The Thermals--The Body, The Blood, The Machine

If you’ve been listening to The Thermals’ earlier work, you have probably noticed the striking Nirvana-esque grunge influence on their music (i.e. "How We Know"). Following that train of thought: The Body, The Blood, The Machine is a striking mix of In Utereo and Nevermind. Not wholly pop, The Thermals wrap obvious religious and political themes around their grunge instrumentals—thus hinting at the depth found within In Utero. Throughout the album, The Thermals consistently bring up religion in an arguably sarcastic, albeit honestly lost tone. In "Returning to the Fold," for example, Hutch Harris sings of blistering doubt and discontent, but finishes with "But I still have faith / If I ever had faith / Wait for me / Wait for me." Furthermore, in "Pillar of Salt," Harris shouts "That’s why we’re escaping / So we won’t have to die, we won’t have to deny / Our dirty God, dirty bodies." The need and desire for escape is an overbearing theme of the album. The majority of the songs mention escaping, and even the liner notes declare "ATTENTION ESCAPISTS!!!" Yet, past all this religious and political questioning and satire is the damnably catchy Thermals. "Here’s Your Future" and "Pillar of Salt" are the two strongest pop tracks off the record. Both clock in at just about 2 minutes, 30 seconds, and contain the delicious grunge instrumentals. Quick and dirty melodies wrap themselves around Harris’ unique voice in a way that gets you moving, despite and even in spite of the harsh religious satire held within the lyrics. This healthy mix of depth and pop melds that of In Utero and Nevermind, but in a way that’s more detached from grunge than any of their previous albums. The Thermals have carved a new road for themselves, and it will be very interesting to see where it takes them.

(Published at MusicEmissions.com)

Anachronicxp--Nervomoteur

From deep in French Canada (well, really just Quebec) come Anachronicxp, an intriguing blend of hip-hop and electronic influences that are praised as the "music of childbirth"…a term we desperately hope hasn’t been skewed in translation. Nervomoteur is a quick taste of what Anachronicxp is putting out, using electronic instruments to drive a hip-hop based, powerful bass beat. Songs roll along with this foundation, as electric blips and beeps twist and swirl around it like a massively charged obelisk rising into the sky. But then they let it fall away into silence, before quietly starting the groove up again. Intermixed with the electric shocks and looming bass beats (the best of which can be found in "L’altercation") are tastes of real life, such as the dramatically chilling screams and worries thrown into "Recomposition." Nervomoteur is a beast of mixed influences, all of which create an interesting and unsettling musical composition.

(Published at MusicEmissions.com)

Shortfilm--Mythical Beast

Recorded and released in 2005, Shortfilm’s Mythical Beast EP "represents a different glance into the world of the enchanted beast, at the same time having nothing to do with it at all." So it’s unique but it’s not, it’s well-played but sucks, and quite interesting…but I’m bored. And I’m not being sarcastic. Though five tracks Shortfilm prove their ability to play an excellent instrumental, yet skew themselves as just another punk outfit. Their vocals and lyrics are off-kilter, strange, and juicy, but are delivered in a way that’s been painfully overdone. "Victorian" is a 90% instrumental track that screams with ingenuity and a refreshing punk attitude, but runs a little long and the introduction of vocals into the track is hardly a benefit. Shortfilm solidify their ability to add some unique ability into the punk scene with "Stamp," which contains a catchy guitar riff. After an explosive interlude in "Ghost," Shortfilm close with "Snuff." Much in the spirit of Ad Astra Per Aspera, "Snuff" is a delusional track that keeps mowing along despite the suspicion that the musicians involved may in fact be on some sort of snuff. The track is messed up, melodic, and emotional, and is a fitting end to a odd EP. While Shortfilm perhaps should shorten their songs to increase to punch and do become dull by the end of some tracks, they prove that they add some new light into the music scene with excellent instrumentals and emotional drug-trip tracks.

(Published at MusicEmissions.com)

Ahab Rex--Blood on Blonde

In what’s become a revolving door for musical talent, original solo-project Ahab Rex has released their follow-up to The Queen of Softcore EP: Blood on Blonde. Featuring Chris Connelly (Ministry, Revolving Cocks), Martin Atkins (Nine Inch Nails), Steven Seibold, Dylan Ryan, and Assassins, Blood on Blonde is a vibrant effort full of quirky variety. The linking similarity is the duo behind it all, Ivan (a.k.a. Ahab Rex) and Brooke Cassell who handle vocals and most of the creative work. The album starts strong on "Ordinary Things," a creeping and crawling track with Ivan’s deep, dark, I’m-a-messed-up-serial-killer-with-black-lipstick vocals subliming it all. Yet, when we get to the instrumentally more up-beat track "Thank You Mister Russia," Ivan’s vocals remain unchanged. Listening to a sunny (even if the content isn’t) love story through the voice of a goth-like canter takes away any seriousness Ahab was hoping to achieve…and is frankly just humorous. "To Whom It May Concern" works better with Ivan’s vocal rut, giving him the chance to speak in his creep-tastic voice as opposed to sing. "Undertow No.5" is a distorted delicious mess, warping everything from the punk guitar rhythms to the static vocals (if Ivan won’t start singing different, we’ll just distort his voice so it sounds changed). Found at the end of the album are two interesting remixes of previous tracks ("To Whom it May Concern" and "Ordinary Things"). The border-line techno remixes are an interesting take on Ahab’s more punk-alternative approach, and add more variety to an already diverse album. Ahab Rex defy labels and all in all create an well-done and interesting release, despite the vocal’s static (and sometimes laughable) nature.

(Published at MusicEmissions.com)

Shiloe--Please Remove Your Teeth From My Neck

Boy do I hope you like Sonic Youth. If you don’t, turn around and march away from Shiloe this instant, because this music ain’t for you. Unless you’d like to test the infamous underground waters, in which case Shiloe is probably the best alternative to the godfathers of indie themselves. Shiloe’s Please Remove Your Teeth From My Neck is their sophomore EP release, gearing up hopefully for a full-length LP sometime in 2007…because six songs just leave the listener drooling for more. The namesake track opens the release, and right away the influences from Sonic Youth (and a touch of Radiohead and Joy Division). Easy-going instrumental fuzz backs Thurston Moore-styled vocals, but Shiloe comes off much more pop-friendly than the experimental rockers. The farther the listener ventures into the EP, the farther Shiloe depart from the Youth and into Pixie-land. "Tremors" is a bottled-up brew of dark emotion topped with vocals that again adopt many of the same styles as Pixie singer Black Francis. Shiloe channels underground rock right out of the early ‘90s and delivers it – reshaped and remade for a new era – right to your ears. Get on this band so you can join me in begging for an LP.

(Published at MusicEmissions.com)

Eyes Adrift--Eyes Adrift

For anyone who appreciates ‘90s hard-rock and grunge, Eyes Adrift should make you drool. In theory at least. Curt Kirkwood, fresh from the Meat Puppets and their 2000 release Golden Lies, teamed up with Krist Novoselic from Nirvana and Bud Gaugh from Sublime to create what would be the coalition of ‘90s talent ripping into the new millennium. Except it wasn’t. The reason this massive grouping of big-names and talent went so unheralded is because their music blew. As romantic and exciting the idea is, Eyes Adrift and their debut-self-titled album was a flop. "Alaska" is barely a mediocre hit, and its quite frankly the best song on the album. "Pasted" ain’t a horrible track either, but nothing in the album breaks forth and declares the coming of a new, grunge-alternative era. Which shouldn’t surprise anyone, because it never happened. Yet, Eyes Adrift is a nifty little blip of a band that most people have over-looked. If you enjoyed the bands that these members came from, this is an interesting – albeit disappointing – album to search for. Happy hunting!

(Published at MusicEmissions.com)

The Decemberists--The Crane Wife

With accordion and bouzouki alongside, The Decemberists signed onto Capitol Records to release their fourth album, The Crane Wife. In the eyes of many, The Decemberists – a band who enjoys dressing in American Civil War styled outfits – lost all their indie-rep by making the jump to a big-label. The Crane Wife shouts clearly from the roof-tops that it matters not what label backs you, it’s the music that matters.

The running story within The Crane Wife is loosely based on an old myth from Japan, which is cut and jumbled throughout the album (the ending opens the album, the beginning ends it), and basically intermixes a man, a crane, and a wife. The Crane Wife, Parts 1 & 2 rounds out the better part of eleven minutes, and is clearly divided into two distinct songs squished into one. Emotional, loving, hopeless, hopeful, and wonderfully clandestine throughout, The Crane Wife story is backed by The Decemberists’ call-card folk instrumentals. While The Crane Wife, Parts 1 & 2 is the lyrical and ballad masterpiece of the album (if not The Decemberists’ entire discography), this story-line is only a slice of the album.

