Shannon Stephens – Photo by Sherry Loeser

Shannon Stephens may hail from Seattle nowadays, but her roots are founded more in the middle of America. Back in the 90’s in Michigan, she formed an impressive folk partnership with Sufjan Stevens, among others, in Marzuki. Based on that impressive pedigree, one may expect a lengthy list of musical adventures took place. However, after the split of Marzuki, Sufjan went on to be well…Sufjan, and Shannon Stephens took a break. A long break. A span of eight years passed before she released The Breadwinner in 2009. Now in her mid-30s, Stephens is more polished and confident, if re-acclimating to the scene. While a younger artist putting out their third release may still be searching for that voice for sustainability, Stephens simply does not have “energy to give a shit what people (think) about me anymore”.

One can hear that attitude in her new record, to be released May 22nd, called Pull It Together on Asthmatic Kitty Records. Stephens applies a fairly direct approach to her music. While many female singer-songwriters and vocalists are searching for a kitschy or unique sound (usually squeaks?), Stephens relies on a very natural and glossy voice. A good example of these no-nonsense vocals can be heard on “Cold November”, this writer’s personal favorite on the record (although “Down the Drain and it’s Gone” gives it a helluva run).

Stephens said, in 2009 (altmusic.about.com Aug 4, Anthony Carew), she had felt a kind of jealousy that many of her peers had gone on to achieve some degree of musical success. She focused on other things; family and other priorities took the place of music. Pull It Together showcases, more or less, this jilted feeling. It is not a cute album, but it does not get too gritty either. There’s a tempered sensitivity that maybe only someone in Stephens’ position can understand. Some tracks could have benefited from maybe a little more dirt in the teeth.

But this boils down to simple preference, and one should make an independent conclusion.

It must be assumed that trying to find your niche, again, is a process. In the rain-drenched musical oasis of Seattle, there are easy-to-find barometers. If we place Damien Jurado as the luminous godfather, David Bazan as some sort of mystic stepson, Head & the Heart as the carefree cousins, Pickwick as the soulful black sheep, Death Cab as the rich uncle, and Carrie Brownstein as the quirky neighbor kid, we could place Shannon Stephens in this pantheon as a phoenix-esque prodigal.
She still has some work to do, some kinks to work out, some groove to get in that pocket to maximize her potential, but she is back on the radar. And that is a good thing for music.

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Doki Doki Panic

In just under 15 minutes, this EP represents Japanese rock at its most awesome, nerdy, and insane. The two bands (Babymetal and Kiba of Akiba) alternate tracks on the split, resulting in a record that’s incredibly fun and entertaining.

If early 2000s tween J-Pop group Mini Moni were possessed by Satan, it would probably result in something not entirely unlike Babymetal. If you can’t seem to imagine that unholy union, check out this video of Babymetal’s first single, 2011′s Doki Doki Morning:

The J-Pop/death metal ensemble kicks off the EP with “Iine,” which blends their combination of pop and technical death metal even more seamlessly than their debut release. Oh, and there is a rap breakdown in the track as well. And quite a bit of electronica. Yet somehow, it works.

The next track, by Kiba of Akiba (whose name references Tokyo geek-Mecca, Akihabara), is an excellent melodic death metal song about, I think, having an awesome time on message boards. It’s called “Party @ The BBS” and is extremely tight, high-quality stuff, with some ridiculous riffs and rad dueling vocals.

The third track is Babymetal ”answering” Kiba of Akiba’s “Animation With You” (a song about watching anime). The interpretation is pretty spot-on, with a few endearing added tweaks.

Kiba of Akiba closes things out with an ultra-bizarre cover of “Doki Doki Morning.” The vocals are all over the place, and while it’s a pretty tongue-in-cheek cover, it’s also tight, excellently produced, and even pretty intense at times.

Although this four-song release may appear completely unapproachable and too bizarre and gimmicky to be worth your time, I implore courageous and curious music fans to check it out anyway. Even if you despise J-Pop and loathe technical, melodic metal, you may still find yourself enjoying this infectious combination.

Babymetal X Kiba of Akiba – EP is available exclusively on iTunes in the U.S. for a way-less-than-import price of $3.99. Get it here.

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EP’s are one of the hardest things (for me anways) to review for a couple reasons. Most of the time it simply has to do with the lack of time available for the artist to be able to draw you into their sound. Sure, a single release can be more difficult to hook someone but there’s a 50% chance of success versus failure. An EP on the other hand can be a mixed bag. To steal an album title from another artist to explain this; you could have two hits and a miss.

Released a month ago, Rockford native Dane Penn’s debut “Ghosts of Departure” EP is slow to start with the opener Come Undone (not to be confused with Duran Duran’s Come Undone). A plaintively strum guitar is joined along the way by some drums with no real tonal distinction (I think there are 3, maybe 4). The drum sounds pulled on this record are very flat sounding and generally lack a sound associated with a traditional kit. That’s fine, I think it works stylistically and is very reminiscent to me of Prairie Prince’s understated drumming on XTC’s fantastic late 90′s album Apple Venus Vol. 1. The raw quality adds an overall empty and barren feel to the entire EP, allowing the other instrumentation to really take up sonic space. Eventually the instrumentation builds into a crescendo  towards the end of the song, but for my taste, didn’t happen soon enough to really hold my interest throughout the tune. On the whole, and as an opening song to the EP, I really feel that it fails to give me the best of what Penn has to offer right from the get go. Not that an opener should be upbeat, I just don’t think it should be 6+ minutes long. Then again, conventions have been broken plenty of times when it comes to songcraft.

The second track “Shaking” might have been a better choice to bring listeners into Dane’s world, if that was the intention. There is a hook there to attract listeners and is a bit more upbeat; I found myself humming the verse the other morning while making breakfast. When a song gets stuck in your head you know there’s something there that is infectious; luckily this was the good kind.

It’s a slow burn throughout most of the album and never really stretches beyond the slower output that some might be accustomed to in the singer songwriter, folkie genre. The lyrical content generally focusses on longing, having, losing, loving, isolation… you know, the usual stuff that gets written about in thoughtful and hushed mid-tempo jams with acoustic guitars. Penn vocal approach is very reminiscent of David Bazan, not the angry and rocking Bazan, but more the early Pedro the Lion output. The waver in his voice lends a sincerity to what he sings while tipping you off to the fact that

“Firing Range”  is the perfect track to place before the closer. Understated and expressive, it does what it should by being the calm before the storm that is the final track “Lady of the Dale”, possibly the strongest song in the bunch.

While not a perfect debut, Dane Penn lays the groundwork for some promising music in the future. Like I said before, the EP is a slow burner that doesn’t blow up but is instead a nice little campfire out in the woods.

You can purchase the album online either at the Cassette Company Records website or at Penn’s Bandcamp page.

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Bronsalino put out two quality efforts last year, one being the critically acclaimed “Dr. Lecter” and the other being “Well Done” with Statik Selectah. Both were awesome in their own right. My personal opinion is that “Well Done” was better produced and therefore Action went apeshit on most of the beats. Only one track that had a bit too much of a simp vibe for my taste. It’s kinda tough to maintain credibility when you go from talking about guns and drug money to falling in love with a girl you met in cooking school.

The beats on Blue Chips are kinda simplistic in their production. It seems that Party Supplies’ production aesthetic is more attuned to repetitive loops rather than dynamic beats with more variation in drum patterns and use of samples or synths. For some tracks, this works.  “Hookers at the Point” , the first video off of the mixtape, illustrates when this type of production works well. The first track on the tape however, shows when this type of production doesn’t. The beat on “Pouches of Tuna” feels like an overly long intro to a beat that just never drops. When I listen to the track, it feels lazy. From Bronson keeping his outtake on the track to Roc Marciano’s verse, it just doesn’t seem like a good first impression.

The record moves onto better production and a more dynamic rhymes laced with references to food, professional wrestlers, obscure athletes and the finer things in life. The short length of each track keeps it moving along nicely. Action even addresses the similarities in his vocal tones to Ghostface Killah, whom he has been compared to numerous times. He even goes far enough on “Ron Simmons” to tell listeners  ”Don’t ever say my fuckin’ music sound like Ghost’s shit.” On Wu’s last record, Ghost and Bronson both appear on the track “Meteor Hammer” , where I’m pretty sure Ghost doubled up his vocals to sound different than Action Bronson. He should be honored to be compared to the Wallabee King. Ghost is as ill as it gets.

Overall, this record isn’t great in comparison to his previous joints. “Well Done” was so fucking good that it’s a hard act to follow. It probably would have been smarter to ride the buzz from his last two efforts and chill on putting anything else out for a few months. I dig it, but then again I appreciate his lyricism and put most of the fault on the production of this album. Party Supplies isn’t doing anything new or inventive. His beats don’t make me want to nod my head hard enough to knock my brain out my nose holes. They just kinda fall flat. You can be ill as fuck with the words, but if you’re rapping over some Speak and Spell beats nobody cares. Guru (R.I.P.) was ill as it gets, but GangStarr with out DJ Premier wouldn’t have been the same. Same with Mobb Deep. Havok and Prodigy are raw as fuck but Alchemist brought that shit with every track that made it classic. Plain and simple, Bronson needs a steady producer to take him to the next level and build on his previous efforts.

Personal favorites on the album are “Steve Wynn”, “9-24-11″ and “Intercontinental Champion”. If you haven’t heard him yet, knock this shit a few times then check out “Dr. Lecter” and then “Well Done”. Listen to the record and download it for free here.

