WE ARE SCIENTISTS, BARBARA

Barbara is the fourth release by this songwriting duo of Chris Cain and Keith Murray, following the success of Brain Thrust Mastery, and With Love And Squalor.  Drummer Andy Burrows was enlisted for this album.  The single Rules Don’t Stop was picked from the material on the disc. The group has been on tour in the U.K. and Europe promoting this newest release.

Although the Indie rockers of W.A.S. hail from California (and are now based in New York), the disc reminds me much of the 80’s Brit rock, with a little bit of punk and new wave added for good measure.  Don’t be surprised if you hear some of these tunes being used in movie soundtracks. 

Jack & Ginger is a relationship song, about the drink (I think) and not having anything to do with one like the one between Jack & Diane. Pittsburgh (Yes, a song with Pitt as the title) is a melodic piece based on harmonies. Foreign Kicks is a slick ballad with some hypnotic keyboard vibes and vocals that match. Ambition explores an explanation of sorts about competition. 

The group is definitely not a follower of trends.  W.A.S. take a quasi-techno approach to everything real or imagined. The stuff is catchy, and I can’t for the life of me figure out why.  Maybe it’s the harmonies, maybe it’s the craziness, and maybe it’s the W.A.S. relationship to the universe, as we know it.

Listen for yourself, and discuss among yourself.  Yes, that’s exactly what I mean! 

By R.M. Engelman

Rating:

Eric Christensen, David Christensen Tribute, Volume One

One dedicated father, Eric Christensen, pays tribute to his son David who was a talented singer/songwriter from Chicago.  David Christensen tragically committed suicide on February 17, 2009 at the young age of 26.  One life is lost, but one loving dad has decided to breathe new life into his son’s timeless music.

This project was inspired by Mr. Eric Christensen who discovered a wealth of material that David left behind.  These were songs that David wrote but never had the chance to record on an actual album.  David’s father has made sure that his son’s music is never lost and that his musical legacy lives on. 

The record features 11 tracks originally composed by David Christensen and part of the proceeds will go toward the American Foundation for Suicide Prevention.  One song on this disc, “Final Song”, is actually written by Eric and it has a video on the way as well.  The heartfelt lyrics will tug at your heart as you hear vocalist Devin Belle express feelings of hurt & sadness toward a loved one.  The song was strictly written for a young man that will be missed by many.  I thought this was a perfect & touching way to end this wonderful tribute album. 

Thanks to Eric’s Nashville contacts, he was able to bring on some extremely talented musicians/vocalists to help make this dream become a reality.  David’s brilliant songwriting ability is showcased in top fashion by all of the fine singers & musicians.  The combination of male/female vocals really makes for a good listening experience.  From an artistic standpoint, you can see how gifted David was as a lyricist.  The style combines rock, pop & country and all of the songs have a catchy-sounding demeanor to them.  All tracks exhibit a lot of feeling and you can actually sense the pain & suffering that David was experiencing.  The words speak for themselves, but ironically enough the sound is so incredibly vibrant.  Right from the opening number, “Let You Down”, you get a very remorseful tone that will definitely make you stop and think. 

David has history playing in many bands during high school and in college at Eastern Illinois University.  Besides playing the role of singer, bassist and guitarist, he was also successful on the business end working at a consulting firm and later in the field of computer forensics.  David Christensen was definitely a special person with much to offer. He will be missed but now thanks to Eric Christensen never forgotten. 

Making this album was a complete healing process for Eric and all of David’s loved ones.  Creating this record allowed Eric & company to hear David’s words/music in a new light.  David is speaking to Eric, friends, family & others once again and he is now heard loud & clear.  We ALL can now enjoy David Christensen’s life’s work as we hear a singer/songwriter from Chicago with so much passion & heart. 

My hat’s off to you Eric Christensen as you have created something here that will last a lifetime in memory of your son.  David now has a voice that the whole world will hear thanks to a loving, caring & committed father.  David Christensen’s first CD is now a reality and we can all be thankful for that.  You can even hear David’s own performances on the recently released album Just Like That.  All music can be found at www.highlandroad.com as well is iTunes and many other online stores. 

