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31st Aug2011
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31st Aug2011
Album Reviews: Jacuzzi Boys – Glazin’
Haters of this new “beach revival” scene may read further. Their name is not necessarily a misnomer, but their sound doesn’t even compare to the ocean swell-obsessed dorks in Surfer Blood or Best Coast. John Paul Pitts and Bethany Cosentino live their lives as if Dick Dale pals around with them all the time. Jacuzzi Boys reside in Miami, and dig the marine life to an extent, but their songs reflect more of a party atmosphere. From what I can gather, these guys would much rather “glaze” (whatever that means…) than trek the shores in trunks.
Listen to “Cool Vapors”
The Pros:
Glazin’ is the Boys’ sophomore release, but it comes off sounding like a debut. Ten songs, rather simple arrangements, but altogether demonstrative of their image. Describing their ethos is difficult without using the term “party boy.” This attitude is most exemplified in their song “Los Angeles,” which states: “I’m headed over to the frolic/I’ll have another gin and tonic…” So they really enjoy a fun time, but don’t immediately draw a comparison of their festive nature to THAT GUY at a party. Not every song has to be a celebration either; “Silver Sphere (Death Dream)” resonates older garage rock influences. Their sense of having a good night out is completely innocent, and shows through in their music.
This hearty, night-on-the-town essence they have going for them isn’t a far cry from The Strokes. To get an idea of what this band sounds like, think of a simplified version of The Strokes mixed with Supergrass. I say the latter only because of vocalist Gabriel Alcala’s similarity to Gaz Coombes’ pipes. Alcala also uses some sort of vocal filter like Julian Casablancas does. Not the same, but relatively alike in that it draws attention to the vocals and gives minor distortion.
Every song from Glazin’ sounds like it could be used in a cell phone or car commercial. Tunes that end up in these kind of advertisements are usually from indie bands that are on the rise or have credibility. All tracks from this album (save for “Koo Koo With You”) bear a lively, fast-paced sound; exemplary of those network bumps’ musical choices. This leaves the listener with no alternative other than to be in an excited mood when listening, which may come off sounding like a con, but it’s just the tone they convey.
The Cons:
While they are miles away from what fellow writer Nick Wan eloquently put as “beach shit,” they hold a very small candle up to the genre. Mind you, a VERY small candle. The repetitive character of the song “Crush” reminded me right off the bat of Best Coast’s “Boyfriend.” Alcala drones on about his “crush” so insincerely, it is almost as if he’s joking about it. Cosentino at least longs and pines for her beloved, but the Jacuzzi Boys immaturely handle their topic like it’s in the bag.
The instrumentation is minimal on this LP. If you are searching for a nice indie guitar riff, you have come to the wrong place. No one in this three piece will ever wow you with anything, there are no tricks up their sleeves. When looking at a spectrum that measures talent of guitar/bass/drum bands, The Police reside at the top, and the Boys place tiers below. Luckily, each song is fresh enough and just the right length to keep you interested.
The Verdict:
Glazin’ is simultaneously one of the most uncomplicated and accessible albums to come out this year. A lot of these songs are structurally pretty standard, working as entryways to urban-sounding indie rock. Typicality is not always a terrible thing, especially with the Jacuzzi Boys. Plus, I don’t know any other band that can “glaze” as well as they do…
30th Aug2011
Album Reviews: Mates Of State – Mountaintops
Kori Gardner and Jason Hammel are two talented individuals who are wed in holy, and musical, matrimony. With Hammel on drums and Gardner on piano, the couple have been putting out pleasant tunes since 1997 under the name Mates of State. Obviously, this duo is no stranger to indie fans, and they’ve released some classics over the years such as Team Boo and the more recent Re-Arrange Us. Their sound has grown remarkably larger since, and they do not come off nearly as naked and simple as they began. The production has gotten noticeably thicker on Mountaintops.
Listen to “Maracas”
Mates of State “Maracas” by Barsuk Records
The Pros:
Marriage definitely works as a benefit when it comes to bands. Examples that immediately come to mind are Sonic Youth and Yo La Tengo; two groups that include married members and make wonderful, wonderful music. Mates of State are yet another bit of proof. While not in the same genre, the chemistry that is evident between these two on this LP is of epic proportions. Not to mention that the band consists of only Jason and Kori. If something doesn’t sit right with one of them, there is little to work out. I wouldn’t even imagine that this happens often, because at this point in their career, it is quite apparent (especially on this release) that they work on the same wavelength. Each song complements the both of them so nicely, it is pitch perfect.
