Mike Bennett Capsule Reviews, January, 2004

Scroll down for capsule reviews of releases by Duvall, The Minders, Myracle Brah, The Richies, The Go, The Wannadies, Young And Sexy, The Changes, Various Artists -- Compulation, Penny Ikinger, The New Normal and Tiger Lou

The Volebeats -- Country Favorites (Turquoise Mountain): This twang-rock band from Detroit has three songwriters, Jeff Oakes, Bob McCreedy and Outrageous Cherry's Matthew Smith, who puts his distinctive stamp on a few tracks. This collection is low key, mixing in band originals with a grab bag of covers. This may be the first album ever to include countrified renditions of Abba ("Knowing Me, Knowing You"), Serge Gainesbourg ("Manon") and Funkadelic ("Maggot Brain") on one disc, though I probably should comb through Roy Clark's discography before standing by that statement. Smith gets a vocal turn that shows that his approach works as well on a weepy ballad ("Standing Next to You") as it does on his vaunted psych-pop with Outrageous Cherry. Other solid originals include McCreedy's "318", with some cool twang guitar on a langorous ode to a car (and the song appropriately clocks in at 3:18). There's a nice convergence of twang guitar solo, pedal steel and harmonica blowing during the instrumental break. Jeff Oakes has a nasal vocal on a song that is part Western, part honky tonk ("One I Love"). This has a great ‘60s country feel and guest Erika Hoffman's distant vocal accompaniment just makes the song that much better. The aforementioned Abba and Funkadelic covers are fantastic, retaining the essential characteristics of the songs while remaining true to the Volebeats' sound. If you like Calexico, but wished they had more of a roadhouse sensibility, this record is definitely for you. parasol.com.

Duvall -- Volume & Density (Asian Man): The debut full length from half of the Smoking Popes (Josh and Eli Caterer) is everything I could hope for, with a couple of caveats. First, there are a few previously released tunes from earlier EPs, which is a slight bummer, considering that this is a fairly compact compact disc. Second, while the highs are extremely high, a few of the songs flag a bit -- though Josh pens some of the best punchy power pop songs on the planet, I think he sometimes confines his sound a bit too much. Just a tad more variety would be nice, since there is no doubt in my mind that Josh is capable of amazing things. The disc opens with what sounds like three hit singles. "All in Your Hands" is a cascading melodic power chord fest and a supreme statement of devotion, Christian rock style. Caterer is born again, and this is plea for mercy. The song relies on dynamics and the music makes the build up worth it. "Way Deep Inside" is a Smoking Popes throwback, as it is strongly reminiscent of "Capital Christine". Which means it sounds like The Smiths meet punk-pop, with both sides able to declare victory. This trilogy is topped off by "What It Is". The song builds off a simple riff-riff-riff-variation chord pattern. From there, Josh builds an ascending melody that brings you up, and then drops you right back into the happy-mosh rhythm again. This song is joyful, not just in the music, but Josh's splendid vocals. He still is a classic crooner at heart, and he has found a way to keep that style intact, while making more forays into his upper range and more typical rock singing. Even when he's soaring, it sounds effortless. The album can't sustain the quality of the first three tracks, but that's not a knock on it. Previously released tracks like "Standing at The Door" and "Racine" still sound great. On "Where I Belong", the band shows it's not stuck to the three-minute-and-out formula -- this is like a more sugary version of Sugar. The only misstep is the cover of Spandau Ballet's "True". The arrangement is pretty rote and this is sounds more like a B-side. All in all, this is a very good debut, but it's time for Josh Caterer to raise the stakes musically, because his talent calls for it. asianmanrecords.com

The Minders -- The Future Is Always Perfect (Future Farmer): This eight-song EP shows The Minders still rooted in ‘60s pop melodicism. Happily, however, the band is not straitjacketed by this -- it is a springboard for an increasingly varied musical palette that benefits you, the listener, by playing like a highlight reel, unlike some EPs, which seem like clearinghouses for second grade material from first stripe bands (like, um, the last Minders EP). The band successfully incorporates touches of ‘80s synth-pop into its sound. The sprightly "Tearaway" benefits from this approach, as the colorful keyboard lines contrast the punchy song, that rocks as much as it pops. Keyboardist Rebecca Cole takes two cool turns at the mike -- "Hahahaha" sounds like a cross between the Waitresses and a K Records band. The melody is nearly atonal and Cole is cooing yet monotone, but her percolating keyboards and generally tart sweetness make this work. "Jealous Baby" is a (very) slow tempo ballad with a melody that evokes both John Lennon and The Velvet Underground. The accompaniment is minimal (spare drums, piano and keys and Martyn Leaper's disembodied backing vocals). Less is more here. Leaper's best vocal turn comes on the closing track, "All the Way Round", an acoustic pop song that tries something different with dynamics -- rather than go from mellow to loud, it goes from mellow to near absolute silence. This song is slightly reminiscent of The Chills, which is a sign that things are being done the right way. Much better than the usual between albums EP, this only whets the appetite for the next full length. futurefarmer.com

