New Music: Chrome Children, Beck, Pit er Pat, These Arms are Snakes

Madvillain - Monkey Suite - Peanut Butter Presents Chrome Children (Stones Throw 2006)


Various Artists – Peanut Butter Wolf Presents Chrome Children / Stones Throw

Adult Swim’s rock-solid grasp on stoners everywhere has not only locked-up the ADHD visuals but is expanding their influence into the aural senses as well, and what better label to match their fanbase than the hip-hop boundary-pushers at Peanut Butter Wolf’s Stones Throw Records. Thankfully, Adult Swim appears in name only, unlike the Dangerdoom project in which vocal samples drastically hurt the replay value, and just about every innovative artist on the Stones Throw roster contributes and exclusive track to this incredibly enjoyable compilation. Highlights include Oh No’s family shout-out on ‘Oh Zone,’ Madlib’s quirky, slow-twitch bounce on ‘Take It Back,’ Koushik’s psychedelic boom-bap of ‘None in Mind,’ Doom stream-rapping on Madvillain’s ‘Monkey Suite,’ the processed vocal interplay of Jaylib’s ‘No $ No Toke,’ the sexy stalker-funk of Gary Wilson on ‘Dream(s),’ and the silky-smooth soul of Pure Essence on ‘Third Rock’ (which was heavily sampled on RJD2’s ‘Clean Living’). The comp is solid from start to finish and is a must hear for anyone even remotely interested in the Stones Throw label and their particular (and wonderful) brand of hazy-hop.




Beck - Think I'm in Love - The Information (Interscope 2006)


Beck – The Information / Interscope

The man of a million pop noises spends little time following up 2005’s decent but forgettable Guero with a more focused, laidback approach to his genre collage of a style. The Information sounds much more like a suitable progression to 2002’s insular Sea Change, as Beck lets his age show a bit opting for a more calm approach to the kitchen sink pop that was his bread an butter in the 90s. Still relying on an attractive blend of pop, funk, psychedelia, Brazilian and lounge, the songs easily find a reliable groove heavy on thick bass lines and percussion clutter that are not nearly as forced as Guero sounded. Beck’s lyrics are less surreal hodgepodge, but still far left-of-center, and his vocal delivery sounds as crisp as ever whether he is proto-rapping or crooning. I’m assuming the more hypnotic vibe is do to swapping out the Dust Brothers for frequent Radiohead producer/collaborator Nigel Godrich who supplies an array of instrumentation and production credits. This is a strong addition to Beck’s unpredictable discography, and hopefully a sound he utilizes in the future.




Pit er Pat - Seasick (Hang Ten) - Pyramids (Thrill Jockey 2006)


Pit er Pat – Pyramids / Thrill Jockey

For their second full-length for Thrill Jockey Records, local trio Pit er Pat continue to adhere to their rollicking combination of minimal jazz tingling and post-rock rhythms. Drummer Butchy Fuego and bassist Rob Doran piece together unpredictable and shape-shifting backbones to each song while Fay Davis-Jeffers’ keyboards tiptoe back and forth with teasing melodies and harmonic flutters. The latter’s vocals have yet to progress from their enjoyable debut EP, Emergency, and remains a quirky and inquisitive focal point that comes off eerie and innocent at the same time. On the same wavelength, her lyrics share the same dualistic imagery, though at points sound unnecessarily wordy and seem a bit forced in such a stripped-down setting. Recorded at Soma Studios with John McEntire of Tortoise fame, Pyramids is the album you would expect from the increasingly cohesive trio with a sound expanded by minimal extrinsic influences and unidentifiable instrumentation.




