Brian Eno - Another Day On Earth Rykodisc
Reviewed by Mark Pittman
When I was a teenager, Brian Eno was one of my favorite artists. He seemed, consistently, to have the best ideas, the best musicians to help him execute those ideas, and the most curiosity as to where music could go. He had the ability to write great pop songs in the then-current style, he anticipated new wave music, and was even instrumental in creating ambient (or New Age) music. And then there’s his masterpiece, Another Green World, which still seems, perfectly, to embody all his combined talents, ideas, and artistic curiosity.
To prepare for reviewing his new album, I decided to re-purchase all of Eno’s 70s song-based albums, which recently came out in remastered form. By reinvestigating his earlier work I hoped to place this new album into context, show how Eno has progressed artistically since then, speculate on what new ideas he might have stumbled upon with his new work.
Unfortunately, Eno’s current album, Another Day on Earth, is probably the least interesting, worst performed, most irrelevant song-based album of his entire career. It doesn’t progress from or relate to any of his other vocal albums in any meaningful way—only in superficial ways.
Occasionally, one can hear aural suggestions of artists and work from his past. A rhythmic guitar part might sound like The Edge or an ambient guitar might sound like Daniel Lanois. Sometimes Eno sings a little like David Byrne, other times like John Cale. But mostly Eno sings without any style and even then very quietly, almost to the point of non-comprehensibility, like a man recording vocals in his apartment who doesn’t want to be heard. Unfortunately, the music Eno sings to isn’t intimate enough for this vocal style to work. His voice simply sounds weak. On two songs (“And Then So Clear”, “Bottomliners”) he alters his voice with that once-ubiquitous vocoder effect first heard on Cher’s “Believe,” only for no obvious reason, failing to take advantage of the aural possibilities of this overused, but striking effect.
In fact, it almost sounds as if Eno isn’t interested in experimenting in sound, words, or anything else for that matter. The words and music both sound as if they were written by a 50-something-year-old man (which they were) but, really, by any fifty-something-year-old man—like the one who lives down the street from you, who took in his garage to build a studio. The album’s subject matter concerns such topics as a person’s memories of the past, normal people living their day-to-day lives, the Internet—really predictable stuff. Even worse, every line following every other line in the lyric seems to end in the most obvious rhyme. The “grooves” in the songs sound like they were written specifically for adult contemporary stations, and the harsh, sterile, reverberant sound of the album reminds one of albums produced in the late 80’s (such as Eno’s own Wrong Way Up) as opposed to an album produced last year.
The credits to this album also make for depressing reading. Robert Fripp, Annie Lenox, David Bowie, Robert Wyatt, Tim Booth, Steve Jones and numerous others either gave Eno lyrical/musical input or simply listened to his new album and offered their opinions. Couldn’t any of these artists tell that this was implausibly bland, uninteresting work? Have they lost whatever artistic sensibilities they once possessed? Or was it a case of not wanting to hurt their friend’s feelings?
I don’t like trashing my heroes, so I’ll try to make up for it by recommending a few alternatives. Buy Eno’s first album, Here Come the Warm Jets; it sounds unbelievably current. Buy Another Green World; it sounds like nothing else and contains Eno’s best songs. Buy Ambient 4 On Land; you’ll hear some of his best, most evocative ambient recordings.
But forget Another Day on Earth. I think I’ll pretend it never happened.
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Daniel Lanois - Belladonna Anti-/Epitaph
Reviewed by Adam D. Miller
Although a talented singer-songwriter in his own right, Daniel Lanois will probably always be most well-known as a respected record producer. Along with Brian Eno, he was behind the scenes as co-producer on several pivotal records by U2, and on his own produced a who's who of music legends, including Bob Dylan (Oh Mercy, Time Out Of Mind), Emmylou Harris (Wrecking Ball), and Willie Nelson (Teatro).
Belladonna is Daniel Lanois' fourth studio album, and his first that is entirely instrumental. Rooted in Lanois' soundscapes and worldly influences, the album showcases his abilities as a multi-instrumentalist, finding the producer most at home with the pedal-steel and guitars, allowing other talented musicians like Brad Mehldau and Brian Blade to offer their support.
When it comes to his production work, Daniel Lanois is best compared with the auteur of cinema. Like Hitchcock, Truffaut, or Fellini, Lanois puts his personal stamp on just about anything he touches. Some criticize him for this (much like that other hands-on producer, Jeff Lynne), but his atmospheric production, reverb-soaked guitar lines, and primal instrumental arrangements have helped make albums like Oh Mercy and Wrecking Ball effective and unique without getting in the way of the material.
Lanois’ sometime collaborator Brian Eno also fits well into the definition of producer as auteur, and in many ways he could be called Belladonna’s most prevalent inspiration. Eno, credited today as the father of ambient music, in many ways revolutionized the instrumental pop album and helped Lanois hone his skills a producer. His influence is particularly noticeable on the album opener. “Two Worlds” wouldn’t sound very out of place on Eno’s late 1970s collaborations with David Bowie. But where Eno's influence is more electronic, Lanois' is more organic; the songs on the album quickly travel from the avant-garde to the accessible. Immediately after the dense “Two Worlds” comes “Sketches,” which is modeled on a simple guitar part and soft percussion.
While a lot of Belladonna sounds like Oh Mercy without Dylan’s vocals, the album ultimately finds its ground in Mexican-influenced melodies, like those found on "Agave,” the atmosphere and reverb mentioned earlier alive and well throughout.
Although not as accessible as more lyrical efforts of Lanois’, like 1989's Acadie, fans of instrumental guitar-based work should enjoy Belladonna, and it is an impressive showing by someone whose name we should all be familiar with by now given his track record.
