Archive for March, 2011

Brother – “Darling Buds of May” single

Posted in Music Reviews on March 17, 2011 by Billy Shears

Keepers of the (mundane) flame

Brother are the latest band the British press (and the band themselves) seem to be lauding with the by now Python-esqe moniker of  “the next saviors of British guitar music.” British Guitar music needs saving more often than any other generic genre I can think of, because every year, there’s another mediocre band dubbed as such.

Regardless, how do Brother fare when stacked up against other salvagers of the “lost art” of the guitar tune?

About the same as the norm, as it turns out.

Taking cues from the obvious (Oasis) they come off sounding like a near replica of an old forgotten British band called Smaller. That is to say, Oasis without the huge tunes or enlightened singer but with the mouth and ego to match. The brothers Gallagher, though, could walk the walk. Brother kind of toe the line. Barely.

“Darling Buds of May” is a catchy tune. It might even demand repeated listens at first. Competent playing, catchy guitar lick (kind of sounds borrowed from “Brim Full of Asha” by another Brit Pop casualty Cornershop) and solid chorus…but once the novelty of hoping this band are as good as advertised wears off, I’m left with the feeling that if the tunes don’t get substantially better, Brother are going to fade out.

Rather than being something special, I’m guessing this group more along the lines of something tolerable.

Maybe I’m wrong. Brother seem to think they are going to be the next-big-thing. Thing about that is, I’ve heard that about 2-3 bands every year since 1994.

Guessing these guys become a footnote as well.

Brother’s “Darling Buds of May” single now available on iTunes for Free.

Out Crowd – Demo 2011

Posted in Music Reviews on March 15, 2011 by Billy Shears

OUT CROWD.

I know next to nothing about them, other than the facts: The band is called OUT CROWD. They are from Atlanta, Georgia and have a demo out now on a record label called Ghetto Josh Records and I was sent said demo by Steven from the band.

What’s the verdict?

I’m here to testify – I was pleasantly surprised. My first reaction is it sounded somewhat like vintage Ray Cappo snarl fronting a more oi!-leaning YOT. The intro comes on like Blitz, while opener “Blue Bloods” navigates vintage NYHC territory, as does the 51 second “What Are Friends For.”  The last cut rumbles on with a more pointed oi!-ish purpose and its message “I’m sick and tired of being sick and tired” morphs into the closing statement “just stay positive, it’s the best way.”

The entirety of the thing is under 4:00 minutes, so I don’t have much to go on, as well as no lyrics, but I likes what I likes and this is definitely hanging out in my rest stop (the bathhouses of the 90s.)

I am duly impressed. Out Crowd could very soon be a band people are talking about.

Trial By Fire

Posted in Misc, Opinions on March 13, 2011 by Billy Shears

Chris Bjorkland. Trial By Fire. From MRR #3. Taken by Jeff Pezzati.

“Just about anyone who saw Trial By Fire live or heard their ultra rare recordings said that they were a special band. Even today people who were part of the scene in 1982/1983 say that Trial By Fire was one of the best bands of the Chicago Punk era.”

I always wondered about this one – with all the re-releases, compilations, shitty demo quality cash-ins being released out there – why hasn’t anyone ever done anything with TRIAL BY FIRE?

TBF was a group active in early 80s Chicago, made up of former STRIKE UNDER members: Chris Bjorkland (who also went on to BLOODSPORT & THE EFFIGIES) Bob Furem & most importanly (in my eyes) Pierre Kezdy (John Effigies brother, and big time NAKED RAYGUN/PEGBOY component.)

From all accounts, and from what I’ve been told by people who WERE there, Trial by Fire were the best band in the city for a time. But what do we have do judge them on? Well, if you’re me, next to nothing.

The You Weren’t There soundtrack includes the seminal “Rocks of Sweden” later covered by Naked Raygun  (available on the All Rise rerelease LP/CD) and one other Raygun cover (from The Last of the Demohicans collection) that cements TBF’s existence, “Giveaway.” This track is as interesting as anything I’ve heard out of Chicago.

Additionally, Arsenal (Santiago Durango of the original Raygun line-up & Pierre Kedzy’s band) covered TBF song(s) on their  Factory Smog is a Sign of Progress ep.

So, for me, TBF exist as NR/Arsenal covers and one singular tune of their own. Why?

One may cite the opinion that tracks have been lost; no one has anything readily available, except for the fact that I have heard there exists a full album that had been recorded but never released from Ruthless Records, as TBF had broken up before its scheduled release date. Also told that a three song demo, as well as live material, is floating around as well.

