I’m still getting used to my new digs here at The Daily Beat as everyone rushes about, delivering their stories with right-this-minute immediacy and what not. Of course, with my continuing effort to bring you up to date on the reviews from last summer and fall that were missed for a variety of reasons, my breaking news has all the timeliness of “Bin Laden is dead!” and “I’m so happy for Kim Kardashian and Kris Humphries — it’s nice to see a celebrity couple in it for the long haul.”
Luckily, the early weeks of this new year, with a couple of well-stocked exceptions, are pretty light on titles, allowing me the time and space to revisit some deserving highlights from bygone months while checking out the latest and greatest from the new calendar. Wait, there’s something coming across the teletype in the Bunker — apparently, the war is over! The Falkland Islands are free at last!
Celebrate with new reviews, then some old reviews. Then a drink and possibly a nap.
One could argue that New Orleans is one of the most fun places on the planet. You cannot beat the food, laidback attitudes and genuine hospitality. Combine all of that with some of the most talented musicians in the world and you have the New Orleans Jazz & Heritage Festival.
The New Orleans Jazz Fest kicked off in full swing last Friday, April 26, with thousands flocking to the New Orleans Fairgrounds to hear their favorite musical acts, see one-of-a-kind pieces from local artists and taste the flavors of New Orleans.
Local musical acts kicked off each morning on the 11 different stages around the fairgrounds, leading up to the first weekend's main acts, which included include John Mayer, Billy Joel and Dave Matthews Band, which closed out each night on the Acura Stage.
One of the most enjoyable parts of Jazz Fest for me each year is seeing “the bands before the main stage bands.” I always walk away with new music to listen to from legends and discover exciting new stage acts. This year I fell in love in the Blues tents with guitar legends like Sonny Landreth, Guitar Slim Jr., Lil Buck Senegal, Deacon John and Little Freddie King.
Dr. John, who is always a Jazz Fest highlight performed on Friday and had an Ohio native backing him. Dr. John recently restructured his band before Jazz Fest and kept only one former member, trombonist Sarah Morrow who grew up near Pickerington, Ohio, just outside of Ohio.
The New Orleans Fairgrounds filled to the brim Saturday with attendees showing up early to get the best seats to hear Bill Joel belt out his hits. Joel closed out his set by playing with New Orleans' own Preservation Hall Jazz Band.
Sunday morning brought cloudy skies that soon turned into torrential downpours. But that didn't stop Jazz Fest goers from staking out spots for Dave Mathews Band. The skies cleared enough to dry off before the second wave of rain, soaking DMB as they played through the rain for thousands of diehard Jazz Fest fans. The dancing in the mud surely created lifelong memories for some attendees.
If seeing the Dave Matthews Band play an epic set in the rain was not good enough, you could make your way over the Blues tent and see the King play the Blues like it is the end of the world. BB King electrified as he took the stage in the Blues Tent to close out the first weekend of the festival. The legendary Allen Toussaint joined King on stage and, as BB began his set, belted out an a cappella Blues tribute to the King himself. King ended the set with a toast to the audience: "If I can't be with you next week, think about me some time."
Widespread Panic closed out my last day at NOLA Jazz Fest with a rainy two and a half hour set for their loyal legion of fans, all of whom seemed perfectly happy to dance in the mud at the Acura Stage.
Yesterday kicked off the second weekend of the famous festival and will feature performances by New Orleans native Mia Borders and Patti Smith.
I will miss New Orleans' music and food dearly when I go and will start the countdown to Essence Festival in July, when I return to the Big Easy for more music and fun times.
(EDITOR'S NOTE: Because it's so good, we've decided to spread around the music reviews from our Brian Baker's regular I Shall Be Released column, so keep a look out for regular reviews of recent releases throughout the week. Brian's reviews of older titles released in the past several months that readers may have missed will be its own separate blog feature now, BackBlog. Welcome to the first installment.)
