terrific bands, in my opinion, this is the Shelflife’s best . www.shelflife.com
 4.2.12
Penelope Houston
ON MARKET STREET -(DEVOTED RUINS)-Lead singer of the Avengers, (a San Francisco Punk band) Penelope Houston starts On Market Street with quiet swagger. It takes confidence to launch a 2012 shindig with the classic, bluesy Soul of “All the Way.” Like: “This is what I’m going to do, ‘cause I know it will work. Who cares if it’s on-trend?” I’m glad to opine that Houston presents a convincing argument for classic, bluesy Soul. The by-the-book, mid-tempo structure is a nice fit with her not at all by-the-book lyrics, which unveil her Punk background: “If you take my broken heart/And squeeze it just a little bit/I bet your fingers in my bruises/Are going to make a perfect fit.” And Houston’s Pop instincts turn tire-tracked structures into genre-bending winners. Which is likely to keep more restless ears around for the constellation of structures and tones that make On Market Street a compelling singer-songwriter joint. Its array of gems includes the cello(?)-burnished title track, which employs a classic, slightly eccentric Folk framework (as in: the Stones circa “As Tears Go By,” or Nick Drake, circa “Made to Love Magic,” or Joni Mitchell, circa “Chelsea Morning”) for its era-of-(Rightwing)-horrors narrative. Support for Houston’s quietly sandy vocals includes Danny Eisenberg’s Hammond B3 organ tones (accounting for some of the old-school bluesy Soul feel), and well-appointed guitar strokes by Pat Johnson and Michael Papenburg. www.penelope.net MARY LEARY
 4.2.12
Retribution Gospel Choir
THE REVOLUTION- (SUB POP)-Three things made me leery
of this, the latest record from Alan Sparhawk's side project, Retribution Gospel Choir: the bad 70s rock artwork, a song about making rock and roll, and the exclamation mark after the word revolution. Finding one of those on a record should give you pause. Finding two is a nosedive. Finding three? You know it's going to be some dudes who are wanting/trying to do nothing more than "rock." And I was right, at least, about this being a rock record. But yet, there's something about these four songs that makes that equation for disaster not seem so bad. Maybe it's the great harmony? Maybe it's the fact that two of these songs are less than two minutes long. Maybe it's the fact that Alan Sparhawk has been making music for two decades now. Sure, the Foreigner-esque "Maharisha" and the crunchy hardcore(!!) of "I'm A Man" may seem strange. But they're not bad! They're addictive, strangely poppy, and yet don't seem so strange--especially the quiet/loud thing of the latter. It ain't Low, but it sounds like Low, in its own weird way. "The Stone (Revolution!)" is also a catchy power-pop number, as is the other song on here. Hey, it was a free download, so I didn't lose money, and I was pleasantly surprised, and am more inclined to check out their next album. www.subpop.com JOSEPH KYLE
 4.2.12
Whirr
PIPE DREAMS-(TEE PEE)-Pipe Dreams is an intensely hypnotic experience. But I’m not sure what “post-shoegaze” means – maybe that listeners’ eyes have made it up to their ankles, or knees? Anyway, it seems to be the closest the Bay-area six-piece (formerly known as Whirl) could come to describing its sound. And I have lots of empathy for the headache potential in the task of self-characterization. No one likes to be put in a box. Anyway, as others have said, Cocteau Twins and My Bloody Valentine both have a poltergeist-y presence in the vibe. Whirr’s sound is somewhat thicker and heavier than that of either CTs or MBV, and the guitars (Deafheaven ace Nick Bassett’s on one) are more aggressive. The sound’s moody as all get-out. I’m fondest of Whirr when it shows its fondness for Pop hooks, which is when those poke out of the fat beats/distorted guitars/general haze - “Junebouvier” and “Bogus” are pretty stunning exemplars. http://whirrband.tumblr.com MARY LEARY
 3.26.12
120 Days
II-(SPLENDOUR)-Thumpity-thumpity-thumpity-thump: Synthesizers, thud-thud percussion, and floaty effects are employed on the second track with a passion and perserverence that’s rather stunning. If “Dahle Disco” doesn’t make you want to get up and dance, it’s sure to make you want to get up and do SOMETHING. But 120 Days isn’t just about pumping out Club tracks – the Norwegian quartet makes a a clear effort to mix and vary effects and formats. “Lucid Dreams,” which is divided into three segments, commences with trippy synth. effects before launching into a convincing mix of dream sounds and vocals with hip shake-inducing beats. The third section features more aggressive, edgy effects over regular beats. “Osaka” shows the band’s affection for NIN-sharp Rock. And “Sleepless Nights #4” wanders into artsier territory; mixing vocals that are almost disturbing with an array of shifting textures and proximity levels.www.splendour.no MARY LEARY
 3.26.12
Ad Boc
POP SUPRALIMINAL-(CRIMSON SPIRAL)-Those who followed the indie pop scene in the 1990’s will remember a Boston-based band called Jumprope (he was in Miranda Warning, too) . Well Ad Boc was the leader of that band and apparently for this record to come to light he had to whittle through 230 songs (??!!) and chose the 15 best (and though I just got this recently , it is a 2010 release) . Like the best Jumprope songs the beat is peppy, the vocals yearning and the melodies are sprightly (big Beatles influence, for sure) . A few of my faves on here include the bouncy “Her ID Number”, the beat-heavy “She May Want to See You”, the grittier “Guru Like You” and the jangly, Byrdsy “So Cool So Cruel.” Glad to see Ad back in the saddle (to steal a reference from another Boston band, Aerosmith, one who Ad Boc sounds nothing like). www.crimsonspiralrecords.com
 3.26.12
Field Music
PLUMB-(MEMPHIS INDUSTRIES)-The Brewis brothers have built a career making undeniably catchy and inventive pop music. With Their latest effort, Plumb, they’ve not only continued that tradition, they have upped the ante. Unlike its’ predecessor Measure, while tremendous, still let’s off of the gas from time to time, whereas Plumb let’s off the gas but only to make a sharp left turn to some secluded destination. This turns out to be a blessing not a curse. Field Music have created a world where XTC, Led Zeppelin, Genesis and Yes can coexist within an art movie soundtrack. The album opener (“Start The Day Right”) slowly pulls you in with its’ cinematic landscape, then quickly turns into classic Field Music with its’ Yes influenced bass lines and crisp guitar chords. “A New Town” is another album standout with an XTC-like guitar line and the anything-but-straight drumming, topped off with David Brewis and his unmistakable falsetto vocals. They continue on in their modular, fragmented style with “From Hide And Seek To Heartache” (which is possibly the album’s most interesting track) with its’ stop/start drumming, beautiful string arrangement and typewriter style percussion. The album closes with “Keep Thinking About A New Thing,” which is pure pop brilliance! This song could just have easily opened the album, and actually succeeds in merging well-crafted, quirky pop and prog-rock without making you feel all dorky inside. Field Music have thusly released their most surreal, inspiring and artful project to date. Here is to continuing on this path for many records to come. www.memphis-industries.com JASON BROWN
 3.26.12
Jonathan Segel
ALL ATTRACTIONS- (MAGNETIC)-Including the instruments he plays on Apricot Jam, the bonus disc included with the All Attractions CD, Jonathan Segel, who’s known for his role in Camper Van Beethoven, contributes violin, guitar, synthesizer, theremin, keyboards, and vocals. Segel’s one of those quadruple-plus threats for whom ambitious bands tend to compete – a mini list of those who’ve won his attention includes Eugene Chadbourne, Fred Frith, Young Fresh Fellows, and Sparklehorse. Comparing All Attractions with David Lowery’s last, typically high-spirited solo effort makes it clear that CVB got some of its more outlandish genes from Segel. There’s nothing even close to “Take the Skinheads Bowling” on All Attractions or Apricot Jam, which feature more intricately musical, wide-ranging, and less Pop-orientated fodder. The lead AA track, “(Ever and) Always” may have a CVB-sorta title. But it’s a classic, acid-rocking jam for five of its eight-plus minutes; after which something more like a song springs from its roots. “Hey You (I Know You Know Me”), the folksy ballad that follows, is seeded with the sweet notes of mandolins, acoustic guitar, and vocals with that droopsy CVB lilt. The third tune could nestle nicely next to one from Poco or Wilco. That’s more or less how All Attractions goes, although Segel’s fondness for foot-stomping, distorted guitar jams is the spice making this party noteworthy (along with the streamers and water balloons thrown around by guests including David Immergluck, Chris Xefos, Brett Nelson, and Victor Krummenacher). If you’re stoked by All Attractions/Apricot Jam, check Segel’s Wiki, along with the fascinating website he started with Krummenacher -- to date, in addition to CVB releases, he’s contributed to over 50 albums, including soundtracks. www.magneticmotorworks.com MARY LEARY
 3.26.12
Terry Malts
