While some may look at Motherfucker and go “oh, they’re ladies”, forget that for a brief moment. Their Confetti album comes from a band that not only write their songs quite well, but play it in a way that can and should put them among some of the best and great bands on any quality lists, if you care for such things. They play in a way that has a lot of rage and passion at the same time, the anger that comes from what they’re singing about but the passion to make sure it sounds great and their fans will hear it and go “oh damn, that blew me away.” Their name will immediately hit people across the head a few times but they sound like a mixture of Mudhoney, Babes In Toyland, Sleater-Kinney and at times, Unrest. The intense warble of the bass and guitar will get into your heart sooner or later, and the power of the rhythm section will put it inside out if it doesn’t reach your heart the normal way. What works are the lyrics that are written for while the voice of guitarist Erica Strout may be one reason to want to listen to her, reading the lyrics in your mind as she sings them is sure to make these songs last forever, they’re not just fairy tales to soothe your lonesome souls. Upon hearing this, you might step back when you realize this is only their debut. This isn’t the kind of music that you’d expect to hear on a debut so if they plan on staying around for the next five years or so, Motherfucker will be more dangerous than they are right now.
The impregnant wounds of Limb have created a solid bulk fest of sludge metal that makes it feel like the lower are lowest, only for them to get lower than that, and that is the strength in Terminal. I think if you base your opinions first on an album cover, you might say “wow, this looks like a pleasure trip or a vacation to a good place but the sound is so heavy and warped, it may lead you to say “what is going on here?” The difference is that sometimes, the heavy sounds can and is a beautiful thing. The lyrics may sound dark or melancholy at first that that’s the strength in their songwriting. A song like “Dawn Raiders” may remind some of Motörhead while the melody and textures of “Down By The Banks” may surprise some fans upon first listen. There’s a level of sympathetic crust that cannot be denied, so why dwell into its orbital and get deeper into its sonic orbits? Maybe it doesn’t matter. For those who love their metal on the thick and swampy side of things, Terminal is an aural place you will not want to escape any time soon.
(Terminal will be released on September 11th.)
For Tom Dyer’s new album, he has gathered a few musicians, called them the New Pagan Gods and paid tribute to the old Pagan Gods, specifically the Gods of Seattle rock’n’roll at the dawn of the music up here in the Pacific Northwest.
If you are a longtime resident of the Northwest, you have no doubt heard many of these songs Dyer and friend have chosen to cover on History Of Northwest Rock Vol. 1 (1959-1968), and there may even be a few that you didn’t know had a connection to the Pacific Northwest. He begins the album with a nice version of The Sonics’ “The Witch”, which was also covered nicely by The Mummies. You might see the title “I Wanna Hold Your Hand” and think “wait, Ringo wasn’t from the city of Bremerton” but instead, this rare song was originally performed b Tiny Tony & The Statics on an obscure 45 many collectors continue to hunt for. “Dirty Robber” is attacked quite nicely and fans of The Mummies will also recognize this song too. Here, Dyer pays tribute to Tacoma and the group who made it first, The Wailers. They are given a double tribute with a rendition of the beastly “Out Of Our Tree”, also covered nicely by The Mummies.
The album ends with an awesome version of The Dimensions’ “She’s Boss” but by going through these songs, it’s a way to hear what the Pacific Norhtwest music scene was as it managed to keep itself within semi-obscurity for a few decades as it recorded some of the best songs by some of the best people around. Dyer gets a chance to honor those who came before in the hopes younger audiences will continue on with their new spirit for the future. The album is not only a celebration of incredible garage rock, but rock’n’roll in general, pre-B.S.
Jimm McIvey has finally released his new album called Sunlight Reaches (Green Monkey) and while I was given a few hints for what he was coming up with, this one is a bit eased up than I expected, but that’s a good thing.
It has been a decade since McIvey released his last album but Sunlight Reaches merely sounds like the kind of music that had been there waiting to be brewed and surfaced, and it’s here. It’s the kind of well written songs with a nice rock and pop blend that comes from someone who truly has a love for the music and the craft in putting it together. It doesn’t have an eclectic side that Todd Rundgren is known for but they both share some of the clever characteristics that you can also hear in music by Marshall Crenshaw and Let’s Active. The songs tell everything about love found, love seeking, life stretching and life living, you could easily imagine someone like Paul McCartney wanting to come over to his house and say “I really enjoy what you’re doing, mate.” Whatever sunlight McIver hopes to reach, the walk towards feeling the warmth is what makes this work very well.
