Running Off at the Mouth

So many new records, so few updates.  Here are my thoughts:

Wild Flag - S/T (Merge)

Glad I stuck with this for a few spins.  The hooks aren't immediately apparent cuz this ain't a pop record, it is a ROCK record and a decidedly excellent one at that.  I could do without out all the affectation in Carrie Brownstein's vocals (the blame can be traced squarely back to Patti Smith), but this is a bracing set of songs from a band committed to energizing, powerful rock'n'roll.  There isn't enough of them and it should be encouraged at all costs.





Girls - Father, Son, Holy Ghost (True Panther Sounds)

Don't judge a band by their promo photos is the lesson to be learned here.  Based on all the buzz floating around Christopher Owens I expected something twee, precious and just a little shy of an outright shambles.  Instead, this is a clear, focused rock record with a purpose.  It draws you in with great riffs and assured playing (drumming is uniformally excellent) and the first half climaxes with "Vomit," which deserves all the comparisons it's been getting to Pink Floyd, Rolling Stones, etc.  And if the second half seems anti-climactic at first I prefer to think of it as the calm after the storm as the sun rises and our protagonist starts to see the world more clearly after a dark, dark night.  Yeah, it's that kind of record.  I had no idea they had it in them.

Butch Walker and the Black Widows - Spade (Dangerbird Records)

Some kinda weirdo this Butch Walker is.  He writes unabashed little teenage symphonies with on-the-nose hooks and detail-specific lyrics that remind me of nothing less than the expert craftsmen who litter the Country Top 40 stations, not the Pop ones.  This is type of stuff you feel silly for singing along with until you realize there's no reason to feel silly at all.  The big drawback - a little goes a long way and it gets exhausting after awhile.  He's that really smart and clever life of the party who just just doesn't get the hint that everyone else has left and you really want to get some sleep.



Boston Spaceships - Let It Beard (Guided by Voices Records)

I so enjoyed Pollard's Lifeguards collaboration with Doug Gillard earlier this year that I decided to check out this, his latest from yet another project that's been floating around the GBV universe for the last few years.  Much more straight-up rock than his often meandering solo records, you still have to mine through a lot of half-baked ideas to get to the gold.  One day he'll distill all his best instincts and put out another perfect record, or maybe that's besides the point.  Maybe you just need to go along for the ride and cherry pick the stuff  you want to keep.  I mean, he's not obligated to do anything but follow his muse and I'm not obligated to love it all.  I doubt even he does.  But can't begrudge the man making a living, right?

Jonathan Wilson - Gentle Spirit (Bella Union)

Trying to painfully recreate a scene that hasn't existed in 40 years is no way for a young man to spend his time.  And you thought his buddy Jackson Browne was a drip.








Male Bonding - Endless Now (Sub Pop)

When did Weezer cross over into the realm of Classic Rock?  Dinosaur Jr.?  Does it matter?  This record pushes my particular buttons.  Can't tell you what any of it is about, but they make a powerful guitar/bass/drums racket.  More memorable than the first, always a good sign.  Hope that they swing for the fences  on the next one.





Tommy Stinson - One Man Mutiny (Done to Death Music)

Like a terrific character actor who's never made it as a leading man, I want to root for Mr. Stinson.  A recent live show convinced me that after 20 years of post-Replacements music making, he's got about an hour's worth of excellent Stones-infected tuneage.  One Man Mutiny adds the requisite song or two to that list (my votes go to "It's a Drag" and "Seize the Moment").  In another 5 years he may add one or two more.  That's more than most people ever do.

New Stuff 2011 - Pt. 4

As usual, music purchases were made at Long in the Tooth

 The Disciplines - Virgins of Menace (Spark & Shine CD) Second full-length from this Scandinavian band fronted by Ken Stringfellow (Posies). Much more assured and aggressive than their wishy-washy debut. Sure, it's garage-y at times, but it also recalls everything from AC/DC to T-Rex in it's monster size riffs.  And Stringfellow's voice is powerful and clean and just balls-out the entire time. A huge improvement and very pleasant surprise.   

 Lifeguards - Waving at Astronauts (Ernest Jenning Record Co. CD)  Bob Pollard in Arena Rock mode, and that's just how I like my Pollard, thank you very much.  Nothing lo-fi about the music or instrumentation (courtesy of Doug Gillard) or recording.  Maybe my fave Pollard project since GBV's demise.