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Dropkick Murphys - The Warrior’s Code Hellcat Records
Reviewed by Stephen Gill
The Warrior’s Code, the new album by the Dropkick Murphy’s, will more than likely piss off some of the band’s hardcore punk fans. But that being said it will undoubtedly gain legions of new fans as the band has carefully crafted a CD with more hooks than a Gloucester fishing boat. Don’t get me wrong, the record has plenty of punk crunch, but the band has focused on some of the elements that have made them unique, and the collection is better because of it. The Dropkick Murphys have always done punk rock with an Irish influence. On The Warrior’s Code they rely upon that aspect of their sound even more. Scruffy Wallace’s bagpipes are included on more songs and brought out more prominently in the mix, as are tin whistles, accordions, and fiddles.
The album opens with “Your Spirit’s Alive,” a tribute to Greg “Chickenman” Riley, a friend of the band who passed away last year. With the lyric, “We are the ones who will never be broken/ We are the ones who survive/ This is the sound that brings us together/ You are the one by our side,” we hear the band celebrate the memory of a friend that’s missed wrapped up in a full tilt, no-holds-barred rock song.
The title song is about old-time Massachusetts boxer Micky Ward (who is also the boxer pictured on the cover). This track is a propelled by the bagpipes and whistle as vocalist Al Barr and bassist Ken Casey trade jabs.
There are three traditional Irish songs covered on The Warrior’s Code. “Captain Kelly’s Kitchen” and “The Auld Triangle” are done in typical DKM revved-up style. If you’ve heard them do “Fields of Athenry,” then you’ll know what to expect. The curve ball here is “The Green Fields of France.” This is as traditional sounding as anything they’ve done, instrumentally as well as vocally. Al Barr shows us some range, bringing it down from his usual growl, even though there are times during the song where you feel that he’d love to break into his usual gravelly volume. Another track that shows off Al is “The Burden,” done in a classic 70’s rock style. Not forgetting their punk roots, DKM speed through “Citizen CIA” at one minute thirty two seconds ending with the lyric, “They said I’d be working with Sidney/ Man this sucks”.
The track you’ll probably hear on the radio first is “Sunshine Highway.” Look under the catchy hooks and sing-along chorus at the lyrics, and you’ll find a song about going to rehab: “I’ve had my share of Mt. Pleasant messiahs wearing slippers and robes/ Trying to bum my smokes? I’m gonna Thorazine shuffle straight out that door/ Head to the farm and find me a cure.”
Go to a Dropkick Murphys concert and you’ll see a multi-generational audience, from kids in their pre-teens to adults way past middle age. I was talking to a Boston Police officer at one of the last St Patrick’s Day concerts, and he said he loved the band and had all their albums. He added that his kid was pissed that he was at the show and she wasn’t. The Warrior’s Code is DKM’s way of trying to please all their fans and at the same time win over some new ones. They should have no problems either way.
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Fletcher Harrington & Topka - Land Rush The Orchard
Reviewed by Adam M. Anklewicz
Songwriter Fletcher Harrington leads Topeka on a very soulful outing with Land Rush, which will remind any fan of country rooted rock ‘n’ roll of Neil Young, Emmylou Harris or Lucinda Williams. Harrington’s voice is a cross between The Tragically Hip’s Gord Downie (but less grating) and Neil Young (but with better control of his tone). While splitting lead vocals with Tanya Livingstone, Harrington wrote all the songs except for the Pink Floyd cover, “Cymabline.” A talented songwriter, Land Rush is a perfect album for a lazy day. Mostly acoustic, the album feels like it fell out of the 70s, and it definitely could have.
The album opens with “Another Brilliant Day.” You’re not immediately faced with Harrington’s voice, instead you get eased into though Livingstone, who handles the songs perfectly and lets off enough emotion to create a connection, and doesn’t go overboard. Followed immediately is “Popskullz” where the listener will meet the great songwriter behind this great album.
“Fall” is a perfect example of the record’s brilliance. With Livingstone’s voice strong and beautiful, matched with Harrington’s great lyrics it creates a great song. A track that could have fit in perfectly on Neil Young’s classic Harvest, “Fall” is among the best songs I have heard in a long time.
Topeka is a “supergroup” of recording artists on Loopie Records, featuring Harrington from Cowboy Buddha, Livingstone from Blind Ruby and Brit Collins of Moonhead. Easily linked to other country influenced artists like Neil Young or Gram Parsons, Topeka have a strong presence and have created a great record.
“Winter 808” is the oddball on the album, an experiment with loops, but retaining enough country that it fits in well with the album. Harrington’s vocals are most prominently similar to Downie’s on this track, but fortunately it’s mixed low enough not to cause any pain.
I don’t know if Land Rush could be much better. The songs aren’t always perfect but there is a classic atmosphere to this album, everything on it is very comforting. Livingstone, Collins and Harrington created an album that is a newly discovered treasure.
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Grey DeLisle - Iron Flowers Sugar Hill Records
Reviewed by Adam M. Anklewicz
You’ve got to be pretty dumb to try to cover “Bohemian Rhapsody.” At least that’s what I thought until I heard the opening track to Grey DeLisle’s new album Iron Flowers. She does it really well. It might make a Queen fan cringe, but who doesn’t think that Queen could have used more country and a little less cock-rock?
Grey DeLisle stands apart from the rest of the crowd because of the instrument she plays. It’s rare to see a band fronted by a woman playing an auto-harp, but that’s what DeLisle does. The songs however are not as interesting as the choice of instrument. The songs are hurt by high school level poetry masquerading as lyrics and thrown together melodies that you’ll frequently find are reminiscent of other, more popular songs.
