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Leonard Cohen – Live in London
***NEW REVIEW***
There is but one Leonard Cohen. A product of the salon and streets, the blues and the boudoir, his lyrics can be direct at times, wildly, poetically expansive at others. With the possible of exception of Dylan (and perhaps more recently Nick Cave) it’s hard to think of another artist with so personal and profound an artistic vision. His work demands an engaged intelligence, but is never obscure. These arrangements are not confined by the polite limits of the pop song, yet there’s nothing confrontational about Cohen’s work. Indulgent with his supporting cast, there is ample time given here to his accompanists, yet the focus remains on his material. His voice is as cracked a bell as ever, but no less effecting for it. This generous two-disc show from London covers Cohen’s forty year career. To listen to these committed performances is to be transported to Leonard’s poetic world – circumspect, doom lurking around the corner, but always redeemed by our attempts to love. It isn’t a comfortable place, but it’s always an oasis, a shelter from the crass, commercial clatter of the mundane – a place where earthly pleasures and modest refinements live in harmony.

Strange Boys – The Strange Boys and
Girls Club/In the Red
***NEW REVIEW***
Minor caveat: Intentionally distorted vocals. It was kinda cool when Casablancas did it. On this record, much like the new Black Lips, it sounds like insecurity masked in aggression. Sure, that’s the essence of garage. But so is standing naked. Give it a shot. Otherwise, this is the vibe of the very early Stones updated for a snarkier, darker age. The tunes alternate between 13th Floor Elevators drive and a dirty, sexy white boy Slim Harpo groove. They sound like they don’t give a shit. But don’t be fooled. Those vintage amp sounds and guitar tones are aesthetic choices – and astute ones. These Austinites may be striking a pose, but it suits them. This is the perfect soundtrack to an idle, humid summer of economic decline. You’re soaking in it. Best accompanied with a cold one.

Eddy Current Suppression Ring – Primary Colours
***NEW REVIEW***
Australia’s next generation of punk. And that’s a good thing. ECSR are not punk ideologues, though, they just reflect their varied influences and rock out. Those influences? Well, there’s definitely a primal Stooges and Modern Lovers aspect to their sound. They also recall the Fall, Wire, and bands like the Clean and the Feelies. Guitarist Mikey Young has the chops to pull all those influences together, playing spare, melodic lines capable of soaring and jarring -sometimes even sounding like Television (if TV had but one guitar player). Singer Brad Suppression (?) embraces the deadpan intonation of the Gang of Four’s Jon King to good effect. ECSR hail from Melbourne and have no immediate plans to hit the States, despite this American release on Memphis’s Goner Records. Careerists, they ain’t.
Excellent, driving examples of where punk-rock can go from
here … they are.

Ida Maria – Fortress Around My Heart
Soon you will be sick of her MTV hit (yes, there are still such things), but that shouldn’t put you off of this talented Norwegian rocker. So, while the obvious conceit behind “I Like You So Much Better When You’re Naked” may fatigue, there’s no denying that it’s a catchy number. Ida Maria’s songs combine shrieking rock elements with tender balladry (“In the End”), sometimes in the same song. The break in her voice is a metaphor for her bruised, but courageous music. Somewhere between honey and sandpaper,it’s a voice that alternately soothes and savages. Ida’s songwriting chops are  good, too. Her band gives these songs just the right combination of directness and embellishment. The songs reflect the legacy of Joan Jett, Chrissie Hynde, and Suzi Quatro. “Stella” charmingly combines all her best elements into a statement of pure yearning that’s too rough to be a hit and too winning not to be.

Bob Dylan – Together Through Life
This album went straight to number one in Britain this week, proving beyond all doubt that it ain’t kids what’s buying albums. No, music isn’t really central to the lives of many young people. Music is just another easily accessed, easily dismissed distraction. The very concept of the “album” is sooooooo old school. Working in the pan-Americana idiom(s) that he’s inhabited (forever), but with particular resolve over the last decade, Dylan energizes these Texas two-steps, Chicago blues workouts, and roadhouse shuffles with his own queer vision (and that expressively noir-ish croak of a voice he has left). It’s a vision increasingly road worn, circumspect, and wary. But it’s always been about the time of the end, in one way or another, in Bob’s world, with the occasional stop for romantic professions. Or as he put it “It’s not dark, but it’s getting there.” The depth of his scorn for the breezy, superficial quality of late American existence is exemplified by “It’s All Good;” the implication being … it isn’t. Or (again), as Bob sings here“Some say I got the blood of the lamb in my voice,” Some are right. When it all hits the fan Bob will be ‘headin’ for another joint.’ And he’ll just say that he told you so.

Tinted Windows – s/t
What’s not to like? Well, sometimes the machine-tooled, Eighties super-rock production. You remember it, here it still is. Highly effective, a little fatiguing (mostly it’s fine, okay?). What’s to like? Everything else, pretty much. Tinted Windows is what, in more naïve times, was calleda super-group: Adam from Fountains of Wayne, James from the Smashing Pumpkins, Bun E. from Cheap Trick, and on vocals, Tyler Hanson (yes, Mr. Mmm Bop himself). Those other guys can play, and it’s nice to hear James out of Billy Corgan’s shadow – rocking out. Good tunes. Lyrics a tad simplistic by Fountains standards, but well crafted to the band’s purposes. The revelation is Hanson. He not only carries the Robin Zander (Cheap Trick) weight, but he conveys a wounded fragility that’s Alex Chilton-like, giving an emotional depth to these deceptively simple songs that sneaks up on you.

