15th Jun2010

NW Reviews: Midterm Reports

by nickwan

Many readers (that’s an embellished statement) have commented about the rating system I have, specifically about the “Album of the Year” rating. For the record, I’ve reviewed 38 albums this year, 8 of which have been “bad” reviews. Out of the other 30 albums I have reviewed, 7 have been graced with the “album of the year” nomination tag. Now that it is midterms, which is half way between the final verdict of albums of the year, I would like to go back and reconsider some albums that did not receive a nomination and those that did. These aren’t set in stone, but as far as up and coming new music is concerned… this is my personal pick of the litter.

To restate what the rating system is all about: the rating system works very black-and-white. Although there is no complete and streamlined way to get the “Album of the Year” nomination, much of the review boils down to whether or not you pass the “good” or “bad” rating system. All “bad” albums will never see the light of any nomination from this site. What makes up a bad album? Here’s the breakdown:

-Music quality — How good is your music on a surface level? What makes you one of the best artists/bands in your genre?

-New music ability — What makes this album “current”? What makes this album the pioneer for more albums of this type of genre or style? How many other artists/bands are playing this type of genre/style?

-Recording/Production value — Where did you record this? Pro studio? Laundry room? Who did you record it with? Did they adjust live song demo flaws with studio adjustments? Did they conjure a new sound out of an artist that seems signature to the producer? Is there over-production or under-production? Does the editing and mastering sound balanced? What is being portrayed as the lead instruments? What needs to be turned up? What is lacking in performance or volume or etc?

Those are the three areas I look for. They are rated in that priority listing you see above. Music quality is given the most regard, followed by new music ability and then production value. For a nomination in my “Album of the Year” category an album must AT LEAST meet these three areas. The hardest to envision is the new music ability portion of my rating system. Within a year, many tastes in the indie scene vary. For a while throughout my high school, hardcore punk and “screamo” type indie bands existed heavily. Within months, the taste changed to this indie-folk and math-rock/indie-pop phase. Months exist within a year. If I am to evaluate what is fresh and current and new in the scene, I need more than just a few hours with one album. Context is definitely needed. With that said, let’s view the most updated list of albums nominated:

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(click an album to read my full article!)

Owen Pallett – Heartland

From the outset, I pegged Mr. Pallett to be one of the star candidates in the race for that ever-evolving “singer/songwriter” title. This album shows versatility in that saturated “s/sw” world, incorporating the violin, an instrument harder to master than just an acoustic guitar and paired with effects and loop pedals made for the guitar. The product is some very interesting music from a very interesting man.

Joanna Newsom – Have One On Me

The highly-anticipated release from Joanna Newsom did not disappoint. After four years of waiting, Newsom comes back with a more mature and artistic approach to her music and songwriting. A three-disc album, the ambitious Newsom impressed with her quirky vocals and masterful playing of multiple instruments to keep all the boys drooling for more. Although trying to shoot the moon, Ms. Newsom will find tough competition as her album fades further back in the minds of the indie world.

Jonsi – go

Take every possibly-pop sounding Sigur Ros song out there, flip the switch from complex orchestra to bedroom band oriented, and throw in lyrics that kind of make sense. You’ve got yourself a concoction close to Jonsi’s (of Sigur Ros) newest album. A very far cry from “of the norm” s/sw albums, Jonsi brings his unique vocals and strong songwriting capabilities to the indie-pop world. Interesting and very fun.

Fang Island – S/T

Never heard of them? Nor had we until we got this album from the fine folks at Sargent House. Somewhere between sprinting and cartwheeling is where you can find most of these songs. Fun, energetic, and all about the stage diving, Fang Island does not skimp on the rocker jams. In a world of much seriousness and dark malady, Fang Island is a care-free ray of hope for the dance pit and stage diving world.

Minus the Bear – Omni

Fan of Highly Refined Pirates and Menos el Oso? So am I. Which is why Omni is totally a puzzle piece to the Minus the Bear legacy. The introduction of all the new elements on this album give way to all the things that used to make Minus the Bear the uncontested party band and party music of my early college years. Now, nearing the end of my educational career, Minus the Bear revitalizes themselves with this album. Cheap lyrics? Fine. But just listen to how Dave Knudson (guitar) doesn’t play guitar at all! Rather, the omnichord synthesizer. Can you say “new trendy instrument”? I’ll see you in 2011, omnichord.

