30th Sep2011

Album Reviews: The Perms – Sofia Nights

by Adam Finley

Hi!

Welcome to “HOW TO BE A ROCK MILLIONAIRE”. If you bought this DVD you are a struggling band trying to make it big. I’m Professor Snivelmire and I will show you how to become a ROCK MILLIONAIRE in just a few quick steps!

First, a little bit about me; I have 2 semesters of junior college under my belt, I was a roadie for Don Henley, and I need a liver transplant. Badly. I know music. I live this shit. Listen to me, and I will make you famous.

First we’re going to talk about image. You gotta be non-threatening and generic, and so does your music. You gotta make Fountains of Wayne look like the KKK. Compared to you, Weezer needs to sound like NWA.

You also need a killer band name. It’s gotta be short and appealling and start with “The”. What made The Beatles so legendary– their revolutionary style or lyrics? Heck no, it was THE NAME. I once wrote an article for Milwaukee Rock Quarterly about how no band will ever be as popular as The Beatles because the best name ever is taken. But there are still good ones available. Try something like “The Carkeys” or “The Twinks” or “The Perms”. Yeah, The Perms; that’s perfect!

Now that you have a kick ass name, you gotta have some kick ass song titles. I know what you’re thinking: “Don’t you need songs first?” Heck no! When teenagers at the Best Buy turn the CD case over, they’re not hearing music– they’re reading a track list, so your song titles have to appeal to as many people as possible. You need things the kids will like (“High School High”, “Live For Today”) but also super deep ones (“Slipping Away”, “You I’m Thinking Of”). If you pander to the young and stupid, you’re well on your way. And you haven’t even recorded a song!

Now it’s time to write some lyrics! Lyrics should be filled with generic images and situations. Don’t ever let your lyrics be more specific than what you would see on the preview for a sitcom. Specificity kills the boner of radio. Just talk about “barely making it through” and sing “It’s you I’m thinking of” 30 times in a row.

Is 30 too much, you ask? Heck no. 40 would be better. Remember that one Celine Dion song where she sang “I’ll shit on your grave” like 100 times in a row? That song was a HIT. But be careful: if any of your songs top 3:30 they won’t get played. Mainstream radio listeners are stupid and they have no attention span. Don’t test them.

Remember to throw lots of nostalgia into your lyrics. ‘Back in the day’ tracks always do well. Talk about “Friday night” and being “with the guys”. Throw in the word “party” here and there so people will know to listen to it at parties. And for the love of Don Henley’s pet snake Colby, if you don’t say “we’re never gonna die” at least once the kids won’t connect!!

Other lyrics need to deep. “Goobye sunshine/you leave me each night”. That’s a deep ass line because it could be taken two ways, you dig? And if you sing it like Johnny Rzeznik after a stroke, all the better– sounding intense is the same thing as being intense! Just don’t forget to stomp the shit out of the echo pedal whenever you finish a particularly awesome chorus.

Now let’s go over the music. It’s gotta rock. But not too much. The energy needs to be kept just a notch under actual rockin’ out so parents can like it too. Fill your album with mid-tempo guitar-based power-pop songs that don’t push any envelope. If you’re doing it right, you’ll make Jet seem as creative as Pink Floyd.

And finally, here’s the magical structure guaranteed to make a hit: verse –> chorus –> verse –> chorus –> solo –> breakdown –> final chorus (with optional key change) –> repeat to fade out

If you do that 10 times in a row you will create the most blandly palatable half hour of music EVER and you’re guaranteed to become a ROCK MILLIONAIRE. Bottom line: don’t do anything new. Just recycle every overused idea in the book. There’s a reason they’re overused: they work! Some might call it hackneyed, but have you ever driven a hummer with a live shark living in it? You’ll be rich enough to do it now! The critics can hate it, but fuck the critics. If they knew how to make the hits like you do, they’d be rich too.

Haters gonna hate. You just cash the checks.

And thanks for buying my DVD. I really need this liver transplant but the hospital is making me pay 10% up front. Bastards.

Category : Record Reviews
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29th Sep2011

An Interview: Diarrhea Planet

by Ryan

Infinity Cat labelmates Diarrhea Planet just recently released their first full length, Loose Jewels. The album is quite a listen, as it features a wall of four guitars in addition to drums and bass. It’s heavy, it’s fun, and you can read my review for it right here. Jordan Smith of the band was nice enough to respond to some interview questions, and quite extensively. So read up, he gives some interesting and satisfying answers.

From what I perceive after listening to Loose Jewels, it seems like the song “Fauser” serves as a testament to what your band is about. Are there any other songs on the album that reflect important aspects of the group?

Fauser is a pretty good song to exemplify what DP is about. As far as this record goes, I feel like Juggernaut and Raft Nasty are both songs that do a good job of tracing the bands origins and attitude. DP has always been about hope and staying positive. A lot of our songs are actually very sad songs but I sing the words in a way that you would never be able to tell. It’s ultimately more about the feeling and leaving people amped up on life. You can go through a ton of crappy situations and get depressed and try to drown yourself in whatever vices you want to, but ultimately you still have to face yourself at the end of the day and its nice to be able to do that and hold your head high. It’s also nice to be able to laugh at your mistakes.

