Mike Bennett
Capsule
Reviews:
January,
2006

Various Artists -- Inner City Sound (Laughing Outlaw): This disc is the companion to the Clinton Walker book of the same name, which has been reissued in Australia. The book had contemporary accounts of the thrilling Australian punk and post-punk scenes of the late ‘70s. When I got my copy at Looney Tunes Records in Lombard, Illinois, I was just excited to find a book that mentioned The Saints and Radio Birdman. Birdman doesn't even appear on this comp, but fear not, as they are well represented on other comps (and really, you should just pick up their original albums and EPs). This compilation goes beyond the obvious (yet obscure) punk acts that formed the bulk of the book and chronicles the Australian underground of the late ‘70s and ‘80s. Thus, acts like the industrial Severed Heads, the popular Hunters & Collectors and the mellow Apartments make appearances on disc two. To me, disc two is a cool bonus disc, as the real gold is found in the 28 tracks on the first disc. It's simply track after track of lacerating punk and post-punk, with some cool detours (like Surfside 6's handclapping hang-ten paean "Cool in the Tube"). The Saints and Radio Birdman spin off The New Christs are represented, along with bygone acts like Thought Criminals (frenetic rock on "More Suicides Please"), Whirlywind (Eastern inflected hyper-wobble on "Red River"), Manikins (Pistols meets Patti Smith on "I Thought I'd Never Find"), Last Words (standing between Detroit and London on "Animal World") and a hint of future greatness from The Triffids, whose "Family Name" is a mellow respite on this burner of a disc. When I refer to disc two as a bonus, don't interpret that as dismissive. In addition to awesome slices of post-punk menace from The Scientists and The Birthday Party, there are some very cool aggressive electronic acts, like the aforementioned Severed Heads, Essendon Airport and Machinations. There's also my favorite song by the Aussie band X ("TV Glue"), The Laughing Clowns, the not Mormon, but latter day Saints ("Ghost Ships"), and a lovely tune from Lighthouse Keepers ("Springtime"). A compilation worthy of the book for which it was put together. laughingoutlaw.com.au

Super Deluxe -- Surrender! (The Control Group): I didn't even know these guys were still around. I enjoyed the aggressive power pop on their major label LP (and debut) Famous. But it's been a while since I've spun that one -- if that one is as good is this one, I need to play the debut more often. This collection is the next best thing to a new Redd Kross album, as Super Deluxe kicks out track after track of muscular and melodic rock. In fact, a few songs are dead ringers for latter day Redd Kross, meaning that they are energetic melodic rock perfection. "Know Your Enemy" is an infectuous mid-tempo song that just keeps coming, from the "I want/I want/I want/I want you" refrain, to the intense middle eight, the strummed guitars and superb harmonies, it is a corker. Fans of Splitsville should go for "Enough is Enough" (and possibly E'Nuff Z'Nuff fans too, I suppose), which has a spoken interlude in the middle that reminds me of the Baltimore band. Even when the band mellows a bit, it still has that powerpop buzz. "Joie De Vivre" is a ballad with a bit of bite, the verses in a relaxed mid-tempo, with the chorus cranking up slightly. Singer Braden Blake has a great voice for this material, with a fair amount of range and slight amount of rasp. On the final song, "Get Off", he gets in touch with his inner Robin Zander. Like everything else on this album, it sounds great. controlgroupco.com

Ladytron -- Witching Hour (Rykodisc): This co-ed British synth quartet fights the battle that similar electronic acts have faced since the late ‘70s -- how to avoid being overly sterile. The band is constrained by the limited vocal abilities of Mira Aroyo and Helena Marnie, who sound like a lesser version of Miki Berenyi and Emma Anderson of Lush. This puts more of a burden on the songwriting and arrangements. Thankfully, this band continues to improve in both areas. Instrumentally, they've honed in on the odd manner in which icy synth music can create an underlying warmth. And they are developing stronger melodic skills. Heck, the first song sounds like a less manic Danielle Dax -- perhaps Dax on mild sedatives. "High Rise" has a nice goth-garage rock vibe that gets things off to a good start. There is a similar mild thrust on a number of other tracks like "International Dateline" and "AMTV" that is likewise appealing. In fact, though they mix things up a bit in terms of texture and what types of synth lines they use, the accumulation of mid-tempo songs leads to diminishing returns on an album that is almost exactly one hour long. More variety in tempo and cleverer rhythms, and maybe some other tricks, like dynamics, could make Ladytron even better. They are good at what they've mastered, but they can develop more and improve further. rykodisc.com