KILLING TIME-(SLUMBERLAND)-After releasing two fantastic singles and finally catching them live I just knew the upcoming full length would probably be good but not mind blowing. Too many times have I been led astray by great teasers and amazing live shows only then to be disappointed by the full length product. I am happy to say that this isn’t the case with the “Killing Time” LP and in fact we have something very special on our hands. These three boys from the bay area have managed to take the 3 chord pop sensibilities of the Ramones and make us a shake mixed with plenty of Jesus and Mary Chain fuzz with a touch of Flying Nun whip cream ala Verlaines and a big fat Flatmates cherry on top! The record blasts off with fast paced assault of “Something About You” and doesn’t let up. “Where is the Weekend” could be my theme song as of late and “Tumble Down” is a slower catchy number that gives me a feeling of hope for some strange reason. Phil Benson’s vocals have that smooth confident quality to them not unlike early post punk crooners such as Edwyn Collins that seem to be a perfect fit to Cory Cunningham’s slashing guitar fuzz. Nathan Sweat’s drumming holds down the beat just fine while trying not to get to fancy. Lyrical genius is shown on tracks such as “No Sir I’m Not a Christian” expressing their belief in no god as well as the anti consumerist song “Mall Dreams”. Basically The Terry Malts are pretty much giving the finger to everything that’s wrong with our society of late. From start to finish this record smokes and probably one of the first new records I have been able to relate to on a personal level for a long time. Already on the top of my list for best of 2012! I know that someone out there has got to feel the same way. Do yourself and favor and buy two copies because I think you may wear one out soon enough! www.slumberlandrecords.com JOEL JETT
 3.19.12
Bill Fox
ONE THOUGHT REVEALED-(JAR NOTE)-Wow, this was a nice blast from the past. Fox released two terrific solo records in the 90’s (SHELTER FROM THE SMOKE and TRANSIT BYZANTIUM) and then seemingly vanished. He had previously been in Cleveland power pop band The Mice which GBV’s Bob Pollard (among others) had championed. Fox’s stuff always reminded me a bit of Pollard gone acoustic (big Dylan influence as well) and his songwriting was always superb as well. There’s only 8 songs here but hey, 8 is better than none by an artist you’ve waited so long to hear from again. Other than the first song, “Whithering Soul” (the only song on the record that I wasn’t super into) it’s more of that strummy/Appalachian folk stuff that Fox has been doing since he retired The Mice. A few of the gems here include the folky “Babylonia” while the heart-tugging “Existence” sounds like prime 70’s Dylan . On “Moonlight Staggers on a Lonesome Toe” his voice sounds echoey, as if singing from a canyon with some perfect added organ (courtesy of Lou Vogel) giving the song a bit of an eerie feel while “Round the World” might be the most melodic number on the record. Hopefully reviews like this one will give Fox the inspiration to want to record more records because god knows I (and I’m sure plenty of others) really want to hear them. www.jarnote.com
 3.19.12
Jennifer O’Connor
I WANT WHAT YOU WANT-(KIAM)-NYC-based singer/songwriter Jennifer O’Connor is very talented and well, too good to not hear from her so it’s great to hear from her again. After releasing her debut on her own label Kiam a decade ago she continued on with a 2nd record, The Color and the Light, in 2005 (on the Red Panda label) and then jumped to the biggies with two more terrific releases on Matador. The Matador deal ended (her last record for the label was HERE WITH ME, released in 2008) and in the ensuing years O’Connor worked some odd jobs, hung out and continued writing and playing and releasing record number five back on her own label (the digital version of this record was released last November). Despite all that she’s been through the past few years O’Connor sounds , well, content on these songs, songs that seem to be about both delving into the past and looking toward the future. The terrific “Already Gone” seems to be about the former while the more upbeat “You Come Around” (“You come around, ‘cos that’s just what you do…”) falls into the latter category. Another favorite is the dusty two-step of “Hidden Hill” as well as the spare, bouncy “Running Start.” In a career full of solid to superb records this may be O’Connor’s best. I don’t know anyone else who can make confessional songs that make you want to pump your fist in the air (ok, maybe John Darnielle) and I WANT WHAT YOU WANT is full of them. www.kiamrecords.com
 3.19.12
Primitons
DON’T GO AWAY: COLLECTED WORKS-(ARENA ROCK RECORDING COMPANY)-What can I say, I missed the boat on this Birmingham, AL band. Oh sure, I’d heard the name and liked some of their contemporaries (REM, Windbreakers, etc.) but was far too immersed in the sweet n’ salty sounds of American hardcore to fully appreciate (or in my case, even check them out) this terrific pop band. Well, thanks to Greg Glover (Mr. Arena Rock Records to you) , myself and the rest of the world can delve into the band’s back catalog. 18 songs, all jangle and no filler. The extent of the catalog was a mini lp for the Throbbing Lobster label (TL’s Chuck now run the Hyped 2 Death label) and a 3-song single and another ep for the What Goes On label and that was it, they were done. Oh, once you buy it don’t forget to listen to the songs! Right outta the gate: “All My Friends”, “Five Lines”, “Seeing is Believing”, etc. etc….all jittery and electric pop energy (think The Feelies at their most hyperactive). Move forward to 1986 (Brad Dorset has left the band and Matt Roden takes over lead vocal chores himself) and the “Don’t Go Away’ single and its three songs which is all good vibes and “doot doot dooh’s” OK, moving eight along (come on people, pick up the pace!) we now enter 1987 where the HAPPY ALL THE TIME ep was birthed (and had guest spots by Carnival Season/The Lola’s Tim Boykin and Windbreakers’ Tim Lee but NOT Dagger’s Tim Hinely) and the hits just keep coming! These songs rock a bit harder, but are still generous in the hook department. The groundwork has been laid folks, you know what to do. If buying this mean you don’t eat for a week, well, plan on losing some weight, pal. www.arenarockrecordingco.com
 3.19.12
The Scruffs
KILL! KILL!- (SCRUFFSVILLE)-Mr. Stephen Burns and his Scruffs have really been on a roll. Ever since he retooled the band a few years back with a few Scots they have released three terrific records (including this one). 2007’s POP MANIFESTO and 2010’s CONQUEST were both soaring, chomping pop records with enough bite and guitar grit to satisfy old Scruffs fans (don’t forget, they’ve been around for over 30 years, their debut, WANNA MEET THE SCRUFFS came out in 1977). For this record Burns and Co went back home to Ardent Studios in Memphis to record it and brought in some guest starts including Belle & Sebastian’s Bobby Kildea on bass while REM’s Peter Buck and Scott McCaughey add 12-string guitar and piano respectively to one song (“She’s a Killer”). Opener “Hide Me Hide Me” , which is hooky and biting, sounds like prime Scruffs (as does the terrific, swaying “Too Much Love”) while Burns’ McCartney influence shows through on “Wonder Where” and in the title track, I hear prime Cheap Trick. A few other faves include “She’s a Killer” and the gorgeous, tender “Song of Earth” (“Scotland sings to me, all the way down to New Orleans”) which is now on my list of favorite Scruffs songs ever, and the bouncy “Malibu Woman.” For these last three records Burns has hit the trifecta and this record truly deserves your attention. Skip the first child’s birthday gift and buy this instead, you’ll be glad you did (side note: in the cd package Burns included both a mono and stereo mix! 2nd side note: mastered at Abbey Road!). www.thescruffs.com
 3.19.12
Tennis
YOUNG & OLD- (FAT POSSUM)-Not knowing everything about a performer can be helpful. Having missed this band’s first effort; with no point of Tennis reference, I’m charmed by the sophomore album. In fact, I like this more than most similar music that I’ve heard in the last several years. Fun as contemporary spins on Pop-Rock’s first classic age can be, there’s often a tongue-in-cheek smirk to the melodically obsessed musicians doing the spinning. And/or they seem so stoked at being able to recreate these sounds that they keep smoking the happy pipe; failing to hazard the next step(s) of merging those inspirations with creativity and individual expression. In other words, the Morning Benders and others of their ilk don’t strike me as performers that I, anyway, am going to remember or care about in 10 years. Along with its advanced technical and innovative skills, what sets Tennis apart is its passionate delivery. Alaina Moore invests every song with tenderness. And on the R&B-infused “Petition, this combo is more soulful than its contemporaries. The band’s most compelling tracks, including “Origins,” “Traveling,” and, well, about half of Young & Old, have an above-average chance of remaining in my Pop library (with Dusty Springfield, Yo La Tengo, and the Cardigans) for a long time. When at its best, Tennis is dangerously good; a sort of cupid’s arrow: you could listen to them, then fall for the first attractive person who crosses your path. www.fatpossum.com MARY LEARY
 3.12.12
Desario
MIXER-(TEST PATTERN)-Though not nearly as well known as its Bay Are neighbor, San Francisco (or even Oakland) Sacramento has always had a low-key yet fertile scene that has produced some terrific bands over the years. Rocketship, Tiger Trap, Beanpole, Holiday Flyer, the California Oranges and many others (hey, let’s not forget that Kevin Seconds has lived there for many years). The last two mentioned both feature Mr. John Conley who leads yet another Sac band, Desario. I thought for sure that John had gone into early retirement (at least as far as music is concerned) so I was jazzed when I heard he had a new combo (which also features former Rocketship drummer, Jim Rivas). They had a debut out on the Darla label a few years back, that I never heard (I will rectify that soon enough). The songs on MIXER are longer and more drawn out than the jangle pop that John used to create. It has some of New Order’s dreaminess mixed with the oomph of a band like, Nada Surf. Oh sure, there’s still some jangle left in his guitar but with a bit more atmosphere and swirl to the proceedings. “Cement Sneakers” srarts things off in fine fashion while other cuts like “Success (is our) “ and “Call Out your Rivals” both up the jangle meter and are both winners. Add Desario to that long list of Sacramento bands making a mark in their own low-key way. Maybe one of these days that town will get some respect (and while you’re at it check out the other releases on the fine Test Pattern label). www.testpattternrecords.com
