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DROPKICK MURPHYS
Born & Bred Records
Going Out in Style:
Fenway Park Bonus Edition
31 tracks
At this point in time,
its somewhat difficult to write a Dropkick Murphys review, as it
can be tough to separate Dropkick Murphys the band from Dropkick Murphys
the product. Its even harder if youve been with them from the
Do or Die era and watched the music and the crowd change over time.
Its pretty easy to be jaded, but it would also ignore the fact that
the records theyve made since ascending to the throne of Boston ambassadors/mascots
have generally been pretty good. In fact, their last record, The
Meanest of Times, stood up quite nicely to anything they did in
the pre-Tessie era. Going Out in Style isnt as strong
as that record, but its still a pretty decent effort. The 1-2 punch
of Hangem High and the title track provides quite a kick, the
latter of which contains enough Boston landmark/celebrity namedropping
to show that the band is in on the joke. While things generally suffer
a bit when they slow down the tempo, the more laid back Broken Hymns
is surprisingly pretty. In addition, its amazing that drummer Matt
Kelly doesnt get mentioned more often as being one of punk rocks
best. There is no way these songs carry their sense of martial swing
without him. The record has its share of filler, and we definitely dont
need their take on The Irish Rover since the Pogues already did
it and did it better.
The bonus edition also
contains a live recording from the bands two-night stint at Fenway
Park. Some fans will be disappointed at the strong emphasis on Going
Out in Style, but that makes sense given that this is the bands
third full-length live release and a lot of the older numbers have appeared
on the previous two. From a technical standpoint, this is about as good
as Ive ever heard a live recording sound. Everything comes through
crystal clear, and the vocals and instruments are mixed at appropriate
levels. In general, the songs contain more energy than their recorded
counterparts, but the melodies get flattened out a bit. While the performance
is more than competent, the song selection highlights the bands increasingly
obvious attempts at pandering to the crowd. The inclusion of Tessie
was probably unavoidable, but its still hard not to associate that
song with the last exodus of the studded leather jacket/liberty spikes
crowd. Im Shipping Up to Boston and Kiss Me Im Shitfaced
(even with its knowing wink) are grating at this point as well. The
high point of the set is Kay Hanley reprising her role on the bawdy
rocker The Dirty Glass. Its probably the bands most enjoyable
song, and really, is there anything that Kay Hanley doesnt make better?
(Kevin Finn)
ANDREA GILLIS BAND
Hey Gillis
10 tracks
Andrea Gillis is another of that rare
breed of singer who can sing the back of a milk carton and make your
soul ache. This new release features a roster of Boston rock royalty:
Melissa Gibbs, Charles Hansen, Michelle Paulhus, and Bruce Corporal,
with guest appearances by Steve Mayone, John Powhida, Mark Pinansky,
and Sarah Grant. This new album absolutely sizzles and spits out
a vengeance that grabs you by the collar and makes you pay attention.
Loads of influences here: classic Motown, mariachi, soul, R&B, and
a load of badass rock n roll. Highlights include a rousing
studio version of a personal longtime live fave, Taxi; More
Often Than Not, written by Scott Janovitz, featuring some great vocal
harmonies; and a rousing rendition of the gospel classic Keep Your
Hand on the Plow. If you havent checked out Andrea Gillis music
yet, youve probably been living under a rock for the last decade
or so. If you havent been living under a rock, you should check out
this powerhouse singer/songwriter. I cant think of anyone who could
possibly not be moved or impressed with the music on this CD.
(Joel Simches)
THE MERICANS
So Late It Hurts
10 tracks
This reviewer recently read that
So Late it Hurts was named one of the best albums of 2011, and the
band, Best Act of 2009. It is not difficult to see why, especially
when one recognizes Providences Chris Daltrys involvement as singer-songwriter.
Daltry began crafting what can only be described as slow core
music in the early 90s when he led Purple Ivy Shadows. The passage
of time has resulted in the perfecting of his signature sound, something
dark, but not oppressively so, brimming with majestic soundscapes and
smooth psychedelic elements. When blended together, the result
is the bands third effort of beauty, something that aches with an
intimate, relatable sorrow and conveyed through Daltrys warm vocals.
