The Nein—Transitionalisms

Much as their nonsensical title suggests, the Transitionalisms EP is a transition for The Nein. Currently in-between albums (Wrath of Circuits in 2005 and the unnamed work-in-progress due early 2007), Transitionalisms find the North Carolina quartet branching out in musical experimentation, while still paying dues to the roads they have walked. A Zombies cover kicks off the EP, the delightfully horrid "Butcher’s Tale (Western Front 1914)," with its unsettling instrumentals and Finn Cohen’s contribution of scathing vocals. A quick-but-dirty instrumental follows, carrying the EP’s name and is, like the release itself, a transition into "Hospital Television." Snatched out from the Wrath of Circuits release, "Hospital Television" moves at a slower pace, while not losing any of the deep bass meat that the other songs carried, and showing off The Nein’s lyrics clearer than before seen. A newly mixed version of "The Vibe," also from The Nein’s previous album is to be found here as well, with different vocals and less fuzz. Transitionalisms appropriately ends by blending The Nein’s hard-hitting playing style with more indie influences to create "Convalescent Homes," another short-but-sweet track that gives a tantalizing peak at just what The Nein are up to for their new album. While this may not be the release to attract a screaming mass of new fans, it is one that will attract the screaming mass of old ones.. New fans should look to Wrath of Circuits before lending their ear to Transitionalisms, but if you’ve fallen for The Nein’s previous work, these covers, remixes, and tastes of the future should not be missed.

(Published at MusicEmissions.com)

The Teddybears--Soft Machine

The Teddybears are one of those bands you’d give your left leg to see behind-the-scenes. Every song is like an alley in some exotic carnival, and you’re seven years old with big bulging eyes, waiting to see what unexpected marvels wait around the next corner. The Swedish group switches with ease between club-beat electronic mixes, soft indie-ballads, and rastafarian - borderline hip-hop - grooves. Soft Machine, the group’s debut, also features a number of guest musicians such as Mad Cobra, Ebbot Lundbberg, Neneh Cherry, and Iggy Pop. And just as the guest musicians’ talents vary, so do the songs. Lundberg’s "Riot Going On" and Cherry’s "Yours To Keep" are softly haunting pieces in an indie light, where Pop’s "Punkrocker" is a odd, comical groove. Mad Cobra takes the cake with the Kid Rock-meets-reggae mess that is "Cobrastyle." Left to their own devices however, The Teddybears create an interesting mix of electric house beats and experimental melodies that are vibrant, unique, and a breath of fresh air. Come and walk through The Teddybears’ carnival, its guaranteed to get you dancing.

(Published at Sonic Reverie)

The Dark Romantics--Another Song Ep

Launched from restaurant table discussions in Florida to recording a full length album on the west coast in less than a year, The Dark Romantics have climbed the musical ladder faster than most. Snapped up quickly by Lujo Records after producing some demos with guidance from Jason Martin (Starflyer 59), Eric Collins and Dean Paul set about recording their debut with the two musicians closest to them - their wives Amanda Jones (Paul’s sweetie on keys) and Carla Jones (Collins’ beloved on bass). Some Midnight Kissin’ was finished and is set for an October release. Preceding that however is The Dark Romantics’ introduction to the world, Another Song EP.

The Dark Romantics combine their previous bands’ sound - the Christian pop acts of Denison Marrs and the John Ralston Band - with the tastiness of ABBA, along with electronic influences from Martin’s Starflyer 59, and even some melodic New Pornographers thrown in as well. The result is a darkly delicious indie sound with a dance backbone. The EP’s namesake, "Another Song for Another Night" is a melodic twister with snappy guitar lines and a groovy bass riff, all behind angsty lyrics ("Love, get it wrong / Get it right"). While well-played and fun, the song just doesn’t leave a mark.

Far more interesting is the second track, "So Confused (And We Like It)" and the later TDR remix of the song. Here is not only a more danceable beat, but also a more original and exciting track that shows off the experience and talent of the band. Everything is stripped away to show off the swarthy-yet-melodic vocals before exploding back into the full power of the instrumentals. Clearly the hidden fruit on this EP.

