The Morning Benders — Loose Change
Produced by The Morning Benders
It seems a college town like Berkeley, CA is the only place indie band The Morning Benders could have formed. Dealing with life after breakups and independence with the need for security, their EP Loose Change is practically a handbook for mid-20s dilemmas minus the college finals. Comparable to fellow West Coast band Weezer, The Morning Benders share their sunny tone and harmless rock rhythms that make you shimmy from side to side as opposed to banging your head in a crowded mosh pit.
Loose Change has a raw feel. The drums emit a boxy sound and the vocal and guitar melodies tend to have an echo. This eight-track recording, set to serve as the band’s demo, was picked up by Portia Records to become their debut EP. Despite its rough qualities, Loose Change entices its listeners. The Morning Benders find their stride with an oxymoron of happy-sad songs through slow rock anthems. “Grain of Salt” opens the album with the fastest ditty on the CD. Cackling drums hover above lead singer Chris Chu’s doo-wap vocals, and rambunctious guitar emulates the older rock vibe making a comeback with bands like The Strokes and Jet. Later songs “Heavy Hearts” and “Morning Fog” level the pace with retrospective ballads performed mostly solo by Chu.
However, the rocker is not lost in these tracks, as the ballads are layered with more complex compositions and styles than those by most singer-songwriters. This band knows when to add the perfect drum kick or the effectiveness of backup harmonies. If The Morning Benders stay on a musical path with songs like “I Was Wrong,” they will bring wittiness to the indie world both musically and lyrically — even with verses as simple as “I was wrong when I said you were right.” Loose Change promises many more bright days for The Morning Benders. (Portia Records)
www.themorningbenders.com
-Megan Clinard
 Big Sir — Und Die Scheisse Aendert Sich Immer
Engineered and mixed by Robert Carranza
Produced by Robert Carranza and
Mickey P.
As the title of Big Sir’s third album states in German, the shit always changes. Lisa Papineau and Juan Alderete de la Pena’s jazzy, downtempo album makes good on the claim for the first half. Then its Air-like space jazz and funk thumpings, akin to Portishead, devolve into a listenable but unremarkable foil of its inspirations.
Papineau’s work with the original French sexy boys M83, and Pena’s progressive bass experience with The Mars Volta, begin as assets then unravel into a crutch. Considering these two opposing forces, the record wisely begins with the closest things it has to a pop song. “Blutrausch (Smooth Interlude)“ sets the pace with a late-night groove full of breathy vocals kept up by a steady beat and chorus. This downtempo cocktail features vocals similar to Björk’s peculiar Medulla turn. Unlike the swan queen’s latest work, Big Sir keeps it enjoyable, not just intriguing, with lush layering as opposed to Icelandic minimalism. Things begin to get funky with “Saticoy Street,” which could fit into the dirty cracks of any ’70s blaxploitation film with its simple but effective breaks. “Cause That Shit’s Too Evil (And She’s Just a Gangster Bitch)“ begins with chaotic saxophone stabs and drizzles back and forth into Papineau’s haunting melody. The swaying from experimental jazz to spooky pop shouldn’t work but does.
What does not work are songs from the album’s second half, which bleed into each other and achieve a pleasant but not entirely memorable experience. “Hammer on the Pull Off” is a lesser foil of Portishead. Only “Eastside Westside Blues” offers a glimpse of the band’s potential, deciding to leave its inspirations as inspirations instead of by-the-number reconstructions. Money Mark of Beastie Boys-fame lends a hand on the final track, “Speedy Rejoinder,” which comes off as a “Check Your Head” keyboard workout without the Brooklyn trio. The final song at least has the excuse of being influenced by its influencer. The rest, however, are scattered songs with potential mixed with others weighed down by their inspirations. In other words, nothing changes. (Gold Standard Labs)
www.goldstandardlabs.com
-Mark Szakonyi
 Holy Smokes — Talk To Your Kids About Gangs
Engineered by Tony Cale and Rob Crow
Recorded and mixed at Retrofit Studios by J.R. Thompson
Produced by Zach Hill
If someone could find a way to tap into the unstoppable energy of Zach Hill, they’d be able to prevent any energy crisis that might come the world’s way. Not only is Hill an absolute whirlwind on a drum kit, but between touring the world and recording with his primary group Hella, he finds the time to start up a handful of side projects including the super-group known as Holy Smokes. For this project, Hill mans the drum kit, sings, plays guitar and keyboards, and takes credit for all of the stream-of-consciousness lyrics that accompany the songs.