 3.12.12
First Aid Kit
THE LION’S ROAR-(WICHITA)-I thought that this was their 3rd full-length but then found out (realized) that that first record 2009’s DRUNKEN TREES, is considered a mini lp (8 songs at nearly 30 minutes) so anywho, this is their 2nd full-length. While I really enjoyed that first ep, I never heard the first full-length (2010’sa THE BIG BLACK AND BLUE). Anywho, now that we have the specifics out of the way this is a terrific record. The two young, Swedish sisters, Klara and Johanna Soderberg, who make up the band , are still creating beautiful, folky Americana with gently strummed guitars and a blending of their gorgeous voices. Bright Eyes Mike Mogis produced this time (at home in Omaha), and he really brought out all of the band’s strengths on these 10 songs. Also, it’s more of full band this time around, plus the girl’s dad, Benkt, played bass on the record. “Emmylou”, which I’m assuming is a single here, is one of the best songs on the record (and also name checks Ms. Emmylou Harris, Gram Parsons, Johnny Cash and June Carter) as is the mariachi-horn tinged “King of the World”, the lush “In the Hearts of Men” and the swirling ballad “Dance to Another Tune.” Honestly though, the whole record is strong and well-worth your precious time. Needless to say if current women like the Neko, Case, the Watson Twins or Caitlin Rose (or Stevie Nicks) are among your faves, then you’ll love this too. www.wichita-recordings.com
 3.12.12
Lindstrom
SIX CUPS OF REBEL-(SMALLTOWN SUPERSOUND)-For the past few years, Hans-Peter Lindstrom has been a master of blending German prog-rock with dance music and electronica, and his latest album, Six Cups of Rebel, is his latest installment. This time around, he takes a little time to get to the rhythm--opening number "No Release" is five minutes of straight, pure Krautrock organ drone, but it absolutely EXPLODES into a kaleidoscopic display of rhythm in "De Javu." The rhythm doesn't let up, either; the next fifty minutes or so is relentless, upbeat, uptempo dance music, though occasionally it flourishes with the mellow, such as in the middle sections of "Call Me Anytime" and the album closing comedown of "Hina." Lindstrom makes music that's fun and enjoyable and not vapid, one that's good for times when you want to dance and for when you just want to chill out. That trend continues here--dance on, friends. www.smalltownsupersound.com JOSEPH KYLE
 3.12.12
Mind Spiders
MELTDOWN- (DIRTNAP)-If it’s Marked Men-related then I’m gonna be curious and listen (same is true if it’s a Dirtnap release so there you go). This is MM’s Mark Ryan’s band (let’s not forget the High Tension Wires , too) and on his debut from 2011, also on Dirtnap, it was Ryan himself who recorded everything. When he took it on the road he recruited a band and those gents are the ones who recorded this sophomore effort. If you’re worried about the songs being compromised with a full band well….don’t. That would be a dumb thought. Why, you ask./ Because Ryan and his crack musical cast know what the hell they’re doing, just trust them. The 11 songs on MELTDOWN have the same spunky, punk- pop energy of Ryan’s other bands with some occasional melodic keys tossed in for good measure . You wanna get right to the good stuff? Play “Beat”, “Play You Out”, “Fall in Love” , “Upside Down” and “Wait For Us.” The rest aren’t bad, but this is the cream of Ryan’s crop. As the young punk kid once said, PLAY LOUD. www.dirtnaprecs.com
 3.12.12
Secret Colours
Ep3- (SELF RELEASED)-The psychedelic rock leanings of Secret Colours can't be denied; they're hooked on the same drugs as Black Angels, Asteroid No 4, Black Rebel Motorcycle Club, and the like--a few Stones and Steppenwolf records here, a few Brian Jonestown Massacre and Spacemen 3 records there, and probably a little green stuff, too. That's not a bad thing, though, even if the catchy rock of "Faust" doesn't have a single thing to do with the band of the same name. They can write a pretty good stoned singalong, too--I love "Carry My Soul," it makes me want to sit around a campfire, singing. I'd never heard of Secret Colours before, so I don't know if this is actually their 3rd EP or not, but it doesn't matter, because I'm hooked. There's a pretty ace, straightforward cover of the Kinks' "Sunny Afternoon" that I didn't recognize at first. Lovely stuff, this. Look forward to more! www.secretcolours.com JOSEPH KYLE
 3.5.12
Bad Weather California
SUNKISSED-(FAMILY TREE)-To skeptical, and/or sharply discerning ears, the distortion and effects on Bad Weather California’s second album could be a turn-off. Sometimes those tricks come across as audio masturbation; a fun not always shared by listeners. But in this case, one gleans rather quickly that everything; or almost everything (hey, the guys have to pause occasionally for a beer run, to reload a bong, etc.), serves a purpose. Any initial impression of another sorta-wiggy Norwegian group with too much time and equipment on its hands is blown away by the first track (I’ll Reach Out My Hand”) on Sunkissed, when little tendrils of wacky guitar detritus manifest every few stanzas. It’s just funny. It’s goofy and surprising in the spirit of the Mothers of Invention. When that wacky guitar detritus is surrounded by a kaleidoscope of sonic creativity; it is, in effect, a dealmaker. As it is, the other sounds practically have me “at hello.” In the case of “I’ll Reach Out My Hand,” those other sounds include windows into vintage Soul, vintage R&B, Lounge’s more outre fantasies, and soft porn soundtracks. There’s something eminently amiable about BWC; and that carries through every strangely adventurous track. Whether the group’s pumping out an Odelayesque loper with hand-claps, and guitar chords masquerading as ridiculously drawn-out ukulele ripples (“Stand in My Sunshine”), or the vaguely Ska-stroked happy-time sounds of “When You Smile” (which also takes late ‘90s good-timers such as Sugar Ray to a ridiculous extreme) this Denver (or, as the band puts it, “Rocky Mountain High”-based) foursome is incapable of sleepwalking or going on automatic. There’s a difference between mash-ups; extended mash-ups meshed with show-off electronica, and truly alternative sound-making. That BWC has backed Daniel Johnston shouldn’t, necessarily, mean that the band’s in the last category. But it does. For listeners with some patience (and, if possible, a great pair of headphones), a roller coaster of musical revelry is at hand. Check the combo’s trippy website, which opens with a frenetic wink at the Residents, here: www.badweathercalifornia.com MARY LEARY
 3.5.12
Black Marble
WEIGHT AGAINST THE DOOR-(HARDLY ART)-Cute 'n' cuddly new wave from a bunch of new kids on the block, who lucked out and hooked up with Hardly Art, and it's a good thing, too, because this little EP is GOOD. Okay, it's good because the band's influences are good: you're not gonna get past the Joy Division/New Order door--well,"Balancing" is straight Cure circa "A Forest" and (hee-hee the irony) "Jumping Someone Else's Train"--but that's okay, especially if you like that style. I like that style. But I like that this reminds me of Satisfact, a slightly-obscure mid-90s K Records band that did similar. I even checked to make sure it wasn't the same people doing this. It ain't, but I think you see what I'm going for. The five songs here are pleasantly unpleasant pop that never strays from the darker side laid down by their musical forefathers. Can't hate on them too much, though; all they need is a hip DJ to remix "OnMyHead" and service it to bloggers, and then you'll have a Next Big Thing on your hand...and one that you'll surely love. www.hardlyart.com JOSEPH KYLE
 3.5.12
Lambchop
Mr. M-(MERGE)-Lambchop has reached the point where no matter what they do, it will
almost certainly be a quality affair. They've released plenty of wonderful not-reallycountry
chamber-pop albums over the last dozen years, and Mr. M is, really, more of the same. But it's a WONDERFUL more-of-the-same. Not many men can croon "Don't know what the fuck they talk about" as the first line of an album of gentle, romantic music, but that's the magic of Kurt Wagner for you. Yeah, his lyrics are still surreal and might not exactly make perfect sense, but the lyrics are merely part of the wonderful whole. But it's those arrangements that keep me coming back; that they can make music that's
simply so beautiful and lush and fuzzy and yet so weird and unconventional...well, that's Lambchop for you. I'll give you an example: song right in the middle, "Gar." Beautiful piano intro, followed by tasteful strings, flute, and female harmonies. It's as if Percy Faith collaborated with Love Unlimited Orchestra. And then Wagner's distinctive voice...doesn't come in at all. You expect it to, you wait for it anxiously, and though he doesn't sing on it, you can feel him there. This is a band that simply gets better and
better at the sound that can only be called Lambchop. Only one gripe: closing ballad "Never My Love" isn't a cover of the Association. Damn it. Can't have everything, I
guess. www.mergerecords.com JOSEPH KYLE
 3.5.12
Perfume Genius
