There’s nothing to fear, and lots to enjoy, on The Outer Vibe’s latest. A teaser while the band works on their fourth full-length album, this four-song EP recalls plenty of the band’s splendid ‘70s-rock touchstones, while still carving its own mark. Opener “We’ve Created a Monster” showcases frontman Sean Zuidgeist’s American Idol-worthy vocal presence. His smooth tone carries throughout the release, bellying the band’s foray into Bloc Party-gone-pop disco-rock (“On The Run”) helping to surprisingly turn the revived and rehashed retro-sound on its ear. Afterwards they stomp ‘n’ sway through the funky, and appropriately titled “Dance Around” before letting loose long-time secret weapon trumpeter/keyboardists/keytarist Lisa Kacos on revved-up rocker “Your Girlfriend’s A Witch.” Hear all four songs now at theoutervibe.com.
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Eric Mitts
When temperatures cross the 80-degree mark, trips to the lake and open-road rockers like “Bring It Home” by pop-punkers Kaline make a great combination. Sunny harmonies about simple joys (“The Weekend,” “At Your Place”), these songs should bring a big smile to the face of any fan of pop-punk’s three-chord fun side. The recently expanded four-piece of vocalist/guitarist Matt Pickel, drummer Andrew Pickel, bassist/vocalist Zach Leipham and new member guitarist/vocalist Andrew Legg, wear their obvious influences (MxPx, Saves The Day, etc.) on their sleeves like patches, while longtime local fans will also delight in a cover of The Tide’s “Drugs.” Check out Kaline’s CD release show at Mixtape Café June 6 or hear songs from the disc now at myspace.com/kalinemusic.
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EM
It’s summer singer/songwriter season again, and Daniel Vaillancourt is certainly on the bandwagon. The CD package is polished as hell – a big bright insert, stylishly designed to compel you to listen to the music inside, which is also stylishly produced and tightly arranged, sounding full and vibrant. The odd thing standing out is that Vaillancourt seems to have a hard time controlling the pitch of his voice – as if J. Mascis had poor monitors at an acoustic show. Aside from intonation issues, the lyrical choices are fairly mundane, though usually unobtrusive enough to not distract from the goings on of the intermittently awesome music in the background. Check out danvaillancourt.com for details.
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Ryan Cunningham
The five members of the Hex Bombs blur the lines of old-style rock ‘n’ roll – the leather and flames are there, and so are the Stray Cats vs. the Misfits ‘50s sensibilities, but there’s nothing strictly rockabilly or punk about the album. There are lots of opportunities to drunkenly yell along to a chorus; God save you if you scratch their car, but the overall feel is that they want you to join in the fun. There’s something for everyone; Irish drinking-type songs, as well as some war dirges and things that approach sea shanties. In any case, there are loud guitars and drums, so how can you go wrong? Go to thehexbombs.com.
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Ryan Cunningham
LJ should be proud of this album – if not for what it is than what it shows they can be. Early highlights include Tracy Olmsted’s remorseful cries on the title track. “They’re imprinted in my skin, they’re recorded in my bones,” she sings about the men she’s known. “Everything’s Rusty” succeeds at touching senses beyond the aural, but the early tracks drag some and feel verbose. The album really begins to form an identity with “At Sunset.” It’s the first track without the boom-chick drumbeat, and Olmsted’s players leave her plenty of space to tell a story. She reciprocates by leaving them room to solo. The electric guitars weaving over and around her lyrics on tracks like “Cry” and “Low” give this album a subtle and surreal psychedelic quality. While the first four cuts are average, the final six leave one hoping it doesn’t take another two years for a new album. Check myspace.com/lonesomejane.
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Nick Stephenson
With song titles like “Uhh Sexy” and “Death By Suplex,” and lyrics like “they ate some Soylent Green” and “if looks could kill, you’d be Steven Seagal,” this Grand Rapids quartet’s album borders on parody, taking the “metal can be funny” approach. The music is solidly average quality, informed by Clutch and Queens of the Stone Age, making this a good album to play very loudly and do drugs to. The low- tuned and buzzy guitar sound is infectious and may cause hallucinations without the use of drugs. The bassist can really play. Check out myspace.com/pwmrocks for more info.
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Ryan Cunningham
This five-piece prog-metal bands disc tastes of Deftones, Porcupine Tree, Coheed, Tool, etc the usual suspects for the genre, though this certainly is an original blend which evidences careful thought and hard work. Eschewing the deliberate awkwardness of ancient prog-past, this disc mashes together all of its modern musical influences concisely and with maturity (as much as rock n roll will allow), hiding the seams with which it sews itself together. As Dream Theater (unintentionally) was a reminder of the 80s excess, this does so with the late 90s and early 2000s shred was dead and bands were pushing what basic math and drums could do together a logical conclusion to thoughtful aggression. Check out hollowayband.com for downloads.
