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.

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                                                                                                                             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.

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                                                                                                              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.

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                                                 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.

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                                                                                                                             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'.

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                                                                                                                             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.

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                                                                                                                     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.

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                                                 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.

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                                                 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.

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                                                                                                                             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. 

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                                                                                                                       The Verdict: 4 Bedpans