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Dear Malevolent Force of Darkness, I have decided to write to you this letter of admiration for two specific reasons. The first of which is more general, the second of which I shall write in detail. Firstly, I would like to extend my gratitude for creating and making accessible the following: Old Gold brand cigarettes, Taco Bell, the Food Network, Stephanie March of [Law & Order: Special Victims Unit] fame, Oreos, Coors Light, the idea to send +kaleb an unnecessary amount of pencil erasers, and most notably, the Death Metal genre. Secondly, and more specifically, I would like to emphasize my undying gratitude for Aborted's [Goremageddon], and please allow me a moment to extrapolate. Due to it's apparent inaccessibility, I was forced to illegally download this particular release from a file sharing program (for which I also thank you), so I have not yet sampled the artwork nor any other information regarding the band save for what I was able to locate via their website. In any event, this lack of information never prevented me from enjoying the most important aspect of this release: the music. This 11 track offering has very rapidly forced its way into my irrefutable Top-20 All-time Greatest Album list, and it is in no way located anywhere near the bottom. This disc is quite simply solid from start to finish. And despite the fact that it blurs the line between technical death metal and a style known as gore-grind, I find that to be one its more appealing attributes. If it's true that "you can't catch what you can't see", then I would apply a derivative of that maxim here: you can't classify what you can't immediately comprehend. For example, the general instrumentation is clearly death metal in style and focus - shredding, hyper-riffs and pinch-harmonics; thunderous, blasting hyper-bass; crawling, accommodating bass lines; and a dual vocal onslaught that could very well be death metal's answer to Simon & Garfunkel: an over-exaggeration, you say? Never. The lyrics are the only contributing factor to the aforementioned gore-grind classification. A sample lyric taken from the second track entitled [Parasitic Flesh Resection] reads thusly: Psychonecrotic
hallucinations You must understand, oh Malevolent Force of Darkness, sir, that I have been lusting after a release that encompasses every definable characteristic of the releases that I have fallen in love with over my many years. Using one part Cryptopsy, one part Suffocation, and one part early Carcass as a frame of reference, suffice it to say, that this is the pinnacle, the apex, the culmination of those small qualities that I could never find combined within the confines of a compact disc. But, lo, you have given me greatness. I can breathe easily once again knowing that you do, in fact, respond when I inquire. The stop-and-start approach of fantastic chugging riffs is the most welcomed portion of this disc. I am deadly serious when I reiterate to you that I have acquired a small, yet noticeable indentation on my forehead from slamming my head back and forth between my steering wheel and my headrest. This is a 'headbanger's' most fantastic dream, as well as his or hers worst nightmare. I'm quite positive that you have sampled this disc already, but in the event that you haven't, you are permitted to sample two tracks from this release through the [Sound] section of their website to further extend to you my gratitude, I ask that you sample track five, [Sanguine Verses (of extirpation)], and patiently await the 1min 21sec mark that will surely send you and your minions into epileptic shock. Brutally fantastic; abhorrently sublime; absolutely, positively pristine production; breathtaking instrumentation; and a sporadic dual vocal assault must surely propel this Belgian quintet to the "Best of" lists of every single extreme music magazine, or may they rot beside you in darkness for all time and afterward. I would now like to recant my previous statement that I had sent to you regarding the unwarranted disbandment of Carcass; in providing me with an ultra-modern, millennial version of said disbanded band (Aborted even display some almost industrial sounding passages at times), I once again worship at your foot and/or hoof. In closing, may I just briefly mention that if being Aborted is this incredible, then I wish my mother had invested in the 'vacuum' as opposed to my Bachelor's degree. But then again... . Sincerely, P.S.: goremageddon |
Aborted Absolute
