Lilys
Precollection
Manifesto
2003
Rating: 6 black-eyed susans out of 10
Lilys are the chameleons of the indie rock scene – they change their sound on a dime depending on the whims of their erstwhile leader, Kurt Heasley. They pretty much always sound like a combination of the Kinks, My Bloody Valentine, Velvet Underground, and Faces...with emphasis being placed in different directions everytime. This go around features a heavy tilt towards VU, which isn’t really that far of a stretch since Kurt’s voice sounds a bit like old Lou Reed anyways.
Personally speaking, it’s not my favorite of their output. For my money, it doesn’t get any better than "The 3 Way", their best attempt at re-creating the Kinks style and sound in a modern setting. I’m also pretty partial to their half of the split they did with Aspera Ad Astra, which might be their best shoegaze showing. That said, this is still a good record; lots of quality tracks, such as "Squares" and "Will My Lord Be Gardening". For those already familiar with the Lilys, this probably won’t be your favorite record of theirs, but it’s not a bad listen – and only time will tell how it holds up. For those unfamiliar, if you pick an album and you’re not that crazy about it, just try another – no two sound the same anyways.
Audio Out Send
Or Does It Explode?
Flashcard Project
2003
Rating: 7 Oakland taco trucks out of 10
We have a new contender vying for best Bay Area pop record of the year with Rogue Wave – it’s Audio Out Send! With their first full length release, AOS have instantly put their name on the map of good local pop music, and stand as further proof that the number of good bands coming out of the Bay and beyond is just as good as anywhere else in the US.
AOS has more in common with Rogue Wave than both being great bands – they share similar propensity towards writing unclassifiable pop songs. So many bands out there instantly strike you as sounding like something else, whereas both of these bands produce a timeless brand of pop that is neither a rehash of past sounds nor following the gimmick of the day. In addition, AOS remind me a little bit of the Flaming Lips in the way their songs are arranged, and also contain elements of electronica along the lines of Boards of Canada or another similar, mellow electronic group. (Aside – it has been pointed out to me that everyone gets compared to The Flaming Lips these days, and it does seem to be true. But I stand by my assertion that there is a similarity here, especially with The Flaming Lips most recent album ‘Yoshimi’. I guess you’ll just have to listen to the record to know if I’m full of shit or not.)
Ms. John Soda
While Talking EP
Morr
2003
Rating: 7.5 liters of cherry coke out of 10
Ms. John Soda is somewhat of a German super group – the band is made up
of Stefanie Bohm (Couch) and Micha Acher (The Notwist), representing two of the finest bands to
come out of that land since, well, Trio?
Kraftwerk seems too obvious, and Autobahn was a made-up band just for
“The Big Lebowski”. Anyways, it seems this duo has produced a pretty catchy EP here to follow up
their full length debut “No P. or D.” This short player runs five songs long, consisting of four new songs and one
track that is a mash up/remix of a number of songs from their debut by Anticon-affiliated group Subtle.
This song particularly sounds like something off of the first Dntel album, fully in line with the work you
expect from Jimmy Tamborello. If this is indicative of Subtle’s work, I’ll have to keep my eyes open for more
from them. This track might in fact be my favorite of the record, and it’s also the most different – the
rest of the tracks follow along the same pattern of sound you expect from Ms. John Soda. Comparisons to their other bands
are obvious, especially with The Notwist, but the one thing I hear in some of the songs (especially the
opening track ‘No. One’) is a great similarity to Sonic Youth; in particular the songs where Kim Gordon
takes center stage. This sound doesn’t necessarily occupy the entire album, but it does appear enough
to make the comparison viable. There are also moments where Stereolab or Bjork might be fitting - in general,
female vocals, electronic soundscapes and straight-forward rock music all blended together into a tasty mix.
This is a catchy little EP, and I think anyone who was a fan of The Notwist’s fabulous album from last
year, “Neon Golden”, would be more than happy checking this out. Sometimes side projects can be nearly
as good as the performer’s main bands, and this is a fine example to support that claim.
