RNDM: Acts

RNDM
Acts
Monkeywrench Records [2012]









Fire Note Says: RNDM is AWSM!

Album Review:
RNDM (pronounced random) is a new band featuring Pearl Jam bassist Jeff Ament, singer-songwriter Joseph Arthur and former Fastbacks drummer Richard Stuverud. If you think that sounds AWSM, well then this is the record for you!

I wasn’t sure what to expect with Acts, I laughed when it was given to me to review, but I figured between Ament and Arthur, they wouldn’t release something that was flat out terrible, they would keep it in the vaults never to be thought of again, so the fact that they are putting the record out and touring, it tells me that they are confident that it’s pretty good. Going in, I didn’t know much about Joseph Arthur, other than he used to be on Peter Gabriel’s record label, and I read a pretty good piece on him in Magnet once about 10 years ago. I can’t speak much on his solo work, but I can tell you the rock grooves that Ament and Stuverud lay down for him really seem to work in his favor. The music has a little of that mid-period Pearl Jam feel, think No Code [1996], as it darts in and out rather than lumbering along. It has shades to it, rather than just being one rock thing.

The album opens with lead single, “Modern Times”, and it’s a good one. A solid rocker built on an Ament bass line and a rock solid beat from Stuverud. When Arthur comes in, he sounds like a cross between Vedder and Bono.  “Darkness” is the highlight of the album; it builds and builds until Arthur releases the tension with a powerhouse chorus. The album is a nice mix of rockers and slower tempo numbers, Arthur shines on the slower songs and the band supplements him well, but they really shine when they play straight indie pop like they do on” Letting Go of Will”.

There are some duff tracks here, just like on any supergroup album, but 9 out of the 12 songs are solid, and that’s a pretty darn good ratio, and a lot better than most people expect I would imagine.

Key Tracks: “Letting Go of Will”, “Modern Times”, “Darkness”

Bands With Similar Fire:
U2
Pearl Jam
Gay Dad

RNDM Website
RNDM Facebook
Monkeywrench Records

-Reviewed by Kevin Poindexter

Waves Of Fury: Thirst

Waves Of Fury
Thirst
Alive Natural Sound Records [2012]









Fire Note Says: Waves Of Fury pitch an interesting idea with debut Thirst.

Album Review:
Waves of Fury, coming to us from Somerset, England, bring a different style all their own. Whether you refer to it as goth gaze, zombie rock, or just shoving a brass band in the garage this kind of sonic attack is rarely heard. Here’s some food for thought - The Temptations featuring Joe Strummer, The Stax on Sex Pistols, Marvin Gaye collaborating with the Jesus and Mary Chain - see where I’m going with this. Being the first British artist to sign to The Black Keys’ original label Alive Natural Sound Waves of Fury creates a brash over the top noise punk sound with some style choices that will either offend or invite listeners, call it a cheap, dirty thrill if you will.

Thirst opener “Death of a Vampire” garbles its way in with a weird string, keyboard ambiance until finally opening up into a big brass band mode. Sax honks in the back over what seems to become a horn inhale/exhale pattern. Lead Vocal, Carter Sharp, chews up this song and spits it out in the fashion of Johnny Rotten, a vocal choice that’s made over the course of the entire album. “Businessman’s Guide To Witchcraft” presents a fun swell of brass, as sax and bass hum and thump underneath it all. The track comes to rest on a poppy guitar jingle-jangle riff that doesn’t even mind the punk R & B juxtaposition created. “The Everlastin Thirst” creates a fun brass sway and bob and culminates in a drum beat, guitar tweak as Carter rasply declares “Quench my- Everlastin thirst”. Following track “Nervous Exhaustion” almost doesn’t seem to belong on the album at all, but that’s a reason that I enjoy it. It presents an almost sunny disposition, like Iggy Pop decided to jump in on a Donovan musing to himself.

In a world saturated with different sounds, combinations, and structures Waves of Fury go for it, and they go for it hard, maybe almost too hard. As I said before, the vocals might have too much swagger for their own good, its delivery might actually be a lazy sort of genius or distract from the fine musicianship going on around it. Whether you consider that a slight or not these blokes are exploring an interesting avenue and if nurtured and improved could show a great amount of potential in the future.

Key Tracks: “Death of a Vampire”, “Everlastin Thirst”, “Nervous Exhaustion”

Bands with Similar Fire: 
The Good, The Bad, and The Queen
The Clash
Nick Curran and The Lowlifes

Waves Of Fury Website
Waves Of Fury Facebook
Alive Natural Sound Records

-Reviewed by Christopher Tahy

Bat For Lashes: The Haunted Man

Bat For Lashes
The Haunted Man
Parlophone Records [2012]









Fire Note Says: Bat For Lashes hit some real highs on The Haunted Man.

Album Review:
Let me start out by saying that I am not a Bat For Lashes fan, I don’t have particularly strong feelings for the music of Natasha Khan one way or the other. However, I was extremely interested to hear this record, because I knew that it was picking up a lot of good buzz and I wanted to see what all of the fuss was about. I didn’t have any real expectations for the record going in, I was skeptical, but really hoping it would be as good as I had heard it was.  It’s no masterpiece, it’s a tad overlong, it’s samey, it’s over the top dramatic, yet it’s also tuneful, experimental, engaging and admirable.  It’s obvious that Kahn really went for it with The Haunted Man, her third lp as Bat For Lashes, but she comes up a bit short of her goal, and that’s ok, sometimes flawed works end up being more interesting and hold up better over the course of time.

