Bay Area Brief Blasts: Featuring Mall Walk-S/T EP, Pang-Young Professionals EP, Cold Beat-Over Me

     There were many awesome cassette releases this year and the debut by Oakland's Mall Walk is certainly one of 'em. Opening track, 'False Living' contains the word, "revival" and it sounds just like Echo and The Bunnymen's take on psych revival. There is an air of romanticism permeating each of these five tunes; ideas about running away, not getting beat by various systems, etc. The solid rhythm section keeps everything grounded, while the mostly clean  (save for a few occasions when they channel their inner Sonic Youth) guitar plays over it sparingly.

     Mall Walk has considerable drone chops (complete with shakers), as 'Treadmill' sounds like a Yo La Tengo single. Closing track, 'Pales In Comparison', is a drawn-out heart breaker, mourning the loss of a father, wishing the loss of a mother, and "singing CCR". Creedence Clearwater in an old car reminds me of The Big Lebowski and that's always great. I love what Mall Walk are doing. I love this first EP. I can't wait to hear more.

Buy/Listen Here

                                                                                                                             The Verdict: 4 Bedpans

     Pang is (or was...it's uncertain now) a super talented, spirited, all-female, Bay Area band in the vein of Grass Widow; double guitars, double or triple vocals, driving bass, lots of cymbal strikes. Young Professionals is their second release in two years. What anyone can now hear of it (only two tracks currently available) is amazing.

     This thing was released in August on Grazer to a pressing of only 250. It's since sold out. I can't find mp3s any-damn-where and I'm totally dejected. Who knows if the label will issue a repress. If Pang is no longer active, the chances of that are unlikely. Sad news for 2014 in my world. I can't honestly review this but I wanted to mention it since I love the two tracks that're available. I strongly encourage all readers to

Listen Here!

                                                                                                                                                                                              Verdict Pending

    Cold Beat's 'Over Me' is all about Hannah Lew taking Radiohead's 'How To Disappear Completely' to heart. Sample lyrics include:

"...you don't have a need...feel numb for a while..." ('Rain')

"...no heart attached...break apart..." ('Tinted Glass')

The entirety of 'Mirror'

"...cast me aside..." ('Rumors')

"...turn away into oblivion..." ('Out of Time')

"...turn to dust..." ('Falling Skyline')

     Almost every song mentions light (typically from the sun), a lack of vision, and paralysis. 'Over Me' is nothing if not meditative. The words seem to have been culled from Lew's dream journal or something. As much as the lyrics represent a struggle, the music is driven and ethereal. Hannah's cooked up a fine dream pop record, one in which many a teen (and the rest of us "at-hearts") should consume as a substitute for expensive therapy.

Listen/Buy Here

                                                                                                                             The  Verdict: 3 Bedpans

Brief Blasts 3: Featuring Matthew Melton-Outside of Paradise, Haley Bonar-Last War, TIT-S/T EP

     At this point, the title of "Man, Myth, Legend" can be deservedly ascribed to Matthew Melton. If he'd like to rip off Search and Destroy on 'Images On The Sand', listeners won't complain 'cause he's paid his damn dues.

     The cover of 'Outside Paradise' might say it all, but if the words "myth" or "legend" aren't quite conveyed by it, I'm lost. The cover of his first solo outing, 2010's 'Still Misunderstood' found him in a concrete jungle setting, near a beat up car that may or may not be his, without a belt. Now we see him in what could be just any green hillside or Middle Earth, with a belt and now a bat in-hand. Of course, just like other punk legends, Iggy Pop and Eugene Hutz, (the latter to whom he bears a striking resemblance) he has no need for a shirt. That bat is very curious; either he's looking for a mystical sandlot somewhere or he's zombie hunting. In any case, he's sure to produce some hits and those hits my sail outside Paradise.

     He surely made this album outside Paradise. According to a recent interview, he was a vagrant for most of the seven years in which this was compiled, living in his then Oakland-based studio. I guess if I lived  a vagrant life, I wouldn't want to wear a shirt either. But he also lets us know he means business 'cause his pants are always very rock-star-form-fitting. Here's hoping Matthew Melton never associates with Paradise.

