The Bellakun
…Cantar Para Espantar la Soledad
Has Anyone Ever Told You?
2003
Rating: 6.5 Soledad O'Briens out of 10
The Bellakun is some decently interesting bi-lingual indie rock out of Texas. The title translates to “sing to scare away the loneliness”, or at least that’s what the cheat sheet sent by the label tells me. They describe themselves as being “…sprinkled with Tristeza and Three Mile Pilot”, which is a more than reasonable assessment, but I’d additionally throw in a little Built to Spill influence as well to round things out. It’s nothing that blows the doors off the place, but I was pleasantly surprised.
Ashley Park
The Secretariat Motor Hotel
Happy Happy Birthday To Me
2003
Rating: 6.5 elderly pensioners paying by the week out of 10
Who would have ever thought a band this twangy would have ever been on Kindercore? Not that this came out on Kindercore, I just felt that fact merited being pointed out. Much like fellow countrymen The Band, this trio known as Ashley Park has crafted a truly terrific slice of Americana music. They will make most anyone think of Beachwood Sparks instantly, but this album could prove to be the one that brings them out from under that shadow. Besides, even though both bands have probably listened to The Byrd’s ‘Sweetheart of the Rodeo’ a few too many times, this record sounds like a band who has moved past that and into a territory all their own. It should also be noted that while this record is a concept album of sorts (all of the songs are based on the fictional stories of the fictional residents that reside at the fictional Secretariat Motor Hotel), but you wouldn’t really be able to tell that unless you’re really paying attention. And I rarely pay attention to such things. Easily one of the best records I’ve heard all year in the ‘alt-country’ department, and a welcome addition to my music collection. I expect to be singing along to this for some time to come.
Fruit Bats
Mouthfuls
Sub Pop
2003
Rating: 7.5 blind fliers out of 10
I’ve really been enjoying the softer, gentler side of Sub Pop lately. After a tumultuous childhood filled with some of the best and (occasionally) worst rock music of the nineties, they seemed to have settled down and started focusing on mellower pop and folk inspired music – the type of tunes that my laid-back ass has really been enjoying lately, but not so good for those out there eagerly anticipating that new Tad record to drop (note: I have no idea if there is or is not actually a Tad record coming out – this was just my bad attempt at a joke).
The Shins, Iron & Wine, Trembling Blue Stars, Holopaw, Ugly Cassanova, Pernice Brothers, etc – The Fruit Bats fit right into this stable of artists, and I have thoroughly enjoyed all of these records. While not sounding exactly like any of these bands, Fruit Bats do share a similar sound – a Kinks/Beach Boys pop influence like The Shins or the Pernice Brothers, a more mellow, folky pop approach like The Trembling Blue Stars, and a slight tinge of the spooky alt-country stylings that flavor Iron & Wine, Holopaw, and Ugly Cassanova. What was once the work of only one "bat" by the name of Eric Johnson (a different Eric from the one who played guitar for the Archers of Loaf and the one that plays that wankery new age guitar rock), the group now consists of an additional member Gillian Lisee. Gillian fills in on additional vocals, keyboards, and probably whatever else needs to be done.
This is a fine record that I enjoy more with each passing listen – and if the company it keeps is any indication, this won’t be one of those "listen to it a hundred times in two weeks and then forget about it" type of bands, but more like one of those "Jesus Christ it’s been nearly two years you’d think I’d be sick of this by now but I’m not" types.
Surrounded
Safety in Numbers
Deep Elm
2003
Rating: 8.5 baby dragons out of 10
I was not expecting anything like this Surrounded album to ever come out on Deep Elm – lush, mellow pop music with terrific
production and an extremely interesting sound. And while I’m congratulating Deep Elm on a fine release, let’s
also take note that this is yet another amazing Swedish band to hit these shores - they churn out talented musicians
quicker than Ikea can produce crappy furniture.
This time around, instead of producing the next great garage rock or
death metal band, we have a collection of folks who look to Sparklehorse for inspiration (and the world could stand for
more people to do this as far as I’m concerned). There are hints of indie-ambient noise ala The Appleseed
Cast’s “Low Level Owl” discs as well (another great pair of records worth checking out if you haven’t). This is a
damn fine debut album, and at the current rate the Swedes are going to take over the American music scene before we know
it. Deep Elm proves yet again that you can’t judge a labels current output by their previous endeavors.
Greg Ashley
Medicine Fuck Dream
Birdman
2003
Rating: 5.5 peyote flashbacks out of 10
Not unlike Lone Pigeon and other contemporaries, this record is Greg Ashley’s way of telling the world that he really, really likes Syd Barrett. According to the website this is “a collection of 10 songs pretty much about 10 girls”, and I’d have to say that seems about right from what I’m hearing. Not a terrible record by any means, but it does tend to drift into the background from time to time. The combination of “Deep Deep Down” and “Lost Highway” probably account for the best part of the CD, the latter sounding like a long lost cowboy song gone psychedelic. Certainly worth checking out if you’re already a fan of such music, but don’t come hunting me down it doesn’t hold your ear.