The arrangements are really stripped down on The Haunted Man, meaning that the vocals really have to carry the weight of the record, and her Kahn’s voice does a good job. The electronic beats and keyboard flourishes help to build the tracks up, but they really never peak, in fact, the best song on the record, “Laura”, has very little music to it at all, it almost sounds like a demo. It’s honest, and heartwrenching. It’s the one song on the record that absolutely stands out from the rest; in fact, it’s the one song that kept drawing me back in to the album, to keep giving it repeated listens. “Deep Sea Diver” is another highlight, and recalls the finer work of Portishead.

At her best, Kahn sounds like an edgy Kate Bush, at her worst; she calls to mind Tori Amos. In fact, the song that kept coming to mind over and over again while listening to this record was “Silent All These Years” by Amos. The best way to describe the record is that it has some real high points, and the rest of it is pretty ok. 

Key Tracks: “Laura”, “Deep Sea Diver”, Marilyn”

Bands With Similar Fire: 
Kate Bush
Portishead
Tori Amos

Bat For Lashes: Two Suns [Fire Note Review 4/8/09]

Bat For Lashes Website
Bat For Lashes Facebook
Parlophone Records

-Reviewed by Kevin Poindexter

John The Conqueror: John The Conqueror

John The Conqueror
John The Conqueror
Alive Natural Sound Records [2012]









Fire Note Says: John The Conqueror hit the right bluesy rock nerve on their excellent self-titled debut!

Album Review:
Philadelphia's John The Conqueror brings a very familiar sounding dirty blues rock right at you full throttle on their self-titled debut. The trio have a very Black Keys vibe going on which might have some critics dismissing them for not bringing anything new to the table but I think that is exactly the point - why change up a winning formula.

The ruckus all starts within the first 45 seconds of the opening hand claps and lo-fi background singing in "I Just Wanna" before the song blows up into a full blues explosion and the pleading chorus of "I just want to be your man!"  It is this type of debut vigor that keeps John The Conqueror pumping right into the second track rocker "Southern Boy". This is a song where the instruments start sparking, Moore's vocals hit 11 and John The Conqueror completely groove. Even though the record stays in a similar musical swim lane throughout the band shakes things up with subtle changes that enhance the album's flow. Songs like the swaying "Time To Go" pays more of tribute to classic Muddy Waters while "Letter Of Intervention" showcases a blending of darker slow rhythms with upbeat style bursts and group sing alongs that equal an album highlight.

John The Conqueror did not set out to recreate the wheel here on their debut but instead made a record that is dependable, solid and timeless. It has all of the gritty ingredients you want in a debut and thanks to the Black Keys there is an even bigger audience out there for their style. So if you are looking for a good new record to rock out your week, month or year I guarantee that John The Conqueror are the real deal and will not disappoint your blues rock soul!

Key Tracks: "Southern Boy", "Time To Go", "Letter Of Intervention"

Bands With Similar Fire:
Black Joe Lewis & The Honeybears
Muddy Waters
The Black Keys

John The Conqueror Website
John The Conqueror Facebook
Alive Natural Sound Records

-Reviewed by Christopher Anthony

The Mohawk Lodge: Damaged Goods

The Mohawk Lodge
Damaged Goods
White Whale Records [2012]









Fire Note Says: Ryder Havdale returns with a Mohawk Lodge album that represents one of his finest to date!

Album Review:
If you enjoy a completely pure and big anthem type of rock record then you will definitely want to snag the fourth long player, Damaged Goods, from The Mohawk Lodge. The record brings bigger than life sing alongs, emotional call-outs and plenty of gritty soul drenched lyrics that will win you over after just one spin and have you quickly reaching for the repeat button to ensure you did not miss one thing.

Right from the album opening 2 minute rocker "Howling At The Moon" you know that band founder and lead singer Ryder Havdale has an urgent excitement that is injected into this album as its subject matter tackles near-death experiences, long drives, hot summer nights high on roofs and a suspicion of the powers that surround him. All of this adrenaline is packed tightly into the albums 30 minute running time which never lets the record slow down as it is the shortest album The Mohawk Lodge has released to date. Songs like the building "Hard Love" keep you hoping for the best as Havdale honestly states that "I just want the good times to be danced around me", even though he conveys that the same good times get the best of him as the song just keeps driving up to its big instrument ending. "Gold Rivers" is another track that has bursts of guitar power as it showcases how The Mohawk Lodge maintain intensity regardless of track length with it being the longest song on the record pushing past 5 minutes.

Of course as much as The Mohawk Lodge is a one man show with Havdale his changing supporting musical talent is just as important here to pull his sound off. This starts with the multi-talented Eamon McGrath aiding in the recording and providing guitar, backing vocals and keys. His similar singing style adds depth to Damaged Goods along with the other 10 credited artists which includes the three female voices in Kara Eide, Alexandra Staseson and Alicia Palmquist that help close the excellent final track "1000 Violins". This complete package leaves no errors and 10 songs that never wear on the listener. The Mohawk Lodge is definitely still an under appreciated talent from up North and there is no reason that indie fans shouldn't get on board with Havdale's material starting right here with Damaged Goods and working their way back!

Key Tracks: "Howling At The Moon", "Hard Love", "Gold Rivers"

Bands With Similar Fire:
The National
Bruce Springsteen
The Gaslight Anthem

The Mohawk Lodge: Crimes [Fire Note Review 10/12/10]
The Mohawk Lodge: Wildfires [Fire Note Review 8/30/07]

The Mohawk Lodge Website
The Mohawk Lodge Facebook
White Whale Records

-Reviewed by Christopher Anthony

Black Moth Super Rainbow: Cobra Juicy

Black Moth Super Rainbow
Cobra Juicy
Rad Cult Records [2012]









Fire Note Says: Black Moth Super Rainbow return to show us what music might sound like in the future with Cobra Juicy.

