Shoegaze Brief Blasts: Featuring Swervedriver-I Wasn't Born To Lose You, Echodrone-Five

     It's a small miracle that Swervedriver's fifth album was ever recorded yet alone released in 2015. They weren't appreciated during their heyday and I Wasn't Born To Lose You will only be anticipated and celebrated by hardcore shoegaze geeks. All of us shoegaze geeks should really take the time consider Adam Franklin and how he's never quit on his passion. If Swervedriver was on hiatus, he continued to record and tour with, something like, three other projects. The You in this album's title may as well be Music or just Ambition. I, for one, am grateful for whatever compels Adam to be so damn restless.

     Has anything changed for Swervedriver since '98? Hardly, man. The sole outlier on I Wasn't Born To Lose You is 'Red Queen Arms Race', by all accounts, not very expansive or spacey; however psychedelic it hopes to be. It sounds more like an Arctic Monkeys tune. Otherwise, album five finds Swervedriver in peak form; driving rhythms, crystal guitar leads, melodies made to comfort lovesick souls. Nothing dark or pouty here. Swervedriver harness their considerable power to uplift, not to commiserate.

     Almost nobody wants to make this type of music today. Adam Franklin and co. are some quasi damn saviors, man. Anyone who refuses to give in to Swervedriver's magic has been letting mortgage concerns or whatever slowly kill them for too long.

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                                                                                                                          The Verdict: 3.5 Bedpans

     Echodrone formed 'round the mid 00's and I need to know why such a badass band name as this one hadn't already been taken. Is the name "Echodrone" not weird enough for most bands? Any band (I don't care what they sound like) is foolish for passing on "Echodrone". Hearty congratulations to Echodrone for snatching their name from idiots who probably wouldn't carry it proudly enough.

     If Echodrone decides to choose such a shoegaze-worthy name, their musical chops better justify that decision. They certainly know how to mix keys and bass well. The guitars mostly emit the same tone throughout, as a solid slab of nearly impenetrable fuzz. Electronics are a central focus for Echodrone. Most of the dynamics they create are led by lush, otherworldly key strokes punctuated by occasional bleeps/bloops and ever-morphing knob twists.
     Five mixes the best of Sigur Ros, Explosions in The Sky, and maybe even a tad Nine Inch Nails thrown in for good measure. 'When The Two Ends Meet' is as Failure as I've heard any band sound in quite a while. The cover art is an orange mess and why not? I want hundreds of orange autumn leaves to fall on my face while I luxuriate in Five's soundscapes.

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                                                   The Verdict: 3 Bedpans

So-Cal Brief Blasts: Featuring Dirty Dishes-Guilty, Cotillon-S/T, Prettiest Eyes-Looks

     Exploding In Sound Records is one of now many east coast labels specializing in the 90's revival sound. Well, the only things that don't scream, "90's!" about Dirty Dishes is that they happen to be a duo and feature a rather long instrumental song ('Dinner Bell').      

     Dirty Dishes are a female-lead L.A. band [90's check] who aren't afraid to push songs (5 of 9 here) past five minutes [90's check] and who drench acoustic guitar in reverb [90's check] ('Androgynous Love Song'). Their latest effort, Guilty also includes a song called 'Dan Cortez' which is,  of course pronounced exactly as 90's MTV superstar, Dan Cortese.

     Trip-hop was created in the 90's. Guilty gets a bit trip-hoppy (drums and keys) on track seven, 'Lackluster', and track nine, 'Sugar Plum Fairies'. Anybody looking for a band to fill voids left by Veruca Salt and Portishead  will find a welcome companion in Dirty Dishes. Also, here again, along with a previous 2015 release by a wholly different band, Guilty's cover art might be better than its music. I want to know precisely where that photo was taken.

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                                                                                                                          The Verdict: 2.5 Bedpans

   
   

     Cotillon's eponymous debut album is a kind of middle-of-the-road, blue-collar pop record that a band such as, oh...I don't know...Cracker(?) or Guster(?) might make (especially 'Holding You Back'); but not for lack of experimentation.