The song structures are quite interesting, venturing off into many different movements in the short amount of time they are given. How did this off-kilter style of songwriting come together? 

Hahaha, I never really noticed that I had that tendency until the last two months when a lot of people started to point it out. I have never been able to feel good about myself writing just verse chorus verse chorus bridge type songs. I get bored with that style of songwriting. It never really seems to truly convey anything other than someone trying to write a song. My favorite band is this old screamo band called Bucket Full of Teeth. They write these super short songs that take you from total oblivion and destruction to ethereal beauty and warmth. I have always valued songwriters who wrote in a way that put images into my head like that and found that the only way I can write and feel good about it is to do the same thing. It’s all about color, light, and images being conveyed through sound. Plus I can just say everything I need to say in a shorter amount of time I guess.

What is it like being a part of Infinity Cat? Is it intimidating at all standing up next to other great bands like JEFF The Brotherhood? 

Not at all. Jake and Jamin are the most incredible people. When I first became friends with Jake I was interning for Infinity Cat for college credit. I was so in shock with how much he and the rest of the team made me feel at home not only working at the label but also in Nashville. Their dad Bob is also a wonderful guy. His energy and enthusiasm are enough to make a 23 year old dude like myself feel old. He always seems to make your day better when you stop in and get to hang with him. Bottom line is that JEFF is an amazing band and being on their label is an honor. It really pushes DP to work our hardest because we care about all the people at the label like they were our own family and we want to take care of them like they have taken care of us. It also helps that all the bands on the label are friends as well. We see each other around town, run local shows, and hang out quite a bit. We have a very special scene here in Nashville. I am pretty sure that a lot of people here would give me the shirt off of their back if I needed it, and I would do the same for any of them.

You’ve opened for many, many bands. Who has been your favorite to play with, and why? 

That is a really tough question. I can think of four different bands that I have really enjoyed playing with. Of course JEFF is one of them. Playing shows with them is like playing shows with your family, it’s like a big celebration that you get to shred at! I really enjoyed opening for the Andrew Jackson Jihad. Those guys were so much fun and were very encouraging. Lately we have been playing with a band from Harrisonburg, VA called Hooking Up that is just insanely talented. Their front man Phil writes the coolest 90’s indie jams. We have also been playing with a band from Boston called Skimask that will blow your mind. It’s a singer, a drummer, and a guy making all these crazy sounds with his mouth using microphones plugged through a ton of effects pedals. It’s super intense and a lot of the songs always have an awesome groove underlying them.

Do you find yourselves ever boxed-in musically because of the band’s set up? (four guitars…) 

Not really because as a result of having four guitars we can pretty much always do live what we do in the studio. There are never parts missing from songs live and we can always sound big. I love the electric guitar and having four of them in a band rules because it gives us such a wide sonic palette to choose from. Everyone plays differently and uses different amps, guitars, pedals, etc… so we have quite a large arsenal to work with artistically. The only problem we ever really run into is everyone wanting to shred all at once in between songs live or during practice. Most bands have that one guitarist that never stops playing and drives everyone nuts. We have four, myself included hahaha.

Which musical artists influence Diarrhea Planet the most? 

Definitely old Screamo bands like Bucket Full of Teeth, Orchid, Daughters, etc… in terms of songwriting style. In terms of sound though we listen to a lot of classic rock, jukebox hits, and punk stuff. Thin Lizzy, Van Halen, Megadeth, Jimi Hendrix, the Cramps, the Pixies, Billy Idol, Against Me!, Latterman!, the Ramones. Pretty much anything with electric guitars and hooks.

Given that Loose Jewels has received a modestly substantial amount of press, how has the album release been affecting you guys?

It has been incredible to show up to different cities on tour and have people know who we are and be excited to play with us and see our show. It is very humbling to know that the sounds in your head could mean something to other people and that you simply doing what makes you feel most fulfilled could bring joy to others. I am so excited for the future!

How do your live shows differ from what is heard on record?

Well, aside from the huge mess of sweet, beer, and God knows what else you get soaked with at most of our shows, the records are actually pretty close to what we do live. The only difference being that we tend to shred more live than we do in the studio, and I always double my vocals. Capturing our sound is not incredibly hard because it is very honest and straight up. We do not bury our guitars in effects live or in the studio. I guess the only thing we need to do is to make the records louder!

This LP is doused with odds and ends of goofing off showing through. Were these bits planned or did they happen naturally?

Oh gosh haha. That definitely all happened naturally. We are notorious for constantly pulling pranks with the local media and on our friends and other bands. It’s hard not to have a sense of humor when your band is called Diarrhea Planet. Nashville can be so serious so its nice being the goofball wearing cutoff shorts and a tank top in an elevator full of suits. What’s even nicer is totally passing gas in the elevator and watching everyone in that elevator try to keep a straight face.

What were previous bands like for all the members?