Grey Green House: 20th Anniversary Edition ( DBK Works ) 2004 There are very few absolutes in this life: debt, tacks, and two of the same bus arriving at the stop simultaneously. But there was an Absolute Grey, this early/mid-80s quartet of swells from upstate NY, who, if the world were a fairer place (HA!), would have been bigger than the Rain Parade. The Ab Greys mined the same influences as the Parade, the Church, Teardrop Explodes, and other essence-of-the-60s ensembles, but had a sound that was more garage-y (though not sloppy), darker, more brittle than their peers, and yet still featured melancholic-pretty melodies that recalled the furtive folk-rock of Moby Grape (a little), the VU, and early Jefferson Airplane (the latter two a lot). And unlike some of their Paisley Underground brethren, the Ab-G's had spunk. Their first album Green House is here in it's entirety, and like some select things from that era, actually sounds better now than it did then. But wait, there's more: an additional disc of live material, with lotsa lotsa songs on it. Those of you diggin' the Elephant 6 extended family (OlTmrCntl, Minders, Of Montreal, etc.) and/or in love with rockin' rainy/dream away sounds, you could do yourself a nice favor (be good to yourself at least once a day, that's my motto) and seek this out. Mark
Keresman ::(09.13.04) |
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 AdemHomesongs ( Domino Records ) 2004 While the trio of Fridge sporatically creates electronic-bent post rock music that's always thinking a bit forward, everyone in the group also seem to be incredibly talented at doing their own thing. Kieren Hebden needs no introduction as Four Tet, and while drummer/percussionist Sam Jeffers is probably the biggest egghead of the trio (his day job is website design and photography), Adem Ilhan has created this lovely debut album of hushed folk that may be one of the best things in this sort of genre that I've heard in some time. Some contemporary comparisons might be the sleepy sounds of Iron And Wine, but Homesongs seems to be a bit more hopeful and willing to experiment. The opening track of "Statued" (which appeared on an early 7" release) moves with quiet acoustic guitar, sustained harmonium wheezes and the emotive vocals of Illhan that sound quiet good even when he stretches into falsetto. The whole thing ebbs and flows softly, giving as much importance to the quiet spaces as the ones with notes. "Ringing In My Ear" follows with an even more buoyant feel with percussion that sounds like it's created from clomping shoes while vocals again soar alongside acoustic guitar. It's joyous and touching and easily one of the better songs on the album. Me mentioned experimentation above mainly means that Illhan isn't afraid to throw all kinds of odd instrumentation into the mix. In addition to the aforementioned track that sounds like clomping shoes provide the percussion, there are many tracks that have little clicks and clacks and sparkles of found sound. Hinted at by the title, it's a very comfy release that indeed sounds like it was recorded with everyone sitting in a circle in a bedroom in the countryside somewhere. There are a good mix of slower tracks (like the gorgeous and sparse "Pillow") and more upbeat ones (the rollicking "Everything You Need," which would be the feel-good hit of the summer if I had my way). Even though his main group is still on hiatus, Homesongs goes to show you can't keep a good musician from expressing himself. Rating: 7.75 Aaron ::(08/14/04). [ almostcool.org ] |
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This album is fucking B - R - U - T - A - L. Fast paced metal guitars and breakdowns that'll make you shit your teeth a week from them being kicked down your throat. These breakdowns are what nightmares are made of. Every song on this album is like a war. The calm before the storm then all the shit hits the fan and people start dying and there's no time to write home cause here comes another breakdown. These guys know how to throwdown and write some catchy shit. If you've been into hardcore for awhile and have been looking for a new band that's really doing something ... you found it right here. Formed 6 years ago down in Washington D.C. Age of Ruin has made quite a name for themselves touring with such hardcore heavyweights as Zao and Dillinger Escape Plan. Fusing elements of Scandinavian metal and pure unadulterated American hard fucking core, they show no sign of slowing up. Each song pushes the envelope and makes you wonder what the next song will sound like? In any case ... it's better than Meteora so go pick this shit up ... ray | 06.25.04 |
Age
of Ruin  Agian
Trobotlike the sands through the hour glass such are the days of our lives. ( El Camino) 2003
"we're ankle-deep in not getting along." |
Agoraphobic
NosebleedFrozen Corpse Stuffed with Dope ( RELAPSE ) 2002 So this
album has 38 tracks and is just annhilation the whole way through.
Combines some noise elements that are way more prominant on their
following 3" 100 track release Altered States of America. This
band is the most mean in your face band I can possibly think of. They
don't let up and they fucking hate you. A lot of people will
tell me that they're not into drum machine bands but fuck dude.. .
who gives a shit if it's a drum machine? It sounds fucking awesome!
And it adds a special sound to the record. The lyrics are something
you most definetly will want to read because the lyrics are absolutely
assaulting and hilarious. Agoraphoric Nosebleed will take a dump in
your hair and just laugh at you as you try to get all the shit outta
there. Yeah it's pretty fucked up. Also, Frozen Corpse was
just released on picture disc 12"!!!!.
