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…

The Walkmen--Pussy Cats

I believe, perhaps wrongly, that to love The Walkmen you have to love Bob Dylan. Not love his music per say, but at least not wince at his voice. Walkmen vocalist Walter Martin sounds more like Dylan than Bob does, and if you cringe at "Maggie’s Farm" you’ll never like "Louisana." I am one of these people, and I do hate it. I COULD love The Walkmen, but I can’t stand Dylan. This is why Pussy Cats is so delightful for me. Martin finally shys away from his Dylan-esque vocals in The Walkmen’s Harry Nilsson album cover. I can feel the Dylan-influences in "Old Forgotten Soldier," but it doesn’t keep me from moving my head along to the mournful old time rhythm. The Walkmen could have pulled the hood over my eyes in this release, and even listening to A Hundred Miles Off and Pussy Cats back-to-back would fool me into declaring that whoever made Pussy Cats came fifty years before. Pussy Cats holds an old tyme feel, yet add their own unique spin on the album. That’s an understatement. The power tools intro to "Rock Around the Clock" goes to prove this, although their own musical touches to the song do as well, while still holding true to the vintage feel of the original. The addition of classic instruments like piano and saxophone in songs is not surprising from The Walkmen, but does go lengths to forming a transition from the original Pussy Cats to the new. "Mucho Mongo" is a fun-filled, mambo-like tune, and "Black Sails" is a deeply moving mournful ballad. Martin’s vocals move farthest from Dylan in "Black Sails," (the best vocal track on the release, chillingly brilliant) which excellently shows that the band can stand strong without their well-known sound. Pussy Cats, while it might not have raised the band to the prominent position A Hundred Miles Off did, is an interesting and respectful remake of Harry Nilsson’s work.

(Published at ComfortComes.com)

Scott Soulter--Canonic LP

Technically its Scott Solter, but the music is Pattern Is Movement’s. Well, alright, let’s back up. Pattern is Movement (PIM) are an oddity, playing complex experimental tunes that lace stable hip-hop beats. PIM recorded their latest album, Stowaway, in 2005 with a man named Scott Solter. Solter must have either really loved or really hated with PIM did in that recording, because no sooner had they finished than Solter had run off with the album to rework into his own. Literally taking the razor (all of Solter’s work was done with analog equipment) to PIM’s work, Solter created a work of his own…sort of. As his liner notes read, "Stowaway was dismantled. Canonic was born." Solter takes PIM’s twisted work and twists it more, creating haunting tunes that echo back and forth with PIM’s vocals, intertwined around scratched instrumentals. "Blanched and Threshed" is a frightfully delightful mix of an indie piano and looming hip-hop beats. The delicate sounds of the piano and vocals nimbly runs its way around the massive looming sonic footprint of the crashing bass beats. Solter’s editing techniques edge in on creepy in "In Glasstone," as PIM’s vocals are pulled and contorted in an inhuman manner. The spacey, far-away effects glazed over the lyrics adds to the forlorn qualities, "Come back to me" cries the vocals as Solter artificially moves them farther and farther away. Scott Solter’s work is impressive and interesting, and stands on its own despite the music actually being PIM’s. For Pattern Is Movement fans and non-fans alike, Canonic is a haunting good time.

Bent--Intercept!

Heavy-hitters Bent are back with their latest release, Intercept! Coming from Nottingham, England, Bent is Simon Mills and Neil Tolliday who have been pumping out electronica and ambient pop since the late ‘90s. The creation of Bent was in response to Mills and Tolliday’s disgust at the trashy house music being released. After three releases and 200,000 record sales, Bent have become respected names in the dance scene, and Intercept! rampages into the pop scene. Songs like "To Be Loved" and "The Handbrake" are so familiar, and get me questioning just where I’ve heard them before. Many people may be asking that after "Handbrake" is featured in Coca-Cola’s new ad line-up. Most of Bent’s tracks include pop vocals, lacing a very dance-centered instrumental foundation. "To Be Loved" in particular features vocals from Simon Lord, Mills’ former frontman. "Stay Out All Night" represents the entire album as it almost transcends its dance label, featuring pop influences and very mainstream vocals, making it perfect for the dance floor and the radio. "If you had seven days to live / What would you do?" asks the intro to "Exercise 7," a disco-themed tune that all-but screams the answer to the question: dance! Heavily pulsing and the purest house track on the album, "Exercise 7" is one of the dance-able songs. The instrumental track "Breakfast at 80,000 Ft." follows that trend, providing ambient rhythms for a quieter moment on the dance floor. Intercept! is a healthy blend of dance and pop. The clear and mainstream vocals make Bent’s work very accessible, but the brilliant beats and rhythms assure that their work will still be blasted out at clubs. Their finest work to date, Intercept! carries on Bent’s commercial success and will surely become a part of pop-culture.

