Talkdemonic
Beat Romantic
Arena Rock Recording Company
The
first time I listened to Talkdemonic's Beat Romantic, I was
driving to Boston on a dreary, rainy day with a good friend. I thought
the album captured the mood of the day perfectly with its comforting,
melancholy beats and we both decided it was great rainy day music.
The second time I listened to the album, I was laying on the beach
in Florida. The temperature was in the 80's and there was a
soft breeze off the ocean. Beat Romantic was playing in my headphones
and I could hear the ocean waves and birds in the background and
thought that life couldn't get any better. I realized then
that this album is much more than just great atmospheric beats and
harmonies. No matter what the mood, it is truly a divine pleasure
to listen to this gem from Portland duo Talkdemonic.
Talkdemonic
is an instrumental band comprised of Kevin O'Connor and Lisa
Molinaro. O'Connor plays drums, synths and his laptop while
Molinaro plays the viola giving Beat Romantic an organically hip
sound. O'Connor began performing as a solo act in 2003, playing
instrumental hip-hop beats, using Molinaro's viola pre-recorded
on his laptop. He convinced Molinaro to join him officially in 2004
and she began performing and recording with him. The result is a
delicate mix of hip-hop and classical refinement.
There
are so many amazing songs, each very unique in their own right.
Some of the most striking are "Manhattan '81," "Hillside
Monarch" and "Mountaintops in Caves," but the album
is best when listened to as a whole. Beat Romantic is both lulling
and engaging. It has a transcendental power that will take you in
any direction you want to go with it. - KARA GARRIGAN
Learn
more about Talkdemonic by visiting talkdemonic.com.
Leaving Rouge
Elsewhere
Greyday Records
Elsewhere,
Leaving Rouge's first full-length album, takes us on a dark
journey through life in a desolate urban landscape. Singer/Songwriter
Sean Madigan Hoen's new band & he has completely disbanded
the original line-up that performed on Leaving Rouge's White
Houses EP & gives Elsewhere a raw and pure sound that has less
instruments, less background noise and more rock. Hoen said that
he wanted "to make it all about the songs" on this album
and has succeeded in doing so. The sound is stripped down and feels
like a throwback to a time when music was simpler.
Musically,
Leaving Rouge does a lot of interesting things on this record. The
music sounds a lot like early R.E.M. and Tim-era The Replacements
but also has some great modern melodies and riffs that keep it fresh
and progressive. It revives a lot of the good things about early
80's rock that seems to be lost among modern indie music. My
only complaint is that a lot of the songs sound very similar and
blend in together. They could have taken a few more risks and pushed
themselves outside of their comfort zones some more.
Lyrically,
Hoen has moments of insight and great storytelling. Some of his
visuals in songs like "Worlds Aflame," "Skeleton
Girls," and "Chain Letters" are really quite poetic
and capture themes of feeling lost and numb in a dying city with
slight glimpses of hope along the way. Although Hoen writes some
good songs on this album, a lot of his lyrics are hit or miss. Sometimes
it seems like he is being dark just for the sake of being dark,
and his visuals of feeling alone and empty never really pack the
punch of say a Crooked Fingers song, but that is something difficult
to do and this is a valiant effort nonetheless.
This
is a good album, not perfect, but it is worth checking out, as there
is a lot of potential with this band. Since this is the first album
with the new line-up, I see this as just the beginning for Leaving
Rouge and, hopefully, with time they can really develop the skills
this albums shows they have. - KARA GARRIGAN
Learn
more about Leaving Rouge by visiting leavingrouge.com.
The Attorneys
Selections from Sparrow Garden/Pencil Factory
Self-Released
Hot
damn. In the vast lexicon of popular vernacular, "hot damn"
ranks among the most positive declarations. These words describe
the first impression of the opening two tracks on The Attorneys'
Selections from Sparrow Garden/Pencil Factory. A puzzling query
arises after the initial hot damn fades. Why haven't more people
heard this Brooklyn trio? Following all this fuss comes the hard
part: getting to the other five tracks without listening to the
first two repeatedly. Indeed, this circumstance can be the second-best
problem a band can have.
Envision
a song as catchy as the Laverne and Shirley theme and as rockin'
as any three-piece garage anthem. That sound accounts for the aforementioned
fuss of "Stay" and "The Way I Want to Love."
After thirty seconds of "Stay," any pretense of formulaic
rock vanishes with the first unconventional hook. The vocals and
melody emit a 60's pop vibe, but infused with more substance
than a top 40 oldie or a "retro" band. The Attorneys throw
out some of the catchiest hooks this side of Oldies 102 on "Stay,"
yet sounds neither ancient nor modern.
"The
Way I Want to Love" follows the prior slice of bliss with a
stripped down riff in the vain of the McCoys and other garage rock
royalty. On this track, The Attorneys again employ ancient and modern
sounds, but do not let them bleed together as on "Stay."
The killer riff, a diabolically catchy melody and some of the best
and worst poetry, supply the Low-Fi hooks in the first two minutes.
After a shimmering U2-esque chord, The Attorneys shatter the syrupy
innocence of "The Way I Want to Love" by twisting and
pulverizing its primitive riff into Rage Against the Machine territory.