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New Love Plus soundtrack cover

Love Aurally

To refer to the Love Plus games as simple “dating sims” would be understating the impact the series has had not only sales-wise in Japan, but on the lives of the players themselves. The first iteration of Love Plus was released in 2009 for the Nintendo DS. In the game, you choose one of three high school girls to become your virtual girlfriend. Once you have settled on your high school sweetheart, you can send her emails, call her using the DS microphone, study together, and even “touch” her with the DS touch screen, awkwardly similar to Nintendogs.

The formula was so popular that it inspired a sequel, the beautifully redundantly-titled “Love Plus +.” One of the major additions to this game was a SOS button that a player could use if they were contemplating real life suicide. When pressed, the player’s virtual girlfriend would attempt to talk them out of taking their life. Seriously. With that in mind, it’s not difficult to imagine other ways Love Plus has crept into Japanese society and culture such as man-Love Plus-girl-marriage and resorts that players can attend with their Love Plus girlfriends.

Love Plus is bizarre, fascinating, and honestly, a little bit baffling. It also has some great music, and New Love Plus, the recently released (on Valentine’s Day, of course) 3DS title is no exception. The soundtrack for the game is available as a standard two-disc set  or as part of a 23,980 yen ($290 USD) system bundle (which you had to win a lottery on Konami’s official site to be able to purchase).

The soundtrack opens with an instrumental version of the game’s main theme, appropriately titled メインテーマ (“Main Theme”).  This charming, airy electro-pop track is fun and inviting; a great introduction to the game and soundtrack.

What follows is primarily a collection of subtle piano melodies, for more intimate moments with your girl (emotionally intimate that is; the LP games hold steadfast to a very PG-rated, idealized interpretation of romance). These tracks are good for what they are, but the strongest tracks on the discs, however, are the light guitar numbers. These breezy songs (which sadly are not available on any video sites for sharing purposes at the time of this writing) are somewhat evocative of some PS1-era RPG music and quite welcome. The soundtrack also contains pure sugary synth-pop such as “Imitation Girl” and inexplicably weird tracks like “CARTOON,” but these two CDs are primarily comprised of the aforementioned light piano and guitar melodies.

It’s unlikely that there will ever be an English-language version of Love Plus released (in any official capacity at least; fan-translations do exist). The games are too text-heavy for all but the most Japanese-fluent importers, so most Westerners will never have a chance to experience the strange and intriguing phenomenon of Love Plus. The soundtrack however, is quite a bit more accessible and proof of the universal language of music.

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Let’s get this part out of the way: Dowsing and Parker are two bands that I have given pretty hearty praise to in the recent past.  That trend will continue in this review because I think the EP is very good. If you don’t care to read me praising the same people, I would stop here (it’s cool. That’s a totally valid viewpoint).

Dowsing and Parker are both rock and roll bands from Northern Illinois (the former from Chicago and the latter from Rockford). Their relationship prior to collaboration of this EP is the sort that one always kind of hopes will lead rock and roll bands to releasing a split EP.  They have played a few DIY gigs together and I assumed shared a couple of late night dinners at pancake restaurants.  Both bands recorded their side with Chris French who now plays electric guitar in Dowsing (but did not appear on the EP) and in the band Joie De Vivre with Parker bassist/singer Brandon Lutmer. Dowsing and Parker would probably describe their comradery as being, “not really best friends. We’re just good friends.” The sort of rock and roll friends that you might release a Split EP with instead of a collaborative album.

This EP is being released by Count Your Lucky Stars Records which pretty much guarantees a couple of things for prospective listeners. First that it will probably sound like the (late) 1990s and, secondly, that it will be emo as shit. That assumption is validated in full.  All four songs are sung to former members of relationships (romantic or friendly) who pulled the trigger on ending said relationship. They’re sung from the perspective of someone who is using control of their own attitude to gain agency after having been rejected.  The seemingly personal details and differing musical approaches of each band are able to make the songs unique listening experiences within the shared themes.

Dowsing’s musical foundation is built upon propulsion and the drive of its rhythm section keeps a healthy sense of motion in these new songs which allows the guitar and vocals to spread out a little. It leaves more room for Delia Hornik’s keyboards to add color and melodic lines in a more active manner than in the songs on Dowsing’s debut EP.  On top of it all, singer Erik Czaja lets loose catchy invectives to an unnamed selfish person. “I’ve got these songs to remind me, that I’m not coming home to you…I hope you’ll choose what’s best for you.” “I think you’ve got more problems than most of the people I talk to.” In credit to Czaja’s performance, it all has enough humor that such lines don’t contain any of the melodrama that one might assume from reading the lyrics. In the manner of life’s best emo songs, the negative spew  works as both a healthy release and a catchy punchline.  Dowsing’s side (which is side A, I assume because of alphabetizing) is a fun little blast (both songs only add up to about 5 minutes) of interpersonal goals and memories of the summer spent drinking, running through sprinklers, and making mistakes that one won’t realize until October when things cool off enough for some introspection. Being 22 is hard, you guys. Let’s shout a bit.

Parker’s side takes a slightly more mature approach to dissatisfaction. They’re more than a season removed from the most memorable drives through the cemetery and beers in the parking lot, and a new summer doesn’t wash away the dispiriting passage of time when you’re always searching.  On, “Make it Home Safely,” Brandon Lutmer sings, “It’s hard to ignore this feeling of quarter life that I’ve had since 19.” as the band churns out the sort of mid tempo palm mutes and jagged octave chords that one alludes to when using a Smoking Popes comparison as a compliment.  The chorus is a catchy shout of someone who is finally recognizing that they can only live up to their own expectations, “You always told me that you like my hair better short. You always told me that you liked me better before. It doesn’t stop me swinging and I can’t stand another summer away from all of this.” The song really hinges on very well executed dynamic musical shifts.  The run of the mill complaints of people getting older are (once again) turned anthemic.

I previously praised the line, “Like your favorite quote from Eleanor Roosevelt/I have to do the thing I could not do,” on the Warren Franklin sung, “Eleanor Roosevelt,” but really the whole song is pretty great.  The opening line, “I’m sorry I didn’t turn out to be the man you thought I was,” sets the tone of a regretful (seemingly very personal) ballad for someone who has left the singer behind.  I use ballad in the sense of a melancholy indie rock crooner. It’s still noisy and scruffy. “Every Rose Has Its Thorn,” this song is not.  I’m not sure if that’s a compliment or criticism.  Either way, the harmonized repetitions of, “Good night brown eyes,” and the ways in which guitarist Brian Jaworowski strings little arpeggiated flourishes as the song builds to a strong, plaintive wail over its final third are most impressive.  “Eleanor Roosevelt,” is honestly one of my favorite songs of 2012 (so far at least).

The Dowsing/Parker Split collects the usual themes of Midwestern Emo (loneliness, hurt feelings, singing words that one could never speak, autumnal shit, collectivism, driving with no particular destination) and doles them out in a manner that beckons the listener to share in universal themes of youth and sing along songs.  It’s one of my favorite forms of catharsis.  I heartily recommend that everyone accepts the invitation.

The Dowsing/Parker Split is now available for order from the Count Your Lucky Stars Records web store

You can listen to the EP being streamed at Alter The Press

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Excuse the brevity. My apologies for the curtness of the message. Pardon the fact that there are only three songs on Louis & The Hunt’s second EP, Crocodile. Please do not be angry with Ryne Estwing, the man behind LATH. What he has put out, on the heels of his debut release (Louis & The Hunt) this time last year, is some of the most promising music of the year. For those who do choose to listen to this 3-song EP, you will understand why I apologize. You will simply want more.

The opening and title track (“Crocodile”) is a journey of images and emotions. A specific theme, or concept, of the song is not really laid out by Estwing, but the feeling of anxiety, loneliness, and fear is buried deep within this track. It may not be until the third or fourth time that one finds out the lyrics resonate with themselves. Allusions allow for multiple interpretations, and the crocodile has always been notorious for his false tears….

Ryne Estwing

Louis and the Hunt has been a side project of Estwing, as his finely crafted songs have come in spurts while he tours with Rockford/Chicago natives Scattered Trees. His band has been a mix of various figures, with members of Scattered Trees filling gaps at times. The mainstay has been Estwing, reaching inwards to express some difficult experiences, and his ability to write music and see parts before the other pieces are even there.

“Okay Alright” is a multi-dimensional song that sounds a bit like Fleet Foxes, the Decemberists and Local Natives. It articulates the pain and realization that maybe everything isn’t okay or all right. The paired qualities of beauty and pain are alluring. The sometimes-faint falsetto masks the bitter and real ache the lyrics are expressing. The drums find a tempo that many people cannot find when going through doubt and lost love. The vocals, somewhat cheery and sing-songy, do not evoke the desire to “not go over there” because, frankly, “it’s dark and I can’t see through those waves.” It seems as if everything is completely fine, right?

To close the record, LATH does a reworking of the last song on his debut release. “The Wolf & I” is, thematically, a more obvious song. Musically, it has a classical feel of sadness, unlike the other two tracks. There is a subtle hint of ending, of fantasy, of exposure. Estwing simply croons, wanting to know “if it’s love” or something else, as he sees his love wandering around. The simplicity of the theme is complicated with classical guitar, sparse drums, accentuating vocals, and a dreamy electric guitar all working in fits and stops perfectly.

The Crocodile is a very promising tease. After a quality debut release, these three songs show that Louis & the Hunt have potential and quality. It haunts and tantalizes, and truly provokes anticipation for what happens next.

