Hinder "Take It To The Limit" Review

Originally published in the OCCC Pioneer on November 17th, 2008.

The Oklahoma music scene has a lot to be proud of, but sadly, it’s most popular current act, Hinder, isn’t one of them. In fact, Oklahomans should be downright ashamed that Hinder calls Oklahoma home.

The Oklahoma City band just released their sophomore album, “Take it to the Limit,” and with it, the only thing they “take to the limit” is sleaze, stupidity and complete insincerity.

Hinder seems to desperately want to be the new Motley Crue, even going so far as to have Crue guitarist Mick Mars play on the title track, but the band clearly lacks the talent and ambition to create anything close to memorable.

It would be hard to talk about “Take it to the Limit” without mentioning its horrendous album cover. It features the band smugly leaning against exotic sports cars parked in front of a glamorous Beverly Hills mansion, a little too Hollywood for a band who just five years ago played at OKC’s awful “Bluenote” venue. The only things missing are the stacks of cash and terrible grills. This thing makes most bad, cliché hip hop covers look like works of art.

It seems the band has put far more effort into being edgy than their songwriting. Nearly every track is chock full of tired references to cheap sex, drugs, alcohol and general partying, but none of it comes across as sincere. Instead, it just seems to be trying way too hard to appeal to brainless teenage boys who still find such things cool.

The album also has its fair share of cheesy power ballads. On “Without You,” the band is blatantly trying to recreate the success of 2006’s “Lips of an Angel.” At least this time the tune is an actual love song.

Hinder is not only an embarrassment to Oklahoma music, but to popular music in general. Avoid “Take it to the Limit” at all costs.

The Nghiems "The Traveling Coat EP" Review

Originally published in the OCCC Pioneer on November 10th, 2008.

Norman has a tight-knit music scene in which many bands and musicians collaborate and work together. A new addition to said music scene is indie pop band The Nghiems (pronounced “Nims”).

Formed late last year, The Nghiems consist of brothers David and James Nghiem. The duo has recently been joined live by Sethy McCarroll (Student Film, Umbrellas), Ben King (Cheyenne) and Becky Carman.

The group just released its debut EP, “The Traveling Coat.” The EP was recorded with Ben King and Ryan Lindsey (Starlight Mints) at Blackwatch Studios in Norman.

The title track, “The Traveling Coat,” is a light-hearted, upbeat song anchored by a pounding rhythm section and echoey guitars. The slow paced “Nothing to Fear” is next. David Nghiem’s soft piano is the main focus here.

David Nghiem doesn’t exactly have the strongest voice, but his songwriting and the general vibe of the songs more than make up for what his voice lacks. The album’s catchiest track is the incredibly fun “Dancing Shoes.” This song serves as the highlight of most Nghiem live shows.

The EP finishes with two bonus tracks, cassette demos of the songs “So Long” and “Nothing to Fear” recorded late last year at their home. The sound quality is poor on these songs, but their charm still easily shines through. It’s also interesting to compare the two versions of “Nothing to Fear.”

Considering the short length of time The Nghiems have been together, “The Traveling Coat EP” is a very solid release, but it really just serves as a teaser for the group’s debut full-length, due out sometime next year.

AC/DC "Black Ice" Album Review

Originally published in the OCCC Pioneer on October 31st, 2008.

Ah, Wal-Mart ... Where the only thing lower than their prices is the quality; where the shelves are stocked with clothes, electronics, groceries and despair, and now, where you can exclusively get the AC/DC album, “Black Ice.”

AC/DC’s move to have their first album in eight years be a Wal-Mart exclusive says a lot about the album and where the band is in their career.

They seem to have completely abandoned any sense of creating music for artistic or creative expression, and are doing so now for only financial reasons.

AC/DC has been a corporate rock band for a long time, but the Wal-Mart deal puts an even bigger emphasis on the corporate part.

AC/DC’s always been known for repeating themselves. They even changed lead singers and managed to retain their same exact sound. But the repetition featured on “Black Ice” is far more obvious and lazy than it’s ever been before.

The album, just like every other AC/DC album, is filled with big blues riffs, chugging verses, pointless solos and an endless barrage of lyrics about partying, sex and the importance rock ‘n’ roll. The word “rock” appears in not one song title, not two, not even three but four song titles.

