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If Ruled by Venus aren't careful, they won't be able to walk the streets of Santa Monica without being noticed. I honestly cannot believe the production quality of The Great Escape, the self-released debut by California's Ruled by Venus. This is not your typical "hey let's record some stuff and try to get a deal, or at least radio play" effort, this is an unbelievably balanced album - both sound quality and song structure. Lead ruler Betsie Larkin has that voice by which, as Christopher Walken in his best Bruce Dickinson (see the infamous SNL 'cowbell skit'), "sells Gold records". Combining the electronic instrumentation route the Smashing Pumpkins opted for on late albums like Adore (see: 'Powerless', 'Empty Life') and Betsie's range of vocals, think Denali's Maura Davis had they signed to Mute versus Jade Tree, Ruled By Venus have come to the offering table with an album won't be under the radar for long. Honestly - no really, the Smashing Pumpkins reference dawned at least 4 songs prior to the ninth track on the album, a synthed up take on SP's very own classic Today (from Siamese Dream). "I don't know where you're taking me, but do you know this is heaven for me?" + k :07.24.04: |
Ruled By Venus
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Chip Wass - you are a legend around here. Since we stumbled upon your collection of Chippies dingbats / fontheads, we have shamelessly used them to express our emotions on plenty of projects. SO, to you Wass Vector King, we say (many) thanks. Extra credit: When combined, the option + shift + backslash keys make a pretty freaky "rabbit rat" - try it out. So, why such a celebration over a font you may say.. . well, Chip Wass is the man behind the slick digi-packaging on NY's Redder Records fine compilation by the name of Metaphysics for Beginners. We know, school's out for the summer - all they ask you to do is listen. There's rare / unheard / vinyl-only goodies packed in these 70 minutes, so bring a lawn chair and take a peek.. . . Joining forces to put a joy on your brain are some of indie music's bigger players including Sufjan Stevens, The Ghost and (the) Detachment Kit - the Kit having just released one of the best albums for 2004 'Of This Blood'. Things get rearin' to flow with Will and Robert Creeley tackling a beatbox-below-rhyme track by the name of 'Lackawanna Lives', with the word "Lack-a-wanna" serving as the meaty part of the main course beat. Catchy as hell, you may just be humming this one for a week or two - you bastards. Those aware of the wealth that (the) Detachment Kit can bring to the ears should take note, their rambunctious offering "Hustle" is nothing to miss out on. I can't think of a better band on the comp to follow, Kalpana toss out a 2-minute "no-worder" by the tag of "Sic" that blurs the senses a touch, giving me the impression that I may need to know more about them. A fine Appogee remix from Post-Parlo crew Zykos (see: 'Comedy Horn') gives a fresh "clickity-clack:static" format to an already grand track titled "Kodiak". Sufjan Stevens, a guy you've seen practically everywhere - even if you haven't been looking, adds "How Can The Stone Remain?" - a 5-minute swirl of beeps, sweeps, drums and his angelic voice to the cause. It brings to mind a Sufjan / Jimmy Tamborello project, if that sounds as good to you as it does to us. When I see The Ghost's name, I immediately think of their intense debut 'This Is A Hospital' (Some Records) from 2002. "Red Wheels, Red Slippers", the final track from '..Hospital' gets a "Midwest Reprise" reworking that is hardly recognizable. The electric guitars and shouts have been replaced with an acoustic and a whisper - my pick for the most impressive track out of the 18. Summer at Shatter Creek, Redder's very own Mojave 3, cast memorable shadows in every song they create. If you are / were lucky enough, you grabbed the 3 Mogwai tracks they added vocals to on Redder's official site. "Everything" is the piano-led beauty they offer 'Metaphysics', and again - it's a true keeper. Soon (but when, sweet Jesus?) to have a Redder EP we have been anxiously awaiting, Kind of Like Spitting make this release worth his name. "You Got Served" continues in the tradition of bedroom folk we have come to know and love from Ben - at just under 2 minutes, I need to hear more. Again - if you keep your eyes set on Redder's site, KoLS offer rare stuff quite often [heavy hint]. Once the Gap-like guitar workings dissipate, you get the stranger Kinsella's (and my fave, Tim) new Flameshovel outfit Make Believe and a quirky little bitch named "Brittany's Favorite". If you approve of the Joan of Arc of the past, and how could you not, Make Believe are your new favorite band - in a make believe kinda way. There are way more grand offerings than I am giving text to - but the above has to spark some interest in your musical mind. Fans of KoLS should pay close attention to the final artist Love of Everything. Please
don't put this online or give it's contents away - we made the box pretty
for a reason states the back of the package - for $10 and
18 tracks - I think you can manage to own this set. Now play fair.