 The Measure (SA) - Notes (No Idea CD) The last release from this soon-to-be-no-more Jersey punk band and arguably their best. Towards the end it gets a little too generic pop-punk, but it is front-loaded with great tunes and some pleasantly assured vocals from Lauren Measure. 

 Mind Spiders - S/T (Dirtnap LP)  Marked Men side project not dissimilar in it's mixture of rapid tempos and brittle hooks.  Perhaps a little more experimental in its instrumentation and arrangements, but fans of MM will dig it much. Brainy, forward looking punk teetering on the edge of new-wave.  

 The Parting Gifts - Strychnine Dandelion (In th Red LP)  Another side project, this time Greg Cartwright (Reigning Sound) and Coco Hames (The Ettes) fashion an album of solid '60s girl-group influenced rock'n'roll. Nothing radically different from either artists respective catalogs, but a heck of a lot more fun than the last Reigning Sound record.  All comes down to the tunes and this one has 'em in spades.

Kings Go Forth : Live at Johnny Brenda's

Initially Published Here

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Given the preponderance of auto-tuned cyborgs passing themselves off as pop stars at the top of the R&B charts (Black Eyed Peas, I am looking in your general direction) , it may be hard to remember there was a time when heavyweight funk and soul acts were capable of delivering the goods live. It’s as if they’ve forfeited the visceral power of great live music in favor of distracting theatrics and an over the top carnival-esque atmosphere.

No, if you want to see great live funk and soul you’ve got to search somewhat off-the-grid. Like Johnny Brenda’s where Milwaukee’s Kings Go Forth brought their powerhouse live show to Philadelphia for the first time. We’re talking about nine pieces crammed onto JB’s tiny stage - guitar, bass, drums, keyboards, two horn players, a percussionist and two singers pumping out a well-oiled set of classic-sounding soul. The twist is that these guys operate at an intensity level to rival the best rock show you’ve ever seen. Bass player/band leader Andy Noble isn’t joking when he says his band’s live show is closer to The Who than ______ (fill in your favorite “Neo-Soul Revival” act). Their were moments during an extended “Don’t Take My Shadow” with guitarist Dan Flynn hunched over his effects pedals and drummer Jeremy Kuzniar exploding behind his kit when the band achieved a kind of lift-off very few bands ever achieve, rock, soul or otherwise.

And floating on top of this righteous noise are the sweet harmonies of Black Wolf and Dan Fernandez. They are a perfectly matched team -- Dan providing a smooth base for Mr. Wolf to soar over. But Kings Go Forth are not a ‘vocal band’ by any stretch. There is serious muscle to their sound that is only going to get stronger as they continue to tour (touring has been sporadic since their debut, The Outsiders Are Back was released last spring). Let’s hope we get to see them here in Philly again soon.

Telekinesis : 12 Desperate Straight Lines

When Telekinesis’ debut hit the scene in the spring of 2009 it made nary a ripple in the indie-rock blog pond. Too close to power pop for a scene enamored with wispy folk music, it was also too grown up in its concerns to be of much interest to pop-punkers who at least still like their hooks hard and shiny. 

Two years later I am happy to say that the band (well, not really -- on record Telekinesis is a one-man operation) has not succumbed to any real or imagined pressures to redefine their sound to suit popular tastes. What Michael Benjamin Lerner has done is effectively streamlined his songwriting and sonics. The hooks here are more immediate, the melodies stronger. There’s a run of 3 songs in the middle of this record (Car Cash/Palm of Your Hand/Got You) that is as ridiculously catchy as anything you’re likely to hear all year. Does this mean Merge is gonna do any better selling 12 Desperate Straight Lines than their eponymous debut? Probably not, but that’s what Grammy-award winning bands do - enable their labels to put our great little records like this one.

Interview : Kings Go Forth

Initially Published Here

Milwaukee’s Kings Go Forth are a 10-piece funk and soul revue with a live show to rival the most intense rock band you’ve ever seen. Led by singer/writer Black Wolf, the vocals may be sweet but there is considerable muscle behind bass player/band leader Andy Noble’s arrangements. The band’s debut full-length, The Outsiders are Back (Luaka Bop Records), came out in the spring of 2010 and the band is making their first stop in Philly at Johnny Brenda’s on February 18th. I had the opportunity to talk with Andy about the ins and outs of taking such a mighty (and mighty big) band out on the road.

Andy, I had the chance to see you guys play a record store in Austin at the last South by Southwest conference and I was completely blown away and...

