Jandek
Blue Corpse
( Corwood Ind. ) 1987

It could be argued that the 'acid-folk' genre is a perpetually dying entity. Unlike other specialized music forms like Jazz, it didn't peak out and then shrink away from sight. Jandek is easily the artist who has weathered the most of this genre's cycles and come out virtually unchanged and still somewhat unstudied. There is, however, a modern strain of eccentric folk players who have recently been enjoying a resurgence of sorts ... but none exist out on the island of willful obscurity and stubborn un-marketability that Jandek has for almost thirty years now. While the new school shine bright lights on their mangled-ness and flaunt their eccentricities to exploit today's impressively expanding market, Jandek may still be sitting in that same dimly-lit basement with the same reverb unit and acoustic guitar he had in 1978.

Blue Corpse could be considered Jandek's classic record, though it's very hard to nail down the trajectory or peak moments of his massive catalog. Most artists change structurally, sonically or alter their instrumentation from album to album; to understand Jandek is to see how little he shifts over ten albums while studying the smallest details of his style. This both draws in and repels the listener because he offers so little, but his stubbornness separates him and keeps alive the confused speculation that embodies his listener-ship. The hardest part about Jandek's music seems to be finding the right time of day you want to give yourself over to him. Often I can visualize him smiling as he sings and puts his blues-folk-stream-of-consciousness joke over on his listeners again. But that's where his freedom is most refreshing. Because he has none of the release dates, deadlines or press to attend to that dictate the world of promoting music, he is allowed to wallow and wade in whatever emotion he is experiencing at the time and draw it out as long as he may want to.

I would never be able to recommend anyone buy Blue Corpse for fear that they would hold it against me. Most would hear it and consider it to be depressing, out of tune ramblings rendered with virtually no musical ability ... and they would be right ... but a Jandek fan regards these qualities as a panacea to the vapidness of music that is too practiced, labored-over and camera-ready. If you want to check out the basic Jandek sound, go to Aquarius Records and download "Your Other Man" from the record Blue Corpse. Most people only want to hear music they can easily anticipate ... but if you're tired of being spoon-fed by that bloated industry, track down Blue Corpse and wait until you're in an appropriately meditative mood to put it on.

- Emil Amos :: (08.14.04)

the Juan Maclean
Less Than Human
( DFA | Astralwerks ) 2005

The DFA have found the path from indie label du jour to a name synonymous with solid, innovative releases: keep releasing amazing records. First, the Rapture dropped the 2001 summer jam "House of Jealous Lovers," then James Murphy under his LCD Soundsystem alias re-defined hip as omnivorous and jaded, followed by a resurrection of Pixeltan with "Get Up/Say What," and now, the Juan Maclean, with a stellar full-length, Less Than Human. Making few (if any) missteps since their notorious public debut in 2001, the DFA are the electronica counterpart to hip-hop tastemakers the Neptunes.

But that's beside the point: Juan Maclean and his cohorts are to blame for this solidly danceable album, not the gentlemen behind the boards (well, 70% of it, at least). Glitchy opener "AD2003" and throbbing second track "Shining Skinned Friend" set the tone for the album, Mr. Maclean writing with a free hand drawing from the last 20 years of electronic music, all filtered through New York club speakers. He writes with a sense of humor that compliments the songs and dance grooves, a rare quality that seems to unify all the artists on the DFA label (dare I mention "Losing My Edge?").

The tracks are weird, diverse, funky, and above all, fun: silly basslines and un-ironic synth beds that border on European discotheque pop up, simmering underneath deadpan robotic vocals. Nancy Whang's vocal turn on "Tito's Way" is both hilarious, and thoroughly catchy, sounding like a lecherous Daft Punk over a simultaneously sexy and cartoonish synth bassline. Like James Murphy and Tim Goldsworthy, Mr. Maclean has an ear for music that brings in disparate elements and unites them on the dancefloor; "Give Me Every Little Thing" brings 80's New York electronica together with 70's disco, as played by a white version of the Gap Band. On other tracks, like "My Time Is Running Out," acid-y synths meet up with funky, hip-hop influenced drums and glitchy, IDM style production.

Unlike LCD or the Rapture, however, the Juan Maclean is a dancefloor-only band: not that Less Than Human is less crossover-friendly than the other DFA full-lengths, it just seems that Maclean is so entranced by the strobe light he forgets the rock kids still don't know how to dance. But, with Less Than Human, they have a pretty good reason to learn.