Whether any of this is true or not, I’m not 100% positive, but I know I’d love to hear these recordings. C’mon. An entire album out there, and SOMEONE can’t release it? I shake my head.

If anyone has any info or any access to any of TBF’s recordings, needless to say, I’d love to hear any of it.

SOME PRODUCT!

Posted in Music Reviews on March 8, 2011 by Billy Shears

Rather than the formality of actual in depth, lengthy reviews (getting much too lazy for that) here’s a few things I’ve bought (or heard) over the last few weeks or so, and a couple lines on what I think of them. You should buy most of this stuff, too. (NOTE: some of this product is actually not “new” new but new to me only.)

BEADY EYE – Different Gear, Still Speeding.

So arrivith the first post-Oasis record. It actually must be tough putting out this record if you’re Liam. As popular as Oasis were/are, one, there’s no way this will hold up to the Oasis legacy, two, there’s no way that songwise, it could be as good as their finest moments, and three, there’s so many critics and anti-fans rooting against this band just because. Bottom line on this one – if you are an Oasis fan, you should eat this up. It’s neither magnificent, nor is it a failure. It will do nicely in a pinch. It hits highs (“The Roller,” “Kill For a Dream,” “For Anyone”) and suffers lows (“Beatles and Stones” lyrics are enough to make Noel’s output look like poet laureate material. “Standing on the Edge of Noise” wears out its welcome pretty quickly as well) Alot of it is overlong. But alot of it is catchy as shit. This is what it is. You know whether or not you should buy this one. (Myself, I picked it up on iTunes, and vinyl.)

DROPKICK MURPHYS – Going Out in Style.

Much like Beady Eye, you know what you’re on board with when you pick up a new DKM record. The formula for success for DKM has been perfected, and is replicated here. It’s loud, raucous, and the songs are as catchy as ever. The production is slick, and the sound is crystal clear. Thematically, “Hang ’em High” sets things off with an us vs. them theme that prevails throughout the album, and really, throughout the band’s entire catalog. The Irish trad stuff is covered in the old rave up “The Irish Rover” and the band start trading body blows with the heavy hitters as Springsteen pops up on Peg O’ My Heart. Roots are given proper nod in the lyrics of “Sunday Hardcore Matinee,” which in a twist (or maybe not so much) acts as more of a banjo/accordion driven shanty than anything that SS Decontrol or The FUs would have spit out…but still, a winner. All in all, chalk it up in the win column for a band that remain as true to their roots and deliver on their terms as much as any I can imagine since The Clash.

TOMMY & THE TERRORS – (Collection of eps. 4 Subculture Records. Coming Soon.)

Euro collection of a variety of Tommy & the Terrors eps (excepting On the Run), this is some strong, substantive work. Including their most recent (and best) material in Problem. Reaction. Solution, it is a must own for fans.  From some of their catchiest in anthems such as “On the Avenue” to some of their hardest  in offerings like “Revenge.” It runs the gamut stylistically and shows the range, longevity and determination that the Terrors are capable of. Pick up as soon as will allow at http://www.4subculture.com.

NIGHT BIRDS – “Midnight Movies,” “Killer Waves,” “s/t”

These Night Birds releases are a breath of fresh air, and kind of exactly what I needed as of late. Kind of early SoCal-ish Adolescents/snotty punk rock, combined with moments of surf and other such animated absurdity. A really good group of songs, that when digested together, almost acts as a cohesive full length. Well worth picking up for sure.

CRO-MAGS – AOQ REISSUE

It’s AOQ rereleased on gatefold, with three demo tracks. What’s not to like?

THE VACCINES – Wreckin’ Bar (Ra Ra Ra) single

Lauded as the next big thing in England, “Wreckin’ Bar” certainly lives up to such hype. It’s been called The Ramones meets JAMC, and that’s pretty accurate, I guess. Nothing I’ve heard from them since really delivers in this style, or at this level of excellence, but I’d still keep my eye on this group, based on the exuberance this tune delivers in a mere 1:20.

THE BROKEN VINYL CLUB – “I Want You Girl” single

Was tipped off to this re: Eddie Pillar’s Modcast on iTunes (typing that title makes me a little queasy) but nevertheless, the band (and this single in particular) is superlative. It’s basically an update on the formula of The La’s, and it works its magic in a very similar way: beat combo and retro sounding for sure. But it quickly burrows its way into that place in the subconscious where you store such songs, and takes firm root there. An accomplished effort from this Welsh band.