Thankfully, for all the different roles that Hill plays in this band, the music isn’t tossed off but is a maelstrom of sound, shoving the more experimental edges of his work with Hella into the rough structure of a pop song. It’s overwhelming at times but consistently fascinating and even sublimely rocking.
Hill also exercises good judgment in choosing his accomplices. Along for the ride is Advantage frontman Dan Elkan and Rob Crow of Pinback fame. Crow’s vocals especially add an almost pop element to these songs and keep them from falling under the weight of the heavy music that he and Hill concoct for two tracks here.
Elsewhere, the songs do have some soft edges to them (mostly in the vocals) but for the most part feel like they are trying to pummel the listener into submission. The bludgeoning riffs, interrupted by the thrum of a synthesizer and Hill’s one-man drum corps, often sound like a malfunctioning computer trying to play 25 speed metal CDs at one time.
It’s the unrelenting quality of the album that is its one downfall. With a running time just under an hour and a mastering job that melds most of the songs together, it’s hard to stomach the entire production in one sitting. There are very few moments to catch your breath. This might be just the effect Holy Smokes was going for but it makes for an overwhelming experience that might turn some listeners off. (Skin Graft Records)
www.skingraftrecords.com
-Bob Ham
 Subtitle — Terrain To Roam
No production information provided
Depending on the type of hip-hop listener at hand, this album could be a blessing or it could send a person back to the store cursing. Seven-foot tall Giovanni Marks, a.k.a. Subtitle, drops intelligent nerd-rap rhymes over Dntel beats and rolls with the likes of Tigerbeat6. Lost? Then stop crip-walking and see what else is going on outside the cuts!
Subtitle’s flow at first run can get a little overwhelming, as he resembles a pitched-down John Moschitta Jr. — the speed talker from those old-school Federal Express commercials. However, by getting into the groove, one can hear some thoughtful, complex verse. Subtitle is no dummy; in fact he claims that he was raised by “rogue scientist” parents. Terrain To Roam is appropriately titled as Subtitle definitely changes it up from rants on God and the Devil to the American Medical Association. Do you “Go to visit grandma and then party like you’re crazy?” Subtitle does.
Getting into this album is an easy task for those prone to nervous disorders or down with really indie-style beat production. The beats on this album cover a huge gamut and blow a great breath of fresh air through the industry’s current fixation on the dirty South sound and last decade’s G-Funk Era. Expect to hear laid back Cali sounds by Madlib, electro blips by Dntel, off-kilter 2-Step by Daedelus and the contributions of 13 other non-standard style artists.
Subtitle proudly proclaims that he had no input on the beat making of any of the 16 tracks on Terrain To Roam. Potentially a recipe for disaster, it is a solid album that offers something for everyone — maybe even the strictest of hip-hop heads. Fortunately, Subtitle still has ground to cover and heads to turn as this is only his second wide release following his 2005 GSL release Young Dangerous Heart. (Alpha Pup Records)
www.giovannimarks.com
-Grant Inaba
 Low Red Land —
Weight of Nations
Recorded at The Conservatory for Recording Arts and Sciences in Gilbert, AZ
Recorded by John Bellona, Denise Arias, Mike Holton, and Chaz DeBarnarnalieb
Mixed by Tim Mooney and Low Red Land at Closer Studios in San Francisco, CA
Mastered by Justin Weis at Trakworx in San Francisco, CA
There’s nothing like a bunch of angry young men thrashing their frustrations out on some gritty, glittering guitar-based riffs. Mark DeVito, Neil Thompson and Ben Thorne are Low Red Land, a San Francisco-based rock band that falls halfway between grunge rock and alt-country. The band’s lyrics sound more like spoken word and are treated as such; the ringing guitars take a backseat to the crucial phrases to make sure they are heard. In a strange mix of anger and optimism, Weight of Nations comes across as an album made by a bunch who sound — and perhaps feel — older than they are.