Tyler McCauley 08.30.05

A Jealousy Issue
If The Flames Don't Kill Us... We Will
(Indianola) 2003

"so far from what i was, so close to what i could be ...nothing matters anymore. [ rock - n - roll mother fucker ] untouchable. unstoppable. everyone is beneath me"

Claiming the former singer from Poison The Well, A Jealousy Issue stake their claim on the world with their 2003 release through Indianola Records. 10 songs of balls out rock. Not too much hardcore, not too much metal, but just enough breakdowns to put a smile on the face of any kid just looking to do some dancing. Not your average hardcore cd by any means, If The Flames Don't Kill Us, We Will, shows A Jealousy Issue have much more potential than your everyday hardcore band coming out of the woodwork. You can hear the hints of classic PTW inside some of the songs, not saying that's a bad thing, but if you're claiming the old singer don't rip off the riffs and sounds. A personal fave of mine would be the egotistical, chauvanistic 'Scheming, Dreaming Juggernaut' when Duane Jealousy let's everyone know ... we're all beneath him. A very strong release from this band. Definitely check it out if you're into old school PTW.

ray :: (03.29.04)

the Jena Campaign
the jena campaign
( Nobody's Favorite Records ) 2005

Plenty of albums come in, and they (sadly) must sit for a while. Some sit a very long time - they become dusty classics without ever even being placed in the cd player. I did place the Jena Campaign aside for a few days, but knowing she (them - 2 males, Matt Maggiacomo and Brad Mehlenbacher) was from the good home of Nobody's Favorite Records (Jerry Fells), the odds were in good favor. Correct we were. the Jena Campaign brought us 45+ minutes of somber, strummed and brushed 'heavy-heart core' (word to the mothers, new tag). I'd bring up Simon & Garfunkel (well, just did) - but both of these
guys have talent.

Superb vocals encompassed by stripped percussion, mandolin, banjo, accordion and the close kin (even at times, crafted cleverly out of tune; "a view from a window"). This is sadness on ice, tunes that - while pleasant in workplace listening - do reveal dark times and gray skies upon inspection. Those who hold the standards of Terror Sheets, Pseudosix and Kingsbury Manx close should take note to track this down. the Jena Campaign cite Cass McCombs as an influence - put it all together and do hear the Jena Campaign.

Even at the age of 28, any history past 1976 means very little to me - but there is a link somewhere to this bands choice in names (circa 19th century) and their fruitful sound. Goggle it.

"If these wall weren't here, I'd tear myself down". WOONSOCKET!

kaleb 08.05.05

Jennifer Gentle
Valende
( SubPop ) 2005

Jennifer ~

How is Lucifer Sam? Oh how I have been missing me some Lucifer - all the best warm milk for that special snugglemagoo. Hope you both are well. As for this Valende you sent, well "Universal daughter" had me at the start, middle and finale with her exceptional kazoo and vocals courtesy of that Marco - what a fine, young stallion Marco is. If he ever attempts to leave that villa, you be sure and remind him just how much you do for him. The night winds have told me of these "disturbing voices" Alesso has been hearing and repeating. Oh, I am sure they will all pass as soon as the days get longer and his nights are warmer - just don't tell him I still cling to my sheets each evening with the countless paranormal events I experience! He sure has come a long way beating that kit - next thing you know he'll be talking about joining The Who on some 20-country reunion tour.

Is that another great-aunt giving the boys kisses in the center of that "I do dream you", or were they just passing time with some joyous latex? Never thee mind, I'm sure they can't wait to see us all come spring. My, don't those two boys have their priorities on a straight and promising - that reoccurring line about the 'little rocket' on "tiny holes" gives me chills each time Marco recites it, and the tiny hints of that borrowed glockenspiel (present all over Valende) let me know the lessons have paid off. What a joy it is to pass around delectable sugared biscuits and primrose'd mint tea with my midweek ladies as we all absorb this record. I sure hope that quirky record-buying public in the States don't shun my favourite nephews. Just because they've dug two decades deeper than that current trend to breathe life into an album of equal parts psychedelia (both takes of "the garden") and Relics-era Floyd (oh how we all dance like tipsy elfkins to "Nothing makes sense".. . yee-ha!) - a few cultured spins of Valende should have some of those square pegs, at best, gleefully confused.

Oh, that damned clock just never stops for anyone (nor does it on "liquid coffee") - much less me - so I must return to this horticulture. These hills have never seen such copious crops of Opium and Sinsemilla - I assure you your trip down will be well worth it.