These Arms are Snakes - Mescaline Eyes - Easter (Jade Tree 2006)


These Arms are Snakes – Easter / Jade Tree

Seattle quartet These Arms are Snakes have spent 3 years perfecting the niche between post-hardcore and math rock with ample success. For their sophomore full-length, they tread common waters with yet another line-up change, replacing drummer Ben Verellen with producer Chris Common, and a thematic approach to their manic dynamic shifts and frantic bursts of angst. Featuring former band members of Kill Sadie and Botch, snarling vocalist Steve Snere and company portray a much different view of the cutesy Easter holiday, concentrating on more mysterious qualities of the religious legend. Though technically sound, their sound seems to be growing increasingly predictable to my disappointment, continually straying away from the ingenious This is Meant to Hurt You EP which featured shoegaze and dub elements as well. No doubt this is a solid album that will please post-hardcore fans, but with the potential and skills of these musicians, I would like to see their sound expand much wider.

New Music: Make Believe, Hella, Sodastream

Make Believe - Pat Tillman, Emmitt Till - Of Course (Flameshovel 2006)


Make Believe – Of Course / Flameshovel

I’ll tell you what, it’s not easy to keep the Kinsella’s in order, nonetheless trying to remember who played what in which band with what moniker where, when and how. But if you are at all familiar with the Chicago indie-scene and the Kinsella name, then you know that Tim is the most infamous. The Make Believe brand of Kinsella music is often slated as the rock version of Joan of Arc, which is either described as pretentious or crafty depending on your personal feelings, but always disjointed and knotty. Tim yelps absurd/inventive lyrics over almost nonexistent structures of ragged guitar, piercing keyboards and avant-garde drumming. Personally, I have always been more intrigued than displeased with this project, because I just can’t comprehend the songwriting process that goes into creating such organized cacophony. I prefer this album to their debut full-length, Shock of Being, but it still doesn’t approach the self-titled EP; obviously, a sound so distraught in its essence is more appropriate in small doses.




Hella - Cafeteria Bananas - Acoustics (5RC 2006)


Hella – Acoustics / 5RC

For the final act of Hella’s 5-year career as a duo, they have recently expanded to a quintet (how speakers will be able to contain the addition of three more noisemakers to Hella’s already splattering sound is beyond me), guitar exploiter Spencer Seim and 8-armed drummer Zach Hill have stripped the amps from six fan-favorite tracks from their 2002 release Hold Your Horse Is and 2004’s The Devil Isn’t Red. With Hill on ‘tambourine’ and Seim on ‘hippy axe,’ the intricacies of their rampant spazz-rock come front-and-center revealing obsessively fine-tuned songwriting rather than unbridled noise improv which a passing fan may interpret when the electronic flare and feedback frame their sound. This is obviously an album that will please longtime fans a bit more than inquisitive ears, but regardless of your Hella background, it is a helluva cool album (sigh, I can’t believe I just did that). Never has the acoustic guitar sounded so wonderfully menacing.




Sodastream - Reservations - Reservations (Hausmusik 2006)


Sodastream – Reservations / Hausmusik

The gentle chamber-pop of Australia’s Sodastream may be the perfect soundtrack to a very early rainy morning, the ones meant for glazed staring out the window and 4-day-old beards. Beyond Karl Smith’s downcast vocals, which sound like a down-and-out Stuart Murdoch of Belle & Sebastian, the lush arrangements anchored by Pete Cohen’s omnipresent double bass are effectively dimmed, letting the album resonate even more when allowed to breathe in a room with quality speakers. While most of the album is composed of solemn folk-pop that would make even Nick Drake sigh a bit more, songs like the title track reveal that Sodastream are in essence writing pop tunes, but just choose to let them drag their feet rather than skip. Aesthetic and geographical descendents of the Go-Betweens, Smith and Cohen’s effectiveness is in their ability to subdue their potentially violent emotions into a catharsis of barely strummed acoustic guitars and aching vocal melodies.