Once
playing these first two tracks grows tiresome, the rest of the EP
awaits. Not quite as incendiary as the first tracks but quality
nonetheless. "Last September" continues the alternation
of lead vocalists and changes the tone of the album from bombastic
60's garage pop to more contemporary sonic pastures. Here the
tight, high and poppy vocals have yielded to those with a tone and
texture reminiscent of Lee Ving's beer drenched growl (albeit
a very polite version of said vocals.) The flavor of the album continues
to vary from track to track as do vocalists and genres.
Other
triumphs include the U2-meets-opera "Talk About It," and
the imaginary theme to a Japanese video game "Rain Girl."
The full-blown techno workout, "You Are the Wizard" doesn't
feel appropriate given the organic bravado and eclecticism of the
other tracks. The Attorneys then conclude with a ten-point dismount
on the gentle "Coming Up Roses."
Championing
primitive garage pop, emotive retro harmonies, musical balladry
and everything in between, The Attorneys sonic abilities can be
likened to the Beach Boys. A song can sound innocent and catchy,
but beneath this veneer lays an affecting and vulnerable expression.
- JOE MATKOWSKY
You
can learn more about The Attorneys by visiting theattorneysband.com.
Add
The Attorneys on Myspace by clicking here.
Street
Drum Corps
Street Drum Corps (CD/DVD)
Warcon Records
Street
Drum Corps is the kind of band you wish would come along when you're
standing on the side of the street watching yet another boring Homecoming
Parade. First comes the local 4-H club on their barnyard-theme float
and showcasing their big, fat, stinky, blue ribbon-winning pig.
And look, they're followed by this year's winner of the
"Little Miss Sweetheart Buttercup Strawberry Festival Cute-as-a-Button"
something or other pageant. She's smiling and waving and throwing
candy at everyone—you laugh when her convertible drives over
pig poo. Then comes the football team and the cheerleaders. Some
old man beside you comments on this year's team being the best
since "19-way before you were born," while another old
man comments on the length of the cheerleaders' skirts, and
just when you're ready to start picking up candy from the ground
and hurling it at everyone within 20 feet of you, you freeze. What's
that? A bird? A plane? One of the obnoxious fire trucks backfiring
in an unusually rhythmic beat? No, it's the Street Drum Corps.
And most likely they're performing track eight from their self-titled
debut album.
This
marching band comparison isn't meant as an insult. As a matter
of fact, I like this album, just as I appreciate a good marching
band performance. Despite the strong percussion acting as the backbone
to every song (but hey, they are the Street Drum Corps, after all),
each of the eight songs on the album has its own personality. The
second track, "Wrecks," introduces the band both with
the wide range of percussion instruments and the vocal repetition
of shouting the band's name. Even though they claim they aren't
"the Beastie Boys or Run DMC," the beat of track four,
"Street Drum Corps" (which should actually be the title
of the abovementioned track two) is undeniably reminiscent of classic
Beastie Boys. And you can't go wrong with the occasional salute
to a legend. Plus, they know how to work those kitchen appliances
and utensils in ways that would make Emeril envious. Even if you
aren't particularly in the mood for this type of music, you
will be within the first minute or so of pushing the play button.
However, you're going to have to have a hell of a bass system
to experience Street Drum Corps properly.
And
isn't that cover just…odd? Siamese monkeys holding cymbals
and drumsticks? An old can with money in it? Hmm. Good news. The
insert folds out to a mini poster. - ALICIA SPARKS
Add
Street Drum Corps on Myspace by clicking here.
Milton and the Devils Party
What Is All This Sweet Work Worth?
Face Down Records
At
one point on the full-length debut album What Is All This Sweet
Work Worth? from Philadelphia's power-pop band Milton and the
Devils Party, lead singer/songwriter Daniel Robinson sings, "I
want to make you mildly annoyed." By this point in listening
& five tracks in on a fourteen-track album & I already
felt confident that I could say, "Mr. Robinson, mission accomplished."
I spend
a good proportion of my waking hours grousing like a curmudgeonly
old man about the looming death of the English language, you know,
because of the kids and their text-messaging and lack of book-learnin'
and such. I would have thought that a band like Milton, who wears
its literary roots proudly, would have been right up my alley. Two
founding members met when pursuing their doctorates in literature.
The band's name is not only reference to John Milton, author
of epic poem and high school torture device Paradise Lost, but also
to a quote about Milton by poet and painter William Blake. Dorky?
Perhaps, but dorky can sometimes wrap back around to cool and rock-and-roll.
Unfortunately,
dorky didn't make it all the way ‘round on this album.
The musicianship is decent and there's good guitar work. But
the music itself is a bland variety of what a friend of mine &
commenting on my affection for bands like REM to whom Milton has
been compared & derisively dismissed as "all that jingle-jangle
music." I enjoy some good jingle-jangle music, but to make
up for the lack of musical invention or balls-out rocking, there
have to be hooks, catchy melodies that permanently worm their way
into your brain. I spent a quiet afternoon paying close attention
to What Is… and a day later, I can't recall a single melody
from any song on the album.
With
the music mildly melting into the background, the lyrics alone are
left to hold your attention. It's not that they're poorly
written, it's that they are…well, just TOO written. In
the song "Give You The Creeps," Robinson lists the various
mildly debauched ways he wants to corrupt the object of the song.