The Black Keys – Brothers

Pretentious? Possibly. Arrogant? Who knows. Amazing? Possibly one of the best albums of this year. The against-the-grain style of blues, folk, and rock met with the blessings of such artists like Led Zeppelin can only equate to something amazing. Maybe the most classiest and tasteful mixes of instrumentation and vocals this year.

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Here are a few extra candidates, now having time to look back on the past six months:

Good Old War – S/T

Although I’ve only been on the fence about nominating this album for a few days… comparing it to other releases this year, this album is very full. I think that is the most appropriate way to describe it. Full. From start to end, it’s very easy to say this album will be getting a lot of street cred from many scenes around town.


Local Natives – Gorilla Manor

Believe me, the bandwagon is filling up. I’m glad I got on it somewhere between “halfway full” and “fire hazard imminent”. The hype for Local Natives lately is well deserved, however. Coming off a very good year in the US, their album (which originally released in the UK last year) has been gathering critical US acclaim. Now on their way to a Summer of international touring and festival shows, Local Natives’ Gorilla Manor seems to be the start of something very good.

The American Dollar – Atlas

This year has been a very heavy year for post-rock bands across the board. For a few weeks out of the past six months, I actually thought this blog turned into a post-rock blog at times. The first post-rock album of this year that I reviewed still seems to be the album to beat. The American Dollar is something along the lines of catchy, which is practically impossible for most post-rock songs. The American Dollar is also along the lines of classic, which usually you only hold the “classic” title in the post-rock realm to Godspeed You! Black Emperor. Something in the way this band sounds like a few guys jamming in a garage crossed with very sleek electronics and song structures make these guys a very heavy contender for not only post-rock album but instrumental album of the year.

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The only album that was a past nominee and is now an album I wouldn’t consider is this:

The Magic Theatre – London Town

Putting this album up against any of the other aforementioned albums is like putting Justin Bieber into a MMA fight. The quirkiness, the catchiness, the charm and Liverpool swagger The Magic Theatre brings to the table all adds up to one missing piece: more originality. Although I might be stepping on some toes above, The Magic Theatre’s claim to the list was that The Magic Theatre’s genre would be the next “it” genre. We’ve heard of fun., Forgive Durden, and Say Anything(‘s latest album), but since then not many bands (new or past) have stepped up the pseudo-showtunes genre. As such, this new music will be favored by some, but not revered by many.

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With that, six of the previous seven albums are still in the fight and three new additions have made it. I’m only one person, and although I’m not pumping out quantities of reviews and other things like my friend at TheAlbumProject, I’m trying to censor a good amount of… well… mediocrity and bad albums. So, although I’ve only reviewed 38 albums that were published on this site, here are some other stats some people into the “behind the scenes” stuff might be into:

-This year, I’ve received 82 albums (in counting) from labels, management, and indie artists

-I’ve listened to every single album once.

-On average, that’s about 40ish hours of music listened to once.

-About half of these albums are either non-indie albums that I won’t review, albums from last year I won’t review, or very very bad.

-A small percentage of albums are decent but unimpressive and/or new music. 80s metal bands still? Seriously? I won’t review that.

-The other half see the light of a review. Each album I listen to at least three times. Once for initial take-in. A second time for analysis. And a third while I’m writing the review. Most albums get more than that, as I usually just walk around with a full iPod most of the day.

-In time, this averages to at least 57 hours of reviewed music listened to. Add that to the unreviewed albums and you get a total of at least 61 hours of music listened to this year.

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To conclude, if you want to help write (teeheehee…) just email me. nick at 402 productions dot com. Let me know what you want to write about and if you have some samples (very recommended). You don’t have to put in five days of straight up listening and reviewing new music, but it’d definitely help me out.

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Six months and a few days from now, a new album will be crowned album of the year. Hope you stick around!

