Sean Lennon – Friendly Fire

Sean Lennon, the second son of Beatles’ genius John Lennon, is recognized more for his name than anything else. Born on October 9th, 1975 (his father’s 35th birthday), he has struggled to make a name for himself as a solo artist over the last decade. Fortunately, his sophomore effort, Friendly Fire, shows that Sean has a lot of talent and should be a success on his own merits.

Lennon has had a relatively brief past in music. He released his first solo album, Into the Sun, in 1998 and then was a member of his now ex-girlfriend Yuka Honda ’s band Cibo Motto. For several years he kept a low profile in the New York socialite scene. Tragic events lead to him recording this album. His former girlfriend, actress Bijou Phillips, cheated on him with his best friend, who died in a motorcycle accident before the two could resolve the conflict. His friend and girlfriend betrayed him (hence the title of the album) and, in the only way he knew how, the figuratively cuckolded Sean expressed his pain in song. The result is a short but very sweet and personal album written by Sean and performed in conjunction with his band (which includes Yuka Honda).

The album opens with perhaps its best song, “Dead Meat”. It has a short piano intro (that gets a reprise) and then launches into some very catchy melodies, sung with great harmony (Lennon has a surprisingly beautiful falsetto voice). This song is a direct threat to his late friend, with the chorus being “You’re gonna get what you deserve.” “Parachute” talks about his opinion on love in general and may be a message to Bijou. The title track is a sad representation of the betrayal (how it completely shocked him and he’ll never fully get over it). The lyrics are very heartbreaking and the music provides great accompaniment. The rest of the album is also great (“Headlights” is a clear choice for a single).

Friendly Fire really has no obvious faults. It’s simply ten short but great pop songs about a very sad event in Sean’s life. Some may not like that it is under forty minutes, but that only makes the album better overall. There is no filler. Once the album is over, it calls to be heard again immediately. Lennon has a surprisingly great, poetic voice to sing his heartache, and he does it with ease. The musicianship is flawless and suits the topics well. Overall Friendly Fire can be compared to the albums of Death Cab for Cutie and Blackfield. It has great songwriting, amazingly catchy and memorable melodies, and surprising complexity (seeing it live, yet flawlessly performed, proves that).

Although skeptics may conclude he is merely trying to capitalize on his father’s legacy or imitate him, quite the opposite is true. There is no logical reason that Sean Lennon should not be a very popular and respected artist. He has the skills to write great songs, and the voice to sing them. His back up band is just as strong, and the combination is too good to be ignored. Lennon deserves to have his own career and not be compared to his father. Friendly Fire is a fantastic pop album that will stand the test of time.

The Black Keys – Attack & Release

When it was first announced that super producer, Danger Mouse, would be producing Akron, Ohio duo, The Black Keys’, next album, many wondered if this would cause a mellowing in their rough and determined sound. And since they are known as a band that loves to blur the lines between funk, rock and blues; I am sure that this pronouncement caused some nervousness on even their biggest fans. Since the tandem have always mixed and recorded their albums, recruiting a producer and recording for the first time in a studio would certainly be a change of pace. However, on Attack & Release, the attention isn’t on Danger Mouse’s production but rather, on Dan Auerbach and Patrick Carney’s impeccable musicianship.

The Keys’ blues-rock vibe is still prevalent here. All of the songs are built around 8, 12 and in some cases 16-bar blues. Slow jams like “Lies” and the tender beginning of “All You Ever Wanted” are sung by Auerbach with a soft and poignant touch. And although the latter begins the album in a reflective manner, it’s not long before the drums crash in and the guitar squeals on “I Got Mine.” Carney’s bombastic and yet effortless style is a perfect match to Auerbach’s guitar playing. Almost like a solid rhythm section, the two feed off each other and are always in-tune as to what the other is doing.

The album’s center revolves around “Remember When (Side A)” and “Remember When (Side B).” On the former, the microphone used by Auerbach recalls the feeling of listening to an old 50s radio and just hearing a blues soul singer evoking the old times. The music is atmospheric and the gentle addition of whistles gives it a great southern rock vibe. The latter starts off the second side with a much more in-your-face and harder tone. Auerbach is forceful, his guitar is scratchy, the drums are powerful and concentrated and there is even a terrific, grungy bassline added. The two songs are firmly separate and at the same time, marry the first and second half.

