… with wealthy, musical, regional roots from an F+ Psychologically, Depressed, City in an F- Corrupt & Bankrupt State.  Hell yeah, Northern Illinois’s finest;  get some of this, America.

{Excellent 2010 regional releases by Joie de Vivre, Lizard Skynard, Staasuhnator Rex, Crankupmadonna, Cameron McGill & What Army}

{NOTE: Review Excerpts included from Sock Monkey Sounds 2010 Halfway Reviews}
By Andrew Whorehall & Dave DeCastris

There’s been a string of (in)credible releases by Rockford, IL, area artists (with ties to Chicago/Austin/Vancouver) in 2010 that are on par with some of the best records being released by independent artists anywhere you may call home. We already covered The Pimps extensively here at SMS earlier this year, celebrating their  record release & career.  Many more have been released,  the great Rockford rash, 2010.  Something is in the air around the Rock River- whatever the musicians are drinking, don’t share, the rest of the state doesn’t deserve the formula.  These records deserve an individual shout out before the Federal Government changes the name of my hometown to, “Cheap Trick, IL” to help repair the local psychology and economy.  The irony is in the name change but in this state, it could happen;  you know it’s still legal to adopt monkeys in Illinois too?

Despite demographic despair and obvious economic-cum-mental depression, the music coming out of this tiny little area near the Wisconsin border is as vital and positive as I can remember in my lifetime.  There’s that general thought that with any kind of depression comes a possibility of great art;  I argue you won’t find five better independent releases like this from one little tiny area of the world that’s been ignored & choked of many federal opportunities to prevail as much as Rockford, IL.

Shall we?

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" {V.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

The Halfway Point: A 2010 Music Review
Songs, records, cds, downloads, whatever.
National, International, Regional, Rewinds & Letdowns

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.

The Pimps

The Pimps |  Part I:  A CD review of 2010′s “F*ck This Sh*t, We’re Outta Here” by The Pimps… disguised as a letter to the Rockford Register Star and other pathetic media outlets for dropping the ball for so long.

By Andrew Whorehall

The Pimps "Oh those Bilderbergs..." Free MP3 Single

“Oh those Bilderbergs and their kooky culling plans.”

“Dear People of Rockford & to the few, powerfully, negligent, local media outlets–  specifically the Rockford Register Star, The Pimps, should be cited as much as Cheap Trick- if not more.

I’m not implying you’ve ignored them for not recording a hit cover song like “The Flame” or an original like “Surrender.”  I am assuming they’re too non-tradtionally smart, volatile and explosive for your cultural, musical tastes.  With all the worries you have at the RRStar for censorship, stories from the wire, writers with no names, those large colorful digital pictures- it’s no wonder when ‘Freedom of Speech’ is doubted now a days.  See The NYTimes for many examples but I won’t look too far, I stay local and read between the lines.  Your hard edits are very visible to these eyes.  Could you be any more obvious?

I ask that you honor & respect The Pimps for poetically naming their new record as it is named.  For that alone, local honor is past due.

'F*ck this sh*t we're outta here." by The Pimps

The record’s title, “F*ck This Sh*t, We’re Outta here,” is demographically poignant too. Add “Rockford, IL” to the end of their title line and you have one of the more successful city taglines forming one, classy, bumper sticker with a matching T-Shirt.  Said record of said title above is a gun-shot-blasted-love-letter-like-loaded-bullet written & made in our once great, industrial city.  Filled with American goodies and menacing spirits;  capitalism, weapons, partying, defeat,’FTSWOH’ is one of the midwest’s finest, punk, American recordings to come out of Rockford, IL- ever.  It’s a loud, proud, middle finger to the establishment from an economic wasteland that doubles as ground zero for dead end dreams and empty, once colorful, balloons– this is the Rockford, IL you should be reporting with urgency and explosiveness.

Face it RRStar.  Your articles are cupcakes generally filled with air.  Cupcakes are best eaten, not read.  That’s this writer’s opinion, not Sock Monkey’s, leave them out of it.  Fortunately they believe in Freedom Of Speech too as long as no one gets hurt.   Generally that seems like a pretty easy social rule to follow.  I know I’m not alone.  Get to know the people who do think for themselves,  the people that are closer to the ground than the moon.  The truth is down here in the river filth and the industrial aftermath.  Have you read your own Classified Jobs section?

A serious question disguised as a joke was just posed to me by two people on separate occasions, neither the med student or the professional knows each other.  The question turned joke was, “Did THE ONION buy the RRstar out?”

Where is this going?