Listen/Buy Here

                                                                                                                             The Verdict: 4 Bedpans

     Haley Bonar's 'Last War' is the album that Frankie Rose should've made this year. It's not quite as bombastic as Rose's style. Bonar likes to keep the propulsive rhythms more subdued, but the synthscapes she creates here are just as expansive as anything on Rose's 'Interstellar'. 

     'From A Cage', 'Woke Up in My Future' and 'Bad Reputation' are a meaty, satisfying trifecta of Americana delivered via nothing that sounds the least bit rootsy. 'Eat for Free' is the only sparsely acoustic track, a haunting, heartbreaking and well-sequenced closer.

Listen/Buy Here

                                                                                                                             The Verdict: 3 Bedpans

     Earlier this year The Hussy and Digital Leather released a Split 12". As these types of collaborations go, not only did they share wax, they also shared song duties. I'm gonna guess that TIT was the genesis and not the result of said 12". I feel like the last track on this EP, '8m 50s', an eight-minute, fifty-second drone-out set all this madness into motion. 

     I don't really hear Bobby Hussy's influence in TIT. It mostly sounds like a druggier version of Shawn Foree's normal output. So, okay, Bobby wanted to turn some knobs and just use his guitar chops as an accent for a change; nothing wrong with that. I wonder if TIT will next release four more songs that basically sound like The Hussy on quaaludes with heavy synthery in the mix.

Listen/Buy Here

                                                                                                                             The Verdict: 3 Bedpans

Brief Blasts 2: Featuring The Paperhead-Africa Avenue, Weed Hounds-S/T, Teledrome-S/T

    I'd honestly thought Nashville's The Paperhead had dissolved. I wasn't very much impressed with 2011's Self-Titled offering and since that one felt pretty uninspired, I'd figured the band itself didn't have the staying power. Africa Avenue fixes just about everything that was blah about the last record. They now give us tunes that mostly push the three-minute mark with varied tempos, rhythms, instrumentation, and styles. 

     It's great to hear The Paperhead pull off everything they try for on Africa Avenue; a one-stop psych shop. If they have it in them to make more albums like this one, three years won't be too long a wait for the newly-acquainted legions of fans they're bound to acquire.

Listen/Buy Here

                                                                                                                             The Verdict: 4 Bedpans

     Brooklyn's Weed Hounds are the reverse-mullet of the shoegaze genre; party-in-the-front (moniker), business-in-the-back (music). Maybe it took them five years to get this album realized because they truly are weed hounds. Or maybe they just didn't want to scrimp on anything production-wise and that requires more time and money. They certainly picked a solid industry vet in Ben Greenberg to record them. This debut has no feeling of haste to it and I'm thankful for whatever care was put into it 'cause it amounts to one if not the best shoegaze albums of 2014.

     Their sound isn't as self-serious as most shoegaze acts; it leans towards the poppier side of the spectrum, in vein of The Breeders. That's not to say the rhythm section isn't plenty punishing. The bass is eagle wing-span wide and there's no shortage of crash cymbals. Of course, a two-guitar assault reigns atop everything. Weed Hounds pack an undeniable WHALLOP, not unlike certain edibles that'll sequester users in restricted, all-day sitting positions.

Listen/Buy Here

                                                                                                              The Verdict: 4 Bedpans

   I think Teledrome's Canadian label, Mammoth Cave, sent out a memo as part of one their newsletters stating something to the effect of this most likely being the band's only record. I can't remember the reason behind the dissolution. Maybe I'm mistaken, but if it's true, it's a damn shame 'cause talent like this needs to be showcased.

     This Self-Titled, 16-wheeled Mack Truck of synth dominance is some of the most fun listeners will have in 2014. Ten tracks finishing in twenty minutes is all I needed to become a slobbering, self-loathing, key-and-knob-worshiping mess. Not only do I want to listen to this thing three times a day, I can. Teledrome possesses endlessly hummable hooks played by some hardcore Devo disciples. It compliments figuring out Dungeons & Dragons game scenarios whilst pining for the girl or guy next-door.