Last year, Gaslight Anthem frontman Brian Fallon and longtime cohort/GA guitar tech Ian Perkins translated their old school habit of enlightening each other to new and different music into a new and different side project which they dubbed The Horrible Crowes. Looking to explore completely unique aspects of their sonic identity, Fallon and Perkins dug into fairly esoteric sections of their record collections to find the inspirations and influences that sparked their creative cores on Elsie, their debut Horrible Crowes release.
Although Fallon is the first to admit his devotion to Bruce Springsteen and his desire to translate the Boss’ epic populist Rock into a punkier context with Gaslight Anthem, one of his avowed second line influences isTthe Afghan Whigs. It is that twisted soul mutation that informs the dark, mysterious core of the Horrible Crowes, from the quiet dread of “Last Rites” to the seductive Greg Dulli croon of “Sugar” to the soft Whigsian explosion of “Go Tell Everybody.” There are other melancholy textures on Elsie, as well; shades of Nick Cave and Tom Waits tint the backgrounds (“Go Tell Everybody,” “Mary Ann,” “Cherry Blossoms”) and the hushed tumult of the National and Paul Westerberg bubbles up through the mix (“Cherry Blossoms,” “Ladykiller,” “Blood Loss”), while Fallon’s lyrics paint a somber scene. There are even slight returns to Fallon’s Springsteen altar (“Behold the Hurricane,” “Crush”) but even when he and Perkins lean toward Gaslight Anthem territory, they work to maintain a clear distance between GA and the Crowes.
Like Dulli, Fallon can go from a tortured whisper to a visceral shriek in a matter of seconds, and his and Perkins’ guitar work and arrangements mirror that ability on the music side. In some ways, the Horrible Crowes’ Elsie is like Fallon’s take on Nebraska, a stripped back testament that’s too dark to take out with any frequency but is just right for an occasional cathartic howl.
Amber Nash and Jordan Neff met at an Oktoberfest party four years ago and within weeks were personally involved and professionally linked in a ukelele-centric Folk/Bluegrass duo that they dubbed Shiny and the Spoon (which one is Shiny and which is the Spoon has long been a matter of debate, and one gets the impression it’s a shifting definition between the two). For a spell, both Nash and Neff were roll-called as members of Magnolia Mountain, but they broke ranks last year to concentrate on SATS and the most immediate result of that increase in time and energy is Ferris Wheel, the duo’s debut full-length.
At first blush, Nash and Neff seem like a standard issue Folk duo, but SATS is far from typical. “Snowflake,” the lead-off track on Ferris Wheel, is a good example of what sets them apart. Although a strummed acoustic guitar intro and lightly touched upright bass suggest a familiar structure, Nash’s tremulous upper register vocal is more reminiscent of ’60s AM radio Pop chicks and contemporary Indie Folk/Rock chanteuses. But the pair quickly slides into a swirling atmospheric soundscape and “Snowflake” begins to breathe with a compelling and melancholy sigh that transcends their chosen genre.
Of course, not every song on Ferris Wheel follows this template, but it stakes a sonic claim that exponentially expands Shiny and the Spoon’s parameters. It happens again at Ferris Wheel’s midpoint when Nash and Neff offer their spectacular Indie Folk version of a-ha’s Synth Pop hit “Take On Me,” and continues on “Run,” which mixes Gillian Welch and David Rawlings and a mariachi interlude. On “Killin’ the Flower,” Nash croons with the traditional modernism of k.d. lang while the pair constructs a Country soundtrack that swings its legs from Charlie Rich’s piano bench, while the title track glitters subtly as panned gold with an electric undercurrent to accompany the moody Folk/Pop that floats just above the counterpoint.
Ferris Wheel is a magnificent benchmark for Shiny and the Spoon, establishing the duo as acolytes of the dusty past and visionaries of a bright future.
Lana Del Rey’s often somnambulist performance on Saturday Night Live recently was her introduction to most of the country and if the bloggers and commentators are to be believed, it was a poor first impression to say the least. Del Rey has become a lightning rod for criticism and Born to Die, her quasi-debut album (she released an album in 2010 under her given name, Lizzy Grant) has been unflatteringly painted with an equally broad brush as a result.