The opener, When a Peaceful Bird Cant Hear Her Own Song is,
exactly as the title suggests, melancholic but deeply introspective,
while Language of America, Our Strength in Numbers, and
No One Up There Is Listening call to mind Wilco, Galaxie 500,
and Buffalo Tom. Perhaps the records closer, Sky Full,
truly paints a picture of the Mericans latest: Lift me up.
I want outta here. Lift me up. I wanna taste the sky. In a word:
exquisite. (Julia R. DeStefano)
PLANETOID
The Abraxis Tactics: Phase 4: The
Tatterdemalion
4 tracks
After a year since Planetoid started
releasing the Abraxis Tactics, the fourth and last part has arrived.
The first thing I notice is the cover art, until this point I didnt
realize that all four phases fit together like a puzzle. The front covers
make up a manila file folder, while the inside lyric sheets look like
small notes from an X-file operative keeping tabs on these alien visitors.
Musically, this band just keeps getting
better. The title track The Tatterdemalion is quickly becoming
my favorite all-time Planetoid track. It shows how versatile this band
is: it is a good old blues tune, with a twist. Planetoid are outcasts,
doomed to travel throughout the universe overtaking galaxies, never
getting a minute of rest. Planetoid doesnt fit into a specific genre;
this disc is a great example of that. They mix stoner desert groove,
metal, blues, psychedelic, and good old-fashioned rock n roll
into one big ball, creating something I dont seem to get tired of
listening to. If you havent checked them out yet, they get my highest
recommendation. (Melvin O)
ABSINTHE ROSE
Screech Owl Records
Absinthe Rose EP
5 tracks
While Absinthe Rose would describe
themselves as folk-punk, they could just as easily be associated with
the gothic Americana of ODeath and the Builders and the Butchers.
Its fantastic to be able to add a female-led band to the canon of
this sub-genre thats been bubbling in the indie underground for a
decade now. Kimberly Rose delivers her vocals in a style all her own,
but certainly influenced by PJ Harvey and Sharon Van Etten. Mixing acoustic
and electric tracks, cow-poke folk and punky moan, this EP delivers
an all-too-short snapshot of an indie band on the rise. (George
Dow)
THE WHISKEY BOYS
My Girls Across the Ocean
3 tracks
Ah, youth. The Whiskey Boys are
a couple Berklee lads hailing from Connecticut who now make Boston their
base of operation. Building on Beantowns penchant and support
of all things folk and acoustic, the Boys bluegrass fiddle/acoustic
guitar/banjo twang and vocal harmonies waft through the air like a steady
stream of corn mash smoke from a frothing still in the woods. This
is a noble little EP, and at the end of three nicely built songs, you
want
just a bit more. Pass me that bottle once more, grandpa!
(Mike Loce)
GARAGE SALE PICASSO
& MARIA MONK
75 or Less Records
Garage Sale Picasso
& Maria Monk
8 tracks
The members of Garage
Sale Picasso are clearly children of the 120 Minutes generation
as their songs split the difference between the old R.E.M-style jangle
pop of the 80s and the more lush style of 90s bands like, well,
Lush. There isnt much of an edge to the mostly mid-tempo songs, but
the band has a melodic intelligence that seeps out with repeated listens.
The most noticeable strength is the guitar work of Keith Menard and
Jason Macierowski. I have the feeling these guys could absolutely shred
if they wanted to, but they have the taste to never show off at the
expense of the song.
Maria Monk also would
have fit in on 120 Minutes, but they would fall in line more
with the heavier guitar-driven pop of that era. Think Sebadoh or later
Husker Du. These guys make indie rock for those who believe it should
be loud, messy, and yearning. Its a nice change from all those wimpy
dudes with acoustic guitars who hole themselves up in a long cabin and
make what basically sounds like Starbucks soundtrack music. At times,
the band is a little too melodramatic, but for the most part, Maria
Monk is a welcome kick in the pants. (Kevin Finn)
DOUG RATNER & THE WATCHMEN
Lessons Well Learned
5 tracks
Doug Ratner is far from your typical
singer songwriter. His music has teeth and those teeth bite hard.
His band the Watchmen are the perfect complement to Ratners energetic
rock. His sound is an Americana Elvis Costello, circa 1979, albeit
with slightly longer and more fleshed-out arrangements. “In
the Backseat” is straight-up English punk pop, with a political
subtext. I could do without such an obvious Pink Floyd cover such
as “Money,” but it seems to spit out more bile than the polished
1973 version and seems to have more of the sarcastic bite of Waters
original demo. Midway through this EP, Ratner does get a little introspective,
in a Martin Sexton sort of way. And the last two songs sound like vintage
Rockpile, with Ratner borrowing equally from both Edmunds and Lowe.
