Author Archives: Andrew Gable
Demander – Future Brite (Music Review)
Demander
Future Brite
Self-Released
Rating: 4 out of 5
Links:
Band home: http://vimeo.com/9746894
Band MySpace: http://www.myspace.com/demander
Released in January of this year, Future Bright is an entire butt-load of fun. It’s a collection of somewhat simple yet rather punchy, energetic, aggressive pop tunes. Compared to their 2 earlier releases, the Future Bright LP is brighter and more experienced, while increasing the energy and focus. Demander practically requires crowd sing-along. Obviously well rehearsed for the studio, Demander has to be a lot of fun live. I get the feeling many babies will be made listening to this record. I hope it was released with a disclaimer.
I’d be a bit surprised if they don’t get approached for radio and television video rotation. This band would have enjoyed as much rotation on MTV’s120 Minutes as Pearl Jam and Nine Inch Nails had they existed 20 years ago. The alternative and indie labels should be ashamed of themselves for not beating down Demander’s door for publishing rights. Ashamed. Tsk.
Karen Correa sings and plays bass, Sian Harlap beats the drums like they deserve it, Jared Scott plays guitar. Included in the album are a whole host of guest artists. Go to their website to get the list.
The title track, “Future Bright” provides ice dynamic- break down with bass and drums, moving to piano chords, then on to high-distortion guitars with a definite industrial metal feel, and finally ends up in string section with myriad parts playing together. Honestly, it sounds more like a description for Norwegian black metal music than for power op, but I assure you it’s true. Karen’s sultry vocals reign throughout the track.
The fifth song, “Math” comes in at a brisk 2 ½ minutes long, with plenty of punch in the bass and bouncing steady drums. The guitars sound like Johnny Mars chords and strumming. Sing along vocals with repetitive chorus and guitar hooks and sounds. Check out the video link below.
“Coulee” has more fun guitar hooks and great vocal textures. It’s a dynamic piece, with slow crescendos and quick drops in the tempo. “Rising” is similar, but with almost steady energetic driving beat.
The production is good, showing some skeelz in the recording studio. The bright, energetic, and dynamic sound lends itself very well to the power pop and alternative rock that Demander delivers. With strong and breathy vocals, Karen sounds as if she were born for the role. The bass is strong and driving providing the backbone of the rhythm, and the guitars show a wealth of ability. The drums are full of highs and high-mids in the playback which is damned-near perfect for the album.
RIYL: Yeah Yeah Yeahs, Killers, Strokes, Archers of Loaf.
Check out the “Math” video:
http://vimeo.com/9746894
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Walter Schreifels – An Open Letter to the Scene (Music Review)
Walter Schreifels
An Open Letter to the Scene
Big Scary Monsters Records
Rating: 5 out of 5
Links:
Walt on MySpace: http://www.myspace.com/walterschreifelsmusic
Walt’s Homepage: http://www.waltertown.com
Big Scary Monsters Recording Company: http://www.bsmrocks.com
For the uninitiated, unaware, or uncultured, Walter Schreifels is a bit of an icon in punk circles. I won’t give you the whole breakdown on Mr. Schreifels in this album review, but he has been a creative juggernaut in punk rock, hardcore, and post hardcore. With bright and clean studio production and raspy vocals, he reenters the indie world.
In one way or another, he has lent his hand to Youth of Today, CIV, Quicksand, Rival Schools, and Walking Concert. On top of all of these (and more) bands, he cuts another slice of Walter Pie with his solo record, An Open Letter to the Scene.
Primarily acoustic in content and alt-indie-rock-pop in nature, Open Letter is the logical next step in his musical process; this is Schreifles as a post-hardcore artist playing in an indie style and acoustic versions of post-hardcore songs.
The first track, “Arthur Lee’s Lullaby” is a slow and sweet tune about the American singer who died a few years back. Another cute track is “Ballad of Lil’ Kim,” a song wondering aloud what the hip hip mogul is like when she’s not busy keeping up her image for the cameras. Both of these songs are thoroughly enjoyable.
The third track, “Society Sucker” is an acoustic cover of the Agnostic Front (!) song. It’s a rambunctious song to hear in its original format, and even more difficult to make sound intelligible on the acoustic guitar; however, Walter delivers better than an ambulance driver. Schriefels also covers “Don’t Gotta Prove It,” originally done by CIV. This second acoustic cover is much better suited to be heard in an acoustic format.
The title track, that’s number ten “if you’re looking for it” for the album bears special mention. This is the most endearing I have heard Walter thus far. As far as I can ascertain, the song is about punk icon Ray “Raybeez” Barbieri. Without getting into a full bio of Raybeez, which would be another full-length article itself, suffice to say he was an enormous asset to the East Coast punk and hardcore scene in the 80s and 90s. The song is a recap of his funeral:
“…and not everyone really liked him all the time/at the Sunday matinee he filled the sky/to the dear departed/and to the broken hearted family/at the harcore funeral I cried and cried/for the passing of a hero of the Lower East Side….”
If you buy only one song from this recording from Indierocket.net, the title track should be the one…. but do yourself the favor- get the whole damned thing.
This record shows the increasing range of skills Mr. Schreifels has. His vocal range is stretched out a bit, but it doesn’t come off as untalented, but rather as endearing and heartfelt. An Open Letter to the Scene is the bright red tomato sauce in a steaming plate of vegetarian lasagna on a cold night. Thanks go to Walter for giving me material to review that I can finally give a 5 out of 5 rating.
RIYL: Rival Schools, Onelinedrawing, any East Coast punk/hardcore/post-hardcore of the 80s and 90s.