Del Rey has been denigrated as a passionless huckster in a lot of reviews that cite her less than dynamic SNL performance and that’s a shame because Born to Die is a slinky Indie Electro Lounge exercise in sonic seduction.
Musically, Del Rey offers jazzy melodies that pulse with an Indie Rock edge and girl group snap, underscored by sampled orchestrations, beatbox rhythms and Tom Waitsian tool-shed atmospherics, while her vocal presence is a suggestive approximation of Kate Bush’s kooky swoop, Julee Cruise’s sultry whisper, Cyndi Lauper’s babydoll chirp and Marianne Faithfull’s youthful rasp.
She has referred to herself as a “gangsta Nancy Sinatra,” which seems like a fair assessment. Sonically, there is a hypnotic continuity of tempo on Born to Die, a turn-off to some but an interesting counterpoint to the diversity of Del Rey’s song subjects, from the disturbing sexual dysfunction of “Off to the Races” and the hymnal Pop of “Video Games” to the Britney Spears thump and bump of “National Anthem” and the gauzy Angelo Badalamenti/Lee Hazelwood/Neptunes lost love moan of “Blue Jeans.”
Del Rey might not have been ready for SNL’s prime time performance but Born to Die is clear evidence that she is most assuredly a musical force to be reckoned with going forward, regardless of the haters’ poisonous opinions to the contrary.
Click on for reviews of releases by Hank III, Lindsey Buckingham and Mike Doughty.
Margot and the Nuclear So and So’s frontman Richard Edwards may be the most tenacious man in rock. In 2009, the band’s Indianapolis home base was heavily damaged by fire, they were dropped by Epic after the controversy over Animal/Not Animal and the majority of the band quit.
That would have been the end of Margot for most guys, but Edwards resurrected his outfit with bassist Tyler Watkins and multi-instrumentalist Erik Kang and, with an impressive guest list, assembled and self-released 2010’s spectacular Buzzard, a clattering bit of Indie Rock brilliance that diverged from Margot’s early Chamber Pop explorations.
Last year, Edwards and a completely reconstituted MATNSAS generated their recording budget through the Pledge Music website and began tracking their fourth album, the noisily majestic Rot Gut, Domestic.
Much like Buzzard, Rot Gut seems more shambolic and scattered than it really is; like a pointilist painting, it pays to stand back in order to appreciate the work. On Rot Gut, Edwards and MATNSAS have crafted an amazing amalgam of Wilco’s artful squall (“Disease and Tobacco Free,” “Fisher of Men”) and Ryan Adams’ buzzy indie evocation of ’70s Rock (“Books About Trains,” “Arvydas Sabonis,” “Ludlow Junk Hustle”) while simultaneously managing to reference the atmospheric Pop that marked their first two albums. After 10 tracks of that, MATNSAS finish up with an amazing one-two punch; the dissonant and fuzzed out “The Devil” is followed, logically enough, by the exquisite balladry of “Christ,” a Randy Newman-meets-Paul Westerberg piano-and-ethereal-frippery hymn (“Jesus breaks your heart every night when He doesn’t come”).
The scariest thing about Rot Gut, Domestic is that Richard Edwards and Margot and the Nuclear So and So’s might have an even better album than this minor masterpiece in them.
When people are confronted with my ridiculously voluminous music collection, they are most often struck with its distinct lack of commonality. Growing up within 70 miles of Detroit in the ’60s will do that; anything you can imagine between and beyond Motown and The Stooges will generally light my sparkler.
In reference to music specifically and to life in general, I have often remarked, “Specialization is for insects,” but if Mark Utley would like to borrow the phrase when he’s talking about his band, Cincinnati's Magnolia Mountain, he’s more than welcome.
