Scroll down for the latest releases by Cheer-Accident, The Hold Steady, Pernice Brothers, Lindsey Buckingham, Beck, Yo La Tengo, Doleful Lions, Pere Ubu, Channels, Andrea Perry and a Birmingham compilation.

Cheer-Accident
What Sequel?

(Pravda)

pravdamusic.com

Here's a disc that reinvents certain aspects of ‘70s pop and progressive rock, marrying some of the best of those worlds and creating something very enjoyable. This Chicago band has been kicking around for a long time, and I've heard a bit of their music, but not enough to where I could make a well-informed comment on where this fits with the band's catalog. I will note that this is touted as a sequel to their *Why?* album from roughly 12 years ago. I will say that I don't ever recall them sounding like someone dumped some early Utopia, some solo Todd Rundgren, some Chicago and some Frank Zappa into a blender and mixed it all up. This is music that is accessible, yet still challenging on some levels.

One song that encapsulates this is "Crisis Management". It starts off with some sterling lead guitar work, that traverses the bent notes of Frank Zappa with a certain Todd Rundgren smoothness. Then drummer Thymme Jones sings a sunshiney melody with a cheery falsetto, even though the song seems to be a commentary on diplomacy, George W. Bush style: "There is no time for love/the global ties have been undone/we're making new enemies everyday." Then the song shifts to a bouncy off-beat piano solo, doubled up by the guitar, with some wind instrument accompaniment. Then the song takes on a even more Rundgren-esque cast on the second chorus.

The band moves into ‘60s soft-pop psychedelia on the epic "You Know You Know". This is one of the best Brian Wilson inspired songs I've heard in a long time, because it uses his ideas as a springboard for a real musical journey. It's not just about the melody – tempo and dynamics are vitally important to the strong emotional pull of this song. At times stark, at times pulsing, with distinctive melodic movements, this is pop of the most sophisticated stripe. The middle instrumental interlude, with brass playing mournfully and fading, then leads back to the main verse and chorus, and the brass becomes more...brassy? There is a slight shift in tone that adds more power.

The closing track, "Crazy", is cut from similar cloth. Like "You Know You Know", in addition to the Wilson-esque music, Cheer-Accident integrates repetition to give the song an unique flavor. There are also sudden changes – a new melody bursts into the song (a spontaneous middle eight) and then just fades out. Jones's drumming is deft and jazzy, as he keeps chanting the title over and over.
There's a whiff of proggish hard rock on "Nefarious Designs, Inc.", with dissonant guitars in the fashion of Adrian Belew. The guitars move in one direction, the melody in another, and the rhythm section just stays in one place. At some junctures, the guitars and the vocal melody align, as the music shifts from place to place. The song is tight, but sounds like it could fall apart at a moments notice. The song ends up in an unexpected place, with melodica and flutes leading a haunting coda.

Highlights abound. "Surviving a Methodology" rides a jagged guitar riff that wouldn't sound out of place on a Jawbox record. This song comes off like Dischord meets discordant psychedelic pop. "Simple Life" comes out of the box, all bright and optimistic, from the art-pop factory of Brian Eno and John Cale. The song is a showcase for Jeff Libersher, who is appropriately credited in the liner notes: "most guitars (ever)". Of course, Todd Albert Rittman's "many" guitars contribute to this cool rock tune, too. Yet, amongst all of this, there is more impressive horn work, with a brief interlude that sounds like Chicago.
Wow. I need to pick up that *Why* record. This is an addictive record for any fan of left-of-center pop music. One of the best records of the year.

The Hold Steady
Boys And Girls In America

(Vagrant)

vagrant.com

Usually, adding a bit of polish spells the beginning of the end for an indie rock outfit. The third Hold Steady album certainly is smoother than their first two efforts, and I did find that a tad off-putting for the first couple of listens. But it soon became apparent that a bit more production did not really change much. The riffs are big, and the romantic sweep of the music is even bigger. All the better for Craig Finn's lyrics of teenage aspirations. Building on (or simply borrowing from?) the legacy of ‘70s Springsteen, Thin Lizzy and like minded rockers, The Hold Steady takes the inspiring anthem approach and subverts it. Instead of singing about big dreams and escape, Finn's teens get high, and generally only aspire to getting high again as soon as possible.

This could be depressing or condescending, but in Finn's capable hands, it's neither. Though Finn himself says he really wasn't into the high school drug scene, he had to have been close enough to it to understand it. While the constant drug taking and drinking may reflect a middle class ennui, it's important to realize that when you're a teenager (or young adult), everything you do is amplified as you get carried away with your sense of self and possibility, even if you don't try to make yourself better and squander opportunities.

Whereas the last album loosely told a story, here, Finn looks at scenarios. "Party Pit" is about a guy and a girl going in different directions. The girl is stuck in Minneapolis, and trapped in her drug-and-alcohol induced lifestyle. The guy goes off to school, and at least has some ambition. This story is would-be lovers seem to have different aspirations, both can't get any traction, so the only solution is to "walk around and drink some more."

