Archive for the ‘indie’ Category

Hundred-word Reviews: January 2015, Part 5

Friday, January 30th, 2015

There’s a never-ending stream of reissued music, too. So it’s time once again for some hundred-worders to work off some of my backlog. As always, these all deserve full reviews, but with limited time and resources, 100 words will have to do. I’ll cut to the chase. This week-long run of quick reviews wraps up with a look at five reissue/compilation releases.


Game Theory – Dead Center
Omnivore Recordings‘ championing of this under-appreciated 80s group continues with the reissue of the band’s 1984 compilation, Dead Center. Like all Game Theory albums, this one has long been out of print, and tough to find. Dead Center collected the band’s strongest material in hopes of helping them catch onto a wider audience. The Three O’Clock‘s Michael Quercio produced several tracks, and whether it’s his influence or simply a musical like-mindedness, much of this music sounds like him. Another crystal clear influence is (post-Big Star) Alex Chilton; Game Theory’s reading of “The Letter” sounds like how Alex might’ve done it.


Frank Rosolino – I Play Trombone
Part of the ongoing reissue of long-lost Bethlehem Records jazz releases, this six-track album (originally released in 1956) presents the trombonist Rosolino. He had previously appeared on sides by Stan Kenton and alongside Zoot Sims, but this was only his second album as leader. The agreeably swinging tunes balance subtlety with melodic interplay between Rosolino and his piano-bass-drums sidemen. Rosolino would go on to release several more albums, but the bulk of his work would be as sideman to a list of jazz greats that included Horace Silver and Dizzy Gillespie. I Play Trombone is an early and auspicious outing.


Dick Wagner – Dick Wagner
Long held in high esteem by rock aficionados, songwriter/guitarist Dick Wagner gained his greatest fame lending his considerable talents to the work others. But in 1978 he recorded and released an album under his own name. With a wide-screen vibe that recalls Meat Loaf and/or Jim Steinman, that album showed Wagner’s talent to excellent effect. Unfortunately, a generic album cover and a poorly-thought-out title (Richard Wagner) doomed the album to obscurity; it was often mis-filed in record stores in the classical section. Happily, it’s again available (with a revised title); sadly, Wagner passed away just before Real Gone Music‘s reissue.


Blood, Sweat & Tears – Child is Father to the Man
Though they would enjoy commercial success with an altered lineup (fronted by the gruesome vocals of David Clayton-Thomas), Blood, Sweat & Tears started out as a highly ambitious (almost progressive) outfit led by Al Kooper. Kooper left (or was forced out) after their debut, but the album the original lineup left behind is a stone classic. With a sound not miles away from The Butterfield Blues Band, early BS&T was soulful and loaded with chops. This hybrid multichannel SACD presents the debut in stunning audio quality, making it the definitive version. This is what Chicago wishes they could have been.


Barbara Lynn – The Complete Atlantic Recordings
Some of the most interesting and important work that Real Gone Music does is its series of compilation albums, collecting the work of underappreciated artists from the catalogs of Atlantic, Dunhill and others. Texas-born Barbara Lynn cut one album for Atlantic (the left-handed electric guitarist went on to a blues-oriented career that continues to this day); that disc (Here is Barbara Lynn) is included here in its entirety along with an impressive number of singles and rarities. This material focuses on Lynn’s vocals. Many of these tunes sound like hits; only one (“This is the Thanks I Get”) actually was.

As always, more reviews of CDs, DVDs and vinyl, plus interviews and essays to come.

Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.

Hundred-word Reviews: January 2015, Part 4

Thursday, January 29th, 2015

There’s a never-ending stream of new music, so it’s time once again for some hundred-worders to work off some of my backlog. As always, these all deserve full reviews, but with limited time and resources, 100 words will have to do. I’ll cut to the chase. Today I look at five new releases form indie (i.e. not on a big label) artists.


Jason Sadites – Tales
The prog community is rife with all sorts of cross-fertilization, collaboration and creativity. Guitarist Jason Sadites is well plugged into this scene; his list of collaborators on his previous four releases reads like a who’s who of progressive rock. On Tales, he’s joined by the ubiquitous Marco Minnemann (drums) and bassist Ric Fierabracci. The eight accessible instrumental tracks on Tales have enough melodicism to hold the interest of a general audience, while the players execute enough musical twist and turns to keep prog fans’ attention. The album’s excellent mix makes the listener feel as if s/he is in the studio.


