Welcome to SPB's third ever contributor, Mr. David Thompson of The Scheme. Below is his review of the Riffbrokers/Throwback Suburbia show at the Skylark this past weekend.
**********
By David Thompson
Throwback Suburbia hit the stage with quite an impact, playing their super-catchy single “Circles” with killer three- and four-part harmonies and a sound so tight it’s hard to imagine a recording that could improve upon it. Their live show was all the more impressive when I found the Portland quarter has been together for less than two years. This was their Seattle debut & the excellent sound at the Skylark served them well.
Throwback Suburbia are probably the most “powerpop” band I’ve seen in years and unlike some genre purists, they don’t forget the “power” part, with enthusiastic drum bashing & upfront guitars … not with Who-like abandon but in a more commercial, modern-rock way, like American Hi-Fi or Seattle’s own Lashes. Singer Jimi Evans reminds one of a young Joe Jackson (and not just because his white shoes bring to mind the “Look Sharp” album cover.) Mostly think “Jellyfish” -- the sort of pop that aims for majestic radio greatness.
If Throwback Suburbia is tight without being too slick, the The Riffbrokers are loose without being too sloppy. Their music is reminiscent of what the Brits call “pub rock”, which may sound like “bar band” but is a big step up from that, think Nick Lowe or Graham Parker - fine musicians who don’t noodle around but play it straight up, rough ‘n’ ready. And on their poppier tunes, singer Nick Millward’s voice has a great twang to it that reminds me of Paul Chastain from fantastic 90’s powerpop group Velvet Crush. Nick’s fat guitar tone & Heather Burnett’s melodic basslines kept the trio sounding full - But, y’know, I coulda swore The Riffbrokers were a quartet. So when Scott Sutherland jumped on stage for backing vocals, I said “yeah, him, that’s the guy.” The Riffbrokers’ site has him listed as guitarist so I’m gonna guess he’s still in the group and has sprained his wrist in, say, a bizarre gardening accident.
(Guess I’m glad that the above review is positive cuz out of my speakers as I type this, the Riffbrokers are singing “careful what you say” (from the chorus of their rockin’ track “Evaporate.”))
I do apologize to Ryan Perrey for not showing up early enough, esp. since he came all the way from Austin, TX (though may be living here now?). [Word to the wise: the Skylark is a GREAT place to see a show but the opener really is on @ 9 and the headliner @ 11]
As a small act of contrition, here’s a quick review of the songs @ his MySpace page: “Perrey takes the best elements of folk: skillful fingerpicking, emotive lead vocals and spot-on harmonies and adds a nice bit of edge with the occasional rough guitar or psychedelic keyboard sound.” But, why read a review of his MySpace page? - just go there.
Final note: Big conrats to Riffbrokers Nick and Heather who just returned from their honeymoon in exotic Greenlake and my Superbowl condolences to their slammn’ drummer Dustin who, like me, is a New England expatriate (no pun intended.)
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Thanks for the report, David!
Showing posts with label review. Show all posts
Showing posts with label review. Show all posts
Monday, February 04, 2008
Tuesday, November 06, 2007
Review: The Purrs' "the chemistry that keeps us together"
The combination of being busy at work and getting a bunch of CDs within a week of each other nearly caused me to forget I had the new disc by The Purrs in my hot little hands! Thankfully my pal Chris reminded me that this Friday (November 9) is their release party at the Sunset Tavern.
So, after band rehearsal tonight I came right upstairs, searched three or four rooms and finally found the disc, which had been placed on a table where I supposedly wouldn't forget about it. Funny how that never works. But, in any case, the disc is in my player as I'm typing, and what follows is a relatively incoherent set of thoughts about it.
If you've been living on mars or are perhaps new to Seattle rock music, here's the 411 on The Purrs: They're the best swoony/gazy/druggy/swirly pop band in town. They are dreamy and semi-psychedelic, but also melodic and expansive. I won't go as far as to say their sound is "epic," but they're always reaching and stretching and grasping but never quite reaching the outer limits of their sound. And I mean that in a really good way.
This disc, titled the chemistry that keeps us together sounds more crisp and sparkly that their previous recordings, and a few songs feel like 1970s-era Bowie. But, I suppose right now I'm hearing primarily a mix of the Verve and Mazzy Star with Jima's droll delivery replacing Hope Sandoval's.
The recordings really allow them to bring different textures and layers to the forefront, such as the effective use of organ and delay on "you don't look so good," the gurgling drone of "disconnected," and the percussive push of "miles away."
For me, the disc is ideal for either chilling on rainy afternoon, coming down after a long night on the town on a Saturday night, or getting revved up before heading out. Live, the whole thing kicks up a notch and rocks a little harder. So, be sure to head out to the Sunset this Friday to see them release the disc.
So, after band rehearsal tonight I came right upstairs, searched three or four rooms and finally found the disc, which had been placed on a table where I supposedly wouldn't forget about it. Funny how that never works. But, in any case, the disc is in my player as I'm typing, and what follows is a relatively incoherent set of thoughts about it.
If you've been living on mars or are perhaps new to Seattle rock music, here's the 411 on The Purrs: They're the best swoony/gazy/druggy/swirly pop band in town. They are dreamy and semi-psychedelic, but also melodic and expansive. I won't go as far as to say their sound is "epic," but they're always reaching and stretching and grasping but never quite reaching the outer limits of their sound. And I mean that in a really good way.
This disc, titled the chemistry that keeps us together sounds more crisp and sparkly that their previous recordings, and a few songs feel like 1970s-era Bowie. But, I suppose right now I'm hearing primarily a mix of the Verve and Mazzy Star with Jima's droll delivery replacing Hope Sandoval's.
The recordings really allow them to bring different textures and layers to the forefront, such as the effective use of organ and delay on "you don't look so good," the gurgling drone of "disconnected," and the percussive push of "miles away."
For me, the disc is ideal for either chilling on rainy afternoon, coming down after a long night on the town on a Saturday night, or getting revved up before heading out. Live, the whole thing kicks up a notch and rocks a little harder. So, be sure to head out to the Sunset this Friday to see them release the disc.
Wednesday, October 31, 2007
Review: The Tripwires' "Makes You Look Around"
If you're a more-than-occasional reader of SPB, then you know that one of my favorite Seattle bands is The Tripwires. So, the release of their debut disc, titled Makes You Look Around, is one of the most anticipated of the year for me.
When Jim from Paisley Pop Records sent me a message last week that he was sending me a copy of the disc, the salivation began immediately. Through their website and myspace page I had heard dribs and drabs of the the record, so I was anxious to hear the whole thing top to bottom.
The disc essentially provides much of what you experience with the live show -- catchy melodies, interwoven guitars with varying degrees of twang, and a rootsy sheen to accompany their pop polish. While there are some differences in dynamics and, less frequently, guitar tones than the live act, if you've seen them in person you'll relate immediately to the recordings.
Of course, if you've seen them live you know that this is meant as a strong compliment, because in that setting you get near perfect performances (even when it's in a "rugged-but-right" kind of way).
I must admit there's something about the Tripwires that speaks to me at my core. Perhaps it's because I grew up in the South and cut my musical teeth on a combination of 1950s rock and 1980s "kudzu pop" and roots pop acts like Scruffy The Cat, Right As Rain, Uncle Green, Jason and the Scorchers, REM and Webb Wilder. The Tripwires thread the perfect musical needle for me -- they're as melodic and personal as Big Star, as tunesmithy as The Byrds, and bring as much boogie to the table as Chuck Berry (whose "Tulane" they cover here).
This is a disc that both the powerpop set and the alt.country folks should be able to hang their hat on.
