If only Panic At The Disco’s new album had half the energy of Asphodel Fields’ “We’re Not In Kansas Anymore.” The bouncing bass brings the song to life, really capturing what makes the young electronic band so good and their maturation thus far. Listening to early versions of the echoing “How Did You Get Such A Huge Huge Head” and the explosive “There Goes The Neighborhood,” do little to prepare for the more live-like revitalizations of both with bigger, full-band arrangements. Vocalist Vinnie Trierweiler has a high wail worthy of Warped Tour, and his synth swells slam as hard as the guitars, so don’t expect this dynamic sound to remain undiscovered in Kalamazoo for long. Find them now at myspace.com/asphodelfields.
—
Eric Mitts
For the rock mathematicians: ‘60s/‘70s garage rock + saxophone = Party Band from Hell. For everyone else, this Motor City five-piece brings the party back to rock ‘n’ roll, reviving the old fuzz guitar magic and yell-along-with-the-band goodness that fueled so many beer-soaked good times back in the day. The album could easily be buried in the back of Joe Strummer’s (R.I.P.) vinyl collection, yet is miraculously fresh and vital due to the band’s enthusiasm and sheer commitment to the concept. Highlights include “Gonna Hava Party” and “P.S.A. (Stop, Drop, Rock ‘n’ Roll).” Go to www.myspace.com/thebeggars for a listen.
—
Ryan Cunningham
The near-thrash metalfest of Breaknek’s new release is infused with accusatory and violently abusive lyrics. Howling vocals and thick guitars bang their heads bloody with the gritty motor of a rhythm section, creating an insurmountable fortress of sound. There is no question – if this band hates you, they will write a song about you. If you try to sing along, they will stab you. True metal pride underscores the righteous indignation of this thick-headed thug beast. The album doesn’t need you to like it, just don’t be under the wheels when it starts rolling. Go to myspace.com/breaknek, or else.
—
RC
Is that a drummer, or a satanic drum machine set at a million beats per minute? A contamination of prog metal darkens the already black blood of this Grand Rapids five-piece’s newest release. It is very loud and aggressive, and its complexity should be appreciated wearing a leather gimp mask with a zipper over the mouth. I’m sure these guys could help you find one. Even more remarkable than the metronomic accuracy and sheer violence of the instrumentation is the CDs distribution plan. Using an ingenious promotion strategy for today’s “why in hell should I pay for digital music?” world, the CD is currently free to all who want it. Check out myspace.com/dissonantmusic for mp3s.
—
Ryan Cunningham
The weirdest thing about the weirdo music Their Teeth Will Be Of Lions makes is how seriously they take having fun. They’ve packed a party into their spastic debut with shout-outs, Super Mario-sampling segues (“Brush Your Grillz”), games of Red Rover and gang spell-a-longs (“Nostradamus Knew Everything… Almost!”) fit for a haunted love-shack, like the one in Evil Dead 2. Whether co-vocalists Jenn Hampshire and Glenn Willis sing about spider-webs (“An Anxious Night Minus Television”) – and not the No Doubt ones, although Hampshire sometimes sounds like Gwen – or scream down skeletons with some of their friends in the local hardcore scene (“Belly of the Beast”), the band has enough energy to reanimate the most rigid indie fans. Listen now: myspace.com/theirteethwillbeoflions.
—
Eric Mitts
About seven seconds into the first real song on Desert Love, guitarist Julio Gomez is introduced, and it’s all uphill from there. He works high on the neck and gets the axe to sing for him while Kalish belts lyric under and over his riffs. Their interplay is what makes this album captivating from start to finish. Kalish’s vocals are strong and dynamic, but at times he buries himself beneath the rhythm guitars or one of Gomez’s screaming riffs, giving the album a live feel. Lyrically, Kalish music doesn’t aspire to change the world. To be honest I don’t really know what he sings about, I couldn’t get off the guitar work. The band is at its best with short punchy jams like “Two Girls One Hit” and “Gotta Get Out,” which run less than two-and-a-half minutes each. Enjoy the cover of Rancid’s “St. Mary.”