Particularly engaging about this record are the subtle and well-placed expressions of disaffection with the contemporary political climate. “Ponchartrain” begins with the line, “We should not hide the scars of elections lost / But there’s a dead man and he’s floating in Ponchartrain.” In “Hawks Die,” the vocals cry “The steam ship sank as the archers fired ... while senators think of the things they’ll have to say.” It’s not surprising then that their website links page has more politically oriented links (of a certain persuasion) than it does music-related sites.
The low-fi production is well suited to most of the record. However, the quality of the drum sound often drifts apart from the rest of the instruments, sounding disconnected. This flaw is unfortunatle, considering that the songs are provacative and well written.
The title song wraps up the album with a banjo-picking dirge. In a most disturbing confrontation, Low Red Land asks, “Will you be there when my face turns blue?” It feels more like a thinly veiled request. (Self-released)
www.lowredland.com
-Ali Marcus
 Trentalange —
Photo Album of
Complex Relationships
Engineered by Barbara Trentalange, Martin Feveyear, Ryan Haddock and Brandon Eggleston
Recorded at Jupiter Studios and at Bear Creek Studio by Barbara Trentalange
Trentalange is the performing name of Barbara Trentalange, a moody noir chanteuse from Seattle. Previously in the bands Spyglass and Crooked Fingers, Trentalange sets out solo with her new work, entitled Photo Album of Complex Relationships. Multitalented, Trentalange not only wrote all of the music, she also played everything from keyboards to wineglasses and co-produced the collection.
The results are a stew of mixed emotions and surprise endings. Trentalange waxes lyrically on topics from the more sinister side of life, with slender symbolic threads connecting several of the subjects from song to song. “Rabbit” draws parallels between a hunted animal and the female victim of a killer. The murder theme surfaces again in “Stand Alone,” whose streetwalker victim wears flowers as for her own funeral, an icon echoed elsewhere in the rose petals of “Sweetheart.”
“Boxer’s Wife” uses melancholy words to express the fears of a woman who loves a fighting man. This song has the distinct resonance of Joy Division in its use of a thumping drum and droning sound. Other moments on the album bring to mind both Sarah McLachlan with their soaring harmonies, and Lisa Gerrard of Dead Can Dance with their more primal vocalizing. There is a smoky cabaret influence here as well, most notably on “Lonely Land,” which has some of the album’s best lines: “He was perched upon the barstool / Looking casual and cool / Looking for submission / From some sweet little fool.” A neon sign could not state that sentiment more clearly.
A visual artist as well as a musician, Trentalange also designed the CD sleeve imagery; it’s dark but with a subtext of self-empowerment that depicts her slipping out of the bonds of emotional entrapment — a far more positive fate than some of her own self-made heroines. This final vision rings true: a lady this smart wouldn’t stay in a bad relationship for long; she’d mine it for exactly this kind of creative material and move on. (Coco Tauro Records)
www.trentalangemusic.com
-Susan Brooks
 Die Princess Die —
Lions Eat Lions
Recorded and mixed by Alex Newport
Mastered by Dan Maier
Produced by Alex Newport and Die Princess Die
If the beginning of Lions Eat Lions startles you, wait it out. Like a new kid at the big school, this album comes out swinging with one of the most tearing, uncontrolled songs to make it on to plastic. The next song, “Nights of the Light,” is calmer but still not too structured, as it is mostly setup for songs to come.
From there on out, Lions Eat Lions is one of the most accomplished new albums to come out in quite some time. “The Racer” is saved by the sampler as the album takes a decidedly electronic and surprisingly structured turn, considering the chaos of the first two tracks.
The mixing of Lions Eat Lions is sufficient for the album’s nature — rest any hopes you have of understanding the lyrics under its shameless layer of reverb and distortion. The guitar, however, is crisp and the rhythm section is assisted by a healthy low end, giving many of the songs a danceable techno feel.
There are several straightforward grunge-punk songs on the album, none with much structure to them. The songs bleed together wonderfully, and actually play off of each other. The opening tracks prepare you for some of the more panicked moments of the album, such as the furious pounding of “Lights of the Night” (not to be confused with the second song of the album, mentioned earlier) and the screamo climax of “Sport,” which eventually gets loud to the point where the instruments and lyrics are indistinguishable from each other.