Following their American Civil War-style dress are a number of songs that could fit perfectly into the time period, including When The War Came. A powerfully repetitive instrumental-line supports Colin Meloy’s haunting lyrics. Sweeping melodies and spine-chilling choruses push The Decemberists’ work beyond mediocrity into breath-taking emotional pieces. Shankill Butchers displays The Decemberists’ love of folklore of yore, singing as a lullaby of the gang of murders that will come and rip "Your ribbons / From your curls" if children do not listen to their parents.

The Decemberists prove that signing to a major label does not mean that they will give up their wonderfully odd indie roots. The Crane Wife is a masterpiece of lyrical and song-writing. Always original, songs like O Valencia!, Summersong, and Sons & Daughters are wonderfully uplifting yet emotionally down-trodden folk-melodies that should be played again and again. The Crane Wife is yet another masterpiece from The Decemberists, if not their best work.

(Published at 365Mag.com)

Mood Deluxe--The Tangent Universe

Cameron has been sneaking around for a while now. The freelance DJ/artist has switched his guise many a time, and has been the guiding force behind much of America’s trance and breaks music…even if from the shadows. After spending 5 years in Los Angeles teaching music tech, Cameron has returned to the United Kingdom in time for the release of his album, The Tangent Universe, under the guise of Mood Deluxe. The album launches off with Casual Loop, a fast-paced opener with pop-centered vocals which offers a tempting reward to those hesitant to venture further with The Tangent Universe. Mood Deluxe almost loses these hesitant listeners (of which I am included) with Episodes, an exotic track with Arabian-like effects, and some vocals that hint towards schizophrenia. If you can hang on until Closer, you’re in for a treat. Straight-up trance, Closer delivers a wonderful seven minutes of unfiltered and unaltered dance-floor beats, which feels even better after just having come through the schizophrenia experience. The album continues on with more trance hits, including a very jumbled and non-stop track that takes the album’s name. Cameron experiments here and there, but always promises to drag his creation back into the confines of mainstream dance and trance. This balance – along with some bits and pieces of pop – serve as a good blend for listeners. The experimentation and originality lets you know that Mood Deluxe is not just another face in the crowd, but he can still bring it right back and craft a master trance track. The album closes out with Amber and Lucid Juice, two well-mixed and vibrant dance-floor beats that together craft an ethereal and other-worldly landscape. As they should do, The Tangent Universe promises to offer a new take on old genres. Cameron as Mood Deluxe effectively attempts to experiment with the standard dance and trance beats, but still includes enough mainstream tracks to prove that he is a master DJ in all arenas.

(Published at 365MAG.com)

A Brokedown Melody Soundtrack

A Brokedown Melody, a 16mm surfer film released back in 2004, promotes a big-name riddled soundtrack that’s calm, mellow, and quite content being under-the-weather. Jack Johnson, M. Ward, Johnny Osbourne, and Eddie Vedder all lend their musical talents to the flick – with Johnson taking the majority of the titles. Johnson’s "Breakdown" is one of the best reasons to check this soundtrack out. A bouncing acoustic melody backs Johnson’s bittersweet, happily-sad voice; much like that in his "Let It Be Sung." "This ship is goin’ down / Desperately I need a song / To be sung so we can carry on," he sings. Eddie Vedder’s "Goodbye" is softly downtrodden as well, yet feels tropical with the addition of a ukulele. This Hawaiian influence is carried through in "Transfiguration #1" from M. Ward, an instrumental track that would work brilliantly in tropical elevator music or those CD’s that help you relax. Johnny Osbourne’s "We Need Love" takes the album in a different direction, pumping in R&B and rastafarian influences, along with an excellent organ solo. Johnson finishes out the release with his mellow "Home." Relaxing, well-written, tropical, and low-key, A Brokedown Melody’s soundtrack is worth checking out.

(Published at ComfortComes.com)

Scissor Sisters--Ta-Dah

My ear is tired of hearing about "I Don’t Feel Like Dancing," but was ever so eager to actually hear the song. Sadly, my ear was disappointed. The tune is highly catchy and pop-able, but frankly I don’t see why it deserves the incredible hype it has received—besides the fact that Sir Elton John provided the piano instrumental. However, that’s not to say the song is bad, it’s very well-written and I wouldn’t mind hearing it a few dozen times on the radio. It’s certainly the best off Ta-Dah, which in total falls a tad short of the Scissor Sisters incredible self-titled release in 2004. "I Can’t Decide" is another catchy pop song that feels like a less-excited version of "Dancing," as "Kiss You Off" is a dance-infused ‘80s rock love-child. Both represent the variety you can come to expect from the Sisters in their sophomore release. Ta-Dah may fall short of their debut, but the Scissor Sisters are still going strong. And although the hype may overextend the credibility of "I Don’t Feel Like Dancing," I’ll still walk down the street humming the tune tomorrow.

Oxford Collapse--Remember The Night Parties

Brooklyn rockers Oxford Collapse are back with their third release – and first with their new record label Sub Pop – Remember the Night Parties. With a fresh indie spirit, Oxford Collapse mix some math rock in as well, creating a sound much like Joy Division and Sonic Youth mixed with more indie-pop influences. "Loser City" especially shows off these influences in their instrumentals, as Michael Pace’s vocals are bouncy and unique to the point of almost sounding British at times. "For the Khakis and the Sweatshirts" and "Kenny Can't Afford It" are other hits off the release, and overall Remember the Night Parties is a solid effort. However, it all feels repetitive by the end, and I have yet to make it to the finale without a pounding headache. Oxford Collapse have not created their best work here, but it is by no means a bad album.

Revival--Horses of War

LA group Revival debuts in Horses of War, a scything lyrical effort supported by a mix of British psychedelica, post-punk, and touches of country. A short album at nine songs, Revival comes off as a version of Band of Horses that forgot to take their anti-depressants. In "Anniversary," vocalist Josh Read belts "And there’s a bottle of whiskey / And a pistol to make it complete." Need I say more? Revival mixes an alt-country attitude and instrumentals with postpunk effects, and songs like "Fog Rolling In" contain zoomy effects that could be passed off as British psychedelic influences. Mostly though, songs like "King of King’s" paint Revival as a bad Nickelback (or is that repetitive?), trying to infuse a bad-boy attitude with country-esque "she-left-me-for-my-brother" themes, all to alternative instrumentals. It doesn’t quite work, and despite the short length Horses of War drags and feels long. Revival do have their moments, the climax in "Fog Rolling In" and "When You Come Calling" are quite inspired, and catch your breath as they heighten and climb and fade back into their alternative guitar strumming. Revival need to add a little variety to their songs and work more with their strong points, rather than mixing too many influences into a musical mush. Horses of War ain’t bad, it just won’t become your favorite.

(Published at MusicEmissions.com)

Orbit Service--Songs of Eta Carinae

150 years ago the star Eta Carinae suffered a giant outburst, causing it to become one of the brightest star spots in our night sky despite it being 800,000 light years away. I looked this up because Orbit Service’s new album Songs of Eta Carinae reminded me of some fantasy-styled soundtrack, and I was ready to find Eta Carinae to be some fantastical world next door to Middle Earth. The name fits Orbit Service’s style of music—which is very out of orbit. Spacey, elongated rhythms and melodies are pulled and stretched throughout seven minute tracks (or in the case of "Asphyxia," 11 minutes). Yep, that’s right, we’ve got ourselves a good old stoner album here, where we’ve got our head in the stars and like our music slow and spacey. Songs of Eta Carinae reminds one of a amateur Pink Floyd, with touches of Dream Theater in there too. Each song is very slow, a tad creepy, and very long. Not that those are bad qualities, Orbit Service does what they set out to do very well. Point being though, unless you’re looking for some good late-night background noise or something to cater to your bong-party, stay clear of this one.

(Published at MusicEmissions.com)

Various Artists--The New Crazy

Deep Elm Records boasts a healthy roster of punk-pop and emo acts that they rightfully like to show off now and again, and so here we are again. The New Crazy is Deep Elm’s 2005 sampler, featuring acts like Fightstar, Latterman, Sounds Like Violence, and Slowride. Latterman kicks off the release with the explosive "Doom! Doom! Doom!," which leads into Fightstar’s mega-hit "Palahniuk’s Laughter" which is probably the best track on the sampler. "Nothing" by Sounds Like Violence gives Fightstar a run for their money, with modestly well-written riffs that come off much more powerful than the previous tracks’ loud and in-your-face instrumentals. From there we get mixed up in some acoustic emo from the likes of Secondhand Stories that isn’t bad, but my finger itches to skip ahead and see what other treasures the compilation has in store. Burns Out Bright’s "Sincerely I" deserves mentioning for some interesting guitar riffs, but they lose me with their vocals. Long Island rockers Latterman make another appearance before Clair De Lune’s fast-tongued "Killjoy," an odd mix of rap vocals, punk riffs, and an emo chorus. "Rust Killer" by Slowride features a great guitar intro and mature chorus, mixed with some great vocals. The release gets a strong finish from The Appleseed Cast in " Steps and Numbers," a well-paced and not-too-weepy downcast tune. I realize I’m just rattling off songs here, so just a blanket statement: If you like emo / punk / or post-punk, check out what Deep Elm Records has to offer you. Fightstar, Latterman, and Sounds Like Violence are good places to start. Go forth now, and consume the punk!