Tangiers -- The Family Myth (French Kiss): The second Tangiers album found bandmates James Sayce (bass/vocals) and Josh Reichmann (guitar/vocals) fulfilling the promise of the debut disc, and locking in on a sound that modernized old Velvet Underground/Modern Lovers rock. Song after hook filled song sprinted out of the speakers with urgency. On album number three, Sayce and Reichmann stick with the same approach. The bottom line is that this collection of songs isn't as strong as the last one. Once I got over the initial disappointment, I listened some more, and found that Tangiers' virtues remain. While there are no out-and-out killers on par with the best off of the last album, there are a number of fine songs. This is because Tangiers get a lot of mileage out of the tense atmosphere they develop on many of their songs, usually led by Reichmann's dramatic and precise lead guitar playing. That's not always the case, as illustrated by the uncharacteristically chirpy "Dragging the Harbour" (yes, chirpy doesn't fit the subject matter, just the tune). Shelton Deverell plays a Steve Nieve-ish piano part which contrasts with a typical up-and-down Tangiers melody. The subsequent "Coast Guard" is one of the numbers where the guitar dominates. Sayce and Reichmann sing in tandem (not sure if you call this harmonizing) on a song that sounds like a doom-laden offspring of Spoon. Reichmann plays a lovely lead guitar to start off "Pristine Hands", and Sayce finds a bass part that is perfect accompaniment on a swoony number. It's not a prom theme or anything, but the song is tender and affecting, showing a sentimental side to this band. This album shows mastery of a style, but Tangiers now needs to explore a bit more. frenchkissrecords.com

Marah -- If You Didn't Laugh...You'd Cry (Yep Roc): The Philly roots rock band's latest is not a hallmark recording. It's simply Marah doing their thing. They've settled into their own variation on working class rock and roll that evokes Bruce Springsteen, Graham Parker and Steve Earle to varying degrees. What is striking about this album is that the band doesn't attempt any grandiose dramas or musical experiments. For some fans, this may be disappointing, though there are likely others who prefer their Marah a bit more modulated. In the end, it comes down to the quality of the songs. Much to my surprise, I find the mellower songs to be the most appealing. They combine a charming backporch tale spinning quality with the musical acumen of The Faces or early-‘70s Stones. "Walt Whitman Bridge" is a folkie tale, Dave Bielinko ruing a lost love, smoking a cigarette on the bridge while "[her] memory blows away." As always, Bielinko writes lyrics full of little details. At times, it's a bit much, verging on preciousness, but sometimes he gets the details just right: "Got two shoelaces and two shoes/I should toss ‘em on telephone wire/as a monument to my blues." Okay, the first line is a stretch to fit within the rhythm and melody, but he effectively paints a picture. On "City of Dreams", Marah actually comes close to folk-pop in the mold of The Beatles in the mid-‘60s or Lindsay Buckingham-era Fleetwood Mac. The band is tender and heartfelt on "So What If We're Out of Tune (w/the Rest of the World)", as Bielinko sings about sticking together in a world that doesn't care about any two people, really. The band hops things up on the modified country stomp "Fat Boy" and the rocking "The Hustle". This might be as good an introduction to the virtues of Marah as any of their discs. It's a really really nice one. yeproc.com

Various Artists -- Warf Rat Tales (unabridged) (Avebury): This chronicle of a vital slice of the early-‘80s L.A. rock scene has been expanded. The original LP had nine bands and 15 tracks -- now there are 13 bands and 28 tunes. On this collection, you get bands that were important figures in the revival of garage and psychedelic rock, like The Last and The Rain Parade, crucial post-punkers like The Urinals and The Gun Club and bands that may not have had high profiles, but belonged in this company, at least for a song or two. Names like The Question? (whose "Shall Be Love" is a noir-ish melodic guitar rocker on par with the best of The Last), The Point (mid-tempo spy-movie surf rock mantra on "Pothead"), Hector & The Clockwatchers (another band in the vein of The Last and 100 Flowers), and The Up & Out (using a rock/funk riff that sounds like The Minutemen on the grooving "Gruelled Again"). The limited production budgets on these recordings add to the atmosphere -- this was truly underground music, even though most of these songs have clearly accessible elements. Hearing early recordings by The Rain Parade (who were already in prime Paisley Underground form when they waxed "I Look Around") and The Gun Club (the tribal rumble of "Watermelon Man", co-written by Jeffrey Lee Pierce and future Pontiac Brother and Liquor Giant Ward Dotson) is a joy -- the promise was so evident from the get go. The common thread linking these acts together was that none of them were strictly revivalists. They drew on the music from the past as an inspiration. They all correctly sensed that there was a lot more life in these genres from the past, and these recordings (and subsequent ones) proved them right. This is an excellent and long overdue reissue. aveburyrecords.com

Big Star -- In Space (Rykodisc): There were ample reasons not to expect much out of this album. For one thing, Alex Chilton's voice just ain't what it used to be, and while some of his R & B oriented solo records have been enjoyable, he hasn't shown strong songwriting abilities in years. Moreover, this album had allegedly been in the pipeline for years, and the delays didn't inspire confidence. The end product falls right in line with those concerns. Chilton is a shadow of his former self as a singer, and his tunes are spotty. Nevertheless, this album has some nice moments. However, they are outweighed by some truly painful music. The worst is "Love Revolution", which sounds like a lounge version of Archie Bell & the Drells' "Tighten Up" as sung by the winner of the 2005 Whitest Karaoke Singer Of The Year. This is the type of thing you'd expect if Bruce Willis put out a new album (The Return Of The Return of Bruno?). Not all of the mild R & B is this disappointing -- "Mine Exclusively" is a cool jerking good time. But most is along the lines of "Hung Up With Summer" -- competent, but uninspiring. The numbers that are more true to the Big Star power pop sound of yore fare a bit better. Indeed, "Lady Sweet" is a lovely number that fits well within the band's canon. There are a couple of other pleasant acoustic pop-rockers. Overall, this sounds like a lesser Chilton solo album. rykodisc.com