PUT YOUR BACK N 2 IT- (MATADOR)-The name, Perfume Genius seemed innocent enough when the debut came out. I then saw that it was on Matador so planned on listening to it at some point, then saw a few positive reviews and finally gave in to P.G.’s fine debut, LEARNING (2010). The songs were lo-fi, fragile and heartbreakingly honest and it got to a point where I had to listen to the record every day for a period of time. Nearly two years later and Mike Hadreas (aka Perfume Genius) has returned with his sophomore effort and it’s even BETTER than his debut. The songs still have that wavery fragility of the debut (mostly in the vocals which reminded me a bit of Antony Hegarty of Antony & the Johnsons) but the production is better and the atmosphere, lusher. Opening cut “AWOL Marine” brings a new noise with sweeping strings and piano (well, the piano was there all along) while “17’ he sings of “this gnarled face” which has a strange feeling of being right in the middle of hope and despair. “Take Me Home”, one of the best songs on the record, swoops and sways with the best of Hadreas’ work. For a musician to lay his feelings and emotions this openly on a record take a lot of courage. Hadreas is willing to go to places where a lot of songwriters won’t (or can’t) go. This one is a real beaut and at this early point in 2012, one of the best records of the year. www.matadorrecords.com
 3.5.12
The Zambonis
FIVE-MINUTE MAJOR (IN D MINOR)- (BLUE LINE RECORDINGS)-I know I’ve heard the name before (with a novelty name like that you definitely remember it) but had no idea that these hockey-lovin’ yucksters had been releasing records since for over 15 years (1996 debut, 100% HOCKEY…AND OTHER STUFF- Tarquin Records) and this is record number six. This one plopped into my lap and it seemed like it’d be a good deal of fun so I tossed it in. Not the snarlin’ pop punk like their slap shot brethren The Hanson Brothers do, no The Zambonis mix it up a bit with several styles of music and don’t even get sent to the penalty box even once. The 15-sonmg records opens with “Brass Bonanza” (which is a surf-rock version of the Hartford Whalers theme song since the band is from Connecticut, after all) while “Captain” is a lad back (and super catchy) pop song and “Fight on the Ice” adds some metal to the elements and wasn’t as good. Later on they do a few NRBQ tributes (both featuring Johnny Spampinato) and cover and Atom & his Package song (“Goalie”). One of my favorites here is the pumping-organ raveup , “I Got a Concussion” (when I fell for you)”. While not everything on here hits the mark, most of it does and hey, it’s a FUN record and I’’ll bet live it’s a good time (especially if they brought along for Philly Flyer bad boy Dave “The Hammer” Schultz as a roadie or something). www.thezambonis.com
 2.27.12
Liechtenstein
FAST FORWARD-(FRACTION DISCS)-Though this all-female Gothenberg, Sweden had originally formed in 2005 and released their debut single two years later, it was all a surprise to me when Slumberland sent me their debut record in 2009 (SURVIVAL STRATEGIES IN A MODERN WORLD). Upon hearing it I instantly fell in love with their bottom-heavy, unique pop sound (also, I had originally gotten sent those debut songs, on a disc, but had never listened to it). The Fraction Discs label was kind enough to send me this new Liechstenstein disc and I have to say, it’s awesome. It’s a perfect mix of pop and post-punk but this time they add horns and piano and the production is better than last time (not that the debut was bad or anything). A few of my faves on here include the weaving “Ambitions”, the snappy “Meantime” (love the handclaps) and the jangly “Strange Ideas", but there's plenty more gems to be heard on this one. This band is good. No, I mean REALLY good. I really hope they visit the US of A this year. www.fractiondiscs.se
 2.27.12
Memoryhouse
THE SLIDESHOW EFFECT -(SUB POP)-This Canadian duo released a rerecorded version of their excellent debut EP last year, and it was a gorgeous, breathy collection of blissful dreampop. The Slideshow Effect is their debut album proper, and it...doesn't exactly continue the trend. I'm not so sure how I feel about that. I'm all for growth, but I wasn't necessarily expecting them to turn up the tempo and to turn off the synths and the atmosphere. On moments where they fall back on what they do best, like "Pale Blue," and "Kinds of Lights," vocalist Denise Nouvian's singing blends nicely in musical mastermind Evan Abeele's arrangements. Other places, like on the Mazzy Star-like "Bonfire," "Heirloom," and "Punctum," Nouvian's voice sounds awkwardly out front, not so much out of synch with what is going on behind her, but a little too forward. But I have to give them a little bit of a pass; they weren't really a band until recently, and in an interview I did with Abeele for Big Takeover, he said that they were going for something more visceral and different from the music they'd done in their bedroom. I don't think that these awkward moments hurt the band. Live videos of some of these songs find things blending in a way that doesn't necessarily translate to studio recordings. A flawed but not unsatisfying debut. www.subpop.com JOSEPH KYLE
 2.27.12
Pontiak
ECHO ONE-(THRILL JOCKEY)-This is some trippy psych-rock, with an emphasis on the ROCK. It's evident from the get-go; "Lions of Least" blend the heady early 70s Black Sabbath with a punk sensibility and the resulting sound is: grunge. Okay, so they're not going for the Mudhoney/Nirvana/TAD sound, thank goodness; if you think the early tripped-out SST Screaming Trees and (not-exactly-grunge-but-an-influence-anyway) Meat Puppets, you're right on the money. But thankfully they break right out of that by the second song, yet that undertone does permeate the rest of Echo Ono. They get a little metal here ("Left with Lights," "Panoptica," "Silver Shadow"), a smudge of sun-drenched psychedelia there ("The Expanding Sky," "The North Coast"), and a whole lotta mellow. Me likey; me likey a lot. www.thrilljockey.com JOSEPH KYLE
 2.27.12
Chuck Prophet
TEMPLE BEAUTIFUL- (YEP ROC)-Well, the first really great record of the year is in ! Chuck Prophets latest release Temple Beautiful ( Yep Roc) is a self proclaimed “open love letter to the city of San Francisco” . A listen or two will quickly reveal that ever consistent Prophet is looking back on his time in his adopted hometown with a wink and a nod, however it seems that she has left a few bruises on his rock and roll heart. Opening track Play That Song Again is a tasty jam that lets you know right from the off that Prophet is still in fine lyrical form as he delivers his classically forged hooks with witty lyrics like “ Rebecca got a nasty streak seven miles long” or “You go fight the power I’m fighting off a cold “. The title track has a little punk sensibility that is reminiscent of 101ers era Joe Strummer . Other tunes such as the beautiful and haunting “Museum of Broken Hearts” and Willie Mays Is Up At Bat” are both moving tributes to San Fran’s lost souls and lonely hearts .The Left Hand and The Right Hand is a little gem that combines Byrds era guitars with poignant narrative . Prophets trademark brand of power twang is top drawer as usual , but on Who Shot John and Castro Halloween he just flat out shreds ! There are too many good songs for one album here but my click to pick is “White Night Big City” a sad tale about the assassination of Harvey Milk and George Moscone and the subsequent White Night Riots. It’s screaming guitars and good time doo wop call and response bely the songs pensive lyrics . Temple Beautiful is a very fine album of 12 outstanding tracks that showcase the Tele-Chuggin Prophet’s songwriting chops as a rock and roll craftsman at the top of his game . www.yeproc.com DANIEL CRAIG
 2.27.12
The Well Wishers
DREAMING OF THE WEST COAST- (SELF RELEASED)-Bay Area’s popmeister, Jeff Shelton’s “new” band ,the Well Wishers, have been around nearly as long as his previous band, the Spinning Jennies. While I dug the ‘jennies pop smarts I must admit I dig the Well Wishers a whole lot more. It seems with this combo Shelton gets right down to the meat of things with hooks galore. This is the WW’s 6th full-length and he’s still joined on drums by ex-Jennie band mate Nick Laquintano. They offer up 12 thick, gooey chocolate chip cookies (with oatmeal added ‘cos they know you gotta have substance) including a cover by obscure 60’s UK band The Smoke (they tackle “Have Some More Tea”) but it’s the original which you’ll be wanting to hear as pop grinders like opener “Escape the Light”, “Allison”, “Nothing Ever Changes Around Here” and “Here Comes Love” all hit the mark. As a San Francisco musician Shelton doesn’t need to dream of the west coast (as the title says) but he realizes that many others do and this record is for them (and everyone else who appreciates a good pop tune). www.facebook.com/thewellwishersband
 2.20.12
Golden Calves
COLLECTION: MONEY BAND + CENTURY BAND-(WOODSIST)-Golden Calves is an early moniker of the prolific James Jackson Toth, who has made some weird and wonderful over the past decade or so, most notably under the name Wooden Wand (or some permutation thereof). This collection is a compilation of his very first recordings, made when he was a college student and just discovering his muse. Looking at the titles of his songs, one would expect an earnest pretension, and for the most part, that hunch is correct. While these recordings are very much in the zeitgeist of the late 90s lo-fi cassette set, there's something different, a hint of greatness that was to come. He'll give you a folk ditty here, a slightly experimental drone there, and--most importantly, as he records, you can hear him learning about tones and textures. Surprisingly, Toth doesn't meander; one of the crimes of this movement were songs that were either too short or too damn long. Only the gorgeous droning instrumental, "Psychic Console II" is long, and the nine minutes never feel wasted. This collection is very much a sketchbook, and some of the sketches are probably cringe-inducing for Toth. Still, it's far removed from his latest record, a collection of radio-friendly country rock. More for completists, this. www.woodsist.com JOSEPH KYLE