New York Dolls – ‘Cause I Sez So
In 1973 the New York Dolls debut album set the pop music world on its ear. So polarizing a force were they that at one point the readers of Creem magazine put them at the top of two lists – best band, and worst band. In 2009 David Johansen and Sylvain Sylvain (along with some sharp new fellers) are no longer about the shock of the new. The trails they blazed thirty-some years ago makes that impossible now. So, they play music. Rock & roll music. They were always great at that. And they still are. “’Cause I Sez So” is the sound of a great rock band both flexing its considerable muscle and relaxing into a well deserved career. As ever, their work is defined by energy, personality, heart, and wit. It wasn’t really ever about the clothes, you know - even if the thumb they stuck in the eye of conservatism was a kick. “Sez” kicks off with snarling rockers, eases into compelling, soulful balladry, Sixties adventurism, and a rocksteady take on their classic “Trash” before exiting (MC5 style) with a blast on “Exorcism of Despair.” Check out my backtorockville review (K.C. Star’s music blog) http://backtorockville.typepad.com/back_to_rockville/2009/04/review-dolls-sez-so-says-we-still-rock.html for the rest of the story.

Felice Brothers – Yonder is the Clock
It’s tempting to say that the new Felice Brothers isn’t as immediately seductive as the previous, self-titled, release. Then I realized that it actually took a while for “The Felice Brothers” to insinuate itself. Enjoyable, from the outset, its charms just got stronger and deeper with repeated listening. And sure enough, it’s happening again with“Yonder is the Clock” (Mark Twain, folks). From the tunefully mournful “Boy From Lincoln County” to the rollicking “Run Chicken Run,” this songbook delights. They still remind of Dylan and the Band. Tom Waits a little. They still have a wizened, homespun sound, a sound that seems to have risen straight up from the true vine roots of Harry Smith’s old, weird America. After lots of touring, it’s also a little tougher, a little rockier without forsaking its rural funk. We hope we made you a fan with their last release. Nothing here to discourage you at all.

1990s – Kicks
These smart arse Glaswegians debut record (“Cookies”) was a fave around here. “Kicks” basically represents an extension and refinement of that record’s appeal. Brent Butler’s production (Suede, Duffy, etc.) being a major reason for that refinement, providing a layer of gloss that works for most of the material, but sinks a song or two (compared to the spare production of “Cookies”). 1990s is a band prone to mixing snarky lead vocals, harmony sweetening, and post-punk, riff-driven tunes to as good effect as any of their neo-Brit pop (and punk) contemporaries. Jackie McKeown is the dominant personality in the band and here he’s a little more (too) generous with his band mates, but when he takes over, as he does on “Everybody Just Relax” and “Kickstrasse” the party is on.

Peter Doherty – Grace/Wastelands
The first solo album from rock’s most wasted boy. And while there’s a tune or two here that might have profited from the full use of Pete’s faculties, most of “Grace” succeeds with, well – grace. Distinct from the full band, rock sound favored by both the Libertines and Babyshambles, “G/W” is a wistful song cycle. There are the usual references to Albion and things British generally. There are sweet sentiments, as well as brutal ones. Doherty’s a fortunate sod insofar as his naturally melodious tendencies serve him well even when his work ethic deserts him. Unfocused in places, there are enough moments of poetry and beauty here to reinforce the idea that Doherty is a major talent. Keeping him on task here is producer Stephen Street, who,  as he did with “Shotter’s Nation,” demonstrates perfect sense and sensibility for Pete’s music. Graham Coxon (once and future Blur) adds lovely guitar work to all but one track; for all his distracting behaviors Doherty attracts talented producers and collaborators. Something to do with his art, I suppose.

Mike Farris and the Roseland
Rhythm Revue – Shout! Live
The back story: Mike Farris played in a number of Southern rock ensembles, notably The Screamin’ Cheetah Wheelies, in the Nineties. Drugs and other demons dogged him. He found Jesus and cleaned up. I know, oldest story in the world. And God knows that religion can be the last refuge of the scoundrel (Swaggart, Haggard, Baker, anyone?). But whatever lifted Mike Farris’s spirit is so remarkably powerful that it’s just undeniable, whatever your methaphysics. And if the Holy Spirit animates his remarkable voice and his totally fired up band, sign us up. Contemporary gospel singers, especially try-too-hard Caucasians, are too often melisma-crazed excessives, paid by the note freaks. Georgia Thomas Dorsey wouldn’t let them in the front church door. Reverend Dorsey would open the door wide for Mike Farris.

Farris is expressive. And while you can’t call him restrained, he’s emotionally and spiritually self-possessed enough that he give these songs (mostly gospel standards) everything they need and a little bit more – but never too much. Most critics reach for the Stax/Memphis soul vocabulary describing his Roseland Rhythm Revue. They have a point, but they miss the Dixieland tail-gate horn arrangements, the blues-rock guitar soloing (think Mick Taylor more than Pops Staples), and the universal pan-African American sound that this ensemble harnesses. Vocal accompaniment by the phenomenal McCrary Sisters only raises the temperature of any room these folks play; their call and response rapport with Farris is a joyful noise indeed. Farris and his soul saving crew play Lawrence in June.