An excellent idea for a rock song, right? But as he continues and
continues to list, you get the feeling he's more excited about
cleverly articulating the mischievous acts than he would be actually
carrying them out.
There
should be a place for the literary, the clever, and the erudite
in rock music, but the first and foremost priority is to make ROCK
music. You know, rock-and-roll? It's kind of messy and elliptical
and sexy. So to bookish Milton, I will throw back a literary quote:
Hemingway said, "You lose it if you talk about it." In
other words: less talk, more rock. - LESLIE SEATON
Jonah
Matranga
There's a Lot in Here
Equal Vision Records
Jonah
Matranga has been around for a long time. He began playing music
in 1991 and has released numerous CDs and EPs as the frontman of
four different bands: Far, Gratitude, New End Original, and Onelinedrawing.
Now, with There's a Lot in Here, Jonah gives us an album under
his own name, which is intended to showcase some of his best work
in a live format. The title of this DVD/CD combo lives up to its
name. The DVD has two live shows, one is at rock club Chain Reaction
in Anaheim, CA and the other is an intimate performance in someone's
living room. The DVD also includes music videos for all 11 songs
off his Onelinedrawing album The Volunteers. In addition to this
jam-packed DVD, he also includes an audio CD of 13 of his favorite
tracks from the live shows.
Most
of the music on this CD is from his Onelinedrawing and New End Original
work. If you are a big fan of these bands, this is a great album
to get, as there is just so much included with it. As a new or casual
listener to Jonah Matranga, it can be a little overwhelming. After
sitting through two live shows and 11 music videos, the whole thing
starts to feel a little excessive. In addition to this, it's
really hard to appreciate anything that Jonah has done here musically,
as the actual music is vastly overshadowed by Matranga's megalomaniac
live presence. Based on this DVD/CD, it is very clear that Jonah
loves being the center of attention. The performances are just Jonah
and his guitar; even the Chain Reaction show, which claims to be
"with band," is mostly just Jonah and the occasional appearance
of a drummer. The guitar playing is simple and standard which brings
all focus to Jonah's lyrics and ramblings. Before every song
there is at least 1-2 minutes of talking. He tells the audience
when the song was written, what the song means, who it was written
for and what we should take away from it. He also frequently stops
playing during the songs to further elaborate one of his lyrics,
to point out somebody in the crowd, or to give his views on politics
and life. This can happen 2-5 times per song. This incessant commentary
might be understandable if the songs were overly complicated or
deep. They aren't. They are basic pop songs with generic emo
lyrics.
There
is no doubt that Jonah can write a fun, catchy pop song. Songs like
"Smile" and "Yr Letter" show that Jonah has
a lot of potential as a pop songwriter. It's unfortunate that
he chose to put his music into this live format because he tries
to give his songs more importance than they really have. He hypes
the songs up so much that by the time he actually plays them it
feels like a letdown. If he would have allowed his audience to form
their own opinions on his songs and just enjoy the music, it could
have been a fun album. As it is, There's a Lot in Here is frustrating
to watch and listen to. Unless you are a diehard fan of Jonah's
previous work, I would steer clear of this album. - KARA GARRIGAN
Learn
more about Jonah Matranga by visiting jonahmatranga.com.
The Killing Moon
A Message Through Your Teeth
Fearless Records
The
Killing Moon hates being referred to as a ska band and, while they
may exhibit elements of ska, they definitely aren't a ska band.
My question is this: what shall we call them? My suggestion: skeemo.
While listening to their new school emo guitars and vocals, which
are backed up by their strategically placed, distinctly ska-style
horn stands, that's the term that keeps popping back into my
head. At times, the horns appear to be a gimmick, maybe just because
it seems so new and foreign. However, when it comes down to it,
these guys have fleshed out a pretty unique and personal style,
especially for a first EP. This high-energy output is sure to work
its way into the summer listening schedule of many a' brooding
teen this year.
Vocalist
Ryan Hannan shows off some fine vocal prowess, reminiscent of various
singers that would help draw in their target crowd; there are clear
elements of My Chemical Romance, Taking Back Sunday, Thursday, and
at times, even Samiam. But Hannan also deftly asserts his own vocal
style, and it is nothing to be scoffed at. The lyrical content doesn't
stray from the beaten path too much (for example, "We're
all just shades of gray […], for one second I'd slit your
throat and spill blood across the floor to put an end to this game"
from "Subject A"), but it delivers what the audience is
looking for: overwrought emotion, be it love, frustration, anger,
or regret.
The
musicianship on this EP is overall quite solid. Hannan's guitar
work backs up his vocals really well, and Trevor Gaghan and Jeremy
Vehle, on bass and drums respectively, hold up the rhythm quite
well. Truly, the most interesting aspect of this band is the combination
of Dan Lafayette on trombone and Chris Michaud on baritone sax.
While the catchiness these songs possess is probably created daily
in the basement down the street from your house, the flourishes
that the addition of Lafayette and Michaud add is something that
is interesting to hear. They are the details in the mix, providing
a little extra bounce in the background, and filling in the holes
that a three piece often leaves wide open. - JON JOHNSON
Learn
more about The Killing Moon by visiting thekillingmoon.com.