From the band’s beginnings six years ago, Utley has endeavored to reconcile his Rock past with his fresh love of all things Americana by investing his Magnolia Mountain output with a reverence for the Bluegrass, Folk, Country and Rock forms while investing them with fresh angles, lines and perspectives. Like a sculptor who has immense respect for the permanence of the stone but also implicitly trusts his chisel and creative vision, Utley shapes the raw material of Americana’s various stylistic permutations into songs that are comfortably familiar yet blazingly original. That ethic was a hallmark of Magnolia Mountain’s last double album, 2010’s Redbird Green, and it comes into even sharper focus on the band’s third and latest release, the aptly titled Town and Country.
Part of Magnolia Mountain’s variance from album to album is at least partially due to the shifts in personnel that have affected the band from the start. At the same time, Magnolia Mountain has always been something of a rotating collective with guests becoming permanent members and members becoming guests. Town and Country follows that template, as Jordan Neff and Amber Nash (who left to devote full attention to their side project, Shiny and the Spoon) and David Rhodes Brown (who has defected from his numerous band affiliations to concentrate on solo/side work) appear sporadically on the album’s 18 tracks. And once again, guests abound on Town and Country, including piano master Ricky Nye, Tillers banjo ninja Mike Oberst and Americana chanteuse Lydia Loveless, among others.
Utley’s grounding in and love of vinyl forces him to think of his dozen and a half songs in the context of four separate sides (which he also did on Redbird Green; both albums are available in double vinyl format), and the first side is indicative of the broad range of Town and Country. “Black Mollie” kicks things off like a traditional Folk ode, “One Waking Moment” is a classic Appalachian Bluegrass break-up jaunt and “Baby Let’s Pretend” is a bopping Country thumper that wouldn’t sound out of place in a Rodney Crowell or T Bone Burnett set.
But just when you think you’ve got Magnolia Mountain pinned down, Utley and company (Jeff Vanover, Melissa English, Renee Frye, Bob Lese, Kathy Woods, Bob Donisi and Todd Drake) blister the paint with the wicked Blues menace of “Set on Fire,” with sweet “sugar, sugar” backing vocals, searing slide guitar and thundering rhythm section. That quartet is a mere hint at the broad spectrum of styles and approaches that Magnolia Mountain achieves on Town and Country, from the funky twang soul Blues of “Rainmaker” to the supercharged Roots Rock swing of “Shotgun Divorce” (Utley’s duet with Loveless) to the atmospheric swamp boogie of “The Devil We Know,” as well as superb covers of Will Johnson’s “Just to Know What You’ve Been Dreaming” and Wussy’s “Don’t Leave Just Now.”
As usual, the brilliance of Utley’s songwriting is that he and Magnolia Mountain craft each track as a separate jewel that fits perfectly into the gorgeous crown that is Town and Country.
500 Miles to Memphis’ two most recent album releases are local classics that reside in two vastly different musical landscapes. Their 2007 album, Sunshine in a Shot Glass, offers 12 tracks of undiluted Country Punk. The album starts off with the band’s hit “All My Friends are Crazy” and doesn’t let up. The band’s followup, 2011’s We’ve Built Up to Nothing, took the Country Punk roots and drastically expanded on the concept. Influenced by The Beatles, the Cincinnati-based quintet added layer upon layer of instrumentation to craft an epic that radically expanded the groundwork laid in 2007.
Now, in 2014 the band is set to unleash Stand There and Bleed. With its latest release, 500 Miles to Memphis has pulled back and opted for a simpler, more straightforward group of songs. In doing so, the band has written its best album to date.
The band will host a listening party for the new album tonight (Thursday) at The Drinkery in Over-the-Rhine. The album will be played in its entirety at 9 p.m., then the group will play an acoustic set at 10 p.m. The event is free. (The official release date for Stand There and Bleed has yet to be announced.)