Album Review:
Returning from the far flung future galaxy of Pittsburgh, Pennsylvania artists Black Moth Super Rainbow grace us with their fifth LP Cobra Juicy. Cobra Juicy seems to me to become an opening of the new robo cyber disco, an expansive new way of looking at the art of music. Combining elements of neo-psychedelic, experimental sound, synthpop, and electronica creates wigged out pieces of audible, synapse exploding compositions that turn the brain on its ear and blooms many different emotions within each hemisphere. It seems to be an album that you can close your eyes to and literally feel, a very fun experience that I really didn’t expect to enjoy so much.

Right out the gate we’re greeted with the track “Windshield Smasher” the drums and guitar fuzzes its way into the picture. Vocoder drenched vocals ring out carrying the track with a dark, robotic hiss. The song intermixes fun, hyper, twisted dance jives that keep the energy pumping. “Psychic Love Damage” floats its way straight through your body as it's a dreamy force to be understood, felt, and then reckoned with. It’s the nice floaty malaise of guitar that bounces behind the vocals that really keeps the track held together tightly and communicates everything with only a few notes. I’m always a sucker for slide guitar and the fact that this album has it at all was quite the surprise. “We Burn” comes out with what sounds like a downtrodden Beck rhythm, the track morphs into a spacey sing-along that seems to expand the length of the galaxy. Coming back around on its self, it again retakes the spacey, sludge, slide.  “Blurring My Day”, even with it heavy bass line, still manages to twinkle through the speakers creating a groovy juxtaposition. Keys and synths beep, boop, and warble over the whole track as if to create UFO rock. Closing out the album, I might consider it a Black Moth ballad, the track being “Spraypaint”. Lead vocal Tobacco croons “I couldn’t need you more-I break everything by my self-I couldn’t need you more” it does come across as heartfelt and sounds as if it was sent down by the mother ship to try and communicate feeling to the humans.

I’ve heard the name Black Moth Super Rainbow tossed around but never actually had a chance to give them a listen and I’m really glad that I did. The album Cobra Juicy isn’t for everyone, some will love it, others will dismiss it all together. But it’s still a fine message to fans of music; it conveys an intense feeling of freedom, an interesting sense of adventure, and a feeling that is not of this earth. Prepare yourself for a sonic stoning because music like this isn’t made very often and you owe it to yourself to try and give it a chance.

Key Tracks: “Psychic Love Damage”, “The Healing Power of Nothing”, “Spraypaint”

Bands With Similar Fire:
Tobacco
Animal Collective
The Octopus Project

Black Moth Super Rainbow: Eating Us [Fire Note Review 5/29/09]

Black Moth Super Rainbow Website
Black Moth Super Rainbow Facebook
Rad Cult Records

-Reviewed by Christopher Tahy

Divine Fits / Jon Spencer Blues Explosion Concert Review

Newport Music Hall, Columbus OH (10/24/12) -
Divine Fits / The Jon Spencer Blues Explosion / Cold Cave









This show Wednesday night turned up the rock as The Jon Spencer Blues Explosion was added to the bill as they were already booked at another venue but I am sure that instead of competing for ticket sales it was a good choice for all to make the combination better. With that addition it most certainly did even though it was a bit of a weird mish-mash, the house was given a thorough rocking and few gripes can be pressed against the artists. Sadly one omission has to be made as we weren’t able to catch The Peoples Temple, a real drag but such is life.

Cold Cave
Green and purple light poured on to the stage, and in getting ready for the show to begin I had no idea what to expect. Cold Cave takes the stage presenting a too cool for school image, a young band, clad all in black begin to blast their 80s Darkwave\Synthpop sounds that fills the venue. Not so much my cup of tea, but still a certain sort of energy there. Sadly, the set seemed to be marred by sound issues of some sort as the vocals seemed unclear as the music swallowed them up. A band to be watched though as they have some growing potential.

Cold Cave: Cherish The Light Years [Fire Note Review 4/5/11]

The Jon Spencer Blues Explosion
A real reason to get excited as one of the hardest working blues bands presents themselves to the people. Launching right into “Danger” from new record Meat+Bone, immediately filling the place with energy. A compressed set heavy with the new stuff such as “Get Your Pants Off”(a personal favorite) but classic tracks that where thrown out such as Afro really kept things exciting. There is a reason that the band dons the name of Jon Spencer as it really was his show, man does he still got it. One thing that could be leveled against these guys would have to be a medley of classic “Bellbottoms”. The trio had the audience in the palm of their hands bringing out the distinctive opening, sans orchestra of course and drawing upon other songs and jams to expand. Every time Jon turned to the microphone we waited for the unmistakable call out for the most happening pair of bellbottoms ever seen. Alas, that moment never came as we only had bellbottoms spelled out for us, and a good night folks. Sill a hell of a band to see these days as they make the show an experience to be reckoned with.

The Jon Spencer Blues Explosion: Meat + Bone [Fire Note Review 9/24/12]

Divine Fits
A very interesting band as it seemed every bands motif was represented,  Divine Fits is clearly filled with a bunch of talent including Britt Daniels of Spoon, Dan Boeckner of Wolf Parade, and Sam Brown of Columbus' own New Bomb Turks. The band was great and the songs were fine, although still being new it is easy to get a "don't quit your day job mentality" because Daniels and Boeckner have so much to live up to with their resume. But with only one album there is only so much material to play but the group boosted the set list with a couple covers thrown in for good measure, one being Frank Ocean's "Lost" and the other being a cool sultry version of Tom Petty's "You Got Lucky". Overall it was still a captivating show as it was fun to see a band with about 22 shows under their belt having fun as they kept the audience in tow wherever and whenever they wanted. Based on what I saw, it was a enjoyable evening and if the guys make it to your town this is a tour to see!

