Training
For Utopia
Throwing A Wrench Into The American Music Machine
Solid State Records
Back off assholes, TFU is here! That about sum’s up the
power and in your face approach Training For Utopia have on
this new release. TFU hit very hard and very fast with some
heavy ass riffs, dark growling vocals and some of the best
song titles imaginable; Tennessee Midget, The State Of Wyoming
Is Worthless and Burt Reynolds Vs. Godzilla (which I’m
sure Mr. Reynolds would win?). Fans of The Melvins, The Dillinger
Escape Plan and Ministry (for good measure) should definitely
check these guy’s out, besides 50,000 screaming TFU fans
can’t be wrong.
-Robb Armstrong
Wretch Like Me
Calling All Cars
Owned & Operated
Let me start this review by telling all fans of the now defunct
Jawbreaker to buy this disc. Because Jawbreaker broke up (although
Jawbreaker released a new live disc with previously unreleased
tracks) and Wretch Like Me rocks! Why the comparison to Jawbreaker?
Listen to the song structure and vocals of Abe Brennan on
songs like Selfishly Devoted, Silently Violently and Catherine
and you’ll know why (the comparison to Blake Schwarzenbach
is uncanny). This disc does venture into other realms as well,
such as the song Desperate, where the driving guitars and
rough vocal’s could bring up comparisons to the Dwarves
or Zeke and the title track Calling All Cars, is an awesome,
awesome song. This is a very good disc and should be checked
out by any means necessary! -Robb Armstrong
Zeke
Dirty Sanchez
Epitaph
Zeke, these guys do it right. Loud, quick and leave you wanting
more. Dirty Sanchez rips! Twenty-one minutes of the best rock
and roll I’ve heard since... well... the last Zeke album.
From the opening line, “Hey, he’s acting weird...
it must be drugs,” to the last chords of the most fucked
up (fucked up good, not fucked up bad) version of Fleetwood
Mac’s Rhiannon I’ve ever heard, I found myself saying
the same thing over and over in my head: “I love these
guys!” Kurt Bloch has managed to catch the gut wrenching
heartfelt desperation that I’ve only heard in Blind Marky’s
voice at live shows. I could almost see Mark Pierce turkey-necking
around my living room, and it felt as if Donny Paycheck were
extending his middle finger from inside the sleeve just for
me, as if to say, “Zeke you! Yeah you, with the CD...”
With songs inspired by drugs, booze, and H.P Lovecraft it
makes you wonder what these guys really do when they aren’t
touring. If you like Zeke, you’ll like Dirty Sanchez.
I promise. -The Brow
High Rise
Disallow
???????
Great stoner-pysche rawk from this japanese power-trio. Take
Sabbath Masters of Reality and mix with Creation( 60’s
garage punk). Fans of Mudhoney, Nebula, Hendrix take note.
-Jay Onyskin
Goldfinger
Darrin’s Coconut Ass
Mojo
What, a new Goldfinger release? Yes, but before you get your
panties all wet let me tell ya’ that it’s all cover
songs, eight of them to be exact. This is a damn good disc!
With all the label’s putting out cover comp’s (check
out the Vagrant Records comp Before You Were Punk) it’s
nice to see the Goldfinger giving it a whack. If you’ve
ever been to a Goldfinger show I’m sure you’ve heard
some cover songs, but now all of you Finger groupies can have
a whole disc all to yourselves (to do whatever you want with
in the privacy of your own room). My favorites would have
to be the Peter Tosh classic DownPressor Man and the Police
hit Man In The Suitcase with the Specials Nite Klub a close
third. The nice guys in Goldfinger wanted us to have something
to tide us over until their new release is out (sometime in
2000), thanks guy’s! -Robb Armstrong
Softball
Tenku
Asian Man
Softball is a young punk trio from Japan and this is their
debut full length. It kicks major ass! The sound is raw with
good ol’ guitar, drums and bass backing the vocals. All
songs have enough edge and balls to be called punk, but plenty
of craftiness and melody to be called catchy. The whole album
rocks good and hard, keeping your head bobbing and toe tapping,
and then finally brings you in to the very best cut, Things.
It hits me in the gut and makes me want Softball at home.
I play this every day. (contact: BruceLee@PacBell.net) -Sonny
Mayugba
Bardo Pond
Set and Setting
Matador
Bardo Pond’s latest foray provides the pop song dreamer
endless opportunities to imagine desolate landscapes as well
as crowded urban drama where inhabitants can feel alone in
the desolate coldness of feedback, or as part-of-a-whole with
the fiery rhythms and bass lines that weave the architecture
together into something beautiful. Dwellings on the moon are
only decades away, and Bardo Pond is already writing the soundtrack
to the hammering, filing, and sanding that will make it inhabitable.
-Keith York
Land of
the Loops
Hurry Up and Wait
Up
When Mo’Wax introduced us to smoke-filled-room beat junkies
like Nightmares On Wax and Attica Blues via their Headz collection,
it startled those of us awaiting a turn in sampler culture.
Stateside, Land of the Loops and Buckminster Fuzeboard have
been bubbling just below the surface of the headphone set,
treating popkids and K Records subculture addicts to some
addictive note ‘n’ chord trickery. Hurry Up and
Wait is best viewed as a sample of both projects, as two songs
Eastes Park and Extra Chicken are billed as Buckminster Fuzeboard
vs. Land of the Loops, while the first three index marks are
credited solely to Alan Sutherland (aka Land of the Loops).
Incredibly delightful from whatever perspective you are approaching,
this angular effort of pop, lo-fi beats, and a sinister melodic
approach is worthwhile.
-Keith York
Pharoahe Monch
Internal Affairs
Rawcus
Just when you thought hip-hop music might be getting somewhat
stale, Rawcus Records comes through with a mini-revolution
to stir things up. Pharoahe Monch’s Internal Affairs
is the latest blast from the Rawcus revolution. Now I won’t
go to any great lengths to compliment this album’s lyrical
content, but the Pharoahe’s voice is pretty dope (something
like Sadat X), his rhyme flow is wickedly on point (I bet
he tears it up live), and the engineering quality is everything
you would expect from the Rawcus crew. Special guest stars
like Busta Ryhmes, Method Man, Redman, Lady Luck, Shabaam
Sahdeeq, Common, and Talib Kweli keep this album interesting
the whole way through. -Dave Margolis
Jim O’Rourke
Halfway To A Threeway
Drag City
Creative songs on acoustic guitar and softly spoken vocals.
It’s well done mood music that makes me want to turn
off my computer and go drive up the coast in an old rented
convertible. All the songs have such nice subtle harmonies
and before long, your singing la la la along with Jim. Some
brass instruments are thrown in for flavor but most of the
songs seem to revolve around the acoustic guitar and the vocals.
Sorta like Cat Stevens meets Elliot Smith.
-Brian Shevlin
In My Eyes
Nothing To Hide
Revelation
I can honestly say that I wouldn’t normally ask to review
a sXe band because I am the biggest beer guzzler/pot smoker
there is, but due to the fact that I’ve seen these guy’s
live and that they’re on Revelation was enough to ask
for it. In My Eyes are a five piece Boston sXe band and like
any other sXe preach the ways of bearing an X on your hand,
but let’s not get into that. This CD rocks plain and
simple, from the opening track Take The Risk (that song title
alone sounds hypocritical doesn’t it?) to the last track
The Weight of Words. This CD has tons of hooks and catchy
bridges to keep all interested and these guy’s wail,
live and on disc. Don’t be afraid to check these guy’s
out due to their beliefs, cause they kick some serious ass,
sXe or not!
-Robb Armstrong
Built To Last
...and Knowing Is Half the Battle
Resurrection A.D.