Category : Music, Record Reviews
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43 Comm
14th Jun2010

NW Reviews: Math and Physics Club – I Shouldn’t Look As Good As I Do

by nickwan

Acoustic guitar-pop. Some things come to mind, surely. Maybe Dashboard Confessional? Maybe Kevin Devine? Some say Jason Mraz and some say John Nolan. Regardless of what you think of as acoustic guitar-pop, the boys in Math and Physics Club have a self-proclaimed acoustic guitar-pop album for you. I Shouldn’t Look As Good As I Do is indie-pop from another dimension.

The sophomore release from these Seattle boys comes at a time where many over-the-top albums are coming out. Sometimes, a stripped down album like I Shouldn’t Look As Good As I Do doesn’t impress… but time the release right, and it really does take off. Have a listen to the first track of the album below.

Cute songs, catchy and smart lyrics, and a very geeky vibe ties this album together. Somewhere in Seattle, some high schooler hipster kid feels that this album is defining their life. I don’t know if that’s a pro or not, but I feel that this particular album has that power. It has a cult appeal, like New Jersey’s former Up Up Down Down Left Right Left Right B A Start. Guitar-pop, cute sing-a-long-y lyrics, and a nerd love appeal. Sarcastic at times, questionably sarcastic at others. This album is the random guy at a big party who makes everyone laugh but no one knows his name. Everyone loves that guy though. Hopefully you can remember this album and band because this is a great album.

As far as the music scene is concerned, this style of music isn’t groundbreaking. Although good, there isn’t a song off the album where I’m thinking this is the next big sound out of Seattle. That’s not Math and Physics Club’s fault though. That’s just what happens. Good bands will come out with good albums at any time. What those albums consist of could be either pertaining a current sound of a bigger music scene or a past sound of a bigger music scene. This sound was already played a few years back — and now saturated. Unless there is a big influx in nerd-pop that I’m not aware of, Math and Physics Club could potentially just be another one of those lovable guys at a party, amazing one night but forgotten the next. Harsh con, but it’s something they can’t control.

I personally love this kind of music much more than a lot of other types of music. These guys and David Bazan would be my Seattle indie-pop music fantasy. This album has this cult taste to it, though. I think if this band continues on for awhile and acquires a larger fan base then these songs from I Shouldn’t Look As Good As I Do will be the songs everyone sings along to. If this album came out three or four years ago, Math and Physics Club might have either had a good chance to ride that major guitar-pop wave or have been drowned out by all these other guitar-pop and nerd-pop bands. Maybe it was best that an album like this comes out now. It reminds me of music I love rather than music I like. Do I love this album though? Time will tell.

Category : Music, Record Reviews
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45 Comm
13th Jun2010

An Interview: Baggy Time

by nickwan

[Editor's note: Tom, Baggy Time's manager and brother, wanted a few corrections to the interview. Here is his letter he sent to me:

I came across your Baggy Time interview and wanted you to correct a couple of things. First off, Baggy Time is not a brother/sister group, it's a solo project by Baggy Time. She writes all the songs, plays all the instruments and sings. I just serve as her manager and producer, I'm not on the music side. You can mention her brother if you wish, but please make sure it's clear it's in the capacity of manager.

Also, you can refer to her as Mary Beth if you like, but please make sure to use her full name, Mary Beth Brennan and remove any reference to her being a sister, since it makes things confusing. "Sung by sister Mary Beth..." really makes no sense, as it alludes to the fact that a brother might by playing guitar or something.

I realize you're not a journalist, but fact checking is still important. Also, here is an updated link to download the album for free if you wish to post it:

http://www.sendspace.com/file/0778nf

Thanks,

Tom

So there you have it. Hope you enjoy the sounds of Baggy Time!]

Baggy Time, from Illinois, was the first album I reviewed this year. If you ever put yourself through the 31 songs Baggy Time has to offer then you will most likely know all about the sex-crazed, human anatomy-centric lyrics sung by Mary Beth Brennan. Tambo decided to take it upon himself to interview this lovely lady for this site. Read below!

