QuickTake CD Reviews
Music Home / Reviews HomeMichael Johns: Hold Back My Heart
Nobody ever said you had to win American Idol to have a successful music career. In fact, each year more former contestants are finding a niche for themselves in some corner of the music business. Enter the latest of those, Season 7 alum Michael Johns, who used Idol as a springboard not just for popularity, but as a means to finally make the kind of music he wants-blue-eyed soul. Johns had been down the rock road before, his Australian roots bringing comparison to the late Michael Hutchence, among others. But it was when a phone call from his mom prompted Johns to follow his true passion, which was to sing the music he grew up on, and his path had suddenly been set out before him. Several years later, Johns has delivered a solid Downtown Music debut, Hold Back My Heart, with many of the songs being Johns’ co-writes with Dave Cobb. Falling somewhere between the music of his idols Otis Redding and Sam Cook and the sappy soul of guys like James Morrison, Johns has discovered a middle ground that could absolutely launch his career to lofty heights-though nothing is guaranteed in today’s music business. Coincidentally, the opening (and best) track was a song Morrison had a hand in, “Heart on My Sleeve.” Other standouts are the aching ballads “Fools Gold” and Heart is Weak” (the latter written by Diane Warren) as well as the bluesy boogie of “Little Bear.” As impressive as it is, though, Hold Back My Heart falls short of being a home run, but leaves plenty of room for growth. (LABEL: Downtown)
Michael Johns MySpace Page
Mike Farley
7/3/2009
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Big D & the Kids Table: Fluent in Stroll
Boston-based Big D & the Kids Table are still chugging along, with a tenth album in 12 years. Unfortunately that is all they seem to be doing, playing the same, tepid ska-punk that rolled out with the Third Wave in the mid-’90s, and hasn’t changed much at all in the intervening time. Third Wave Ska was much less political and much more pop, thriving on a dynamic hard rock attitude that made big names like the Mighty Might Bosstones and No Doubt thrive, and that dynamism is completely missing on Fluent in Stroll.. The call and response between lead singer David McWayne and the gaggle of rudegirls is entertaining at times, but McWayne’s vocals are bland as white bread and their reputable live energy is too diluted in the studio to capture much attention. Lyrically there is nothing more challenging than fare for teens and drunk college students at a summer fair. Perhaps that is the appeal of Big D; they are predictable but comfortable, undemanding but fun like sipping a watery American beer at your favorite local pub. Perhaps they are too similar to their contemporaries from the left coast, Reel Big Fish, who also continue to churn out the same old ska punk… both had well received albums in 2007 that tried to put a lie to “ska is dead,” but both 2009 follow-ups fall flat. Side One Dummy
Neil Carver
7/3/2009
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Passion Pit: Manners
Let’s acknowledge the elephant in the room, shall we? Manners, the debut album from Cambridge quintet Passion Pit, sounds a hell of a lot like MGMT. This is not to say that Passion Pit are thieves, mind you; with three keyboard players, a bass player and a drummer, there are only so many ways your band can sound, especially when your singer has a helium-soaked voice like Passion Pit’s singer and songwriter Michael Angelakos. So yes, the band sounds like a streamlined version of MGMT (a.k.a. they don’t dabble in psychedelia), but let’s not throw the book at them just yet. Indeed, Manners is a rather impressive melding of ’80s synth-pop with modern-day technique. Lead single “The Reeling” is stunning, a pop makeover of the Chemical Brothers’ “Star Guitar” with a monster cut & paste drum track. “Folds in Your Hands” has its roots in early ’90s house music, and “Sleepyhead,” with its fairy princess backing vocal line, is insidiously catchy. Whether or not it falls in another band’s shadow, Manners is a good first step; it will be interesting to see where they go from here. (Frenchkiss 2009)
David Medsker
6/26/2009
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Elizabeth & the Catapult: Taller Children