I played in various hardcore punk bands in Indianapolis for most of high school. Our drummer Casey played in a ton of different bands in Cincinnati. Probably the most notable were a reggae band called the Pinstripes and an eclectic punk band called Till Plains. Mike, our bassist, and Brent, one of our guitarists, both played in a really cool band from Nashville called Thieves in the Night which was pretty much a really funny and catchy pop rock band. They also still play in a really awesome band called Spanish Candles that plays incredible pop songs. Emmett comes from a heavy background of classical guitar and is pretty much a virtuoso. Evan Bird, our fourth guitarist, has a very diverse background that I honestly do not know much about. He has put out a lot of rap and hip-hop songs. I think he also messed around with some metal bands out in Tacoma. It’s funny because none of us really have too similar of music backgrounds but all came together because of our friendship. Music has always been the result of friendship in this band. Most bands I have played in before this one were the other way around.

If you had to describe Loose Jewels in terms of a cocktail drink, what would it be called and what would be in it?

Oh God hahaha I actually hardly ever drink anymore so I may have trouble with this one. It would probably be called the “Dad-Blaster”. It would be a basic brass monkey but with the addition of 2 shots of Habanero-infused tequila. It sounds terrible, and it probably is, so thank God that I will probably never try it.

Most importantly, this album is your very first full length release as a band. In your opinion, how pleased are you with the finished product? Also, do you have plans to beat the sophomore curse?

I am extremely pleased. At times I secretly wish is was longer, but at the same time I feel like the album has no filler. No filler is a great goal to accomplish in itself so I can live with its length. This album is the first thing I have ever put out with any band that gets so close to capturing what was in my head when I wrote it. I am already working on beating the sophomore curse. There are so many great sounds that we have not even tapped into yet that I cannot wait to get into! Having four guitars really opens up the creative possibilities for us and I am pumped to give everyone new songs!

So there you have it. Diarrhea Planet. The record is as awesome as they sound, so get listening to Loose Jewels.

Category : Interviews/Misc.
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28th Sep2011

Album Reviews: Blessed Feathers – From The Mouths Of The Middle Class

by Ryan

Blessed Feathers are a trio of southeast Wisconsin natives who make music using all acoustic instruments without any low end. Folk is one way to describe their sound, but it is quite tame and reserved compared to the freak folk acts (Akron/Family, Grizzly Bear) that control the indie airwaves as of late. From The Mouths Of The Middle Class is their sophomore album, and only but a year apart from their debut. Continuing the approach of employing a wide range of folky instruments like the accordion and banjo, it is no surprise that their sound has not ventured far from the first time around.

Listen to “Stinging Nettle, Honeysuckle”

Stinging Nettle, Honeysuckle by Blessed Feathers

The Pros:

Fortune smiled upon these guys (and girl) for sticking with the original method of their band. The product sounds just as clean as their previous album and even a little more polished and interesting, especially in regards to songwriting. Last year’s Blessed Feathers was guilty of more than one song that failed to impress, or even grab attention. More focus was honed in on arranging the songs for this release, and it paid off nicely.

These folky kids luckily brought their own twist to the genre. It’s slight, but effective enough when it peeks its head out. A few tracks tend to be shrouded in an air of mystery that often feels grisly or haunted. “Stinging Nettle, Honeysuckle” does not play out like an average folk song. Although it sounds far from intention, they evoke a presence reminiscent of Blonde Redhead‘s Misery Is A Butterfly, making for a very original and cool listen.

Blessed Feathers do not particularly owe this album to nuance, but the discreet attributes found throughout really make a difference to the listener. In “Somebody Else’s,” Jacquelyn Beaupre’s soft backing interjecting vocals bring new light to an already sweet, lovesick tune. Even less noticeable is guitarist Donivan Berube’s away-from-the-microphone howls during the outro of the powerful closer, “Winter Sister.” Without anyone filling in the usually important bass ingredient to the mix, these subtleties do a nice job of serving as spare parts, with a lot of flourish.

The Cons:

They cannot run on the fumes of their nuances forever. It is the band’s choice that they be equipped with what most people would refer to as “minimal” tools. However, if a band wants to run with this decision, they had better do everything within their jurisdiction to create a listenable, commanding final outcome. At times on FTMOTMC, they can fall back into the occasional unassertiveness that enthralled most of its predecessor. A bass-less group does not have to sound so naked all of the time. I reviewed There Is No Sin a few months ago, who is a singer and guitar player. His album was undoubtedly the most boring thing I had heard all year. Then again, Nick Drake‘s Pink Moon was recorded with the same unadorned provisions, and it is still, in my opinion and many others’, one of the best folk albums in existence. The difference is in these artists’ aspiration and drive for perfection.

The Verdict:

From The Mouths Of The Middle Class is good but not great. I would absolutely recommend it to those who fancy modern folk, because Blessed Feathers appeals perfectly to that demographic and better yet, they do their job well. This is a significant step up from their debut, but it still contains some of its problems. From the way it looks though, they have revised most of their mistakes, and I believe and hope that they can only progress.

