Mike Bennett
Capsule Reviews:
February, 2006
Scroll
down for capsule reviews of The Vores, The Sprague Brothers,
Divorcee, Friends of Dean Martinez, Harvey Danger, The Morells,
The Plaintiffs, The Subways, Pleasant, Midstates, Tapes 'n
Tapes and Brother JT
The Vores – Moment
Of Uncertainty (Double Duke): It's
not just the quavering vocals of Biff Heinrich. It's the foreboding
compositions -- there's the root of blues based rock, but
it's arty and oblong. A great deal of this CD sounds like
a lost Pere Ubu album. Yes, The Vores are an avant-garage
band. You can also hear a kinship with other arty post-punk
bands -- for example, Mission Of Burma comes to mind in spots.
Oh, one more point -- this album holds up well to these great
bands. Like Ubu and Burma, while the music isn't rooted in
pop, the angular constructions, played with lockstep precision,
are memorable and addictive. And a final point -- this is
actually the great lost Vores album. These upstate New Yorkers
were contemporaries of Ubu and Burma, and after being featured
on a 2002 compilation of area bands, The Vores decided to
finally record a proper LP. This disc has both vintage and
new songs, and as a newbie, damned if I know the difference.
They are uniformly outstanding. A song like "Monster"
comes from the same dark recesses as Rocket From The Tombs'
"Sonic Reducer" and "Final Solution".
This song exemplifies the blues based rock that is given a
bit of a twist that I mentioned at the beginning. The song
is dark but not heavy, with nimble guitar work from Biff Heinrich
and David Kulik. "The Rack" is another propulsive
rocker, which sounds like Mark Edwards of My Dad Is Dead fronting
Mission Of Burma. Again, the lead guitar work is very creative,
while drummer Patrick Heyden pushes the song forward emphatically.
The Vores have a sense of humor, as "New Personality"
is downright playful. Oh, it starts with more doomy chords,
but Heinrich (the singer who sounds a fair amount like David
Thomas) sings about a new hairstyle, wardrobe, etc., and tears
into the chorus gleefully. There's a weird sensibility, that
I dig, at work here: "Spell motel backwards/what do you
get/stand at the curbside/sleep under a bridge/see my smile/I
like your shirt/I tell you what you want/'cos I won't get
hurt." This is a prime slice of late-‘70s style
post-punk that I highly recommend. thevores.com
The Sprague Brothers -- Best
Of The EssBee CD's Volume One (El
Toro): Frank Lee and Christopher Sprague exist both in the
21st Century and in the original rock and roll era between
1955 to about 1961. This disc compiles some highlights from
their recordings dating back to 1999. Their brand of rock
and roll tends a bit more to the country side of the equation,
but they touch so many bases. Frank Lee, who recently put
out a sublime solo disc of Merseybeat style material, pens
old-fashioned songs that stand side-by-side with the covers
scattered throughout the collection. There's a lovely Shadows-type
instrumental, pure country (like a run through George Jones's
"Tall Tall Trees"), Ricky Nelson-ish rockabilly
("Rock Rock"), some Everly-esque tuneage ("I'll
Do It Every Time", an old Johnny Horton tune), a modern
update on Jerry Lee ("Rock ‘n' Roll"), and
a classic or two (like a swell version of "Hippy Hippy
Shake"). I can't stress enough how good The Sprague Brothers
are. If you like retro 50's/early ‘60s rock and roll,
I can't imagine you not enjoying this. eltororecords.com
Divorcee -- Music For
Cleanup Men, Breakdown And Inbetweens
(Princess): Rampant Anglophilia going down here. This trio,
fronted by guitarist Ryan Seitz, plays a muscular variation
on power pop that is evocative in spots of Oasis, Teenage
Fanclub, Robyn Hitchcock and George Harrison. On "Say",
Seitz and his bandmates come up with a mid-tempo lovelorn
ballad that has a warm longing melody that is reminiscent
of Electric Light Orchestra or Cheap Trick. The sentiments
are familiar, but when expressed so sincerely, with elaborately
layered guitars and that great melody, it's irresistible.