While the track listing is excellent on this album, there are two that stand out among all the rest. “Sway” is without a doubt the pinnacle. The subject matter is nothing but cheery, and the refrain is beautifully written and executed. When Kori begs the innocently adorable question, “Please sway with me,” you feel as if you have to agree. “Total Serendipity” is another knockout from Mountaintops. The two burst into the picture with their instruments respectively blazing, and the whole number sounds as if it was a deleted scene from Grease. Jason trades verses with his wife, and just when you can’t imagine it getting any better, horns enter, garnishing the song very nicely. It is the perfect touch; not overdoing anything, but the addition is just right.
Mates of State know how to set a tone for the spread of an album. Not in a “concept” sort of way, but as far as mood is concerned, they hit it out of the park. From the opening track, they engulf the listener in a story of happy-go-luckiness and shy confessions. Mountaintops is such a sweet tale that it cannot help but be followed to the resounding end of “Mistakes;” a pretty song that leaves you wanting more. Its line, “Welcome to no good,” evokes the perfect feeling of being deeply smitten and mischief that finds its home in every song on this LP.
The Cons:
Gardner takes the majority of the singing duties throughout the album, but she also manages the keyboards as well. She is one half of the band, but she is also responsible for lead vocals and melody. Hammel takes care of the skins and backup vocals. The drumming, while not bad, is nothing noteworthy here, and that is why it’s a little saddening to see Jason appear a tad underused. He is visibly as gifted as Kori, so to not hear him as equally is a minor letdown.
The Verdict:
Mountaintops is a great collection of songs from a great musical duo utilizing their full sound. No question, Mates of State are one of the best acts to currently grace the indie pop scene. This new record is nothing but ambrosial, and they have done good old Barsuk Records justice.
29th Aug2011
Album Reviews: Funeral Club – In The Fire
As I addressed months ago with Hudson K, many bands choose an artistic path that condemns their musical output to a specific genre or, depending on the caliber, gimmick. Generally, as long as it is somewhat complicated to understand and even a bit contrived, it qualifies as an outfit. For example, Hudson K went with the self-deprecating, cabaret feel. Funeral Club is yet another group to delve into particularity; in their case, the obscure topic appears to revolve around a combination of goth and tango.
Listen to “A Soapbox Serenade”
The Pros:
The wide range of instruments used in these songs really sound pleasant. Throughout these eight tracks, you can hear all sorts of nice sounds that don’t dare get repetitive. To ward off any pet peeves, (because it is no question that it is a bother to all), listeners need not worry about this album flowing meaninglessly from one song to another. I can imagine there are only so many routes one can take with this off-kilter version of tango, but Funeral Club explores all of them to the benefit of the audience.
The Cons:
Firstly, the songstress’s voice sounds like Katy Sagal. Take that for what it is, but the idea of an ethereal Leela from Futurama singing in a fixed range for extended amounts of time sounds more aggravating than it is appealing. Honestly, the vocals on some tracks settle in to an annoying drone after a while. Specifically on the song “We Little Women,” it sounds as if she’s growing fed up with her uncharacteristic arrangements that go past the border of irritating.
Rarely does a band deserve criticism for their image, but there are always exceptions. The “scene” that Funeral Club has invented brings an obvious impact to their sound, and clearly not for the better. The very same can be (and was) said for Hudson K; by creating a fake persona to dramatize the way your band comes off, you are belittling your potential as an artist.
Associating yourself with a distinct representation is not always a bad thing, it is just merely conditional. If the persona that is created is not sincere or inherent, nine times out of ten, the music will suffer as a result. A perfect display of a successful product of this formula however is Gogol Bordello. Here is a band that utilizes their oddball image to a T, and why does it work? Because they are straight from the Ukraine. It is in their heritage to play music with accordions and violin, and mix it with restless, habitual Manhattan angst. Funeral Club is a repeat of the Hudson K story; attempted music in the style of an unfamiliar but tempting genre.
The Verdict:
I hate to see this kind of thing happen again. As talented as Funeral Club are, their third full length In The Fire just consummates in a failure due to vocal setbacks and misguided artistic direction.