Myracle Brah -- Treblemaker (Rainbow Quartz): The fifth album from Andy Bopp and company is quite frustrating, showing off the Brah's strengths and weaknesses in startling relief. The primary strength is Bopp's inexhaustible supply of power pop songs -- he is innately melodic and has a great voice for the tunes he writes. But the primary weakness is that so little seems to be invested in the songs. I don't mean the performances necessarily, as Bopp and his comrades play with verve. It's more that beyond the technical formal exercise of crafting and recording them, these songs don't say shit. While I wouldn't turn to Myracle Brah for deep meaning, geez, what the hell is Bopp singing about and why should anyone care? At times trite, at times cryptic, and utterly devoid of any insight, this is two-dimensional music. This is not aided by the straightforward production, which further adds to the insular nature of the record. Contrast that with last year's *Bleeder*, which used the studio to give the tuneful songs some bite. When you are all style and no substance, you better pump up the style a bit. Of course, there are still some good tracks on here. Some, like "When She Comes Around", are definitely of the ‘haven't I heard this before?' variety. Others throw in some new (to Myracle Brah) wrinkles, like the cool "bop bop bah bah" backing vocals during the middle section of "Hole in My Head", adding a lounge twist to mild rocker, the Buddy Holly-esque "Heedless Headless" and the roadhouse rock and roll of "Go", a full band composition with Paul (Splitsville) Krysiak taking some of the vocals. So this is certainly a decent effort, but it aims for the center rather than aiming high, and settling for just good enough is not good enough in my book. rainbowquartz.com

The Richies -- Forever And Today (Pop Boomerang): Or The Richies survey the classic sounds of pop and power pop. This Aussie band touches a lot of bases, with a lot of skill. I'm not sure if this gives them much of an identity, but they do a pretty good job on most of what they try. So your enjoyment on this disc will depend on your tolerance for derivativeness -- at times I found myself simultaneously annoyed and entertained. Listening to a number like "I Wanna Make it with You", I'm confronted by sounds I like, yet I spend most of the song trying to figure out what bits they nicked (deliberately or unconsciously) from other sources. An even better example is "My Love Is True". It's essentially a ballad in the vein of the early Beatles (a la "This Boy"). From that standpoint, it's competent. However, the keyboard and Mellotron touches are really nice. There's a Teenage Fanclub-ish tune, "Little Petty Things", a standard issue jangle rocker ("Up & Out") and more Beatleisms. What all this adds up to is a band with talent in search of a distinctive identity. popboomerang.com

The Go -- The Go (Lizard King): On their second album, The Go continue to explore their early ‘70s slant on the garage style, at times warranting comparisons to White Stripes and The Mooney Suzuki. Yet neither of those bands could come up with the songs that fill the middle of this disc. The band melds a certain hard rock stance with some really poppy songsmithing -- it's like Nazareth blended with Marmalade. Or maybe a better way to put it is that they play under the influence of the blues and the MC5, but they often write under the influence of T. Rex. So some of the music has a pop flavor without sounding too pop. This makes for a fun listen. This really comes through on a trio of mid-disc tunes, the bouncy acoustic "Hardened Heart Blues", the effervescent "Games" and The Troggs-meet-The Fluid simplicity of "You Can Rock & Roll". However, while the band's sound is certainly enjoyable, The Go rarely seem to go for the kill, either in terms of the playing or the hooks. The Go would probably benefit from working with a producer who could help them further define their songs and then push them to sell the steak rather than settle for the sizzle. This is purely a matter of degree -- this is a nice record, but this band is capable of a great one. thego.info

The Wannadies -- Before & After (Hidden Agenda): This seminal Swedish pop band is clearly stuck in a rut. After making a half-hearted attempt at taking a somewhat different approach with their sound on the Ric Ocasek-produced Yeah!, the band goes back to Plan A on this disc. This time around, things are more subdued than ever, and most of the songs are mid-tempo, with the guitars left in the background, if used at all. The Wannadies' limitations sound like they closing in, and although they still can be counted on for perky chirpy pop songs, new ideas are in short supply. Nevertheless, within these limitations, the band still delivers some nice songs. "Nothing Wrong" ranks up with the best Wannadies tracks. It relies on the melody laid on top of a repetitive new wavey guitar chord pattern. What takes the song out of the ordinary is the slightly soaring melody in the chorus -- this is a Wannadies trademark, and it's one trick I never mind them repeating. The wistful "Disco" (which is not the same as an actual wistful disco) starts as a mellow lush soft pop tune. It remains that way, layering on some synthesized strings and a memorable twang guitar part. There are some sad keyboard sounds at the end. "Skin" was one of the singles off the album in Sweden, and it is consistent with many of the fabulous singles in the band's past, with another ascending melody that seems to weave and wind its way into the brainpan. On the whole, this album has a less favorable great songs-to-filler ratio than prior efforts. The Wannadies are in a holding pattern and need to figure out if they are going to just keep mining the same vein with diminishing returns, or find some new approaches. parasol.com