Oh, we’ve gotten ten million times better since then! I feel like right now is the first time I can really recommend us -- like, “You need to see this show.” And it’s because of Europe. We actually went on a real tour where it was just eat, drink, sleep, play a show, all the time. We’d never done that before. We did two weeks of shows and the feeling instantly was yeah, that’s how you do it.

When you talk about the logistics of touring with a 10-piece band...you don’t go to Europe and pick up a horn section or pick up a percussionist do you?

No. The logistics of bringing my guys everywhere are hard, but the logistics of doing that are even harder. Not to mention that I’m really particular. We’re trying all the time to get better and better and that wouldn’t happen if we were changing out members. That’s too much like a ‘show band’. If you were in The Clash you wouldn’t have a guy who plays bass in the US and another guy in Australia! No one would accept that and that’s how I think about our group. I don’t think about us as being like Sharon Jones, I think about us as being like The Who.

In a perfect world would you like to see Kings Go Forth on the road all the time?

I don’t think so, but things change. A year ago I would have said no, I just want to work in the basement on drum sounds. But after touring Europe I just wanted to go right back. I am addicted to the point that when I eat now I kinda mimic hospitality rider food. You know, you get hummus but no pita bread, so you scoop it up with a baby carrot (laughs). Just a vain attempt to keep on tour in my head while it’s a Tuesday afternoon in Milwaukee.

But motivations change and life changes. And this band sorta ruined a serious relationship... but, without going into too many details --, a year ago that was the most important thing in my life and I wasn’t looking to go on the road and now I just wanna go on the road all the time. But the thing that greases the wheels is money. I mean, we all need it and we’re not even close to “getting rich” money, I’m just talking about sustenance. If I take these guys on the road, I’ve got to be able to at least cover what they would have been making at home.

And you’re not crashing on people’s floors with 10 people.

Yes, but there’s a more practical explanation for trying to maintain some sort of lifestyle on the road. The show is so physical that I need to baby the group. I’ve got to make sure that the singers can sing the next night. And the drummer and conga player are basically running a marathon at every show and they’ve gotta be able to do it the next night. I can’t tell those guys to go crash on someone’s floor. Or hey, there’s no more floor space available but there’s a chair over there!

I’m curious how you feel about Kings Go Forth being included in what’s called the ‘Soul Revival’, whether it’s Sharon Jones or the Budos Band or...

Well, obviously a lot of that is business and marketing. People have to figure out how to sell your band.

But is this something you try to distance your band from or something you embrace?

I fall somewhere in between. Obviously I want people to hear about our band but also recognize that we come from a different place. It’s a double edge sword. If I was working for the marketing firm I’d probably be doing it even more, but in America there is no precedent of ‘Northern Soul’ -- these club scenes based on black American music like you have in Europe or Japan that have existed for decades.

In America our label cares so much about something like Pitchfork, which would seem on the surface to have very little in common with what we do, but the only people who buy CD’s in mass anymore are people who buy indie-rock. So our label has to think about that -- “Okay, is this the soul group that we can get indie-rockers to buy?” My business is just to make records that I like. I know there are other people who have different jobs to do. But the way they sell our band in America vs. the rest of the world is very different. But hey, when I see on someone’s Facebook page that they like Kings Go Forth and the next band is...I dunno, Radiohead, hey that’s cool (laughs). People need more variety. I like when people take their musical inspiration wherever they can get it.

Kings Go Forth bring their amazing live show to Philly for the first time at Johnny Brenda's (1201 Frankford Ave.) on Friday, February 18th. Show starts at 9pm and tickets are $12.

New Stuff 2011 - Pt. 3

Dirtbombs - Party Store CD (In the Red Records) :  Grungy garage rockers put out an album of techno covers as a shout-out to their home town of Detroit (where was their Chrysler commercial during the Super Bowl?).  Did not know what to expect going in, but it turns our that garage + techno = something damn close to Kraut Rock.  Hypnotic, repetitious, groovy.  Perfect late night driving music.

The Go! Team - Rolling Blackouts CD (Memphis Industries) : I've got a soft spot for these guys and gals after getting caught unawares by the giddy fun of their live show at SXSW a few years ago.  And they're a regular fixture in our house thanks to their presence on the Little Big Planet soundtrack.  Full length #3 doesn't stray far from their trademark good time sound -- goofy samples, cheerleader chants, kitchen sink production.  Exhausting over time but most excellent in small doses.

