New LP We’re All Better Than This Out in June on Count Your Lucky Stars Records

Rockford’s very own Joie De Vivre (www.facebook.com/joiedevivreband) has announced their European/UK tour dates which kick off June 13 in Prague. Houston, TX’s Football, etc. (another Count Your Lucky Stars band) will be their support for most of the UK dates. Joie De Vivre will be touring in support of their new album, We’re All Better Than This, due out in June on Count Your Lucky Stars.

Joie de Vivre have blown up all over the internets as of late. One of the tracks from their forthcoming new album “I Was Sixteen Ten Years Ago” premiered at Alternative Press. These guys are gonna be HUGE. I can’t even get them on the phone anymore, which is odd considering 2 of their members and 1 of the touring members co-founded Sock Monkey Sound. I guess you know a band is going somewhere when they stop returning your calls. Good for them, I look forward to purchasing the new record when it arrives at Culture Shock.

Football, etc. (www.facebook.com/footballetc) continue to support The Draft, released last year on CYLS. The album is now available in its second pressing.

Joie De Vivre 2012 European tour dates:

•  13.06.12 – Czech Republic – Prague – Chapeau rouge
•  14.06.12 – Germany – Berlin – Marie Antoinette w/ Tera Melos
•  15.06.12 – Denmark – Kolding – venue TBA
•  16.06.12 – Denmark – Copenhagen – Musikcafeen
•  17.06.12 – Sweden – Stockholm – Club 43
• 18.06.12 – Sweden – TBC
•  19.06.12 – Norway – Oslo – Revolver
•  21.06.12 – Germany – Hamburg – Frappant
•  22.06.12 – Germany – Mainz – Haus Mainusch
•  23.06.12 – Germany – Menden – Autonumzentrum
•  24.06.12 – Switzerland – Porrentruy – Galerie du Sauvage
•  25.06.12 – Italy – Milan – TBA
•  26.06.12 – France – Toulouse – Connexion w/ Prawn & Ape up!
•  27.06.12 – Spain – San Feliu – venue TBA
•  28.06.12 – France – Clermont Ferrand – Le Raymond Bar
•  29.06.12 – France – Paris – La Miroiterie
•  30.06.12 – UK – Milton Keynes – Craufurd Arms (matinee)*
•  30.06.12 – UK – Sheffield – Tye Die Tapes HQ*
•  01.07.12 – UK – York – Stereo (matinee)*
•  02.07.12 – UK – Newcastle – The Central
•  03.07.12 – UK – Leeds – Fox & Newt*
•  04.07.12 – UK – Swansea – Mozarts*
•  05.07.12 – UK – Cornwall – Live bar*
•  06.07.12 – UK – Brighton – Sticky Mike’s Frog Bar*
•  07.07.12 – UK – London – About Time Festival @ The Bussey Building*
•  08.07.12 – Belgium – Antwerpen – JC Den Eglantier (matinee)
•  08.07.12 – Holland – Enschede – The Loch
•  09.07.12 – Germany – Aachen – AZ* = with Football, etc.

Football, etc. solo dates:

July 8, 2012//Manchester

July 9, 2012//Nottingham

www.cylsrecords.com

Sock Monkey Sound

What? Joie De Vivre, Into it. Over it. The Please and Thank Yous, Droughts

When? April 6, 2012

Where? Subterranean in Chicago

Didn’t that band break up recently? Yes

Joie De Vivre were an emo band from Rockford, IL that existed from 2007 until 2011. The band meant a great deal to a small number of people and nothing to a great many more. I fell closer towards the positive end of that spectrum (as evidenced by the two hundred times I wrote about them). I liked listening to Joie De Vivre’s music a lot but I wasn’t so bummed out that I cried at their last show (Geoff Schott). I felt saddened by the break up because I wanted to listen to the group create more music (an incredibly basic portrayal of break up melancholy) and also because breaking up is stupid.  Johnny Ramone stole Joey Ramone’s girlfriend and they continued being a band for a good 15 years after that. My thinking at the time was, “Why would anyone stop making awesome music instead of doing the opposite?” I’m kind of an unreasonable person. Either way, that last show in May of 2011 was a great outpouring of affection for the group and the bands that it had made friends with over the years. It was like an Irish wake except not as fun (You can’t have booze at an all ages show). It allowed for closure. Breaking up is stupid but at least everyone had some catharsis about it.

Rockford, IL has a really shitty education system and it kind of shows because the members of Joie De Vivre apparently didn’t know what the phrase, “broken up,” meant. They kept working on a new album. Then, about 6 months later, some guy was like, “Hey would y’all like to go on tour in Europe?” and they said yes. That is a very conflicting set of events to hear about. I’m not sure if my reaction to the announcement was emblematic of anyone else’s but it went something like this, “I knew you dummies weren’t broken up.  Thanks a lot for making everyone sad, assholes.” Then my reasoning kicked in and I thought, “Who cares? How many times does a band you know get the chance to fly halfway across the world to play music?” The answer is zero. Zero times ever. It’s a fucking awesome opportunity.

Here’s the end game: Joie De Vivre are playing shows again and they have a new album coming out in the next 4-12 months. They’re going to spend most of June and July playing shows in several European countries and one of them will probably get the clap from some Dutch hooker. Sure they accidentally pulled a bait and switch on their fans, but people make mistakes. Would you prefer that they not play any shows or record new music? That would be stupid.

This is not a fair review of Droughts. I only saw one song by Droughts but it was fairly solid,  shouty post punk.  There are lots of bands that sound like Droughts (and vice versa) but it wasn’t bad. I’m really tired of reviewing shouty, Chicago post punk. Brandon Lutmer said they were fantastic. He has a well informed opinion of the matter.

The Please & Thank Yous are a punk rock band from Chicago. I’ve said some funny things about them in the past . They play pop punk like they’re on a mission to rewrite the past and take the minor success of Pennywise for themselves. Fresh off a 6 or 8 month break from playing shows, TPATY had a revamped lineup (new boys on guitar and bass to join the Sonic & Knuckles core of singer/guitarist Geoff Schott and drummer Marcus Nuccio) and it showed. Shit was tight and punchy. By, “shit,” I mean the musical performance. TPATY performed lots of new songs off of their (probably) upcoming 2nd album.  Shit was tight n quick.

Taking pictures in the dark is hard

Into it. Over it. is the music of a guy called Evan Weiss. He lives in Chicago and plays everywhere, and quite often. It’s the sort of music that I like to call, “Earnest Guy With an Acoustic Guitar,” music. Take a few seconds to imagine that and you’ll get the full picture. He had a song about Humboldt Park that did not have the chorus, “I live here because I can’t afford Logan Square.” I like to make up fake criteria and then judge people based on that. To his credit, he was a very adept guitarist with really strong tone. That really improved the overall experience.

Joie De Vivre doesn't actually like basketball

What has changed about Joie De Vivre? Well they have different haircuts and two new members. Since the initial break up, Horn guy Paul Karnatz and organist Zach Staas both moved thousands of miles away from the rest of the band (I can’t blame them). In their place, a couple of fellows called Mark have stepped in to play. Does it make a difference? Kind of. Mark Jaeschke of Chicago’s The Island of Misfit Toys is playing basically the same trumpet parts that were recorded by Karnatz. The big audible difference is that where Zach Staas’s approach to the organ was often, “Hey Danger, here is $20. When I point at you I want you to put a beer on my organ,” Mark Gustofsan was more like, “I’m going to play notes.” It often showed.  Much credit to all of the band. Despite protests of, “We didn’t really practice. I’m sorry,” the performances were much more muscular that one is often accustomed to.  Set opener, “You Ruined Everything That Was Ever Good,” felt like a nice hearty shove to the torso. It’s entirely possible that this band will enter its second life with some fists in addition to the twinkles. Worse things have happened.