Arrica Rose & the …’s – Wavefunction
Gently rocking, catchy indie rock is the order of the day here. Rose’s smoky, alluring and slightly breathy voice is mixed out front, with the band sometimes sounding as if they’re in the next room. Rose and producer Daniel Garcia are confident enough of her pipes to keep the production free form effects on her vocals. Rose is up-front about the importance of song sequencing; the tracks on Wavefunction are arranged around two different moods. The later tracks are more subdued and contemplative, but Rose’s voice is the glue holding everything together. “Love You Like That” is the standout track.


Abbie Barrett & the Last Date – The Triples
In 2011, I made an exception and reviewed a three-song EP by Barrett; the tunes were strong enough – and showed enough promise – to warrant the coverage. Her preferred format continued after that, but this disc offers nine tracks, half of which are new. The promise suggested on the earlier EPs is delivered upon here. Fans of New Pornographers – at least ones who enjoy the more rocking end of their oeuvre – should check this one out. And those who missed the earlier discs will find their highlights collected here. You can expect more good things from Barrett.


David Bierman Overdrive – Standard Skies
On Standard Skies, the former Junk Monkey guitarist presents an indie-rock perspective on classic melodic midwestern rock. Catchy, near-singalong melodies are placed into straightforward arrangements that feel warm and intimate. When Bierman plays it up close and personal (“Clock”), he’s effective, but when he rocks out (“Superhuman”), that feels every bit as authentic. Subtle shades of Gin Blossoms are given added weight by the Cheap Trick-like energy of Bierman’s band; the word “Overdrive” is part of their name for good reason. Every tune has a strong hook, and that’s no small feat. Apparently live gigs by the group are rare.


Anton Vezuv – Into the Sea
In 2012, I was turned onto the wonderful guitar pop of Budapest-based The Poster Boy. I had always assumed that there would be good music coming out of the former Eastern bloc, but most of it would never reach the ears of most westerners. So I was pleased when one of The Poster Boy’s members referred me to Anton Vezuv. (That’s a band name, not a person.) Leader Istvan Gyulai sings in English, and is pointedly credited for the band’s “sad songs.” I’d suggest the words wistful and melancholy instead: wonderfully textured songs in classic tradition with a rainy-day vibe.

Still more capsule reviews to come.

Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.

Hundred-word Reviews: January 2015, Part 2

Tuesday, January 27th, 2015

There’s a never-ending stream of new music, so it’s time once again for some hundred-worders to work off some of my backlog. As always, these all deserve full reviews, but with limited time and resources, 100 words will have to do. I’ll cut to the chase. Today it’s a wide assortment of music, from rock to jazz to Americana.


Keith Emerson & Greg Lake – Live From Manticore Hall
It would seem that the days of Emerson, Lake and Palmer are gone forever; other than their one-off reunion several years ago, they’ve all moved on to other things. That said, one of those other things was a 2010 concert series featuring the keyboardist and the guitarist/vocalist. This CD documents that dinner-theatre styled tour; there’s no Manticore Hall; this show was recorded in Connecticut. Toned-down readings – with less synthesizer than you’d expect – of the many classics from the ELP catalog are showcased here, and a lovely version of “I Talk to the Wind” recalls Lake’s King Crimson days.


The Satisfactors – The Satisfactors
This quartet plays rock’n'roll of the old-fashioned variety: power chords, shouted and swaggering vocals, songs about women, and so forth. Fans of stripped-down yet clever songwriting – think of The Romantics, Smithereens and the like – will appreciate the back-to-basics approach of The Satisfactors. An arena-rock feel is applied to songs that recall 70s punk, New York variety. Rolling Stones and Mott the Hoople sensibility shines through on tunes like the self-explanatory “I Love Girls.” Something about these guys reminds me of Donnie Iris (“Ah! Leah!”) but I can’t quite put my finger on it. Either way, it’s fun stuff.