By Jimmy Rae (jrae@skopemag.com)

Rating:

Pheromones, Hotel Royal

Hot on the heels of last years impressive debut EP, (You And The Digital Age), the Pheromones have returned- inviting you in for a stay at their lush, dark, and atmospheric Hotel Royal. The ghosts of former guests like Bowie, Morrissey, and Radiohead still roam the halls of Hotel, and can be heard creeping about- lurking and injecting inspiration into every well thought out chord and chorus. The Pheromones Hotel is so rich in musical history, with every room giving a nod to great music of yesteryear, while still retaining its own identity and character. This new four song outing not only builds upon the sonic foundation laid by Digital Age, but razor sharpens the focus of the song craft and lyrics, and takes it to bold and dizzying new heights. To over simply it, the Pheromones have completely outdone themselves here.

Kicking things off with the explosive, “They Cant All Be California Girls”, the Pheromones lock into position immediately, cranking the amps up to 11 and setting their sights on stadium rock. The guitars gnash their teeth and snarl with a ferocious Queens Of The Age drone, before opening up with an enormous hook that would make Cheap Trick at their prime, jealous as hell. The almost punk rock urgency of the music is topped off with fitting lyrical bite, sarcastically denouncing typical Hollywood superficiality, all anchored down by a cacophony of rolling tom toms and throbbing bass.

Here is where the album takes the start of a brilliant left turn from its aggressive opening track- into “Lemon Yellow”, a Siamese Dream like slice of Brit pop, (If it were served up by Sonic Youth’s Thurston Moore.) Easily the Pheromones best song to date. You can almost feel every nuance of the smoke filled room, avoiding thieves and liars at the bizarre 1953 party that  the songs wary narrator speaks of. Meeting eyes and trying to catch the attention of the beautiful blonde floating across the room- whispering in your ear as the story unfolds. This kind of powerful imagery and intimate connection between song writer and listener, is what makes this such a stand out track. Orchestrated by sparse and jangly guitar leads and haunting falsetto harmonies, “Lemon Yellow“ is a dynamic gem where all the stars have aligned to make a damn near perfect song.
       
Three tracks in, and the band pause to catch their breath on the 1970’s classic rock ballad influenced, Pescara. (Think Bowie meets Tom Petty in a bizarre-o world songwriters meeting, but somehow ends up sounding perfectly natural, and real.) Its risks like these that really pay off ,and make Hotel Royal such a pleasant departure from the norm.

Gears abruptly shift once again to close out the album with the epic (No Vacancy) We Were Only Kids. (If you don’t get goose bumps from the spacey slide guitar build up right before the last chorus, check your pulse.) This song is every bit as good as anything off of The Bends, and far better then anything Radiohead has done in the last ten years. Suddenly the simple, honest topic of fondly reminiscing on childhoods innocence, take on an almost heartbreaking tone, where it feels like the music actually becomes a cinematic score for the line, “Tripping on this pavement, cause it used to be a field.”  You can almost hear the weight of melancholy in each weeping guitar note, a perfect marriage of lyrical content and musical ambiance. Its in these times that Hotel Royal positively shines.

In just eight short months between the release of You And The Digital Age, and Hotel Royal, the Pheromones have grown as a band, by the kind of leaps and bounds that most bands don’t achieve after five years, albeit their whole careers. More impressive then that, is how they have managed to do what so many shoe gazing indie bands have tried and failed at accomplishing over the years: To make artistically viable music, free of pretentious overindulgence, and still have commercial appeal- without trading any sense of itself or watering down its soul for the masses. (PAY ATTENTION COLDPLAY: This is how its done, with integrity!) The songs on Hotel Royal could easily be played in a small dark club or a packed arena, without losing any of the feeling or sacrificing an ounce of the emotion, that make this such a great record. The songs stick with you almost instantaneously. You can check into the Pheromones Hotel Royal anytime you like, but you can never really leave…….and why would you want to?

www.myspace.com/pheromonesny

By: Matt Dalberth

Rating:

Brock Enright: Good Times Will Never Be the Same

After garnering acclaim at SXSW, Hot Docs, and even winning a Special Jury Prize at the Sarasota Film Festival,  director Jody Lee Lipe’s directorial debut, Brock Enright: Good Times Will Never Be the Same, will be released June 29th, on Factory 25.