The song structure is bland and boring, with each song following the exact same song structure as the one before it. Something is seriously wrong when a 55-minute album feels like an hour and half.

AC/DC claims that they are still an “album band,” which they say is the main reason they made the Wal-Mart deal; people would have to buy the album in its entirety. But if they really were an album band the new album wouldn’t consist of so much filler.

Bishop Allen Interview

Originally published in Boyd Street Magazine on October 21st, 2008.

Indie rock band Bishop Allen may be from Brooklyn, but they still have a large Norman connection. They play at the Opolis quite often, they’ve recorded at Blackwatch Studios and have even toured with local favorites the Starlight Mints.

“I really like Norman, we know a lot of people there and we always have really great and fun shows there.” said singer/guitarist Justin Rice. “When we were recording down there, we were there for like three weeks, and it was freezing cold and there was this huge ice storm. We were pretty much just stranded in the studio. I always picture Norman coated in like a hockey rink of ice.”

The band is currently putting the finishing touches on their as-yet-untitled new album, which is due out on Dead Oceans Records early next year. Rice said the new album will be quite different from last year’s The Broken String and be more along the lines of their debut full-length, Charm School.

“We just felt like making songs that were upbeat, energetic, had a sense of humor, and that were fun. It’s got pep. It’s kind of like “Charm School,” but I think it’s much better,” said Rice. “I think we wanted to get away from anything that felt heavy-handed or melodramatic, and just get back to songs that had a sort of vivacity, but were also kind of understated.”

The band has spent most of 2008 recording and working on other projects and has barely toured at all. Rice said that they are quite excited to be getting back out on tour.

“We toured a lot last year, and there is certain point at the end of a tour when you feel you’ve just played your songs to death. So we were really excited to get off the road and write new songs, and now that we have them, we’re just excited to get out and play them. It’s really fun when something’s fresh,” said Rice. “I’m hoping we’ll be able to play somewhere between half and all these new songs.”

Fans can currently see Bishop Allen make an appearance in the recent Michael Cera film “Nick and Norah’s Infinite Playlist.” Rice said that they got involved in the project back when it was still in development.

“Apparently the film’s director, Peter Sollett, wanted a bunch of New York bands to be in the movie, so he was going to shows to check things out. He saw us, liked us, and got us involved very early on,” said Rice. “At that point we didn’t even know Michael Cera was involved, we just knew that Peter Sollett directed Raising Victor Vargus, which is an amazing film.”

Rice said that filming the movie was an incredibly fun and out of the ordinary experience for the band.

“We treated it just like a normal show. We just brought our equipment and played, except there were a ton of extras and this huge movie crew,” said Rice. “We wound up hanging out with the cast, and even played Tiger Woods golf with Michael Cera in his trailer.”

Rice has also been involved in quite a number of other film projects, including starring roles in Andrew Bujalski’s critically acclaimed films Funny Ha Ha and Mutual Appreciation. He completed three films earlier this year, including one with director Bob Byington, that are set to hit the film festival circuit early next year.

To many, Bishop Allen is considered a sort of “blog band,” as they receive a ton of coverage on the various indie rock blogs. Rice thinks that those blogs have had an overwhelmingly positive effect on the band.

“There is definitely a large contingent of people out there that read those blogs, and I think it’s pretty cool that those things still exist as like an alternative to the kind of codified, mainstream media. There is something very anarchic about them,” said Rice. “Any kid can start a blog. I met a lot of the people who run those blogs back when they were just like a kid with a computer, and now it’s grown into something else.”

Bishop Allen will be performing at the Opolis with An Horse and Electric Owls on November 5th.

Ben Folds "Way to Normal" Review

Originally published in Boyd Street Magazine on October 21st, 2008.

It’s been nearly three years since we’ve last heard a proper album from Ben Folds, but his new album, Way to Normal, was certainly worth the wait.

Way to Normal finds the perfect balance between the more humorous material on Rockin’ the Suburbs and his somber side on Saving Silverman while still managing to come across as a completely honest and natural progression of his solo career. The album is heavy on relationship songs, from the purposefully misogynistic “Bitch Went Nuts” to the he said/she said dynamic of his duo with Regina Spektor, “You Don’t Know Me,” but they never delve into the cliché and are done in the sincere yet ironic way one would expect from Folds.