New Music: Chin Up Chin Up, Blops, Home Video

Chin Up Chin Up - I Need a Friend with a Boat - This Harness Can't Ride Anything (Suicide Squeeze 2006)


Chin Up Chin Up – This Harness Can’t Ride Anything / Suicide Squeeze

Local favorites Chin Up Chin Up showed infinite promise on their first full-length, a combination of mathy post-rock and ADHD Midwestern indie outbursts. For their second album, they have left hometown imprint Flameshovel for the Seattle’s slightly larger Suicide Squeeze with an expanding and progressively accessible sound. Their down-to-earth foundation, anchored by Jeremy Bolen’s so-bad-its-good rasp and literate lyrics, remains intact, as well as the shifting dynamics, post-rock leanings and early Modest Mouse-like structures. Their confidence, on the other hand, is rising exponentially, and the arrangements are increasingly buoyant; sing-a-long choruses are imminent. With slightly expanded instrumentation, most notably the occasional strings, CUCU’s Midwestern avant-pop is a good direction for the band and the scene, underlying optimism, challenging musicianship and a need to have fun.




Blops - Esencialmente Asi No Mas - Del Volar de las Palomas (Shadoks/Normal 2006)


Blops – Del Volar de las Palomas (The Flight of the Doves) / Shadoks/Normal

Available for the first time on CD, and at a reasonable price, the recorded legacy of Chilean band Los Blops has been compiled on a 3-disc set. A progressive outfit during Chile’s stint with democracy in the early 70s, the creative quintet was as influenced by their local traditional music, Nueva Cancion, as they were by the psychedelic pop music being released in North America in Europe. Reportedly, they would practice during the day with legendary Chilean folk-singer Violetta Parra, and at night, be jamming along to Jimi Hendrix, The Beatles and Cream. The resulting fusion of style is a striking blend of pastoral folk-rock that strives for optimism, but still stifled by political intrusions. This is the second album in the 3-album set and was a distinct progression in complexity from their first full-length. Recorded and mixed in just 12 hours in 1971 on a 2-track recorder, the depth of the music is outstanding which is a reflection on the musicians’ expertise. The master tape from the session mysteriously disappeared after the Chilean coup of 1973 and never resurfaced.




Home Video - We - No Certain Night or Morning (Defend Music 2006)


Home Video – No Certain Night or Morning / Defend Music

The sexy electro-pop is all the rage these days, which makes Home Video’s debut full-length release such perfect timing for the band. After two significant EPs released by WARP, the Brooklyn via New Orleans duo of lyricist Collin Ruffino and classically trained pianist David Gross bring their self-written/played/produced sound stateside releasing No Certain Night or Morning on NYC’s Defend Music label. The obvious and sure to be tiresome comparison for the boys will be to the Junior Boys, which, for better or worse, is fully justified. Home Video is not quite as sexed up or bubbly as the JBs, opting for a darker sound which utilizes more rock-based instrumentation, but the hushed croon of Ruffino is almost identical to Greenspan’s. As heard on the Citizen EP, ‘We’ is the clear-cut single of the album that will certainly bring a fair share of fans inquiring, who of which should not be disappointed by the rest of the album. If the Junior Boys were just too cutesy for you, maybe Home Video will fill the electro-pop void in your life.

New Music: Subtle, Snakes Say Hisss!, X:144 and SPS

Subtle - Middleclass Kill - For Hero: For Fool (Lex/Astralwerks 2006)


Subtle – For Hero: For Fool / Lex/Astralwerks

I once described Subtle’s sound as the aural equivalent of postmodern abstractionism, a sort of skewed refinement. Well for the second full-length from the Oakland sextet (released by Lex once again, but with the help of mini-major Astralwerks), the analogy remains appropriate, but their music this time around has a particular crispness to it, less bedroom, more studio. Think a Rauschenberg recreated with Photoshop. This is no knock on Anticon stalwarts Doseone, Jel and company, but For Hero: For Fool does miss some of the immediacy because of the polish especially for a sound so fractured; the mistakes and restrictions of lo-fi equipment contain a lot of character. I am impressed with the progression of their almost indefinable avant-hop meets chamber pop sound though, it remains as unpredictable and surprising as ever. Adam Drucker’s (Doseone) voice continues to morph from nasal nuisance to an impressive individual instrument, and his projects are that much better for it. It’s hard to describe this album as accessible, but Subtle is making strides in that direction. While I want people to hear their sound, let’s hope it doesn’t go too far.