Camera Obscura – My Maudlin Career
It’s hard not to compare Tracyanne Campbell and Stuart Murdoch (Belle & Sebastian). Both Glaswegians. Both started as untutored, indie bedsit types. Both were also devoted students of great, melodic pop music who have matured into professionals, albeit professionals with their alterna-charms intact. Campbell’s tap dance between the poles of sweet romance and jaundiced sarcasm fuel these
relationship tales. Torn indeed, but it’s precisely her literate negotiation of such territory that keep you interested. The arrangements swing from orchestral pop to “Blonde on Blonde” homage, from country to beach music. A consistently engaging melodic sense, and an increasingly sophisticated one, ensures that the tunes stick. “French Navy,” the opening number, is as good a pop song as I have heard all year. And the rest of the record doesn’t let you down from there.

M.Ward – Hold Time
Mr. Ward does just that – hold time. Temporally, his work is neither here nor there. It exists in some timeless American maw. He covers Don Gibson and Buddy Holly (with whom he seems to have a natural affinity) here. Ward’s naturalistic delivery is a little bit country, a little bit rock and roll, if you will. He’s a fine guitar player, too – good enough to have dedicated one record to John Fahey, and have played up to the standard. After his affable duet with Zooey Deschanel (She & Him), Ward is playing to an expanded audience. He does so comfortably, with an inerrant comfort and grace, singing about God and girls. A fine American. “Hold Time” is the sort of record that qualifies as easy listening – in the best sense of that term.

Army Navy - s/t
It's hard to imagine a more perfect example of power pop circa 2009 than Army Navy. Consistently engaging melodies, sharp lyrics and an ensemble sound that represents a perfect synthesis of Teenage Fanclub, Tommy Keene and early R.E.M ( maybe a dash of Soft Boys/Robyn Hitchcock too - it's that sort of jangle) make Army Navy a pop fan's dream. Singer Justin Kennedy once traded vocals with Ben Gibbard (Death Cab ...) in a band called Pinwheel, but his charmingly reedy signing carries the load here.  Like their peers Locksley (more Beatlesque, less Eighties) they rock out in an understated, but convincing manner that gives a little oomph to the slightly fey vocals. If you dig jangle-pop look no further than Army Navy. They're quite the discovery.

Night Marchers – See You in Magic
John Reis has formed a few bands. Rocket from the Crypt, Drive like Jehu, the Sultans, and the Hot Snakes -  to name a few. He’s laid them all to rest to concentrate on the Night Marchers. Named after Hawaiian apparitions who dance to primitive drums, Reis’s latest San Diego juggernaut is the most diverse and exciting band he’s put together. Out for a good time like the Hot Snakes, capable of hammering So-Cal punk like Rocket from the Crypt, this new band also incorporates r n’b, rockabilly and pop sounds in a varied, but unified program. Too brutal to be too sexy, too sexy to be dude rock, the Night Marchers tough guitar rock makes a perfect complement to the new Eagles of Death Metal record, “Heart On.”

Deerhunter – Microcastle/Weird Era
Wow. I woulda thought from their album (cd, whatever) covers and all the Pitchfork hosannas that these guys would be curiously opaque, obscure, un-listenable even (I know people who consider the latter high praise). Not at all. Deerhunter are the apotheosis of post-college rock. In a good way. Their darkly attractive songs about suicide, crucifixion and such are rooted in the alt-rock fakebook of 4 A.D. bands, the Cure, Sonic Youth (this record sounds like a chill-out version of “Daydream Nation,” sorta), and the Smashing Pumpkins. They also hint at exposure to iconic sounds like David Bowie and mutant British blues. Brandon Cox is a visual and lyrical embodiment of youthful anomie in/for the new depression (in every sense of the word). His sweetly tortured vocals suggest worlds – of hurt and resilience, surrender and struggle. Toned down a bit from the “Cryptograms” record, “Microcastle” features gorgeous guitar sounds, shimmering with third Velvets album jangle and My Bloody Valentine sonics. The second disc, entitled “Weird Era,” is no throw-away either; it’s supplements and expands the vision of “Microcastle.”

Titus Andronicus – An Airing of Grievances
I’ve done a lot of time in North Bergen, New Jersey. The missus is from there. Lovely woods, roads built over old Indian trails, great Italian markets and German butchers. Ah. Oh, and clotted freeways, endless frontage roads and every crap chain store known to modern man. I suspect it’s that second aspect that Titus Andronicus (from Glen Rock) are railing against. So be it. Patrick Stickles apparently finds Jersey stifling. He cloaks his standard post-adolescent rage and frustration in an avalanche of high-falutin’ aesthetic and literary references (the band is named after one of Shakespeare’s less famous dramatic works). He howls and shrieks. It’s painful. And funny. The band careens around him like an E Street Band thrown under Bad Religion’s bus. Stops. Starts. Stops. Starts. Like hardcore played by SRC or Sir Lord Baltimore, or somebody enigmatic from 1971. Strange stuff – moving, hilarious … profound, silly. Catchy refrain: “Your life is over.”
Oh yeah.

Glasvegas – s/t
I gave this sucker six-hundred words in the Kansas City Star. I like it a lot. It will have hipster detractors; bet on it. They don’t know what they’re talking about. James Allan is a poet of the pubs. His heartfelt songs about estranged fathers, the guilt of sons, the premature deaths of children, and social workers are powerful and expressive. He sings from male viewpoints, women’s view points, maybe even his own personal point of view. The point is that he’s credible from all these perspectives and he sells his songs with a voice that’s a cross between Joe Strummer and a Glaswegian Joey Ramone. Brother Rab Allan frames his songs with an all enveloping guitar palette built on strum, drone, pedal tones and distortion. Drummer Caroline McKay’s primitive Spector goes Mo Tucker whomp drives the songs home. Rooted in the Jesus and Mary Chain, the urgency of punk, the majesty of Roy Orbison – it’s a strange amalgam, but it’s brilliant.