Second LP here from this band from San Diego. They play that
fast blistering type hardcore with throat searing vocals.
At first the vocals were a bit overwhelming but they grew
on me and are actually very powerful. Some good sing-a-longs
and there could’ve been a few more breakdowns (hey, I
like that shit) as most of the songs are whirlwinds from beginning
to end. They claim to be straight-edge but don’t get
preachy or anything and that’s a plus. Nothing fancy
or new just good ol’ fashioned California hardcore that’ll
make you glad you’re alive. -Mitch Soto
The Cuf
Cufbaby
Mr. Pen Ink
The Cuf are Sacramento hiphoppers along the lines of Quannum
or Rawkus stuff. This LP follows up their 12” EP which
came out sometime last year. The only thing keeps this album
from being on the same level as say, Jurassic5 or Latyrx,
is the production. Not that it’s bad, but it just doesn’t
quite have the clarity of a top of the line production. Other
than that, this is a really good listen. Like most underground
hip hop, the thing that makes this better than mainstream
rap is the lyrics. Not only do all of the members have skills,
but they write extremely smart lyrics as well. I’m always
one to champion independent music, so I totally recommend
picking this up. -Scott Torguson
Del the Funky Homosapien
Both Sides of the Brain
Hiero Imperium
In an effort to be their own bosses and return to their underground
Bay Area hip-hop roots, the Hieroglyphics camp removed themselves
from the arena of the mainstream recording industry. This
movement hasn’t shaken up the world of MTV, or made the
pages of Billboard, Rolling Stone, or even The Source. But
it has legitimized the music of Del, Souls of Mischief, Casual,
and the rest of the Hiero crew in the eyes of their fans.
It has also proven, in my opinion to be an important example
for hip-hop artists and musicians everywhere to take back
what is theirs from the greedy hands of major record labels.
As for this latest Del album, the Funky Homosapien is back
with yet another classic contribution to history of hip-hop.
The LP contains 19 full length tracks (no skits or fillers),
and his wit and lyrics are still ahead of their time. Del
fans are going to love this newest installment in the Hieroglyphics
saga. Look for guest appearances by Casual, A+ from Souls
of Mischief, and El-P from Company Flow. -Dave Margolis
Reatards
Grown Up, Fucked Up
Empty
Remember the days when rock ‘n roll was based on energy
& emotion? Neither do I. But there was a time, believe
me, and the Reatards harken back to a time when the only thing
that mattered was who rocked and how hard. During the original
garage band experience (which went on to become punk rock)
there wasn’t this massive ideology built upon shiny guitars
and polished production. The Reatards prove that to rock you
only need attitude, enthusiasm, and the energy to get your
point across. This new record conveys all of these things
and makes me want to experience their live shows as soon as
possible. I can imagine this trio destroying things at CBGB’s
and throwing themselves on the floor at the drop of a hat.
Recorded in a funnel with artwork by Kinko’s, it just
doesn’t matter. These guys rock the way you’re supposed
to and they don’t give a shit about anything else. -Che
Brooks
B’ehl
Bright Eyes
Endearing
Mixing up the twee-pop-isms known to the indie pop list inhabitants,
B’ehl approaches the rest of the world’s headphones
and car stereos with a tender smile and a new album. Musically,
Bright Eyes is a mix of Holiday Flyer, Bunnygrunt, Honeybunch,
and Suddenly Tammy, with someone akin to Amelia Fletcher on
vocals. The sound of stones thrown by giggling pig-tailed
pre-teen girls skipping off wind-blown lake surfaces near
summer camp hot dog roasts. -Keith York
Snapcase
Designs For Automation
Victory
After a brief break up and label limbo, Snapcase has returned
to answer the fans, critics and imitators. The result is a
revamped lineup and sound that incorporates more rock elements
and newer sounds and layers. Known for the driving Helmet-esque
drop tuned assault, Snapcase is able to reach outside of their
limits of hardcore and metal and take their signature sound
new places. The tempos shift, the vocals remain strong and
energetic and the dueling guitars dip into experimentation
with more effects and deeper sounds. All the elements that
helped shape the Snapcase sound remain but new depths are
reached. Songs like Typecast Modulator and Target deviate
with ringy guitar parts and guitar riffs that are catchy yet
heavy. I was impressed with many of these tracks when I saw
them live and found them recreated beautifully on the disk.
Old ears will be impressed with the experimentation and new
ears will be taken over by the energy and song structures.
Designs For Automation proves to be worth the wait and only
makes you anticipate hearing all the songs live by one of
the leading live acts today. -Anthony Pappalardo Snapcase
is back with their third full length on Victory. I have to
say not a whole lot has changed at the Snapcase camp as far
as the song writing goes. Still the same stop-n-go rhythms
and Daryl’s familiar screams. The tracks on this release
do have more of a rock sound to them though. You can’t
really hear a whole lot of the “typical hardcore”
sound in this recording, well, Snapcase have never really
had that sound I guess, but there are just more rock elements
here... which is good. They have also added Dustin Perry on
bass (from Threadbare). Great production again from Steve
Evetts and great artwork from Limbert Fabian. An overall great
release from these Buffalo, NY guys. This album may push them
into uncharted territory. All the best to them. -Don Clark
AM/FM
Audiot
Skylab
Ween vs. Pulsars. The listener wins. Prizes come in seven
varieties of sensible-psych driving music for lonesome highways
in wooded regions bright with the colors of seasonal change.
The guitar picking matches the tempo of the windshield wipers
criss-crossing the morning mountain mist from view as drum
tempos parallel the tires riding the center-divider reflectors
glued to the asphalt. The vibe of Say What? wakes the driver
from the long-haul’s narcotic effect. Waking up suddenly
tapping the 4/4 tempo on the steering wheel, the car’s
inhabitant finds himself singing along to the cryptic lyrics
such as “Speedos don’t always look dumb. And water’s
not always wet.” -Keith York
Suicide Machines
Hollywood
The boys from hockey town (Detroit to non-hockey fans) have
done it again. The Suicide Machines deliver another solid
release. A little poppy, and a little less ska or hardcore
oriented, than the band’s earlier releases, but that
should not disappoint longtime fans or newbies from digging
this record. It is great to see a band not afraid to grow
by experimenting with new sounds and flat out writing better
material. These songs will have you humming along in no time.
-Brent Spain
Pop Unknown
If Arsenic Fails, Try Algebra
Deep Elm
Sporting members from Mineral, Imbroco and Feed Lucy, Austin,
Texas’ Pop Unknown delivers a strong and mature pop record.
Layers of melodic guitars and catchy lines will help keep
this one in your CD player’s rotation. Emo kids and indie-college
rockers are sure to embrace this record with open arms. Fans
of Mineral, Sunny Day Real Estate, and Jimmy Eat World will
enjoy this. -Brent Spain
Baboon
We Sing and Play
www.baboon.com
Rarely is perfection realized, and even rarer can a band claim
they did it on their own. Not since the Sausage cassette have
the Denton, TX quartet ventured into overseeing one of their
own releases. Connected to labels like Direct Hit, Silver
Girl, Grass and ultimately “The Man,” the gang has
weathered the headiest storms of their career. Putting all
the bureaucratic nonsense behind them, the boys have created
their most telling statement yet. In We Sing and Play, Baboon
leave the virgin startled, questioning why they haven’t
come to know Baboon more intimately, earlier on in their life.
Engaging, relentless power evidenced across the whole document
is the least compelling analysis of this mini-album. It is
the witnessing of a band cementing their sound and vision
within the confines of managing their own destiny that is
truly a spectacle to behold. Musically, Baboon have shed many
of their experimental toys, instead grounding themselves in
their strengths with melody written inside their sinister
rock dynamics. Every song is an opus, a swan-song, an anthem.