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27th Sep2011

Album Reviews: PAPA – A Good Woman is Hard To Find

by nickwan

 

I don’t know about you, but it seems like all the summer jams are coming out around right now rather than at the beginning of the summer. Maybe it’s global warming that’s pushing all the good stuff towards August? Who knows. I do know that there weren’t too many good summer jams as of late… The radio leads you to songs that either sample Modest Mouse or are “sung” by a band named after some internet slang. Under the belly of the beast, there weren’t too many hot summer tracks in the indiesphere either. Foster the People blew up just like I expected them to. Mighty Clouds had a nice release. But there wasn’t anything that really summed up my past summer… until A Good Woman is Hard To Find landed in my lap.

PAPA, from LA, pulls from both the punk spectrum and the funk/soul of Motown. I don’t know about you, but for whatever reason soul music really puts me into that top-down sweat-it-out mood. The twist PAPA throws on the more-soul-than-punk sound really fills out that entire feeling for me.

Listen to two tracks off of the upcoming EP below!

PAPA: A Good Woman Is Hard To Find by Hit City USA

The Pros

It’s complete. Well built. Sturdy. Everything you want from an EP. The opening track of the EP, “Ain’t It So”, sets a fairly high standard of quality that PAPA seems to meet with every song. There is that crunchy electric guitar that is perfectly leveled, matched with the rhythm section that seems to fit perfectly as well. The piano in most songs is really what slays, as it is their prominent soul-sounding instrument. This album isn’t just on par… it’s an ace in the hole.

The song structuring for each track is fairly flawless as well. There is no drag at all. Smooth would be the best word to describe it. The listenability to this entire album might be one of the highest of the year.

As for the “punk”… that might shine through production quality for some. It’s fairly stripped down, with very light effects over the vocals and instruments. Subtly, it’s as straight forward as you’re going to get from an album like this. And that’s exactly what it should be. No need to doll it up with anything more than some limiters, a gate/comp, and some reverb tanks. This thing shines bright, and probably sounds amazingly similar live.

For those looking for comparisons… this really stands alone in my mind. The Gaslight Anthem comes close, but that’s much more punk and coarse compared to the fine soul PAPA produces. Mighty Clouds’ former modal included something that was part soul part rock, but it was more up in the air as far as what you were going to get from track to track. PAPA is much more defined.

The Cons

The very first thing that might throw you off is that voice. Darren Weiss, the vocals for PAPA, has the very voice that people would most likely see as rockabilly or punk. At a stretch, he could front a very convincing Talking Heads cover band. At a further stretch, he resonates a grittier Springsteen. And with all of those references… not once does “Motown” or “soul” or “funk” or any cast of Motown greats pop into mind. That’s not a con against his vocal ability, but more a con for people who aren’t as receptive to vocals. Especially when the vocals, in tone, sound out of place. Weiss has a great set of pipes, but when that twangy guitar and get-up-and-shout piano comes through, the last thing you’re thinking is “I hope Bruce Springsteen starts singing.”

For those seeking out anything more than punk-soul, then you might be out of luck. First of all, this is PAPA’s debut EP, and their only time to set a standard definition of themselves to the world. I am very glad that this EP wasn’t a slathering of everything they could potentially do… since that usually turns out awkward and confusing. This EP really shows what these guys are all about. For someone looking for something more… like how they can expand into more punk or even more variations of soul or funk, then you’ll have to wait for the LP. But, I do have an odd feeling that their LP (whenever that is coming out) will resonate more with the EP than with variations of their band’s ability. So you new listeners looking for a prototypical vishnu style band that can do anything at any time perfectly might have to wait a while.

The Verdict

Hands down, one of the better albums of the year. I don’t know if it has the wherewithal to take over the other albums nominated this year, but it should be mentioned in a class of elite albums. As a band, these guys smash it out of the water: from the drums to the vocals and everything in between, this is one of the best summer jams of the year (even though fall officially began a few days ago, I believe). This band has the potential to become that Foster the People-type band… but I have a feeling that PAPA is looking at life more in terms of the long haul, and not the one-and-done variety. I wouldn’t be surprised if we hear about PAPA a few months from now, maybe a year or two. Think of it like how The Black Keys progressed. Relatively unknown for a few years until Brothers last year, which exploded out of no where.

It would be a shame if you read this entire thing, listened to the teaser tracks, and didn’t want to pick up this album, which comes out on October 4th. I don’t know what to say to someone like that. I couldn’t speak more to PAPA’s superb talent, nor to their great debut EP, but one thing is for sure: be on the look out for PAPA in the future. I told you first.

Category : Music, Record Reviews
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19th Sep2011

Album Reviews: Diarrhea Planet – Loose Jewels

by Ryan

A quick anecdote: a few months ago, I was driving my car around. I came to stop light, and took a glance at the minivan in front of me. It was a Town & Country. Nothing out of the ordinary. Except I realized something odd about the titular letters above its bumper. “Town & Cuntry.” I had to stare at this for a while before it registered that I wasn’t losing my mind; someone definitely modified the letters so that they could have their vehicle spell out a crude joke.

That story is a lot like the headline of this article. So yes reader, take a few seconds to let this soak in. The name of this band is in fact, Diarrhea Planet; and they are a fixture of the rather cool record label Infinity Cat. Forming in 2009, the group has released an EP, gone through some lineup changes, toured extensively, and are finally ready to release their full length debut Loose Jewels.