Divine Fits: A Thing Called Divine Fits [Fire Note Review 8/24/12]

- Reviewed by Christopher Tahy

Titus Andronicus: Local Business

Titus Andronicus
Local Business
XL Recordings [2012]









Fire Note Says: The most fun celebrating life’s meaninglessness that you’ll ever have!

Album Review:
Usually when you think Titus Andronicus a bunch of things come to mind: a shouted, garble growl of lyrics, abrasiveness, historical references, New Jersey, worthlessness, life’s meaninglessness , mortality, drowning your sorrows, drunken sing-along’s, theatrics, and self-loathing all pop into the brain quickly and the good news - it’s all here. Titus Andronicus delivers on their third record, Local Business; it draws upon all these themes while remaining fun and fresh the whole time. Just think of this when you give it a listen- The Misadventures of Bruce Springsteen presents Born to Shun and album for every Niallist, you get the picture.

First track “Ecce Homo” pulls the pin on this grenade with an almost airy guitar tone that gives off exhilaration without care. The record lets you know what it’s about right up front singing “OK I think by now we’ve established- Everything is inherently worthless-Then there’s nothing in the universe-with any kind of objective purpose.” Not the most uplifting premise but damn does it make from some fun music. Second track and favorite title goes to “Still Life with a Hot Deuce on a Silver Platter” a thundering build up that gives ways to a furious chord strummer. This then is followed by a breakdown that ranks up there with the finest bar stompers that you’ve ever heard, it almost makes you think to turn to a bartender and ask who’s on the keys. A fun, rowdy diversion, track four, “Food Fight”, becomes a raunchy swing number with plenty of burning riffs to match.

Local Business then gives way to 8 minutes of theatrics, the song being “My Eating Disorder”. It plays with everything from being fast and loose, to chorus chants and sing alongs, comes crashing down into a harmonized guitar battle that sounds as if strain and heft pour off every string struck, and finally shouted out to the tune of “SPIT IT OUT” - a personal favorite as it keeps the energy coming at every turn. The eighth track, “In a Small Body” takes the intensity down a couple notches and even carries beauty, violins hover around the vocals, and it sounds like the record might be questioning its own intentions. I’ve also never heard anyone wax so poetic about vomit “Watch the acid eat-away the enamel-kissin this toilet seat-Doesn’t make me an animal” it’s fantastic. Ninth track “(I am the) Electric Man” reaches its arm over your shoulder as you drunkenly sway back and forth, being backed up by a soulful swing, shouting into the air “I am the electric man”. Album ender “Tried to Quit Smoking” is exactly as it sounds and exercises in futility; it’s the lone man at the end of the bar with a tear in his beer. Then six minutes into the song this man realizes that life can suck it, he adapts a bad boy swagger as the harmonica honks in his ear and as the revelation grows and grows the music swells and swells as well, it’s a fine finish that may make all that self-loathing pay off.

Titus Andronicus’ Local Business is the most fun loathing that you’ll do all year. It ranks up there with 2010s The Monitor; it takes the history and replaces it with a bit more misery. Give this one a listen you’ll be glad that you walked into this local business.

Key Tracks: “Still Life With Hot Deuce on a Silver Platter”, “My Eating Disorder”, “Tried to Quit Smoking”

Bands With Similar Fire:
The Gaslight Anthem
Japandroids
Fucked Up

Titus Andronicus: The Monitor [Fire Note Review 3/17/10]

Titus Andronicus Website
Titus Andronicus Facebook
XL Recordings

-Reviewed by Christopher Tahy

Matt & Kim: Lightning

Matt & Kim
Lightning
FADER Label (2012)









Fire Note Says: Matt & Kim’s fourth LP Lightning does not change the formula.   

Album Review:
Matt & Kim return on their fourth long-player Lightning with a sound that is instantly familiar.  The Brooklyn duo consists of Matt Johnson (vocals, keyboard) and Kim Schifino (drums) and squeezes as much out of the instruments they use as possible.  This is their fourth album since 2006 - Lightning clocks in at just over 31 minutes which is consistent with prior releases.  Many of the songs take 2-3 minutes and can thus be consumed in bite-sized chunks.  Matt & Kim craft their songs in such a way that the hook is front and center and at times there is not much more to the track than that central hook.

When the hook works, like on first single “Let’s Go,” this makes for a fun time.  The video game, 8-bit influence on Matt & Kim’s work is nothing new, and “Let’s Go” shows how well the formula can work when Matt & Kim are on their game.  “It’s Alright” is another track that found the right balance between beeps, bloops, and musicality.  Sadly, Lightning is an album that has a yin to the yang of these standout tracks.  “Overexposed” was way too busy for my taste, relying more on the electronic facets of the music rather than any harmonic complexity.  By the end of “I Said” I was ready for the 4-minute song to be over three minutes ago.  It starts out promising, offering a change of pace to the album.  Then the repetition of the lyrics and sounds had an unpleasant effect on me. 