Often times, and though many may see it as a fault on the reviewer, certain songs are engrossingly affecting. This is the case with the last song, “Things Ain’t Like They Used to Be” — the only song on the album that is written primarily by Auerbach. It’s a depressing ballad about how losing a love can both be disorderly but in the end, the best thing. The music is beautiful with a gorgeous melodic guitar line and the moving lyrics are the main attraction. Auerbach sings about how he did everything she could have possibly asked for until she said, “It doesn’t mean a thing to me/and it’s about time you see/that things ain’t like they used to be.” He is only left with his shattered emotions and loneliness and admitting to himself that, “all those happy times are gone.”

Whether it is the laid-back approach and great piano on “Psychotic Girl” or the falsetto singing, descending music and chugging guitar on “So He Won’t Break,” everything that the Keys do on Attack & Release makes for one tremendous album. Their soul is in no way hurt by the production but instead, this is one of those many times where Danger Mouse’s production has truly aided in creating a terrific album from start to finish.

The Quarter After – Changes Near

The opening track of The Quarter After’s Changes Near tells you a lot about the album you’re about to hear. The Campanella brothers clearly have a keen sense of melody and they draw from a full compliment of musical knowledge to write their songs. You can hear everything from the Zombies to REM to CSNY in a single tune on this record, but The Quarter After’s songs are best when taken at face value.

Songwriting-wise, Dominic Campanella writes excellent pop hooks in a 60′s style, but he’s not without modern influence. Most of his stuff surely recalls folk rock giants like Neil Young and The Byrds, but the songs are really not unlike Belle & Sebastian’s, which also pay homage to musicians of the past while sounding modern. The surrounding instruments provide a psychedelic haze over the songs, but Dom’s songs are mostly the focus. His voice leaves a little to be desired, but I guess that’s typical in the grand tradition of 60′s folk singers.

The guitar work is really the highlight here. Rob Campanella and a host of guest musicians shred from beginning to end. “Counting The Score,” for example, is a Gram Parsons-style country jam with Rob playing the dobro and friend Christof Certik playing some awesome slide guitar from beginning to end. “See How Good It Feels” is clearly the intended “hit” here, with a big Drive-By Truckers type rock sound, and Rob rips through a solo here too a mere minute into the song. There is some overplaying at times and the near-unforgivable mistake of having Matthew Sweet guest on the album without putting a guitar in his hands (backup vocals?), but for the most part, any guitar nerd will enjoy it.

Changes Near is by no means a flawless album, but it’s definitely got songs on it that any music fan can enjoy without having to pick apart or think about. It’s got a comfortable, yet artistic, psych glow with some admirable pop songwriting, it’s fairly adventurous, and it recalls any number of bands you’re most likely into. If you can’t find at least something to enjoy about this album, you probably don’t like music.

Okkervil River – Chicago – Riviera Theatre, IL – 2008-04-20

The Riviera, one of Chicago’s finest venues, was buzzing with excitement on April 20th for the highly-anticipated show featuring The New Pornographers and Okkervil River as the opening act. One of the city’s best – if not the best – radio stations, XRT, has put many a great show together at the Riviera, and this one was no exception. Ticket prices, which can frequently be astronomically high, were very reasonable priced at just under $30. With most in attendance seemingly there to see The New Pornographers, who are touring for their newest album, Challengers, Okkervil River received a tepid welcome when they took the stage. Leading off with “The President’s Dead” did not seem to wow the audience, but as the show progressed, the endearing, sometimes bumbling stage presence of frontman Will Sheff soon won over the hearts of those there.

Sheff, who writes the band’s lyrics, kept the complicated and occasionally overly poetic lyrics light and breezy enough as he busily ran around the stage, ruffling the hair of the bassist or taunting the drummer with his tie. The band’s infectious energy and visible camaraderie on songs like “Girl in Port” and perhaps the best of the night, “John Allyn Smith Sails,” led to many newly-minted Okkervil River fans in the audience. They kept slow songs at a minimum and perfectly set the tone for The New Pornographers. Sheff, who is currently collaborating on an album with The Wrens’ Charles Bissell, brought out Bissell himself to play with the band. Okkervil River can sound like a radio-ready pop band one moment then can sound like Uncle Tupelo the next, showing the band’s diverse sensibilities. Okkervil River also played “A Stone” and “It Ends with a Fall,” solidifying the opener as a good one. The band was able to win over new fans by playing for them live, and this says a lot about how good they actually were.