There are some good hooks on the album as well, often where you’d least expect them. “Jack” is downright infectious, and almost (but not quite) radio playable. “Spearhorse” and the brilliantly named “Young Lady, Your Tail is Showing” can also get in your head without too much effort. (Gold Standard Labs)
www.dieprincessdie.com
-Bonwell Parker
 Conrad Ford —
Don’t You Miss Yourself
Recorded at Radio-Optik in Seattle, WA
Recorded and produced by Conrad Ford
Mixed by Phil Ek at Avast!
Mastered by Ed Brooks at RFI
Conrad Ford’s debut, Don’t You Miss Yourself, eagerly chases the country roots of American music. Plaintive violin, lap steel, and growly vocals paint the perfect picture of desolation. Andy McAllister and Jordan Walton effortlessly bridge the gap between wide-open landscapes and the intimacy of their sound, simultaneously making you feel close and far away from their window on the world.
It’s a quiet record, but austerity must not be mistaken for dullness, and besides, simplicity often speaks volumes: “Somebody painted my house a different color while I was out / And put people inside that I do not know.”
The album art says all there is to say about Conrad Ford; bleak terrain mirrors the imagery in the songs themselves: AM Radio, skeletons, parking lots.
A band risks monotony with a soft-spoken record. Fortunately, Don’t You Miss Yourself avoids the boredom trap. Perfectly suited to the approaching winter weather, it will help see you through the cold, dark months. When the sunlight comes back again, here’s hoping there will be a new album from this duo just as suited for the warmth. (Tarnished Records)
www.conradford.com
-Ali Marcus
Land Shark — Land Shark
Produced by Lance De Sardi
While the cover of Land Shark’s debut album would suggest an ironic, hipster smorgasbord, what we find inside is an artist more serious about his craft than staying on top of styles. The mode he represents is mid-tempo house in the vein of 808 State and Royksopp with mainly four-to-the-floor beats, pulsing bass and airy synth peppering his canvas with melody. Unlike the former two groups however, Land Shark can’t rely on a roster of talented vocalists as the focus of his layered productions.
Land Shark, a.k.a. Lance De Sardi, helmed the vocal duties and wrote the lyrics for all his songs; while he’s sincere and sufficient, he isn’t totally captivating. De Sardi has yet to find his own voice as his vocals and lyrics on “Shake Me” sound like a cross between Trent Reznor and Marilyn Manson. “Shake me, break me, wear me down,” he sings in an angry, throaty delivery. “Riot” seems to have been inspired by She Wants Revenge, with the refrain, “Let me see you break your back tonight / ‘Cause nothing will compare to the riot we incite,” repeated until the line ceases to be clever.
At other times, De Sardi’s lyrics are whisper-sung in a way that comes across as sheepish or creepy, like on “Tie Me Up” where he hisses, “You say you’re a nasty girl / Well if you’re so damn nasty then step into my world.”
The drug anthem “Fear (& Loathing)“ shows Land Shark at its most successful with trippy, innovative production and stoned vocals. At one point De Sardi simply starts laughing over chiming sound effects reminiscent of Pink Floyd’s Dark Side of the Moon. Another highlight is the reflective track “Slippage 1.0” meditating on the Floydian theme of time over new age synth-pads and hard, reverb-heavy dance drums. Land Shark doesn’t explore much new territory here, but at least offers a bright-eyed and forward-looking album. De Sardi is a very capable producer and songwriter who will hopefully grow into his talents.
(Coco Machete/OM Records)
www.landsharkbites.com
-Jake Rose
 Needle — Songs Your Mother Never
Sang You
Recorded and produced by Julie Cornett and Steven Beck
Needle’s debut album, Songs Your Mother Never Sang You, probably had a number of other titles before they chose the aforementioned one. Songs to Welcome Autumn With, Songs to Rock You to Sleep Underwater and This CD is the Best
Downtempo CD Ever So You’ll Never Need to Buy Another One were probably all in the running. Singer Julie Cornett’s melodies are truly more reminiscent of lullabies than generic songs. The blend of synthesizers, pianos, xylophones and occasional violins sets the mood as Cornett’s soothing voice quietly rocks the listener to a calmer, quieter dimension.
