Craig Kurjanski – ‘From The Attic’
1. Throne and Crown 2. Everywhere 3. The Answer 4. Wait for Me 5. Story 6. Above it All 7. Thanks to You 8. Try the Waters 9. The Elephant and the Whale 10. Apology 11. On the Floor 12. Absent Prayers 13. This Dance
‘From The Attic’ is Craig Kurjanski’s first album. It contains 13 folk-inspired guitar/voice songs of self-expression in a serious and benevolent tone. Kurjanski’s lyrics show notable maturity, though some songs appear to be written more for himself than for an album. Their inclusion is a forgivable offense, as he simply stopped by a home studio and knocked all 13 of these out in a row…in real time! The final recordings do not appear to suffer from this approach, as there are no glaring mistakes (save a lightly-pressed fret or two for the entire album). Essentially a live record, it comes off as natural and rather impressive.
A crisp, but relaxed folkie warble creates tension to be released at the end of several lines. While a stylistic preference, Craig Kurjanski’s John Popper meets Bob Dylan vocals are characterized by a sort of “A-vowel” fixation. It may be aversive to the unaccustomed, but his voice holds warm qualities allowing it to melt between the strummed tones of his acoustic guitar.
Tracks 1-5 flow very well without straggling on a single song for too long. This has the effect of creating listener attentiveness. Songs on the second half of the disc occasionally threaten to make the listener as bored as the writer must have been when he wrote the tunes; a common characteristic of this genre and type of album. “Throne and Crown” is a brief and straightforward introduction; a balanced example of what one should expect from this collection. ‘Everywhere’ features light, finger-picked verses and a very traditional chorus. It is one of the strongest songs on the album. ‘The Answer’ is a rather confrontational song, communicating very heavy themes of conflict in a simple, concise, and ultimately effective manner. ‘Wait for Me’ (featuring a web- or hammock- like arrangement of chords) and ‘Story’ round out the best songs on this offering.
‘Thanks to You’, while perhaps heartwarming and dripping with appreciation, may be too personal for the casual listener. One could argue I am not giving the song its due, but my patience for this type of expression has waned after countless hours of listening to similar songs in bars and cafés. Perhaps it is a matter of bad connotations. Sometimes an artist tries to push an idea or a very personal emotion in a way seemingly intended to make the audience uncomfortable. Regardless of whether this is the idea at work, I will most likely fast-forward to a later track on subsequent listens. I do not doubt it serves its original purpose. ‘Try the Waters’ is a song of darker tone which pulls the listener in until Kurjanski employs his falsetto. This unnatural register briefly reappears in the chorus of ‘Apology’, albeit to more agreeable effect.
These are the songs we expect to hear in the corner of the coffeehouse or at a smoky open mic night. 13 songs may prove too much of this style for a single sitting if one is not in a very settled mood. Craig Kurjanski is a young songwriter, and this is an impressive debut that may foreshadow greater artistic accomplishments. I would suggest this album to any lingering fans of Javaman’s softer side, as well as to anyone immersed in the open mic scene.
Monday, October 24, 2005
Monday, October 10, 2005
PORSELAIN - 'Demo 2004'
Porselain
demo 2004
www.porselain.com
1. Cookie
2. Promise
3. Derail
After a few years of changing lineups, changing band names, and general hard rock experimentation, Porselain (formerly Salem's Cradle) has returned with their best musical approach since the regionally influential ‘Thrown’ debut. This demo is in anticipation of an upcoming release (date and album title unknown at this time). They are reaching higher than ever before, and their extensive tour schedule with Veruca Salt implies they may very well achieve something truly substantial.
As a fan of the original three-piece that released the fresh and simple (though redundant) heavy rock album ‘Thrown’, I am glad to see singer/guitarist Jorge Kate’s initially wayward attempts to mix it up have finally settled into a balanced approach that combines the steady footing and punch of early Porselain with beautifully executed/produced vocals and more talented playing. ‘Cookie’ features winding lead parts almost reminiscent of Ozric Tentacles. If we had more time, as in the case of a full-length record, it would be nice to hear more of these creative lead guitar parts. While the talented Danny Mabie has more thoroughly showcased his abilities on previous albums, his drum parts on this disc fit perfectly with the rest of the four-piece. These three songs are all bundled in a heavy metal meets pop/classic rock format (ala Godsmack), cautious of overstepping the unwritten rules of radio-friendliness. Considering the intended audience and functional role of a demo record, this may be very appropriate. Fans of the band should look forward to the full-length album (or perhaps live shows), where Porselain can expand upon the ideas offered in these freebies.
‘Promise’ is the lightest of the three offerings, featuring mirror-like guitar and whispered verses that somehow retain a metallic edge. Porselain has had songs like these since the beginning, but has never sounded so professional. The lyrics have improved, as has the vocal delivery. “Derail” closes the demo strongly, moving from a crawling intro/verse rhythm into an explosive chorus with notably well-integrated (almost guitar-like) vocals. The “Me, Myself, & Irene” line is one we could do without, as Jim Carey is not a suitable protagonist for this song’s purposes. The stretching of the word “society” to fit 5 different notes on 5 or more syllables is something the average listener may or may not wish to follow, so some care should probably be taken in avoiding these types of situations next time. However, the great sound and tight playing make up for the few lyrical misfits.
