The Dead Science
Crepuscule with The Dead Science
Recorded partly at Bear Creek Studios by Jherek Bischoff
Produced by Ryan Hadlock, The Dead Science and Jherek Bischoff
Engineered partly by Brandon Eggleston and Ryan Hadlock
Mixed by Ryan Hadlock and Jherek Bischoff
The music of The Dead Science could be called “post-rock” as the term was defined by critic Simon Reynolds — “Using rock instrumentation for non-rock purposes” — but this trio from Seattle has little in common with most of the bands typically associated with that term. The Dead Science come from a different world, one that’s flickering and woozy, arcane and expressionistic, the same world where Guy Madden shoots his films.
The first and last songs on this five-song EP are leftovers from sessions for the band’s previous album, Frost Giant, while the middle three are new songs recorded by bassist Jherek Bischoff. Singer/guitarist Sam Mickens has an operatically stylized voice, a breathy, vibrato-laden falsetto that is restrained but melodramatically inflected. His voice practically wears a cape and has wine-stained lips, with the back of its hand pressed to its forehead in a swoon.
The songs are almost schizophrenic, alternating between dissonant chords and beautiful ones, and punctuated with silent pauses and outbursts of noise. They are relatively quiet, for the most part, but it’s a tense, coiled quiet. Opening song “Child/Actress” simmers on detuned guitar figures until the final minute, when it erupts with jazzy standup bass playing, chaotic drums, and scraping violins. The proggy, organ-inflected “Displacer Beast” (the title is a reference to a malevolent, enchanted monster from Dungeons & Dragons) is somewhat heavier and as close to “rocking” as you’ll hear here. “ps The Past” is a song to frighten children with, thanks to sudden, jarring blasts of dissonant, metallic keyboard and vocals like a chorus of ghouls, ghosts and zombies. As “White Stain” reaches its conclusion, it warbles and wavers like the end of a worn-out reel of film. “All Ye Whom Love of Fortune,” which closes the disc, is a song by 16th-century composer John Dowland, performed with piano and vocals. If Dowland heard this version, he would probably think the performer was possessed, though he might not be sure if it was by God or the Devil. (Slender Means Society)
www.thedeadscience.com
-Mike Baehr
Crime in Choir
Trumpery Metier
Recorded and mixed at Louder Studios by Tim Green
Mastered at Infrasonic by Pete Lyman
Produced by Tim Green
The heavenly synthesizer wail that opens up “Women of Reduction” on Crime in Choir’s third full-length album, Trumpery Metier, explicitly sets the tone and lays the foundation for what’s to come — monolithic progressive rock punctuated with a dynamic underbelly of guitar, bass, drums and electronic finesse. Just as the song slowly fades out with a soft release of keyboards and tom rolls, the explosive zeal of “Complete Upmanship” thrusts the amplifiers back up to 11 as the song delves into post-rock precision. The fact that this San Francisco quintet is made up of current and former members of heavy-hitting machines such as At the Drive-In, Hella, The Fucking Champs, and The Quails reiterates a precise sense of seasoned virtuosity.
