Kris Delmhorst – Shotgun Singer

It takes some effort to truly enjoy Shotgun Singer from solo artist Kris Delmhorst, but with an open ear and open mind it can fully engulf you in no time. What’s impressive is how epic in scope this album is considering she recorded it on her own with guest players in a rural cabin. It’s not a perfect folk record by any means, but on Delmhorst’s fifth outing, you can tell she is a seasoned vet.

The aural and emotional effect of each song on the record reaches its full potential often. Songs like the moody opener, “Blue Adeline”, can be emotionally ambiguous, as it straddles the line between darkness and an uplifting tone, especially in the piano driven breakdown. Though not entirely hook driven, when the hooks kick in, they take the songs to greater heights. “To The Wire” is a prime example of this, and a song like “Midnight Ringer” holds back only enough to keep the song from exploding. This effect is not a bad thing though and in fact it adds a little more to the impact in my mind, because the emotional target is hit in just the right spot.

The more bluesy “Heavens Hold the Sun” and “If Not For Love” almost miss the mark, but they add a nice balance to the record’s aural capacity. They show the range of this solo artist and effectively use the instrumentation to convey a sense of dreariness, especially in “If Not For Love”. “1000 Reasons” seemingly comes out of left field as the most uplifting song on the record as far as music goes, hand claps and all. The lyrics remain almost totally ambiguous and open throughout, and at times giving profound insight. “Riverside” is a moody, country influenced ambient piece.

“Oleander” is a song that will stay with you. It’s slow and moody, but the hook will suck you in and not let go. The simplicity is punctuated by the effective use of violins and piano, not to mention the majesty of Delmhorst’s voice on this song. By the time “Kiss It Away” comes around, I felt slightly detached because I wanted something to top the emotional depth of “Oleander”. It’s a cold, lounge song that isn’t bad by any means, but it takes all sorts to truly enjoy. “Freediver” has a beautiful and lulling tune all the way through and is a primer for the album closer. A single guitar and Kris’s vocals drives “Brand New Sound”. It’s a somber way to end the album, but the stripped down sound closes it perfectly.

This is a beautiful record. Even with imperfections here and there, it shouldn’t stop you from checking it out at least once.

Birds of Avalon – Baltimore – Rams Head Live, Maryland – 2008-06-27

The most exciting shows a band can perform are the ones just before the release of a highly anticipated album. Seeing Wilco a few days before A Ghost Is Born was set for release was easily one of the most exciting shows I’ve attended. As cliché as it may sound the feeling in the club (remember when they played clubs?) was absolutely electric. The Hold Steady have begun what I’m sure will be one of numerous tours in support of their upcoming Stay Positive and have moved from just a great rock band with a pretty good show into an outstanding rock band with an amazing concert experience.

While their sound hasn’t changed dramatically with their success, no horn section or extra touring keyboardists, the band has learned to get the maximum enthusiasm out of the crowd. And to do this they put together some of the best all out rock and roll imaginable. Walking on stage at the all too clean and shiny Rams Head in Baltimore, Craig Finn announced “We’re going to build something this summer,” before ripping into the opening track of Stay Positive, “Constructive Summer.“ Whether you’ve heard the album or not it was an amazing opening statement. In one sentence Finn acknowledged the expectations of the band, from the media and even more important to them, their fans, and that it is in fact going to be a very long and fruitful summer but also a labor of love.

They wasted no time after delving into “the hits” as they were off into “You Can Make Him Like You,” “Your Little Hoodrat Friend,” and a song about a boy, a girl, and a horse, “Chips Ahoy.“ Cracking into the fan favorites this early was a brilliant move and shows how far the band has come in putting not just performing a concert but in creating a show. All too often the newest songs come out swinging and even in the age of leaked albums and instant streaming it doesn’t mean the entire audience will be at attention. The choice of these songs as openers was perhaps the finest move anyone could have pulled. For the rest of the set the band slowly incorporated new tracks into the set as though plenty of market research had been done. The new material, most of the new album was played, drew huge responses and more importantly, sounded great. Call me old fashioned but aside from the lead single, “Sequestered In Memphis,” I have not heard a lick of the album so I’m speaking as someone hearing it all for the first time. As for that lead single, already one of the best songs of the year, it wasn’t even held for the encore, played along side all the others, making it no different than the rest. For being a rock n’ roll band The Hold Steady are certainly avoiding many of the silly rock n’ roll clichés.