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Avant garde?
It’s a good sounding word, and I’m happy to be a part of it.

You say that your pussy has no direction. If your pussy were moving, which you imply it is, what is the five year plan for your pussy? Will it listen to you?
I just went to the gynecologist and she said my cervix goes to my right. I asked her if that was normal and she said that a cervix is like a nose (way to comfort me). Now I know where to place my dildo properly to hit the best spot in my twat… Thank you Asian doctor! Anyway, I was a slut and still am. Show me a fridge and I got a magnet for it. That magnet has no idea where it’s gonna be placed, it just hooks up.

The five year plan for my pussy would be to have a girlfriend that loves it. The plan would be for it to connect to another pussy puzzle piece that my pussy has been secretly searching for behind my back my whole life. After the five years are up I will hopefully drop her ass for someone younger and hotter and be really unhappy as a result.

In your song “Manager”, you allude to being a manager of something other than your pussy. Are you a manager of a business? If so, where?
I am the manager of “Fat Willy’s Rib Shack” in Chicago, Illinois. I work really hard, but I definitely can’t help it when I touch the hot staff (and yes I have gotten in trouble for it). The song “Manager” is based on various bad restaurant managers I had the misfortune of dealing with in the past, it’s certainly not based on me and my managerial style. I could never understand why people like that had a job in the first place. I work very hard not to act like that. We have the best ribs in town by the way…

When you say that you are my mother, followed with that I am a motherfucker, are you saying that I fucked you?  If not, do I have a chance?
Do you have coke and beer? Is it 5 a.m.? If so, your chances are pretty good. I’m very lonely and no one understands me. No one has ever fucked me. I don’t care what your private part is, I’m always on top and I always fuck you.

When did you write the song “I Am Horny”? Does it still apply?
The song is actually called “I’m So Horny”. No rudeness implied, just a correction. It was a hot day in Chicago and I was just coming home to my apartment in the middle of the afternoon on my day off. I remember I was wearing my red softball shorts from the Sports Authority that I can somehow get away with and a cute red thrift t-shirt that I received from a past roommate. I sat on the edge of my couch and I was horny. I even scrolled through the address book in my phone to see who I could call. I called no one. I took out my big black anything book and I wrote this song in two minutes and I haven’t changed a thing since. I meant every word and although some people find it funny, it’s the way I felt in those two minutes. I don’t remember what happened after that, I assume I masturbated (which I frequently do to live my life). I have an amazing memory for stupid things.

Do you like Asian boys with glasses named Nick Wan?  If not, could you potentially see yourself liking an Asian in __ years?
How many years? Is this you talking about yourself? If so, I will fuck you and I will like you and I won’t even charge you because you’re a Baggy Time fan. I like the gratefulness that Asian boys can possess, but I hope Nick Wan isn’t cute or hot. I would never fuck a hot guy, they think that I’m lucky to have them and I certainly don’t posses the gratefulness that Asian boys do. Wait… why do I fuck guys in general? I suppose exceptions can be made…
[editor's note: I am single. Thanks for looking out for me Tambo.]

If you were invited to a boxed-wine-and-American-cheese party, what would you bring?
I take my wine and cheese parties very seriously, so I’m down… seriously when is this party? I would bring German Riesling, goat cheese and California Pinot Noir. I would talk extensively about Pinot Noir and make sure everyone at the party knows how to pronounce it properly. I guess you can say I would bring this fun party to a screeching halt, so you probably shouldn’t invite me.

There are quite a few instruments used on your album. I heard an accordion, several electronic instruments and….I lost my train of thought. The whole point of this question was to ask you who provided the back-up breaths on “I Want My Mommy” after you demand money for an unfinished blowjob.
“Your Private Part Touched My Heart” is all Baggy Time through and through. I bleed my true heart out and it is very connected to my pussy, so thank you for feeling it. Those breathes on the song are mine. The feeling of “I Want My Mommy” came to me when I moved to Korea Town in LA and I really wanted my mommy. I was in a very bad place emotionally and everything seemed to be crashing down. All of my decisions were turning into failures and my mommy was my last resort. However, I never, ever called her.

