MUSIC REVIEWS
Dean's List= Highest Achievers
A= Excellent
B= There may be hope for you yet!
C= Pathetically average
D= Probation: One more like this and. . .
F= Pack your shit bro, the party's over.
By B. Love, DeMarco Williams, John B. Moore, Jon Latham & Ed Morales
On the Dean's List
ATLAS SOUND
Parallax (4AD)
Deerhunter frontman’s “side-project” comes into its own.
BL As frontman for Atlanta indie-rock band Deerhunter and the mad musical scientist behind Atlas Sound, Bradford Cox has long since proven himself one of the city’s most prolific artists. But as he matures and becomes less well known for his various eccentricities (see: wearing Victorian frocks and acting like a Stooges-era Iggy Pop onstage), it has become easier to focus on the gorgeously haunting experimentalism and genuine emotional depth behind his music. Parallax picks up where 2009’s Logos left off, veering from sample-laden folk and psychedelic ‘60s rock to indie-pop or even bossa nova seemingly on a whim. But this time around Cox’s sound seems more focused and accessible, wrapping listeners in a wispy hallucinogenic haze that often recalls classic 4AD bands such as the Cocteau Twins. In short, it’s his most accomplished album to date. Leading off with the “The Shakes,” whose droning guitar feedback evolves into a hypnotic folk-rock mantra, the album unfolds like a wispy fever dream of desire, longing, aching melancholy and passion. The style still varies from song to song, but the ethereal album is arguably Cox’s most cohesive, coherent creative effort to date, flowing seamlessly from the piano-driven frivolity of “Te Amo” (which reminds me of a collaboration between Bjork and Sigur Ros with its soaring melody and playful instrumentation) to the almost Beck-ian title track. The unifying element is a distinctive production aesthetic that’s heavy on echoing vocals, ambient electronic sounds and trippy effects. Like Deerhunter’s excellent Halcyon Digest, Parallax proves that Bradford Cox has become one of indie-rock’s most mesmerizing auteurs. More importantly, it suggests that Atlas Sound has grown into much more than a mere side-project, and may in fact be the vehicle through which he unveils his purest artistic self.
NEIL DIAMOND
The Very Best (Columbia/Legacy)
The Jewish Elvis remains relevant, 40 years on.
JM By some fluke, Neil Diamond – the once cheese-tastic singer that pretty much defined the 70’s, sequenced shirt and all – has managed to not only remain relevant more than four decades after his first record, but has gotten everyone from housewives to hipsters to look beyond the sideburns and Vegas-ready stage show and see him for what he really is: a damn great songwriter. As The Very Best of Neil Diamond (the 2011 version, not to be confused by the 1997 and 2002 versions that go by the same name) proves, the Jewish Elvis had plenty of arena-ready sing-alongs to back up the swagger. “Forever in Blue Jeans,” “Cherry, Cherry” and “Sweet Caroline,” (his best out of a career of bests) still hold up remarkable well and can get the drunk and sober alike bonding in sing-alongs every single time (it’s been proven by teams of scientists and backed up by years of research. Look it up). There have been a slew of Diamond greatest hits packages over the years, but the 23 track Very Best Of is the most up to date, including the solid “Hell Yeah” off his 1995 record produced by Rick Rubin. Somewhere Gordon Lightfoot is trying to figure out exactly where he went wrong.
MAGNETS & GHOSTS
Mass (MAG Records)
Brother’s trying to work it out.
BL You don’t have to be a Collective Soul fan in order to appreciate this new venture from co-founding member Dean Roland, the guitar-wielding brother of CS frontman Ed Roland. In fact, in might be better if you’re not, given the artful sounds of Magnets & Ghosts, which is more influenced by experimental Brit-rock bands such as Radiohead, Doves and Elbow. With Collective Soul on indefinite hiatus, Roland found a kindred musical spirit in producer/musician Ryan Potesta, who initially met Ed Roland at Boston’s Berkelee College of Music and worked with the band on their 2007 album Afterwords. The duo bonded over their mutual appreciation for bands that took creative chances, with a non-traditional approach to songwriting, and Roland has clearly embraced the creative liberation that comes from a complete lack of artistic expectations. The duo’s recently released debut is a huge change of pace from what you might expect given Roland’s involvement. While songs such as “Like A Sunday” come close to the mainstream accessibility of Collective Soul, the vast majority of the songs find Roland and Potesta challenging themselves as songwriters, stretching their sound so much that you might not recognize that the rocking “I Want You” and the piano-driven “Hold On” were actually written by the same band. The album’s centerpiece is the title track, a haunting tune that uses a spacey guitar loop, echoing piano and multi-tracked vocals to create an almost otherworldly sound that could not be further from Collective Soul’s arena-ready anthems. Roland seems to have his attention fully focused on Magnets & Ghosts: He and Potenta recently launched their own label and production company. For those who found Collective Soul’s over-the-top anthems a bit overbearing, it’s definitely a welcome creative step forward. |
HURRICANE BELLS
Tides and Tales (Invisible Brigades)
Longwave side project takes on life of its own
JM If ever there were a band fit to be added to the Twilight movie soundtracks it was the moody, atmospheric Hurricane Bells. And being included on the platinum-selling soundtrack to the movie about sparkly vampires took Hurricane Bells from obscurity to indie rock buzz band in no time.