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Agoraphobic
NosebleedAltered States of America ( RELAPSE ) 2003 Okay if your into heavy music you've heard of Agoraphobic Nosebleed.. hopefully . Let me describe this cd to you a little bit. It's 100 songs (that's right 100!) on a 3" cd. The cd runs about 19 and a half minutes. Yeah, I know it sounds unbelievable, BUT it's not. This sounds like a dumb idea at first. How would this sound good? How would it be interesting? Is it repetative? The answers to those questions are: It just does - it just is - Hell NO! This cd is probably the craziest album ever made.. . that contains actual music at least. Agoraphobic Nosebleed is a drum machine grindcore band. But let me say it's so much more than that. This is obviously a concept album and let me say the lyrics are probably some of the most intense, insane lyrics I have ever read. None of that death metal lyrical bullshit. Every single song contains lyrics. And if you're a fan of noise than there is some of the most extreme noise on here. Get this...all the noise you hear on the album is actually the drum machine at like 300,000 beats per minute. This album is so intense you'll find yourself laughing. Oh and don't forget one of the highlights of this album is "the twelve days of sodom" 12 tracks in a row that are about 4-6 seconds long. Oh and also the artwork is completely over the top...complete with children eating other children, pills spilling out of a corpse, a priest with a boner, and dudes with vagina and asshole eyes and lips, all in a cartoonish fashion complimented by easter colors. Man
with all that crazy shit going on how could you NOT want this album?
Even if your not into this style of music. I mean supposedly they
are going to be in the Guiness Book of World Records for
this album also. Buy it. Show your friends. Be astonished. Let your
jaw drop. Piss your pants. Admire the artwork. Oh yeah and listen
to the cd. This release is also available on 10" vinyl...pick that
up also if your a freak, like me.
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Akron/FamilyAkron/Family ( Young God Records ) 2005
Young God Records, and Michael Gira for that matter, has crafted their own unique corner of "folk(lore)" over the past few years (in the music released and their packaging) - and much has been made over Akron/Family, the latest young gods. While Akron/Family feel right at home on this roster of success (Angels of Light, Devendra Banhart), they throw in their very own instrumental ingredients (hear the 'spaceship landing' opening of "Part of Corey") to separate themselves from the immediate family. And Ryan Vanderhoof, the main source of vocals, sings with such a soothing presence you'll likely want to invite him over to get you to sleep on restless evenings. The gentle creek of "things" accompany some tracks (see: "Italy" for many embedded, random sounds.. .spoons maybe? Gira is credited with "change"), as if the band is playing while seated on grandmothers rockers. You will not pick it all up on the first listen (it may take five full rotations) - I even hid this one for about 3 months out of fear of not quite describing it correctly.. . and still I fail to grasp the fragile, yet intense combination, these four young men have placed before us. The album artwork is a great match, images from the 18th century wonder, The Cabinet of Natural Curiosities (Albertus Seba) including the bizarre cover image of a face crafted from various shells, roots and other organic elements. The original 500+ page book is well worth seeking as well just to say you've seen it. If you're into this album, or vice-versa, I strongly suggest Static Films on the Bluesanct label. Classic, just give this album the space and attention it requires. "and you find your body in between the waves.. . a sonic haven"
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 American
Princeslittle spaces ( Max Recordings ) 2004 I'm not quite sure if the entire album is about claustrophobia, but I do know that any fear of little spaces I may once have held has now been assuaged. Contained within their stellar second album, the American Princes have forged a sharper soundimage through stronger musicianship and more concentrated songwriting. They've taken off from where they left their first album We Are the People, plowing steamfaced ahead. Working again with mixmaster Marcus Lowe, they've created something great, even the while struggling with a new understanding of it. The journey tackles death, boredom, and sex with a stained virility--remaining stoically wedged betwixt sky and cement. Yet