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Redder Records presents... 
RacingpaperplanesSelf Sleep Service ( Tract Records ) 2004 This is an album of mope-rock, which is not a put-down. There's music for forgetting your problems & concerns, for wallowing in same, and then there's music to commiserate to/with. Get that cup of hot tea (caffeine free) or cocoa, draw the blinds, curl up under a blanket and put on some music that -- you don't necessarily want to be "cheered up" -- acknowledges your pensiveness, not-too-painful angst, temporary torpor, mild-to-just-short-of-severe melancholy, you get the idea. For those special times, lessee now: John Martyn, Trashcan Sinatras, Laura Nyro, John Cale (especially Paris 1919 or Music For A New Society), Go-Betweens, Tara Jane O'Neil, Jayhawks, select Neil Young, very early '70s Neil Diamond, and this outfit, Racingpaperplanes (who, not coincidentally, share characteristics w/ the aforementioned). With strummed and gently plang-ing guitars, bass, muted drums and keys, and vaguely folky chord changes that recall Loaded-era VU and the Go-B's and plainspoken, cool, calm and collected vocals (though not emotionless or bland) that recall the TC Sinatras and of all things, the early '70s Beach Boys circa Surf's Up/Sunflower. Ah, in a far better world that the one we find ourselves in, RPP's "That's How The Heart Breaks" (what a subtle killer hook) would be in medium rotation on a radio stations throughout our Fare Nation. Worth a listen, this is, if beguiling melancholia is your bag. Mark
Keresman
11.20.04
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Pedal steel guitarist to the stars Jon Rauhouse steps to the foreground with an absolute torch 'n'twang set of instrumentals (mostly) and vocals (a few) surveying the overlap between country & western, jazz and pre-rock pop. The personnel reads like a cross-section of roots-rock/Americana/insurgent country: the fab Neko Case, Howe Gelb, Joey Burns, John Covertino, Sally Timms. High points include Kelly Hogan's smoky, blue-velvet, Helen Merrill-esque warbling on the slow-dance "Smoke Rings"; the loping, jazz-informed Western Swing of "Roaches To Room Service", touching on/paying tribute to Bob Wills'steel player Leon McAuliffe; a truly robust, melodramatic (otherwise it'd be no fun) take on one of my fave slices of TV budget noir, the "Perry Mason Theme." On the latter, you can practically feel the inexorable wheels of justice grinding, of Raymond Burr saying, "Isn't it true? Isn't it?" in his j'accuse voice. Everybody plays just what's needed and no more – no pointless hot-licks showboating here. Most of the album maintains a laid-back (though not dozy), late-night/after hours ambiance, save for the fleet, bluegrass-meets-vaudeville jaunt "Jennifer's Breakdown" and the bloozy garage rock strut "Work," which is marred only by some strident, flat vocals and a too-sudden end (just as it was picking up steam, alas). It's a mixed bag, but in the best sense – there's a relaxed vibe of friends p(l)aying unassuming tribute to an eclectic variety of sounds that inspire(d) them (without any hammy self-indulgence, that is).