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R. Garcia Resurgens cover

DIY Synth-Pop from Atlanta, GA.

With both male and female vocals and long instrumental (electronic) sections, R_Garcia’s Resurgens (Nophi Records) is an interesting and varied record. The album opener, “Seawater,” is a fantastic electro-pop song and easily my favorite on the record. The vivid picture created by the lyrics is matched by a spirited and pulsating beat which together result in a very fun and sincere track.

Other standout tracks include the sweet and poppy “I Was a Feather” and infectious electronic number “Red Line to Shady Grove” (with vocals by recent SMS podcast interviewee NNXT). “The Year 100,000” flips the script and has a total late-70s punk vibe to it, a welcome and enjoyable surprise.

Resurgens traverses many different styles, which results in a record consistent in quality of production, but not necessarily in genre or style. This is actually a strength of the record; as it feels constantly inspired and surprising.

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The Seattle Times had recently labeled Damien Jurado as the godfather of the folk boom. As an artist who has spent around 17 years writing, touring and creating, it is only fitting that certain honors are bestowed. As a folk forger, Jurado has experimented with various recording techniques, different instruments, and different vocal sounds throughout the years. He had seemingly settled in a niche over his past couple records (St. Bartlett & Caught In the Trees), but Jurado again forces appreciators of “folk” music to remember these simple truths about folk music: It is about people and feelings. Feelings that make one dance, that force a tear, that make you tilt your head and wonder, “what was that?” And like the title track (Maraqopa) states, “All are welcome in.”

In something of a new path, Jurado and longtime friend and producer Richard Swift create a janky, Neil Young rocker, and trippy record. This is not all down to the embellishments of the ever creative and uncorralled Richard Swift, but possibly to the fact that Jurado is now the head chef in an institution he built. He knows the ingredients and knows what can, and will, work. But to create an exciting menu, he needs to have some pizzazz, some spiciness. Swift adds musical delicacies, intricacies and vocal harmonies (especially on “Working Titles”) on some tracks that Jurado has never used on a major release.
A song like “Nothing Is the News” is dissimilar with much of Jurado’s discography. It is bluesy, and convoluted with incoming sounds, much like our lives dealing with incessant streams of information. “Museum of Flight” could be the best Coldplay song ever, but they’re too cheap to write a song like Jurado has crafted. Long-time admirers of Jurado are still shown plenty of love as old themes of social stigmas, pain and nature are spotlighted. However, the difference between Maraqopa and other Jurado records is the recording process. Much like the differences from I Break Chairs to On My Way to Absence, there are noticeable differences in the vocal recordings, the focus on acoustic guitars, the addition of drums and synths.

Maraqopa asks to stand above the clouds, and lose oneself for a moment. Pretend folk music is one guy in a coffee shop, or the populist darling Bon Iver. Pretend its music that one can just listen to. It does not have to be analyzed like drug rock, or glossed over like pop; it can simply exist in time and space in conjunction with life. Jurado leaves you to live your life; he just wants to impart a couple of stories, a couple of feelings. He has few demands. He knows we’ll listen (repeatedly, too).

We are all mountains still asleep.

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I’m a little late on reviewing Wugazi, but the recent podcast featuring Ian MacKaye, a write up on one of this year’s most talked about mash-up albums only seems fitting.

I grew up listening to both Wu Tang Clan and Fugazi so their material is very familiar. In recent years I definitely listen to more Wu, but then again Ghostface comes out with a new album every six months and Argument came out when I was a senior in high school. Do the math.

Hip-hop and punk (well, post-punk or whatever the hell you want to call it in this case) constantly fought for my attention as an adolescent and still do as an adult.  When I first heard people going apeshit about how good of a mash-up this album was, I was skeptical. I figured if I really wanted to listen to Wu or Fugazi, I’d just throw on Repeater or 36 Chambers and that would be that. My experience with mash-up albums is that they’re usually pretty boring. Maybe I haven’t listened to enough of them, but I often liken a mash-up to watching the Wizard of Oz while listening to Pink Floyd. Sure, it’s kinda neat if you’ve taken a few bong rips but at the end of the day, I’d rather just keep each classic separate. Plus that kinda shit is for hippies and as Jack Donaghy once wisely quipped, “Never go to a second location with a hippie”.

A few of my friends had played “Sleep Rules Everything Around Me” while we were hanging out and I wasn’t too impressed. Therefore, I didn’t go out of my way to listen to the rest of the album.  A few days ago when I was asked to do a write up on it, I figured it wouldn’t kill me to hear what the buzz was all about. I listened to the album from front to back and was surprisingly impressed. The familiar verses from my favorite Wu-Tang tracks and the defining sound that Fugazi carved out go hella well together. Both groups undeniably had such a large impact on their respective genre so it’s appropriate that their music be weaved together so seamlessly.

Each track was a great amalgamation. I respect the hell out of the amount of work that had to go into making such a great sounding mash-up album. There were even a few verses from some of the more obscure Wu tracks that I had forgot about. One in particular was Ol’ Dirty’s verse from “Ghetto Superstar” off of the Bulworth soundtrack. In retrospect, it was a very well crafted verse and more than appropriate for the original track. When it first came out, I thought it was kinda cheesy, but watched the video when it came on because Mya was hot. It goes even better right along side GZA instead of Pras, that one guy from The Fugees who didn’t do anything after they broke up. Seriously, what the hell happened to that guy after The Fugees?

Overall, I really liked what I heard as I was listening to the album and it definitely showed me that mash-up albums can be great if done properly. The album is actually the brainchild of Cecil Otter, who is a part of the hip-hip group Doomtree from Minneapolis and Swiss Andy, who I’ve never heard of. My only gripes with the album is that I’m so used to hearing some of the tracks in their entirety that when the verses are different or some of Ian MacKaye’s lyrics are weaved into the track, my expectations aren’t met. “The Mystery of Chessboxin’” is one of my favorite fucking raps songs of all time. So, on “Another Chessboxin’ Arguement” when the chorus comes up and I expect to hear Method Man and instead hear Ian Mackaye, it’s a bit weird. Don’t get me wrong, “Argument” is a great song, but it just doesn’t seem right to hear that track any other way.

The tracks that most caught my attention were “Sweet Release” and “Shame on Blue”. If you even remotely like listening to either Wu-Tang or Fugazi, I’d recommend giving the album a listen.

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Lo-fi pop can be a tricky balancing act.  In the past it was exclusively employed by those who had no access to more sophisticated means of production.  Since the full takeover of digital recording, any asshole with a Macbook and a couple hundred dollars worth of microphones can make fairly polished music.  When a contemporary artists comes out with a unsophisticated, static filled sound, it almost always happens as a result of a decision to impart a murky, abstruse quality to the music. Maybe they’ve spent a great deal of time listening to lo-fi artists of the past or maybe they’re just not completely confident in the songs.  It often remains and intentional choice. Because of that intentionality, most lo-fi acts have to toe a pretty strict line of producing numerous pop hooks that are only slightly obscured by the murk of their style.  If they’re able to get that ratio right, it’s delightful.  If they fail, it becomes less so.

Here’s the fun part of this review:  Pinebocks is the music project of a former (I think) Illinois and now Texas resident named Corey Clifford.  I grabbed it out of a pretty big file of music submissions that Sock Monkey Sound writers share on Google Docs.  Pages and pages of people that were like, “Hi. Wanna review my music?” and then were (usually) met with a blanket of crushing silence because many of the staff members sometimes forgot that it exists or started watching Sherlock and didn’t for a while.   I guess I’m only speaking for myself with that last part.

Anyway!

I went digging through it a while back and found the following note:

Hi, my name is Cory Clifford and I have a musical project entitled Pinebocks. To describe my music, I’d say it’s a combination of Orange Juice and The Clean, and it could easily fit into NME’s C86 compilation.

I like all of those signifiers so I decided to have a listen.

Let’s first examine the claims made in Clifford’s self designation.  C86 this is definitely not.  The music is far to sparse and haunting to be confused for the relatively full and sunny sounds of early Pastels or Primal Scream.   This is much more rough shod music. The guitar sounds like Clifford found it in an abandoned basement and decided to record there instead of taking it home. There is a constant hiss and digital reverb makes it all bouncy and tinny. I’m not saying that’s a bad thing because it fits the actual songwriting and performances to a tee.  The Orange Juice comparison does hold up well as there is an obvious Edwyn Collins influence on Clifford’s demented croon.  It’s a cartoonishly sinister vocal style that is adds a sense of ironic comedy. That is very helpful because these songs are fucking dark.  “Flee,” finds a man having abandoned his roots and absconded south, all the while regretting his choices. He sings,

“I’ve never felt so bad about myself as I do now. I’m chronically cursed with a furl in my brow.”

and there is a real fun sense of hyperbolic jokiness.

I hope.

The sinister tone returns in the second song, “My Unfunny Valentine,” a dirgey ode to a dysfunctional romantic connection. Clifford goes at it like a Lynchian lounge act. The song ends with the repeated figure, “My unfunny valentine, you make life so asinine.”  Then I start laughing because I’m kind of fucked up.

Pinebocks are the dark side of Twee.  If you’re into that sort of thing, you’ll probably enjoy Flee/My Unfunny Valentine. Make sure to check out the Bandcamp page for other singles and EPs, or like them on Facebook if that is more your style.