Everything Ive heard from this band continues to impress. Keep
it coming! (Joel Simches)
SHAUN ENGLAND
Lay Me Down b/w Down the Line
2 tracks
All of Shaun Englands press mentions
Leonard Cohen. Its odd that theres no mention of Lou Reed, with
whom Shaun shares distinct vocal similarities.
These two tracks highlight an introspective
songwriting style accompanied by acoustic guitar and harmonica. One
would expect to hear the tunes drifting from a front porch somewhere
in the Deep South. The dusty road and heat of the summer live within
the guitar strums and harmonicas vibrato.
This single is an all-too-short taste
of an artist that surely has hundreds more songs like these tucked in
battered notebooks, just itching to tell their stories.
(George Dow)
SEED
Taking Root
9 tracks
This is a great example of “don’t
judge a book by its cover.” The first track of this disc sounds
like another awful Kenny G. album. I sat through all five minutes of
painstakingly slow elevator jazz. The second song was only slightly
better, it had a flamenco feel that just felt flat. I was just about
ready to dismiss this altogether, writing it off as having tried but
failed. Then the third track comes on, changing my opinion completely.
Im not sure why they led the album with the two slowest songs, but
the rest of the disc is awesome. They leave behind the slow jazz, finding
funky jazz grooves that border on old-school ska. These grooves are
solid, the horns sound great, the guitar is full-bodied. If you skip
the first two tracks, this disc will have you shaking your ass around
the house in no time. (Melvin O)
THE DOCTORS FOX
Handful of Laughs
11 tracks
Listening to this album is a lot like
turning the dial on a radio from the low-end stations and slowly working
my way up to the top. Wait, scratch that. Listening to this is a lot
like listening to a bunch of radios tuned to different stations all
playing at the same time. No wait, maybe it’s a bit of both. I don’t
know. Decent metaphors are tough when it comes to a band like this:
one that not only combines such a chaotic array of diverse musical styles,
but one that does it so goddamn well. They’re all over the place. One
moment, the music has a reggae feel, but with gypsy-style fiddle thrown
in the mix. Then, before I can get my bearings, I’m hearing a samba
tune decked out with disco flair. Next thing I know, they’re knee-deep
in doo-wop, country-western, and more. You name it, this band plays
it. Seamlessly, too. The fiddle’s fluid leads, the singer’s husky vocals,
and the band’s jaunting pop-rock warmth provide just enough familiarity
to keep the album grounded amidst all the genre changeovers. (Will Barry)
SPECIAL GUESTS
Canned Peaches Records
10 tracks
On the back of this CD lists 21 names as band members and a wide variety of instruments including the usual acoustic and electric guitars, bass, and drums. Others are harmonica, percussion, synthesizer, B-3, banjo, horns, and a penny whistle. A penny whistle! Al Pechulis writes or co-writes almost all of the music and the songs range from acoustic blues to folk ballads to acoustic Island-flavored popand all of it very personable, very mellow, and very good. I like Zoe Alpert’s sweet vocals on “Remember” and “Lovin’ Arms” and Al’s strong delivery on ballads “Hold Me Close Tonight,” written by T. Perriera alone, and “Long Time Miles.” “Apathy” gets into a nice groove and “Yes I Know” and “Neato Keen” are perfect songs for the beach. A good listen. Check it out. (A.J. Wachtel)
KIRSTEN OPSTAD
Fear of Swimming
11 tracks
On her debut full-length album, Kirsten
Opstad sings songs about casual sex, broken relationships and the tribulations
of early adulthood in an upbeat folk-pop style and a Laurie Berkner-like
vocal. Yes, Laurie Berknermost of the songs on this record sound
as though they would make great bumper music any Saturday morning on
PBS Kids.
Scratch the surface though and Fear
of Swimming is a collection of dark yet positive reflections on
the trials of life. The incongruity of Kirstens vocals and her songs
subject matter is the secret sauce that makes this record so thoroughly
enjoyable.
Her lyrics are heartfelt and honest
and her songwriting skills are fantasticskills shes surely honed
with her other career as an improve/sketch actor at the North Ends
Improv Asylum. Its 11 tracks mix solo acoustic and full-band electric
nicely, resulting in a fully formed and well executed debut.
