Mike Bennett Capsule Reviews, June, 2003

Scroll down for capsule reviews of releases by The Hawks, Party of Helicopters, X-Rated Cowboys, Midget Jesus, The Salteens, The Like Young, The Virtues, Wire, Blur, Rihteous Boy, Outrageous Cherry and Buva.

Tractor Kings -- Gone To Heaven (Mud): Jacob Fleischi is the auteur of the Tractor Kings (just wanted to get ‘auteur' and ‘tractor' in the same sentence). His central Illinois drawl is magnetic. He sings with more than a hint of Dylan, though Lou Reed and The Velvet Underground clearly inform both his songs and his singing in spots. Every song here is simple and direct and rooted in traditional American folk and blues music. This directness comes through strongly in Fleschi's lyrics. There's the guy getting out of prison after 20 years, trying to win back an unwinnable lover: "I put your cash in the trash/I threw your check in the drain/I love the sound of your voice/all I hear is a train" (from "Take Me Back", with music evocative of the folkier sides of Steve Earle and T-Bone Burnett). On the loping "Side by Side", he's a rural Bukowski character: "Yeah, I've been sober but I ain't clean/that alcohol don't mean anything/it just turns me mean." Fleischi is in tune with the psyche of loss and losers. The finale "My Old Ways Are Gone", with a Tom Waits-like organ part and Lyle Hodges' contrasting synthesizer noises in the background, has a simple childish melody, with Fleischi holding on to each syllable, telling his woman that he's leaving and he will change -- he wants her to come with him, but knows she will stay and he seems to hope she'll hurt as much as he does. Powerful. This may sound depressing, but, as Roger Ebert says about good movies, when something is done very well, even if the subject matter is down beat, it is still envigorating. And there are lighter moments, like the tender quiet love song "Beautiful Night", and the shimmering "Gone to Heaven", with ghostly jangly guitars -- granted, the heaven seems to be when he's high on drugs and drink, but at least he's happy, right? This sometimes plays like a Raymond Carver book, sharp vignettes, just in a different setting. parasol.com

Hawks -- Perfect World Radio (Not Lame Archive): While not sporting any visible neckwear, Hawks were a byproduct of the skinny-tie power pop explosion started by The Knack, when the major labels were trying to catch some safe new wave lightning in a bottle. Hawks put out two albums and had two songs skim the Billboard charts. This disc collects unreleased tracks and demos. This was my first exposure to Hawks, and a lot of this stuff tends towards Wimp City rock. If you like your power pop laced with testosterone, take a pass. However, if you don't mind some twee mixed in, you will be impressed by the strength of this material that didn't make the cut. Like the Anglophile (with a dash of pomp) ‘70s pop craft of "Goodbye California", a track that sounds like what more than a few pop bands today are trying to sound like. Then there are songs like "I Don't Understand" that fit in perfectly with the Dwight Twilley and Raspberries songs that came out only a few years previously. According to the superb liners, the second album was more rocking, and this is evidenced by material that could go toe-to-toe with first album Survivor, The Plimsouls and 20/20 without being laughed at. Just one listen to the intent "Need Your Love", a rare power pop track that is premised on a groove, and I really want to hear the second album. While not essential, this is a fine slice of early-‘80s melodic rock. Beyond wanting to hear the original albums, I'm left with two questions: 1) what would a third album have sounded like, and, 2) did rhythm guitarist Kirk Kaufman and bass player Frank Wiewel ever dress up as the Hagar Twins for Halloween? notlame.com

The Party Of Helicopters -- Please Believe It (Velocette): Merging melodies both standard and stretched out with precisely constructed rhythms, this Kent, Ohio quartet earns comparisons to likeminded Dischord Records greats like Shudder To Think and Jawbox. Those comparisons are favorable, with the band distinguishing itself from that ilk in their willingness to stretch out, perhaps indicating some prog rock influence. In particular, some of Jamie Stillman's lead guitar figures may be inspired by Rush's Alex Lifeson -- whether or not that's true, his leads impress in how they manage to support both the rhythm and the melody of the song. Drummer Cory Race is often Stillman's tag team partner when the guitarist is off on one of his fretboard forays. Race sometimes plays in lockstep with Stillman, sometimes seems to be engaging in a subtle call-and-response and sometimes counters the leads with his own creative work. Ryan Brannon is not a bystander on bass, but he is smart enough to know that three virtuosos is too many -- his sturdy playing holds things together. Joe Dennis sometimes sings in a falsetto reminiscent of Shudder To Think's Craig Wedren -- shown off to great effect on the dazzling opener "The Good Punk". A wavering melody loops around Stillman's circular guitar lead and the band finds many ways to work off the distinctive guitar part. This song pretty much defines what you hear elsewhere, and future releases will need to find more variety in song structures. However, the band attacks with precision, sincerity and excitement and it's hard not to be caught up in the dizzying rush. velocetterecords.com