“Art is anything you can get away with.”
-Marshall McLuhan

Chronicling Brock Enright’s preparations for his career defining exhibit at New York’s Perry Rubinstein Gallery, the film documents his trip with his girlfriend, Kirsten Deirup,  to her family cabin in Mendocino, California. After they arrive, clashes start between Brock and Kristen’s hard- blinking brother.  Not to be outdone, Kristin and Brock also get into spats.  Things then get worse.  Brock holds captive one of the gallery’s staff, when they arrive to monitor his progress on the exhibit.

Masterfully shot, Brock Enright: Good Times Will Never Be the Same is one of the best looking documentaries I have ever seen. Brock’s artwork (included on the DVD, as well as hand-drawn on each vinyl record) is raw and emotional.  His pieces are reminiscent of David Lynch and Marcel Duchamp, but with an even more generous measure of humour.

The limited edition package includes the DVD/ Blu-Ray of the film, and an experimental film, Blackgoat.  The bundle also features a vinyl LP of Brock’s music called, Torben.  These albums sound like a clunky amalgam of a Smithsonian Folkways collection, Tom Waits playing a toy piano, and early, grainy jazz guitar.  As a musical curio, it’s worth at least one listen.

Shawn Alexander Roy
 
Rating: 4.5/5]

I Need That Record, The Death (or Possible Survival) of the Independent Record Store

Brendan Toller’s documentary, comprised of in-depth interviews with cultural pundits, public domain footage, wonderful animated collages by Matt Newman, and archival footage, chronicles the death of over 3000 record stores across America. 

“There’s a lot of bad isms floating around this world, but one of the worst is commercialism.”
-George Seaton
 
The doc is a passionate rant against the commercialization of a personal and artistic form of expression loved by many: independent music.  I Need That Record features brilliant interviews with:  Noam Chomsky, Lenny Kaye (Guitarist, The Patti Smith Group),  Ian Mackaye ( Minor Threat, Fugazi, Embrace and Co-owner/ co-founder of Discord records), Thurston Moore (Sonic Youth) Mike Watt (The Minutemen)  and owners of record stores across America.   

This documentary offers a riveting, behind-the-scenes  glimpse at the business side of the art form.  Toller argues that, in the past, the industry was about promoting original talent, and then, over time, it lost its core values.  Now, the major labels put profits before innovation, and spoon- feed us artists through various forms of payola (i.e. paying DJ’s to spin particular tracks on the radio.)  Purely corporate-minded distributors have also struck deals with retail giants, like Wal-Mart, to sell music as a loss leader (items sold at, or below, cost to entice customers to visit the store). 
 
The statistics shown in the movie, although somewhat outdated, are eye-opening.   I Need That Record is a must watch for anyone with even an iota of interest in the music industry.

Shawn Alexander Roy
 
Rating:

Schleusolz, The Weinheim Experiment

Coming off their 2009 debut Running Out Of Time, Schleusolz are back with another spaced-out record titled The Weinheim Experiment.  Frankfurt, Germany natives Worsel Strauss and Schani Wolf are the magicians behind the special Schleusolz sound.  Watch as they attempt to pull a rainbow of sounds/beats/styles out of their hats once again.  Step right up and witness a freaky musical carnival that can best be described as pure insanity.

The new album is wild, fun & crazy and the CD has that patented Schleusolz mojo that we’ve all become accustomed to by now.  Wacky, quirky, peculiar & out there all exemplify the qualities that Schleusolz still stand true to.  You are who you are and Schleusolz are in a league of their own with The Weinheim Experiment.  Bringing back their familiar stance that is coined “Retronica”, which includes both retro and electronic music.  The duo mixes the two together splendidly while adding in their own special brands of 70s, dance, techno, rock, pop, progressive, jazz, disco and everything else in between! 