Please kiss the boys for me, as they have cast upon this extended family a wealth of inspired exuberance with Valende.

Kisses to you all.

Jesu
Jesu
( HydraHead ) 2005

Prog fans, Godflesh fans, true lovers of music rejoice! Justin Broadrick is back. If the name doesn't ring a bell please take the time to slowly execute yourself. Everything the man touches is gold: Godflesh, Techno Animal, Final, and now Jesu. Mr. Broadrick has really outdone himself. Think Godflesh in a battle coming to terms with their softer side. The mood of each track is set by the music due to vocals being pretty scant during the duration of this 75 minute epic.

I'd like to think of Jesu being a trip (be it acid, be it space) because it really feels like you are in another place. Beauty and brutality correlate to make one of the most unique sounds ever heard. The balance between the two is astonishing, as one never outshines the other except for standout track "Man/Woman" due to the grueling vocals seeping throughout the song.

To be honest - and you do deserve some honesty - no one deserves something with this kind of quality, it is just too good. A revelation, a coming to terms, a masterpiece.. . thank you Mr. Broadrick.

scott 12.31.04 [the end is closer]

Jet Lag
Beautiful Scars
( Get Hip ) 2004

DON'T BE DECIEVED by this platter's cover shot: a somewhat dissipated-looking young lady pressing a "coffin nail" to her lips -- this is not more of that wannbe-surly, warmed-over J. Thunders/Heartbreakers trash-rock gorgonzola. Jet Lag are an outfit from Spain (singing in English -- along w/ $, it's the "international langwich") who play & sing a genial variation on Posies / Matthew Sweet / Smithereens / Gin Blossoms power-pop: smooth yet emotive vocals, bittersweet (no pun, that), sturdy melodies, and tight and accomplished guitar-ing (a refreshing mix of electric & acoustic) with judicious crunch.

The truly nice aspect of Scars is these fellows seem to take pride in the construction of their songs -- they don't sound slapped-together and their melodies actually "improve" with successive listens. It's like Uncle Willie said: you can't judge a book by lookin' at the cover.

- Mark Keresman :: (08.22.04)

"And the lights spread out around us like a wheat field". "The problem is, you can't understand what the problem is". "I've traded my blanket for a pillow". "Some people are lucky I guess and they're born looking tired". "Billy, Billy, what can you do?".

Forget 99% of what you heard and read about "The Gap", and dismiss the child who stole the tape recorder and released "How Can Anything So Little Be So More", this is Joan of Arc circa "How Memory Works" and it is the JOA we knew we loved. Executively produced by califone (!!) - this is by far one of the biggest surprises that 2003 has in store.

"Either I stopped understanding you or I'm just beginning to".

kaleb

Joan of Arc
Joan of Arc, Dick Cheney, Marc Twain...
( PolyVinyl ) 2004

"Well let the mothers faint, I'm putting the fun back in funeral."

Most likely the most politically puzzling album of the year - and I am looking way past the album title alone. Take "White And Wrong" for example - "They stared us down at the family buffet, The parents shhh'd the children". Politics ain't just for crooked fucking suits kids - even though we are setting to spend 'til 2008 with the dip-shits (again).

Joan of Arc (a.k.a. Mr. Joan of Arc, JOA II, The Sam Zurick Band, Job of Arc, Friend + / - x Enemy, The Joan of Arcs,.. .) are one of a very few (only?) bands who can release an album, tear down the entire structure and recreate to release another album while maintaining the core ethics that their fans love. What these ethics are, I have no idea - but we love them just the same.

Most notable with Joan of Arc, Dick Cheney, Marc Twain... (after the Clearchannel rants: see "The Cash in and Price") is that it is the debut for Polyvinyl - jump up and click yr heels kiddies, this is wonderful news. Second in line for cake and ice cream is that this album follows in the impressionable barefootsteps that 'So Much Staying Llive.. ' left behind from 2003. Not to be confused as the follow-up though, as "in rape fantasy and terror sex we trust" followed on Perishable later that year. These kids ARE the sound of Illinois - I imagine flying into the state this band is what you would hear, especially in the greater populated regions of Chicago - Joan of Arc EVERYWHERE.