After this two-song dip in the middle of the album, Matt & Kim return to form.  At this point you should know what to expect from a Matt & Kim album and they do nothing to disappoint their fans.  On the other hand, they do little to build on the trademark sound they’ve already established.  For this reason I found myself wracked with Matt & Kim fatigue by the end of Lightning.  Digested in single format, they tend to shine.  Just like on Halloween night, too much sugar, or too much pop, can lead to indigestion. 

Key Tracks: “Let’s Go,” “It’s Alright”, “Tonight”

Bands With Similar Fire:
The Ting Tings
Karmin
Vampire Weekend

Matt & Kim: Sidewalks [Fire Note Review 11/2/10]
Matt & Kim: Grand [Fire Note Review 1/23/09]
Matt & Kim: Matt & Kim [Fire Note Review 11/21/06]

Matt & Kim Website
Matt & Kim Facebook
FADAR Label

-Reviewed by Matthew Heiner 

Paul Banks: Banks

Paul Banks
Banks
Matador Records [2012]









Fire Note Says: Banks finds Interpol singer settling into his role as elder statesman on new solo lp.

Album Review:
I don’t envy Paul Banks one bit. Every album he records from here to eternity will be compared to Interpol’s landmark debut, Turn On The Bright Lights [2002]. So what is Banks to do, spend the rest of his career trying to make that record again, or make whatever damn record he wants? I feel like what the majority of music fans want is another album like Bright Lights, but as Banks showed in Interpol, and now in two albums since (the first as Julian Plenti) he is going to make the album he wants to make, and that’s the way it should be, the artist must follow their muse to wherever it leads, and it may indeed someday lead Banks back down that path again, but for now, it’s taken him off in another direction, and that is OK!

Banks still possesses one of the most instantly recognizable voices in rock. Part Ian Curtis, part Mark Burgess, but mostly at this point, he just sounds like Paul Banks, and his voice and style of singing don’t change, regardless of what style of music he is playing. The music on Banks is more mid-tempo, and features his guitar work over often times sampled electronic beats and synths. The arrangements are quite lush and complex, featuring many layers of sound for Banks to croon over top of. These songs aren’t the urgent angst filled anthems of a young man, but rather, the sophisticated pop of an elder statesman.

“Young Again”, is my favorite track on the record. I can’t help but sense the sarcasm when Banks sings that he is “young again, thanks a lot, I feel young again, rah rah”. “Over My Shoulder” is about as close as we are going to get to an Interpol track on the record, and it delivers the goods. It doesn’t all work, while the record is mostly pretty good, there are a few duds that threaten to drag it down particularly in the latter half of the record. I’m not sure why "Another Chance" was a good idea to put on the record, the music itself is pretty good, but the sampled dialog is distracting and superfluous, plus at 4:34 it is at least 2 minutes too long. Banks bounces back from that track and ends the album on a strong note with “Summertime is Coming”. I particularly like the drum track on this one. I personally feel like his songwriting is better suited to a more rock oriented track such as this and not as much to the light electronic flourishes and beats he seems to favor these days, but hey, that’s just me. Overall this is a solid record which was better than I thought it was going to be.

Key Tracks: “Summertime is Coming”, “Young Again”, “Over My Shoulder”

Bands With Similar Fire:
Editors
The Killers
Interpol

Julian Plenti: Julian Plenti Is... Skyscraper [Fire Note Review 9/3/09]

Paul Banks Website
Paul Banks Facebook
Matador Records

-Reviewed by Kevin Poindexter

Title Fight: Floral Green

Title Fight
Floral Green
SideOneDummy Records [2012]









Fire Note Says: In a world filled with pop punk and hardcore bands, Title Fight manages to stand out.

Album Review:
The sound of this album really takes me back, to two different points in my life. Firstly, to when I was a kid: I loved playing “Tony Hawk’s Pro Skater 3.” The soundtrack featured a variety of skate punk bands that I really grew fond of, some of which I still rock out to today. Secondly, to when I was in high school: I found out about a lot of different bands during high school, but among my favorites were Deftones and shoe-gazer bands, like the Cocteau Twins. This record sort of takes the two distinct sounds of skate punk and shoe-gazer and marries them. The result is a very atmospheric, almost surrealist punk record.

Vocally, it’s all over the place. At times, the lyrics are barked, like those of Dustie Pitstick of Frank Grimes. At other times, the vocals are much cleaner, like in “In-Between” and “Head in the Ceiling Fan.” These vocal changes give a record a very unique shape in a music scene that has gotten overburdened with the same-old-same. The guitar work is another aspect of the record that makes it stand out from its peers. While the songs largely follow traditional punk and alternative power chord progressions, the distortion added to the rhythm guitar in combination with the high, tinny lead guitar, which seems to float above the whole piece of music, give the songs a quality beyond the modern punk sound. One of my favorites on the album is “Leaf,” which I think best illustrates the two sounds converging on each other. The hook has some very atmospheric lead guitar work, while the verses are very punk-based. They begin in stark contrast to each other, before being layered into a beautiful mess of sound.

Call me nostalgic, but I love this record. I think it’s well worth your time to find a copy, whether you were a die hard Tony Hawk gamer, master of your local skate park, or just into really great music. I can’t wait to dive into their back-catalog.

Key Tracks: “Leaf,” “Head in the Ceiling Fan,” “In-Between”

Bands With Similar Fire:
Oh Condor
Frank Grimes
Bodyjar

Title Fight: Shed [Fire Note Review 4/29/11]

Title Fight Website
Title Fight Facebook
SideOneDummy Records

-Reviewed by Christian Yates

Daphni: Jialong

Daphni
Jiaolong
Merge Records [2012]









Fire Note Says: Dan Snaith takes on the alias Daphni and delivers a great and necessary album.