With Makes You Look Around, The Tripwires have released an album that should grace any number of top-ten lists for the year. But, bigger still and on a more personal note, I think years from now I'm going to look back on this record in the same way I look back on Scruffy The Cat's Tiny Days or Uncle Green's 15 Dryden -- records that flew under the radar of a lot of a whole lot of people but that I can listen to today and enjoy as much as I did 20 years ago. It's got that kind of staying power.
The Tripwires CD release party is being held at the Tractor Tavern on Friday, November 9 with Seattle powerpop stalwarts the Young Fresh Fellows. It's a show to not miss.
When Jim from Paisley Pop Records sent me a message last week that he was sending me a copy of the disc, the salivation began immediately. Through their website and myspace page I had heard dribs and drabs of the the record, so I was anxious to hear the whole thing top to bottom.
The disc essentially provides much of what you experience with the live show -- catchy melodies, interwoven guitars with varying degrees of twang, and a rootsy sheen to accompany their pop polish. While there are some differences in dynamics and, less frequently, guitar tones than the live act, if you've seen them in person you'll relate immediately to the recordings.
Of course, if you've seen them live you know that this is meant as a strong compliment, because in that setting you get near perfect performances (even when it's in a "rugged-but-right" kind of way).
I must admit there's something about the Tripwires that speaks to me at my core. Perhaps it's because I grew up in the South and cut my musical teeth on a combination of 1950s rock and 1980s "kudzu pop" and roots pop acts like Scruffy The Cat, Right As Rain, Uncle Green, Jason and the Scorchers, REM and Webb Wilder. The Tripwires thread the perfect musical needle for me -- they're as melodic and personal as Big Star, as tunesmithy as The Byrds, and bring as much boogie to the table as Chuck Berry (whose "Tulane" they cover here).
This is a disc that both the powerpop set and the alt.country folks should be able to hang their hat on.
With Makes You Look Around, The Tripwires have released an album that should grace any number of top-ten lists for the year. But, bigger still and on a more personal note, I think years from now I'm going to look back on this record in the same way I look back on Scruffy The Cat's Tiny Days or Uncle Green's 15 Dryden -- records that flew under the radar of a lot of a whole lot of people but that I can listen to today and enjoy as much as I did 20 years ago. It's got that kind of staying power.
The Tripwires CD release party is being held at the Tractor Tavern on Friday, November 9 with Seattle powerpop stalwarts the Young Fresh Fellows. It's a show to not miss.
Thursday, September 13, 2007
The Color Bars are genius
Alright... I realize the title of this blog post is a bit hyperbolic. But, I've been sitting on The Color Bars' new release Kairos At Infinity for nearly a week now, trying to figure out how to review it, and I'm just stumped. It's really good. But, it's so crazy that even taking it all in is a challenge.
Don't get me wrong. It's super easy to enjoy each of these songs as they whiz, whirl, and swirl past me at each listen. They're all catchy and fun. It's just that anytime I've tried to get a 10,000 foot view of it for a review, I have struggled.
The one sentence that I have used a few times to describe the record to people is: This is what it might sound like if Matthew Sweet and The Beach Boys got high and went nuts in a Hello Kitty store.
So, let me try to slog through something more detailed and coherent to say here...
.... okay, I just sat silently without typing for five minutes. Obviously, I'm having a hard time being coherent.
Let me try again. I'll start with the lyrics, which are sublimely brilliant. They're evocative and surprising and psychedelic, while giving an acute perspective on whatever subject they're addressing in a given song. But, perhaps even more than the lyrics, what jumps out at me is how they're delivered. In truth, I have no idea what they're singing about 90 percent of the time. But, they are delivered with such a longing that they tug at my heart even when they're singing in Japanese (the very Matthew Sweet-esque "Ja Mata Shibuya") or about Dairy Queen (the falsetto disco pop of "Nepenthe Powered Tart").
With Kairos At Infinity The Colors Bars give us a post-modern, helium-driven ride through both pop history and pop future. Sometimes loping, sometimes danceable, sometimes driving and always poppy, the record is simultaneously confounding and irresistible. I can see everyone from the most jaded hipster to the most impressionable teenager to the most sophisticated listener enjoying this record.
Either that, or it will be completely missed by all parties, and if that happens it will be a shame, because they really do have their creative genius flowing on this record.
Don't get me wrong. It's super easy to enjoy each of these songs as they whiz, whirl, and swirl past me at each listen. They're all catchy and fun. It's just that anytime I've tried to get a 10,000 foot view of it for a review, I have struggled.
The one sentence that I have used a few times to describe the record to people is: This is what it might sound like if Matthew Sweet and The Beach Boys got high and went nuts in a Hello Kitty store.
So, let me try to slog through something more detailed and coherent to say here...
.... okay, I just sat silently without typing for five minutes. Obviously, I'm having a hard time being coherent.
Let me try again. I'll start with the lyrics, which are sublimely brilliant. They're evocative and surprising and psychedelic, while giving an acute perspective on whatever subject they're addressing in a given song. But, perhaps even more than the lyrics, what jumps out at me is how they're delivered. In truth, I have no idea what they're singing about 90 percent of the time. But, they are delivered with such a longing that they tug at my heart even when they're singing in Japanese (the very Matthew Sweet-esque "Ja Mata Shibuya") or about Dairy Queen (the falsetto disco pop of "Nepenthe Powered Tart").
With Kairos At Infinity The Colors Bars give us a post-modern, helium-driven ride through both pop history and pop future. Sometimes loping, sometimes danceable, sometimes driving and always poppy, the record is simultaneously confounding and irresistible. I can see everyone from the most jaded hipster to the most impressionable teenager to the most sophisticated listener enjoying this record.
Either that, or it will be completely missed by all parties, and if that happens it will be a shame, because they really do have their creative genius flowing on this record.
Thursday, August 16, 2007
"Death To Palaces" director's commentary
When I sat down with Ryan and Wesley from Young Sportsmen to interview them (see last two posts), I decided it would also be fun to run the CD and have them provide commentary on the songs, a la the "director's commentary" on DVDs.
What follows is my own thoughts on the record with their comments following my own
Don't forget that "Death To Palaces," which I predict will be one of the best records released by a Seattle band in 2007, is being officially released at a show on Saturday, August 18 at the Sunset Tavern.
Young Sportsmen, Death to Palaces
Track 1 - Unnecessary
SBP: This song typifies the Young Sportsmen's approach to powerpop - driving, deliberate, relentless, powerful, but still very melodic. But, the song goes back further than Young Sportsmen.
Wesley: This was always a favorite song of mine in Ryan’s band The Fongs, and they would open their set with this and I would just feel this sense of elation.
Track 2 - Her Independent Feature
SPB: Her Independent Feature is a head-bopping anthem, churning greater than the pace of the human heart, rushing adrenalin and joy.
Wesley: I always get nervous bringing new stuff for practice, and I brought this one and everyone seemed to respond really positively right away. It was nice to get a sense that everyone was jazzed about it.
Ryan: I liked it because I was able to play (imitates his guitar). I copped like three different players. Guy Lyons from the Figgs with the double stops, and then put the little acoustic thing like in (The Cult’s) “Love Removal Machine.”
Track 3 - Shake the Shakers
SPB: The opening strains reference the might and chest-puffed indignity of The Who. Wesley's strained and emotionally drained vocal delivery in the verses draw you into the comparatively whispered bridge, climaxing with a triumphant chant of "feet don't fail me now." And the song's moral-of-the-story is "they're always behind you" indicates YS is a band who is happy with their place in the world and ready to give advice.
Ryan: I wrote the opening riff to this when we were in between bass players, and that’s all I had.
Wesley: That was one of the songs where Ryan had a couple of lines, like “velvet gloves with the fingers torn out,” and he was like I was this line in there.