Young And Sexy -- Life Through One Speaker (Mint): Don't let the cheeky name fool you -- this is warm and sincere pop music that is kinda orch-pop, kinda ‘60s folk pop, kinda loungey and definitely intelligent and compelling. A lot of care has been put into each song. I get the impression that after the basic song itself was written, there was a confab (or 10 of them, for each cut) deciding what layers were necessary for the final recording. So fans of recent records by Fugu and The Heavy Blinkers and maybe even The Wondermints, just to name some recent soft pop faves, should immediately gravitate towards this pretty music. All of the band's wonderful qualities are best spotlighted on the splendid "One False Move". The song starts with Lucy Brain, she with a voice so well suited for this material, singing over a dramatic piano part before the song glides into the melancholy chorus. On the next verse, more elements are added, as with the next chorus, when suddenly the song breaks down into a rocking middle section, with Ted Bois hammering the organ while playing a keyboard solo. The slighty sad ditty becomes a monolithic epic as drummer Ron "Frankie" Teardrop drives the proceedings to a breathless conclusion. While no other track on this collection equals that, there are three or four other top flight songs -- two of my favorites are "Oh My Love", which blends a song that is as adventurous as Jimmy Webb in his ‘60s prime with folk-rock loveliness, and the spare "Ella", a romantic acoustic piece featuring the best vocal from Paul Hixon Pittman, who is kind of the main man behind the band. Kudos also must go out to the quality of the recording itself, so both the band and co-producers John (The New Pornographers) Collins and Dave (The Smugglers) Carswell all should put feathers in their toques. mintrecs.com

The Changes -- First Of May (self-released): Thoughtful arrangements, skillful playing, a firm melodic sense and a willingness to write pop songs that aren't confined by any boundaries characterize this refreshing EP. This Chicago quartet is spearheaded by guitarist David Rothblatt, who is the primary composer. Rothblatt and singer-guitarist Darren Spitzer often both play lead parts, handing a lot of responsibility off to Rob Kallick (bass) and Jonny Basofin (drums). They are more than up for the challenge, playing with a jazzy elan that compliments the melodic twists and turns, while also giving off more than a hint of groove. While I'd guess these guys are hoping to find a foothold with indie-pop lovers, they will also appeal to folks who dig the pop-muso pleasures of bands like Steely Dan and The Police. However, neither of those bands would be so audacious to attempt and then successfully pull off a track like "That's Not True", which sounds like Paul McCartney fronting Gang Of Four, where Spitzer's croon meshes perfectly with jagged raga-funk guitar and the almost-disco beat rhythm. While all five tracks are terrific, this one song really highlights a band that is capable of true distinction. The opener "Hey, You and I" is a delight, with a lilting melody and a swaying rhythm that slowly builds in intensity. On "Such a Scene", the band exhibits a rawness that doesn't sacrifice the precise execution. For a band with a light touch, they do angry really well. What a fantastic debut. the-changes.com

Tiger Lou -- Trouble And Desire (Parasol Direct/Startracks): Swedish band shows a command of pop and rock on this four song EP. The peppiest song is "When I Was a Kid", which is a melodic number with an R & B underpinning in the vein of Del Amitri. The song takes its lyrics from Fawn Gehweiller's story *My Friend Flicka*, and has a wistful tug that befits the song's title. "Nova Lee" is an acoustic song that braces like a chilly breeze. This is a song that fits in well with bands like Nada Surf. The vocals, both lead and backing, are extremely strong on this track. Lead track "Sam, as in Samantha" is desperate and romantic, compellingly linking the alienation created by day-to-day workplace drudgery with an aching need for intimacy, as the singer begs Samantha to just run away and nest with him: "we'll bunker up for days and days/call in sick/we're never leaving this place." Musically, the song stays in one place, which effectively conveys the monotony the singer is trying to avoid (without, musically, sounding monotonous). Closer "Trouble and Desire" is also moody (yep, brooding Swedes -- who'da thunk?). In fact, the mood may be the most striking aspect of the underwritten tune, that is not as strong as the three that precede it. In fact, those first three tracks are very good, as is Tiger Lou. parasol.com