Album Review:
First, know that this album is impeccable. From start to finish, Dan Snaith—the lone ranger behind both Daphni and Caribou—delivers beat-heavy perfection. Often the tracks defy sense, seeming both skeletal and fat, crystalline and grimy. The first track (“Yes, I Know”): ebullient and dark. The second (“Cos-Ber-Zam”): Latin and Blade Runner-esque. The third (“Ye Ye”): hardly there and insistent. Snaith moves through each track with ultimate assuredness. Nothing here is unnecessary and there are no missteps. It’s uncanny how goddamn spotless this album is.

That’s in no way to call it sterile: it’s anything but. It’s sweaty, it’s pulsing, it’s moist. But somehow he’s done all of this while remaining simultaneously cool-eyed. If this isn’t one of the best albums of the  year—which it likely is—it’s at least a remarkable example of holding two conflicting ideas in mind with perfect equilibrium. Jiaolong puts those wanking Europe-meets-Third-World beats-lounge collections to shame.

“Pairs” gives us something like synth Zydeco. “Ahora” gives us something like a desert march clothed in fine silks. “Jiao” gives us something like an ancient royal Chinese court trapped in Nintendoland. Dan Snaith is a madman; Dan Snaith is a genius. And Dan Snaith may have found his ideal creative outlet.

Sooner or later, buy this album. Part of your soul probably depends upon it. Do yourself a favor and listen to it VERY LOUD—or at least turned up on the headphones. It’s immersive only if you immerse yourself. And just so’s you know, it’s pronounced JOW-long.

Key tracks: “Yes, I Know”, “Ye Ye”, “Ahora”

Bands With Similar Fire:
Sonny J
BossaCucaNova
Fatboy Slim
. . . and some of the bands on David Byrne’s Luaka Bop label

Daphni Website
Merge Records

-Reviewed by Alan Black (www.alanblack13.com)

The Sword: Apocryphon

The Sword
Apocryphon
Razor & Tie Records [2012]









Fire Note Says: The Sword sludge, stomp, and trudge on a record that’s sure to please the fans.

Album Review:
Picture yourself clad in armor, atop a steed, a large bastard sword clutched in your grip. You look through your helm at the dark hordes slowly lurching toward you, suddenly adrenaline fills your body and you let out a war cry that breaks open the sky. Perhaps, this passage can symbolize what you may be in store for on The Sword's fourth outing, Apocryphon, an album that brings back bone crushing riffs, the hard hits of drum thunder, and solos that sear. It’s all been done by the Texas metalers before but it doesn’t make for a bad record, you just know what your getting into.

Opening track “Veil of Isis” thunders in carried by a heavy gallop as synths float underneath. Guitars chug and rift against each other as the ethereal vocals howl about the rising of the dead. The end of the track comes at you in the form of a heavy stomp created by the mountain giant of a guitar riff. Track four “The Hidden Masters” looms in-between the void created by Black Sabbath tracks while “Hand of Doom” and “N.I.B.” contain a bass line that snakes it way into high pitched string strokes and gives way to a bluesy, fuzz squeal. Lead vocal/Guitarist J.D. Cronise dons his very best Ozzy vocals that harkens back to Sabbath almost perfectly. Seventh track “Seven Sisters”, underneath all the metal grit, actually shows a dreamier side, chanting “Seven Sisters sobbing by the shore-Longing for their lost loves whose ships sail no more-Waiting as the hours pass them by-Growing weak and weary as one by one they die,” it’s actually a fun call back to album opener “Veil of Isis” that surprised me, it was appreciated. Final and title track “Apocryphon” creates a raging, down n dirty sludge, it might have to be classified as the albums heaviest track, as it seems to explode out of the speakers. 

Yes, The Sword have created an album that mimics a epic Dungeon & Dragons conquest translated into a Texas blues, stoner metal whirl. But then again that’s what most of their albums are, not to sound harsh and categorize these guys as a one note band but it is just more of the same here and sometimes that’s not a bad thing. If you’re a fan of the genre grab your short sword + 2 and give this on a listen, decide for yourself.

Key Tracks: “Veil of Isis”, “The Hidden Masters”, “Seven Sisters”

Bands With Similar Fire: 
Black Sabbath
Baroness
Kyuss

The Sword Website
The Sword Facebook
Razor & Tie Records

-Reviewed by Christopher Tahy

Freelance Whales: Diluvia

Freelance Whales
Diluvia
Mom + Pop Music [2012]












Fire Note Says: Diluvia won’t fly off the shelves, but it’s worth giving it a chance.

Album Review:
I want to start by saying that this is by no means a bad record. It’s airy, dreamy, even a little spacey at times; in other words, it’s very atmospheric, which is one of my favorite types of music. Judah Dadone’s vocal style is interesting and engaging, a cross somewhere between Ben Gibbard and Charlie Brand, though he sometimes brings out a vocal style in songs like “Aeolus” that is more akin to Stephen Christian of Anberlin. The synthesizer work, such as that in “Spitting Image,” brings a beautiful accent to the minimalist guitar work. Diluvia has a lot of really good qualities and a lot of really good indie rock songs.

The vocal harmony hook featured in “Aeolus,” the album opener, will immediately suck you in and mesmerize you for three and a half minutes. This is followed by, “Land Features,” which is led by a catchy, repetitive banjo riff that suddenly explodes with synthesizer melody. “Dig Into Waves” is another of my favorites on the record. It has perhaps the most dynamic of any song on the record, starting off slowly and quietly and erupting into a fast-paced tune with a few drop-offs in volume and tempo interspersed throughout. The glockenspiel is very prominent in this song, as well as in the track following it, “Red Star.”