Listen/Buy Here

                                                 The Verdict: 3 Bedpans

Music Review: Cool Ghouls-A Swirling Fire Burning Through The Rye

     

     I'm a sucker for a live-to-tape recordings. I'm also a sucker for boot-stomping, blunt-blazing, hallelujah-hailing psych rock the way only San Francisco produces. On behalf of my ears, I'd like to thank Sonny Smith for making Cool Ghouls' A Swirling Fire Burning Through The Rye sound outright amazing. He even manages to fit in a saxophone on 'Insight'.

     Cool Ghouls may never make a better album than A Swirling Fire. I certainly believe they could, but any band's lifespan is unknown and thousand small instances usually factor into the making of an album so that it's nearly impossible to make music that so beautifully destroys quite like what they've given us here. What A Swirling Fire captures and what Cool Ghouls have been able to conjure up in 2014 is magical; not only transportative (What a Dream I Had) but immediate (Reelin'). I won't even complain that, aside from 'And It Grows' and 'What a Dream I Had', there's a curious lack of soloing here.

     A Swirling Fire sets Cool Ghouls up as the new kings of Bay Area psych rock in my mind; especially since what I recently heard from Howlin' Rain is decidedly far-leaning-country influenced. They deserve recognition for getting or allowing every moving piece to work so well together.

Listen/Buy Here

                                                                                                                             The Verdict: 4 Bedpans

Music Review: Circles-Shadowgraph

     If Shadowgraph didn't have to compete with two other albums for my undying affection, it'd certainly rank first of my favorite pop records this year. In fact, 'Walk for Days', 'Fives and Tens', and 'Curses' are so infectious, they could take down some of the better songs in the other not-mentioned albums. I'll go ahead and name Circles The Best Chicago/Wisconsin band of 2014. I'm elated that Circles exist 'cause I'm gonna need them in the event that Soft Pack breaks-up.

     Circles definitely know their way around a tune. Having five members in a band should guarantee maximum sonic impact and Circles don't allow anyone to waste space. 'Ghost Walking' alone employs a reed instrument and piano. Most songs feature vocal harmony by, what sounds to be, at least three (two of whom are women) band members. The bass anchors and propels most of Shadowgraph's tracks, bouncing around mid-tempo range.

    Circles' lead guy is Black. He uses Shadowgraph as an opportunity to share his African-American heritage by name-checking Marcus Garvey and having someone read an excerpt from Leroi Jones's 'Black Music' aloud over an organ-based ditty (a-la VU's 'The Gift'). This element of pride and social history is a welcome layer added to an already stacked album, which also includes, lastly, a cover of Toy Love's 'Photographs of Naked Ladies'.

Listen/Buy Here

                                                                                                                             The Verdict: 4 Bedpans

Brief Blasts: Featuring Bad Indians-Keep Losin', White Laces-Trance, Pink Slime-Harmony EP

     For Bad Indians' 3rd album, lead guy, Jules Nehring,  gets to rhyme the words blessing and coalescing on the nearly 12 minute closer, "Marble Orchard".  That is only one of many highlights on Keep Losin'. Bad Indians continue to kick out the psych jams, be they less (4 tracks) or more (4 tracks) than 4 minutes long. Nothing sounds too serious here and that's a strong characteristic for Bad Indians. The production is still so lo-fi and the music so loose that they just sound like kids having the time of their lives, sharing what they love with the world.

Listen/Buy Here 

                                                                                                                     The Verdict: 3 Bedpans

      

     Compared with 2012's Moves' darker, semi-menacing vibe, White Laces' Trance is more forlorn and lovesick. They still carry the 4AD dream pop torch proudly. They know just where to place every synth accent. Their song construction lacks nothing. All tools are used to maximum effect. Of course, this is a perfect album for long night drives, preferably in wooded areas.

Listen/Buy Here

                                                 The Verdict: 3 Bedpans

  

     Pink Slime's Harmony EP is 14 minutes of post-punk perfection. I can't imagine what else they could've added to make it better. EPs are amazing that way; an exercise in minimalism, allowing for only the best material. Pink Slime tunes on Harmony are slightly excessive and it suits them well. I don't think they should ever write a song that tracks less than 4:30. They have the chops to extend their badassery as long as they'd like.