The album art does little to help, as your eye has to strain to make out the words written on the back of the CD case, making you unsure of the names of anyone involved, and unsure what the songs are even called. The uninviting package helps to keep the music at a distance from the audience.
Most of the songs seem to have been cobbled together in the span of only a few days. With only ten songs on the album, two of them covers, I wonder what the point of the album is. The songs are mostly mellow, but to the point of boredom. When the songs get heavier, you see it’s not right for the song. “The Bloody Bucket” is perhaps one of the best songs on Iron Flowers even if it sounds like a Joan Osborne song, but two thirds into the song, the band kicks in and it’s evident that it’s not right for DeLisle. On the same note “Blueheart” sounds like a drunken high school band.
“Right Now” and “Sweet Little Bluebird” are the two songs that stand out the most among the album. Neither are great songs, but they pass the bar that DeLisle had set for herself. If you ignore the lyrics you’ll enjoy these two songs and find something worthwhile in them.
Iron Flowers is a flawed album. DeLisle has a great voice, if only she were a better songwriter.
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Joshua Redman Elastic Band - Momentum Nonesuch/Warner
Reviewed by Russell Bartholomee
Several times over the last few years, a friend of mine has suggested that I check out Joshua Redman. This friend and I share similar taste in jazz. We both like the great saxophonists (like Coltrane, Bird, and Branford), and we both enjoy the recent trend of jazz combos that aren’t afraid to blend jazz with hip hop or funk grooves (like Stanton Moore, Charlie Hunter, and Medeski, Martin & Wood). My friend has assured me again and again that I would adore Joshua Redman. It’s not that I didn’t believe him; it’s just that I never quite got around to following through. So when Warner Music sent the Being There offices a copy of Redman’s latest release, Momentum, I was glad to finally be able to see if my friend was right.
Having listened to the record now three times through, I’d like to offer my apologies, both to my friend and to Joshua Redman, for not having paid attention sooner. Mea culpa. Momentum is a thoroughly enjoyable record which might just have the most accurate title so far this year. That’s because it brims with energy without ever slowing down or wearing out its welcome from beginning to end.
The Elastic Band—consisting of Redman on sax and keyboards, Sam Yahel on keyboards, and Jeff Ballard and Brian Blade on drums—is incredibly tight, playing with a perfect combination of precision and improvisation. The opening track, the kinetic “Soundcheck,” sets the tone for the rest of the record. Over an irresistible drum and bass groove, Redman’s tenor saxophone soars in counterpoint to Yahel’s impressive keyboard chops. As on most of the tracks, Yahel provides synth bass in addition to other keyboard instruments (including clavinets, organ, and Rhodes piano). As a bassist, I normally can’t stand bass synth; it always sounds like a bass synth to me. But Yahel is so adroit at the instrument that it’s nearly impossible to tell the difference. Both Ballard and Blade provide jaw-dropping drumming on their respective tracks. Most of all, Redman is clearly a master of his instrument, comfortably inhabiting a style worthy of Trane, Bird, and Maceo Parker.
The Elastic Band gets help from an extraordinary (and sometimes surprising) lineup of guests. Real live electric bass is provided on one track by Meshell Ndegeocello and on two others by Flea, who never ceases to amaze me. Nicholas Payton adds a very welcome trumpet to “Put It in Your Pocket,” which is further aided by excellent drumming from ?uestlove (of hip hop group The Roots) and the guitar work of Peter Bernstein. It’s to Redman’s great credit that he’s able to work with artists from such diverse musical backgrounds and yet manages a collection of tunes that all fit together seamlessly.
He’s also to be commended for his bold choice of cover tunes. Though the vast majority of the tunes are original compositions, the album includes tremendous covers of Ornette Coleman’s “Lonely Woman,” Led Zeppelin’s “The Crunge,” and Sheryl Crow’s “Riverwide.” Redman finds the common ground among those three (completely divergent) artists and make their tunes fit perfectly with his own. In addition to these wonderful covers, album highlights include “Sweet Nasty,” “Put It in Your Pocket,” and the audacious “Shut Your Mouth.”
With the bass synth, the hip hop drummer, and the occasional multi-tracked or effects-laden saxophone part, not to mention the record’s embracing of non-traditional jazz rhythms and instruments, some jazz purists may not enjoy Momentum. But it’s their loss. Redman is that rare jazz artist who (like Charlie Hunter, Medeski, Martin & Wood, and Stanton Moore) is both fully informed of the genre’s rich heritage and still forward thinking enough to offer hope that some of the best jazz may be yet to come.
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The Konks - The Konks Bomp records
Reviewed by Stephen Gill
The summer is in full swing and the Konks are here to make sure you enjoy it. In full garage/punk splendor they will make you forget the Michael Jackson verdict and anything else that might be bothering you. After listening to their self titled CD on the legendary Bomp record label you might think it's the 60s again, only with the Sex Pistols spearheading the British Invasion instead of the Beatles. The Konks even borrow a bit of Johnny Rotten's fury in a line from the second track on the CD “Twenty Nine Fingers,” “We're the Konks, and we don't care.” That song also describes the band's lo-fi approach to their music, “We play cheap guitars and only two lousy drums.” They might want to come off as pawn shop heroes but the boys can play no matter how many collective fingers they have.