The fans had to wait for a little longer than they would have liked for the main act to come out, but the thirty-some minutes were definitely worth it. The New Pornographers played favorite after favorite, with both AC Newman and Neko Case sounding as good as ever. Playing extensively from the immensely popular Twin Cinema, including “Use It,” The Bleeding Heart Show,” and “Sing Me Spanish Techno,” they also played older hits like “Mass Romantic,” “Slow Descent into Alcoholism,” “The Laws Have Changed.” and “Testament to Youth in Verse.” The New Pornographers make irresistible and high-quality music that truly can appeal to the widest of audiences, and, as this night’s set list proves, they have the audience in mind when they play live shows. Newman and Case both have solo careers, but they truly are at their best when playing together. As always, XRT and the Riviera know how to put together an outstanding show, and they can add this one to the already impressive list.

Zahnarzt – Mini Pony

Mini Pony. Wow. Where do I start? How can I keep the words to describe this…this malfunctioning calculator of an album cohesive when the music that lies within is certainly not. It’s the sound of 80’s fashion being crammed in a garbage disposal with an 808. It’s a soundtrack to Tron had it been directed by Nicolas Roeg. It’s really like nothing I’ve heard before and I don’t think I’m prepared for what it takes to fully experience it. Like cocaine. Lots and lots of cocaine.

This is the first full length from Zahnarzt, a 4 piece from all places, Albany, NY. What they’ve managed to accomplish is to create an album that sounds like so many electrical eclectic styles it’s amazing they can fit into one album. Often within the same song styles will change, from deconstructing a trance beat to infusing it with the smallest slices of garage, then channeling it through some cheesy synths. Nothing repeats, rather it can’t repeat since whatever happened in the previous verse was eaten up by the chorus. Musically it’s impressive; chaotic, ambient, beautiful, nerve racking, all at once.

What’s the problem then? There’s always a problem, right? Well it’s the singing. In a screech, like a constipated David Bowie, the singing detracts from every song. With enough practice you may be able to tune it out or treat it as just another instruments, albeit one that isn‘t necessary. But a song like “Esther” loses it’s beauty when that warble comes in, ruining the otherwise sublime melody. Lyrics, another problem. To match the sci-fi beats the topics venture into some sort of post apocalyptic scenarios and unfortunately new words such as “cuntfess” are created. And there’s plenty more where that came from. Ugh. What’s worse is you really can’t understand what is being said due to the caterwauling so you need a lyric sheet, thankfully not reprinted. You’ll have to go to their confusing website for that. But hey, they didn’t include any cocaine either.

Scrap the singing and you’ve got a great work, something similar to Fuck Buttons’ marring of noise and beauty but with a little 80’s vintage twist. Keep the vocals and you have a missed opportunity for something great.

Little Beirut – High Dive

Out of Portland, Oregon comes a quartet that is getting ready to take indie rock, or maybe even power pop, by storm. Although not technically their first release, High Dive is their first major release with their official lineup and full rhythm section. These boys are ready to go and they’ve got a solid album to back them up.

Full of jabs at the senior and junior Bush administrations, including events surrounding the war. Even the bands’ name comes from a George Bush Sr. visit to Portland over a decade ago when he gave the city the nickname after witnessing protesting by the citizens of the liberal city.

Starting off the album on the right foot, “She’s a Martyr” opens with a brief acoustic guitar riff that leads into driving electric guitar and charging drums for an instant get-out-of-your seat rhythm. Without being chock full of energy, “Sniper’s Lament” is equally catchy with jangly guitars, piano and electronic strings. The song sounds like thoughts rolling around in the head of someone told to take someone out who is having second thoughts and worrying about getting caught with lines like “The paper said / You made your bed / So don’t look back”. “The Lottery” picks it up a notch for a lively number while “Acid Wash Soul” is one of my favorites with nice vocal harmonies, driving guitars, and a super catchy rhythm.