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Ryan Cunningham
During their 13-year metamorphosis in the local scene, Kalamazoos glowfriends has taken on many forms. Their lineup had changed between each of their past three releases, so surprisingly their fourth finds the self-described Kalamashoegazer quintet unaltered, perfecting their lush sound in a sparkling, chrysalis-like state. Emerging more committed to their heavy-hearted music, vocalist/guitarist Mark Morris and his sister, vocalist April Morris, enchant listeners with an albums exploration of love, specifically marriage (Speak Now, Every Song Comes Untied) a personal subject for a band also featuring Morris wife Holly Klutts-Morris on bass, and their close married friends J.W. Hendrix III on drums and Jenn Hendrix on vibraphone/glockenspiel. Driving and atmospheric, the disc shows growth in the best way: internally and eternally.
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Eric Mitts
Thundering like Kyuss/QOTSA right out of the gate, the down-tuned guitars and bashing drums set up a respectably sludgy stoner metal groove. The singer is frequently unsure of what note he wishes to hit and his voice loses its steadiness in the upper range, but at its best it vibes like Layne Staley. When acoustic guitars show up, they sound unnatural and do not match the rest of the recording. The songs themselves usually hang together very well, though there are some awkward moments. Overall, a good first recording in need of some spit and polish, like a band beginning to understand its true power, which has the potential to be immense.
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Ryan Cunningham
This DVD is an interview with Colin Clive and Dave Kirchgessner Grand Rapids natives who began the Mustard Plug dynasty 16 years ago after graduating college chronicling the ska-punk sextet from the time of open mic nights to playing over 3,000 shows in 45 states. There is a vast amount of this is what being in a band is like video footage, including vans with flat tires, screaming girls and the toilet backstage at St. Andys in Detroit. There are music videos and footage of live shows; a lot is shot on video, but professionally assembled for a flattering tribute to a seasoned ska-punk band. Go to www.mustardplug.com for details.
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Ryan Cunningham
Ghosts of the Great Lakes debut lingers with listeners long after its last song. Eerie and ethereal entirely by design, this dark, sometimes-progressive/sometimes-straight-forward rock band dilutes the last two decades of alt-rock until a harmonious haze looms over the horizon. All too magically, its the intro to First Kiss, where things start to feel comfortably familiar, yet with just the right amount of nervous tension. Opener Hope and its echo effects, as well as guitarist Jeff Goodmans vicious, Tool-rendered riff on Cost To Me, ascend expectations to that moment, but Kiss takes the album over the plateau and it never falters through its unforgettable finish. Ghosts will release Party March 28 at Papa Petes in Kalamazoo and April 6 at Planet Rock in Battle Creek.
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Eric Mitts
Recorded in Grand Rapids Rosa Parks Circle between June 11 and Aug. 16 of 2008, these 10 songs are vivid reminders of live outdoor shows on hot summer nights. All the guitars, organs, drums and A7 chords you can eat are served up in a succinct compilation of electric blues, featuring the best of what the concert series had to offer. The sound is bright and clear, allowing the professionalism of the groups to shine through. Its easy to forget that the recordings are done live, until the sound of the crowd rolls in after the fact. Check out www.lav.com for details.
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Ryan Cunningham
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L.O.K., half of Kzoo rap duo Collision, has taken himself solo, laying down nearly 20 tracks split into four chapters of rhymes about himself and his thoughts on being king. The beats get better as the disc goes on, and L.O.K. reveals himself to be as competent with his tongue as he is with lyrically creating himself to be a thug with a prideful sensitive side. According to the liner notes, he is completely devoted to Jesus Christ and thanks him for his skill, though at first glance this devotion doesn’t appear in much of his material. Check out www.bandeproductions for more information.
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Ryan Cunningham
With a strong infusion of Latin and world rhythms mixed with creative vocal harmony, acoustic singer/songwriter Mark Duvall and his four-piece backup band Two-Track Mind bring back the ‘60s idea of “folk,” back when everyone did poignant protest songs in three-part harmony. The protest is gone, but singer Traci Seuss’ backup harmonies give a strong sense of authenticity to the whole project, allowing a feeling of actual “grit” to show through, which is sometimes sadly missing from the scene. A welcome addition to the summer’s roster of singer/songwriters touring the U.S., Duvall and Two-Track Mind can be experienced at myspace.com/markduval.
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Ryan Cunningham
Four-piece hard rock act Dunktank aims to make a splash with the release of their CD this month, so consider this a warning: any guy planning on taking his girl up front to rock could find the band making a lewd proposition, like they do on the crude, crunchy-riffed “DPU.” Thankfully, the band works better without the pimp-like posture, as the acoustic number, “Brother,” shows some stronger songwriting. Lead guitarist/mixer Rob Seth does a great job making his solos sound amazing, although some of the other instrument mixes end up blending the band’s post-post-grunge sound into peanut-butter-on-the-roof-of-the-mouth stickiness – not unpleasant, but not as enjoyable as it could be. Pick up the full-length June 5 at Boomerangs in Kzoo or June 12 at Planet Rock in Battle Creek. Listen now at myspace.com/dunktankband.
