â€œEat Your Youngâ€ starts out with â€œInformationâ€, a track that has a emotional blend of guitar and drums until the slightly snotty vocals of the band kick in in a very Fat Wreck type of style. The production of the disc seems to oppress the guitars and vocals while giving an accurate sound to the deeper (drums and bass) parts of the band. Still, the catchiness of Monikers shows through and â€œInformationâ€ is a track that succeeds through appreciation of mid nineties punk, grunge, and a little bit of the current energy of rock music. The very dense style of the tracks means that the sub-three minute runtimes of tracks like the aforementioned â€œInformationâ€ and â€œTwo Storiesâ€ feel as if Monikers have given their fans a five minute long opus. Continue reading “Monikers â€“ Eat Your Young”
Sleeping Pilot start off their â€œPanic Sexâ€ with â€œ()â€, a very dark and brooding track that gains energy slowly, rending individuals with confident and aggressive guitars and at-attention drums, just waiting for the right moment to strike. Despite this deep and dark sound first shown by Sleeping Pilot, the use of brooding arrangements is aesthetically similar to Nada Surfâ€™s â€œPopularâ€. After the band kicks into â€œThe Law of Falling Bodiesâ€, the formula is much different. An energetic brand of hardcore is what awaits listeners, with hints of Converge and At The Drive-In prevalent. The wind-swept audioscapes of Sleeping Pilot during this track is the bandâ€™s own sound linking up with their influences, making for a very unique style encountered here. Continue reading “Sleeping Pilot â€“ Panic Sex”
â€œQuiet Riotâ€ is the first track on â€œA Joke Gone Badâ€, and it shows Fangboner as an act that is very in tune with the punk rock of acts like The Weirdos ad The Dickies. The vocals of Sheamus Carney remind me a little bit of Devo, and the heavily-rock based punk style of Fangboner provide individuals with something new couched in a style that is decades old. The production is interesting in the sense that it operates much in the way that it did when the early punk bands cut their albums. This means that there is a little bit of an echo present, but the instruments themselves sound almost as if individuals are standing right next to the band. The drums are splashy, the fuzz of the guitar comes through perfectly, and a song like â€œIf Only It Was Always This Easyâ€ is made the stronger by it. Continue reading “Fangboner â€“ A Joke Gone Bad”
What Collin Raye does on eir â€œSelected Hitsâ€ is essentially make a Greatest Hits EP. Like many greatest hits albums, there are a few new tracks to whet the appetites of completists (this time, â€œA Soldierâ€™s Prayerâ€ and â€œQuittersâ€ make their appearance). Also like many greatest hits albums, there are tracks that everyone that is a fan of Rayeâ€™s would know, a listing which includes â€œThatâ€™s My Story (And Iâ€™m Sticking To It)â€, â€œLittle Rockâ€, â€œI Think About Youâ€, and â€œLove Meâ€. There is a minor twist on the greatest hits idea with â€œSelected Hitsâ€; the songs here are not what individuals know as being the â€œstudioâ€ version, but rather mark a live recording that Raye did with the Salt Lake Symphony. The production of these tracks are all excellent, and allow listeners to hear exactly what type of variations Raye added to these already classic tracks. Continue reading “Collin Raye â€“ Selected Hits”
â€œThe Kissâ€ is the self-titled opener to this pop starâ€™s latest EPs. â€œThe Kissâ€ has a sound that seems like a moreÂ mature version of early Hilary Duff. There are hints of artists like Kelly Clarkson present in Karminaâ€™s overall approach. The instrumentation works well in highlighting all the right places during â€œThe Kissâ€, but does not experiment or come forth with a sound that has been heard before. Individuals that are trying to find a new easy listening meets pop (adult contemporary) type of sound should look into Karmina, but if individuals are looking for ways that the pop genre can be expanded, this is not the disc that they should pick up. â€œFreeâ€ varies up the style that individuals should expect from Karmina, coming in with a slower tempo. Continue reading “Karmina â€“ The Kiss”
Will Dailey has been around the Boston independent music scene for a few years. 2004 marked the release of Daileyâ€™s first disc, â€œGoodByeRedBulletâ€, which pushed 10,000 copies in sales. Individuals that are not immediately familiar with Daileyâ€™s work may have still heard Dailey in the past. Songs of eir have been present on shows such as CSI: Miami, Jericho, NCIS, and The Young and The Restless. I guess it makes that sense that â€œBack Flipping Forwardâ€ is on CBS Records.