(Published at MusicEmissions.com)

Hem--No Word From Tom

Since the Hem’s birth in 1999, the New York group has been making a quiet but impressive mark on the alt/country world. Their latest release Funnel Cloud was supplemented earlier by the collection of covers and b-sides from over the past 7 years. No Word From Tom is a sorrowful collection, featuring tear-dripping acoustic instrumentals matched with Sally Ellyson’s fragile vocals. The cover of Brook Benton’s "Rainy Night in Georgia" sums up the album, singing of overcast hopeless days and somehow finding the strength to go on. No Word From Tom also features "The Present," a lost track from Eveningland, and contains some of the best lyrics on the release: "I have wandered / By the dust here on my feet / For every present / That I have squandered / On every false heart that I meet." The album goes on to feature songs uncut from previous releases, covers from R.E.M. and Pee Wee King, a few lost songs recorded during touring, and even songs taken from Ellyson’s first lullaby demo tape ("The Golden Day Is Dying" and "All The Pretty Horses"). Hem’s infusion of alternative and folk music is impressive on their studio albums, but here in this collection of outtakes and lost tunes it shines even brighter. No Word From Tom creates a timeline of Hem’s musical growth from behind-the-scenes, taking the songs most intimate and most important to the artists themselves and crafting a release that could stand alone as a studio album. Hem shows that even when playing b-sides and covers, they are at their best.

(Published at MusicEmissions.com)

Ben Swift--Pull

Solo singer/songwriter Ben Swift debuts on the music scene with the impressive Pull. Swift not only provided all the instrumentals and vocals for the album, but also co-produced and engineered the album, as well as providing the cover art (he is also a professional photographer). Jeeze. The music drips of talent as well, playing on the edge of pop, country, and typical acoustic singer/songwriter territory. Most of his songs deal with the typicals: love lost, love found, life’s ups and life’s downs. Yet, also intermixed are some intriguing unique songs like "Shortest Day of the Year" and especially "Puppet Baby." This latter song in particular displays some of Swift’s best and most haunting lyrical work, singing "Bring me your wretched your tired and poor / Smile for the camera and calmly ignore / All of these problems become such a bore…Power is sexy power is fun / We like to get drunk and play with our guns / There’s nothing to it / This could all be yours." Swift has a softly pleasing voice that does all it should: hints at emotional fragility while remaining strong and enjoyable to the ear. His vocals and instrumentals mix well too, as in "New York Rain" which displays some of the strongest melodies on the album. Pull hits a rough spot in "Happy Song," as the repetition tends to get bothersome after the joke ends, but Swift’s acknowledgment of his glass-half-empty style songs is refreshing. A strong effort from a very talented artist, Pull pushes Swift in the right direction.

(Published at MusicEmissions.com)

Interview with The Bravery

All Questions Answered by Sam Endicott

What did you guys want to be when you were growing up?

Astronauts.


So how did The Bravery begin? How did everyone meet? Why start a band?

John and I went to college together, Mike and Michael went to college together. We met through an add in the paper. Anthony was friends of a mutual friend in the NY band Bishop Allen. John and I both grew up on punk rock, but then we moved to NY and started going to underground dance clubs and hearing this great indie-electronic music. It was like techno for people who liked rock. So we thought, how cool would it be if we took those kind of sounds and beats and combined it with a garage-y, live rock band.


What influences did everyone bring to the table?

We all love classic rock--like the Beatles, Stones, Kinks, Zeppelin. I'm a big punk rock guy. John's the electronica guy--knob turner, filter tweaker kinda thing. Michael's the chops guy; he loves jazz--especially gypsy stuff, like Django and all that--but he's also a straight up shredder. He worships Slash. Mike is all about rockabilly and old country. Anthony is the straight-up rocker; he knows every Journey song note-for-note.


Forget asking about the significance of your name now, what other names were you thinking up when you first started the band?

At one point we were talking about calling ourselves The Lashes. But then we found out there was another up-and-coming band from Seattle called that. It's funny, because we eventually met those guys and bonded over the name thing, and now we're kind of friends.


What was your very first show as The Bravery like? How did you score the gig?

We opened for my friend's band The Animators. It was at an absolutely tiny club in Brooklyn called Stinger. There was like 15 people there, mostly siblings and ex-girlfriends. After we played there was a knifefight. Though I don't think any of our siblings or ex-girlfriends were involved.


What were the early days of The Bravery like? Endless shows, endless practice, both?

Yeah, if we weren't practicing we were working on the album, if we weren't working on the album we were putting up fliers. That's pretty much all we did. We'd stand outside Tower records all day handing CDs we burned.


How do you write songs? Is it a group effort or more of a solo composure?

I generally come up with the basic chords and vocals for the song, then the other guys get involved coming up with parts. John will make sorta remixes of what we come up with, and then a lot of times the we use the remix stuff in the final version of the song.

What was recording your debut album like?

A lot of it was recorded before we even started playing live. It started with me and John, coming up with stuff in the basement. Then we met the other guys and they got involved. It was incredibly amateurish. The equipment we used was beyond shitty. And it took a long time, since it was mostly for fun on the weekends and stuff--at least that's how it started. But as the live shows started to take off we started taking the whole thing more seriously.


How’d you get picked up by Island Records?

We put our album on line and would hand out copies of it all over the place. And this started to attract a lot of attention. Suddenly some major radio stations started playing the mp3s from our website, which almost never happens. So that started attracting even more attention, and that's when the labels started calling us. Our experience with Island has been really good. I guess some bands have horrible major label experiences, but that hasn't been the case for us, fortunately.


What inspired the cover work for your debut, as well as those for your singles?

All the artwork was done by an artist friend of ours from NY named Finley. We just really like her stuff, so we used it for everything. By the way, some people have criticized some of the artwork as being sexist. I'd like to point out that the artist is a woman. So if you have a problem with how she portrays women, you should take it up with her.


What was recording your new album like? Better or worse than your previous studio work?

Different because we did most of it in Atlanta with producer Brendan O'Brien. But we did a lot of it the old way too--just in the basement in NY. So it's like the best of both worlds.


Can you give us any insight to what your new album is going to sound like? Similar to your debut or completely in a different direction?

It still sounds like us, but it's very different. It's a lot more organic, less synthesizers. A lot of
unusual sounds, like the last one, but this time the sounds are created by unusual acoustic instruments. Like strange organs, vocal effects, a string quartet. That kinda thing.


When can we expect it to be released?

Early next year.


Favorite song of all time?

Heroes by David Bowie


Your current music videos are all really interesting, but "Fearless" is definitely my favorite. What was it like recording that video?

That was the most fun day of my life. They just strapped us to boats and did it for real. It was also kinda the most terrifying day of my life. Here was the advice they gave us: "If for some reason the boat flips over and you're trapped underwater, just try not to breath. We'll get someone out to you." That was reassuring.


What’s next for The Bravery? What can we expect you to be up to come the album release?

Full on touring madness again.


It’s suddenly 2036. Are you still making music? Are you still in The Bravery? Is The Bravery alive and well, putting out albums? How would you like it all to be?

We'd like to do this for the rest of our lives. As time goes on, I'd like to produce other bands as well.

Marwood--One Mile Down The Road

In his second release, Londoner Benji Rogers again succeeds in sounding like a down-south American, softly crying out his pains over his scratched guitar. One Mile Down the Road could find a snuggly place among country radio ‘round here. Rogers sings in a wonderful introspective-sensitive-yet-strong voice of heartbreak, traveling, and moving on. In the spirit of the Black Crowes, "Just The Same" contemplates just how much strength he receives from his significant other. He follows with the more upbeat "So Calm" which features some of his best vocal work on the album. Marwood’s lyrical qualities keep his songs fresh, even when his instrumentals begin to sound repetitive, an impressive feat considering his subject matter don’t contain much variety. Rogers achieves new heights for himself as a songwriter, and One Mile Down the Road is, well, just one more mile down the road from where he started. Keep it up Benji.

(Published at MusicEmissions.com)

The Submarines--Declare A New State!