We Sing and Play is the defining moment in Baboon’s life
that fans have always sought, and upon the delivery of this
perfection we can all join in the afterglow together as this
booms from car stereos and movie soundtracks, and concert
venues. The Man has been defeated. The Man will never be the
same. The Band has finally conquered the corporate menace
that punk rock has always rallied against. The People have
spoken. -Keith York
Baby Namboos
Ancoats2Zambia
Durban Poison / RykoPalm
Expect the unexpected when a Bristol address appears. Making
their Durban Poison (Tricky’s label) debut, The Baby
Namboos downbeat collective provide heady skunk-infected,
yet conscious vibrations from the dark, cold northern hemisphere.
Stripped of the dub fuel, the retail version of The Baby Namboos
are comparable to Portishead (though vocals sounds more like
Bjork) and Morcheeba, while they also arguably reside even
farther in left field with Bristol beat compatriots Herbaliser.
Your understanding of Tricky is the real key to grasping the
mood of Ancoats2Zambia. Trust me. -Keith York
Mos Def
Black On Both Sides
Rawcus
“The grits we used to eat/stickin’ to your teeth/and
teeth is hard to keep/with every flavor now-and-later only
a dime a piece.” Mos Def comes strait outta Brooklyn
with a musically diverse solo album that manages to be simultaneously
hard, harmonic, and conscious. These songs won’t hit
the mark for pop fans, club deejays, or bass bumpers, but
if you’re a long time fan of hip-hop beats and rhyme
style, Black on Both Sides deserves a listen. This album features
Talib Kweli (Mos Def’s partner in Blackstar), Busta Rhymes,
and Q-tip to help diversify the mix. So give Mos Def a try,
he’ll keep you thinking. -Dave Margolis
Discount
Crash Diagnostic
New American Dream
If you read my reviews in Heckler very often, you may have
noticed a cynical edge creep in once in a while around the
edges of my otherwise happy persona. Especially, despite the
fact that according to our reader survey 70% of you listen
to punk rock, regarding the sacred cow called punk. It’s
not that I don’t like punk, it’s just that In my
opinion, most of the punk that I hear these days is lifeless,
soulless, derivative and every bit as formula as the Backstreet
Boys and N’Sync. But then a record like Crash Diagnostic
comes along and re-affirms my faith in all that is good in
punk rock. Everything about this CD is great. Passionate,
exciting, great song writing, great vocal melodies, lots of
energy, in short everything I like about music, punk or otherwise.
To top it off, this album is perfectly produced by Burning
Airlines and ex-Jawbox honcho J. Robbins who is becoming a
very talented and in demand producer (Promise Ring, Jets To
Brazil, Dismemberment Plan) As another added bonus, the photos
and artwork by vocalist Alison and ‘construction’
by Punk Planet designer Dan Sinker round out this package
very nicely. -JBGrandaddy
The Sophtware Slump
V2
If you’ve read my reviews for very long, then you know
that I’m a big fan of this Modesto, CA band. But, The
Sophtware Slump has completely exceeded my expectations. The
only thing I can compare this to, and in a very good way,
is Pink Floyd, circa Meddle and Wish You Were Here. The first
track, ‘He’s Simple, He’s Dumb, He’s the
Pilot,’ clocks in a few seconds short of nine minutes
long, yet holds your attention the entire time. The song begins
with a banjo run through some delay and Jason Lytle’s
voice, with some bird sounds in the background. “Are
you ready?” someone (the drummer I think) asks. “Yep,”
Jason replies. “OK, 1, 2, 3, 4” and the song takes
it’s next turn into an acoustic guitar, bass and drum
trio with a beautiful low end synth string line. Jason’s
vocals are run through a filter and after one verse, an arpeggiated
synth announces the pick up to a fuller, denser orchestrated
section. Little parts slip in and out constantly as do new
vocal melodies and chord progressions. At about three minutes,
the song completely breaks down and starts over with a new
melody over a piano and string section. The vocals are lightly
echoed and synth noises move in and out along with sampled
gothic choir voices. As the drums come in and Jason sings
a lyric about “Giving in 2000 man,” and other voices
come in behind him in a falsetto. The song ends on this motif
as more synth melodies come in and the vocal line continues.
The repetition somehow works, leaving you wanting more not
less after several minutes. And, this is only the first of
11 songs, all of which are just as seductive. On top of all
this strength and confidence in arrangements and song structures
Jason’s voice has evolved into something truly beautiful.
I just can’t stop listening to this CD. Destined to become
a classic of some kind. -JB
Kids of Widney High
Lets Get Busy
Ipecac
I had the wonderful opportunity to see the Kids live in San
Francisco two days in a row, back to back, opening up for
Mr. Bungle. I had heard people talk about this band in the
past, and I didn’t know what to expect. Its a group of
retarded kids singing songs about throwing away the trash,
and getting respect for being retarded. I love this CD, and
recommend that everyone catch them live if they get the chance.
Its so easy to forget how enjoyable music actually is when
you get caught up with how great some new band is or how crappy
another band is. The kids remind you that jumping around and
singing with your friends can, and should be fun. There is
so much that the world could learn from listing to this CD.
-Brian Shevlin
DMX
And Then There Was
Def Jam 2000
And Then There Was is DMX’s third full-length release
in two years. Though I would have guessed that he would have
spread himself a little thin by now, he seems to have plenty
left to say to fill up this album. In some ways this record
represents a lyrical evolution away from the gratuitously
thuggish toward the marginally conscious. If you like the
sound of the Rough Riders album Ride or Die, then And Then
There Was deserves a spot in your collection. The production
quality is highly polished, and the beats are tight with loops
that are exceptionally eerie. Special guests include LOX and
Drag-On from the illustrious Rough Riders, Sisqó from
Dru Hill, and Regina Bell. -Dave Margolis
Toy Dolls
On Stage In Stuttgart
Receiver
Being the big Toy Dolls fan that I am, I was extremely over
joyed by this release. Anybody who has seen the Toy Dolls
live always seem to list them as one of the best live shows
they’ve ever been too. This CD which was recorded in
Germany from their 1998 One More Megabyte tour, is a perfect
example of what the Toy Dolls are like live. Full of talent,
energy, and most importantly - Fun! The Dolls released a live
album in 1989, Twenty Tunes Live In Tokyo, which was a great
release also, but this one is better because the recording
is better, and the Dolls are about age 40 now and they still
have more energy in them than your average high school wannabe
NOFX cover band. The whole scope of their 20 year career is
present here with some added gems. A neat little duel on guitar
to a Mozart piece and the theme to Indiana Jones. What more
could you ask for? Cheers. -Snake
Dirty Three
Whatever You Love, You Are
Touch And Go
If you ever wondered what guitar, drums and violin would sound
like if composed together, look no further. Dirty Three make
beautiful music that sounds effortless and dreamy, sparse
and American, despite their Aussie roots. There are no words
about conformity or independence, no words about broken hearts
or lost love. It’s only music. Honestly, I really doubt
many of you would like this album upon first listen; it is
way out of the ordinary, quite a distance from alternative
and punk. However, if you were to give it a try, in your dark
lonely room, with your mind turned off and your heart open
like a flat can of smoked oysters, you might find something
inside yourself. Perhaps you are a sealed can of smoked oysters
and this CD is your can opener. Do you want to be sealed in
cold steel forever or would you like to spill your guts all
over the floor? It’s a beautiful world, one that just
got better. -Sonny MayugbaLard
70’s Rock Must Die
Alternative Tentacles
That Jello Biafra has a whiny voice is not news to anybody.