Finn then looks at a woman who is a doormat on "You Can Make Him Like You". Here, Finn keys in on how so many young women become dependent on their boyfriends for identity. The lyrics sound like Finn giving advice, which may mask the empathy that underlies the song. It can be a depressing cycle, as Finn notes, "there's always other boys/there's always other boyfriends." And the same old shit happens.

I am struck by the slight shift in lyrical approach. Yes, Finn is still good for killer couplets with cutting observations. But Finn is a bit more impressionistic in some spots, and sings less from the first person point of view, giving a different spin to his observations. I think that he still brings a literary quality to his songwriting, and he keeps growing in how he gets his points across.

Likewise, the band is trying things musically. The biggest area of progress is illustrated by two four-square ballads. "First Night" shows that this band can handle a slow tune very well. Here, Franz Nicolay's keyboards take center stage, while Finn goes back to the beloved characters from the *Separation Sunday* album, Charlemange and Holly. This song has the gloss of Bob Seger and drama of The Boss, but it doesn't build up to a hook, letting the melody and piano figures carry the day. This track, akin to "Party Pit", is about trying to relive hedonistic days and finding out things just aren't the same: "Holly's inconsolable/unhinged and uncontrollable/because we can't get as high as we got/on that first night." In contrast, Tad Kubler's delicate finger picking on the guitar dominates the quite "Citrus". I'm not sure if the lyrics entirely cohere on this tune, but Finn shines with his unusually restrained vocal performance.

One other development is that The Hold Steady now have added a Thin Lizzy edge to some songs. The thick riff that starts off "Hot Soft Light" is Scott Gorham worthy. Of course, the distance from Springsteen to Thin Lizzy isn't too far. Arguably, The Hold Steady out-Lynott Ted Leo. The classic Hold Steady dichotomy comes into play, as the joyful music supports great lyrics like "We started recreational/it ended up all medical." Meanwhile, "Massive Nights" really keys in on the more Van Morrison side of the Thin Lizzy style, and is great for shouting along to.

On the balance, although the band is making steady artistic growth, this is not quite as good as its predecessor. Although the album opens with two cookers, "Stuck Between Stations" and "Chips Ahoy!", the last two songs sound more like B-sides. "Chillout Tent" is just a bit off, maybe not overwrought, but not properly wrought. The closer "Southtown Girls" has this chorus that sounds like it came from The Eagles or something. And the verses and the chorus just don't flow together really well. It's just not up to standard. Nevertheless, this is a strong effort and shows that The Hold Steady have long term viability.

Pernice Brothers
Live A Little

(Ashmont)

pernicebrothers.com

For better or for worse (and I tend to think for better), Pernice Brothers have established what they do and then set out to do it very well every time. The band draws inspiration from classic ‘60s pop and ‘80s college radio fare, all in service of the poetic lyrics of Joe Pernice. It's doubtful that they will suddenly go all electronic, or start doing variations on Kraut rock or acid-jazz.

When a band is so well-defined, it is critical that the members find a way to keep things fresh. It seems that Pernice Brothers have decided to have a defined approach to each record. After the last couple of records were more in an ‘80s college radio bag, this record really goes back to the sounds that keyed their debut. This is obvious from the get-go, as "Automaton" bears the stamp of the smoky pop sounds of The Zombies and like minded groups. Smack dab in the middle of song, Joe Pernice throws in one of his lush middle eights, followed by a pithy Peyton Pinkerton guitar solo, and rest assured, all is right in Pernice World.
Speaking of lush, "Microscopic View" is an instant classic. The first two verses are a Joe Pernice take on pulp fiction, with clipped poetic phrases, making romance sound like a tense battle: "Hooked me with a wit as clean as glass/hard-pressed woman with a hair across her ass/the singing of her keys/the clicking of a latch." I'll leave it to the lit majors to fully explain how amazing those words are. The verses then flower into a orchestrated chorus, as the black-and-white imagery suddenly bursts into a thrilling chorus. This album marks the return of Mike Deming to the producer's chair, and he also provides string arrangements, and this song evidences how much he adds to the proceedings.

The strings also add so much to "B.S. Johnson". This song is a sketch, for lack of a better word, about the experimental author. He wrote a 27-chapter novel which had 25 chapters that could be read in any you felt (I did not know this off the top of my head -- I did research). This is a tribute to a man who was "jammed into a plot where [he] would never fit." The song is passionate and full of drive, the strings swelling in unison with the band. Capping it off, Pernice adds a personal touch to the lyrics at the end. When you hear it, you know what I mean.

It's pretty evident that folks who prefer the first two records will really love this. So many songs sound like outtakes off of those records. "Somerville" and "Conscience Clean (I Went to Spain)" are typically perfect mid-tempo pop confections. It's pretty hard to say much else about these really -- indelible melodies, empathetic performances, and great lyrics.