Ryan: It was kind of about.. I won’t say which band. But, it was about a band and a particular look that was happening several years ago. Sort of the younger kids copping a Nikki Sixx/new wave/punk look.
It’s kind of a song to the kids, saying one day you’ll be older than dirt too, so don’t forget the songs. I know I look back at the shit I was wearing ten years ago and go “oh my god.”
Track 4 - Love or Monsters
SPB: Track four starts with a somewhat menacing, spacious and dynamic intro before launching into their trademark dual-guitar blast.
Ryan: I had this idea of doing a mid-tempo kind of Interpol riff, and all of a sudden I thought of the riff and in the kitchen I wrote this riff. (pause) And that’s all there is to that one (laughs). I love the lyrics, though.
Wesley: I went on a three day trip with my girlfriend up to Victoria, and brought my notepad along. I had some stuff left to write for the record, and I love being there. There’s something about that town. It’s gorgeous and peaceful and serene. I couldn’t seem to write here.
Ryan: I like the lyrics, because they’re vague.
Wesley: The ambiguity wasn’t intentional. But, I wanted it to be more evocative than direct. So, something more vague or open to whatever you bring to it.
Track 5 - Planetary Gears
SPB: I love watching them performing this song live, because the intro is very driving and inviting, but the odd-meter makes it somewhat difficult for people to figure out how to tap their feet, and just when they figure it out, the band is off and running with the verse. Brilliant.
Wesley: This was a pretty good song to represent my style and Ryan’s style meshing. I had the majority of it written, and Ryan came to practice and said “I have this thing”
Ryan: ..that I ripped off from the Who
(laughter)
Ryan: But, then I realized I ripped it off of the Futureheads.
(more laughter)
Wesley: I had some bits and most of it was there. But, the song is much more interesting with the melding of the riffs. When it works like that, it’s a really cool thing, and it’s something that he and I share just from knowing each other from high school. We may not always communicate verbally but you know... (character voice) but he gets me.
(laughter)
Track 6 - Under the Rocks and the Stars
SPB: A good test of whether or not a song is a hit is how my wife responds to it. She's not a music fan, but this is by far her favorite song by any local band ever. This song, like the majority of this record, is instantly likable while not being disposable or losing its luster after a few listens.
Ryan: When I was writing that, I was thinking of a Ted Leo song. I mean, I didn’t steal the chords or anything, just trying to pick up the vibe.
Wesley: You know what you can do with three chords is limitless. Someone like Elvis Costello can take three of four chords and wind them up into this really complex thing that’s really interesting.
Ryan: I just love those double time beats. I could play those all night.
Wesley: They’re definitely the most fun to play. That’s a beat that everyone can get.
Track 7 - Death to Palaces
SPB: This song has always been enjoyable in their live set. But, in the recorded setting, it really grooves (I know, I hate that word generally, but it's apt here) and pushes and pulls in all the right ways. The tune is a perfect case study in tension and release in rock music.
Ryan: This one’s cool because we were tracking the record and Wes was playing this thing in the living room, just that intro part, and I could just hear it and said, “what’s that?” And he said, “I don’t know I just made it up,” and I said “well do something with it.” (laughter) And I’m glad he did.
Wesley: I’m glad I did, too. There was, again, this instant sort of response. Whenever that happens to me when we’re dicking around in practice or whatever, it’s cool.
Ryan: That instant gratification. That riff reminds me of a mix between New Pornographers and You Am I.
Wesley: I’ll take that. That’s a wedding I’d go to.
(laughter)
Ryan: It’s also the title track, because I think lyrically it’s relevant. You know we’re not a political band. But, I think, in my mind in speaks to things that, maybe not directly, but speaks to things happening now.
Wesley: Whoa.
(the air fills with a very random, out of nowhere, strong smell of marijuana)
All three of us: Whoa!
SPB: ...and it was at this point that the interview slowed down. This is the best scone I’ve ever had.
(laughter)
Track 8 - Chavez
SPB: This song is interesting in that it has a very different vocal approach than the others, and that makes it stand out from the others. It also has a completely undeniable bass line that, as a bass player myself, I envy.
Ryan: This one for a while I didn’t like because people kept saying it sounded like the Foo Fighters. But, Dave Grohl didn’t invent the droney guitar! I don’t dislike them, but I think the comparison made me feel a bit dated. But, what I was trying to do was almost that new wave/punk/angular thing
Wesley: Ryan came up with that killer bass line, too. I remember when he came up with it, and I thought that’s a really cool take on this riff.
Track 9 - Sorry Sorry
SPB: When I first heard this track, it seemed like a perfect breath of air after the rush that the first eight tracks of this disc provide. It's got a different texture than the others, and has a more lamenting tone. It tugs at me emotionally, and some of that is simply Wesley's vocal delivery. He's always very believable and honest in his delivery.
Wesley: This is actually a song I wrote for Ruston Mire, and I didn’t write any songs for that band. I loved playing in that band. But, part of the reason was that I didn’t have to write any of the songs for that band. I got to play with good players, and I was really happy just playing guitar.
The exceptionally skilled and terribly handsome Brian Naubert said, "it’s okay. You can write songs for this band." I said, I don’t want to do that, because he had such a cool sound, and I felt really strange about it.
Finally I said, well I have this one thing, and we worked on it and actually put it on their last record. It turned out really great, and people really liked it. It was one that the guys in this band thought it was strong enough to bring over and give a new treatment.
Ryan: We had to twist his arm. We have to twist his arm to get it into the live set.
Wesley: There’s a resistance in my because it deals with something really specific in my life that is a time and a place that deals with the past, and I’m like I don’t know if I was to….
Ryan: It’s okay to cry.
(laughter)
Wesley: It’s not that it’s bad in anyway, it was just hard to get me to want to do it, because it feels like it belongs then and not now. We had to twist it around for me to feel comfortable doing it again.
Wesley: This is one of those songs that if not played right live, it can really go off the rails. We can get away with a certain amount of mess in some of the songs we play. But, that one is unforgiving.
Track 10 - Try
SPB: This track manages to be epic without being over-wrought. It's sweeping and serious without unnecessarily dramatic. I love the keyboard line, it's the perfect icing to the cake.
Ryan: As I am wont to do, I was sitting on my deck just totally baked, and I thought what if we played it as a slow song. We were already tracking, and I brought it to the band and everyone was like “we’ve got to put this on the record.” So, we worked it out to get it on the record. This was the only one that we tracked lived.
Wesley: It made me sad in a way, because we had a really good time and it was ending. You know we had a lot of limitations in how we tracked.
Ryan: Let’s put it this way, Jeff tracked 17 songs in two days.
Wesley: So, it was a pleasure with this one to get in there and just spend a day doing pretty much everything. The only thing left to do after that day was some guitar and the vocals. But, it was just nice. You know that was the ideal – you’re looking at your brothers, and you’re playing the song, and that’s it.
(it was at this point that we got kicked out by the Starbucks guy)
After I stopped recording we talked about how they decided to put the songs in the order in which they land on the disc, and Ryan talked about how they couldn’t see Try as anything other than the last song, since it’s got such a feeling of “closing up shop,” which was a perfect ending to our conversation, since they were literally closing up shop as we wound down the interview.
What follows is my own thoughts on the record with their comments following my own
Don't forget that "Death To Palaces," which I predict will be one of the best records released by a Seattle band in 2007, is being officially released at a show on Saturday, August 18 at the Sunset Tavern.
Young Sportsmen, Death to Palaces
Track 1 - Unnecessary
SBP: This song typifies the Young Sportsmen's approach to powerpop - driving, deliberate, relentless, powerful, but still very melodic. But, the song goes back further than Young Sportsmen.