26th Aug2011
Album Reviews: Nehedar – Power Plant Beach
I mean… you could just guess this was going to be another one of those indie beach jams. I mean, “beach” is in the title. And the first track had that Chevy Bel-Air flavor to it, which didn’t hinder the stereotype. But something strange happened on this album half way through the first track. Some subtle things start to bloom if you listen closely. And not too long after the first track “They Lied” there is a great variety of tracks that are amusingly and entertainingly unique. Quirky would be the most appropriate word, but even that doesn’t describe it in full.
Listen to the entire thing below
The Pros
Things that really turn me on to an album like this: 1) underproduction. That might seem sort of weird, but there is nothing more charming than hearing raw vocals. This entire album consists of little-to-no filters over the vocals of Emilia Cataldo, aka Nehedar. I think the most you’ll hear as far as vocal filtering is concerned is some reverb. And even then, that might just be the nature of the room they were recording in. I could rant on and on about how so many other acts have all sorts of vocorder/Auto-Tune/etc all throughout their albums… I mean, Jay-Z let Kanye use Auto-Tune on Watch the Throne. Didn’t Jay-Z put out “D.O.A.” aka “Death of Autotune”??? Anyway, the point here is that Cataldo as a singer is a breath of fresh air.
2) It’s not beach shit. Two years ago, before all of this indie surf stuff exploded, I guessed with Real Estate that indie surf would be the next thing. It was, but to an nth degree I never could have imagined. Now, indie surf seems a dime a dozen. Even treading on the edge of beach anything or surf anything these days makes me think of the hundreds of indie surf acts out there right now. Saturation kills. So when I get something like Power Plant Beach, you could bet that I’ll be turned off by this if it sucks by any means. However, track two really opened the entire album up to me. “Make the Sun Come Up” has this sort of Pinkerton Weezer meets Math the Band — very not beach or surf anything. Throw in some slower jams and a handful of pop-punk sounding tracks and you have something that is more lined with sand rather than covered in it.
3) Blunt. Sometimes, things like this should come in the form it was meant to be — a hammer. Sometimes people try to doll their tracks up, like some Michelin-star chef dolling up a cheese plate. When it comes down to it… it’s just cheese. Call a spade a spade. When you have a production like Nehedar’s, maybe the smart thing to do is to just play your heart out. No need for weird effects. No need for super-deep lyrics. No need to reinvent the haiku. Stick to the plan. Brash, punk attitude. Maybe that’s all you need. Do it well and you get something like Nehedar. Songs like “They Lied” and “My Roommate is an Assclown” sum it up fairly simply. And sometimes, simple really is better. Even if that means a punch to the face.
Some smaller tid-bits about Nehedar: She’s put out an album each year. That’s outstanding. She’s gigged around the NYC area for the most part. That’s great too. Something that is really interesting is the fact that Nehedar really is just Cataldo and her thoughts. Throughout her entire discography, there is really only one or two studio musicians used, and only one or two songs that are co-written by Cataldo and someone else. For the other 40 or so songs she’s put down in a studio, it’s just her.
The Cons
She’s been in the studio with this guy Craig Levy for all four albums she’s done. If he’s the one mastering these tracks, maybe he should spend a bit more time leveling them out more. The vocals are way louder than all the other tracks on the album. It’s like it’s obscure karaoke at times. I get the idea of promoting the singer-songwriter, but this is really just promoting the singer and lazy production.
Another thing that irked me was some of the lyrics. Some seemed a bit cheap. For instance, “My Roommate is an Assclown” has rhymes that are fairly childish and bland. “Why you always hanging round my door/I don’t want you there no more” isn’t exactly a lyrical opus. There is more of this kind of scheme throughout the album. To Nehedar’s strength, she spruces all of her lyrics up with really interesting vocal melodies. So if you aren’t a lyric analyzer, then you could probably see past this con fairly quickly.
The Verdict
Nehedar is a real fun project. Nit-picking aside, this is really just music you can jump around to. Nit-picking included, I think there needs to be a few more collaborators to really fill out the big picture. And there really is a big picture for Nehedar. Throw in a backing band and maybe we could see a huge improvement in all fields. Not saying that what exists right now is bad (it’s far from that) but there is always room for improvement. Maybe the quantity of releases should come back so the quality of releases can increase? EPs instead of LPs? Whatever the solution is, Nehedar is heading in the right direction. She just needs the right walking shoes to get there.