The opening track “Hiroshima” tells the story of when Folds hit his head and suffered a concussion while on stage in Japan and is chock full of the self-deprecating humor and wit that makes Folds so likable. It’s on this song that Folds sings “They’re watching me fall,” and while that may be true in the literal sense within the story, it couldn’t be further from the truth when it comes to his career and the quality of his material.

Dear and the Headlights "Drunk Like Bible Times" Review

Originally published in Boyd Street Magazine on October 21st, 2008.

Terrible band name pun aside, Dear and the Headlights released an under-heard folk rock gem last year in Small Steps, Heavy Hooves. Their followup, Drunk Like Bible Times, seems like a retread of their debut, albeit with cleaner production and a tighter sound.

On the first track, “I’m Not Crying, You’re Not Crying, Are You?” the band slowly builds through the verses only to explode during the chorus, which sets the template for how most of the songs on the album operate. Right away the folksy guitar tones and riffs from Heavy Hooves are very much present here too, as are the stomping keys and vocal melodies. It’s all just a bit too familiar. It’s not until the closing song, “I Know,” that the band really mixes it up. The tune starts off slow and somber but by it’s end it’s almost party-like with it’s hand-claps and gang vocals.

Drunk Like Bible Times features strong songwriting and musicianship in catchy, memorable songs, it’s just a shame that the band didn’t try to deviate from their debut a bit more.

Ted Leo and the Pharmacists "Rapid Response EP" Review

Originally published in Boyd Street Magazine on October 21st, 2008.

With the current political climate and upcoming election, it’s no surprise that many musicians are looking towards the news to gain inspiration. After witnessing the violence at the Republican National Convention last month, Ted Leo and the Pharmacists sprung to action by quickly recording and releasing the 4-song digital EP, “Rapid Response.” All the proceeds from the EP go directly to the charity groups Democracy Now! and Food Not Bombs.

“Rapid Response” really downplays Leo’s indie-pop side in favor of a more lo-fi, old-school protest punk sound. It starts with the incredibly catchy “Paranoia (Never Enough),” which features a “Born to be Wild”- like guitar riff that works perfectly within the context of the song. This track is certainly the highlight of the EP. The slow-burning “Mourning in America” comes next, which discusses race as a campaign issue. The EP is rounded out by two cover songs, Cock Sparrer’s “I Got Your Number” and Amebix’s “Nobody’s Driving.” Both covers fit perfectly with the theme of the release.

This release doesn’t quite live up to the past few Ted Leo releases, but given the circumstances of the release and cause, it’s still well worth picking up.

Colourmusic "f, monday, orange, february, lunatic, 1 or 13" Review

Originally published in the OCCC Pioneer on October 3rd, 2008.

LISTEN TO THE AUDIO VERSION

If their name didn’t make it completely apparent, color is an important factor to Stillwater band Colourmusic.

Lead singer Roy Biv claims to be a descendent of Isaac Newton and writes songs based on Newton’s Theory of Color. Biv also claims to have a rare disorder called sythenasia in which he sees music visually in the form of colors. Whether any of that is true is irrelevant, as it has clearly had a huge impact on the band’s identity.

A great deal of hype has been built up around the band as of late, thanks in no small part to the band’s involvement with the Flaming Lips’ management company, World’s Fair.

That involvement has not only gotten the band opening slots for the Flaming Lips, but also for other World’s Fair bands like British Sea Power. World’s Fair and Great Society Records have just released Colourmusic’s debut full-length recording, “f, monday, orange, february, lunatic, 1 or 13.”

The album is filled with chant-like choruses and a strong Brit-pop vibe. It’s all very light-hearted, catchy and fun. But it’s also quite repetitive. Many of the songs sound alike, and after a few listens, the album’s shallowness is apparent.

Those familiar with the band will already know a number of these songs. The majority of the songs featured on the album have been released on their previous “Red” and “Yellow” EPs. Though these songs have been re-recorded, they still sound much the same.

“F, monday, orange, february, lunatic, 1 or 13” is a fun ride while it lasts, but it doesn’t really give the listener much reason to revisit it.

Mitch Hedberg "Do You Believe In Gosh?" Review

Originally published in the OCCC Pioneer on September 12th, 2008.

It’s not often that a comedy album can make listeners both laugh and cry, but it’s very possible that comedian Mitch Hedberg’s posthumous release will have that effect.