Dylan Howe – Subterranean: New Designs on Bowie’s Berlin
Using music from one of David Bowie‘s most fascinating periods – his Berlin years which borne “Heroes,” Low and Lodger – seems like an intriguing approach for a new album. But presenting those songs – most of which are quite static and impressionistic, owing to Brian Eno‘s involvement – in a jazz idiom is downright odd. But that’s the idiosyncratic concept at work on this album from drummer Dylan Howe. The drummer’s dad (a certain Steve Howe) guests on one track, but not on guitar. My advice is to ignore the Bowie connection and instead enjoy the arrangements for what they are.


The Psycho Sisters – Up On the Chair, Beatrice
Near-lifelong friends Susan Cowsill (The Cowsills, Continental Drifters) and Vicki Peterson (Bangles, Continental Drifters) have worked together extensively, but Up On the Chair, Beatrice is the first collaborative album from the duo. Not rock a la Bangles (save for “Numb”), and not especially Americana-leaning as were Continental Drifters, the music here resembles a baroque, pop-centric rethink of The Roches. Quite varied in texture, the album is full of delights. “Never Never Boys” is reminiscent of the criminally-overlooked Cowsills album, Global, though it has a more countrified feel. Think of The Psycho Sisters as a sort of distaff Holsapple and Stamey.


The Apache Relay – The Apache Relay
The sweeping, majestic strings that open “Katie Queen of Tennessee” will pull you in, right from the get-go; there’s a depth of emotionality that’s conveyed by the string arrangement, a sort of modern Phil Spector wall of sound that adds dimension to the otherwise Americana styling of this Nashville band. If they never did anything beyond that opening track, they’d be noteworthy. But their self-titled debut is filled with goodies that combine the modern folkie-ness of Fleet Foxes with the studio-as-instrument aesthetic of SMiLE-era Brian Wilson. They’ll play Asheville February 28; look for more about them closer to that date.

More capsule reviews to come.

Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.

EP Review: The New Trocaderos — Kick Your Ass

Monday, December 15th, 2014


The New Trocaderos – Kick Your Ass EP
This EP is three songs, one featuring each member of this trio (joined by a keyboard player and drummer). “Real Gone Kitty” is rootsy rock (a la Jerry Lee Lewis) crossed with the Sex Pistols at their most tuneful (no, really). “Dream Girl” is sixties janglepop, sort of Jackie DeShannon meets Smithereens, with a delightfully Al Kooperish organ solo. “Brain Gone Dead” is Clash-style speedy punkpop, though the guitar and electric piano solos come from other places in rock history. Overall, it’s as varied as can be in only three tunes. That begs the question: musically, who are these guys?

Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.

November Hundred-word Reviews, Part 2

Tuesday, November 11th, 2014

Once again, it’s time for a run of hundred-word reviews. My inbox has been overflowing of late, and even after removing the material that I deem not worth my time (nor yours), I’m left with far too many discs to cover in my customary manner (500-800 word reviews). So herewith are twenty-five –count ‘em, twenty-five – brief, to-the-point reviews. The second set of five reviews looks at music from the 1980s: three reissues and two compilations.


Scruffy the Cat – The Good Goodbye
The music scene of the 1980s featured a handful of inventive, talented acts that bridged the gap between powerpop and what would come to be known as Americana (or “alt.”). The Long Ryders were at the rocking end of that continuum; Scruffy the Cat worked at the gentler, more melodic end. This collection of previously-unreleased material covers sessions that bookended the band’s career: a set of demos and live-in-the-studio material from 1984-5, and an Ardent (Memphis) session from 1989. You’ll either dig the group’s raggedy vocals or you won’t, but there’s no denying that they fit the music. Good stuff.


Game Theory – Blaze of Glory
Apparently, I’m not alone in having completely missed Game Theory when they were around. Though the group’s off-kilter brand of 80s powerpop certainly appeals to me now, there’s a modest, aw-shucks feel to most of the songs on the ironically-titled 1982 Blaze of Glory, crossing skinny-tie new wave aesthetics with quirky songs. Their debut album (like most of their subsequent output) has long been out of print; this Omnivore reissue adds a wealth of bonus material and the liner notes feature contributions from former members (leader Scott Miller passed away in 2013). Oh, and they remind me of Let’s Active.