 2.20.12
Howlin Rain
THE RUSSIAN WILDS -(COLUMBIA/AMERICAN)-Holy smokes, this is a blast from the past. Except, wait… Howlin Rain isn’t some undiscovered, late-‘60s gem of a band. These guys are making music now; as they have been since 2006. But something that does ring true, re: the band’s classic Acid Rock format ‘n’ tone, its its San Francisco location. Howlin Rain’s tried ‘n’ true sound (communal vocal harmonies, rhythm guitar, a lead guitar that produces memorable leads, keyboards adding colorful ambience, and a simply synchronous rhythm section) could be the answer to the prayers of anyone who’s been longing for music blending the fervent lead singing, psychedelic aura, and straightahead beats of classic Jefferson Airplane/Starship, and Janis Joplin (with a touch of Santana, as well as early Steve Miller, on some tracks). I don’t really hear the “Americana” sound with which Howlin Rain seems to have become identified, unless we’re referencing late-‘60s and early ‘70s Americana. But, hey, a name’s just a name. Tracks such as the sweetly rousing “Beneath Wild Wings,” and richly textured “Collage” have me convinced I’m at Woodstock in ’69; up to my ears in herbs and sweetgrass, as some tie-dyed mama stirs a killer pot of chili in a nearby tent. Crickets are chirping. Stars are winking at us through a blanket of cobalt. Amazing music is playing. Does it get any better? You can cop a free download of “Phantom in the Valley” here: www.howlinrain.com MARY LEARY
 2.20.12
Cate Le Bon
CYRK-(THE CONTROL GROUP)-Okay, so Welsh songstress Cate Le Bon has had a lot of press as of late. It's pretty fair that she has, because CYRK is a pretty interesting, fun little record. Ms. Le Bon has a voice that feels otherworldly, but not in the "singing like angels" kind of way. No, her voice is more like a fairy-tale teller voice, something warm and trustworthy and earthy. It fits well with the jaunty music behind her--occasionally psychedelic, slightly folky, and nearly always catchy. The austerity in her singing style fits the jangle behind her, and these seemingly incongruent approaches work quite well. I like moments like the sing-alongy title track and the jumpy fun of "Falcon Eyes." The times where the music is solemn as her voice, like on "Through the Mill" and "The Man I Wanted," I don't enjoy as much. Still, an interesting talent, Ms. Le Bon, and I'll be curious to hear what she does next. www.controlgroupco.com JOSEPH KYLE
 2.20.12
pacificUV
WEEKENDS- (MAZARINE)-Georgia-based pacificUV started off as a dense, atmospheric rock band, and over each successive record, they've removed some of the heavy atmospheric varnish to reveal their pop side, with vocals becoming more and more prominent. Weekends, their third album, finds them with vocals up front, atmospherics in back, and it's their heaviest record to date. When you start your album with the lyrics, "This song is not for you/Okay, well maybe that's note true/If I love you or hate you/Depends on my mood," you know that the proceedings may not exactly be sunshine 'n' love. And Weekends ain't. It's a breakup record. Furthermore, the stripping back of their heavier elements and the prominence of synths and drum machines makes them sound a helluva lot like House of Love. Is that a bad thing? Depends on my mood. But nothing here made much of an impressions on me. That they've gone for a more narrative approach rather than the heavy atmospheres of records past makes this a disappointing listen; they had a way with the sonic cathedrals that I enjoyed. I respect their willingness to radically alter their sound, but the unspoken reality is that risk-taking doesn't guarantee success. This just doesn't do it for me. www.mazarinerecords.com JOSEPH KYLE
 2.20.12
The Plimsouls
BEACH TOWN CONFIDENTIAL: LIVE AT THE GOLDEN BEAR 1983- (ALIVE RECORDS)-Maybe there should be a warning on Beach Town Confidential. This glimpse into a gleefully capable Plimsouls could cause listeners to bust the screen door open and do some dancing in the street. Caught in ’83 at a club in Huntington Beach, California, the set, which features six songs that were previously unreleased, practically drips with the sweat you know was pouring off the fans whose whistles and shouts speckle the background. Peter Case, Eddie Munoz, Dave Pahoa and Louie Ramirez pound out the glistening chords; the snap-crackle riffs, and the crisp and thudding beats that celebrate everything bright and fun about Power/Garage Pop, Stones love, Merseybeat progressions, and Punk abandon. If you’re just reading this ‘zine for the first time, or you don’t know from anything referenced above, maybe you’ve heard of the Flamin Groovies? Perhaps not incidentally, the Plimsouls (joined by the Fleshtones’ Keith Streng on guitar) follow cries for an encore with the latter’s “Jumpin’ in the Night.” One encore stretches into six. And the music just gets fiercer. Yeah, it’s one of those “Damn, I wish I’d been there!” shows. You know what I’m going to say next, right? Yeah. Beach Town Confidential is, without doubt, the next best thing. EXCEPT… there’s another amazing thing: Peter Case is reuniting with Paul Collins (they were both in the Nerves) for a tour, this March. Incredibly fun rock ‘n’ roll could be headed to your town; soon. www.alive-totalenergy.com MARY LEARY
 2.13.12
Behold! The Monolith
DEFENDER, REDEEMIST-(SELF-RELEASED)-Re: how much and how loudly a guitarist shreds, I’m relatively opinion-free. I do know I like Metal that makes me feel alive. Such is the paradox of Stoner/Doom/Thrash Metal + me, or, maybe, + anyone. When all falls nicely together, the cataclysmic guitars and thundering drums make me want to pick up a sword, grill some red meat; maybe even smash a smattering of flies. Is this a good thing? Search me. For its second album ( Defender, Redemist), Behold! The Monolith is grinding out testosterone-heavy; thunderous Rock. Blasting “Halv King,” for instance, while behind the wheel, could lead to numerous “911” calls. I guess it goes without saying that Defender, Redeemist would be rad for a bust-‘em-up movie or video game. Saying it anyway. www.beholdthemonolith.com MARY LEARY
 2.13.12
Cardinal
HYMNS -(FIRE)-The year was 1994 and I was still living in Santa Rosa, CA. I had read a Sub Pop press release where their publicist, Nils Bernstein (longtime Matador employee) was talking about this Cardinal record that the Flydaddy label was going to be releasing (that label was distributed by Sub Pop). The record was released, it was amazing, I would not stop talking about it and….that was it. No more Cardinal. The two folks who made of the band, Eric Matthews and Richard Davies went on to release several very goods solo records but nothing quite as magical as that Cardinal one. Well, many years have passed and now the Australian Davies is now an attorney based in Cape Cod, MA while Matthews still lives outside Portland and is still releasing solo records. Once again, Davies does most of the songwriting and thus, does most of the singing while Matthews, ever the composer, adds flavorful touches of horns and such and in the end, HYMNS is a good record. Not as magical as that debut in ’94 (not much is) but still a strong record. The songs are at their best when the two croon together like on the gorgeous “Her” or the lovely opener “Northern Soul” (again, both with Matthew’s majestic horns). They rock out a bit on the choppier “Love Like Rain” while the eerie “General Hospital” sounds like the anesthesia is taking effect when Davies repeats “Nurse….nurse……nurse” or “Let’s take some of your blood.” A few of the songs , like “Carbolic Smoke Ball” and “I Am a Roman Gypsy” miss the mark but most folks looking for more of that Davies/Matthews magic will be pleasantly surprised. www.firerecords.com
 2.13.12
Cotton Mather
KONTIKI-(STAR APPLE KINGDOM)-Man! Note to musicians: don't make power-pop. How many genres can you think of that have so damn many lost classics? It's almost as if one going for that style is dooming themselves instantly. Cotton Mather was no exception; they garnered great reviews, massive celebrity respect, and absolutely nothing else, no record sales, albums that went out of print and became instant classics once you had to pay thirty bucks (at least) to physically own their record. Robert Harrison was a prolific young man; furthermore, genius status should go to anyone not named Robert Pollard who can put an album together from tons of tapes laying around and produces an album that's still cohesive and brilliant. Kontiki offered much to love the first time, especially considering how vocally DEAD-ON Harrison is to John Lennon. Better still, Harrison and his crew were never guilty of mere Beatles imitation; songs like "My Before and After," "She's Only Cool" and "Church of Wilson" were up there with Weezer and other radio-friendly alternative rockers of the time like Superdrag and The Posies. Their mellower moments, like "Private Ruth" and "Homefront Cameo," do bring out the Beatles comparisons, and not necessarily to their benefit. But it's easy to see what the decade's greatest 60s-loving band Oasis took them on the road, said they were their favorite band, and why the Gallaghers helped out with this reissue. As this is a reissue, there are bonuses, and thank god they didn't load them on one disk. There's demos and alternate versions of album tracks, as well as a few unreleased songs; some notable moments include a very Posies-esque take on "Homefront Cameo," a scorching unreleased number, "Altar Boy," and a gorgeous gem entitled "The Gold Gone Days," which may be my favorite song of the set. Harrison still makes music as Future Clouds & Radar, and while I'm not suggesting Cotton Mather go on the reunion circuit, I will say that this is an excellent reissue of a long-lost album that deserved to be pulled out of its fate. www.starapplekingdom.com