What I loved about their 2009 debut album was the fact that they created such imaginative sound effects and beats.  Schleusolz do not disappoint on the new record coming heavy with the audio sensations.  The only difference here is that Wolf & Strauss are experimenting with their own formula even more so by adding the chemicals of vocals & covers to the equation.  On track three, “The Numberer”, Worsel & Schani are paying respect to their Brian Eno influence with a cover of the B-Side of Roxy Music’s first single in 1972.  The song exhibits some rock beats & riffs blended together with the group’s regular shenanigans.  On song two, “Sid Goes Dancing”, you’re walking into a 70s disco dance party complete with a horrifying, Skelator-like voice and classic-sounding video game effects.  Only Schleusolz could pull this number off according to their standards of music making.  On song four, “Perky Pat”, you get a jazzy, upbeat number that offers a lot of pizzazz.  Next up is “Superboy”, which is a cover version of a song from Nina Hagen’s first record.  Here you receive a dose of some wild & mysterious vocals that will just make you say WOW!  Following along, we have “The Secret Acid Life”, which fittingly enough is airy & mellow but while still remaining lively.  On this installment, you are entering the enchanting world of Schleusolz that is full of wonder & surprise.  I give to you Schleusolz in Wonderland on “The Secret Acid Life”.  Track seven “Itai-Itai” has an Oriental influence while “The Shepherd’s Dream” contains creepy, bone-chilling vocals perfect for Rob Zombie’s next movie.  On track 10, “Biodegradable”, you experience trippy singing to go along with a wacked-out performance that Worsel likes to refer to as “a pure classic love song, or maybe a pure classic hate song, I forget”.  Next up on “Sell Your Soul”, you’re hearing an overload of futuristic sound effects galore with a Creepshow-like vocal that will just blow your mind.  “Who Do You Think You Are” gives you a cool dance groove Schleusolz style of course and then you witness a ghostly approach at the mic with a tribute to the Cat Stevens classic “Father and Son”.

What can I say but Schleusolz did it again!  This musical pair displays so much uniqueness and creativeness on the new record that it’s just ridiculous.  I have to say though that the core of Schleusolz is their innovative “Retronica” music with the beats & sounds effects as their forte.  By adding in quite a bit more Halloween-like vocal deliveries, this kind of took away from the magic that is Schleusolz for me personally.  I say if it ain’t broke, then don’t fix it.  Don’t get me wrong, I love the fact that Strauss and Wolf added a new dimension to their arsenal because it proves that their originality factor is at an all-time high.  I just love the vintage Schleusolz music, so call me stubborn if you will; I don’t care!  Overall, the German tag team gives you an eclectic set that is wildly interesting to say the least.  One song to the next is completely different as you try to wrap your mind & ears around The Weinheim Experiment.  For more on Schleusolz and their invigorating new release, SKOPE out www.myspace.com/schleusolz. 

By Jimmy Rae (jrae@skopemag.com)

Rating:

Sandman Viper Command, Everybody See This

The fresh and unadultered sounds of Sandman Viper Command may be a little tough to immediately classify, but the immediate exposure that the band will enjoy from Everybody See This, their debut, isn’t a bad start. It’s a largely harmless listen, but odds are the four young dudes that make up the band aren’t out to carve their place in rock and roll mystique. Instead, there are twelve flavourful tracks that will probably piss off the neighbours of a house party more than they will have parents listening and wondering nervously what their children are really upto. With distinct touches of summery power-pop (“Ba Ba Ba”) and lazy blues swagger (“Dial M”) Sandman Viper Command prove that for such a young band, they’ve already got a wealth of listening experience. What’s more, they’re clearly quite adept at harnessing these influences and putting some rather deft finishing touches on them.

Lyrically, there isn’t heaps to cheer about here, with tracks like “Mushroom Samba,” jumpy as they might be, come off sounding just slightly above obnoxious and immature. The harsh touring roads of their native Canada would likely benefit the band immensely. Plus, tracks like the furious punch-up of “Oh Yeah, It’s Fusion” will likely win across every crowd that crosses them. The sound of Sandman Viper Command surely evolve in due time, but for now, Everybody See This presents a young band with enough promise to share.

By Joshua Kloke

The Bloodshot Gamblers, Pain & Other Simple Pleasures

Are you ready to take a journey and listen to some stories about Pain & Other Simple Pleasures?  If so, then prepare yourself and get ready to enter the world of The Bloodshot Gamblers.  You will be engulfed by a world full of despair, addiction, pain, depression and heartbreak.  Now wait a minute though…I don’t want you to get the wrong idea about this concept album because it’s not all about rainy days & cloudy hearts.  Actually, The Bloodshot Gamblers brighten up the skies with their rocked out, hard-edged style. 