X-Rated Cowboys -- Saddest Day Of The Year (FFN): You'd think that tapping Dan (ex-Georgia Satellites/Yayhoos) Baird to produce their record would have resulted in a raucous affair, with the Cowboys melding their considerable wit with big guitar sounds. Far from it. This is more of an easygoing country-laced rock album that is just a touch more conservative (musically) than recent Jayhawks and early Wilco, with a touch of Squeeze's mid-tempo pub rock. The smooth sounds do not overwhelm Quinn Fallon's lyrics -- he still finds a way to inject humor and sarcasm into the proceedings. Fallon often does it in the tradition of great country songs, which find a grain of truth in the wordplay: "I just can't wait/to never see you again" ("Just Can't Wait"); "I can try and say I'm sorry/but I'd rather just pick up the tab" ("Only Everyday"); and "every day is the saddest day of the year" ("Saddest Day"). My favorite of all is this one: "how is it everyone I know/is waiting on their big break/like an ordinary life/must have been a mistake." (from the lonely guy diatribe "High and Lonesome"). Sometimes, the band's playing and Fallon's vocals could use a bit more personality, especially on an album with so many slow and mid-tempo songs. Then again, this band isn't about musical innovation. It's about taking familiar tales of the broken hearted and running them through Fallon's unique perspective. He generally holds up his end of the bargain. xratedcowboys.com.

Midget Jesus -- What Would Midget Jesus Do? (Partial Eclipse): Hooky and rocking tomfoolery from the Boston area. Dave Fieldhouse sings with an endearing whine (more Joe Walsh than Terry Adams of NRBQ) while this quartet plays with a great deal of energy -- sometimes this album comes somewhere between power pop and pub rock, with a bit more vim than either of those terms might indicate. At times the ramshackle rocking is in line with what The Replacements would have sounded like if Bob Stinson had taken over the controls, or some of the witty bands of the mid-‘80s American punk rock era, like Woofing Cookies. And a few songs remind me of a lot of the sturdy post-Dream Syndicate/Dinosaur Jr. rootsy rock bands of that same era (The Meices are also a decent reference point). The best track is "Coffee", a deceptive mid-tempo slice of punchy slacker rock with a couple of big hooks. "Liar" is a gem of a song, the band playing with seething fury on a tune that straddles the line between angry and melodic. Throughout the record, Fieldhouse and Jon Cullen have terrific interplay, often intertwining lead guitar parts and layering their rhythm parts. They both get a chance to stretch out on "Discotheque", which is reminiscent of the old Canadian band 13 Engines, and contains the line that typifies Fieldhouse's sad sack persona: "she says she likes a man who can do 100 push-ups/I can do 99." The finale "8 Feet High" is a very effective closer, with aggressive chords that are tinged with sadness or regret while the band forges ahead relentlessly -- a song that should be played on college radio stations throughout the land. midgetjesus.com

The Salteens -- Let Go Of Your Bad Days (No/Drive-In): These peppy Canadians make music for people who think that Apples In Stereo and The Orange Peels are too ponderous. This energetic disc always sounds good when it's on. The band sounds terrific, yet many of the songs lack strong hooks. This is a shame, because they cover so much happy pop territory and may be a suitable substitute for folks who run out of Zoloft or Paxil. The band's tunes sometimes have a bouncy Northern soul vibe ("You Stood Out in the Crowd"). Other times they are more in line with the post-modern pop of the late great Beulah ("Thoughts from Sound" and "Not for Nothing" -- the latter with a swoony surprise melody in the chorus). The best track is "Summer's Gone" which has a great backing vocal arrangement and more than a whiff of 1966 Beatles guitar shimmer influence. Not far behind is "Damn You", one of two tracks where the underutilized Megan Bradfield (bass) takes the lead vocals. See is winsome and not overly artless, making her all the more charming. Songwriter/guitarist Scott Walker does most of the lead vocalizing, and his voice is thin and nasal, wearing over the course of this brief album. In fact, stronger lead vocals would probably make a big difference for this band on disc, since they are a fine live outfit, with special kudos to bouncy drummer Brent Follett. driveinrecords.com