THE BRIGHTS – “Footsteps” single

Another tip off from Eddie Pillar, this one differs emphatically from The Broken Vinyl Club, but is nevertheless just as meritorious. The Brights, on this tune, sound like Paul Heaton crooning whilst vintage Marr, Rourke and Joyce deliver righteously in the background. It really is as simple as that. TOPS.

THE METHOD – “We Don’t Know” & “Take Your Shot”

“We Don’t Know” exists as a neoteric, mod-inspired, freak-beat; as if the soundtrack to an imaginary  film set in the 60s. (see: The Quadrophenia dance scene.) I’m not going to exaggerate – it’s not wholly original, but it’s inspired lunacy sets the wheels in motion and  gets the blood flowing. “Take Your Shot” is less manic, more measured and not as successful, but still, interesting for its sheer worship of the style it apes.

THE PENNY COCKS – “Burning Down My Youth” ep

Hailing from Barcelona, the descriptives hurled at this group operate right “in my wheelhouse,” as they say. “Chiswick records/The Jam/The Undertones/early Skrew” was what I’d read, and it would take a wonder for any band to live up to such identifiers. Alas, as good as this group is, especially in today’s scene, it falls well short of such luminaries. The vocals, while in English, remind me of such Japanese bands as LRF as well as the group Badlands. I know that sounds off, but they really do sound Badlands on some cuts, and LRF-ish at other moments (title cut esp and the Satan’s Rats cover that closes): English, but not quite England/American sounding, which is 100% understandable, obviously. And that’s not a bad thing, either. The accompanying instrumentation does sound like it’s 77 forbearers, perhaps getting a little more manic in places, but it is definitely first rate. All in all, though not living up to the comparisons to the legends (and who could?) the Penny Cocks are definitely an outstanding entry to the punk rock/skinhead scene, and one to watch for.

The EFFIGIES – live soundboard from OZ. 1981

Please visit this website and download this live set to see why The Effigies were among the most interesting of all the “hardcore” bands from the early 80s. A definite influence from bands like The Ruts made them stand aside from their peers. Emphasis on the groove of the tune, and made rock solid by Kezdy’s growls and simple, plodding messages. http://morethanawitnessarchive.blogspot.com/2011/02/effigies-oz-chicago-il-41081-soundboard.html

GENTLEMEN JESSE – She’s a Trap single

Gentlemen Jesse continues to bring the Nick Lowe-styled power-pop. Keep it coming. While breaking no new ground (see review of the first LP on this site) it continues to breed the quality. Pick this up.

BLUR – Fool’s Day single

Finally picked up a copy of this limited Record Store Day-only Blur release, the first (and only new song) post Blur break-up. It’s basically a mid tempo, reflective loop of a song, that breezes along in a very determined Kinks-ian way as the day of the title might suggest. The lyrics are top shelf, which is fairly standard now for the autobiographical Damon Albarn. They appear a non-fiction narrative about the day of this songs’ recording, musing the heaviness of Blur’s past, as well as their reconciliation. Graham is given the opportunity to  veer off into his own little esoteric weirdness, and Alex and Dave are in fine form as well. And all seems right with the world.

MALE NURSES – s/t ep.

Some pretty competent & catchy 80’s inspired HC from this Boston band. Snotty vocals, shredding gee-tars, and a healthy dose of imbecility are the order of the day. Recommended.


OFF! – First Four Eps box set

On paper, it probably shouldn’t work. Pensioner Keith Morris teams up with Mario Rubalcaba and Dimiti Coats and shreds some very early 80s SoCal Black Flag-ish type shit. The box set contains some excellent Raymond Pettibone art, and it pleases me to give this whole thing a thimbs way up. As an inspired whole, this thing delievers 4 eps, with excellent packaging and is WELL worth recommending. Buy at once.


IRON & WINE – Kiss Each Other Clean

I knew nothing of Iron & Wine before hearing “Walking Far From Home” from this record, it being a travelogue of somewhat  O’Brother Where Art Thou?-conjured visuals, combined with a theme that is almost Odyssean in its quest. Needless to say, I became somewhat interested. I heard another cut on NPR, that brought to mind solo Alex Chilton, so I decided to purchase the record. I’m pleased with it overall. It is stylistically interesting and doesn’t take root in the same place often – in parts slower, in parts near Steely Dan-ish, and at many spots in between. I’m told the old school Iron & Wine fan base were none too excited to see the instrumentation branch out beyond simple acoustics, so pissing off the hipsters seems another solid reason for giving this one the thumbs up.