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B.durazzo

When I first took a look at a video of B.Durazzo playing a beat live on two MPCs, I thought to myself, “Damn, this isn’t just some kid playing around with Fruityloops and a sampler. Dude’s talented.” Over the course of the video, Ben played each machine like it was a part of a larger instrument. This is something which defies the notion that most hip-hop isn’t “real music” because of the lack of live instrumentation involved in the creative process. Sure, The Roots have been playing live instruments for to make their music for years, but the vast majority of people that make hip-hop do not. Even the turntable has been questioned as a legitimate instrument but if you’ve ever watched a DMC level DJ, you can see that there really shouldn’t be much of a question. Is Ben using other people’s music to make his? Yes, but you could argue that any musician does the same through their influences. As they say, “There ain’t nothin’ new under the sun.”

Not only was watching Ben play interesting, but the beat which he composes is pretty ill. The instrumental has a haunting quality reminiscent of RJD2′s earlier work and that classic boom-bap feel that really gets your head nodding.

As I listened to each track off of Ben’s album, that reminscence of RJD2 was further reinforced. While he does remind me of RJ’s older work, it’s not in a way that is offensive or “biting” as they call it in hip-hop. Durazzo’s music has an intelligent sound that doesn’t need an emcee to make it interesting. Instead of making his music just a background for another person’s words, each track has a voice of its own. His instrumentals are laden with horns and flutes that carry each track from beginning to end and function to give the album a cohesive feel. The album could use a bit of diversity just to provide a break from the norm but overall, it’s a hella solid effort.

Would I listen to it again? Hell yeah mos def I would. My favorte tracks are probably “Monkey Bars” and “Arsenal”. The drums hit hard as fuck in the intro of “Monkey Bars” and really set the tone for the track. ”Arsenal” just has that quality to it that makes you wanna do something ignorant, like paint graffiti or slap a Wal-Mart greeter. It’s rare to find producers in hip-hop who respect their craft enough to learn the tools of their trade like any other musican would. Unlike most producers, Brandon could even perfom this material live as the process of making it is pretty cool to watch and allows for improvisation. Overall, B.Durazzo has a sound that is well crafted and intelligent. You can listen to Ben’s album and also purchase it HERE.

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Iron Reagan Demo 2012 cover

Let’s Open Up This Pit (Of Horrible Memories).

If you were in a hardcore band during the 80s, you probably had a song about then-president Ronald Reagan, and for good reason. Reagan, while somewhat charming in a Hank Hill sort of way, built his presidency on Bible/chest-thumping rhetoric and borderline racist, anti-poor policy.

With the (moral) majority of Americans seemingly under his spell, it was up to punk rock to step up and form a united opposition. And punk rock delivered, resulting in some of the most memorable songs and bands of that era.

Iron Reagan is a nostalgic throwback to that period of political hardcore, in both aesthetic and sound. With members of Municipal Waste and Cannabis Corpse, it may be assumed that Iron Reagan is a “joke project,” but fortunately, this is not the case. The band shows a great affinity for the artists they are emulating; this is definitely homage, not parody.

While some metal riffs sneak their way in, these four songs are pretty much straight hardcore/thrash in the vein of Cro-Mags or DRI. All four tracks are solid and fun; and coming in at just around the five minute mark (total) makes this demo lend itself to repeated listens.

By the end of the 80s, everything that could possibly be said (or sung) about “The Gipper” had been. But there is always a place for hardcore in the vein of those who were leading the opposition. Maybe this band will even inspire others to do the same. It’s never too late (or too soon) to make an anti-Dubya record, ya know.

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theHELL – Sauve Les Requins cover

One issue I have with side projects is that oftentimes they involve drastic genre-changes that artists are not always capable of making relevant to their fans. The cycle usually goes like this: a musician in a punk or indie band makes a statement announcing the project such as “I’ve always enjoyed juke joint blues, so we’ve decided to make a juke joint blues record.” Then the record comes out and all of the hardcore fans of the musician’s “main” band buy it and are like “well this is neat, I guess,” listen to it for a week, then shelve it for eternity. In an interview a few years later, the musician will apologize for the record, calling it “a bit of a misstep,” then announce his new reggae fusion project, and the cycle begins again.

Thankfully, The Hell does not fall into this trap. This side project from singer/guitarist Matt Skiba (Alkaline Trio) and drummer Atom Willard (Angels & Airwaves, Rocket from the Crypt) has each musician doing what they do best, which is constructing excellent pop punk songs. By bringing their talents together, they have created a record that sounds different enough from their current bands to justify its existence as a separate product, but not so far removed that it alienates fans.

This is unmistakably a straight-up punk rock record. The four tracks on this EP all come in under the 3 minute mark, and the production is far less pronounced than on Angels & Airwaves and more recent Alkaline Trio releases. The vocal delivery and lyrical content also invoke memories of early-to-mid-career Alk3, with f-bomb laden blasphemous songs primarily about well, Hell. However, the EP is not merely a rehash of Matt’s output in that era of Alkaline Trio. The song construction is tight and focused, but more driving, with some more traditional punk “whoa-ohs” and “1, 2, fuck yous” thrown in which also serve to differentiate this record from Alk3 releases.

Given my general suspicion regarding side projects, I went into this EP cautiously optimistic. Less than 45 seconds into the opening track “Gasoline,” I was sold. This EP greatly exceeded my expectations and is exactly what I want from a side project – a record that plays on the musicians’ strengths and does not alienate fans, but is different enough to separate it from the artists’ principal bands. I hope that this was not just a one-time deal and that we’ll see more from The Hell in the future, even if it takes until the members finish their alt-country/Eurobeat/visual kei record.

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The Mediocre Fight – We Are Enablers cover

Jacks of All Trades, Mediocre at None.

One striking aspect of The Mediocre Fight’s bio is the band members’ diverse musical backgrounds. The group consists of “a jam-band drummer, a jazz pianist and an indie-rock bassist, guitarist, and lead singer,” not to mention the other rotating members of the ensemble who bring the total number of Mediocre Fighters to twelve (a number which may or may not include the violin talents of Margot & The Nuclear So and So’s Erik Kang). Each one of these backgrounds surface on these eight tracks, resulting in a record that has something for everyone, but will appeal most to those with a diverse palate of musical tastes.

We Are Enablers opens with “The Circus,” an upbeat track that showcases many of the best aspects of the record: a full and intricate ensemble sound, excellent professional production, and pleasant vocal delivery. The next song, “Bored and Young” is comparatively scaled down, but one of the highlights on the album with its infectious melody and amusing lyrics. Other standout tracks include “Alright to be Alright,” a positive love song that settles at just the right spot on the sappiness spectrum and the brief, rollicking, all-over-the-place “The Girl Who Steals.” While the last track, “Passing Time” is the longest with the most varied parts and changes, “All Things Go” stands out to me as the most ambitious song on the record. It’s a brilliantly arranged ballad that, with its strings, choruses, and sincere delivery of the lyrics, really shows off the musical talents and songwriting chops of the band.

This excellent debut album succeeds in showcasing where each of the members are from. I, for one, am curious to see where this diverse and talented group of musicians will go in their very bright future.

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This is a few days late, but here’s my top ten hip-hop and rap albums from over the last year. This is a list of records I found myself listening to more often than everything else that dropped in 2011. Enjoy.

Action Bronson – Dr. Lecter

Any emcee that can correctly use the term amouse bouche on a track deserves some recognition. Action Bronson has been one of the breakout successes in indie rap this year. Blending his penchant for the finer things in life with grimy lyrics about street shit like guns and drugs, Bronsalino consistently kills it on every track. The former gourmet chef and graffiti artist proves he’s more than just a obese white guy that sounds a lot like Ghostface. Check out his follow up with Statik Selectah “Well Done” for further rhymes about prosciutto and other ill shit like that. Listen to the tracks “Get off My P P” and “Larry Czonka” to get familiar.

Random Axe – Self Titled

Random Axe is a group comprised of emcees Sean Price & Guilty Simpson and producer Black Milk. Sean and Guilty’s raps about drugs, guns and other cool stuff work well with Black Milk’s production. Both heavyweights on the rap scene with in their own right, P and Guilt consistently deliver well conceptualized rhymes full of gritty content. With guest appearances by Danny Brown & Rock (of Heltah Skeltah), the album is well rounded effort. Check out “Jalphy Joe” and “Chewbacca” for proof.

Danny Brown – XXX

Detroit native Danny Brown is a weird cat. I dig that. More comfortable in skinny jeans and a haircut suitable for an indie rocker, Danny is a comic book character that loves violence, drugs, women and more drugs. Reminiscent of Cage, Danny has a talent for delivering some of the illest similes I’ve heard in a mad minute. This follow up to his previous mixtapes is a concerted effort to further showcase his drug crazed personality. Danny’s voice might not be for everyone, but tracks like “I Will”, “Radio Song” and “Adderal Admiral” are sure to have you nodding your head.

ASAP Rocky – Live, Love, ASAP

I waited a while for this album to drop and it was worth it. Since dropping, it’s been on steady rotation. The album seemed a bit over-hyped on the blogosphere but in my opinion, it exceeded expectations greatly. Rocky’s ability to use trademark aspects of different regional hip-hop influences makes the record an interesting listen. Who says that just because you’re not from Houston you can’t get trashed on codeine syrup and chop and screw your tracks, certainly not ASAP Rocky. Check out “Peso” and “Trilla” to get better acquainted with his sound.

Hail Mary Mallon – Are You Gonna Eat That?