If it was the older material the fans were craving, the band delivered on that, too as a large majority of Separation Sunday was featured. It seemed as though no matter what was thrown at the crowd we gleefully ate it up. There was some light moshing going on and at least one crowd surfer during the encore. To continue the Springsteen comparisons of the band I like to think of seeing The Hold Steady at this stage of their career is like seeing The Boss during the Greetings From Asbury Park days. However I don’t imagine there were bouncers pulling long haired kids from the crowd as they cascaded over the barriers back at the Stone Pony.

Craig Finn brought the show to a close with his usual statement of appreciation, closing the circle of community together. The Hold Steady will in fact build something this summer, and hopefully many more to come and gladly their fans will build it with them.

Due to a misleading start time the first few songs of openers Birds of Avalon were missed on my part. What I did see showed they’ve definitely studied the psych rock of the 60’s, flowing between Black Sabbath riffage and spaced out Cream-like blues jams, complete with rotating psychedelic lights. It’s a tough job performing in front of a crowd split between the underage kids and the older drinking set but they seemed to do quite well. The audience was appreciative of them and while the band has some chops the set seemed to drag on a bit long, especially during the more freaked out extended jams.

Numbero6 – Da Piccolissimi Pezzi

It seems that Bonnie “Prince” Billy is branching out internationally. After lending his vocals in French to last years’ “La Chambre” on Soy Un Caballo’s album, he mixes his dusty vocals with the romantic Italian language in Numbero6’s latest EP Quando Arriva La Gente Si Sente Meglio The great news is that the entire EP is available via free download directly from the band’s website.

“Da Piccolissimi Pezzi”, translated as “The Smallest Pieces”, opens with fuzzy keyboards over electronic drum beats before an electric guitar adds a layer of fuzzed-out melody notes thats is simple but catchy. Somewhere an acoustic guitar can be heard through the haze. The “Prince”’s vocals enter, dusty and cracking, as if he hadn’t warmed up his pipes yet. Keyboard notes weave around the vocals that are almost hard to believe aren’t coming from the lips of a native Italian. His aching voice sounds so good in the foreign tongue that one forgets that they may not actually understand the meaning of the words.

Halfway through his voices drops back into a mellow wail followed by a fuzzy, muffled version of itself. The words weave through layers of minimal guitar, keyboards and drum beats before jumping fully back into the catchy beats of the first half and adding in full backing vocals by the rest of the band.

The song jams its way out with electric guitar over sustained drum and acoustic guitar rhythms. Before the song even reaches the end you are already looking for the repeat button.

Genuine Sun – Return

Delusions Of Adequacy is named as such with tongue-in-cheek sarcasm and is really meant to provide music fans a portal to independent music on the cutting edge. Unfortunately circumstances exist where this is not always possible. Case in point is Genuine Sun’s debut album Return. There is nothing cutting or edgy about it, so Genuine Sun can be tagged with delusions of adequacy without a hint of sarcasm.

The 12 tracks on Return are basically a diluted form of mainstream rock with little variation between tracks and puerile lyrics regarding affairs of the heart. There’s nothing appealing enough to make repeated plays worthwhile. There are no exciting poly-rhythmic counter rhythms or layered orchestrations. No gritty indie-rock or experimental open passages and no wild instrumental solos. Just simple and bland, bar-friendly rock that does little to engage the listener.

The Cleveland, Ohio quartet use piano, guitars, bass and drums to concoct harmless, predictable and formulaic fluff-rock that gets played on Midwestern FM radio stations between the Eagles, Daughtry and Sheryl Crow. If that sounds appealing, you may like this record if you can tolerate the lyrics.

