Comments (People Who See Sound
(Southern Lord)
4
Ah, the return of an old
friend! It's been years (6 or so) since these influential Seattle-area
crossover thrash/punk/metallers have shown their faces, and this is a welcome
return. Boasting of 14 songs in a mere 29 minutes, guitarist Tommy Neimeyer
(who gained some fame in the 90's with grunge band Gruntruck) and company (it
seems he has drafted a whole new band) bring a fearsome and timeless attack on
"Stomped To Death," which blasts its way by without mercy, and puts
many grind/death metal acts the shame. I'm sure the production (by Billy Anderson)
helps, too, as he gives the band a raw and appropriately out-of-control sound,
rather than an overly clean sheen. "Martha's Disciples" is a roaring beast
of riff, every bit as heavy as Slayer and just as ferocious. "Avenue of
The Dead" is so spastic, it's almost like abstract metal. New vocalist
Brad Mowen (also of Burning Witch & Master Musicians of Bukkake) fits the
bill perfectly, basically splashing/expelling his demonic vocals with reckless
abandon. This is a hell of an album, and anyone who writes these guys off as
irrelevant these days evidently hasn't heard much recent metal. I say, welcome
back.
-- Todd Zachritz
Nudge – As Good As Gone
(Kranky)
4
Nudge have both melodies and
rhythms (and vocals). But, does that make them "pop" music? In a
skewered, left-of-center way, I think it does. A kind of collaborative group
featuring members of fellow Kranky acts Valet (Honey Owens), Strategy (Paul Dickow),
and Fontanelle (Brian Foote), Nudge's sound encompasses bits of ambient pop,
dub, and psychedelische musik, and sounds like a woozy, trippy, and cosmic
sound-collision, as seen from behind a foggy, steamy glass window.
Opening with the wide-eyed "Harmo," the album
veers into more song-oriented (but still drifty) territory with cuts like the
obtuse "Tito," before it all settles down to the fleeting closer,
"Dawn Comes Light." Throughout, Owens' vocals are sparse and
delicate, even almost bluesy in spots, while the music behind her is
electronic, quirky, and really quite otherworldly. It's a pop music that isn't
meant for the charts. And that is refreshing and commendable.
-- Todd Zachritz
mewithoutYou – it’s all
crazy! it’s all false! it’s all a dream! it’s alright
(Tooth and Nail Records)
4
Musical story spinners,
mewithoutYou are a heavenly blend of unique lyrics, Renaissance sound, and a
fetish for nature. Above all this band commands a certain passion in their
sound, pulling from deeply rooted faith and spirituality transcending the
bounds of organized religion. Be that as it may, if Chaucer lived in our time
he would be a groupie for this band. Hailing from Philly, Aaron and Mike Weiss
are on guitar, also Greg Jehanian, and Rickie Mazzotta make up the line-up for
the album. One listen and this band will slowly lull a listener’s ear into a
sensual euphoria or a sensual slumber.
“Every Thought a Thought of You” is a bright but edgy
track with sincere lyrics and soothing, multi-layered vocals. “goodbye, I!” is
a driving, acoustic track boasting bold vocals and catchy drum composition.
“bullet to Binary (pt. two)” boasts strong vocals which forcefully enter the
listener’s ear contrasted by a beautiful, sharp musical structure and ends on
an epic note. “Cattail Down” starts out subtly but works its way into a warm
groove accented by horns. “the King Beetle on a Coconut Estate” is a whimsical
track with imaginative lyrics and somber strings creating a regal sound. There
is simply nothing out like mewithoutYou.
-- Nick Durcholz
New Christs – Gloria
(Impedance Records)
5
Formed way back in 1984 by
Rob Younger (of legendary Aussie proto-punk band Radio Birdman), this project
returns with a smoldering post-punk-style set that exhibits Younger's penchant
for writing good, solid, melodic hooks that are raw, edgy, and easy to
appreciate. "Try Something" is, at it's foundations, a heavy pop
song, with a good dose of danger (as it should be). "My Existence"
shows the group's raved-up punk roots, while "These Reasons" is an
anthemic mid-tempo pop song.
"The Wheel" is a swaggering, heavy rocker that
brings to mind the master, Iggy Pop. Seriously, these guys are in that kinda
class - timeless, smart, and real. A superior rock album here, without pretense
or affectation. Highest marks.
-- Todd Zachritz
Wilco – Wilco (The Album)
(Nonesuch)
5
Wilco are possibly the
greatest American rock act you've never heard.
They don't get much
mainstream radio support, but their live shows sell out routinely across the
country. Coming from someone who adores Wilco's 2002 masterpiece Yankee Hotel
Foxtrot (maybe one of the most inspiring modern rock recordings of the decade
-- seriously), and who thought their last album (Sky Blue Sky) was boring
classic rock (think the Eagles), this new Wilco is a welcome return to form. Combining
the sensibilities of both their more abstract leanings and accessible
alt.country/indie rock, this pop-edged triumph has enough inventive little
angles and sounds to make it an indispensable addition to my 2009's "best
of" list. Beginning with the rootsy, rollicking feel-good hit
"Wilco" (yeah, it's the band's ode to itself, tongue-in-cheek), it
gets more serious with songs like "One Wing," which seems to be a
reflective and spacious bit of wisdom. "Bull Black Nova" comes in
loud and noisy, then is followed up by the plaintive "You And I"
featuring lovely backing vocals by indie folkstress Feist.