“Do You Believe in Gosh?” was recorded in January of 2005 in Ontario, Canada. A mere two months later, Hedberg died of a heroin overdose. He was only 37.

Since his death, Hedberg has become an icon in the comedy world. Despite his relatively short career, he is sure to be remembered among comedy greats like Carlin, Hicks and Pryor.

Thankfully, the drugs that took Hedberg’s life had no effect on this set. It’s clear that Hedberg is in the middle of refining and perfecting this material. While still hilarious, this isn’t the well-oiled machine that was featured on Hedberg’s first two albums. At times, he struggles to find his rhythm and the jokes suffer.

Those familiar with the material on Hedberg’s previous two albums will feel right at home with the jokes on “Do You Believe In Gosh?” It’s more of the same absurd one-liners and hypothetical questions that Hedberg is known for.

Texas toast, eating cantaloupe, Smucker’s jellyfish and kids in Venice having “canal-smarts” are just a few of the many topics covered on the album.

At one point, Hedberg explains that he didn’t get into comedy because he was funny, but because he was just “really good at holding ice cream cones.” He later says that comedy is part of his “get-rich-really-slow scheme” and that it’s working well.

Though none of these jokes appear on either of his previous albums, much of the material may not be completely new to Hedberg devotees. A lot of it was featured on the “Live in Chicago” bootleg that has been circulating around the Internet and was performed on Hedberg’s last Letter-man appearance.

It’s almost impossible to listen to the album and not be reminded of Hedberg’s untimely death. With every bit of laughter comes a little sadness that he’s gone.

According to Hedberg’s widow, Lynn Shawcroft, this album contains the last of Hedberg’s material to be released.

“Do You Believe In Gosh?” is not only a hilarious album, but it also gives listeners a deeper look into Hedberg’s joke-writing process and where his act was right before his death.

The Uglysuit Review

Originally published in the OCCC Pioneer on September 12th, 2008.

Earlier this year, Oklahoma City band The Uglysuit was signed to Touch and Go Records’ imprint, Quarterstick. Since then, their single “Chicago” has littered music blogs and a significant amount of hype has been built up around the band. While on the surface this appears to be great news for the Oklahoma music scene, but it seems the band’s success is mostly undeserved.

If there is one word that describes The Uglysuit’s self-titled debut, it’s boring. Painfully so, as the album’s nine tracks all blend together to form an unremarkable, uninteresting and forgettable mess.

The reverb-heavy ambient pop leans far too much towards the ambient side of things and winds up droning on aimlessly. The single, “Chicago,” is catchy enough on its own, but when placed within the context of the album, it loses much of its steam.

The band is clearly able to write a solid pop song, but they just don’t seem to be focused on doing so. Instead, they seem to be focused on long, meandering instrumental passages that never go anywhere.

For much of the album, lead vocalist Israel Hind-man seems half-asleep, and it wouldn’t be a surprise if it were the band’s music that put him in that state.

As uninteresting as most of these songs are, the band members themselves sound just as uninterested to be playing them. They seem to carry a very nonchalant “yup, these are our songs, but we don’t really care” attitude through most of the disc’s runtime.

It’s not until the second to last song, “Happy Yellow Rainbow,” that the band achieves anything noteworthy. The second half of this track is noisy, epic and stands out as the best moment on the record. It’s a shame that the band did not spend more time working out that side of their sound.

If you’re looking for a solid example of Oklahoma music success, skip The Ugly-suit’s debut and check out Evangelical’s “The Evening Descends” instead.

Portugal. The Man "Censored Colors" Review

Originally published in the OCCC Pioneer on August 30th, 2008.

Alaska isn’t exactly known as a musical goldmine. Apparently, the state’s frozen woods and arctic tundra aren’t quite apt for great bands — except for experimental rock band Portugal. The Man.

The band’s third album, “Censored Colors,” is decidedly more low-key than the band’s previous work. Its slow pace meanders through the album’s 15 tracks.

But even with the new direction, the band manages to keep its signature sounds intact. The quirky approach and diverse instrumentation the band is known for are all here in spades.

Even the simpler, more acoustic-based songs are densely layered with strings, piano, rich vocal harmonies and a variety of other elements.

The band touches on a variety of musical styles on the album. The opener, “Lay Me Back Down,” is spacey and very much prog rock, while “Hard Times” brings to mind stoner rock bands like Black Mountain or Kyuss.