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Jon Rauhouse 
The ReasonRavenna ( Smallman ) 2004 "This calls for a reception" It just
couldn't be from America - it could NOT. Why you ask? Because
it's good. The Reason have my vote - and I'm only on the third track ('A Timeless Classic') of ten total on Ravenna, their debut LP! You swore, right? No pinkie-crossed shit or nothing.. . well damn. If you were into Finch back then and always wished you could take the crowd at a Posion the Well show - The Reason have met you in the mashed-up middle and tossed all filler out of the way. This is the first group in a heap (large, nasty mound of "punk" records) where I am not afraid to say could reach Refused acclaim with the proper audience. Hear '"150" and let the madness begin. The fact that there are 2 other records (an EP and a 3-song) I can seek out keeps me motivated!. +
k
12.25.04
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Formerly the band Ictus, The Red Chord from northern Massachusetts took a whole 3 years to complete "Fused Together In Revolving Doors." You may be wondering what in the hell that means, but according to an interview on theredchord.com the frontman stated, "It's a reference to an incident in which a building caught fire and the only exit was a set of revolving doors. People trampled each other, jammed the door and as the heat became greater, their bodies were melted and fused together, killing everyone in the building." The Red Chord delivers fast paced grind-hardcore with technical drum and guitar work throughout the album. Fast paced drums with growling vocals are followed by unforgettable drop D breakdowns and blast beats. Even though the bass guitarist is not heard often, everything was recorded and produced wonderfully. The drummer really shows his ability on each track with pounding double bass like I've never heard before and blast beats I didn't know could go so fast. The guitarists work extremely well with the drummer. Never do they get lost or fall behind, but are always chugging away or speed-picking right along-side the drummer. It's kind of nice to come across a band every once in a while that doesn't need to tune their guitars 2 or 3 steps down to sound "heavy," these guys show that is not necessary (not to say I don't like tuned down guitars). The vocals can range from a low growl to a high scream in a matter of seconds and never leave you bored. This is by far one of the best albums I've heard in 2002 and deserves a listen from all metal, grind, or hardcore fans out there.
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The Red Chord
Red Roses For A Blue LadyThe Return To Melanholy (Eulogy); 2000 Red Roses For A Blue Lady's first release through Eulogy is the epitomy of why most hardcore bands sound the same. What happens if you get a couple guys together that like 80s metal, and like to thrash mosh at shows and give them some instruments and a mic? ... O yea, and sign them to a label with a pretty good reputation ... And don't forget the over dramatic band name, album title, album artwork and song titles ..I present to you ... Red Roses For A Blue Lady. Nothing on this cd makes you say, wow ... That's different. There's the occasional melodic riff with a raspy scream accompinying it that makes you think there's hope for this cd yet. Then, it goes right back to the same ol shit that every song on here has. If I had bought this cd I probably would have commited suicide by now ... ray. 12.04.03 |
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"Last time I saw him, he was holdin' his bitch in heat" There is something to be said for a song entitled 'You son of a bitch, you stole my woman, now I'm gunna burn down your Christmas tree farm'. What that something is shall be decided by the listener. Have you ever - and you have, so the question is pointless - heard a band that reminded you of another band you liked, but failed to put a finger on that relation? Yes - as I said - you have, and Red Swan had me all in a frantic fit , knowing I was particularly fond of their dirty romp. Let's see, lyrics about taxes, murder, revenge.. . wait a goddamn second - Steve Albini had a hand in this. Shellac - that's who Red Swan brings to mind, the "fuck all humans" swank of Shellac, around the late '1000 Hurts' album (think "Prayer to God"). Vocalist
/ guitarist Tom Muth slings off lyrics like he belongs on Touch & Go,
maybe 7 or 8 beers down and an entire set to go. The entire album comes
of like it was recorded over a weekend that included several quarts
of whiskey - and it all sounds like it was a damn good time. The music
is noisy & layered - completely complimenting the words this guy is
tossing around. 'What Really Happening at Rose Lake' brings to the front
of the mind Primus on a steady diet of Clutch - then the
banjo comes lurking on 'The First Ballad of Andy Kehoe', an instrumental
(the 'second ballad' has vocals) that still has this "sharks in the
ocean, swim careful" vibe. "Creepy" may be a good adjective to place
here. Coming off as a band that may just be able to serve a few whippins',
be it human or animal ('his feets been bound, he's got a broken neck
/ he's been like that for fourteen days",) ,hearing them may be the
best advice I can give you partner. Also, them woods ain't no place
for a stranger after dark - unless you like your asshole tickled.