The accordion is actually a child’s toy made by a company called Child Prodigy that I got off eBay for .99 (one button doesn’t work). The keyboard stuff is from a 1998 Casio that I still use in my band, “The Baby Magic”. I bought it with the money my aunt gave me for graduation. I also use a Suzuki QChord, which is a gospel type instrument that people use to spread the word. The rest of the rare instruments come from my friend Joe. When he was down on his luck I gave him 100 dollars, he paid me back in rare instruments. I think I made out in that deal.

How did you come up with your name?
I was in my apartment wearing baggy corduroy lime green pants and a newly purchased thrift store zip-up life saver jacket. Picture Marty McFly’s life saver jacket, but silver and shiny. I looked at myself in a full-sized mirror and said “I’m Baggy Time”. I realized that I could say whatever I wanted and had no apologizes with comfort. I will never leave Baggy Time.

Who are your influences?
They Might Be Giants, Modest Mouse and Weezer,  but not any of these band’s recent stuff… I’m talking 90′s.

It’s been four months since the release of Baggy Time’s first album.  Where are the other three albums?
All of my albums will have a “365″ concept to them, and there will be 12 albums in total. That means people will have a Baggy Time song for every day of the year. Each album I release represents a different month of the year, so my first album consists of 31 tracks and represents the month of January. When I was originally writing and recording these songs, I was practically writing a new song everyday, that’s when the 365 album idea hit me. I called my brother and I told him about my 12 year project and he was in (he’s now my manager).

The 365 concept does not imply that I’ll be releasing an album every month. These songs actually take a lot of time to write and craft. As I write this, I’m halfway through the February album, which will be called “Songs From A Stupid, Fucking Drunken Bitch”. It will have 28 tracks, with a special bonus track for leap year. The album is going great and I can’t wait for you to hear it.

Would you rather be baggy or time?  If so, why not the former?  If not, why so the latter?
I’d much rather be Baggy. I have to tell you that my title doesn’t have much explaining or real meaning behind it, it just feels right. I used to go by “Planet Poop”, but I got over that real fast. I’m a big fan of the book, “The Power Of Now” which describes time as a man made thing and that thinking of the past or future creates jail cells in our heads.

Smirnoff Ice or Mike’s Hard?
Mike’s Hard. I love lemonade and I love alcoholic drinks that disguise themselves as soft drinks. I used to drink tons of Zima, I think it teaches kids how to drink.

Slavery or Suffrage?
I say suffer no matter how hard it is. We all suffer and find our way to happiness at moments. No slave ever has true happiness (just ask mine).
[editor's note: Nick Wan Nation fans, represent.]

Identity Thief or Nigerian Scammer?
Identity thief any day. Nigerians hate us so much and think that we are dumb and materialistic. That might be true, but then what are they doing with our numbers and addresses? At least identity theft people are shoppers just like us.

Anorexia or Bulimia?
Bulimia of course. You actually get to eat with Bulimia and the taste hits your tongue twice. I’m from Chicago and we love to eat.

Dungeons or Dragons?
Dragons, as long as they are cartoon dragons.

Hilter Mustache or Hitler Unibrow?
Mustache for sure. No one can wear it now thanks to him, but the man had fashion sense. It’s funny, he helped develop the Volkswagen Bug and years after he died we still punch each other when we see it.

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So, amongst the noise of Dungeons and Dragons and Hitler questions, Baggy Time will be releasing Songs From A Stupid, Fucking Drunken Bitch sometime in the near future. Until then, keep your pants on. Also, USA drawing against England really just means England needs to try a little harder. Am I right? I’m right.

Category : Interviews/Misc., Music
Tags : , ,
31 Comm
12th Jun2010

NW Reviews: The Drums – S/T

by nickwan

The World Cup continues — I continue. The Drums, a Brooklyn product, is a mix of that Jersey sound that’s been floating around lately and that indie-surf sound that has been floating around lately. I think this band properly sums up everything that has been accumulating to this point: ridiculously simple, hooky music with too much reverb. Does it win though?