The album’s centerpiece, “New Orleans,” is a jazzy number that wouldn’t be out of place in some Bourbon Street club.

That song also continues the trend set by “Chicago” on the band’s debut “Waiter: You Vultures” in which the best song on the album is named after a city.

The album closes with the reggae style gang vocals of “Our Way,” which leaves the listener on a very positive, upbeat note.

The album was released on the band’s own record label, Approaching AIRball-oons, and is distributed by Equal Visions Records.

Fans who only liked the heavier, high-energy material on Portugal’s previous albums may be disappointed in “Censored Colors,” but for everyone else, it’s an exceptional piece of work that is a strong contender for album of the year.

Doug Benson "Professional Humoredian" Review

Originally published in the OCCC Pioneer on August 18th, 2008.

Comedian Doug Benson has recently beaten the stereotype of the lazy pot smoker.

He appears weekly on the VH1 show “Best Week Ever,” co-wrote and stars in the off-Broadway show “The Marijuana-logues,” starred in his own documentary “Super High Me,” and released his debut album “Professional Humoredian.” He’s a self-proclaimed “multi-tasking pot smoker.”

“Professional Humore-dian” was recorded at the Upright Citizens Brigade Theater in Los Angeles on April 20, and was recently released on A Special Thing Records, which also released records by Paul F. Tompkins, the Sklar Brothers and Jen Kirkman.

The album begins with Benson explaining how audiences may know him. He says they may recognize him from “Best Week Ever” where he says things like “Did you hear Britney Spears got back together?”

The album is decidedly silly. Benson discusses everything from his sexual habits to his favorite movies using silly voices and weird sayings. Some of the biggest laughs on album don’t come from the actual punch lines but from the small little things he says between jokes.

Benson is mostly known for being a pot-comic and much of the material on “Professional Humoredian” lives up to that. He discusses anti-pot ads, the best things to eat when high, medical marijuana and his experience filming “Super High Me.”

The whole album has a very casual vibe and it’s clear that Benson is completely comfortable in his material and his stage persona. Benson just seems incredibly likable throughout; so much so that’s it’s easy to forgive a few of the bits that don’t quite work.

The audience also adds to the casualness of the album. It sounds as though Benson is simply performing for his friends; in fact, comedian Jimmy Dore’s loud, unique laugh can be heard at various moments.

Overall, “Professional Humoredian” is a silly and hilarious comedy record released at a time when few comedy albums make it to market.

“Professional Humoredian” is available at www.aspecialthing.com or from iTunes.

Monotonix 'Body Language" Review

Originally published in the OCCC Pioneer on August 18th, 2008.

When a band is as completely insane on stage as Monotonix, albums simply can’t live up to the live show.

It’s impossible for an album to capture flaming cymbals and trash cans on heads, and they certainly can’t spray you with beer and various bodily fluids; all of which are commonplace at a Monotonix live show.

The band, which hails from Tel Aviv, Israel, first caught many people’s attention at this year’s SXSW music festival. They were simply the craziest band in Austin this year, even if their actual music was rarely discussed.

The “Body Language” EP, the band’s first American release, does a serviceable job of capturing the band’s energy.

The six relentless songs pound the senses with screaming guitars, driving drums and singer hell-bent on being the living definition of rock ‘n’ roll.

The band is a combination of post-punk, metal, classic rock and garage rock and is clearly influenced by bands such as The Stooges, Blue Cheer and MC-5.

The songs are simple, straightforward and to the point. It’s difficult not to headbang or pump your fists while listening, especially during the title track.

But rocking out is really all it’s good for. At the end of the day, it’s just too shallow and not memorable enough.

If you are looking for a solid album that rocks from start to finish, than “Body Language” may be just what you want. But it’s still no replacement for seeing the band live.

Monotonix will be performing at the Conservatory in Oklahoma City on Oct. 8.

Nineteen Ninety Seven "On the Run" Review

Originally published on Decoymusic.com.

In the year 1997, Titanic ruled the the box office, the first Harry Potter novel was published, we lost Princess Diana and Biggie Smalls, a sheep was cloned, and the songs on On The Run probably would have seemed fresh and original. But, sadly, it’s 2008 and nearly everything on Nineteen Ninety Seven’s sophomore album seems generic and overwrought.

