Herman Dune
I Wish That I Could See You Soon 7''Source Etc
2007
Rating: 6.5 junebug casseroles out of 10
It never struck me before how much Herman Dune sounds like Jonathan Richman. This is such an egregious oversight on my part it has me questioning everything and anything I've ever thought about music. I was well aware of the title track "I Wish That I Could See You Soon" when this was released and I quite liked it - I probably put the song on a number of different mixes around 2007. It's damn catchy, it has horns, and I love the backing vocals. In a move I've never seen before, that track is followed by a cover of the same song by someone named Lisa Li-Lund. This version does nothing for me - it sounds as thin and as cheap as the Casio that appears to responsible for the music that backs it. The flip side, "Song Of Samuel," is back to another Herman Dune song that is fully on the Jonathan Richman sound-alike train, only this is the b-side for reason because it definitely doesn't measure up to the title track. Not terrible mind you, just...you know. It's there.
Also, the record is on clear green wax, which looks fantastic, if you care about such things.
Pedro The Lion
Phoenix
Polyvinyl
2019
Rating: 7 copies of North vs. South out of 10
15 years ago David Bazan released his last Pedro The Lion record “Achilles Heel,” but the band* has thankfully returned to the pocket and delivered “Phoenix**.” This record is an instant return*** to the form of his material fifteen plus years ago, an enjoyable***** and very familiar listen. “Clean Up” is one of the most upbeat tracks the man has ever released, it could almost be a radio hit******. The world is a better place******** with Pedro The Lion back on the scene, Bazan’s direct, Eeyore-esque take on modern life will always have a place in my heart*********.
* I’m not sure there is a fan alive who thinks Pedro The Lion is a band and not just David Bazan.
** Yes, Pedro The Lion has risen from the ashes or some such shit, we all get it.
*** Are we supposed to pretend he hasn’t released at least six “solo” records**** since the last PTL offering, all of which more or less sound exactly like PTL since it’s the same dude writing and recording all of this?
**** Most of these records were great, just so it’s clear I’m not being bitchy here – I particularly liked the electronic-pop angle has last couple of solo releases leaned heavily on.
***** Obviously, enjoyable is a relative term when talking about anything Bazan releases, given the often morose nature of his songs, but the point stands.
****** Not current pop radio mind you, college radio*******.
******* Does college radio even have hits? What the fuck am I talking about?
******** The world doesn’t give a shit. My nostalgia pleasure centers, on the other hand, are happy.
********* This is a ridiculous way to write a review.
Emma Ruth Rundle
On Dark Horses
Sargent House
2018
Rating: 8.5 intentionally calm enemies out of 10
There is still value to be gained from reading the myriad “best of <insert year>” lists that dominate the internet in December – sure, most of them are all pimping the same handful buzz-approved (mostly mainstream pop & hip hop) acts that you can easily ignore if you want, but occasionally a gem you’ve never heard of slips through. That was the case with Emma Ruth Rundle and her fourth record “On Dark Horses” - the cat over at Swan Fungus put them high on his list, included an mp3 (yes, I still download and listen to those), and I was sold. He posts a lot of metal and noise/experimental music that I rarely dig, but he hits me with something out of the blue often enough that I keep checking back, and this hit was a grand slam. God knows I love a comparison, but I’m struggling with this one; the best touchstone I have is Bellafea, Heather McEntire’s pre-Mount Moriah band, a band that is barely known outside of the Triangle (and given how long ago they ended, only known in the Triangle amongst old folks like myself). And the more I think about it, it’s really just the voices of Heather and Emma that make the connection in my head.
So with no direct comparison available, “On Dark Horses” might be best described as dark folk-pop that at all times sounds like it might turn into metal, but never does. It‘s dark and gloomy and minor-key’d and feels like a walk on a chilly, overcast day where it’s threatening to start raining at any minute, but you’re walking fast hoping to get to your destination before the clouds open up. It’s fucking brilliant and would have easily finished high on my best of 2018 list had I heard it in that calendar year, I’ve been listening to it non-stop for the last month. The pseudo-title track “Darkhorse” is the gold standard of the album, but there isn’t anything close to a weak link from start to finish. The felt real goddamn smart thinking this has an almost-metal vibe when I learned just recently that Emma also plays in Red Sparowes, the (probably defunct?) post-metal act that were hot shit in my circle back in the mid-oughts. I liked Red Sparowes, but this solo work of hers blows them out of the water. Best of all, learning about a new artist on their fourth record means I have so much more new Emma Ruth Rundle music to discover!
Drunk Horse
Bambi 7''
Wantage USA
2001 (I think...)
Rating: 7 lost daughters out of 10
Drunk Horse were local stalwarts back when I lived in the Bay Area - I was never a super fan, but it was impossible not to see a bill with them on it at some point. This seven inch is a pair of Prince covers, though I didn't realize it until I heard "Bambi." With the catchy guitar line that dominates the chorus, it doesn't sound all that different from the original - a little rougher around the edges, scuzzier I suppose. The other side is "Dirty Mind," a real boogie rock jammer with synthy bursts (I don't ever remember any synths in their live show, but it's been a long damn time...), like ZZ Top combined with the Cars. The record is marbled purple and the sleeve is screen-printed, real nice looking package - outside of the fact that the labels have been put on the wrong sides.