     Producer, Chet "JR" White, bangs a woodblock on album opener, 'Gloom'. Both an organ and plenty of saxophone are employed on the next track, 'Call Me Up'. 'Asteroid' is sort of a blander take on Guided By Voices or The Fall. Poe's 'The Raven' is quoted in 'Should Have Known Better'. '

     'Infection' is a 3:40 mess. It starts off as a hammering, angular tune (Sample Lyrics: "I wonder how you could stay so cute and thin. I wonder how many guys you've infected.") and abruptly switches to airy psych, complete with acoustic strumming, at 1:16 (Sample Lyrics: "Be my dream girl. Make me blush. Let's get dressed-up and swallow some drugs. Be my dream girl, just like cocaine."). Ninety seconds later, the song switches back over to drive-mode so someone can work-out a thirty second guitar solo. 

     'Left Bank' is, by far, the best tune here. Jordan Corso can play some beautiful piano. I don't know why more of that wasn't used on this album. So 'Left Bank' features Corso on airy, clean piano and Raffi Garabedian, the saxophonist, just slightly accenting everything. It's very bright and classy. I only wish all the experiments here paid off as well as 'Left Bank'.

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                                                                                                                          The Verdict: 2.5 Bedpans

     If anyone's running low on skronk, Prettiest Eyes' Looks is as stocked-up as Wal-Mart is with cheap cola. 'Looks' showcases skronk. It seems to be the main ingredient in every tune save 'Not OK', which was probably named as such because they excised the skronk from it.

     I'll give Looks credit for a rad cover of The Pretty Things' 'LSD' and a dynamic collaboration with AJ Davila (Davila 666) and Kiani Medina on 'El Huelebicho', which not only boasts some nimble instrumentation but beautifully sung palabras solamente en Espanol tambien. It doesn't get more L.A. than Spanish lyrics. Every L.A. band should find some way to incorporate Latin culture into their music. Prettiest Eyes do right by their home-base.

     Prettiest Eyes sound like they're having lots of fun as they simply bash and skronk their way to the finish line. 'Into Oblivion' is also a quirky, paranoid highlight.

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                                                                                                                          The Verdict: 2.5 Bedpans

Music Review: Jack Name-Weird Moons

     John Webster Johns, aka Jack Name, can be compared to one Richard Swift, aka Onasis, in that they're both collaborator-extraordinaires whose solo output really shines. These sorts of characters occur more in the hip-hop realm. Most hip-hop artists aren't Aspergers-tinged hermits whose work is too precious to be influenced/touched or just don't work well with others.

     Name's second album, 'Weird Moons', may as well be named DMT: The Soundtrack. From what I've heard about the effects of that particular compound, the trip is just as warm yet strange as what Name has conjured here. There's a whole convoluted narrative connected to 'Weird Moons', shaping (and shifting) it into a concept album. 

     Name knows most audiences won't care for a messy story so it's never emphasized over the groovy tunes. There isn't a learning curve or prerequisite here. Any song is as fine an entry-point, especially for fans of early moogs. If anyone has a horrible bias against synthery, I defy them to not be converted by 'Weird Moons' spell. For anyone wary of kooky psych rock, each tune is ultimately anchored by funky bass lines and translate just as well without all the button pushing/knob turning.

     I already know that 'Weird Moons' will be my 2015 security psych blanket; an ever-faithful companion through my ever-worsening year.

Listen/Buy Here

                                                                                                                             The Verdict: 4 Bedpans

Brief Blasts 4: Featuring Stalls-S/T, Blood Sister-Dysphoria, Kim Gray-Backseat Bingo, Ty Segall-Mr. Face

     Stalls make Oakland sound like the hippest place in Cali, man. They've infused a very once-thought-to-be East Coast or New York vibe to Oaktown's repertoire and I can't be happier to know it's happening all of forty-some-odd miles from my current location.          
     All the tones are clean yet foreboding and the bass (probably the highlight here) moves nimbly through each tune. The only bit that's murky are Sam's vocals. Anyone can clearly hear this dude has an enviable set of pipes (cross between Ian Curtis and Nick Cave) yet he's chosen to obscure them proper. They're the loudest yet most distorted element in the mix.

     Stalls share a drummer (Nick Clark) and a label (Vacant Stare) with Mall Walk. Vacant Stare's roster should be able to take over all of CA if they wish and certainly much further reaches. They're a lethal combo, man. No one's recovering from what these bands assemble; Stalls woo with pizzazz/mystery and Mall Walk break hearts with tales of loss.

Interesting to Note: Stalls' Sam Weiss shares a name with a character that the ever-badass Kevin Corrigan once played on TV's Fringe.