Listen/Buy Here

                                                 The Verdict: 4 Bedpans

Music Review: Adam Widener-Vesuvio Nights

     I'm down with anyone wanting to pay homage to the great Elvis Costello. Adam Widener's idea for a great album cover isn't where the brilliance of Vesuvio Nights ends. The reason he's holding a bass on said cover, as opposed to Costello holding a guitar, is because bass is Widener's primary instrument here. Every song except maybe 'Telephone Traps' is framed by the bass and the bass is heavy in the mix. The bass is crucial to these tunes because they're pretty standard power pop fare unless Widener injects what are essentially punk bass lines into each of them.

     Widener plays everything on Vesuvio Nights and he's able to pull off that sound-like-a-band trick. Every tune is tightly wound and quickly paced. Of the 14 songs, 4 are under 2 minutes, 9 are under 3 minutes, and only 'Pools of Light' slightly passes 3 minutes. The title track starts off as a mid-temp album anomaly but kicks into gear around the :20 mark. There're two guitar parts in every song. but the lead is mostly used as a tasteful accent. Solos are employed very sparingly. The longest of them arrives towards the end of 'Gentle Swarm' and it's certainly a near-Mascis-esque album highlight. Widener's vocals here are akin to John Dwyer and his predilection for reverb-y howling, a psychedelic staple.

     Vesuvio Nights is pop done right. There's absolutely nothing to pick at here. It's great for driving and dance halls. It actually sounds a bit like early Strokes. If anyone can present me with a better example of where Vesuvio Nights is aiming, I'll show them Adam Wideners next album.

Listen/Buy Here

                                                                                                                             The Verdict: 4 Bedpans

Music Review: Burnt Ones-Gift

     

     I feel like MGMT should listen to Burnt Ones' Gift and hear a better sound than that which they've attempted. On Gift, Burnt Ones perfect a laid-back yet exuberantly dynamic take on psychedelia. It truly is music by which to check-out. The numerous and varied elements they use to construct each tune had me imagining colors oozing or spilling from all porous surfaces and guiding me to a warm, sandy grave in which to bury all my cares.

     The one constant in most of Gift's tunes is the rhythm section taking a far-off back seat mix-wise to guitars, keys, vocals, and whatever else they've chosen to throw at us. Upon first listen, I didn't notice the bass at all; it's very dubby/muted and atmospheric. Drums are more audible, but very minimal; lots of tom, bit of snare, and cymbals relegated to splashing. The only song that percussion plays a larger roll in is 'New Heroes of Subscription Services', as tambourines punctuate and wood strikes wood.

     'Pineapple Program No. 31' stands alone as a 1:18 of music that veers into a more chaotic/menacing direction on Gift. Otherwise, Burnt Ones offer much weightlessness. A bevy of cozy synths collide throughout, weaving a majestic tapestry that'd be a joyous addition to any abode, be it under or over ground. 

Listen/Buy Here

                                                                                                                       The Verdict: 4 Bedpans

Music Review: Teenanger-EP LP

     Toronto's Teenanger slow the tempo down (in some cases, quite) a bit for their third album, 'EP LP'. They haven't lost their knack for finding inventive riffs (which sets them apart from their peers) and the bass on this one is so much heavier. Production is crisper compared with previous releases, albeit with a slight tinge of reverb. The sax solo on 'Twisted' is awesome; it's that of the reedy vomit variety. I want to know the story behind that 'cause it's such a great but singular* moment on the album.

     Teenanger remain one of Canada's finest due to their songwriting abilities. No one else I know of combines post-punk and thrash like they do. There always seems to be an airy, almost angelic, clean synth or guitar part buried in the mix on their earlier releases, accenting the front-loaded chaos. 'EP LP' may be a slight departure from thrash aesthetic but who will complain when the riffs are ever-intriguing. If this is their permanent new direction, so be it. Teenanger will never be found "at the loser convention" and their "name" will never "mean zilch".

Listen/Buy Here

                                                                                                              The Verdict: 3 Bedpans

*I know sax solos have been used only once on albums by many artists before. For me, it's kinda sad to wonder why sax talent wouldn't be employed more than once on any given album. How'd the saxophonist convince the band to allow them a drive-by of sorts? 