The Green Hornet - Directed by Michel Gondry (A Columbia Pictures release) : More in line with the jokey wink-wink action of the Iron Man series as opposed to silly solemnity typical of the Dark Knight series.  But Seth Green is no Robert Downey Jr. and the film goes on for at least 20 minutes too long.  Another by-committee film where a little of everything is thrown in in an attempt to appeal to everyone.  Instead you walk out wondering what anyone involved was thinking.

New Stuff 2011 - Pt.1

New year, time to try something new.  I'm going to attempt to use this blog to not just to collect my reviews, but also detail my consumption of music, films, books, etc.  I'll shoot to update this once a week or so.

First up, some new music purchased at Long in the Tooth

Soul Asylum - And the Horse They Rode In On (A&M CD)

Jim Sullivan - U.F.O (Light in the Attic CD)

The Band - Rock of Ages (Capitol CD - 2 disc re-issue)

Leatherface - The Stormy Petrel (No Idea CD)

Notes : I bought the Soul Asylum and Band CDs used in an effort to fill in some holes in my collection (I have pretty beat up vinyl copies of both records).  I never got around to buying the new Leatherface CD after seeing the band live last year, but they were terrific and so is the record.  The Jim Sullivan was a shot-in-the-dark based on a recommendation from a friend.  His sad, bizarre story can be read here.  Initial listen reminds me a bit of Rodriguez, another early '70s artifact dug up by the fine folks at Light in the Attic. Perhaps a bit more Easy Listening, but in the right frame of mind I can get behind that.  A.M. Gold, so to speak.

Give a listen to the title track:
 Jim Sullivan - U.F.O. by scanny

Favorite Records of 2010

Initially Published Here

1. Superchunk – Majesty Shredding - Hard rocking indie-pop legends come back from a nine year hiatus with arguably their best record yet.

2. Neil Young – Le Noise - Veteran iconoclast starts his 6th decade as a recording artist with his most committed batch of songs in a very long time.

3. Hold Steady – Heaven is Whenever - Their 5th full-length finds this Brooklyn band more powerful than ever and Craig Finn continuing to evolve as both a singer and lyricist.

4. Torche – Songs for Singles EP - Heavy Metal with hooks and brains and heart.

5. Hotrats – Turn Ons - A throwaway covers record by two thirds of now defunct Supergrass that is as pleasurable a listen as any record this year.

6. Figgs – The Man Who Fights Himself - What I initially suspected to be a stop-gap measure by these veteran rockers has grown in my estimation to be one of their most accomplished and mature (in a good way) records yet.

7. Ted Leo & the Pharmacists – The Brutalist Bricks - Like the Hold Steady, Ted Leo has reached a point in his career where he can stop worrying about defining himself and concentrate on perfecting his craft. Artful, bittersweet pop-punk.

8. Maserati – Pyramid of the Sun - Instrumental rock as hypnotic and mesmerizing as anything I heard all year.

9. Spoon – Transference - Only songs this solid can hold up to the type of bare bones arrangements Spoon continues to perfect.

10. Ryan Adams – Orion - Hyperactive multi-hyphenate songwriter composes his ‘Sci-Fi Metal Rock Opera’ and stumbles upon his best batch of songs in many a year. A damn fine joke

OFF! : First Four EP's

Initially Published Here

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It's difficult to presume that anyone would pay much attention to these songs if they wound up composing a new Circle Jerks record. That was the original intention. Keith Morris got together with ex-Burning Brides guitarist, Dimitri Coats, to concoct new tunes for the next Circle Jerks record. But when Keith’s old band mates balked at bringing an outsider into the process, Morris took his ball and went elsewhere (perhaps an oversimplification, but you can easily scope out a dozen recent interviews with Morris where he goes into greater detail). He and Coats recruited Redd Kross bassist, Steve McDonald, and ex-Hot Snakes/Rocket from the Crypt drummer, Mario Rubalcaba, and started recording songs this past January. Keith and Dimitri would write a few, book a day in a studio, and bang out three or four songs (not takes, but completed tracks), and then repeat the process.