Many correlations of past bands can be relayed to this relatively new band. Brooklyn had The Strokes. The Drums aren’t too far off from that vibe. The indie-pop scene is definitely feeling the “trashy drums” vibe at the moment. This is full of that. Jersey reverb? This band supposedly wouldn’t have even been an afterthought if you couldn’t drive the reverb knob to eleven (or, for my local homies, to reeeeeeeverrrrrrrrbbbb). The indie surf sounds are reminiscent of such present-day acts like Best Coast, Surfer Blood or Real Estate. But is this band something else other than just a rehashing of all these other sounds? Take a peak.

Carefree. Careless? At times. But flashes of brilliance as well. What makes this different from all those other mentioned acts? The fact that they did it. All those other acts wrap themselves up in their own static world. From The Drums you can’t expect just a straight up surf song (like above) or a straight up twee-pop song. You get your fill of everything, and sometimes… all a band needs to be great is to keep you on your toes both literally and metaphorically.

Bands that come out doing a hundred of different things at once usually suffer from one very key fact: they don’t do one specific thing extremely well. Think of the jack-of-all-trades. He is also the master of none. Exact science here, right? Well, The Drums do lean upon their 80s kick-back vibe and surf-guitar riffs a good amount. The twist is that they have this doo-wop vocal thing going on at times along with random fast paced, almost punk, progressions at times. What goes on in those practice rooms is beyond me, but the mediocre vibes from some parts of these songs put a damper on the musical value for someone who wants to come in and try to appreciate the whole picture here.

As bands like Surfer Blood and Gaslight Anthem pop up and are pigeonholed by their own style, it takes a band like The Drums to take all of those pieces and answer “what does it all mean?” In this very special case, we could possibly be listening to the prototypical indie-pop band of the future right now. Will they be the next big indie thing? Who knows. But I know as far as dance parties are concerned, this is a good go to album.

Category : Record Reviews
Tags : ,
0 Comm
11th Jun2010

NW Reviews: Raven Parade – Looking Glass

by nickwan

Raven Parade self-describes themselves as an industrial rock band. Classically, Nine Inch Nails is also industrial rock. The indie scene for industrial rock is practically non-existent as most industrial bands lean further into the progressive rock or post-rock scenes. So, when Raven Parade presented themselves as an independent industrial rock act, it was interesting to hear what industrial indie would sound like in 2010.

For some background, Raven, the pretty lady featured on the cover of Looking Glass, is the lead singer and star of this “band”. I’m always mostly confused by these kinds of bands with a very prominent front person. Is it really a band? Isn’t it more of a solo project with a name? In any case, this production-based project is the spawn of Raven and new producer Tom Chandler. The music itself is accompanied by dance choreography during their live shows, supposedly. I couldn’t find much as far as their live show antics, but here is a clip of them playing live.

If you were… well… confused at all (like: “where was the industrial music?”), the clip below is a better introduction to what Raven Parade has to offer to the industrial rock scene.

Definitely something different for the LA music scene. Production value for both of these newcomers are through the roof. If this were the mid-90s, Raven would be very marketable. This album, being a complete first effort, shows a lot of teeth from Raven and her Parade. A little more polished than what is out there right now, Raven Parade seems to pull off their sultry and sexy vibe very well.

Industrial? Hard to say. I don’t think it’s too appropriate to consider this album as industrial. Sure, it’s got this mechanical and electronic vibe gluing together the heavily distorted bass and guitar but that’s not to say what came out should immediately be labeled “industrial”. Rock, I can understand. I think this falls under a more mainstream and polished version of what the xx and jj do. That’s called indie-pop, roughly. For some scratching reason, Raven Parade keeps making me think of Bat for Lashes, whom I hated last year. I don’t necessarily hate Raven Parade, but the taste lingers…

As an industrial album, no. This doesn’t make my list. As a very made-up indie pop album, it has a lot of potential. But I believe that’s where the album ends. This album seems more like a portfolio builder rather than a band that’s going to stick together for years to come. I’d be interested to hear what the universal-vocals of Raven would have to bring to something more in the light of indie-pop, but I don’t believe (at all) that this is her true calling. I mean, Gwen Stefani stepped away from No Doubt and became crazy huge. Then again, she loved being in No Doubt and inevitably jumped back in with the band. I don’t think the future is too great for Raven and the band, but Raven and another production-machine could hold very promising.