The album wraps up with a new version of a tune from The Scud Mountain Boys, the precursor to this band. "Grudge F***" has been a concert staple for years, and it's no wonder that team Pernice has held onto it. This is essentially the most sinister and pathetic Bread song ever created. Pernice plays a stoned loser trying to get some sympathy sex from an ex. The song is steeped in regret ("I really missed the ship where you're concerned/I only wish I had another turn"). Musically, this song fits right in, and the Pernice version is a bit gussied up. What is striking is how direct the lyrics are -- while I would never want Joe Pernice to give up his creative imagery, maybe he should do this direct thing more often. Maybe that could be the theme of the next album. Until then, this will more than suffice.

Lindsey Buckingham
Under The Skin

(Reprise)

repriserecords.com

Although this isn't a concept album, there is a concept driving it. I read an interview where Lindsey Buckingham centered this album around certain guitar chords and techniques. So the album is driven by this foundation. Of course, this isn't something that will be obvious to most ears -- unless you're a guitar teacher, or something. But when I read the interview, it made sense to me, even though I don't play guitar and couldn't technically break down what exactly Buckingham is doing. I do know that this album, though blessed with some variations in tone and mood, has a musical consistency that makes it sound better and better the more I play it.

I also know that there are some songs on here that are as compelling and emotional as any Buckingham has ever done. Actually, maybe it's more accurate to say that he's never been so heartfelt, which is a by-product of the intimate recording, with most songs comprised of Buckingham, a guitar or two and some minimal percussion and bass playing. While Lindsey's words are often fairly simple, most of the songs have at least one tag line that ties together with the music perfectly, encapsulating the moods and feelings he's putting across.

Some of these songs simply enveloped me. "Not Too Late" has an air of mystery and tension, created by Buckingham's precise finger picking, playing a rapid circular pattern. He sings with quiet intent about a void he feels as a person and an artist. Buckingham is putting his doubt to music, with the chorus coming out like a burst of frustration, contrasted by the sad bridge: "My children look away/they don't know what to say". Yep, you can guide Fleetwood Mac to supergroup status, and still feel unaccomplished.

Buckingham looks outward on the gripping final two songs on the album. The lyrics of "Someone's Gotta Change Your Mind" may be somewhat vague, but the music oozes compassion for the "little children" that Buckingham is singing about. This song also subtly uses dynamics -- it's not quite soft-loud-soft, so much as quiet-urgent-quiet. The reverbed horn parts add to the haunting aspects of the song, which comes off like a cry for help. On "Flying Down Juniper", hope arrives, as the strummed melody is sunny and optimistic. Here, the concern for children on the prior track is balanced by a hope for their future. There is even one of those statements of the obvious that is still worth stating: "If we forgive ourselves/we might be whole/but you know that wishing wishing/won't make it so."

The collection certainly hits upon the highs and lows we endure through life - and how despair can turn around, sometimes just by changing your attitude. It's interesting how Buckingham can weave such woe with a circular guitar pattern on "Not Too Late", and then use a similar pattern on the far more cheerful cover of Donovan's "To Try For the Sun". This song is about striving -- striving can be daunting, but we should always strive. Buckingham spotlights this dichotomy.

Then what to make of the lovely "Cast Away Dreams"? If I'm interpreting this song correctly, Buckingham is seemingly indicating that at some point, you may just have to let go of your dreams, when reality confronts you. This may seem depressing, but I think Buckingham is indicating that we just need to soldier on: "It would do no good/to drown in the sea/where no one remembers their name/and nothing but nothing is free." Anyway, musically, this is simply an unforgettable song, with a hook that attaches automatically.

All philosophizing would be too dull, and Buckingham's whimsical side is still in evidence. "Show You How" is gentle and percolating, and his multi-tracked vocals in the chorus are delightful. The multiple vocal machinations also key on "It Was You", which is a straightforward love song - "I waited for a woman/it was you." If you want a cool song to play at a wedding, look no further.
This may be the best of the four solo Buckingham albums. The songs are top notch and it has a feeling of completeness and sense of purpose that doesn't come across too often anymore. Savor it.

Beck
The Information

(Interscope)

interscope.com

The latest from Beck represents a consolidation of everything he has done before, mixing his folk roots, his appreciation of R & B, funk and hip-hop, and his forays into mood music. The sum greatly exceeds the parts – this is an album that exerts a strong emotional pull, as all of Beck's pop skills and tools and tricks are operating at a high level.

Some writers have called this album ‘psychedelic,' and, to a certain extent, I see where they are coming from. I think I'd rather call this expressionistic. The colors and shades of the music define everything here. Some of the songs are insanely catchy, but even those that don't work a hook are memorable. Often, the lyrics float in the middle of the mix. I would say that in some respects, the basic lyrics (sometimes full of typical Beck wordplay, other times simple and frank) are just enough to enhance the evocative music.