In a few months, they had the 16 tunes that comprise their debut, First Four EP’s. Clocking in at around 18 minutes, these songs are strongly reminiscent of what Black Flag sounded like when Morris was their frontman. The tracks are raw and brutal, but not without hooks, and the performances are pure, adrenalized energy. It’s funny, people who don’t “get” this stuff will claim that anyone can do it, but you can tell from the first few bars that these guys have a level of commitment, expertise, and skill that separates them from 90% of what passes for punk or hardcore in 2010. McDonald’s bass playing is supple and melodic, without ever calling attention to itself, and the same could be said for Rubalcaba’s drumming. Morris’s performance is a marvel; his remarkable bark manages to convey passion first and anger second, something lost on most H/C vocalists (it’s the same reason he was the best singer Black Flag ever had). This goes for his lyrics as well, which are informed by every one of his 55 years. Call this the most pleasant surprise of the year and one hell of a punk rock record.

Elvis Costello : National Ransom

Initially Published Here

Ever since announcing several years ago that he was going to stop releasing new music, Elvis Costello has been on a bit of tear. Hot on the heels of 2009’s Secret, Profane & Sugarcane, comes this year’s model, National Ransom. Recorded with many of the same musicians, the records also share many stylistic similarities. The songs are primarily acoustic, with a strong country/bluegrass/Americana vibe. That doesn’t mean that he doesn’t occasionally kick up some dust – the title track bumps and grinds along with a nicely tortured guitar solo by on-and-off collaborator, Marc Ribot. But for the most part, Elvis sounds comfortably settled into these shuffling tempos and jazzy chordings.

Perhaps comfortable is the operative word here. At the age of 56, Elvis has seemingly settled into that “mature” period of his career – the tempos have slowed down, the hooks are less immediate, and the anger is now tempered with resignation. He puts out his records with little fanfare and zero effort to appease any sort of “youth” market. He plays festivals all over the world, does his TV show, and is always, it seems, writing, writing new songs.

Perhaps an editor could be in order. At 16 songs and over 62 minutes, National Ransom would be better served pruned down to a more manageable length. Some of its smaller pleasures (like the jaunty “A Slow Drag with Josephine” and the rollicking throwaway “The Spell That You Cast”) tend to get lost amidst the album’s more portentous numbers. And Elvis can still wring his hands with the best of them as he does on the title track, as well as “Bullets for the New-Born King,” which announces its significance with its simple, winding melody, and avalanche of words. Forgive me if I prefer him when he doesn’t show his work so obviously. I prefer my rock’n’roll a little more off the cuff. There are moments of casual brilliance sprinkled throughout, but overall it would be better served with a little more levity dropped into the mix. (Hear Music/Universal)

The High Dials : Anthems for Doomed Youth

Initially Published Here

“Power Pop” is a musical ghetto into which few bands would want to be relegated. It conjures up images of Beatle boots and paisley shirts, big record collections and precious little real-life experience. Most depressingly, it’s often about trying to meticulously recreate a sound instead of creating something fresh. Sometimes it’s difficult explaining the difference between the good, the bad, and the lame when it comes to this stuff, but to paraphrase Justice Potter Stewart - I know it when I hear it.

The new High Dials album is definitely on the right side of the equation. Sure, it has its share of jangly guitars and sweet melodies. And “Uruguay” bows a little too reverentially towards the Beach Boys circa Pet Sounds, something that’s all but a requirement amongst indie-pop bands. But elsewhere these guys shake things up just enough to keep their songs from falling into the obvious traps. The album is sequenced very much like an LP, with the fast ones loaded on Side A. This includes “Teenage Love Made Me Insane,” a perfectly propulsive single from an era long-gone. Songwriter Trevor Anderson’s vocals are high in the mix, and cushioned with lots of dreamy reverb but there is some real bite to the performances. Drummer Max Herbert, in particular, comes to life on Side B, where the band stretches things out a bit (the lengthy coda on “Mysterio” sees him conjuring Keith Moon in his flailing).

In general, I imagine the group’s sound truly igniting in a live setting. Bands like these frequently blow me away when stumbled upon in a small, crowded club. For 30 minutes or so, they can convince you they are the greatest thing in the world. Then you play the CD you bought at the merch stand and realize it is nowhere near as powerful as the show you just witnessed. Happens all the time. But with Anthems for Doomed Youth , the High Dials have crafted an excellent collection of melodic songs with palpable energy and drive. To say that I can’t wait for the chance to see them live is the highest compliment I can offer (Rainbow Quartz International).

Jukebox Zeros : City of Bother and Loathe

Initially Published Here

Philly’s own Jukebox Zeros play a decidedly unfashionable brand of rock’n’roll, circa 2010. I’m talking about a lineage that can be traced back to Chuck Berry, who begat the Rolling Stones, who begat the New York Dolls, who begat the Replacements and so on and so on. There’s precious little irony in their tunes, or anything whimsical or child-like. It’s all pounding drums and screaming guitars, simple progressions and simpler sentiments. But what they lack in originality they make up for in enthusiasm and conviction.