What do you get when you cross a classically trained but independently minded pianist with two folk/rock instrumentalists? You get a Joni Mitchell/Aimee Mann/Jenny Lewis hybrid, which is probably accurate when describing the music of New York City based trio Elizabeth & the Catapult. This jazzy alt-pop trio, fronted by singer Elizabeth Ziman, released an EP on their own in 2006 and then created enough of a buzz through touring that they were courted by major labels. But they ultimately signed with indie Verve Forecast, and the guess here is so that the group could maintain creative control, which is a good thing for all of us. Their full length debut, Taller Children, has two of the group’s best tracks from the EP, the bouncy and snarky “Momma’s Boy” and the dreamy, Jill Cunniff-ish “Right Next to You.” But there’s much more, with the rest of the LP continuing to jump between bouncy and dreamy, but Ziman and her cohorts deliver it all with precision and pizazz. Other standouts are the uber catchy title track, melancholy “Rainiest Day of Summer” and quirky “Everybody Knows.” (Verve Forecast 2009)
Elizabeth & the Catapult MySpace Page
Mike Farley
6/26/2009
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Amazing Baby: Rewild
When UK bands were crashing on American shores during the Britpop boom of the mid ’90s, it made sense that Pulp would have a more difficult time making the transfer than some of their contemporaries. Singer Jarvis Cocker’s lyrics were steeped in class warfare and bedroom politics, meaning that most American teenagers wouldn’t quite understand what it meant to live like common people. Flash-forward a dozen years or so, and Brooklyn band Amazing Baby, born from the ashes of several other Brooklyn bands, lets their Pulp flag fly on Rewild, and the results are intoxicating. Ringing guitar lines, breathy but deathly serious vocals and pogo-friendly drum beats abound, but Amazing Baby are no knockoff band; Pulp, for example, would never have written “The Narwhal,” though Supergrass might have. After enduring band after band of self-absorbed ninnies, to see a group like Amazing Baby actually enjoying themselves is a sight for sore eyes. More, please. (Shangri-La 2009)
David Medsker
6/19/2009
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Freeland: Cope
DJ Adam Freeland, recording under his last name alone, has finally released his second full-length album, CopeTM. Teaming up with Kurt Baumann for vocals and guitar work, Freeland stays well within his breakbeat roots while taking a romp through the many permutations of electronica and pop. With a full coterie of guest musicians, he creates an intriguing collection of songs that are more rock than dance, more driving than grooving. Influences abound: “Under Control” sounds like a perfect LCD Soundsystem track, “Rock On” is oh so Beck-ish, and “Silent Speaking” could be off of any number of Delerium discs… but all of this is a good thing. Freeland and Baumann tie it all together with distorted guitar synths and a constant energy that demands a fast car with a booming stereo and windows down, especially on “Only a Fool (Can Die),” which teams them up with Jerry Casale of Devo fame. At over six minutes, it is the longest and flat-out best song on the album. If there is any real weakness on CopeTM, it is the opening track, “Do You?” The listener has to get through this rather repetitive, non-melodic, simplistic opener to get to the good stuff, and this is unfortunate. It would be a shame to dismiss this very solid collection because one never got past the first song. Marine Parade 2009
Neil Carver
6/19/2009
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Butterfly Boucher: Scary Fragile
The story of Nashville-by-way of Australia’s Butterfly Boucher is an all too common one these days. Her debut on A&M Records, Flutterby, was well-received by fans and she later had a song placed on a critical scene of “Grey’s Anatomy.” But A&M couldn’t figure out how to maximize her potential, and didn’t really try hard to do so, so Boucher was granted her freedom, which she embraced with the vigor of someone who wanders the desert to find an oasis. Her new album, Scary Fragile, on her own imprint, Situation Operation (she is managed by alt-pop powerhouse label Nettwerk Music), reflects the last few years of trying to make music for the right reasons. This woman can write songs really well, and it’s just mind-boggling that labels can give up on talent like her’s so quickly. Boucher sings in an endearing Australian accent and her voice is unique and easy to pinpoint – and she’s hip without being hipster, melodic without being predictable. The album kicks off with “I Found Out,” which is clearly an anthem of liberation that flat-out rocks. And on a mostly solid sophomore effort, the other standouts are “Gun For a Tongue,” which may remind you of Luscious Jackson; the summer rock feel of “Keeper” and the haunting beauty of “Bitter Song,” which is the same track used by “Grey’s Anatomy.” (LABEL: Situation Operation)
Butterfly Boucher MySpace Page
Mike Farley
6/19/2009
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Tiny Masters of Today: Skeletons