The Dream Academy – The Morning Lasted All Day
Two CDs packed with 24 tracks might seem excessive for a retrospective on a group that scored a total of two hit singles (the lovely “Life in a Northern Town” from 1985, and a 1986 tune you probably don’t recall). They only released three albums. But their shimmering chamber-pop – championed by no less a light than Pink Floyd‘s David Gilmour – has worn quite well. The band’s original raison d’être was to create songs using unconventional (for rock) instrumentation. “The Edge of Forever” may not have charted, but it’s the best thing the band did, arguably superior to “Life.”


X – Under the Big Black Sun
By 1983, X hadn’t yet achieved a level of success that would translate into record sales. So they signed with Elektra and enlisted the production skills of The Doors‘ keyboardist Ray Manzarek. Manzarek may have seemed an odd choice: he wasn’t known as a producer, and his old band’s sound had little in common with the aesthetic of X. But it worked. Under the Big Black Sun presented the Johnny-and-June-styled vocal harmonies of John Doe and Exene Cervenka, along with the insistent punk drumming of DJ Bonebrake and Billy Zoom‘s wild-eyed rockabilly guitar. This reissue features five bonus tracks.


X – More Fun in the New World
By the time (1983) of this, their fourth LP, X had achieved some fame. Again working with Manzarek behind the boards, the band crafted a set of songs that sought to capture the excitement of their live show (the package’s reliance on live concert shots makes that goal more explicit). Overall, More Fun boasts a slightly more polished approach; the drums sound a bit “bigger,” and the whole affair feels a bit more radio-ready. Four demo tracks from the period (in remixed form) are appended to the original album’s thirteen songs. Still essential, as is Under the Big Black Sun.

15 more capsule reviews to come.

 Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.

Album Review: Nina Persson — Animal Heart

Friday, November 7th, 2014

People sometimes express a liking for music that conveys what might be termed “decadent elegance.” They vibe they’re grasping for is one that’s equal parts scuzz and beauty. It’s an elusive quality, and far too often, those musicians who – consciously or otherwise – try to capture it lean too far one way or the other. The decadent end of it gives you Nico-era Velvet Underground or the unrelenting angst of early Nine Inch Nails; the other direction gives something that at times can be a bit too “pretty,” like, say, Fiona Apple.

On rare occasions, the balance is just right. So it was sometimes with The Cardigans. And on both of their albums – their self-titled 2001 debut and 2009′s near-flawless Colonia – Sweden’s’ A Camp nailed it. And as it happens, both of those groups feature the voice and compositional skills of Nina Persson. So it’s not a surprise of earthshaking proportions that on Animal Heart, her 2014 solo debut, Persson refines that approach to a fine point.

The album kicks off with the title track, a propulsive dance pop-meets-motorik melody topped by Persson’s crystalline vocal mixed way out front. Her degree of vocal control is superb: she hits the notes with precision, adding her trademark vibrato only at key moments; she’s careful not to overuse the technique, saving it for when it fits best. That the song has a delightfully memorable hook – in the form of the tune’s repeated vocal refrain – makes it even better.

“Burning Bridges for Fuel” starts with a somber, one-per-measure piano chord, joined gradually by throbbing synth, Persson’s dreamy vocal, and other exceedingly subtle flourishes. The drums don’t come in until halfway through the tune, and even then, they don’t do much. Nor need they: the synthesizer lines provide as much of a beat as is needed. Some nice Leslie’d guitar near the song’s outro has the feeling of a horn section.

“Dreaming of Houses” starts off as an elegiac, grey-day melody, but unfolds into a pop song of grandeur. Listeners who didn’t know better would never think Persson is Swedish; her vocals betray not a trace of being from anywhere specific. “Clip Your Wings” is a more conventional pop tune, but some echoey piano and slide guitar elevate the tune into something more durable.

Electronica textures might at first seem out of place on a tune called “Jungle,” until one sorts out that the jungle is but Persson’s metaphor for modern life. On this track – as with all others on Animal Heart – Persson is ably supported by husband Nathan Larson, Eric D. Johnson and (on most tracks) drummer Brain Kantor. Johnson and Larsson co-wrote all but one of the twelve songs with Persson.