Snakes Say Hisss! - I Control the Wind - I'll Be Lovin' You (Famous Class 2006)


Snakes Say Hisss! – I’ll Be Lovin’ You / Famous Class

I can’t say I expected too much from NYC Snakes Say Hisss! Typically, I don’t get into the vogue 80s throwback synth sound, not to mention the band name screams indie over-hype, but I’m a sucker for artwork. I’ll Be Lovin’ You comes packaged in an oversized booklet of hand drawn artwork that refuses to be lost in the sea of colorful side-labels that is your CD rack, mostly because it lacks not only the actual side-label, but the jewel case as well. And what’s embedded into the pitch-black CD? Twelve ridiculously catchy songs well crafted in their simplicity and precisely performed by vocalist/keyboardist Jamie Ayers and guitarist Sam Skarstad. Syrupy synth hooks shimmy over a lo-fi drum machine and subdued guitar interplay while Ayers sings with conviction and playfulness, but he is low enough in the mix not too completely drown out the rest of their sound. I am completely impressed with the synth-pop duo and the small DIY upstart Famous Class; this album is ten times better than any of that Killers/Kasabian/(enter next hype-machine here) nonsense major labels piss away millions on to recreate a sound perfected 20 years ago.




X:144 and SPS - Lose Control - M.E. (Nonsense 2006)


X:144 and SPS – M.E. / Nonsense

The hip-hop underground has been quiet as of late, the calm before a storm. The indie-hop big guns, Def Jux, Rhymesayers, Anticon, etc, have cooled off substantially since the early 00s, releasing a number of misses to each hit rather than the ridiculous up heaving of new talent that appeared on the scene at the turn of the century. Miami’s Nonsense Records are looking to bring in a new wave of independent rap with a promising roster including headliners X:144 and SPS. Sounding like a more soulful Eyedea & Abilities who are concerned with heavier issues than rap battles, the moody, quick-spitting X:144 and proven turntableist extraordinaire SPS (honed in Berlin, battle-tested in the Southeast) is a strong foundation for the label to build upon. M.E. is a quality and interesting record with a high replay value thanks to X:144’s variety of rapping styles and solid production throughout. It’s a breath of relief from a stifling scene.

New Music: Sparklehorse, Ariesta Birawa Group, Medeski Scofield Martin & Wood, William Elliott Whitmore

Sparklehorse - Knives of Summertime - Dreamt for Light Years in the Belly of a Mountain (Astralwerks 2006)


Sparklehorse – Dreamt for Light Years in the Belly of a Mountain / Astralwerks

Nearly 5 years since the last Sparklehorse record, singer/songwriter Mark Linkous returns with his fuzzy rural-pop for another demographic-spanning attack on the music industry. With the help of music conspirators Dangermouse (1, 2, 8), Tom Waits (piano on 9) and Steven Drozd of The Flaming Lips (1, 4, 10), Linkous crafts hushed ditties that melt Beatles-esque melodies into a sea of fuzzy guitars, quivering moogs and gurgling electronics. As with previous albums, Sparklehorse seems to have the ability to please fans of mainstream and indie music alike, a trademark of fellow-travel bands like The Flaming Lips and Grandaddy. The production excels at appearing lo-fi and Linkous’s subdued vocals retain the bedroom quality of this particular brand of pop music (while on a major label budget). I am pleasantly surprised by the addictiveness, diversity and musicianship of this album, and I would assume that fans of any of the aforementioned artists as well as endearing pop music of all kinds will find more than enough to enjoy.




Ariesta Birawa Group - Untukmu Pujaanku - Vol. 1, Indonesia (Shandoks/Normal 2006)


Ariesta Birawa Group – Vol. 1, Indonesia / Shadoks/Normal

It doesn’t take long after cracking open Hans Pokora’s renowned 4001 Record Collector Dreams (part 4 of the amazing record collector book series concentrating on rare Folk, Psychedelic, Progressive, Garage and Beat music from “Austria to New Zealand”) before stumbling across three serious-looking, hippified Indonesians, one with a mini-fro and a killer stache, who go by the Ariesta Birawa Group. Originally released in 1973 and extremely rare, ‘Vol. 1, Indonesia’ contains twelve 3-minute songs of psychedelic guitar-heavy songs that draw as much from their geographic roots as it does the Western 70s psych scene, like Hendrix’s melodic electric-funk accentuated by Eastern flute and exotic stringed instruments. One of the very few psychedelic re-releases from Indonesia, this album will please fans of worldly, psych and progressive tastes though don’t be scared, it is more accessible than you think, as well as connoisseurs of compilations like Cambodia Rocks. Releases like this one are why labels like Normal and distributors like Forced Exposure are so amazing.