Some guy kept yelling, “Sellout!” and, “Judas!” during JDV’s set. That guy must be a pretty clever person who knows a lot about music and sticking it to women of the fine-ass persuasion.

Sock Monkey Sound

Carl Mays

“Tony LaRussa Forevah” – Thom Derby

FREE: Subscribe to Andy & Reggie's Songs About Stuff and Things on iTunes to receive all episodes

Download Episode File | Or Subscribe to our show on iTunes to receive up to date free episodes automatically. FREE. (NOTE: New episodes, after they air, take 24-36 hours to appear in the iTunes episode feed. If you can’t wait, use the ‘Download‘ link above!) Each new episode airs at noon, central time, on Mondays, on Rockford College Radio. Each podcast episode will also be available to download for free via SockmonkeySound.com!

Episode Summary: 04-02-2012 | Presented by Rockford College Radio and Sock Monkey Sound
“Curve Balls” is episode 9 in Andy & Reggie’s Songs About Stuff & Things Radio Hour. In-studio performance by Donkey Boy (USA).  Songs centered around baseball and life featuring:  Whiskeytown,  Joie De Vivre, The Baseball Project with Craig Finn of The Hold Steady.  Bill Cosby, Reggie Jackson, Joe DiMaggio and Thom Derby chime in.

Joie De Vivre – The North End

Episode 9 Playlist: Curve Balls

1. Take Me Out To The Ball Game – Ed Meeker
2. Take Me Out To The Ball Game – The Andrew Sisters
3. Take Me Out To The Ball Game – William Hung
4. Wrigley Field – Wesley Willis
5. Did You See Jackie Robinson Hit The Ball? – Buddy Johnson
6. Joltin’ Joe Dimaggio – Les Brown & His Orchestra
7. Death Threats – Reggie Jackson
8. Don’t Call them Twinkies – The Baseball Project w/ Craig Finn
9. Your Love – The Outfield
10. Curve Balls – Donkey Boy (USA)
11. Upper Deck San Diego – Joie De Vivre
12. Empty Baseball Park – Whiskeytown
13. Baseball – Bill Cosby
14. Swing, Brother, Swing – Willie Smith (The Lion) & His Cubs
15. Baseball – Birddog
16. DiMaggio Retires – Joe DiMaggio
17. (Love Is Like A) Baseball Game – The Intruders
18. I Wanna Be a Baseball Star – Freddie Holt
19. Here Lies Carl Mays – The Baseball Project

Episode 9 Credits
Created & Produced by: Andy Whorehall
Executive Producer: Andy Whorehall
Written by: Andy Whorehall, Reggie Railroad Reynolds
Song Selections by: Andy Whorehall, Reggie Railroad Reynolds
Guest Narratives: Thomas Derby
Episode Sponsors: Derby | Reynolds, Miller High Life
Episode Shoutouts: Miller High Life, Tony LaRussa
Episode Thank Yous: Rockford College Radio

<< Request songs, order butter burgers, and leave messages for Andy & Reggie at their Official Show Web Site! Click here. >>

Sock Monkey Sound

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

Sock Monkey Sound

When: Sunday, January 22, 2012

Where: Subterranean in Chicago, IL

Will this review be filled with familiar faces? Yes it will.

Here’s the deal with the Sunday evening shows that occasionally happen at small bars and clubs.  I’m tired, yo.  I’ve usually spent the previous two days burning candles in every direction with chain free, V.I.P. type bottle service celebrations of life and other peoples’ bodies.  I am a familiar face in various high end hotel lobbies.

What I’m trying to say is that I would usually prefer to spend Sunday on a couch, drinking tea from a mug that has my picture on it, and watching pretentious television or old PBS documentaries.

Sock Monkey Sound

We survived!! We resurrect our old radio format as SMS welcomes Warren “The Firehose” Franklin back to the hotseat. We talk about his signing to Count Your Lucky Stars records along with how the recording of his forthcoming record went. This episode is also about Joie de Vivre’s last show EVER that will be hosted at Rawkspace in Rockford, IL with bands from all over the midwest. Also, we premiere a new song off of Joie de Vivre’s next (and last) album and a new one from Warren Franklin.

Bands and songs featured in this episode include:

The Ground is Lava – Are We Hip Yet

Annabel – The Forgetting of Names and Faces

William Bonney – See Ya Later

Joie de Vivre – Bubble Toes (tentative title)

Warren Franklin – Please Return (The Thrill of the Hunt)

Sock Monkey Sound

Sock Monkey Sound’s 1st Annual Clip Show! We’ve got SXSW updates from Brandon, Patrick, and Matt Youngblood. An interview co-hosted by Jesus Correa with Australia’s circuit bending phenoms Toy Death; and an interview recorded September 2010 with Kickstand Productions and Middlewest Festival founder, John Ugolini.

Toy Death

Sock Monkey Sound

By Brandon Lütmér

I did a proper review for the first ten you’ll see below here and then 20 second reviews for the remaining best of. Just because something got a longer review doesn’t mean it’s better than any others.  I just had more to say about it.  These are reviews of the BEST albums that I heard from 2010, NOT a top ten list becuse it’s too hard to narrow these down to ten.

Full Reviews
Joanna Newsom – Have One On Me
Beautiful is a pretty good description of this record.  The songs kind of just float along with a delicacy that no other record this year has captured.  Once again, as in every one of her releases it’s her sense of melody that really keeps you coming back.  The songs are lush and big but don’t ever become too weighty.  If you’re not familiar with Joanna Newsom then this might be a good starting point.  Her voice is  a little less frail and harsh as on The Milk Eyed Mender and the songs aren’t epically long like Y’s. If i had to complain i would say it’s a little lengthy… three LP’s can be a little much unless you’re Philip Glass or Sam Cooke.

It’s A King Thing – Buffalo buffalo Buffalo… {FREE!}
I discovered this band when i was trying to figure out why my friend Andrew named his show house It’s A King Thing.  Turns out they are an amazing pop band from Philadelphia.  Now, there are some bands who can get away with having cheesy lyrics; bands like The Smoking Popes and Weezer seem to have a knack for saying things that I would normally consider lame but sound endearing and clever when sung by these guys.  This is a gift I do not have, but It’s A King Thing definitely have this gift and use it well. The melodies are so catchy that I kept listening to every song on repeat.  How can a band write a whole album of nothing but hooks?

Hanalei – One Big Night
I’ve been listening to Hanalei since I was in High School.  I remember when it was just Brian Moss and a laptop.  I also remember when they were a full country-ish indie rock band and now, for their third full length release, Hanalei is back to being just One person.  not even a postal-service-y laptop to back him up or anything.  That one of my favorite aspects of One Big night:  it sounds like it was recorded with a four track in his bedroom.  This lo-fi quality really brings out the subtle beauty and grace his songs carry. Straight faced, honest lyrics with not much more than an acoustic and the occasional drum machine makes this album perfect for lazy days or sleepless nights.

Everyone Everywhere – Everyone Everywhere
I first heard these guys when we played A.R.M.s Fest with them in Akron.  I was immediately impressed with the song structure – they have a classic early 2000′s emo sound i.e. The Promise Ring, mid era Get Up Kids and Jimmy Eat World.  This is something you don’t see too often in the emo revival scene, most of that scene is super noodly guitars and epic sing-a-longs so it’s a breath of fresh air to hear a good poppy emo band that writes catchy songs.

Belle & Sebastian – Write About Love
My roommate Brian gave me this record for my birthday. Belle & Sebastian have never released an album that wasn’t good and this one doesn’t disappoint either.  Another perfect pop record by the aging Stuart Murdoch and company.  As with their last few release it lacks a little of the youthful zest and wit that their first few records had, but that’s to be expected.  I’d rather their songwriting change over time than hear them say the same shit over and over again. It makes it more believable too – there’s no way they’re going through the same shit now as when they were in their 20′s.  Kudo’s to Belle & Sebastian for staying relevant for so long!