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Red Swan The
Red Threadship in the attic, birds in the subway ( Badman Recording Co ) 2004 It
really seems like The Red Thread - no matter how much
Mojo and Uncut give them the respect they deserve
(we're all in the US, y'know) - don't actually get
the respect they deserve. You following me? I'm no leader - but see
me through. me
11.09.05
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I'm not going to mention the country influence present in this review of The Red Thread's Tension Pins. There's really no point in even bothering to let you know about the neo-twang persuasions that run throughout the album. In fact, I don't think I'll mention it in anymore of my future reviews. Do people generally let you know if an album has a rock influence? No, of course not. I mean, rock is such a staple in music that it's fairly safe to assume it to be in there somewhere. So, today with alt-country becoming such an integral idiom in indie ... rock, there's no reason to assume it won't be in the mix also. Therefore, I'll quit belaboring the obvious and just let it be assumed, and when there is an absence of twang I'll be sure to let you know. So, get used to it, and don't call me lazy. Well, go ahead and call me lazy if it pleases you. Just don't be surprised when I call the alt-country movement a bit lethargic as well. And thus, is my chief complaint with The Red Thread's latest release. The music is there, the band is solid, and singer Jason Lakis releases his prose with velvety vocals that not only cater to the ear but sound distinctly authentic. So, besides what I've already mentioned, what's this album sound like? I would make comparisons to a mopey Red House Painters and a lesser Calexico if I really wanted to bore you. Otherwise, I'd say they sound a bit akin to Folksongs For The Afterlife if they were post-op of a sex change. I liked em' better as females. Maybe that bored you as well, in which case I wouldn't recommend Tension Pins for you, a constituent of the easily distracted horde. Raise your hand if that's you. Okay, just wanted to know who was still with me. The flatness of Tension Pins begins to wear on you during a complete listen through the record. Be not afraid, I'll be your sidekick, your navigator, and your oracle in letting you know when you ought to put that Track Forward button to use. Could you imagine an uglier universe where record labels had so much power as to eliminate your ability to skip tracks? Maybe they would, in Huxley's Brave New World fashion, make it so that you couldn't even eject a record until it had finished its run-thru. Well, we don't live in that world, so go ahead and time travel to "New Watch" with it's cute guitar picking intro. And when that gets boring just go two tracks farther into "From The Divide" which boasts a neat-o blues guitar riff and oh-so sad break-up vocals. And since three is lucky, listen to the eerie "The Dinner Party," which could easily be a on a Scooby-Doo soundtrack, if it weren't for the chorus. Done, you're done. Congrats. -Jacob
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The Red Thread|
Is it live? No, master dicknuts, it's Richard Bitch! No question 'bout it - the most bizarre album I have heard in, well, a very long time. Yes, I have heard every album obtainable by Autechre (including 'Tri Repetae'), but I don't think Richard Bitch was intending to confuse me like "the really, really Jeff hair people" has.. . right? Things get fired up with studio banter and crowd applause, parting way to a furious wash of guitars and buzz. They call that one the "really jeff overture", which then rolls over into "oui snuff u" - complete with the line "so great the way the critics masturbate to the jugs we slugged an hour ago. oui snuff u." Brilliant it is really, because I have no idea what / who / where Richard Bitch reminds me of, or how they ended up stuck in my clouded mind - but they are here. I was informed (by Bob) they rose from the ashes of early 60's reverberator circle Zakary Thaks, but the nurse at the Free Clinic said that story sounded like a short stack of wooden nickels, whatever that means. "Return to Space Gables" gets all atmospheric on me, a four minute segueway of sonic guitars and seafoam before slowly returning to the M-E-T-A-L ! Ffirst we get "queen-size bed", a perfect little number for getting those sweet spots moist.. . you know what I'm talking bout Willis. I LOVE IT! The liner art include pretty snow white Lamborghini's, a line of snow white coke and the Ronnie James Dio* sign on a few sets of hands - yes it does. You know what that mean's - PARTY!! Fuck yeah, like it's 1982 and we're stranded in the same paved paradise in Maryland that 'Heavy Metal Parking Lot' was documented, and we don't have a ticket to see the show. What you gonna do? You are gonna suck a cock and blow a circuit, that's what you HAVE TO DO! No one's as sorry as you - but you gotta get by. Richard Bitch. Any person fond of knuckles, waves and lightning bolts - get on it.