At its core, 500 Miles to Memphis has always been about vocalist/guitarist Ryan Malott telling the stories of his life. And with three years in between releases, Malott has plenty to talk about. Stand There and Bleed is Malott’s most personal output so far. We see a glimpse of tour life in “Medication,” the joys of marriage in “Takes Some Time” and the trials of addiction in “Easy Way Out.” Malott may have traded the bottle for coffee and a Playstation controller, but the struggle is ongoing. In fact, the best tracks on the album are the ones that document Malott’s missteps, but only because the album has so much hope, as well. There is a light at the end of the tunnel, and Malott is steadily working his way towards it.
Joining Malott is bassist/vocalist Noah Sugarman, drummer Kevin Hogle, guitarist/vocalist Aaron Whalen and lap steel guitarist David Rhodes Brown. This all-star lineup compliments Malott’s lyrics expertly. Gone are We Built Up to Nothing’s more eccentric instrument choices; 500 stripped away the excess to more fully focus on what it had in house. The result is an album that’s more consistent and true to 500’s vision as a whole. Malott is influenced by Country and Punk Rock in equal measure and these influences come across stronger than ever on Bleed, with each member adding their own touch on the theme. Hogle’s drumming is still some of the best in town; his musical ear enables him to mold his style to each and heighten the mood of all. Brown’s steel playing on Stand There and Bleed keeps the more Punk-based tracks grounded in 500’s roots and elevates the Country tracks to another level with effortlessly delivered solos. Finally, Whalen and Sugarman’s guitar and bass inject energy throughout the record that reinforces Stand There and Bleed’s straightforward, powerful delivery.
Malott’s vocal delivery has been honed and refined on Stand There and Bleed, as well. Malott is an unabashed fan of Green Day and comparisons to Billie Joe Armstrong in songs like “Bethel, OH” and “Abilene” are undeniable. Malott has also continued to inject large amounts of emotion into his vocals. He’s always been an expressive singer but the earnestness and pain in “You’ll Get Around” and “Alone” show a departure from We’ve Built Up to Nothing’s more polished vocals. Part of the recording process was breaking Malott of those good habits and getting him used to putting the feeling back into each take. What results is an album that’s a little rougher around the edges and much more emotionally captivating for the listener.
500 Miles to Memphis has been pushing its music forward for years, constantly hitting the road to share its take on Country Punk. The band has been virtuous to the genre and also bent it to an almost unrecognizable state. With Stand There and Bleed, the quintet has met somewhere in the middle. The band has trimmed the fat, focused on what each (incredibly talented) member brings to the table and built a record that is its most focused and honest to date.
The band has traveled way more than 500 miles to reach where they are now, but with albums like Stand There and Bleed carrying them, they have plenty more ahead of them.
Ahhhh, MidPoint! I look forward to it every year. September, for this lady, holds promise, romance, intrigue and MPMF. I started my MPMF.13 off right: grabbed a baller parking spot right after work in front of Coffee Emporium, grabbed a baller iced Americano and grabbed my (you thought I was going to say baller? How presumptuous) press pass. I think I did say out loud to myself: Let's GOOOO.
The first band I wanted to see was my pal Molly Sullivan at 8:15 p.m. at Japp's Annex. I had some time to kill, so I hung out on the Midway. Sidewalk Chalk was still grooving; they've got a rocking brass section, shimmery drums and soulful singers. I previously saw them on Fountain Square last year as part of the Indie Summer Series, and really enjoyed everything they had to offer. Great fun way to kick off MPMF.
I wandered around the Midway for a bit, checking out the numerous box trucks that comprise the Box Truck Carnival presented by ArtWorks. The Midway itself is pretty awesome, easily accessible and kind of reminds me of a corral for progressively more intoxicated adults. I don't mean that in a derogatory way; I, too, enjoy consuming beer freely in the open on 12th Street. The Box Trucks this year held a lot of potential — I wrote about the Midway for the MPMF Guide in CityBeat a few weeks back, so I was well-briefed on what to expect. Well, kind of.