If you can get past the subliminal screams of “Hipster band! Hipster band!” as you’re listening to Skeletons, the sophomore effort from Brooklyn teenagers Tiny Masters of Today, it’s easy to see why they’ve earned the love of David Bowie, the Yeah Yeah Yeahs and (cough) Kimya Dawson. They make simple but crazy catchy DIY alt-pop, all fuzzed out guitars and dispassionate vocals (but well sung for teenagers), with tunes that would give the Breeders and the Strokes pause. Indeed, “Ghost Star” is catchier than anything the Breeders or Strokes have sent to radio in ages, and “Big Stick” has the kind of drum track that the Beastie Boys will surely sample for their next record. The biggest problem with Tiny Masters of Today is that while they do what they do really well, they’re not exactly versatile. Sure, they incorporate indie rock, hip hop elements, and other borough-friendly sounds, but the album feels longer than it is, even at 26 minutes. Still, you can see the makings of a band that will one day be worthy of the hipster buzz they’re already getting. It will be interesting to see what they do when they reach their twenties. (Mute 2009)
Tiny Masters of Today MySpace page
David Medsker
6/12/2009
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Ryan Bingham & the Dead Horses: Roadhouse Sun
Ordinarily, any album with the words “dead,” “horses,” and “roadhouse” on its cover would be a ripe candidate for outright dismissal on the grounds of crippling cliché addiction, but there’s an exception to prove every rule, and Ryan Bingham’s latest, Roadhouse Sun – credited to Bingham and the Dead Horses – is a helluva lot more enjoyable than its cover might suggest. For starters, Bingham has beefed up his arrangements and strengthened his grooves since 2007’s Mescalito; where his last album lacked the spiky, hallucinogenic thrills promised by its title, this batch of songs is just as hot and grimy as you’d hope for. Only 28, Bingham is already a grizzled veteran of the rodeo circuit and the itinerant life – miles of hard living that surface in each of Roadhouse’s 12 tracks, which range from the raging, slow-burning opener “Day Is Done” to the sprightlier, Nashville-flavored “Country Roads” and all stops in between. While lacking anything you’ll probably identify as an instant classic, Roadhouse comes at you with its chin jutted out and a pack of cigs rolled into its sleeve, and has the chops to justify the swagger; it’s a yellow-eyed, dust-covered reprobate of a record, steeped in Faces-style rock and soaked in bourbon. It doesn’t stand shoulder-to-shoulder with the best of Bingham’s influences, but if the leap he’s made between his first two releases is any indication, he’s well on his way to making a definitive statement. In the meantime, just crank this mother and knock a few down. (Lost Highway 2009)
Jeff Giles
6/12/2009
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Various Artists: Twenty First Century Twenty First Year
It may have seemed like just another example of dilettantism from a major star during the late ‘80s – a time when Amnesty International tours were all the rage and the Top 40 was stuffed with globetrotting music from Sting, Paul Simon, and Peter Gabriel – but 21 years later, David Byrne’s Luaka Bop is not only still around, it’s an inspirational example for anyone hoping to establish a boutique label. Known primarily as an outlet for releases from Byrne-approved “world music” artists like Zap Mama, Luaka Bop has actually been a more eclectic imprint than most people have given it credit for, something highlighted in the label’s new anniversary compilation, Twenty First Century Twenty First Year. You get the expected stuff – like Byrne’s tastes, the set skews toward South American and Afro-Caribbean grooves, offering booty-shaking cuts from Moreno +2, and Los Amigos Invisibles and some fine Shuggie Otis – but Twenty First is also careful to remind you that the label has provided a home for artists as diverse as Geggy Tah and Jim White. It all adds up to a solid hour of eclectic music that, like the label itself, is more interested in showing you a good time than proving how hip it is. And it succeeds, too – with the exception of Geggy Tah’s “Whoever You Are,” which should be locked in a lead-lined vault and fired into space, these tracks will make a fine addition to your next barbecue playlist, and it’s a fine introduction to the label in the bargain. (Luaka Bop 2009)
Jeff Giles
6/12/2009
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Empire of the Sun: Walking on a Dream
