Electronic Rock duo Pop Empire has released its debut full-length, The Devil’s Party, available now for free download via The Recording Label Web site. The “all free!” label is the brainchild of Cameron Cochran, formerly of The Sheds and one half of Pop Empire (along with Henry Wilson). PE and labelmates Sacred Spirits (whose Some Stay was The Recording Label’s first offering) co-host a joint release/label launch party this Friday at the Southgate House with guests We Are Hex and The Kickaways.
For once, I’m feelin’ pretty good on a Monday, because I just got my hands on a little disc full of weird and wonderful tunes, and it’s from right here in town.
Chuck Prophet has more Rock cred than any one man should have a right to claim. His eight-year run in Green on Red in the ’80s resulted in some of the most influential sounds to emanate from Southern California’s Paisley Underground scene and his subsequent solo catalog has notched an impressive level of critical acclaim over the past 22 years. In that time, the names he’s worked with — as collaborator, producer, hired gun, pal — reads like a who’s who of contemporary musical accomplishment: Warren Zevon, Aimee Mann, Jim Dickinson, Lucinda Williams, Jonathan Richman, Kelly Willis, Jules Shear, Alejandro Escovedo and a good many more lesser but no less important lights.
Prophet’s recent work has been some of his most viscerally satisfying, beginning with 2007’s wide-ranging Soap and Water, his 2008 collaboration with Escovedo on his Real Animal album, and Prophet’s 2009 political Rock statement, ¡Let Freedom Ring! For his latest solo jaunt, Temple Beautiful, Prophet maintained a healthy power level while injecting a concept into the proceedings, namely making every song on Temple Beautiful about his longtime San Francisco home.
The album springs to life with “Play That Song Again,” a bouncy slice of ’70s Pop/Rock, followed by “Castro Halloween,” an insistent Pop anthem with the ring of the casual greatness of George Harrison’s best solo work and the bluster it would have had if he’d ever installed Tom Petty behind the glass to produce it. The title track, a tribute to the Punk club that occupied the space once held by Jim Jones’ People’s Temple before they decamped to their infamous digs in Guyana, is a blaring blast of Rock and Soul that pounds like The Ramones on a couple of bottles of cough syrup and swings like T. Rex with more garage and less glam, “Willie Mays is Up at Bat” sounds like Warren Zevon channeling Bob Dylan circa “Watching the River Flow,” and “I Felt Like Jesus” swaggers and nods with Surf Rock reverb and Roots Rock twang.
Five years ago, Chuck Prophet was trying to decide if he had anything left to say in a musical context, but Temple Beautiful finds him eleven albums deep in his solo career and sounding as energized and inspired as he was when he dropped his debut back in 1990; long may he do this, or any other damn thing his infinitely talented mind can conceive in a studio.
Gifted Hip Hop/Funk/Rock/Jazz ensemble Eclipse is set to release its second studio effort, the long-player Around the World, this Sunday at the Southgate House in Newport. Also performing at the 8 p.m. release party are two groups with members who guested on the new album — turntable crew Animal Crackers and funky horns-driven group The Cincy Brass. Click here for tickets and more details.
Around the World is a fantastic representation of Eclipse’s wonderfully eclectic sound. A live Hip Hop band needs to be ultra-tight and Eclipse certainly lives up to that requirement and then some. While your everyday Hip Hop album might contain carefully layered horn or string samples, Eclipse does it live, so the performances have to be flawless. And they are.
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.
You, You’re Awesome, the opening-night main act for this year's MidPoint Indie Summer Series (this Friday on Fountain Square), has earned its way to headlining status by building an ever-increasing following with its crafty, magnetic Electronica, a mix of modern, energetic rhythms (thanks to Kevin Bayer’s live drums and Yusef Quotah’s smart programming), catchy, clever samples and an assortment of snyths and electronics that bridges early, pioneering usage and today’s more stylized approach.
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.
(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.
Saturday at the Southgate House’s Parlour, area Indie band Fake Hands celebrates the release of its first studio project, the EP Here We Are After Dark, which follows a pair of self-recorded and -released efforts.
The five-track release is an excellent introductory calling card for the relatively new band, which features four core members and a handful of others who add horns and other ornamentation to the band’s clever spin on Indie Rock.