My problem with the album is that the majority of the songs don’t really go anywhere. At times, the record becomes very flat and static and this causes some tracks to drag on. I don’t mind long songs, but when a song goes on for longer than it feels like it has to, it can become a bit tedious. The biggest culprit of this would be “DNA Bank,” which clocks in at seven minutes, forty-three seconds. It’s a slow, banjo-driven song featuring minimal synth and guitar in the far background. Perfect for drifting off to sleep, but as I said before: it doesn’t go anywhere; it never changes.

Diluvia is an album definitely worth a listen, but largely forgettable and repetitive. As a dream pop record, it understands its genre, but fails to continually hold the listener’s attention.

Key Tracks: “Aeolus,” “Dig Into Waves,” “Spitting Image”

Bands With Similar Fire:
Death Cab for Cutie
The Temper Trap
Memoryhouse

Freelance Whales: Weathervanes [Fire Note Review 3/31/10]

Freelance Whales Website
Freelance Whales Facebook
Mom + Pop Music

-Reviewed by Christian Yates

Chris Cohen: Overgrown Path

Chris Cohen
Overgrown Path
Captured Tracks Records [2012]








  
Fire Note Says: Chris Cohen deftly makes the move from sideman to frontman on Overgrown Path.

Album Review:
You may not know the name Chris Cohen yet, but anybody who has followed indie music for the past decade is familiar with the bands he has been in and played with. The list reads like an indie who’s who, and includes, Deerhoof, Cass McCombs, Ariel Pink’s Haunted Graffiti  to name the most prominent.  As is so often the case when a side man goes solo, we find that Cohen’s music doesn’t necessarily sound like any of the bands he is in, instead he works in more of a low key/mid tempo vein, with melodies that call to mind 70’s era Beach Boys or a more contemporary artist such as Kelley Stoltz. It’s also important to note that Cohen plays all the music himself on Overgrown Path, so it is a true “solo” record and any success or failure falls squarely on his shoulders. Cohen is more than up to the challenge.

What struck me immediately about the record was Cohen’s bass playing on “Solitude” he serves up fat bass lines like Brian Wilson (or Carol Kaye, whoever was playing on the session) that recall the greatness of Beach Boys  tracks like “Don’t Talk” or “Sloop John B”. Elsewhere on the track there is a haunting piano line played over just some background noise that really helps to set the solitary mood, that is only driven home further by Cohen’s haunting and lonesome vocal. Another perfect example of this is on the next to last track, “Don’t Look Today”, which starts slow and moody before kicking into an uptempo gear after about a minute, this is as close as Overgrown Path comes to sounding like Ariel Pink, and it’s a stunning shift.

Closing track “Open Theme” reminded me immediately of one of those great Dennis Wilson weepers off of Carl and the Passions-So Tough, with its sparse piano, light drums and impossibly gorgeous harmony. It’s the best track on the record, and the one that is going to make you want to hit repeat over and over. It’s a really cool track, and hard to believe that Cohen recorded this by himself.

Captured Tracks is really putting out some of the coolest music right now, and is probably my favorite label of the moment. It’s to the point now where if they are putting it out, you know it’s going to be good. Chris Cohen’s Overgrown Path is yet another winner. I don’t know how they are doing it but let’s hope they keep it up. As for Chris Cohen, this is the record that is going to move him out from the shadows and put him directly in the spotlight.

Key Tracks: “Solitude”, “Open Theme”, Don’t Look Today”

Bands With Similar Fire:
Beach Boys
Ariel Pink’s Haunted Graffiti
Kelley Stoltz

Chris Cohen Website
Chris Cohen Facebook
Captured Tracks Records

-Reviewed by Kevin Poindexter

Mac DeMarco: 2

Mac DeMarco
2
Captured Tracks Records [2012]









Fire Note Says: DeMarco shows artistic growth on his excellent new record!

Album Review:
When I reviewed DeMarco’s excellent debut ep earlier this year, Rock And Roll Night Club, I felt it was going to lead to bigger things on his next record. Rock And Roll Night Club was a flawed release, goofy in spots, repetitious in spots (two of the tracks were practically identical), but it was always tuneful and a lot of fun. DeMarco’s latest, 2, doesn’t really seek to duplicate the debut, in fact, it seems like DeMarco wanted to remove the flaws and make a straight up guitar pop record. Perhaps DeMarco went a little too far in removing some of the rough edges, this is a more mature serious affair than Night Club, but not nearly as thrilling a listen.

Don’t get me wrong, this is still a fun record, it’s still very Ween meets Lou Reed while hanging out with Jonathan Richman. But it’s less Pure Guava, Transformer and Rock and Roll with The Modern Lovers, and more White Pepper, Blue Mask, and You Must Ask the Heart. Mac’s slinky guitar work is once again the highlight of the record. It absolutely shimmers, and the effect that he puts on it makes it sound like it’s from another planet. His vocals have settled more into his midrange, he doesn’t drop down into his lower register as much as he did previously. He sounds quite a bit like Bradford Cox from Deerhunter on a lot of the songs.