“Food for the Beast” takes a different approach than the tunes that precede it: its radio-ready beat seems designed for airplay, and lyrics about the discotheque floor reinforce that impression. But once again, it’s Persson’s voice that carries the whole affair. A constantly shifting beat shows that even on a “commercial” number, Persson remains musically ambitious.

The brief instrumental “Digestif” gives way to “Forgot to Tell You,” a tune that recalls some of Colonia‘s more close and intimate musical arrangements. “Catch Me Crying” is built upon a stuttering drum pattern and feels a bit like Autoamerican era Blondie; here Persson displays her knack of showing off her vocal range without seeming at all like she’s showing off.

Americana-flavored guitar kicks off “The Grand Destruction Game,” but it’s quickly joined by synthesizer and 60s-flavored combo organ. Persson’s wistful lyric tells the tale of love gone wrong. The stately “Silver” reveals its charms gradually, as it unfolds across three-plus minutes (Persson’s direct, economical writing style keeps all of Animal Heart‘s tunes relatively brief: only two break the four-minute mark.) And despite its title, “This is Heavy Metal” closes the album in a spare yet sophisticated manner – simply piano and vocal – that recalls Tori Amos‘ best work.

Animal Heart was released back in February of this year; it charted in Sweden, Denmark, Finland and the UK. Despite some stateside press and reviews, it hasn’t made a dent on American charts; it deserves better. Recommended.

Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.

Concert Review: J Mascis, Asheville NC, Septermber 28 2014

Friday, October 10th, 2014

A Guest Feature by Annelise Kopp

J Mascis is the loudest acoustic show I’ve ever seen. During his September 28, 2014 show at Asheville NC’s Grey Eagle, J was seated onstage with two guitars nearby, and surrounded by three large guitar amplifiers. By his side were two large bottles of coconut water. For nearly the entirety of the show, Mascis sang and played with his eyes closed, occasionally opening them to turn a page in his song binder, switch guitars, or on rarer occasions look down at the stage, or – rarer yet – into the crowd.

Mascis is most famous for being a founding member of Dinosaur Jr, the influential band who have been playing since the 80s. I had the pleasure of seeing Dinosaur Jr play at Atlanta’s Variety Playhouse in 2009. It was the loudest show of any kind that I’ve seen to date. Seeing J Mascis play in the intimate context of the Grey Eagle offered a new, and welcome, perspective.

Watch “Freak Scene” (Dinosaur Jr, 1988)

Mascis has steadily maintained his solo career alongside his involvement in Dinosaur Jr; his solo dates began as a string of one-man acoustic shows. Dates on his 1995 tour were recorded, and yielded his first album, Martin + Me, which was released in 1996. Though he’s considered a guitar virtuoso, Mascis’ solo work has been more subtle in its musical expression.

Watch “Listen to Me” (J Mascis, 2011)

Though he’s taken on an acoustic, folky sound in much of his solo work, what J is doing to a guitar can be classified as shredding. His raspy vocals layered over fuzzy – albeit more delicate – guitar melodies illuminate not only what J has contributed to Dinosaur Jr and the role he has played in the development and growth of their sound, but also the parts of his expression that just don’t fit into that vessel. When one listens to J’s solo work, it’s easy to think, “this is Dinosaur Jr!”

In 2011, Henry Rollins (once Black Flag frontman and now public speaker, actor, activist, musician (and the list goes on), opened for Dinosaur Jr on their Bug tour, revisiting their 1988 album in its entirety. For Rollins’ opening set, he broke from the spoken-word format he’s toured with in recent years, instead choosing to interview Dinosaur Jr, one of his favorite bands. Rollins, in a related radio interview for Seattle’s KEXP, queried the band: “You guys have been touring consistently throughout the 80s the 90s, and bravely and triumphantly through this new century as well. What does touring and playing as often as you all do mean to you? Still enthusiastic about playing every night? Is it still fun?”

Mascis, infamous for his elusiveness and brevity in interviews, came out with, “More than ever, yeah. I like it a lot better now then when I was a kid. I was… I dunno… more ungrateful I guess… and just kinda depressed or something.”

And you’d almost have to feel that way. Mascis has hardly taken a break from playing shows since playing in hardcore band Deep Wound with Lou Barlow (with whom he founded Dinosaur Jr just a few years later). That was in the early 1980s. Some twenty years later, Dinosaur Jr and J Mascis are still touring. Amidst this, Mascis has continued to release new albums with Dinosaur Jr, release solo material, and be involved in innumerable other projects.