The first truck I checked out was the Glam Rock Box Truck. Anyone who knows me is aware of the siren call the word "karaoke" holds, so of course I went in.The premise was great (for karaoke nerds like me), but box trucks just don't do karaoke justice, honestly. There are a number of songs to pick from, but not as many karaoke staples as one might expect. And for being called the Glam Rock truck, I didn't really see any Glam Rock hits on the list. The ladies running the truck seemed to be having a good time, though, so I did my best version of "Semi-Charmed Life" and went off to continue leading mine.
I wandered around the Midway some more, stopping in the Short Order Poetry Box Truck, which was 19 kinds of adorable. You step inside the truck, get paired with a stranger who asks you random questions (hi Adam!) and then they'll create a poem, on a typewriter no less, just for you, ready in just about 10 minutes. Mine had a lot of death and blood and dream imagery, just how I like 'em.
I listened to a few minutes of stand-up in the comedy Box Truck before heading to Lucy Blue's. I notoriously put off eating until I'm ravenous, so I decided to carb-up on pizza in preparation for the long night ahead. I met up with friends at Japp's and we ordered drinks and chatted before wandering to the Annex to hear Molly Sullivan.
Every time I see Molly perform, I'm more and more impressed. She's really fleshed her sound out (the addition of friends on the drums and bass is the perfect complement to her singer/guitarist combo), and lots of people are noticing — she recently won the Last Soloist Standing contest at FBs, grand prize being a large cash sum. Molly's a charming vocalist; her voice is flexible and searching, and she's always been good at melancholy intonation. I heard a fresh version of "So It Goes" from the No No Knots days, and some of her newer material had an almost Jewel-when-she-still-had-a-snaggle-tooth quality to it. I really, really dug it. So did a number of other people — quite a dedicated following was there. I'd say Molly Sullivan's first solo show at MPMF was a great success.
I had been planning all week to see Kurt Vile at Grammer's, but there was about half an hour before he was supposed to go on and I ran into my pal Caitlin, who told me the mythical history of Shuggie Otis. I was intrigued, so I walked with her to Washington Park. I still don't know how I feel about the fact that they've moved the stage to the permanent pavilion instead of in front of Music Hall; there's such a grandiosity to playing in front of that gorgeous building that just isn't matched by the pavilion — and I know there are lots of sad Instagram accounts crying right now — but I understand the convenience. We'll see how I feel about it tonight.
Anyway. Shuggie Otis. Skyrocketed to fame by age 21 and receded into the abyss of obscurity? And then he joins David Byrne's label and comes back? Tell me more. Shuggie had a groovy Soul/Funk sound brought to life by a huge backing band, complete with a stellar saxophonist. Glad I caught a few minutes, but I was on a Kurt Vile MISSION, so I started the trek to Liberty Street and Grammer's.
Well, by way of my car. I grabbed a jacket and was headed north, but as I walked by Below Zero Lounge, I heard a voice too great not to stop. If Ryan Adams and Adam Levine and the bearded lead singer from Maps & Atlases had an Asian baby, it would be St. Lenox. He was just plain awesome. I wanted to hang out with him, I wanted him to sing an album of lullabies, I wanted to stay for his whole set, but I'll be damned if I wasn't going to see Kurt Vile.
I didn't see Kurt Vile. Whoever guessed that two paragraphs ago knows that my ominous overtone was poorly done. I got stopped again walking by MOTR, this time by Fort Shame from Columbus, Ohio. I feel like so many times when a woman is a lead singer of a rock outfit, the instinct is to compare her to another female vocalist, but it has to be one who's personality is somehow perceived as similar, or stylistically akin (and I do mean clothes, not just shredding), so I'm not going to compare Fort Shame's Sue Harshe to anyone, because I don't think that's fair and, honestly, it's a little reductive. I'm just going to say that she does credit to anyone singing Rock. And the band had a star saxophonist, which was super fun.
I did hear via Twitter that Kurt Vile sang the word "yeah" for like fifteen minutes at the beginning of his set, so I said it a bunch to myself as I walked back to the Midway to hear Ha Ha Tonka and didn't feel too bad about it.