The first song on the CD, “Outta My Mind,” opens with a ferocious guitar line and growling vocals that grabs a hold of your gut and doesn't let go till the last song is over. Don't let the fuzz, reverb, and snare drum in a milk crate fool you, there are good songs on this record. Just be careful singing “God Says” while walking down the hall at work; the only lyric is: “God says, whoa motherfucker”. One of the two covers is Soupy Sale's “King Kong” with singer Kurt Davis doing his best Lux Interior imitation, but the way this song rocks would make even the Cramps jealous. The other cover, “Let the Music Do the Talking,” is from a Joe Perry solo album but listed in the liner notes as written by Aerosmith. Either way I bet Joe P. would approve.
Going to a party this weekend? Make sure “Break my Back” and “Move and Shake” are in the mix. They'll all be dancing like the kids in “Animal House” at the toga party. When Kurt sings “I got one spine and it’s gonna crack” he means it. Bassist Jon Port isn't just playing root notes along with the power chords by guitarist Bob Wilson; there's some serious bottom there, and thankfully it isn't buried in the mix. The song “Honey” calms things down and has a repeating guitar riff and groove reminiscent of Junior Kimbrough.
This is no frills, no bullshit rock and roll. Instead of Annette and Frankie on beach, its Sid and Nancy. “We got 29 fingers and man, are we having fun.” Get this CD and you will be too.
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Kraftwerk - Minimum-Maximum Astralwerks/EMD
Reviewed by Mark Pittman
Ever since I was a teenager I’ve wanted to see Kraftwerk live. Back in the 80s, though, I couldn’t decide what I thought about their music on its own. Kraftwerk either seemed like innovative geniuses or a collective joke, depending on the day of the week. This is the band that sang “We Are the Robots,” after all, and meant it.
Once I saw footage of a Kraftwerk concert from the 70s, however, I became determined to see them live. The footage showed four identical-looking men, with the same short haircut, in identical astronaut jumpsuits standing in front of a huge projection screen. All four men were looking calmly but intently at four individual compact keyboard consoles, as if trying to collaboratively solve a complex mathematical problem before an audience of thousands. The four members of Kraftwerk just looked so incredibly confidant and intelligent. Were they actually making music with those small consoles? Which one of them did the robot voice? And where could I get one of those jumpsuits?!
Looking at the Minimum-Maximum CD booklet, which consists solely of photographs of Kraftwerk working at their consoles in front of an enormous backdrop, it appears they’ve wisely kept their concert image intact. Unfortunately (understandably?) they didn’t make it as far down as Texas on their recent tour, so I guess in the meantime I’ll have to make do with this new live double CD.
As you would expect, the live sound of Minimum-Maximum is bigger than the sound of Kraftwerk’s studio albums. Sometimes this is a good thing; sometimes it isn’t. It definitely improves the songs taken from their latest album, Tour de France Soundtracks, which suffered from production that was sterile even by Kraftwerk standards. The bigger sound of the concert hall also makes the robot voices sound frighteningly ominous—and believe me, that’s a good thing! On the other hand, some of Kraftwerk’s better-known hits, such as “The Model,” “Radioactivity,” and “Robots” sound overproduced and/or remixed for no good reason, since the minimally produced originals were perfect to begin with.
As I mentioned before, the Tour de France Soundtracks numbers benefit from better sound, but here they’ve also been shortened and crafted into genuinely exciting songs. In its new form, “Vitamin” sounds the equal of any great Kraftwerk single; “Chrono” has been cut down into a short experimental piece of watery effects; and “Elektro Kardiogramm" now sounds like some great, lost outtake from Depeche Mode’s Violator. (In fact, the whole album could be used as a game of “Who Stole What from Kraftwerk”. New Order, Yazoo/Erasure, Pet Shop Boys, Depeche Mode, last month’s techno favorite—they’re all here.)
As for the rest of the album, it’s an odd collection of songs derivative, embarrassing, hilarious, and moving. I’m afraid I will never be able to enjoy the hopeless goofiness of “Autobahn,” ”Computer World,” ”Tour de France,” or “Pocket Calculator.” But strangely, the Japanese version of “Pocket Computer” (“Dentaku”) is really quite moving—especially when hearing an entire Tokyo audience audibly recognize the song and then begin ecstatically singing all the Japanese lyrics along with Kraftwerk’s singer, who sounds absolutely energized by it all.
There’s the simple beauty of songs like “Neon Lights” and the pummeling excitement of “Numbers,” but the most memorable moments on the album are the unintentionally (?) hilarious ones.
For example, “Radioactivity” starts with a scary-sounding, environmentally conscious robot lecturing the audience on the dangers of Radioactivity. He ends his lecture with:
“One of these radioactive substances, Kypton-85, will cause death…and skin cancer.” (audience cheers)
Death and skin cancer? In that order?
There’s more fun. “Autobahn” wittily starts with four robot voices singing in barbershop harmony. “Music Non Stop” ends with the four members of Kraftwerk taking individual solos a la Cheap Trick, only sounding very Germanic in the process.
And then there’s the immortal lyric to “Home Computer”:
“I program my home computer
Beam myself into the future.”
Where has that song been all my life? I can’t help it, I’m a believer now. I will never doubt Kraftwerk again. I guess it’s true what they say:
IT’S MORE FUN TO COMPUTE!
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Media Burn - Virtual Love Wrong Speed Records
Reviewed by Russell Bartholomee
Before I get into the details of why Media Burn’s Virtual Love is the weakest excuse for music I’ve heard in many years, I want to make something clear. One of the joys of writing for Being There is getting to hear brand new music by artists that have yet to be discovered. In addition to all of the upcoming releases by major artists that we look forward to each month, I take great pleasure in listening to people I’ve never heard of, CDs from struggling musicians who have something profound to say or sing but who have yet to find their audience. It’s a great honor to be able to help broaden that audience, especially for the most deserving underground bands.