Cursive
The Ugly Organ
Saddle Creek
2003
Rating: 7 handwriting samples out of 10
I didn’t think it was possible for Cursive to adequately follow up the genius that was their last full length "Domestica". But "The Ugly Organ", while not better than it’s predecessor, is damn close to being as good as it. Like the previous record, this too is a concept album - instead of exploring the trials and tribulations of a failed marriage, it follows our protagonist down the trail a little farther and watches him struggle through life a single man again. I’m usually the sort who pays more attention to the music than the lyrics of a song, but I’ll be damned if the words presented here don’t prick up my ears and make me listen a little more closely. It should also be noted that since the last album, Cursive has added a cellist to the mix which gives many of the songs a unique twist from what you might have previously expected from the band, at times almost sounding like someone infused the group with a little Godspeed You! Black Emperor. Well worth a listen.
Holopaw
Holopaw
Sub Pop
2003
Rating: 7.5 panhandle panhandlers out of 10
Next time you see him, thank Isaac Brock. Thank him for introducing the folks at Subpop to Holopaw, a great new addition to my music collection and hopefully yours. Brock (of Modest Mouse fame) had the singer of Holopaw, John Orth, help him on his side project Ugly Casanova. Orth’s vocal additions on that album are one of it’s brightest spots, so I was highly anticipating the release of the Holopaw album - I was not disappointed with the outcome. Not that the band is second rate, but Orth’s voice is so mesmerizing that it’s easy to forget there is any music playing along with it at all. Something about it’s quality reminds me of long drives late at night through the country, very haunting and morose, with a tinge of warble in that country sort of way. The music fits these moods as well, reminding me of Lambchop, Palace, and the Radar Brothers, among others. Give this album a listen, through headphones if you have them, and discover one of your new favorite bands.
El Guapo
Fake French
Dischord
2003
Rating: 6.5 Parisian poops out of 10
I love bands that can pull of being really weird, strange music and still retain some catchy pop sensibilities to hook you into the music. For me, that’s exactly the sort of music El Guapo produces. On their newest record they continue in their "art rock" leanings but with a more song-like approach. This probably upset some of the purists, but it still makes for a solid listen. Try to imagine Clinic, Le Tigre, The Fall, and some electro-type beats all thrown in a blender and spit out in a very haphazard fashion. Add into that mix the vocal interplay of the two singers and sometimes spooky carnival-like atmosphere of their album and you’ve got yourself a winner.
The Tyde
Twice
Rough Trade
2003
Rating: 6.5 regular implosions out of 10
Featuring members of The Beachwood Sparks and Velvet Crush, The Tyde
are a jangly-pop group with strong leanings towards 70’s lite rock and lite country. In fact, the
comparisons to Beachwood Sparks are obvious, but The Tyde is a bit more upbeat and a lot less twangy. The slide guitar
is there, but in a much smaller amount; and
instead of sounding like they’ve listened to too much Flying Burrito
Brothers and The Byrds, this lot lean more towards a Cali-fied version of the Velvet Underground. This is a good
pop record, but nothing ground breaking; I’m enjoying it right now, but it doesn’t feel like it will have a
terribly long shelf life to me, but I guess only time will tell for that. Worth a listen if you happen upon it, but nothing I
would go out of my way for.
The Rum Diary
Poisons That Save Lives
Substandard
2003
Rating: 7 drunk Johnny Depps out of 10
The Rum Diary are a peculiar type of bird – although located so close
to the Bay Area of California, they keep themselves pretty entrenched in the small town life that they know and love
instead of escaping to the big city like most folks seem to do. More than likely, it’s this exact type of thinking
that probably keeps their music so fresh and inspiring. What they sound like to me is a heady brew of Three Mile
Pilot rock; smart, atmospheric emo of The Appleseed Cast; and the mellow math-rockiness of Dianogah – three great
bands, and as far as I’m concerned, if you’re drawing comparisons to them then you’re on the right track. An
engaging live act as well, The Rum Diary includes what is probably way more instruments than their tour van is
happy toting around and no how to utilize them into their engaging sound. This one is definitely a keeper.
