Scroll down for the latest releases by Jarvis Cocker, Tim Finn, The Decemberists, The Loud Family and Anton Barbeau, Tahiti 80, Persephone's Bees, The paybacks and French Toast

Jarvis Cocker
Jarvis
(Rough Trade)

roughtraderecords.com

The Pulp frontman's solo record provides no revelations. Jarvis Cocker is still a great songwriter, and his interest in sounds that are grounded in R & B and early rock and roll, which started developing on This Is Hardcore, and then expanded with 2001's We Love Life flourish here. Cocker is abetted by some of his Pulp mates, including the talented Richard Hawley, so this really just furthers the progression of the band, in the form of a solo album.

The album is a splendid collection of observational songs, rants, and character studies. At turns bitter and tender, Cocker is a classic cynic who really thinks that things can turn out better. And he can be quite funny.
This is most evident on the only really rocking number on the disc, "Fat Children". The song features the only true guitar riff on the record, a simple back-and-forth strum that is supported by urgent strumming, as Cocker sings from the perspective of a middle class bloke who gets mugged, and since he won't give up his new cell phone ("with all the pictures of the kids & the wife"), is shot and killed. He vows to haunt the fat children who killed him, and reserves a special venom for the parents: "giving birth to maggots without the sense to become flies." I presume that this is a venture into Randy Newman territory, but here, the protagonist's anger isn't fully misplaced, since he was, after all, killed. Yet, he could have just given up the phone. Even if it was brand new.

In other songs, Cocker is foreboding, though vague. Is the pretty "I Will Kill Again" to be taken literally? This ballad features Cocker extolling the virtues of a nice guy, and then warning the guy not to trust him...or else. How could such evil be wrapped up in such a lovely tune? This song is compelling for both the right and wrong reasons. The lush "Disney Time" shows that a more direct lyric isn't always for the best. This is a rare Cocker observation that is obvious and thus, not worth observing in song.

While Cocker does not find the banality of evil, he finds the evil in the banality of modern life. He applies ‘50s balladeer music to "From Auschwitz to Ipswich", which is a response to the comment, "They want our way of life." Cocker's response, "Well, they can take mine any time they like." Cocker appears to have tagged along with Devo, and agrees that we are digressing, stagnating in consumerism and modern conveniences: "if your ancestors could you standing there/they would gaze in wonder at your Frigidaire/they had to fight just to survive/why can't you do something with your life?" Thank goodness the music is appealing, because the lyrics are rooted in a depressing reality.

Strains of optimism peak on through. Albeit, sometimes steeped in delusion. "Baby's Coming Back" is brilliantly warm and dry, with vibraphones, marimbas, a glockenspiel and other percussion providing a lilting foundation under a stately melody. I'd love to be as confident as the protagonist of this song, as he envisions a world where everything is going well: "peace broke out in the world & no one says a cruel word." Even better, baby is coming back, even though recently "she was just sleeping somewhere." This guy sounds confident and content in his dream world. Maybe that fella had a dose of the "Black Magic" that Cocker sings about. This song is premised on a sample from Tommy James & the Shondells' "Crimson and Clover", and uses it well enough to stand on its own.

The final song on the album is where Cocker drops all poses and presents a sincere hope. "Quantum Theory" is whisper quiet, an intimate wish for a better universe, and finding an equilibrium. The string accompaniment provides extra resonance as Cocker sketches out this vision for a better tomorrow, ending by singing "everything is going to be alright."
Although this album contains little in the way of musical surprises, Cocker is a major artist who is still creating at a high level. This is not his best work, but it is very much a captivating and important album.

Tim Finn
Imaginary Kingdom

(Parlophone)

parlophone.co.uk

Tim Finn's solo career has been as variable as the odd outfits he sported during his early years in Split Enz. Finn's solo albums have been characterized by a deliberate attempt to differentiate his solo stuff from his music with Split Enz, Crowded House, and the Finn Brothers. This has been a tricky thing to do, since Finn's strength is melodic pop, and his solo records are, for the most part, melodic pop records. Basically, what he has tried to do is dress up his songs in slightly different performance styles. Sometimes it works rather well, as illustrated by his last two solo records (Say It Is Soand Feeding The Gods), where Finn collaborated with producer Jay (ex-In Pursuit, Iodine) Joyce to create modern pop songs with cool keyboard laden musicscapes. Other times, it leads to overproduced piffle The Big Canoe) or attempts at a less pop approach that turn out kind of boring (Before & After).