Wesley: This was always a favorite song of mine in Ryan’s band The Fongs, and they would open their set with this and I would just feel this sense of elation.
Track 2 - Her Independent Feature
SPB: Her Independent Feature is a head-bopping anthem, churning greater than the pace of the human heart, rushing adrenalin and joy.
Wesley: I always get nervous bringing new stuff for practice, and I brought this one and everyone seemed to respond really positively right away. It was nice to get a sense that everyone was jazzed about it.
Ryan: I liked it because I was able to play (imitates his guitar). I copped like three different players. Guy Lyons from the Figgs with the double stops, and then put the little acoustic thing like in (The Cult’s) “Love Removal Machine.”
Track 3 - Shake the Shakers
SPB: The opening strains reference the might and chest-puffed indignity of The Who. Wesley's strained and emotionally drained vocal delivery in the verses draw you into the comparatively whispered bridge, climaxing with a triumphant chant of "feet don't fail me now." And the song's moral-of-the-story is "they're always behind you" indicates YS is a band who is happy with their place in the world and ready to give advice.
Ryan: I wrote the opening riff to this when we were in between bass players, and that’s all I had.
Wesley: That was one of the songs where Ryan had a couple of lines, like “velvet gloves with the fingers torn out,” and he was like I was this line in there.
Ryan: It was kind of about.. I won’t say which band. But, it was about a band and a particular look that was happening several years ago. Sort of the younger kids copping a Nikki Sixx/new wave/punk look.
It’s kind of a song to the kids, saying one day you’ll be older than dirt too, so don’t forget the songs. I know I look back at the shit I was wearing ten years ago and go “oh my god.”
Track 4 - Love or Monsters
SPB: Track four starts with a somewhat menacing, spacious and dynamic intro before launching into their trademark dual-guitar blast.
Ryan: I had this idea of doing a mid-tempo kind of Interpol riff, and all of a sudden I thought of the riff and in the kitchen I wrote this riff. (pause) And that’s all there is to that one (laughs). I love the lyrics, though.
Wesley: I went on a three day trip with my girlfriend up to Victoria, and brought my notepad along. I had some stuff left to write for the record, and I love being there. There’s something about that town. It’s gorgeous and peaceful and serene. I couldn’t seem to write here.
Ryan: I like the lyrics, because they’re vague.
Wesley: The ambiguity wasn’t intentional. But, I wanted it to be more evocative than direct. So, something more vague or open to whatever you bring to it.
Track 5 - Planetary Gears
SPB: I love watching them performing this song live, because the intro is very driving and inviting, but the odd-meter makes it somewhat difficult for people to figure out how to tap their feet, and just when they figure it out, the band is off and running with the verse. Brilliant.
Wesley: This was a pretty good song to represent my style and Ryan’s style meshing. I had the majority of it written, and Ryan came to practice and said “I have this thing”
Ryan: ..that I ripped off from the Who
(laughter)
Ryan: But, then I realized I ripped it off of the Futureheads.
(more laughter)
Wesley: I had some bits and most of it was there. But, the song is much more interesting with the melding of the riffs. When it works like that, it’s a really cool thing, and it’s something that he and I share just from knowing each other from high school. We may not always communicate verbally but you know... (character voice) but he gets me.
(laughter)
Track 6 - Under the Rocks and the Stars
SPB: A good test of whether or not a song is a hit is how my wife responds to it. She's not a music fan, but this is by far her favorite song by any local band ever. This song, like the majority of this record, is instantly likable while not being disposable or losing its luster after a few listens.
Ryan: When I was writing that, I was thinking of a Ted Leo song. I mean, I didn’t steal the chords or anything, just trying to pick up the vibe.
Wesley: You know what you can do with three chords is limitless. Someone like Elvis Costello can take three of four chords and wind them up into this really complex thing that’s really interesting.
Ryan: I just love those double time beats. I could play those all night.
Wesley: They’re definitely the most fun to play. That’s a beat that everyone can get.
Track 7 - Death to Palaces
SPB: This song has always been enjoyable in their live set. But, in the recorded setting, it really grooves (I know, I hate that word generally, but it's apt here) and pushes and pulls in all the right ways. The tune is a perfect case study in tension and release in rock music.
Ryan: This one’s cool because we were tracking the record and Wes was playing this thing in the living room, just that intro part, and I could just hear it and said, “what’s that?” And he said, “I don’t know I just made it up,” and I said “well do something with it.” (laughter) And I’m glad he did.
Wesley: I’m glad I did, too. There was, again, this instant sort of response. Whenever that happens to me when we’re dicking around in practice or whatever, it’s cool.
Ryan: That instant gratification. That riff reminds me of a mix between New Pornographers and You Am I.
Wesley: I’ll take that. That’s a wedding I’d go to.
(laughter)
Ryan: It’s also the title track, because I think lyrically it’s relevant. You know we’re not a political band. But, I think, in my mind in speaks to things that, maybe not directly, but speaks to things happening now.
Wesley: Whoa.
(the air fills with a very random, out of nowhere, strong smell of marijuana)
All three of us: Whoa!
SPB: ...and it was at this point that the interview slowed down. This is the best scone I’ve ever had.
(laughter)
Track 8 - Chavez
SPB: This song is interesting in that it has a very different vocal approach than the others, and that makes it stand out from the others. It also has a completely undeniable bass line that, as a bass player myself, I envy.
Ryan: This one for a while I didn’t like because people kept saying it sounded like the Foo Fighters. But, Dave Grohl didn’t invent the droney guitar! I don’t dislike them, but I think the comparison made me feel a bit dated. But, what I was trying to do was almost that new wave/punk/angular thing
Wesley: Ryan came up with that killer bass line, too. I remember when he came up with it, and I thought that’s a really cool take on this riff.
Track 9 - Sorry Sorry
SPB: When I first heard this track, it seemed like a perfect breath of air after the rush that the first eight tracks of this disc provide. It's got a different texture than the others, and has a more lamenting tone. It tugs at me emotionally, and some of that is simply Wesley's vocal delivery. He's always very believable and honest in his delivery.
Wesley: This is actually a song I wrote for Ruston Mire, and I didn’t write any songs for that band. I loved playing in that band. But, part of the reason was that I didn’t have to write any of the songs for that band. I got to play with good players, and I was really happy just playing guitar.
The exceptionally skilled and terribly handsome Brian Naubert said, "it’s okay. You can write songs for this band." I said, I don’t want to do that, because he had such a cool sound, and I felt really strange about it.
Finally I said, well I have this one thing, and we worked on it and actually put it on their last record. It turned out really great, and people really liked it. It was one that the guys in this band thought it was strong enough to bring over and give a new treatment.
Ryan: We had to twist his arm. We have to twist his arm to get it into the live set.
Wesley: There’s a resistance in my because it deals with something really specific in my life that is a time and a place that deals with the past, and I’m like I don’t know if I was to….
Ryan: It’s okay to cry.
(laughter)
Wesley: It’s not that it’s bad in anyway, it was just hard to get me to want to do it, because it feels like it belongs then and not now. We had to twist it around for me to feel comfortable doing it again.
Wesley: This is one of those songs that if not played right live, it can really go off the rails. We can get away with a certain amount of mess in some of the songs we play. But, that one is unforgiving.
Track 10 - Try
SPB: This track manages to be epic without being over-wrought. It's sweeping and serious without unnecessarily dramatic. I love the keyboard line, it's the perfect icing to the cake.
Ryan: As I am wont to do, I was sitting on my deck just totally baked, and I thought what if we played it as a slow song. We were already tracking, and I brought it to the band and everyone was like “we’ve got to put this on the record.” So, we worked it out to get it on the record. This was the only one that we tracked lived.