Mascis has recorded with Kevin Drew of Broken Social Scene; played banjo on one of The Hold Steady’s albums; played guitar on GG Allin’s Hated in the Nation; and provided lead guitar tracks on Thurston Moore’s Trees Outside the Academy (which was also recorded in Mascis’ home studio).

It’s through his music that J connects with his fans. In spite of his insular stage presence and disinterest in exposing himself to interviewers, J communicates volumes of meaning through his work. His most recent solo albums, Several Shades of Why and Tied to a Star are accessible to Dinosaur Jr fans and new listeners alike. Still, like an intimate conversation with old friend, the experiences are different and illuminate interesting, sometimes profound, parts of who J Mascis is. Apart from J’s solo work in the context of Dinosaur Jr exists a catalog of work that speaks for itself through its different stages of maturity.

At the end of the show, Mascis exited stage right, eyes mostly to the floor as he stepped just outside the door, lingering briefly before returning to the stage. True to everything we’ve ever known of Mascis, the charade of the ever-standardized-encore was performed listlessly. He returned to play one final song and killed it. The crowd cheered, respectfully, because seeing J Mascis play live is seeing a modern legend.

Watch the full KEXP interview with Henry Rollins & Dinosaur Jr

Watch J Mascis’s 1993 interview with kennedy on Alternative Nation

Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.

Album Review: Hedersleben — Die Neuen Welten

Friday, August 29th, 2014

According to our friends over at Wikipedia, krautrock is defined as “a form of rock and electronic music that originated in Germany in the late 1960s, with a tendency towards improvisation around minimalistic arrangements.” Though the style had its adherents in the 1970s – famed tastemaker/DJ John Peel among the most well-known of them – the style never caught on in a commercial sense outside Germany.

But the style – hypnotic, pulsing, almost tone-poem music – never went away. Julian Cope went so far as to write a book about it, 1995′s Krautrocksampler: One Head’s Guide to the Great Kosmische Musik – 1968 Onwards. And thanks in no small part of Cope’s championing of the music made by groups such as Amon Düül II and Faust, krautrock has persisted right into the 21st century.

The music of Nik Turner (late of Hawkwind) lends itself especially well to a krautrock approach, especially in a live setting. So it’s no surprise that beginning around 2013, Turner enlisted the able aid of an outfit naming themselves after a city halfway between Hanover and Berlin. Hedersleben features the guitar work of Nicky Garratt, the British musician best known for his work in seminal punk group UK Subs. American drummer Jason Willer also played in UK Subs with Garratt, and Bryce Shelton (from San Francisco) plays bass with Hedersleben. Keyboardist Kephera Moon is also from San Francisco. All of this may make you wonder what exactly is the German connection to this band. Good question; the answer lies within their music and their overall sonic approach.

The band does a bit of shape-shifting: when they record or perform with Turner, they’re sometimes billed As Nik Turner’s Hawkwind. When backing Swiss musician Joel Vandroogenbroeck, they’re the current-day lineup of psychedelic band Brainticket.

But when they play their own music – the largely instrumental examples of which are showcased on Die Neuen Welten (The New Worlds), Hedersleben have a personality all of their own. With Moon’s Ray Manzarek-like organ work out front, the dreamscapes of tunes like “Zu Den Neuen Welten” and “XO5B” take their time to unfold. The densely-layered music floats along; Shelton’s bass lines weave their way under the textures in a way that sometimes feels like Gary Wright‘s Moog bass circa The Dream Weaver. Garratt’s often heavily-treated guitar soars above the mix in a decidedly non-punky fashion, and Willer’s spellbinding drum patterns evoke warm memories of Nick Mason circa A Saucerful of Secrets.

Kephera Moon makes extensive use of synthesizers: Mellotron-sounding samples recall early Tangerine Dream, and gurgling analog synth sounds show that she understand the intelligent uses to which synths can be applied; the synthesizers are never used as mere “sound effects.”