Point Line Plane
Point Line Plane
Xeroid / Sincere Brutality
2003
Rating: 7 bat graveyards out of 10
I think if you were to look up the term “spazz rock” in the dictionary
there’s a good chance that you’ll see a photo of Point Line Plane in there. This duo is nothing but drums and
keyboards, but it seems to take up an enormous amount of sonic space anyways. If you can imagine mixing hardcore,
gothic carnival music, lots of keyboards, screaming, and a whole lot of freaking out, you’re still not quite to
what these guys sound like but you’re getting close. I know that sounds like a real mess, but I find this record to
be extremely enjoyable to listen to…somehow all of that mayhem combines into something very interesting. Oh yeah, it should also be noted that they are
damn near an unstoppable force live.
Two Guys
Recorded
Absolutely Kosher
2003
Rating: 6.5 rocky relationships out of 10
Even though Rob Crow isn’t in this band, somehow listening to Two Guys makes
me think of him. Maybe it’s because the gents who make up the band, Cameron and Ryan Jones, have played in some
of his hundreds of bands over the years. And whether it’s a matter of these dudes influencing Crow, or
vice versa, there are definitely plenty of similarities to the sound. Two Guy’s are most reminiscent of Heavy
Vegetable and Thingy (which Cameron played in), performing pop songs run through the angular, off-kilter rhythms like
you might find in math-rock bands like Don Caballero or Dilute. Like most of Absolutely Kosher’s releases, this
record is a great listen, and fans of Thingy or Heavy Vegetable won’t be disappointed.
Crooked Fingers
Red Devil Dawn
Merge
2003
Rating: 7 sailors take warning out of 10
Let me state for the record so you might get a feel for my take on the different records by Crooked Fingers: the first self-titled release would get a 10 out of 10; the sophomore effort, "Bring on the Snakes", an 8 out of 10; and the EP of covers, "Reservoir Songs", also an 8 out of 10. So when I give this record a 7 out of 10, it's really based on other Crooked Finger's albums, not music as a whole.
Most of this record sounds much more upbeat than previous efforts, due not only to an increased tempo but the addition of horns on a handful of songs that really challenge what you might think the stereotypical Crooked Finger’s song should sound like; particularly the seventh song, ‘Sweet Marie’, which almost sounds like Blondie’s ‘The Tide is High’. There are still the occasional sad ballads, but they don’t rule the album like in previous releases. Not that I dislike the slow songs, rather the opposite - but it is nice to hear the status quo of a Crooked Finger’s release mucked about with some.
If you already know and love the Crooked Fingers sound, you won’t be disappointed here; and if you’re looking for somewhere to start listening, this release will work for that as well. As long as Eric keeps putting out music of this caliber, I’ll keep listening and giving it good reviews. This will certainly be one of my favorite records of the year.
(By the way, for those interested, the song 'Red Devil Dawn' is not actually on this album, but it is on the Merge compilation 'Survive and Advance Vol. 2'. If such things matter to you.)
Summer at Shatter
Creek
Summer at Shatter
Creek
Absolutely Kosher
2003
Rating: 7.5 paper mags out of 10
The curiously named Summer at Shatter Creek is the work of
one man, a Mr. Craig Gurwich, and what a man he is. I think we’ve all heard albums by "one man bands" that might
be enjoyable, but sound exactly like you might expect when only one person is playing all of the music – very
one dimensional, single personality-type stuff.
Somehow Mr. Gurwich manages to transcend this phenomena, creating
a very three dimensional sounding album that is just oozing electronics, but still sounds quite organic. There
are lots of warm, classic sounding organs and keyboards along with the prerequisite drums, guitars, and whatnot.
But the real story here is the man’s voice – and my god, what a voice it is. He possesses possibly my favorite falsetto
since Jeff Lynne of ELO, and that’s not something to be taken lightly. I’ve heard and read people mentioning it in
the same breath with words like "heavenly" and "angelic", and I’d be remiss to put up any sort of argument over the
pairing.
The Postal Service
Give Up
Sub Pop
2003
Rating: 7.5 prison sleepers out of 10
Most of the time, super groups don’t work (remember Contraband?)
- Postal Service is the odd exception, and it works quite well. Primarily made up of Jimmy Tamborello (Strictly
Ballroom, Dntel, sometimes helps out with Beachwood Sparks) and Ben Gibbard (Death Cab for Cutie, All-Time
Quarterback), The Postal Service got their name from the way the band assembled their songs, by sending bits and
pieces to each other through the mail and having the other add their part to the music. Back and
forth it went, until a song popped out (or possibly they couldn’t afford any more stamps, whichever came first,
but this second part is just a guess). These boys also got a little help in the additional vocals department
from Jenny Lewis (Rilo Kiley) and Jen Wood, to help sweeten out the sound. Like I said, the result is
magnificent, a beautiful mesh of electronic beats and bumps, synthesized bits that sound like they were taken from
the original Nintendo, and an occasional flash of organic instruments such as the guitar all add up
to the first really great indie-pop masterpiece of the year, and it’s certain to make it onto my year-end
best of list.