The album’s eminence lies solely within the instrumentation — a pristine-sounding wash of early ’70s prog, fusion jazz, and 1984-era Van Halen that is neither pretentious nor redundant. Though comparisons to King Crimson and Yes are evident in the wake of Trumpery Metier, Crime in Choir exhibits an essence of creative-spirit and self-restraint. In songs like “The Hollow Crown” and “High Thin Circus,” layers of Rick Wakeman-inspired synth build and then diffuse through the bedlam of fiery guitar solos and tireless rhythms radiating in the backdrop. The group tactfully beautifies the elaborate arrangements by assimilating snarling saxophone and reposeful jingles of organ and piano, ultimately reinforcing the song structures with a polished edge. Each instrument seemingly conjoins with the next as the song builds up into a monumental tidal wave and cascades into the next with a wash of cool ambience. This effect is fairly distinct in “Land of Sherry Wine and Spanish Horses,” where fluttering keys and warped guitar chords mingle against the fleeting array of crashing drums and plodding bass, until the song powerfully concludes and segues into “Grande Gallo” with hollow reverberation. Trumpery Metier sequentially captures a band at its prime, taking a vintage harmony and re-tailoring it with vanguard luster. (Gold Standard Labs)
www.crimeinchoir.net
-Chris Sabbath
Georgia Anne Muldrow
Olesi: Fragments of
an Earth
Produced by Georgia Anne Muldrow
At first listen, Georgia Anne Muldrow sounds like an amateur Angie Stone. At second listen, her music calls to mind Lauryn Hill — all day in government lines, complete with the nervous breakdown. At third listen, it becomes evident that Stone could probably learn a thing or two about originality from Muldrow and her music. Everything about this album is fresh, dynamic, different and raw, while at the same time maintaining a very solid and developed concept. Amongst the chaos of organic noise and too short two-minute tracks lies a gem of an album wanting to be heard. Each song has a hi-hat and low-end bass bump with a Bible-thumping message, straight from the sermons of her homegrown chapel of life experience. Muldrow has a voice that coaxes desperation, sometimes slightly out of tune but surely in tune with her emotions. She moves without definition between soul, blues and the occasional rhyme, creating a message rooted in the New York and Los Angeles art scenes.
It is no surprise that Muldrow’s first label release comes from Stones Throw Records, a name that is always defining and redefining the Southern California independent hip-hop sound. Though initially this afro-centric hodgepodge feels out of place in the label’s catalog, it is clear after multiple runs that Olesi: Fragments of an Earth not only fits in every one of Stones Throw’s variant genres, but in the CD players of each genre’s fans. It is no wonder that Muldrow has signed a two record contract, or that her self-distributed debut EP Worthnothings is also being re-released. One can only imagine where this young artist’s career will go after a first album showing this much potential. What a blessing it is to find Muldrow so early on in her career and to be left wondering where her limitless talent will take her. (Stones Throw Records)
www.stonesthrow.com
-Grant Inaba
The Western States Motel
The Western States Motel
No production information provided
Haling from Silverlake, the Los Angeles indie mecca, The Western States Motel is the product of hardworking Carl Jordan, who sings and plays all instruments (acoustic guitar, bass, drums, keys) on the debut. Jordan also recorded the album himself, an impressive achievement due to the high production quality and layered textures found in the songs. A fine example of Jordan’s technical ability and able musicianship is “Cheap Speakers,” which has melody and harmony akin to a Grandaddy song, with nods to early Beck cheekiness.
It takes a moment for the album to hook the listener, but the catchy lure of “Powerlines” grabs like Velcro onto felt. Jordan’s fragile vocals breathe “The days are long and they sing you a song / About how all your troubles are gone / We hold it all inside our sunlight hands / We’ll never let it go, I think you understand,” and his fingers roll out lines of fertile melodies on his guitar.
Another highlight, “Southwest Planes,” enters with a strumming acoustic guitar and a trotting tempo, carrying the song into alternative folk territory. The rhythm swells into a drumbeat as playful electric guitar and sentimental lyrics spotlight the foreground: “Southwest planes in a valley haze / Taking off in the sun / One of these days and it won’t be long / You’ll look for me baby and I’ll be gone.”
Jordan writes competent lyrics, which is a welcome change for a pop genre packed with juvenile poetry. Jordan’s words are snapshots of finding love, leaving love, and flirting with happiness — it’s a summery pop album!
Tragically it’s no longer summer, but this album serves as a reminder, generating gold memories of flip-flops on feet, road trips and summer flings. The Western States Motel’s self-titled album is a strong debut from a promising Los Angeles songwriter and is recommended to listeners who could use a 40-minute getaway. (Firebird Field Recordings)
www.thewesternstatesmotel.com
-Christopher Petro
Mr. Tube and the Flying Objects
Listen Up
Recorded and mixed by Mr. Tube at Stereo Disguise Recording Labs
Mastered by Pete Lyman
If a band starts getting a fair amount of fame, it’s almost inevitable for at least one of its members to start getting itchy and decide to do his/her own thing. Sometimes the results are sublime and on par with the work of the musician’s regular band. More often than not though, the disc sounds tossed off, self-indulgent or downright silly. Falling squarely in the latter category comes the brainchild of erstwhile Black Heart Procession leader, Pall Jenkins.