The group is made up of two solid musicians based in Arizona: Tim David Kelly on guitars & vocals and Brian Anderson on electric bass.  Both members are responsible for writing/performing all the songs on this new record while Kelly produced, engineered & mixed the record and Anderson supplied the art & photos.  Tim David Kelly even helped by supplying the drums, strings & sonic textures.  The multi-talented/multi-dimensional artists come from the MCA modern rock band Kicking Harold.  This duo has a lot to offer from a musical standpoint, so sit back and soak in Pain & Other Simple Pleasures.

Upon listening to this album, I have to say that I really love TB-SG’s overall style.  They offer up a fresh alternative vibe to go along with elements of classic & hard rock.  Then…throw in some dismal lyrics with a load of energy and you have yourself some Bloodshot Gamblers.  Something that stood out to me was the brashness of Kelly’s voice and how well it worked on this record.  Particularly on track seven, “Someday”, you experience Tim’s vocal approach as being a meaningful one as I really felt this song.  On song 10, “Spinning My Wheels”, you hear Tim David Kelly singing out in frustration with some very dark-minded lyrics.  Feelings are expressed perfectly throughout this album like on “Desperate Spider Web” where you get a bit of gloom and actually sense that feeling of desperation portrayed by The Bloodshot Gamblers’ personal “Spider Web”.  Aside from the stand-out singing, the words being vocalized also display major significance.  For instance on “Start Again”, you get that sense that there is a fresh start to life after all.  On track 11, “Touch and a Smile”, the Bloodshot Gamblers prove to us that all you need “every once in awhile is just a touch and a smile”.  You get a good, positive message here to go hand-in-hand with a nice-sounding melody and good vocal harmonies.  On song 12, “Wounded Once Again”, you receive bone-chilling words that will make your skin crawl.

When it’s all over, this record and this group has an interesting mix of songs that will definitely hold your attention span.  Despite all the negative connotations, the music is extremely catchy with some cool guitar parts & edgy rock moments.  From beginning to end, you will be hooked!  The Bloodshot Gamblers stress that you listen at your own risk because they say that this disc “can cause dependency and may trigger depression and anxiety.” BEWARE THE BLOODSHOT GAMBLERS!!! For more on this dangerous group and their equally dangerous new release, Pain & Other Simple Pleasures, SKOPE out www.myspace.com/thebloodshotgamblers. 

By Jimmy Rae (jrae@skopemag.com)

Rating:

RANDOM STABBINGS & ARTLESS CRITIQUE, JUNE 2010

Wumpscut, Siamese (Metropolis Records)
This is a review I’ve put off for a while, being that I’m big into Rudy Ratzinger’s one-man operation and this record is as nondescript as he’s ever threatened to get.  As usual, the pickings are all good enough to top the best efforts of most any goth-posturing crew, but what I’ve become accustomed to over the years is at least one real standout tune per album, one with something of a pretty curve on it, an apple in the garden.  I could try to get past it with a lot of hyperbole about this album’s heaviness, but it’s been done before, much better, by this guy.  Even the proffered single “Boneshaker” is a snooze – not to goth-club newbies, don’t get me wrong, but stomp-stomp-stomp metallized mid-tempo hardfloor and some ghostly wailings don’t shake the earth anymore, and the title track is a plodding study in mnemonic advertising.  Jane’s missing in action, too, which could be the whole problem. Recommended for completists and newbies as always, but old-timers will be disappointed.
Grade: B- [street date: 4/13/10]

John Troast, Living Room (self-released)
Wisconsin folk-slacker Troast is a unique breed of troubadour, roaming the States in a car full of his CDs and not much else, playing at whatever house (or nursing home or whatever) will have him for an impromptu concert/barbecue/whatever.  He couldn’t be much better equipped for such a lifestyle, his voice and tude a cross between Jim Croce and Michael Bublé, unplugged guitar vibe evoking Ben Harper.  As you can easily imagine, the songs are constructed for best Americana effect, immediately likeable stuff that can, with impunity, throw out the ghost of Elvis on a fadeout (“Another Mile”) and immediately move into an accordion-accompanied ballad that isn’t hideously sappy (“Favorites”).  Beneath this harmless folkie façade is some kind of Tom Cochrane guy whose headphones obviously got more than a little loud, though, no doubt – “Sunshine Love” could be the unplugged version of a Killers tune.
Grade: B- [street date: 1/12/10]