Like Johnny Rotten, as he gets older the voice gets more and
more shrill. That he’d crank out such a conventional,
“Rock” record is pretty surprising. The title song
pretty much sets the tone with a rant about cockrockers and
their foolish ways. Yeah, yeah, pretty damn done to death-that
whole trick: play-the-genre-you’re-mocking-while-mocking-the-genre.
That way, if the song fails as satire, it may succeed as a
genre piece on its’ own merits. That’s the theory
and the theory usually doesn’t pan out. It does manage
to stand on its’ own musically, but after five listens
(painless listens if you like it, not so painless if you don’t.
I did) I still can’t figure out most of what the hell
mister Biafra is saying. Sure, there are a couple lines here
and there that come across, but the fucker lets the words
fly so fast, I’ll need another month to get the first
verse. The strange thing about this Lard CD is that the songs
are pretty damn long. The shortest one clocks at over 5 minutes.
(This coming from a man who twenty years ago screamed, “I
like short songs” is pretty damn cute.) I will sum it
up thusly: It sure isn’t experimental like the first
Lard record, but where that was one of those records with
one good song and a bunch of ka ka, this lacks the hit single
that was the gem Power of Lard but sounds far more consistent.
Fans of Biafra who thought that dumbass collaboration with
Mojo Nixon was ill-conceived (I did. Jello doing country?)
will certainly appreciate the good old Jello we all love to
laugh at. Pretty good rock, you ask me. -Reverend Ed
Trembling Blue Stars
Broken By Whispers
Sub Pop
Dreamlike. That half-awake, one eye opened in pre-dawn darkness
unsure if it’s the next day yet. Crumpled sheets dress
you as the down-filled pillows cradle the cheek still as the
cold morning air outside the comforter warmth. Half the head
of hair you own sweeps across your brow filtering the scene
as a sheepdog must live everyday. Whispers flow gently through
the alarm clock stereo tweeter are soon joined by strummy
acoustic guitar. In the half-sleep you hear the Go Betweens,
The Chills, Lilac Time, Lush, Galaxie 500 and the Field Mice
but no morning-show DJ cracks the air introducing you to the
new band with the new yet familiar sound. Annemari’s
vocals join Robert’s and gilded pop songs begin to shimmer
in the early light of dawn. You have been half-awake for nearly
an hour, cradled by the sound of the Trembling Blue Stars
bringing in the new day. It’s enough to question why
one would put themselves through a traffic-heavy commute only
to spend the remains of the day in flourescent-lit, air-conditioned
cubicle space punching a keyboard. -Keith York
Reverend Horton Heat
Spend A Night In The Box
Time Bomb
Ahhhh, this CD was a very welcome surprise to my mailbox!!
I can proudly say that I’m only missing one Horton Heat
disk from my collection and that one is Holy Roller. But now
on to this thing of beauty; There aren’t too many CD’s
that I’ll put on “repeat” especially from the
first opening but this was definitely one of those few. And
for some reason I’m reminded of Mrs. Mia Wallace, from
Pulp Fiction, in at least one song out of each of his albums.
While each of the Rev’s albums definitely have distinct
flavors, whether it’s rock-a-billy or lounge, Spend A
Night In The Box is clearly The Reverend Horton Heat. From
the thumping Jimbo gives his stand-up bass to the pounding
Scott Churilla gives his drums to the alcohol and smoke-worn
voice of the one and only… (Take a deep breath here)
This album is the culmination of the evolution from Smoke
’em If You Got ‘em to Space Heater. -Generallee
Chappaquiddick Skyline
Sub Pop
Somber seems to be the key emotion in indie rock at the millennium’s
turn. Discs by Bright Eyes, Simon Joyner and Pernice Brothers
(Joe Pernice is the guitar/vocal heart of Chappaquiddick Skyline)
have been laser-lit by CD players in the household a lot lately.
With the recent offerings from labels like All City, Jagjaguwar,
and Secretly Canadian among others, the heartfelt singer/songwriter
has never been better displayed in its simplest format - small
pressing, high intimacy. Chappaquiddick Skyline sits nearly
still at times like soft gentle waves leaving the point where
the stone disrupted the stillness of water and air. Joe Pernice’s
vocals caress the lobe and tired brow as bass, keys, and percussion
take us for small hikes throughout the pond’s neighboring
forest surroundings. We continue to return to that restful
spot on the calm sandy shoreline listening to the chaos of
humanity whispered like a gurgling stream in the tree-lined
gardens of our lives. -Keith York
Feeder
Yesterday Went Too Soon
Elektra
Feeder remind me of a UK version of Seaweed or Superdrag.
Catchy rock and roll with choruses that stay in your head
all day. With a hit on the She’s All That soundtrack,
Feeder returns again with another ‘post-punk’ sounding
hit, Insomnia, that is getting regular radio airplay. Feeder
is different than most UK rock bands. They actually sound
like an American band most of the time, fusing together the
rock sound of two continents. This is an overall great rock
record. -Don Clark
Therapy?
Suicide Pact-You First
Ark 21
Ok so you’ve been a fan of Therapy since their track
on the Judgement Night soundtrack right? Ok maybe not but
these fellows from Dublin have been churning out records for
years and Suicide Pact continues of their path of heaviness
and delirium. Picture a gruffer Tom Waits rambling over Sabbath-y
riffs and occasional industrial metal grooves. Unfortunately
this mix comes off as downright funny at times but the joke
seems unintentional. Sure the tongues might be firmly planted
in cheek but everything from the layout to the lyrics seem
overdone and kitschy. There’s a time and a place for
everything and this just seems to be a bit off the mark. Sure
pentagrams and devil cartoons were sketchy and haunting in
the seventies but they lose their potency over time. Song
titles like Hate Kill Destroy just don’t carry as much
weight anymore. -Anthony Pappalardo
Pachinko
Splendor In The Ass II: Electric Boogaloo
Alternative Tentacles
Pachinko is not normal. Normal people don’t think about
shit like this. Pachinko is sick and twisted and their tales
of wrestling Jesus, stabbing over acid tabs, and cheap Budweiser
are, poetically speaking, fucking beautiful. Okay, so who
cares about what they’re singing about, right? The music
is what really matters. I happen to be a humongous fan of
Madison, Wisconsin’s other great export, Bongzilla, and
I see quite a few similarities in their styles. Must be something
in the ganja there. Both bands do the sludgey, atmospheric
stoner rock thing so well, I salivate every time I listen
to either band. Ultimate wet dream for the year 2000: Pachinko
and Bongzilla sharing the love onstage together. Save your
money for this one. -Brad Oates
Gang Wizard / Monotract
7”
Blackbean
Blackbean has foraged forth beyond our musicology to find
obscure artists that will become relevant to our musical consciousness
soon after release (after all look at the label’s discography).
Both bands skronk along in the free-rock domain. Meandering
guitar lines, some with flangers, others without, pass at
ankle level and crawl around the room for lengthy periods
of time until the needle escapes their grasp heading toward
the inner sanctum of the label art (of which there is none
in this case). No packaging, no liner notes, no explanations,
just skronk. Since “free jazz” is the hot tip these
days, I assure you Forced Exposure will be all over these
two bands in a week’s time. (Blackbean 14847 Septo Street
Mission Hills, CA 91345) -Keith YorkExhale
Ends in A 12”
Sunney Sindicut
The crisp, stunted blows upon a snare drum punctuate the strangled
six-string storm. Vocals ride like foamy crests atop powerful
winter waves. Hitting the shore with violent force, the white
foam turns to mist and envelopes the couple standing still
upon the cliff’s edge. Clouds roll in. Growing ever darker,
the movement of the needle across this single-sided slab of
plastic mimics that of storm clouds leaving the distant horizon
to become the ceiling directly above your head threatening
a storm. Again and again the drums clap like lightening cracking
open the sky. The vocalist enacts the heaviness of the rain-carrying
clouds. Put the GoreTex around your body and the needle on
this storm and wait out the winter rains inside your bedroom.