the sound is global. With the exception of 'Providence, RI,' any of the songs could take place in any town in America. The boys have had their share of urban intimacies. Six bits of the Princes hail from Little Rock-- a scene they've conquered quite naturally. Rhythm guitarist/singer David Slade and (recently departed) bassist/singer John Beachboard formed the band in Brooklyn a couple of years ago and decided to put together a raw but layered rock band. They imported local Brooklyn badass Matt Quin on drums to fill it out. But it wasn't until they transplanted back to Little Rock that they reconvened with friend and lead guitarist/keyboardist/singer Collins Kilgore to add the final touches. I've had the royaluxury of watching the Princes' songs develop from show to album. What didn't fit live, they laid down to digital--breaking out the acoustic for about a quarter of the time. Still, their live show remains a force to be reckoned, if heard. Ryan Universe joins on bass, and the boys' between-song banter is always a treat: Slade's recent valediction of the encore as their "hidden track" was clever at best, until at home, the CD's ending rendered it brilliant. In fact, brilliance seems to abound on little spaces. A poet-songwriter could do well to be heard and understood by including a lyric sheet to his work. As such, one can glean the genius of Slade with the turn of a phrase: "I wrote this song / but it's gone in a second and it's worthless, so" from the poignant Shins-esque 'In the Dark,' to the cynicalanthemic, Pixies-like boast "out is in / out is in," from '100 Eyes.' The lyrics dig deep, and the accompanying album art adds an element of embryonic encapsulement that fits the albums' theme. Sometimes it takes standing in the corner to force you to think about your misdeeds--sometimes these little spaces allow you to put it all in perspective. They push you to do better. Sure there are a million bands these days, a million scenes out there, but the American Princes want to be good; they know these scenes. And I think they're beginning to outgrow their own little spaces. Ridge
Bardo ::(08.06.04) |
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"you don't have to go to college" Attempting to describe any release from the Animal Collective to anyone not already familiar with the breed of music they release is no easy feat. 'Sung Tongs' is no different by any angle. We best begin at the beginning.. . that's always a good place to start. "Leaf House" opens us up - the best I can relay to you is Clinic high on medicinal doses of Laurie Anderson's epic 'Big Science', sneaking a whiff of 'Ege Bamyasi' every so often for a head rush. I am not attempting to confuse you, lovely listener, with meaningless references - it's just this amazingly strange, as the past Collective catalog has revealed (see: 'spirit they're gone, spirit they've vanished'). "The Softest Voice" is as fittingly titled a track as I could imagine. A delicate layer of strings introduce the song as hushes of lyrical something's weave through a garden of springtime. Bubbles make friends with you, but can't stay for fear of the grasses sharp blades ruining it's only chance of survival. Again, I am not attempting to confuse you, faithful neighbor - it's just so comfortable inside of this album. kaleb | 07.02.04 |
Animal
Collective 
Animal Collective feat. Vashti BunyanProspect Hummer ( fatcat ) 2005 Never an outfit to accept modern classification, the Animal Collective and each of their aliases (Avey Tare, Geologist, Deakin and Panda Bear) do indeed defy many of what today's genres hold "standard". That said, it's quite fitting that they would become aquainted with a legend who dismisses (and has for decades) immediate musical boundaries in Vashti Bunyan. Many have likely read her name alongside interviews with now-folks Devendra Banhart or his likeness - but have you actually heard this woman? A project with AC (following 2004's acclaimed Sung Tongs) couldn't be more appropriate for an introduction (and an absolute treasure for fans). Fans of the Elvrum family (see: the Blow, the Microphones) would be doing themselves and injsutice to miss this 4-song album, as it plays out much like the Glow-era Microphones (specifically the title track). Sparse, intricate & multiple layers of guitars, acoustics and organic vibes (steel drums on "Baleen"?) sweep throughout the entire 14-minute affair. Recorded in just 3 days last March - this set of songs (three with Vashti B., "Baleen Sample" the sole instrumental) showcases an important and mesmerizing meeting of uniqueness. When can we expect the full-length?