Notably, the two solo records that edged the closest to his group work were both pretty good (Escapade and Tim Finn). On his latest, Finn turns away from turning away from his classic sound. The result is arguably his best solo work to date. A number of these songs sound like they could have wound up on the last two Finn Brothers records. If you like recent Tim Finn compositions like "Edible Flowers", that is a good comparison point for some of the material here. If you have been around long enough to remember Finn songs like "Next Exit" and "Fraction Too Much Friction", you'll be very, very pleased.

It should also be noted that Finn's vocals sound as good as they have in quite a while. On his last two solo records, he sang more in his mid-range, with a roughness that made it sound like maybe his high notes weren't very high anymore. This wasn't quite as noticeable on the last Finn Brothers record, but he still didn't sound as great as he does here. Maybe he's lost a few high notes and a bit of power, but for the most part, that splendid tenor voice is intact.

And what wonderful songs he has to sing. He should thank himself. He showcases his splendid instrument on beautiful ballads throughout. "Astounding Moon" is an instant classic, that sounds like it could have come from a revered movie musical. Actually, it sounds like a standard. The song relies on three basic parts - the primary melody, the surprise ascending melody in the bridge, and the chorus melody. Each melody builds on the other, creating pop perfection. Finn waxes eloquently about the ephemerality of our lives in contrast to the permanence of nature - the moon is stalwart, the moon is always there, and so "a fool is never alone". The song is as majestic as its subject.

Equally large is the album closer "Unsinkable", a song that is soaring yet sad. At a literal level, it's about a father and son on the Titanic, though the metaphor for a relationship is obvious. Think of the grandest, most opulent Tim Finn songs you've ever heard - maybe "I Hope I Never", and then the most moving, perhaps one of the Crowded House songs he appeared on, like "Fall at Your Feet". This song mixes the grandeur with the emotion for a devastating pay off. With ghostly backing vocals augmenting the sterling melody, the synthesized orchestral touches and Finn's angelic lead, this song is another triumph.

On a smaller scale, "Show Yourself" starts quietly, with a bit of a soul vibe to get it going. This song is like an adult take on the attitude that drove Finn's classic Split Enz single "Bold as Brass". Finn's lyrics are direct and to the point, basically conveying the message that when everything else is going wrong, you just got to go out there and get things done. If Tim plays the Apollo, this R & B flavored ballad should be on the set list.

Two songs strike me as pretty much sounding like Finn Brothers outtakes. "So Precious" is one of the few songs where the guitar has some importance. This is one of those songs that doesn't rock, per se, but it has a nice intent pulse to it. Here, Tim is just taking the piss out of all of us: "Let's not forget what we all are/we're not losers and we're not superstars/we're human beings after all." The atmospheric "Dead Flowers" is another great botanically titled song from Finn. Various keyboards and light percussion set the tone, and Dale Oliver's cool E. guitar sounds add to this track that has a chilly surface yet is a smoldering cauldron underneath.

Finn doesn't forget the sunny pop songs. The first two songs are simple and blissful. "Couldn't Be Done" might be autobiographical, as it could easily be interpreted as the story of a couple guys from a remote island country in the Pacific who manage to become rock stars. But what would Finn know about that? Musically, this friendly track has a lilting tropical rock groove that is immediately endearing. Next, Finn affirms his faith in music on "Still the Song", a happy acoustic strum. Really, this song is about as simple as simple gets -- music can make you happier, even in sad times, and this very song tries to prove the point.

What is striking about this album is that for all the evident craftsmanship, what stands out is how thoroughly engaged Finn is with his material. The sentiments may be basic, and the words kept economical (all for the better, I say), and he believes in all of them. Wonderful.

