Ride Your Bike – Bad News from the Bar

On its debut album, Bad News from the Bar, Coloradan band Ride Your Bike garnishes its pleading indie rock with some sweet choruses and surprising instrumentation, yielding a better-than-average first outing. The album’s one notable weakness is lead singer-songwriter Mike Getches’ limited vocal delivery. He often sounds like a mature teenager who can write much better than he can sing, but the catchy choruses and unexpected sounds which pepper Bad News from the Bar somewhat make up for Getches’ disturbing voice.

The album opens with a relatively strong trio of tracks that respectively includes strings, choral yelps, and sharp lyrics. “We All Have Our Own Shoes” is short and pleasant, buoyed by crisp strings. Although initially a whining annoyance, “We Couldn’t Walk with Such Noise” will likely ingrain itself in many listeners’ minds. By the third track on Bad News from the Bar, Ride Your Bike has hit its stride. “Sticks and Stones” features an interesting narrative and some of Getches’ stronger vocals.

Later highlights on the record tend to possess three key attributes: a slower pace, power poppy hooks, and the aforementioned instruments atypical of indie rock. “Knack for Faith (The Inside of a Cop Car)” best exemplifies this structure, its gorgeous horns and raw percussion immediately capturing the imagination. The curiously named “Faster” is also appealing, with pretty female backing vocals and a prominent acoustic guitar. Those various charms notwithstanding, Bad News from the Bar occasionally sounds like a poorly sung retread of tracks by Dashboard Confessional, Plain White T’s, and even Death Cab for Cutie (particularly “This Car is Hot as Hell” vis-à-vis Ben Gibbard and company). “So If We” is disjointed to the point of frustration, while “Coat Rack” crunches its way toward inanity.

The album does end on a hopeful note, the reflective tone of “And Just Like That” combining with the band members’ “Oohs” and “Aahs” to yield a poignant song only muddied by Getches’ off-key moans. Overall, the strengths and weaknesses of Bad News from the Bar nearly cancel each other out, but the album’s plusses indicate that with significantly better singing and a few other tweaks, Ride Your Bike can produce a record of great appeal.

Funeral Crashers – La Fin Absolute Du Monde

The immediate appeal of a band like Funeral Crashers is their DIY ethos. Their first album, La Fin Absolue Du Monde comes straight from the band as a CD and download on the band’s homepage. One of my personal turn-offs was the band’s use of such aliases as PH Lovecraft and Frankie Teardrops. It’s a small nitpick and I can understand that the band just wants to create an image for itself on top of its dark, post-punk sound; a sound that’s just as solid as any seasoned veterans with major and indie label money.

“Menlo Park” is a decent first entry in this jam oriented band’s first album. The song is a little repetitive at first, but it truly picks up toward the end with an effectively creepy guitar riff. The biggest problem with this song is the length at over 5 minutes, something that could have easily been cut down. “Disconnected” is raw, atmospheric and pretty damn catchy. The Jesus and Mary Chain influence definitely shines here, especially in the vocals. If you aren’t used to the vocals by this song, you probably never will dig into them. “Safe” is a gothic, fast paced rock song and “Faithless Sons” has more of a punk edge to it, minus the extra baggage in the run time.

“Whisper” is a nice change in pace. I wanted to love it as far as the atmosphere went, but the vocals felt a little too monotone, which caused a firm detachment from the heart of the material presented. Not to mention, it ends too abruptly. “A Personal Detachment” has a pretty consistent guitar riff throughout, but this is forgivable cause you can tell this song would be fun to watch the band play live. Again, a little creepy-ness sets in, but this time during the chorus; an interesting choice. “Blackout Days” is the epic of the album, clocking in at over 6 minutes. This time, the emotion is a little more defined and the chorus really explodes, following the atmospheric verses. The solo at the end has an 80’s feel to it that truly gives the song some extra heart.

What follows in “Mystery Hand” is a true punk song all the way through, with a horror story of a voice over bridging two of the verses. “Video Killer” is one of the best tracks on the album thanks to the subtle little riff throughout the verses. It’s little nuances like this that Funeral Crashers throws into the mix, giving the song that extra something special, and ultimately keeping the audience interested and coming back for more. The album closes with “Curtain Rise/Curtain Fall”, strangely the most light-hearted song of the album and possibly my favorite. It’s a fast paced punk song that shows tons of promise for the future of this little band.