To pass Joan of Arc, Dick Cheney, Marc Twain... off as just "another" JOA album would be like trying to get a Democrat into office in 2004 - close but lacking around 3 million. And true fans will (again) note that the turning point in Kinsella history was the void known as the Gap. Students, please turn your new Joan of Arc album to track "Deep Rush" - damn, did Squarepusher bumrush the studio or what? This track alone sees Tim K. all by his lonesome toying with (and credited as) time, cordouroy and drill - that's what I'm talking about! Following full-JOA lushness, "Gripped by the Lips", could slide by as the most accesible JOA track vying for radio takeover - slip that one right in between Audioslave and Velvet Revolver and we got ourselves a whole nation of confused Confederates.

Never has a band with such a knack for confusing my shallow head made me so complete. What? Just go find the Bundini Brown split too. A+ for the vector / art-rage design too!

Nude As The News: Can we talk about the meanings of a couple of the songs?
Tim Kinsellas: The meanings?

+ kaleb of arc 11.07.04

Ray :: (1/22/03).

"If you're looking for someone who actually plays the guitar instead of approaching the guitar as a generator of noise/sounds/tone, Glenn Jones is the man of the Hour. Jones is better known as a member of the boss & cool Krautrock-inspired instrumental combo Cul de Sac, here however forsaking the electric axe for its acoustic counterpart. Inspired, at least in part, by the legendary, idiosyncratic folk/blues/occasionally avant-garde guitarist John Fahey (who even collaborated with Cul de Sac on the album The Epiphany of Glenn Jones), This Is The Wind... is a solo set (with one duet with fellow guitarist Jack Rose) of pensive, contemplative, somewhat pastoral tunes, cordial and very inviting yet sidesteps completely the pitfalls of self-absorbed abstraction and New Age-y we-have-a-sale-on-crystals blandness. Like Fahey and the great Pentangle guitarist Bert Jansch, these pieces maintain an earthy, rhythmic and/or melodic flow, even at their most introspective. Also like those two fellows, Jones creatively embraces the influence of the Delta blues on "Linden Avenue Stomp" and "Fahey's Car," sliding those notes around in the manner of the old masters (Rev. Gary Davis, Blind Blake) but sounding like the results of lessons learned (and taken to heart) as opposed to copying someone's homework. All is not down-home, however -- "The Doll Hospital" recalls the spacious, somewhat austere Bill Evans-tinged lyricism of Ralph Towner (he records for ECM, y'know). Simply put: a beautiful disc to get lost in, one that should be heard by more folks than the devoted acoustic fret-board fanatics (though they'll likely for sure "dig it").

- Mark Keresman :: 09.27.04

Jukeboxer
In The Food Chain
( Absolutely Kosher) 2004

Young man writes elegantly beautiful music and plays nearly all the insruments (keys, digital clicks, and a yacht-size shed of others not listed in the credits) - only problem is this young man doesn't want to use his own voice to deliver the anthems of choice. Sounds vaguely familiar - maybe, most notably, Stephin Merrit circa-Distant Plastic Trees (with Susan Anway the main voice for the record). The young man we speak highly of is Brooklyn DJ Noah Wall, and his 'Susan Anway' is a lovely-voiced lady by the name of Amy Jones, co-writer of 'In The Food Chain's eleven offerings.

Opener "Pilgrim" is all instrumental, with a somewhat simple guitar / bass rhythm laid atop a wash of fluid motion and a gentle shaker. After this, 'In The Food Chain' takes off - into a world of "sneaker album of the year" territory. Picking favorites of the set would be similar to trying to play poker with an incomplete set of cards (sorry - it's the best I could do), as each of these tracks compliment each other so well, it makes complete sense why they are all snug so tight here on the record. Should you be looking for a "preview" before you purchase (I hear you can do that somewhere on this internet), I would suggest the folktronica anthem that is "Banj" (featuring a banjo and some other unique musician-type tools my novice ears cannot decipher, although the tabla is listed) or the Squarepusher on Morpine-drip follower "Thursday". On the later, vocalist Jones' spoken portion (not quite lyrics) get a digital treatment of staggers and delays just as the song comes to a close.

With much to explore, and more to be excited about 'In The Food Chain' ends and you spin it up for another go-round, Noah Wall and his Jukeboxer friends have sent a very unique album into a confused world that may not be able to match - or translate - it's beauty. Should the 2 above "previews" not sell you ('tough crowd!') - try the brief wind-up elegance of "My Eyes Are Only", a cross between Damon & Naomi and the most delicate Danny Elfman compostion.

If, after these three choice blessings, you still have found no place for Jukeboxer in your heart - someone may have swapped yours for Dick Cheney's defective unit.

+ k 11.28.04