Ripping off ’80s artists can work, but you have to choose wisely. Go for Depeche Mode or New Order, leave Kajagoogoo alone. Empire of the Sun’s debut album Walking on a Dream has been out for a bit now, and It is frequently being compared to MGMT’s breakout debut Oracular Spectacular. The comparisons, however, aren’t justified. While MGMT is a psychedelic band with a synth-pop side, Empire of the Sun are firmly synth-pop and electro-pop to the hilt, with a sound ripped straight from 1984. Whether or not that’s a good thing can be debated. Sure, they work as a throwback retro act, and songs like the ultra-catchy title track and “Half Mast” are well-made simplistic pop-dance numbers, but once you dig past the obvious singles, there isn’t much to Walking on a Dream. The second-half of the album has some touches of experimentation, such as the “Delta Boy” with its Flaming Lips freak-out vibe, and “Country,” which has a strange easy listening feel, but its mostly just boring and kind of monotonous. By the time that the closer “Without You” comes up, the duo from Australia have more than worn out their welcome. Still, the highlights are great; hopefully they can craft something a bit more consistent next time. (EMI 2009)
Empire Of The Sun Myspace Page
James B. Eldred
6/12/2009
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Radio Moscow: Brain Cycles
On Brain Cycles, Radio Moscow’s sophomore release, there’s an eight-minute jam called “No Good Woman,” in which there is a three-minute drum solo complete with headphone-porn stereo effects. The audacity of said drum solo is matched immediately by a one-minute unaccompanied guitar solo that closes out the track, with equally ludicrous stereo-shifting effects thrown in for no good reason. If that sounds awesome to you, then you should probably just buy Brian Cycles (as well as Radio Moscow’s 2007 debut) right now. If not, well, then you have no soul. Radio Moscow is a blues-rock band with some heavy psychedelic influences. They’re carved from the same stone as Hendrix, Stevie Ray Vaughan and the Allman Brothers. Subtle as a punch in the face, their musicianship is without question; guitar solos run amok as drums fly at you in all directions, while Parker Griggs bemoans about womanly woes and many other of life’s common ills. It’s not original in the least, but sure as hell sounds good. These boys from Iowa know what they are doing, and Brain Cycles is sure to cause all but the most jaded blues rock fan to drop his head in awe and cry out “goddamn” at least once. This isn’t Wolfmother-style emulation of a classic rock sound - this is the real deal. (Alive 2009)
James B. Eldred
6/12/2009
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Sin Fang Bous: Clangour
Everything is weirder in Iceland, that’s a scientific fact. Their pop singers are weirder (Bjork) their rock groups are weirder (Sigur Ros), and if Sin Fang Bous is any indication, their singer-songwriters are weirder as well. Sin Fang Bous is actually Sindri Mar Sigfusson, the lead singer of Seabear. If you’ve heard Seabear, that won’t really prepare you for Sin Fang Bous, since the former is indie pop and this is decidedly…different. The music on Clangour runs between glitched-out electronica to quiet acoustic rock, all facing a common bond in Bous’ off-kilter and utterly charming songwriting. One-of-a-kind romantic verses like “I will be the lumberjack and you will be the trees” populate left-of-center odes like “Clangour and Flutes.” Decipher that one? How about “Sinkership,” which has Bous proclaiming, “I’m coming down, I see eyes in the mirror / An old rhino sweeps in rolled up flames”? Give me a ring when you figure that one out, but even if you can’t they still work, as the dreamy electronic vibe of Clangour accompanies the out-of-this-world lyrics. High speed loops of bleeps and bloops are layered behind simplistic acoustic guitar strumming, creating a Bob Dylan-meets-Beta Band vibe. It’s not wacky or sample-filled like Beck, but very deliberate and low-fi. This isn’t dance music, and calling it “electronic” might even be a misnomer; this is acoustic singer-songwriter stuff that happens to be plugged in to a few computers and a drum machine, and it’s pretty amazing. (Morr Music 2009)
James B. Eldred
6/12/2009
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The Features: Some Kind of Salvation
From the back woods of Sparta, Tennessee come eclectic indie-rockers the Features. Their latest release, Some Kind of Salvation, was recorded without the help of a major label, and boasts a hodgepodge of songs with inventive lyrics and infectious melodies. Opening track “The Drawing Board” sets the tone of the record with a barrage of funky horns, and “The Temporary Blues” makes a statement about that shit job you just can’t stand but really can’t live without. Other standouts on the record include “GMF” - about zombie vegetables that take their non-conformist farmer hostage - and “Wooden Heart,” a post-break up/rebound anthem about putting the shine back on that tarnished but most important blood-pumping organ. On the whole, the record is full of energy. It’s relevant yet different, with audible influences like the Kinks and Elvis Costello. Some King of Salvation is a bit of a departure from the wild psychedelic rock you may expect from the Features, but “Off Track” or not - this foursome is poised to make a bold statement in the world of rock music. (Loose Tooth 2009)