Fans of gothic punk and rock should definitely give these guys a try. Considering that this is a self-released album is that much more impressive, and if they follow this up with something that delivers even a small portion of the potential displayed here, then we’ll have something truly special.

Flor de Loto – Madre Tierra

If you ask any progressive rock fan where the genre came from, they’d probably say England. No one can deny the influential invasion of bands like Genesis, YES, and ELP to the states in the 70s. However, there was also prog from Italy, Germany and even Spanish-speaking countries. Today, the genre is being kept alive thanks to bands like Flor de Loto from Peru, who have released a beautiful sophomore LP entitled Madre Tierra.

Declaring themselves as “a world-class band in the current international prog scene,” guitarist Alonso Herrera and bassist Alejandro Jarrín founded Flor de Loto in the 90s. They fuse heavy guitar work with majestic woodwind instrumentation while their rhythm section provides perfect accompaniment. They combine Hispanic flair with their influences to create something special.

The most intriguing and unique thing about Flor de Loto is that, at least on Madre Tierra, they use virtually no keyboards. This goes against the conventions of Progressive Rock, where masterful, albeit pretentious, keyboard solos are expected. Instead, they use a variety of wind instruments, like flutes and recorders, to work with the guitar to create melodies. This leads to an undeniable comparison to the folky prog bands like Jethro Tull and Fairport Convention.
Also, most of the LP is instrumental.

Madre Tierra opens with its title track, a tour de force of dynamics, melody and energy. An acoustic guitar plays sadly as a waterfall is heard. Soon flutes chime in as the track builds to a rhythm change. There are some vocals (in Spanish, obviously), which harmonize warmly. Then more build up as an electric guitar is added to the mix, resulting in a King Crimson-ish conclusion. It is a fantastic opening track and sets up the sound of Flor de Loto. The next track, “El Charango Perdido,” has a bit of an Asian style to its beginning. Its conclusion also kicks ass with its heavy guitar wizardry. On tracks like “El Mensajero” and “Luz de Luna” (especially the latter), the acoustic guitar arpeggios resemble the ominous woe of Opeth’s most beautiful melodies. The last section of “Danza Celta” follows the convention of a part being played by more and more instruments every two measures. It immediately brings to mind Jethro Tull’s masterpiece “A Passion Play”. The remainder of Madre Tierra is this same brilliant fusion, and near the end of the LP, the vocals come back. Closer “Medusa” is a tension filled, schizophrenic voyage that lives up to its name.

The only perplexing thing about Madre Tierra is the vocals. One must wonder why they only appear for a short time on the first track and then dominantly on the eighth and ninth. Perhaps understanding the language would reveal an explanation (like conceptual continuity). When they are present, they carry a mellow nostalgia that fits well over the music. The album contains such wonderful music that it would be interesting to hear more vocal complement, and it is a bit disappointing to not have a voice to remember alongside the instrumental melodies.

Flor de Loto deserves recognition mostly for their ability to combine polar opposites to create a wonderful compromise on Madre Tierra. No one would think to mix English folk with Hispanic themes, lyrics and guitar techniques, but if done correctly, it works. This LP, clocking in at under an hour, is soothing, exciting, intense and very, very beautiful. It’s an example not only of how the genre is still going strong, but of how artists with enough originality and skill can alter the rules to create their own spin on it.

Marvin Ayres – Eccentric Deliquescence

Marvin Ayres is a modern classical composer who specializes in ambient orchestral minimalism. He effectively weaves piano and classical string instruments such as violins, cellos and violas with experimental electronica and slumberous timbres to create shadowy soundtracks to mysterious worlds.

Imaginative, yet simplistic, the slowly shifting waves of hypnotic tones on Eccentric Deliquescence are centered around beautiful and soft piano lines as moderately menacing string overtones effectively create an elegiac mood that can be both disquieting and peaceful.

Ayres occasionally adds echoing, multi-tracked voices to his winding compositions that at times blend gently with the music creating a more angelic effect and at other times the swirling voices are more upfront and approach Gregorian chant territory, but all are tastefully done keeping the ambient orchestral minimalism intact.

The 14 tracks ebb and flow over 59 minutes with delicate sonic soundscapes, classical ambient strings and contemporary electronica techniques, resulting in hauntingly beautiful atmospheric pieces that should please fans of ambient music.