Bands formed around romantic relationships are good, and bad. Good because the emotion, conflict, warmness, and melodies they can craft by bouncing ideas off each other can’t be matched, bad because as soon as they’re done, the band is done, and the listener has lost a great band. John Dragonetti (Jack Drag) and Blake Hazard better not ever break-up, because The Submarines are onto something big. They sort of got the best of both worlds, having broken up and written a plethora of songs about the drama, sadness, and conflict of that time. Now they’re happily married (hopefully), and using those same songs along with new ones that are lighter. Declare a New State! is their debut album together, and is filled with songs of lost hope, remorse, and dealing with the hole left when someone leaves your life for good. "Brighter Discontent" speaks of moving on to a new apartment, but still being connected to the life – and person – left behind. In "This Conversation," Dragonetti heart-wrenchingly sings "And I saw my shadow next to yours / Just fade away." The opener "Love and Hate" just about sums up relationships as being times of love and hate. The lyrics are more than simple emo, and the music has an upbeat feel that lets The Submarines sound unique and fresh, but all labels aside they just sound good. Every song is diverse and a new direction from the last, the songs are well-polished and the couple masterfully plays with the boy/girl vocal styling. A quick little debut for The Submarines, and one that is downtrodden but filled with filled with uplifting and wonderful instrumentals, and the safety of knowing that the two sad people in these songs are now happy. And as corny as that sounds, happy endings aren’t at all bad.

(Published at MusicEmissions.com)

20 Minute Loop--Yawn + House = Explosion

A band like 20 Minute Loop demands either many adjectives or a new label. The band has chosen the latter route, deeming themselves "freak pop," but I don’t feel like that does the band’s sound any justice. Their latest release "Yawn + House = Explosion" is a lyrically-charged indie explosion that you’ll love so much you’ll feel perverted. The instrumentals are off-kilter and brilliant. "Cora May" holds a guitar solo that took my breath away, and excellently delivered and introspective pack of expertly played notes that pulls the listener in. The instrumental fun continues in "Properties in Dirt," a massively impressive track that features a freaky beat paired with off-kilter guitar riffs that can only be described as cataclysmic. "Then she saw the street between the crumbled knees of ruined queens," sing 20 Minute Loop, "Statues torn apart from every time her children fought…You’re not alone, godforsaken maybe / But you’ve got a brand new home." "Yawn + House = Explosion’s" lyrics are goofy, emo, uplifting, mournful, distracting, and empowering all at the same time. Pieced together as if randomly grabbing lines out of a bag, the songs still come together to become some strange and creepy story. "Tell me a story that ends with a gunshot / A smack to the side of the head," they begin in "Book of J" which continues with haunting boy/girl vocals that are so unsettling I just need more. Song after song delivers off-beat and delicious lyrics and instrumentals, all delivered with dueling male / female vocals and a mix of ‘90s guitar riffs (sort of like Alice in Chains without the Dirt) and modern indie influences (like The Concretes on speed). Altogether though, 20 Minute Loop demand many an adjective to properly describe their brand of "freak pop," many more than I could use. The only way to feel every description is to listen to "Yawn + House = Explosion" for yourself, and let your mind wander. Fall into their loop.

(Published at MusicEmissions.com)

The Who--Endless Wire

Endless indeed. "We’re not young enough," declares Roger Daltrey in "Mike Post Theme," but in the good old Who fashion, goes on with "But emotionally we’re not even old enough," and finishing his thought with "Everything is alright." Yes, The Who are back, releasing their first studio album since It’s Hard in 1982. Since that time Keith Moon’s replacement Kenny Jones has disappeared, Pete Townshend has run into some child-porn problems, and bassist John Entwistle has passed away. The hardships may have left their marks on the remaining members, but all that comes through in Endless Wire is a better-than-expected return to songwriting from the Brits. Opening track "Fragments" grabs some themes and guitar-work from The Who’s previous work, which should be just what Who fans are looking for after a 20-plus year absence. "Mike Post Theme" is a strong track with catchy and powerful vocals (and ironic lyrics that may be shamelessly used by reviewers). Acoustic tracks wriggle their way in through "God Speaks of Marty Robbins" and the blisteringly anti-religious "A Man in a Purple Dress," (anti-religious themes are again found in "Unholy Trinity") both of which show that Townshend is still writing songs worthy of the glory days. More than anything though, Endless Wire is unmistakably sad and themed towards trying to find strength through pain, an understandable motif. The Who sound older and more mature than they did back in the day, but this is by no means negative. In fact, the album benefits from the quality. The narrative quality of The Who’s songs still remains, and while Daltrey’s vocals seem to dominate the album, his singing has improved with age. Old fans of The Who should warm to this new release, from the dizzying keyboard intro in "Fragments" to the haunting chanting of "Endless / Endless" in "Endless Wire." The Who are back, and while their numbers have lessened, their musical prowess remains strong. Endless indeed.

Barenaked Ladies--Barenaked Ladies Are Me

After releasing a live album earlier in the year, the Barenaked Ladies release their latest studio album in Barenaked Ladies Are Me. It’s been two years since Barenaked for the Holidays, and three since their Everything to Everyone album, but this new release pushes the Ladies to the forefront of the digital whip-lash that’s scorching across the music business world. With a heavy focus on Internet users (that’s you and me), Barenaked Ladies are also offering their first single, "Easy" to listeners to remix. Each separate track for the instruments will be available separately, and its up to you to put it all back together. The best mixes will be featured on an EP, a rather interesting idea (made better by the fact that profits from the EP go to charity). The actual song "Easy" is a fun, pop-able tune with a heavy focus on acoustic instrumentals. The entire album seems dependent on acoustic guitars, and it works well. The light and breezy instrumentals give the tracks, well, a light and breezy feel. The Barenaked Ladies are easy-going, relaxed, and all grown up. Songs like "Bull In A China Shop" and "Home" are wonderfully melodic, and the storybook ballad of "Peteborough and Kawarthas" is a charming tune. "Maybe You’re Right" also deserves mentioning, with its well-paced tempo and dramatic, warm-hearted feeling. Barenaked Ladies Are Me is a softly powerful album. The songs are well-written and modest, yet very pop and just plain fun to listen to. With a favorable focus on acoustic instrumentals, the Barenaked Ladies’ latest release in their towering discography is a worth your while, whether you get in online or off.

(Published at MusicEmissions.com)

Isobel Campbell--Milkwhite Sheets

Coming from indie-darlings Belle & Sebastian, it’s no surprise that Isobel Campbell’s earlier solo work has raised comparisons to Camera Obscura, The Concretes, and of course, Belle & Sebastian. Coming off of her sweeping success in "Ballad of the Broken Seas," which she recorded with Mark Lanegan, Campbell releases a body of softly touching vocal work that fringes on haunting. "O Love Is Teasin'" establishes the mood for the album, setting Campbell’s voice against paper-thin instrumentals that leave the lyrics exposed and naked. "James" follows, a hauntingly peaceful instrumental track that delicately opens into the tragic "Hori Horo," a traditional folk-song that again places Campbell’s soft beautiful voice against light acoustic instrumentals. The album seems to build into the wonderful "Loving Hannah," a track that truly exposes Campbell with no instrumental accompaniment. Her voice is soft, faltering, yet strong and piercing all at once. Most of all it’s touching, forlorn, and chilling. "I’ll go down to the river / When everyone’s asleep / And think of loving Hannah / And sit down and weep," she sings, sadly and hopeless. More traditional songs like the multi-vocal tribal "Are You Going to Leave Me?" and "Reynardine" follow the same parameters, singing of lost love and lost hope in a chilling manner. Campbell is at once relaxing, thought-provoking, saddening, and in a way, uplifting. And all of this is done simply by her serene voice. Milkwhite Sheets is a breath-taking release, just don’t breath too loud. You don’t want to miss a note of this.

(Published at MusicEmissions.com)

Stereophonics--Live from Dakota

Live albums have always struck me as being just one more way that bands can sell their listeners the same old songs again. Yet, I suppose I’d rather have a live album than a greatest hits package, which was the Stereophonics’ thinking as well. After releasing five albums over ten years (four of which went straight to the top of the charts), no one would blame the trio for releasing a "Best Of" record. A far better choice was this 2-disc live album that not only spans their career but captures the Stereophonics’ live energy. So while the songs may have been sold to you already, the live versions are so different and worth-while that perhaps the Stereophonics escape guilt. All of the band’s biggest hits can be found among the 20 song set-list, including a fast-paced "The Bartender and the Thief," and raw take of "Devil." "Madame Helga" and "Traffic" explode onto the second disc, and the whole experience is wrapped up by the breath-taking "Dakota." Also found are wonderful versions of "Superman," which kicks off the concert in a fury, and "Deadhead," my personal favorite off the entire installment. For any Stereophonics fan, this is a definite must. The songs that were polished and wrapped into singles packages have been stripped into their rawest form, with echoing instrumentals and Kelly Jones’ scratchy vocals. And, if you read this wondering who these boys are, this is a great place to start. The energy captured in this release out-does by far any greatest hits package, and is a wonderful supplement to the Stereophonics’ studio releases. Don’t miss it!