Medeski, Scofield, Martin & Wood - Tootie Ma is a Big Fine Thing - Out Louder (Indirecto 2006)


Medeski, Scofield, Martin & Wood – Out Louder / Indirecto

It’s good to hear the ever-morphing Medeski, Martin and Wood getting back to their roots. Gone are the DJs, the electronics and the jam band cults, and what’s left is the jazz-funk trio of master improvisers trading licks and discovering grooves. For this go around, they swing by the house of post-bop guitarists to pick up John Scofield, who is arguably the best contemporary jazz guitarist of the last 15 years. Scofield fits MM&W’s sound perfectly, and the four of them together stir up an exciting blend of soul-jazz that’s reminiscent of Grant Green’s days of manning the frets with funky organist Brother Jack McDuff. I’m especially impressed with John Medeski’s organ playing; he repeatedly steals away the attention from the other members… but that could be just my affinity for all things organ. All in all, this is a wonderfully solid disc of well-played music from seasoned musicians and will easily please fans of both MM&W and John Scofield… could possibly even bring the fans back that were scared off by the proto-hippies of the late 90s.




William Elliott Whitmore - Dry - Song of the Blackbird (Southern 2006)


William Elliott Whitmore – Song of the Blackbird / Southern

Despite every indication from his whisky-soaked, Waits-like, rusty pipe of a throat, his pessimistic worldly views and inclination for traditional blues-folk, William Elliott Whitmore is not that old. In fact, the barely 30-year-old could almost be described as baby-faced, which is probably why he choose to display a rotting bird corpse as album art rather than a photo of himself; the raw mysteriousness of the album would be completely lost. The final installment of the initial album trilogy under his own name, Whitmore is attempting to ascend from the thematic backwoods misery, though his down-to-earth, Johnny Cash-like approach to optimism isn’t exactly the foundation of rainbows. With the help of his trusty acoustic guitar, banjo or minimal accompaniment, Whitmore’s realization is more of an acceptance than outward cheerfulness; he realizes while its springtime now, a few months from now the temperature will be dropping and the skies will be graying over once again.

New Music: Four Tet, Numero Group, Cale Parks, Of Montreal, Daedelus

Chicago's World Music Fest is a beautiful thing and if you ever get a chance to see Sao Paulo Underground or Extra Golden live, then don't hesitate. Both bands were absolutely amazing and blew me away. Hooray for multi-cultural music.

OK, back to new releases:



Radiohead - Skttrbrain (Four Tet Remix) - Four Tet Remixes (Domino 2006)


Four Tet – Remixes / Domino

I’m thoroughly obsessed with Kieran Hebden and have been for a good many years now. From his early days in the experimental band Fridge to his recent improv outings with percussionist extraordinaire Steve Reid, I have followed with ears perked and eyes wide. Most notably known for his unparalleled laptop concoctions under the Four Tet moniker, Hebden has spent most of his young life embracing and entwining post-rock, hip-hop, folk, jazz and electronica into a sound yet to be sufficiently named (though many have attempted). This 2-disc set compiles 12 Four Tet remixes and 12 remixed originals from a wide array of singles, 7 inches and internet exclusives which will save you the time it would take scouring the internet for them. From Radiohead to Pole, from Jay Dee to Beth Orton, Hebden fans are as diverse as his music is, and his respecting peers had their work cut out in trying to out-creative the creative mastermind himself. There is not a dull track on either disc and this comp is essential for any Four Tet fan and progressive music lover alike.