Wesley: It made me sad in a way, because we had a really good time and it was ending. You know we had a lot of limitations in how we tracked.
Ryan: Let’s put it this way, Jeff tracked 17 songs in two days.
Wesley: So, it was a pleasure with this one to get in there and just spend a day doing pretty much everything. The only thing left to do after that day was some guitar and the vocals. But, it was just nice. You know that was the ideal – you’re looking at your brothers, and you’re playing the song, and that’s it.
(it was at this point that we got kicked out by the Starbucks guy)
After I stopped recording we talked about how they decided to put the songs in the order in which they land on the disc, and Ryan talked about how they couldn’t see Try as anything other than the last song, since it’s got such a feeling of “closing up shop,” which was a perfect ending to our conversation, since they were literally closing up shop as we wound down the interview.
Wednesday, July 25, 2007
Review: The Greatest Hits "For a Good Time Call..."
The Greatest Hits sent me a copy of their latest record, titled "For a Good Time Call..." I was happy to get my hands on it before their show tomorrow night at The Crocodile so I could give y'all a heads up.
The Greatest Hits are down and dirty, somewhat sleazy, spiked hair, leather-jacket-and-whiskey, powerpopping rock band that channels Sweet and Slade and the New York Dolls and Hanoi Rocks and a touch of the Ramones. There's nothing particularly groundbreaking here, and if you care deeply about things like perfect pitch and being completely in tune at all times, this ain't necessarily that. But, it's good rock and roll that makes for great Saturday night party music.
Songs like "Fatal Reaction" make me wish I was still 17 years old, cruising in some kind of convertible -- probably a '65 T-bird or a 1980s Camaro -- on a balmy summer night, trying to pick up chicks. I was never that cool in real life. But, The Greatest Hits makes me feel like if I were 20 years younger that I could pull it off.
The show at the Crocodile (Thursday, July 26) also has The Knast and The Kings English on the bill. So, there's enough good rock there to make a strong show. This show is also the homecoming for The Greatest Hits, back from a grueling tour that came to a conclusion with a bang -- almost literally. Here's the scoop, straight from their myspace blog post:
So, go show these guys some love. Buy a record and a t-shirt, sweat and drink some beer. If you've got a bandanna lying around, tie it on yourself somewhere and head out to the Croc.
Photo from The Greatist Hits myspace page, credit Canderson
The Greatest Hits are down and dirty, somewhat sleazy, spiked hair, leather-jacket-and-whiskey, powerpopping rock band that channels Sweet and Slade and the New York Dolls and Hanoi Rocks and a touch of the Ramones. There's nothing particularly groundbreaking here, and if you care deeply about things like perfect pitch and being completely in tune at all times, this ain't necessarily that. But, it's good rock and roll that makes for great Saturday night party music.
Songs like "Fatal Reaction" make me wish I was still 17 years old, cruising in some kind of convertible -- probably a '65 T-bird or a 1980s Camaro -- on a balmy summer night, trying to pick up chicks. I was never that cool in real life. But, The Greatest Hits makes me feel like if I were 20 years younger that I could pull it off.
The show at the Crocodile (Thursday, July 26) also has The Knast and The Kings English on the bill. So, there's enough good rock there to make a strong show. This show is also the homecoming for The Greatest Hits, back from a grueling tour that came to a conclusion with a bang -- almost literally. Here's the scoop, straight from their myspace blog post:
We finished playing to a rad AUDIENCE in Harrisburg, PA at SMALLS with a great show put on by JOSH. Us and FISHNET STALKERS last show of tour together.
Things don't make sense when they go sour after a good time like that.
But there are 5 pussy ass wannabe gangstas in Harrisburg, PA who think that bitchslapping our band members with their guns makes them hard.
Well, it sent Ryan (Whiskey Ginger) and Roman to the hospital with concussions. Ryan had to have his head stapled and they both have head bandages. And there ain't no way to fix it. BUT THEY ARE ALIVE!!! Thank god! I will kill anyone who touches my band or die for them but this all happened and we didn't know and it was right outside! FUCK THAT!!!
DOn't these assholes have anything better to do than attack hard working traveling band troopers like THE GREATEST HITS?! They got $63 total in cash and Romans Green Card! Alot good that will do them.
So, go show these guys some love. Buy a record and a t-shirt, sweat and drink some beer. If you've got a bandanna lying around, tie it on yourself somewhere and head out to the Croc.
Photo from The Greatist Hits myspace page, credit Canderson
Friday, July 13, 2007
Saying "I'm Sorry" to Sorry
Last week I posted about a July 3rd show that featured Junkmail, The Capillaries, the Small Change and Sorry. At the time, all I could muster about Sorry was:
They were very sweet in posting a comment that said they were happy to have been mentioned on the blog. Of course, as you can see above, it wasn't much of a mention. But, having just received their 2006 full-length in the mail, I can attest that they warranted morecolumn inches blog space than I could provide at the time.
Let it be known that I dig this record a lot. It's not particularly timely of me to say so, since it was released in December 2006 (I think). But, I can't concern myself with being timely right now. Did anyone review this record when it came out? If so, how the heck did I miss it? And why can't I find anything other than a single review on indiepages.com when I google? Perhaps you've simply cursed yourself with a band name that cannot be easily googled?
Anyway, guys, if no one reviewed your record when it came out, you were robbed and its their loss, because you have contributed to the world a 1.2 mm thick polycarbonate disc that is truly a pleasant pop experience.
Sorry seems to have a Bellingham pop fetish. They include The Posies, The Pale Pacific, Death Cab and Dolour as among their favorite bands, and I can hear pieces of these groups in what their doing. But, they don't sound derivative or lacking in creativity. To my ears they sound like a band raised on equal parts powerpop (the Posies, Teenage Fanclub) and indiepop (Versus, True Love Always, the Lucksmiths). A good example of that is their song Orange Balloon.
They have some of the arrangements and chord structures of the latter, but some of the crunch and "oomph" of the former. I wonder if because they have a foot in each of these camps neither has really adopted them as their own? Hard to say. But, all and all, Sorry is melodic and harmony driven and really darn good. I'm definitely looking forward to having them on my radar more frequently in the future.
I dont know how I missed you when this was released in 2006. But, I'm sorry (...ahem) to have done so. Heck, for that matter I'm sorry for having not heard of you guys, even though you've been at it since, what, 2002? In any case, consider me your new champion.
Photo credit: Sorry/Alex Edelman
"I have to admit I have no idea who the band Sorry is. Anyone know?"
They were very sweet in posting a comment that said they were happy to have been mentioned on the blog. Of course, as you can see above, it wasn't much of a mention. But, having just received their 2006 full-length in the mail, I can attest that they warranted more
Let it be known that I dig this record a lot. It's not particularly timely of me to say so, since it was released in December 2006 (I think). But, I can't concern myself with being timely right now. Did anyone review this record when it came out? If so, how the heck did I miss it? And why can't I find anything other than a single review on indiepages.com when I google? Perhaps you've simply cursed yourself with a band name that cannot be easily googled?
Anyway, guys, if no one reviewed your record when it came out, you were robbed and its their loss, because you have contributed to the world a 1.2 mm thick polycarbonate disc that is truly a pleasant pop experience.
Sorry seems to have a Bellingham pop fetish. They include The Posies, The Pale Pacific, Death Cab and Dolour as among their favorite bands, and I can hear pieces of these groups in what their doing. But, they don't sound derivative or lacking in creativity. To my ears they sound like a band raised on equal parts powerpop (the Posies, Teenage Fanclub) and indiepop (Versus, True Love Always, the Lucksmiths). A good example of that is their song Orange Balloon.