This is an album that really is best heard in one sitting, even though many tracks will sound equally good on your playlist or mix disc. The shifting atmospheres are key, run through a bevy of styles that Beck mixes and matches perfectly. Oh yeah, he still can pen a great pop tune. "Think I'm in Love" is keyed by a sampled bass line that is repetitive and catchy as all get out. Beck then plays off this with the melody and percussion effects. The pithy chorus is indelible and the middle eight is elegant, with synthesized strings adding yet another touch to this odd blend of funk and straight pop. Beck's typically low key vocals work particularly well on this ode to shyness.

Beck later moves into Joe Walsh territory -- sort of. Remember Joe's "Life of Illusion"? "No Complaints" is like a minimalist cousin, with an insistent acoustic guitar strum (and another strong bass part), supported by a complimentary ascending melody. There's even a whistling interlude. Silly is as silly does.

This is then followed by the rap inspired vibe of "1000 RPM", Beck spitting out the rhymes over a backing track that combines hip-hop groove and what is either a tack piano or spoons or sampled industrial noises (it's hard to tell). This song might be the closest to a typical Beck album track, in that it adheres to a specific aesthetic that he has explored on other albums. He still does it well. On other tracks where he brings out the rhyming skills, he integrates elements that aren't normally associated with hip-hop, like the acoustic guitar breaks and the electronic orientation of "Cellphone's Dead". It's funky, but more in an early Erasure kind of way...with a murky cast to it that is oddly inviting.

There are some moments of real beauty. "Movie Theme" has warm synthesizers and space age sound effects. The swelling music and Beck's just-above-a-whisper vocal convey what it feels like being small in a large universe. The lyrics are grounded yet a bit shell shocked. The song sounds to me like it's about a guy who just had the rug pulled out from under him, but that's just my opinion: "Running on a plane with a cigarette/I carry my heart like a soldier with a hand grenade." This music is awash in mystery.

On "Dark Star", the music mixes an echoing beat, that sounds like it came from a Gary Numan record, with bubbling bass and keyboard noises that are Stevie Wonder circa 1974. Beck raps out the verses, and the chorus is a chilly melodic toss off. The harmonica solo in the middle (more Dylan than Stevie) is just another curveball. This song floats and is like an incomplete sketch -- tantalizing and compelling.

No matter how much detail I provide on individual tracks, I cannot stress enough that what makes this album so special is how it all flows and fits together. Even though some songs stand out more than others, there's a unity of purpose that you don't hear to often nowadays. Furthermore, when one of the catchiest songs on your record is called "Nausea", you obviously are on top of your game.

Yo La Tengo
I Am Not Afraid Of You And I Will Beat Your Ass

(Matador)

matadorrecords.com

Have you ever fancied a girl or a guy, yet every time you encountered them, you did nothing to leave a positive impression? Not necessarily a bad impression, though that may be the case, but you came off as bland or indistinct and utterly unmemorable. Which, of course, is not terribly attractive.

I can't say that Yo La Tengo ever fancied me. Well, not that I'm aware of. But I'm certain that they want as many people as possible to listen to their records, and I am one of those many. Yet from 1985 until a couple of years ago, it seems that every time I heard a Yo La Tengo song, it did nothing for me. Not even the one where Bob Odenkirk and David Cross appear in the video. I couldn't fathom how music that struck me, in limited exposure, as so colorless, could garner so much praise from people whose tastes seemed similar to mine in most other respects.
Really, it was just bad luck. Deciding to figure out what it was all about for once and for all, I took a flier on the two-CD YLT career retrospective that came out a year or two ago, and I found out what I was missing. I was missing a lot. But the compilation allowed me to catch up and hop on the Yo La Tengo bandwagon at just the right time. Their latest is a true statement of their ability to master different forms and genres, showing off both skillful songwriting and great playing. This is an album of various textures and moods that flows nearly perfectly.

The band welcomes listeners with a remarkable piece of drone rock, "Pass the Hatchet, I Think I'm Goodkind". The song is centered on a minimalist chord pattern (courtesy of James McNew on bass) reminiscent of Wire, yet it combines the distorted power of Neil Young and Crazy Horse with the measured urgency of the Velvet Underground. The fuzzy melodic guitar leads and Georgia Hubley's steady beat keeping contribute to a hypnotic extended piece of music.

To give you an idea of how this album works, the fierce crescendo of "Goodkind" is then followed by a bouncing piano pop number, "Beanbag Chair". Think John Lennon or Madness -- it's low-key and goofy, and a nice breather after the intensity of the opening track. Yo La Tengo's pop side is shown off to good effect on the similarly cast "The Weakest Part" and especially on the disjointed R & B rooted ballad "Sometimes I Don't Get You". A reverberating piano and Ira Kaplan's vocal give this a wistful and sad feel. There are some cool unexpected chord changes that play off the main sequence. Very nice.

A fair amount of the album navigates garage rock and psychedelic turf. "The Race Is On Again" travels to spacey, eight miles high territory, with Byrds-y guitar backing and more of a droning vibe underneath. Kaplan and Hubley sing together, and sound fine. This song is followed by the even more drony "The Room Got Heavy", with bongos, vocals that emphasize this rhythm heavy song, and spooky haunted house keyboards. The song is akin to some of Oneida's recent psychedelic forays, with a bit of an Eastern vibe thrown in for good measure.