The New Normal -- The Sprightly Sounds Of The New Normal (Mallard Point): Pacific Northwest band. Guest appearances from the likes of Scott McCaughey of The Young Fresh Fellows and Presidents Of The United States lead dude Chris Ballew. Oh, and Jim Sangster and Tad Hutchison and frontman Mike Ritt are all tied to the Fellows (particularly longtime member Sangster). Do I need to drop any further hints as to what this EP sounds like? This band provides Ritt an outlet for his songwriting, and he favors the charming type of rock played by area bands like the Fellows, Minus 5 and The Model Rockets. And for that matter NRBQ and the Yayhoos. This is good old fashioned rock and roll, with roots that go all the way back to the ‘50s and make their way up to now. As long as you have a new story to tell or a fun way to tell an old one, this sound never gets tired. And Ritt sounds fresh as a daisy on buzzing numbers like "Your Damn Uncle" (a song that delivers on the promise of its title). Then there's the silly "We Are Carloadbuyers" ("we buy in bulk/you sit and sulk/if your coupons expire"), a fine cover of Del Shannon's "Keep Searchin'", where Ritt's gruff voice gives a bit different feel than Shannon's otherworldly pipes, and it's a good feel, and "(I.W.G.H.) One More Chance", which is a sweet mid-tempo pop song that takes a twist for the intense at the end, with some fiery guitar playing. Encore! mallardpointesoundrecordings.com

Penny Ikinger -- Electra (Career): A really interesting debut record from an Australian guitarist who has played with a host of bands, including Kim Salmon and the Surrealists. Ikinger shares a doom laden blues approach with Salmon (and his old band, the great Scientists), Nick Cave and some of Marianne Faithfull's work. But she edges slightly toward mainstream rock, without remotely making it all the way there. At times, the music is highly contained anger, with Ikinger and her fine backing band subduing the racket in a most controlled of frenzies (as on the opener, "Poison Berries"). Sometimes the rage bubbles over, as on "Spinster", with Ikinger simultaneously whispering and spitting out the words, with the song climaxing in a smoking guitar solo. Even better, afterwards, the band makes things intact again, and she begins a more delicate bluesy solo and then ratchets the intensity up again. There are a few times where Ikinger comes off like a torch song singer. And on songs like "Andalucian Man", Ikinger favorably compares to PJ Harvey. This song alone makes the compelling case that Ikinger's debut was long overdue. Her vocals, lead and backing, are smartly layered. Ikinger's lyrics are repetitive, in the way that when something bad happens to you, it keeps cycling through your brain over and over. Her voice is hurt and angry, and the words come out in a manner that's both grudging and cathartic -- she can't hold it in, no matter how hard she tries. The other top track is "Shipwrecked", which lays down an insistent groove, which spills over into a pithy chorus. If you speeded this up, it would probably sound like a punk tune. Again, Ikinger shows off some commanding guitar skills. I can only imagine how fantastic this stuff must sound in a live setting. This record sounded alright the first five or six plays, and then suddenly hit me between the eyes -- I'm very impressed. careerrecords.com

Various Artists -- Compulation (Pox World Empire): This is subtitled ‘Volume One, Songs from North Carolina', and shows that the 10th most populous state in the U.S. is teeming with talent. This is simply an excellent compilation, almost entirely filled with good and great tracks. The bulk of this record is indie-pop and indie rock, with enough accessibility to sound great on the local college radio station, with the rough edges intact. OK -- some songs are just weird, like Cold Sides' "Profile", which is a bunch of spoken phrases over percussion and keyboard noises -- disturbingly memorable. These quirky tracks mix with some absolute gems. The Sames' "Smaller Than Life" is one of the best songs of 2003. The song takes a Gang Of Four cod-disco drum beat, overlays some Tom Verlaine-like guitar sqwonk, has a wispy melody, and then a breathtaking concise instrumental break that is both dissonant and beautiful, which finally leads into the chorus which is an oddball's nursery rhyme. The groove of this song is genius, and the little wrinkles that deviate from it are equally good, making for an impressive song. Schooner's "Long Long Time" is a swoony pop song, where the lead vocalist's slight limitations are used to an advantage, giving the lost love sentiments an extra dose of poignancy. Goner stole Clint (Inspiral Carpets) Boon's organ for the punchy garage-goth nugget "Mustn't Touch". Quite a few bands find use for some ‘80s style electronics in a 21st Century context, such as Shallow Be Thy Name, who take an old-fashioned rhythm loop, strum some guitars and then sing with choral vocals in a slacker style. The result is the oddly affecting "A Call for Merry Punch". The Sleepies sound like a cross between ‘80s jangle rock and Velocity Girl on "Bottle in the Smoke". The disc features a couple Merge Records artists, The Rosebuds ("Governor's Daughter") and Portastatic ("Skinny Glasses Girl"), who blend in rather than stand out, which is further testament to the strength of the disc. poxworldempire.com

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