25th Aug2011
Album Reviews: Speculator – Nice
Speculator is the brain-child of Nick Ray who loves his lo-fi about as much as I love red licorice. This album is entirely ambient so if you’re looking for a “pop” record, you came to the wrong place.
Noise (But really, it all sounds like this)
Speculator: “(It’s on) Every Channel” by alteredzones
Pros
Ray’s fondness for 80′s synth is apparent in Blue Rose. When the sounds of this tune return you to a murky (Depeche) mode, it is satisfying for a minute or so. I’m trying to dig from the bottom of my stomach for more to say here. If you added this album to Stephen Hawkin’s speak-easy, it would make everything he says a lot creepier.
Cons
This is another product from the indie scene that doesn’t deliver anything special. The dark shot of nostalgia it delivers on a few tracks is about the only atmospheric edge it offers. It is a bland record of sounds melting into other sounds. The separation is only visible because he decided to give the tracks names. His vocals echo beneath layers of static and offer a brief reprieve from an obnoxiously monotone record.
Verdict
I’m mulling over the concept in my head and could see this record looping for eternity in some abandoned suburb near Nevada. The static discharge that radiates is nauseating.
24th Aug2011
THE RETURN: 402 Weekly Chat (aka 402′s WC) @ 3:00 pm PST
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24th Aug2011
Album Reviews: Noxious Foxes – Legs
Noxious Foxes is a band from Brooklyn who joined together after meeting in college. Never heard that story before.
Anyone Can Play Guitar
Pros
Well, we have another math-rock band playing with time signatures with no vocals. On Wherever Hugo, Guido, I enjoyed some of the playful palm mutes and bass lines. O…k…
Cons
I don’t enjoy being mean. I’m really not a mean person. In fact, the only reason I can be mean is because the abstraction I can create for a lot of these bands I really don’t like consist of twisted mustaches and scarves. This entire album is a giant clusterfuck of noise that leads nowhere. This is coming from a guy who loves things like John Zorn‘s thrash jazz group Naked City and a fair amount of Faraquet who also play with fun time signatures. This “math-rock” album made my head hurt. Fellas’ anyone can play guitar and find a drummer to jam around with. You recorded a jam session with people who know how to play music – but that doesn’t make you a good band. In fact, that doesn’t make you much of anything.
Verdict
This isn’t a good album. This isn’t math-rock. This is noise and it doesn’t do that genre justice either. If you’re gonna make a math-rock album then give us something we haven’t heard before. Playing with electrics and a drum kit is so boring it makes my toes curl. In fact, halfway through the album I wanted to get out a piece of graph paper and make a maze just to diffuse the mess in my head. I really don’t like this album and hope I hear some better math rock come out of the indie scene sometime in the future. The last good band to do math was Into the Moat, and they were a hardcore band. A HARDCORE BAND!
23rd Aug2011
Album Reviews: The Wine Thieves – Hot Hor D’oeuvres
The hip-hop underground scene has melded into slam poetry put over a ghetto beat. Folks like Sage Francis and Aesop Rock have made their way into a more “visible” underground by doing it really well. The Wine Thieves both have the voices to pull off a decent record, their flow is decent, but the lyrical delivery isn’t there.
Tuneage
Pros
Tunes like The Official Countdown have a trippy scatter of samplings that defies the rest of the albums more linear approach to writing. It has that old school feel to it and I could really get into the flow. The funny thing is, it is probably the most Sage Francis-style tune on the album. Hell, for the most part the beats that lay the foundation are pretty creative and trippy. Everything from radio signals to cobra-charming hypnosis. Powerlines is a good example of a groove that doesn’t so heavily rely on the lyrical content, but sound delivery. The result is pretty fun.
Cons
The final tracks were pretty decent compared to the rest of the album, but I will tell you why this duo will not be successful if they don’t evolve from the sounds I heard off the album. The key to a great hip hop song is either to sell out and create a club track that makes women instantly wet or taking the more difficult route of crafting tracks with clever lyrics – appealing to the dark underground. The reason Aesop Rock and Sage Francis had their successes is due (in-part) to their brilliant songwriting ability. They craft such amazing timing that a lyric punches you in the face and sends chills down your spine. That line becomes popular. The song gets popular.