* the devil / metal hand gesture is still under intense debate. We at sctas feel Gene Simmons was NOT the innovator of the "devil horns", but Ronnie James Dio - the devil himself - was the man who unleashed the red beast onto the children of the world. + kaleb :07.09.04: |
Richard Bitch
Rjd2The Horror (Definitive Jux); 2003 " We breath adrenaline and exhale acid rain ... " What in the hell? Did Moby up and decide to try and heroin? Not quite. These are the wonderful sounds of Ramble Jon Krohn ... also known as Rjd2. He first emerged on the hip hop scene as producer back in the last 90's, producing tracks for artists on labels like Rawkus and Def Jux. Made his first solo attempt on Definitive Jux back in 2002 called Dead Ringer. His cut and paste style and creepy samples shows you a more grimy side of the world. Most of this tracks are instrumentals, but there are a few cuts with such rappers as Aesop Rock and a few other Def Jux alumnists. Most of these songs can be found on his debut Dead Ringer. There are a few remixes and what not tossed in on this E.P. Remixes of Final Frontier, and June make this release more than worthy enough to buy. With rough beats and haunting bars ( Depression is practically part of family tradition ... ... ... It also sucks we had to share month of June / I woulda shared eternal time if it were left / Each month i celebrate my birth I'm reminded of your death. ) Rjd2 makes his mark on the world. Definately go pick this up if youre into artists such as Dj Shadow, Aesop Rock, and Copywrite.
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Brian Michael Roff and the Deer [
site ]Inventory ( KEEP Recordings ) 2005 On Brian Michael Roff's 2004 EP In the Analog Woods, he stated - and I quote - "I want to make an honest sound, I want the sound to be the truth". He was then (and since 2000's The Way Things Work), yet his speech "like violins" is yet to be determined. Now, on
his 2005 LP Inventory, Brian Michael Roff would "work
if he could". I don't buy it. Making an album this capable of getting
me up out of my seat to move for a while couldn't have just made itself.
Bob Seger had his Silver Bullets - Brian Michael Roff has his Deer,
and those Deer have made Inventory a very special album indeed.
Housed by the crafty hand of Jeff Bell and his KEEP Recording
label - it's all A bigger, studio-rich sound is among us on Inventory - and the compliment to BMR's voice, songwriting and 'the Deer' shines straight through. Less of a banjo / acoustic-led affair that In the Analog Woods was (and rightly so, "Analog" followed a strict set of rules: use only 4-tracks and only use banjo, guitar, accordion and vocals.), this album is the defining full band sound that will put BMR and the Deer on many lists for years to come. "I
fell at the opera" is the royal service, the BMR&D opus if
you will (it's right under seven minutes) - fittingly around the 5:30
mark when the terms "banjo" and "picking" actually
meet eye-to-eye and join hands to glide across the floor in unison with
damn fine percussion, to bring the last minute of the song to a fitting
close. With the Deer consisting of folks that share time in grand outfits such as The Hotel Alexis (Gregg Porter - percussion; see also: Unbunny) and Willard Grant Conspiracy (David M. Curry - Viola) and kin - Inventory calls for a scheduled listen. "Pull the plastic back".. . and love it! You cannot fuck with this band. Bison
Brown
08.01.05
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Rogue Wave have plenty of pluses on their side. Imagine a young band with fewer Beach Boys albums than the Shins, but an actual ocean-front home that serves as inspiration. Having owned Out of the Shadow for nearly six months, I initially had a tough time getting past the glory of 'Be Kind + Remind' - only the records third track. This song alone, with it's opening swirling soundscapes, adds that much more texture to singer / instrumentalist Zach Schwartz's charm. Plus number two (read on) is that Rogue Wave have steadily been turning listeners heads (mostly west coast) since the initial release of Out of the Shadow last year. Live reviews anticipating the next release have been posted, all while this debut has been snatched up by Sub Pop for a remaster / re-release in July (by far plus number one). A spring tour with kindered brothers the Shins will certainly send Rogue Wave buzzing through many an intelligent listeners headset. Pluses, pluses, pluses.. . . The great thing about all the positives that have come Rogue Wave's way is that this is a disc of "should be heards", a summer listen of an album that should & can become another of Sub Pops great [21st century] signings. So after I gave 'Be Kind + Remind' it's proper "release" [this would be including it on a mix cd] - I found myself absorbing the remainder of Out of the Shadow's joyous vibe. Another track I find myself returning to is the Kevin Barnes-esque 'Kicking the Heart Out' (ready the next mix) - this band has "it", and Out of the Shadow has totally won me over. Be it the
slide on 'Postage Stamp World', the distant chorus of handclaps on 'Kicking
the Heart Out' or the sonic whispers that weave through Out of the Shadow
- this is as solid a debut release as they come. As the final track
states - 'Perfect', or at least damn close.