-Keith York
Six By Seven
Ten Places To Die /
England & A Broken Radio
Mantra
Nottingham’s sons serve up a teaser to their next full
length with this EP. They teeter between drone melodies and
pure pop teasers, never quite leaving a trail or pattern,
making you anticipate every move and twist. The 4 songs on
this EP, taken from radio and studio sessions, blend various
styles and influences that hint at anything from My Bloody
Valentine to Bowie (who’s covered on track 4). There
is a nice mix of big full studio sounds and delicate lo-fi
noise. Vocals become textures and layers, noise becomes patterns
and hooks, guitars guide the melodies and the keys follow
suite. The feel is loose and jammy but controlled and precise.
Unlike most Brit acts, Six By Seven take a less straight forward
approach and choose to challenge you with layers of sound
in which the hooks are found not given, and only after repeated
listenings and absolute absorption. -Anthony Pappalardo
Eels
Daisies of the Galaxy
Dreamworks
Southern California has long had a reputation for glossy,
shallow and overproduced music. I guess with all the pricey
studios, over the hill and overpaid producers and clueless
A & R reps with expensive cars and clothes, that’s
no surprise. But, I think that may be changing a bit. Artists
like Beck, producer Jon Brion (Fiona Apple, Aimee Mann) and
the singularly named mono-lettered ‘E’ of the Eels
are making great pop albums that make the best out of So-Cal’s
musical and cultural melting pot and it’s abundance of
musicians and musical resources. On Daisies, the Eels are
joined by Peter Buck of REM to create one of the best pop
records of the early zeros. Great, clever songs and inventive
arrangements are somewhat reminiscent of Tom Waits, but much
more poppy and accessible. -JB
Stereolab
The In Sound 7”
IPR
Apologizing to the consumer and “The Groop”, IPR
states in an enclosure that we should not be mistaken, that
these tracks have never been released prior to this document.
The letter explains that so much time had passed between receiving
the band’s tapes and this single hitting stockroom shelves,
that “The Groop” had re-titled two of the songs:
Drag City’s Aluminum Tunes compilation showcases the
changes in song titles - Blue Milk became Munich Madness while
Aluminum Tune became Golden Atoms. Collectors should be interested
in this factoid and with the wonderful sheet of Stereolab
stamps encased within the letterpress sleeve limited to 2500
copies. As with every Stereolab single, this was out of print
on its release date (even with its songs having been released
prior, ironically, on the singles collection Aluminum Tunes).
The music is the easiest part of this soap opera to describe,
brilliant ‘95 vintage Stereolab from around the Emperor
Tomato Ketchup sessions. Two of the dronier Jenny Ondioline-esque
tracks are held snugly together on the flip, while Blue Milk
is the near-motorik seductive pop they have defined as their
sound. Essential for everyone involved. (Independent Project
POB 1033 Sedona, AZ 86339) -Keith York
Skull Kontrol
ZZZZZZ
Touch And Go
Sometimes music is given a kick in the ass by aspiring new
faces, other times it takes seasoned veterans to shove things
off in a new direction. Enter Skull Kontrol an outfit comprised
of DC all-stars who have all the essential credentials to
set it off. After putting out one of the best indie releases
of last year, Chris Thompson and company start the millennium
with 6 more songs that are saturated with personality, melody,
noise and the quirky riffing that has become their mark. Most
bands progressively get softer over the years and get obsessed
with melody, Skull Kontrol seem to have gotten noisier and
heavier. Picture the manic vocal ramblings of The Fall laid
over Greg Ginn styled guitar noodling, incorporate humor,
irony, and the collective experience of 4 indie veterans and
Skull Kontrol is one step closer. The songs sound bright and
fresh while containing some familiar sounds. Lyrically Thompson
spins webs that are obscure and illusive but phrased so well
that something like “See the antenna sticking out of
his dark black roots,” seems to make perfect sense. Skull
Kontrol successfully carves out their own niche without using
gimmicks or hype, just an original blend of punk, noise, melody
and the sound of experience. -Anthony Pappalardo
Blindside
A Thought Crushed My Mind
Solid State
Pure genius! Finally we have another record from these soon
to be hardcore stalwarts. Hailing from Sweeden (again?) and
destroying another set of brutal songs, Blindside can only
be described as brilliant. On their latest record one notices
how most of the hip-hop breaks that were evident on their
Solid State debut are all but a memory. Introducing the new
sound and enter what will surely be the future of metal-core.
Solid vocals are the first step to any band. But while most
hardcore bands will rely on nothing more than a few grunts
and growls, Blindside have the capacity to sing as well as
remain true to the sounds of their genre. Opening with the
song Vow Of Silence, I am quickly reminded of the start/stop
structure evident in a band like Refused, as well as the vocal
fluctuation of a band like Vision Of Disorder. The thoroughly
crushing nature of King Of The Closet reminds me why I started
listening to this genre. But sure as things get started, there
is a cut back to a more emo-metal sound that shows the ability
of this great band. Don’t be surprised if your emo friends,
your punk rock friends, and the metal kids up the street all
get into this record. It’s all there for you - ready
to crush your mind.
-Che Brooks
Third Eye Foundation
Little Lost Soul
Merge
Goddammit You’ve Got to Be Kind. I think Matt Elliott
(aka Third Eye Foundation) has summed up his latest work Little
Lost Soul in naming its finale so appropriately. Gone is the
hedonistic feedback dirges captured on his first vinyl-only
releases. Gone is the mayhem and darkness from this Bristol
record shop clerk turned beat pioneer. While the press has
tagged him as a lo-fi compatriot of both Squarepusher and
Flying Saucer Attack in the past, Matt has moved himself and
his sound into a completely new realm. While still pushing
the limiter on some of his beats (ala Squarepusher, and the
Astralwerks crew), the melodic string synth sounds have replaced
eerie with beauty, and angst with solemnity. While Third Eye
Foundation is still a bit misunderstood, his style will likely
transcend time and inform the style of a new generation of
sampler jockeys. Timeless beats for a new millennium. (Merge
POB 1235 Chapel Hill, NC 27514) -Keith York
Boss Hog
White Out
In The Red Records
In a word”sexy.” That’s how they’re working
it and that’s what it is. So depending on what kind of
kink you’re into, this recording could be just what you’re
looking for. -Cyanica
Ani DiFranco
To The Teeth
Righteous Babe
To be honest, I’ve never been a huge fan of Ani DiFranco’s
music. It’s always seemed a bit heavy handed and overly
serious while it seemed a bit musically one dimensional at
the same time. But, I’ve always been a huge fan of her
as a person. She and her record label are every bit as punk
as Ian MacKaye and Dischord, while reaching an even bigger
and ever growing audience. She just oozes integrity and well,
righteousness. So having been really wanting to like her music
but not quite able to, this CD comes as a very pleasant surprise.
With the exception of the title track (“open fire on
Hollywood, open fire on MTV, open fire on NBC and CBS and
ABC. Open fire on the NRA and all the lies they told us.”