(Published at 365MAG.com)

Feathers--Synchromy EP

Analogingly rocking away, Feathers soars with their second installment in their debut EP trilogy, Synchromy. At some points a lumbering monstrosity, at others a sleek hipster, Feathers display their talent of taking normal music and making it anything but. The trio from Miami creates such rock-like beats and rhythms without ever using traditional rock instruments (at least not obviously). "Iron Mountain" is a pop tune flavored with sci-fi sound effects, a formula that may sound like a recipe for some awful future-based Disney made-for-TV-movie that includes a concert at some point, but much better. The songs carry a sophisticated beat, like "Ap (Parenthe) - Synthesis" which sounds like the opening ten seconds to some blockbuster pop-rock act, only stretched into four minutes that leave you not missing the guitar chords at all. Feathers artificially takes electronic and rock influences, fuses them together, and makes them be friends. And thank God too, Synchromy is an engaging and intuitive release that bodes well for Feathers’ future.

(Published at ComfortComes.com)

Ad Astra Per Aspera--Catapult Calypso

I like peanut butter. I really do. I also like rice krispies’ treats, and hot nacho cheese really hits the spot sometimes. Let me be the first to tell you though: that these three things do not taste very good together. Equally as delicious are Sonic Youth, Franz Ferdinand, opium, and bits of oriental madness. Let Ad Astra Per Aspera be the first to tell you, these ingredients are superb when thrown in the mixing pot together (unlike my cheesy peanut-butter rice krispies’). Catapult Calypso can literally blow you away from everything that’s packed within its’ ten tracks. Found inside are experimental influences like that of Sonic Youth, only hopped up on some horrible form of caffeine. Franz Ferdinand’s catchy pop-influenced indie can be spotted as well, especially in quick guitar work ("Scatter Baby Spiders!"). Added to all this are exotic Middle Eastern and Latin touches, and bits of country rhythms ("Everybody Lets Me Down"). The result is the rough musical interpretation of falling down the stairs, only fun. "Nothing Else Is the Real Thing" delivers an exhausting odd-ball instrumental, supported by the foundation of a quick-pace beat and decorated with raw guitars flying everywhere, sometimes coming across the right notes. Ad Astra channels some sort of primeval energy, both through their instrumental thrashing and punk-rock vocals. The addition of unexpected influences like the Middle Eastern and country threads reveal that Ad Astra are more than just randomly pounding out songs, they have some master scheme in mind, and are dragging you along for the ride. "Voodoo Economics" begins as if it may turn in to a off-kilter pop tune, but flips in the completely opposite direction as the tempo is sped up and the ante is raised, all hell breaks loose as the vocals let it rip ("We’re asking for subsistence!"), and just like that Ad Astra have you hooked. An exhilarating experience that’s both exhausting and refreshing at the same time, Catapult Calypso puts a new spin on experimentalism, and shows that perhaps mixing your favorites might not be so horrible. Except rice krispies.

(Published at MusicEmissions.com)

Scott Solter--Canonic EP

Technically its Scott Solter, but the music is Pattern Is Movement’s. I suppose two introductions are in order. Pattern is Movement is a Philadelphia group that plays in the style of Death Cab for Cutie that released an album titled Stowaway in 2005. This particular album was recorded by a Mr. Scott Solter, who literally took the razor (he used nothing but analog equipment) to Pattern is Movement’s work to create a monster of his own. Canonic includes both a preview from Solter’s upcoming full-length of Pattern is Movement’s work redone, and a replay of three original tracks from Stowaway for comparison. Follow? Good. Pattern is Movement are confounding. Off-kilter, PIM artificially smashes vocals around an instrumental track in "Two Voices for Two Sections," and "Talk Back To Me" is half an acoustic pop piece and half…a jittery interpretation of a hyperactive kid on Pixie sticks. But who cares about PIM? This is Solter’s recording…sort of. "Witkin Dub" is a monstrous piece of feedback and rhythm, fading into a sweet flowery melody surrounded by walls of bass aggression. It may not sound like PIM, but Solter captures their nonsensical and quick-changing moods and beats very well. "You! Glasstone" is creepy. PIM vocalist is stretched, contorted, pulled apart, and run through the wringer as it floats through the jumpy fields of PIM’s sound. "Blanched and Threshed Beats" is a horrifyingly delightful mix of an indie piano and looming hip-hop beats. The delicate sounds of the piano and vocals nimbly runs its way around the massive looming sonic footprint of the crashing bass beats. Solter’s music is much more dynamic and interesting than Pattern is Movement’s, despite it actually being Pattern is Movement’s music…if that makes sense. Not that it has to, nothing about this makes sense. But that’s why its fun.