Bonnie “Prince” Billy & The Cairo Gang – The Wonder Show
Anything Will Oldham puts out is awesome.  If you’re not familiar with him or his many monikers than you should grow up and download “I See A Darkness.”  This album with The Cairo Gang is a little more Lo-fi and minimalist than his country-twinged releases of late – and that’s definately a good thing.  I appreciate him switching things up a bit. ‘The Wonder Show’ is a slow-moving, beautiful record that deserves a lot of plays when you’re alone in your bedroom.

Superchunk – Majesty Shredding
For a comeback record this was really good.  It’s rockin, catchy, and fun as all hell. It’s loaded with ketchup, mustard and all the condiments that make a tasty sandwich great instead of just good. It’s a good place to start for the younger generation who might be unfamiliar with the band.  Don’t get me wrong, the old tride and true Superchunk fans will love it too, but where it has stayed on track in the hook department it seems to have failed a little in the lyrical.  I’m not saying the lyrics are bad… just not as good as any other Superchunk album.  I mean you can’t blame him really, what’s he going to sing about being successful and loving his life as he approaches becoming middle aged?  Hey, it’s better than the Smoking Popes comeback record.

The Tallest Man On Earth – The Wild Hunt
This record took me by surprise.  Before this year I had never heard Kristian Matsson before and upon my first few listens I honestly didn’t care for it.  The same thing happened to me three or four years ago when I first heard Joanna Newsom.  In both cases i didn’t care for their voices at first but their sense of melody and songwriting kept me coming back until I couldn’t stop listening.  At this point I consider them to be two of the best songwriters/performers around and to have beautiful and distinct voices.  His voice is the main thing that sets him apart from every other Bob Dylan loving songwriter with an acoustic guitar and a flair for surrealistic lyrics. Just start The Wild Hunt from the beginning and take it in. The great lyrics and expert hooks start immediately and dont stop until the record’s over. Absolutely fantastic.

Annabel – Here We Are Tomorrow
I know these dudes from Akron, OH personally so I’ll try and not be too biased on their ep released last month.  This was probably the best 7″ I heard all year and rules so hard… that’s the truth. Annabel is a poppy indie rock band from the Midwest and this ep is a step up from their already catchy full length that came out last year.  Killer melodies and pop sensibility with equally great instrumentation.

The Black Keys – Brothers
I have never really been a fan of The Black Keys.  I never hated them or anything, but I just didn’t see what the big deal was about.  I’m still not sold on their older records, but Brothers is a superb album.  It seems to blend the perfect amount of honest indie rock with 60′s Motown style and flair.  This record is so awesome that I might even check out their previous records… maybe not; but I do think Brothers will stand out this year for being not only a fantastic album from beginning to end, but a rousing commercial success as well.  Something you don’t see too often these days.

___________________________________________________________

20 Second Reviews

Titus Andronicus – The Monitor
Just as good as their last record “The airing of grievances” but standing a little more firmly on it’s own two feet.  ”The Monitor” is full of sprawling loud raucous indie rock songs that make you want to throw your fist in the air and sing along.

The Please & Thank Yous – Mind Your P’s And Q’s
TPATY are an amazing pop/punk/emo band from Chicago that obviously love The Ergs. This album is a smart, clever, and well-constructed punk record that deserves far more attention than it got.  This may sound lofty, but it’s probably my favorite punk album to come out of Chicago in years.  There’s not much I don’t like about this record. Word on the street is that it’s being sent for it’s second pressing… so go buy it

Merchant Ships – For Cameron
Merchant Ships was a spectacular traditional emo/screamo band from south bend Indiana. they broke up this year after recording For Cameron so this never got a proper release.  It’s a shame because this is youth angst and honesty backed by noodly guitars with more sing-alongs than you can shake a stick at.

The Ground Is Lava – Freeze Tag
TGIL is and super fun emo band from Ohio with lyrics as quick and witty as their guitar lines. listen to this if you have a heart and enjoy having a good time. Everybody should see these guys live, but make sure you get this album first and memorize every song on it.

Snowing – I Could Do Whatever I Wanted If I Wanted
Snowing is a wild, smart, and talented band from Philadelphia who play some good classic emo.  It reminds me of Woodson by The Get Up Kids but with more balls. This is their debut full length and a step up in songwriting from their 7″.  I’ve heard some negative opinions of this record from people who liked the 7″ and I don’t understand why.  oh well.

The Reptilian – Full Health
Full Health is The Reptilians 3rd proper release and by far their best. Traditional Screamo from Kalamazoo, MI with enough honesty to pull in fans of any similar genre.  The songs On Full Health are short and sweet and leave the listener wanting more.  this is great for me because if a screamo song is too long and epic I get bored. See them live. it’s toally awesome.

The Love Of Everything – Best In Tensions
The Love Of Everything is the moniker of long-time kinsella affiliate Bobby Burg.  This record gives you more of the same as all his previous records.  Smart, bizarre, and loopy pop songs sung out of tune(and that’s not a band thing).

The Hold Steady – Heaven Is Whenever
The Hold Steady is a great band.  This record is great too.  Not nearly as good as their first three albums but better than #4, Stay Positive. This album finds them without keyboard play Franz Nicolay- and it shows. It’s more straight forward guitar driven rock-n-roll.  ’Heaven is Whenever’ doesn’t have as many stand-out tracks as any other Hold Steady album but stands on its own as a whole.

Coping – Lawndale
Coping is a traditional emo band from Chicago.  More emotional than fun, but more fun than sad.  Lawndale is full of great sing-a-longs and youthful vigor. This tape only release is too short and needs to be listened to on repeat over and over again.

Sun Kil Moon – Admiral Fell Promises
I will always love anything Mark Kozelek does.  His minimalism music and mopey voice just get me. this album is good, but not as good as 2008′s April. AFP is more spacey and full of a meandering acoustic guitar that distracts me from the songwriting. Still a solid album though, worth a listen if you’re down for some down-tempo.

Tigers Jaw – Two Worlds
I didn’t realize this band was as big as they were. Tigers Jaw is a great pop/indie/punk band that sounds like they would be on Vagrant records when I was in High School. Two Worlds is a good record but I don’t think it’s any better than their Self titled album.

Dr. Dog – Shame Shame
Great album from the Philadelphia indie giants. Although it’s not significantly different than their breakthrough 2008 album Fate.

Spoon – Transference
Spoon is a great rock band.  They’ve had a long career (in Indie Rock terms) and keep putting out great albums.  This one is a little more out-there and experimental compared to Ga Ga Ga Ga Ga and Gimme Fiction, but that’s not a bad thing at all.

Mountains For Clouds -Some People Buy Scenery Like This
Mountains for clouds is a sometimes instrumental twinkly emo band from Michigan.  This is their debut ep and won’t disappoint anyone who loved Low Level Owl.  Remember when you were nineteen years old and you went through that stage where you really liked Explosions in the sky?  It feels kind of like that but better and you wont get bored as fast.

The National – High Violet
Tha National is awesome. High Violet is as good a all their other albums. If you’re not familiar than that’s too bad.

Rufus Wainwright – All Days Are Nights
All Days Are Nights is an interesting departure from the usual big bombastic orchestral pop that I’m used to with Rufus McGoofus.  I have been a fan of his for years.  This record is more straight piano and voice, which in turn makes it much more easy to focus on the songwriting.  Apparently his mother died right before he started recording this record.  I suppose that makes sense considering this album is one of the most heartbreaking of the year.

The Walkmen – Lisbon
The last two months have cemeted The Walkmen’s place as one of my favorite bands ever.  After having not listened to this band in at least three years I downloaded the rest of their albums and realized i had been missing out. They’re all great and Lisbon is the cream of the crop.  Good reverb-y indie rock that would make Interpol very horny, evil (like they wish they could be) and jealous.