The band blasts off on the distorted pure rocker "Watch Out for Me Ronnie". This is Little Richard run through the MC5 and The Butthole Surfers and The Mummies. Murky, buzzing and forceful. "I Should Have Known Better" rides a keyboard line into melancholy garage rock territory, a la Caesars. However, the malevolence typical of garage rock is replaced by wispy vocals. The contrast between the powerful backing and the sleepy singing works very well. The band goes all Nuggets again on "Point and Shoot" -- this is more like the psych-freak beat work outs now favored by Television Personalities and Beatnik Filmstars.

The album closes with another extended number, "The Story of Yo La Tango". The song swirls along quietly, with Kaplan finally cutting through the swirl with a declarative lead guitar line. It's all part of a build, letting sounds layer on top of each other...slowly. Once they've established the melody, with the lead guitar, the song gets going in earnest. It's a ballad, in the classic sense, Kaplan telling a story that is hard to fully discern with all of the washes of guitar, the forceful drums and prominent bass. Whatever it's about, the music is epic. And the music stays in this lockstep pattern, just getting a little bit more frenzied, gradually. This makes for a grand conclusion to this fulfilling album. There's not much more to say here -- this is a great band, with a bunch of great songs, at the peak of their powers. One of the best of 2006, easily.

Doleful Lions
Song Cyclops Volume Two

(Parasol)

parasol.com

Although this record's title indicates that it is a continuation of the Lions' first Song Cyclops album, it really isn't, either sonically or lyrically. While this isn't a 48-track studio digital recording, it isn't a true low-fi album, like its predecessor. Moreover, this album is not as steeped in the bizarre mythological themes that comprised most of the first Cyclops. Okay, Scott does throw us a few bones -- "The Warriors End Table", for example. I say this despite the fact that this was primarily recorded in 1999, around the same time.

Of course, how closely this comes to the first volume really doesn't mean anything one way or another. What is meaningful is that after two albums where the work of main Lion Jonathan Scott was at times very somber and infused in emotion, these recordings are in line with the breezier feel of earlier Lions records. While the last two Doleful Lions albums are sterling efforts, this was probably a good time to bring out these older recordings, pulling back from the epic ruminations of songs like "Texas Is Beautiful", with a more varied disc.

Scott, aided by Robert Scott, mixes in some ace covers with great songs, and he is clearly having a great time doing it. Turning The Misfits' "Astro Zombies" into a campfire folk song is either (or perhaps both) inspired or sacrilege. Scott pulls it off with aplomb, practically encouraging listeners to sing along (‘Exterminate! Exterminate!"). Other covers give you an idea where the ‘60s pop sensibilities of some of the tracks come from. Scott breaks out his falsetto on an obscure ‘70s Beach Boys track, "She's Got Rhythm". This song could have been on a classic ‘60s Beach Boys single, and, had I not looked at the credits, I might have thought it was actually an old Roy Wood/Wizzard side. It's a lot fun.

Scott takes on a song that Brian Wilson probably grooved to on the AM radio in Hawthorne, CA, The Crystals' "There's No Other Like My Baby". This is a straightforward rendition, with Scott multi-tracking his own backing vocals and harmonies. He did an excellent job. He moves into the ‘80s to cover a song by a punk band that had some Beach Boys leanings, The Descendents. He plays "Silly Girl" as a tender ballad, and that's essentially what this song has always been. One thing that both of these songs highlight is the innocent quality of Scott's vocals. Here, that quality is applied to light material, which is perfect, yet it also carries resonance when he explores darker themes, either real or imagined.

What is critical is that Scott sounds utterly sincere, regardless of the subject matter. Whether he is waxing tenderly about a "Wallflower" ("she's a wallflower/and I'm gonna make her mine." - aw, shucks!) or penning a paean to "The Head of the Shade Antichrist", there's no irony or distance. Everything is real and, accordingly, comes to life. That "Antichrist" is a snappy little ditty is all the better.

Other good reference points for the music on this album are Lindsay Buckingham and The Move. "Chrome Submarine" is pretty much a tribute to the early days of Roy Wood's band (I suspect it's intentional -- then again, maybe Scott has never listened to The Move), as it is cut from the same chirpy cloth as songs like "Fire Brigade", particular on the jumping guitar chord coda that sets up the verses. Even better, the song then morphs into a more characteristic Doleful Lions melody, and finally, he ties the two ideas together. The best of both worlds. As for Mr. Buckingham, I don't know so much that there's any song that sounds like Buckingham, so much as he shares some influences with Scott, so there's similarity in the sound and structure of the music (though Lindsey would not put up with the lower fidelity of the recording).

Fans will also enjoy these earlier recordings of songs released on other Lions albums. "Saturday Mansions" and "Stand in the Colosseum" still sound great, and fit in well with this album. Yet again, Scott creates his own musical world. It's so inviting, yet a bit mysterious. Or maybe it's the fact that it's mysterious that makes it inviting. Whatever, it's worth checking out.