(Published at MusicEmissions.com)

Various Artists--Back To Love

Spanning two CDs, 24 tracks, and over two hours, Back To Love is a blockbuster of soul infused house beats. Artists such as Basement Jaxx, The Bucketheads, Barbara Tucker, and De’lacy all show off their techno talents here. Songs like Barbara Tucker’s "Beautiful People" put soul-filled vocals with a pulsing house bass beat for an interesting infusion of genres. Happy Clappers’ "I Believe" pushed the envelope even farther, introducing piano-dominated instrumentals that still could still get people moving on the dance floor. Basement Jaxx make an interesting contribution with "Bingo Bango" where mambo is wrapped around a core house beat, twisting the two genres around each other effortlessly. Mr Fingers kicks off the second half with "Can You Feel It," a metallic mainstream techno track, moving into N-Joi’s "Anthem" that throws electronic beeps and fizzles alongside a killer beat and gospel-like vocals. Funky Green Dogs edge towards VNV Nation instrumental territory with their "Fired Up!," a pop-piece that has some of the best vocals found on the compilation. Grace is given the closing word, and delivers one of the most energetic tracks on the album with a non-stop beat combed over with wonderfully pulsed vocals. While the sheer weight of similar soul-techno pieces may grow repetitive, Back to Love features enough diversity and interesting mixes to keep the party going, and is a great choice for the dance floor.

(Published at UKMusic.com)

Silversun Pickups @ The Empty Bottle 10/20/06

Thirty seconds into Silversun Pickups’ show, it stops. Flooded in blue, red, and green stage lights, the Pickups’ guitarist/vocalist Brian Aubert speaks sarcastically into his mike, "Helloooo, hello Joe?" to keyboardist Joe Lester, who has stopped the show because his monitors aren’t working. Three minutes later and we’re back on track, and there’s no turning back.

The Empty Bottle is a dinky pub from the outside, with only a lonely Old Style neon sign and the phrase "Friendly Dancing" to attract customers. And yet within twenty minutes the place is packed to the brim, and even then more people are ushered in. At least 200 college students and young workers in collared shirts lounge their way in front of the stage, where L.A.’s indie/alternative/shoegaze group Silversun Pickups is setting up. Three figures haul equipment onstage as a darkly dressed bearded member pushes past me, holding as many Old Styles as possible. Brian Aubert jumps up on stage, dispenses the necessarily refreshment to his bandmates, and straps on his guitar.

Formed in 2000, it took the band five years to get out their first release, the Pikul EP which was followed up by the masterpiece album, Carnavas. Taking cues from alternative acts like The Smashing Pumpkins and throwing in bits of My Bloody Valentine, the Pickups deliver a brand of rock on their recordings that drip of solid influences and their own originality. Vocalist Aubert’s softly comforting voice can give way to pained yelling at any point, giving songs like "Kissing Families" and "Future Foe Scenarios" heavy emotional weight and sweeping climaxes. In other words, these guys (and gal) are good, which is why 200 college kids have showed up to watch them.

The Pickups rip into their set with their album opener, "Melatonin" (or "Addicted to Wee Things in Life") and immediately the only people moving in this crowd are the few frat boys in front, who have obviously been spending the day preparing (and drinking) for this moment. The Pickups, who are no strangers to live performances (that five year gap was spent exclusively playing clubs) are unfazed by the lack of enthusiasm from the Chicago crowd. Aubert’s voice is barely distinguishable above his distorted guitar as keyboardist Lester puffs on his first (but certainly not last) cigarette of the evening. Bassist Nikki Monninger bounces along with the beat in a flowery purple dress as drummer Christopher Guanlao disappears in a mess of his own hair and arms.

Aubert takes a minute to smirk at the audience, his black hair already drenched with sweat, before ripping into "Well Thought Out Twinkles," their most Pumpkin-esque piece that they intend to deliver at double speed. Red lighting smears the enthusiastic musicians and casts an eerie light over the packed crowd, who are finally bobbing their heads. The pounding bass drum and snappy snares send shock waves through the floor and into your chest, visibly shaking the glasses of Old Style and their owners. "Twinkles" crashes to a feedback-filled halt to a plethora of cheers.

"Comeback Kid!" someone yells to Aubert’s laughter. He shakes his head, and another yells with first in air, "Silver-SON!"

"Heh, yeah, I know those guys." Aubert coyly answers, and as if in the same motion kicks off "Rusted Wheel," another track off Carnavas featuring his sweetly hypnotizing vocals. "I can tell it's winter from the / Size of the lump in my throat," sings Aubert - eyes closed as if in his own world - over a watery ethereal instrumental backing, "And it feels just like the ground / But trapped in another way."

"Little Lover’s So Polite" comes with a speedy guitar solo that puts the album version to shame, giving way to a naked chorus sung by Monninger: "Broke remains, an everyday disguise / Ending in the same way. . .the same way," and ending with Aubert falling to the floor. In between songs the band describes what they plan to do on their two day break of tour ("Conjugal visits with loved ones, they better be ready…it’s goin’ be dark stuff"), poking fun at audience members ("Is this DeKalb or…?") and plugging Monninger’s kissing booth in back ("Whore yourself out…gotta’ get the gas money") they open into their heaviest piece, "Future Foe Scenarios."