Add
The Killing Moon on Myspace by clicking here.
Various Artists
The Heart of Alberta
Cyclone Records
For
an album with the words "folk, country, acoustic" on the
cover there is a serious lack of all three. This compilation CD
is filled with pop numbers that may contain a hint of country; then
again, they may contain a hint of out-of-place R&B or traditional
Spanish music that should be played in a flamenco bar.
This
CD can be stripped down to four tracks. "Borderline" by
the Allen Christie Band is one of the few country songs contained
on this CD, complete with multiple references to a truck. This peppy
ode to ditching town after a bad break-up is enjoyable and the banjo
picking used for accompaniment in the chorus and bridge adds great
dimension. The James Murdoch Band track "Don't Call"
isn't country, but it is a nice pop rock number with plenty
of modern guitar riffs throughout. The group Hillbilly Dust has
two tracks featured and both are strong, but with a great name like
that you have to be good. "Albert May" blends strong mandolin
play with a nice folk guitar backbone. "Long Branch" is
the last and best track on this album. This quick-tempo breakdown
number features solid mandolin and guitar play.
Many
songs on this album are good enough to make the CD, but aren't
worthy of praise. Other songs aren't worth listening to at
all. The two Judith Lam tracks fit into the later category. I'm
pretty sure that she stole her high-pitched, wispy voice from a
Fraggle. It is so thin, it sounds as though she is singing in a
cave (Do they have caves in Alberta?) and has to be enriched with
too much instrumental accompaniment. "Prairie Skies" makes
me want to punch myself in the face; her voice is so high it gives
me a headache. "Hey You" is incredibly repetitive and
just as bad.
In
general, this album does have a few good tracks, but as a whole,
it is grossly mislabeled. - JASON MACKEY
You
can learn more about this compilation, by visiting cyclonerecords.ca.
Psychic
Ills
Dins
The Social Registry
Here's
a question you might want to ask yourself before listening to Psychic
Ills' new release Dins: can you watch a Jim Jarmusch movie?
Psychic
Ills is a foursome hailing from Brooklyn who play a combination
of psychedelic, space rock and drone, and who have been compared
to Spaceman 3 and the earlier work of Sonic Youth. Their music bears
no immediate resemblance to the music in most Jarmusch movies, but
that's neither here nor there. The point is that to watch -
and enjoy - a Jarmusch movie is to temporarily set aside the usual
expectation for direct narrative fulfillment, and to enjoy Psychic
Ills' new disc is to set aside the need for the usual satisfaction
of the pop song structure. Both are more about settling into an
experience and environment than following the normal structure for
the form.
This
eight-song disc is a case of the whole being greater than the sum
of its parts. Half of the tracks are not "songs" in the
sense of the structure the word usually signifies. Sometimes this
works, as in the case of the opening track, "East," which
is a lovely and all-too-brief atmospheric piece of undulating guitar
and hand drums. Other times, as in "Untitled" and "Inauguration,"
the lack of structure leads to the purpose of the piece being lost
in the loops. The four tracks that make up the more traditionally
structured songs have beautiful moments but it's hard to imagine
any of them standing alone as a single.
This
might exactly be the point. The tracks blend into each other with
the end of one dovetailing into the start of the next. While I can't
imagine selecting any one individual track for inclusion on a playlist
on my iPod, I can definitely imagine playing the entire disc as
background as a great party winds down. Since the advent of Apple's
Music Store, there's been a lot of hand wringing about the
potential death of the full-length album with the return of a single-centric
marketplace. An album like Dins shows that the long-player might
have some life in it yet. - LESLIE SEATON
Add
Psychic Ills on Myspace by clicking here.
The Swear
Every Trick's A Good One
Self-Released
These
days every CD finds its way onto some "Top 17 Albums of the
Year" list. But who can make such declarations with certainty?
Even the most jaded and grizzled critics can never hear every album
released in the last year. Enter, The Swear, the Atlanta four piece
whose impressive resume includes a Warped Tour appearance, a Women
in Rock Showcase for the Grammy's, too many top 10 list inclusions
to cite, a towering heap of critical adoration and need I mention
the grand prize in the John Lennon Songwriting Contest? For those
with an aversion to good press, fear not, The Swear churn out six
urgent, yet cathartic numbers on their far beyond adequate debut
disc, Every Trick's A Good One.
Introduced
by a few bars of guitar riffing, the first salvo from the Elizabeth
Elkins/Jeremy Zamora writing team, "Last Breath" snaps
into a stream of consciousness verse punctuated by the Godzilla-sized
harmony of the chorus. The catchy songs a-plenty theme continues
with "Letters Faded," sounding like an oddly pleasant
fusion of My Chemical Romance and Cosmic Thing-era B-52s. The remaining
songs sound nearly as solid as the introductory tracks, with standouts
such as "The Sleep Inside," "January," and the
riff-driven coup de grace "Chicago." For the record, that's
just about every song on the album. The guitars of Elkins and Zamora
combined with the stand on your seat drumming of Kent Aberle add
a punkish urgency to the melodic song craft. On top of this foundation
Elkins lets loose some of the most formidable lady-rock vocals heard
this side of the Iron Curtain.