What makes this album particularly good is not just the well-played instrumentation or lush vocal layers, but the amount of versatility from one song to the next which keeps the album interesting as songs dip from full throttle to gentle cruising speeds. “Loose Medusa” is another album favorite with Asian-inspired piano interjections over softly layered “ahh ahh’s” and catchy melodies. The vocals also seem to take on a different character, almost a dreamy sadness like someone forced to leave a loved-one behind. But even in a slower tune, the guys rock out on the chorus lines. “The Monsters Are Coming” is another mellow, piano ballad with breathier vocals and nicely done Shins-like harmonies over a catchy bass line.

One interesting and a little strange song, “Love During Wartime,” pokes fun at the war as well as Condoleeza Rice. “Come on Babe, kiss me and I’ll sing the same old song…tomorrow’s coming so kiss away the plans we made” he sings to Rice over muted horns in full Cake fashion along with jangly guitars and clacking percussion. The band explains that a love song to Condoleeza is a completely ridiculous thought given that she has been so desexualized to attain the power she has within her position. While this is an interesting thought the song could use some work and is a low point on the album. But this is the only track I have a problem with.

The album appeals to both sides, those looking for layers of depth and meaning and those looking for catchy music they can rock out to whether it’s in the car or on the dance floor. With memorable hooks, layered harmonies, guitar-laden rhythms and intelligently written lyrics there is little left to be desired on Little Beirut’s latest effort.

The Strugglers – The Latest Rights

The Strugglers’ music is defined, as all of the best singer/songwriter projects are, by the personality and voice of the singer, in this case Randy Bickford. In this case, the slightly gravelly voice of Bickford puts a surprising range of emotion into the modern folk/rock tracks he crafts. And the Strugglers create a rich rock accompaniment to match his vocals, adding strings, keys, and even horns to the normal rock instrumentation, filling his songs with a rich but unobtrusive quality that bands like the Red House Painters always pulled off so well.

Bickford’s vocals may take some getting used to for first-time fans, but others will be won over from the very beginning. Those unique vocals lend a worldly weight to his songs, and they’re filled with an emotional intensity often missing from this style of folk/rock. But Bickford’s band is no slouch either, and the songs range from soft and moody to upbeat and driven by intensity.

The album opens fearlessly with one of its strongest songs, the nearly perfect “Morningside Heights.” Rich acoustic guitars that chime at times, gorgeous violin, and Bickford’s emphatic vocals will win you over completely. The clear sounds of an organ-like keyboard give “Redeployment” a deep feeling that works nicely with the song’s softer pace. On “Out on the Main Drag,” the Strugglers remind me most of Red House Painters, as the song takes a kind of quiet intensity.

When you feel you have a sense of this band’s style, they throw a curveball in “Jonathan,” a light, Jackson Browne-esque keyboard-led pop song, up-tempo in its beat – especially as it begins to really rock – and yet more melancholy in lyrics. The title track is a gorgeous tune, flowing softly on rich guitar lines and a nice, mellow rhythm that has a phenomenal rock ‘n roll climax. The strings and keys in “Limerence” give it a nice, rich and emotionally powerful feel. The country-esque “New Form” is quiet and moody, “My Slow Reflection” closes the album soft, rich with keys and strings, but powerful and emphatic in its intensity.

I raved about the Strugglers’ last album, You Win, and I can’t stop from raving about The Latest Rights. It’s as rich as the the predecessor and as emotionally strong, and somehow the band just gets better and tighter, trying new instrumentation and changing the intensity throughout. It’s a flawless album from beginning to end, and it’s perhaps my favorite release so far this year.

Riddle of Steel – 1985

Finally, here is a band that knows how to deliver a proper rock album without pretensions. Riddle of Steel, consisting of Andrew Elstner (guitars/vocals), Rob Smith (drums)and Jimmy Vavak (bass/vocals), return with rhythmic, catchy riffs coated with Zeppelin-esque classic rockiness and strong vocal melodies.

The album title, 1985, is apparently a nod towards Van Halen’s 1984, and I admit that I can hear this kind of classic rock influence clearly in the intricacy of the guitar solos and the generally catchy riffs. However, it has to be said that it’s hard to listen to this and not believe that you’re actually listening to Queens of the Stone Age; the vocals are so bizarrely similar to Josh Homme’s. Obviously, this is not a bad thing at all – anyone that loved the Songs for the Deaf era of QOTSA would undoubtedly love this too, since it has the same rumbling, threatening bass sounds but still manages to sound jaunty at the same time.