The most diverse song, and the one that I personally feel shows the most depth from the Pickups, "Future Foe" features dramatic choruses with heavily crescendoed instrumentals, giving all the more power to Aubert’s strained and rebellious vocal screams. "This revolution baby / Proves who you work for lately," sends chills through any spine, even in the humid and smoke-filled conditions at the Empty Bottle. The power of seeing Aubert clench his eyelids shut as he repeats "It’s alright" combined with the sickly pale stage lights let the viewer know it’s anything but. "That's when it turned on me / Where bobby pins hold angel wings." The lyrical might of Silversun Pickups should not be underestimated. Their instrumentals may get them the attractive labels, but their deep lyrics keep listeners coming back for more.

To the general relief of the crowd, "Kissing Families" off the Pikul EP is finally played. The instrumentals - and the entire crowd - are suddenly silent for Aubert and Monninger’s brief duet, "This could be / The bitter end." Casting a forlorn look at the crowd Aubert shrugs a "Who cares?" before crashing into another blistering guitar solo that again, leaves him on the floor. The college students can stand it no longer, and begin bouncing around as much as the front-row-frats.

"Kissing Families" melds into the similar "Lazy Eye" (or "How to Relate and Love Through Slight Malfunction") that finds Aubert glued with his mouth to the mike. The room is fully moving now, threatening to become a mosh-pit (which in this crowded area means that most of us will certainly die), and is only halted when Aubert falls to the floor for a third time. This time he rolls into the audience, and delivers two minutes of feedback mess from this roost.

The Pickups say their good-bye’s before closing the evening with "Common Reactor," a masterpiece of lyrical might that gets the entire front row to block the view of the stage with outstretched arms. Exhaustedly, Aubert sings out "Cuz maybe if we’re loud we’ll stay alive / While everybody wants to join the fight…But even if we barricade the door and seal it with the blood found on the floor / We’re always going to cross the finish line / While everybody wants to run and hide." Lester sucks on one last cigarette as Guanlao physically destroys himself smashing the drumheads, and Monninger smiles innocently at the crowd. Just before they finish in a final quip, the Pickups blow everyone’s ear-drums with voluptuous amounts of feedback.

200 college students wander wide-eyed into the chill Chicago weather, half-deaf and exhausted. With their brilliantly layered instrumentals and innovative lyrics, the Silversun Pickups have effortlessly devoured yet another city.

(Published at ComfortComes.com)
(Featured at Filter Magazine's Tour Blog)

Voxtrot--Your Biggest Fan EP

Austin rockers Voxtrot are back with one last EP before heading to studio to record the anticipated debut LP next year. For now though, Your Biggest Fan is a three-song taste of the softer side of a band that’s already shown its ability to master the playful (and vintage sounding) side of indie. "Sway" in particular is a heavily orchestrated ballad that remains somber and respectful, but still carries Voxtrot’s catchy rhythms. "Your Biggest Fan" falls into the playful side of the band’s tunes, yet has some darker lyrics. "Trouble" is a combination of the two, pushing forward Voxtrot’s trademark vintage and bouncy sound, while also pulling away for soft orchestral exposures. "Understand its a curse / But baby you’ve got trouble in your blood…I never woulda done it / I never woulda slashed my parents’ trust" sings vocalist Ramesh Srivastava in a roller coaster tongue-tier of lyrics. Your Biggest Fan simply throws more credentials and expectations on the heap that Voxtrot has built for their upcoming album, and reassures us that the Austin indie five-some will make it’s mark on pop music.

Silversun Pickups--Carnavas

After spending five years to master their live act, L.A. four-some Silversun Pickups released their first recording in the Pikul EP of 2005. Carnavas is the follow-up to Pikul, and blows everything Silversun has done so far out of the water. Featuring a mix of The Smashing Pumpkins and Catherine Wheel’s style of alternative layered instrumentals with My Bloody Valentines’ shoegaze, Silversun puts their own spin on the deal by throwing in vocalist/guitarist Brian Aubert’s softly - almost feminine - mesmerizing voice. Don’t be fooled though, just as the Pickups can revert to overwhelming dramatic instrumentals, so can Aubert as he almost painfully yells out in songs like "Future Foe Scenarios." After their intro "Melatonin," (a tune about a girl and her favorite drug) the Pickups dive into their most Smashing hit, "Well Thought Out Twinkles." "Twinkles" delivers catchy fast-paced guitar work all to a ferocious drum beat, and the first of the many feed-back surrounded solos that take your breath away. The album continues with "Little Lover's So Polite," a groove-like song that pulls it all away for bassist Nikki Monninger’s quick vocal solo, "Broke remains, an everyday disguise / Ending in the same way. . .the same way," before launching into another speedy layered solo. "Future Foe Scenarios" is one of the deepest tracks on the album, and best displays Silversun Pickups’ use of dynamics and emotional climaxes to send chills down listeners’ spines. Moving along at an unsteady, untrustworthy pace, the song opens up to heavily distorted guitars and Aubert exhaustively yelling "This revolution baby / Proves who you work for lately." The instrumentals crash into a sea of feedback as he eerily repeats "It’s alright" over and over in a tone that lets you know it’s anything but. Other songs show off other areas of the bands’ might, "Waste it On" features a haunting bass solo, and "Lazy Eye" is another emotional roller coaster similar to Pikul’s "Kissing Families." The album closes with the lyrical masterpiece "Common Reactor," a less exciting piece instrumentally but one that gives way to Aubert’s fluid lyrics, "Cuz maybe if we’re loud we’ll stay alive / While everybody wants to join the fight…But even if we barricade the door and seal it with the blood found on the floor / We’re always going to cross the finish line / While everybody wants to run and hide." Silversun Pickups blow any expectations out of the water, and clearly mark themselves as on a road to something greater. Every song on this album can be someone’s favorite, and the Pickups deliver a brand of rock that’s influenced just enough to get them the cool labels (indie/alternative/shoegazers) but just enough originality and lyrical depth to keep people coming back for more. A must for any rock fan.