The album itself is… decent. It’s not bad by any account but it definitely isn’t mind blowing. Much less, music that seemingly relies on a live show component (e.g. Jonsi & Alex’s Riceboy Sleeps) doesn’t help us album-reviewers out. I don’t feel right giving this the Bat For Lashes treatment, but I’m on the fence about giving out a good album award. I suppose I draw the line here.

Category : Music, Record Reviews
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0 Comm
10th Jun2010

402 Productions Thirty Days of Reviews!

by nickwan

Tomorrow begins the 2010 FIFA World Cup. I can proudly say I will not be missing a good amount of the games shown via ABC and ESPN. I’m into all of the hype leading up to it. Fernando Torres coming back to the starting Spanish team line up, John Terry and Wayne Bridge having a scandal tear them from the English team, Maradona screwing up the Argentina team… I’m excited. Of course, I have my hopes up for team USA. Altidore, Dempsey, and Donovan all day. I’m hoping Tim Howard is an impenetrable fortress. There’s a lot I’m hoping for. In any case, my energy for the World Cup can go to either buying much food and beer I don’t have money for or to writing. I’m thinking writing is a lot more productive…

So to honor the World Cup, I’ll be posting daily reviews. I’ll most likely run out of good or decent albums to recommend, so sorry in advance for laughable and/or uninteresting music coming your way. If you’re a reader and want me to review something from this year, send me and email and I’ll see what I can do!

Category : Interviews/Misc., Music
Tags :
42 Comm
08th Jun2010

NW Reviews: Far – At Night We Live

by nickwan

There are many ties from 402 Productions to Jonah Matranga. Our first DVD production was a Gratitude (RIP) live show DVD. A few years later, a live show onelinedrawing/Jonah Matranga DVD that never saw the light of day. The first 402 Productions road trip was following Gratitude for four dates as they toured alongside Straylight Run (RIP) and Spitalfield (RIP). Needless to say, the love for Jonah and crew (whichever crew that may be) goes deep and far into this company. However. To be impartial, this new album, At Night We Live, should stand alone.

From the legendary Water & Solutions through the years of many different personnel groupings alongside Jonah himself, many post-hardcore or (dare I say) early-emo/indie rock bands seem to incorporate numerous amounts of inspirations from these pioneer bands. Far, a Sacramento product that aligns it’s upbringing with The Deftones, has been the target of countless cover songs. Funeral for a Friend covering “The System”, Thursday covering “Mother Mary”, Finch covering “Bury White”, the list of high profile mainstream indie bands who cover Far goes on. There isn’t much doubt that a shadow has been cast upon many of the branches Far has produced, but after being out of the proverbial game and without side-by-side contact, will Far be seeing any more high profile covers from their newest endeavor? Have a sample of the title track and first track, respectively, off their newest release below.

There isn’t much doubting Far’s return in this album. At Night We Live is exactly what Far-lovers expected, and then some. Emphasis on the “FAR-lovers” and not universally “Jonah-lovers”. This album takes nothing away from Jonah and all the while gives every expectation to the entire band effort. Truly, the most logical step after Water & Solutions. Only showing off what can be done in the world of Far alongside of age, At Night We Live takes no prisoners and slays fans with a familiar 90s metal tune mixed with a ’10 structure, a la producer and guitarist Shaun Lopez. Seemingly a very “within the circle” production, Far’s recording and production crew (made up of themselves) seemed to know what was best for… well… themselves. To quote someone’s father, “You know what you’ve done wrong… so do right.” And that they did.