Another Song EP is an appealing introduction for The Dark Romantics. It covers everything that can be hoped for in their full length, from snappy indie pieces to juicy dance-floor beats, all with a haunting edge that’s sure to get stuck in your head and get you moving.

(Published at Sonic Reverie)

Petticoat, Petticoat--What's In A Name?

Kentucky music. Okay, let’s stop right there. What just came into your mind? Banjos? Upright basses? Ungodly beards with straw hats and gap-toothed smiles? Country music, right? And if you’re really out of touch, there might even be a cowboy hoedown in that little mental image of yours, too.

Time to burst your bubble. If you haven’t noticed, there are more quality bands – rock bands, indie bands, alternative bands, folk bands – crawling out of Lexington, Kentucky than could fit in a 10-gallon hat.

One of the groups that are quietly making a loud splash in the Kentucky scene and are reaching their collective musical arms further and further out-of-state as well is Petticoat, Petticoat. The five-piece has just finished their biggest show at Midwest Music Summit at the conclusion of their national tour supporting their debut album Every Mother’s Child. All this, and the band is less than one year old. Well, not really.

“All of Petticoat has lived in Lexington their entire lives. I think, except for me,” recalls frontman Dickie Haydon, “I moved here when I was 4.” Because of this almost-lifelong exposure to the city, Lexington is one of the biggest parts of their music. “Our biggest muse is Lexington, and our love for the city and everyone we know comes through in our writing. It’s a key part of our songs.”

And that’s an understatement. Songs such as “Redevelop,” “China Plate,” and “Love in an Alley” all contain strong messages of the safety and comfort that home gives. “Where I stand is where I’ll make our home / We’ll watch the people below redevelop and grow / In the neighborhoods that we knew so long ago,” Haydon sings in “Redevelop.”

“[We] all grew up on the same street. We started playing together when we were about 12 or 13,” and from there the origins of Petticoat, Petticoat were formed, Haydon says. Their first unnamed band lasted until high school, when an original band member named Ryan moved off to Florida, leaving Dickie to start Petticoat. Sort of. “The way I usually explain this to people is Petticoat was the name of a completely different band, we just kept the same name. It was just about playing as much as we could and having a good time. We weren’t really trying to go anywhere with it.”

Picking up a keyboardist along the way, this prototype Petticoat was a total pop band, gradually melting into an experimental outfit, finally culminating into the well polished band that exists today. Would they ever change the name then? “We’re upbeat and poppy and not very extreme on any levels. I think it fits now. It’s complicated,” Haydon says with a laugh. “But the name was on our shirts, our Web site … it would just be too much trouble to change it.”

So what is Petticoat today? It certainly can’t be summed up in simple throwaway descriptions like the earlier Petticoats. It’s ethereal green, the sound of that perfect summer in your mind that exemplifies everything that is youthful and perfect. That unattainable memory that is both wonderful and tainted with dark edges, knowing you can never go back to that. Such is Every Mother’s Child, beautiful, light and airy acoustic instrumentals that are perfectly wrapped around Haydon and Kristin Messina’s haunting voices. So, just what is it? Folk? Lo-fi? Just their own brand of indie? Dare I say it, country?

“No offense,” says Haydon, “but people from Illinois don’t know country as well as we do. I’d say blues rock.” It may be up for dispute just what their music can be defined as, but that’s part of their brilliance. It’s up to you, which puts their music on a very personal level with your ears. It isn’t surprising to feel a personal touch coming out of their music; afterall, music is personal to them.

“Music is in my family,” remembers Haydon, “My dad was a musician all throughout his teenage years, up until he was 30. My uncle is a professional pianist. I grew up around it.”

Growing up would lead to his childhood friends becoming bandmates, and in Messina’s case, sweethearts. And from there, they were off to college. “It was just the logical choice to go to college ya know?” So now Haydon, an education major; Messina, an art major; and the other bandmates, two English majors and an engineer tour in summers, when school is out. The touring will continue if Haydon goes into teaching. “I would drop teaching for music in a heartbeat. Without a doubt,” Haydon assures.

So there was Petticoat, freshly supplied with some new members, just last October, when along came Matt Sparks and Rob McGregor, otherwise known as Kalmia Records. “They’re cool guys,” remembers Haydon, “It wasn’t like a big impersonal meeting with the briefcase, it was just like, ‘Hey, we want to put out your record,’ and we were just like, ‘Cool.’” The fittingly Lexington-based label agreed to put out one record from Petticoat, and that record was Every Mother’s Child.