The War on Drugs – Wagonwheel Blues
The band is augmented on various tracks, but basically it’s two guys: Adam Granduciel and Kurt Vile (as in Weill, get it?). For two guys they make an awesome noise. On “Arms like Boulders” they sound like Dylan (okay, with Willie Nile’s voice) through a My Bloody Valentine haze. Others tracks are reminiscent of Alex Chilton at his “Sister Lover” depths. Throughout TWOD they concoct an appealing sludge that’s part Big Star, part Sonic Youth meets the Byrds (with Brian Eno producing, no less). The tone of the somewhat surreal lyrics matches the oddly buoyant despair of the band’s sound.
“Wagonwheel Blues” is indeed blues of a sort. A blues for the
alterna-fallout of diminished American expectation.

Lou Reed – Berlin: Live at St. Ann’s Warehouse
More than once described as one of the most brutal and depressing records in rock history, the original “Berlin” was Lou’s buzz killer follow up tothe commercial breakthrough of “Transformer.” Produced by Bob Ezrin it was laden with the same sound effects, child cries and other audio verite that he contributed to records by Alice Cooper and Pink Floyd. It was an odd little not-so-sweet suite of songs for Reed, but one which he’s obviously stuck by. Produced for the stage by Julian Schnabel, this live performance finds him reunited with monster guitarist Steve Hunter from the original recording, as well as accompanied by stalwart stand-bys like Fernando Saunders. In this new performance “Berlin” is oddly celebratory; the enduring spirit of the work itself transcending the harrowing nature of the material. When Lou and Hunter get into on guitar you can hear that Lou’s having a real good time. He never was one to let a downer get him down.

Fireman – Electric Arguments
I don’t know who he’s arguing with, but he has me convinced. He being Paul McCartney. Maybe you’ve heard of him? Had a band called Wings. Before that he was in some band called the Beatles. Oh, convinced of what you’re asking? Well, that working in this context with Youth as a collaborator was a terrific idea. This is McCartney at his most relaxed and creative. An incomparable multi-instrumentalist and one of rock’s greatest singers, it’s all about context for Paul. Too many of his recent releases while not without their wonders have sounded either lazy or contrived. This music is composed where it needs to be, free and improvised sounding where that’s required. “Electric” is full of melody, graceful, natural melody that makes McCartney sound liberated. At one moment he’s in full Capt. Beefheart meets Led Zep growl, the next he’s
encapsulating U2’s whole career in four minutes, and he can do it
before breakfast. “Electric Arguments” is the sound of one of rocks
greats showing off, without making a show of it.

Doors – Live at the Matrix ‘67
So far, the Doors have doled out their live history in small, considered doses. Unlike the Grateful Dead who have made literally everything available, good shows and bad, the boys from L.A. seem legacy conscious. “Matrix” makes a revealing and marvelous addition to that limited canon. Playing in front of a miniscule crowd, this is the sound of the band before they blew up commercially, before the Jimbo/Lizard King mythology; a band just grooving on a developing sound, a sound they had to know was unique and compelling. Guitarist Robbie Krieger is a little under served by this mix, but the sound quality is otherwise remarkably good. Hearing works like “The End” and “Light My Fire” before they acquired canonical status is to hear them anew. Despite a surprisingly consistent, considering Morrison’s epic consumption(s), four year career, in some ways it was all downhill from here. The band never sounded this fresh, young and joyous again.

Jay Reatard – The Matador Singles
A sides. And B sides, too. The material is uniformly re(a)tard(ed) enough here to make such distinctions less than cost efficient. Oh, except that some of these songs are ballads. Almost. Not that the slower ditties are any less abrasive. Let’s face it, ever since Elvis the Caucasian rock and roll products of Memphis are all a little nuts. Something about having to follow the king, I guess. These songs may be stupid, but they sure are catchy. And anyone who loves the Ramones (or Misfits) will understand the attraction. Doubletime tempos, snotty lyrics, a voice that lurks between a shout and a squeal, this is pop-punk Southern style. Jay Reatard is the inheritor of the garage-punk mantle of the Oblivians and Reigning Sound. He’s as gritty as the former, less sophisticated than the latter, and clearly the greasy voice of Memphis pop-punk for his generation.

Helena Espvall and Masaki Batoh – s/t
Batoh is from the acid-psych band Ghost. Espvall is the cellist with neo-folkies Esper. Like Esper this duo play an eclectic mix of folk styles rooted in string music from around the globe. It’s a free range approachthat welcomes improvisation and a psychedelic intensity that soars above the traditional folk crowd’s boundaries. Recorded in a week’s time in Tokyo the album features everything from Swedish folk tunes to an affecting if curious version of Son House’s “Death Letter” (curious? Well – you know, Son House with a Japanese accent is curious). Espvall and Batoh have a kinship with artists like Damon and Naomi and Oakley Hall - artists who take folk music to new places, both introverted and expansive. Eschewing Ghost’s sometimes atonal, abrasive music this set is adventurous and melodic – it challenges without punishing. A great listen from start to finish.