5 Spiritual Tones - Bad Situation - Good God! A Funk Gospel Hymnal (Numero Group 2006)


Various Artists – Good God! A Gospel Funk Hymnal / Numero Group

Few beliefs evoke as much genuine passion then that of religious faith, and few genres rely as heavily on energetic passion as funk does. Modern gospel music relies on a cookie-cutter proto-funk backdrop for lively choirs and redundant preachers, which though being an obvious descendent, is a far cry from the creative butter funk of the 70s that on special occasions became a megaphone for spreading the word of Jesus. Chicago’s unparalleled crate diggers, the Numero Group, have unearthed 18 cuts of music that is equal parts dirty funk and clean-cut gospel. Typically made up of either funk bands attempting a church-oriented subject matter to expand their audiences or gospel groups giving the popular genre of the day a try to appeal to the younger crowd, Good God! encompasses 18 different approaches to the hyphenated genre. Whether it is a sped up and sexed-down rendition of Al Green’s Love and Happiness (15), a funky re-interpretation of religious musical number (10) or multi-generational ensemble of hard gospel (2), this gospel funk hymnal just may bring you a little closer to the big man upstairs… even if it is just because the music got you on your feet.




Cale Parks - Late Show - Illuminated Manuscript (Polyvinyl 2006)


Cale Parks – Illuminated Manuscript / Polyvinyl

Save Some Echoes, Aloha’s records have always had a lasting impact on me; their clever rhythmic backbone and earnest inviting ambiance seem to resonate over time, allowing emotional attachments to each album without becoming redundant. While he is certainly not the only reason, percussionist and pianist Cale Parks is an essential piece to the Aloha puzzle, and his first solo outing, Illuminated Manuscript, only further embellishes his musical talents. Recorded on borrowed 4-tracks and computers over the last year (his friends go far and wide after contributing and touring with the likes of Joan of Arc, Pit Er Pat, Chin Up Chin Up, Cex and many more), Parks’ sound concentrates on mellow percussive arrangements of keyboards, vibraphones, drum machines and light percussion. Songs gurgle and bounce evoking Bobby Hutcherson one second and Dosh the next. IM is a very enjoyable listen that doesn’t quite dig as deep as an Aloha record does, but certainly shares that inviting ambiance.




Of Montreal - Requiem of O.M.M.2 (United States of Electronica Remix) - Satanic Twins (Polyvinyl 2006)


Of Montreal – Satanic Twins / Polyvinyl

What is there not to like about Of Montreal? Swirling pop ridiculousness mixed with singer/guitarist/mastermind Kevin Barnes’ quirky lyrical imagery and one unexpected genre variation after another, and all completely covered in sugary sweet multi-colored frosting… tasty. So now that Barnes is about 7 or 8 full-lengths into his discography, why not let some other musicians tinker with his material and see what happens. Nearly two years in the making, Satanic Twins lets a barrage of indie artists tailor their very own Of Montreal tune using tracks from the last two albums, Satanic Panic and Sunlandic Twins. For my personal tastes, Seattle’s United States of Electronica steal the remixing prize with their joyous rendition of Requiem of O.M.M.2. The first half of the album is a bit too dance heavy for me, but the second half with quality outings by IQU, Broken Spindles, Grizzly Bear and Supersystem really bring imagination to the already bursting pop music.




Daedelus - Humdrum Headspin - Throw a Fit EP (Alpha Pup 2006)


Daedelus – Throw a Fit EP / Alpha Pup

Daedelus’s Victorian Dandyism influenced style is a good metaphor for his music. Worn today, it’s definitely out of place; a very individual look accentuated with long red coattails and chops that go on for days. Like the originators of the style, Daedelus puts aesthetics above all else, even if the snazzy clothes are covering a grimy, unwashed body (as I would imagine most people were during the 18th century) and that translates quite clearly into his music. Throughout the Throw a Fit EP, colorful synths and a mixture of other showy bells and whistles flamboyantly strut in off-kilter pop melodies over raw, unrefined drum samples and dirty breakbeats. Fellow So Cal resident Subtitle guests on Unadventurer to drop some scatterbrained free-emceeing which is about the only rhyming style that could keep up with Daedelus’s arrangements. I personally prefer the instrumental tracks, but this 6-song EP is solid from start to finish and it’s easy to hear the quality progression he is making with each release.