The Like Young -- Art Contest (Parasol): The full length debut of The Like Young is right in line with their EP from earlier this year. The husband-wife duo of Joe and Amanda Ziemba (guitar and drums respectively) have boiled down the pop craft they demonstrated in Wolfie to the essence. Joe has a great thick melodic guitar sound, Amanda keeps the basic beat and decoratively fills in with fills and rides on the cymbals. These songs might not quite reach Cheap Trick or Buzzcocks ferocity, but it is undeniable that they rock and Joe's vocals are up to the challenge, as he combines sweet higher notes with a more ripping lower vocal range. Amanda's ultra-girlish lead and backing vocals and offbeat harmonies with her husband are a treat. I don't think a whole album of Amanda vocals would work -- she is best deployed as a not-that-secret weapon. Whereas Wolfie sometimes would bite off more than it could chew, these tunes get in and get out with surgical precision and contain at least one solid hook. If anything, the album could use just a wee bit of variety -- only because the tunes blur together somewhat. Though I love Joe's guitar sound, maybe he should experiment with some different textures. That's it for the ‘negatives' -- since The Like Young relies on the wacky concept of churning out good song after good song, they should be keeping fans, makers of mix CD-Rs and college radio DJs very happy. parasol.com

The Virtues -- Ruminate (Crying Bob/Zip): Melancholy Swedish jangle rock. The band has a familiar friendly sound. Comparisons to Crowded House and (especially) Del Amitri are apt. The songs, in that wonderful Swedish pop tradition, are generally bittersweet. The loping "Alarm Call" boasts a bouncy chorus (augmented by horns) stating "calling you up makes my day/brings me hope for a brighter day". Sounds good, no? But as the song winds on, it's apparent that she won't answer the goddamned phone! ("It's no good that you won't hear me out"). A few other songs have similar drive. "‘Bout to Be Blue" is a nice R & B based pop romp that the band put their all into -- it sounds like a live performance, crackling with energy. "Matchday" is Scandanavian Merseybeat -- a Monkees guitar lick and a song that sounds like a lost number from The Las. There are also some pretty moments -- "The Infidel" sparkles and lilts, creating a sweet hopelessness, with a chorus that Todd Rundgren would like to have written. Then there's the moody "Crackleware" with hushed vocals over the electric piano accompaniment. Very well done album. ziprecords.com.

Wire -- Send (Pink Flag): Most of the tunes on this full length have already appeared on the two Read & Burn EPs, which signaled that the Mach III version of Wire is more formidable than the ‘80s version and comes close to the incredible heights of their first three classic LPs. I'll repeat what I said in my review of the two EPs -- what makes this music so remarkable is how Wire is now taking aspects of their past and threading them together to create something that is different and new but wholly consistent with the band's aesthetic. That aesthetic has shifted at times, but there is a constant foundation in the band's minimalist compositions. The new songs on this album are superb. "Mr. Marx's Table" is probably the most melodic (a la 154 and The Ideal Copy) of all of their new songs, and is very inventive in its use of dynamics. "You Can't Leave Now" mixes an ominous plodding rhythm with a floating melody. On "Being Watched", drummer Robert Grey lays down a danceable back beat, while Bruce Gilbert plays clipped buzzsaw guitar riffs – it sounds like a rock take on their synth days. The only lackluster new track is industrial disco "Half Eaten" which seems half-written. As for the ‘old' numbers, they lose nothing in the new context, and, if anything, benefit from the longer format, which has more flow and variety than the two EPs. Songs like the pumping "Comet", the jagged yet languidly funky "Being Watched" and the epic "99.9" belong on any list of Wire's best. Essential listening. pinkflag.com

Blur -- Think Tank (Virgin): While most of the post-punk revival focuses on variations on Wire, Gang Of Four and The Fall, with those influences tattooed on the artist's foreheads, the veteran Brit band Blur has made a disc that is evocative of another post-punk style, in a manner that is not derivative. Back in the late-‘70s and early-‘80s, scads of bands found ways to incorporate funk and African music into a more pop-rock based sound. This paid off, when the band was able to master the groove without dispensing with the song -- perhaps the song might be stretched out, but the melody remained intact. This is precisely what Blur accomplishes here. Leader Damon Albairn's forays into rap and the music of Mali are the obvious inspiration. But it's up to the rhythm section to pull this off and Alex James (bass) and Dave Rowntree (drums) lay down thick grooves on song after song. The essence of Blur that has existed from day one may not be obvious, yet it is there. This is particularly clear on ballads like "Sweet Song", with an effectively spare backing and "Out of Time", which is built on sad jazz chords and rides two incredible chord changes into a song that is haunting and bouncy. The songcraft however, is just as effective when the bottom gets heavy. "Brothers And Sisters" sounds like a cross between War and Thin White Duke-era David Bowie, if produced by Sly and Robbie. And craft isn't always needed. "Jets" lays down a ridiculously catchy rhythm, first plucked on the guitar and then played by the whole band -- it's pretty relentless, leading to a wicked sax solo. Throw in a "Song 2" type rocker ("Crazy Beat"), the sad song of epic proportions ("Battery in Your Leg", the only track with now departed guitarist Graham Coxon), some third world tomfoolery that sounds like cool Side 3 and 4 tracks off of The Clash's Sandinista ("Moroccan Peoples Revolutionary Bowls Club" and "Gene by Gene"), and you have a mish-mash. But a very compelling mish-mash. virginrecords.com