The second track on the album, “This Van Burns Love”, which seems to be a look at the trials and tribulations of being involved in the music industry, is a clear standout. Like QOTSA, and also, with it’s particularly driving bass-line, like Black Rebel Motorcycle Club, this song starts off quiet and sweet and builds up to an overwhelming lament, expressing all the bitterness and disappointment that comes with the reality of being in a band at this level. It tails off at the end with a laconic guitar solo, which is perfectly expressed and leaves a lump in your throat.

The best song on the album for me is “Quiet Now”, which starts off with a heartbeat like bass-line over the top of frantic drums. Like chase-scene music. Similarly frantic and spiky guitar layers over the top and the vocals chime in with ‘you think you’ve got that sound/but every time I turn around there’s so many of you in every town’ and ‘if you sound like now, you’re already too late’. This is clearly another song laced with frustration about never being able to fit in with whatever it is that people want to hear and battling to find a sound that’s uniquely your own. Thankfully, I don’t think Riddle of Steel is really too bothered by this, happy to sit slightly to the rockier side of what seems to be cool at the moment (at least from a UK perspective anyway). Hopefully, it will stay this way.

The influences are numerous in “Plenty of Satisfaction”. Funnily enough the music starts off sounding like a very bass-heavy Rolling Stones with that jaunty, strutting kind of riff that was characteristic of them. There’s an almost (dare I say it?) Jack Black-esque humour to the lyrical content here, which I personally like, with the chorus, “Oh, you won’t change us, now we’re dangerous/We want to be fucking famous/When we’re famous you won’t change us/ No, we ain’t gonna rock till you pay us.” Although that might be a personal thing; anyone who uses the word ‘rock’ as a verb tends to remind me of Tenacious D. This is perhaps the catchiest track on the album, in terms of very memorable nature of the main riff.

Other strong, but more obviously QOTSA influenced, riffs are provided by the likes of “It’s Called a Turbo”, which is fast and frenetic but over too quickly for my liking.

Coming near the end of the album, “Total Cougar” for me is a bit weak. It’s not that it’s bad as such; it’s just that the catchy riffs have disappeared for this one song and I find it a bit strange. For me there just doesn’t seem to be any structure to this. Although it should be said that one bad apple in no way ruins the rest of the album, which is, apart from this, consistently great.

Overall, this is a brilliantly recorded album where all the constituent parts can be heard clearly (especially the vocals; vocals low in the mix is a particular problem for me). This is the second album the band has recorded with the same line-up, this fact and the extensive touring they’ve done mean that this is one tight group. I think this comes through here, with this album sounding like the product of a band that is really having fun with what they’re doing. This gets top marks from me. Catchy, without slipping into the trap of creating songs with good riffs but not much substance, great vocals and generally just a fantastic rock album.

Tall Firs – Too Old To Die Young

One of the things that has been most impressive of Ecstatic Peace’s cache of bands has been the fact that label head Thurston Moore has managed to steer clear of the tons of bands that worship and copy the Sonic Youth sound. From the punk squeal of Be Your Own Pet to the psych folk of Wooden Wand, the roster has managed to avoid the obvious. When you see that Ecstatic Peace logo on the back of an album, you could be getting into anything.

It’s no surprise, though, and Thurston would, at some point, gravitate towards a band that might owe a lot to his legendary oeuvre. Tall Firs is definitely one of these bands, but that’s ok. It takes nothing away from the solid record that they’ve made in Too Old To Die Young.

So what if Thurston’s trademark warble and guitar sound has been adopted by the band? It might not be the most original sound ever, but they definitely put it to good use, especially on album standout “Hairdo,” which sounds like a b-side from Murray Street. It doesn’t make the song any less enjoyable.

It would be unfair to say it was all Sonic Youth worship though. “Warriors” is a skeletal and eerie piece that includes an ethereal jam that makes up the middle of the song. The group definitely makes it all their own by displaying their chops though. “Loveless” is another example of outside influence, as the main riff is a catchy rock and roll hook that most bands like this would never attempt, but the Firs make it work.