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 Antietam
Victory Park ( CarrotTop) 2004 The perpetually dark, lean,'60s pop-psych rockin' machine that is the trio Antietam releases their first album in 10 years, and it's wonderful to report their distinctive faculties are still A-OK in order. Tara Key's melodic Neil Young-meets-Jorma Kaukonen (from the Jefferson Airplane, for younger readers) guitar still stings and smolders like your first heartbreak and her voice, like a willowy, less strident Patti Smith, is still capable of soothing, reopening, and / or cauterizing old wounds; Tim Harris' bass still thick, nimble & solid; Josh Madell's drumming still has that garage-band thump, but now with more finesse and restraint, and the melancholy, psychedelic-glazed songs still sound best while listened to in a dark room while you're mulling over whatever it is you can't get off your mind. In fact, Victory Park maybe their best ever album - while previous Antietam albums had usually two or three terrific songs amid some decent but unexceptional ones, nearly every song here has memorable, captivating hooks and/or character. Why so many folks think Yo La Tengo are the cat's pajamas and this trio is not much better known is a, to borrow a Fleetwood Mac album title, mystery to me. PS: If you've a fan of Neil Young and/or Jefferson Airplane (their 60s stuff) in your life & you want to make him/her happy, play for them "Riccochet" from VP. Mark Keresman ::(07.24.04) |
Michelle
AnthonyStand Fall Repeat ( Burn & Shiver Records ) 2004 Once upon a time, if you was at all "hip" you automatically despised "mainstream rock": Cougar before he got down with his Mellencamp, Boston (c'mon, admit it, "More Than A Feeling" sounded kinda good the first 12 times you heard it), Starship when "Jefferson" was part of their name, Van Halen post-D.L. Roth, and of course, Bryan Adams -- and with good reason, as a lot of it was LCD crap. However, in retrospect there was a lot of crappy "alternative rock" too, back when it was still called "new wave" and "punk," with the popular subdivisions being "hardcore" (the sons of Black Flag), "industrial/synth-pop" (OMD, Soft Cell, Throbbing Gristle) and the ever-popular Flock of Haircuts bands. Many of these bands produced Gorgonzola just as mediocre and ephemeral as Christopher Cross or Motley Crue, but because they came out of "our" scene, they had some street cred. Ah, the 1980s, perhaps the LAMEST decade in American History -- I can hear 'em grousing now, "Aw, the '80s were FUN!" Lessee now, we had Mission of Burma and REM and the Replacements, but for every band like those titans, there was a slew of interchangeable and/or amelodic hardcore punk bands; soulless, wind-up synth-pop; candy-ass metal/hard rock; and Frankie Goes To Hollywood. Also: the Reagan/Bush years, Gordon Gecko ("greed is good") is not a movie villain but a role model, and conformity -- a.k.a. the Reagan Youth -- swept the college camps, uh, campuses (the Stepford Students, a friend called them), Top Gun, where war becomes dashing & romantic when Tom & Kelly present it, and self-absorption became the dominant religion. AH, you cry, WHAT's all this ranting from an obviously old fart got to do with the music of Michelle Anthony? Actually, a lot -- her music is timeless in the sense that in could have come from the 80s as much as yesterday or 1974 (before the term "singer-songwriter" had negative connotations). In fact -- and here's the connection -- in the 80s and there-'bouts, there were a few performers who did not neatly fit into the "mainstream" or "underground" categories, performers who were too "odd" (individualistic) for the masses and not "rebellious" (raw or funny-looking) enough to be embraced by the punks and new wave-ers. Those who made good or great records that didn't sell for shit included Mink DeVille (later Willie DeVille), Carolyn Mas, Robin Lane & the Chartbusters, Wednesday Week, the Searchers, Willie Nile, Wilko Johnson, John Prine, the Shirts (but their 3rd album sucked), the Blasters and Graham Parker. I fear Ms. Anthony is like some of those folks -- hell, at her best, she reminds me of some of 'em. Ms. Anthony is a GREAT singer in the old-school sense, with impressive range, judicious inflection and honest white-gal soul, a la Laura Nyro (who by the 80s was, sadly, not hip anymore) and Chrissy Hynde. If fact, if I wanted to be glib -- and of course I want to -- I could sum-up Michelle Anthony (& her band Stick Pony) is a cross between Laura Nyro circa Eli/Gonna Take A Miracle, post-Jeremy Spencer, pre-Tusk Fleetwood Mac, the Jayhawks and the Band (you know, those bearded guys who backed Dylan). Anthony's "Radio Waves," reminiscent of Bonnie Raitt's version of "Angel From Montgomery" while sounding nothing like it, is a country-soul GEM that'd be perfect for Lulu or the late Dusty Springfield or even blues singer/guitarist Michelle Coleman. "Ivy Rider" is the greatest song Fairport Convention (Sandy Denny-era, natch) never did, with a chorus that embodies the SWEETEST ACHE I've heard all year, "Analog Feeling" is droll, existential, rousing & soulful, like The Band playing The Replacements' most power-poppingest song, sizing up Life like it should be sized-up, with no headache. This Stick Pony is tight as a drumhead -- like the best rock & roll songs, there's NO wretched excess at all -- with the emphasis on the songs and brisk ensemble playing (as opposed to being a mere "back-up band" for Ms. Anthony), and there are over/undertones of country, old-school soul and blues-rock that never feel forced. Attention, you Midwesterners: miss the Milwaukee-based Michelle Anthony at your peril -- MA & Stick Pony are playing rock & roll bars like Schuba's in Chicago, but they're NOT "alternative rock" or "indie rock"nor are they an anonymous "bar band"-- forget that, they are, if label them you must, an Americana outfit (ex-Wilco Jay Bennett produces this platter), but labels matter less than music and HEART -- so see them while the cover charge is minimal, because THESE FOLKS DESERVE TO "GO PLACES." OK,