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Rogue Wave the Rosebudsbirds make good neighbors ( Merge ) 2005 Some of us go to the first day of school with a shiny new backpack. Others may prefer to show off some new colored gel pens, or a plastic lunchbox (if they're still in style). Anyhow, the point is some of us (yes, you, sctas readers) are cool enough to strut to the first day of school, only to introduce all your lame classmates the best discovery you made this summer - the Rosebuds. Chances are, your classmates will find something they like about the Rosebuds' new album, birds makes good neighbors because it combines so many elements of the music you have grown to love - from the Smiths to Franz Ferdinand. Now, I don't think I would go so far as to call this trio from North Carolina the new gateway drug to indie music, although the option to do so is tempting. However, the opportunity to break down the tracks on the album is one I will embark upon, if not for my own enjoyment then to prove to all of you the at least one song on this album will appeal to your tastebuds (and, Rosebuds). Track 1: Hold Hands and Fight - The album begins with a triumphant anthem called "Hold Hands and Fight". The song embodies what the Arcade Fire would sound like if they were Brit Rock. The chorus spectacularly sings "ooo" and "woahhh" and the tambourine adds the solid base any anthem should encompass. Birds make good neighbors is one bag full of 11 goodies - and you will smother each and every one of them. Merge Records really has a treasure in the Rosebuds, and they should be waving their little golden trinket to make everyone jealous. Caroline! 09.08.05 |
Josh
Rouse1972 (Ryko); 2003 "We're going through the changes / hopin' for replacement" - 'Dressed up like Nebraska' is to this day one of the finest songs I have ever heard. The voice - classic. The songwriting - vintage. And the debut album in whole - superb. What followed that incredible album were two more gorgeous [highly underappreciated] albums (home, under cold blue stars), and one ep (chester w/ kurt wagner) filled to the brim with impressionable, instant-classics. Godspeed to 2003, we are graced with Josh Rouse, his band and their "retro" fourth Ryko release '1972', the album that lists its top influences [Steely Dan, Al Green, David Bowie.. .] on the one-sheet. "I've always wanted to do a 'retro' sounding record.. . that sounded like 1972", says Rouse, and that my fine friends is just what we have before us. Personally, over the past years I have really enjoyed the simple arrangements - Josh, with guitar and classic voice, light drums and subtle strings - but with '1972' we are introduced to an entirely different style altogether, one I admit was at first very difficult to grasp. Even the covers of the past albums, particularly 'Dressed up like Nebraska', have been designed around a vintage late 1950's feel. The cover art & cd for '1972', with it's art-deco brown & yellow-ish color scheme, should be the visual clue that the listener is in for a change. So, you're going to make an album that is, by concept, early 70's - let's rundown the checklist. 1. Themes - Love, Sunshine and Sex - they are all here in full array ('Love Vibration', 'Sunshine') - check. 2. Guitar Solos - very funky guitars - yep ('James') - check. 3. Horns - got 'em, saxophones galore and flutes a-plenty ('Love Vibration', 'Comeback') - check. 4. The ever-important soulful background singers - maybe even a group coined "The Sweathogs" ('Slaveship') - check. The backing vocals James Nixon adds to 'Sparrows Over Birmingham' you would swear could be found buried deep in Pink Floyd's epic "Dark Side of the Moon" (circa 1973) somewhere - brilliant. Rouse even finds a few seconds to add a jam session between 'James' and 'Slaveship' that primarily seals the deal to this 1972 love affair. This is not to say that the "Josh of past" isn't evident on this record, for tracks like the opener '1972' and the final 'Rise' showcase the ability this man has to craft a timeless, impressionable song. To
call it the album of his career so early in his life (he is 30 y'know - penned
his first song at 18) would be a disgrace. To call it a brave and honest step
in a recording career is more like it - it's entirely obvious that Josh has made
an album he is proud of, and he sure should be whether you are with him or not.
If you're new to Rouse, I would argue that you start at the beginning with 'Dressed
up like Nebraska' or 'Home' and see the path he has forged to this brilliant project.
The man himself sums it up best on the final track of 1972: "It's an honest thing
/ and honest things they last". Glory be to thee Josh Rouse. As soon as I remove
myself from the spell of 1972, I may just watch the bonus DVD. |
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the
rum diary "
I want a race car - forbidden flight " Dale Earnhardt. We are from Virginia,
and Dale is an Elvis-caliber legend around these here parts. Yep, old #3. Sunday,
February 18th 2001 - that's the day it all went down. Broke his neck or something
of that magnitude. Well, the Rum Diary penned a song [off of both these releases]
"The Day Dale Earnhardt Died", and I think that's worth at least a few
giggles. Don't really know if it's out of humor or sadness, but personally I'm
sick of all the number 3 bullshit. The song itself is quite catchy in a Pinback
kinda way, but these guys have much more in store for us on the headphone end.