(Published at MusicEmissions.com)

The Paper Cranes--The Paper Cranes

Following in the footsteps of The Arcade Fire, Hot Hot Heat, Wolf Parade, Voxtrot, and Sound Team come The Paper Cranes who continue the proud tradition of embodying The Cure and The Smiths. Their debut self-titled release is five demo tracks that are getting the band a lot of attention. Now, let’s not kid ourselves, The Paper Cranes aren’t quite anything new and certainly aren’t refreshing or any silliness like that. Rather, they’re just damn good. The Cranes take that piano-infused soft-yet-strong playing style and rock with it, creating "Out on the Horse Tracks" which is the best on the EP. Behind a ballad-esque piano piece is a purely indie raw guitar backdrop with the Cranes’ interestingly off-color over the top. It’s horribly formulaic; yet vibrant, groovy, and wonderfully punchy. Franz Ferdinand-like guitar riffs come blasting through as well, and the Cranes become a patchwork of the best indie work out there. "Rabbit in a Snare" and the emotional (or emotionally mocking) "I’ll Love You Until My Veins Explode" don’t provide much new material for the music world, but still delight my ears while they play. "Milkrun" involves some interesting ‘80s keyboard work, and The Paper Cranes manage to always stay vibrant and flowing. Another delicious Canadian band to keep your eye on, The Paper Cranes hit the ground running with excellent use of indie styles.

(Published at MusicEmissions.com)

Silicone Soul--Save Our Souls

One year after the Staring Into Space album, Craig Morrison and Graeme Reedie are back with Save Our Souls, a haunting compilation of dark melodies and slowly enchanting rhythms. Save Our Souls is most simply defined as a techno album, but feels much more deep than just a pool of heavy beats and shiny effects that might make you dance like a freak with bright lights flashing. Silicone Soul crafts a 14-track album that rolls as one looming movement, shifting from an omnipresent shadow in "Fading" right into upbeat ambiance in "Dreaming Again." This album, while subtly quiet, goes way beyond background music. It holds a depth that feels held back and constrained, primed and ready to leap out and sweep the listener away. Yet Morrison and Reedie hold it back the whole way, and keep your ear prisoner as a result. This is an album of dreams – as corny as it sounds – close your eyes while listening to "Bad Machines" or "Fearmakers" and let your mind wander and explore the in’s and out’s of the landscapes that Silicone Soul create. Save Our Souls is too subtle for the dance floor, too elongated for the pop arena, but the intricate melodies and haunting vocals on "As the Stars Became the Sun" are perfect for anyone looking to clear their head and drift into a different world. When the weather becomes gloomy and a restless night is cowering above your head, let Silicone Soul’s hidden yet ever-present melodies drift over you.

(Published at MusicEmissions.com)

Miss Violetta Beauregarde--Odi Profanum Vulgus Et Arceo

I’d be really pissed about turning violet and expanding to hilarious sizes. Think of trying to buy jeans in that state. Awful. Which is why I believe Miss Violetta Beauregarde is so darn angry. Odi Profanum Vulgus Et Arceo – which translated means "I Hate The Common Crowd and I Spurn Them," note the anger – is Miss Violetta’s sophomore self-released album. I came to the table expecting a slight variation on Veruca Salt, another Chocolate Factory moniker, but instead was blasted with sweltering female vocals and a hip-hop / electronica beat. None of the 16 songs reach the two-minute mark, and with a sense of urgency attack you with a ferocity and primal disorder usually saved for hockey games. "Flanger When You Die" kicks off the album and kick isn’t quite the strongest word that should be used here. Miss Violetta assaults the listener with overwhelming anger through her screamed vocals that sort of makes you angry too. If you’re inclined to feel irritated after the first song, you’ll be pushing small children and tripping senior citizens by the end. Intermixed with the abusive vocals are odd electronica tid-bits that sound as though they were run over with the anger that Violetta’s been dishing out. All throughout is a hip-hop bass beat, to create a monstrous overall sound combining Violetta’s rage with techno effects. The album is short but punchy, left me out of breath, angry, and my ear drums sore. Odi Profanum Vulgus Et Arceo is a roller-coaster of violence and screaming, if that’s what you’re looking for in a band, Miss Violetta was created just for you. Just, take it easy on the senior citizens.

(Published at MusicEmissions.com)

The Diversity of the Chicago Music Scene

Ask any person outside of Chicago about the city, and you will invariably get a number of similar responses: Al Capone, pizza, gangsters, the Sears Tower, and mobsters. Now ask about Chicago music: blues, jazz, the group Chicago, (and if they’re of the younger variety) The Smashing Pumpkins, and Fall Out Boy. Even to those who live in the city, local music beyond the big names is a bit of a mystery. So how does a local music lover get a grip on just what is going on within the city? Ask those who know best: the bands. What was gained by doing so was a surprising picture of the benefits and harms of a diverse city that offers up so many opportunities and barriers.

"The Chicago scene is booming," says Travis Brown of Split Habit, one of Chicago’s fastest rising post-punk groups. Following in the footsteps of post-punk groups like Lucky Boys Confusion, Alkaline Trio, and Fall Out Boy, Split Habit starts things off with nothing but positive feedback for the Windy City. "[Chicago] has produced some of the greatest bands in the world…it’s responsible for our influences and part of our sound." Split Habit has been enjoying success with Chicago’s teen crowd, who gobble up post-punk acts. "We used those labels to try to fit in with the current craze," says Brown, referring to the punk label placed on Split Habit. Here, then, is one of the worst and most commonly used strategies in Chicago music, the manufactured band. Built on childhood friends and playing sounds that they know money-spending kids want to hear, bands like Split Habit grow quickly from the local scene on fads and "crazes" to quickly leave their hometown behind.

"It’s definitely frustrating," agrees Jason Coffman from the electronic group Anaphylaxis. Coffman and his band are on the other end of the music-business spectrum. Pumping out ambient and electronic sounds, Anaphylaxis receives little credit and has a relatively tiny fan base in comparison to shooting stars like Split Habit. "It seems really fractured, lots of little groups and not a lot of direction," Coffman says. He goes on to say that his band suffers when two or three other shows are going on in the same neighborhood, especially when those other shows are power-punk-players. Bands like Anaphylaxis that have a smaller fan base, especially among music-loving teenagers, rise slower in the music scene, and are constantly coming in second to bigger craze groups. "It’s kind of complaining about too much of a good thing though," finishes Coffman, "there are a ton of great artists here, and there’s something going on somewhere every night of the week."

"Diversity is available," agrees Aaron Keller of ZeroShip, "it’s a place where West Coast, Midwest, and International culture and values can come together in the same room to produce art." ZeroShip is a Split Habit that gets it right. Grown out of the suicide death of former a band member, ZeroShip focuses more on their music, and less on the crowd. "The bands I mention [as influences], I can listen to their full recordings, not just a few songs. They are timeless to me, and that is what I am trying to accomplish with our recordings in ZeroShip," continues band lead Jimmy Peace. Peace has had a celebrated musical career, appearing on MTV and the pages of Rolling Stone magazine, and he is definitely a figure that should be bigger and more prominent than he is now. He remains playing with a local band because there he can focus on his music, and not the business. Still, his opinion of the Chicago scene is low. "It doesn't seem to be around at the moment" he states. Keller elaborates, "Chicago feels a little stale right now. I think people are afraid of taking a chance playing new music. A lot of local acts try to do an LA thing or a British thing. Do your thing!"

"I’d say it was pretentious and assuming," agrees Petticoat leadman Dickie Haydon. Petticoat, a folk-borderline-country group (who does not reside in Chicago but his words apply), has found that the people in the scene where ZeroShip and Split Habit find success have little tolerance for non-punk groups. "There’s hard-core and metal, emo and all that stuff. Stuff that you play when you don’t really know how to play that well," continues Haydon, describing the all-ages crowd. Petticoat has found greater fan bases and more success in playing older-age venues, specifically bars, where teen masses will not be found. "But the bar-scene, the 21 and up scene is really supportive," he shrugs and finishes, "Hey, if I were 15 again, I don’t think I’d like my music, either."