Please don’t change a thing, just do what you can, to talk about the bands you ignore once in awhile.  It helps the artists and the community know a bit more about a proud, defeated hometown that has wayyyyyyyyyyyyyyyyyyy too much talent drowning here.  You’re not helping as much as you could be, RRStar.

Why does this concern The Pimps?  This is their most cohesive album to date and possibly their last.  Either way, people ‘not’ from Rockford, IL, should know more about this band too.  This is where you have failed dear city and media of mine for years already by not assisting in a little PR when you had your chance.  WZOK, your mallhair is wearing and sounding a bit too thin.  WXRX, eat a d*ck sandwich for sucking so hard for so long.  RRStar, change your name to, ‘The Onion Jr.’

To all the media outlets in and around Rockford, IL, you’re no different than the major label that cut The Pimps from their budget in 99, trying to blindly leave them behind.  Well, no thanks to you, Rockford, IL, they’ve managed to run a decent hardworking, punk operation anyway for 16 years.  Another job well done.  This is for Sock Monkey Sound and for The Pimps. I salute you.  To the city of Rockford and to the RRStar plus other regional media outlets, iFinger you, wholeheartedly.

Regards,

Andrew Whorehall

PS:  Let me state a point that may have gone missing above (as this letter may be a bit passive, fueled by years of ‘dead air’ readings of the RRStar, and just maybe a little misdirected);  one of the best kept rock n’ roll secrets is Rockford, IL’s punk scene.  How is it that such a fertile ground for amazing musical talent keeps to itself without the industry (what remains of it) blowing its cover?  Easy.  Musicians, bands, songwriters from the midwest have a great knack for shooting themselves in the foot.  Whether it’s done ironically or because it’s our Gah Damn a’Merican right to do it, we’ve some how managed to do it better than most scenes.  It’s a pride thing, I guess.  All of this great music has been boiling over for a long time.  Call it a typical midwestern burden to bear but I’m calling it a joke that’s ran out of laughs.  This self-deprecating attitude is for math rockers and progressive jazz musicians high on country folk abnormalities.  1)  God knows math is not the people of Rockford’s specialty and 2) progressive-jazz-country-folk is for as*holes. You’re welcome.

"To a cool person, stay that way." by The Pimps

Unlike other successful, touring, midwestern bands who were ashamed to call Rockford, IL, their home young in their careers in the 70s and 80s (um, Cheap Trick/Chicago, IL), The Pimps, embraced their roots from the get go often citing Loves Park and Machesney Park as their home-base before settling on the always marketable city name, “Rockford, IL.”  It actually worked for them somehow.  Signing a major label deal in 1999 saw the re-release of their self-made debut record, “To a Cool Person, Stay that Way.”  A punk-funk rock record that was made in Loves Park, IL, at the old Noise Chamber Studios in 1996 and 1997.   The band has been together since 1994 but their roots as friends go much deeper together.  Tony (Bass) & Stu (Vocal/Guitar) have been best friends since they left their mothers respectable wombs.  It starts there. The Pimps are a family of brothers as much as they are a band of musicians.

"More Songs About Drugs With Curse Words" by The Pimps

A well-scripted situation occurred soon after signing with a major label.  About the same time The Pimps were told to change the name of their follow up record the industry was changing, cutting budgets and cutting artists.  ”More Songs About Drugs With Curse Words,”  was made by the same local team (Jimmy Johnson / Noise Chamber) in Rockford instead of agreeing to the label’s L.A. production request.  15 months into a contract, having been featured on the “Mission:  Impossible” soundtrack and various TV song plugs, The Pimps decided they wouldn’t change their record title after one of their label’s parent company reps, Disney, got whiff of it and made a request– and so went The Pimps, another budget cut.

For the better, they worked themselves out of it in control of their career with nothing lost and everything to gain. They already established themselves as a great, touring band with subtle business sensibilities.  The Pimps, to this day, actually still sell merch at every show and get from town to town in a van with equipment towing the rear. The way bands used to- or could simply afford to.  They’ll tell you first hand, ‘it’s not glamourous, gas prices have gone up- blah blah’ but their van is so much smarter than your band’s f*cking van.