Joseph Arthur – Temporary People
Arthur records a lot. I’ve enjoyed his work before, but none of his records had connected with me completely. “Temporary People” changes things.
Arthur has assembled a close knit, rocking band, a band that lives and plays together - something akin to a less dysfunctional Brian Jonestown Massacre. And in the same spirit Arthur’s music here owes plenty to the Stones circa 68-73. Throw in a dash of Dylan and the Band (Garth Hudson contributes keyboard work) and you have the style and sonic template for this record. It would all be sound and style, though, were it not for Arthur’s poetic vision, one that’s modest, but resonant and grounded in a street smart spiritual striving. He sells it all with his raspy voice and a delivery that’s as precise as it is slurring. “Temporary” isn’t a concept album necessarily, but its themes emerge gradually, organically and movingly.

TV On the Radio – Dear Science
Trying to describe a record as densely brilliant as “Dear Science” in a capsule review is a losing proposition. You could start by spotting influences (Peter Gabriel, David Bowie, Prince, Bob Dylan – specifically; hip-hop, post-punk, doo-wop – generically), but TV’s sonic palette is so richly organic and synthetic (David Sitek’s production is full of dirt and digital dust) that I’m not sure where all that leads. I hope this brilliant multi-racial Williamsburg crew was at least a little heartened by the Obama victory because otherwise theirs is a pretty bleak vision. But it’s the outrage, righteous and sardonic, that gives “Science” its dark heart. Songs like “Family Tree” also reveal the compassion that underlies the wounded quality of TV’s lyrics. Oh, and they have songs about girls. And sex. It’s not all apocalypse Brooklyn by any stretch of the imagination. Vocalists Tunde Adebimpe and Kyp Malone (guitarist, too) have grown enormously over the course of the bands’ three albums, comfortable with rage, with tenderness and within their own skins. It’s a breakthrough record for TV on the Radio and a benchmark in modern popular music.

The Verve – Forth
And forth they carry. Neither revelation nor rehash, after a decade apart, “Forth” is quintessential Verve. Less constructed for commercial impact than their most popular record “Urban Hymns,” “Forth” harkens some to their debut “Storm in Heaven.” The new record mixes orthodox song craft (“Love is Noise,” in which Richard Ashcroft out-Bonos Bono) with  sprawling, trance-y meditations that emphasize the still tight interplay between bassist Simon Jones, drummer Peter Salisbury and guitarist Nick McCabe, whose manipulations of tremolo, distortion and riffage remain masterful. Over it all rides Ashcroft, fresh from his solo years as a soul man for a new age, one of the most compelling voices from the last twenty years of British rock. If you ever dug this band you should be thrilled with “Forth.”

Jolie Holland – The Living and the Dead
Holland is a clear descendant of Beat ethos. On her second album, “Escondida,” she romanced morphine in song, declaring it “good enough for Billy Burroughs … it’s good enough for me.” The opening cut on this, her fourth record, finds her addressing Jack Kerouac and Edie Parker directly, empathetically. Holland’s folk-blues-jazz synthesis gets a little rockier on this record. Her expressing singing is still all over the beat, like Billie Holiday, but her songs benefit from a little rock backbone. M. Ward and Marc Ribot contribute guitar work that’s scruffy when necessary, hooky and precise when required. For all her despair over a world gone mad, Holland carves out a good time from life’s simple joys. For us, one of them is her singing.

Blitzen Trapper - Furr
Talk about the kitchen sink. What doesn’t Blitzen Trapper throw at you? They throw off Beatlesque flourishes like some latter day Squeeze. Their Dylan fixation is serious, but they sing so damn purty (like label mates Fleet Foxes) that their Dylan comes off more Byrds meet Stealer’s Wheel (or vintage Nitty Gritty Dirt Band). And, no, I don’t think it’s just pastiche. Their offbeat, metaphysical poetics are no less sincere for their whimsy. If Pavement put post-Velvets alterna-rock in a slacker dude Cali-blender, the Blitzen boys do the same for a musical universe (mostly Americana) descended from “Rubber Soul,” “The Notorious Byrd Brothers” and “Holland.” What amazes, thrills even, is their sheer confidence and facility. Alterna-dom is populated with scroungy auto-didacts, characters that do it their way because they can’t do it any other way … and rightly so, but Blitzen Trapper sound so talented they could do anything. Once in a while they go a bridge (hook, line, embellishment) too far, but for the most part these are fetching songs, played and sung with enormous charm.

Belle and Sebastian – The BBC Sessions
Belle and Sebastian charmed the pants off … well, they charmed the pants off of kids who had trouble charming pants off. That would be most of us some of the time, some of us all of the time. Ah, adolescence. No one understood it’s furtive and fumbling qualities better than Belle’s Stuart
Murdoch. He put together Belle and Sebastian to play his endearingly damaged bed-sit tunes of youthful infatuation and frustration. They never really ‘gigged’ in the traditional sense. So, when they made it to the BBC they felt right at home in those sober, sedate confines. These are sweet performances of Murdoch’s mostly third person narratives and ruminations. The growing range and confidence of the band’s (especially Isobel Campbell) performances is clear when you contrast the 1996 and 2001 performances, but the early takes are no less sweet for their innocence. For a Belle and Sebastian convert, what’s not to like?