The first time I saw Ha Ha Tonka was two (or three? who knows) Midpoints ago at The Drinkery. These guys have all gotten hair cuts since then, but they sound even better. They sound like what folky Rock cut with a raucous night of varying emotions that ends with hanging out with friends and beer staring at the river would sound like. You know the kind of night I'm talking about. They're just the tops. Tight and talented musicality and great stage presence is only topped by their impeccable four-part harmony. Just magnetic. Second or third time's the charm, gentlemen.
I finished my night seeing Bleached at the Know Theatre, which last year held all the buzz bands I wished I'd been able to get inside and see (something about being "at capacity"), and I wasn't disappointed. Punk Rock girls with a guy drummer. Ramones cover. Misfits cover. I thoroughly enjoyed my attempt at head-banging AND the fact that these girls didn't try too hard. I feel like a lot of Punk-esque bands nowadays are all like "I AM PUNK! LOOK, SEE, I AM!" but Bleached was more like, "Fuck Punk. We're just Bleached." Own it, dudes.
And then I walked back to my car and went home and passed right the heck out. I'll see ya at MPMF for round two tonight.
Saturday at Mayday in Northside, the great Cincinnati Indie Rock band Koala Fires will be performing for the last time. But the band is also saying goodbye with a gem of an album, Doom of the Norns, the band's second full-length, which will be officially released tomorrow in conjunction with the show. The Fires will be joined by Chicago's Brighton, MA and Cincy's Jody Stapleton and the Generals. Performers from Cin City Burlesque will also entertain between sets. Doors open at 8 p.m. and admission is $7. (Koala Fires will donate half of their merchandise sales Saturday night to help relocate the women of the Anna-Louise Inn.)
Doom of the Norns is a compelling piece of art, an Indie Pop/Rock record with a hefty emotional weight. Singer/songwriter Matt Mooney's vocals have never sounded better, his honey-dipped instrument crooning the album's up-and-down tales of finding love and losing it. It's not a unique concept, but in Mooney's hands, it feels real, raw, somber and often explosive. (Mooney wrote the record to help him get through the demise of his 10-year marriage.)
Mooney and guitarist Ben Evans play beautifully off of each other, their intertwining fretwork creating a wash of dynamic sound. Drummer Matt Retherford and bassist Matt Zink fuel the songs with precision and a distinctive flair; Retherford's fiery yet intuitive playing, in particular, is a crucial part of the albums success.
But the heart of the album is the passionate songwriting. These are Pop/Rock songs, but Mooney's melodies wind in unexpected directions and the songs themselves are dynamically structured. "Grim is the Doom of the Norns" sets the tone, building with twinkling guitars and Mooney's voice showcasing that early-love "head in the clouds" state of mind, before ripping into a big, exuberant chorus. "Nuckalavee" bops along on a jaunty rhythm, undercut by cutting lyrics like, "Do you want control of me? That might be nice/But after years and years he'll escape one night/He will terrorize, drink tears from your eyes and then scare your pain away."
Mooney may just be one of the best Rock lyricists in town. The powerful "Valley of the Kings" begins with the lines, "There used to be a thousand ways to tear this down and start again/But, now it seems there's just one way and it involves a match and some kerosene." The album gets progressively dark, but the words aren't defeatist — they sound like the kind of lyrics someone would write to come to terms with the ending a long relationship. It's artistic therapy. By the last couple of tracks, there is hope and resolve.
There is emotion to spare on Doom of the Norns, but this ain't no wallowing Emo spew. Mooney delves into his despair and writes about it smartly and poetically, making it the kind of album that would fit in your record collection perfectly alongside LPs by The Afghan Whigs, later Superchunk and Cari Clara.
When you fall in love with Koala Fires after hearing this album (if you aren't already in love with them), don't be too sad. Mooney has a new-direction project in the works, Retherford and Evans play together in the Cincy band House of Feeble Minds and Zink is a member of up-and-comers The Future Strikes. The Fires will burn on. (Click here to purchase the album digitally.)