BL

________________________________________________

{About the Author: Brandon Lütmer is the star personality & lead actor of Sock Monkey Sound podcast.  He’s also a member of the midwest band, Joie DeVivre. This is his first official written entry for the Monkey bunch but 2011 brings many many new adventures for our ex-Survivor TV show contestant- which may keep us waiting for his next one.  Either way we will- with fervor we will wait for Lütmer! – SMS Ed.}

Sock Monkey Sound

Joie De Vivre "The North End"

Joie De Vivre
“The North End”
Young, intelligent, college kids playing off of punk emotion, setting the pace slow, early and exploding;  midwestern mood rock a decade later.  Spring love, Summer arguments, Fall heartbreak, Winter recovery,  The midwest for many of our youth growing up here.  That is “The North End.”  Joie is completely out of step with today’s youth rock, they’re too smart for any scene anywhere– and all for the better.  Sit through one listen and you’ll know right away that seeing them live will be no different than putting on their record.  No pretending.  “The North End” secretly implies they have no aspirations to entertain you with a light show or fancy new outfits from Hot Topic–  just empty cans of beer.   Honest brooding, rock n’ roll high on emotion and slow, steady delivery.  “The North End” owes as much respect to other regional indie acts that inspired their teen listening years, The Braves, as it does to other regional & national acts that has defined the midwest underground, Mike Kinsella projects (Joan of Arc/American Football/Owen).   ‘North End’ serves as a soundtrack for trying to live through your early 20s in the midwest with limited opportunities and personal heartbreak.  It’s a solid declaration from a young band that is only going to get louder, funnier, darker, softer and wiser with each new letdown & recording to follow.  Here’s hoping they keep it together long enough before becoming sick of each other.

Lizard Skynard – Self titled

Lizard Skynard
Self-Titled
Lizard Skynard, despite having a perfect frontman (Lizardman) for the kids are a monstrous rock band.  Imagine part Rollins/ part Deftones / meets Kevin Shields with the boys from Kyuss in a train station to make space metal.  The Skynard boys (Chicago/Austin/Vancouver) feed off of lead guitarist, Jason “Mossy” Vaughn’s wall of guitar nob turning and pedal shifting theatrics.  Vaughn’s playing is mesmerizing, turning speed metal riffs into reverb, delays, morphing into small, well-intended melodies– no different than a Shostakovich film production gone wild, chaos amidst the darkness and then drifting into melody.  With or without Lizardman reciting monologues on top of the band, this is the sound of life on earth coming to a loud, water-washed, horrific & beautiful end.

Produced by Greg Norman @ Electrical Audio in Chicago over the course of 1 week this past winter, this self-titled debut by a band that started as a ‘what-if’ idea in the back of a Jägermeister bus between Mossy & Lizardman is anything but a ‘what-if’ idea.  Every member plays as if their lives, and that of  Planet Earth’s, depends on these 30 minutes put to record for a listener’s lifetime.

Staasuhnator Rex | "62: Volume 1 Tracks 1-8" {E.P.}

Staasuhnator Rex
62 (V1: Tracks 1-8 E.P.)
Staasuhnator Rex “62″ is the brilliant, brainchild debut E.P. / song project by Zach Staas (Joie De Vivre, Donkey Boy (USA)); a young songwriter, multi-instrumentalist, engineer. 62 songs are planned for release non-ironically;  8 at a time (yes, he knows there’s a math problem, it’s been discussed and nothing is changing the count from 62 to 64).  All songs are planned to be recorded under a minute and a half if possible. Each song featured here is an appetizer for bizarro pop perfection– genius.

Staas manages most of the instruments himself mixing in domestic observations that are beautifully sung, tongue in cheek and still managing to be awfully heartbreaking & brilliant– in a span of seconds.  “Pound that pussy good, just like you should,” sticks out as a key line on the 56 second long song, “Meownepaws.”  When lines just appear to be lewd, Staas’s delivery reminds you they’re anything but.  The cats in the alley are keeping him awake as he imagines what he wishes he could do to end their midnight whining.  It’s the way the line is sung at the :31 to :36 mark that seals the deal on short moments that will make you laugh, cry and come back to for repeated listenings.

Staas’s vocal inflections rise when they need to perfectly to remind you he is dead serious.  Songs end when you think there’s going to be more.  Nope;  just a few seconds of what could be, cut, next.  ”Please Pay By”  is the peak of this, the first 8 songs of an amazing song project he’s started.  Starting with electric guitar and slowly introducing various keys on top of a subtle amp buzzing while singing about his bills to pay.  The most complete song of the 8 hints slightly at what Rex could be live.  Imagine Jason Lytle or Neil Young jumping off the cliff of creativity looking for something else, John Cale leading the way- and you got Staasuhnator Rex.  A monster of a miniature 1st e.p. from one of Rockford, IL’s most promising young songwriter / multi-instrumentalist & composer.  I await the next 54 songs with excitement.  Download the 1st E.P. of “62″ containing tracks 1-8 for FREE, here, limited time only.

Crankupmadonna "Hit The Sound"

Crankupmadonna
“Hit The Sound”
Shawn Ross, singer-songwriter/guitarist, has spent most of his life playing bass for local area band, The Braves- a very respected, midwestern, indie 4-piece.  After years of supporting Joe Reina & Kevin Schwitter’s songs, Ross takes the helm on his own project bringing along with him 2 former Braves (Jesse Carmona & Phil Goudreau) plus newbie, Christoper Johnson, to take over on bass duties for him.  “Hit the Sound” was recorded by veteran Chicago engineer, Mike Hagler (Wilco, Neko Case, The Redwalls, Mekons, Jon Langford) who helped tap Ross’s manic pop-punk song style into a personal sound oweing tribute to the likes of great 90s bands like Dinosaur Jr., Tommy Stinson’s ‘Perfect’ phase and the Foo Fighter’s first 2 records.  Every song is perfectly crafted and performed by the band, owing as much respect to Ross’s musical roots but also to the road traveled to get to this point, running his own ship.  “Not This Town” wails and splashes between vocals, drums and guitar feedback. “Anyone Can Die” and “Burn this Scene” fist the air for attention;  awesome pop-punk meets classic rock choruses are scattered throughout the record.  Key track defining Ross’s new direction with this band in tow happens on “Golden Hands;”  the guitar build outro, bass, drums, all kick in for a band in the studio moment that pays dues to everything that has made 90s American indie rock so influential.  It also defines Ross as a writer now, guitarist and band leader.   A defining midwestern debut record by 4 guys from Rockford who sound like they’re from anywhere else but here;  full of life and miles to burn.

Cameron McGill & What-Army "Deserters." EP

Cameron McGill & What Army
“Derserters.” EP
Let’s keep this one short:  Billy Ocean wrote a tune and in that tune he said, “Simply awesome.”  He was talking about McGill’s Army preview for 2011′s “Is A Beast” which is a 5-song teaser properly titled, “Deserters.”  Two new songs from ‘Beast’ start off “Deserters,” giving ya that awful feeling you gotta hear more and you can’t wait.  “Dead Rose” is nasty;  bassline so nasty, guitar tones so nasty, McGill’s voice unlike previous recorded outputs, nasty awesome not simply awesome.  “I Don’t Believe in Magic (But All My Friends Just Disappeared” is as simply awesome as the title implies.  Billy Ocean would be proud too.  Pop perfection, Chicago intuitions, guests and all Army.  Standout performances by Rockford, IL’s own, Daniel J. McMahon, all over the E.P.  Garvey & Palma (Drums/Bass) form one nasty backbone on record and Justin Perkins’ production hints greatly at what’s to come.  The last 3 tracks are b-sides but should not be ignored- especially “Loose Tooth.  “Deserters” E.P. is a nasty, awesome, 5-song teaser hinting at what may become 2011′s finest midwestern offering to a majority of undeserving & misunderstanding humans who tend to crave crap in this day and age.  Here’s hoping otherwise.

dD  | aW

Sock Monkey Sound

Joey De Verve

Joie De Vivre – You Ruined Everything that was Ever Good

With You Ruined Everything that was Ever Good, the titular track of their 2010 tour EP, Joie De Vivre brought something so far unseen to the table: Swagger.