Music Review: Son of a Gun-No Bread

     Son of a Gun's 'No Bread' is exactly the type of album for which my journey through garage rock five years ago began; plainly direct in its mission to rock out. Rocking out is a noble goal for anyone over the age of 30 'cause it's the largest middle finger we can give to a society that would have us behave like pacified children. 

     Whether or not any of us chooses to accept it, The Light is dying more everyday. Somebody's gotta take that Dylan Thomas verse to heart. Somebody's gotta model the lunacy/idiocy/hedonism/hysteria that'll be the Yin to society's boring/suppressive Yang. Son of a Gun are proud members of that ever-growing club. 

     The "Bread" in 'No Bread' probably refers to money, but I like to also take it as actual carbohydrates or empty calories that turn into unwanted fat cells. The phrase. "all Killer, no Filler" was invented to describe 'No Bread'. Son of a Gun hardly ever reduce their BPM here. 'Peel Off' begins with, "I walked into a tattoo shop. I said, 'Gimme everything you got'"; which describes Son of a Gun's mad approach to their music.

     Speaking of "Gimme everything you got!", 'No Bread's cover art is a massive slice of Awesome. It depicts Lewis Carol's Alice sitting among stuff that's guaranteed to transport her. Firstly is a turntable stereo system. Judging by the semi-cloudy-but-otherwise-clear sky that's painted onto the dust cover, music could certainly take here there. To her immediate left is what looks to be a 70's model, fifteen passenger van. It's too large and too clean to be a party van. Someone is driving, but they're the only person pictured in said van and what looks to be heavy rain can be seen through half the windows. Kinda hard to interpret that image. In front of Alice sits some sort of (I'm guessing) South American folk mask or icon. It looks like it could be a personified sun. No quite sure what to make of that either. However, Alice doesn't disappoint 'cause she's gripping one of those infamous drugs Lewis Carol gave her from which to choose. Looks like Alice has some options once again. I think the wax provided by Son of a Gun to place on that turntable platter might be The Ticket, Alice.

                                                                                                                       The Verdict: 4 Bedpans

Music Review: Useless Eaters-Bleeding Moon

   

     "The Devil's in the alleyway, pissing in the gutter"? Okay, Mr. Sutton. Seth has officially put his baby, Useless Eaters, on the map and I can no longer ignore them. Why would anyone want to when they've suddenly picked up some Wire influence? Yes, I'll take it and ask for four more helpings. 

     'Bleeding Moon' has style to spare. The second guitar part on 'Simple Device' is enough to send my senses reeling. An air of cool prevails over 'Bleeding Moon' as Seth lets the music (particularly rhythm) do most of the work. His speak-sing plain vocal styling serves as a mere accent to this post-punk meets Memphis garage rock experiment. Solos are kept to the bare minimal, but when they arrive, they wail.

     The Bunnymen's 'Moon' meant to kill us. Seth Sutton's just means to bleed on us. If I can gleam some of Seth's magnetism from the latter, it sure ain't bad. If the blood will only stifle me, I'll gladly take the former.

                                                                                                                            The Verdict: 4 Bedpans

Music Review: Li Xi-Meet Me Somewhere

     Li Xi's 'Meet Me Somewhere' is a beautiful music collage. The cocktail airy vocals, clean, large Gibson guitars, dub-y bass, bouncy drums, Moog accents, and vignettes of specific scenes and places is pleasantly whimsical. Li Xi's destination is the sun. Before I knew it, we were there; probably halfway through the second track. 

     The running time of 25:45 shouldn't fool anyone into thinking this music is as economical as the song-lengths. Every tune is filled with exactly what it needs, no more or less, often brimming with all aforementioned elements. At other times, restrained, but always feeling like they could burst at any moment. The last track, 'Moss Beach' is certainly a standout here in that it goes prog towards the end, giving the listener about :45 secs of "Huh?" but not enough to suspect outright format betrayal.

     Li Xi are meticulous pop architects. Every San Franciscan should seek out 'Meet Me Somewhere'. It can only help anyone who's bummed over the state of their once-beloved City. For myself, 'Meet Me Somewhere' will be in heavy rotation to buoy me 'til Spring. Li Xi have my sincerest thanks.