 2.13.12
The Jigsaw Seen
WINTERLAND- (VIBRO-PHONIC)-This longtime LA band, basically led by Dennis Davison and Jonathan Lea , have been at it for over two decades. After an 8-year layoff, where fans like myself thought the band was gone for good, they returned in 2010 with the terrific BANANAS FOSTER and now, a year later comes this slow-cooking pop gem which seems to be a concept record about….erm, Winter (they are based in L.A….heck these two probably haven’t seen snow in decades). It’s an eclectic batch of songs for sure, more in line with 60’s records by some of their heroes: Love (FOREVER CHANGES, for sure), The Hollies, a touch of Syd Barrett here and of course some Brian Wilson there. Opener’ What About Christmas” chops along while soaring intermittently while the moodier, darker “December” is baroque pop at its finest. From there the songs seem to waver between the two camps, chirpy and upbeat (“Snow Angels of Pigtown”, “Candy Cane”, etc.) and darker /icier tunes (“Christmas Behind Me”, “Dreams of Spring:”, etc.) but either way they seem to be equally adept at either. Two records in two years, maybe a 3rd in 2012? Let’s hope so! www.vibro-phonic.com
 2.13.12
Mark Sultan
WHATEVER/WHENEVER- (IN THE RED)-There’s a bright pink cd housed in a drab gray cover and it is the new disc form BBQ Mark Sultan formerly one half of King Khan and BBQ Show). Just like he did in that fantastic combo, Sultan cobbles together elements of punk, garage, pop, and yes doo wop. Apparently these 13 songs were taken from two , home-recorded, vinyl-only records from a few years ago (which had twice as many songs) but the guy does several things and he does them well too. Not that anyone , especially fans, doubted it, but the guy is a terrific songwriter with a good pop sensibility (even when those hooks are buried in fuzz). You don’t believe me? Check out the fuzzed out garage (“Graveyard Eyes”), doo-wop (“Just Like Before”), 70’s rock (the very Kiss like “Calloused Hands”), trippy folk rock (“In Future Worlds”), a 50’s rock howler (“Axis Abraxas”) and plenty more. I’m glad that a label like In the Red believe in Sultan’s vision cos’ he needs someone in his corner and this label is one of the best. www.intheredrecords.com
 1.30.12
Dwarr
STARTING OVER-(DRAG CITY)-Man, I have to give Drag City credit; they can really dig up some obscurities, and Dwarr is just about as obscure as you can get. It's from the 1980s, and is the basement weird metal-rock kid Duane Warr, and Starting Over was a "lost" "final" album from those heady days. It's a concept album--I think--of destruction. Warr's got a breathy voice that kind of sounds like a blues singer with laryngitis, over spaced-out wah-wahs and heavy metal guitar solos that sound like they've overdosed on codeine. He had a taste for sci-fi and apocalyptic visions. But like most apocalyptic visionaries, the vision isn't really clear for those of us who are listening. For a kid making "outsider metal," this isn't bad; it really is something to hear, especially "Lonely Ecstacy" and "March of the Insects." The last song, "I've Been Thinking," he's in full-on Jimi Hendrix mode, and it's amusing. He gave up his hard-rock visions, became a born-again Christian, and is now selling real estate. Look him up; he looks happy, and probably made the right decision to give up the rock. I hope he still makes music now and then, though--but just for fun. www.dragcity.com JOSEPH KYLE
 1.30.12
The Left Banke
TOO -(SUNDAZED)-The 2nd, much less known record by The Left Banke (from 1968) get the reissue treatment by the much respected Sundazed label (who always nail it). There’s no bonus tracks but that’s ok as the ten here are well worth it and it comes in a colorful gatefold digipak with a beautiful booklet. The record, by all accounts, should have been a stinker, since a few of the major members left the band (Michael Brown was gone) but it’s not. Remaining were vocalist Steve Martin as well as Tom Finn and George Cameron (and keyboardist Tom Feher, too) and despite Brown’s departure this bunch proved that they could still write near-perfect crystal pop tunes. Check out the gorgeous “Desiree” (here in a mono version) or the swooping opener “Goodbye Holly”, the folky “Sing Little Bird Sing” and the brittle “Bryant Hotel” for proof. Some folks consider this one to be the more consistent of the two T.L.B. records and me? While I still like the debut more, and had not previously heard this one, at least not in its entirety, this is still a terrific pop record done by guys who I wish had a few more records in ‘em. Interesting/informative liner notes by Scott Schinder. www.sundazed.com
 1.30.12
Poland
THE SUN AND THE SITTING ROOM -(CLASS M)-Poland’s latest record is a pure delight, a brilliant meld of, say, vintage Randy Newman — when he used lot of clarinets and other band instruments — with Dukes of Stratosphear-era XTC. And, um, I hear a bit of Queen, circa Queen II (the song “Nocturne of Blonde” even hints at “The Fairy Feller’s Master Stroke,” and just for knowing that, this could be the last review I ever write for Dagger). Each song offers surprises at every turn, from sharp melodies (“Toward Albion”), chamber pop niceties (“The Orderly Life of Mr. Barrows) and ELO-type bombast (the amazing final track “Emily and Alice in the Fall, Part 3”). The watchword with this disc is strings: Some combination of violins and violas appear on nearly every track. It’s a departure from the Seattle outfit’s previous efforts that were far more linear and quite transistor-radio friendly (lots of treble, lots of swing), but Sun. . .is no less excellent. It’s is a smart record for all sorts of music lovers,. I absolutely can’t wait to watch this band continue to develop. myspace.com/classmrecords ANDY GIEGERICH
 1.30.12
Roedelius Schneider-Stunden
S/T- (BUREAU B)-This is a quiet record, made by two generations of masterful German music makers. Hans-Joachim Roedelius has been making music for nearly 40 years and is a founding member of the German progressive scene. Stefan Scheider is a generation younger, but has been an active member of the 90s German scene as a member of To Rococo Rot. Stunden is a blending of the two men's abilities: Roedelius and his gentle piano playing and Schneider's tasteful, restrained electronica. Overall the results are very, very mellow; it's the sort of thing you'd play at home for relaxation on a rainy Saturday morning, or perhaps the soundtrack music for a hip bookstore. Occasionally, it's just piano, like on the opening "Stunden I" and "Stunden II." When the two collaborate on "Single Boogie," though, it's an interesting blend. There's a pulsing dance rhythm beating away, whilst pretty jazz piano plays over it. It works quite well because it's both relaxing and active. "Zug" is the only time the duo get frantic and futuristic, and it sort of ruins the mellowness of the rest of the record. Still, Stunden is a wonderful, quiet record, and will soundtrack your quiet moments quite nicely. www.bureau-b.com JOSEPH KYLE
 1.30.12
Walter Rose
CAST YOUR STONE- (SELF-RELEASED)-In contemporary American culture, being over 30 is rarely looked upon as a positive. The Country and Blues music genres might be two exceptions. Going into the blows and challenges through which Walter Rose has lived would cheapen this report. But it seems safe to say that all the living Rose has done in his 30-something years has apparently not been for naught. The tasteful Alt-Country sounds on this debut glow with quiet emotion and maturity; attributes that generally append to old soul/younger-body types, and to artists who’ve been on the planet for some time. Rose’s music feels like it’s been weaned on tradition, and has a intimate relationship with Folk. Case Your Stone sparkles with electric and pedal steel guitar footnotes and punctuation. I like the guitar interplay, and the conversations between guitars and vocals. I like the fact that Rose is emerging. He has enough stories for his dusky, laidback vocals (imagine a more laidback Bob Seger) to haunt the edges of our consciousness for years to come. www.walterrose.bandcamp.com MARY LEARY
 1.23.12
B-Movie Lightning
RAIN ON A RIVER-(MICROPOLIS)-After releasing a few singles in the past few years, Galway, Ireland’s Mike Smalle offers his debut with the help from none other than St. Etienne’s Ian Catt. The attention to detail is what makes this an enjoyable, and emotional, headphone listen. “Triple Trouble” begins with upbeat R&Btronica complete with Mike’s falsetto lead, “ooh ooh” female background vocals and horns. Things slow down for “Take Yourself to the City,” but in a beautiful way and then rises with soaring guitars. (This track was also released as an EP with three remixes.) Next, “The Spooky West” returns with the R&Btronica sound and Mike’s deadpan vocals, but it makes you want to head to the dance floor. By track four, “Foxy Trot,” is where I finally figured out who this record reminds me of, James Yuill. Smalle sings “You should be dancing, and not telling me about all the things you want to be.” Not bad advice when you crank his music. Other references include movie themes, for there are a number of instrumentals here. In fact, “Theme from B-Movie Lightning” fits the true spy thriller mode. Another highlight is “Footfalls at Echo Park” where Tears for Fears’ “Pale Shelter” meets Coldplay. Also, “Pop’s Last Dance” showcases Mike’s deadpan vocals again and flute-like synths(?) that could easily run over the closing credits of a romantic comedy. Throw in a few more instrumentals and you have it. Rain on a River is all over the electronica genre place, which makes me wonder how long this has been in the making. All in all, it was well worth the wait and I look forward to B-Movie Lightning’s next output. www.bmovielightning.com ERIC EGGLESON