Alexzandra Hackford
6/5/2009
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Todd Snider: The Excitement Plan
Over the course of his career, Todd Snider’s gained a well-deserved reputation as something of a smart-ass, an artist who apparently can’t resist the temptation to mingle his sentiment with satire, much the same as Kinky Friedman, Randy Newman, Shel Silverstein and other musicians known for their humor and chutzpah. Snider’s last effort, the obviously irreverent Peace Queer EP, found that line between sarcasm and sincerity all the more difficult to discern, and even though The Excitement Plan has Snider turning somewhat introspective, its also clear that his tongue is still situated comfortably in his cheek. Even so, Snider seems to be plowing his roots, turning down the amps and relying primarily on acoustic guitar, piano and harp for a steady, bluesy shuffle. The rustic appeal brings to mind more esteemed musical masters like J.J. Cale and Dr. John, but when he opts for a weathered and reflective perspective – as on “Greencastle Blues” and “Corpus Christi Bay” – the music becomes unexpectedly endearing. Happily, Snider’s observations are as wry as ever – borne out by the trippy tale of the ballplayer who pitched a no-hitter zonked on acid (“America’s Favorite Pastime”), an amiable diatribe on the spoils of success (“Money, Compliments, Publicity”) and a rambling lament about a shiftless spouse (“Barefoot Champagne”). Whether or not The Excitement Plan is as energized as its title suggests may be a matter of debate, but there’s no denying the lure of these entertaining observations. (Yep Roc)
Lee Zimmerman
6/5/2009
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John Vanderslice: Romanian Names
With a recording history that dates back a decade and some seven remarkable albums, John Vanderslice has established himself as a genuine fixture in the San Francisco indie pop community. Having the advantage of owning his own base of operations – his highly regarded Tiny Telephone recording studio – Vanderslice freely dabbles in all sorts of sonic settings, creating a gloriously vibrant pastiche replete with rich arrangements and sunny textures. Romanian Names is merely the latest of these delightful offerings, an enthusiastic indulgence in varied musical hues that run the gamut from the massed harmonies of the ebullient opening track, “Tremble and Tear,” to the shimmer and sparkle of “Too Much Time” and steady shuffle of “D.I.A.L.O.” Vanderslice spares no measure when it comes to engineering the ambiance; a full regimen of strings, horns, keyboards and Mellotron aid and abet the collective effort, resulting in a sound that’s as radiant and expansive as anything by the Beach Boys, XTC or Todd Rundgren in his prime. A wonderful record all around, Romanian Names deserves to serve as Vanderslice’s calling card to broader recognition. Dead Oceans
Lee Zimmerman
6/5/2009
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Lisa Donnelly: We Had a Thing
Although Lisa Donnelly is but unknown at this point, there’s something uncannily familiar about her solo debut. Having fronted the L.A. outfit A.M. Pacific and after mining the Hollywood club circuit, it’s only natural that she should exude the air of a veteran, and indeed the confidence and ease with which she delivers her material belies any hint of relative inexperience. If anything, Donnelly may be too ambitious; We Had a Thing suggests she may be trying to cover too much ground for a first outing. And in fact, with songs that run the gamut from ethereal ballads to propulsive hip-hop, it’s hard to get a handle on Donnelly’s true essence. Try Sarah McLachlan meets Madonna. She even throws some sitar into the mix with the song “Blue,” suggesting a psychedelic spin that quickly turns into a meditative mode. Still, the most telling track on the album – both literally and figuratively – is the leadoff tune “Laugh,” an intriguing narrative about a dinner party encounter with a psychic who preps her for the future. Being that she’s a bit derivative, it’s difficult to read Donnelly’s chances for success based on this album alone. Still, it suggests there’s plenty of potential for ongoing endeavors.