The Decemberists
The Crane Wife

(Capitol)

capitolrecords.com

It's always nice to see a band graduate from an indie to a major label and not make any commercial concessions whatsoever. That can certainly be said about Oregon's The Decemberists, who show that they will continue to follow their muse wherever it takes them. In this case, it takes them to a couple of epic tracks that are either brilliant or trying. Or perhaps brilliantly trying.

Frontman Colin Meloy certainly has large ambitions, which are mitigated to a degree by the sincerity that he evinces on every track. His raw untrained voice is at times reminiscent of Gordon Gano of The Violent Femmes, but with a bit of an academic tint that is necessary for the dense poetic lyrics.
The mix of indie pop and folk music that I associate with The Decemberists is expanded upon here. It's somewhat of a logical progression, as the grandeur and drama of the band's music fits with flourishes that would sound at home on a Yes or Emerson, Lake and Palmer record.

When all is said and done, this is yet another Decemberists record that entices me enough to throw it on again and again, but more because I'm trying to figure it out, not because I find the songs to be exceedingly strong. I think there's something about Meloy's voice and his literate lyrics that keeps me engaged, though not always entertained.

The album gets off to a nice start on "The Crane Wife 3". The music is warm melodic folk-pop and Meloy's lyrics are economical and beautiful: "A gray sky, a bitter sting/a rain cloud, a crane on wing." This is simple and the words have a rhythm that fits perfectly with the tune. Sometimes Meloy's words are more expansive, but he rarely gets away from synthesizing them with the music.

Meloy has all sorts of stories to tell, and in the first half of the album, three consecutive songs showcase the band at its best. "Yankee Bayonet (I Will Be Home Then)" is a duet between Meloy and Jenny Conlee. This song is so unassuming and gentle, making its subject matter a wee bit sadder. Meloy is a Civil War solider who died on the battlefront, while Conlee is at home her "belly bid with child." In spite of these circumstances, the song ends with hopeful sentiments.

"O Valencia" is a throwback to ‘80s college radio fare, mixing in well with R.E.M., Translator, and The Smiths. This is defined by the rising-and-falling acoustic guitar part that the song is structured around. On this song, The Decemberists tackle the age-old problem that is family feuds. This is a rustic Romeo-and-Juliet story, except that instead of a suicide pact, Valencia's brother aims at the narrator and well...hits somebody else. It's a bouncy murder ballad.

The band takes a most unexpected turn on "The Perfect Crime # 2", a song with a bass driven rhythm that edges a bit towards Talking Heads territory. Well, as much as a Decemberists song could do so. It's just a treat to hear a song that relies so much on a slinky bass line and creative percussion, as Meloy's lyrics are like a yellow journalist's prose set to music.

If only the band's ambition had been limited to a shot of rhythm and rock. There are two 10 minute plus songs on the disc. "The Crane Wife 1 & 2" is really just two songs stitched together. The first part is a pretty representative Decemberists song, and has one of the stronger hooks on the album. The second part is well...pretty dull. Or rather, pretty and dull.

Meanwhile, "The Island" is dull and simply way too long. This is the song that has had some critics excited about the embrace of prog-rock. The song, which is in three parts, has the pompous trappings of Emerson, Lake & Palmer and their ilk. In particular, Conlee gets to unleash a variety of organ and keyboard parts that scream self-importance. While I suppose that it's notable that an indie-pop band tackles a 13-minute song, I'm not sure why ponderousness is a worthy goal. Moreover, at least the prog-rock bands showed off their virtuosity, but that isn't the case here. Things just slow down and have a serious cast that is sincere yet unaffecting. I hope this isn't the direction the band is taking. At least they could be concise, like Horslips.

Then again, maybe they could make "By-Tor and the Snow Dog" tolerable. In writing this review, I think I figured out why I keep going back to this record. It's because this is, overall, an above-average effort. However, it's not the bevy of hooks and treasures that it has been hyped as. While The Decemberists have some good songs, they don't have any great ones.

The Loud Family and Anton Barbeau
What If It Works?