This is the best of a number of slower numbers favored by
this band. Even though the band's power is evident, most of
the songs are tender. Tender with a big sound, nearly arena
ready. Another compelling example of this is "Miracles".
The song sets up a big hook, Seitz singing "I used to
believe in miracles/I used to believe in you" over a
majestic guitar line. While these slower numbers are a strength,
the album would be better served with more variety in the
material. The band hits a rock and roll groove on "Blow
Me" that is somewhat akin to The Redwalls. While it's
not quite chooglin' (thankfully), the song has a nice early-‘70s
rock vibe. This is a promising debut, and the band needs to
expand its horizons on their next effort. If so, things should
turn out quite well. princessrecords.com
Friends Of Dean Martinez
-- Lost Horizon (Aero): I was
pleasantly surprised to discover that this band was still
around. This album offers nine sophisticated instrumentals
which drip with drama and emotion. These songs are fittingly
spacious and at some points suggest a middle ground between
Southwestern desert rock and ‘70s Pink Floyd. Things
get off to a majestic start on "Landfall". Mike
Semple uses a Fripp-like assortment of guitar effects, with
whining squalls of chords sounding almost like a swelling
organ, while he also plays an incredible sustained solo. Bill
Elm adds further color with his steel guitar and Andrew Gerfers
provides a slow rolling rhythm. This starts out the album
with a song good enough to close out a live set. Many of the
songs are lovely, but "Hidden Out of Sight", a full
band composition, is decidedly sinister. Semple's guitars
screams and howls with reverb, before the band locks into
the repetitive rhythm pattern -- it sounds kind of like Oneida
slowed down to 16 RPM. Semple rides roughshod over the deliberate
groove. Gerfers lays down a nice fat backbeat, and the song
then goes off into another direction, and then returns to
the main ominous groove. Excellent. The album closes a very
strong note with "Departure". The song starts meditatively,
with Semple playing an acoustic with a slight twang. Bill
Elm really shines on this track with his steel guitar playing.
Elm and Semple play in sympathy with each other on a song
that evokes a starry night in the mountains. It's great to
hear from these Friends again. aerorecordings.com
Harvey Danger -- Little
By Little... (Phonographic): Good
to see that the "Flagpole Sitta" guys stuck it out.
While no song on here equals their big hit of the late-‘90s,
this is more consistent than either of their major label efforts.
While these guys still have a sarcastic rocking streak, they've
evolved musically into a really good pop-rock outfit. Nowhere
is this more clear than on the dramatic piano fueled ballad
"Little Round Mirrors". Vocalist Sean Nelson shows
off all of his range (which he doesn't often get the chance
to display) on this emotional tune which is augmented by brass.
There are a few other fine piano pieces, which seem to split
the difference between Beatle-esque and Ben Folds, like the
opener "Wine, Women, and Song", which has a nice
breakdown of a romantic break up: "It hit the wall/I
was not resilient/she said that she was hungrier than I was
brilliant." This is the Elvis Costello-level wordplay
that I fondly associate with the Danger men, and on "Cream
and Bastards Rise" they play with the fury of a young
EC. They still rock out well. Another highlight is the breezy
"Cool James", with Rachel Bowman providing some
nice backing vocals. With only 10 songs in about 37 minutes
or so, this album almost goes too quickly. So seek out the
deluxe version, which has an extra disc with outtakes and
demos -- there's some good stuff on that too. harveydanger.com
The Morells -- The Morells
Anthology "LIVE" -- 101 Songs About Cars, Girls,
and Food (Almeron): This is the
motherlode for Morells fans. While a more recent edition of
this Springfield, Missouri band has kicked out two fun discs
of roots rock, and anything with Lou Whitney (bass/vocals)
and D. Clinton Thompson (guitar/vocals) is worth checking
out, nothing can surpass the original Morells lineup that
produced the wonderful *Shake and Push* album back in 1982.