The Firebird Band Archives
Lucid
2003
Rating: 7 ponytails out of 10
Some of you out there may already be familiar with the Firebird Band, a great and under-appreciated group who were formed by Chris Broach after his more famous band, Braid, broke up. Well, it appears that the band’s history goes back a little farther than that, to 1997 and a time when Braid was still around and The Firebird Band was just a side distraction for those days not filled with recording and touring (and Braid toured the crap out of this country when they were together). Through the years the group has gone through two other band names – the Firebird Suite and the Firebird Project, which leads me to believe someone must really like Pontiacs or has a hang-up with mythology. Broach is the only mainstay through all three line-ups, but his voice shapes the sound of the music so much that all three variations of the band sound pretty similar; which is to say, they sound a lot like Braid with the Van Pelt/the Lapse and Les Savy Fav mixed in. In fact, Chris Wilson is a part of the first two bands, who seems to be better known as Chris Leo, a key member of the Van Pelt and The Lapse, as well as helping his brother out in Ted Leo & the Pharmacists. This record basically culls all of the historical recording of these various incarnations onto one disc, as well as one track from the Firebird Band so you can hear how they’ve grown over the years. I highly doubt any former Braid fans will be anything other than joyous upon hearing this album, I know it made me quite happy.
Film School
AlwaysNever
Amazing Grease
2003
Rating: 6 sometimes oftens out of 10
This nice, pleasant EP of music by Film School is what the kids might call "post rock". I guess. Or I could be talking out of my ass. Either way, it isn’t groundbreaking and it probably won’t blow you away, but it’s a good listen that I would recommend. Film School is basically the work of Krayg Burton, with a rotating cast of folks that help out in the way additional musicians tend to help out. Mellow without ever becoming boring (but let’s face it, if you get bored just listening to an EP of any band then that’s a sure sign that something is wrong), this would make a great record to go to sleep to, and that isn't meant as the insult it sounds like. For some reason the comparison that comes to mind when I listen to Film School is Jim Yoshi Pile Up mixed with some low key shoegazer stuff. Another great thing about this short player is that it’s a grower – it might not impress you terribly on the first listen, but the more you hear it the more you want to.
A Frames
2
S-S
2003
Rating: 7.5 post-punk robots out of 10
The Pacific Northwest has quietly become one of my favorite places for new music in the United States, thanks mostly to Dirtnap Records (The Exploding Hearts, The Epoxies) and all things A Frames. Their backbone of their music is very simple, yet so few bands are able to replicate it – drums, bass, guitar and monotone vocals, a sound that’s not unlike a blend of old Warsaw/Joy Division, Gang of Four and Kraftwerk. Of course their songs are all about shit like robots and science experiments and whatnot, and why wouldn't it be. Some might call this ‘art-punk’ and ‘angular’ and sure it’s all of those things, but mostly it’s just really damn good. Their sound instantly transports you back to the late 70’s/early 80’s but manages to do it without sounding rehashed or corny. They make you realize that a fancy sandwich isn’t always necessary, when a simple peanut butter and jelly will do the trick nearly every time.
Moving Units
Moving Units EP
Palm
2003
Rating: 5.5 melodramatic prima donnas out of 10
Add the name Moving Units to the ever-growing list of bands that
decided to listen to a lot of Gang of Four, Wire, and P.I.L. before choosing the direction of their band. Not that
this is necessarily a bad thing, as I like a lot of the acts that make up this current trend (most notably Les
Savy Fav and Liars) – but for some reason this seems a little johnny-come-lately, like the guy who shows
up at the party after all the hot chicks have already decided what cool guys they’re going home with (at least that’s
what I’m told these parties are like, I’m never invited. Bastards.). Moving Units probably can’t be blamed
for this, as they were most likely just playing the music that they liked to play and it just ended up
sounding like what all the hip kids are listening to now, but probably won’t be listening to anymore in a month.
That aside, I enjoyed this EP well enough. Moving Units sound a whole
hell of a lot like The Rapture, with
the singer alternating between impersonating the singer for The Strokes
and Johnny Rotten. The Strokes comparison is especially notable, as he really sounds exactly like that
guy from time to time, and the intentional lo-fi sound of the record only adds to the similarities
between these two bands.
I can’t say that this CD will hold a spot in my CD changer for
long, as it mostly just makes me want to listen to Les Savy Fav and Liars; and given that this is only their first
release, we might yet see some pretty great things out of Moving Units yet. After all, Les Savy Fav sounded exactly
like Fugazi on their first album, and now they’re off onto their own jag, and don’t sound really sound like
Fugazi at all anymore.