(Published at MusicEmissions.com)

The Ghost Is Dancing--The Ghost Is Dancing

A lot of power is needed to outmatch the roar of Niagara Falls. The Ghost Is Dancing faces this challenge head-on with eight (sometimes twelve) members ripping out orchestral indie to outmatch their hometown’s watery claim-to-fame. Their self-titled EP is the first release by this young group, and promises big things from the get-go. Advertised as "orchestral, dramatic indie pop," The Ghost Is Dancing certainly is orchestral, including strings on every track and horn parts on songs like "People." (An accordion from Gabrielle Nadeau makes an appearance as well, is this considered orchestral?) The addition of these instruments is only a subtle touch to support their mainstream indie approach, and included is a harsh edge of emotional angst that makes their music all the more juicy. Let me stress though, this release is simply impressive. Out of the five tracks you get a clear idea of just where this band is going, and that’s straight to the top, marching to the tune of "The City Waltz." More a march than a waltz, it features irresistibly scratchy guitar parts swinging circles around a core of aggressive-yet-withdrawn lyrics, ending with Celtic-like strings adding touches of classical conflict in the final climax. Whew. And this is their first release? "The Running Song," (great to run to) is fast-paced and well, racing. Quick clever lyrics speed down alleys of keyboards, accordions, and orchestral tid-bits (not to mention a killer bass beat). The Ghost Is Dancing is music that could certainly get the spirits on the dance floor. If this release proves scarce, be sure to look for their LP coming out in 2007- as corny as it sounds - this is not a band you want to miss.

(Published at MusicEmissions.com)

Westbound Train--Transitions

My media player labels them "reggae" from the second I pop in the CD, which I feel is the quickest judgment rendered on a piece of music. Sure it has reggae influences, and perhaps it will be thrown in the reggae pile, but there is just as much jazz, ska, and blues influences to be found in Westbound Train’s third release (first non-independently). Aptly named Transitions represents the septet’s move to a label, but to a listener they sound like a tight group that’s hardly in transition. In a fusion of soul, blues, and reggae, tunes such as "Please Forgive Me" are catchy licks with wonderful foundations of ska lacing the vocals. "For The First Time" picks up a jazzy beat to vocals singing of lyrical hardship, "Everyone has got a point of view / But who is right or wrong remains to be seen." A jazz-trumpet solo brings the piece together in a beat that is hard to sit still to. "Fatty Boom Boom" (best name, ever) features even more trumpet pieces, along with reggae vocals that hint at touches of ska. The album closes with the hypnotic "Travel On," a slower song that is much heavier on reggae grooves, and ends the album on a high note. After the release of Transitions, Westbound Train will tour with The Toasters, The Mighty Might Bosstones, Reel Big Fish, and The Skatalites. Transitions is an infusion of reggae, blues, soul, ska, and jazz to the effect that the individual genres are difficult to separate from the others. A wonderful transition from Westbound Train.

(Published at MusicEmissions.com)

Great Aunt Ida--How They Fly

"Great Aunt" Ida Nilsen follows up her 2005 debut Our Fall with the more accessible album How They Fly. A touching album displaying the contrast between fragility and strength, Nilsen’s softly haunting vocals graces each track with the sort of presence that feels larger than that of a sophomore release. "Accident" is perfectly Nilsen, delicately threading her voice through a retrospective piano piece. "Heaven knows where I’ll be," she sings, her voice barely above a whisper, "And who wants know? / How far can we go?" Enormously emotional and soothing, she continues with "Careful Kid," again supported by a soft piano, but with an underlying sense of discomfort and paranoia as she sings of loss and comfort. Strings by Jesee Zubot and Finn Manniche add a sophisticated and mourning stroke, and the addition of a trumpet and guitar in songs like "Every Bone and Muscle," "Flower Like Years," and "Extra Hours" keeps things fresh. "Extra Hours" especially is a up-beat tune that prances its way around happier themes, showing that Nilsen can succeed outside the realm of fragility. "Runway" concludes the album and features Nilsen singing duet, "All in good time / Don’t wait for me / I’m slowing you down." A softly touching album, How They Fly will surely reach out and pull more listeners into Nilsen’s sound. The fragility and beauty of her voice lifts this album up and wraps it in a kind of presence that you can’t help but be impressed by.