(125)

125records.com

This album is a collaboration that looks good on paper, and works even better in practice. Loud Family leader Scott Miller and Anton Barbeau are quintessentially quirky, pop songwriters who have a penchant for strong melodies, a bent for unusual lyrics, and manage to make it work though neither have particularly strong voices. But they have the songs and the personalities to sell them. Together, there are no egos, and their sensibilities blend perfectly.

Even better, Miller has various Loud Family members from the past help out (and also gets some bass playing from Larry Tagg of Bourgeois Tagg on a few numbers). The playing is great throughout. This album is loose and relaxed, without any of the fussiness that Miller sometimes fell prey to with both Game Theory and The Loud Family. Indeed, Miller's songs haven't been so straightforward since the early days of Game Theory.

The tone is set right away with the one-two combo of "Rocks Off" and "Song About "Rocks Off" Admittedly, this version of The Rolling Stones' tune lacks some grit, but the performance is spirited and joyful. Then Miller pulls off a gossamer ballad in his classic style. The melody rises and falls in slightly unexpected spots, without being dissonant, just different. Okay, I admit that I'm stymied about how the lyrics relate to The Rolling Stones' song, but there are some nice internal rhymes, and damn, Miller sounds as good as ever.

Yep, this album is like a nostalgia trip. All of these songs evoke great Miller tunes of the past, down to cool titles like "Mavis of Maybelline Towers". "Mavis" is premised on a bouncing acoustic guitar pattern (it's got kind of a Neil Diamond writing for The Monkees feel), beamed into the zone that yielded Miller great songs like "Shark Pretty" back in his Game Theory days. If you want mid-tempo whimsy, with a circular guitar pattern and a big drum beat, head to "Total Mass Destruction". The song sways and moves up-and-down, as Miller shows that he was putting bizzare lyrics to swell power pop when Robert Pollard was still drunk and trying to figure out how to work his 4-track recorder.

At that same time, Barbeau was likely listening to those Game Theory records and thinking, "Hey! I can do it that!" Of course, Barbeau's style is complimentary to Miller's but his songs have their own personality. "Pop Song 99" is one of his best, as the hook is like a slightly speeded up Zombies song, while the verse works a light melody and varies the tempo, to accommodate Barbeau's wordy (in a good way) lyrics.

Barbeau's "What If It Works?" is equally good, and ventures closer to Miller's style of songwriting. A crisp acoustic guitar part moves things along, but then gives way to a rising melody -- the song slows down considerably for this lilting part. It's an unusual and effective twist. It helps that Barbeau's vocal is really strong -- he should sing in his upper range more often.

And he and Miller should do lead vocals together more often. Here, they combine forces on the two other cover songs on the disc. First, there's The Zombies' "Remember You". Not an obvious choice, until the chorus hits. I definitely can understand why they picked this, as the waltz tempo and the melody is something that had to inspire these creative songwriters. As an added bonus, both Miller and Barbeau get to show off on piano and organ, as if they graduated from Rod Argent Fantasy Camp. Even better is the cover of Cat Stevens' "I Think I See the Light". I'll admit, I don't know the original. This song is a creeping piano piece, which has a dramatic vibe that is very similar to The Monkees' "(I'm Not Your) Steppin' Stone" in the verses. Miller and Barbeau trade off parts, and then combine on the after chorus on what is one hell of a song. I need to search out the original.

While I'm sure Barbeau has too many songs to make this a full-time venture (and Miller is probably full-time ventured out), it would be a shame if this is a one-time only project. Perhaps they could collaborate on more than one composition, or find more groovy covers, or do each others songs. Whatever it would be, I'd like to hear it.

Tahiti 80
Fosbury

(The Militia Group)

themilitiagroup.com

I'm not sure why it took this album well over a year to turn up Stateside, but I am pleased to report that Tahiti 80 appears to have perfected its blend of sunny ‘60s-kissed melodies and light dance beats. Yet, this comes at a bit of a price. This unfailingly happy album is a good listen, but it's also rather monochromatic. This is a result of Xavier Boyer's remarkably consistent writing. It's also partially due to the fact that these songs are so light they threaten to float away.