Dave Glasser, Evolution (Here Tiz Music)
I remain vulnerable to neo-throwback-bebop for now, sax players in specific, and Glasser’s meandering, Thelonious Monk-worshipping quartet is set-it-forget-it ambiance for whatever-whenever.  Glasser’s alto resided with the Clark Terry Quintet for ten years before spending a couple of years with the all-star Count Basie circus, but oddly enough Wiki only pegs him as a faculty guy (he’s been at New School Jazz since 1996).  Not a lot of newness here, as Monk’s the game, which is no secret, even in the song titles; I kept expecting to hear some crazy-ass honking during the original “Monkish,” within which Glasser flirts with modality for only a few bars, while solos by bassist Jeff Campbell and pianist John Nyerges stick to the rules.  “Monk’s Blues” is a self-explanatory original from Nyerges, who mainly stays back to support Glasser’s airy whims; any flat-out speed is relegated to a cover of Monk’s 1957 “Rhythm-a-ning,” a wanton display of “I’ve Got Rhythm” fetish.
Grade: B+ [street date: 4/19/10]

Glitch Mob, Drink the Sea (Glass Air Records)
This will probably rub someone the right way – maybe someone born too late to have any idea what Kraftwerk was about – but there was only so much of this slo-mo Justice I could take before I screamed aloud and tore it out of the player.  Grudgingly I must report that out of the gate this latest line of emperor’s new clothes for the hipster ear is different – “Animus Vox” leads off with the organic feel of two brontosauruses taking a midnight make-out stroll – but without a rapper rapping over all this cumbersome, woofer-destroying electro-bloat I don’t see it lasting much past one night in the clubs, that is unless all of Generation Y has thrown in the towel on progress ever being made with synthetic music.  Cripes, on and on and on it slugs, throwing in some military snare drum to try and get mileage out of “We Swarm” and waiting several songs before trotting out the breathy bimbo singer for “A Dream within a Dream,” which should have been part of the blueprint for all of this stuff in the first place instead of the band expecting people to be fascinated with a bunch of – you know, Justice in slow motion, like background music for some stupid bar scene in a soft-core vampire movie.  Pardon me if I sum this up with “big fat hairy whoop.”
Grade: C [street date: 5/25/10]

Truth & Salvage Co., Truth & Salvage Co. (Megaforce Records)
It’s a moderately bold leap of faith to think longtime metal label Megaforce Records could deliver some decent country-pop, but here it is, a songwriting platoon that’d fit well on tour with Hold Steady, playing the role of something less opaque, slightly more Big & Rich-like – definitely more LA, ultimately, and not only because they formed there, meeting at Hotel Café where they held court on an every-Friday residency.
The record starts out shooting at a bullet-pocked barrel of fish with “Hail Hail,” a controlled burst of yee-haw singalong that tacks the words “reefer and beer” smugly to its chorus, but this is no one-off joke band – if Alabama had grown up listening to Barenaked Ladies they would have done something similar to “Call Back.”  One thing about these urban cowpokes is that there isn’t really one main songwriter; 4 different contributors get equal time, but it’s hard to tell which is which being that they have identical vision.  Hints of Everclear on “Rise Up”; best knuckleball is the gen-yoo-wine Allman Brothers-style jam that closes out “See Her.”
Grade: A- [street date: 5/25/10]

Maria Neckam, Deeper (Sunnyside Communications)
There’s a quilt of snark lain over this disaffect-o-matic wine-and-cheese jazz-pop chick’s tunes – all of them self-written, a nice switch.  Could be the fact that she’s a cute 20something dressed retro Laurie Petrie and wearing an Audrey Hepburn smirk, but more likely it’s because her default flow is pure Joni Mitchell, that know-it-all of yore – not until “When You’re In Love” does Neckam bust out of her half-there scat-and-murmur routine and do a little belting, as if all of a sudden she was told to throw together something for a Juno-type movie.  That’s at song number 4, after which she does an obtuse Mingus-ish sing-along with one of her 2 sax guys (“Fear”) that soon becomes a prog thing, then a beatnik jam-out thing, then a colorfully animated marathon scat that reveals her as a serious, ambitious experimentalist.  The whole thing reminded me it’s time to open my bedtime medicinal pinot noir, which is pretty much the tale of this thing’s tape.
Grade: B [street date: 2/16/10]