Righteous Boy -- I Sing Because of You (Future Farmer/Stockholm): This is a side project from Magnus Sveningsson of The Cardigans. It's downcast melodic rock with occasional soft pop overtones that has some similar inspirations to the early work of The Cardigans, but the instrumental thrust is decidedly more contemporary. Sveningsson sings in a hushed tone which works a whole lot better than it should. Hey, if Leonard Cohen can make great records with no vocal range, Sveningsson can get by with this. The reason he does is because the songs are well suited for this type of vocal and the atmosphere generated by the musicians on the record -- a lot of attention was paid to texture, from the guitar parts to the percussion to the keyboards. Some songs are intricately layered (like keyboard heavy "Elephant Man", which has a great rhythm track, fueled by Sveningsson's terrific rumbling bass), while others have some holes in the sonic space -- so the lonely lover that Sveningsson is generally portraying is in the right element. The rest of the band is comprised of members of Brainpool, Eggstone, Shudder To Think and Ray Wonder, though this really isn't evident in their appropriately reserved playing. The band hits a peak early on with the one-two punch of "Righteous Boy/Righteous Girl" and "I Made it Hard for You to Love Me". The former is in the mold of the poppier side of Saint Etienne, and contrasts the tense verses with a sweet ‘60s chorus that is moony and romantic. The latter is a dramatic ballad that the Pet Shop Boys would be proud to call their own. This song also shows off some impeccable arranging skills -- every little embellishment is simply perfect. There are even touches of breathy R & B on the record, best exemplified by "Straight Song". This is a moody and insinuating disc that is a perfect soundtrack for future film noir nights. futurefarmer.com

Outrageous Cherry -- Supernatural Equinox (Rainbow Quartz): I don't know if they are all that Outrageous anymore. In a manner similar to Guided By Voices, Matthew Smith, (the Cherry on top, I suppose), has honed this band's style to perfection to the point where it's somewhat of a formula. A unique formula, but formula nonetheless. The requisite elements are present, including fuzzy, reverbed production and songs that fall within somewhere between these three boundaries -- ultra psychedelic, Velvet Underground and winsome bubblegummy pop. Smith works the controls, so each song varies the amount of these constituent elements. Larry Ray has perfected the art of stately jangle and ghostly ripping guitar leads. Carey Gustafson is pretty much Detroit's version of Moe Tucker -- her drumming is top notch. Avan Ruth holds steady on bass, with some nice artless backing vocals (I might also mention that she looks like Laurie Partridge if she were a burnout in the high school smoking area). This album is a bit less awash in reverb than the last record, so I like it better. In fact, this is probably the most accessible Outrageous Cherry record to date. If you're intrigued by psychedelic pop that sometimes crosses over to freak out rock (with that Velvets vibe), get this. Then check out 2000's Out There In The Dark parasol.com

Buva -- Daydream EP (Hi-Fi Motion): Ivy's Andy Chase produces this 5 song disc, but that does not mean that Buva is a fellow lounge popster. The first song, "Be Good to Yourself", is a dead bang winner. The song is reminiscent of some of the recent work of Jason Falkner and Brendan Benson, both in structure and the intelligent arrangement, that makes great use of sonic space. Buva has a bit more of a laid back vocal style, so the song is punchy with an undercurrent of mellow, which works very well. Buva takes a bit of a post-modern Magical Mystery Tour on the Beatle-y "Another World", with jangly guitar, mellotrons and both a strong lead vocal and fantastic guitar solo during the instrumental break. "She Get's Around" seems to find a mid-point between the contemporary Falkner pop of the first cut and lite psych-pop of the second cut. It has a terrific floating feel grounded by a catchy chorus. Buva is engaged with the song, so there is real emotion hear and not someone just showing off his technique. "Daydream" shows off some edge and humor ("jerk offs one and all/they're the ones who should be on the wall/they're the ones who didn't bring the ball to the game/you're fans are so lame/please forgive me if I'm not the same"). The finale, "Beautiful", is a wonderful piano based ballad, with synthesized strings, what sounds like a glockenspiel, some lead guitar from Chase – the song has real staying power. For the most part, Buva is an artist who is informed by ‘60s influences of the highest order, with little need for playing the retro card. Every aspect of this EP is top notch. I anxiously await his next release, as he is tremendously talented. info@buvaphonic.com

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