On these pages, I’ve waxed rhapsodic about albums by relatively unknown acts like BE, The Jones Thing, Soul-Junk, and McLemore Avenue (to name a few). And even when an up and coming new band submits a CD that’s sub-par, my inclination is to say nothing at all rather that to rip it apart, or at least to offer helpful suggestions, as I don’t want musicians with potential to give up because of my tastes.
Speaking of tastes, I like a lot of different types of music. I enjoy the gloriously melodic, the groovy, and the gothic. I also like noisy, angry guitar music. So when I received a submission from Media Burn, with a press kit that claimed that the music would “fill…a musical void somewhere between My Bloody Valentine, early Public Image Ltd, and Throwing Muses” (one of my all-time favorite bands), I was very excited.
But Media Burn’s claim is completely false. In fact, I would recommend to Kristin Hersh of Throwing Muses that she seek a court order demanding that Media Burn refrain from comparing themselves favorably to her ever again. Virtual Love is that bad. It’s actually difficult to find the words to describe just how this album sounds. I’d call it an orchestrated cat fight, but that would be insulting to alley cats, and it would imply that there’s some actual orchestration to be found on the disc.
Have you ever walked into a large musical instrument store, only to be bombarded with chaotic noise? There are two guitarists trying to show off their unimpressive licks, one playing Hendrix, the other Nirvana. There’s a Flea-wannabe bassist competing for attention with the Jazz wannabe bassist, and they’re all being drowned out by a pair of drummers who worship Neil Peart and Tito Puente, respectively. From the distance, a guy who never touched a turntable before is demoing DJ equipment. None of these “musicians” are trying to play together, and they all kind of suck individually, as well. That’s what this record sounds like. With bad vocals.
And I mean really bad vocals. Singer Johanna Blanchard stands in the unique position of having both an incredibly shrill and irritatingly weak voice. Her wailing is only slightly less headache-inducing than multi-instrumentalist Doug Hamilton’s guitar noodlings. On one or two tracks, things begin with a promising 5 seconds of rhythm, only to be completely undone by effects-overloaded distorted chaos. (And if you’re reading this thinking Jonny Greenwood of Radiohead, think again).
The only thing worse is the lyrics, which are so laughably amateurish that I first thought this must all be some joke. (The cover picture on the band’s website, with Media Burn dressed as characters from Logan’s Run lends some credibility to that possibility). Here’s a sample, from “Rabbit Punch”: “Freud was right/Men want to fuck me/Women want to fuck me over/Degenerate or dysfunctional/Ice is my favorite color.”
?
There’s also an ode to ginseng tea, called “Ginseng.” “Herbal supplement/It must be good for you/What can it do to you/What can it do for you?” I have no idea, but I can tell you what Media Burn can do for me:
Stop making records. Please.
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Novillero - Aim Right For The Holes In Their Lives Mint Records
Reviewed by Brighid Mooney
Mint Records is touting Novillero's new album, Aim Right For the Holes In Their Lives, as something called "mod soul power," a kind of melding of power pop and old school R&B influences that run from The Who and the Small Faces to Booker T and the MGs and The Supremes. Four years in the making, Novillero has had plenty of time both to build up expectations and to make sure that the follow up album to their debut The Brindleford Follies can match up. With constant touring helping to solidify their sound and musicianship, Novillero may just end up surpassing those expectations. Made up of four musicians already established in the Canadian music scene, Novillero is already one of Winnipeg's most popular bands. With Aim, they are pushing new boundaries, into the rest of Canada and the western world.
Aim Right For the Holes In Their Lives is a highly produced album, sounding polished and professional, with a slickness that almost seems out of place in today's raucous music scene. Featuring a lofty horn section with everything from trumpet, sax and trombone outspoken and shining on many of the songs, and great 60s-style harmonies, Aim does indeed have a nostalgic sound. Novillero's soul and R&B influences are given more than a passing nod in several places, although the sound itself has been updated with a pop sensibility that leaves it right at home with today's popular music. "The Hypothesist" is one of the strongest songs on the album, with a jubilant piano riff and catchy beat, which affects a sensual and soulful chorus. Aim has a youthful energy running throughout which makes it flow nicely from one song to the next, and although not all of the songs are hits, Novillero has achieved a formidable collection of pop soul. "Dean" is something of a puerile remonstration of a pretentious wannabe actor: "And if there's girls around, his volume grows, But no one likes a loud mouthed thespian." And the title track has a more sensitive and laid-back feel, with soft-spoken vocals and gentle backing harmonies. The last song on the album, "Let's Pull Over Here," is a quiet and subtle ending to a mostly hard-driving album and brings things to an easily dignified close.
The Winnipeg quartet has managed to create a continuously fun album of solidly appealing songs that grow on you with each subsequent listen. If it's another four years before their next release, number three should be off the charts. Aim is a fun, enjoyable, easy-going album and should appeal to anyone who likes modern rock and pop with a nostalgic edge.
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Oneida - The Wedding Three Gut Records
Reviewed by Brighid Mooney
Oneida is the kind of band that drives music critics crazy trying to decide exactly who they sound like. The simple answer would be the Pink Panther-esque 'they sound like everyone and they sound like no one. They sound like every genre and they sound like no genre.' Once said critic has reached the frazzled point of insanity (does it count as a music review if I don't compare them to something? Do I still get paid for this?) they seem to just give up and say they sound like, I don't know, the Flaming Lips maybe. But the truth is, they don't really sound like the Flaming Lips, or Mercury Rev, or Pink Floyd, or any of the other bands their sound gets set up beside. Instead, Oneida is one band that is completely unique. This is both their blessing and their curse, as their uniqueness both intrigues and confuses. They sound like Oneida, and that is really the only comparison that's ever going to hold water.