With Ron Gremp on drums, and Lou's (then) wife Maralie on
keyboards and occasional vocals, the band started out primarily
playing covers of some extremely obscure country, R &
B and rock and roll tunes. Eventually, they developed their
own songs which fit right in with their funhouse repertoire.
Most importantly, they were a well-oiled outfit that were
just tight enough and played with a great degree of swing.
The Morells were about as fun as any band has ever been. This
is a four CD collection which draws from five shows (three
discs take on a show apiece; one has songs from two different
gigs, with Joe Terry playing keys on the final disc). What
can you hear? Fun takes on everything from kindred spirit
Ben Vaughn to Jonathan Richman to Ramones with liberal doses
of old ‘50s rock and roll, rockabilly and daft country.
Yep, the song "Ugly and Slouchy" still raises a
smile ("that's the way I like ‘em/then I have no
fear of her/lovin' someone else"). Listen to the knock
out version of "Big Guitar", and enjoy Thompson's
dazzling guitar skill. Marvel that Whitney's "Thirty
Days in the Work House" (later recorded by Thompson and
Whitney's Skeletons) isn't a lost country track from the ‘40s.
Groove to Maralie's rare vocal turns on songs like "Go
Ahead". Hear them do great versions of well known songs
like "Little Sister", "Double Shot of My Baby's
Love" and "Treat Her Right". And be constantly
amused by their sense of humor, whether in song, or in Whitney's
stage patter -- part cornpone, part wiseass and part smarter
than a bar band has to be. If you love true rock and roll
down to the roots, this collection is for you. Kudos to Tom
Taber for putting this out and making it sound as good as
possible. Limited edition, by the way.
The Plaintiffs -- La Familia
(Career): Dramatic music with desert rock overtones that might
appeal to fans of Steve Wynn and Dave Alvin. Lead Plaintiff
Joey Kline has an urgent singing voice that reminds me a little
bit of Phil Alvin (not as good as Phil, but who is), and is
pitched just right for the tunes he's penned. This is a hot
recording that is chock full of stellar guitar work. Moreover,
Kline's hard boiled lyrics are a real pleasure. He starts
off "Final Chance" with "up my meds/and tell
the Feds/I'll send a hostage out" and this musical short
story is off and running. The song combines a rolling Buddy
Holly and the Crickets beat with a swooping melody (Roy Orbison
perhaps?) and some nice twangy guitar licks. James Cookman's
drumming is outstanding on this track. The Plaintiffs pay
homage to Mott The Hoople on "Mirror Demons", which
has a piano part reminiscent of "All The Way From Memphis"
and opens with Kline singing about plugging in his "six-string
razor". Once the guitars kick in, the song rocks out
in a different way, so it makes for a nice tip of the hat
to an old legend. This is a jaunty song, though there's still
a veneer of paranoia. The band can dial things down -- the
title cut has nice easy John Hiatt feel. They also love throwing
in some reggae beats, which always mix well with this style
of rock. In fact, this brought to mind the old Paul Simonon-Gary
Myrick band Havana 3 A.M., if Havana 3 A.M. had 10 good songs
instead of only two. It should be noted that most of the adventure
here is tongue in cheek. On "Happy New Year", Kline
comes up with a bitter kiss-off to an ex that is over-the-top
and funnier for it. The Plaintiffs have a timeless sound --
had they come down the pike 20 years ago, they'd probably
be touring the country with The Beat Farmers. careerrecords.com
The Subways -- Young For
Eternity (Sire): British up-and-comer
are full of piss-and-vinegar, apparently having weaned themselves
at the teats of Nirvana, while having a go at a few other
styles throughout the album. The lead track, "I Want
to Hear What You Have Go to Say" sounds like an outtake
from Sons And Daughters' album -- albeit a good one -- and
then the next song raises the flannel flag high and salutes.