Recommended Tracks: None

Aufgehoben – Khora

When I think of all the mutant strains of noise and/or noise-rock out there, Aufgehoben still has a way of sounding wonderfully singular. Their noise is a wholly distinct one and although it operates as a group, Aufgehoben shares more in common with academic noise architects like Kevin Drumm or Russell Haswell than the negative creep of groups like Hair Police and Wolf Eyes. Through the most brute force attack and careful consideration of each aspect of its music, the group manages to overcome the mundanity that plagues a good portion of what passes for noise these days.

Like some other great artists before them (CAN, Faust, Miles Davis, etc.), Aufgehoben normally uses a long-term editing process after its initial recording to carve out a resultant mass from raw material. This was discussed in greater detail in my interview for DOA last year with the group. Khora was actually recorded way back in 2005, approximately one year after the recordings for 2006’s Messidor. This led to Aufgehoben’s Stephen Robinson referring to them as “sister albums.” Make no mistake, Khora follows an upward trajectory from the previous album, which is no small feat since Messidor was pretty goddamn incredible.

Khora is essentially split into halves. The first of these halves is made up of a sequence of three songs called “Ignorance Oblivion Contempt,” “Annex Organon,” and “A Bastard Reasoning.” These are shorter pieces that focus on the musicians’ seemingly wild abandonment of all structure and logic. Things start out loud and abrasive and the group only ratchets up the intensity from there. It would all probably fall apart in the hands of a less capable group, but here each player manages to utilize this chaos. They don’t try to unwisely control or manage the walls of screeching electronics and stereo guitar feedback, instead the band just lets loose while its dual drummers establish a broken backbone that constantly lurches forward. The second half of the album is 30 minutes of pummeling punishment entitled “Jederfursich.” Here, Aufgehoben gives us raw matter as there was no editing from the initial recording. It sounds as if their amps are melting down from being overloaded with a gross amount of distortion. For nearly any other band to attempt something like this would be overstepping the bounds of its capabilities. For Aufgehoben it seems like the band is really flexing its muscles and it accomplishes something entirely beautiful as a result. Noise that is clear and concise in its brutality.

Aufgehoben has effectively raised the bar for every avant-rock and noise group operating today. Khora is the result of time well spent on the band’s part at attempting perfection. Here it just may be that they have achieved such an end, the total cleansing hinted at by the dark water on the album’s cover, a tidal wave of destruction sweeping away everything in its path.

The Weepies – Hideaway

A weepy is described as someone that is prone to cry. Some chick flicks used to be negatively referred to as “weepies,” mostly by men who couldn’t stand them. What Deb Talan and Steve Tannen have attempted to do is re-create the term so that it can comprise alternate connotations. On the duo’s latest effort, Hideaway, they have endeavored to make an album that is both sad in lyrical content but uplifting at the same time. The result is an album filled with altogether gushy and downtrodden music that never really goes anywhere.

A song like “Antarctica” possesses the music to be successful. However, the lyrics about washing your sorrows away in alcohol and escaping to a cold, dark land are cliché and schmaltzy. The music is back dropped by upbeat guitars and drums but Talan’s dreary delivery and the sleepy chorus bring the entire song down.

According to the press release, Hideaway is the result of the band’s demanding 2007 year. The duo had fallen in love and toured for much of 2006, when they returned home they felt secluded and exhausted. Yet, it goes on to state how the band’s music has been used in many films and hit TV shows and in this same 2007 year that was filled with the aforementioned sadness, the duo found time to get happily married and had a child. Don’t worry; you aren’t the only ones that are confused.

So this album is supposed to be a dark and gloomy collection of songs that showcase the duo’s labor and attempt to “reconnect with what moved us [them] about music in the first place.” The sad thing is that the music and lyrics on here are just too sappy and melancholy. The glimmering guitar on “Old Coyote” is somewhat enticing but Talan’s cynical lyrics are depressing. It doesn’t help that her delivery is jagged, shoddy and rushed.