With
impressive songwriting chops and the confident execution of their
creative labors, The Swear prove they have the mettle to rise above
the bland din of their peers. The short but solid Every Trick's
A Good One has the promise to take this band beyond the top ten
albums you never heard. Clearly they need not worry about garnering
critical exaltation or top ten list immortality. That's already
on their resume. By the way, its perfectly normal if you wake up
in the middle of the night with these songs playing in your head.
- JOE MATKOWSKY
Learn
more about The Swear by visiting theswear.com.
Add
The Swear on Myspace by clicking here.
Smoking
Popes
At Metro
Victory Records
Bands
sometimes break up, get back together, break up and get back together
again; the cycle just goes on and on until it eventually either
flames out or works out. The Smoking Popes have given their first
reunion attempt on this record, At Metro.
This
album is a double disc effort put out by Victory Records that includes
a live CD and a live DVD in one little jewel case. This was a performance
recorded on November 11, 2005 at Metro in Chicago, Illinois and
it ended a seven-year hiatus from pop punk legends. From the sound
of this record, they can still pull it off. Lead singer Josh Caterer's
voice has not lost anything and he sounds great over his brother
Matt and Eli's guitar and bass lines and Rob Kellenberger's
drumsticks.
Even
music lovers who are not familiar with the Smoking Popes will feel
right at home the entire time it's playing. They are very very
poppy and their sing-along songs are in accordance with their old
school pop-punk upbringing. I am sure that studio efforts add different
twists and turns, but the live CD really works for them and Smoking
Popes fans will absolutely LOVE this. Anytime a band comes back
from a seven-year break, fans usually are absolutely itching for
something from them, and this CD/DVD combo is the proverbial calamine
lotion in the Smoking Popes' case.
There
is some confusion that comes with this package. The DVD tracklist
is on the back of the package, while the CD tracklist is inside
the jewel case, on the back of the CD jacket itself, and that can
be confusing if you're looking for a certain song on your numbered
CD player. That would really be my only complaint about this release,
which basically comes down to being a greatest hits compilation.
Just make sure you make a note of that when you pop it into your
Discman and start bopping down the street in your stone washed jeans.
Victory
Records really gives fans a treat with the DVD addition. The show
that the Popes played on November 11, 2005 sold out very quickly
and not all of their fans could just fly to Chicago to see them
on such short notice, so this DVD really makes up for missing the
experience. The band have since announced they would be going on
tour this spring with Bayside, which will afford many more fans
the chance to see them live.
All
twenty-three tracks on the DVD are shot and edited so nicely, that
you feel as though you're sitting in the crowd at the actual
show. I can't stress enough how much of a nice job was done
with this whole release; the live sound is amazing, the DVD is superb
and the Popes bring down the house. Victory does such a nice job
on this release, that this is something I hope we see from more
labels in the future - Live CD/DVD combos put together - because
sometimes bands are difficult to get out and see, and this is definitely
the next best thing. - CHRIS LOUPOS
Learn
more about the Smoking Popes by visiting smokingpopes.net.
Add
the Smoking Popes on Myspace by clicking here.
Machinemade God
The Infinity Complex
Metal Blade Records
I
like to be lenient when I listen to artists that I've never
heard before because I feel that they deserve the benefit of the
doubt. Sometimes their style and sound are original and can't
be compared to other artists. But sometimes it's in a class
of its own because it's just downright confusing and perplexing.
This is one of those cases. I'm not exactly sure what Machinemade
God was going for with this album but they lost me completely. Not
to say that the music was bad, it was just…different.
I'm
all for originality and creativeness in music but sometimes too
much is compiled into one song and the song just becomes a mash
up of different elements. "Teeth vs. Curb," "Bleeding
From Within" and "Injected Smiles" are perfect examples
of this. The tempo changes and puzzling lyrics just through me for
a loop and I just don't where to start with "Friendster
is Soo 2 Months Ago". Another problem (or maybe not) with the
album is that the music overpowered the singing; they weren't
equal like a good song should be. No one thing should shadow the
other throughout the entire song and this happened during the whole
album.
Don't
get me wrong, there are some diamonds in the rough on this album.
"Butterfly Coma" and "Snow White" are two beautifully
orchestrated songs with tons of passion and emotion behind them.
"Snow White" is very calm and serene while "Butterfly
Coma" is a little easier to listen to and upbeat. I chose these
two songs mainly because they didn't have any singing. You
get to hear the power behind their music without anyone yelling
over the tracks. These are two very strong songs.
The
Infinity Complex is not a complete waste, however. It just needs
some fine-tuning. Machinemade God has all the makings for a great
band but they need to tone down some of the elements in their songs
and decide which ones will go in what songs. Sometimes simplicity
is better and that's the road Machinemade God should have taken.
- CHANITA DAVIS
Learn
more about Machinemade God by visiting machinemadegod.com.