This manifests itself more when giving the album a full spin, because, on a track-by-track basis, there is a lot to like. It's hard not to fall in love with the optimistic "Here Comes..." (as in "here comes another day"). I won't guarantee that spinning this song after you get up every a.m. will turn you into a morning person. But I wouldn't bet against it. Riding a strong backbeat, the song percolates, while Boyer's soft-pop melody glistens on top. There's a nice vocal-keyboard-percussion bridge that spices things up. Somewhere there has to be a radio station that will play this.

Just like they would have played "Something About You Girl" in the ‘70s. This is blue-eyed soul, Philly style. It's not quite in Hall & Oates territory, but it's not that far away from there, either. They have this sound down, including that warm drum sound found on so many mid-tempo AM radio hits. What I love about this song is that it doesn't try to do too much. The melody and rhythm are so relaxed, and Boyer sounds sincere and satisfied.

Linda Lewis guests on "Your Love Shines", and it's great to hear her voice, but unfortunately, she and Boyer don't interact much. Of course, since she recorded her track in another studio, that makes sense. The song is a typical mid-tempo dance number, and Lewis sounds great (and she sounds like a ‘70s refugee too), but all things considered, they could have done a bit more with her.

Nevertheless, having a guest vocalist is something a bit different. As is the aforementioned "Something About You Girl". That's what this album needs just a bit more of -- some change ups. It's not that there aren't plenty of swell songs here. Once I got over the disappointment that "Cherry Pie" was not a Warrant cover, I decided that its swelling chorus is one of the best moments on the LP. And "Matter of Time" removes the dance element, and is more of a ‘70s pop style toe tapper. The chorus is silky smooth. But for all of these good things, listening to this album is akin to eating 12 slices of wedding cake in one sitting.

To top it off, the U.S. release has a four song bonus disc. One of the tracks is a perky cover of The Turtles' "Happy Together". Yep, this great lightweight band covers another great lightweight band. After repeated listens to this disc, I realized that what knocks this album down a notch is the ineffectiveness of the lyrics. I don't demand sharp character studies, a la Saint Etienne (but it wouldn't hurt). However, if there were words that grabbed me a bit more, I could connect more to the groovy tuneage. As it is, this is effortlessly appealing music that sounds better in four minute intervals than stretched out over almost 50 minutes.

Persephone's Bees
Notes From The Underworld

(Columbia)

columbiarecords.com

The major label debut of this Bay Area band fronted by the charismatic Russian Angelina Moysov is a rarity -- a platter filled with terrific pop music from a group of individuals with a median age over 22. Back when I was in college (1982-86), every major had a few groups in this vein. Back then, the thinking was that bands that penned catchy songs might pan out. You never knew precisely who would pan out, but it was worth a flyer.

Nowadays, the Bees seem to stand alone, which is a shame. It is also a shame that, much like most of those ‘80s artists of yore, the label doesn't seem to be working the record much. Because this is a keeper. Working within well established parameters and drawing from influences from both the ‘60s and ‘80s, this album keeps the hooks, cool sounds and insinuating grooves coming.

Then there's the energy that radiates from this album. These folks are having fun. The band really has a fizzy drive, as exemplified by "On the Earth". The song sounds like the early Cardigans crossed with Bonnie Hayes, with a cool walking bass line from Tom Ayres that makes the song seem faster than it actually is. Moysov layers on lots of cool keyboards, while her singing alternates from quiet wonder to what Dale (Missing Persons) Bozzio would have sounded like if she was actually pleasant to listen to. That this joyous pop is married to a lyric that seems to decry isolation in the modern world means nothing -- the fun is overwhelming.

Even better is the piano pounding run through of Status Quo's "Paper Plane". Other than modern recording technique, nothing betrays this rock and roll ramble as being a contemporary track. Not that the band was going for a retro recording, it's just they've captured the silly rock spirit of this track, and they just run with it. And Moysov's accented vocals just sound perfect reciting these Donovan-gone-pre-school psych-pop lyrics. Furthermore, kudos to Ayres for his flashy guitar playing.