This is another great “supergroup” album from three underground staples. Hail Mary Mallon is Aesop Rock, Rob Sonic and DJ Big Whiz and they kick ass together. I kinda thought that Rob Sonic was a bit of an Aesop Clone but on this record, he even seems to outshine the king of weird rap on more than just a couple of tracks. The videos they’ve put out for “Breakdance Beach” and “Grubsteak” are nothing short of hilarious.

Pusha T – Fear of God

Following the success of the Clipse’s sophomore effort, Pusha T puts out this solid effort. Rather than just being a half-assed reminder of his existence to Clipse fans, Fear of God is a record that stands on its own. The single, “My God” is dope and frankly so is the rest of the record. With some other bangers out this year such as his collaboration with Tyler, the Creator for “Trouble on My Mind”, Pusha’s had a solid year musically. Yeeeeeeach.

Wu-Tang Clan – Legendary Weapons

What’s to say? The Wu is back like they never left. Longevity in the rap game is something that is to be admired when most rappers, let alone groups are good for only one hit single. This record proves that Shaolins’s finest can still be not only relevant but reinvent the idea of what good rap music is. Plus, this album has the highly anticipated collaboration between Ghostface Killah and Action Bronson, “Meteor Hammer”. Bronson’s been criticized for sounding too much like the Wallabee Champ, but this track is a banger that proves otherwise.

Clams Casino – Instrumentals

Clams Casino makes even the shittiest rappers sound good. Whether it’s Lil B or Soulja Boy, Clams’ beats are the silver lining to the ignorant cloud that many artists he works with are floating on. Rather than having to listen to Lil B say “swag” fifty times just to hear some really ill production, pop on this record. His ability to sample a wide variety of music and pair it well with hip-hop drums makes this worth a few listens. Peep “Motivation” and “Realest Alive” for futher proof of his adeptness with production.

Ghostface Killah – Apollo Kids

Technically, this album came out in 2010 but it was like 10 days before 2011 started so that doesn’t count. Ghostface is consistently one of Wu’s most productive members and proves that it’s not just to stay in the spotlight. With each solo release, Ghost solidifies his place as one of the greats. Featuring dope collaborations and slick production, this record still is on heavy rotation over a year later. Check out his track with Black Thought of the Roots, “In tha Park” for some nostalgia about the golden era of rap.

Doomtree – No Kings

This came out a bit later in the year, so I haven’t been able to give it as many listens as I would like. However, the Doomtree camp out of Minneapolis has proven that more that “Minnesota Nice” applies to more than just the overly friendly residents. Both the production and lyrics are well above par. Tracks like “Bolt Cutter” and “Bangarang” showcase the group’s ability to work each individual’s talents into a cohesive sound. While POS may seem to be the standout of the crew on most tracks, Dessa is displays star quality throughout the entire album. I’ll be listening to this well into 2012.

Now, I know you’re thinking “Where in the hell is Watch the Throne?” Pfffffft, Jay did the whole collab album thing with R. Kelly for “Best of Both Worlds” years ago and frankly did it better then. Don’t get me wrong, it’s nice but not top ten material in my opinion. You’re probably also thinking The Roots should’ve made this list too. As far as I’m concerned, it didn’t get much better than “Things Fall Apart”. Honorable mention goes to Das Racist for their weirdly awesome sophomore album, “Relax”. My favorite song of the year probably has to go to Mr. Muthafuckin’ eXquire for his underground rap all-star line up on his “Huzzah” remix. That’s it.

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Bedroom Sons – Father EP cover

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Best 10 of 2011 List- no order (per usual- I’m bad with rankings)

• St Vincent – Strange Mercy
• Bon Iver – Bon Iver, Bon Iver
• Algernon Cadwallader – Parrot Flies (my review)
• Radiohead – King of Limbs
• James Blake – James Blake
• Wilco – The Whole Love
• William Elliott Whitmore – Field Songs
• Amy LaVere – Stranger Me
• Tyler, the Creator – Goblin (my review)
• The Decemberists – The King is Dead

Best Shows of 2011-

•  Steely Dan, Riverside Theater (Milwaukee), August 28th
• Algernon Cadwallader/Snowing, Strangelight (Chicago), June 18th

Most Overrated of 2011

Maroon 5 – Moves Like Jagger

Zooey Deschanel

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Staff Picks: Best of 2011 – Ryan Grove from Sock Monkey Sound on 8tracks.

Favorite Records of 2011

1. Bomb the Music Industry! – Vacation

(My Review)

2. Bright Eyes – The People’s Key 

While Oberst’s songwriting and lyrics may have lost some of their rawness and intensity over the years, they have also evolved and grown. An incredibly interesting and listenable record throughout. (SMS Review)

3. The World Inferno/Friendship Society – The Anarchy and the Ecstasy

Ragtime! Punk! Ska! Jazz! Antiestablishmentarianism! Everything you could want from a WIFS record, plus some legitimately pretty songs as well.

4. Angels & Airwaves – Love Part Two

(My Review)

5. The Mountain Goats – All Eternals Deck

Of course it’s great. (SMS Review)

6. Saves the Day – Daybreak

(My Review)

7. Okkervil River – I Am Very Far

Typically great songwriting and some of the most ambitious production the band has ever had.

8. Andrew Jackson Jihad – Knife Man

Funny, sad, offensive, raw, and honest rock. Oh, and kazoos.

9. Toh Kay – Streetlight Lullabies

Yeah, it’s “just” an album of acoustic versions of Streetlight Manifesto songs, but the format really gives the lyrics and pretty damn impressive guitar work a chance to shine through in these tracks.

10. VA – Muppets: The Green Album

The Weezer/Hayley Williams version of “Rainbow Connection” and the Alkaline Trio cover of Movin’ Right Along are the highlights to me, but the whole album (even the Amy Lee song!) is pretty solid.

Best Video Game Soundtrack of the Year: 

Shadows of the Damned

When you get composer Akira Yamaoka (Silent Hill series) to do a soundtrack for a game from Shinji Mikami (Resident Evil) and Suda 51 (No More Heroes, Killer 7), it’s obviously going to be something special. From haunting and beautiful piano melodies to pounding and thrashing industrial rock, this soundtrack has everything that makes a Silent Hill soundtrack great, but somehow sounds completely different.

Favorite EPs of 2011 (This list is short, like EPs)

1. Minotaur – S/T

2. Cobra Skulls – Bringing the War Home

3. Less Than Jake – Greetings From Less Than Jake (SMS Review)

Album I may have really liked but couldn’t bring myself to purchase due to its uncomfortable title:

Arctic Monkeys – Suck it and See

Record that would be considered a “guilty pleasure” if I had even an elementary understanding of the concept of shame:

Patrick Stump – Soul Punk

Best New Discovery:

The Wild – Set Ourselves Free (2010)

Favorite Songs of the Year:

1. “Vocal Coach” – Bomb the Music Industry!

“Oh, I get so embarrassed when my voice pops out and it’s not like in my head. If I got a new vocal coach and I could hit the notes, you’d fall in love again…”

2. “I Am Sick of People Being Sick of My Shit” – The World/Inferno Friendship Society

“I know you’ve tried so hard to package joy. You try so hard to sell us things that are already ours, like the bones in my ears, like the air in my lungs, which whistle songs so carefree..”

3. “Jejune Stars” – Bright Eyes

“Any expression of love is a way to return to that place that I think of so often but I never mention. The one the voice in the back of my head says that I don’t deserve…”

4. “Hanging From a Hit” – Okkervil River

“A day she spends the night and I can hear her sighing. As she’s almost asleep on one side, I lie back on my pillow and ask what her husband is like…”

5. “For Charles Bronson” – The Mountain Goats

“Keep the heart of a champion. Never let them see you’re weak. And whatever they say on your page three mention, focus on the parts that make you feel good. Be grateful for the attention…”

6. “American Tune” – Andrew Jackson Jihad

“If I see a penny on the ground, I leave it alone or fucking flip it. I’m a straight white male in America, I’ve got all the luck I need…”

7. “My Heroine (It’s Not Over)” – Angels & Airwaves

“A bit like love and heroin…”

8. “Living Without Love” – Saves the Day

“We’re lost, we’re torn, we praise, we scorn, we’re stuck and we’ll stay the same…”

 Best Worst Song of the Year:

“Get Up” – Korn feat. Skrillex

“Shut the fuck up, get up.”

Favorite Video Game of the Year:

Super Mario 3D Land (Nintendo 3DS)

A colorful and challenging game with brilliant classic Nintendo design that permeates everything from the level designs to the character animations. Super Mario 3D Land is pure blue sky platforming joy and represents (to me) everything video games should be.

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In a lot of cases, a female indie singer producing peppy love songs could be infinitely annoying. Especially since this is not generally my favorite genre of music.

Surprisingly, Cathy Heller‘s latest EP You’re Home to Me doesn’t get on my last nerve. In fact, I really like it. I’ve been a little bitter and down on love lately, but this album makes me believe in happy endings again.

There’s not one thing about the lyrics or melodies that I can pick out that makes this album not work for me. The songs are simple, pretty, and just sweet. Even when there is more production put into the final song–”You’re Home to Me” the simplicity shines through and highlights Heller’s natural talent as a singer.

This album is definitely worth a listen. Cathy’s songs will be featured in the American Girl movie, and she is working with the Jim Henson Company on her own music-driven series (via her website)

On an unrelated note: Cathy’s song “Gonna Be Happy” was also featured in One Tree Hill. Between her, and Wakey! Wakey! I might have to start watching the show for musical influences alone!