                                                                                                                            The Verdict: 3 Bedpans

Music Review: Yes I'm Leaving-Slow Release

     

     Plainly pictured on the front of Yes I'm Leaving's Slow Release is a collage of suburban tract homes with an assembly of human skulls looming largely above. ("This existence is death, man!") I imagine one of those nondescript garages contains a post-punk band wanting nothing more than to fulfill the promise of its name. Well, I personally haven't heard any post-punk (of recent) from Australia. It's currently a land that represents psychedelia and Nick Cave for me. So, I'll say, "Mission Accomplished, Yes I'm Leaving."

     For me, Slow Release really doesn't get any better than the first track, 'One'. It's a perfect Mission of Burma ripoff, complete with a rubber-band, thunderous bass; except with a second guitar and some swirly synth flourishes. The lyrics sound as if they're referring to both the band's name and the album's; "I had a vision/of you/now/one". The goal is transcendence. It's a sentiment of teen angst but men have visions whereas boys only have dreams. I really hope these dudes aren't ages 30+. I guess the narrative would be a bit comedic, for me, in that case.

     There're other lyrics on Slow Release that allude to small-town life and an anticipation of something more. Yes I'm Leaving is a talented band. Every song is tightly-woven save for the ending bit of Salt in which it's allowed to dissolved and then sputter out. Care Less is a pretty straight-forward, almost mid-tempo rocker. It doesn't sound as if it belongs on this album, sandwiched between the rest of more stylized fare. It's a lazy song by-design...Well, whatever.

     So I guess Slow Release is for anyone, young or old, who can identify with its cover art. It's not restless, it's determined. It's just saying its last goodbyes.

                                               The Verdict: 3 Bedpans

Music Review: BRONCHO-Just Enough Hip To Be Woman

     If any band deserves to use an ALL-CAPS moniker, it's BRONCHO. In my estimation, they have replaced Spoon as the most swaggerlicious modern band I know. 'Just Enough Hip To Be Woman' is loaded with undeniable dance-floor material. Everything is so on-point here. This album has broken my damn barometer. I really don't anticipate any other 2014 release unseating its current place of dominance in my world. 

     Of course, my excitement begins with the very first track, 'What', sounding reminiscent of Bowie's 'Queen Bitch'.  The album as a whole hearkens back to acts like Dire Straits (MTV is even mentioned towards the end) and The Cars with keyboards, genius riffs, couldn't-possibly-be-more-tight rhythm section, loose and playful vocals. It's pop heroin, man. It's an album that I'd like to include in some sort of square ambush. When this thing is playing, everyone within earshot better cease whatever they're engaged with and succumb to its spell.

     I don't yet know where these five dudes live in Oklahoma, but they should be takin' over that state. Even The Flaming Lips can learn something from BRONCHO. Here's to this album being reckoned with for decades-to-come, including but not limited to, cuts being heavily-rotated at Thunder games. Bravo, BRONCHO, bravo!

         The Verdict: Unknown (Strongest Guess: 20 Quadrillion Bedpans)

Music Review: Monster Treasure-Monster Treasure

     I love the intensity of this trio. The bass is very meaty, like Krist Novoselic. The guitar never changes tone and the drums are poppy. Monster Treasure don't need much to communicate. Two of the members are women and they often each sing different parts, adding a welcome dynamic to the sonics. Monster Treasure are what The Muffs hath begot. 

     I wish the vocals were a bit less breathy 'cause I'd like to know what 'Assholes' is on about. Meanwhile 'Psychedelic Girl' is a faithful pop-punk tune.

     Score another win for Stockton and, by proxy, Brooklyn's Harlot Records, which seems hell-bent on signing every damn act in that scene. So far, so good.

                                                                                                                            The Verdict: 3 Bedpans

Music Review: Os Noctambulos-Corsica Garden

     Some things in life are so good they hurt to consider. Is it safe to believe in magic? If I'm being completely honest, the idea of a modern Franco/Anglo band sounding as if they came from mid-late '60s garage/surf/psych pop era isn't quite impossible to fathom. Plenty of bands try for this sound, but when one seems to nail it so precisely, it seems unreal, and the initial shock upon first listen is considerable. Is every instrument actually played so stylistically as to sound era-specific or era-authentic? Even for myself, it's bit hard to imagine this perfect sound existing in 2014. 