At a lean and mean 11 songs and just over 31 minutes, 2 flies by in a heartbeat.  Opener “Cooking Up Something Good” sets the tone for the record, and you realize immediately you are going to be in for a fun sonic adventure.  “Dreaming” slows it down a tad, but features more of that guitar sound I’m a sucker for, and has maybe the catchiest chorus on the record.  DeMarco deviates from his formula twice on the record, first on the instrumental track “Boe Zaah” which ambles along like a lost Neil Young outtake circa Comes a Time, and again on the closing track “Still Together”, which features a dry acoustic guitar and a heartfelt vocal from DeMarco. Perhaps this is a sign of the next direction he is going to go in? That could definitely be interesting; his voice is gorgeous on this one.  All in all, 2 is a very good record. It’s different from his first album, yet retains most of the elements that made it such a surprising triumph. I’m looking forward to hearing what Mac DeMarco comes up with next, but in the meantime, I’m going to enjoy this one.

Key Tracks: “Still Together”, “Dreaming”, “Robson Girl”

Bands With Similar Fire: 
Atlas Sound
Ween
Ariel Pink’s Haunted Graffiti

Mac DeMarco: Rock N Roll Night Club [Fire Note Review 4/12/12]

Mac DeMarco Website
Mac DeMarco Facebook
Captured Tracks Records

-Reviewed by Kevin Poindexter

Bad Books: II

Bad Books
II
Triple Crown/Favorite Gentlemen Records [2012]









Fire Note Says: Bad Books delivers a line drive double. Not a home run; a line drive double.

Album Review:
A wise man, Nigel Tufnel, once said “This goes to eleven.” The opening track on II, Bad Books’ new album, feels like it might go to eleven. Not in volume but in reach, in the depth it might sink into your musical soul. As for that first track: it does a fine job. As do the second track, “No Rewards” (which ups the volume), and the third, the just-released single “Forest Whitaker.” But something else happens on that third track: the worm turns. The brain-tickle that begins this is catchy turns into this is catchy but only for right now. That is, it doesn’t claim any part of your musical soul beyond this season. You know, like a Maroon 5 album. This feeling continues for two more songs.

The album’s midpoint, “Friendly Advice,” delivers a renewing jolt of solid musical sense . . . only to stumble back into “No Sides,” a song indistinguishable from thousands of others from the past fifteen years. The second half of the album, even more so than the first, finds the band exploring various approaches. And like precocious students, each attempt is halfway successful but not particularly compelling.

Just as power pop can give you the Replacements, power pop can also give you a lot of mid-grade and worse. And while this album never dips into the bad it also never truly aspires. Or maybe they just need some time. I’d be curious enough to hear their third album.

Holy snacks, those first three tracks would have made a superior EP. But taking the album as it is, this goes to seven.

Key Tracks: "The After Party", "No Rewards", "Friendly Advice"

Bands With Similar Fire:
Teenage Fanclub
The New Amsterdams
My Morning Jacket

Bad Books: Bad Books [Fire Note Review 11/8/10]

Bad Books Website
Bad Books Facebook
Triple Crown Records
Favorite Gentlemen Records

-Reviewed by Alan Black (www.alanblack13.com)

Benjamin Gibbard: Former Lives

Benjamin Gibbard
Former Lives
Barsuk Records [2012]









Fire Note Says: Ben Gibbard cleans out his 8 year old closet to create his first solo record Former Lives.

Album Review:
It is actually a bit surprising that Death Cab For Cutie's frontman has not had a solo record until now but Former Lives represents Ben Gibbard's official debut. The album consists of 12 songs that span eight years, three relationships, living in two different places and drinking then not drinking which sets the stage for a potential choppy record that in the same breath will have every excuse to just be OK.

The legion of Death Cab fans will expect more from Former Lives but the reality is that the album is just good not great. There are plenty of interesting flavors here that keep the album diverse like the mariachi horns on "Something's Rattling (Cowpoke)", the duet with Aimee Mann on "Bigger Than Love" and the 50 second opening Acapella almost barber shop quartet sounding "Shepherd's Bush Lullaby". The issue on Former Lives is its lack of cohesion and context because it covers such a wide range of time and space. After the very public divorce with Zooey Deschanel you would think that Former Lives would have been filled with heartbreak and anger but now with a little hindsight you realize that most of that slipped out on Death Cab's last record Code And Keys [2011] that was released pre-split. It is too bad Gibbard didn't go in this direction because the record could have been drenched in substance and had a totally different impact.

So with  Former Lives summing up Gibbard's past eight years and mostly feeling upbeat you just rely on his catchy songwriting abilities to help here and they do, as single "Teardrop Windows" is as memorable as most Death Cab For Cutie tracks. He pairs well with Aimee Mann and has a very warm 70's sunny vibe on several tracks like "Duncan, Where Have You Gone?" and "Lily" which fits his persona. I would have liked to hear Gibbard perform more like his very intimate 4 song outing on the 2004 Home Volume V compilation with Andrew Kenny that was more of a honest approach to music with its lo-fi and laid back presentation that also just allowed his voice to soar. That EP was much more reminiscent of an Elliott Smith vibe instead of that element just showing up in sections here. This approach would have pushed Former Lives into one of his best works to date.

At the end of the day, Benjamin Gibbard still has one of the best sounding indie rock voices out there which makes Former Lives not only listenable but enjoyable. Death Cab fans should pick this album up because there will be nothing here that turns them off. Old fans hoping for a solid base and substance will be a little disappointed because this is where Former Lives struggles. The upside is that now that Gibbard cleaned out the closet maybe his next solo outing will be all chips in personally and emotionally while truly re-connecting to the scene that he helped build back in the early 2000's.

Key Tracks: "Teardrop Windows", "Bigger Than Love", "Broken Yolk In Western Sky"

Bands With Similar Fire:
Elliott Smith
Paul McCartney
Neil Halstead

Benjamin Gibbard Website
Benjamin Gibbard Facebook
Barsuk Records

-Reviewed by Christopher Anthony