(George Dow)
18 WHEELS OF JUSTICE
Execution
11 tracks
18 Wheels of Justice deliver a brutal
and intelligent strain of thrash. Relentless in its execution and bolstered
by thought-provoking lyrics, the songs confront everything that is wrong
with America and humanity in general, urging the listener to question
all that is dictated to our society by those who are deemed our superiors.
Vocalist Adam Sloan incites revolution with a virtual arsenal of voiceshe
is tenacious to the end, only taking a breather for one track two-thirds
into the album. While the album is three tracks too long in my opinion,
it’s not due to slacking or petering out, which may be the problem.
While the aforementioned instrumental breaks the mood for a bit, the
relief is akin to walking the corridors between classes. Stylistically,
the album could use more of a lunchtime recess to bring contrast and
add weight to the messages of the surrounding songs, but this quibble
is minor. I think fans of thrash ought to be eating this upthere’s
nothing hackneyed or uninspired here. Just pure drive and conviction.
(Tony Mellor)
PULL TROUBLE FROM THE FIRE
6 tracks
The old adage, a picture is worth
a thousand words, has never been truer. In this reviewers mind,
it would not be fitting to review Pull Trouble From the Fires debut
without first acknowledging album artwork that is all at once trippy,
intriguing, and unsettling. The black-and-white sketch of a man
with a shopping cart by his side and his hand plunged deep into an eyeball
only serves to solidify the bands self-described swampy, psychedelic
indie-rock style. With their ambient sound and experimental
nature, Pull Trouble From the Fire is undoubtedly original. However,
the songs appear to be more of an exercise in the creative process itself
rather than fully realized, cohesive products. The integration
of a wide variety of elements, though interesting, are not always complementary
to each other. At the same time, this debut is difficult to critique.
Something tells this reviewer that Pull Trouble From the Fire pride
themselves on being original and mind-blowing in their approach.
(Julia R. DeStefano)
BY THE THROAT
Riders of Boards
4 tracks
By the Throat (BTT) traffic in a style
of skate-punk hardcore that never goes out of style. It sounds as fun
today as it did in 1984. Singer Niffs vocals lie somewhere between
NoFXs Fat Mike and MDCs Dave Dictagood pedigree by any measure.
Guitars crunch in the style of early Token Entry. Too bad Riders
of Boards falls flat lyrically. Skateboard lyrics are inherently
limiting but I suspect they can do better than If I get air I gotta
method. Tighten up those lyrics and BTT have a winning formula they
can ride for years to come. (George Dow)
PLUMERAI
Marco Polo
4 tracks
This band is beauty personified. Their
music is ethereal and swirly, much like Cocteau Twins and Bel Canto.
Eliza Browns voice captivates and entrances. The guitars are swirly
and chimey while the rhythm section chugs along quite contently. As
much as this should sound like a 4AD wet dream, I find the mix and the
overall production to be so demo-like and unfinished. There is
truly a wasted potential here, given the dreamy quality the songs possess
and the music so desperately needs. It seems like serving a fine aged
cognac to a roomful of dignitaries in a Dixie cup. This band has been
around for a few years and has seen many lineup changes. I do feel this
combination of musicians is indeed the strongest theyve had and I
hope they continue to make music as impressive as this in their current
configuration. (Joel Simches)
THE FURIOUSITY
All the Rage
7 tracks
Upon receiving this
CD, I was immediately curious as to whether this bands goofy name
is a winking nod to generic punk band names or an unknowing caricature.