Overall, yeah, this album might owe a lot to the man that released it, but passing it over for that would be a mistake. It’s definitely worth checking out if you’re into noisy, low-key rock and inventive guitar work.

Tindersticks – The Hungry Saw

Although this is the first new Tindersticks album since 2002’s Waiting For The Moon, it’s not like we’ve been totally deprived of the trademarked melancholic balminess in the interim. Aside from sporadic live shows (including a Don’t Look Back-sanctioned full performance of 1995’s seminal Tindersticks’ Second Album), expanded-reissues of the early catalogue and last year’s generous BBC Sessions compilation, two low-key solo LPs (2005’s Lucky Dog Recordings 03-04 and 2006’s Leaving Songs) from frontman Stuart Staples have kept the Tindersticks’ flame gently burning in the background. In fact, it could be argued that Staples’s solitary-minded detour was a means to slim-down and reconfigure his mothership; given that Tindersticks guitarist Neil Fraser and keys maestro Dave Boulter played across both supposed ‘one-man’ releases and are the only two other members of the original sextet to appear on The Hungry Saw. From a personnel perspective alone it begs the question; is this a Stuart Staples set in disguise or were his solo albums covert Tindersticks releases?

Ultimately, wherever Staples takes his crumpled velvet croon, it’s a Tindersticks record whatever the official billing. Yet, he’s always reliant on simpatico sidemen/women to truly realise his full potential. In this collection’s case then, the mixture of accomplices old (Fraser, Boulter), occasional (brass-player Terry Edwards, drummer Thomas Belhom) and new (bassist Dan McKinna, strings-arranger Lucy Wilkins and others) makes for a selection that merges the diligent craftsmanship of the original Tindersticks blueprints as well as the loose deconstructionist ethos of Lucky Dog… and Leaving Songs. Being vinyl-junkies, the ensemble roughly split The Hungry Saw into two characterful halves; the first being more mood-swinging, the second being more set on a sustained smouldering path.

Beginning proceedings, Boulter confidently reclaims his lynchpin role within the Tindersticks through the plaintive piano-led instrumental “Introduction”. The ensuing “Yesterdays Tomorrows” attaches the quivering Staples baritone to a moist groove retrieved from the group’s flawed-but-endearing Simple Pleasure. The layered lilting acoustics of “The Flicker Of A Little Girl” could be mistaken for an If You’re Feeling Sinister-era Belle & Sebastian outtake, were it not for the unmistakably vocal murmur at its core. The cello-drenched “Come Feel The Sun” is a beatific waltzing baroque lament that glides into another great wordless piece – “E-Type” – that chimes and drives like a distant calmer cousin to the stormy “Vertrauen II” from the Tindersticks’ Second Album. This opening suite is concluded with the gloriously tearfully and string-drenched “The Other Side Of The World”; yet another unashamed homage to the Lee Hazlewood book of broken-heartened ballads.

The second ‘side’ is ushered in with one more majestic instrumental; the murky yet evocative “The Organist Entertains”. The vibe is jarringly broken temporarily with the deeply strange title-track, which can only really be described as sounding like the Tindersticks’ debut single “Patchwork” if it had been remixed by Clinic. In contrast, the following four-song finale sequence fits more comfortably in the ear drums. The prowling “Mother Dear” teeters but doesn’t quite fall back into the dark discordance of the band’s vintage “Sleepy Song”; “Boobar Come Back to Me” yearns and swells like Leonard Cohen circa New Skin For The Old Ceremony; “All The Love” has a gentile strum and bewitching Vashti Bunyan-like backing vocals that envelop Staples in an eerie Appalachian ambience; and “The Turns We Took” brings the whole affair to an emphatic and comforting soul-flecked conclusion.

Whilst The Hungry Saw does noticeably lack a little of the meticulous arrangement skills of seemingly-estranged violinist/guitarist Dickon Hinchliffe and the precise non-rock rhythm section of drummer Al Macauley and bassist Mark Colwill, it’s still a more than worthwhile addition to the Tindersticks long-playing legacy. Even though it lacks songs with the same classic calibre as “Marbles”, “Travelling Light” or “My Oblivion”, its combined weight of sadness, warmth and dry-humour warrants reciprocal affection.

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