The Pimps' also known as the country punk band, 'Sons of Many Bitches'

As the whole industry took a dump and blamed downloaders in the last decade, a band like The Pimps kept movin on to their own beat. They’ve self-released 9 full length records, they sell their own singles online, pay for their own merch production,  pay for their records production- and they tour playing dives 150 nights a year or more.  Many years ago, they (like this writer as well) figured out how to take care of themselves in an economically depressed city called, Rockford, IL.  Some of their last decade’s releases are hit or miss.  Great recorded live moments exploded with color on their alter-ego (Sons of Many Bitches) country punk band’s release, “Outlaw Gold MotherF*cker” and it’s companion EP, “Apparently Uninterested in a Life of Creative Growth or Social Relevance.”  At the same time they released, “Quickly Now Gentlemen, With a Lively Step.”

"Quickly now Gentlemen, with a lively step." by The Pimps

Working, recording, teaching instrument lessons, touring and earning their right to be as lazy when they want to be while we sit at computers in a lame working environment between 8am to 7pm fulfilling someone’s leftover ideas & rules to follow about the American Dream and making money.  What a farce.  The Pimps, repeatedly, make me feel like a sucker everytime I tuck ina shirt and put on khakis.  Why?  Khakis are for church, funerals or even worse, weddings.  Those recent recorded releases sit together as key discography door openers to what happened next in the studio for The Pimps.

“F*ck This Sh*t, We’re Outta Here,” or as I’ll type it for the rest of the article will be referred to as,  FTSWOH.  Not for censorship reasons;  but for typing alone, early arthritis-enabling concerns are on the mind.  This f*ckˆng wrist is killin’ me between writing about music, playing music while designing for other musicians and clients who wear khakis.  Let’s not forget the precious times I have with myself too; lighting a candle, body oil, me on me for hours on end trying to listen to Sáde, slow deep breaths… dogs barking, lawn mowers buzzing.  Nothing kills the mood more like white people in America making domestic noises while their mistrained dogs bark uncomfortably allllll day when you’re trying to get a little love on yourself in the daytime.  Gals are cool too for these kinds of moments, but at some point it does become a financial investment that’s guaranteed to lose more than gain.  Whatever, we’re all gonna lose, mother nature, she or cancer has the cards that read that one line I’ve ripped off from Bob Dylan in his f-you masterpiece of a song, “Desolation Row.” Over and over I recite that line.  Anyway.

Let’s define a band?  Men, once kids, who set out on a mission together as friends & musicians, making mistakes together and enjoying success together.  Another simple us vs. them, old school, rock n’ roll rule… where did that rock n’ roll business sensibility go to?  Did MTV, American Idol, destroy it?  Seems like it, just “blame downloaders.”  The Pimps are five great musicians tied together by some strange brotherly thing you only hear in guys that stay together for a very long time. It’s unheard of now-a-days. Watching them perform live is one of is one of the midwest’s great punk thrills.  They work harder than any local politician, aldermen, etc., when they perform out their perfect, collective craft.  They are truly one of Rockford, IL’s finest artist ensembles to watch live.  They’ll have you questioning yourself;  ”Is this punk?  Is this country?  Is this just rock n’ roll?  Or is this comedy?” Playing music for a living is hard work, it’s supposed to be funny too, yes.  Otherwise, go put on your khakis and tuck in your Target shirt, paint on that perfect smile and die one day.  Sounds like fun.

Stu, Tony, Todd, Hilly and Dave.  Hell, throw road manager G.T.in there.  G.T. is to The Pimps as Albert Grossman was to Dylan, calling the shots most of the time on when, where, how but mainly he’s their friend too.  Albert wasn’t really Bob’s friend, he was a great, Jewish businessman with a monetary agenda that drove Dylan’s musical agenda.  Add different times, different clothes obviously.  To be able to call out the guys’ names like John, Paul, George & Ringo is unheard of now.  Think about it.  Ryan Adams dumped Whiskeytown– whoever they were (Cary Caitlin and Phil Whateversher) and the midwest’s own recent major signing, Cory Chisel, does as he wishes with or without the original Wandering Sons.  It’s just how it is now a days.  Labels can’t quite act like large greedy banks anymore.

The business of music is as suicidal as it’s ever been.  The industry cares about the songwriter in most contractual cases, how does he look first, then, how does he sound?  IS the band good looking too?  IF not, haircuts?  This is one of many selfish, liable contracted reasons why labels ruined their own sales in the 2000s, not downloaders.  Labels used to be known as an artist’s bank.  Now, where I come from? We all know artists can barely pay for a sandwich let alone the 1 million dollars they’re expected to owe back after distribution and touring slots opening for some sh*tty band like Seven Mary 3.  It’s a self-made, self-imploding, a’Merican influenced, capitalist joke of a system set up to steal or fail at some point.  Every artist gets cut at some point.  Even the great ones.  Think about every great label, their heyday, the great records, artists they released… seems like Sony or Time Warner owns everything and every contracted artist in some way, shape or form ends up owned by these 2 conglomerate media monsters… suckers or survivors?