Â Well, the re-release of â€œBack Flipping Forwardâ€ is on CBS; Dailey released the album to critical acclaim once before, in April of 2006. Individuals that have this first version of â€œBack Flipping Forwardâ€ still need to pick up this version, for a number of reasons. The style of rock that Dailey plays is something that is interesting in the sense that it sounds like a more soulful, more honest version of a John Maher. I have no doubt that it will be easy for Dailey to go forth and really capture the minds and hearts of a number of individuals on the college circuit. Whether eir fame will expand when CBS gives this album proper publicity is to be seen, but Dailey makes a strong case for this album based on eir work here. The production is strong without being stifling, the arrangements thoughtful without otherwise sounding trite or too experimental.
More interesting to me is the fact that unlike a Maher, Johnson, or Matthews, Will Dailey is able to make an entire album work within a specific theme. This means that individuals know exactly what album a song like â€œYesterdayâ€™s Goneâ€ or â€œRiseâ€ is coming from; different tracks have a common thread that links them inexorably to each other and to the whole of â€œBack Flipping Forwardâ€. If you are a fan of this very vibrant and energetic take on the singer songwriter paradigm, pick up â€œBack Flipping Forwardâ€. I have no doubt in my mind that Dailey is just one of the lineage that leads all the way back to Bob Dylan, in that the instrumentation that ey provides and the heart and spirit that ey imbues each track on the disc with is similar to that of the great mumble mouthed legend. Also, if you hear some rumbling about Dailey playing live â€“ take the opportunity. I have little doubt in my mind that the live performance takes all of the strengths from the studio and adds more of Daileyâ€™s vim and vigor.
Top Tracks: Yesterdayâ€™s Gone, Rise
This CD makes a Johnny Cash that was a good fifteen years before the one that was captured during the last â€œAmericanâ€ CD. This means that the voice seems stronger, and that there is more of an energy with each of these eighteen cuts that blends well the younger and older Cash. This â€œlost performanceâ€ was recorded in July of 1990 at The Paramount Theatre in Asbury Park, New Jersey. For those individuals that are only casually familiar with Cashâ€™s discography, â€œRing of Fireâ€, â€œFolsom Prison Bluesâ€, and â€œI Walk The Lineâ€ all make their appearance on this album. Continue reading “Johnny Cash â€“ The Great Lost Performance”
Son Volt â€“ The Search / 2007 Transmit Sound / 14 Tracks / http://www.sonvolt.net /
I came to the music scene a little too late to hear Uncle Tupelo, but Son Volt is an act that continues some of the same styles and musical approaches that Uncle Tupelo once created. This is probably due to the fact that Jay Ferrar, the guitar / harmonica / vocalist of Son Volt, was an integral member of Uncle Tupelo. Donâ€™t get me wrong, Son Volt has had a hell of a history in the years since the folding-up of Uncle Tupelo. â€œThe Searchâ€ marks their fifth release, their third on Transmit Sound. Son Volt had an interesting marketing premise with this album. Continue reading “Son Volt â€“ The Search”
Marla Hansen â€“ Wedding Day / 2007 Standard / 6 Songs / http://www.marlahansenmusic.com /
Individuals may not be familiar with who Marla Hansen is. Essentially, ey is a member of the Sufjan Stevens band and also is a member of My Brightest Diamond. The title track has more of a Devendra Banhart sound than a Sufjan style, as Hansen comes to the plate with a very early Americana type of sound. Hints of woodsy folk music interact with a softly-spoken and meandering set of vocals during â€œWedding Dayâ€, sounding similar to if Alanis Morrisette went back to the 1890s with Marty McFly and eir Delorean. â€œShuffle Your Feetâ€ is a track that has a little bit more of a dedicated direction to it, and while it does not add anything different to the mix, Hansen approaches different sounds and styles in such a way to keep individuals interested. Continue reading “Marla Hansen â€“ Wedding Day”
Over The Rhine â€“ The Trumpet Child / 2007 Great Speckled Dog / 11 Tracks / http://www.overtherhine.com /
â€œI Donâ€™t Wanna Waste Your Timeâ€ is one of the first tracks on â€œThe Trumpet Childâ€, and it shows Over the Rhine as an extremely mature band that is able to set off a track that will introduce fans properly to the rest of the album. There is a high amount of jazz and blues influence that present themselves during this introductory track, and even when Over the Rhine start to speed things up, they do not jettison this introductory sound. Brass add a little bit more in the way of flair to the track, but this does not detract from the sultry vocals that occupy the focal point of the song. Continue reading “Over The Rhine â€“ The Trumpet Child”