"Holiday" isn't a Nirvana rip-off, but it's clearly
inspired by Cobain and Co., mixed in with a little Ash in
the melodic middle eight. This sets up a terrific retro-grunge
pop song in "Rock and Roll Queen". It sounds like
prime Verbena, for all ten of you who dug that band. I could
play spot-the-reference point on pretty much every song. But
to judge the album only on the basis that The Subways haven't
quite found their own voice yet wouldn't tell the whole story.
The band is engaging as hell. No doubt, they were aided by
veteran producer Ian (Lightning Seeds) Broudie, who makes
a polished product but doesn't forget to capture some lively
performances. Moreover, you can't fault the band for its melodic
sense or the ability to sell a hook to the hilt. Whether it's
a crunchy rocker like "With You" or an acoustic
piffle like "Mary" (in the vein of Oasis and Supergrass),
the songs are very likeable. In many respects, The Subways
are like a modern version of hitmaking ‘60s bands like
Paul Revere and the Raiders or Marmalade, who just wanted
to make music that made the kids happy. Which is easier to
do when you are amongst those kids. They have plenty of time
to grow up; in the meantime, why not have fun? sire.ear1.com
Pleasant -- Awkward As
A Beehive (Pox World Empire):
Pleasant's name begins with a ‘p' and ends with a ‘t.'
And that's not the only thing they have in common with Pavement.
It's readily that Stephen Malkmus and Co. were an influence
on this band, as their songs often have circular constructions
that aren't inherently catchy, but manage to work their charms
after a couple plays. They mix this familiar loopy indie pop
style with a bit more conventional sensibility akin to college
rock staples like The Embarrassment and New Radiant Storm
King (and, for that matter, labelmates The Sames). There are
a couple of devastatingly good tracks. "Monster"
is sung in a strained falsetto, with delicate guitar work
countered by warm bass notes, the bouncy verses building to
something bigger. After a couple of verses, a nice Replacements-like
bass riff comes in and leaves, and the song gets back into
its groove, but things slowly build up again until the catchy
coda: "save the monster/maim the queen." Well done.
"You There" starts off very quietly, and is also
carried by Maria Albani's warm bass playing. Sean Parker sounds
a bit like The Cure's Robert Smith, and then the band kicks
in -- this song has a winning melody and a smart arrangement
with a nice left turn instrumental interlude which dynamically
sets up a return to the main guitar riffing. Really, any time
this band tears into it, they sound great -- Parker and Mario
Gonzalez sound great on guitar, Albani is always fantastic
and drummer Eric Hermann's playing is spare and crisp. "Fight
Song" is another example of their swell ensemble sound.
Pleasant is one of the veterans amongst the current crop of
North Carolina bands. This album shows that they know what
makes a good song. This allows them to play around with structure
a bit, without losing the listener. This makes for a rewarding
disc. poxworldempire.com
Midstates – Mixing
Twilight (Reincarnate/Mental Monkey):
The second album from this Chicago band is more keyboard driven
shoegazer rock. My Bloody Valentine, Kitchens Of Distinction
and Slowdive are just some of the reference points for the
burbling warm music which sometimes boils over into extended
instrumental interludes, where the keyboards of Steve Munoz
and Sasha meld with Paul Heintz's guitar to create sheets
of hypnotic sound. For all that beautiful noise on the surface,
the secret weapon is drummer Angel Ledezma, who is consistently
inventive behind his kit, finding unique rhythms that both
punctuate the languid melodies and move the songs forward.