Their new EP, City of Bother and Loathe, comes hot on the heels of last year’s Rock’n’Roll Ronin CD. Vinyl only this time out (with a download card, natch), the new record delivers 3 new tunes and a Testors cover in just a little over 11 minutes. Despite all the aggression in these grooves the sound is surprisingly concise and uncluttered. The sonic palette doesn’t vary much from song to song so you take the little touches as they come; the piercing one-note piano solo on the title track, the tempo shifts on “Cop Shop,” the poppier-than-usual chorus on “Secret Streets.” Their take on the Testors’ “Let’s Get Zooed Out” is a little too reverential, but I suppose there isn’t a heck of a lot you can do with one minute and 40 seconds worth of grimy gutter punk except hold on tight and hope it doesn’t derail. And derail it doesn’t. Cuz despite the lip service paid to all things sloppy and loose, the thing I like the most about Jukebox Zeros is their tight attack and streamlined sound. This is punk rock played with a respect for pop sensibilities and an explosiveness that never quite falls into chaos. (Rankoutsider Records).

Maserati : Pyramid of the Sun

Initially Published Here

Maserati are a fascinating hybrid. They play instrumental hard rock in the vein of bands like Explosions in the Sky and Trans Am, but with frequent stops on the dance floor courtesy of Giorgio Moroder-style synthesizers and motorik drum beats. There are elements of Krautrock hidden away in the multiple layers working here, but frequently they sound like nothing less than a deep cut from the American Gigolo soundtrack.

This is a good thing. Hard rock bands frequently improve their hit ratio with the liberal addition of hip-swaying beats. In fact, a good argument can be made that the primary distinction between “Hard Rock” and “Heavy Metal” are those very beats. Call it the difference between Black Sabbath and Led Zeppelin (or say, Metallica and Guns n' Roses). 'Cuz what the boys in the pit don’t get the girls understand. Maserati understands this, too. There is a swagger to these songs that fits hand-in-glove with their relentless forward momentum, and incrementally building arrangements. And the constant shifting and reshuffling frequently fills the role that is typically filled by vocal melodies.

Pyramid of the Sun is the band’s third full-length release and their first since drummer Jerry Fuchs died in a tragic accident last year (he fell down an open elevator shaft during a party in Brooklyn, NY). The band has referred to the record as a tribute to Fuchs (most of the drumming is his), and I doubt it’s a coincidence that “Bye M’Friend, Goodbye” is the best thing on here. Closing the album with a blast of pure bliss, it builds on pulsing synths and what sound sounds like chanting monks to an explosion of melodic, intertwining riffage and crashing drums. It fades out at 6:37, but it could have gone for twice as long and I doubt I’d have been bored for a second. It remains to be seen how the new drummer, Steve Moore, will sustain the high note that Fuchs has left his band on, but this is a great salute. (Temporary Residence Ltd.)

Belle and Sebastian : Write about Love

Initially Published Here

Belle and Sebastian have changed their sound incrementally over the eight albums they’ve released since 1996. They’ve shifted from the pastoral and twee to a rougher hewn but decidedly sophisticated brand of pop music. Many long time fans were put off by the comparatively muscular sound of their last album, The Life Pursuit. ‘Comparatively’ is the key word there – no one was going to confuse them with Mastodon or anything. But there were definite flashes of ‘70s era Glam and Classic Rock mixed in and I for one immensely enjoyed their new found r’n’r moves.

Their latest, Belle and Sebastian Write about Love, pitches its sound somewhere between the etherealness of their earlier records and the earthiness of their latter material. “I’m Not Living in the Real World” sounds like nothing less than Tommy-era Who with its furiously strummed acoustic guitars, rolling drums, and Beach Boy harmonies. “I Want the World to Stop” is the Cure minus the gothic affectations and “I Can See Your Future” is textbook B&S complete with Eurovision horns and shuffling beat. In general they’ve retained a tighter rhythm section and more focused songcraft while keeping things on the light and sweet side.