Pere Ubu
Why I Hate Women

(Smog Veil)

smogveil.com

Pere Ubu is known for its sinister, offbeat rock sound, full of odd industrial synthesizers and messed up song structures. They are simultaneously one of the artiest bands in rock history and the most visceral. Despite this visceral quality, I have never really found that their music, great as it is, has a strong emotional component.

On their latest effort, David Thomas and crew strike a strong emotional chord on a number of songs. These deconstructed fucked up blues songs are rooted in very basic feelings. Musically, this record is more in tune with the murky and underrated *Raygun Suitcase*, than the brighter and spacious *St. Arkansas* from a couple of years ago. The atmospheres suit Thomas's direct lyrics that evince hope, desperation and the possibility of implosion. There are ominous bass lines, jabbing, meandering and sometimes fluid guitars, industrial keyboard noises and ridiculously accomplished drumming by Steve Mehlman that is sympathetic to whatever a given song needs.

Some of the material is positively harrowing. "Blue Velvet" moves at a crawl, and might be as close as this band will come to making music that sounds like it could be played late at night, in a smoky club. The song describes a man's impotence (not physical, but mental) in life and love. Thomas sings of a white room in his head, "where all the good things go." While the drums clatter on occasion and Keith Moline plays jazzy licks on his guitar, Thomas vacillates from feeling free and feeling trapped. His odd high voice moans have never sounded more pained and intense. He hits the nub of the issue: "I am free/there is a shadow hanging over me/it's dark and gray and blocks the sun/and I think it's you." This is chilling mood music.

The sound is more menacing on "Love Song", which is a compelling and creepy portrait of obsession. "My eyes are growin' tentacles to grab you/my hands are growin' hand grenades to have you" -- is it any wonder that this guy lives in "a house without any windows?" The moody verses are contrasted by a ringing guitar riff, and the song ultimately explodes into a controlled fury, Moline playing away over Mehlman's steady drums. The instrumental break seems to represent the tension boiling underneath the borderline psychotic guy singing this tune.

For pure rock explosiveness, look no further than "Caroleen" whose name "rhymes with gasoline." This song is a pure a pounder as ‘70s Ubu classics like "Non-Alignment Pact". Michele Temple's quick fingered bass playing and Mehlman's insistent time keeping are matched by Moline's showers of chords and tight riffs and Robert Wheeler's desire to fill every remaining bit of sonic space with white noise from his synthesizer. One of the best hard rock songs of 2006.

Regardless of the musical framework, what ties these songs together is that they generally relate to people living on the edge, and probably not by choice. "Stolen Cadillac" is another moody slow blues based song, that takes on the theme of wanting to get out of town. At least that's what it seems on the surface. As Thomas sings over a tense acoustic guitar part, about the restlessness of Johnny Two-Toes, the key conversation is when he asks Betty Groove, "What will you do for me? What will you do?" Maybe the town is not the problem.

For all of the questions and hopes and fears and lies and fucked up attitudes on display, the album ends on an utterly unexpected note. On "Texas Overture", over relatively jaunty music, Thomas gives a gastronomic tour of Texas. Seriously, it's basically a handful of restaurant reviews set to music. For example, a lady at Kreuz's asks Thomas if she's sliced him enough beef brisket: "No, I say more please/Butcher paper one knife no fork white bread/Vegetarians Exit Now Please/Texas is the land of the free." It's kind of the Subterranean Barbeque Blues.

This is yet another worthy entry in the Pere Ubu canon. While it fits in perfectly with their recent and past work, it covers new territory and resonates in a unique fashion. And you may be very hungry by the time you've finished listening to the last track.

Channels
Waiting For the Next End of the World

(Dischord)

dischord.com

The first full length from J. Robbins' latest band finds Robbins further refining the unique combination of angular guitar sounds and overlaid melodies that he explored successfully in Jawbox and Burning Airlines. Robbins' winning streak is still intact, as his music continues to get more accessible without becoming mushy or overly polished.

Not that there was any danger that J. would go soft on us, but certainly the current political climate makes him as prickly as ever. Robbins comes out of the gate on "To the New Mandarins" demanding "show ‘em your patriot act." "Mandarins" is a perfect opening track, in that it is a calling card for what you are going to hear on the album, both musically and lyrically. The verses are fluid and powerful, with the rhythm section of Janet Morgan (bass) and Darren Zentek (drums) pounding along without plodding along, while Robbins plays fractured notes. The chorus is soothing and melodic -- indeed, Robbins's ability to craft terrific melodies is constantly expanding, while his talent at creative dissonant structures and interesting rhythms has not diminished. This great music supports his assault on the fearmongering of the current administration. While his lyrics are usually reliant on imagery, they are sufficiently direct to deliver his message. He even adds to the premise, wisely noting that in this so-called ‘Information Age', the facts are harder to find: "so well-informed/I don't know where the truth begins/I grew up on science fiction/that doesn't mean I want to live in it."