If it is indeed different, it has to do with the type of instruments played. You will hear the charango, a balalaika, and a baglama along with an ‘ukulele, clarinets, mandolins, and guitars, a nice blend of the traditional and the atypical. It comes off like a bunch of guys walking to a folk festival, wanting to sit around and jam and no one knows what they’re about to do. What they do is make music that sounds festive and filled with elements that are true to the standards of jazz while being culture as well, showing their Finnish origins. You might wonder what it would sound like to dig your head full of ukus but you get to enjoy the possibilities with “Lice Picking Music”, or enjoy what it means to get down with “King Kong Music” or “Couscous Music”. The titles are just as unpredictable as the music itself and while it may make you question of its origins, you just take it in, consume, and relax into things. The next time you hear from Tunto, they may end up doing something completely opposite, whatever the opposite of anything is.
Austin, Texas musician Craig Marshall has released his new album (his sixth) called After All (Big Ticket) and if you are someone who likes their brand of music on the down home side with hints of country, folk, and an acoustic spirit, you’ll really like this.
What I like about this is it reminds me immediately of music I am familiar with and enjoy, be it Neil Young, Wilco, Little Feat, and Wilco, and it leans very much on the country side of things, or what many will call Americana, an old school spirit. These are songs that are well written and produced, and they tell the kind of stories that you want to believe not only to hear it from Marshall, but because they feel like something you can relate to it because they’re a part of your story too. He cites Bucks Owens and Merle Haggard as influences and as someone who is a huge Owens fan, I can hear it in songs like “The Only Sound” and “In Can’t Begin To Know”, where the adventures told are part of the experience, the other is to hear how the stories are explained. The songs that I got into are those featuring harmony vocals from Betty Soo, those stood out beautifully well (including the opening cut, “Standing Still”) but you’ll also hear Marshall joined with Jason Garcia, Shane Cooley and Noëlle Hampton throughout.
As the bio for the album states, this is song-driven music, for those who still believe in the power of a song that moves you. After All will become the album you’ve been searching for for awhile.
(After All will be released on August 7th.)
The music on a new EP by electronic duo Sonw In Mexico sounds like a mixture of early New Order with Giorgio Moroder, easily dancefloor friendly will being something that has the potential of being used in motion pictures. That’s what makes up the songs on Juno Bleach (Saint Marie), where things can be considered luxuriously haunting or eerily beautiful. Most of the vocals are a bit distant, they are clear but they are not upfront or always obvious. It’s packed with echo and reverb so it’s deliberately away but you bring in the songs to know what they’re saying. I’m not sure what they plan on doing in the future but I’ll be here to find out where they go to next.
(The Juno Beach EP can be ordered in a number of formats directly from Saint Marie Records)
Considering their last album had come out in June 1997, one of the questioned asked was “how does Faith No More sound in 2015?” It depends on what angle you’re listening with. Let’s try to talk it out a bit.
Faith No More became one of the hottest bands of the late 80’s and throughout the 90’s with incredible music throughout their discography. The arrival of Mr. Bungle vocalist Mike Patton into the group strengthened their music as a whole, not bad for a band who only made four albums with Patton as the lead. You can say his arrival was similar to Bruce Dickinson replacing Paul Di’anno in Iron Maiden. or Joey Belladonna replacing Neil Turbin, it was very necessary. Of course, Patton has not stopped since he entered the world of major labels, finding himself involved in projects by Fantomas, Tomahawk, Lovage, Peeping Tom, and whatever he feels like doing at any given time. He has become one of my all time favorite vocalists but all of these tidbits doesn’t answer the question “how does Faith No More sound in 2015?” We begin to talk about it with paragraph #3.
Sol Invictus (Reclamation) is the band’s first indie album since 1985’s We Care A Lot, but we know the group have progressed big time since them. Musically, they are a progression of what they had become by the time they released their last album, Album Of The Year. The guitar riffs remain strong courtesy of Jon Hudson, who was first heard on the Album Of The Year album. He’s a very different guitarist from what Jim Martin was with The Real Thing and Angel Dust but they have become a different and stronger band since then. Everyone else in the band remain as solid as they’ve ever been, the intensity is even more powerful and upon hearing it, you know it’s a trademark FNM album.