Listen to “Ice Age”

The Pros:

So, hysterically abhorrent band name aside, these guys are fully capable of making good music. The title is completely self-aware anyways. It’s basically the whole “Primus sucks” maneuver, but in the function of namesake. Loose Jewels is full of spurts rather than tracks. Pardoning the album closer, no song clocks in any longer than 2:14. It’s quite interesting also, because they never take more than one verse or chorus. Overall, the formula for a cut from this LP begins with a quick introduction, a quick verse, an average-length refrain, and some type of sprawl or spiral with which they carry out the rest of the ballad. “Orange Girls,” a snide tribute to the spray-tanned and stuck up, is most exemplary of this equation; abandoning its first half to embark on a pathway of alternative jam rock to the finish.

Diarrhea Planet has without a doubt executed the best blend of heavy metal and punk rock possible. You’ll find spots here and there on this album that echo big, dumb, hair metal. VERY, VERY sparsely however. “Intro,” for instance, instrumentally gives a taste of that metal flavor. Their row of guitarists come off sounding like a bunch of C.C. DeVilles. Vocally, whether intentional or not, their singer is channeling Peter Prescott; Volcano Suns-era. Describing the genre here is not as easy as calling it punk, because they’ve added a perfect tinge of pop to each song, making it too distinct to be classified. One thing for sure is that it’s a fun listen.

When looking at the inhabitants of this proverbial planet, it is astonishing to think of their wall of sound being captured so nicely for this LP. Four guitarists, a bassist, and a phenomenal drummer all manage to be differentiated from one another. Confronted with four sets of strings at once, all set to overdrive; a lot of time had to be spent behind the knobs to define each one as clearly as they resulted.

The Cons:

Gaining popularity as a “drinking band,” runs its course at an eventual time. This album by no means thrives on singalong moments. After all, how could it? The songs are too short to retain very much singalong value in the first place. The annoyance at hand is their semi-frequent belief that they are playing to a room full of drunken, happy college kids. It’s not the occasional goofing around that occurs; in fact, that is a largely characteristic part of their act. Instead, the constant use of three to four backing vocals at once becomes too much at times. Sometimes overwhelming, sometimes superfluous, yet sometimes it isn’t too much of a problem either.

The Verdict:

Heading back to the subject of their ridiculous name, Diarrhea Planet is one that can only be said in pride. If you get asked what your plans are next weekend, you can’t murmur, “Going to see Diarrhea Planet…” Nay. If that is what’s on your agenda, you have all the reason to be excited about it. You won’t find this brand of hyperactive, cathartic, metal-punk anywhere else. So throw caution to the wind, and live by the monologue given in the leadoff track, “Long live Diarrhea Planet!” Say it loud and say it proud. They’re around for a reason.

Category : Record Reviews
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1 Comm
14th Sep2011

Tambo’s Open Letter to 402 Staff and Readers

by nickwan

Note from Nick Wan: Today, I sent Ryan Tamborski (aka Tambo) and Shahin Kalantari on a press conference for Ke$ha’s new line of watches by Baby-G. The only problem is that Tambo and Shahin both have little to no idea who Ke$ha is, other than Shahin’s girlfriend’s blasting of her music every so often. With that being said they were obviously the two perfect people to send to this press release thing. Last night, as I had to remind them about their assignment today, Tambo decided to write a very… interesting letter. To whom it may concern, by Tambo.

No edits were made to this. Enjoy it in the raw.

Dear 402 Productions,

I would like to preface this article by saying that the desire to preface anything in my life is few and far between things that I have not desired to preface. This already makes little to no sense. I am writing this the night before I, Ryan Tamborski, and Shahin Kalantari represent 402 Productions in a very special, “”"high” profile”" PR (pee are) engagement involving a potential interview/photo-op/who-the-fuck-knows-athon with multi-million dollar recording artist Ke$ha. I would first like to note that I had quite a bit of trouble spelling Ke$ha’s name during both of these attempts (Kes$ha, Kes$sha, Ke#ha, Ke$sha, Ke3ha…). Secondly, this dilemma may or may not be due to the current level of my BAC (blood alcohol content) or the decibel level of the electronica that I am blasting into my eardrums. It is really anyones call, but anyone isn’t calling and I am willingly putting these inane hysteric ramblings on the Internet for generations forever across galaxies to read until Jesus IX returns and crushes the last universal atom into crumbs like a cheez-it for all Rat Buchanans to eat.

I was going to put an asterisk after Rat Buchanan to make sure that the current internet knows/knew who Pat “Rat” Buchanan is/was. According to wikipedia (link*) [*not really a link**] {**use google/bing}, Pat Buchanan is a paleoconservative. I am too lazy to search for paleoconservative, but I can only assume that it is a mix between Jeff Goldblum, Sam Neill and Richard Attenborough (Dr. Ian Malcom, Dr. Alan Grant and John Hammond from Jurassic Park, respectively) of the conservative world. I would also like to note that Pat Buchanan’s website makes a point to emphasize that his website is “Another fine website made in the USA by Linda Muller”. Through extensive research, I have discovered that Linda Muller is an Irises and Plants dealer in SOUTH AFRICA. (irisesonline.co.za) HEY PAT, I KNOW THAT ENGLISH IS LIKE A SUPER HARD LANGUAGE AND EVERYTHING BUT AFRICA AIN’T AMERICA DAWG. YOU’RE TWO LETTERS OFF. F DOESN’T EQUAL ME. F EQUALS U. F U B.