Is the Chicago scene really that polar then? Are there only two choices: flaming success or obscure bar-scene regular? "Not at all," disagrees Dan Perdue of the Chicago group Sleeping At Last. "[Chicago] is nice and quiet…it’s inspiring to be able to see live music so often." Sleeping At Last began in suburban Wheaton, and after a debut release was able to sign with the label Interscope through a chance meeting with Smashing Pumpkins leadman Billy Corgan. The group has major Christian themes running through their music, and subscribes to none of the formulated genres that exist in Chicago. They keep it amazingly local as well, playing "anywhere from church basements, peoples houses, bowling alleys, to clubs in the city." Yet they have still found success. The group has toured nationally with Yellowcard, The Format, and Something Corporate, has just released their third album, and recently made an appearance live on WTTW’s "Chicago Tonight" program. Sleeping At Last is the greatest example of local music that keeps out the pettiness, and obtains success through plain old good music.

No matter what your feelings are on the attitudes of each band, the combination of all them create an invaluable diverse atmosphere. Chicago contains fast-rising fad bands alongside less popular groups, giving something for everyone. The diversity of Chicago music, while agonizing to some, is a boon for the most important people: the listeners. Take your pick of scenes, bands, and attitudes. There’s a plethora of choices for anyone, full of bands that meet your tastes. Chicago is indeed a place where all the influences of the world come together, and while they may clash, the Chicago music scene’s diversity is what makes it one of the best in the world.

Lee Van Dowski & Quenum--As Told On The Evening Of...

Producers Lee Van Dowski and Quenum have been recording for six years from Geneva. As Told on the Eve Of…is their latest electronica recording to date, and frankly I’m a little disappointed. Tracks like "Overdrill" and the briefly titled "Little Doll Chaos Pounce Upon Option Assault Reverberation" certainly are otherworldly and ambient, but they also make me yawn and want a nap. The songs are well recorded and well produced, but they just go nowhere. "Vegas Drill Shooter" has some great effects and a driving beat, but through its five minutes nothing seems to happen. "Thomas Edison Invents the Lazy Dance," – the longest track on the album clocking in at 8:35 – is a slow evolution of ambient, peaceful rhythms, and is wonderfully relaxing. So, while As Told On The Eve Of…may not hold your attention, perhaps it’s not designed to. Put this on for a late evening, or after a stressful day when you need your mind to wander. A great accomplishment by Lee Van and Quenum, if they were attempting for peaceful ambiance that is. This is great background music – and could be a great anonymous beat for loud dance floors – but if you’re looking for some techno that will engage you for an hour look elsewhere.

(Published at MusicEmissions.com)

Thunderball--Cinescope

Cinescope explodes as the third released from Washington DC residents Thunderball. The trio – with a little help from their friends – cranks out a dozen tracks that mix and blend Afro, Latin, Mediterranean, and Middle Eastern influences. Embossed with sitar and techno beats, Cinescope finds Thunderball collaborating with the likes of Mustafa Akbar to form "Return of the Panther," an energetic beat-box of a song that combines foreign elements with jazz and Afro influences. The instrumental "The Mysterious Mr. Sandobar" goes one step further to combine jazz and electronic beats, throwing in saxophones and other big band instruments into the mix along with the pulsing rhythms. Akbar returns for "Elevated States," an introspective smoking-room hit with more brass than you could shake a stick at. "Get Up with the Get Down" is a electrifyingly James Brown version of jazz-and-oriental themes for a modern ‘60s experience…if that makes sense. Who cares if it does? It’s still stuffed full of funk and groove and doesn’t stop moving until the very end. A bit of drum & bass, a bit of jazz, a bit of foreign influences (like Afro and Mediterranean), a foundation of techno beats, and a whole load of groovy, well-written songs makes Cinescope Thunderball’s most impressive work to date. Pick this one up for a genre-blending soul-inspirin’ good time.

(Published at MusicEmissions.com)

Johnny Lives!--Get Steady

Before I even pop in the CD my expectations of Johnny could not be higher. Amazing quotes from NME grace the liner notes, and the inclusion of Strokes member Nick Valensi and Jodi Porter from Fountains of Wayn pound into my brain that Get Steady is the greatest thing since Iggy Pop (according to NME) or Radiohead (according to Village Voice). Let’s not get crazy here, shall we? Jonny Deubowsky and his band of hooligans from East Village kick off the album immediately with the album’s namesake "Get Steady." Based on a cliché rock-star-esque 48 hours in the UK, the song is probably the best on the record and contains hard hitting alternative instrumentals and Deubowsky’s rousing vocals. "Everybody’s Trying to Break You" is a brilliant mix of emotional ballad themes and distorted alternative themes that turns out to be a healthy blend of both. "Cliché" has some obvious Foo Fighters influences – and even a bit of Pearl Jam and Soundgarden – and follows much of the Foo’s work on One By One: distorted guitars that are far from overbearing complete with a pop radio-ready chorus. Also included is wonderfully ‘90s guitar solo before kicking off the strong finish. Get Steady is a solid release, but has its faults. "Lost My Mind" is an annoying acoustic track, and the album feels sluggish in places. Still, tracks like "Do It Again" (with its Sonic Youth blips and tiny Pumpkins’ solo) and "B-Side" show that Johnny can do more than standard alt-work. Yet, I still feel disappointed. I was expecting the best thing since Iggy and Yorke, and all I got was an excellent alternative-rock album. Get Steady is, well, a steady album with perhaps too much hype.

(Published at MusicEmissions.com)

Dave Clarke--Remixes & Rarities

Dave Clarke…where to start? The beginning is always a good choice. In the mid-80’s a young Clarke was a DJ for an assortment of genres, including hip-hop, acid, and rave. After beginning to record for record labels, he turned his attention on mainstream techno. By 1996, Clarke was releasing his own singles and albums and gaining recognition and fame. He has become a respected producer and DJ, and this 2-CD compilation takes the best of Clarke’s work and remixes from 1992 to 2005.

After some warm-up tracks, Clarke remixes Cars by Gary Numan into a faster ‘80s track while still keeping the classic melody and vocals. DJ Rush’s Freaks on Hubbard is given a faster beat and a quick taps that keep the song moving with a greater dynamic. "I’m a freak cause I’m nasty," declares Rush as Clarke spins the tempo faster and faster around him. Chemical Beats comes straight from The Chemical Brothers as again Clarke adds his remixing skills. Everything Clarke touches seems to spark with excitement and intense tempo velocity.

Next is the all-famous Zombie Nation, a track played everywhere: from the club dance floors to high school bands at football games (not kidding). And Clarke made it happen. Also included on the first disc is a vibrant version of Naïve Song by Mirwais and an acoustic track from Depeche Mode to switch things up. Dave Clarke’s own Affirmative Magnolia – a brash electronic haunter – closes out the first CD.

Phat Planet from Leftfield is a harsh techno revamping of a track that sounds like it has a pop core, like an inner foundation covered in a re-coating of electronic bliss. DJ Hell’s Hot on the Heels of Love is like some Blue Man Group act multiplied into a full-on techno attack that just won’t stop moving. Other tracks like Moby’s Run On and Death In Vegas’ Rocco are strong hitters off the second CD as well, and there are so many more imbedded in this huge release that could turn this into a 1,000 word review.

Point is, Dave Clarke is a master remixer and producer. Here assembled are his greatest works, in a monster 2-CDs of 30 tracks. Do NOT miss this, track after track will blow you away and keep you moving until morning.

(Published at 365MAG.com)

Dredg--Live at the Fillmore

Rising from Los Gatos, California before they were even out of high school, alternative quartet Dredg follows-up their 2005 Catch Without Arms album with a live recording from the Fillmore. Live is both a greatest hits album and a look into Dredg’s raw live sound. The release features the incredible "Bug Eyes" off their latest album, which sounds even better live with quick guitar riffs and a massive live scope. Also off Catch Without Arms comes "Ode to the Sun," another track with blisteringly fast instrumentals and unabashed vocals from Gavin Hayes: "Please accept / Please accept the sun / It’s all for you." Live albums mostly come off as another way to sell fans the same old songs, but Dredg’s live effort takes their songs out of the comfort of the studio, and they benefit from the raw environment. They continue with "Same Ol’ Road" from Cielo released in 2002, a slower track that find Hayes’ vocals lacking, but the mood of the song carries it through to a strong finish. "Triangle" is the song that most puts you in the audience of Dredg. Tempo changes and a haunting weather-man backdrop grace the song in a way that could only happen in live performances. The album closes out with "Yatahaze" from Leitmotif, a song that not only shows the bands’ strength in song-writing earlier in their career but finds them still playing strong after a nineteen-song set-list. Live at the Fillmore spins a strong new perspective on Dredg’s songs and is a great addition for old fans, and a gateway-drug for new ones.