     "Take my hand. Take my wrist. 'Cause it scares me, what I might do." sings Nick Wheeldon on, perhaps, the best track on Corsica Garden, 'It Scares Me'. Those are convincing words considering Os Noctambulos have pretty much perfected their sound. Nothing on Corsica Garden feels the least labored. If this band can write such masterful pop tunes so seemingly effortlessly, is there any limit to their potential? It scares me to think of what the hell else they "might do". Os Noctambulos belong on a Wes Anderson film's soundtrack. I can undoubtedly state that they have the same chops as any heavy-hitting '60s pop band that I can name-drop. Not only that, but I will, from today forward, rank Corsica Garden among the best albums from any of that era. I don't think it's crazy to set this album alongside the greats. 

     For music lovers, Corsica Garden is nothing short of beguiling. Os Noctambulos have  set a new, bold standard for all modern garage pop bands.

                                                                                                                              

                                                                                                                           The Verdict: 4 Bedpans

Music Review: Dude York-Dehumanize

     Welcome back, Seattle. I only write such words 'cause I feel like I haven't heard anything worth listening to emerge from Seattle since early last decade. Dude York is perfect mixture of Titus Andronicus (mania/vocal delivery) and Dinosaur Jr (Guitar Hero virtuosity). I mean, seriously, it sounds like guitarist/singer, Peter Richards, could go note-for-note with J. Mascis. Claire England (bass) and Andrew Hall (drums/keys) back-up Richards furiously, capably. It's great to hear another trio that sounds so confident in their musicianship.

     'Sleep Walk' is peppered with tambourine and 'Hesitate' receives a truly amazing horn arrangement, courtesy of album producer, Jose Diaz Rohena. I love every keyboard/piano flourish used on Dehumanize. I love the breakdown in 'Idol'. I love the line, "Even though I'm a nihilist, I believe in getting caught-up." in 'Believer' and how that song's verse-part basically rips-off Fleetwood Mac's 'Dreams'.

     I'm joyful to know Seattle is starting to bounce back musically and that we may not have to be subjected to the self-aggrandizing or navel gazing that've plagued the Pac NW scene since Grunge's heyday. Dude York and other scene notables (Wimps) are proving fun can still be had in the rain.

                                               The Verdict: 3 Bedpans   

Music Review: Cretin Stompers-Looking Forward To Being Attacked

     Here's another album from a supergroup trio. These guys have played in no-less-than 5 other bands combined. They're also each from a different city. We have Los Angeles, Memphis, and Brooklyn represented. Memphis is doubly rep-d 'cause the cover image is by the renowned rock collaborator, William Eggelston.

     The combination of the band's name and this album title strongly suggests a war of some kind or at least a predilection for conflict. The lyrics align smoothly with stomping and attacks. Words that're sung on this album include: testicles, razor blades, blood, flesh, evil, skull, daggers, black, storm, death, drowning, swallow, cum, demons, bleeding, splintered glass, and murder. Pretty harrowing imagery and then "she lost her coupons at the grocery check out" is thrown-in for good measure towards the end on 'Industro'.

     Though the words are dark, the music half-way leans towards that of slack-rock or indie-pop. Seven of the fifteen tracks are played mid-tempo, almost two-step. This is a departure from the normally aggressive nature of most bands on the Hozac roster. The only other labelmates I can think of that share Cretin Stompers' willingness to slow things down are Radar Eyes and Ruined Fortune. 

     A modulator is used on the vast majority of these tracks to send the vocals into heavenly Sigur Ros range. This is the strongest stylistic element the band employs, giving the tunes a mystical, nymph-like quality. I honestly can't tell if a drum machine is also used on most tracks or if that's also just a synthetically-produced sound. 

     'Cowboy From Mars' is a track that really stands-out here. I'm not sure if it really belongs on this album. It's played very cocky, massively, quasi-southern, like that of bad classic rock (.38 Special or Bad Company), even beginning with the lyric, "Georgia was a sweetheart...".

     Overall, I really dig 'Looking Forward To Being Attacked'. It's strange and varied and wondrous. There most likely won't be another album quit like it this year and that's commendable.