Prior to this song, the band’s lyrical aesthetic could best be described as, “Earnest Apathy“.  That is to say any number of songs in their catalog can be summed up by a scruffy young man yelping, “I feel bad about these things, but I don’t know how to change them.”  One could easily imagine a girl breaking up with JDV’s lyrical persona.  Upon hearing the news, the persona slumps down in his chair and says, “Oh ok.” Then the persona drives home and feels bad about himself until his friends come over with a 24 pack of beer and some old Alkaline Trio albums (incidentally it would look like this).

That’s what makes this song so different.  Maybe it’s because of the hilarious origins (see their recent appearance on our podcast), but You Ruined Everything that was Ever Good has none of that reluctance or longing usually present in a Joie De Vivre track.  Lunging forward at a pace that veers shockingly close to up tempo, the guitars bite instead of chime.  One can actually move their hips to this thing.  Singer  Brandon Lutmer’s usually propensity for stretching words out to bar length is replaced by what amounts to urgency; gnawing at the bit to get all of his words out (relatively speaking).

“Staying out all night/ to follow you home convinced me that I was right/ in letting you go.  I couldn’t wait to tell you/that things are fine,” he sings to an unnamed party.  Basically telling her, “It’s cool. I’m better now anyway.”  Then the barbs get more venomous, plainly stating, “You weren’t missed by anyone,” repeating it before ending the song with the chanted, “You ruined/everything that was ever good.  You ruined/everything that was ever good.”  Ouch.  As far as emo bands go, it’s basically a Ludacris song.  Everything is delivered with confidence and a smirk.  It almost makes you want to strut.

I’m sure that we’ll all go back to Charlie Brown moments soon enough, but it’s nice to have a rallying cry for moving on.  Give it six months. This song will be a sing along song.

Visit Joie De Vivre’s myspace page to hear the song: http://www.myspace.com/joiedevivreband

Sock Monkey Sound

By SMS Editorial & Contributing Writers:
Chip Copeland (cC)  |  Alex Danger Stewart (aDs)   |  Dave DeCastris (dD)  |  Andrew Whorehall (aW)

We apologize for being a bit late with this, it’s been in the works for 2 months. It’s our rookie attempt to cover the first half of 2010. Below is a brief list of what Sock Monkey Sound has been listening to and recommends at the 2010 halfway point. With so little time and money, we’re sure we’ve missed a bunch so leave your comments at the bottom of this very long, hopefully informative, blog post.

Cheers.
SMS > cC  |  aDs  |  dD  |  aW
08.07.2010

_______________________________________________

cC suggests:

NATIONAL RELEASES

Admiral Radley "I Heart California"

Admiral Radley - I Heart California 1/2 Grandaddy + 1/2 Earlimart = Pure Awesomeness!

Broken Social Scene – Forgiveness Rock Record Always liked Broken Social scene in the past but this record is tighter and more efficient in delivering the goods and the promise of this band. This is the kind of cohesiveness I wish Sonic Youth was still able to muster these days.

Stars – The Five Ghosts: Waaaayyy better than their last record, In Our Bedroom After the War, almost hitting the same knd of highs that were evident on Set Yourself on Fire.

Family Band – Miller Path I’ve really been wrapping myself up in this moody and exquisite album that is spooky and drenched in atmosphere in much the same way as The Nationals latest. Imagine a darker and more haunting version of Mazzy Star and you’re on the right track.

Field Music – Measure Proggy and yet still remaining very song oriented. Reminiscent at times of The Sea and Cake, an evenly enjoyable listen.

Honorable mentions:
Teenage Fanclub - Shadows

REGIONAL / INDIE / LOCAL RELEASES
Because of Sock Monkey Sound I’ve discovered more local indie artists than ever before. So most of what I’ve been listening to is lesser known bands from around here or elsewhere.

The Braves – The Leaves are Black / Quiet Hushed Animals: I make no apologies that I love this band, I know these guys and have been equally amazed at how good they all are at their craft as evidenced by their solo projects and new bands that they have gone onto form. The fucking shame about this record is that unless you know someone in Rockford, IL that knows one of the guys in the band YOU”LL NEVER HEAR THIS RECORD.

I fault the band for not being more proactive in making these songs available via Bandcamp.com or on a website. They don’t have to charge anything if they don’t want to but I think there is an audience that is willing to fork over $5-$8 bucks for an 18 song download.

Until then, folks can buy their last official release Love and Mercy on iTunes for $8.91 or Emusic and after you listen to that email thebravestheband@hotmail.com and demand that they make ALL OF their music available for download online. 30 years from now The Braves will be remembered as one of those great unsung regional acts that never found an audience in their day but influenced a slew of younger acts from Rockford.

Ex Norwegian – Sketch This Florida based band continues to craft tight yet creative power pop that reminds me of Badfinger, Big Star, and that other power pop band from Rockford that everybody talks about excessively. Can’t wait to see them at the first Sock Monkey Sound showcase show September 1st at Kryptonite Bar.

Geronimo! – Fuzzy Dreams Man, is it still 1993 or what. I wish I still owned flannel so I could sport it at the next Geronimo! show. These guys are tight but the intros at the beginning of these songs work better in a live setting than on record. A solid effort by some nice dudes.

The Felix Culpa – Sever Your Roots It’s not often that a band with no money, no label, and a 3 year gap in between albums is able to record a record as intricate as Sever Your Roots. While not a perfect record it is certainly impressive that a regional at is able reach a level of this quality, much like The Braves did on Quiet Hushed Animals. I’m interested in seeing them release something again- hopefully in a timelier manner.

The Projection People – Self Titled Once again here’s another band from the region, Madison , Wisconsin to be precise, that is making very precise and expressive music without major label support. Great arrangements and musicianship abounds on this record and if you get a chance be sure to see them live. Fans of Minus the Bear are sure to enjoy this group. See also: Jane by The Cemetery Improvement Society which features some of the members of TPP.

REWIND
Sun Kil Moon – Ghosts of the Great Highway The first line of Carry Me Ohio says it all:
sorry that
i could never love you back
i could never care enough
in these last days

LETDOWN LISTEN
Prince – 20Ten Once a great artist that has fallen prey to the trap that comes with the seclusion of being a massive star: losing touch with what’s out in the real world. The internet”s dead? F*ck you Prince. F*ck you in your stupid little ass-less pants you short little prima-donna. After you complain about not getting paid and advance for putting your stuff on iTunes how about you consider all the artists that are really struggling to make a name for themselves while making music that still matters. At least you get royalties off all the songs that continue to get played on the radio. Which won’t happen for most other musicians because major corporations like Clear Channel have a monopoly over terrestrial radio; a system that you strive so hard to fight against yet you try to perpetuate the old system of dying record labels. No amount of “genius” or “talent” can change the fact that you’re probably just an A$$hole.

_______________________________________________

aDs suggests:

The National "High Violet"

NATIONAL RELEASES
The National-High Violet:  I’ve said it a couple of times but I’ll justifiably say it again.  This album is tearing me apart.  It’s like a soundtrack to social anxiety.  Over thrumming guitars Matt Berninger sings, “Venom radio and venom television.  I’m afraid of everyone, I’m afraid of everyone. They’re the young blue bodies/with the old red bodies.”  Walking through the city on my way to class, I nod along as the whole world collapses around my headphones.  “I’m afraid of everyone,” he continues, “I’m afraid of everyone.  I don’t have the drugs to sort it out.  Sort it out.”  You and I both, dude.  You and I both.  This isn’t an album for feeling alone in a crowded room.  This is an album for feeling alone on a jam packed sidewalk, keeping an eye on the sky; waiting for a hunk of building to crumble off and come crashing down on your skull. It’s sonic self medication.  It rips open old scars and sticks a finger in the wound, just to see you squirm a bit before stitching it back up again.  Yeah, this album sticks with you.