Various
Artists
Love and Loathing: A Lujo Records Valentine's Day Compilation
Lujo Records
In
love and happy? In love and depressed? In love and have absolutely
no idea what you feel? Whatever the case, Love and Loathing probably
has a song or two for you. This Valentine's Day compilation
presented by Lujo Records is a far cry from the usual sappy, mushy,
(insert your own commonly used adjective associated with love here)
ballads you've come to expect from these types of CDs. Love
and Loathing contains a montage of songs dealing with matters of
the heart that almost seem strategically placed to fit any listening
situation—whether you're driving aimlessly down the road,
curled up on your couch getting ready to explode with excitement,
or lying in your bed, staring at the ceiling, and "feeling
the hurt by the word of mouth."
Although
"Life After Love," performed by The Detholz, sounds a
bit like listening to Cher's original while hanging out in
the Twilight Zone and under the effects of some strange, psychedelic
substance, a few of the songs included in the compilation deserve
special mention. Nigel Evan Dennis' sly-sounding remake of
Starflyer 59's "Next Time Around" (which takes credit
for the abovementioned quote) is perfect for the lover who's
been scorned and seeks justice, while The Cassettes' remake
of Hank Williams' "Hey Good Lookin'" is a fun
new twist on a very old favorite. However, not all songs on Love
and Loathing are remakes; originals such as "Valentines of
the Lumbering Insect" by Frantic Mantis and "Black Paints
the Lilies" by Silence the Foe are ideal for those in the mood
to rock out their emotions. So, even if you are in the mood for
sap, this compilation offers modern alternatives to those traditional
"As Seen On TV" deals you associate with Valentine's
Day music.
I believe
everyone, whether loving or loathing, will be able to relate to
at least a couple of the songs at one point or another, given the
array of themes. One minute you're being serenaded with a harmonious
declaration of love, and the next you're being screamed at
because someone's girlfriend left him—it's auditory
enjoyment for all. What more could you ask for? Overall, I give
Lujo Records an A- for this interesting Love Day soundtrack (the
minus being attributed to that disturbing version of "Life
After Love," of course). - ALICIA SPARKS
You
can purchase this compilation by visiting by Lujo Records.
Adair
The Destruction of Everything is the Beginning of Something New
Warcon Enterprises
Rarely
does a studio recorded album come close to capturing the passion
of a live performance, let alone a hard rock performance. The Destruction
of Everything is the Beginning of Something New is an exception.
In
their newest album, Adair holds nothing back. With heavy guitar
riffs, hard drumming, screaming vocals and the occasional piano
and string accompaniment, Adair produces a sound suitable to both
angry youngsters and music snobs with an exhaustive palette. Lyrically,
the album tells the story of love, the pain of a break-up and a
second chance at a new beginning. Nothing new here, but most lyrics
are surprisingly poetic and thoughtful, good examples being the
tracks "Separate Your Jaw" and "Folding and Unfolding."
Noticeable
attempts in production were taken to capture the raw energy of hard
rock, such as exhausted breathing at the end of "I Buried My
Heart in Cosmo Park," which also showcases the best of Rob
Tweedie's vocal talents. "Barricade the Doors" is
by far the standout track, toeing the line of hard rock and traditional
punk. This track contains the most pop crossover potential and is
deserving of noticeable radio play.
As
a whole, this album offers an incredible amount of energy, both
in instrumental performance and vocals, and remarkable variety,
a trait hard to find in a genre that is full of rockers (or rocker-wannabes)
whose songs all sound the same. With an album that sounds like this,
Adair performing live would be an incredible rock experience. -JASON
MACKEY
Learn
more about Adair by visiting adairmusic.com.
The
Smashup
Being And Becoming
Warcon Enterprises
Track
one of The Smashup's latest album, the appropriately titled
Being and Becoming, explains everything on which the band is based.
The track, "Never Going to Kill Us," screams to anyone
who will listen that they've been through it, they're
still going through it, and they will continue to go through it,
but they aren't going anywhere. They are a band that has struggled
yet continued to believe in themselves and their music. They are
being and they are still becoming.
Cool.
Confidence is admirable. So is dedication and perseverance. And
obviously someone out there likes The Smashup, or at least a couple
of the band members. Vocalist Watt White has appeared in commercials
for companies such as Virgin Mobile, Heineken, Subway and AOL, often
with a singing role, and guitarist Vin Alfieri has written original
music for films and TV shows such as Mr. and Mrs. Smith and "The
OC," just to name a couple. They're also performing on
the Taste of Chaos tour, which runs through mid-April. So, why do
I sound slightly unimpressed?
Well,
there's no denying that their lyrics are sincere. They've
described themselves as "storytellers," and the songs
do tell stories; however, it's the way in which they present
those lyrics that leave something to be desired. During a couple
of the songs, I feel as though each member of the band is telling
a story of his own—which would be cool, if the stories were
remotely similar to each other. Both Alfieri and Liegey (bassist)
have skills that are notable, but they can't carry every song.
At some point, listeners are going to realize that there is other
stuff going on and frankly, White's voice, and even their songs
as a whole, does nothing to stand out from the innumerable bands
that are currently out there in the same or similar musical genre.
It's
as if they have all this emotion and all this desire to express
it, but when they do…well, it's kind of like making love
to someone for the first time. There are parts that you really enjoy,
parts that have potential, and parts that are just better off forgotten.