The brainchild of Longwave’s Steve Schiltz, Hurricane Bells is pretty much nothing like his louder day job. Tides and Tales is a continuation of the low key, enjoyable tunes that appeared on his debut in 2010. The songs are pleasant enough fitting in nicely alongside other indie darlings like Death Cab for Cutie (also fellow Twilight soundtracks contributors) and Badly Drawn Boy. Songs like “Hours Like Days,” the poppier “House on Fire” and the more expansive “Let’s Go” are a nice subtle evolution for the band.
If Hurricane Bells continues with this trajectory, they will likely be yet another example of a side project eclipsing the original band. (B-)
UNCLE GREEN / 3 LB. THRILL
Rycopa (Self-released)
Back, and even better.
LVS In the late ‘80s, one of the best Atlanta bands on the pre-Alternative scene was the quirky, decidedly Beatlesque pop quartet Uncle Green. Originally from New Jersey, guitarists Matt Brown and Jeff Jensen, bassist Bill Decker and drummer Peter McDade lived and created in a swingin’ pad in Stone Mountain, crafting a slew of irresistible indie-pop records. As the ‘90s arrived, the successful live act signed to Atlantic and released the sadly underappreciated Book Of Bad Thoughts in ‘92. Then, operating as 3 Lb. Thrill, the group released the grungy Vulture on Sony’s 57 label. That’s where Rycopa comes in.
Fourteen years ago, 3 Lb. Thrill turned in the tapes that comprise this album to the powers-that-be at Sony. The label wasn’t exactly what you’d call thrilled, and the massive 32-song collection was never issued. Last summer, funded by a Kickstarter campaign, the album was refinanced and re-mastered. Though tastes and trends have changed since it was originally recorded, the expansive 2-CD set remains a timeless delight from start to finish. Granted, the sheer number of songs can be a weighty listen (especially in an age of instant iTunes shuffle gratification), with almost four LPs’ worth of great music. As usual, principle songwriters Jensen and Brown take turns on the leads, blending harmoniously in Lennon-McCartney unity, offering a set of tunes that meld jangly Uncle Green-type songs (“Not In Range,” “Geronimo“) with at least a full album’s worth that would have worked as a heavier 3 Lb. Thrill follow-up. With obvious nods to The Beatles, Byrds and Dylan, and the occasional psychedelic swirl, introspective acoustic ruminations and even some tongue-in-cheek funk, Rycopa grooves at the smart pop crossroads where Richard Brautigan meets TMZ: twisted takes on life and relationships take pop-culture-injected inspirations from television, books, movies and even strip malls.
THE BARRERACUDAS
Nocturnal Missions (Douchemaster)
Another effort from the ATL’s garage-rock haven.
BL I’m not exactly sure when Atlanta replaced Detroit as America’s hottest garage-rock haven. But, with the Black Lips, Gringo Star, Coathangers, King Khan & the Shrines and numerous other bands making noise on a national level, the city’s status as prime breeding ground for the genre is undeniable. The latest hipsters to emerge from this scene were previously best known as Gentleman Jesse’s backing band, but Nocturnal Missions proves The Barreracudas have both the cojones and the chops to stand out on their own. Their sound isn’t exactly what you’d call unique– this is straight-up garage-glam from the New York Dolls/ Johnny Thunders/ Slade school. But the band has charisma and charm to spare, and it’s not difficult to imagine the visceral thrill of chugging down a few PBRs, crowding into a tightly packed club and pogo-ing your butt off along to their infectious anthems with a few hundred sweaty strangers.
In short, they’re a perfect fit for Douchemaster Records. (B)
THE BRAINS
Drunk Not Dead (Stomp)
Canadian punks staking their claim to psychobilly
JM My, my what The Cramps have started. In the 30-plus years since Lux Interior and his crew combined horror-show themes, punk rock and rockabilliy there have been a shocking number of groups that have used the same formula – enough to establish a pretty sizable subgenre.
There are some dreadful examples, but Canada’s The Brains, thankfully, are one of the best. On Drunk Not Dead, their third and latest release, the band has turned in their most consistent collection of songs yet. An appropriate 13 tracks, filled with ditties themed around the macabre, fast cars and resilience. The album also includes their infectious new anthem “We Are the Brains,” likely to be a show staple from here on. Rene de La Muerte croons like Torme and his double speed guitar fits in nicely backed by the hyper speed drumming of Pat Kadavar and smooth stand up bass of Colin the Dead, one of the best rhythm sections in punk rock. There are a few missteps, like the muddled “Oh Murder,” but far more shining moments on Drunk Not Dead to make up for it. Long live the undead. (B)
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