In January of 2006 the band started tracking with producer John Vice. “He was the real brains behind everything, he became really like our mentor and our guide.” With the experienced Vice behind the controls, the album was cranked out by April. The experience was totally new for the band. “The only other experience we had with recording was on our own in our practice studio with this little 16-track. We were able to be there and be comfortable and not worry.”

Despite minimal distribution, the album has been selling out every venue Petticoat has played at, and is receiving rave reviews.

“It’s like having a baby, like having a kid, not that I have any experience in that. You put all that effort into it, all that work, and it comes out and it’s there and everybody can see and there’s nothing you can really do about it. I’m totally satisfied.”

From there it was touring around the Midwest in not a van, but a pickup truck. “This is going to sound very ghetto and amateur, which is what we are, but we just took a camper top and put it over the pickup bed.” No joke.

What’s next? School mainly. Maybe a tour come winter break, hopefully farther than they’ve been before. But for now, Petticoat will be satisfied playing the local scene, and going on holiday. And Haydon wouldn’t trade it for the world.

“It’s stories and experiences that I’ll have for the rest of my life. When you’re little and people are like, ‘You have to find the one thing you want to do for the rest of your life,’ music is that for me. I would be completely fine if we never went anywhere, and were confined to playing small places and touring regionally, that would be good enough. The one thing that keeps me going when I started playing music 7 or 8 years ago is that every year it’s progressed, something better has happened. If I could make this my full-time job and just play music, then I’ll be a 60-year-old playing music, maybe it will be Petticoat, maybe not.

“Maybe we’ll change our name by then.”

(Published at Sonic Reverie)

Technorati Profile

The Fallout Trust--In Case of the Flood

Alright, debut release time. This one from the collective mouths, finger-tips, and creative processes known as The Fallout Trust, the Bristol six-piece that’s been rattling their chains with numerous EP’s and quick tastes of singles. Born on a bike ride with shared headphones, The Fallout Trust self-recorded this debut and its a self-declaration of everything they’ve been throwing out for the past few years. Powerful rock is wrapped around a dance-floor beat that flows with current trends but at the same time tries to stay uniquely apart, made all the better by the fact that you can catch the whole album at their website. They hit the ground running with previously appraised "When We Are Gone," a strong piece laced with the emotional fragility of Joe Winter’s wavering vocals. From there anything goes, from the brass backed tenseness of "Then Or It" to fast-paced winding lyrics in "One Generation Wall" and "Cover Up The Man," ending with the slow somber tear-dripper "No Beacon." The Fallout Trust are dynamic and interesting, and you never quite know what to expect around the next bend. That degree of unexpectedness, especially when you’ve roamed into dance-rock territory, is an invaluable asset. And when you don’t even have to run down to the record store to pick up their tunes, how can you go wrong? Trust me.

Blackbud--From the Sky

Recipe for Blackbud brew: one dash of bland, snippets of subpar Smashing Pumpkins, a bit of U2, mix The Coral and Echo & the Bunnymen before adding a healthy dose of vocals (soured just enough for an unsavory taste), all into a base of English prog rock, remembering to remove edginess. Okay, so that might be a tad harsh, after all the debut release from the Wiltshire trio isn’t bad per say, it’s just, well, bland. The album isn’t all that exciting, edgy, or memorable frankly, but what it is is a good blend of pop rock, served in a pretty package that will go in one ear and out the other without offending or wracking a blood vessel on the way.

The instrumentals stay unfiltered and clean mostly throughout the release, and although that may lose your interest they are still good, with quick and dirty little guitar solos popping up here and there. While the instrumentals may hold talent, they do get repetitive and tiring by the end of the album. As does vocalist Joe Taylor’s singing, which is for the most part pleasurable but does get whiney and strained. Even if you can’t listen to the album all the way through, at least stop by and give your ear some candy with “1 5 8,” Blackbud’s knock-out tune that shows the best of what they have to offer. Big powerful guitars backing vocals that take Taylor’s before-mentioned voice and run with it, making it shine in dramatic climaxes decorated with symbol crashes.