 1.23.12
Opposite Sex
S/T -(FISHRIDER)-Fishrider Records head honcho, Ian Henderson is a huge music fan who seems to constantly be listening and discovering. He’s released fine records by his own band the Dark Beaks, a few by his brother’s band The Puddle (who had an early release on the Flying Nun label), a Robert Scott single and now this. Opposite Sex. Who? That’s what I said …..but give it a listen, it is off-kilter pop of the finest order. Despite having a statue of 3 naked men on the cover the first thing you hear in the opening song “La Rat” is a lovely female voice, that of Lucy Hunter, who , along with guitarist Fergus Taylor and drummer/vocalist Tim Player make up this New Zealand band. From the opening tune you think it will be a straight pop record , but both “Sea Shanty” and “Mary Lu” (the latter sung by Player) the cars lost a wheel and headed down a bumpy road to the land of those terrific Messthetics comps that Chuck from Hyped to Death has been releasing (featuring REALLY obscure UK post punk bands from the late 70’s/early 80’s). A few of my other faves include the eerily creepy “Panther Fight” (sounding a bit like an old Marine Girls) track), the shuffling “Dada Creep”, the thumpa/dumpa “Master/Slave” , the bent/tweaked “Got to Eat”, the scattershot “Hamish and Chips” and probably a few others. Come on there punko, instead of taking either the left or the right at that fork in the road go straight through the woods and see where it take you. This will be your soundtrack on that journey. You’re welcome. www.fishriderrecords.wordpress.com
 1.23.12
Wussy
STRAWBERRY -(SHAKE-IT)-Wussy is part late-90s American indie rock, part blue-collar rock and roll, part Southern hoedown, wrapped in deeply personal lyrics and expressive playing. On Strawberry, the band’s fifth (not counting a remix album and a brilliant acoustic reboot of their 2006 debut) and perhaps best album, the combination of new drummer Joe Klug with bassist Mark Messerly creates a tighter rhythm section, allowing the band to add more varied and expressive instrumentation to their arrangements. Here, lush piano adorns many tracks, lap steel guitars float in and out, and various keyboard instruments compliment the songs in ways the band has only hinted at in previous releases. It’s in full force at the :42 mark in “Pulverized,” as singer/guitarist Chuck Cleaver sings “You say no/and I feel pulverized” and the entire band launches into a pulverizing attack of its own. It’s not until the record’s third track, the sublime “Waiting Room” (one of the great songs of 2011), where the record kicks into its highest gear, pausing only briefly for the gorgeous countrified waltz “Grand Champion Steer” before hurtling to a powerful climax with the anthemic “Wrist Rocket," finally letting the listener down gently with the beautiful slow build of “Little Miami.” While past Wussy efforts have largely highlighted the interplay of dual singer/songwriters Lisa Walker and Chuck Cleaver, Strawberry feels like a full band effort, the aforementioned vocalists augmenting – but not dominating – the efforts of an unheralded but great, great American rock band. www.shakeitrecords.com AL CRISAFULLI
 1.23.12
Yukon Blonde
FIRE//WATER- (NEVADO/DINE ALONE)-This terrific Canadian band, who used to be known as Alphababy (they have much better name now IMHO) released an excellent self-titled debut record in 2009 and I was wondering what happened to them. We heard nothing in 2011 and now , in the early stage of 2012, they release this ep. OK, so I was hoping for another full-length but the 4 songs on here are all superb. The band seems to hit that sweet spot where indie pop, garage rock, folk and Americana all come together into one big happy marriage. Like a lot of bands these days, hard to categorize (only a problem for us writers) but hey, when the songs are this good, who cares! Opening cut “Fire” starts out eerily (with lyrics “They’re setting fire to the ocean”) but then this little Beach Boys part kicks in with “Oooh ooh, ah ah ah.” No really, you gotta hear it. “School Kids’ happily bashes away with more gobs of melodies, harmonies and a drummer who’s happily bashing away. The two final songs (on the “b-side”) “Water” and “Choices” are both nearly as good. www.nevadorecords.com www.dinealonerecords.com
 1.23.12
The Howling Hex
WILSON SEMICONDUCTORS- (DRAG CITY)-When the duo of Royal Trux split, the solo careers showed who brought what to the equation. Jennifer Herrema was the metal side, and Neil Michael Hagerty was the lo-fi blues/folk side. Herrema's career as RTX has been consistent and enjoyable; Hagerty solo has been much more inconsistent. This new EP, though, is definitely one of his more enjoyable releases. Jaunty lo-fi acid folk jams that aren't particularly drugged-out and tend towards the singalong. It sounds like he's just recording in his basement, just him and his guitar and his muse; it's very early 90s sounding, in a way. The first three songs aren't bad, but it's the last one that really gets me. It's a ten-minute epic, but it doesn't feel like a ten-minute epic. Hagerty's voice is in excruciatingly fine form; in fact, at times his singing is nearly angelic. It's this brief moment of heaven that makes the song worthwhile; repeated listens have only made me more receptive to it. Though brief, Wilson Semiconductors is a charming little record. www.dragcity.com JOSEPH KYLE
 1.16.12
Kate Bush
50 WORDS FOR SNOW-(ANTI)-Much has been made of Ms. Bush and her unwavering commitment to her muse, and rightly so; she is a true pioneer of modern music. Even when she made an "alternative rock" record (The Red Shoes), or released a bizarre collection of rerecorded songs, her credibility never wavered. Now comes her latest work, a unique record dealing with...snow. It's her darkest record to date; musically, it's as dark as the evenings she is envisioning, often being nothing but a piano and her hauntingly beautiful voice. She has some guests, such as the legendary man of letters, Stephen Fry, on the title track, reciting the fifty words for snow, while she counts them for him. In lesser hands her yelling, "c'mon man, you got 44 to go!" would be a joke. Also interesting is the appearance of her son, Albert, on the opening "Snowflake," in that his voice sounds just like hers. And though there's been a lot of hatred for the track, I have to admit I ADORE Sir Elton John's appearance on "Snowed in at Wheeler Street." For those who value her independent streak and her ability to follow her muse, it is puzzling to see the attacks she's received for having him appear in the song. But 50 Words for Snow is an amazingly beautiful record from a brilliant, undervalued, and important talent. www.antirecords.com JOSEPH KYLE
 1.16.12
Allen Clapp & his Orchestra
MIXED GREENS -(MYSTERY LAWN MUSIC/ MINTY FRESH)-The Bay Area pop tunesmith, Allen Clapp , is probably more known for his work in the Orange Peels. The band he leads with his wife Jill and a few others, than he is for his solo work. Having said that he has released some tremendous work under both the name Allen Clapp & his Orchestra (the 100 PERCENT CHANCE OF RAIN record that Bus Stop released in 1994) as well as stuff under his own name (AVAILABLE LIGHT, 2002 on M arch Records) plus an excellent singles comp from a few years ago that Bus Stop Records released. Perhaps on a slight hiatus from the Orange Peels, Clapp and friends found time to write and record these 10 pop gems and like a sunny day that appears out of nowhere after weeks of cloudy gloom (like we have here in Oregon), MIXED GREENS is a burst of fresh (available) light in execution and delivery. Ever-present is Clapp’s piano which leads the parade into the land of pop goodness. The records opens with the dreamy instrumental (“Picnic at the Hermitage”) and then bounces into the bouncy “Downfall No. 3” and then slips into the soaring “All or Nothing.” The record is a nice mix of styles and tempos and hey, Clapp even shows off his sharp sense o humor with the song title “In the Halls of the Kingdom of the Land Beyond the Sun” (thankfully no prog rock here) and the final two songs, “Autumn Heart” and “The Winter in You”, show the importance of seasons to Clapp in his songwriting. In the end MIXED GREENS is another winner from this (nearly) elder statesman of the pop scene,. You wanna stand up and cheer for the guy and you know what? That’s perfectly alright. Do it! www.mintyfresh.com
 1.16.12
Sharon Jones and the Dap Kings
SOUL TIME! -(DAPTONE)-It's been a quiet year for Sharon Jones, and Soul Time! is a collection of odds-and-sods from the past decade or so. While it's not a bad collection, it does feel exactly like what it is: an odds-and-sods record. There's some really good stuff, but some of the "political" songs like "Ain't No Chimneys in the Projects" and "What If We All Stopped Paying Taxes" are lessons in why being political can come across as heavy-handed and didactic. Skip 'em, because they're definitely lesser material. Instead, go for the primo stuff, such as the "Genuine" (broken down into two parts), the funky "I'm Not Gonna Cry," and the mellow "Inspiration Information." Sharon Jones has made some great music, but even the great have their off moments; unfortunately, those lesser moments are on display here. There's some good stuff, but don't expect the greatness that she's known for. (That's probably why the cover looks like the cheap, quasi-legit soul records of the 1970s) www.daptonerecords.com JOSEPH KYLE
 1.16.12
New London Fire