The Constellations, Southern Gothic (Virgin Records)
You’ll be hearing a lot about this album, what with Virgin doling out free CDs to reviewers the way AOL used to stuff your mailbox with sign-up disks (feeling flattered, a lot of novice reviewers will talk about how rockin’ it is, which has been proven to create a weird trickle-up effect, like what happened with the comically overrated TV On the Radio).  The PR angle for this Atlanta band is that they’re reviving hiphop by adding a darker edge, which I suppose is true if you only count the Cee-Lo-guested “Love is a Murder,” kind of (rapping in actual musical keys is going to save the world?).  The real takeaway is hideously commercial alt-rock, a cynical pandering to small-city hipster nitwits, with singer Elijah Jones mumbling his lines in a factory-issue Eminem/Beck drone-drawl that the Madison Avenue jerks will be jumping on in no time to vibe up their Ford Focus commercials.  Any rebellion will be quickly crushed, trust me: there’s simply too much “Tom Waits cover song! Hot chick backup singers!” dingbat couture being microwaved here for anyone or anything to stop it – producer Ben H. Allen has done records for Animal Collective and Gnarls Barkley, and these club-crawling chuckleheads are the perfect cross between those two, if, God help you, that sounds like your bag (Cliff Richard 80s cheese, self-indulgent but completely unadventurous instrumental passages, smell the relevance being stuffed up your nose).
Grade: C [street date: 5/22/10]

Carrie Rodriguez, Love and Circumstances (RED Distribution)
Doomed to be unfairly overlooked by pundits beholden to bigger-label offal, this cover set of country and Americana tunes that have influenced Rodriguez has a tastiness and sweetness that’s rare for a Sheryl Crow chaser.  Rodriguez’ tone is one bit Taylor Swift, one bit Lisa Loeb, but her waifishness is tempered with a Joan Osborne maturity, straightforward and thankfully free of forced croaks for decorative value.  The first standout is Buddy and Julie Miller’s “Wide River to Cross,” its arpeggiated guitar evoking morning lake-water (Buddy himself provides a smoky harmony that looms larger as the guitars plug in and get loud).  The marquee track is a finger-picked version of “I’m So Lonesome I Could Cry,” whose main thrust is spotlighting Rodriguez’ bang-on vocal technicality.  One influence is Rodriguez’ own dad, David, whose insidiously gorgeous Americana tune “When I Heard Gypsy Davy Sing” is rendered in the aloof but pleasant tradition of Eastmountainsouth, a good touchstone comparison act, being that this is isn’t world-weary stuff, nor overtly commercial, simply an understated triumph. 
Grade: A [street date: 4/13/10]

Uriah Heep, Celebration (Earmusic Records)
Maybe the problem with nu-metal – the successor genre to 70s/80s hard rock and even 90s grunge – is that the blues that are it its roots are so much depleted soil (arguing that punk rock is the real engine behind newfangled metal is sort of a bummer position, being that new guys like Papa Roach actually take their stuff seriously, not like the safety-pinners of old, but sure, it’s a valid counterpunch).  It’s funny, listening to this rather odd Uriah Heep collection – comprised of 2 new songs that sound just as dated as the other 12 re-recorded (not re-engineered, seriously: re-recorded) “classics” of their 60s/70s salad days – how ancient-vinyl it sounds.  There’s no way to modernize the sound of Deep Purple-style organ (I’d never thought of this band as an Avis to Purple’s Hertz, but it’s pretty plain), but you know what, maybe there is.  The album comes stumbling over its own feet with one of the newbies, “Only Human,” seeming to be already in mid-song, a far cry from the polished radio-prostration of their Abominog days; perhaps these guys expect all sorts of love for being old-school, and oldschoolers certainly won’t complain, but there’s a difference between trying to do something, anything new and using muscle memory to go through the motions.  I honestly don’t see the point of re-recording “Easy Livin’” from scratch, put it that way.
Grade: B- [street date: 3/16/10]