The Faraway Places
Unfocus on It
Eenie Meenie
2003
Rating: 5.5 fried dads out of 10
The Faraway Places are a pop band from Southern California, featuring some folks who may have at one time had something to do with Boston poppers Papas Fritas (whose self-titled album is truly great if you didn’t already know). The sound here runs some where between the aforementioned Fritas, quirky pop of Elephant 6 minded folks like Of Montreal, and classic California sounds like you might hear from The Byrds earlier stuff or the Mamas and the Papas. Nothing terribly special here, but not a bad listen by any means. Most of the songs tend to blend into the background though, like something you might hear when shopping in one of those hipster boutiques. My only real complaint is the moments when things get a little too “funky”, not a style I’ve ever been partial too. I could imagine good things coming out of these folks after a little more work at it.
Johnny Cash
Live at Town Hall Party 1958
Sundazed
2003
Rating: 8.5 feet high and rising out of 10
This is a Johnny Cash record, and a live recording of a classic performance at that – is there any possible way that this can be bad review? I guess if you hate Johnny Cash it could, and this record isn’t going to change your mind there. But for the rest of us sane music listeners, pretty much everything the man has done is worthwhile and this is no exception. Lots of classics here, including "I Walk the Line", "Get Rhythm", "Don’t Take Your Guns to Town", and many more. These recordings came directly from kinescope reels, and they sound great. This release marks the first time these recordings have ever been made available on vinyl, and on that wonderful, heavy 180 gram vinyl to boot. A worthwhile purchase in my book, and reason alone to go out and buy a turntable if you don’t already have one.
The Appleseed Cast
Two Conversations
Tiger Style
2003
Rating: 8 conversation pits out of 10
I’ve enjoyed the output of The Appleseed Cast for some time now, specifically their "Low Level Owl" series. But I was in no way prepared for how much their newest release, "Two Conversations", would sweep me off my feet. Known for changing their sound somewhat with every release, this album finds the Cast taking a much more straight forward approach to their songs, with the experimental noisescapes present in the Owl series at a minimum or incorporated fully into the songs. Some might still consider these guys "emo" because of their lyrics about relationships and tendencies towards wearing their hearts on their sleeves, but their music is so far beyond and above the emo norm that you would be hard pressed to classify them as such anyways. The Cast come across like a three way brawl between Cursive, Radiohead, and Mogwai, and come out sounding like none of them. With the music they have putting out for the last few albums, you can mark my words that The Appleseed Cast will be a touchstone for a whole new generation of musicians in the years to come, and for good reason – they are simply playing some of the best new music out there, anywhere.
The Caribbean
History’s First Know It All
Endearing
2003
Rating: 5 pina coladas out of 10
I haven’t gotten anything to review lately that I really disliked, but I’ve gotten lots and lots of music that falls into the mediocre category. This album by The Caribbean, sad to say, is yet another to add to that pile. While it’s a fine enough listen, I’ve usually forgotten about it before the album even ends. Formed from the remains of DC stalwarts The Townies and Smart Went Crazy, The Caribbean are at least true to their name in a sense – their music does have a certain "sitting on the beach while the tide comes in" sound to it (but please don’t make me explain why that is – it’s just one of those things that comes to mind when I listen to the album). They have a bit of a loungy sound, with a little drony-electronic feel thrown in there as well. The vocals remind me of the more recent Mercury Rev albums, and the music even resembles them on occasion too. The best things I can say about this record is that there are some catchy piano lines here and there, and some neat production tricks (especially if you listen through headphones). Other than that, nothing that really stands out, but nothing offensive either. It’s a decent enough CD, but nothing to write home about (on the other hand, the Smart Went Crazy album ‘Con Art’ is a damn fine record and you should do yourself a favor and check it out, and since the two bands share members, this seems a good a place as any to mention it).