I've gone on long enough, dropped enough names and risked happy happenin'
hyperbole to be eligible for entry to the Greil Marcus/Lester Bangs
Institute of Rock History. My point IS, DO NOT let this platter
slip into shoulda-been obscurity -- buy & listen, it'll be good for
you & you won't be hungry two hours later. |
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armored
frog Armored Frog seem to have a thing for animal names - and that's simply an observation. Firstly, the name of the band (we gave you that one a second ago.. .), then you can take into consideration the album titles - ghost cow EP and weasel on a weathervane. With track titles like "flight of the zebra" and "snake in the grass" - the relationship takes on a bit of a life of its own. The fact that arises out of all of these minor details in Armored Frog make delicate, fabulous music - and the method by which I came to this conclusion is the sum of two incredible albums - the ghost cow EP (which is actually 12 songs in length) and the latest weasel on a weathervane, both on the bands own imprint sleepsound records. A working duo consisting of Sir George Ayers and Mister Jake Baker - there is a set of dazzling albums on the west just waiting for you to spin them. Tales that play out like anthems, ghost cow EP takes on daily life as I - the depersonalized & heavily overmedicated - see it: folks yearning to rebel against the every day. Tracks like "working weak" and "honest verse" both strike the sweet air directly out of the life some seem to claim is so marvelous, with lines like "the 9 to 5 wasn't meant for me" ("working weak") and "When I wake, I feel perfect - then the day, it just gets worse." ("someday maybe"). And the instrumentation, oh the grand instrumentation.. . drums, guitars and piano (on some tracks, your guess is as good as mine as to what these fellas are playing - but it's just right) glide through like a broken nose-dose of prescription pills - the ideal pattern for watching snowflakes slowly accumulate on the hard, winter ground past midnight. There are then those precise moments when Armored Frog decide rebellion is key to quasi-happiness, and the electricity gets juiced. "significant figurines" from weasel and "from inside an ac" on ghost both inject a reasonable amount of "hey, I'm going to stand really close to this amp and see what happens" magic around the already superb base Armored Frog's songs display. Although when presented to the band, they modestly shunned the comparison - but Armored Frog will make any Good Morning Spider-era Sparklehorse fan appreciate the [heart]ache and beauty in both of these records. You'll wish you had titled a track "blasted record effect" (from weasel on a weathervane). Oregon owns my heart, and for each new discovery like Armored Frog - I'm getting much closer to packing the poor bastard up and mailing it out there. :
k someday |
Joseph
ArthurRedemption's Son ( Enjoy ); 2002
Joseph Arthur writes the words that your mind needs to hear. On this album, his
third full-length, Joseph continues to pen songs that amaze and follow in his
line of imagery and beauty. Where most albums try to start you off with either
a throw-away track or some useless intro, Redemption's Son gets things off to
a brilliant beginning with the (incredible) title track that is quite possibly
one of the best songs he has ever written. From there on, this entire album finds
more ways to get into your head than any one song I have heard in a very long
while. There just isn't enough time for me to express to you how good Joseph Arthur
is, but when I saw him opening for David Gray a while back, his "one-man"
show was beyond incredible. Most won't "get it", but those that do will
be very much rewarded. For anyone that does want to hear more, I strongly suggest
his "Vacancy" ep (1999, Undercover) as well as any of his ealier recordings. |
 as
tall as lionslafcadio ( Triple Crown ) 2004 Triple Crown has struck gold with this group of heart felt emotional rockers that is, as tall as lions. Grant it, they are doing something that has already been done before and tons of bands are signing their lives away (Dashboard Confessional) to let the world see it ... just as tall as lions do it better than most. But don't get the wrong idea. Sure D.C. have some(?) talent and write some(?) decent songs, but ATAL do it in another way that brings it off as more sincere. 'Emo' is a term that's often over used and honestly has become synonymous with all the bullshit lyrics about lost loves and all the night's spent weeping. ATAL takes it a step further with their lyrics and creates imagery that any listener will enjoy and ultimately know what it's like ... We've all been down this road before. For instance on 'And The Wick Burnt Black' you're left with the opening lines ... "can foolhardy love affairs, be more than just wet thighs? because that's all that you're giving me ". In all honesty, I'm a hardcore kid at heart and for me to get an album like this in the mail, and not only enjoy it ... but praise it for all it's worth says something. For people who enjoy groups like mae, Emery and even the old tunes put out by Elliot, you should definitely check these guys out. ray
::(08.01.04) |
 ASVAFuturists Against The Ocean ( Web of Mimicry ) 2005 __________________________________________________KILL THE DOG