(Published at MusicEmissions.com)

Various Artists--Hardcore Nation 3

"Put your hands up in the air!" How fast can you do that? Better yet, how fast can you say it? Doesn’t matter, DJ Seduction can say it faster. He is just one of a slew of artists featured on the monstrous compilation Hardcore Nation 3. Split into three discs (including 54 tracks and over 3 hours of techno beats), the compilation shows off the skill of Stu Allan and Robbie Long along with Seduction, and guest artists like Alison Wade, Mauro Picotto, DJ Stromtrooper, and many others pop up now and again. The first disc is DJ Seduction’s territory, and is as fast-paced as a marathon runner. Nonstop and insanely bouncy, the poppy feel of songs like "All Around the World" and "Put Ya Hands Up" reminds one of an out-of-control high school dance. Stu Allan takes up the torch in the second disc. A pulsating hour of music, Stu Allan comes off a tad more sophisticated but just barely keeps up to DJ Seduction in speed. "Stuck in a Moment" features the vocals of Ali and is the peppiest track on the CD, while "The Hitmen" is a cunningly delicious track. Stu Allan offers some good diversity and paces well, leading us into the concluding disc featuring Robbie Long. "Nation of Hardcore" kicks it off, sounding like an ecstasy-induced-dream and a Mortal Kombat game wrapped into one (and perhaps they aren’t really that far off). "Watch Out" keeps up the speed set by the previous two DJ’s, and even cranks it up a notch. "Learn 2 Dance" concludes the massive compilation, and wraps mesmerizingly haunting vocals with the standard dance-beat. This set could keep any dance lover happy for months, and trying to listen to it in one go is an exhausting experience. The best of recent dance and techno work, just try to sit still during this 54 track roller coaster ride. Better challenge: try to keep up.

(Published at UkMusic.com)

The Capitol Years--Dance Away The Terror

Dance Away The Terror is the latest work of Shai Halperin and The Capitol Years, and is some of their best work yet. The album moves past the former lo-fi quality and sounds like it had some better production coupled with it, but The Capitol Years still stay very minimalist. Ultimately though, The Capitol Years make Dance Away The Terror an album out of its time, featuring songs like "Revolutions," a bouncy-pop piece with obvious Beatles influences. More contemporary indie tunes like "Long Time" can be found, as well as slower, more dramatic pieces ("Mirage People"). Dance Away The Terror is most obviously a ‘60s album though, featuring influences like Simon and Garfunkel, Neil Young, and guitar parts styled after The Beatles (especially in the ballad "Seven Songs"). The Capitol Years evokes a very classic and timeless feel throughout the album, both in their instrumentals and vintage rhythms. The vocals are often chorused and echoed, and the protesting images brought up by "It’s Not Okay" could find its way easily into the time period. However, other influences like The Strokes and Guided By Voices find their way into the album as well, especially in the concluding untitled instrumental track, and put an interesting spin on their sound. All in all, The Capitol Years gain a refined and professional sound, even if that sound is reminiscing of that 40 years ago.

(Published at MusicEmissions.com)

Duke Special--Songs From The Deep Forest

I get the two Duke bands mixed up more than I should. The Duke Spirit and Duke Special hold many similarities, and thus wrongly become the same band in my mind. Beyond the parallel names, both bands come from over the pond (Duke Special in Ireland and The Duke Spirit in the UK), both deal in indie rock, and their artwork is alike (to a point). That’s where the excuses for getting them jumbled end, because their music is clearly very distinct from each other. While The Duke Spirit pumps out female-fronted music in the spirit of The Velvet Underground, Duke Special remains raw and quietly powerful. Duke Special is actually the efforts of "The Duke" from Belfast, Ireland. Songs From the Deep Forest is The Duke’s sophomore release, and continues where his debut, Adventures in Gramophone, left off. Heavily emotional and minimalistic, songs rely on Duke’s vocals and commonly a piano. Guitar parts and other standard rock instrumentals are a hard find in the release, but this deviation works well. Songs like "Last Night I Nearly Died" and "Wake Up Scarlett" include sweeping crescendos and overly emotional subjects. This degree of emotional exposure the most outstanding quality of the album, as can even be seen by the song titles (i.e. "Ballad Of A Broken Man" and "This Could Be My Last Day") and it’s hard to detach this sentiment from the music. As a result, the album may be tiresome for one that may grow weary of over-bearing fragility, despite the wonderful melodies and piano pieces. However, the album is very well-written and made more impressive by the fact that this is but a single man working with his own thoughts. A deeply emotional piece, Duke Special clearly sets himself apart.