Even if the album gets a yawn here or there or is switched off after the first few songs, Blackbud has shown potential for a hit later in their musical life. A decent debut, “From the Sky” is a tad bland, but as long as Blackbud keeps their head above water with songs like “1 5 8,” I’ll keep listening.

The Mountain Goats--Get Lonely

So you’d probably think such a popular moniker as The Mountain Goats would be taken by some long-forgotten band in the long halls of musical history. Well, then you’d be quite wrong. Instead the name belongs to a certain lo-fi band that stretches the genre (and word) indie to its furthest limit. Truly DIY, the majority of The Goats songs are recorded on a cheap boom-box, and its quite possible that the little band of shifting characters could have over 100 songs to their name, floating about the mountains. With over a dozen albums, two dozen compilations, and more than a few handfuls of extra projects, cassettes, and 7 inches, its highly possible to say the least. Their newest album, Get Lonely, continues in the proud Goat fashion of subtle beauty and less-than-pristine recording techniques, yet in a way that could lead you to believe that John Darnielle is in your corner crooning out song after song. Unfortunately you’d be wrong about this too, but fortunately the album is a good one.

The most noticeable feature on the album besides the less-then-ample recording technique (otherwise known as crappy) is the acoustically dominated instrumentals. The acoustic guitar is almost exclusively used, with a few drum beats, bass riffs, and even a tiny taste of stringed instrumentals here and there. This gives the album a laid-back, emotional, and lonely feel, putting more pressure on the lyrics to deliver, which they do, but only barely. The lyrics take some getting used to, as Darnielle’s run-on-sentence style of singing does get tedious. They’re mostly about everyday life, simple little rhymes and stories that cater more to an adult getting used to the fact that they’ve fallen into a rut. They range from simple ("Went down to the gas station / For no particular reason / Heard the screams from the high school / It’s football season"), to quite beautiful ("Ghosts and clouds / And Nameless things / Squint your eyes and hope real hard / Maybe sprout wings"), to downright tedious ("And I lose my footing / And I skin my hands breaking my fall / And I laugh to myself / And look up to the skies / And then I think I hear angels in my ears.") Where the lyrics fail the guitar picks up the pace, and in turn the guitar becomes secondary when the lyrics get juicy.

While it may not make your all-star list, Get Lonely and The Mountain Goats may just crawl inside and get you hooked with it’s quiet beauty. If you need a break from over-bearing punk riffs, watered down emotional lyrics, and nonstop dance noise, check out Darnielle, his guitar, and his simple daily themes. You won’t be wrong.

The Estates General--The Estates General EP

Combining the cream of today’s pop crop as their influences, The Estates General throws out their newest EP to the masses. Taking root in Lexington, Kentucky, the quartet was conceived in late 2005 at the dissolution of the members’ former band, Scenic View. Just before returning to school in the fall, the new rock group puts out their self-titled EP, that simply reeks of prospective talent.

The release is very mid-stream rock, with nothing too offending or strange, but is interesting if only because of the band’s age. "You Are Not An Artist" and "We Can’t All See The Shore" are well-written, well-played songs that could just use better recording. "God Save the Interstate" especially is an ear-catching tune with bouncy rhythms and interesting melodies. Some songs fail to impress however, and one wishes dearly for better vocal recording.

Nevertheless, The Estates General have crafted an appealing beginning, and with more experience and better recording we should all look forward to some excellent songs coming from the Kentucky rock group.

Peter Bjorn and John--Writer's Block

Complete with a march drum-beat, on come the Swedish indie bands. The Concretes, The Shout Out Louds, and The Legends all come across the ocean riding their own sonic waves in a Swedish Invasion of sorts. Well, maybe not that dramatic, but the one supplying the march drum-beat is Peter Bjorn and John, the veteran three-piece (Pete, Bjorn, and John, duh) from Stockholm.

The drum-beat specifically comes from the almost-opening track “Objects of my Affection,” which gives a rough outline of what the rest of the album feels like: 60’s nostalgia, and filled to the brim. The song is passionately Velvet Underground-like, together with a massive vintage sound that could easily fit in a few decades ago. “Young Folks” continues in the same way, including folk influences as well with rhythmic whistling and duet romantic vocals. Sappy? Almost, but the climactic chorus of “And we don’t care about the young folks” pulls it off. “Paris 2004” picks up where “Young Folks” left off, more duet vocals and cutesy sappiness, yet with more modern sounds than vintage ones.