After having listened to the album, Im still not entirely sure, but
I definitely think there is potential here. The songs have the trashy
hard-rock feel of a fiercer version of the Donnas or the Runaways. They
are melodic and reasonably catchy, and the band proves to be quite nimble. The
major downside is that they only seem to know one speed, which isnt
much of a problem over the course of an EP, but could be a hindrance
going forward. Also, singer Ashleys voice is an acquired taste. The
full-throttle urgency of her vocals indicates that shes studied at
the heels of Corin Tucker, Kathleen Hanna, and the rest of the original
riot grrls (an awesome place to study, by the way, if my assumption
is in fact true), but she hasnt yet mastered those singers abilities
to use their voices to maximum effect. Her singing can feel a bit like
a bludgeoning. Criticism aside, Id still be interested in seeing
where the Furiousity goes from here. (Kevin Finn)
POLLUTED REMAINS
Reconstruction
5 tracks
I generally dislike girl-fronted metal
and/or punk bands, because they tend to lose their individuality. Polluted
Remains offers a decent dose of punk with a hard metal edge, but Kellees
vocals are so strong she is never overpowered by the music. The majority
of the disc is fast-paced and in your face. Movin’ On is a classic
metal ballad showing that the band can slow it down, and still kick
some ass. (Melvin O)
CROTCHTHROTTLE
75 or Less Records
Everything Odder Than Everything
Else
14 tracks
Cold and industrial, this batch of
ambient music has a post-apocalyptic vibe with all of its futuristic
loops and ominous mechanical sounds. It doesn’t grab your attention
right off the bat, but instead slinks below the radar, like some guerrilla
warrior in fatigues, blending into the background, ready to pounce at
a moment’s noticejust like ambient music should. It slices at your
psyche with a surgical precision so stealthy and subtle you don’t even
realize it’s happening. The tunes are, for the most part, extended electro-instrumentals.
There is, however, a track with a cool piece of spoken-word sci-fi beat
poetry. There’s also a woozy “Fitter Happier”-type track thrown
in the mix as well. The arrangements are driven by distortion-drenched
basslines growling out eerie mantras while assembly-line rhythms clank
and whir. Real freaky stuff. I’m actually a little surprised at just
how much I am enjoying this. (Will Barry)
HYDROELECTRIC
Catseyesoup Records
Space Dirt
9 tracks
If youre either old enough to remember
Heavy Metal as a cartoon, or young enough to appreciate really great
sounding rock music, this band should take a spin under your laser.
I tend to say well-crafted a lot to describe music I enjoy, but
goddammit, its what works, and I use it again on this stuff.
Youve got a new band, circa 2008, but each quartet member is coming
from many veteran rock influences and has learned how to find their
place in the overall mix of HydroElectric. J Mascis even plays guest
lead guitar on a track! Not only that, theyre writing some
kick ass songs, arranging them with poise and understanding of the rock
idiom theyre fitting into. To compare to other bands would
be pointless; futile at best. Just find this band around, listen
to what theyre doing, see them live if you can, and crank it LOUD
when you drive
or when IT drives YOU. (Mike Loce)
KIMON KIRK
Dos Kay Music
Songs for Society
9 tracks
The easygoing, brightly melodic music
on this full-length debut by ex-Session Americana bassist Kirk has a
long pedigree in the American songbook, stretching back as far as Bob
Wills and extending all the way up to Creedence Clearwater Revival, culminating
in the soft-rock stylings of Paul Simon and James Taylor. What seems
to be a drawback here is the mooring of the first two songs, “Awkward
Conversation” and “Cowboy Coffee,” to a strictly utilitarian
rock idiom. Maybe the drums are simply mixed too high, but the percussion
strikes me as mostly workmanlike, and obliviously lacking in nuance,
and the songs suffer by being subsumed beneath the weight of this rhythmic
impetus–the melodies seem almost dulled. All the same, those first
two songs are pleasing, and the third song, “Put Me Out of Your
Misery,” has a gratifyingly epic heft. “Not Where I’m At,”
a ballad co-written with Aimee Mann, has a liltingly elegiac quality;
ditto the introspective “Damndest Thing.” “Can of Corn,”
a craftsmanlike offering, is reminiscent of some of the bravura
of a band like Dan Hicks and His Hot Licks. On “The Road
to No Regret,” Kirk sounds like he is singing above his range,
and the wistful melody is thereby somewhat marred. The pick hit is the
jazzy, almost criminally catchy closing track, “Meet Me At
No Special Place,” which almost makes me feel as though I’m slurping
a fruity umbrella drink in some fern bar somewhere, and maybe that’s
not where you’re atbut then again, not everything has to be beer
and Skittles. (Francis DiMenno)
OPPOSITION RISING
Opposition Records
Aftermathmatics
10 tracks
Opposition Risings (O.P.) debut,
Aftermathmatics pummels listeners with agro-hardcore in the style of
Agnostic Front and Biohazard. Their politically charged lyrics rail
against everything from the rich, to the government, to big banksor
in the case of F.T.W. (ed. Fuck the World) they rail against,
well
everything. O.P. vary their sledgehammer delivery occasionally
with aggressive ska interludes which sound like a deadly serious version
of the Voodoo Glow Skulls. The ska interludes are an important component
of their soundwithout them I would expect to be left exhausted and
twitching from the sheer speed and brutality of O.P.s hardcore crunch.