New Music: Georgia Anne Muldrow, Bob Dylan, Alice Smith

Georgia Anne Muldrow - New Orleans - Olesi:Fragments of an Earth (Stones Throw 2006)


Georgia Anne Muldrow – Olesi: Fragments of an Earth / Stones Throw

Olesi opens with the 22-year-old Georgia Anne Muldrow emphatically and somewhat hysterically accusing “Murderer! Damager! Human Life Left Alone to Die!” at/for New Orleans over free-jazz shuffles of snare and piano with densely multi-layered vocals and uprising skronks… wait… I thought this was supposed to be neo-soul? Since when did Sun Ra inspire neo-soul? Coming off the rising success of her Worthnothings EP, the immensely creative Muldrow combines the vocal charisma of Lauryn Hill, the indefinable quirk of Dudley Perkins, the coffeehouse accessibility of poetic spoken word, the spiritual fluidity of modern creative jazz and the bottom-line boom-bap of Madlib. Written, performed, recorded AND produced on her own, Olesi retains the same ideals as the EP, but in much shorter, fragmented outbursts that form an incredibly intriguing musical diary. Urban, political, urgent, introspective, creative, searching and passionate… Muldrow has a lot express and we are her lucky audience.





Bob Dylan - Spirit on the Water - Modern Times (Columbia 2006)


Bob Dylan – Modern Times / Columbia

Part of Bob Dylan’s attraction as a wily, prophetic youth was his warbling joke of a singing-voice that proudly displayed in bright blaring lights: substance over appearance. 40+ years later and 30 studio albums under his belt, Dylan’s voice should be squeezed dry of the youthful exuberance, but instead it has aged endearingly into your grandparent’s world-wise neighbor who enjoys reminiscing in the past and pointing out what’s wrong with the world, but all while snickering about his immature antics at the bar last night. Modern Times is a collection of re-imagined folk songs brought to your ears care of a precisely loose backing band and Dylan’s wavering blues ramble that continually contradicts the album’s mood and direction thanks to his equal affection of rock, blues, folk, R&B and jazz. The subject matter is primed for the flashing clarity concerning love, mortality and politics that comes about 4 or 5 drinks into the night and the rollicking vibe accentuates this as well. MT is yet another familiar classic from the Dylan camp and personally, ‘Spirit on the Water’ is worth its existence alone.





Alice Smith - Dream - For Lovers, Dreamers & Me (BBE 2006)


Alice Smith – For Lovers, Dreamers and Me / BBE

With a sultry retro-soul voice, a mid-tempo obsessed backing band and a producer who excels at a crisp, conventionally mixed sound, on paper Alice Smith seems to be condemned to neo-soul blandness before she even gets out of the starting blocks. But in fact, Smith’s debut album seems to overreach these expectations and the listener is left with a very enjoyable pop-soul album much like Van Hunt’s eponymous full-length. With pipes reminiscent of Patti Labelle or a less raspy Tina Turner, Smith and her 4-octave vocal range can easily carry the album on her singing talents alone, so it’s up to her collaborators to take it to the next level. Producer Alex Elena and gang do a good job of staying true to the genre and even excel in a few instances, but fall a little flat in the overall creative department and slip in the cheese every now and then. Smith no doubt has the vocal prowess and talents to take it to that next level… but I’m not sure where else she can go with her supporting cast. Honestly, she needs her Ike… hopefully a less destructive one though.

Out of Town

I will be venturing out to Seattle and Vancouver for the next week, so there will be no new posts until probably around the 14th. After my recharging quest, you can expect 2 or 3 updates a week in the format you see in the last few posts. Sorry about the break if you are a music sponge like me, so take the week off and enjoy some classics.

m.a.