INTERNATIONAL RELEASES
Male Bonding-Nothing Hurts Male Bonding is a band from Bristol. That’s in England, innit? I’m not quite sure what exactly this band promises but it delivers on that promise.  Simply put, this band is loud, fast, and dirty.  The tones are skuzzy and the songs are short.  This band and I share a clear love of 1990 Sub Pop.  I sing along, when I can, and shake my hair when I can’t.

REGIONAL
Geronimo-Fuzzy Dreams: There’s no two ways about it.  Geronimo will make you hurt.  They will squish your brain and punch you in the diaphragm.  Halfway through the opening song, “Thunderbattles,” one thing becomes clear: this is a band that is not afraid to write songs with riffs.  Sometimes this band likes to play fast, and sometimes they like to be atmospheric.  Though they are not always entirely sure footed, they constantly move forward with a jittery energy and another pounding of the snare.  The songs on this album make shit move.  That is, until the last song.  “Judgment Day” comes as a kiss-off disguised as a hug.  It acts as a campfire sing-along and a palette cleanser.  To say it sounds like Dust era Screaming Trees is the greatest praise I can give.

REWIND
Jim O’Rourke- Eureka I’ve always been somewhat of a fan of Mr. O’Rourke.  The albums that he worked on with Wilco and Sonic Youth number among my favorite for each band and his reputation as a Chicago composer and experimental musician is most stellar.  I spun the hell out of his 1997 album “Bad Timing,” last year.  Why then, did it take me so long to pick up more of his albums?  I don’t rightly know but 1999’s “Eureka,” has been pulling me back again and again.   As a work, it stands apart from many of O’Rourke’s albums in that it finds him molding his usual compositional elements into the form of Bacharach-esque pop songs (including covers of songs by Bacharach and Ivor Cutler).  Even within such forms, O’Rourke’s signature style shines through.  Each song beginning with an intricate finger style guitar passage, a minimal percussive rattle, or a slight buzz of synthesizer, and building from there.  There are never random moves.  Each is deliberate and gradual.  Like the cinematography in a Rossellini film, you find yourself so focused on the current image that you barely notice the change until two minutes later when it has molded itself into an entirely different song.  Then you smile.

LETDOWN LISTEN
Sleigh Bells-Treats Everything I read in the ramp up for this album described it as noise pop.  “Perfect,” I thought, imagining way too fuzzy guitars and fun, crooked harmonies to match, “I love noise and pop.”   Pitchfork said it, “…felt like rides at an amusement park, and I’d get a feeling in my stomach when the first notes kicked in: Here we go.” They used words like, “jackhammer riffs,” “beats from hip-hop and electro,” and, “supremely catchy sing-song melodies.”  Yes!  I thought I had found my summer party album.   No.  This duo sounds like all of the things that are wrong with M.I.A.’s new album (which is to say most of it).  When Indie groups use the word pop it’s supposed to mean old pop.  Not that Lil Wayne guitar album that everyone has agreed to forget.  The aesthetic of simulated stereo destruction works sometimes.  Sometimes Not when it’s used for the entirety of every song!  Clearly there is some disconnect between what was described and what exists.  One can hardly blame the band for that.  What I can blame them for is making an album that fails the only requirement of party jams.  It’s not danceable (unless the only dance move in your arsenal is the stutter step).  It doesn’t make me want to get down, or fuck, or chill, or drink.  It makes me want to hide.  This album isn’t fun.  That’s unforgivable.

______________________

dD suggests:

Spoon "Transference"

NATIONAL RELEASES
Spoon-Transference: Minimal, dark, droning, mechanically rhythmic,pop songs that build on each other, exploding into little moments. Perfect imperfections.  A fully realized production that honors their lo-fi past & recent ventures with equal amounts of focus and abandonment.  This record stands at an artistic cross roads for them. On first listen, as the cover photo suggests, “I’m bored, what are we gonna do next?”  A brilliant orange lamp siting next to the bored individual on the cover serves as a metaphor for focus and inspiration, just look at what’s around you in a different light.  “Transference” pushes their artistic ceiling slightly higher.  Their artistic foundation, Daniel & Eno, sound stronger than ever while digging deeper, continuing to search for new sounds, patterns and rhythms together unlike most veteran indie bands and musical partnerships.

ALSO:
The National – High Violet
The Mynabirds –  What We Lose in the Fire We Gain in the Flood

INTERNATIONAL
The Radio Dept.- Clinging to a Scheme Sweet, sweet, sweet sugary pop songs from Sweden that recall the finer moments of the Pet Shop Boys with a darker edge.

REGIONAL RELEASES
Joie De Vivre – The North End Young, intelligent, college kids playing off of punk emotion, setting the pace and exploding;  midwestern mood rock a decade later.  Spring love, Summer arguments, Fall heartbreak, Winter recovery,  The midwest for many of our youth growing up here. That is “The North End.”  Joie is completely out of step with today’s youth rock, they’re too smart for any scene anywhere in America right now– and all for the better.  Sit through one listen and you’ll know right away that seeing them live will be no different than putting on their record.  Like Neil and Crazy Horse, this is what ya get live too- no pretending.  “The North End” secretly implies they have no aspirations to entertain you with a light show or fancy new outfits from Hot Topic,  just empty cans of beer.   Honest brooding, rock n’ roll high on emotion and slow, steady delivery.  “The North End” owes as much respect to other regional indie acts that inspired them in their teens, The Braves, as it does to other regional & national acts that has defined the midwest underground, Mike Kinsella inspired projects (Joan of Arc/American Football/Owen).   ‘North End’ serves as a soundtrack for trying to live through your early 20s in Northern Illinois through a recession, limited opportunities, and heartbreak.  It’s a solid declaration from a young band that is only going to get louder, funnier, darker, softer and wiser with each new letdown & recording to follow.  Here’s hoping they keep it together long enough before becoming sick of each other.

Lizard Skynard – Self-Titled Lizard Skynard, despite having a perfect frontman (Lizardman) for the kids are a monstrous rock band.  Imagine Henry Rollins/ Part Deftones meets Kevin Shields and the boys from Kyuss in a train station to make space metal.  The Skynard boys (Chicago/Austin/Vancouver) feed off of lead guitarist, Jason “Mossy” Vaughn’s (Machesney Park/Rockford), wall of guitar nob turning and pedal shifting theatrics.  Vaughn’s playing is mesmerizing, turning speed metal riffs into reverb, delays, morphing into small, well-intended melodies– no different than a classical Dmitri Shostakovich film production, chaos amidst the darkness drifting into melody.  With or without Lizardman reciting monologues on top of the band, it’s a complete sound of life on earth coming to a loud, water washed horrific & beautiful end.  Produced by Greg Norman @ Electrical Audio in Chicago over the course of 1 week this past winter, this self-titled debut by a band that started as a ‘what-if’ idea in the back of a Jägermeister bus (driven around the country for 4 years to festivals and arenas by Mossy & his wife, Dana) is anything but a ‘what-if’ idea.  Every member plays as if their lives, and that of  Planet Earth’s, depends on these 30 minutes put to record for a listener’s lifetime.

REWIND LISTENS
Neil Young – American Stars N’ Bars Released in 1978, it’s often discarded as a hodge podge collection of Uncle Neil’s throwaway gems that bounce between his country rock/folk stylings and manic garage rock epic.  Often cited for featuring the magnificent, “Like a Hurricane,” a song probably more responsible for Wilco’s post Jay Bennet guitar freakouts.  Especially on their Neil inspired, “Spiders (Kidsmoke).”  Before you even get to  ‘Hurricane’ there’s country flavored ear candy in “This Old Country Waltz,” “Hey Babe,” “Hold Back The Tears,” and “Star of Bethlehem.”  After spending most of my life living in “Zuma,”  my personal Uncle Neil desert island pick, “American Stars N’ Bars” has consumed my car CD player with a few more mentioned above for the early half of 2010.