Recommended Tracks: “Androgynous Weave”, “I Wish I Was The Sky” and “”Forever Is Now”

Words – Suicide Nation

I witnessed Words play in Ottawa and it’s a miracle my head didn’t detach during their set. Watching a naturally intense band in a claustrophobic basement was a trip. This is one of the most headbanger friendly bands in hardcore, but their seclusion (Quebec City) hides them from the masses. Words is dissonant and dirty, but not to the degree of their fellow Canucks in Cursed. “Suicide Nation” off their Cult of Gold LP retains a constant groove (surprisingly a difficult thing for hardcore bands these days) then finishes with a rewarding smash part. I’m loving the bent-up stoner riffs and hope that Americans will catch the fever.

My Morning Jacket – Evil Urges

News flash: My Morning Jacket’s Z was not their first album. Even though this is a common fact amongst aficionados of the band, after the album’s breakthrough success in 2005, it sure felt like it was their first album. The band acquired many new fans, held onto their devoted fanbase and received praise from critics and fans alike. Some people — like yours truly — even selected Z as their number one album of 2005.

Either way, the band had been around for many years before that and already had three stellar albums under their belt. They’re a unique bunch because they don’t offer the same album time and time again and the opening moments of Evil Urges’s title track undoubtedly illustrate that. The music is jangly, the bass is booming and extended and Jim James’ healthy falsetto is completely tantalizing.

The entire album can be lazily sectioned into three units: a dissimilar, creative beginning, a softer, soothing middle section and a moving, soaring ending. However, My Morning Jacket are unlike many other bands. Sure, that’s an easy and somewhat accurate description; however, the band’s musicianship requires much more careful listening.

The two-song suite of “Touch Me I’m Going to Scream” pt. 1 and pt. 2 are wholly absorbing affectations. The band doesn’t shy away from building amazing sonic landscapes. Pt. 1 is a poppy affair filled with towering guitars and melodic synths. Pt. 2 closes the album in a reflective and downright poignant manner. It’s supported by droning atmospheres that slowly creep in to a waterfall-like keyboard line that lightly thrusts and pounds away. The drums kick in and it ends up climaxing to an elevated, frolicking piece.

The band has scaled back the experimentation on a few songs to showcase their gorgeously layered music. “Thank You Too!” is an effortless homage to good friends and family. The music is tender with flourishing strings and a stacked melody for a chorus, the guitar solo that ensues is a sweet piece of heaven. The acoustic guitar driven “Librarian” is where the band fuses its trademark Southern feel with lush strings and plenty of reverb.

“Smokin from Shootin” is propelled by a repetitive keyboard that pushes the music to an exuberant piece of joy. James’ vocals are touching and memorable; the singer has the distinctive knack to drive music from good to absolutely amazing. This happens a lot on Evil Urges and is especially evident on “Highly Suspicious.” It’s a blatantly funky song that isn’t ashamed to feature the band’s playful side. James’ Cheshire cat snicker is hilarious and his otherworldly vocals reach octaves that few men can achieve. The band chants the chorus and the guitars and bass crunch with an intense ferocity, does he really say “Peanut butter pudding surprise”? Heck yeah, he does.

This is an excellent release from an already accomplished band. The band’s vast influences play a huge factor and they shine far and wide. They take you on a diverse journey covering many styles that include but are not limited to rock, pop, funk, Southern rock, hard rock and even some R&B and soul. We are in dire times as James sings on “I’m Amazed,” “I’m amazed at what the people are saying, I’m amazed by a divided nation.” Who knows, maybe this is the magnificent album that could begin to unite us but one thing is for sure, this band knows how to make damn fine music.

Merchandise – "Sometimes" b/w "Glitterati"

Bouncing out from under the grey skies of England comes a new 7” from Merchandise, a duo that create hope filled little pop ditties to raise your spirits. The single, on nice white vinyl, is the first release for the group since 2004’s Lo-tech Solutions to Hi-tech Problems and veers away from the electronic tinged sound of that record. “Sometimes” and “Glitterati,” the songs that make up the single, are more in the vein of straightforward bedroom pop such as Badly Drawn Boy or the wistful longing of The Clientele than of the Boards of Canada comparisons their full length had drawn.

“Sometimes” starts off with a jaunty piano, parting the skies for the slice of sun that seeks to break through. Lyrically rather simple, “sometimes I feel like I’m all alone/no one rings me up on the telephone” for example, it soon gives way to cooing female backing vocals and shuffling drums underneath the chorus. Full of the promise of good days to come with a lover and some friends, it‘s an sly pop number that if not as well produced would easily fall into “twee“ territory. The first few listens didn‘t leave much of an impression until I found myself humming the verses in a classic moment of “what is that stuck in my head?” Though it‘s a rather saccharine few minutes it‘s quite infectious and sometimes that‘s what we could all use a little more of.