New Music: Bound Stems, Page France, Over the Atlantic, Phelan Sheppard

Bound Stems - Western Biographic - Appreciation Night (Flameshovel 2006)


Bound Stems – Appreciation Night / Flameshovel

You really couldn’t ask for a more appropriate label than Flameshovel for local product Bound Stems. Already established with an impressive roster of loose, Midwestern style indie-rock low on production and high on creativity, one of Chicago’s finest music establishments are ready to unleash the first proper full-length from the band who has been receiving hype for two years already. Since the release of their last EP, Bound Stems have expanded to a quintet by adding singer and multi-instrumentalist Janie Porche which adds a welcomed contributor to their sound. Like most Flameshovel bands, they sound sloppy on first listen, but over repeated plays, the complexity and intricacies of each song unveil themselves. Patchworking floods of guitar, structure defying drumming, keyboards that hum one second and spit the next and interweaving male/female vocals with narrative threads, found sounds and the occasional spoken word, Appreciation Night is interesting and fun record ambitious as it is youthful and wonderfully Chicago.





Page France - Chariot - Hello, Dear Wind (Suicide Squeeze 2006)


Page France – Hello, Dear Wind / Suicide Squeeze

I’ll be honest, anytime Christianity even comes within a stones throw of music that is not classified as the ceremonious fun that is gospel, I promptly turn on my heel and head in the opposite direction. But these days, indie wunderkinds like Danielson and Sufjan have been disguising their beliefs within catchy folk-pop that is leap years away from the stale and condemned (ironic?) genre of Christian rock. Along these same lines comes the Baltimore quartet Page France fronted by the enigmatic and budding songwriter Michael Nau. With a voice like Langhorne Slim and a backing band that would be comfortable on Saddle Creek/Team Love, Nau endearingly professes his optimistic beliefs without preaching but rather presenting an image much more friendly than those blindly sheltered in their multi-million dollar a/v units they call churches. Take away the lyrics, and you are left with a light-hearted, loose but not sloppy folk-pop record that’s both catchy and instrumentally inventive. This is a strong debut for an act whose audience will easily find them.





Over the Atlantic - 35 Black and White - Junica (Carpark 2006)


Over the Atlantic – Junica / Carpark

The drum machine patters, a soft electric guitar strum cues a simple bass plod followed quickly by Nik Brinkman softly stating “She once called me the runaway,” and just like that, you are swallowed into the electro-pop world of Over the Atlantic. Brinkman, a film school graduate who entered the music industry at 17 with his band Ejector, accompanied by sound innovator and Involve label head Bevan Smith (who also goes by Singer for his solo work) form one of New Zealand’s best pop tandems with each member supporting the other while adding their own individual style. Junica’s accessibility is its best attribute, simple electro-pop grooves accentuated by a touch of atmosphere and the occasional electric guitar hook form a strong backdrop for unobtrusive, multi-layered vocals and lovesick lyrics. Over the Atlantic certainly won’t win any awards for breaking new ground, but if harmonious electricity is your deal, you won’t be disappointed.



Track Review:



Phelan Sheppard - Water Clock - Harps Old Master (Leaf 2006)


Phelan Sheppard – Water Clock (Leaf 2006)

In accordance with Water Clock, it’s fitting that Phelan Sheppard’s new album is called ‘Harps Old Master’ seeing as David Sheppard’s metallic guitar picking sounds as if being plucked on the strings of a shimmering harp (unless of course it actually is). Sheppard and Keiron Phelan, two-thirds of State River Widening, are once again tinkering around the studio with every instrument they can squeeze a sound out of and bringing forth what seems to be another subtly gorgeous record for the Mecca of minimal amazement, the Leaf Label. Water Clock’s emphasis is on that sparkling string sound, but its what’s happening around those harmonies that really move the song; a double bass simultaneously plods and whirrs as mechanical snares tiptoe over echoing keyboard snippets and bright, high-frequency pads zip by like passing headlights. It’s a wonderful four minutes that hopefully hints at without completely unveiling what to expect from the upcoming full-length ‘Harps Old Master’ (9/25).