Garratt’s lead guitar is a highlight of “On the Ground (Safe and Sound),” in which he solos over a chugging one-chord vamp. As with most of the band’s work, vocals (here little more than the whispered/chanted recitation of the song’s title) are mostly used as a textural element, rather than to convey anything like a story. That role is left to the music.

Garratt’s acoustic guitar underpins some stinging lead guitar overdubs on “Nomad World (Dreamstate).” It’s the gentlest tune on the disc, and some chanted ahhh-style vocalizing from Kati Knox adds to the dreamy vibe made explicit by the title. The faraway-sounding “XO5B” feels like a Pink Floyd jam from the More/Obscured by Clouds era; Garratt’s fret-buzzing guitar and Moon’s celestial organ work are the track’s highlights.

The five-track album closes with “Tiny Flowers/Little Moon,” at once the most conventional and most accessible tune on Die Neuen Welten. With standard signing (again courtesy Knox) and recognizable lyrics, here Hedersleben sounds of a piece with bands like The Black Angels. A vaguely sunshine-pop texture lends the tune an air not unlike the rare pop-leaning moments of The Velvet Underground and Nico. Moon’s delicate piano work – occasionally punctuated by guitar stabs from Garratt – ends the album on an extended, reflective note.

Though there are no Germans on the album; though it was recorded in Oakland, California; , though it veers close to tuneful rock in places; Hedersleben’s Die Neuen Welten is highly recommended on its own merits.

Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.

Short Cuts: July Mini-reviews, Part Two

Tuesday, July 15th, 2014

Here’s another entry in my short-review series; these three are instrumental albums.

Vince Guaraldi Trio – A Boy Named Charlie Brown
An entire generation grew up with the music of Vince Guaraldi, becoming familiar with he melodic brand of music even if they (we) might have claimed not to like jazz. As the background music of the enduring and popular Peanuts cartoons, Guaraldi’s piano-based tunes reinforced the onscreen emotional content of the animated characters and action. The most popular entry in the series remains A Charlie Brown Christmas, and Fantasy/Concord reissued the accompanying soundtrack several times, most recently in a cleverly designed die-cut package.

But an earlier program was made, and it too had a soundtrack featuring Guaraldi’s trio (the pianist plus drummer Colin Bailey and bassist Monty Budwig). But for a host of complicated reasons, A Boy Named Charlie Brown never actually aired on television. Yet in an unusual move, Fantasy Records (Guaralidi’s label at the time) did release its soundtrack, originally titled Jazz Impressions of a Boy Named Charlie Brown. Subsequent pressings played down the connection to the unaired program and shortened the album’s title.

The music is just how anyone who’s ever heard a note of “Linus and Lucy” remembers it: emotionally expressive without the use of lyrics, varied in tone and style to fit the demands of the program’s scenes. The trio’s music bears close listening, but is effective as (dare I say it) background music as well. The 2014 reissue appends an unreleased alternate take of “Baseball Theme” and Guaraldi’s reading of the standard “Fly Me to the Moon,” though the latter has noting to do with Peanuts. The original edit of the accompanying animated film is lost – presumably forever – but the music remains, and it’s delightful as ever. (A limited edition orange vinyl pressing – with the original Jazz Impressions artwork – is also available.)

Express Rising – Express Rising
Music is filled with the work of outsider artists. Decidedly and determinedly avoiding the mainstream, those following their singular and idiosyncratic paths create and release music wholly free of commercial considerations. Most of these artists are, by definition, underground, neither seeking nor finding mass acceptance. Some of these artists are quite prolific: pop auteur R. Stevie Moore has self-released literally hundred of albums. Others turn out music at a much more measured pace.

One example of the latter is Express Rising. The inscrutable Dante Carfagna is Express Rising, but nobody can tell you much beyond that. What is known is that Carfagna’s earlier release featured breakbeats and sampling, two things you’ll find very little of on Express Rising. Moody, hypnotic, gauzy, impressionistic, melancholy: those are just a few of the adjectives that come to mind while listening to this album of instrumental (with occasional wordless vocalizing) music. Real instruments feature prominently here: Wurlitzer electric piano, acoustic guitar and gentle tapping of a drum kit.