You're either (whether immediately or eventually) going to
give it another couple of rounds to see what happens, approach the
subject of working on it, or just move on. It's because of
this similarity that I listened to Being and Becoming from start
to finish quite a few times; however, although I was initially intrigued,
I was ultimately unsatisfied each time. Since White says, "The
minute you start doing things you think people will like, you fail,"
it would be an insult for me to suggest working on it. I'm
moving on and leaving this one for the teenage market, which isn't
so bad. There's a market out there for this. For now. - ALICIA
SPARKS
Learn
more about The Smashup by visiting thesmashup.com.
If Hope Dies
Life In Ruin
Metal Blade Records
I
don't ever recall having any metal in my growing collection
of music and that is weird because I like to think of myself as
pretty well rounded when it comes to my musical tastes. I listen
to metal on the radio and watch the videos but never had the desire
to buy metal, and this album has one of the key reasons why. Life
In Ruin by If Hope Dies is an overall good album and I would recommend
it to metal fans but it's not personally for me.
Life
In Ruin has a handful of great songs, and the music alone is killer,
but the singing turned me off to the whole thing. I loved the writing
and messages in the tracks but it's hard to get into if you're
not used to the singing style.
"Anthem
For the Unemployable" is one of my favorite tracks. It's
something that most people can relate to and it's good solid
rock music. "Dead Reckoning" is my top choice for this
album because it flows well throughout the entire song. You don't
have that moment in the song when you're halfway through it
and think to yourself, ‘it's not over yet?' The music
screams adrenaline rush and high energy even though the lyrics aren't
that motivating.
All
in all, if you like rock music, you'll love this album. It
has potential and I think it can go far. It's extremely well
written and the passion that this band has for its music is incredible.
It's straight hardcore, heavy metal with a strong vibe. If
Hope Dies has a great album and can definitely make a strong impact
on the metal scene with it. - CHANITA DAVIS
The Drama Club
Greatest Hits EP
Self-Released
The
egomaniac that first declared that great minds think alike foolishly
neglected the mighty lattice of the collective unconscious. Years
ago, in a moment of mild genius, I decided Greatest Hits would be
a clever title for a debut album and I knew some other visionary
with the same idea would beat me to the punch. At last The Drama
Club's short-winded debut, obviously titled Greatest Hits,
fulfilled this prophecy.
The
initial examination of the menacing black packaging of Greatest
Hits hinted at an album with a quirky sense of humor. To complement
the oddball title, The Drama Club borrows iconography from Star
Wars and DC Comics for their album and band logos respectively.
Another curiosity, in this age of fifteen track albums, Greatest
Hits only boasts a meager seven tracks, which includes one cover
song. Color me curious. Depress the play button and the pretense
of eccentricity vanishes immediately under the deep-throated pipes
of vocalist Nick Coyle (formerly of Lifer) and an all too familiar
mesa-boogie fuzz distortion. No, this certainly isn't the sound
of some madcap band playing peculiar music, but the heavyweight
rumblings of a Rock band (with a capital R) gunning for the airwaves.
Color me disappointed.
"The
Callout" initiates the festivities and establishes The Drama
Club's sound, an FM friendly median between Coyle's old
pals, Breaking Benjamin and radio darlings like Fall Out Boy. The
band navigates their way through the album utilizing this formula
of sometimes robust and sometimes bratty vocals, singing catchy
harmonies on top of the roast beef guitar work. The pace slows toward
the middle, with their seamlessly executed cover of the Eurhythmic's
"Here Comes the Rain" and the annoyingly bratty "Hooray
for the Losers." On final tracks like "Bittersweet,"
The Drama Club throw their beefy guitars back to full tilt while
squeezing the last drop out of the screamo/emo vocal method.
With
a brisk running time of twenty-five minutes over seven tracks, Greatest
Hits contains zero percent filler. To their credit, every song is
catchy enough to hold its own on the radio. Unfortunately, The Drama
Club sounds like a giant modern Rock (capital please) cliché.
While following a proven formula for success, their entry into this
over-bloated genre makes it difficult for The Drama Club's
material to transcend its clichés. It's not that the
boys in The Drama Club is comprised of untalented hacks, just that
their talents dissipate in the haze of a million other bands that
sound like this. Color me jaded. - JOE MATKOWSKY
Learn
more about The Drama Club by visiting thedramaclubmusic.com.
Two
Gallants
what the toll tells
Saddle Creek
From
time to time you find a band that is doing something that nobody
else has really caught up with yet musically, and that's the
best way to describe the Two Gallants' newest release what
the toll tells. There was many times when I was listening to this
record where I realized that I had never heard anything like this,
at least not in today's music scene. Bob Dylan and Johnny Cash
were a few artists who pioneered changes in musical history, and
influenced generation after generation, and I would say they definitely
influenced the Two Gallants. You find it hard to believe that two
21 year old kids created this album. It's pretty deep, and
flat out different.
The
album starts off with wind whistling and slow guitar on "Las
Cruces Jail," making you think you're in for an album
of slow melody and easy listening, but then only a minute in, lead
singer Adam Stephens and drummer Tyson Vogel shock you with a herky
jerk ditty about prison, the transgressions that were committed
to get there, and a planned execution. "Long Summer Day"
is another song that catches you by surprise. It's a tale about
a slave, or an oppressed black man, and his trials and tribulations
in life. Some of the lyrics on "Long Summer Day" will
be shocking to some people, especially since they are coming from
two white boys from San Francisco.