Italian Japanese, The Lush Romantic Weirdness (Vampire Media Group Records)
There are times when I should seriously not throw bio sheets into the great paper abyss of this desk when an album comes in, and this was seriously one of those times.  Being self-released, this has really only sort-of been released, as it were, or so it seems; having to weed through the band’s Facebook nonsense to get a grip on who and what they are was a tragic misadventure I wouldn’t wish on anyone.  Talk about un-pro; I mean, a pack of stupid tweets are pretty much what these LA boys have as far as evidence they’re even a fricking band in the first place.
The thing is, they’re quite good, which was why I forced myself to go on this info hunt.  Don’t go in expecting a Vampire Weekend trip, despite their self-run label’s name or the cockeyed, blurry shot of a ceiling on the album cover – there’s a little Wilco, a little Goo Goo Dolls, some Death Cab, that stuff, but it’s very accessible, radio-ready tuneage.  They have a fetish for echoing-but-not-faraway guitar segues that lend softness and a lot of space (that’s the Wilco) but they’ve obviously looked long and hard at the current market and seen plenty of room for, you know, songs.  They’ve got a DIY fail going only so far as basic PR stuff, but with college-media-beloved Planetary Group recently taking over the PR end you may be hearing more, not that muscling their way into the CMJ 200 chart is anything to sneeze at.
Grade: A- [street date: 1/5/10]

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Outraged ranting, indie label release news and spaghetti sauce recipes are always welcome.  Email esaeger@cyberontix.com

Schleusolz, 10 Movies

Are you ready for some well-orchestrated, cinematic pieces that will keep your attention from beginning to end?  If you answered yes, then get prepared for Schleusolz and their exciting set titled 10 Movies.  This record definitely reads as a movie transcript with something for everyone out there.  Just as you get lost in a movie, your imagination will run wild as you experience this full-length, feature film album.  A music soundtrack to 10 Movies that aren’t even in existence will make anyone stop and think twice. 

Schleusolz is made up of two studio masters from Frankfurt, Germany: Worsel Strauss and Schani Wolf.  A little over a year ago I had the privilege to review Schleusolz’ debut album Running Out Of Time.  Right away I knew that this group was special because their style was so unique, quirky & different, which could not be ignored.  The incredible use of sound with a very electronic/spacey feel is what I picked up on then.  A year later, the Frankfurt duo definitely hangs onto those classic charms while adding a brand new layer to the mix.  This new dimension that Schleusolz includes in their set would be one geared toward a film-like experience & live orchestra feel.  You will get an album full of soundscapes & instrumental themes that will put your mind to the test. 

All compositions on this disc follow along just as a film would complete with an intro, middle, climax and conclusion.  So…grab your popcorn and favorite lazy chair and enjoy the show!  The cinema-on-CD starts up with “The Perfect Pitch” that is quite suspenseful in nature leaving you on the edge of your seat.  The audio flick rolls along with the next score “Nights at 4 am” that is extraordinarily different while a bit of a solemn & sad sensation hits you.  On “Palmer is in the System”, you get that famous Schleusolz trippy vibe while on “This is the Time” enjoy a peaceful yet space-like night outside with the crickets chirping all around you.  Next up on “Service Nonexisting”, you’re witnessing a zany & wacky funhouse effect that is coming straight out of the Schleusolz Carnival.  Strauss & Wolf add a nice touch with an all-out orchestra approach on “Because it’s There” that is very well done.   The German duo brings you some drama and then a dose of mystery on “Calling A35” and “Eridanos Part 1_The Sacrifice”.  The track “200 and Counting” is an electrified thriller that comes equipped with some hard rock/metal riffs.  “Clean and Raw” offers the audience wonder and surprise while “How Long is Forever_” gives off a bit of a creepy, Sleepy Hollow-type-of-vibe.  On “Your Choice”, electro madness surrounds the air waves with a beat-tastic atmosphere.  The futuristic sound is in full effect here as the lasers are blasting off and adding a perfect touch.  The musical soundtrack ends with a finely orchestrated, action-packed number with “Waechtersbach”. 

This concept of mixing movie themes with orchestra music and electronica is simply intriguing to the listener.  What you get here from Schleusolz is a well-written script complete with an electronic symphony orchestra.  I can’t forget to mention that Strauss and Wolf had some help from rock performer Antes Zeppelin who added a touch of edginess to the project.  10 Movies is complete now as Schleusolz hopes that you enjoyed the show.  For more on this eclectic duo and their new release, SKOPE out www.myspace.com/schleusolz.  Get ready as Worsel Strauss & Schani Wolf set the stage for summer blockbusters to come or not to come.

By Jimmy Rae (jrae@skopemag.com)

Rating:

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