(Published at ComfortComes.com)

Ronnie Day--The Album

Ronnie Day (not his real name) follows up his debut Nine Sleepless Nights with The Album, a collaboration between Stacy Jones, Bill Lefler, and Day himself. The album was – shockingly – fueled by Day’s 3-year relationship disintegration, an event that he declares "Hit me like a bat to the balls." Well, lets hope for some better quality in the album. The Album cracks off with the singular upbeat tune, "Halfmoon Bay," an acoustic track with a pop chorus that seems to make a happy day seem sad. "Coming Home Soon" finds Day declaring (in another acoustic track with a pop chorus) that "Breathing is just a luxury for me." This seems to be taking a downward turn. "Live Learned Love & Lost" begins to deal with Day’s break-up in an acoustic track with a pop chorus: "I walked through the coldest night / I sat by your house under a street light / And you pulled up and he kissed you at the door / Who’s this guy and why’s he with my girl?" Oh dear. Day declares that he is alright though, and now "free" of her, yet still wants "The world to know that Jamie broke my heart." "Living for Love" and "Outside" are yet again about relationships, and the cheery titled "Heroes Die" complains that all heroes leave. In fact, the majority (read: all but 2 or 3) of the songs are about relationships. Ronnie Day puts a whole new spin on the word emo…and the word boring. Every song sounds just like the last, except for the slight variation on lyrics and – if we’re lucky – subject choice. While taken individually the songs are nicely written (especially the radio-ready "Written at a Rest Stop") and the lyrics are quality emo, when all 16 are put together it turns into a train-wreck that’s not even fun to watch. Sorry to hear about your break-up Ronnie, but don’t take it out on your listeners.

(All spellings of Ronnie Day's songs are provided by the artist and related press releases)

(Published at MusicEmissions.com)

Bel Auburn--Lullabies in A & C

"We love music from Iceland, houses with front porches, the way the light clings to the Midwest, and are card-carrying anglophiles," declares Bel Auburn. And gee, who isn’t? The Ohioian five-piece returns after their 2004 debut Cathedrals with Lullabies in A & C. I didn’t just include that quote as a cheap way to kick off this review, it displays a warm normalness (they frequently speak of their love for Ohio) alongside plain oddity (Iceland…really?). Their music is the same. Warm melodies like Band of Horses or Sleeping At Last, but intermixed with bits and pieces that bring up the suspicion that not all is as it should be. Bel Auburn inject distorted Pink Floyd and Radiohead into their summer-esque music, and the whole thing comes off as a less-shoegaze version of My Bloody Valentine. Or, in other words, brilliant. "Metropolitan (Watercolor)" combines very intimate guitar lines with explosive, shoegazey melodies and dramatic vocals. Songs like their "Lullaby in A" and "Lullaby in C" are expansive landscapes, and the whole album gives the feel of a half-dream, half-summer-sunset experience, all melded with ear-catching effects that keep you awake through it all (not that it’s so boring that you’ll feel inclined to sleep, but these truly could be lullabies). "Blind Ward" contains some very U2-like guitar riffs, all supported by a fuzzy shoegaze backdrop that float by like clouds in a blue sky (possibly in Iceland). Bel Auburn deliver sun-filled melodies in Lullabies in A & C, songs that pull ambient and shoegaze influences into a picturesque – albeit odd at times – experience. And they’re anglophiles, what’s not to love?

(Published at MusicEmissions.com)

The Rocket Summer--The Early Years EP

Bryce Avary is listed to have played nine separate instruments in his newest EP, The Early Years which means to say: he did everything. To those of you who drooled over Avary’s earlier release "Hello, Good Friend." this is painfully obvious. But to those who did not know (and that includes me), Avary is an impressive and energetic dude. The Rocket Summer sounds like a fully manned band and Avary’s musical talents – and song-writing tact – can’t possibly be overrated. Well, they probably could, but in terms of this EP, lets just assume we can’t. Why? Because this is the EP that Avary recorded when he was 16. These six songs, initially sold through Avary’s website back in 1999 before "Hello, Good Friend," show that he was well on his way to selling-out Japanese arenas. "So Far Away" opens the demo with vibrant instrumentals and Avary’s boyish vocals. The rhythm could be featured on any alternative-act’s album, but Avary spins it with acoustics and his fragile voice into emo territory. Songs like "That's What She Said" and "Teenage Love Rock" follow along the same lines as Panic! At the Disco, Fallout Boy, and Hellogoodbye (without all the silly effects that is). The release is fairly repetitive though, and by the end of "She's a Seven" at the conclusion of the demo his song structure has become predictable. But, frankly, he was 16 at the time of this recording and could stand among the pop greats of the today (of which I suppose he now stands). The sophistication of this release is admirable, and reminds us that Avary – even if you shy away from before-mentioned acts – is a musical prodigy, if not genius.

(Published at MusicEmissions.com)

Cooking with Ketchup--A Food-Based Shoegaze Primer

Shoegaze is a genre I’ve discovered, read about, and delighted over…online. Not one person I’ve encountered in the real world has even heard of the genre (no exaggeration I assure you), nor do they believe me when I assure them that it exists. I’ve been drawn into arguments with friends, family, coworkers, strangers, waiters and cooks. No one has heard of shoegaze, and when I kindly educate them, they seem to feel the need to hit me. I don’t know why this is, so perhaps the best way to inform everyone of this genre (while not being yelled at nor physically abused) is to do it online.

And to those that not only know what shoegaze is, but would swear by it and then some: bear with me on this. Baby steps.

Well, off we go then.

Shoegaze is quite simply instrumental music to the nth degree. It’s that guitar solo in your favorite tune stretched, contorted, and made into its own song. Instruments rule the day here. Musicians intensely stare at their instruments during live performances. This downward stare (towards their feet) is why we have the term shoegaze. Make sense?

Shoegaze creates a wall of sound using many (probably hundreds) of effects on their guitars, which creates a distorted, solid sound. It’s almost like crafting a landscape using sonic effects; an impenetrable mound of noise that the musicians warp into melodic, driving rhythms.

Vocals take the back-seat in shoegaze, if indeed there are vocals at all. When there are, many times they simply become another wordless instrument. My Bloody Valentine’s Loveless (which is for shoegazers kind of like what Appetite for Destruction is for metal fans, Nevermind is for grunge/alternative fans, and No Strings Attached is for middle-school girls) displays this quality superbly. While there are vocals in many of the songs, most of the time you can never tell just what the hell they’re saying. More, they add to the overly-effected and distorted guitars. The vocals are just another instrument, and the lyrics are expendable.

This is why I believe shoegaze will never penetrate the mainstream music world – as a whole at least. Shoegaze in its purest form is the equivalent of an acquired taste delicacy. The overly-effected instrumentals could easily cause migraines and possibly blood clots, and the lack of lyrics estranges a huge bloc of music listeners. Frankly, shoegaze is not radio friendly and – even in this new digital world – the majority of people still get their music served to them through radio waves.

Shoegaze will enter the pop-arena of music as, not the main course, but as a condiment. Shoegaze is the musical equivalent of ketchup, and – just like ketchup – shoegaze will become an essential dependent in mainstream music. It won’t gain the same level of success on its own (much like you’d never have a bottle of ketchup for dinner). But man, will it taste good dripped over more-established and pop-friendly genres.

Many bands already do this. Three have risen to the top of my sonic pool: Dirty on Purpose, Silversun Pickups, and The Butterfly Explosion. They’re currently pushing into the established music scene, and will make a big splash when they finally hit the mainstream.

Dirty on Purpose, a quartet from New York City, plays an ambient style of indie rock, but that messy shoegaze wall of sound makes appearances as well – supporting the lighter, summer-esque foreground. Their latest release Hallelujah Sirens has received more than a few critiques mentioning the band’s shoegaze influences.

"I honestly hadn’t heard that term until we started to get the comparisons," declares Dirty vocalist/guitarist Joseph Jurewicz, "DJ [Boudreau] (bass) is a huge My Bloody Valentine fan, so I am sure its an influence to some degree." See? Shoegaze is seeping in, dripping over indie main-courses to give that spicy taste.

Dirty on Purpose’s tribute to shoegaze (however unknowingly) is "Monument," a scathing four minute instrumental that’s pure shoegaze bent around indie-stylized structures. Towering obelisks of guitar riffs puddle and collect, morphing into a power-packed climax that is more powerful than any lyrics could be.

Yet, lyrics wouldn’t hurt. Silversun Pickups, an energetic group from the City of Angels, squashes alternative and shoegaze into one innovative package. Where Dirty on Purpose unintentionally introduces glimpses of shoegaze into a handful of songs, Silversun Pickups knowingly injects every one of their songs with a landscape of floor-gazin’ sound. Songs like "Rusted Wheel" and "Melatonin" off their debut album Carnavas directly use heavily effected, horribly complex instrumental lines for their melodies. The result is a briar patch of music – one that may deter mainstream fans – but the wonderfully dynamic vocals (full decipherable as well) pull Silversun’s music back from the brink of being an exclusively ketchup meal.