Though the band can be compared to similar groups such as Brightblack Morning Light, Elephant Parade, Mazzy Star and Portishead, Needle clearly steps away from sounding like a clone and rather makes a name for itself as a sleep-rock genius. Though guitarist/bassist/xylophonist/keyboardist Steve Beck creates brilliantly arranged melodies, one of the most beautiful songs on the album is a cover of Neil Young’s “Helpless,” which the group does more than justice to. Even the lyrics in “Helpless” describe the band’s motive, “Throwing shadows over our eyes,” which perfectly mimics what the sleepy lyrics do to their audience. Occasional bandmember Christine Banks does a tremendous job of adding violin to a few select songs, but is aware enough not to overdo it.
The cover of the album features several leaves dangling on a branch turning brownish-gold and yellow, a great use of symbolism as the songs are all reminiscent of the coming of autumn and cold nights spent by the fireplace. The only song that sounds out of place is the last song, “If,” which has a simple piano medley and a much more poppy sound to it. Though it really stands out against the lazy haze that the rest of the album creates, “If” may be foreshadowing what is to come. (Self-released)
www.needlemusic.net
-Katie Burnett
 Gliss — Love the Virgins
No production information provided
In keeping with the Los Angeles trend of darkly glamorous rock, Billy Corgan protégé Gliss has hit the scene with a haunting new album befitting of the dimly lit Echo Park dive lounges the band has become accustomed to playing.
Love the Virgins has a contemporary edge, utilizing dancey bass lines and clamorous drums with a hint of Smashing Pumpkins circa 1991 in its use of aggressive, heavily distorted guitar riffs. The album as a whole has a liquid effect, flowing together despite the clash of abrasive guitar screeches and hard-hitting drums. The throaty vocals, highly reminiscent of Corgan’s trademark voice, are interchanged between all three bandmembers, giving the music a sultry, androgynous air that breathes life into provocative lyrics dealing largely with the loss of innocence in a lust-driven world.
This thread of sultry psychedelia is most apparent on album namesake “Love the Virgins,” when they sing, “And then I wanted your love under the covers / And then you want it again just to discover / Well I can’t tell a lie I think it’s perfect / I’m falling falling again loving the virgins.” Song “Huh ... What?” is markedly faster and has the edgy vintage rock sound of Louis XIV crossed with the electro beats of Brit-band Goldfrapp. Songs “Blue Sky,” “Innocent Eyes” and “Off to Bed” continue this trend with more cutting guitar distortions and raspy, desirous voices.
Love the Virgins as a whole is a solid album showcasing a highly unified group of musical ingénues. The music crafted by Gliss embraces the style of their teachers — namely Corgan and Brit band Editors whom they toured with across Europe — while adding their own unique musical signature. Despite the abrasive nature of many of the guitar riffs, their tendency toward prominent repetitive bass lines on par with a Franz Ferdinand tune make many of these twelve songs ideal music for any hipster to flip their hair to. It seems such a waste that a band with this much depth and talent hasn’t found a home audience and is instead embraced more by fans overseas. (Tough Cookie Records)
www.gliss.tv
-Jen Tartaglione
 Smoke (of OlDominion) — Bleed
Produced by Smoke M2D6 for EarthFireMusic
Bleed is an Olympic year’s worth of trials and tribulations transcribed through the lyrical styling of “OlDominion’s resident white boy,” Smoke. Production on this 15-song offering is exceptional, actually. From the menacing cello loops on “Sinners and Saints” to the buttery keys on “Played Yourself,” Smoke wisely opts for simplicity rather than cluttered, sample-heavy drum machine concoctions. Smoke produces minimalist canvases that allow the listener to more easily focus on his words. Such is the case with “Flower Venom” — a song dealing with the ills of relationships and the symptoms of love withdrawals.
As an emcee, Smoke’s flow pattern can best be compared to a Beat poet with a penchant for tangent-filled rants, often vilifying the president or reveling in misery over some careless ex. Smoke is not your typical emcee spewing metaphors and punch lines to get the crowd hyped. Instead, Smoke uses abstract speak and on/offbeat flow patterns to woo his listeners out of their apathetic states.