To introduce his side project, Jenkins cooked up a tall tale that has already spread like a wildfire through blogs and message boards around the world. Supposedly, Pall took his TV to get fixed and the repairman turned out to be a long lost soul/R&B singer/songwriter, Freddie Dillenger, who played under the name Mr. Tube in the ’60s and ’70s. Pall convinced Mr. Tube to hit the studio again and lay down his brand of Latin-and-new-wave-influenced funk and soul, the result being Listen Up. Even if the album were a masterpiece, the story is too far-fetched and easily debunked — the fact that it meanders along for no apparent purpose doesn’t help Jenkins’ case one bit.
To put it bluntly, this album sounds like a side project. If viewed through that lens, the songs can be a lot easier to swallow. There’s a light-hearted funkiness to the album reminiscent of Beck’s more playful albums (especially on the horn-heavy “Jesus Was A Vato”) and the backbeats would make someone like Tommy Guerrero a tad envious. The fine musical work of bassist Jovi Butz and the sharp playing of the three drummers who make appearances on several songs makes this disc worth at least a cursory listen. For all of those positive traits, Listen Up falls flat quickly. Perhaps not bad in the background of a party, but it’s not the type of album that will stop conversations in their tracks. (Sweet Nothing Records)
www.mrtube.com
-Bob Ham
Wires on Fire
Wires on Fire
Recorded, mixed and mastered at 11AD by
Alain Johannes
Produced by Natasha Shneider and Alain Johannes
The artwork for Wires on Fire’s debut full-length album is a variety of human tongues in completely inappropriate places, from classy makeup compacts to robotic chicken heads. The effect is either completely disturbing or absurdly hilarious, depending on one’s mood. The same can be said for the music on the album. Oftentimes upon listening to the CD, it becomes difficult to choose whether to laugh or to cry.
The first single off the album, “Million Dollar Maybes,” has an immediately infectious groove to it, with almost unintelligible lyrics detailing the singer’s transition from one girl to the next. The songs aren’t all about girls, however; the topics range from drugs to frustration to family, though many of the lyrics are little more than basic line repetition. The music is the same, with some songs like “Stallions” boasting wonderfully ferocious guitar over equally manic swing drums.
Then comes “Dusty Bibles Lead to Dirty Lives,” by far the most confusing point of the album. Splitting the album cleanly in half, this lounge-like song barely sounds like it’s played by the same band. The ferocious energy of the album comes to an abrupt halt as the band departs into ’70s-style guitar leads over “oohs” and “aahs” in the background. Then, as if nothing happened, they lead into “Dignity Points,” another screamo anthem. Other songs, such as the half-instrumental “Let It Live,” also make significant departures from the otherwise consistent album.
With the nonsensical lyrics, musical tangents, and screamo-style songs on this album, it sometimes becomes difficult to take the band seriously — so much so, in fact, that you start to wonder if they’re in on the joke all along. But whether or not you appreciate the humor of some of the more disjointed moments on this album, the best moments are well worth the wait. (Buddyhead Records)
www.wiresonfire.com
-Bonwell Parker
Blue Skies for Black Hearts
Love is Not Enough
Recorded and Engineered at Studio 13 in Portland, OR by Pat Kearns and Matthew Morgan
Mastered by Jeff Saltzman at Superdigital in Portland, OR
Produced by Pat Kearns
Breaking up is hard to do, but it sure is fun to sing about it! There are a lot of hurt feelings on this ten song CD entitled Love is Not Enough, and each one seems more upbeat than the one before. This poppy sad-songs-about-saying-goodbye album could not make for a more cheerful experience if it tried to tickle babies. Though ironic, the album’s character is not a mistake or a misplaced parody; its misery wants healing rather than company. True Brit-pop and Beatles-esque moments direct the course of this hyper-intelligent approach to a break-up-themed album that is infinitely more fun to listen to than the guy sleeping on your couch because his girlfriend threw him out.