The Butterfly Explosion are the most impressive of the lot. Not because they’ve achieved any sort of sweeping success, yet (they haven’t even released an LP) but in the manner that they’ve turned shoegaze into a pop-based, digestible sound. The breath-taking "Vision" off their Vision EP is wholly instrumental and ketchup with the french fries as the topping – if you follow. The brilliant part of Butterfly Explosion – an underground romp from Ireland – is that they’re totally radio ready. "Vision" never drags and always keeps the listener as interested as if someone were singing of the woes of the world. Even their vocal tracks like "Comfort of the Dark" and "Next Year" flip the equation: they take My Bloody Valentine and sprinkle a bit of alternative acts like The Smashing Pumpkins over the top. The condiment becomes the main course, and the other way around.

So, I suppose Butterfly Explosion destroys my whole argument of ketchup being indigestible for mainstream audiences, but even there a morsel of alternative is added. Don’t get me wrong either, shoegaze is an exhilarating experience by itself, I just don’t think it will take the mainstream citadel in its purest form. I do think shoegaze will be the next movement in music (and music is desperately waiting on the movement-donor wait-list). Shoegaze won’t get served to pop music lovers as the main course, but as the topping that will become a necessity in sonic cooking.

The Return of the Jack-O-Lantern: A Smashing History to Prepare for the Second Coming of the Great Pumpkin

Things are brewing underground, ready to explode. You may not feel it yet, (especially if you don’t use MySpace) but something is being created which millions of people are holding their breath over. The Pumpkins are returning…

This is the time when the weather grows cold and the leaves litter the ground, Jack-O-Lantern’s brightly smile at little children in costumes. Halloween is here, and what better time than now to reminisce about arguably the greatest rock band of the ‘90s? Refresh your memory (or learn if you’re a new fan) in preparation for the nail-biting return of a monstrosity of a band: The Smashing Pumpkins.

In 1985,a young Billy Corgan could be found at Wheaton High School in the suburbs of Chicago. His father, Bill Corgan, Sr., a jazz guitarist, first introduced the young Corgan to music, which when combined with early influences such as Cheap Trick sent Billy to Florida to start his first band.

The Marked, a goth metal band, found little followers in Florida, and by 1988 Corgan disheartenedly returned to Chicago to work in a used-records shop. It was there that an arts student named James Iha straggled into the store. Corgan and Iha – both guitarists – began collaborating, writing a few half-decent songs which they performed with a drum machine.

At one of the young band’s shows Corgan was pulled into a vicious argument about the Dan Reed Network with D’Arcy Wretzky, a guitarist herself. She accepted (for some reason) the invitation to play with Corgan and Iha on bass, and – despite a horrifying audition – became a part of the band.

The trio donned themselves The Smashing Pumpkins (smashing being an adjective, not a verb) and began to gain steam with the local crowd. In desperate need for a drummer before an opening show for Jane’s Addiction, the Pumpkins hired jazz drummer Jimmy Chamberlin, and he soon became their full-time drummer.

In 1990 there was a force collecting. All over the United States – particularly in Seattle – an underground reaction to the reign of heavy metal was brewing, and the Pumpkins unintentionally became part of that early movement. Two successful early EP’s led to a record deal with Virgin Records through Caroline to retain street cred. With a major label backing them (sort of), it was off to the studio to record with young producer Butch Vig. The result was Gish in 1991, a strong indie debut that blended metal with what would become alternative, otherwise known as grunge. Gish was arguably a grunge record, though in hindsight it shows alternative tendencies that would be magnified in coming releases.

Gish’s tour set the quota for what would become The Smashing Pumpkins’ ongoing drama between its members. Wretzky and Iha – who had been dating – went through a messy break-up while Chamberlin became dangerously addicted to drugs and alcohol. Corgan, as a result of his own relationship problems and on-going pressures to create new music, sunk into a deep depression, considering suicide. The Pumpkins almost collapsed before rising.

Meanwhile, a regime change took place in music. Nirvana and "Smells Like Teen Spirit" hit the masses in 1991, and grunge destroyed heavy metal. The Pumpkins instantly became part of the grunge movement, which put more pressure on Corgan to separate himself from the plethora of flannel-clad Seattle-born rockers.

The band limped into studio in 1992 again with Vig (fresh from Nevermind) to record their sophomore release. As it became obvious that he could not rely on his band mates to record consistently, Corgan recovered from his depression by writing songs nonstop and recording almost all of the guitar and bass parts. With that, Siamese Dream was released in 1993,

Siamese Dream delivered the Pumpkins’ first truly pop song, "Today" and headed down the emotional path that would come to define their music in "Disarm," a song that identified with the listeners but never told you what the hell was wrong. The band toured nonstop as the album debuted at the number ten spot in the charts. Most importantly though, Siamese Dream gave Corgan and the Pumpkins the artistic license to create what would come next.

Nirvana was still king of rock, but The Smashing Pumpkins had become the unofficial heir to the throne.

The band disappeared in 1994 to the studio. Pisces Iscariot was released late that year to hold fans over for what would be an excruciatingly long recording process. The band had reached their peak, and recorded literally hundreds of songs during the sessions. Songs just kept on coming, and the biggest problem became picking which ones would be put into the double-album. 28 songs were eventually picked to create Mellon Collie and the Infinite Sadness, which would cement The Smashing Pumpkins as the number one band of their era.

The double-album debuted at the top spot in the charts, and sold four million copies. The hits "Bullet With Butterfly Wings" and "1979" made the Pumpkins a pop monster. The diversity of the album was incredible. Songs like "Tonight, Tonight" and "Porcelina Of The Vast Oceans" were sweeping orchestrations of dramatic bliss, whereas "Tales of a Scorched Earth," "x.y.u.," and "An Ode to No One" were blistering hard rock attacks at emotional scars. There was something for everyone, and the band sky-rocketed into fame status.

Ah but the drama returned.

Drummer Chamberlin had never really gotten a grip on his addiction problems, and during the tour for Mellon Collie he and tour-keyboardist Jonathan Melvoin OD’d consistently, the last of which resulting in Melvoin’s death and Chamberlin’s hospitalization. The band kicked Chamberlin out of the band so he could recover, and faced a future without their stable impressive drummer. More importantly, Corgan faced more studio time without the one band member he relied on the most.

Adore represented this shift in the band’s make-up. While they hired temporary studio and tour drummers, Adore was a softer and less-rock-influenced album. Released in 1998, the follow-up to Mellon Collie was disappointing to many fans, who were expecting another "Bullet With Butterfly Wings." Yet it showed the Pumpkins ever-present quality of change. Not one of their records was exactly like the one’s previous or next, and if Gish had received the same attention and scrutiny that Mellon Collie did, Siamese Dream would have been shouted about as well. Adore found the band experimenting in electronic techniques, and the hard-rock was all but absent from the album.

A few months after the release, Chamberlin– fully recovered from his drug problems – joined the group just as Wretzky left it. Wretzky was always a mysterious character of the band, and not much is known about why she left, or where she went. Again though, the Pumpkins were faced with a hole in their line-up, so Corgan hired Hole bassist Melissa Auf Der Maur.

The Smashing Pumpkins’ final official release came in 2000, and was surrounded in Corgan-created mythology and lore. MACHINA: The Machines of God found the band combine Adore into their hard-rock into a mess of sonic creation. "The Everlasting Gaze" was pure Pumpkins from their Siamese Dream/Mellon Collie years, whereas "Heavy Metal Machine" and "Stand Inside Your Love" held more electronic and emotional influences.

On December 2nd, 2000, The Smashing Pumpkins played their last show at the Metro in Chicago. And with that, the biggest rock band of the ‘90s bowed and left the stage for good. Well…not really.

Zwan appeared in 2001 with Corgan and Chamberlin to release Mary Star of the Sea before collapsing, while Iha and Auf Der Maur formed the short-lived Virgins. Auf Der Maur released a solo album in 2004 and Corgan released his The Future Embrace in 2005.

On the day of Future Embrace’s release, Corgan took up a page of the Chicago Tribune to declare that he wanted his Pumpkins back. By summer of 2006, the gears were moving, and Corgan and Chamberlin were again paired in the studio to create the next Pumpkins album.

Fans are biting their nails to this. Will this be yet another Zwan? Is it really The Smashing Pumpkins without guitarist James Iha, who was estranged from Corgan after the break-up of the Pumpkins? Will this reunion taint the excellence that is The Smashing Pumpkins?

As the cold wind blows through Chicago streets and Jack-O-Lanterns’ candle-lights cackle, The Smashing Pumpkins are brewing their own concoction as the world holds its breath in anticipation. The Great Pumpkin is coming…