The only thing lacking on this album is a true centerpiece
killer cut, like the stellar "Hit the Blues" on
their debut. Otherwise, Midstates successfully settles into
their style and creates winning songs. One particularly striking
number is "Under There". I could easily hear a more
pop-oriented contemporary like Kevin Tihista performing this
song, which has a sweet and tender chorus that is undeniably
memorable. This is a soulful number which has an uncharacteristically
spare arrangement -- Midstates usually fills space, but here,
it creates it, making each note and fill count. The more typical
Midstates approach still works as well as ever. "Either
Way" is a swaying tune that eventually leads to a gentle
maelstrom of an instrumental interlude. On "Issues Today",
the verses have a nice urgency, punctuated by Ledezma's militaristic
drumming, which contrasts with a flowing chorus. This is a
very skillfully arranged song that takes a couple of unpredictable
turns. All in all, a very nice follow up record. mentalmonkeyrecords.com
Tapes ‘n Tapes -- The
Loon (ibid): Minneapolis band who
plays music that is often in the vein of The Pixies and early
Spoon, but sounding more relaxed than either of those bands.
The tempos are a bit slower and more loping, but there are
still dynamics and bursts of electric guitars. This sound
isn't immediately apparent on the terrific album opener "Just
Drums". This song is a funky rocker which is all about
the rhythm, comparing favorably to the early ‘80s work
of artists like Talking Heads and Peter Gabriel. It does establish
one of the best aspects of the band -- the songs are always
grounded in insinuating rhythms. This is apparent on "Cowbell",
a slinky little number that makes my Spoon comparison look
good. The song is grounded on a prominent bass line and an
insistent acoustic guitar strum. The chorus melody is a wisp
that locks in with the rhythm, and then the song comes out
of the chorus with a cool lead guitar part. "Buckle"
works its magic with a nice up-and-down guitar rhythm which
releases for a bit of melody. This song has typical stream-of-consciousness
lyrics that are impressionistic and fit the music quite well.
The best song is probably "10 Golden Ascots". The
song starts out as a moody piece -- it could have been on
an ‘80s Duncan Browne album. The acoustic ramble moves
on for a couple of appealing minutes, when out of nowhere
comes the biggest hook on the album. It's a maelstrom of guitars
and vocals -- the soft verse/loud chorus dynamic still works
after all these years. This band is just unpredictable enough
to be interesting, but doesn't stray too far from songcraft
-- this is not mainstream, but it's not inaccessible, either.
There's a lot to like here. tapesntapes.com
Brother JT – Indoor
Sunshine (Heavy G): This is my
first encounter with the solo work of former Original Sins
frontman John Terlesky. The Sins were one of the best ‘80s
garage rock revival bands, fueled by Terlesky's prodigious
songwriting talents. He could crank out an out-of-control
raver like "Just 14" or a depression anthem like
"Rather Be Sad" with ease. The band expanded its
palette as time went on, revealing a broad array of ‘60s
influences, all seemingly mastered. As a solo act, Brother
JT has blues-psych mojo which means he fits perfectly with
labelmates Poor Luther's Bones on Heavy G Records. This album
is comprised of acoustic guitar dominated songs. On the third
cut, "Rubbin' Off", it really settles into its groove
and mood. Like quite a few numbers on the album, it comes
across like an old Rascals tune filtered through some downers
and hallucinogens. It's comforting and vaguely unsettling
at the same time. I think it's because the muted melody evokes
joy, and Terlinsky's voice, while intent, is weathered and
seems a bit tired, albeit contented. The combination of moods
makes this song intriguing. Even better is the soulful "Poor
God", which has a classic structure and a unique presentation,
with a prominent reverbed guitar and some sort of unidentified
woodwind instrument giving the song a whiff of innocence.
One thing that these songs don't have in common with the soul
nuggets that inspired them is they aren't tightly constructed
-- I don't have a problem with that, as Terlinsky does such
a great job of creating a mood, that it's easy to drift along
with this disc. While a few song tip a bit into straight psych
territory, this fits with the overall atmosphere. A compelling
listen, though not something you'll be blasting out of your
car stereo. heavygrecords.com
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