Back to my original point. By submitting this to the internet, I understand that this will forever tarnish my potential for political aspirations. At this point, then, I would like to mention that I am watching a TIVO-ed segment of of the Republican And Tea-Party International Seriousness Synopses (RATPISS) and that I blame all of the potential backlash that I may or may not receive on this programming. I will further mention that Wolf Blitzer is not among the reasons I aspire to become the things that I want to aspire to become, he is THE reason I aspire to become the things that I want to become, among other things renaming myself Wolfbadger Lobsterkrieg, Crawdad Porkshank or Lobo Rusher.

I kept telling myself that I would not get this excited nor, more importantly, this inebriated in anticipation of the Ketchup thing, but I knew that this was the only way to do it. Kreacher has no idea what’s about to hit her. I hope that she is strapped with Michelin’s because I’m about to blow her enTIRE MIND. I’M OUT BROS.

I will regret this,
Ryan

Category : Complete Miscellany
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13th Sep2011

Album Reviews: The Nocturnes – Aokigahara

by nickwan

The word “side project” is so wishy-washy to me. Sometimes, the side project ends up being the main project… or sometimes the side project is just some random excess from a band practice one day. Most of the time, a side project usually doesn’t see much time outside of the studio. That is to say, a side project is merely that — a project. It’s not a full on band or solo thing. It’s something to occupy the void… whatever void you might have.

Enter The Nocturnes. Fronted by Emma Ruth Rundle of Red Sparowes, The Nocturnes is this sort of folky and shoegazey mix of pulsing dark melody. It isn’t a far cry from Red Sparowes, but is quite different in many aspects.

Listen to the entire thing below!

The Pros

For those looking for your Red Sparowes fix, there is much to love about the album. It has that post-apocalyptic dystopian vibe to it, all throughout. It really doesn’t let up. In fact, I’m pretty sure I wouldn’t recommend this to anyone who scores low on self-esteem tests… it has that emotional component that is as tasteful as it is brutal.

The first thing many RS fans will pick up on instantly is the vocal element. The initial track feels just like some Bon Iver tracks I’ve come across. Other tracks feel more like Gregorian chants, sort of like how Botch had some Gregorian-like vocals on An Anthology of Dead Ends. I mean… obviously Botch wasn’t known for their virtuosity in Gregorian chanting, but that’s the first thing that came to my mind. Sorry, Gregorian chant experts.

Going back to Aokigahara, the album lends itself to different variations in their seemingly endless 66bpm rhythm. There is a very well marbling of electric and acoustic components throughout the entire album.

The thing that really holds all of it together is the vocal arrangements. If you’re a vocalphile, you can definitely be lost in this album for a long while.

The Cons

For those who aren’t familiar with shoegaze, post rock or slowcore of any type, this album might seem to drag on for you. The tempo seems set on this slow head-nodding tempo — those who aren’t expecting something a bit slower from Red Sparowes might be disinterested pretty quickly.

Another con for some may be the lack of a stand out song. The Nocturnes have released a video for the track “The Road” and the title track “Aokigahara” is a good opener for the album but neither drags me in. Unless you’re appreciating this album from beginning to end, I feel that this is a pretty tough one to break up into tracks.

The Verdict

This is a great album if you’re looking for something in the park of Gypsyblood and CocoRosie. I would go as far as to recommend this to those who enjoy Pedro the Lion, Headphones, or even Mighty Clouds. Unfortunately, for the beginning shoegazer this might be a bit advanced. An acquired taste, but perfect in the right situation.

Check out the video for “The Road” below!

The Road from The Nocturnes on Vimeo.

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12th Sep2011

Album Reviews: A.A. Bondy – Believers

by Ryan

A.A. Bondy is a solo artist who has evolved somewhat over the course of his current three-album career span on Fat Possum Records. He is no victim of obscurity; his songs have been featured in a handful of primetime cable dramas and after all, he has a Wikipedia page for goodness sakes. So if anything, he might be “that guy” that your bro has that one song of on his iPod that he so totally loves. But Bondy deserves a hell of a lot more respect than that. As far as popularity and milieu are concerned, he fits perfectly in the ranks of Pete Yorn and other singer/songwriter types. That doesn’t speak any peace about his musical or writing acumen however, and on his latest release Believers, Bondy shows his chops with a full band to back up his guitar stylings.

Watch “Believers Album Teaser”

Untitled from j. villareal on Vimeo.

The Pros:

One thing that needs to be addressed immediately after the previous video: the song used in the teaser is a snippet from the ephemeral “123 Dupuy Street,” a tune that could easily be interpreted as a throwaway from the album because of its short length and dearth of vocals. Do not be lead astray, this seemingly meaningless track brings the same bit of emotion to the table in the similar vein as Hüsker Dü‘s “One Step At A Time” or “Monday Will Never Be The Same.”