The music from the Brooklyn-based Oneida could probably be safely called experimental, however, as the songs on their latest album, The Wedding, encompass a wide array of sounds, styles and textures. Many of the songs have definite old school, psych-rock influences, but these are inspirations that get lost somewhere in the scope of the songs as they twist and turn and shed most of their defining characteristics. Using everything from orchestral strings to farfisa organ, plenty of killer guitar riffs and lots of well-placed reverb, the songs on the Wedding move from the psychedelic shredding of "Did I Die," a hardcore burnout anthem, to the pleasantly trippy "Run Through My Hair" and the sprawling and mystical "Spirits." The album is not without its more subtle moments either though, and The Wedding avoids getting stuck in one place for very long by switching up often. Even with its frequently modern sound, Oneida tends to evoke an old rock feel, touching on prog, metal and pop along the way. The result is wonderfully eclectic and, though not very consistent, it's never boring either.
"Well, we just thought, 'What would the Left Banke have sounded like if they were a machine?'" group member Kid Millions says of The Wedding. "I'm not sure we found out, but we made an interesting record." And that is probably as accurate a description as you're likely to find. While the final effect isn't always perfect, Oneida have managed to make a thoroughly interesting record with enough variety of sound to keep you on your toes through the end.
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Ringo Starr - Choose Love Koch
Reviewed by Adam M. Anklewicz
“Ringo’s rockin’ on,” yells Ringo Starr on his latest album Choose Love. Starr was lucky to be in a band with two people who are arguably the best songwriting team in rock ‘n’ roll history. Without the constant brilliance of Lennon/McCartney, Ringo Starr has been left making mediocre records and touring for fans who want to hear him perform “With A Little Help From My Friends”.
Choose Love is Starr’s first studio album since 2003’s Ringorama. Though Choose Love is a better album than his previous, that doesn’t say much. The album delivers exactly what you’d expect from everybody’s favourite surviving Beatle... next to Paul McCartney. A simple message of peace and love wrapped up in cheesy pop.
In usual Ringo fashion, he graces the cover sporting a peace sign. Throughout the liner notes, Ringo is calling for peace. Peace and love is the message that Starr is pushing for. Every single song seems to be about this simple subject, and in typical hippy fashion, it seems that Starr believes that simply singing about peace will make it happen. If that were true that world would have been a utopia by 1969.
Featuring guests like Billy Preston and Chrissie Hynde, the album proves that even if the songs aren’t very good, everyone still wants to play with an ex-Beatle. Ringo Starr can take advantage of that and form his All-Starr Band to tour. It appears that in the 35 years since The Beatles disbanded, Starr has not learned from the wisdom of the many songwriting friends he has. But at least he can still play the drums.
This album is an embarrassment to the legacy left behind by The Beatles. Ringo, we still love you, but your there’s a reason only two of your songs appeared on the thirteen Beatles albums. Your best album is still Ringo, where most of the songs were written by Lennon, McCartney and Harrison.
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Sadoceanspacebear - Sadoceanspacebear Alien Girl Records
Reviewed by Brighid Mooney
There seems to be something of a trend lately for bands that aren't really bands in the traditional sense, but more of an artistic ensemble, a collection of rotating musicians based around the songs of one contributor who makes up the core of the group. This is what Sadoceanspacebear is, a group of musicians, many of them from other already popular Canadian bands, who have come together under the direction of singer and guitarist Michelle Breslin to create their self-titled debut album, a subtle, relaxing collection of songs that eschew genre definition. With help from members of bands like Squirrel, the Constantines, the Raving Mojos, Moe Kellogg and the Sleepy Mosquito Buzz Quartet, Breslin and company have come out with a solid album of sometimes catchy, always mellow tunes that are almost immediately engaging.
One look at the album's cover and you may be expecting a psychedelic frenzy of stoner rock and Pink Floyd-esque textures. But while the group was obviously influenced by such music, it doesn't quite define their sound. Instead, the songs are more subtle, layered affairs that calmly and evocatively express a spectrum of emotions and sounds. The album vibrates from soft and gentle songs relaying personal, sensitive lyrics, to pulsating instrumental eruptions, the twelve songs on the album never seeming out of place or ill-fitting. "Situation" is an upbeat, rollicking rock song, soon followed by the quieter, softer "Wandering Man" which rolls out slowly and serenely as it tells its story. Other songs on the album are equally as engaging, just as subtle and harmonic and endlessly beautiful and disarming.
The Toronto-based band has a core membership with other musicians making appearances and cameos as their schedules allow, but at its heart Sadoceanspacebear is a very discernible group, making experimental, all-encompassing music that is both heartfelt and mysterious. Their debut album is an excellent sign of what great things we can expect to come from this able and interesting collection of musicians.
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Selfs - Porno, Mint, Grime Selfies
Reviewed by Ceci Norman
Some music just suits the season it’s released in. If Self’s new album were released during a snowstorm, it would sit on a shelf until it could be properly brought out during sunny weather. Luckily, its timing is right. This compilation of b-side tracks made from 2001-2004 is the perfect free-for-all to chill to this summer—not to mention all summers hereafter, or cold winter nights that need a breath of sunny pop. Porno, Mint, Grime is like a cherry to garnish any summer party. Its sweet blend of pop melodies and bright (read: slick and intelligent) lyrics provide the perfect excuse for impromptu dance parties or beach excursions.