On Love is Not Enough, acoustic and electric guitars combine in a mix of jangly rhythms and sassy hooks with piano, bass and drums building up to the sound and feel of a modern day British invasion; a perfect blend of inspiration and imagination. Poppy backing vocals and even some hand clapping add flavor to this power-packed popsicle of iced-over love.
“Here Comes the Rain” begins the album’s journey into the world of failing love with an illusory, uplifting feel and musical arrangement. The airy, inviting lead vocals of singer and guitarist Patrick Kearns glow alongside a banquet of subtle guitar licks from Mike Lewis. On the opposite end of the orchestral continuum, “Otto,” though simple in its arrangement, is filled with lyrical enchantment highlighting the behavioral mysteries of Kearns’ cat. This guitar- and piano-based song, played by Kearns and multi-instrumentalist Kelly Simons, sounds like it could have been on any Beatles album.
The CD jacket speaks volumes — a caricature of a human heart with stitches down one side and needles sticking out all over it. Acupuncture or voodoo, either would be accurate. (King of Hearts Records)
www.blueskiesforblackhearts.com
-Fran Gray
Paige Aufhammer
Paige Aufhammer
Recorded and mixed at Signature Sound Studios by
Joe Marlett
Mastered at The Mastering Lab by Gavin Lurssen
Produced by Joe Marlett
This self-titled debut boasts confident, well-rounded songs from California native Paige Aufhammer. The acoustic-based rock sound drifts in and out of super-pop, blues, and jazz territory, showcasing Aufhammer’s versatility. She is capable of wistful contemplation and joyful exuberance, as well as flickering inflection and arena-style choruses. Her songs have that transformative character where they could easily be a one-woman acoustic guitar show or a 10-piece ensemble concerto. Generally, the instrumentation complements the songs, but sometimes the arrangements don’t quite fit, either overpowering the narrative or leaving the listener wanting more.
Lyrically, Aufhammer approaches her subject matter tentatively and shies away from specifics of any sort. Except for the obvious reference to the East Coast in “New England,” one would be unable to place this record in any time or place at all outside of the human heart. This feeling exemplifies the kind of ambiguity that both attracts and repels listeners: inseparable strengths and weaknesses.
The real gem of the album is the warm precision of Aufhammer’s voice. She sings with what has been previously called “spiritual confidence,” due to the religious roots that surface in her songs. There is a definite angelic quality in her vocal style, a combination of crystal-clear enunciation, soothing melodies, and soaring high notes. Of course, a chorus that runs “I’ve been quoting angels’ songs for years” adds to the aura.
The highlight is “Mad Man’s Machine,” a ripping blues homage to love, where basic similes rhyme over Rob Whitlock’s vibrant organ and piano. Aufhammer’s melancholy completely disappears here, leaving pure elation and nothing more. While it may not be the most complex of songs, it is the most appealing in its hope and its abandon. (LMC Records)
www.paigeaufhammer.com
-Ali Marcus
Geisha Girls
Disappearing Act
Engineered and produced by Geisha Girls and GG King
Recorded at Radio Beat Studios by GG King
Mastered at Infrasonic Sound by Pete Lyman
Produced by Geisha Girls and GG King
Geisha Girls’ debut album, Disappearing Act, takes an unpretentious, traditional approach to punk rock that doesn’t break any new ground, but delivers a good, solid half hour of reliably enjoyable music. From its rapid-fire playlist to its dirty mixing job to the Southern Californian vocalist’s heavy British accent, Disappearing Act is an easy, safe addition to anyone’s punk collection.
Drummer Mike Shelbourn, guitarist John Roller and bassist/vocalist Shawn Robert are very consistent in this album, and clearly share the same vision of how they should sound. No instrument dominates over the others, and each of them gets their chance to shine. The band has drawn from a number of influences, most obviously The Clash, but the album’s overall cohesiveness helps it establish its own sound. Geisha Girls are wise to eschew the temptation of speeding their way through each composition, allowing for highly danceable (and moshable) songs.