—
NS
|
|
“At ease, Soldier,” remarks the liner notes of this Muskegon/Chicago acoustic duo’s new release. “At ease” is a good yet incomplete descriptor of the material on the album. Never exceeding a conversational – if dour – tone in volume or lyric, the arrangements use appropriately light vocal harmony work over delicate and sometimes ironically upbeat stringed instruments. Percussion and even a full band enter on the scene occasionally, always deferent to the lyric’s place as the central event. “At ease,” as well as “grave” and “stark” might be a more complete lineup of adjectives – also “cohesive” and “fully respectable.” See jumberlackmedia.com for greater detail.
—
Ryan Cunningham
A Paschal Circus’ debut EP comes nearly four years in the making, and with so much going on it’s easy to see, or hear, why. Even if his raspy vocals take some getting used to, vocalist/guitarist/songwriter Chris Sommerfeldt plays the ringmaster role perfectly, drawing attention to the basic blues behind his larger experiments like on “Stagnancy Travels As ‘The World’ In A Skirt” one moment, while allowing the chaos to continue. Guitarist Eric Gallippo, of Lansing indie icons Man At Arms, also adds to the free-wheeling fun with some frantic fretwork. No wonder three labels wanted a piece of this. Look for five different album covers at the band’s CD release May 17 at Rocky’s, or listen sooner at myspace.com/apaschalcircusmusic.
—
Eric Mitts
From the speedy bluegrass and Irish folk entries to the slow old-time country ballads, this stringed instrument four-piece uses all of its talented members to forge a credible Americana music effort, complete with two tracks recorded live with the group standing near a pair of microphones – the way it used to be. They pick and twang through all original material – save a Guy Clark / Buddy Mondlock tune – never missing a beat. Sure to be a find for bluegrass and general American music fans alike, this is a good album to have for the sultry summer afternoons on the porch. Goldminepickers.com for Michigan tour dates.
—
RC
From the stabbing guitar feedback that sets its navigational course to the ethereal reflection pool at its final destination, Grand Rapids rock quartet The Mines’ second release is indicative of the journey behind the mellowing and maturation of the songcraft which they brought to the fore with their first release, Metropolis (2006). Lyrical portraiture and textural mid-tempo rock music create the basis for the effort, leaving plenty of sonic space in a genre fraught with busy-ness and exaggerated pop-rock instrumentation. A slight foray into odd-meter on the penultimate track augments the collection of straightforward songs. See myspace.com/themines for mp3s and music videos.
—
RC
Weighing in at four songs, the new EP from Grand Rapids pop-punk trio Kaline doesn’t waste any of its eight-and-a-half minutes of pure bubblegum fury. The music is very characteristic of the style – amiable, slightly tragic, and highly energetic; a teenaged sleepover with highly caffeinated soda. Stating that even though their chosen genre doesn’t get the representation it used to due to metal being all the rage lately (pun?), they are aiming to be the leader of the “small underground scene.” With their goofy charm, loud guitar riffs and obvious experience, they may just do it. See myspace.com/kalinemusic for a listen and fabulous band photos.
—
RC
This month, The Skies Revolt will release their third CD along with a corresponding comic book featuring art by vocalist/guitarist/keyboardist Dave Prindle and Josh Nordyke. There isn’t an overarching storyline here, the way Coheed and Cambria crossed songs to panel and ink, but that doesn’t matter. The comic is bonus material to a CD well worth the plastic. Like their friends in local post-hardcore bands La Dispute and Ivan, The Skies Revolt have continued to explore new sounds (in their case, lots more keyboards) on songs like “The Canal” and opener “For Redemption,” while strengthening the shouted-out conviction (“Dodge”) of their influences and earlier efforts. “Taking Stands” defines such songwriting in its lyrics and fearlessly frenetic guitars. Hear them at myspace.com/thskiesrevolt.
—
EM
|
|
|
Interviews
CD Reviews
Unsigned Artists
© 2001 - 2006 Blue V Productions, LLC, All rights reserved.