(Published at ComfortComes.com)

Scissors for Lefty--Underhanded Romance

Financial advice from Scissors for Lefty? Why not? "Hey hey," they open with in their intro track, "Nickels & Dimes," "Nickels and dimes are all you need / To rock tonight." Words of wisdom. Besides being a very cheesy way to open this review, the song also serves as a great introduction for what you’re going to get in Underhanded Romance: pure silliness. "Nickels & Dimes" is light and bouncy, and the floating, quick-and-dirty guitar lines are a major theme of the whole album. The San Francisco four-piece (dual brother combos) wrap light-hearted lyrics with wispy instrumentals for a fun and cuddly experience. They’re like a puppy without the fur, literally speaking. "Ghetto Ways" is another great example, with goofy lyrical lines, a Killers-esque keyboard invasions, and a general mood that has it’s head in the clouds (and sounds very similar to Bloc Party). Scissors for Lefty wrap a Brit-pop influence in their indie tracks, and it would be very hard to guess that these boys are from San Francisco after only listening to their songs. The upbeat-on-the-edge-of-scary "Mama Your Boys Will Find A Home" features twisting lyrics and an explosively pop chorus, which can be said about just about every song on the album. Yet Underhanded Romance never gets repetitive and is an interesting listen. Most of all though it is a pure silly album and just plain fun. The instrumentals and lyrics are light-hearted, summer-like, and well-written. A strong album from Scissors for Lefty that would be a good investment for your nickels and dimes.

(Published at ComfortComes.com)

Radiohead--Kid A

My interest in this album was peaked by Chuck Klosterman in his book, Killing Yourself To Live (far less emo than the title suggests). To those who have read the book, this evaluation of Radiohead’s Kid A will be very familiar and sound completely ripped-off. That’s because it is. To those who haven’t, let me make it clear that this is NOT my original idea, it is all Klosterman’s thoughts, but the idea intrigued me. I apologize if this offends anyone, it is not meant to be anything more than an interesting way to view a popular album, and I present it here to spark your thoughts. Perhaps it will ruin the album, perhaps not.

It made a Radiohead fan out of me.

Kid A is a wonderful album on its own. But it is more than that, when placed under a certain lens, it is the "soundtrack to 9/11." Corny as it may sound, let’s go through the songs: "Everything In Its Right Place," like the title suggests, shows life going as normal. The song is pleasant and upbeat, everything is going as it should and is in motion. "Kid A" follows up with more normalcy, and a general acceptance that science and technology reign supreme in our world (Kid A is supposedly the world’s first human clone). What could possibly break through that?

"The National Anthem" does, the randomness and paranoia in the song - especially in the second half - represent when the first plane smashes into the World Trade Center. The chaotic vocals of "What is going on?" repeat, and things begin to spiral out of control in a musical whirlwind of brass and rhythm. Somewhere before the end of the song, the second plane has hit. "How to Disappear Completely," the fourth track, is the beginning of the aftermath. "This isn’t happening," is repeated by Yorke in a desperate tone, and natural disasters like hurricanes begin to rage across the earth. The instrumental and very somber track "Treefingers" follows, because, as Klosterman writes, "what can you say when skyscrapers collapse?"

Continuing, "Optimistic" mentions how "vultures circle the dead," and "In Limbo" deals with the United State’s new sense of realism. "Idioteque," possibly the best track on the album, deals with survivors ("Women and children first") and an acceptance of the event ("This is really happening"). In the new nation, "everyone wants to become a friend" in "Morning Bell," and "Motion Picture Soundtrack" speaks of ways that people are dealing with the terrible tragedy. And that’s where it leaves us.

While it all may seem to be a stretch, listen to Kid A again. The "This isn’t happening" lyrics take on a new weight, to me at least. You may not agree, and I am sorry if you are offended, but I think it is an extremely interesting way to look at an album, and frankly what is music but everyone’s own personal reaction to it? This reaction is all Chuck Klosterman’s, it is by no means my original thoughts. It doesn’t give Radiohead any undeserved credit for incredible insight and prediction in their 2000 release, and in fact Yorke created much of the album by pulling lyrics out of a hat. But, as Klosterman ends, "A genius can be a genius only by trying to be a genius; a visionary can only have a vision by accident."

Tiefschwarz--Fabric29

Tiefschwarz (Jet Black for English-speaking types) is the alias for Ali and Basti Schwarz, two brothers who have been addicted to the club-scene ever since the age of 17.Engulfed in Berlin’s counter-culture, the brothers in black took a break from promoting acts like Mike Dunn and Tony Humphries to create their own little remix masterpiece of house beats. Fabric29 is a beast at just over 70 minutes of techno influenced electronic joyrides. The majority of the songs contain steady beats that will have no problem persuading your feet out onto the dance floor, but that’s just the foundation for Tiefschwarz’s music. Layered on top are groovy little pop and fizzes, fancy tricks that "make you laugh out loud on a dancefloor." Especially good are the oriental effects in Night on Earth’s "Rondell." Interestingly a dubbed version of Depeche Mode’s "John the Revelator" appears as well, a springy fast-paced remix perfectly suited for the dance floor. Tiefschwarz’s "Damage (M.A.N.D.Y. Remix)" is one of the best, a quirky little unique jive that breaks away from the traditional bass beat of the other tracks and even intertwines light vocals over the electronic effects. Better yet, Tiefschwarz are just great to dance to, which is the main point of this whole deal. If you’re not in a situation where you can hop a jet to Berlin to see these brothers live in action, this is the next best thing. Check it out!