THE DIRT THE BLOOD THE FAITH- (PAPER TIGER)-Here’s the (promotional) skinny on NLF’s latest release, which comes on vinyl and digitally (a download code’s included with the vinyl): “…The Dirt, The Blood, The Faith, tells the story of those who rise up, only to return to the Earth. It tells us why the next generation must rise again, even if its fate lies in a pool of blood, collecting dirt in the desert.” As you might well reckon, there are lots of twangy guitars, and cataclysmic guitar echoes, which make me want to rewatch The Unforgiven. With D. James Goodwin (Gaslight Anthem) manning the controls in Woodstock, New York, The Dirt… ends up feeling like the soundtrack (with lots of lyrics) to the latest Clint Eastwood western. The off-the-cuff narrative of “Rise” and “Ain’t Wagin’ War,” along with the ambling gait and juicy choruses of “The Jungle,” suit me better than the title track’s busier sound. But then I find myself enjoying the wall of sound (with hand-claps) of “Until the Light Goes Out on Me.” This is the sort of album that feels richer with repeated listens. New London Fire seems to have found its sweet spot with Americana, a genre it’s happy to channel with its boots planted firmly in the ‘70s, along with a host of country-folk strands that came before. www.NewLondonFire.com MARY LEARY
 1.16.12
Void
SESSIONS 1981-‘83- (DISCHORD)-Void , who hailed from the planned community of Columbia, MD and included vocalist John Weiffenbach, guitarist Bubba DuPree, drummer Sean Finnegan and bassist Chris Sover, was one of the lesser known early Dischord bands, at least to me. I was well-versed in the discographies at the time, of bands like Minor Threat, Faith, Scream , Government Issue and a few others. Void, however, only had a handful of songs on the split album they did with Faith (Dischord # 8, 1982). In later years, in things I read both online and in books (American Hardcore, etc.) many bands were talking about how big an influence Void was and especially Void’s guitarist, Bubba Dupree. This 34-song comp, of mostly live tuff, includes mostly demos and a handful of live songs. A bulk of the material are the first 20 songs (the Hit and Run Studios sessions , November 1981, that Steve Carr recorded ) and then 10 more songs from the Inner Ear session (December 1981, that Ian MacKaye recorded and 3 of the songs ended up on the FLEX YOUR HEAD comp). It’s funny to think that back in the mid-80’s , I listened to almost nothing but hardcore and now here, more than 25 years later I hardly ever listen to it but I still get that charge when I do listen to it, it take me back to that same place and time (when Dischord was definitely the preferred label). It’s all here: the anger, the energy, the intensity, the sense of humor and yes, guitarist Bubba DuPree did sound talented and ahead of his time. Give a listen to songs like “Condensed Flesh”, “Dehumanized”, “Suburbs Suck”, “Please Give Us a Chance”, “My Rules” and plenty more for a righteous kick in the chops. www.dischord.com
 1.7.12
Martha Berner and the Significant Others
FOOL’S FANTASY-(POPROCK RECORDS)-Martha Berner’s second release was several years in the making. Apparently, the time was well-spent: Fool’s Fantasy sparkles with vim and passion. Collaboration becomes Ms. Berner. Her sweet, sometimes gritty vocals are beautifully complemented by triple-threat Scott Fritz’s electric guitar runs, some of which recall the fire of Duane Allman. Her classic, ‘70s-rooted songwriting has enough different branches (ballads, mid-tempo movers, bluesy numbers) to hold interest. Downloaders might want to seek out the special magneticism of “Some Stay A While,” “Where Does the Day Go,” “Irene,” “Burning Candles,” and “People Are Crazy” (love those Farfisa-ish keyboards). And, based on reports, visitors (to the Chicago area) would do well to catch a live show. www.marthaberner.com MARY LEARY
 1.7.12
Deardarkhead
OCEANSIDE: 1991-1993 -(CAPTURED TRACKS)-Wow, this was certainly a pleasant surprise that came completely out of the blue. DDH are a long-running band from South Jersey (same neck of the woods I’m originally from….DDH drummer Rob Weiss grew up down the street from me) that have seemed to toil in obscurity for as long as I can remember. When all of the other South Jersey knuckleheads were bustin’ heads at punk gigs (myself included) these guys prayed for rain and aimed for something a bit more cerebral. Taking inspiration from bands like Joy Division , early Cure and Jesus and Mary Chain (among others…as you’ll see in my liner notes) the band mixed a murky low end with generous amounts of guitar fuzz and a singer who could…well, really sing. Though the band has been around since 1988 this comp, as the title implies, cherry picks the best of the bands early recorded works (that were self released) with 14 songs including real early corkers like “Fish” from their original cassette release (which I still have somewhere around here) to the cascading/melodic “Auburn”, the swirling “Lighthouse”, the eerily dizzying “Surf’s Up” up through slightly later near-classics like “Rollercoaster” and “Strobelight.” The band had fractured over the years and has had more lineup changes than Journey (said drummer Rob is the only remaining original member though guitarist Kevin Harrington has been around for quite some time) but this collection of songs, when the band was more intact, is really strong. Major kudos to the Captured Tracks label for including this in their “Shoegaze Archives” series for stoking us old time fans and hopefully bringing in a whole new legion of fans for a bunch of songs (and a band) that could have easily been a mere footnote in the annals of independent music. www.capturedtracks.com
 1.7.12
The Skull Defekts
2013—3012 -(THRILL JOCKEY)-This is one of a number of Skull Defekts releases to come out this year; this mysterious Swedish group features the enigmatic Lungfish leader Daniel Higgs on vocals. If you're not familiar, then this unique twelve inch EP is a good place to start. On the a-side, three tripped-out art-rock numbers; "Children of the Skull Defekts" reminds me of a lost Royal Trux B-side. "Beyond Within" is a ten minute art-rock freakout, whilst the final number, "Embryo," reminds me a LOT of Slint, but without the loud parts. But it gets REAL freaky on the flip-side, where the songs play in reverse, with no alteration--and the record plays from the inner groove to the outer! Freaky, weird. And just the sort of thing these folk do. www.thrilljockey.com JOSEPH KYLE
 1.7.12
Tender Forever
WHERE ARE WE FROM- (K)-It's been a little while since we've heard from Mélanie Valera, but she's returned with a lovely albeit brief EP of gentle, intelligent electronic pop. Not dance, not really new-wave, either--it's more of a straight pop record. The title track, which starts the record, is a wonderful little love-ish song with a great hand-made drum machine; sounds like samples of hand noises programed to sound "electronic"--ya gotta love the scrappers that K Records produces! "Blue" and "Runaway" are kinda downers--not depressing, but not happy, bouncy, either, while "You Have the Woods" finds her stripping things down to the barest of minimums. It kind of reminds me of what Moby was doing a few years ago, but darker, starker. I like it. Just like I like the rest of this EP. www.krecs.com JOSEPH KYLE
 1.7.12
Thee American Revolution
BUDDHA ELECTROSTORM- (FIRE RECORDS)-A side project of Apples In Stereo’s Robert Schneider, Thee American Revolution is a different beast altogether, a wilder, woolier, far more primal beast, one that squalls a lot, tramples the drapes and approaches subtlety with all the finesse of a drunken ape. Dispensing with AIS’s sunny harmonies and buoyant charm, TAR trade instead in a rough, heavily fuzzed-up psych pop that borrows blithely from the garagey teenage hard rock playbook. Second track Grit Magazine quotes Smoke On The Water right out of the gate, fercrissake, while Shoeshine Blues’s chord structure picks at the well picked-over carcass of Wild Thing, and in fact there are raucous Trogglodyte echoes ricocheting scuzzily all over this record. But this is Robert Schneider, and as hard as he might try he can’t avoid the incidental, almost accidental pop hook, as in Electric Flame, where the swirling – and utterly bewitching – psychedelic Beatles melody swims triumphantly above all the noise that’s come to drown it. A mash-up, in essence, the Fab Four if they’d been born the MC5 and it works perfectly. If only it all worked so well. There are eleven tracks on this album and eight of them trudge past in a mostly forgettable blur. The template at work here – and we know this going in – is that of a raw band of high school kids banging out some chords in one of their divorced mom’s basement in the mid-60s, complete with offhand giggling and between-song chatter. What would have been nice would have been more attention to songcraft and less to distortion for distortion’s sake. Even the count-in (up to six, on track 6 – clever!) on Blow My Mind is mired in the red. Though too-little-too-late, the last two tracks make a valiant what-coulda-been effort at redemption. Sleepwalker is a druggy wah wah-laden gem as shiny as any Nugget of Pebble of the period, while In Your Dreams/Japanese Clone – a paean to the singer’s first guitar – rides one of those classic descending progressions through a nostalgic dream of a melody that’s as AIS as anything that come before it and proves a more-than-satisfying outro. An album like this, by musicians like this, of this caliber, can be irritating or it can be irresistible. All depends on how old the musical slumming gets. Buddha Electrostorm, ultimately, lands on the irritating side of the divide, which is too bad, as those moments of irresistibility suggest that, had Schneider thrown a bit more pop suss into the mix and not been quite so in thrall to the garage aesthetic alone, we’d of had a gem on our hands, a diamond in the rough. This is mostly zirconium. www.firerecords.com DAVE CANTRELL
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