Bright spot, “Little Bird,” is a fine example of what this album could have been. The music conveys a soft and contemplative creature. Tannen and Talan work together to portray what an animal can perceive all on his own and their harmonies are focused and poignant. The music is complimented nicely by swelling guitars and a plucking guitar — it’s a fine song, alas, there aren’t enough of them on the album.

Ultimately, some people will enjoy the album because of its simple and effortless approach. The duo decided to place the attention on the lyric’s distressing content and forgot that the music requires just as much detail. And with Hideaway, it’s just too hard to get into an album that will make you feel miserable and regretful for even putting it on. Not even the Beatles-esque closer, “All this Beauty,” can save the album from a forgettable fate.

Whatfor – Sooner Late Than Never

Whatfor mastermind Michael Sienkowski loves the Beatles. It’s all over the songs on his latest album Sooner Late Than Never. From the opening chords to the last vocal harmony, the album had a classic rock feel that never relents. There’s nothing you haven’t heard here, but Sienkowski is a more than capable songwriter.

There are two styles that dominate here. The title track offers up a “Paperback Writer” type guitar lead with production filtered through much the same grainy nostalgia that made the Strokes famous, so the song must be heard through an un-jaded ear, which is difficult to find these days. A good half of the album has this feel, while many of the other track are of the mid-tempo acoustic variety. “I Want A Girl” is probably the most notable example, which is characterized by tongue-in-cheek lyrics describing the girl of Sienkowski’s dreams; preferably one who has low self-esteem.

Essentially, your enjoyment of this album depends on how much you like this style of music. Groundbreaking it isn’t, but it’s a fine listen for anyone who enjoys the rock of the 60s.

Capillary Action – So Embarrassing

Anyone that can make it through the 31 minutes of So Embarrassing, the latest offering from Seattle’s Capillary Action, without suffering a seizure is either deaf or a diehard veteran of late 90’s spazzed out indie rock. Exciting genre bounding rock, the likes of which were pioneered by Brainiac, Trenchmouth, and the Dismemberment Plan, have been missing these days; all the fun of those groups seemingly sucked out of any torch bearers. But Capillary Action shows much fun is to be had across these 11 songs that span across rock, punk, jazz, metal, even a little flamenco, often within the same song.

What most bands of the previous era lacked wasn’t imagination but inventiveness. Capillary Action has no problem using everything they can possible think of in terms of instrumentation to push their ideas to the absolute limits. Jazz drum fills and the odd chord patterns front a horn section as though the Dismemberment Plan were being backed by Jaga Jazzist; string sections sound ripped from the score of some melodramatic foreign film. There is nothing the band won’t use and it all works with remarkable power.

Each song packs as much wallop as physically possible, whether it’s by hooking you in with quick metal riffing that bridges 2 sections together or the strong vocals of Jonathan Pfeffer. Bounding from crooning to howling in the space of one bar brings Mike Patton’s vocal acrobatics to mind. And when being augmented with some of those string sections, albeit briefly, Pfeffer is capable of also sounding remarkably similar to late period Elvis Costello.

It isn’t all fun and games. Lyrically there are some dark themes going on, spat out with Patton rage. An example, from “Gambit“, “You say I’ve got a heavy head/but I’ll keep you at arm’s length.” Scary to think these are the first lines you hear. Some themes are easy to decipher, such as “Self Released,” but more often than not they veer towards the disturbing. “Badlands” which is safe to say not a Springsteen cover, its frightening for both narrator and listener. Don’t let the titles lull you into a false sense of whimsy. In “Pocket Protection Is Essential” Pfeffer takes “solace in the fact” someone is “as good as dead.” Not flat out six feet under dead. But as good as dead. That’s some pretty scary mob mentality there.

If the thought of all these styles and all this hate coming together sound like a mess, well, frankly that’s because it is. But no one said that‘s a bad thing. Personally I welcome a well orchestrated mess. No matter how many times So Embarrassing is played you will never hear it the same way. It’s certainly dense and chaotic, the only thing holding it together is the not the thought of what direction the band will turn to next but what map to use. You will never anticipate the changes and moods the band takes nor will you ever familiarize yourself with where one song ends and another begins. Capillary Action has created an album that forces you to listen to it as a whole, not chopped up into iTunes pieces. Though a complex and challenging listen, it looks to craziness ahead while paying tribute to the past.