While O.P. does sell their music and
merch through a variety of DIY outlets, they also commit to make their
music available to all for free. You can stream or download Aftermathmatics
at O.P.s Bandcamp page. (George Dow)
THE SEDGWICKS
Parking Lot Extortion
4 tracks
It may be unfair and even a tad snarky
to characterize the opening track of this debut offering as Sophomore
Rock, but ever since at least Steely Dan and maybe even going back to
Its a Happenin Thing by the Peanut Butter Conspiracy, rock
has been, um, enlivened by the presence of ironic, prematurely world-weary
peddlers of poker-faced whimsy. Admittedly, Beautifully Insane
is a bit more in the conventional mode of twee proto-glam rock ala Marc
Bolan, crossed with a soupcon of late ’80s-style stumbo rock with superadded
screamy guitar solo. Cliff sounds a bit like something David Bowie
might have left in the can circa The Man Who Sold the World, though
there is evident wit and craft here, particularly in the blocky and
chunky middle eight, replete with an echo-laden harmony vocal chorus.
Catchy as hell, too. The pick hit is Lucky You, which sounds a
bit like a revved-up Syd Barrett solo outingthe same fractured, half-sure
lunges into chopped-up and loosely strung together vocal melodiesbut
in this case also jazzed up with backing instrumentals somewhat reminiscent
of the Byrdsa fusion also successfully exploited by the Paisley Underground
stalwarts in the Three OClock. Overall, this is more intriguing than
otherwise, and Id be interested in hearing more. (Francis DiMenno)
MICHAEL MALONEY
First Step
11 tracks
I feel like a total jerk sometimes
when I find myself forced to critically beat down certain CDs that are
mailed to me. This album, for example. When I made track-by-track notes,
the following phrases came up: “Hallmark rock,” “soundtrack
to my teeth getting cleaned,” “crowd-pleaser at the nursing
home,” “poetry to woo a 6th grader,” “was this guy
a music director at a parish who decided to make hackneyed secular music
instead?” etc. Then I read the news clipping that accompanied the
CD
turns out this guy actually plays gigs at churches and nursing
homes, as well as teaches music to high schoolers! Oof. This guy is
providing a musical service to his community, and here I am criticizing
him for some of the most banal lyrics ever, predictable featherweight
song structures, and his oh-so-polite voice. I’m a bully. I’m the bad
guy, saying that this guy’s album makes any Jack Johnson album sound
like the Beatles’ Revolver in comparison. Why don’t I just rob
some old ladies after Bingo while I’m at it? (Tony Mellor)
STARNES AND SHAH
Red Brick Tide
12 tracks
Poet, rock n roller, and storyteller
Dania Abu Shaheen and songstress Zilpha Starnes are at it again, once
more putting forth an effort that is both introspective and influential.
It is through a seemingly effortless manner that the girls vocals
come together beautifully, each bringing her own life experiences and
strengths to the table. The interplay of exquisite, often choral
harmonies results in a magical listening experience. Musical fusion
is the most fitting way to describe it. Through such songs as
the opener Cardinal Marks, Estimate and Then, and
All That Love, the girls have never been more reminiscent of Ryan
Adams and the Cardinals and Hazeldine. Long-term fans will be delighted
in the re-working of Pink White Blue Greens Saturn Starter
Home. As before, the girls lyrics are brilliantly witty, dripping
with sensuality: I know fire and I know hell and yeah, Ive been
there before
Ill let you fix my flat tire. Ill let you
stoke my little fire. I got a box of matches, and I dont care what
catches. The arrangement, complete with powerful riffs and strategically
placed electronic elements is, when compared with the original, indicative
of Starnes and Shahs evolvement. Even Half Hitch, another
track from their earlier record, is given a complete facelift with much
added emphasis on Starnes vocal, Oooh baby, which just makes
the song. Red Brick Tide is an exceptional effort, a fitting
example of something unpredictable yet with the cohesion, driving melodies,
and thoughtful lyrics that serve to hook listeners. Starnes and Shah
have, indeed, been livin right. (Julia R. DeStefano)
GREEDY CHERRY
Greedy Cherry EP
5 tracks
Five songs, five different genres.