The Chicago band went through some major lineup changes following the release of their debut, A Better View of the Rising Moon, last year. That change clearly has had a huge effect on the band’s sound, as they’ve toned down the pop-punk sound present on their debut in favor of more mature indie rock. One can’t help but think that this change was a bit unnatural and contrived, as they’ve essentially made their sound more in tune with current trends.

The album begins with “One Track Mind, Four Track Heart,” which is as awful as its terrible pun of a title lets on and sets up the album to be nothing but mediocre. The way vocalists Kevin Thomas and Alida Marroni play opposing roles in a relationship is interesting at first, and does spices things up a bit, but the novelty of it wears off fairly quickly. On the Run is chock full of bland relationship songs that we’ve heard dozens of times over. Everything is over-sentimental, overdone, and often cringe-inducing. Lyrics like, “Why is it so hard to fall in love? / You turn it on / You turn it off / My broken heart just keeps on breaking,” on “Zechariah’s Song” can’t possibly inspire anything but eye rolls.

If nothing else, the album is quite ambitious. The band incorporates a wide variety of instruments and is obviously aiming for a large sound. The production is also top notch, with everything sounding crisp, clear, and huge. None of that, however, winds up mattering because the songs simply aren’t there.

Pomegranates "Everything is Alive" Review

Originally published in the OCCC Pioneer on July 14th, 2008.

One has to wonder why fruits and vegetables have not been incorporated into more band names. With the plethora of animal related band names, you’d think someone would take note of what those animals were eating.

Obviously Cincinnati band Pomegranates were wise to this line of thinking when they formed in late 2006.

Despite a relatively short year and a half of existence, Pomegranates already have two releases under their belt.

The most recent, “Everything Is Alive,” shows what the band is capable of. They manage to be fun but never cutesy, smart but never smug, and familiar yet completely fresh.

Clocking in at barely 30 minutes, “Everything is Alive” is ridiculously short, and its breezy vibe makes it feel even shorter, leaving the listener wanting more after it ends.

“Everything Is Alive” begins with a short, atmospheric intro and then launches into the infectious “Who/Whom.” It’s crunchy, catchy, and above all else, fun. The song’s breezy attitude continues throughout the rest of the record without any sort of lapse.

The album’s highlight is “Late Night Television,” in which vocalist Joey Cook sings of waiting up late at night, wondering what his supposed girlfriend is doing.

It’s a simple relationship song, but one with a completely fresh take.

“Thunder Island” is another superb track. Its tropical drum breakdown makes it stand out on an album of standout tracks.

Though Cook handles the majority of vocal duties, guitarist Isaac Kerns can also be heard quite often. Cook has a more feminine, poppy voice, while Kerns uses a more traditional rock sound.

The vocalists never trade off of each other, but instead each have their own song segments, which allow them to stretch out and create their own unique sound.

The album has a grittiness about it not often found in records of this sort. Small imperfections pop up throughout, but they give the record character.

Much of this is probably because that the album was recorded and mixed in the span of six days.

There’s an urgency present that would have been lacking had the band used the luxury of more time in the studio.

The claim could be made that Pomegranates are simply grabbing a hold of the current indie rock trend led by bands such as Modest Mouse and Vampire Weekend, but their strong songwriting and fresh vibe gives the band their own ground to stand on.

The Hold Steady "Stay Positive" Review

Originally published in the OCCC Pioneer on July 14th, 2008.

Whenever anyone talks about The Hold Steady, the words “bar band” are almost always mentioned. And while it’s a bit unfair to limit such a great band to such a simple description, it certainly applies.

The songs on the Minneapolis band’s fourth album, “Stay Positive,” rely on classic rock archetypes and a punk rock sensibility to create energetic bar songs.

The album brings to mind Bruce Springsteen and the E Street Band, Thin Lizzy and The Clash all at once.

One of The Hold Steady’s biggest strengths has always been Craig Finn’s lyrics. His songs are full of intricate stories that are both immensely interesting and instantly relatable.

Though this album doesn’t follow one cohesive storyline like previous Hold Steady albums, it’s still incredibly thematically rich.

The album’s title, “Stay Positive,” definitely represents the album. For the most part, it’s an incredibly hopeful and optimistic record.

“Constructive Summer” begins the album with it’s fast pace, talk of drinking on water towers and claim that “St. Joe Strummer” was their “only decent teacher.”