Example #1: “If the Jesus piece around your neck is bigger than your pistol it makes homicide ‘okey dokey’ and your god will forgive you. Just show the saints at heaven’s gate – you should be on the list – I hear he overlooks manslaughter for a tatooed crucifix.”-Aesop Rock
That is what every rapper should strive for – a line that shoots you into audigasm. There are many examples in the underground scene, but this is a strong one.
Now, I’m not trying to stack this duo up against a massive opponent or belittle them. In fact, I think they have a lot of potential. The biggest issue is that their lyrics do not evoke any passion that lingers or feels like a punch in the gut. After listening I could only recall lines about different drugs and “tits”. If you want to break ground, you have gotta’ do better than that. Unless you light a fire in the audience’s lap, you won’t go anywhere in such a bloated scene.
Verdict
While the album didn’t move me, I sense a bigger picture for The Wine Thieves. With such great beats and slick vocals, I’m surprised their lyrics feel so shallow. Give these guys time to cook up some fiery flow and you might have the next big thing in the hip-hop underground. Until they spike the punch bowl, there isn’t going to be a party.
22nd Aug2011
Album Reviews: Zechs Marquise – Getting Paid
The first thing that needs to be said about Zechs Marquise is their blood relation to progressive psychedelic rock group The Mars Volta. Reading up on their history, I was obnoxiously excited to see that Omar Rodriguez-Lopez has three brothers in this band. Anyone who’s anyone knows the immense trip that Volta can produce on an album or playing live. Much of this impact is due to Omar’s flawless, frantic guitar riffs that compare to no other. That being said, one can only hope that his musical brethren are equally as talented. If Getting Paid were a movie like its cinematically styled cover art implies, the parts to the whole should result in a blockbuster.
Watch “Getting Paid Album Teaser”
The Pros:
From the beginning drum burst of “Getting Paid,” this album gets down to business immediately. Get used to the Rage Against The Machine-esque drum-bass-guitar combination. Marcel Rodriguez-Lopez pounds the floor with his set of skins constantly; you are never left with a quiet moment. He is never unaccompanied by his brother Marfred on the bass; (Marcel apparently took Rikardo’s spot in the studio for supplying keyboards, but they still sound amazing). Their sound is pure thunder. “Mega Slap” epitomizes the band’s sound as a whole. The flow never ceases, and most simply put, Getting Paid practically oozes macho volition.
Zechs Marquise is primarily an all-instrumental band, except for a few standout cases on this LP. “Static Lovers” for example features minimal and almost incoherent lyrics towards the song’s end. Alone, this track is awesome (akin to the rest of the album), but the vocals that kick in harken back to The BeeGees, and it makes for such a ludicrously tasty cut. “Everlasting Beacon Of Light” is another sizzler that takes the listener on a funk-fueled journey with the power of its melodic singing. Arguably the absolute gem of this release could be “The Heat, The Drought, The Thirst, And The Insanity,” a very solemn, vocal offering that rings a bell to that of The Mars Volta’s “Miranda That Ghost Just Isn’t Holy Anymore.” They hit all the right places, from haunting to vivacious, without faltering one note.
The Cons:
Passive listeners may tune in and immediately assume that Omar’s family members are attempting to cash in on his success and notable sound. The complicated rhythms, the guitar solos, and the CRAZY drum beats (see: “Mega Slap”) could all just be an imitation.
Superficially, and I mean superficially, this is conceivable. However, what Zechs Marquise is doing speaks volumes about singularity. They have plenty of image and sound to go on that they will remain recognizable. The biggest mistake a listener can make about these guys is comparison to Volta. ZM relies more on the full band participation and use of keyboards. Omar and Cedric’s outfit takes a more progressive route and are a lot less straightforward. So throw judgment to the wind and delve into Getting Paid, because truthfully, there’s not a single problem with it, only panache.
The Verdict:
If I do not see Zechs Marquise gaining loads of popularity from this album, I will be gravely disappointed. It has been too long since an instrumental group has shown their face without sounding post-rock. Getting Paid is powerful as hell, and it will stomp you into the ground through the speakers. Without a doubt, this gets my nomination for album of the year, as it is one of the very best I have heard thus far.