The B-side starts off in a similar manner with an electric piano tinkling a few simple notes before a piercing guitar line cuts right through. The crooning vocals of Brad B. Wood recall Ben Gibbard before being doubled up, layering over a slightly danceable beat. Merchandise get a lot of mileage out of the guitar, sustaining the notes for quite some time, which creates a nice tension. The ebb and flow between verses & chorus work remarkably well and it’s unfortunate really that the song is over far too soon. Not a bad slice of low key pop that should do well to start your day off with a positive step.

Hats And Glasses – s/t EP

This is really charming, really. Hats And Glasses is just starting up as a band with its first, self-titled EP, but the members have all the energy in the world. They write blistering, unapologetic rock songs. They have this old, warm, trebly tone that sizzles out of your speakers. They have razor-thin guitars that skewer through the rough, pounding percussion. It’s straight forward blues, but with whimsical lyrics (“third time’s a charm / even if it’s four”) and white hot, crunchy rhythms.

It’s clear that this is a band on a budget, but that hardly matters when the songs are this fun. I love the nasally warble in the vocals, and the piercing guitars, and that delicious tone offsets any complaints about the richness and fullness of the sound. It has a real, organic feel to it, like your sister’s homemade butterscotch cookies. Sure, she’s not the best cook, but there’s love in those cookies, and though they may be a little burnt on the edges, they’re still a great snack.

Chris Strawn – I Left My Hat in Hades

Introducing the halitosis of DIY, Chris Strawn’s new LP I Left My Hat in Hades. This album slurs and slops through 14 indigestible tracks just for its own amusement. This is an insult to you, to music, and to the polycarbonate plastic it’s written on.

When the production sucks and the artist doesn’t bother trying, no one wins.

Strawn tries everything, desperate to find something that works. One song might ape an 11 year old Danzig fronting a shitty high school band, the next imitate The Cars. And all this happens without a trace of irony. Strawn has assembled a boring home movie highlight reel of his own embarrassing moments.

I Left My Hat in Hades meekly sniffs at a gray bouquet of fake flowers and piss. Whiff the tainted odor of pop, acid rock, and acoustic ballads. Some distant flash of potential may pop up somewhere from the acrid salt dusting this cold space waste. If it lurks anywhere, you’ll find it in “War Song” and “A Jazz Life”.

Nah, this sucks. Forget you read this.

Sirhan Sirhan – Blood

San Diego spawned one of the most powerful, albeit short-lived, scenes when such bands as Antioch Arrow blew away audiences with their mid-90s spazzcore/screamo. Sirhan Sirhan, a decade later, points San Diego in a different direction: much of Blood sounds like early Sub Pop (cf., Mudhoney) with hints of UK hardcore (cf., Discharge). The Antioch musical chaos has been replaced with rather predictable power chords, the anxiety has been channeled into anger, and the product is something perhaps most akin to Black Flag jamming with Leatherface. If I were more versed in metal, I might be able to cite the metal bands that play into the band’s influences – because those influences are also certainly in there somewhere.

That’s a lot of name dropping, but it’s meant to show the diversity of influences that play into Sirhan Sirhan’s sonic stew. The band knows how to rock hard but has enough dexterity to keep things non-linear when it might otherwise get a little tedious and predictable. It sounds somewhat dated, but depending on your point of view its sound could be pegged to the early or late 80s as easily as it could the early or mid 90s.

When “Surgery” starts up, it’s Greg Ginn guitars and Last of the Juanitas drumming. It hits on straight hardcore in its “choruses” but only for a few seconds. “Time To Bleed”? Well, damn if it doesn’t sound like Millions of Dead Cops. But MDC never put delay on its vocals or could have appropriated the gruff vocal grunts of the metal that followed it (or, preceded it – Lemmy beware). Same goes for “Blood,” with its frenetic hardcore pace and shredding guitars.

This supercharged trio plays as a tight, tight unit. And to its credit, the band does hit like a sledgehammer and must be something to see when it plays shows. If the pummeling feels familiar, it’s probably a forgivable offense. It’s a decent ride through punk history in its many incarnations. “Remove My Eyes” alone hits on so many of these touchpoints that it’s hard not to enjoy it at some level. It’s like a guilty pleasure.

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