I totally agree but a bit heavy handed nonetheless) this entire
album is just about excellent. On her third (!) album in 1999,
Teeth finds her experimenting in the studio and with other
musicians and arrangements with total success. From rock to
funk to folk and even DnB textures, she moves between them
fluidly and easily and naturally. Guest musicians like Maceo
Parker and Prince (sorry no special font on my computer) help
out as well. Check out the funky electric wah/acoustic guitar
textures on Wish I May if you were a doubter like me. -JB
Pollen
Chip
Fueled By Ramen
What do you call a person who hangs around with a bunch of
musicians? Answer - a drummer. Ha! I resent jokes like that
mainly because I’m a drummer. What was the point of that
stupid joke you ask. Well because Bob Hoag, the drummer for
Pollen does anything but live up to that joke. Not only does
he write the music and lyrics for Pollen, but he also produced
and engineered the new Pollen album called Chip. It’s
Pollen’s fourth album and one of their best. Although
it is the first album not to be co-produced by Stephen Egerton
and Bill Stevenson, Pollen still carries the All/Descendents
influence around with them. Well written, mid-tempo pop/punk
songs and lyrics about girls, feelings, and life make this
release a true winner. Hey! How many lead singers does it
take to screw in a light bulb? One. They just hold onto it
and let the world revolve around them. (drum crash, followed
by laughter). I like that joke better. Cheers. -Snake
The Essex Green
Everything is Green
Kindercore
With its heart and soul firmly rooted in the psychedelic splendor
of ‘60s-era British folk, Vermont’s Essex Green
crafts a lush soundscape of organs and guitars, pennywhistle
and flute. Featuring members of Ladybug Transistor and the
Silver Jews, every person in the band has a pivotal role-each
one writing songs and singing on the record. The result is
a richly diverse kaleidoscope of texture, pacing and mood.
From Saturday - an urgent call to arms set to a polka, to
the softened mambo tempo of Big Green Tree and on to the 60’s
garage rock of Tinker (She Heard the News), it’s clear
that the Essex Green wears its influences loud and proud on
its sleeve. -Rachel Leibrock
Arto Lindsay
Pride
Righteous Babe
Ani Difranco asked Lindsay to do this record for her label,
and he responded by producing his best pop record yet. While
similar to his recent albums, there’s more of the gritty
noise (guitar and electronics) that originally made him famous
with DNA, Lounge Lizards, and countless other project. Lindsay
has developed a highly personal approach to songwriting by
fusing sultry bossa nova with the hard-edged sound of trip-hop.
The result is a perfect example of using the studio creatively
to give ideas form. The mixes on this record are neatly varied
giving each tune a distinct texture and mood –some ultra
digital modern, others downright classical. Working with a
variety of musicians (most notably Melvin Gibbs and his deep
funk bass), engineers and studios, Lindsay has crafted an
excellent avant-garde Brazilian techno-pop hybrid.
–Dewey Mahood
Saves the Day
Through Being Cool
Equal Vision
When I went to Philly last week I played this album in my
walkman. I know that these Saves the Day kids are all from
Jersey so I liked listening to this album as I chugged along
the New Jersey Transit train line. I could imagine the suburban
dramas of love, lust, and revenge that are captured in their
lyrics occurring in the Jersey towns I whizzed by. With their
soundtrack of poppy punk/hardcore, this makes me feel like
a kid again - a time when freedom meant dad’s car for
the night, a slurpee in one hand, and the radio blasting your
favorite song. -Anna Goldfarb
Bane
It All Comes Down To This
Equal Vision
Sometimes the best way to get a point across is to be direct
and simple other times a point can be delivered effectively
with symbols and metaphors. Bane does both, musically and
lyrically. It can be as simple as “All I wanted to do
was skate and listen to my suicidal tape,” or as abstract
as “This rock won’t turn into a butterfly no matter
how hard I squeeze.” The beauty is in the delivery and
the intention and the honesty and sincerity of the band. Bane
blends the roots of 80’s hardcore with years of dedication,
experience and a palate of influences that span all factions
of hardcore and metal with some of the most direct and heartfelt
messages to date. It can be said that a truly great hardcore
band can be felt and not heard and Bane is just that, from
the live show to the recorded sounds. Bane is the product
of five individuals with like minded personalities and varied
backgrounds and experiences that result in the group’s
energy and emotion. A fine toothed comb has been run over
this whole package from artwork to the lyrics and it can be
absorbed on many levels. All it takes is one listen to understand.
-Anthony Pappalardo
Pitch Shifter
Un-United Kingdom
Alternative Tentacles
After years of releasing some of the best metal-industrial
sounds of the underground, Pitch Shifter are back with another
release showcasing their amazing talents. With their last
release www.pitchshifter.com, it was evident that this crew
was headed towards the commercial success they so deserved.
And with this new EP, these boys seem ready to rocket towards
the forefront of the electronic-metal genre. The first single
Un-United Kingdom clocks in at a blistering 162 bpm, and is
straight-forward Pitch Shifter. Throw in a remix of said song,
and an awesome cover of Big Black’s Kerosene and you’ve
got a great appetizer to their next full length record. Can’t
wait!
-Che Brooks
Error Type:11
Amplified to Rock
Some
The work “rock” is in the title, and these Long
Island Boys mean it. This is their second full-length and
it shows - the album is smoother and more polished than the
last one. Some might say that they are striving for top 40
guitar pop, but that would be missing the point. Their hardcore
roots show through on their approach as their frontman, Artie,
takes time and ink to reflect on the stories behind each of
the songs. This effectively breaks down that wall of vagueness
most mainstream bands defend to the death. Error Type 11 are
refreshing in their unique marriage of mainstream guitar rock
sound and candid hardcore personality.
-Anna Goldfarb
Drowningman
How They Light Cigarettes
In Prison
Revelation
Vermont, home of very cold winters, tree hugging granola eaters,
Ben and Jerry’s and now Drowningman. This five piece
hardcore act, in line with their Revelation label mates The
Judas Factor and Where Fear And Weapons Meet can rip some
serious shit apart! This is the first time I’ve heard
Drowningman and I am totally sold. I am very fond of bands
that can go from in your face screaming to nice toned downed
soft (almost emo-ish) vocals. This five song EP is a fresh
of breath air for hardcore/grindcore fans and should be a
top favorite for reviewers this year? -Robb Armstrong
Bob Tilton
Crescent
Southern
This album is a perfect connector between what “emo”
was in the early ‘90s and what it is now. The early ‘90s
emo sound was more hardcore influenced, with bands like Current,
Hoover, and Heroin being some good examples. Of course, what
is now called emo is mostly lifeless indierock stuff like
Mineral or The Get Up Kids. In this album (recorded in ‘96,
by the way) you can hear the sound starting to change and
become more melodic, but the original intensity is not lost
at all. I would recommend this to anyone who likes the older
stuff, and also to the misguided indierock kids as well. -Scott
Torguson
Handsome Family
In The Air
???????
When I first got into this husband/wife duo from Chicago,
they reminded me of Sonic Youth backing Tennesse”Ernie”
Ford. “Odessa,” their first lp was all over the
map with noisy rock (Pony) to sad country songs (Arlene) It’s
a great cd to drink to. “Up in Air” the new long
player from the Handsome Family is little more laid back.
It’s sorta got a John Denver on L.S.D thing about it.
If ya like Hank Williams and fairy tales, you’ll love”Up
in Air”..-Jay Onyskin
Rocket From The Crypt
All Systems Go 2
Swami
A follow up to the first All Systems Go. This kicks mucho
ass. It’s chock full of little ditties that the Crypt
have recorded here and there. This release is a very good
exhibition of the different sounds that RFTC have adopted
over the years. This CD has 25 songs on it and I only paid
like 11 bucks for the thing. A few of the songs are cover
songs like The Real Kids’, Who Needs You, any Ray Charles’,
Lose You Clown, among others. So do the math; 25 songs divided
by about 11 bucks. You would be paying like 44 cents a song.
Now that’s a bargain. What are you waiting for? Cheers.