Save for the few guest spots throughout Bleed, the flat tonalities of the album do not fluctuate much. “Compress” kickstarts the album with a disjointed yet dramatic beat. Representing OlDominion on “Fog on the Shore,” iAMe beats on ear drums a bit with some vintage rhyme-slinging, and Yadira Brown adds much needed warmth on the trip-hop inspired title track, “Bleed.”
As a hip-hop album, Bleed struggles with its own identity issues — is it meant to incite or pacify? Musically, the sound is unique with thesis in tact. Bleed is an exceptional first effort with form-fitting production; the true test is whether there is a large enough audience to nurture this hybrid of emo-tronic hip-hop. (SuperHappyWax)
www.superhappywax.com
-Franklin Grimes
 Zion I & The Grouch — Heroes in the City of Dope
Engineered, mixed, and produced by Amp Live, Eligh, Headnodic, and The Grouch
If Bay Area act Zion I & The Grouch set out to create one of the most refreshing hip-hop albums of the year, then they have succeeded. Heroes in the City of Dope is a 15-song album with plenty of soulful spirit, hyphy club bangers, and lyrics that ponder the social and political ills that have become so prevalent in the world today.
The album opens with the simple “Hit ‘Em Up,” hinting that the album sticks to one particular style. However, this assumption is quickly set aside with the next track, “Lift ‘Em Up,” which sounds like it could have easily come out of A Tribe Called Quest’s catalog of uplifting tracks. “Trains and Planes” continues this deep groove until “Current Affairs” changes direction both musically and lyrically as it calls for the rejection of sensationalistic news by the mass media. Standout tracks include “Make U Fly” and “10 Fingers 10 Toes 10 Lbs 10 Oz,” which both feature melodic Spanish-style classical guitar guiding the melody, and sound as if they could have been easily used by The Fugees in their heyday.
Zion I and The Grouch make a great team, but also have notable track records individually. Zion I has released three critically acclaimed LPs plus numerous EPs and mix tapes. The Grouch is not only a founding member of The Living Legends, but has also been at the forefront of the West Coast rap movement for over a decade. Both of these artists have paved an incredible path for themselves, and together as a team they will definitely keep pushing boundaries. (OM Records)
www.heroesinthecityofdope.com
-Casey O’Neill
 Two Sheds —
Strange Ammunition
Engineered by Robert Cheek at the Hangar, Brighton Sound, and his home in Sacramento
Mixed by Robert Cheek and John Baccigaluppi at The Hangar
Mastered at Monsterlab
Produced by Robert Cheek and Two Sheds
With a laid back, dreamy style reminiscent of Mazzy Star, Two Sheds combine elements of ’90s alt-rock and folksy Americana on Strange Ammunition, their crackling 11-song debut album.
Like Hope Sandoval, singer Caitlin Gutenberger’s sultry vocals are the most memorable component of her band’s sound. Many songs on Strange Ammunition are structured around her bittersweet, soulful melodies, sung over simple but beautiful arrangements. Songs such as “Perfect” and “Different View” create vibrant atmospheres with strings and acoustic guitar, in which Gutenberger’s voice flourishes.
Though effective, the stripped-down formula has its limitations. One instance where this tendency becomes apparent is on the album’s hidden song, a cover of the Talking Heads’ “Psycho Killer.” While the guitar and vocal rendition lends a twinkling ambiance to David Byrne’s ominous but catchy New Wave classic, the production drowns in reverb, and the less-is-more approach drowns with it.
Ironically, the strongest song on the album is the one most unlike its peers. In fact, it is one of the few songs where Gutenberger’s vocals occupy equal footing with the other musical elements. The rollicking “Momma” sets itself apart with its lyrical swagger and unabashed nod to crunchy, three-chord rock and roll. It is deliciously catchy and up-tempo, but like any great song, it builds upon its conventions and moves onward and upward.