Eagles of Death Metal – Heart On
I’ve always appreciated Josh Homme’s talent without being terribly moved or entertained by his work. Queens of the Stone Age have their moments, but there’s ultimately something contrived about them that disappoints me. When I saw his pal Jesse Hughes (Homme wasn’t along for the ride) as the warm up act for the Strokes a year or two ago I thought that EODM was one of the loudest and worst bands I’d ever heard. Imagine my shock when I listened to “Heart On.” Who knew that the answer for Homme was not less contrivance, but more. EODM are virtually a comedy outfit. Their combination of garage, glam and boogie scuzz is hilarious, but they are so good at it that it’s also terrifically entertaining. Every Stones, ZZ Top, and Prince cliché in the book is present here, and affectingly so. What’s more, the more you listen the more the lyrical conceit (a parody/critique of Hollywood rock life) has sly, sinister teeth.

New York Dolls – Live at the Fillmore East
“One Day It Will Please Us to Remember Even This” was a rare thing indeed – a “comeback” album that wasn’t just a curio tie-in to cash-in reunion tour. It was at once utterly fresh and a valid extension of the band’s legacy (all two albums of it). By the time the reconstituted Dolls hit the Irving Plaza last December they’d been together almost as long as the original (Johnny Thunders, Jerry Nolan, Arthur Kane … all departed) band. The “new” Dolls have more refined and orthodox chops than the Dolls Mach I, but they retain much of the same manic energy and spirit. Steve Conte does a marvelous job of sounding a lot like Johnny Thunders without trying to sound like Johnny Thunders. The tune stack here is awesome and the performances are full of celebratory, holiday joy. From David Jo’s solicitous “Come on, boys” that heralds the opening track “Babylon” to the last strains of “Lonely Planet Boy,” this is the sound of one of the great rock and roll bands playing for a devoted audience in their old stomping grounds. It rocks.

Tiny Masters of Today - Bang Bang Boom Cake
***NEW REVIEW***
Beat on the brat time. Remember Big Stick? Here's today's real sonic youths, siblings Ida and Ada, along with some overgrown kids to join in the fun. Sandbox mates include B52's Fred Schneider, Butthole Surfer Gibby Haynes, NYC hipsters Kimya Dawson, Karen O, Nick Zimmer, and Blues Explosionist Russell Simins producing and banging some drums. A shake and bake mix of punk, hip-hop, and art skronk smothered in a '77 flavored CBGB's mothergoose gravy. Danceable, wacky, witty, and stickin' it to the man in the "Bushy." Joey Ramone would be proud.

Heavy Trash - Goin' Way Out
***NEW REVIEW***
"I dig that goddamned rock 'n' roll, the kinda stuff that don't save souls - ain't nothing good about it that I know - I dig that goddamned rock 'n' roll." - Lux Interior

Beware, non believers, Mr.s Jon Spencer and Matt Verta-Ray have eaten the flesh and drank the blood of Elvis, Johnny Cash, Gene Vincent, Eddie Cochran, and the Burnette Brothers to dump forth another heavy load. Not for L-7s, this music will get you stinky, gooey, and wiggly. It will crash your party and make-out with your mom. This music will make you wanna "suck your brain out your eyeball." Charlie Feathers would piss all over this. You don't get it? Too bad, Jim. Armed with this record and the year's other favorite release, King Khan & The Shrines "What Is," I am fully prepared to launch into the Astral Plane.

"The Doctor said, "I may get better, but I'll never get well. I got the Boogie Disease." - Dr. Isaiah Ross

"Disconnect from today...the octabeast flies tonight...you can't win..." - Heavy Trash

Jerry Lee Lewis - Last Man Standing
Upon hitting the play button on my cd player to hear this record for the first time, I admit to a tinge of anticipatory dread. I immediately noticed what sounded like a pilled-up, slightly drunk Sam Phillips behind the sound board, definitely a good sign. When The Killer is on, he is officially the standing king of Caucasian rock 'n' roll (hats off to Richard, Chuck, and Bo)! This record over all does old Jerry Lee proud. It manages to keep the superstar cast and their accompanying material mostly in a support role mode, leaving The Killer to "Killerize" as he does best. Best cut "Rock & Roll" with Jimmy Page (Go away Robert, you lose this one.) Especially touching, "Don't Be Ashamed of Your Age" with George Jones and "Travelin' Band" with John Fogerty. Forgive Jerry Lee for exploiting the big money, but in the "eat awhile & gag awhile" category are the Toby Keith, Rod Stewart, and Don Henley numbers. Even Eric Clapton & B.B. King sound like they still remember how to rock on their respective cuts. You can actually forgive Kid Rock for at least "trying to get it" in his own Detroit-blitzed brain way. And speaking of Detroit, my only complaint is somebody forgot to pair The Killer with Iggy on "I Wanna Be Your Dog." Turn it up loud, kids of all ages!

Spencer Dickinson - The Man Who Lives For Love
I paid $30.00 a few years back to acquire the original version of this record from a Japanese website (with the help of our beloved Meat Flower). Here it is, fifteen bucks cheaper with 8 extra tracks. Expert rock 'n' roll production by Papa Jim Dickinson. "That's A Drag" should be a hit single, but it won't. Akin to Los Lobos' side project, The Latin Playboys, this is Jon & The Dickinson boys trying to get outside their respective boxes. Sounds best with a bottle of Mad Dog 20-20 at midnight in a barn in Mississippi.

The Editors - An End Has a Start
Let's just get it out of the way - Editors have obviously been influenced by the darker side of '80's British music. And? They used those influences to make a terrific first record and then honed their skills to made this (their 2nd) record with a sound that is more recognizable as their own. The Brits know how to make legitimate goth music - not cheesy darkwave. Here's a band with a distinctive guitar sound and hook-y songs that explore the darker side of love and life. Ignore the "labels" and listen with an open mind 'cause it's great!