Big Star- Keep Your Eye on The Sky (Box Set) There’s a line from a famous Replacements song on “Pleased to Meet Me” named in honor for the late “Alex Chilton” (who passed away earlier this year) that goes;  “I never travel far without a little Big Star.”  I don’t think I’ve gone one year in existence since my first exposure in college to Big Star’s 1974 classic song, “September Gurls,” by a fellow classmate.  It changed the way I spell and now type, ‘gurls.’ IT inspired many songs in shoeboxes stored away trying to write any song worth having a “Gurl” in it.  It has appeared on every other cassette, cd mix I’ve made for so many people over the years.  The tragedy in sharing that one song to anyone unaware of Big Star’s brief recorded 1970s magic is that every Big Star song is worth sharing.  Every single f*cking song.  This box set, like their 3 formal studio recordings is always within an arms length for playing.

LETDOWN LISTENS
Teenage Fanclub – Shadows I expect too much out of my favorite artists I’ve grown up with.  The Fanclub’s latest is just….  a complacent listen.  They sound older, beaten… maybe that’s natural.  I’m not ready to accept this record yet.  I will return to it one day.

Broken Bells- Self-Titled I love Brian Burton’s production, his playing, everything he does as ‘Danger Mouse.’  I’ve become fond of James Mercer’s writing over the years for The Shins but not always his choice in song production or arrangements after the home made debut.  The best song he’s written is “Good For Good” on “Chutes Too Narrow.”  He’s never come close to that song’s simplicity since, lyrically or musically.   It’s a shame to these ears to want more out of the guy.  The template is there, obviously, for something more within himself.  Hearing about this project in advance had me excited thinking, “Mercer, you’ve befriended Brian Burton, you sneaky bastard.”  This is just a boring sit-through listen by 2 respectable young artists seeking mutual ground and settling for safe, electro-pop.  I can’t help but think ‘Danger Mouse’ had to take a step down to Mercer’s musical shortcomings to make this work.  Which, again, another reason I think Brian Burton is an amazing artist.  I look forward to another release by this combo but this one is the sound of 2 great talents trying to figure each other out still.  Yawn.

____________________________________

aW suggests:

LCD Soundsystem "This is Happening"

NATIONAL RELEASES
LCD Soundsystem – This is Happening If I were a woman and I had to give birth to a child because someone planted an evil, gifted seed inside me, I’d want James Murphy to provide the juice.  What a brilliant artist, performer, engineer, producer.  This record tops off a 10-year run of 3 very important modern day recordings that focus on punk, disco, classic rock, pop, glam, indie, folk, funk and electronic arrangements set to Murphy’s urban, personal, lyrical observations.  Not a great vocalist at all, but this is a great artist at his peak.  His playful instincts and ability to take his own influences to meld into wonderful, weird American records that calm and explode with ideas is never short of amazing.  See the synth freak out on the Bowie-Heroes inspired “All I Want” for an example that makes every musician, or anyone that can feel, think with goosebumps, ‘sweet Lord, punch me in the face, that’s awesome.”

ALSO:
Peter Wolf-  Midnight Souvenirs
Damien Jurado- Saint Bartlett

INTERNATIONAL RELEASES

Gorillaz - Plastic Beach Blur frontman, Damon Albarn can do no wrong.  Who else could put out a fake cartoon band doing a political record about our planet’s future demise featuring Lou Reed and Snoop D-O-Double G?  Brilliant record, brilliant pop, brilliant social commentary.  If a record could ever win a Pulitzer based on intelligence, craft, spiritual and political messages- this has the best chance.  One of those rare records you can dance to, f*ck to, eat to, work to– plus sit and think about it after it’s ended.  Repeat.

REGIONAL RELEASES
The Pimps - Fuck this shit, we’re outta here Veteran local punks, a joyous love letter of sorts to our despicable city, country, music industry and capitalism.  The Pimps tap into the same great punk, rock n’ roll, hillbilly glam spirit other legendary bands from the Midwest tapped into for shorter amounts of time.  Difference is, The Pimps haven’t changed for anyone 9 records in.  Indifference, contemplation, F words and aging rarely sounds this joyous.  Read More about the record here.

Judah The Lyrical Rev- “Rockford Files” Midwestern hip hop artist I want to here more from based on just one little song passed to me on the internets that I can’t stop listening to this year.  I believe it was written awhile ago but it should be a city anthem, a national cry for federal help.  The power in the song’s lyrics, Judah’s smooth delivery is equal parts proud, educative, angry, sad and desperate.  Like many people, like me, living in Rockford, IL

REWIND LISTENS

The Flaming Groovies- Shake Some Action One of the 70s great critically respected, but commercially unsuccessful, American rock bands.  After spending years emulating a hybrid of The Stones and Velvet Underground on great releases like “Teenage Head” and “Flamingo,”  the Groovies signed with major label, Sire, to release a late 70s power pop rock canon of songs tight on harmonies and classic pop arrangements.  Think Buddy Holly fronting the 1963 Beatles and converging in the late 70s for a record together.

Sparklehorse- Vivadixiesubmarinetransmissionplot I remember the day I bought this at Val Halla’s in Oak Park, IL.  The kid, who shall remain nameless for now, running the counter suggested it.  He also passed me tapes of Golden Smog and Wilco practice sessions in Chicago that previous summer.  He advised me to buy this record based on a secret love for Cracker / David Lowery at that time.  Lowery produced this Sparkle thing I hadn’t heard of and I Wasn’t too happy with major label releases around this time, dipping deeper into the Chicago releases.  However, the kid with strange music connections always passing me tapes and DAT sessions I, nor anyone should have had, sold me.  Those first few Mark Linkous (who is Sparklehorse) compositions destroyed me driving in my green buick, playing it from a portable cd player rigged to a tape deck adapter driving to an awful job in Oak Brook from Oak Park the next morning.  Brittle, angry garage/glam rock balanced out by some of the most fragile cosmic folk songs I’d ever heard at that time.  What would be Side B on any vinyl copy, the amazing run of songs 7-12 plow my soul.  Hammering the Cramps/ The Most Beautiful Widow in Town / Heart of Darkness into Someday I Will Treat You Good ending with Sad & Beautiful World into Gasoline Horseys… Jesus Christ, cmon.  I get goosebumps just thinking about these songs.  Mark Linkous, I doubt you knew you’d be missed by so many strangers sharing the same feelings as you.

LETDOWN LISTENS

WZOK / 97.5 Rockford About 90% of what they play offends my ears and then my brain freaks out and quivers, I get dizzy.

WXRX/ 104.9 Rockford About 91% of what they play causes diarrea at home or epileptic reactions while driving.

Could local radio get any worse than those 2 pay to play garbage dumps?  Yes.  They’re everywhere and they are a sickness.  An awful aural disease infecting millions of Americans with poor music tastes.  It’d be one thing if the music played were just bad, but the commercials and the DJS are as horrendous to listen bable on about pop culture nothings.  Rockford radio is so bad they make the kids from MTV’s Jersey Shore sound brilliant.

Sock Monkey Sound

Where: Summercamp: A punk rock house in Logan Square

When: Friday, June 11, 2010

Did you forget something? Oh shit! My parent’s anniversary was on Thursday night.

The writing is on the wall.  Discord, abuse, evil thoughts.  You can see it in their tired eyes, even on the first night of tour.  This band is not long for the earth.

“Don’t tell this to Pat, but the only reason Chris hasn’t fired him is because he looks like David Bazan.”