Throughout Strange Ammunition, Two Sheds demonstrate a delicate ear for arrangements and a willingness to take chances that will serve them well. Their folk sensibilities add excellent depth to their music, and they have a definitive signature in Gutenberger. This debut proves that they’ve got a surplus of rootsy, homegrown alt-rock charm, but it would be great to see what Two Sheds could do by pushing themselves beyond their comfort level. (Under A Cloud Records)
www.ilovetwosheds.com
-Andres Jauregui
 Dmonstrations —
Night Trrors. Shock!
Recorded at Audio Design by Dan Maier
Mastered at Inprasonic Sound by Pete Lyman
Mixed by Dan Maier and Dmonstrations
With such a wide availability of recorded music, it makes sense that individual years, as opposed to decades, would define a certain musical period. Dmonstrations sound like an early 21st century math-dance-punk band, but specifically they sound like they’re stuck in 2003, when Liars, Chromatics and others were at the height of coolness for their twitchy, technical and dissonant rock. Dmonstrations’ album Night Trrors. Shock! is what those bands would have sounded like had they not discovered electronics and moved on. Dmonstrations appear to be alienating an audience for a style that is rapidly disappearing.
Singer and lyricist Tetsunori Tawaraya embraces an unhinged vocal style that makes The Blood Brothers sound downright restrained. His atonal scream and screeching falsetto lack any sort of emotional resonance, a fact only enhanced by the unintelligible lyrics. On “I _ Night Trrors” — one of the songs that includes spoken word and therefore can be understood — Tawaraya spurts lines like, “Your wheelchair flies” like a naughty child. On “Voyeur” the band sounds incredibly similar to the rock period of fellow GSL labelmates Chromatics. Though they manage to work up an actual groove out of the jerky exercises on previous tracks, Tawaraya’s unfocused vocals make it difficult to take the band seriously.
At least on “Hair Pretzel” his voice carries a little dynamic weight from the sing-speak of lines like, “Middle age woman dropped mutagen pills in the river.” Such lyrics seem to be influenced by Deerhoof’s Satomi Matsuzaki, who uses a fantasia of odd and disturbing images to tell her stories. Drummer Aaron Wade also seems to fall into the Deerhoof school with his use of only kick drum, snare, and hi-hat.
While Dmonstrations sound like they would make an entertaining live spectacle, they don’t make a connection with the listener on this release. In order to transcend novelty status they must show some vulnerability. (Gold Standard Labs)
www.myspace.com/dmonstrations
-Jake Rose
 Roc ‘C’ —
All Questions Answered
Produced by the Oxnard Family: Oh No, DJ Romes and Kan Kick
Stones Throw’s self-professed “Street MC,” Roc ‘C’ bullies his way onto the scene with his debut full length, All Questions Answered. The latest product of hip-hop hotbed Oxnard, California, Roc first introduced himself to the world on the 2004 Oh No single, “Move Pt. 2” and has extended that performance into a label deal with one of the left coast’s favorite imprints.
So, the question becomes, what is Roc going to do with this opportunity? Well first off, he reaches out to his Oxnard fam and convinces them to give him one of the nastiest soundscapes assembled to spit over. Oh No, Kan Kick and Romes really outdo themselves and bless this newcomer with banger after banger on his rookie LP. Then, Roc pities the fool who said he couldn’t get strong guest spots and grabs Chino XL, Bizzy Bone and Oh to grab the device and show us what they can do. Chino’s verse on the “El Capitan” remix is particularly impressive as he fires off lines like, “As a kid, mom fed me venison and showed me Bambi,” and, “See, since I had breath and blessed with the gift of rhyme / Outshined Big Daddy Kane since the age of 9.”
At times though, the lethal 16s from his cohorts illuminate Roc’s own shortcomings on the vocals. To shoot straight, fans of Stones Throw’s catalogue may not get too amped off Roc’s lyrical prowess. While there are flashes of something special on “Don’t Stop” and his ode to the South aptly entitled “Dirty Dirty,” Roc’s not going to wow anybody.
What ultimately saves him is the passion that he speaks with and that he knows where he’s going with each song. Big Roc obviously loves what he’s doing and has a strong squad helping him get there. Simply put, the 93033 has another dedicated soldier fighting the fight and adding to his city’s legacy. (Stones Throw)
www.stonesthrow.com/roc
-Greg Scott
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