“Sequestered in Memphis” tells the story of a one-night stand gone wrong. The song’s catchy chorus, keyboard flourishes and driving riffs make it clear why this song was chosen as the album’s single.

The albums title track is another highlight. The gang vocals present throughout the track are especially great.

On “Constructive Summer,” Finn sings “Our psalms are sing-a-long songs,” and with “Stay Positive,” it’s clear that they really are.

Girl Talk "Feed the Animals" Review

Originally published in the OCCC Pioneer on July 7th, 2008.

In this digital age, artists, such as Girl Talk, don’t even have to play any instruments to create great music. Some simply use their laptop and a hard drive full of mp3s.

Girl Talk is a mashup artist who uses only samples to create his songs, changing and tweaking them to create a cohesive whole.

With the release of his new album, “Feed the Animals,” Girl Talk is pushing the boundaries of what a mashup record can be.

The mashup genre is generally considered a simple novelty, but “Feed the Animals” goes a long way to change that.

Current hits, hip-hop, 80’s pop, 90’s alternative, 70’s dance, and classic rock are all represented here in some form or another.

One of Girl Talk’s biggest strengths is how he has the ability to grab the attention of the listener with nostalgia and familiarity. Even if the listener is hearing Girl Talk for the first time, they have undoubtedly heard many of the songs Girl Talk pulls from. The album is at its strongest when it combines rough rap verses with a slower, more subdued backing.

Huey’s “Pop, Lock, & Drop It,” works perfectly with Journey’s “Faithfully,” and it’s strange how well Girl Talk meshes Lil’ Wayne’s current smash “Lollipop” with the Red Hot Chili Peppers’ “Under the Bridge.”

Though the album is split into tracks, it’s clear it was meant as one long party mix.

Girl Talk is really flaunting copyright law on this album. There are more than 300 samples used, and their copyright holders have cleared none of them. No one has yet come after Girl Talk for copyright infringement, but with his status and popularity rising, it’s only a matter of time.

Girl Talks use of the Radiohead method of releasing “Feed The Animals,” in which fans can go to his website www.ill egalart.com and pay what they want for the record.

So far only established artists such as Radiohead and Nine Inch Nails have attempted this strategy, and it will be interesting to see how it works for a lesser-known artist such Girl Talk.

Murder By Death "Red of Tooth and Claw" Review

When one hears the band name Murder By Death, one might assume they are a death metal band hailing from Eastern Europe and covered in ridiculous black face paint; or maybe they are some lame screamo band in tight black jeans and guy-liner. But few would think the band, which got their name from the 1976 Peter Sellers comedy, would play stripped down, whiskey soaked alt-country.

It’s fitting that the band took their name from a film, as everything about them feels very dramatic and theatrical. Their songs tell stories that are typically told on the silver screen not rock albums. Zombies, pirates, bar fights, prison breaks, and, of course, the devil made up the band’s previous albums, and Red of Tooth and Claw follows suit with it’s tales of murder, lust, revenge, and, of course, the devil. According to singer/guitarist Adam Turla the album is a “Homer’s Odyssey of revenge, only without an honorable character at the center.”

The album begins with the slow-burning “Comin’ Home.” The song is a strong showcase for Adam Turla’s increasingly deep vocals. On 2006’s In Bocca Al Lupo, Turla drew comparisons to the late, great Johnny Cash, but on this new record, he goes even deeper and lower than the Man in Black. Next up is “Ball & Chain,” which in any other band’s hands would have been a simple relationship song, but instead is a sprawling, driving epic that straddles the line between love and lust.

One thing that separates Murder by Death from their peers is cellist Sarah Belliet. Her cello adds depth and moodiness to even the simplest of songs. She also adds to the cinematic feel of the band, as her strings often bring to mind western film scores, especially on the album’s centerpiece “Theme (for Ennio Morricone).” This is no coincidence, as Ennio Morricone is a famed film composer mostly known for his work on Sergio Leone’s spaghetti westerns The Good, the Bad, and the Ugly and Once Upon A Time in the West.

The album closes with the almost doo-wop “Spring Break 1899,” which tells the story of a murderous scoundrel headed south for Mexico in search of salvation. Musically and lyrically the song perfect wraps up the album, and ends it just as epically as it began.