Based on these two tracks, I'd normally say there needed to be more upbeat numbers on this album. However, the Bees' strong melodic sense guides them through some wonderful psych-pop songs. The single "Nice Day" is special -- a modern psychedelic song that doesn't immediately conjure up a great tune from the past. The song sounds like it's coming from the 25th Century Space Lounge -- it is soft-pop at its heart, but the layers of guitars and keyboards give it a different feel. Throw in a killer middle-eight and a good mix of live drumming and electronic percussion and you get a trippy dippy slice of perfection.

More perfection is to be found on the ballad "Walk to the Moon". Might I digress, by the way, to note the astronomical bent to some of these songs. This song is basic, with both a strong melody in the verses, a slight variation in the bridge, and a simple, memorable chorus. It's textbook pop. Yet check out the great guitar embellishments by Ayres, along with his nimble bass lines in the back. This should have been a Number 3 smash in 1983.

There's even a bit of melodrama (but not too much) on "Queen's Night Out". This song is full of great memorable parts, stitched together to support this look at a spoiled little rich girl. From the gentle keyboard intro to the urgent guitar part that is the key to the song, contrasted by a floating melody, to the smart use of the electric piano, which gives the song a slight ‘70s R & B edge, this song is killer.

Which could pretty much be said about the whole album. It's great to hear a veteran band get a chance on the national stage and run with it. Buy this now, because they probably won't get a second one.

The Paybacks
Love, Not Reason

(Savage Jams)

myspace.com/thepaybacks

When you start out pretty damn good, improvement is harder to discern. From the get go, The Paybacks have been a rock and roll revelation, playing powerful music that combines garage rock rawness with a healthy dose of ‘70s hard rock swagger, sometimes like the Faces and the Stones, and other times in a bit of a glam vein. The band is explosive, which is only right, since Wendy Case is one of the best vocalists in rock music. Her vocal cords are serrated, with one of the best rasps this side of prime (i.e., before he started making music that your parents play with their Celene Dion discs) Rod Stewart.

This Paybacks record is a breakthrough, though it may not be instantly obvious. On the surface, this is simply more passionate, balls out rock and roll. So what's better? The songwriting. There's just a little something extra here. The riffs are a wee bit stronger, the choruses a tad more memorable, and Case is gaining strength with her melodies. On the last Paybacks album, they did a great T. Rex cover, and maybe playing it live constantly stuck, because I hear a bit more glammy pop under the raw rock. If Joan Jett had a tougher older sister (yes, tougher than Jett), this is what it would sound like.

The Paybacks have mastered big riffs with trebly lead guitars, and that's just to start things off. This is certainly what they do on "Call When You're Ready". The song begins with a melodic yet metallic glam flare – like a cool Sweet b-side. Then things get moving, Case growling and hanging on words: "it ain't the way that you tea-eee-se." The refrain goes back to Sweet mode, but there's a middle eight that raises the song another notch, with lead guitarist Denny Methric ripping off a sizzling solo. Fuck. And this isn't even the best song on the album. Double fuck.

That honor might go to "Shotgunn". Yes, the title is misspelled. According to the S.E.D. (Slade English Dictionary), it should be spelled "Shaughttgunn". On this smoker, Case and company just instantly crescendo, furiously banging away until the climactic moment, when Case just screams the title in all of her smoke ravaged vocal glory (maybe she should have replaced Bon Scott in AC/DC). Yet, in the midst of this rage, they throw in another snappy melodic eight. There's so much craft underneath the bashing. Speaking of bashing, Bill Hafer's drumming is ferocious. The smacking "Divided By Two" starts up right afterwards, finishing off a major rock and roll one-two punch.

In the midst of so many hit-and-run should be hit single rockers, the band impresses on "Painkiller", a true change of pace. This begins as an R & B ballad that would work well for The Detroit Cobras...well, until the chorus explodes, drenched in power chords. Methric is a marvel here, at one moment playing a jazzy little guitar solo and later on, rocking with fury. This stretched out number must go down like a house on fire in concert, as the second chorus ignites into minutes of the band just breaking down and letting loose. And this also, isn't the best song on the album (I already said it was "Shotgunn"). Fuck and double fuck again.

