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)