If anything is absent, it’s Stuart Murdoch’s penchant for the cutting, witty couplet. While perfectly accomplished, upon initial listens there was no single quip that made me smile quite like the bon mots he tossed out with alarming regularity on prior releases. The one stand out track for me, lyrically, is probably the most straight-forward song he’s ever written. “Read the Blessed Pages” seems to be about nothing less than the band itself. “Love was playing music. It was all we wanted, making plastic records of our history” is as touchingly sincere as they’ve ever gotten. There is a resignation in the song and the record as a whole, and I don’t mean that pejoratively. 14 years on, Belle and Sebastian are not about to reinvent themselves. They’ve forged a sound uniquely their own and should be proud to continue to plow that field as long as the crops continue to grow.

Jenny and Johnny : I'm Having Fun Now

Initially published here

Jenny (Lewis, of Rilo Kiley) and Johnny (Rice, of…well, Johnathan Rice) are pop singer-songwriters. They are also in love. They’ve written some songs together, 11 of which are on their new ‘duo’ album, I’m Having Fun Now. For the most part they are simple melodies sung over modest instrumentation. They sound comfy and contented which would seem in keeping with their status as a couple. Not that the songs make any mention of moons, Junes or spoons. It just feels unrushed, uncomplicated.

Jenny Lewis is in command of one of the most amazing voices in music today. It’s sweet and sincere and as big and open as the great outdoors. Her lyrics are literate and clever without succumbing to cheap irony or affectation. She sounds equally comfortable with folk, c&w and rock styles, but truth be told none of these tunes dig that deep into any of these genres. They all kind of glide by with the hint of each buried beneath the surface. Maybe they’d stick around in your head a little longer if they were more focused and driven. For a record with a tune called “Committed” they can come off as dilettantes at times.

The other big problem is that Jenny’s presence is so strong that it often over powers Johnny’s contributions. Maybe that’s not fair – no reason to expect things to be 50/50 here (what relationships truly are?), but after a few spins I still don’t have much of a sense of who Johnathan Rice is. His voice is pleasant but unremarkable and the same applies to the songs. Only “Big Wave” with its longing chorus and crashing chords really makes much of a fuss. Which may be why it’s difficult to get really worked up about the record; it is casual in a way that makes it easy to like but difficult to love. (Warner Bros.)

Paul Collins : King of Power Pop!

Initially published here

Paul Collins’ new record, The King of Power Pop!, is better than any Paul Collins record circa 2010 has a right to be. That is not to say it is an excellent record. His choice of cover tunes is tired (both the Box Tops hit “The Letter” and the Flamin’ Groovies “You Tore Me Down” have been done countless times by others). And his own songs rarely, if ever, stray outside of the generic power-pop codes that Collins himself helped establish in the late 70’s with his bands The Nerves (“Hangin’ on the Telephone”) and The Beat (“Rock’n’Roll Girl”). But Jim Diamond’s production serves the songs extremely well. The sound is focused and uncluttered with just the right touches of percussion and acoustic guitar added to the standard mix of electric guitar, bass and drums. Collins’ voice has held up well and he has new found gruff edge that is charming – no point in a middle aged man trying to sound like a hormonally challenged adolescent.

The 13 tunes zip by in just over a half hour with only one making even the three minute mark. The economy is refreshing. Every song has its hook, but the before they can grow tiresome he’s wrapped things up and moved on to the next one. And while much of the subject matter is fairly trite he has some moments of hard won clarity, whether it’s the self-effacing title track (“Sometimes people, they remember me and tell me how great they thought I used to be”) or the anthemic “This is America” which counts Trans Ams, Burger Kings and “The Kids” amongst our nation’s finest achievements. No point arguing with that. Or this record, for that matter. It is what it is and it is a very good power-pop record by an often overlooked originator. (Alive Records)

Superchunk : Majesty Shredding

Initially published here

It has been almost nine years to the day since Superchunk last released a full-length album. Their prior record, Here’s to Shutting Up, received a lukewarm response from many diehard fans and the band embarked on an arduous world tour just as the events of 9/11 took place. No wonder that when the dust settled they decided to take a break from a near continuous 12 year pattern of album/tour/album/tour.

In the interim they’ve played a handful of shows each year for a variety of causes, although possibly not for strictly altruistic reasons (when two band members wanted to quit, leader Mac McCaughan convinced them not to announce a formal break-up as officially kaput bands don’t continue to sell their back catalog as well as bands that still play sporadically). However, they’ve been gradually ramping up the activity as of late. There was a single in 2007, then an EP in spring 2009, followed quickly by another 7” and now Majesty Shredding.