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                                                                                                                             The Verdict: 3 Bedpans

     Blood Sister create dizzying, menacing synth pop. They really get into it, making certain notes wail and soar as some guitarists would. It might be the soundtrack to the high-tech invasion. 'Dysphoria' is a strong debut musically not to mention the realm of cover art.

     The cover was painted by local SF artist, Tristan Chase Arcelona. As disturbing as it may be, it's one of his tamer pieces. It's a picture worthy of much consideration. 

Thoughts On The Cover Art

The band seems to be sharing blood from pricked fingers in a nonchalant unity ritual. The most stylish member, whose knees couldn't be closer together, is flanked on both sides by the others, whom have symmetrically-crossed legs. 

The woman on the left is like a proper thirty-something mother-of-two-or-more and the man on the right looks like he could be the owner of a record store or just a barista. 

Upon second consideration, the middle woman's look is kinda deceptive. I think her hairdo denotes high fashion, but her clothes are quite dull. The man is wearing an all-black nerd uniform and the mom-ish woman is wearing red/white/blue, like a true suburban creature. 

The wallpaper looks like it could be circuitry and there's what very well could be a blank, framed canvas, elevated just enough that only the bottom quarter of it is in frame.

The three plates set before these three people and the contents atop each presents many questions as is most likely their intent.

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                                                                                                              The Verdict: 3 Bedpans

     Is Backseat Bingo a car passenger visual-checklist game? 

Red car? [check] 

Laundromat? [check] 

High School marquee advertising a dance? [check]

Homeless person towing more than one grocery cart? [check]

     Let's play Garage Pop Audio Bingo with Skinny Kids lead man, Trevor Kim Gray's latest release:

Surf guitar? [check]

Laid back yet precise drums? [check]

Fat  bass? [check]

Female backing vocals? [check]

Hand claps and finger snaps? [check]

And to all of that, he adds one harmonica flourish. 

     So he sings, "Take it easy. I won't forget the little something that make sense when only Frank Sinatra sings in song." I could be wrong, but I don't think any of Frank's tunes featured a harmonica. But to that, I'm sure, Trevor would sing, "I don't care. Rules don't apply." He has everything covered here. His checklist is fulfilled.

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                                                                                                              The Verdict: 3 Bedpans

      I'm all about hyperbole so even though it's still only January (31st), I'm gonna predict that, in terms of 7" releases, it won't get any better than Sir Ty Segall's 'Mr. Face'. Firstly, it's Ty Fucking Segall at his finest, jamming acoustically. Secondly, we get double-the-pleasure as this is a four-sided, two disc set. All these tunes are great, need to be heard, and need to be bought by Segall completionists. Thank you, Famous Class Records!

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                                                  The Verdict: 4 Bedpans

Music Review: Viet Cong-S/T

    

     Canadians can kick out the jams, man. In my world, their musical output surpasses any sports or alcoholic feat they've ever accomplished. I'm pleased to feature Viet Cong's debut LP as my first review of 2015.

     Five years ago, I paid absolutely no attention to  Women and now I'm going to track down all that I missed. Not that Women weren't heralded; they surely were, but not universally. I guess I was still deciding whether or not I could trust those who might have ears specifically for lo-fi trash, as if their fandom would cloud true criticism.

     This is the first time I've heard the studio-as-instrument approach to post-punk since No Age's 'Everything In Between'. 'Viet Cong' shares many similarities to that album, especially regarding drum sonics. Viet Cong seems to go far beyond No Age's vision however, introducing a tapestry of elements, creating dreadful, urgent, hypnotic, emotional vignettes within most songs. The album clocks in at thirty-seven minutes but there is so much sound to consider that, upon first listen, it feels more like ninety.  It's also curious that the vocals are stylistically akin to fellow Canadian, Spencer Krug.

     Historically, the Viet Cong were a communist regime that the USA was certain it had to fight. That particular decision left a ton of psychological chaos in its' wake. It became a wound that has yet to heal and may never. 'Viet Cong' sets out to leave such an impression as that infamous conflict and succeeds at every turn. This album is a bona-fide classic, always to be remembered in the annals of post-punk. Good thing it's only January 'cause it's gonna take me the rest of the year to digest everything they've crammed into this beauty.

Listen/Buy Here

                                                                                                                             The Verdict: 4 Bedpans

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.

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                                                                                                                             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

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                                                                                                                                                                                              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.

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                                                                                                                             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.

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                                                                                                                             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.

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                                                                                                                             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.

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                                                                                                                             The Verdict: 3 Bedpans