Was I supposed to keep that to myself?  No one seemed to care enough to hide their naked contempt; burying long, lingering glares in the backs of their band mates as they walk away from conversations.  Beyond the hatred, Joie De Vivre seems physically ill equipped for travel. Intrepid organist, Zach Staas, left Rockford with $200 for food.  His resolve broke quickly as he was seen buying sheets of blotter acid and began sending cryptic Facebook messages on his phone.  I woke up to one such message this morning, “Danger, send help,” He wrote, “Someone shot Stevie in the face.  Gore is dripping from the crumpled hole where his nose used to be but he doesn’t seem to notice.  Maybe someone would like to make a painting of it and declare its subjective quality. Haha. Fucking art.”

Horn player extraordinaire, Paul Karnatz, may be in even worse trouble.  Having taken to beginning sets by reading quotations from a Scientology text, he routinely fills quiet moments in the van by haranguing his bandmates for not joining him in ever frequent Thetan cleansing rituals. Despite these ever mounting problems, the music remains strong.  Joie De Vivre is still able to pump out songs that are unlabored and anthemic.  But for how long?  See this band while you can.  There may not be a next time.

Elsewhere on the bill we found Coping, a new band from the Chicago area.  Jagged and frenetic, Coping is straight up early to mid 90s Dischord Records(with the obligatory post hardcore nods to At The Drive In).  I’m going to pad my forthcoming criticism with the modifier that I heard the 2^nd half of their set through a closed door.  You see, I am not a strong person and it was really fucking hot in that basement.  Until the sun went down, I couldn’t stand to stay inside for more than 10-15 minutes at a time without worry of fainting. Yuck. With that in mind, it is quite obvious that Coping is a young band.  They clearly have the passion required for such music but have yet to figure out how to keep their sound from veering towards the overly loose and muddled.  Maybe they’ll have it down by gig 5.

There are two things I do not like about Empire! Empire! (I was a lonely estate).  The first is their name. It’s long and awkward to say and no one ever says the parenthetical addition (for those very reasons).  The 2^nd is that their composition does not have quite as much variety as I would hope for and can become slightly repetitive to listen to for long stretches.  In a past review I wrote, “They’re tight and it’s quite obvious why they share a label with Joie De Vivre. It is classic Emo that falls into the same description that bloggers seem to love. This band could have been on Jade Tree 12 years ago. I say that without owning any actual Jade Tree releases, but I understand what the reference means.”  I still agree with this assessment.  Also E!E! vocalist Keith *insert Keith’s last name* may or may not have broken the microphone.  He’s got a mighty wail.

What to say about The Please & Thank Yous?  Last time I described them as being, “Hopelessly shambolic in all of the right ways.”  This couldn’t be truer.  TPATY are a band of punk rock muppets.  Their bodies conform to Saturday morning cartoon physics and their music is fast, dirty, and simple.  They sing about girls, and friends, and everything feels right.

For more information about the ongoing Joie De Vivre/Empire! Empire! Tour visit: http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=230675847&blogId=534153178

Here’s some video of JDV!

Sock Monkey Sound

Shameless self promotion with a twist as Joie de Vivre joins us in studio for some talk about their new release The North End. Steve, Chris, Pat, and Brandon give you the uncensored and unedited truth of the band. Disc Golf, texts from ex-girlfriends, and Get Positive are all covered in this episode. Stick around at the end for Danger’s voice mails.

Featured Artists:
Broken Social Scene
500 Miles to Memphis
Matt Ulery’s Loom
Donkey Boy (USA)
Joie de Vivre

Also check out:
Count Your Lucky Stars
Andy Whorehall
Green Light Nights Tickets
Kickstand Productions
Guzzardo’s Performance Music
Kryptonite Bar

Sock Monkey Sound

Where: The Beat Kitchen, Chicago, IL

When: January 16, 2010

Why is this Significant? Joie Motherfucking Headlined The Beat Kitchen!

So last weekend I made my way up to the Beat Kitchen on the scenic north side of Chicago. Yes, last week. I don’t work fast, I work smart. Ok, I don’t work very smart either. And to be honest, someone beat me to posting a review. She had that shit up before I even woke up on Sunday. You should go read it here (http://reviewsic.com/2010/01/17/in-review-the-beat-kitchen-116/). It’s pretty good, save one glaring disagreement (more on that later). Since the other writer covered most of what I have to say about music, I’m gonna ramble a bit.

If anyone has ever encountered me at a Chicago show, they’ve probably had a conversation that went something like this,

You: Hey man. How are you?

Danger: Fantastic! I got lost for a little while but I totally made it here!

You: That’s great.

Prolonged awkward silence

Danger: How are you?

You: Oh I’m good. I…

Danger: Cool. I’m gonna go get another beer.

My ability to get lost knows no bounds. But I totally figured out a system for which to mostly combat it. First I grab a yellow post it note and write out comprehensive directions courtesy of Google Maps (including special alternate directions in case I start walking in the wrong direction when I get off the train or bus). Then I write out a second set of directions to get me home from the club and place it in my wallet as a backup in case I can’t decipher the reverse order of my original lyrics because of certain consumptions that may have occurred.

Because of such precautions, I made it to the Beat Kitchen in a very timely manner. Mountains for Clouds played first. Their name is of a rare variety that gives an almost complete description of the band’s sound. Their brand of ambient instrumentals was quite impressive. Their playing was notably tight (I was very surprised when I later found out that they’re a relatively young band) and properly restrained. This was especially true of guitarist Andrew Stefano. He used looping and finger tapping (both tools that are notoriously abused) in a way that was both deliberate and unique. Kudos to Mountains for Clouds.

Empire Empire (I Was A Lonely Estate) has a band name that is too long by half. That’s my only real complaint. They’re tight and it’s quite obvious why they share a label with Joie De Vivre. Classic Emo that falls into the same description that bloggers seem to love. This band could have been on Jade Tree 12 years ago. I say that without owning any actual Jade Tree releases, but I understand what the reference means.

The Field Auxiliary is the only place where my reaction was drastically divergent from that of the Reviewsic’s writer. She found them to be mostly excellent where as I was left with mostly negative to indifferent feelings. I totally got what The Field Auxiliary was going for. It seemed clear that they were aiming towards a shoegazey power pop vibe. One part Weezer, two parts My Bloody Valentine and Ride. They have the swirl, but they need to work on the pulse. The secret of shoegaze is that you need to have at least one of the instruments playing clean to form a background for all of the swirling business to build on. Without that, the whole affair just seems motionless. Also, the singer set up a 2nd synthesizer on a stand above his electric piano and (by my count) never played it. That’s lame.

Isn't that guy on the left in TPATY?

I don’t have a lot to say about Joie De Vivre. There are a couple of reasons for that. This band gets a lot of (deserved) press and I’m close enough to them that I feel kind of weird saying anything overly praiseworthy. They don’t need another drip in a plaid shirt raving over Local, Local. They’ve grown to be quite good but I feel much more comfortable giving them shit. Also they may go on tour soon, and I’m hoping Stewart Oakes will have to work so JDV will ask me to go along as an instrument tech/merch guy. Anyway, I was briefly in a band with two members of Joie. You should check it out because it was mostly better http://www.myspace.com/wsdown.

There are two bands that I haven’t seen recently but would really like to mention:

Geronimo

I’ve never written about Geronimo and I feel really badly about it because they’re probably my favorite local band. I’ve started at least 3 reviews of gigs that Geronimo played only to trash them for other reasons. So here it is now. Geronimo is really really good. They are noisy and heavy in ways that many current bands are just too afraid to approach. These boys are loud and their mastery of dynamics suggests a skill in their playing that, once again, sets them apart from the pack. One review said that they sound like, “Violent Femmes on crank after they stole Cobain’s distortion pedals.” That’s just incredibly cool. I hope they find a way to record an album with Steve Albini. He’ll know what to do. http://www.myspace.com/thegeronimoband

The Please & Thank Yous

Unlike Geronimo, TPATY don’t have any clue about what the fuck they’re doing. That is what’s great about them. They’re hopelessly shambolic in all of the right ways. Classic, cartoonish pop punk. Nice. http://www.myspace.com/tpaty

Sock Monkey Sound