A couple of songs stand out above the rest: “This is Novelty” is a fantastically aggressive song, and the album rounds out well with “Indian Burn.” The seven songs in between are less distinctive, but they can stand on their own quite well. Disappearing Act has the risk of being a bit monotonous, but the unpretentiousness of the album wins through again, as the ten-song album quits before overstaying its welcome. Overall, Disappearing Act is a listening experience that any punk fan can enjoy. (Number 3 Records)
www.geishamovement.com
-Bonwell Parker
Keith Varon
Love Is A Hero
Produced and engineered by Joey Muller
Mixed by Mark Needham, Jacquire King, Brian Schuble, David Simon Baker and Joey Muller
Keith Varon’s first full-length album stands to position him as the next big success story to come out of the Bay Area. His studied, carefully crafted brand of pop and rock as heard on Love Is A Hero draws on the familiar sounds of acoustic and electric guitars, piano, bass and drums, all tied together with smooth vocals and pristine production.
While there are bursts of electric guitar on songs like “After All” and “Intoxicated,” they are compressed and mixed down for a more palatable sound. The trippy effects at the close of “Meet Me In The Middle” also suggest that Varon certainly has a taste for the brash and edgy sides of mainstream rock, yet the young songwriter’s album is clearly more in line with the tastes of the adult pop scene. Think of Varon’s contemporaries as Five For Fighting, Goo Goo Dolls or Howie Day.
Like his contemporaries, the subject matter of Varon’s songs is a powerful draw for the young as well. The title of the album should give that one away fairly easily. Not only that, the use of “Can’t Breathe” on MTV’s Laguna Beach speaks volumes for Varon’s ability to write songs that can touch a broad spectrum of listeners.
From start to finish, Love Is A Hero keeps working hard to make a connection. All 12 of the album’s songs are sturdy examples of mainstream adult pop-rock. There’s no filler to be found here — any of these songs would be single-worthy, whether it’s the rockin’ “After All” or the yearning acoustic album closer “A Fall From the Edge.” With such uniform quality, Varon stands to make, and keep, a lot of new fans. (Velvet Tone Records)
www.keithvaron.com
-Michael Fortes
Luxxury
Rock and Roll (Is Evil)
Produced and mixed by Blake Robin and Devin O’Brien at Expensive Sound
Mastered at Suite Sound Labs, Vancouver
Embracing the unique sound of electro pop while bringing in a pure rock ’n’ roll authenticity, Luxxury’s first full length album, Rock and Roll (Is Evil), stands out as a sexual romp with a glorious backing dance beat. In 2002, lead singer Baron Von Luxxury decided that rock music had been boring since 1978, so he bought a laptop and synthesizer and set about creating a sound that combined the overt sexiness of dance music with the pure timelessness of well-crafted pop. Rock and Roll (Is Evil) has achieved that goal in every way possible.
The album starts off strong with the glam-trashy electro punk anthem “Drunk (Expensive Mix),” which will force even the most innocent of bystanders onto the dance floor to shake it. “Sweet and Vicious” is reminiscent of vintage Depeche Mode, complete with dark synth lines growling underneath a twangy guitar sound, and “Dirty Girls (Need Love Too)“ could easily find itself being played out in smoke filled goth clubs. However, the true stand out song is “Sex with Rich People,” which sounds like it could have been written for David Bowie, complete with one of the catchiest choruses on the entire album.
Luxxury is definitely an act to watch on the indie rock scene these days. Their unique hybrid of dance beats, rock guitar attitude and well-written songs will definitely keep them on the scene for a long while. Having already opened for such bands as Scissors for Lefty, The Lovemakers, You Say Party, We Say Die!, Protokoll, Scanners and ’80s club legends ABC, the band continues to blaze its own unique trail by bringing the sounds of yesterday and pushing them towards the future. (Expensive Sounding Music)
www.luxxury.com
-Casey P. O’Neill
Erinn Williams
Digging in the Dirt
Engineered by David Cambay
Recorded and mixed at Bright Orange Studios
Mixed at Bright Orange Studios by Jon Mattox
Mastered by Matt Forger
Produced by Erinn Williams and others
Digging in the Dirt, the newest album by singer/songwriter Erinn Williams, is like the diary of every angst-ridden teen girl. With songs that cry out words of unrequited love, loneliness and pain, there is a verse for every Tori Amos moment one might have.