(BT Media 2009)
Lee Zimmerman
6/5/2009
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Straw Dogs: Love and Then Hope
Seattle’s Straw Dogs tackle just about every sound they can handle on this album’s 14 tracks. The disc’s opener “Lie Awake” is fair enough, but everything takes off in earnest for the second tune, “Could You,” featuring a fairly knotty arrangement that pays off at the choruses. The band teeters between semi-precious songs like “Serious Love” and “Fire Outside,” and more muscular workouts such as “Fallow” and “Down My Hall.” There’s twang a-plenty in these creations, and the group isn’t afraid to wear its love for Americana on its sleeve. It runs a bit long as some of the songs start blending into one another after a while, but what’s here is strong enough for a good overall impression. Had they trimmed away four songs from the disc, they may have had an instant classic. But there’s nothing wrong with the occasional flawed masterpiece. (Crafty Records)
Jason Thompson
6/5/2009
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Schleusolz: Running Out of Time
Back some years ago, the members of Devo thought it would be interesting to re-record a collection of their favorites in easy listening styles and release the whole damn thing as the E-Z Listening Disc. The sound they conjured on that release is the closest thing I can compare this album by Schleusolz to. It’s cheesy as hell, and the Casio-like quality of the drums on some of the tracks will have you loving or hating it, perhaps both at the same time. But what you have here is 16 tracks of instrumental goofiness that defies explanation – and perhaps even good taste. Yet it’s all fun. “Make My Heart Go Boom” rocks in ways it absolutely shouldn’t. “Detroit Teenage Riot” sounds like some leftover early ’80s synth nightmare. “Neo-Liberal Coffee Bar” could almost make Kraftwerk blush. That’s actually fitting, since these guys hail from the same country. Whatever this stuff is, it’s definitely worth hearing. Yes, it may induce a headache, but then where would we be without such classic, mind-bending albums as Trout Mask Replica? In a far worse place, my friends. Weirdly brilliant. (self-released)
Jason Thompson
6/5/2009
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Scripts ‘N Screwz: The New Noise
If there’s one thing you’d expect from an East St. Louis rap duo, it’s the ability to convincingly go dark, and on their full-length debut, The New Noise, Scripts ‘N Screwz deliver: for nearly an hour, the album envelops the listener in a grim, seedy wall of unforgiving sound that effectively frames their stark, socio-politically oriented rhymes. It’s distinctly inner-city stuff, with anger to spare, but it’s also a work of deep thought – and the probing lyrics are well matched by the steadily shifting production, which shifts from the dense, flashy barrage of tracks like “Brick” to the pared-down menace of “Eyes Wide Shut.” Scripts ‘N Screwz claim OutKast as a major influence, but don’t go into The New Noise expecting the freewheeling, genre-hopscotching whimsy that typifies OutKast’s albums; where releases like Aquameni and Stankonia tried to bring the street to the FM dial, Noise sits on the stoop and dares you to come to it. It isn’t always a happy journey, but it’s an unmistakably worthwhile one – if you like your hip-hop lyrically conscious and a little off the beaten path, this is Noise you need to hear. (The V.E. Company 2009)
Scripts ‘N Screwz MySpace page
Jeff Giles
5/29/2009
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