"The Licensee" illustrates the growth of Robbins as an artist. At one level, it has the same visceral directness that dates back to his early Jawbox work. But that's just one level. Building on this foundation, Robbins and his mates add so much to this song, without cluttering it up. That's because they trust the winding throb of Morgan's bass, punctuated by Robbins's jabbing guitar chords -- this is the heart of the song. Robbins and Morgan trade vocals, declaiming a life lived in pursuit of the almighty dollar. The vicious verses are leavened by a brief melodic interlude, Robbins and Morgan harmonizing. Then there's a Beatle-esque/XTC-ish middle eight, winding back into the refrain: "When you're tethered to the treasure/everything is getting better." A very sophisticated track.

"My eyes have seen the glory, yeah/and we're fucked," Robbins shouts on "New Logo". This is a more direct song, obviously, built on one rhythm, with the verse just riding the harsh chords, then introducing a melody line, and ending the chorus with a downright pretty second melody. If I'm sussing out the lyrics correctly, Robbins is disgusted with an increasing appetite for violence as entertainment. Whatever it is, he's angry.

I like the fact that some of the targets aren't obvious. How often do you hear a song that is about gentrification ("Unreal Estates")? Robbins's guitar rings while Morgan and Zentek rumble underneath. The underlying question, as housing projects are torn down and yuppies move in: "where will you go?" The rhythmic intonations of the lyrics fit the disjointed yet coherent tempo of the song. Robbins effectively contrasts the pitches to buyers with the fact that those displaced will hear "the sirens screaming" wherever they end up.

The album ends on a mellower note. "Little Empires" reminds me a bit of a song on the last Jawbox album (the title escapes me), but actually approximates the mood and feel of The Jam, on songs such as "Butterfly Collector". The song does burst into life in the mid-section, an effective use of dynamics. "Mercury" is a quiet wind down to the proceedings, and it's one of the most conventional songs ever waxed by Robbins. He sings gently over light accompaniment, relying solely on his burgeoning melodic talent. And again, he and Morgan sound so great singing together.

This album is on par with the best of Jawbox and Burning Airlines. Robbins keeps finding ways to build on his style, while continually sharpening his lyrics. "Mercury" illustrates that he no longer feels bound by any self-imposed rules and will change his music as he sees fit to express his thoughts and feelings. How often do find someone who is constantly getting better? It's rare, and J. Robbins is one of the lucky few.

Andrea Perry
Rivers Of Stars

(self-released)

andreaperry.com

The third album from this Texas multi-instrumentalist is easy to like and hard to adequately describe. Well, ‘utterly distinctive' is a very good characterization. But that isn't going to give you the slightest idea of what it sounds like. It's pop music that's for sure, but of a variety that probably hasn't been actually popular with more than a slight frequency. That being said, this is music that is extremely accessible while maintaining a very specific artistic bent.

Yeah, this might not be helping much. Between the time I reviewed Perry's last album and tackled this new one, I learned about Judee Sill and became a big fan. I don't want to make a direct comparison between Perry and Sill, but while listening to this album, Sill came to mind for two reasons. First, Sill meshed classical and jazz influences into what was ostensibly folk-pop, and did so in a way that was rarely obvious. Only with repeated listens did the complexity reveal itself. Perry is similar in that her pop superficially comes from the general area of acts like The Beatles, XTC, Adrian Belew and others. Yet she colors it with touches that seem to come more from jazz, or at least, not simple ‘60s and ‘70s pop sources. Second, there is a certain similarity to the vocal styles. I don't think Perry's voice is as rangy as Sill's, and it might not be quite as expressive. Yet I could certainly hear her doing some of Sill's songs and sounding really, really good.

While I'm on the topic of Perry's voice, I should mention that I love it. It's soothing and relaxing. I think that sometimes she multi-tracks it. It's attractive and warm and is perfect for her compositions. Perry is also an outstanding guitarist. Her deft playing either drives or ornaments every song, often defining the melodies and/or rhythms of the songs.

Perry also shows how an artist can have a very specific style, yet find ways to change things up. Take the back-to-back cuts "It's in the Way" and "Take Me Where the Lions Roar". "Way" is a loping tune that has backbeat that could probably fit well on a country shuffle. On this song, the initial melody is defined by the bassline, which Perry sings along with. The opening chorus is offset by another melody, and Perry plays with the rhythm of her vocal line, drawing out some words and then singing quickly. The song is perky and silly, perhaps hiding the sophistication of the composition and arrangement.

If anything, "Lions Roar" is even lighter -- unless there is some hidden meaning to a request to see tigers, chimps and kangaroos, etc. This song has a sing-songy melody and again, Perry's melodic bass playing is key, and her guitar playing is simply wonderful, as she moves from jazz, to light funk, to plain pop. Then she adds some horns and keeps adding other little touches, keeping the song fresh throughout.