For a 33 minute album, there are so many highlights. "Bring It Back" also has a bluesier vibe, but instead of rocking listeners into submission, it has a keen pop hook. "Love Letter" is a peppy album opener which wastes no time getting into the strong melody. It's another song that shows how comfortable the band is turning the volume down, as dynamics suit their increasingly strong songwriting.

In fact, this is going to be one tough act to follow. This is an outstanding album, from a band that has always deserved more attention, and demands it now.

French Toast
Ingleside Terrace

(Dischord)

dischord.com

This album plays like an ‘80s college radio primer, if the DJs were a bit edgier and really into post-punk. The second French Toast album displays a band that cuts a wide swath, drawing from a lot of sources of inspiration to make sharp rock songs that are not only memorable, but have some ace lyrics. There are literally dozens of reference points, as different songs evoke different sounds from the past. Like the best of the current post-punk inspired crop of bands, the sounds aren't aped, but used a jumping off point for personal inspiration.

Nevertheless, it's hard for me to adequately describe these songs without making comparisons, so bear with me. I won't say that these guys are quite as good as the comparisons, but they aren't that far away. The band approximates a reggae rhythm on "Secrets", mixing it with a tune that sounds like it could have come off of the first Tom Verlaine solo album. The chorus mixes Velvet Underground chords with a precise lead guitar part, and on the first chorus, the absence of a vocal creates anticipation, which is fulfilled on the second chorus, as the lead guitar part compliments the vocal line. Meanwhile, the lyrics are nice smackdown of the Bush administration, covering a lot of ground, from Katrina to the class struggle to the war on Iraq: "You took our trust now/a mandate given across the land/put down your cross and cloak now/and reveal your bloody hands."

Fans of Wire and Mission Of Burma (especially) will lap up "Protest Sign". From Ben Gilligan's melodic bass line to the angular guitar riffs, this song has that anthemic vibe of Clint Conley's best compositions for Burma. Producer Brendan Canty (of Fugazi) provides a steady pulsebeat on the drums, allowing Jerry Busher, Jerry Canty and Gilligan to explore some interesting guitar sounds. There's an airy quality to the song that is kind of like some of the material on Wire's classic 154 album. It's even got a bit of a psychedelic tint to it. Cool.

Percussion keys the closing number "Fork in the Road", which, had in been released in 1982, would have probably been called a dub song. While Busher lays down the drumbeat and Brendan rides along on the bass guitar, brother James and Busher lay down guitar sounds with a ton of effects, adding lots of found sounds and odd noises. Meanwhile, Busher sings a sinister nursery rhyme. This shows off a Wire influence, though it also seems to be a more successful stab at the ambient mood pieces that Mick Jones tried to pull off on The Clash's Combat Rock. On "Treason", the band also digs into atmospheric material, this time relying only on a quite vocal and low key instruments. The song is about losing trust, and has a resonant all-encompassing hopeless feeling.

The band relies on a conventional guitar part on "Train's Leavin". This song sounds like it could have been a jangle pop entry on the *Children of Nuggets* box set. What goes better with post-punk than a little Paisley Underground throwback tune? How about two? The opening song "The Letter" might be the great lost Dream Syndicate track. If the Syndicate had shorter tunes.

They even pull off a fairly poppy song. "Settle In" is practically jaunty. Here, the bouncing guitars support a really sweet melody. The only thing that would have made this song better would have been a horn section. This tune is somewhat of an outlier, but the band covers so much territory anyway, that this detour is not unwelcome, as the unexpected is expected.
I'm not sure what Dischord's cache is amongst the younger hip folks of America today. But I find that the label still consistently puts out top notch music, without much regard to whether an artist either is at the helm of the vanguard, or actually somewhat accessible, like these guys. Dischord just stands for good music with substance, and French Toast is indeed that.

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