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Top Bands You Probably Aren’t Listening To (But You Should)

7) Gold Motel
6) Wakey! Wakey!
5) The Usual Things (previously Apparently Nothing)
4) Nightmare of You
3) Locksley
2) I Fight Dragons
1) Mannequin Men

Mannequin Men

My Prediction: Mannequin Men are going to blow up this year. I’m not just saying that because they are my favorite twitter friends. I really think they are one of the most talented bands I’ve seen in Chicago in the last few years. You can see them at Schuba’s on January 15th.

Top Album of 2011

Kaboom! — I Fight Dragons
Try as I might, I just can’t get sick of this album. I’ve had it for months and I have yet to get sick of it. It’s well written. It’s fun. I just love it.

Best Show of 2011

Suicide Machines — AAA (Riot Fest)
Some shows go right to heart, and this was one of those for me. Every once in a while, I forget what started me on this whole concert thing. Shows like this one remind me who I am.

Favorite Movies of 2011:

11) Win Win
10) Cowboys & Aliens
9) Super 8
X-Men: First Class
7) Fright Night
6) The Muppets
5) Captain America
4) 50/50
3) The Adventures of Tin Tin
2) Attack the Block
1) Hanna

Favorite Movie of the Year:

This was a really really close call. I loved Attack the Block. A LOT. The special effects were amazing. It was funny and exciting at the same time. I really am surprised more people didn’t notice it.
However, Hanna still wins by a landslide. It was a movie that exceeded all my expectations, which were very low. On the surface, it looked like this simple movie about a child assassin. In reality, it was a complex fairy tale with a kick-ass soundtrack. It is one of the best movies that I’ve seen in years.

Worst Movie I Saw This Year

Insidious
For sure, this one just was not good. It started out fairly creepy, but then became some sort of mash-up of horror clichés. It could have been cool–without the added comic relief of the ghost hunters, and the ridiculous-looking demons.

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Top 10 Favorite Releases of 2011

note: This is not necessarily a list of the best albums of the year; I’m not nearly qualified enough to make that list. Instead, this is my list of what I’ve listened to and loved the most.

1. Bon Iver, “Bon Iver”
   It’s hard not to put the new release from Justin Vernon and co. at the top of my list. While I used to be Team Emma when it came to Bon Iver’s music, I’ve slowly become a convert. Vernon stepped away from the guitar and into the studio, invited more collaborations, and apparently got wistful for the 80’s.
2. Island of Misfit Toys, “Bear Hair”
   This album is close to my heart not only because it’s a fantastic first release, but because some of my dearest friends and favorite people are behind the sound. Exploring the trouble with growing up and using every inch of their then-8 piece band (seriously, they have two drummers… who does that?), the album begs for singing along. It’s a favorite to crank in my car while driving.
3. Doomtree, “No Kings”
   The most recent release from Milwaukee rap collective Doomtree (boasting familiar face P.O.S. among others) has practically been on repeat since it came out. While each member boasts strong releases of their own, there’s something perfect about the music they make when the come together. The album’s solid beats and clean flow feels effortless and is infinitely listenable.
4. The Antlers, “Burst Apart”
   Thank God, not another album that makes me want to give up on life. Coming off of critically acclaimed “Hospice”, The Antlers built on what they created before. “Burst Apart” is lush and beautiful, and it lends itself to your full attention. It isn’t an album for all seasons, but man, is it wonderful.
5. Johnny Foreigner, “Johnny Foreigner Vs. Everything
   Some albums call for you to sit and listen and concentrate. Some are good background music and some are good for driving. Johnny Foreigner’s newest is made to jump around the room to. JoFo has never disappointed before and they don’t here. They hit notes all over the board, both musically and emotionally. I find new things to love about this album every time I listen to it.
6. Peter Bjorn and John, “Gimme Some”I like my albums fun. “Gimme Some” gladly delivers on that. With a sound that feels pulled from another time, the band has released an album that is catchy, which in this case isn’t a dirty word. I found myself wanting to continuously revisit this release and it puts a smile on my face every time I hear it. Turns out you can have fun and listen to quality music.
7. Clap Your Hands Say Yeah, “Hysterical”
   Whether you classify CYHSY as indie, alternative, or twee (or you skip classifying them because you don’t feel like saying their entire name), there is no confusion about what a great listen their newest is. It’s a versatile album that I’ve been able to visit in different occasions and different moods. The band has been consistent in producing quality music and “Hysterical” keeps with tradition.
8. Childish Gambino, “Camp”
   Quadruple threat Donald Glover seems to be enjoying his newest creative endeavor. He gained quite a bit of buzz thanks to two LPs and an EP (among other remix albums and B-sides) that he produced and released himself. His releases featured not only rhymes by Glover, but also his beats and hooks. He teamed up with Glassnote for his first major label release that was well-received by critics and fans alike. Gambino raps with wit and self-awareness, peppering reflections on being famous and being black (among other things) with pop culture references. It’s animpressive step into the professional arena.
9. Adele, “21”
   What can I possibly say about Adele, arguably the queen of pop music, and her most recent release that hasn’t already been said? It is a beautiful work on honesty, power, and talent. There is no autotuning to be found here. As a note, this album would be worth including if only for the presence of the song “Someone Like You” (and, of course, the Saturday Night Live skit it spawned).
10. The Black Keys, “El Camino”I just cannot get enough of The Black Keys. They seem to be a band that attracts fans from all walks of life and all music styles… probably because they consistently make quality music that is easy to listen to. I listen to “El Camino” and I forget that there are only two people in the band because the sound is so full. I also love hearing a band that plays rock, pure and simple, that plays timelessly. This is an album you’ll love, and your dad probably will too.

Honorable mentions: Explosions In The Sky, “Take Care, Take Care, Take Care”; Los Campesinos!, “Hello Sadness”; Fleet Foxes, “Helplessness Blues”; Slow Club, “Paradise”; The Pains of Being Pure At Heart, “Belong”; Childish Gambino, “EP”

Top 8 Songs of the Year (in no particular order)

1. “Towers”, Bon Iver
   No, “Beth/Rest” is not my favorite song off this album. Every single time I hear the horn riff, I grin. If that’s not a favorite song, I don’t know what is.
   
2. “Freaks and Geeks”, Childish Gambino
   While I think Gambino’s major label debut is wonderful, I think this single off his EP is a near perfect song.
   
3. “Someone Like You”, Adele
   If I need to explain this, you don’t have a heart.
4. “Bolt Cutter”, Doomtree
   As my friend so eloquently-and-succinctly put it, “Bolt Cutter is a fucking jam.”
5. “Hello Sadness”, Los Campesinos!
   This album was received with mixed feelings, but I think the title track off “Hello Sadness” gets at all the things I love about LC!
6. “Beginnings of a Beard”, Island of Misfit Toys
   The song that starts the album and started IMT’s live shows gets me pumped every time.
7. “(Don’t Let Them) Cool Off”, Peter Bjorn and John
   Fun. What more can I say? It’s the epitome of the album.
8. “Two Cousins”, Slow Club
   Brilliant single off of a good album.

Top 10 Discoveries of Old Releases (in no particular order)

1. Tullycraft, “Disenchanted Hearts Unite”
2. Dessa, “A Badly Broken Code”
3. Camera Obscura, “My Maudlin Career”
4. Anathallo, “Canopy Glow”
5. Johnny Foreigner, “Waited Up Til It Was Light”
6. Owen, “New Leaves”
7. Matt and Kim, “Sidewalks”
8. The Mountain Goats, “The Sunset Tree”
9. Justin Vernon, “Hazeltons”
10. Gayngs, “Relayted”

Top 5 Songs I’m A Little Ashamed To Love

1. LMFAO, “I’m Sexy and I Know It”
2. Glee Cast, “Rumor Has It/Someone Like You”
3. Beyonce, “Girls”
4. Nicki Minaj, “Super Bass”
5. Maroon 5 (feat. Christina Aguilera), “Moves Like Jagger”

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Records:

• 

  Beady Eye by Steve Gullic

  Beady Eye, ‘Different Gear, Still Speeding’

• Foo Fighters, ‘Wasting Light’
• Pink Floyd, ‘ALL Remasters’
• Eddie Vedder, ‘Ukelele Songs’
• Arctic Monkeys, ‘Suck it And See’
• They Might Be Giants, ‘Join Us’
• Noel Gallagher, ‘High Flying Birds’
• The Black Keys, ‘El Camino’

Songs:

• Beady Eye: The Roller
• Foo Fighters: Arlandria
• Pink Floyd: Echoes
• Arctic Monkeys: Don’t Sit ‘Cause I’ve Moved Your Chair
• Noel Gallagher’s High Flying Birds: The Death of You and Me
• The Black Keys: Gold on the Ceiling
• They Might Be Giants: Can’t Keep Johnny Down
• Eddie Vedder: Longing to Belong

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Full Toilet 7" cover

After listening to the Full Toilet 7″ for the first time, I wanted to find out a little more about the band. I checked Sub Pop’s site, which gave me precious little insight into who they were, outside of the fact that the singer’s name is Don Sheets and apparently dude is kind of a dick. Unsatisfied, I did a Google search for the band’s name, not really realizing what I had done until it was too late and the first page of results were already on the screen. Thankfully, my SafeSearch settings were at moderate, which sheltered me quite a bit, I’m sure.