Most
of the songs on this release are of the marathon variety, with four
tracks topping the eight-minute mark. Only one song comes in under
four minutes, and that is the harp laced "Prodigal Son,"
which checks in at 3:13. Despite the lengthy songs, what the toll
tells is definitely worth listening to for the variety and unpredictability
each and every song brings to the table. You think you're in
for a certain type of song - a slow ballad or something of the sort
- and then out comes the quick beats and rock and roll, before returning
right back to the slow, blues influenced sound.
Two
Gallants have truly put forth a release unlike anything that is
on the music scene today. The best comparison that can be made would
be to the White Stripes, but even Jack White can't approach
the dynamics of the Two Gallants, in my humble opinion. There is
a definite confidence about this band and it shows in their music.
what
the toll tells is an album you can certainly get addicted to, but
it's also one that you have to give a chance. There are several
noteworthy tracks that demand to be recognized, "Las Cruces
Jail," "Long Summer Day," "The Prodigal Son,"
and "Age Of Assassins" are a few that come immediately
to mind when going over the track list, but there are parts of each
and every song on the album that have redeeming qualities.
If
you're into the normal, rehashed, 3 chord bands that are all
too prevalent in today's music scene, then go listen to any
over-hyped pop punk band. If you want something a little deeper,
check out Two Gallants - you'll be happy that you did. - CHRIS
LOUPOS
Learn
more about Two Gallants by visiting twogallants.com.
Funk You Very Much
MVD
When
preparing to watch this DVD, be careful not to conjure up images
of George Clinton. If you are looking for 80 minutes of pure unsaturated
funk, look elsewhere. While you'll only find true funk on two
or three tracks, what you will find is an eclectic showcase of musical
talent displayed by virtually unknown, but very gifted artists.
Funk You Very Much showcases a wide range of musical styles. From
R&B, contemporary jazz and soul to rock, pop and electronic
sounds, all feature excellent improvisation and solos galore.
The
first two tracks are below average, but stand out tracks like "Hot
Water" by Mark King make the DVD worth the view. King's
lead vocals create a bass-driven modern rock number worthy of radio
play. Curtis Mayfield's smooth falsetto featured in his energetic
and catchy jazz pop number "Move On Up," is accompanied
by quick hand drum beats and backed by a bassist directly from the
80's, white sport jacket, mullet, aviators and all, a truly
memorable experience. Marcus Miller's "Scoop" showcases
a true mastery of the bass guitar and blends R&B and jazz very
nicely with strong horn solos as well.
Visually,
this DVD looks like it was recorded ten years ago. While the cinematography
is satisfactory, the on-screen graphics made me think I was eight
years old again, watching Star Search. Also, at least one member
of every group featured is stuck in a previous decade. But who cares:
they can play and that's all that matters.
It
all comes down to the music. Forget image, the musicians featured
are very talented. They display flamboyant showmanship, such as
playing two saxophones at once or blistering solos on the almost
extinct keyboard guitar, and a tremendous love for the music they
play. While it's easy to find comic value in the musicians'
looks or the clothes they are wearing, the musical abilities on
display in this DVD are nothing to laugh at. - JASON MACKEY
Atreyu
A Deathgrip on Yesterday
Victory Records
It
sounds like Atreyu's done it again, literally. This band has
found a formula and they're sticking to it. Known for interspersing
80's tinged guitar riffs into their modern screamo efforts,
this album sees the band getting stuck on the idea that those riffs
only belong in the bridge. Consistently relegating all solo style
riffs to such a typical place not only makes the songs on this album
bleed together, but also fails to distinguish the songs from similar
songs by other bands until that point is reached. In the past, Atreyu
were not afraid to come blazing out of the gate with a killer guitar
line (see "Lip Gloss and Black") or a nice little intro
(see "Ain't Love Grand") but it feels as though almost
every song on this album just jumps straight into the grinding guitars
and growled vocals.
One
welcome change in the formula is "The Theft." Opening
with subdued vocals, turned down distortion, and a guitar a little
further back in the mix, this song stands out. In fact, it stands
out so far that it almost sounds like a different band is performing
it. Whether fans of the formula will like this track or not remains
to be seen, and though this song does still feature the guttural
vocals and a few seconds of the 80's riffage, it's hard
to call.
Things
come around a little more as the album closes. The second to last
track, "My Fork in the Road (Your Knife in my Back),"
opens with a blazing guitar riff that then carries the driving force
of the song. The song does flourish with a solo in the standard
location, but this solo is definitely one of the better ones on
the album. Further, this solo is bolstered by the fact that it is
not the only place in which this guitar tone is featured on this
track and, that makes it much more noticeable and coherent on a
whole.
While
having a definitive sound is a key element in the longevity of a
band and their ability to maintain their fan base, it is entirely
possible to go too far. Admittedly, after 20 or more listens, the
songs that don't initially stand out will begin to, however
for a band like Atreyu, who project individuality, a more concerted
effort to make each song unique couldn't hurt. - JON JOHNSON
Learn
more about Atreyu by visiting atreyurock.com.