                                                                                                                           The Verdict: 4 Bedpans

Music Review: Rebel Kind-Today

     The ever-prolific Fred Thomas tends to surround himself with high-level-talent musicians. All his projects are experimental but quirky enough to be endearing. They would be simply pretentious if not for Fred knowing when to ease-off and fill-in some finely-tuned pop elements. Such a balancing act wouldn't succeed if not for confident bandmates.

     All three women of Rebel Kind are Thomas collaborators. They've worked with and apart from each other in various Fred Thomas bands. As much as they add sparkle to what Fred does, they're even better as a trio. Rebel Kind may as well be a super group. No one should argue against such sentiment after hearing Today. I rank Rebel Kind automatically above most all-female bands of past or present. I'd certainly choose Today over all of The Vivian Girls or Dum Dum Girls discographies.

     Nothing is complicated here. Overdubs are bare-minimal. It's very loose but confidently so. Today sounds like it was written in the space of maybe two weeks and it may have taken a dozen hours to record (by Fred Thomas). The melodies are highly addictive.  It's all rhythm here. No solos. The guitar sounds like an afterthought. Drum, bass and vocals are Today's stars.

     One minor criticism I'd like to point out is that track four, 'I See' is pretty much a 'Jane Says' ripoff. One outta thirteen sure ain't bad; highly forgivable. Here's hoping Rebel Kind's recent signing to Urinal Cake Records garners them the attention they badly deserve.

                                                                                                                             The Verdict: 3 Bedpans

Music Review: Energy Gown-Evening Molasses

     The riches of Chicago's psych/garage scene are seemingly endless. I'll say that no other North American city tops it, certainly in terms of quantity, but probably also in quality. Energy Gown are no exception. For me, they have now wormed their way into my Top 5 Chicago bands. It's quite a feat considering the love I have for so much else of the city's output. 

     This straightforward psych record is so ridiculously on-point, it really sounds like it came from nowhere else but 1967. I think a theremin is used in the first track! Most of what's mixed loudest on Evening Molasses is guitar and organ. Drums are mostly toms and snare; hardly any hi-hat and rarely any cymbals (tambourine substituting). Bass action ranges from thumping to melodic, shouldering the groove well. There isn't one clean guitar tone to be heard here; all fuzzy and distorted. Vocals are marinated in reverb.

     Evening Molasses impresses lyrically. A.A. Lam's ethereal poetry (no joke) is the highlight of this album. It's an interesting read, strongly suggesting such words were written in an altered state-of-mind. It rivals that of the great Syd Barrett. Track six is titled, 'Pitch Drops on the Atmos Clock'. That's pretty much as close to 'Piper at the Gates of Dawn' as a title can get.

     Overall, Evening Molasses receives a standing ovation from me. In 2014, so far, there's no better record to play and be hooked by its shadowy lure.

                                                                                                                      The Verdict: 4 Bedpans

Music Review: Radiator Hospital-Torch Song

     

     

     Here's a summer album for all the Pensive, Lovesick, and Forlorn among us. Sam Cook-Parrott's words paint vignettes of confused, unfortunate, lonely souls plaintively reaching out to whomever they hope might help. There's a lot to love for those who crave direct, introverted, hypothetical analysis.

"I see the way you look at me and the pain it brings" (Leather and Lace)

"I just stood there, bathed in the quiet." (Cut Your Bangs)

"You looked at me like I was your answer. I looked at you like you meant something." (Fireworks)

"The sad songs make me sadder as they're floating through the air." (Bedtime Story)

     Most of the 15 punchy, up-tempo ditties last no longer than 2:10 and Radiator Hospital loads each tune with as much as four instruments can play. Parrot's vocal delivery is very reminiscent of Tokyo Police Club's Dave Monks but never more so than on Just May Be The One. Not a bad thing. Friends of the band and twin sisters, Katie Crutchfield and Allison Crutchfield guest vocal on three tracks.

     Torch Song is a satisfying listen for anyone who enjoys exploring restlessness, inner turmoil and ever constant mind/heart struggles. It's all very honest and relatable, asking questions quite for sake of asking.

                                                                                                The Verdict: 3 Bedpans