Perhaps next time you are in the mood to watch a film, you should close your eyes and listen to Red of Tooth and Claw instead. You’ll find the experiences much the same.

Vampire Weekend "Vampire Weekend" Review

Originally on Sophiezine.com on February 15th, 2007.

Ahhh… Internet hype. How many times do you have a read glowing reviews of a band on various music blogs only to find the band actually sucks? Too many. And unless you’ve been living under a rock (or don’t read online music publications), you have no doubt seen such reviews of Vampire Weekend. Thankfully, these guys don’t suck.

Much of their hype was due to their phenomenal online demo they put up last year. That hype got them signed to XL Recordings, earned them opening slots for some indie rock giants, and even a performance on The Late Show with David Letterman.

The band's self-titled debut is almost identical to that demo that made their name, only with one extra song and fuller arrangements; not that that’s a bad thing. The record is tight and cohesive, fun and catchy, and a plethora of other positive adjectives.

The band’s afropop/new wave/preppy indie rock sounds undeniably fresh. There isn’t a single band that comes to mind that sounds even remotely like Vampire Weekend. But that’s not to say they are too strange or weird for the casual listener. Everything is simple, straightforward, and instantly likable. The opener “Mansard Roof” sets an upbeat atmosphere that carries on throughout the disc’s run time. The collegiate “Oxford Comma” comes next, and is undoubtedly the best song on the record. The lyrics are not only easily relatable, but also perfectly capture what the band seems to be about. The rest of the record goes by in a flash, and without any weak tracks or filler.

Despite how good this debut is, it’s not without its faults. The album is short, ridiculously so. Coming in at only 34 minutes, it almost could have been an EP. And during those 34 minutes, there is very little variety. Every track sounds similar to the last, and few tracks have much to distinguish themselves. The band figured out what they do best, and stuck with it, which in its own way could be admired.

Vampire Weekend seems to have lived up to much of their internet hype, and in many cases, exceeded it. Their self-titled debut is sure to propel them far beyond pretentious indie rock blogs.

Evangelicals "The Evening Descends" Review

Originally on Sophiezine.com on February 12th, 2007.

Evangelicals’ frontman Josh Jones is not a normal person. His strangeness is apparent from the moment you first see him, talk to him, and especially when you hear his music. If you were to see him on the street, you might assume he is homeless. Bassist Kyle Davis is by no means normal either. His lanky frame and hipster-to-the-extreme fashion sense certainly makes him stand out in a crowd, and he seems to have been put on this earth to do nothing but to be a rock star. But perhaps the strangest part of Evangelicals is drummer Austin Stephen’s apparent normalcy. He just seems like a regular dude and doesn’t really fit in with the band in the slightest, yet at the same time, he fits in perfectly.

The Norman natives released their debut album, So Gone, back in 2006 on Misra Records. But last year, when Misra manager Phil Waldorf was hired by Jagjaguwar to head up their new imprint, Dead Oceans, he brought Evangelicals with him; thus thrusting the band into the indie-rock big leagues.

The Evening Descends, the band’s first release on Dead Oceans, improves upon So Gone in almost every way imaginable. The songwriting is significantly better and more varied; the production is cleaner and crisper; and the overall sound of the band has simply been refined.

The album begins with the schizophrenic title track that jumps from orchestral pop to stripped down pyschedelia to a funky dance number in a scant three minutes. As the album progresses, sounds zoom in and out, up and down, and everywhere in between. At first, everything seems too dense and nonsensical, but with time the melody reveals itself and the album’s catchiness shines through. By the end of the 43 minute run time, it’s difficult not to sing along with Jones’ every word.

Samples are used throughout the record and provide even more depth to an already deep musical landscape. Most of the samples blend in perfectly, but the “splat” sound in “How Do You Sleep” is one of the most unexpected and unexplainable things I’ve ever heard on an album, not that’s it’s necessarily a bad thing.

The band pulls from a wide variety of influences and wears them on its sleeve, yet manages to create a sound uniquely their own. The synthesizers of “Party Crashin” bring to mind 80’s new wave, while “Here in the Deadlights” is reminiscent of post-Waters Pink Floyd. Comparisons to British shoegazing band Slowdive can also easily be made.

On “Bellawood,” Jones repeats the phrase “Strange things keep happening.” If he’s talking about listening to The Evening Descends and the band in general, truer words have never been spoken.