For J+J+J, think a more spastic version of Junior Senior, tempered by the electro-buzz of Lolita Storm. The music has been completed in toto by electronic instruments, with tracks like “Skeeball Vs. The Mall” working its club magic with nothing more than a drum machine and a synthesizer The sound of the entirety of “They Hump While We Go Nuts” is very cohesive, as a casual listener will be hard-pressed…
J. Page’s sound, specifically in the vocals has a comparable sound to Columbus’ own Rise and Shine. The use of guitar lines that seem drawn from the early nineties, especially during “Dying staying Here” really gives the band a timelessness to their sound that ensures that dated-ness of their music will not happen. The wall of sound present on the aforementioned “Dying Staying Here” gives a perfect backdrop for J.…
Joy Zipper, on their “American Whip” plays a dreamy brand of alt, indie-rock that draws heavily from the mod scene as well as later rockers like Matthew Sweet. While a track like “Baby You Should Know” contains a quick and peppy beat, the much nuanced “33x” has a subtle and incredibly catchy style to it that is only furthered by the inclusion of a sound that is very ambient-based. The…
Journey seem to have the same sort of energy that really marked them as purveyors of rock in the early eighties. The opening track to the disc, “Faith in the Heartland” ties together some of the soaring guitars of early U2 and even throw a little Who into the mix. There is no lack of energy on “Generations”, and the only thing that seems to have changed about Journey in…
The opening of “Gleipnirs Smeder” is really not that impressive. In fact, almost the first two minutes of the track is something that sounds more like a brick of noise than anything leading into the brand of metal that Jotunspor would eventually lead their listeners into. It takes the band a good five mionutes to get into the meat and potatoes of “Gleipnirs Smeder”, but when they get into that,…
Very predictable style of lyrics that are backed up with a Husker Du instrumental style, and a vocalist that sounds like a mixture of Justin Sane, Rivers Cuomo and John Rzeznik. A form of alt-country that is nowhere near as experimental as those earliest Uncle Tupelo or Whiskeytown albums, but where it lacks in experiment it really gains in the lush recording and pop-influences. “The Town’s Old Fair” is the…
Starting out with nothing more than a piano and an almost whispered-out voice, Jorma makes it painfully clear that this is his record, putting this seven-minute composition on the listeners plate instead of some fancier and more gaudy track. Oddly enough, “Clocks in the Sun” is cut from the same fabric as another decidedly lo-fi track, in the surprise dance hit “Shake Your Booty” by Josh Jenkins. Repetitive to prove…
Jonuh’s “The Fight” starts off this EP, and what immediately results from this track is a realization that the band likes itself a LOT of Yellowcard. In fact, Yellowcard is pretty much the only influence that one can hear on this early track. To their credit, there is much more of a rock sound that is present during this opening track than what the aforementioned band typically inserted into their…
Jonny Lives starts off their “Get Steady” with a brand of current, alternative rock (a la Weezer and the Lonely H) that has tremendous dues to give to sixties rock (for a more current comparison, rent a copy of That Thing You Do and you’ll get an idea). “No Good” is the perfect introduction to the disc, as the splashy drums and strong vocals are a perfect introduction to the…
John Shaffer – Change / 8 Songs / 2004 Self-Released / http://www.johnshaffermusic.com / jshaffer4634@comcast.net / Reviewed 24 May 2004 Firmly planting its roots in the Sting/Peter Gabriel/Michael Bolton sphere of things, John Shaffer has made a disc that works extraordinarily well as a background disc. The instrumentation on “Change” might be incredibly rich, but everything is produced with the same laid-back tempo that doesn’t lend itself well to exciting and…
Johnny Society come through as a mix of mid-nineties Flaming Lips and Chris Isaak. In fact, “Coming To Get You’s” second track “The Witch’s Plea” has more than a passing vocal similarity to “Baby Did A Bad Bad Thing”. “Marilene” tries to bring some David Bowie falsetto into Johnny Society’s traditional sound, in what feels like a very anemic, poorly-performing track. The track would have succeeded if there were more…
Coming from the monstrosity of musical excellence that was TDNDOK, Johnny Franchise and the Merchandise have came from the ashes of the aforementioned act with a guitar and a new-found love of the Bloodhound Gang and the Jerky Boys. Combining the catchiness of TDNDK’s “Technophilia” with a crunchy guitar is an equation that works quite well, with the six songs ending much too fast. Technology is always Johnny Franchise and…
The brand of indie rock that Johnny Action Figure plays is a call back to the late nineties, where indie rock and emo did not deviate much in their general sound. There is interesting uses of time signatures during the disc’s opening track “Lose Our Face”. During “Lose Our Face”, the momentum is created both by the jangly arrangements as well as through multiple vocal layers. This gives the band…
It takes The JonBenet a minute to get started on their “Ugly/Heartless”, but the band is able to string together a catchy chorus for “Devils” that would go up well against acts like Job For A Cowboy and even classic metal acts like Pantera. This is not saying that The JonBenet have anything really in common with these two acts, but they do come up with a wicked brand of…
We here at NeuFutur had a chance to familiarize ourselves with DownTown Mystic, a New Jersey act that has just released a new album, “Standing Still”. This 2010 effort, on band member Robert Allen’s own Sha-La Music, contains 13 tracks of pure rock music. “Standing Still” is a step forward from a band that has already shown that they can deliver on disc, as evidenced by their 2007 work “Read…
There is no claiming that Job For A Cowboy is not the hardest, most brutal band currently out in the grindcore scene. Imagine the loudest, noisiest child throwing a temper tantrum and add about twenty years to eir age and one has a great idea of who Job For A Cowboy is. Unlike those children, however, Job For A Cowboy can put their random bursts of music together into something…
Starting off their EP with a police siren, JKPBombs’ ska-punk assault reminds us of a Leftover Crack or The Specifics, albeit a hell of a lot more sloppy. Strong bass pushes the first track, “3813” to a quick completion, and Marty’s vocals, done up in a perfectly snotty tone, match the scratchy ska-themed guitar lines of Corey. The only thing that could be changed with their first outing would be…
The innocuous brand of almost-rock, almost-punk music is reminiscent of Lit and early American HiFi, albeit with a little bit of Creed and Nickelback (especially in the vocals) thrown in. The bad thing about J4 is that many of their tracks do not provide listeners with much innovation; tracks like “Walk Away” might be euphonic as hell, but there is not a differing set of time signatures or a move…
The dream-like pop that Jettie plays on their “Heading for Mornings” has something in common with the rich instrumentation that was such a heavy presence on the Deep Elm records from a few years ago. “Inside Your Vaults / 6.5” brings to the table a deliberate type of drumming that moves beyond the traditional time-keeping role the instrument has. “One Dance” brings a Michael Stipe-spin to Clas’ vocals and a…
The first track of “Leave You Behind” is “Down in Lukenbach”. During “Down in Lukenbach”, The Jeremiah Houston Band go off into a current indie-country fusion that would make individuals like Pat Green blush. The production values of “Leave You Behind” is solid as all get out. I could easily hear the tracks on this disc turn up on CMJ or GAC. The fact that individuals that are not the…