(Published at MusicEmissions.com)

Shaggy Manatee--In Between

Shaggy Manatee has been around. A co-founding member of Pancake Circus, a group that rewrote the way hip-hop is done, Manatee moved on to work with countless artists and just as many genres. Anything from Experimental Pop to Electro-influenced Rap has been under Manatee’s restless working fingers. In Between is Manatee’s first solo album, and in it he shows just where he’s been. Tracks like "Cartoons Worked For Me" and "Numbers Game" show off his electronic skill, going above everyday techno and incorporating hip-hop influences for a fast-paced and non-stop whirlwind of beats and effects. "Good and the Bad" find Manatee experimenting with sound and beat, even though the track goes a bit long for its worth. Also featured on the album are guests Opt Rhyme, Paul Pena, Tendrizer, Non Repro, and a few other San Francisco Bay area artists. Opt Ryhme’s "Tell Me I’m Wrong" is excellent, incorporating Manatee’s innovative beats with Ryhme’s labyrinth of rap lyrics. If you’re lucky enough to find a copy with some bonus cuts, grab it, Zion & B-Child’s excellent "Hamptons" is worth snooping around. In Between is just that, a mixture of Shaggy Manatee’s wide variety of musical talents. Incorporating various genres and a plethora of guest voices, Manatee keeps the album fresh throughout its 16 tracks (20 if you can grab said bonus version) and will keep your ear coming back for more.

(Published at MusicEmissions.com)

Near Miss--Testing The Ends of What They’ll Put Up With

Austin punk-rockers Near Miss are back from their 2002 debut, The Gentle Art of Making Enemies. Testing The Ends of What They’ll Put Up With is a fierce follow-up with incredible drum work by Max Béchard, formerly of Bigwig fame. Fans of current punk-revivalist work like NOFX, Smile Empty Soul, and even (to an extent) Fall Out Boy will eat this album up. "Now Rectify" is a good place to start, a power-heavy track that intertwines its vocals with the instrumentals for a full onslaught of rowdy aggression. Near Miss carries a lot of power in these explosive songs, and falter when they pull back such as in "Serious Mess," where vocalist Jeremy Hernandez begins to sound more like an off-pitch middle school choir boy. Even the hybrid loud/soft track "Take It Back" exposes these faults to a point, but again mixes the instrumentals well. The listener is never hit with too much of one side of the spectrum, and if the vocals climax into scathing screaming, the instrumentals follow, a sign of maturation from veteran rockers. The drums are simply the best part of Near Miss though, just flip on "Feel When You Find" for an out-of-control beat-fest that just won’t end, and you’ll see just what an incredible asset Béchard is. With a good blend of instrumentals and vocals, Testing the Ends of What They’ll Put Up With is a well-mixed punk-revivalist album that outshines their more popular contemporaries at times. An on-target sophomore effort from Near Miss.

(Published at MusicEmissions.com)

The Killers--Sam's Town

After a hugely successful debut album, The Killers have gained artistic license for their follow-up, Sam’s Town. With a large fan base going out on October 3rd to buy their album simply because its The Killers, the Las Vegas outfit have room to tweak and experiment with their sound, which is just what they do in Sam’s Town. Compared to their Hot Fuss debut, the album is slower and less pop-oriented. The big hit on the album looks to be "When You Were Young," that takes a U2 guitar line with Brandon Flowers’ dramatic vocals to craft a danceable and well-rounded single. Yet when compared to the big hits of the previous album, "When You Were Young" is toned down and slower, especially when put up against "Somebody Told Me." "For Reasons Unknown" is another pop piece along the same lines as "When You Were Young," featuring more keyboards but again a slower rhythm. Found here is The Killers emotional yet always catchy lyrics, "But my heart it don’t beat / It don’t beat the way it used to / And my eyes / They don’t recognize you no more." Other songs like "Why Do I Keep Counting" resemble ‘80s hair-ballads, and the album name-sake "Sam’s Town" puts The Killer’s classic keyboard with more U2 guitar licks for an explosive and climactic experience, even with the awkward ending. As a whole, Sam’s Town is a toned down version of Hot Fuss. The vocal experience is still exhilarating, but the quality of their big pieces leaves something to be desired. It is by no means a bad album, and shows The Killer’s experimenting with slower rhythms and moving away from their dance beats. Yet when compared with their debut, Sam’s Town is clearly The Killer’s lesser work.

(Published at ComfortComes.com)