The cd/ep contains three extra tracks (sathergate / del toro / bright after rain
), and the impressive "del toro" itself puts the band in similar light
to equally influential west-coast acts such as Duster & pre-Epic Modest Mouse.
7" A-side "mileage" is a slow burning dedication to season changes
that beats its way directly into the epic closer "Bright After Rain"
that leads the listener through sonic audio samples, a blasting interpretation
of Seal's "Crazy" and the most impressive instrumentation on the ep.
It's a couple of years old, but so much better than most of what you've heard
all year. Their label says "For fans of Sunny Day Real Estate, Pinback and
Death Cab For Cutie", and who are we to argue. Find this. (
the 7" is limited to 300 total pressings - and it's a pretty one. Blue Marble
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" we don't want your prayers / we don't want your bible " Amen. Music like this frustrates the hell out of me. The Rum Diary are good. They are very "beyond good". The frustrating thing about music this exceptional is how it took me so damn long to discover it. It's quite possible these four guys want to remain in a smaller light, casting huge sounds from their underwriter's lab in central California, but they deserve a listen. If your looking for simple background music - this isn't the band for it. The seven plus minute opener of "greasers win" gets 'Poisons That Save Lives' off to a very impressive start that doesn't let up for the remainder of this stellar album. The first half of this track burns quite slow before reaching its breaking point that bleeds into a single guitar riff reminiscent of ".. Sweetheart"-era Jawbox. Then come the drums, and the drums are the storming leaders that give ground for the swarm of guitars that fill the speakers before letting us down as easy as they snatched us up. These guys can be loud, and when they are, it's walls of noise heavy parallel to an unlikely Stuart Braithwaite / Kevin Shields super session. "Say Goodbye to Yourself" shows off the slower side of the band and some of the most majestic vocals "Poisons.. " displays. Sharing unique qualities that bring to mind central valley acts like 'duster' and 'fiver' respectively, 'the rum diary' deliver a flawless album of rare beauty on their Substandard debut. Not ones to mix song with politics, next year when you cast that vote to oust the freak in charge of our pitiful little county, let "killed by the cowboy president" ( and it's anthem: "do you want to suffer / for another cowboy" ) be your motivational soundtrack. The
near twelve minute stunning closer "the no hunt" sends the listener
further into space with lyrics such as "this is the last goodbye / never
landing, never going home", and it gives the cosmonauts and skyscapes that
grace the liner book new meaning. Then, just as you think the blip had dissapeared
from the radar forever, the album trails into a hidden treasure of voices attempting
to make connections to the lost crew of the rum diary. This
is truly an album of sound & space exploration - something 'the rum
diary' do better than many. |
The
Rum Diary 
Kilowatthours & the Rum Diarysplit EP ( springman / substandard ); 2004 Harry Houdini died in 1926. It was on Halloween to be exact. David Blaine has replaced Copperfield as the magician to witness in the 21st century, but a simple internet search will attempt to explain how he survives in a block of ice for weeks. Many feel it's all the work of the devil. The true magic makers of our times are on this audible diskette - killowatthours & the rum diary, and these guys secrets are rusted under lock and key - no lie. "Poor king, where are your friends now" - This is my first peek into the life & times of the kilowatt crew, and it could easily be the moment of the month where I find myself crying endlessly in a dark corner for not having heard them sooner. Shame on me - these five play a brilliant set of instruments. Certainly not a track anywhere to be overlooked - as each band has crafted such individual & diverse compositions. From the dreamy, Cure-like opener of 'Letting Go' to the gradual build of 'twentysix' - kWh will leave you hungry, but by far not disappointed. "Civilization isn't so civilized" - If you have been paying close attention to my interests over the past few nights, you will already recognize the rum diary name. The guys HAVE to be the hardest working band in the sad republican states of Amerikka. Seriously - if everyone worked half as hard as these guys do, well, work would get done. With a song name like 'Electroencephalograph' (Pronunciation: i`lektrowen'sefulu`graf) - you know these guys are packing heat. By the songs end, the drums have led the band to handclaps & chants - and I swear the campfire could only be just over the hill. Stick close - the nights about to get a bit more intense. '{Ex}Change' is the true split spirit of this release - with both bands combining talents to reveal some truly chilling songcraft. A piano leads you through the thick of the track, with swirls of instruments & kilowatt / rum vocals for added suspense. Does everything the rum diary apply to tape have to be so damn mesmerizing? I think I want to be trapped in a rum diary - life must be good there. 9 songs total - 4 from each side and the partnership of {Ex}Change. Just like the album's art (Marcus Knapp) - perfect. <---
the devil ----> 03.16.04 |
Thomas RusiakLED Recordings 2003 (Imported) "Speakin'
the slang, you found hard enough to sever and crack jaws" Have you ever seen that
commercial for Coors Light with a headphoned Dre chillin' on an airplane hooking
up a wicked beat on his Roland drum machine [possibly for some over-hyped suburban
white kid to add vocals to] sippin' a smooth beverage? If you haven't, find it.