-Snake
Aspera Ad Astra
Peace
AIP
This a fine release from San Mateo’s Audio Information
Phenomenom records. Peace is filled with great songwriting
and unconventional song structures. They have dual guitars
that are rich in dynamics and together with the vocals, they
remind me of British bands like early Verve and Slowdive.
Tracks like Fat in the Eye reveal a strong attention to detail
with a variety of sounds ranging from cellos to sleigh bells
to what sounds like a phone off the hook. Beautiful. Fans
of Radiohead’s OK Computer should definitely pick this
up. -Marco Montesclaros
Beachwood Sparks
Sub Pop
Admittedly, country twang from the heart of sunny SoCal has
to have a different feel to it. Brent (formerly of Further)
and his gang have a different filter to run their twang through,
one steeped in the traditions of Beach Boys pop dynamics,
Bacharach drama, and the wit of Beck mutating from hip-hop
psychosis to twang superstardom. The kids at No Depression
will likely have a field day with this for its slide-guitar
banter and leaving town and loved ones behind lyrical bent,
but it is tracks like Old Sea Miner that may confound anyone
who hasn’t heard Further, Summer Hits, and Cherry Smash.
Wilco meets the Lilys? Perhaps. -Keith York
Marshmallow Coast
Seniors & Juniors
Kindercore
You figure out this is no ordinary cute lo-fi record, despite
the cutesy kidsy sound, during the second and title track,
which seems to be about an adult who wants to follow a kid
to school, but, we’re told, only wants to touch him (the
song doesn’t tell us where). After that, I didn’t
try to find out what any of the other songs were about. Played
on an out-of-tune piano, melodica, clarinet, and sung in a
soft voice, these subtle song fragments managed to weave their
ways into my head. And may they do the same with yours! Another
product of Athens, GA. -Benjamin Morss
Modest Mouse
Building Nothing Out
Of Something
Up Records
A collection of hard to find songs for the fanatical Modest
Mouse fan. Which almost every Modest Mouse fan I know is.
Which also means that most of them already have almost everything
on this release. But I suppose it’s the thought that
counts. And for those of you that have been curious as to
what all the fuss is about this as good an introduction as
any. -Cyanica
Paul van Dyk
Another Way / Avenue CD Single
Mute
Considered one of the smoothest 4/4 producers out there, PvD
fails to disappoint once again. Listening through the first
thirty minutes of this CD builds anticipation for the 19-minute
Another Way/Avenue mix where PvD builds-up and breaks apart
his own tracks providing an overnight outdoor party track
welcoming the dawn of the new day. This six-pack of house
tracks inevitably will find its way on to mixtapes and dancefloors
and inside the spinal columns of the clubberatti within days
of writing this. Hands raised and whistles blowin’ this
is hedonistic hi-hat ‘n’ bass destined for the next
Ibiza shakedown. -Keith York
Honeysuckle Serentina
Bloodsuckers
Miss Teen Universe
This is one of those albums that is just one step away from
being really great. At it’s best, it reminds me of stuff
like Revelation’s Statue, a great hardcore band from
the early ‘90s. Very melodic, and very rock, but in the
best possible way. This CD, when it gets good, soars like
that Statue EP did. The things which hold this back are the
production and the timidness of the playing. I’ve seen
them play live, and they rage, but it really seems like they
are holding back in the studio. If they let loose a little
bit more, I think it would make a world of difference. And
if they could also get the recording they deserve, their next
album will be amazing. -Scott Torguson
Portal July
Lost 7”
Roisin
On the heels of his (Scott Sinfield’s) debut release,
a split single with Fridge on Earworm, is this lovely two-song
single. One side has been described as “that washed out
to sea feeling” which remarks upon the Cocteau Twins-ish
guitar instrumental that winds and twists around your neural
network. The flip side is a harmonic cloud hovering low above
a land inhabited by a drum loop as if Trembling Blue Stars
had been committed to a psych ward at the local VA hospital.
A dreamy landscape from a rising star amongst the UK lost-rock
labels. (Roisin POB 289 Swindon SN1 3UE UK) -Keith York
Tiltwheel
Hair Brained Scheme-Addicts
Cool Guy
I was introduced to this San Diego based band a few years
ago after seeing their amazingly funny video. But what really
struck me were the pipes on their huge lead singer. On their
latest release, Tiltwheel merge the sounds of Husker Du and
others into a complete package of their own. Don’t get
these guys confused with your average pop-punk bands, this
band has much more to offer to the casual listener. Lead man
Davey Quinn shows why I was so excited about these guys the
first time around. His vocals recall memories of Leatherface
and are magnificent. There is strength and emotion in every
word. Check out the wonderfully performed Lullaby and you’ll
get the entire package. This song leads the listener through
a journey of dueling guitars, layered rhythms, and lyrics
of beauty. Though most of you probably haven’t heard
Tiltwheel yet, I have no doubt that this band is on the rise
and will quickly become the favorite of many. -Che Brooks
Tara Jane ONeil
Peregrine
Quarterstick
With a little help from her friends, Tara has pieced together
one of the most intimate settings, adaptable to any surrounding
or mood. Springboarding from her resume experience (Rodan,
Sonora Pine, Retsin), Tara’s yearnings and ideas explored
in a recording studio (Nicholas Vernhes did a fantastic job
turning nobs on this one) are now available for your interior
decorating needs. With collaborators Cynthia Nelson (Retsin,
Ruby Falls) and Dan Littleton (Ida), Tara’s work is embraced
and held, while Peregrine remains her full vision throughout.
Elegant, eloquent passages of soft-spoken vocal and strum
make this one prepped for a Sunday morning this cold winter,
moving from the bedroom to the kitchen to the couch all in
one movement to Tara’s musical score. (Quarterstick POB
25342 Chicago, IL 60625) -Keith York
Catatonia
1993/1994
M.I.L.
English people tell me that the top 40 over there is even
cheesier than ours, and these days, thanks to internet radio
feeds, I can confirm that they’re probably right. But
it’s hard to believe that when you hear records like
this one. Led by the pretty, yet forceful vocals of Cerys
Matthews, these Welsh people make tuneful and sincere pop
that has actually gotten airplay in the U.K. In fact, during
the last year, Cerys and the boys have become something of
a British pop phenomenon, which is what must have inspired
someone to re-release these two old EPs as one record. And
quite an enjoyable one, I might add! -Benjamin Morss
Her Space Holiday
Skyline 7” & Wish List 7”
Clover
The songwriting force that is Marc Bianchi of San Mateo, CA
has now crossed the Pacific reaching two Japanese labels known
for their releases by forward-thinking innovators in pop song
craft. Marc continues the vein of lonesome rock poetics about
lost love, lost letters, and lost chances amidst life’s
other hurdles. Whether it be his heart-string pulling vocals,
or the six-string bending and key drones that attract you,
like the Field Mice and Trembling Blue Stars, it is the human
frailty that draws us to writers like Marc. And now, the United
States’ GNP features Marc’s personal explorations
as trade relations with Japan. Hopefully this will aid their
ailing economy the same way it brings about a healthy psyche
for those of us with turntables and a few extra dollars for
import singles. Bless you. (Clover c/o C-Plus Roppongi Bldg.
4-11-4 Roppongi Minatoku Tokyo 1060032 Japan, Motorway 3-2-8
Shioyaki Ichikawa Chiba 2720114 Japan) -Keith York
Bowery Electric
Lushlife
Beggars Banquet
Dizzying spins above the hardwood floors, arms outstretched,
eyes closed yield a dream-like state. Frantic, one returns
to gravity and the peaceful state of speaker cone output.