After much of the nostalgia wears off, what is left? Many of the songs, as much as I will love pitting around a live show to, seems more of the norm. Heavy distortion, walking bass lines, lots of floor tom rather than the precarious hi-hat… although the model has been cast, the most groundbreaking bands seem to “break the mold”. Although Far was one of the initial casters of said mold, to be caught up in your own creation is usually a formula for disaster. Just ask Dr. Frankenstein. I’m not saying this album is a Frankenstein (it definitely is not), but rather just more of the same. I’m not putting into context what has happened between now and their last album. Before this latest album, their last album was put out in 1998, twelve years ago. To have such a connection and song writing apt with these same people is definitely veryveryvery impressive, but to time warp twelve years backwards in favor of nostalgia is another story. As far as this album goes, although the most die-hard of Far fans (most likely within the age of late-20s to 30s now) will love this album, these aren’t the ballads of yesterdecade. Although very similar, the times are a-changin’. Mr. Far, we are changing.

When fighting an uphill battle, bait your soon-to-be-victims into you. May it be a scream, a subtle hint of position, a signal flare, or a mistake, to win a lopsided battle, one might have to be more tact and resilient than another. However, using the same example, one might not wish to barricade themselves into a closed area for the sheer motive of survival. There is a world out there for you to experience. Sitting protected in a safe house might seem live-extending, but what is life without experience? I digress a little, but the idea for Far is similar. At which point does bringing back post-hardcore/nu-metal become less inspirational and more of a gimmick? Like the soldiers protected and trapped by their own doing, Far protects themselves by creating one of the most solid late-90s albums of our time and also traps themselves by limiting their range to the late-90s. It was fun while it lasted but the ride is seemingly over. The album wasn’t bad (and was actually one of my personal favorites of the year) but the expansion was definitely poor. I know exactly what the next Far album will sound like. Although I will love it, I’m pretty sure most people ten years from now won’t buy into it. Look at AC/DC. They released their album, Black Ice, in 2008. Their album Stiff Upper Lip was released in 2008 and had one insta-classic song entitled “Stiff Upper Lip”. Up to now, aside from that one song, what songs are most requested by AC/DC?. Definitely not anything off Black Ice, or anything from the 90s at all. AC/DC is an 80s rock band. They will forever be known as an 80s rock band. Far? A trend has been set. It’s up to Far to decide whether their legacy will be Water & Solutions or something completely more cult and revolutionary than that prior album. As for At Night We Live, the album was good but for the casual fan… possibly forgettable. It definitely was nothing near bad, however. So:

Category : Music, Record Reviews
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07th Jun2010

NW Reviews: Good Old War – S/T

by nickwan


Good Old War is somewhere between the hardest working band and the most laid back guys in the indie scene. Their music speaks for itself, along with their other projects. On top of releasing their cult classic Only Way to be Alone, they went and recorded a handful of songs with Anthony Green for his album Avalon, toured in support for both Avalon and Only Way to be Alone for the better part of the past two years, and seemingly found the time to write an albums-worth of quality songs and record them. Now, here we are.

Many introductory fans were absorbed by the stylings of their past single, “Coney Island”, or their pairing with Anthony Green on “Weak Man”. Their latest self-titled album seems to have a loosely based theme throughout, with more emphasis on the “Weak Man” type songs rather than the clap-friendly “Coney Island” type songs.

A very easy-to-listen-to album. If you are into acoustic-rock or jam-rock or three part harmonies at all, this is a no-brainer. Throw it on and enjoy. The instrumental breaks sprinkled throughout gives a very nice “pause” to the very heavy vocals on the album. No song extends past four-minutes, which gives way to very catchy and hooky rhythms and vocals. With a band like this, singing along is a must.

The thick of this album is the middle of it. You get a great mix of blues and folk with that rock tang. Before this, however, is a somewhat slow build up. Although good songs, the first three or so songs turns the mood more into a make out session rather than a drinking party. I always paired Good Old War with alcohol and a lot of friends. The start of this album makes me want to get a girlfriend. A con? Well, my bank account might say so.

It’s a good album. From start to finish, Good Old War defines themselves without overdoing it or selling themselves short. If you think about the time line they had to work with to make these songs, it’s hard to imagine this album even found itself passed the “demo” stage of an album. I mean, one year to write and record an album along with recording for others and touring practically all of 2009? I’m seriously amazed, mainly by the quality. Good job, team Philly. Good job.

Category : Record Reviews
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