Her gentle voice works so well on less serious material, but it is equally good on more sober stuff. "Leaves of October" is tinged with sadness, with a downbeat piano part and quasi-blues guitar playing that reminds me of the tender side of Tom Verlaine and Jimi Hendrix. The music perfectly supports Perry's lyrics, which deal with the loss of connection -- perhaps specifically romantic, though other connections would do. There's also a really affecting middle eight where Perry manages to sing sweetly while also being accusatory.

Perry collaborates on four songs with lyricist S.D. Lishan, and they make a really good team. "Reservoir" is another song where Perry finds the right melody to compliment a specific (in this case, kind of clipped and insistent) rhythm. Lishman's words work well with the lockstep rhythm, with pithy bits of imagery standing out here and there. He also contributes to the piano piece "Let's Not Go Out", a song that has a very classic pop sensibility (ballad division). Again, some of the words are indelible: "Let the world rush by outside/back and forth in its frenzied tide/we can stay here side by side." This song really resonates.

On this album, Perry adds more layers of emotional depth to her already captivating music. This is a pop album with a variety of moods and colors, guided by a consistent sensibility and obvious talent.

Various Artists
The Birmingham Sound: The Soul of Neil Hemphill, Vol. 1

(The Rabbit Factory)

http://www.myspace.com/rabbitfactoryinc

The key to the Birmingham soul scene of the ‘60s and ‘70s was a plumber. Neil Hemphill was not a performer, but a man who saw a wealth of musical talent in Birmingham, and a need to get their songs down on wax. So Hemphill opened up a studio above his business. Soon, the talent flocked to the studio. There was a regular crew of musicians, and an open door policy that encouraged local artists to develop their own material.

This was still back in the day where artists could have a measure of success regionally, well before Clear Channel and its ilk made the possibility of this type of story nearly impossible nowadays. This compilation was made possible by the efforts of John Ciba, a Chicago indie record promoter and weekend soul DJ. He tracked down the tapes, got the clearances, and put this collection together.
While many of the songs here fit firmly within the Southern soul tradition, the open nature of Hemphill's studio meant that artists could do as they please. This makes for a fairly versatile collection, with everything from a classic vocal group sound to early funk workouts being represented.

Where to begin? How about with Eddie Steele's "Groove Me Mamma", which sounds like a cross between William Bell and Wilson Pickett, as the band grinds out a wonderful Memphis-style groove. Steele's vocal may not be entirely on key, but he feels the music, screaming ecstatically after the second chorus. But Steele sounds like Stevie Wonder compared to Bill "Butterbean" Flippo on "Love Keeps Hangin' On" -- a superbly arranged R & B number that could be easily rearranged into a peppy country-pop number. When Flippo draws out a note, he's flat, yet his passion carries the day. The funky drumming underneath sure helps.

Now I don't want to leave you the impression that some of these numbers fall into the so-bad-it's-good category. Instead, while some of the vocal performances may lack technical perfection, they are uniformly engaged in the material. Yes, they have soul.

As do the players -- throughout the collection, the musicianship is also good-to-great. This is reflected on the instrumentals. Breakneck's "California Cool Ride" is jazzy, and funky, with a slightly fuzz lead guitar solo, a busy bass line and punctuations from the organ ensure that the song lives up to its title. It's cool. Truth in titling also applies to "Funky Soul" by Cold Grits. This track starts with a driving vamp, contrasted by an unexpected burst of melody, and then settles into the groove, with more expert lead guitar picking and James Brown-style funk chords. The biggest problem with the track is that it lasts less than two minutes.

The ladies get their due on this collection, with Pat Peterman and Little Lois Barber each represented by two tracks. Peterman's "You Gonna Reap It" is a wonderful deep soul ballad, as Peterman shows off the pipes that make the pain feel real. Peterman co-wrote the pumpin' mid-tempo "I Love the Way You Do Your Thing", which throws in the chorus hook in a surprising spot. Nifty. Barber's "Specify" starts off the collection, with its smooth horns and Barber's big voice. She just wants her lover to "specify [his] wants and needs." Aww...how nice. "Thank You Baby" starts off with dramatic flourish before sticking its groove, coming off like a lost Aretha Franklin track -- she might not be as great a singer (who is?), but the song is fantastic.

There are some revelations here. We need to hear more David Sea. "Let's Just Get Together" is a testament to his vocal strength, going from a Sam Cooke-like croon (though a bit grittier) to pure soul shouting by the track's end. Wonderful. Sea's "Believe in Me" comes across like an early-‘70s Isley Brothers song, mixed with Sea's classic Southern soul style.

Other highlights include the cautionary "I Got Married Too Soon" from Chuck Strong, which shows how pleasant music, a good singer and smart lyrics make for an unbeatable combination. Sam Dees's "Train to Tampa" sports a sophisticated melody, and Dees alternates from quavering vibrato to fiery exclamations. The closing track, "Self" by Eddie Steele, has a bubbling rhythm track, while the song is really a variation on blues-soul. The song is really about taking charge of your life. A great way to close out a stellar collection.

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