“The Heart Is Willing” bears a resemblance to Radiohead, especially during the Hail To The Thief era. It features a pounding, continuous baritone guitar line contrasted by Bondy’s gravely voice and reverb-drenched pickings. Opening up strongly, he moves right on to two more winners, “Down In The Fire (Lost Sea)” and “Skull & Bones.” Both share an air of remorse and retreat, which reveals itself to be the overlying theme of this record.

The track that succeeds on most levels, be it radio friendliness or indie credibility, is “Surfer King.” More than any song on Believers, it utilizes Bondy’s perfected reverb, slide, and pedal steel guitar sound. Not to mention, it hits on that summer feel without leaping into the whole “surf rock revival” scene. Most importantly, like nearly half of this album, this track comes to a conclusive reverberation of wondrous sprawl created by Bondy and his mesh of band members. “Drmz,” Rte. 28/Believers,” and “Down In The Fire (Lost Sea)” all follow the same path, building up until a point of release into pretty openness.

The Cons:

Recording quality is one of two standout issues with this album. Not mixing necessarily, because every instrument is sung to its potential and gets equal notice. Quality of the audio is a different story. Most apparent with the drums, as on every song that features a drum set, the snares get fairly blaring and fuzzy. This isn’t even a lo-fi attempt, it’s more of an elephant in the room. Standing next to Bondy’s pristine guitar lines, it just flat out sounds like crap some of the time.

The other problem is just a general, yet vital complaint of all music listeners. A.A. Bondy has a tendency to delve into a slightly boring, passive, say-this-because-it-sounds-fine way of writing lyrics. This is seen most frequently in “Drmz,” which is chock full of vacant words that serve the purpose of getting through verses so that he can get to the pretty ending at a decent clock-in of length.

The Verdict:

Believers has its share of setbacks, including aimless wordplay and shaky production; but all in all, it is a fine collection of songs that intend to relax the listener while contrarily associating with unrest. A.A. Bondy may have succumb to the cliche saying of “the third time being a charm,” as this latest effort could very well be his best work so far.

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09th Sep2011

Festival Recap: Bumbershoot, Monday 9/5/11

by Adam Finley

We’re back with the next installment of our Bumbershoot 2011 recap. Adam Finley was in the fray, fighting for photo pit space, eating funnel cakes, and avoiding the beer garden because he was on assignment and wouldn’t let Nick Wan down for anything. This is the second part of his journey.

Tweeting from inside the Press Room at a major festival was a giant check off the bucket list. It looked like what I imagine the CNN Correspondent room in Baghdad looks like– laptops and giant cameras everywhere, and it was intimidating for a newbie. I arrived early enough to soak it in, grab a nibble, and send this tweet before the music started.

@Nickwan you crazy for this one!

Opening the day was Motopony, a Seattle outfit that sounds a bit like Cold War Kids and has phenomenal energy. Singer Daniel Blue opened the set by saying “We’ve never played at noon on a Monday before” but based on his stage presence and pandering to the photo pit (jumping on the monitor just as my camera’s batteries died… argh why!?!?!) it’s easy to see why MTV has started to take notice of these guys.

I rushed from Motopony to Legendary Oaks, a jangly Americana band that has flirted with the big time since they began in 2008, thanks in part to lead singer Craig Schoen’s connections with Nada Surf, Jets To Brazil, and The Notwist.

Fly Moon Royalty was one of my favorite discoveries from this year’s Bumbershoot– a collaboration of dancers, singers, keyboardists, and rappers centered around producer/DJ Action Jackson and singer Adra Boo. They absolutely rocked the stage, ignoring the fact that it was just shy of 1:00 and insisting that the crowd dance. Not only did Fly Moon Royalty insist, they made the crowd dance with ear-catching electro-soul that I can’t wait to put on an end of summer mixtape.

Fact: while Fly Moon Royalty may take the crown for best new Seattle electro-soul act, COCO O. is the most adorable frontwoman in Danish electro-soul, hands down. She and her band, Quadron, took the stage for a satisfying set that sounded like Amy Winehouse (R.I.P.) covering minimalist Motown with the bass turned up to 11. It was perfectly rhythmic and sensual, and COCO O. killed the audience with her sparkly dress and hilarious commentary (“I can sightsee while I sing!” she bubbled, pointing at the Space Needle).

I had a decision to make: see Grand Hallway, a band I reviewed as one of my first assignments for 402, or catch a band I’d never heard of. I opted for Grand Hallway because I had a feeling their live show would wow me more this time around, and I was correct. The larger space and better engineering gave them a crisp, clean sound that filled the hillside. The gang started their set with fan favorites (“Blessed Be, Honey Bee” and “Seward Park”), immediately engaging the willing crowd.

However, I apparently made a mistake. For as solid as Grand Hallway was, the band that I skipped, Head Like A Kite, was where the party was at. Head Like A Kite defies description; it’s a tangled, chaotic, beautiful mess of Elvis suits, electronic Neil Young covers, a singer who looks like Steve Zahn, a panda with an electric razor, and a rapper. Oh, and Asya from Smoosh. I arrived too late to get into the photo pit, but was able to snap a few shots. Full review to come.