Looped beats straight out of DJ Shadow’s record bag are
dry humped by a Portishead-like femme vocal pitterpat while
synths wrap the package in a performance art SaranWrap dance.
The sexuality of Cocteau Twins provides some contextual similarity
as Bowery Electric has far abandoned the early sounds of their
feedback drenched, self released double 7” that isn’t
more than a few years old (yet still getting stereo play).
What they have metamorphosed into is something altogether
spectacular, alluring, and addictive. In the heat of the moment,
the middle of the living-room spins, think about the power
of Manhattan and raise your head skyward to see the night
sky
as Lushlife surrounds you in its
firm grasp. -Keith York
Bullfrog
Bullfrog Theme Double 7”
Sounding more like Check Yr Head than any Canadian post-rock,
post-whatever band (aka all that follows Erics Trip’s
career) while steering clear of the Ninja Tune camp, the Bullfrog
Theme is a must-hear for any downbeat junkie. Sinuously snaking
around your cerebellum, the quartet settles in a sixties soul
groove on the flip side while Kid Koala eases back ‘n’
forth on the needle. Extra Track displays Koala’s skillz
with odds ‘n’ ends found in the dusty used record
bins. Hard to find, but worthwhile. (Band: Box 573 Place du
Parc Post Office Montreal PQ CANADA H2W 2P2)
-Keith York
Clinton Disco
Halfway to Discontent
Astralwerks
Rump-shakin’ diesel-sized boom gets the Daft Punk-like
groove going, but the train jumps tracks many times on its
way home. Making short stops in towns like Stereolab, Air,
Chemical Brothers, Tranquility Bass, Beastie Boys, Pizzicato
Five and Cornelius, Clinton Disco takes you on a tour of disco,
breaks and pop grooves. Of the dozen tracks, there’s
plenty to pick for the steering wheel drum solo for the road
trip you are embarking on. Even more good tracks if you can
rock this on your decks in its vinyl form. For fans of a good
time. -Keith York
Duster
1975
Up
Duster’s guitar always seems to wrap every sound of their
expressive form into a context - after all they are a rock
band. Embracing a slower tempo than my heart rate listening
to the speakers, Duster plus special guests (including Marc
Bianchi, aka Her Space Holiday) have captured the tone of
early morning rain-soaked streets broken occasionally by the
galoshes-wielding 7 year old, or an aging rust covered automobile
splashing the puddle upwards into the cold air of our nostrils.
Tender, while remaining astutely aware of the chaos of the
listener’s emotions, 1975 is that final thread sewing
everything in our lives into context, into the completed tapestry
that is our frailty. -Keith York
Secadora
With the help of Dart’s Rick Stone at the controls, this
bay area quartet erupts with a shoe-gazin’’ ode
to bygone days of Velocity Girl, and My Bloody Valentine (not
to mention San Diego quartet Red Dye No.5). Damn fine, sweetly
intricate pop songs soar with guitar solos, pouty-girl vocals
and confident drumming. This short introduction to the Secadora
world will have to do for the time being as their plans for
the future include “working on material for a future
full-length CD, looking for a label, playing as many shows
as possible.” So check ‘em out on the road or on
your hi-fi. (www.secadora.com) -Keith York
Panoply Academy Glee Club
What We Defend
Secretly Canadian
Pulled taut, PAGC songs exhibit the confused strength of a
testosterone-fueled teenager. Both inside the studio and live
PAGC push the same buttons pre-pubescent Trumans Water did
years ago. Frantic at times, scarily sedate at others, What
We Defend is the musical equivalent to the sense that Californians
have about those midwesterners living in the eye of seasonal
hurricanes who always keep an eye on the horizon never sure
when the next attack from God will come. -Keith York
Catatonia
Atlantic
Perhaps the ears of an American hear music differently. While
Creed and Blink 182 top our charts, Welsh pop stars Catatonia
top the charts all over Europe and now, in the spirit of bands
like Suede, Charlatans and Radiohead, they are ready to push
their melody and spirit onto you. The true sounds of 90’s
alternative are present here, the jangle, the sugar sweet
female vocals, and hints of electronics, but the delivery
is new and fresh and Catatonia is anything but packaged or
generic. These songs are driven by extremely well sung vocals
that make you feel like you are James Bond in a sleazy love
scene, goading a vixen into bed with a Luger while danger
looms. The mood swings from serene bedtime serenades and power
pop hooks. The art of pop is far to often over simplified
and becomes too sterile. Catatonia answers this with a unique
blend of pop, humor, irony and an ear for melody and timing.
Some of the songs have already become commonplace to some,
and are waiting for you to discover them all over again. -Anthony
Pappalardo
Swearing at Motorists
More Songs From the Mellow Struggle
Secretly Canadian
Malkmus-like vocal delivery atop fragile near-shattered guitar
lines convey more than is readily apparent, more than one
can process immediately. Much of the residue of this conversation
with amp and mixing desk hangs with the listener for hours
until the next connection with More Songs. Just one more important
document from the most important independent label in our
country. (Secretly Canadian 1703 North Maple, Bloomington
IN 47404) -Keith York
Matt Marque
Disco Nap 7”
Truckstop
In Disco Nap one can hear the somber tones of a fictional
aging rocker making a comeback more noteworthy than the sum
of his earlier career milestones. Whether it’s the cutesy
lo-fi approach of the Casiotone beats on Nilatir or the sensual
guitar leads on Flip and Fuck that grab your attention, you
will find that repeated listens to this weighty two-songer
will make life just a bit better than your present state.
With the flavors of Robyn Hitchcock, Nick Drake and Elvis
Costello embedded in these grooves, the consumer will find
plenty of time to flip the little 45 over and over again.
(Truckstop 2255 S. Michigan Ave. #4W Chicago, IL 60616) -Keith
York
My Favorite
Love at Absolute Zero
Double Agent
Since I grew up in the Midwest of the 1980s, the first person
who ever showed me a skating mag (it wasn’t Heckler)
was a guy in my college dorm. He also had this thing for 80’s
British synth-pop. So I know there are those of you out there
who will be interested to read about this band, which pulls
off a New Order / Smiths sound despite the fact that they’re
from New York. They do this with great skill, and the girl’s
voice is beautiful, but do we really need this record? I mean,
one song, Modulate, has an incredible killer hook, but I’m
pretty sure it’s a cover. Or is it? But this tipped the
scales on the side of goodness for me due to the amazing lyrics.
“We’re young men at the century’s end, when
the numbers all start over again, but nothing else can.”
Yesssss!! -Benjamin Morss
Gluecifer
Get the Horn EP
Sub Pop
Hailing from Sweeden (the home of all the good bands), Gluecifer
brings forth a solid selection of good ol’ fashioned
tunes on this EP release. Proving that rock ‘n roll ain’t
dead, this is a great introduction to a band that is truly
underrated. Fans of today’s super groups the Hellacopters
and the Supersuckers won’t be disappointed by this one.
Slick riffs and a sound as big as a Camaro engine, this is
one for the kids. And remember, there’s nothing wrong
with exploring the virtues of 70’s retro-rock through
the eyes of a few Swedes. Bands like Gluecifer have made it
acceptable to rock again. -Che Brooks
The Meat Purveyors
More Songs About Buildings and Cows
Bloodshot
The advantage of being the male songwriter for a female-fronted
band is that you can write songs about types of guys you don’t
like, then have a girl sing it. This is how the Meat Purveyors
work, and fortunately there’s a kick-ass country band
here to back it up. This is the kind of alt-country act that
has songs about the joys of Lone Star beer and amphetamines,
and features enough fast fiddle and mandolin playing to make
your head spin. I found the Museum of Love particularly purty.
-Benjamin Morss