Ghost Buffalo – The Magician

The Magician gathers aftershocks of late 90’s alternative rock, when bands as disparate as Quicksand, Hum, and Deftones shared thunderous, ringing chords and a penchant for emotive vocals. That ominous rumble returns here as Ghost Buffalo moves their second release away from alt-country towards the sinister folds of post-hardcore. But the album’s strengths are matched its by flaws.

Ghost Buffalo successfully blends dark dream pop with hardcore. And Marie Litton’s sensually vacant croon is a great foil for the dense low end of the guitar and bass. But Litton can’t nail her delivery. To be fair, vocalists of the aforementioned bands couldn’t, either.

To Ghost Buffalo’s credit, these tracks never wear out their welcome. Yet, the album as a whole is repetitive and fails to show the band’s versatility. And while the album’s production is passable, the drums never really hit, the guitars never punch. These songs rely on dynamics, pairing soft verses with heavy choruses weighted with distortion.

“Narcissus” opens with momentum, introducing Litton’s accessible vocal tone and lyrics while spreading the faded black atmosphere that cloaks the entire album. A good starter. “The Latest Wonder”, also solid, is a prime example of The Magician’s simple song structures.

Ghost Buffalo’s alt-country affections surface sneakily on track 3, “Choke”. “Gold Disease” moves with a calibrated pop appeal, and demonstrates guitarist Matt Bellinger’s penchant for simple and effective guitar leads. Vocals seek attention on “Fire Walk With Me”, as Litton traces the heart’s torn, manipulated edges: “Take all he wants from you / It’s effortless because you want him to”.

Litton’s lyrical talents shine again in “Burnt Dreams”, as she stirs, “Baby, you’re easy to hate / It’s so sad ’cause you feel the same / How far should we go? / Let’s take our time and burn out slow”. This is one of the album’s brightest spots. “Just a Thought” is instrumental, probably better suited to live performance than recordings. And the album’s title track is the closer; “The Magician” starts off low-key, slipping in more of that alt-country influence.

The Magician is a toss up. Ghost Buffalo honor their 90’s influences. That’s good. And while Litton struggles, the overall aesthetic of her breathy tone against sinister distortion works. The sound is dark, but not draining.

Few relish turn of the century hard rock, but if you want a reminder of what was good back then, then listen to the flawed sonic appeal of The Magician.

Adron – Adron

Female singer-songwriters are not all that prevalent in current music, even with the likes of powerhouses such as Feist and Cat Power. Adrienne McCann, recording under the name Adron, seems to be well on her way to making a name for herself as a legitimate solo talent. Hailing from Brooklyn and boasting a culturally diverse array of influences, Adron’s serene and soothing new album is the epitome of easy-listening. Her soft, crooning vocals and intricate compositions work perfectly together, and she can sing in English, French, and Portuguese. Simple but honest lyrics keep the focus on her sweet voice and her skills on the guitar.

Chirping birds that pepper “Arabia Lights” are reminiscent of McCann’s voice itself as she trills with ease and genuineness. It is gentle and happy-go-lucky, not to mention the fact that it is done very, very well. Flowing and easygoing, Adron’s quiet, pleasant, charming music can fit any mood; if the listener needs some cheering up, this will do the trick. While all the tracks are outstanding, a few are truly spectacular, including “Blanket Fort,” “Walking Home” and “Never Leave My Room Again.” These whimsical, honeyed tracks never get repetitive, and for those who like the Juno soundtrack, these songs would have made that better times five.

Adron can sound like Cat Power on The Greatest or Feist on Let It Die one minute and like she could your best friend the next. Despite some similarities to these big names, Adron definitely has found her own sound. Accessible and intelligent, she knows how to write songs that capture her unique voice and style perfectly. The instrumental “Slimesmile” and the spicy “Bicicleta” showcase her varying talents, and Adron does not falter on any track. This album is outstanding and contains something special and should not be passed up.

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