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EM
With all the charm of an early 20th century chain gang, this Ypsilanti octet (!) spits out a mixture of bluegrass and punk, spinning tales about terrible people. Where the Heather Don’t Grow can be boiled down to a simple equation: bluegrass + punk + the Devil = crabgrass — “crabgrass” being the name the band coins for its sound. With a Tom Waits mystique and a wagon full of old-timey instruments, the band’s commitment to Americana images and sound makes for a charismatic and darkly nostalgic storytelling album, square-dancing all the way to hell. Go to blackjakeandthecarnies.com.
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Ryan Cunningham
The press kit for this rock trio reads “classic influences but zero nostalgia,” which tries to address its obvious likeness to its heritage, which is Eric Clapton, George Harrison, Allman Brothers, Steve Miller – any skinny bearded guy with a Les Paul and a Marshall stack in the ‘70s. Produced by Marc Ford (The Black Crowes), the album has a big, open sound, like a band in a room (but where did that second guitar come from?), and does manage to avoid sounding like a washed out throwback album. For blaring guitars, pounding drums, and heavy vintage AM radio rock vibe go to myspace.com/thesteepwaterband.
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Ryan Cunningham
This is an acoustic-driven rock quartet with good bass work, solid vocals and tight drumming. The music on the disc would be equally at home at a coffee shop or a small bar. There is nothing intricate about the album (save the bass guitar) – it rarely comes away from the strumming guitar and mid-tempo emo lamentations – but all the individual elements are strong enough to carry the six-song disc to completion without becoming tiresome. The recording sounds empty with only the real instrumentation of the band (little or no extra layers of guitar), though as an apparently honest representation of the band, it deserves credit. Check out myspace.com/redtintrio for mp3s.
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Ryan Cunningham
At a brief eight songs, this mixed-gender-fronted pop rock trio honestly keeps you interested enough to say, Oh, theres no more? by the time you reach the end. The arrangements are thick there are enough different sonic textures (electronic, acoustic and otherwise) on this disc to choke a horse but the flow and quality of the songs arent weighed down by musical experimentation. There is an unusually good balance between and the alternating male and female vocal (which can go wrong very quickly). Supposedly an even mix of The Dandy Warhols, Star, Kent and Nine Inch Nails, there is certainly a dream-pop element, though this group has more of an American aggressive edge. Go to myspace.com/the315bowery.
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Ryan Cunningham
The pop-rock contained here has a mild Incubus flavor, sweetened by lush vocal harmonies, served with a generic light groove sauce. Songs like Like A Queen (which is about doing it with a 17-year-old) and Miss Cheevious set a tone of moist sexuality. There are some straight-ahead rock n roll moments which are bound to happen when you have two guitar players, but the focus is mostly on the overall sound rather than individual prowess. The five members co-mixed the record at Studiotte in GR and have a CD release party planned for April 16 at the Intersection. See myspace.com/brenamusic for details.
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Ryan Cunningham
This is a wholly professional solo-singer-songwriter-acoustic-folk-blues-country release, complete with seasoned session musicians, clear recording and seamlessly designed packaging. Nelsons voice is gravelly, the acoustic guitar finessed and appropriate to each song, and the character-driven lyrics are central to the album. The songs are as reverent as its religiously-toned title, honoring each story with a bed of relaxed and sonorous lemonade on the porch in the evening sun acoustic instrumental arrangements. Listen for some groovy fingerpicking and tasteful pedal steel, along with a quiet honesty. See drewnelson.net for info on all of Nelsons recordings.
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Ryan Cunningham
Rick Hopkinss Where We Are and Where We Long To Be starts strong and gets stronger. Hopkins voice is beautiful, often soaring over his songs, which are packed with equal parts warmth and longing. Somehow the music is visually suggestive, like in Sleeper, when a guitar conjures the image of an immense flock of birds cutting loose from the ground at dusk. Why at dusk? I dont know, but listen to it and youll see what I mean. The album is available on iTunes and noisetrade.com.
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Adam Forrest
This is a compilation of acoustic-driven country/folk and Sunday evening pop music, all gathered together for the good of local charitable causes. Artists include Spencer Mulder, Brian VanderArk, Seth Bernard, Bless You Boys, Drew Nelson and many others. The recordings were done specifically for this disc at the Mackinaw Harvest facility in Grand Rapids, and all proceeds will go to Grand Rapids Public Schools and the Ronald McDonald House of Western Michigan. A clean and professional offering, the disc would fit nicely into rotation on any down-to-earth adult contemporary playlist. Pick it up at Meijer, Schuler Books, and other local stores. See www.standingtogether.net for more information.
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Ryan Cunningham
MC Lars and YTCracker (Whitey Cracker) are a hip-hop duo who has created an album of nerdy references and old school beats. Bottom line, this is an 85 percent silly record the beats are good, but when the lyrics arent awkwardly verbose, they thematically challenge the listener who wants to take the record seriously, e.g. lyrics like My name is Lancelot, I breakdance a lot, and Carmen Sandiego, she keeps evading me. The track Other Peoples Property approaches a deeper message, and stands out. Somebody will love this record dearly. Is it you? Do you like Weird Al and the Beastie Boys? Start at mclars.com or ytcracker.com to track it down.
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Ryan Cunningham
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