These summery images are based mostly on Matt Mahaffey’s move to LA to be closer to his record label, as he states in the album’s notes. All the references to Beverly Hills, Compton, summer and the ocean show just how much the California sun went to his head. Unfortunately, lyrically, his doubts shine through too. But this self-conscious pop sound has been part of Self’s charm since they began in 1995 with Subliminal Plastic Motives. Songs such as “Breakdown” and “Brooklyn” show Mahaffey’s uncertainty in where his fan base is, while “With You Somehow” and “Donating to Science” suggest woman trouble (although any girl would fall for a boy who breaks out “She’s an Island” or “This is Love”). They’re deliciously light and could instigate many summer flings. Not to mention, the melodies and beats make any negative word on the album seem like a mosquito bite worth suffering.
The best part of Porno, Mint, Grime is that it follows suit with all of Self’s releases since 2000 (starting with Self Goes Shopping), in that it’s completely free. So rather than running to a record store, just skip to www.selfies.com and download it. Then, throw it on a CD, and use the money typically spent to buy ice cream. And if worse comes to worst, the CD will work as a new Frisbee. But more likely, Porno, Mint, Grime will provide the right tone and energy for fresh summer fun.
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Son Volt - A Retrospective: 1995-2000 Rhino
Reviewed by Adam D. Miller
When alt. country pioneers Uncle Tupelo split up in 1994, two bands were formed from its remaining parts. Jeff Tweedy found great success (at least as much as can be expected from a band that doesn’t receive any radio play) with Wilco, a band that has gradually shifted its focus away from country-oriented material toward more experimental rock fare. Uncle Tupelo’s primary singer-songwriter, Jay Farrar, formed Son Volt, a band that has not achieved the moderate popularity of Wilco, but one that stayed truer to the alt. country spirit that Uncle Tupelo were all about.
It may seem too soon for a compilation, especially when you consider that Son Volt has only released three full-length albums, with a fourth on the way in July. But A Retrospective: 1995-2000 is more of an assessment of the first five years of Son Volt. As opposed to a “greatest hits” compilation, Retrospective is an anthology of who Son Volt were as a band, and what they were trying to say in the space of those five years.
Most Son Volt fans will tell you that Trace is the essential album of the bunch. Even Elvis Costello snuck it on his Vanity Fair piece from a few years back, where he listed the 500 Albums You Need. Four of the tracks from Trace make it on to Retrospective.
Three tracks from each of the other two Son Volt albums, Straightaways (1997) and Wide String Tremelo (1998) appear here as well. If you’ve lost count that’s ten tracks culled from Son Volt’s three albums, leaving ten tracks for more unconventional fare, like previously unreleased or otherwise rare tracks.
The rarities are what will make this compilation desirable to even the biggest Son Volt fan. Some tracks are previously unreleased altogether, like the band’s version of Woody Guthrie’s “I’ve Got To Know,” Lead Belly’s “Ain’t No More Cane,” and a few demo recordings. Others appeared on obscure soundtracks or various artist compilations. The Feeling Minnesota soundtrack is the source of “Looking at the World through a Windshield,” an enjoyable cover of a Jerry Chestnut/Mike Hoyer song. Jay Farrar also duets with singer-songwriter Kelly Willis on Townes Van Zandt’s “Rex’s Blues,” which appeared in 1995 on an offbeat compilation called Red Hot + Bothered: the Indie Rock Guide to Dating. Elsewhere on the set, Son Volt covers Chilton and Springsteen, as well.
These rarities make the set worthwhile for any hardcore fan, but as it is with most good compilations, Retrospective serves as the ideal starting point for someone new to Son Volt, like those of us who went with Jeff Tweedy after the demise of Uncle Tupelo.
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Tracy Bonham - Blink The Brightest Zoe Records
Reviewed by Brighid Mooney
The newest work from female alternative rock virtuoso Tracy Bonham is lacking a vitriolic scorcher á la the radio hit "Mother Mother" from her illustrious debut, 1996's The Burdens of Being Upright, but in the place of that witty, articulate anger, Bonham has created a collection of mature, emotional songs, replacing anger with poise while maintaining the sharp wit her fans have come to know her for. The result is an album that is smart and well put-together, though it is somewhat without the familiar oomph that longtime fans might be expecting. Nonetheless, Bonham achieves much with her third album, Blink the Brightest from Zoe Records, continuing in a Lilith Fair-captured tradition of bold, musically empowered female artists.
Drawing on musical roots that reach back into rock, pop, soul and R&B, among others, the classically trained pianist and violinist also played keyboards and guitar and co-produced the album, to create the 12 subtle and lyrically adept tracks that make up Blink the Brightest. The stand-out track is the rollicking "Dumbo Sun," which uses a healthy dose of humor to capture a fun, summer-like vibe. "The World Has the Nerve to Keep Turning" shows off Bonham's trademark cleverness, expressing complete outrage with a note of understated calm and beauty. "I Was Born Without You" is both hopeful and sad, while "Naked" is bold and carefully drawn.
Blink the Brightest strays from Bonham's past endeavors, and without that raw, searing power or the tuneful rage that previously defined much of her work the album can seem slow and, at times, disengaging. But each of these 12 tracks combines with the others and in the end the album is cohesive and mellow, expressive and beautiful, tentative and self-sure. This is a more mature, more experienced, more confident Tracy Bonham and it shows in the songs. Blink the Brightest is a solid collection of songs that should appeal to anyone who has followed and enjoyed Bonham's career from the start.