Look Mexico! To Bed, To Battle (Music Review)
Look Mexico!
To Bed, To Battle
Suburban Home Records
Rating: 2.5 out of 5
Links:
Look Mexico! On MySpace: http://www.myspace.com/lookmexico
Look Mexico! On FaceBook: http://www.facebook.com/pages/Look-Mexico/16634892739
Suburban Home Records: http://www.suburbanhomerecords.com/
Look Mexico! come from the capital of Florida, Tallahassee. Their newest studio effort comes from Suburban Home Records, To Bed, To Battle. This is their second LP and fourth release all told.
To Bed, To Battle comes so close to being a really good album. It really does. Sappy vocals on top of alt-punk music is usually a given for me that I will really like it. The record has some good songs with great parts, but no great songs. It’s very much a music version of the “Indiana Jones and the Crystal Skulls” movie- coming from good roots, expectations high, but falling short. Sigh.
The first track on the LP, called “You Stay. I go. No Following.” Is a strong track, maybe the strongest. The drawn-out chords and keyboards contrast the artistic drumming. The song fits the vocals, which are mostly drawn out like the slide guitars. Slide guitars? Yes. I’m reviewing an alternative rock album with slide guitars. There is a hell after all.
Another track called “Take it Upstairs, Einstein” is not so strong. I think what set it off burning into the deep end was the tail end of the hook, “…my girl says I should read more, but I like playing my guitar.” Really. Sigh. Again. The track is primarily the acoustic guitar and (god- again) the electric slide guitar.
As a whole, the vocals remind me quite a bit of Engine Down (from around 2002′s Demure” with slightly less range. The guitars fall somewhere between The Strokes, Engine Down, Idlewild, and maybe even INXS from around the time of Shabooh Shoobah. The drums stand out as rather imaginative, strong, and well produced. The LP is decent alternative rock for uppity alternative rock fans. There is an impressive number of instruments appearing on the album, showing good skill and variety, and it all ties into a pretty record over all. Slide guitars and even a hint of twang in vocals are almost always a deal killer, though.
RIYL: alternative rock, Strokes, INXS, REM.
Haunted Stereo – On a Pin (Single) (Music Review)
Haunted Stereo
On A Pin (single)
Sotones Records
Rating: 3 out of 5
Links:
Haunted Stereo on MySpace: http://www.myspace.com/hauntedstereomusic
And their homepage: http://hauntedstereo.co.uk/
SoTones Records: http://www.sotones.co.uk/
Not calling the single a “single,” Haunted Stereo consider the release a “double A-side” release. Regardless of the species, it will be released on May 17th. Spooky experimental alt-folk ensemble from across the lake, this time the Mediterranean beachfront property of Southampton, England. This of course an inaccurate description of the city. I digress.
Haunted Stereo, a 6-piece group (how the hell do you fit 6 people with folk instruments on a stage?). According to their Facebook page, they have been creating and playing since 2007; and as evidenced by their release, have been doing it rather well. Only 2 songs on the release, but its chock full of goodness. “Lock the Doors,” borrowing a hint of a groove from the Peter Gun theme, and filling in the spaces with strings and thin vocals, is atmospheric and sultry. The male vocalist reminds me ever-so-slightly of Thom Yorke of the virtually unknown act Radiohead. Country-lounge music with dynamic hoe-down breakdowns, with absolutely no twang. That’s what makes much of American folk, country, and bluegrass shitty- the southern twang on vocals. Its so very refreshing to hear folk with no twang.
The other A side, (whatever), “On a Pin,” features female lead vocals. Violins, plucky banjo arpeggios, plinking pianos and warm drums picking up halfway through the track. The vocal breakdown at about 3 minutes in is just downright pretty without getting into Enya territory. Thankfully.
Very interesting listen, would very like to see them if they ever sail across the lake. Looking forward to more releases.
RIYL: The Builders and the Butchers, Pogues
Fresh Legs – Julian EP (Music Review)
Fresh Legs
Julian EP
SoTones Records
Rating: 4 out of 5
Links:
Fresh Legs on MySpace: http://www.myspace.com/thosefreshlegs
SoTones Records: http://www.sotones.co.uk/index.php
Fresh Legs is a wonderfully frenetic indie/grrl-pop group sneaking its way in from the UK like mad cow disease in McDonald’s food. They bring to mind what Debbie Harry, Th’ Faith Healers UK, and Siouxsie and the Banshees would sound like if they were fans of Butch Vig and just started putting albums out in the late 2000s. Fresh Legs are expertly named- their music is bouncy, energetic, sleek, and a bit sassy. Bright, clean chords, chunky power chords, powerful female vocals with strong shouting male vocals, very tight drums. Sounds like a gem already.
The tracks on the Julian EP are endearing and abrupt, and altogether fun. The track “Sexy So Sexy” is a perfect
example. Starting out with in-your-face balls-out guitar progression and frantic hi-hats on 16th beats. After establishing the mood, the gears shift a bit and the second guitar plays the melody on the 8s, and breaks down to vocals and guitar, then picks back up with the whole ensemble. Great, great transitions. Passionate vocals for the lead with shouty vocals for back ups. I could see the aging hipsters in a dance hall getting trampled for douchebag dancing while the younger kids tear.shit.up. At lease I hope this is what happens. The track” Organs Black” even throws a slight taste of upstroke ska guitar as well. Also bright and poppy, with some driving distorted guitar chords to bring back some late-90s ska punk energy.
Very highly recommended listening if you like power pop from across the lake.
RIYL: The Walkmen, Killers, Th’ Faith Healers UK, and Siouxsie and the Banshees.
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