Well, not The Pimps, for better or worse they don’t seem to care where they fit in.

"FTSWOH" by The Pimps

The road alone has taken them to this;  their 2010 release “F*ck This Sh*t, We’re Outta Here,” is a local gem of a production I’m proud to call my hometown’s own.  Not just as an artistic statement but as a pro-Freedom of Speech, American statement.  It’s an explosive, ‘go f*ck yourself and the establishment you represent,’ guitar rock, punk record with honest, lyrical sentiments dressed up in swear words.  The record bursts with great production and tones courtesy of Mark Gustafson (Recording / Engineering), Ed Dulian (Mixing) and Justin Perkins (Mastering) bringing out the aggressive tight performances that have always been known for.  They’ve never sounded this catchy either.

It’s a manipulative listening experience; smart pop-punk songs about capitalism, the music industry, working hard, partying hard, remaining relevant in a cruel world, accepting defeat, doubting victory, sharing the successes or pleasures we all seek, right and wrong. If Tom Waits’ hooked up with the Arctic Monkeys for a weekend binge, well, this is what happens when you get Tom going 130 miles an hour trapped in a Rockford, IL garage.  I’m on to you Stu Johnson;  excessively long song titles and an impressive record collection can’t fool everyone.

Influences run deep on FTSWOH, american desert blues and british garage rock trade rhythm and licks between “A Good Mechanic is Hard to Find” and “These Are The Things, I Know, I Know.” Don’t be ashamed to slam dance in your own kitchen. By the time you get to “Now Michael, it’s just T.V.” you’re ready for an ice cold beer and a foot stompin horse gallop through the house to the front door, lock it.  Now, gals, guys, grab your man or woman or whatever you prefer– this record is it, the perfect accidental aphrodisiac.  Wear a contraceptive, please. FTSWOH gets down and dirty right away, no time to waste, the sun is goin, goin, gone, get movin, try that one thing upside down. Smiles for everyone– including the neighbors and the friends stopping by your house you won’t hear knocking for minutes on end.  This is a fun, explosive, intelligent rock record worthy of many repeated, satisfying listens.

“Oh Those Bilderbergs & Their Kooky Culling Plan” is one of the catchiest a’Merican folk-rock POP songs you’ll hear this year with the worst song title.  Some glorious, fuzz guitar leads dance around Todd’s congo drums.  Normally this is a recipe for pop song failure or an easy way to contract a musical disease called, Don Henley-itis , but the song is some sorta punk-folk-rock-blues a’Mmmmerican magic. ‘Bilderberg’s…‘ may be Stu’s finest documentation as a quick witted, lyricist with something more to say when the reverb is turned down and the crowd goes away;

“If it’s their job to break our hearts,
they’re payed quite well.
Well, I’m not impressed I must remark.
If I had to guess how it all unraveled and came apart?
Well, It’s their job to break our hearts.”

Again.

Dear Rockford Register Star and to other media outlets from this strange place and beyond, please open your ears to one, loud, manic, swan song of a punk-pop record made by one of the Midwest’s great, independent, American, veteran, punk acts.  There’s 2 cover art versions, same songs, however; I prefer the one with the bearded American man eating the large dong sandwich on the cover.

Try to sit still and listen, you’ll possibly fail as you find yourself wondering when one song ends and the other begins. The rewards lay within pausing to replay and sing along with a laugh;  ”I.M. ‘Merica” or handclap your fists off with, “Gun says,’Yes’.”  Again, to repeat myself, the tones, the guitars, the pace, Mark Gustafson (Recording / Engineering) and Ed Dulian (Mixing) should be proud of their tag team effort.  FTSHOH breezes by so quick you’ll forget where your head is at by the time the last song hits– the title song.  It’s a toast to Rockford, the Midwest, hardwork, broken dreams, accepting defeat and sharing successes while singing about it with your friends one last time, moving on and out.  As 33 minutes end, ‘FTSWOH’ is an ultimate toast to themselves and to the hard work they’ve completed as a band of musicians, friends, brothers, family and to the cross roads they’re now at, personally and artistically.

“F*ck this sh*t, we’re outta here.”  Or not.”

dD  |  andywhorehall.com

____________________

The band authorized a free download of one MP3 song to share from their newest record, “Fuck This Shit We’re Outta Here.” Click here to download:

“Oh those Bilderbergs and their kooky culling plans.”