My first response was that the album was somehow reactionary; that the band was trying to appease those fans who were disappointed with the more adventurous paths taken on later recordings (falsetto singing, keyboards, the occasional small string section). These songs are as straight-forward and hard rocking as anything they’ve done since their third LP, On the Mouth. But the Superchunk of On the Mouth could not have written songs as melodically and structurally satisfying as the best moments here. They’re fast and catchy without ever falling into the genre trappings of either power-pop (on one end) or pop-punk (on the other).

Theirs is a unique sound that many emulate and very, very few pull off. It’s romantic and expansive and yearning without ever forgetting the value of hooks and aggression. Much of the credit for retaining that hard ‘edge’ must go to drummer Jon Wurster whose playing manages to be remarkably supple while still kicking like a mule at a stall. Maybe the highest compliment I can offer is that as they embark on their first proper tour in eight years (they play the Trocodero on 9/22), I am just as excited by the prospect of hearing “Learn to Surf," “Digging for Something” and “My Gap Feels Weird” as by anything else in their catalog. Let’s hope it’s not another decade before we get the next one. (Merge Records)

Neil Young : Le Noise

Initially published here

Neil Young never stops working. While many artists of his age and stature still tour regularly, new studio albums are few and far between. Maybe they’ve grown tired of the lukewarm response their new material receives when they attempt to wedge it into a standard greatest hits set. Or perhaps they have truly lost the drive and energy to write and record new songs. But here he is about to embark on his sixth (!) decade as a recording artist and he’s never slowed down. He released seven albums of new material in the ‘00s. By comparison Bob Dylan released three, the Rolling Stones and The Who one each and … hell, I guess you run out of contemporaries pretty quickly (recently, Eric Clapton and Van Morrison are just as likely to cover other writers’ material than compose their own).

This is not to suggest that quantity somehow trumps quality. You’d be hard pressed to find a bigger fan (and I’d bet my Archives Vol. 1 Blu-ray collection on that), but when push comes to shove, I’ll admit that he hasn’t released a truly great record since Sleeps with Angels in 1994. Now, there’s only one out-and-out dud in the ten he’s released since then (2002’s well-intentioned but musically lame Are You Passionate?). But by and large, each new LP features a small handful of gems surrounded by a lot of half baked ideas and ill conceived concepts. You sense his excitement behind each new idea, whether it be melding a choir to a collection of grungy protest songs (Living with War) or writing an environmental rock opera (Greendale), or several odes to his electric Lincoln Continental (Fork in the Road), but often the ideas are less than worked through and he loses steam well before the end.

Which brings us to Le Noise, or “What’s Going On in Neil’s Head Circa 2010.” Much has been made of Daniel Lanois presence as producer. I’ve never been much of a fan -- his ‘atmospherics’ or ‘sonics,’ or whatever the hell he wants to call them, frequently obfuscate the material he’s working on (Bob Dylan and U2 are both better off without him). But here, his touches seem to be limited to the copious addition of reverb and the occasional looped sample. Maybe it’s because he has physically less to work with; these songs feature Neil and his guitar and nothing more. Not to say that this is an acoustic record. Some of these songs rage as good as anything he’s done since Crazy Horse’s last truly raucous moments on Ragged Glory. I can’t help but hear a thundering rhythm section in my head on tracks like “Walk with Me” and “Hitchhiker," but I appreciate his desire to leave these songs room to breathe.

The sparse arrangements leave us with the songs themselves and Le Noise, simply put, has a better batting average than any Neil record in a long stretch. The melodies stick around a little longer, the lyrics are more focused, and his singing is passionate and nuanced. There’s a lot of reflection on age and loss. Neil lost two dear friends and collaborators this year with the passing of Larry Johnson and Ben Keith, and their memory haunts the record, as well as Neil’s subtle acknowledgement that his time is growing shorter as well. And then there’s the aforementioned “Hitchhiker.” Originally performed on tour in 1992 and sporadically ever since, this is the first time it has appeared on record. It is a frank and honest accounting of Neil’s history with drugs, from hash to speed to pot to coke. But it’s a catalog, not an apology. He ties them to moments in his life -- moving to America, divorcing Carrie Snodgrass, incessant touring in the mid-‘70s. You sense he’s trying to work through the attraction and the song is better for leaving the question unanswered.

At 64, he’s older but he’s not conceding any wisdom. This is a man still working things out, still questioning his actions, and still reaching for something just outside his grasp. May he never get where he’s trying to go. The trip itself is much more interesting for the rest of us. (Reprise Records)