As for Patton, you can say some of the tracks sounds a lot like what he did on the last Mr. Bungle album, California, where there are unique influences that would not have existed before. It may be a hint of easy listening, it may be jazz, or it could be country. Nonetheless, it’s there and his voice never lets go of its elegance. The band is gelled beautifully and it makes you want to see them live not only to hear their favorites, but to hear how they pull these songs off live. It’s that kind of an album where you know you’re hearing an incredible hard rock album with one of the best singers in the business.
Sol Invictus is an album that is necessary in the marketplace and for those who still salute the power of a great rock band, this must be heard. The band continue to be on their own path, fans can only join along or wave goodbye to what you just missed out on.
A Step In The Dark (AY) is the new album by Brock Van Wey, this time under his “normal” moniker, Bvdub, but where is he at this time? His music is pretty much more of the same, where he’ll carry the listener into a zone and keep you there in a repetitive yet meditative state, feeling lost in the emotions he is creating but being elegant in how he does it. Some of the elements in this song could be considered electronic easy listening, but then again he has never hesitated to step into that relaxed state and allow himself to play in that style of creaminess. I enjoy how he’ll take a line or quote someone sings and just make that the melody for a healthy portion of the song. On this 78 minute album, six of the seven songs carry you over the ten minute mark so he holds himself in what he is known for, making it feel as if you are enjoying the ripple effect. It’s the ripples that you look forward to, to find out if you should go deeper or remain on the surface. The repetition of his minimalism is quite seductive, which continues to keep people lost in the eternal musical ripples that help him who he continues to be.
Go to any part of City Lights Vol. 3: Soweto and you may mistake this as something by Jazzanova or Mondo Grosso/Shinichi Osawa. The reason for that is because of the musicianship, the arrangements, and complexities but with any musician, it’s all in the composition and presentation that may make it seem complex and it may very well be as easy as a coloring book. For Matthijs Rook, it may very well be effortless but the easy in how he does it is because it’s true to him, his creations and playing come from the heart. As Nicolay, he continues on his worldly travels, in a real sense or metaphorical/musical. In the words of Elvis Costello, “if you’re out of luck or out of work, we can send you to Johannesburg.” For Nicolay, the inspiration is to take himself to Johannesburg and find an essence to some of his creations.
City Lights Vol. 3: Soweto is a nice blend of vocalized song and powerful instrumentals, with easy song being a diary of sorts on the journey of his existence and experiences. As the voice says in “Sun Rings/Uprising”, direct language is all about being literal, to be honest in front of you without fear, of what you see and hear. You can then say that Nicolay’s music on this album is very much performed without fear and doesn’t hide anything, for what he feels is what you hear and thus visualize upon listening. You may bring to mind your own tales or for the songs with lyrics, escape into their worlds for a few minutes. What you’re hearing is the sensibilities of multiple heart beats and despite each one being individualistic, they are somehow connected, his musical painting of what he felt over the years while visiting Soweto. One may hear the name of the city and think of the Malcolm McLaren song of the same name but Nicolay creates a much stronger picture, vivid and utterly passionate in its execution.
Vocalists Carmen Rodgers and Tamisha Waden make their presence known but for me, I don’t mind saying that when it comes to Nicolay, I want to know what Phonte Coleman is doing and where he plays on taking me with his performances. The duality of the Foreign Exchange union continues to thrive and while both of them are more than capable of carrying something unique on their own terms, there is a sense of magic that may be unknown but it is felt. It’s something to listen to, sit back and just say “this is what it’s all about.”
As with much of Nicolay’s work over the years, as the album goes on, there’s a sense that the travels will go further for many ears to come. As with any true musician and composer, he plays with a sense in making his music open-ended in a Duke Ellington manner, as if to say “to be continued”. You hear a song like “There Is A Place For Us” and know he’s about to pull you towards the finish line. However, you know the end as nothing more than the beginning of another path towards a new race to take yourself to, another challenge forthcoming. It may not be an actual battle against anyone but ones self, but it can be all about the survival of the fittest. When you are balanced with ones sense of self, it becomes automatic. Effortless. Easy. Another page in Nicolay’s diary has been turned. To be continued…