___________________________________________________TIE THEM UP
__________________________________________THEN TAKE THE MONEY.
Bloody 5 10.17.05 |
The word 'Heavy' doesn't even begin to describe the sound of ASVA. From the moment Futurists Against The Ocean begins, the atmosphere of the room grows darker and darker, forcing you into submission. Staggered beats, hushed whisperings and stark, open spaces co-existing with rolling waves of slow-boiling sludge that will bring you down to the depths of your subconscious, unafraid of what you may find, and unaware of who you were before that ominous moment when you hit the play button and headed for the couch; bong in hand.
Atrax MorgueSickness Report ( RELEASE Records ) 1996
There are 9 tracks on this cd and all of them are just great! Every
track on here makes you feel just what it intends. Atrax Morgue
is a noise project with death in
mind. This whole recording is analog and is improvised in a one hour
session. The artist behind this is italian and quite a scary dude I
must admit. The artwork at first glace looks almost rushed, but after
you listen to the cd you realize why the artwork looks that way. It
has a dirty medical feel to it and definetly contributes to the vibe
of this cd. if you are into noise at all you should buy this cd, probably
one of the most underappreciated noise artists out there.
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audibleSky Signal ( Polyvinyl Records ) 2005 Audible is the equal sum of fantastic musicians already making big waves in many bands (some past, some current) - now the multi-talented kids have hopped on one bus based out of the east and have crafted a superb debut album. If, by the grace of some odd god, there was some semi-intelligent director that wanted to remake Sixteen Candles for the 21st century - I could totally see the harmonies and keys of title track "sky signal" dropping in on some harmless "brat pack" humor. Don't take this kind opinion the wrong way, Audible deserve some listening room - and headphones will enhance this session (on a faint, tinkle-backed track like "from the third floor"). If the overstated term "pop" has to find his place, and that place is to be around an album that puts sunshine in your mind on even the grayest of days - I'd give Sky Signal the top prize. And hell, while Audible co-ordinator / keys / multi-man Mike Kennedy decides to front the band, it gave state-mate and overall swell guy Sean Byrne (of the Twin Atlas, people!) a reason to sit in on the session drumming. As it goes, any kind listener of the Twin Atlas has ten reasons to fall in love with Sky Signal, while a standout track such as "Motorcyle" easily puts Yo La Tengo on the mind. Expect to see this one back on my list at the years end - this is a surprise and a keeper! k
02.15.05
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"you're all the luckiest alive - and it comes from side to side" There is something to be said for a band who credits an individual as playing goat toenails (laurence herman - 'the great lawn competition') on an album. Then you take a peek at their Le Petit Prince inspired webspot and another soul is credited with adding "flavor, sugar and spice" to the bands formula (Zach Moser). Now, if audio out send didn't play a spectacular brand of woodsy west coast "rock" in the similar vein of Modesto's fiver and Chicago's late, great Number One Cup - I would choose to speculate on the goat toenails fascination. Animals and additives aside, aos do have intelligent talents beyond most of what you are going to hear this year, that year and the year after that. With a chimerical combination of "electronic noise" (see: 'radio elevator rising'), gifted instrumentation and silver-toned vocals (see: 'rolling heads'), it is only a matter of time before ...or does it explode, well - does just that. A keeper of an album that desires repeated listens and reveals more of it's charm with each spin - be thankful you now know of this albums existence. Just one more reason I long for the streets of San Francisco... . . . Did I mention that incredible website? + k | 04.17.04 |
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