Fortunately, it’s not necessary to have any background on Full Toilet to enjoy their record and understand their sensibilities. The 7” consists of 13 songs, most under a minute. Overall, the songs are somewhat of a satirical take on late-70s UK anarcho/skinhead punk, complete with “oi”s and constant Crass-like drum rolls. The 7″ starts with the the pounding “Loaded Gun, Loaded Youth,” which is probably the closest thing to a traditional hardcore song on the record. After this, things get weirder. From the second track on, the tempos and vocal stylings vary from track to track, ranging from Tom Waits-esque chatter to high pitched screaming to anthemic singalongs.

The lyrical content is mostly about drinking and being pissed off and not liking cops, which is kind of what you want from this type of band. Despite the angry subject matter, the record is really a lot of fun, with some pretty silly lyrics. For example, on “Pist Office,” “I want a goddamn stamp” is repeated for the duration of the track while the chorus of “You fucking suck, so shut up” in “WYPL/Shut Up” would not be out of place in a Meatmen song. This 7” was crafted with equal parts homage and humor and is a bizarre and boisterous listen from beginning to end (which is about 8 minutes). It’s a perfect record to put on and listen to with friends while drinking; between the head-scratching and laughing you may even find yourself getting a bit pumped.

Oh, and if you want to learn some new and disturbing facts about S&M acts, just run a search for the band’s name.

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Danger presents his top choices of Best Music 2011

Top Eleven Albums of 2011 (in order)

1. Girls – Father, Son, Holy Ghost
2. St Vincent – Strange Mercy
3. Yuck – Yuck
4. Atlas Sound – Parallax
5. Wilco – The Whole Love
6. Wild Flag – Wild Flag
7. Cymbals Eat Guitars – Lenses Alien
8. The Pains of Being Pure at Heart – Belong
9. Telekinesis – 12 Desperate Straight Lines
10. Smith Westerns – Dye it Blonde
11. Feist – Metals

Just Missed It

1. Radiohead – King of Limbs
2. Bill Callahan – Apocalypse
3. Antlers – Burst Apart
4. Ringo Deathstarr – Colour Trip
5. Dum Dum Girls – He Gets Me High EP
6. Jay-Z and Kayne West – Watch the Throne
7. The Mountain Goats – All Eternals Deck
8. Male Bonding – Endless Now

New Discoveries

1. Jad Fair & Yo La Tengo – Strange But True
2. Thee Oh Sees – Castlemania
3. Fitz and the Tantrums – Pickin’ Up the Pieces
4. Sleep Bellum Sonno – Judge Us by How we Lived our Lives not by How we Made our Living
5. Papas Fritas – Helioself

Happy Revisits

1. David Bowie – Young Americans
2. Guided by Voices – Bee Thousand
3. Smog – Red Apple Falls
4. Built to Spill – Keep it Like a Secret
5. The Kinks – Village Green Preservation Society

Further Listening Required (2012 homework)

1. Wye Oak – Civilian
2. Fucked Up – David Comes to Life
3. Real Estate – Days
4. Low – C’mon

Best Tape Release

1. Geronimo – Buzz Yr Girlfriend: Vol. 1

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Black Lips – Arabia Mountain

1. Black Lips – Arabia Mountain

2. Cage The Elephant – Thank You, Happy Birthday

3. Ty Segall – Goodbye Bread

4. Radiohead – King of Limbs

5. JEFF the Brotherhood – We Are The Champions

6. The Strokes – Angles

7. Arkells – Michigan Left

8. Black Keys – El Camino

9. Fucked Up – David Comes To Life

10. Foo Fighters – Wasting Light

Top 5 Favourite New Discoveries

1. OFWGKTA

2. Yuck

3. The Naked and Famous

4. Vampire Weekend

5. Mother Mother

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Tony Hawk's Pro Skater Playstation cover

The announcement of Tony Hawk HD was, to me, the most exciting news from Spike TV’s video-game-award-show-that-I’m-definitely-not-the-target-audience-for earlier in the month. The downloadable title combines levels from the first two games in the series, while using HD magic to make them not look completely awful on modern TVs. However, I was bummed to find out a few days later that this HD version would not have the original soundtracks from the games (which is not really a surprise I guess). This is unfortunate because those soundtracks are so closely tied to my experiences playing the games, partially due to the repetitive nature of replaying stages, but for some personal reasons as well…

In my teens there were three things I cared about: skateboarding, punk rock, and video games. When the first Tony Hawk Pro Skater dropped on Playstation in 1999, it was kind of the game I had waited my entire high school life for. I bought it as soon as it came out and played nonstop for months, competing with friends and myself for higher scores on the game’s nine courses. What initially drew me in to the game (and made me an evangelist for it) was the way it authentically captured skate culture, better than any game before it. Having real life skaters wreck cop cars in San Francisco and kickflip through the legendary Burnside skatepark in Portland made the game feel almost like a counter-culture Madden.

But what really gave the game an air of authenticity was the soundtrack. There were legitimate old school punk and hardcore bands like Dead Kennedys, Unsane, and Suicidal Tendencies mixed in with some of my favorite bands at the time such as The Vandals, Suicide Machines, and whatever-I’m-not-ashamed-to-admit-it, Goldfinger. There was even a Primus song for dudes who like Primus! Minus a handful of forgettable butt rock tracks, this was a huge accomplishment; not only in the realm of typically crap licensed game soundtracks, but in mainstream portrayal of skate culture in general.

And mainstream it was. Tony Hawk’s Pro Skater played a huge role ushering in a new era of skateboard acceptance. Suddenly, wearing an Alien Workshop shirt to school wouldn’t get your ass kicked, because now all the former kickers-of-asses were wearing them too. Overnight, my friends and I were no longer getting spit on and shoved into lockers between classes; we were getting invited to the hottest parties and dating cheerleaders!

OK, maybe that’s a bit of an exaggeration, but the fact that the game had broken into the mainstream was undeniable, and launched a franchise that (for better or worse) still exists today. The sudden and enormous success of the game made a sequel a no-brainer. Tony Hawk’s Pro Skater 2 was released on September 20^th, 2000 and improved on the original in (almost) every way possible. From the game-changing implementation of the manual into the player’s arsenal to the larger courses, huge amount of secrets, stat increases, and awesome hidden characters, the game was an even bigger critical and commercial success than its predecessor. In spite of this, I could not muster the same love I had for the original for its sequel, and the major reason for this was the soundtrack.

Tony Hawk's Pro Skater 2 Playstation cover

Over the course of the year between games, the face of skate culture had changed dramatically. Skaters were no longer just dudes in Minor Threat hoodies with Crass patches sewn onto their jeans. Skaters were now hip hop kids, jocks, hippies, and metal heads too. This changing culture and demographic had a huge impact on the second game’s soundtrack. Suddenly, there were hip hop and nu metal tracks in heavy rotation as I skated through the game’s brilliantly designed new courses. I didn’t mind new additions like Rage Against the Machine (though it didn’t quite fit my idea of what skate music “should be”), but stuff like Papa Roach was just inexcusable in my mind. Thankfully there were still some pretty good tracks by Bad Religion, Swinging Utters, and Millencolin, plus one of my favorite Lagwagon songs, “May 16.”

But even the comfort of Fat and Epitaph bands couldn’t keep me from feeling like an outsider in a culture that was once composed primarily of outsiders. Around this time, I began, consciously or not, shedding my “skater” identity and the time I spent skating dwindled away to nothing. Maybe it was because the new skate fashions of raver pants and basketball jerseys didn’t appeal to me or maybe it was simply because I really wasn’t ever very good and was tired of embarrassing myself and getting hurt. Regardless, I’ll always remember Tony Hawk 2 as the moment when I realized skating was no longer for me.

So it’s with apprehension and strange nostalgia that I await Tony Hawk HD and more specifically, the new soundtrack listing. On one hand, it will likely not contain any songs by Dead Kennedys or Lagwagon, but on the other, at least there won’t be any goddamn Papa Roach.

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This begins the first in a series of best of 2011 entries by our writers and contributors.

Andy’s Best of 2011

Girls – Father, Son, Holy Ghost

Girls – Father, Son, Holy Ghost
No other record brought me back repeatedly, swearing at its core simplicity, simple pop melodies and universal message– the wanting of love in any form. The love of a woman, mother, friends. The record’s haplessly divided by an epic centerpiece, Vomit, that wanders for the first four minutes until it’s spiritual climax. “Come in to my heart,” the band’s principle songwriter, Christopher Owens, proclaims above the gospel choir joining him in a Pink Floyd-esque crescendo. So goes the rest of the record; beautiful, devastating, pop music unafraid to pose it’s influences, with autobiographical lyrics coated in killer choruses . There’s an unbelievable amount of conviction within the performances, production, and songwriting, that elevates these eleven songs together. Father, Son, and Holy Ghost is an intense, religious-like, pop-rock listening experience that I turned to more than any other record in 2011, and will continue to.

Anna Calvi

Anna Calvi – Self Titled
An evil twin sister recording to Jeff Buckley’s “Grace.” If the devil has a voice and can play guitar, she’s it.

Paper Towels – Today We Eat, Tomorrow We Fight, Tonight We F*ck
A large, lo-fi, middle finger to boring, domestic life, technology, and the death of the traditional family unit. Recorded with archaic, analog devices near (what appears to be under) a bridge in a large city– according to the notes accompanying this recording. At times sounding like 1,000 homeless men singing in mono on “Click, Click, Click” (track 11) segways to humorous – if not scientifically correct – warnings to mankind’s most irresponsible kine, “Husbands and wives, your children are getting fatter and not for the better. Click, click, click.” The most baffling, scientific, and politically-prophetic recording I’ve heard this year. Here’s hoping the mailman is as good to you as he was to me this year when this cassette-only release arrived with a PR kit loaded in rock n roll mythology and threats to my personal existence.