The Crustaceans -- I'm Happy If You're Happy (Popboomerang): This Australian band dabbles in a few different musical approaches, letting their clever lyrics and cheery nature hold things together. This is engaging and laid back pop music. One of the more rocking numbers is the ultra-simplistic "Caribou", which is an ode to being Canadian. Whether any member of this quartet is actually Canadian, I do not know, but they all now deserve honorary citizenship for this rocking frolic. The band marries a tried-and-true rock riff with a new wavey keyboard and harmonica on another basic and catchy tune, "Tumbledog". Aussie power pop meets a kind of Weezer-ish vibe on the bouncy opener "Telecaster". As fun as these numbers are, I love the more reflective material at the end of the disc. "The Ambulance Driver" is a forlorn number which is all sad acoustic strum, with a strong lead guitar part providing a more aggressive, yet complimentary, emotional pull. This reminds me of the softer side of Ben Kweller. This is followed by the winsome "Winter in Hawaii", which is a Pacific Island lullaby. A very engaging piece of work. popboomerang.com

The Goldoolins -- Songs Of The Turly Crio (self-released): More folk-rock from this Israeli trio, comprised of O.D. Goldbart and the husband-and-wife team of E.T. and Tadlik Doolin. On their second effort, the band stretches out and inserts some artier elements into their music. For the most part, their ambition is rewarded, since they are able songwriters and captivating vocalists. I would say that E.T. is the more pop-rock oriented of the two writers, with O.D. being a bit more folk-oriented, but the contrasts aren't that sharp, and the two compliment each other wonderfully. In fact, it's O.D. who contributes the beautiful piano piece "Song for Dodo", which has a bit of Zombies or latter-day Beatles feel. O.D. gets an assist from the late poet Thomas Hardy on "The Man He Killed". Okay, actually, O.D. sets Hardy's poem to music, and this song definitely has an olde English folk feel and is a nice showcase for Tadlik's lead vocal skills. E.T.'s "Bed of Wood" is gentle and floating, with some hippie peace-and-love sentiments and a middle section with gorgeous harmony vocals. The rustic "Dusty" reminds me a little bit of Chitlin' Fooks, as E.T. comes thisclose to writing a country song. And boy, can he sing. The band also does a song in Hebrew, "Sheva Shanim (Seven Years)". This original sounds like it could be an old world traditional song. This is one of those rare albums where a band tests the boundaries of its sound, and not only shows that they have a lot of ideas, but manages to make all of the efforts well worth listening to. May their ambitions take them even further next time out. goldoolins.com

Report Suspicious Activity -- Report Suspicious Activity (Alternative Tentacles): A power trio fronted by Vic Bondi, formerly of Articles Of Faith, and supported by J. Robbins (Jawbox, Burning Airlines) and drummer D. Zentek. As the band's name suggests, this is politically charged music played in a sharp post-punk style that is congruent with Robbins's work over the past decade or so. The songs are tense and powerful and very well played. Robbins is an ace bassist and he and Zentek are locked in with each other. Bondi and Robbins also excel on guitar. The biggest impediment for some interested purchasers will be Bondi's reliance on shouted vocals, which cropped up later in his work with Articles Of Faith. Imagine crossing Didjits' Rick Sims with Sam Kinison at maximum shout level, and that will give you an idea. On some songs, he builds his fury to that point. On others, he starts that way and stays that way. I definitely prefer him dialed down a bit, but I got used to shouting. And his lyrics and anger over the Bush administration certainly justify the screaming. The set begins with "Hardball", a re-recording of a 2003 Bondi solo track. This is a well-written Dischord-worthy tight post-punk song decrying the capitulation of mainstream media to corporate interests. While most of the album follows suit with articulate diatribes, Bondi has a sense of humor, as evidenced on "Revenge", where he unleashes a series of curses on the elite: "I want your dog to lick its ass in the presence of your in-laws/I want you to lose the election/I want you to get food poisoning at Jack-In-The-Box/I want your co-workers to laugh at you behind your back." It's a mix of cutting and juvenile -- I think he had to get it off his chest. One song brings me back to the halcyon days of Chicago punk, as "Under the Hill" could go toe-to-toe with prime Effigies and Naked Raygun. The final track is disquieting. "Willed Blind" is an ominous restrained number, as Bondi takes the perspective of someone who's given up on being informed -- the song builds and then cascades with Bondi singing over and over "I don't want to know." What's disquieting is that he is really tapping into the attitude of too many Americans. alternativetentacles.com

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