But for something that at first glance seems forbiddingly outré, Express Rising is exceedingly tuneful and accessible. More textured and nuanced than new age, gentler than rock, the album’s eleven tracks are fully-thought-out musical excursion, modest in their approach but memorable. By design, the package provides little information, but the press kit offered this suitably oblique nugget: “Carfagna had this to say about himself and about Express Rising: ‘My last record came out ten years ago. Much has changed and much has not.’” The modest and assuming yet lovely Express Rising is well worth seeking out.

Percy Jones – Cape Catastrophe
Outside jazz/fusion/prog circles, the name Percy Jones isn’t well known. But within that rarefied world, Jones’s reputation looms large. As a key member of pioneering fusion group Brand X, Jones’ rubbery bass lines were an integral component of that group’s sonic attack.

After Brand X ended, the Welsh bassist relocated to New York City, where he would eventually cut a solo album called Cape Catastrophe. The album is a decidedly DIY effort, laid down in 1988-89 in a Harlem studio using drum machines, Casio synthesizers,digital delays and loads of Jones’ signature bass.

On the ten-minute-plus title track, clattering drum beats collide with Jones’ kinetic bass figures; “found” spoken word bits float in and out. The overall effect is a but like slightly funkier, equally arty My Life in the Bush of Ghosts. Jones’ fretless work on “Slick” is expressive and entrancing, and overall the album sounds far less “dated” than one might expect. “Hex” feels like what The Police might have produced had they all given in to their suppressed prog-rock backgrounds. And the lengthy “Barrio” (which fills more than a third of Cape Catastrophe‘s run time) feels like an inspired, exploratory in-studio live jam, belying its one-guy-with-overdubs origin.

More “short cuts” to come.

 Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.

Yuck’s “Glow & Behold” — Shoegaze Meets Melody (Part Two)

Tuesday, February 11th, 2014

Continued from Part One

The first record was self-produced; for Glow & Behold, the band chose to work with Chris Coady, who’s worked with other indie-styled artists like Smith Westerns, Wavves and Beach House. Max Bloom says that the “brightness” of Coady’s sound works well with the songs on this album. “I’m used to doing everything [in the studio] myself; I’m very hands-on,” Bloom says. “And Chris is a hands-on producer. So this meant giving a lot of responsibility to him. And just the opportunity to have someone else in the room, someone to talk about what you’re doing, is a big help. It’s a different way of working for me, and it was a very interesting one. And a positive one, for sure.”

The album’s primitive/abstract artwork (by Katherine Campbell) is likely to start a few conversations. “I gave her the tracks, told her a little bit about the album, and she went away for a long time, and came back with a few things,” Bloom recalls. “The [art chosen for the] album cover stood out for me; I don’t know what it was.” He prefers to leave its meaning open to individual interpretation. “We have a backdrop of the album cover when we play. When you look at that, you might have your own opinion of what it might be. And that’s what we wanted out of the artwork.”

On Glow & Behold, Yuck also moves beyond its guitar/bass/drums format to include brass on a few tracks (among the album’s strongest). “It was an urge to try something different,” Bloom says. “With the first album, we had a strict limitation. It worked, and it was fun to write within those guidelines; we used those limitations to our advantage.” He describes the addition of horns – played by him and two guest musicians – as “a way to amuse ourselves,” but the end result expands on Yuck’s sonic palette in a logical way that feels quite natural.

That said, onstage, Yuck is sticking to its stripped-down trio featuring Bloom on guitar plus bassist/vocalist Mariko Doi and drummer Jonny Rogoff. “I like the live experience to be something completely different form the record,” Bloom says. “A lot of people who come to see us live comment that it does sound a lot different. When you’re at a show and that’s what you’re seeing, it’s special in that way.”

Yuck released “Rebirth” as a single ahead of the album, and then “Middle Sea” as a single after the album came out. Asked if he views the album format as viable in this age of download culture, Bloom says, “I don’t know if it’s necessarily the best way, but for me it’s the only way. The album is the highest form that a band or an artist can use to express themselves. For me,” he continues,” I only ever listen to albums. If I like a song, I want to listen to it in the context of an album. In this day and age, that might be old-fashioned.”

Like writing catchy songs, you might say.

Yuck will be at The Mothlight in Asheville NC on Tuesday, February 11.

Follow “the_musoscribe” on Twitter and get notified
when new features, reviews and essays are published.