Explosions in the Sky
Earth is not a Cold Dead Place
Temporary Residence
2003
Rating: 8 breakfast tacos out of 10
I am not a religious man, but there is something so moving about the music of Austin-based Explosions in the Sky that it makes me want to start a whole new faith that revolves around their glorious instrumentation. And where their amazing last album “Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever” may have seemed to be obsessed with death and dying, their new album “Earth is not a Cold Dead Place” shows that maybe there’s hope after all, even if it’s the smallest glint. That’s all fine and well, but the real question on the table is “is this any good?” the overwhelming answer is yes – where it’s predecessor was an exercise in the dramatic difference between quiet and loud in this genre of instrumental post-rock (as the kids like to call it), this album is a much more soothing affair, but not without it’s moments. Instead of running up and punching you in the face with the music like the last album did, this go around they ease you into it, like taking the stairs into the pool, but before you know it you’re in the deep end, so to speak. In my opinion, they make up one-fourth of the most important bands out there performing this type of music – Mono from Japan, Mogwai from Scotland, and Godspeed You! Black Emperor from Canada being the other three. This may be my favorite type of music being produced right now, and it would be difficult to say that Explosions in the Sky aren’t leading the whole pack.
The Mendoza Line
If They Knew This Was The End
Bar/None
2003
Rating: 6 final years out of 10
Although I was fooled at first as I’ve only paid attention to The Mendoza Line in a very half-ass manner, "If They Knew This Was the End" is the re-release of their debut album, in the fashion that they had intentionally wanted it released. I’m unsure as to why it wasn’t released up to their specs in the first place, but they felt it a big enough issue to see that it got handled appropriately this time some six years later.
This album suffers from an interesting syndrome I’d like to refer to as the "Dr. Jeckyll/Mr. Hyde" conundrum, a lesser case of musical "Attention Deficit Disorder". There are plenty of bands out there who put out albums where they jump genres between songs so fast that you don’t know if you’ve just listened to one band or a mix tape. Every once in a while a band might come along that can pull this off, but most of the time it just ends up being a lukewarm mess of over extended song ideas. The Mendoza Line has at least limited their music types to two: Superchunk-style pop/punk and mellow, uninteresting indie pop ditties.
I enjoy the upbeat tracks very much – there’s an energy and a sound present that brings to mind The Replacements covering Superchunk songs, the sort of tracks that after only a few listens you find yourself singing along with the songs whether you like it or not. The mellow tracks, while not exactly bad, just don’t seem to have anything to grab onto. After my first couple of listens of the CD, I found that every time one of these songs came on I wanted to skip to the next upbeat track.
I would say something about how hopefully they’ll drop the mellow crap and stick with the upbeat songs in the future, but since this is a re-release I already know what happens – they land somewhere in the middle and produce likeable but forgettable pop songs with a slight country tinge (with the exception of the song ‘Baby I Know What You’re Thinking’, one of my favorite songs I’ve heard in the last few years and the only reason I hold onto their album "We’re All In This Alone").
The Desert Fathers
The Spirituality
Threespheres
2003
Rating: 7 wandering nomads out of 10
Polvo – one of my top five favorite bands to ever exist; and any band that can merit a comparison to these heroes of mine is indeed a great band worthy of checking out. The Desert Fathers sound like the bastard stepchild of Polvo and early-nineties era Flaming Lips, equal parts poppy-psychedelica and twisted, strangely tuned guitars. There’s something so intoxicating about that bending guitar sound, and this album is chock full of it. For those who are keeping score and care, it was produced/recorded/whatever by Steve Albini. This is most certainly a sleeper hit of the year in my book.
The National Splits
Fontana
Mr. Whiggs
2003
Rating: 7 managers of badgers out of 10
This National Splits release is the sort of record that makes you happy to have wasted your
time reviewing all those other albums that were awful. Every once in a while, you get that one CD of a band
you’ve never heard of and it blows you away. This CD, The National Splits second release ‘Fontana’, was precisely that
record for me. The National Splits is the solo effort of one Mike Downey from Wolfie fame, a pop group that released a
few records on Parasol and Kindercore a few years ago. The best way I can describe The National Splits? It
sounds like someone put glam rock (think David Bowie, T Rex, and even more recently Destroyer) in a blender with
Guided By Voices and produced a damn tasty beverage for the listening public to consume. OK, that’s a really
stupid analogy but you catch my drift. This is lo-fi recording how it’s meant to be heard, in short poppy bursts from a man
who obviously sounds like he’s having a blast playing it. And consequently, it’s tough not smiling when you
listen to it.