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Van Morrison - Magic Time Geffen
Reviewed by Adam D. Miller
Van Morrison’s last release had the title What’s Wrong With This Picture? That’s precisely what I asked myself upon listening to it, and it was the first thing that popped into my head as I finished listening to Magic Time for the first time.
But let’s rewind for a second. In the 1970s, Van Morrison was a force to be reckoned with. As a songwriter, he crafted wonderful songs that fused his love for American rhythm and blues and Irish folk music. And as a performer, he was among the best of his generation, putting his heart and soul into every performance, as is so well represented on It's Too Late To Stop Now, one of the best live albums of all time.
Since then, Morrison has been more of an inconsistent force. He is still capable of writing great songs, making great albums, and putting on great shows, but the heart and soul seems to have been replaced with some sort of internal auto-pilot chip planted in his brain. Magic Time is a okay album, but seems too artificial to justify a glowing review. It lacks the punch of "The Way Young Lovers Do" or even the more recent "Have I Told You Lately."
There are three types of songs on Magic Time. There are slow loungy ballads soaked with Van Morrison's sax playing, acoustic Irish-influenced folk numbers, and rip-offs of old blues songs. Does Van Morrison have a set of blueprints in his pocket when he goes into making his album? Magic Time may as well be a Van Morrison covers album by Van Morrison. Only the originals were way better.
It’s just unfortunate that a song called “Keep Mediocrity At Bay” is one of the most derivative songs Morrison has ever recorded instead of a personal vindication. (Not to mention that after the first verse, Morrison’s moaning along with his harmonica is very difficult to stomach). This is followed with an even more derivative song, “Evening Train.”
That’s not to say Magic Time is worthless. It’s remarkable that Van Morrison’s stunning singing voice is entirely intact, a rare find among the singers of his generation. And if you’ve come to expect the same old same old from Morrison, I doubt Magic Time would let you down that much.
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White Stripes - Get Behind Me Satan V2/BMG
Reviewed by Russell Bartholomee
Two years ago, the White Stripes unchained an Elephant, which proceeded to stomp all over rock radio with its soaring, savage blues punk guitar and thumping, gorgeously sloppy drumming. In that time, Jack White has been a Stripe-of-all-trades, appearing in Cold Mountain, Coffee & Cigarettes, and helping resuscitate Loretta Lynn’s career by producing the amazing Van Lear Rose. Needless to say, there has been much anticipation for the White Stripes follow-up. Would it continue in the path of Elephant or De Stijl? Perhaps it would reflect White’s dalliances with country and mountain folk music? None of the above, as it turns out.
Get Behind Me Satan is a complete departure for the White Stripes. This isn’t immediately clear when listening to the disc for the first time. “Blue Orchid” kicks things off with a pulsing, head bobbing bass drum beat and an insanely hooky guitar riff. Jack White’s voice come in, full of Robert Plant falsetto. All the trademark sounds that made Elephant such a blast are contained in this two-and-a-half minute sonic assault.
But if fans of the last records are hoping for more of the same, they’re about to be sorely disappointed. After this tease of familiarity, immediately on the heels of Jacks’ guitar crunch and Meg’s cymbal bashing, the decidedly non-rock sound of gentle marimba introduces “The Nurse.” Meg shakes a maraca, only occasionally slamming the drums and cymbals with all her might, completely out of rhythm with the rest of the song. There is almost no guitar, with the tiniest smattering of disjointed lead notes squawking through. It’s almost as if the Jack and Meg of Elephant have been locked in a closet in the studio and are desperately trying to draw attention to their plight, while these new Imposter Stripes deconstruct “the White Stripes sound.”
And it’s only the beginning on an album in which White’s signature electric guitar snarl is almost completely supplanted by piano. Of the CD’s thirteen tracks, only three tracks (“Blue Orchid,” “Instinct Blues,” and “Red Rain”) could have been on any of the band’s previous releases. Each song eschews the formula, with Jack playing piano and marimba on many tracks, and Meg adding triangle and bells to her, um, drumming. (Meg still barely hangs on to a beat. And God bless her, it still works). Get Behind Me Satan contains White’s best songwriting to date. On “The Doorbell,” White channels the Jackson 5 in their prime (you read it right, and it’s a high compliment from me), and the result is the most infectious track on the CD. “Little Ghost” is an exquisite example of Appalachian folk, with hilarious lyrics about a romance with an apparition (kudos to White for making his acoustic sound like bluegrass mandolin). I defy your tail feather not to shake during “The Denial Twist,” or your foot not to tap during the masterful “Take, Take, Take.” (On the latter, White manages the neat trick of vocally invoking Plant, Ray Davies and David Bowie—at once). The album closer, “I’m Lonely (But I Ain’t That Lonely Yet)” contains the funniest couplet White has penned, in one of the best new country songs I’ve heard since, well, Van Lear Rose. Over a plaintive piano, White reflects on his romantic prospects, crooning, “She’s homely and she’s cranky, and her hair’s in a net/And I’m lonely, but I ain’t that lonely yet.” If the above makes Get Behind Me Satan sound less-than-rocking, let me assure you that the White Stripes are still rock. They’re just embracing more musical influences than Zeppelin and John Lee Hooker this time.
It’s a daring move at this point in their career to so radically alter the formula that propelled them to fame in the first place—one that could have backfired spectacularly. Happily, Get Behind Me Satan is just spectacular. To Fans who wanted Elephant again, I’d suggest continuing to listen to that record; it’s still really good. But it seems the White Stripes have decided to move on, and I think this record puts them on exactly the right path.
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