Williams, a talented musician with a background in opera, has been called a “distant cousin of Kate Bush.” Though only now getting major nods in the music industry, Williams has already had her music featured in independent films, national commercials for Virgin Mobile, and the television show The Shield.
Williams’ newest treasure, Digging in the Dirt, features her poetic voice backed by beautifully picked musicians. With songs like “Delicate” showcasing violinist Charlene Huang’s haunting melodies, Williams sets the melancholy mood with every verse. She pushes the boundaries of what other musicians usually abide by to create songs that truly force someone in the audience to feel the emotions being created. Williams paints pictures with her powerfully written lyrics, such as those found in “Yellow Sky”: “The needle forms from the clouds / And injects the world from the sky / My wings spread far above the earth / And my limbs with heaven intertwine.” Every word weaves its way from her mouth around the hearts of her listeners and pulls them into the musical dream she has created.
For fans of Fiona Apple, PJ Harvey and other angsty female musicians, this is a must-have. Erinn Williams is a soon-to-be star, and the sooner you jump on her bandwagon, the sooner you’ll have some great music for every rainy day of your life. (Self-released)
www.erinnwilliams.com
-Katie Burnett
Citizens Here and Abroad
Waving, Not Drowning
Recorded and mixed by Dan Lowrie at Club New Office and Mike Boden at The Plant
Recorded by David Kesler at Recording Studio 3431
Mastered by Ben Adrian at Mr. Toad’s
A quiet band like Citizens Here and Abroad could have lingered in obscurity for years, had a copy of their critically acclaimed first album, 2004’s Ghosts of Tables and Chairs, not landed on the desk of cultural tastemaker Alexandra Patsavas, a.k.a the music supervisor for a little show called The O.C. After the television debut of their song “Appearances,” their brand of melodic, fuzzy, guitar-driven pop was suddenly something people wanted to hear more of. Their second album, which was written while touring in support of their first, centers more around themes — the emphasis here is on the words and the stories that they’re telling. In this area they succeed — lines like “It’s not always pretty what goes on in the heart” exemplify the band’s brutally honest and simple lyrics that will get stuck in your head for days. What’s disappointing about this album is that so many of the elements that made their first album interesting — dreamy, shoegaze-esque guitar, whispery vocals, and lush and layered instrumentation — are largely missing, replaced by elements far less interesting, and unfortunately, a lot more derivative. The dueling male/female vocals resist orchestration, sounding merely dissonant. Sparse, repetitive drums and guitar cause too many of the songs to end up as little more than droning, formulaic odes to ‘90s female complaint-rock bands like Sleater-Kinney. (Turn Records)
www.citizenshereandabroad.com
-Jessica Watkins-McClain
The Hundred Days
The Hundred Days
Recorded at Tiny Telephone by Aaron Prellwitz
Produced by The Hundred Days
Mixed by Mark Needham and Jamie Durr
Mastered by Steve Hall and Myles Boisen
San Francisco quartet The Hundred Days conquers the moody indie pop world where Interpol and The Cure once reigned supreme. This album is solid from the first song onward, with bright, reverb-laden guitar, moody lyrical melodies and big sing-along choruses.
The first two tracks, “Entertainment” and “This Precious Town,” show off the band’s use of dynamics, white noise and subtleties to feed off each other and build songs to roaring guitar-orchestra finishes.
The Hundred Days aren’t afraid to change tempo or the mood in the middle of a song. If you’re expecting a verse-chorus-verse album then you’re looking in the wrong place. At times a small tinge of prog rock surfaces in songs such as “Sunday’s Best.”
This band isn’t afraid to try something different either. Poppy little instrumental “Featurette” gives the band a chance to show off their tight rhythm section and throw around a little slide guitar to complete the package. Other notable experiments include the energetic “Benefactor.” Clocking in at just over two minutes, this song only has four words and satisfies your urge to clap and coo like The Dandy Warhols. While at first it might seem like The Hundred Days have a bit of an identity crisis, they have instead found a way to play what they want and make it work.