Unmistakable festival highlight and fan favorite YACHT took the stage next. Vocalist Claire Evans was in fine form, wearing what appeared to be a bleached burlap sack and engaging the audience with constant antics. Musical partner Jona Bechtolt was no slouch himself, flailing around the stage and obviously having a great time. This wasn’t lost on the crowd, which picked up on the intense energy of the thumping, shrieking live YACHT experience and danced the afternoon away.

I ended my day with a double feature of guitar mastery. First was Dennis Coffey, an old hat who had his first radio hit in 1958 and spent the 50+ years since playing on dozens of Motown hits, maintaining a strong solo career, and having his work sampled by everyone from LL Cool J to Rage Against the Machine. Coffey and band didn’t fit in with the youthful hipster bands at Bumbershoot, but within minutes he had drawn hundreds of people to watch him lay down some unbelievable guitar riffs.

Last, I caught Texas guitar institution Ian Moore with his backing band The Lossy Coils just as the sun was beginning to set over Bumbershoot 2011. Like Coffey, Moore was not a huge fan draw, but a few songs in and the hillside was littered with people drawn by the power of his guitar. I’ve never listened to Moore, but I will now make a point of giving his newest album El Sonido Nuevo a solid listen.

And that’s the beauty of festivals, especially Seattle festivals which feature a diversity of music that you won’t find in many other places. Crowds intermingle, genre lines are crossed and crossed again. An old woman watching Das Racist with the tiniest hint of a smile; the kid in the Wiz Khalifa shirt watching Dennis Coffey destroy the electric guitar; two little kids dancing to Jim Jones Revue; and lonely me rushing back and forth, trying to enjoy the music I love and document it the best I could. I hope to do it again soon. For now though, I gotta go write a couple live reviews and catch back up with life. I’m out.

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08th Sep2011

Album Reviews: Yellow Ostrich – The Mistress

by Ryan

I first heard of Yellow Ostrich when I came across their cover of Mungo Jerry‘s “In The Summertime” for the A.V. Club’s Undercover online series. They did not catch my interest in the best way, employing a variety of questionable changes to the original classic. A saxophone and some atonal guitar chords made for a rather… ugly version. The Mistress fortunately weaves a much different story as far as sound goes. Originally released solo by guitarist and vocalist Alex Schaaf, his album has now been remastered through Barsuk Records, and added onto somewhat, with two additional members to the band.

Watch “Mary”

The Pros:

The above video only features Alex playing with percussionist Michael Tapper, and at a fraction of their full sound. The Mistress changes personalities halfway through the record; a change which may or may not have come about when the additional tracks were recorded by the full band. Alex has done so much to convey his influences within his own songs, and then expound upon his own shtick to make a lasting impression. From the beginning, “I Think U Are Great” gives nods to The White Stripes-style garage guitar blues and resolves to a choral arrangement that all the members of Grizzly Bear would be proud of. “Whale” seems to be the recognized single here, and it has every right to be. It is a kooky sounding indie rock song in the way that “A-Punk” was when it came out, building on to that hyperactive characteristic that modern indie rock has going for itself.

“Hate Me Soon” grants the listener with a nice, punchy dose of piano-driven rock that has not shown its face in a while. As inferred by most media outlets, “Whale” may be the breakout song from this trio, but “Libraries” is indisputably their most poignant. Its Fahrenheit 451 overtones and powerful beat make for a memorable listen. Schaaf’s interesting and original take on vocal tracking reaches its apex on “Hahaohhoho,” a song too sweet and enjoyable to be hated. The exciting, spunky side of Yellow Ostrich comes to a halt after this point, and transitions to a more somber, reflective mood.

Nearly every song throughout the album’s remainder grows increasingly slow-burning and epic. “I’ll Run” takes a sharp turn from its raucous predecessor to focus on a galloping guitar line accompanied by beautiful, scenic lyricism. The most commanding (and haunting) track on The Mistress is “Slow Paddle.” Schaaf’s spooky introductory vocals incite a purely dismal feeling, and then murky strumming enters to back up more of the same chaste, yet damaged crooning. This is most simply one of “those songs” that make the album worth getting just for that reason.

The Cons:

Repetition in any manor and to any extent can be bothersome. Understand that about seventy-five percent of this record was initially recorded by Alex Schaaf alone, providing all lyrics and instrumentation. As addicting as vocal tracking can get, he pushes the envelope a tad too far in this case. By the time “Campaign” rolls around, listening to the same old “Oh. Oh. Oh. Oh. etc.” jazz becomes a bit dated; which is funny, because when hearing The Mistress at first, this appears to be a completely fresh and well-executed technique.

The Verdict:

Pushing aside that small hindrance, it does not stun me anymore how Barsuk Records continues to pick up great artists and put out fabulous releases by them; it has become so routine. The Mistress blew away most traditional indie rock records I have heard all of 2011, so it is definitely receiving a nomination for album of the year. Yellow Ostrich have captivated a wide array of emotions on this album and more importantly brought an original, gentle, and soaring sound to the indie community.

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