Francis Goes Solo {L>R}: Darren Garvey & Daniel McMahon are caught thinking about stuff- beer, monkeys, Mister Meerasaké and melodies.

Francis Goes Solo – Self-Titled E.P.
Daniel McMahon and Darren Garvey, servants of the studio and the road to many Midwestern bands, serve up 3 cover songs by artists they’ve recorded and performed with. Songs by Cameron McGill, Cory Chisel and Miles Nielsen are turned into Bob Dylan’s wild mercury sound in the hands of Francis Goes Solo. 8 minutes 38 seconds caught within one night of recording. Here’s hoping they drag these simple, bombastic, trash-can-glam-folk-rock-pop-punk tribute performances out for 35-37 minutes next. Garvey & McMahon’s Francis Goes Solo debut E.P. is what the true spirit of rock n roll should sound like- lighting in a bottle.

Smoking Popes – This is Only a Test
Josh Caterer composes a teenage rock symphony to youth and longing, and it’s not annoying! In the hands of other pop-punk bands (think anything Blink 182 or a lead singer that sounds like a crying goat- most of the emo rock genre) this would be a terrible, simple, idea- and unlistenable. The Popes prove they’re back full-force, whether anyone else is still listening to them doesn’t matter. The Midwest-pop-punk formula they introduced to the rest of the rock world in the 90s, that many bands emulated poorly, never tires in the hands of The Smoking Popes. “This Is Only a Test” is the most surprising rock listen of the year. Younger, wanna-be-post-emo-punk-whatever they call themselves, bands should take notes here; it starts with writing great songs, then, sing your hearts out. Something Josh Caterer & Co. still do better than most, including their own 90s, commercially successful, peers.

More 2011 Listens

• David Bazan - Strange Negotiations
  

  David Bazan – Strange Negotiations

• The Roots – Undun
• Cameron McGill What Army – Is A Beast
• Tom Waits – Bad As Me
• Bright Eyes – The Peoples Key
• Cass McCombs – Wit’s End / Humor Risk
• Trapper Schoepp The Shades – Run, Engine, Run
• Lydia Loveless – Indestructible Machine
• Fleet Foxes – Helplessness Blues
• Miles Nielsen – Presents The Rusted Hearts
• Wilco – The Whole Love
• Boys Like Jason – I Hope It Never Stops Raining
• Gillian Welch – The Harrow The Harvest
• A.A. Bondy – Believers
• Noel Gallaghers High Flying Birds – Self-Titled

Trapper Schoepp & The Shades – Run, Engine, Run

• The Decemberists – The King of Death
• Yuck – Self Titled
• Jay-Z Kanye West – Watch The Throne
• Stephen Malkmus The Jicks – Mirror Traffic

Records from other years I listened to a whole bunch

• The Moondoggies – Tidelands
• Chuck Prophet – ¡Let Freedom Ring!
• Bryan Adams – Reckless
• Harry Nilsson – Nilsson Sings Newman / and Knnillssonn
• Rolling Stones – Tattoo You
• Glenn Gould – The Goldberg Variations
• Kathleen Edwards – Asking For Flowers
• Margot The Nuclear So Sos – Buzzard
• Beach Boys – Smile Sessions
• Trevor Menear – Some Kind Of Sunshine
• George Harrison – All Things Must Pass

Live Performances

Bon Iver, The Long Center, Austin, TX, September 13th, 2011

Kathleen Edwards &  Bon Iver
The Long Center, Austin TX, 9-13-2011
Edwards’ haunting version of The Flaming Lips’ “Feeling Yourself Disintegrate” to close her opening set silenced the theater as it was still filling in. It was the most memorable single, live performance of the year in a year of many.

Kathleen Edwards, The Long Center, Austin, TX, September 13th, 2011

What’s a list without my worst rock n’ roll related items of the year?
This is the only area of the post many will unfortunately read and offer commentary on– like bread on a stick, feed the pigeons and wait.

AW  |  Andy Whorehall

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Francis Goes Solo is Daniel James McMahon and Darren Garvey. It was never planned that way but it accidentally happened one night in Rockford, IL– August 29th at Underground Squirrel Studio between 12am and 6am, to be exact. McMahon and Garvey had finished up day 2 of tracking for the forthcoming Micky Rosenquist & The Black Squirrels album project when ‘Francis‘ showed up.  Most of the day’s performers had gone home, with another day of work ahead.  McMahon and Garvey decided to keep working on another 12 pack of beer, which led to a 3 song E.P. they had magically recorded by dawn. Showing up at 10:30am to continue day 3 of production, they shared with me what they had done a few hours earlier.

Choosing 3 great songs by Midwestern songwriters that McMahon and Garvey have supported as recording & touring members over the past few years, Francis Goes Solo was born– with limitations, the rock n’ roll kind.  Every song was recorded in the key of E at 165 bpm, with 1 take, guitars, vocals, percussion, bass.  Overdubs allowed by each were minimum throughout– Darren’s tambourine, Dan’s harmonies.  That’s about it.  Francis Goes Solo covers, in order: “Not On My Side” by Cameron McGill & What Army, originally released on the beautiful 2009 release, “Warm Songs for Cold Shoulders”;  ”Tennessee” by Cory Chisel & The Wandering Sons, off of 2009′s “Death Won’t Send a Letter”; and “Dear Kentucky (You’re Killing Me)” by Miles Nielsen from 2011′s “Presents The Rusted Hearts.”

Francis Goes Solo {L>R}: Darren Garvey & Daniel McMahon are caught thinking about stuff- beer, monkeys, Mister Meerasaké and melodies.

McMahon leads the vocals on all except for “Not On My Side,” providing harmonies to Garvey’s lead.  All three originals by each songwriter are turned inside out; what are fragile, soft, contemplative pop-folk performances by the composers become trash-glam indie rock anthems, amps turned to 10, with feedback and harmonies bristling together with monster drum-fills and cymbal crashes.  Never lost in the sonic rash are each song’s lyrics and perfect pop melodies.  An honor to the songs’ craftsmen, while also serving up more reasons why McMahon and Garvey are in high demand by many bands to provide their services on the road, and in the studio.

Bob Dylan once proclaimed that he sought ‘that wild mercury sound,’ or lighting in a bottle, during the recordings of “Blonde on Blonde”,  and I’ve searched for this mercurial sound my entire life from recordings I stumble upon- and here it is, in all of it’s E chord glory. Daniel McMahon and Darren Garvey found it here, channeled through their peers’ songs, as Francis Goes Solo. This is as close to the sound of being punched in the face repeatedly, and loving it.

Turn this fucker up loud, fist the air or play the air drums, and sing along– then, bow to Francis Goes Solo like you just don’t care.

AW  | Andy Whorehall

Listen to the originals, here:

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Jeff Goldsmith is a singer-songwriter currently playing and recording in Naperville, Illinois.  We’ll get to that part in a moment.  First we need to turn back time a bit.  Long before his current residence and musical project, Goldsmith spent years and years playing in psychedelically tinged rock bands in my hometown (that’s Byron, IL for those of you playing the home edition of the Sock Monkey Sound Trivia Game); bands that I watched play at least a hundred gigs for reasons that now seem much less legitimate than they once did.  It was also because I liked loud things and guitar solos. Those reasons are completely legitimate.  What I’m trying to get at is the idea that the Man at Helm EP is filled with stylistic choices that seem very natural and familiar to me. This causes some difficulty in finding the proper distance in assessing the artwork.

Have I acquitted myself properly? I think so. Let’s move on.

Built on guitars, keyboards, and vocals (with production and percussion help from Chris Hessian), Goldsmith’s songs often seek to find the space between atmospheric parity and lushness.  Goldsmith floats haunting vocal harmonies against swarms/clouds of guitars and synthesized strings and organs.  This is all a very pretentious way of saying there are lots of overdubs woven together with the hope of creating a sonic wash of melody.  This approach works to varying degree throughout Man at Helm‘s four song arc.  “The Drive,” is a nervous bastard of a song; swirled around a repeating acoustic guitar arpeggio. It’s a slow climb that suitably employs the sort of creepy close harmonies that all of those early 00 post grunge bands forgot to take when they ripped off Alice in Chains, and is capped by an appropriately ugly guitar solo.  “Stalemate,” finds an intriguing piano melody and unfortunately does very little with it.  It feels like the introduction to a song that was never completed. If the intention was for it to come across as little more than a sketch, the song succeeds.  “Please, Please,” begins in the midst of a transition between sweet relief and highly agitated and slightly off-kilter tones, but it stumbles with lyrics that attempt doom via the same sort of free associative nouns that one might ignore in a Mars Volta song and do not succeed.  It recovers in the last half when Goldsmith ditches the labored word play for non-lingual coos (na na na na) and a simple plea that plays straight into the heart of the tune.  “The Gamble,” is a simple love song to some person lost in the past and it suits Goldsmith quite well.  More oohs and ohhhs and ahhhs.  These are good decisions that propel the song into its excellent coda.  The instruments shift into a slow, steady, and very beautiful chord progression that hits its peak as Goldsmith gives a falsetto’d cry of, “Waving goodbye.”  It leaves the song and EP on a positive note that is very well received.

You can currently listen to the Man at Helm EP on Goldsmith’s Reverb Nation page

or see him play at the Hipster House in Rockford, IL on December 16

Watch out for Goldsmith’s debut full length sometime next year.

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