"You Never Know" brings to mind some of the
Beatles' better melodies, and the chorus of "I don't care anymore…"
is typically strong, wedging itself into your head long before the song ends. "I'll
Fight" is a beautiful love song to life itself. Jeff Tweedy's emotive
everyman vocals are weathered/tempered perfectly, and the band's rich,
expressive songwriting proves to be a perfect foil, enveloping his vocals with
a diverse and lush set of sounds, tempos, and textures. From heavier rock to
drifty laments, Wilco are masters of their craft. There's not a single dud
here.
-- Todd Zachritz
Kraftwerk – The Catalogue
(Astralwerks)
1
The legendary
electro-minimalist purveyors will release this box set of material spanning
nearly thirty years, from the early 70s up to 2003. Kraftwerk was hailed as a
“sonic revolution” and that they may be but in every sense of the word this is robot
music. They are a very well organized band musically but if the listener has a
mind, heart, and other fleshy organs their sound seems to be hard to relate
with. The group was formed in 1970 so it does have a deep history. The band is
German and was brought together by Florian Schneider who played the flute,
synthesizers, and the electro-violin (is no longer with the band). Kraftwerks
sound is definitely an acquired taste.
Due to the fact that all of this band’s music new and old
is pretty much a collection of beeps, blips, and occasional synthesizer strings
every once and awhile there is really no way to objectively deduce the feel of
their songs. I can say once again their music is simply cold and emotionless.
The voices are either put through a modulating device or they are artificial
and their lyrics are written on a grade school level. If you are a die-hard fan,
The Catalogue is a must-own. Otherwise, don’t even give them a passing glance.
-- Nick Durcholz
Kristina Train – Spilt Milk
(Blue Note Records)
4.5
Musically, this New Yorker
by birth was transplanted into a southern landscape and was raised with the
southern soul. This is her debut album under the instruction of producer Jimmy
Hogarth, who has also produced albums for Duffy, James Blunt, and Corrine
Bailey Rae. Train was introduced into musical performance by her mother, who
advised her to play the violin. Shortly after, Train soon discovered her
powerful vocal chords and in no time was acclaimed for her seasoned delivery,
steady pitch, and emotional depth. Train
draws inspiration from Aretha Franklin, Bob Dylan, and Karen Dalton. Keeping
her mind in music through college, connections were made and she was signed.
The title track “Spilt Milk” is a vivid, sonic picture of
a young woman’s romantic strength. Simple but elegant instrumentation
transfused with bold, sincere lyrics. “No Man’s Land” showcases Train’s sultry
voice in verses then her vocals rise into a powerful chorus accented by bursts
of high strings. “Don’t Beg for Love” is an ideal slow jazz track with soulful
lyrics and background singers. It creeps along with a walking bass lines but
peaks with strings. “Don’t Remember” is more of a gospel tune. It is very light
and bright, also boasting a smooth beat and yearning vocals. This woman has
talent.
-- Nick Durcholz
Overmars – Born Again
(Crucial Blast)
4
Taking the half-speed churn
and seething, pummeling noise-grind of classic SWANS, and throwing it down the
steps alongside modern post-rock metal ala Neurosis or Isis, these Frenchmen
(and woman) find themselves in a gloriously brutal din of pained discontent
with Born Again, their second true full-length. This album is one
single-indexed 40-minute track, and it begins with a huge, plodding, thunderous
landscape of slow-burn guitar/drum grind, with dual male/female vocals that
channel the spirits of souls having their skin burnt off. It's a truly
nightmarish sound, horrific and chilling.
After several minutes, it
drifts away to reveal a more atmospheric freefall, with almost psychedelic
reverberations and
-- Todd Zachritz
Janus – Red Right Return
(REALID Records )
4
Rock-solid,
“Six Letters Sent” explodes with grinding guitar riffs
and storm of double bass pedal hits. The song’s structure is very precise and
the vocals compliment the song perfectly. “Eyesore” starts off with haunting
guitar complimented by delicate chimes building up to a brutal but harmonic
chorus. This is a very powerful song on all fronts. “The Nerve” begins with
solemn strings blooming into a rapid, sharp snare and a bright guitar. This band
is a hard rock dream team.
-- Nick Durcholz
Top Dead Center – It’s About
Time
(Produced by Toby Ellis
& TDC)
4
It’s about time indeed.
These guys have been hard at it for years now, working their asses off at the
craft of songwriting, recording techniques, arrangements and flat-out rocking.
So it’s fitting
What’s to say? Top Dead Center rocks. Theirs is a gumbo
of the best elements of classic rock, metal, blues and pop. And if there’s a
leader of any sort here, it’s Miller, whose voice alternately conjures Billy
Gibbons here; Joe Walsh there; and even Bon Scott in between. His traditional
rock vocals possess soul and real thought at the same time. And in a time when
rock singers are apt to sound like they 13 and just got dumped by their ‘tween
girlfriend, this is refreshing indeed.
TDC is a rhythm machine, and the sounds on the
thirteen-track It’s About Time feature tight arrangements, nimble guitar work
from Hansen and a steel framework of drums and bass from Krause and Goodman. If
we’re to deconstruct this gumbo, we’d have to list as ingredients the raw hard
rock guitar tones of Appetite for Destruction-era Guns ‘N Roses, clean
chorus-ey bits reminiscent of Blind Melon to straight-on scissor-like metal
high-gain leads that harkens back to early Metallica. Add a smidge of Blues
Traveler, Ted Nugent and The Toadies, stir, and voila – you have one mighty
fine tasting pot of goodness.
-- Dylan Gibbs