Although it may appear like The Hundred Days wear many of their influences on their sleeves, each track is alive with emotion, something that is lacking with many bands. This album is strongly recommended if you’re looking for the next great road trip album or you’re just tired of listening to the same old passionless garbage. The bottom line is The Hundred Days write great songs and leave you wanting more. (Self-released)
www.thehundreddays.com
-Travis Phelps
The Happy Hollows
Bunnies and Bombs
Recorded and mixed by Rob Danson, except track 6 by Scott Patrick Vickers
Produced by Rob Danson and The Happy Hollows
Listening to The Happy Hollows’ debut EP Bunnies and Bombs is like taking a nice little trip to the amusement park, jumping on an exciting musical ride of ups-and-downs and round-and-rounds that won’t leave you feeling nauseous in the end. From songs about trolls to Vietnam flashbacks, the Los Angeles trio‘s six-song collection is an energetic mix of catchy songs and quirky lyrics.
The indie-rock/pop band emerged from L.A. during the summer of 2005, and has since been rockin’ the region. Fronted by singer Sarah Negahdari, The Happy Hollows’ sound ranges from cheery pop music in songs like “Meteor,” to a more eerie, witching-hour feel in “My Wet Tongue” or “Trick or Treat.” Influences like The Pixies and Pavement can be heard in their guitar arrangement and high-pitched “ooohs,” but with an added dash of creative sugar and spice.
In “Troll,” a chaotic jumble of flying symbols and loud guitar accompanied by plenty of “yeah, yeah, yeahs” builds up to an interesting rant: “And the trolls they steal my fucking pens!” Negahdari takes on her playful, animal form next in “My Wet Tongue,” a song that brings to mind those evil Siamese kitties in Lady and the Tramp. The album ends with Negahdari taking it down a notch in the acoustic ballad “Tell Me,” which is pleasant to the ears but not as fun as the rest of the harmonious rock tunes that come before it. (Self-released)
www.happyhollows.com
-Asami Novak
The Mike Glendinning Band
The Mike Glendinning Band
Recorded at Shakesound Recording by Mike Glendinning
Produced by Mike Glendinning
Finding the appropriate way to describe one’s music can either be a blessing or a curse for any band or artist. You can either take the “we sound like (insert band name here) mixed with (insert band name here)“ approach or come up with a pat phrase like Mike Glendinning does in his band’s press material, referring to his combo’s sound as “grunge jazz.”
Despite any well-deserved eye rolling that a phrase like that can produce, it also misses this quartet’s sound entirely. In fact, anyone giving a cursory listen to this album would be unable to categorize the band’s style quickly. The disc starts off with two short, Middle Eastern-tinged solo instrumental passages that are quite lovely in the phrasing and roughness of Glendinning’s guitar work. From there, the album borders on a pop song (“Yellow Flowers of January”), a country song (“Mama Don’t Cry”) and a song that comes closest to grunge with its plodding rhythms and fuzzed-out guitar.
As a showcase for Glendinning’s playing, this disc works wonders. It is obvious that he knows his way around a six-string and manages to pull off some impressive moments. The few tracks that feature just Glendinning (the opening salvos “Ghost A” and “Ghost B” and the country influenced “Makeshift Philly”) achieve moments of quiet grace and even some much-needed whimsy reminiscent of some of Vini Reilly’s work as the Durutti Column.
When this album tries to show off what The Mike Glendinning Band can really do, some cumbersome roadblocks appear. The biggest problem is, unfortunately, Glendinning’s wife Christina, who handles all the vocals for the group. Within seconds of her first appearance, she reaches for and quickly misses notes well outside of her vocal range. Listening to her flat timbre quickly loses its charm and the rest of the songs suffer for it. As well, the band’s rhythm section turns many of Glendinning’s songs into dull sludgy rock rather than anything resembling jazz music. (Self-released)
www.mikeglendinning.com
-Bob Ham
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