They have some of the arrangements and chord structures of the latter, but some of the crunch and "oomph" of the former. I wonder if because they have a foot in each of these camps neither has really adopted them as their own? Hard to say. But, all and all, Sorry is melodic and harmony driven and really darn good. I'm definitely looking forward to having them on my radar more frequently in the future.
I dont know how I missed you when this was released in 2006. But, I'm sorry (...ahem) to have done so. Heck, for that matter I'm sorry for having not heard of you guys, even though you've been at it since, what, 2002? In any case, consider me your new champion.
Photo credit: Sorry/Alex Edelman
Wednesday, June 13, 2007
Review: The Femurs' "Modern Mexico"
[blogger's note: I had a wonderfully-composed review of this record completely done and ready to post and Blogger hosed it. What follows is my attempt to recreate that review while simultaneously punching my computer]
I love coming home to find a package in the mail containing a shiny new CD. Today's package transported the new disc by The Femurs to me. It's titled Modern Mexico, and it's quite excellent.
What you get on this disc is a collection of 12 songs (six new and six from the Jack Cafferty Vs. Chuck Scarborough EP) played on acoustic guitar and drums. So, what does it sound like? Take a bit of the Ramones, a bit of the Violent Femmes, a bit of Weezer, and a touch of the lyrical goofiness of some of today's pop-punk bands and you're somewhere in the ballpark of their style.
They call what they do "folk punk," and if you're a genre purist, I'm not sure that really fits. I don't know that there's really anything "folk" about them, other than the presence of the acoustic guitar, and it seems like they're way too likable to be "punk" in the way I think of that term. That said, they do share some traits of punk rocks bands in that they write speedy songs that have been stripped of excess (although there is something approaching a drum solo on track 5). Of course, I've never been a genre purist, so I don't really care where they fit.
While it may be hard to fit neatly into a genre, the disc is unmistakably great summertime record that is toe-tappingly fun. Even my wife, who isn't really a music fan, yelled "that's catchy" to me half way through the first track during my first listen. If you don't have this one blasting at your Fourth of July party, then you're missing out on a good vibe setter. Just add this album to some burgers, some libations and someone almost getting a finger blown off with an m-80 and you've got the perfect party.
I'm pleased as punch to have The Femurs slated for Powerpop Night in early August. So, stay tuned for more details on that in July.
I love coming home to find a package in the mail containing a shiny new CD. Today's package transported the new disc by The Femurs to me. It's titled Modern Mexico, and it's quite excellent.
What you get on this disc is a collection of 12 songs (six new and six from the Jack Cafferty Vs. Chuck Scarborough EP) played on acoustic guitar and drums. So, what does it sound like? Take a bit of the Ramones, a bit of the Violent Femmes, a bit of Weezer, and a touch of the lyrical goofiness of some of today's pop-punk bands and you're somewhere in the ballpark of their style.
They call what they do "folk punk," and if you're a genre purist, I'm not sure that really fits. I don't know that there's really anything "folk" about them, other than the presence of the acoustic guitar, and it seems like they're way too likable to be "punk" in the way I think of that term. That said, they do share some traits of punk rocks bands in that they write speedy songs that have been stripped of excess (although there is something approaching a drum solo on track 5). Of course, I've never been a genre purist, so I don't really care where they fit.
While it may be hard to fit neatly into a genre, the disc is unmistakably great summertime record that is toe-tappingly fun. Even my wife, who isn't really a music fan, yelled "that's catchy" to me half way through the first track during my first listen. If you don't have this one blasting at your Fourth of July party, then you're missing out on a good vibe setter. Just add this album to some burgers, some libations and someone almost getting a finger blown off with an m-80 and you've got the perfect party.
I'm pleased as punch to have The Femurs slated for Powerpop Night in early August. So, stay tuned for more details on that in July.
Friday, May 04, 2007
Review: The Heaters "Live & Live Again"
I got my greedy little hands on a copy of the double live album by the classic Seattle powerpop group The Heaters. I've written about the Heaters (also known as The Heats due to a lawsuit) on a number of occasions here, and did an interview with Steve Pearson not too long ago that was chock full of info. But, until this disc arrive, I didn't own any of their stuff.
The Heats/The Heaters were primarily active in the late 1970s and early 1980s and had tremendous regional success. They toured with Heart and The Knack and generally rocked the house around Seattle and the Pacific Northwest. You can still get their studio recordings from that era via Chuckie Boy Records.
But, these two live disc gives you two separate glimpses into the band. The first contains about 70 minutes of music recorded between 1978 and 1981 in three different states (Washington, Oregon and Idaho). The second disc gives you around 75 minutes of music and was recorded at a 2001 reunion show at Waldo's in Kirkland. The disc set is available from Epilogue Records/the Lien Company for $20, which includes postage. You can find out where to send your dough on their website.
Both discs are ragged, sweaty, out-of-tune-in-the-right-way examples of their catchy, foot stompin' powerpop in a live setting. With The Heaters you get amped up songs about girls and parties, sung with harmonies and fervor. Stand outs from disc one ("Live") are "She Don't Mind" and "She Belongs To Me" (which you can also hear on their myspace page). But, you also get "bonus" tracks that are covers of The Kinks, The Who, The Yardbirds and more. The second disc ("Live Again") includes a number of the same songs from disc one along with a handful of additional tracks.
The Heaters rocked hard back in the day, and this disc gives those of us who were not around, not old enough, or not hip enough to have experienced it at the time a way to get a taste.
Blogger's update: I meant to mention that you can also get the disc in local stores and at amazon.com. Here's the album cover art:
The Heats/The Heaters were primarily active in the late 1970s and early 1980s and had tremendous regional success. They toured with Heart and The Knack and generally rocked the house around Seattle and the Pacific Northwest. You can still get their studio recordings from that era via Chuckie Boy Records.
But, these two live disc gives you two separate glimpses into the band. The first contains about 70 minutes of music recorded between 1978 and 1981 in three different states (Washington, Oregon and Idaho). The second disc gives you around 75 minutes of music and was recorded at a 2001 reunion show at Waldo's in Kirkland. The disc set is available from Epilogue Records/the Lien Company for $20, which includes postage. You can find out where to send your dough on their website.
Both discs are ragged, sweaty, out-of-tune-in-the-right-way examples of their catchy, foot stompin' powerpop in a live setting. With The Heaters you get amped up songs about girls and parties, sung with harmonies and fervor. Stand outs from disc one ("Live") are "She Don't Mind" and "She Belongs To Me" (which you can also hear on their myspace page). But, you also get "bonus" tracks that are covers of The Kinks, The Who, The Yardbirds and more. The second disc ("Live Again") includes a number of the same songs from disc one along with a handful of additional tracks.
The Heaters rocked hard back in the day, and this disc gives those of us who were not around, not old enough, or not hip enough to have experienced it at the time a way to get a taste.
Blogger's update: I meant to mention that you can also get the disc in local stores and at amazon.com. Here's the album cover art:
Tuesday, April 24, 2007
Slender Means "rock&roll machine" ep
I was fortunate enough to have a copy of the new Slender Means ep, titled Rock&Roll Machine, hand delivered to my mailbox last week.
As it turns out, one of the Slender Means guys lives pretty close to me. So, it was kind of odd to come home and find an envelope in my mailbox with no address... just "to gary, from slender means." But, I was pleased as punch to get a copy, as I was a big fan of their debut release, Neon & Ruin (side note: these guys like their ampersands!).
I'm going to do a track-by-track breakdown on this one, starting with...