Adam Franklin: Bouts of Melody
Near the top of my list of great yet underappreciated bands of the 90’s would be Swervedriver- the former band of Adam Franklin. This solo debut sounds a lot like his old stuff- lots of guitar, complicated melodies, and lengthy tunes. This may be a bit mellow in comparison, but Franklin still rocks a fair amount. In my opinion, he has a great husky voice that can pull off the rock ‘ballads’ as well as the scorchers. Better luck this time ‘round, Adam!

Interpol: Our Love to Admire
Darkly gorgeous…that’s how I would characterize the sound of this record. But since it’s Interpol’s sound that is so often discussed, I’ll focus instead on my favorite aspect of the band- Paul Banks’ voice and lyrics. First, I love that nasally baritone- and he sounds very strong and as if he has worked on his range. Second, these lyrics are so image-filled with references to the darker side of life…Paul could easily sip absinthe in a late 19th century French café! My favorite of the year…

Maps: We Can Create
What do you get if you cross the poppier side of electronica with the breathy, layered songs of the shoegazers? Most likely this. Longer songs, tiers of vocals, lots of “la la’s” and “yeahs”  … very pretty and tons of atmosphere. Reminds me a bit of slowdive (one of my fave shoegazer bands.) One of those records you just know sounds better with the headphones on.

The Lodger: Grown-Ups
The Lodger remind me of a lot of great 80’s pop bands: The Wedding Present, the La’s, The Lightning Seeds. Catch songs that are fun to sing/hum/whistle along to.  The songs feature really tight precise drumming and clever lyrics too. Let’s hope they don’t get lost in the shuffle of all the other detritus out there, ‘cause they’re too good for that.

The National - Boxer
If you are looking for the moodiest of mood music, look no further. The National's lead singer, Matt Berninger, could easily hang out with old school singer/songwriters such as Tom Waits and Leonard Cohen and be right at home. They could trade darkly witty barbs about disappointing loves, the solace of drink, and time spend on mindless pursuits. Berninger's deep voice and the lyrics are what blow me away...Sad? -Sure, but beautiful as well. I just wish there were one song with a little more maniacal genius showing through the gloom. One of my faves of the year so far.

Bjork - Volta
This record is really a hip hop record which features some mad beats and percussion...and then there's little ol' Bjork. As usual, she sports one of the greatest voices of her generation in all of its yelping, shouting, trilling glory. This record sounds tuff...so for those who want a sweet little pop bird to lull them onto the dance floor, give it up! Bjork is all about risks and change - and you've gotta admire that. It won't be popular with all - but who cares?

Clientele - God Save the Clientele
It's hard to write about the Clientele without using the word "lovely." They have a certain sweet, pop flavor like the '60's band the Left Banke. Here, the Clientele are a little more upbeat than on their previous records. They are still very British in lyrics and themes, and they have added a little more orchestration. Oh, and I do dearly adore that liquid bass magic!

Holly Golightly & The Brokeoffs - You Can't Buy A Gun When You're Crying
You'd be hard pressed to find a harder working woman in the music biz...between touring and recordings, when does Ms. Golightly have time to sleep? This is a country-tinged rocker with mostly slow tempo tunes. As usual, Holly writes most of 'em, harmonizes like a champ, and manages to do her own thing (which sounds like no one else). If you love tough songs with attitude and wit, this is right up yer alley. As usual, I highly recommend anything she's ever done - a terrific chick rocker!

Blonde Redhead - 23
If all you remember about Blonde Redhead is their early Sonic Youth-inspired noisier fare, then you're in for a surprise here. This is another step forward from their last fabulous records, Misery is a Butterfly. The vocals are still shared and sound better than ever, the songs are fuller sounding, and there is an overall sense of cohesiveness as one tune flows into the other. Yes, this might be more accessible than earlier work - but you still won't find this played on the radio. As usual - 4AD knows how to pick 'em - and the cover is awesome, too!

Cyann & Ben - Sweet Beliefs
Here's a band that knows how to build a song from quiet to layers of loudness. Primarily a two-person band, Cyann & Ben trade male/female vocals, use twisting/turning keyboards, and rock out with tribal percussino. Songs tend to go on a bit - with a style reminiscent of Spacemen 3 or even Yo La Tengo. If you like atmosphere, they've got it in spades. Lovely!

LCD Soundsystem - Sound of Silver
It's no easy feat for a record to be danceable without being annoying. LCD Soundsystem does it by keeping things just catchy enough, just dark enough. This record draws loads of influence from '80's bands such as New Order and OMD - but even more of the beats seem to be influenced by the darker dance gods like Cabaret Voltaire and Cock Dva. Really good stuff!

Arab Strap - Ten Years of Tears
Is there a Scottish band I don't like? I dare say not. This duo is one of my favorites because they just do their own thing - some quiet, slow songs; some rockin' out; and some orchestration - always with the unique singing/talking stylings of Aidan Moffatt. Most common themes - drinking and shagging...but the accent is often so thick you won't be ablet o decipher much. Buy yourself a stout, crank this compilation (their last), and get drunk with Arab Strap!

Peter Bjorn & John - Writer's Block
This is the 3rd release from this Swedish trio - and as much as I love this, I'm now off to hunt down the first two. If you love pure, unadulterated pop music, this is the most perfect example you'll find all year! The whole record is all about love and its many stages - so be prepared to catch yourself smiling at the lyrical creativity here. There are lovely harmonies, inventive combinations of unusual musical instruments, and an overall sense of fun! Lately, the Swedes have got it goin' on - keep up the good work!