However, if you have, imagine that same commercial with Andre shittin' his pants
after he discovers Thomas Rusiak has an INCREDIBLE gift of making equally crafted
beats, and he can pen a damn fine lyric or two. Rusiak wrote, arranged & recorded
this entire album with his wife Sofia, as well as played nearly every instrument
you hear - brilliant. Idiotically compared to 'Jesus Jones' in his home of Sweden,
"In The Sun" comes closer to the edgiest moments on Primal Scream's XTRMNTR, completed
lyrically with a cat that is certainly no stranger to the game of rhyming . From
his bio on his flashy website, Rusiak is said to have been influenced by "mostly
American hip hop such as Erik B & Rakim and EPMD", and it shows. "In The Sun"
is a damn fine example of exactly what America (or the rest of the world for the
matter) is missing by either a lack of distribution or the sick stage of music
television and radio. Steal this album if you have to, but be careful swimming
the sea - this shit is |
The
Russian FuturistsLet's Get Ready To Crumble 2003 (Upper Class) The beginning of a new year is always filled with the knowledge that I missed out on many releases from the previous year that I should have listened to. To an obsessive music collector with a somewhat limited budget, those releases that don't get heard during the calendar year are always a slight thorn in the side. Let's Get Ready To Crumble is just one of the many excellent little releases that I missed from 2003, and if you're one of those people who likes the bubblegum pop, get ready to get swept away on a bed of catchy keyboard melodies, great vocals, and chunky lo-fi beats. The Russian Futurists aren't a collective or even a duo, rather this is the work of one Matthew Adam Hart. Apparently this one-man show creates this hyper-catchy bedroom pop in some secret confines somewhere in Canada (actually, his house). Imagine a cross between The Magnetic Fields, the greatest soundtrack songs from cheesy high-school movies of the 1980s, and an ever-so-small touch of lo-fi hip hop (in the beats, yo) and the result is something close to what you get on Let's Get Ready To Crumble. Hart knows his modus operandi and pretty much pulls things off without a hitch on the short (ie nicely replayable) 10 track, 27-minute release. Getting all pretense out of the way quickly, the first line of the album is, 'I do pop 'cause that's what my heart goes / I don't call it art, no sir.' It may not be art, but that doesn't keep the release from sticking in my craw as much as any album that I've heard over the course of the past year. "When The Sun Drops From The Sky" finds soaring two-part vocals crooning over cheesy keyboards while "Precious Metals" bounces along with a thumping beat and even more sing-song vocals and light keyboard melodies. At times, things almost get out-of-hand in terms of the cheese factor (as on the clunky preset opening of "You Dot, Me Dot, T-Dot"), but Hart usually manages to wrangle things in and keep things from going completely off the scale in terms of blush factor (although your more serious indie friends may still question your playing of this release). For sheer pop gorgeousness, there's not a whole lot of songs that hang with "It's Not Really Cold When It Snows," a synthpop gem that is as simple as it is stunning. While this stuff probably won't ever make it on the radio next to the hyper-glossed hits that are currently spinning, Let's Get Ready To Crumble is another little gem of a release, and yet another reason to wonder whether any music currently coming out of Canada is mediocore. Rating: 7.75 aaron. when in town, please visit almostcool.org |