Track 1 - Fade Out
The opener of the new ep would have easily fit onto Neon & Ruin, and thus it comes as no surprise that it was recorded during the same sessions as that record. In general Josh's vocals tend to be pitch perfect and pleasant. That remains true here, as well, but the tune has a little more "sneer" than much of Neon & Ruin. This track has a great organ-driven, almost garage feel. They're not as ragged or rough as a garage rock band, but this one is driven by that spirit and married with a super catchy melody. [blogger note: As of right now you can download this track free from their myspace page]
Track 2 - Ship Wrecked
Now here's an interesting track. The verse oddly uses a sort of Afro-Caribbean groove in the drums and bass, with a ringing, echoing guitar. The band does a great job of reflecting the lyrical content, which is speaks of a "drowning sailor" and being "ship wrecked and left for dead." I'm not sure if this is a metaphor for loneliness or if they're just painting a picture/telling a story. What this song lacks in hooks it makes up for in scene setting. Not their strongest tune. But, not a throw-away, either.
Track 3 - Foreign Legion
Foreign Legion opens with a drum machine and keyboard, laying the foundation for a soaring falsetto vocal. Two bands pop into my head right away with this song - Portishead and Coldplay. According to the liner notes, this one was recorded by Josh (alone, presumably?), and while it maintains a bit of a demo quality in terms of being so different than the sounds we're used to hearing from Slender Means, it's a very pleasant track.
Track 4 - The Comet (live)
This song really underscores how strong a live act Slender Means is. The first time I listened to it, I had no idea it was live until Cheryl Waters makes the announcement about KEXP after they end the tune! Wow. Album quality performance in a live setting. And having done an in-studio at KEXP fairly recently, I applaud loudly for them pulling off such nearly perfect vocals. The track itself is is typical Slender Means - solid, catchy, melodic.
If I have a criticism of Slender Means it would be that I'd like to hear a little more fire in their bellies. They're such a solid act and write great songs. But, I do get a sense of detachment from them that I can't quite describe in robust terms. A friend of mine used to say that good rock and roll requires a certain amount of stupidity, and I think I would turn the "stupid" button up about 10% with Slender Means.
But, don't let that stop you from picking up this otherwise stellar release that's worth a close listen.
As it turns out, one of the Slender Means guys lives pretty close to me. So, it was kind of odd to come home and find an envelope in my mailbox with no address... just "to gary, from slender means." But, I was pleased as punch to get a copy, as I was a big fan of their debut release, Neon & Ruin (side note: these guys like their ampersands!).
I'm going to do a track-by-track breakdown on this one, starting with...
Track 1 - Fade Out
The opener of the new ep would have easily fit onto Neon & Ruin, and thus it comes as no surprise that it was recorded during the same sessions as that record. In general Josh's vocals tend to be pitch perfect and pleasant. That remains true here, as well, but the tune has a little more "sneer" than much of Neon & Ruin. This track has a great organ-driven, almost garage feel. They're not as ragged or rough as a garage rock band, but this one is driven by that spirit and married with a super catchy melody. [blogger note: As of right now you can download this track free from their myspace page]
Track 2 - Ship Wrecked
Now here's an interesting track. The verse oddly uses a sort of Afro-Caribbean groove in the drums and bass, with a ringing, echoing guitar. The band does a great job of reflecting the lyrical content, which is speaks of a "drowning sailor" and being "ship wrecked and left for dead." I'm not sure if this is a metaphor for loneliness or if they're just painting a picture/telling a story. What this song lacks in hooks it makes up for in scene setting. Not their strongest tune. But, not a throw-away, either.
Track 3 - Foreign Legion
Foreign Legion opens with a drum machine and keyboard, laying the foundation for a soaring falsetto vocal. Two bands pop into my head right away with this song - Portishead and Coldplay. According to the liner notes, this one was recorded by Josh (alone, presumably?), and while it maintains a bit of a demo quality in terms of being so different than the sounds we're used to hearing from Slender Means, it's a very pleasant track.
Track 4 - The Comet (live)
This song really underscores how strong a live act Slender Means is. The first time I listened to it, I had no idea it was live until Cheryl Waters makes the announcement about KEXP after they end the tune! Wow. Album quality performance in a live setting. And having done an in-studio at KEXP fairly recently, I applaud loudly for them pulling off such nearly perfect vocals. The track itself is is typical Slender Means - solid, catchy, melodic.
If I have a criticism of Slender Means it would be that I'd like to hear a little more fire in their bellies. They're such a solid act and write great songs. But, I do get a sense of detachment from them that I can't quite describe in robust terms. A friend of mine used to say that good rock and roll requires a certain amount of stupidity, and I think I would turn the "stupid" button up about 10% with Slender Means.
But, don't let that stop you from picking up this otherwise stellar release that's worth a close listen.
Tuesday, December 19, 2006
The Neat 45" vinyl
The guys in The Neat, out of Portland, sent me their newly released 45" (You Are All I Need b/w Sunflower). First and foremost, I give them props for putting out vinyl. In the digital age, that's downright bold, and it takes me back about a decade ago, when I lived in Chapel Hill and bought countless 45's. I'd walk down to Franklin Street on my lunch break from working at UNC and pick up at least one a day.
I have to admit I have no idea who is still putting out vinyl in 2006 (almost 2007!). When I was buying them it was Teenbeat, and Merge, and Matador, and tons of singles labels and so forth. Somebody clue me in... is there still a market for 45's?
I broke open the ol' Motorola stereo (see below) and put the record on. Well, I tried to put the record on. As it turns out, the record they've released has a "big hole" and I didn't have an adaptor. I attempted to place the 45" carefully centered, and dropped the needle into place. But, if you've ever tried this, you know it's impossible to truly get it centered. So, what I heard was wobbly and slightly out of tune.
So, I headed over to their myspace page and they've got the same two songs posted there. I'm quite sad to report that they sound kinda out of tune over there, as well.
I really want to like these guys. I like their songs, and as I said when I reviewed their set at Comet a little while back, they harken back to the 1970s in a very convincing way... it doesn't feel like a put-on at all. But, for now, I'm going to have to call their 45" a neat little entry into the world of commerce, and then hope that they're able to get some assistance on the next round of recordings to work out the kinks. I'll be anxiously awaiting it!
I have to admit I have no idea who is still putting out vinyl in 2006 (almost 2007!). When I was buying them it was Teenbeat, and Merge, and Matador, and tons of singles labels and so forth. Somebody clue me in... is there still a market for 45's?
I broke open the ol' Motorola stereo (see below) and put the record on. Well, I tried to put the record on. As it turns out, the record they've released has a "big hole" and I didn't have an adaptor. I attempted to place the 45" carefully centered, and dropped the needle into place. But, if you've ever tried this, you know it's impossible to truly get it centered. So, what I heard was wobbly and slightly out of tune.
So, I headed over to their myspace page and they've got the same two songs posted there. I'm quite sad to report that they sound kinda out of tune over there, as well.
I really want to like these guys. I like their songs, and as I said when I reviewed their set at Comet a little while back, they harken back to the 1970s in a very convincing way... it doesn't feel like a put-on at all. But, for now, I'm going to have to call their 45" a neat little entry into the world of commerce, and then hope that they're able to get some assistance on the next round of recordings to work out the kinks. I'll be anxiously awaiting it!
Sunday, November 26, 2006
Vanilla CD review
The fellows in Vanilla sent me their disc a few weeks back, and now that I'm back from all my travelling (two trips out of town within two weeks...), I've had a chance to take a listen.
First, their lineage is one that I can appreciate. I love Tiny Volcano, and although I'm less familiar with Liar's Club, I have enjoyed what I've heard from them. Vanilla, you see, is basically parts of those two bands (with a member of Jet City Fix thrown in for good measure!). They call it the "tiny vanillacano club."