With a few odd exceptions (the dysfunctional hip-hop beat in “Amsterdam”), Writer’s Block is primarily 60’s influenced. From the psychedelic fun in “Start to Melt” to the Beach Boy-esque “Let’s Call It Off,” Peter Bjorn and John use the 60’s to their advantage, all the while adding their own bits and pieces that make Writer’s Block an interesting and enjoyable listen. If you’ve enjoyed what else has been pumping out of Scandinavia, check these guys out.

(Published at ComfortComes.com)

The Hourly Radio--History Will Never Have A Hold On Me

To put it simply, The Hourly Radio is a curmudgeon that requires many hours to figure out, but less than one to enjoy. Providing a kaleidoscope of rock talent, the quartet from Dallas range from softly shoegazing to pure rock to dance-backed tunes, all the while keeping things enjoyable, melodic, and consistent.

Playing in a style similar to Dirty on Purpose and Aloha, The Hourly Radio kicks off their debut album "History Will Never Hold Me" with a softly slow-moving instrumental track "Travelsigns." The band’s previous single-release "Crime Does Pay" is included as well, a dance-backed and fast-paced spiral of a song that is perfected by vocalist Aaron Closson’s hauntingly melodic voice. More emotion is found in songs like "He Said/She Said," "Please Forget," and "Deaf Ears" that again are more vocal and lyrical based than instrumental ("Your fears fall on deaf ears tonight my love"). The most powerful song on the record is by far "Fear of Standing Upright," a paranoid tune with a vast sound that comes off as a hauntingly sheikier version of "Paralyzed" by Rock Kills Kid.

The Hourly Radio play in a subtlety pleasing style that sounds impressive, but doesn’t get stuck in my head. For one reason or another, the band’s songs don’t come off as catchy, despite their talent. Nonetheless, "History Will Never Hold Me" is an impressive beginning for the Dallas group, and displays both a variety of influences and styles, as well as an ability to keep those influences together in a way that are sure to make The Hourly Radio very interesting in the future.

The Sunshine Underground--Raise the Alarm

Get some Sunshine in your life.

These self described "slippery buggers" from Leeds are exactly what the doctor ordered, if a doctor were to order anything concerning indie-dance rock. The Sunshine Underground just get it right, pasting dirty guitar work over dance-dance beats and throwing vocalist Craig Wellington’s loud cheeky croons over the top in an artificial manner, but one that blends brilliantly and will have you jumping up and proclaiming "I love slippery buggers from Leeds!"

In all seriousness, you got to have some fun with this. The Sunshine pour just enough dance into their sardonic indie silliness to create blend of dance-rock that won’t offend, nor cause headaches, and will still get you moving. The album is fast paced, so give it a listen a few times to find every little Sunshiney bit, including the subtle dance effects, quick duplicitous guitar work, and Wellington’s anger-backed shouting match with life. A definite must, "Raise the Alarm" should be heard by all indie fans, including those who would rather swallow their Radiohead albums than listen to dance. Simply, The Sunshine Underground put a scratchy indie edge on the old dance formula in a way that will make you want to bang your head and groove at the same time.

Which you should do, there’s enough Sunshine for all.

The Koalas--Koalas

Hailing from the harshest rock city in America, Minneapolis (joke), The Koalas have smashed their way into the music scene by the strongest sense of the word. Their self-titled and self-released debut is one power pack after another, in the spirit of hardcore grrl rock of the ‘90s, and its no surprise that former Babes of Toyland drummer Lori Barbero is once again pounding away behind the set.

Many parallels can be drawn to former-Babes days. The vocals are female driven and harsh, again touting female issues but just not quite feminist. The instrumentals are unrelenting and harsh, but still manage to pull of a bit of melody. Interesting pieces like "Hold Your Breath" take it back a notch and show that The Koalas are more than just distortion and screams. Some of the songs just don’t stop until your head is throbbing, but mostly The Koalas are both a fun trip down memory lane and an interesting step forward. If they can keep it going expect more from these guys and gals.