Still, I’m not impressed. Their music, no matter what style this band
seems to choose, is entirely unoriginal and unforgivably middle-of-the-road.
In short: It’s crap. Shite, mierda, merde, scheiße.
There, that’s crap in five different languages. Impressed? I didn’t
think so. Listening to this is like watching some mediocre comedian
do mediocre impressions. In one fell swoop, this EP manages to desecrate
Herbie Hancock, lobotomize Antonio Carlos Jobim, piss on the grave of
Bob Marley, neuter the Beatles, and cheapen the centuries-old English
ballad tradition. (Alright, I’ll admit that is kinda impressive,
but that’s beside the point.) Greedy Cherry, please, in the name of
all that is holy and musical, stop the madness. I can’t take anymore.
(Will Barry)
AND A BONUS BOOK REVIEW
GHOSTS IN THE MACHINE
A Review of Hidden Wheel
A
novel by Michael T. Fournier
(Trade paperback; Three Rooms Press, 2011.)
By
Francis DiMenno
This is an intriguing fiction by the
author of the 33 1/3 series monograph on the Minutemen’s Double Nickels
on the Dime. It is a short novel which is, in essence, a mock
biography of two artists. Of course, nearly all fiction is a form of
mock biography. But, ultimately, a novel is also a machine for explicating
a philosophy. Hidden Wheel might be of particular interest to
fans of Philip K. Dick, and/or Don DeLillo (not that the two are mutually
exclusive). Devotees of Dick’s dark, dystopic works such as The Man
in the High Castle and A Scanner Darkly would be likely to relish
the author’s narrative strategy, a series of brief, skillfully arranged,
quasi-documentary chapters in which the story of an eclectic arts scene
is reassembled from the point of view of a chronicler writing centuries
hence. Admirers of DeLillo novels such as Great Jones Street would
likely find an affinity in the subject matter of Hidden Wheel,
with its wide range of arts world characters, each one concisely sketched.
Protagonists include the dipsomaniacal
Max, a half-reformed graffiti artist turned gallery pro, and Rhonda,
a semi-reclusive chess prodigy with a sideline as a dominatrix-for-hire
who spends her life assembling fewer than a dozen enormous, autobiographical
canvases. The side cast includes a tax-dodging old-money gallery
owner and “micro visionary” named Ben Wilfork; a scene-making
editor of an arts magazine who calls herself Lara Fox-Turner; Bernie,
a drummer reduced to taking some very odd jobs in order to buy a new
kit; and Amy, a fading bass player still trading on her one-time affiliation
with a widely revered (and wildly reviled) novelty act called Dead Trend.
The broad theme of the novel seems
to be the evanescence of artistic endeavor in a digital age–and the
central narrative revolves around the respective fates of Max,
the prolific and obsessively self-promoting minimalist, vs. Rhonda,
the prodigy-genius whose lifespan-encompassing works take place on a
far greater canvas. Max, the artist who floods the market with
lazy, derivative work, considers himself a trendsetter to the very
end. Rhonda, the capital-A Artist, is an ideological purist who is imperious
and cold. The methodology of the novel partially mirrors its theme:
the story is told with an ingenious collage of narrative techniques
which in part replicate the subject matter.
Yet for all of its narrative inventiveness,
this is also a novel which is grounded in the real world. Particularly
interesting is its exposure of all manners of scams: self-promotion
in the digital age; the marginally scrupulous business practices of
arts promoters; the inside machinations of the media and its star-making
machinery; and the venal strategies employed by corporate majordomos
to promote dubiously “hip” brand extensions. But this is also
a philosophic novel which gives the reader insights into the nature
of the creative impulse; as such, it ought to be required reading for
that class of artisans who also consider themselves cognoscenti,
members of a select tribe known to marketers as “influentials.” This
novel would also be of interest to those who want to know more
about how such people operate and what really makes them tick.
Hidden Wheel is not so much a hipster manifesto as a dissection
of hip–we might even be talking about a new genre here, “meta-hip.”
Three Rooms Press is an eclectic publishing house which has made
a shrewd investment in what may well become an influential and
pioneering literary work.
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T Max/ the Noise
PO Box 353
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617-331-9637
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