Mos Def - True Magic
One of my all-time favorite hip hop records is "Black On Both Sides," Mos Def's 1999 masterpiece. He may never top that release, but this is a nice return to form. There are the same reggae influences and the combo of singing/rapping that he does so well. There is a fair amount of cursing and overall dissatisfaction with America, but this is overall a good time. As good a hip hop record as I've heard in a while.

Cocteau Twins - Lullabies to Violaine (Vol. 2)
This is the second half of a compilation (4 discs total) of Cocteau Twins singles and alternate versions. Some of the band's best songs were only released on hard-to-find import ep's, so this gives you a chance to hear some of that. This mid-to-late period music is a bit more ethereal, multi-layered, and full of guitars as walls of sound. One of the most astonishing live bands I've ever seen - just sheer gorgeous sound! No one sounded like them then and no one has since. If you need an introduction, this is a great start.

The Long Blondes - Someone to Drive You Home
This fashionable British band is made of (mostly) sassy and cute chicks. And their songs reflect that sassy cuteness - with a little darkness and lurid sexuality thrown in. There is a great deal of '80's influence here - but it's hard to pinpoint one particular band or singer. They've had some catchy singles that have put them on the map in Britain - we'll see how they do here. Great drumming that's heavy on the top and jangly guitar. Woo hoo!

Josef K - Entomology
How much do I love Domino Records - the whole bunch! First, they give us the fabulous Orange Juice retrospective and now we get this Josef K package! This compiles the only two records this topnotch Scottish band put out plus some rarities/John Peel Session stuff. The sound has much in common with Orange Juice - great bass lines, fast jangly guitars, and warbly vocals. You'll think you've heard it before - because you've heard everyone that has absorbed their influence. Fantastic compilation!

The Gothic Archies - The Tragic Treasury
Conceived as a musical accompaniment to the Lemony Snicket series of books, this is yet another side project of Stephen Merritt (of Magnetic Fields - and others - fame!) The books are witty and dark - and this is well-suited to that. Merritt is quite the wordsmith and plays the part of the books' characters as well. My recommendation: read a couple of the books (there are 13 in all), rent the movie (which is better to look at than anything else), and give this a listen. It's sinister fun!

Love is All - 9 Times That Same Song
This Swedish band is a little slice of heaven - they rock, they pop, and they garage with some of the best out there! Being a lover of '80's pop/rock from the British isles, I can't stop thinking of the energetic Scottish band, Altered Images, when I hear this. Same sassy lead vocals and propulsive backing musical talent. Now I just wanna know - anybody care to pogo?

House of Love - The Complete John Peel Sessions
Two glorious Cds and 32 glorious songs - this covers the history of House of Love (before they recently reunited). All of these songs were recorded for John Peel from '88-'92 and they sound just terrific. The lyrics of Guy Chadwick and the guitar work of Terry Bickers are the perfect pop/rock pairing. A band that never made much of a stir in the U.S., House of Love have always been revered amongst musicians - simple, catchy, clever songs to sing along with. Look for all of the other recent John Peel releases...greatness, all round!

Under Byen - Samme Stof Som Stof
Perhaps I missed my calling and should have had a life as a stage actress - all I know is I surely do love music with dramatics! This little gem from Denmark combines the early percussive moments of Dead Can Dance, the flair for drama of Sigur Ros, and the vocal stylings of Bjork (not quite as operatic). There is plenty of darkness here for anyone fond of goth rock too (which includes me again)! I can see this as a fitting soundtrack to a creepy black and white movie - Nosferatu perhaps?

Robin Guthrie - Everlasting
If you are a fan of the Cocteau Twins, then you'll want to pick this up. Robin Guthrie was one of the three chief members of the band throughout their glorious career. This instrumental gem is full of beautiful guitar that's heavy on the delay pedal. Similar to the mid-period of the Cocteaus - "Victorialand" and the like. Now, when's that Liz Fraser solo record coming out?

The Dears - Gang of Losers
This Canadian band has endured years of being compared to British bands, and their lead singer has often been accused of aping Morrissey. Yes, they have absorbed some Brit pop influences. But this record has a lot more R&B vibe goin' on...Murray Lighthouse certainly could hold his own with the soulful shouters. There are some really pretty tunes here - and almost always with a touch of melancholy.

Grinderman - S/T
This album contains all of my favorite things. It's noisy, dark, sleazy, rockin', and has a sense of humor...and, of course, it has Nick Cave! It's like true love...in a weird, perverse kind of way.

The Time Flys - Rebels of Babylon
The Time Flys are four fun-loving dudes from Oakland, CA who play energetic garage rock n roll. This album is perfect for partying or just rockin' out in the car. Songs about serial killers, getting wasted, and living sin sin. Guaranteed to make you wanna dance. Hedonism is the rule with The Time Flys!

Dan Melchior - Fire Breathing Clones on Cellular Phones
This album predominately combines blues & garage, with a couple of folksy songs added to the mix. Melchior's distinct voice is full of bitterness & desperation as he explores poverty, nature, and living in an emotionless society. On the whole, the songs are rather bleak and occasionally fatalistic, but there are a few where he expresses some hope. Sort of. There's also a wide array of instruments, including keyboards, bongos, violin, and sax. But not to worry, the sax is rockin' - no slow jams here!

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