Second, let's talk about this disc. As is probably to be expected with the "collective" nature of the group, there are a number of songwriting voices to be found on the first Vanilla release, and to some degree the disc comes across as schizophrenic -- especially moving from the lush acoustic-driven "E9" with it's XTC-ish vibe to the novelty quirk of "Teach Your Parakeet to Talk," which sounds like it could be featured on a children's TV show.
Indeed, the whole thing feels more like a recording project than a band. Perhaps naturally, given how much I like Tiny Volcano, I find myself leaning toward Scott McPherson's tunes on this project and I'm less drawn to the songs on which Jayson Jarmon leads, which sound a little contrived.
Overall the disc is creative and interesting, if not entirely inventive. But, it's definately a solid disc and one that any fan of the typical powerpop players over the years will enjoy.
First, their lineage is one that I can appreciate. I love Tiny Volcano, and although I'm less familiar with Liar's Club, I have enjoyed what I've heard from them. Vanilla, you see, is basically parts of those two bands (with a member of Jet City Fix thrown in for good measure!). They call it the "tiny vanillacano club."
Second, let's talk about this disc. As is probably to be expected with the "collective" nature of the group, there are a number of songwriting voices to be found on the first Vanilla release, and to some degree the disc comes across as schizophrenic -- especially moving from the lush acoustic-driven "E9" with it's XTC-ish vibe to the novelty quirk of "Teach Your Parakeet to Talk," which sounds like it could be featured on a children's TV show.
Indeed, the whole thing feels more like a recording project than a band. Perhaps naturally, given how much I like Tiny Volcano, I find myself leaning toward Scott McPherson's tunes on this project and I'm less drawn to the songs on which Jayson Jarmon leads, which sound a little contrived.
Overall the disc is creative and interesting, if not entirely inventive. But, it's definately a solid disc and one that any fan of the typical powerpop players over the years will enjoy.
Saturday, September 16, 2006
My underestimation of Doll Test
Why do I keep assuming things about Doll Test that prove to not be true? There is some weird disconnect with this band and my brain, and it always causes me to doubt how good they are. But, that's clearly my own shortcoming rather than theirs, because they just mailed me their brand new '06 release, titled Gasoline and Banks, and it has proven me wrong again.
I first heard these guys through their myspace page and I really liked the music. But, I hadn't seen them live. So, when the IPO rolled around, for some reason I thought I wasn't going to like them. But, I did... a lot. So, why then, when the CD shows up did I think I wasn't going to like it? I don't know. But, I've gotta get my head checked. I do like the disc. But, a little back story before I talk about it.
The Doll Test, if you don't know, was an experiment related to racial identity and was a factor of the Brown v. Board of Education decision on school segregation. You can read about this part of the story in other places.
That's the genesis of the band name. As to why they chose it, I don't know. Their website says they liked the story. But, the band story goes back further than the 2005 selection of this name, as these guys performed for the preceding decade as The Model Rockets (who put out records on C/Z back in the day).
So, enough history. This 5-song EP on Unsmashable Records is a great slice of what these guys are all about. It's driving and energetic without being overly macho or posturing. It's melodic and harmony-heavy without being strictly about the vocals. There's something really "American" about this disc. By that I mean except for "Scared Out of Your Mind" (track 3) I don't hear a lot of British influences, which is funny since they list John Lennon, The Jam and The Kinks as influences on their myspace page. The influence of the other bands listed on their site (Cheap Trick, Beach Boys and Sloan) are a little more evident on these recordings.
I'm going to end this rambling blog post and just suggest you pick up the disc or head to their myspace page to check them out. And, I promise you, Doll Test, that I won't continue to underestimate you.
I first heard these guys through their myspace page and I really liked the music. But, I hadn't seen them live. So, when the IPO rolled around, for some reason I thought I wasn't going to like them. But, I did... a lot. So, why then, when the CD shows up did I think I wasn't going to like it? I don't know. But, I've gotta get my head checked. I do like the disc. But, a little back story before I talk about it.
The Doll Test, if you don't know, was an experiment related to racial identity and was a factor of the Brown v. Board of Education decision on school segregation. You can read about this part of the story in other places.
That's the genesis of the band name. As to why they chose it, I don't know. Their website says they liked the story. But, the band story goes back further than the 2005 selection of this name, as these guys performed for the preceding decade as The Model Rockets (who put out records on C/Z back in the day).
So, enough history. This 5-song EP on Unsmashable Records is a great slice of what these guys are all about. It's driving and energetic without being overly macho or posturing. It's melodic and harmony-heavy without being strictly about the vocals. There's something really "American" about this disc. By that I mean except for "Scared Out of Your Mind" (track 3) I don't hear a lot of British influences, which is funny since they list John Lennon, The Jam and The Kinks as influences on their myspace page. The influence of the other bands listed on their site (Cheap Trick, Beach Boys and Sloan) are a little more evident on these recordings.
I'm going to end this rambling blog post and just suggest you pick up the disc or head to their myspace page to check them out. And, I promise you, Doll Test, that I won't continue to underestimate you.
Thursday, September 14, 2006
Shorthand For Epic ep & show
So, I arrived at home this evening to find this envelope waiting for me:
How great is that?
Now, generally speaking, I'm not a fan of "jokey" bands. I'm a fan of comedy and I'm a fan of music. But, rarely can the two co-exist in my world. So, when I first saw pictures of Shorthand for Epic I was thinking they were going to be precious at best, annoyingly jokey at worst. Thankfully, beyond the humorous publicity photos, they're not a jokey band.
Instead, they churn out golden nuggets of confectionary pop delights -- angular, new-wavish hooks, and dancable, head-bobbing beats. Pop, pop, pop. My head is about to pop, they're so fun. I hear traces of many groups that have come before, but in their hands these influences sound fresh, fun and new.
But, it's also easy to be deceived by the kitchy photos and toe tapping sounds. Methinks there is more going on with this band. Sublimely subversive lyrical content. Perhaps pop is the new revolution? Maybe Shorthand for Epic is the next Nation of Ulysses? Nah, probably not. But, much like the transformers, this band has "more than meets the eye."
In short, their self-titled, three-song EP has left me wanting more. Therefore, you will find me at Cafe Venus and Mars Bar this weekend checking out their show (see flyer below). But, Shorthand For Epic, I must tell you that you've set the bar awfully high with this EP. It's going to be hard to top in a live setting. But, I look forward to hearing you try!
How great is that?
Now, generally speaking, I'm not a fan of "jokey" bands. I'm a fan of comedy and I'm a fan of music. But, rarely can the two co-exist in my world. So, when I first saw pictures of Shorthand for Epic I was thinking they were going to be precious at best, annoyingly jokey at worst. Thankfully, beyond the humorous publicity photos, they're not a jokey band.
Instead, they churn out golden nuggets of confectionary pop delights -- angular, new-wavish hooks, and dancable, head-bobbing beats. Pop, pop, pop. My head is about to pop, they're so fun. I hear traces of many groups that have come before, but in their hands these influences sound fresh, fun and new.
But, it's also easy to be deceived by the kitchy photos and toe tapping sounds. Methinks there is more going on with this band. Sublimely subversive lyrical content. Perhaps pop is the new revolution? Maybe Shorthand for Epic is the next Nation of Ulysses? Nah, probably not. But, much like the transformers, this band has "more than meets the eye."
In short, their self-titled, three-song EP has left me wanting more. Therefore, you will find me at Cafe Venus and Mars Bar this weekend checking out their show (see flyer below). But, Shorthand For Epic, I must tell you that you've set the bar awfully high with this EP. It's going to be hard to top in a live setting. But, I look forward to hearing you try!
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