Porselain’s music has come to draw upon Christian themes as applied to society, allowing the band a grounded inspirational center. With big sounds and big themes, some care may be taken to avoid the deadly “Scott Stapp-isms” that have been shown to ruin “Christian”-type rockers of grand thoughts and proportions. It is good that Porselain implies grand things with the music, but bear in mind it is a thin line to walk between admirable rock star and clichéd “SpinalTap”-styled excess. I am inclined to believe the previous years of hard rock experimentation and overall experience have inoculated Porselain against many such dangers. I look forward to hearing what is yet to come.
demo 2004
www.porselain.com
1. Cookie
2. Promise
3. Derail
After a few years of changing lineups, changing band names, and general hard rock experimentation, Porselain (formerly Salem's Cradle) has returned with their best musical approach since the regionally influential ‘Thrown’ debut. This demo is in anticipation of an upcoming release (date and album title unknown at this time). They are reaching higher than ever before, and their extensive tour schedule with Veruca Salt implies they may very well achieve something truly substantial.
As a fan of the original three-piece that released the fresh and simple (though redundant) heavy rock album ‘Thrown’, I am glad to see singer/guitarist Jorge Kate’s initially wayward attempts to mix it up have finally settled into a balanced approach that combines the steady footing and punch of early Porselain with beautifully executed/produced vocals and more talented playing. ‘Cookie’ features winding lead parts almost reminiscent of Ozric Tentacles. If we had more time, as in the case of a full-length record, it would be nice to hear more of these creative lead guitar parts. While the talented Danny Mabie has more thoroughly showcased his abilities on previous albums, his drum parts on this disc fit perfectly with the rest of the four-piece. These three songs are all bundled in a heavy metal meets pop/classic rock format (ala Godsmack), cautious of overstepping the unwritten rules of radio-friendliness. Considering the intended audience and functional role of a demo record, this may be very appropriate. Fans of the band should look forward to the full-length album (or perhaps live shows), where Porselain can expand upon the ideas offered in these freebies.
‘Promise’ is the lightest of the three offerings, featuring mirror-like guitar and whispered verses that somehow retain a metallic edge. Porselain has had songs like these since the beginning, but has never sounded so professional. The lyrics have improved, as has the vocal delivery. “Derail” closes the demo strongly, moving from a crawling intro/verse rhythm into an explosive chorus with notably well-integrated (almost guitar-like) vocals. The “Me, Myself, & Irene” line is one we could do without, as Jim Carey is not a suitable protagonist for this song’s purposes. The stretching of the word “society” to fit 5 different notes on 5 or more syllables is something the average listener may or may not wish to follow, so some care should probably be taken in avoiding these types of situations next time. However, the great sound and tight playing make up for the few lyrical misfits.
Porselain’s music has come to draw upon Christian themes as applied to society, allowing the band a grounded inspirational center. With big sounds and big themes, some care may be taken to avoid the deadly “Scott Stapp-isms” that have been shown to ruin “Christian”-type rockers of grand thoughts and proportions. It is good that Porselain implies grand things with the music, but bear in mind it is a thin line to walk between admirable rock star and clichéd “SpinalTap”-styled excess. I am inclined to believe the previous years of hard rock experimentation and overall experience have inoculated Porselain against many such dangers. I look forward to hearing what is yet to come.
Friday, September 23, 2005
REDMEDIC - 'Demo summer 2005'
Redmedic
demo summer 2005
www.redmedic.us
1.The Antonym 2.The Open Mouth Last Kiss Goodbye 3.Macabre Painted In Pastels 4.Cupid In A Bombshelter 5.Wake Me Up When Autumns Over
This is intended as a positive review, though I focus more on the faults of the band. Redmedic is a young band of a flooded genre commonly called “emo” or “emo-core”. Most songs are marked by particularly artistic structure, consisting of several parts. The sound and structure evoke images of homemade construction paper collages; patterned-edge scissors and all. Relaxed, flutterly-distorted guitar parts and meandering bass are cut by low-mix metal leads and dual vocals. One singer tends toward a throaty “hardcore” voice, while the other is more often found providing the melodic sing-song lead lines. They occasionally do the same style simultaneously, and they may do well to consider switching up their usual roles for a change of pace. The screaming/singing dynamic is somewhat overexploited, and the pursuit of a vocal approach shying from total melodic focus may be worth their while. Although their up-front melody is likely very appealing to the younger crowd, it would be nice to see them outgrow the trappings of current trends. To see them move in the general musical direction of mid-to-later Clash would not be a disappointment (hint: more room for differentiation!). They appear to have the required ingredients. I like to think of this band in terms of what it COULD be.
Onward to the demo disc songs: “The Antonym” is an intro track of Counting Crows guitar (think “Round Here” intro) invaded by “Crazy Train” bass and interesting toms before a relatively bland verse-ish bridge and some repetition. It blends very well into “The Open Mouth Last Kiss Goodbye”, whose mid-paced opening riffs are the most aggressive on the disc. The distorted rhythm guitar of this section yields a particularly bone-dry tone. The song itself is in Redmedic’s usual style (similar to the next two songs on the demo). Basically, twinkly guitar over palm-muting, with some hoarse screams in a mishmash of melody. I think this song would come off better in a good live performance. For a self-recorded demo, however, this isn’t bad. There seems to be some studio shyness/staleness in the performance itself.
“Macabre Painted In Pastels” opens nicely with a whisper before the verse and rising action of the (descending) pre-chorus riff. This is clearly the most memorable song due to its scream-along call & answer chorus. The quick bass & drums part before the bridge would have to be one of my favorite parts, for the fact it is a clear expression of the childlike playfulness encapsulating their current sound. The shouting chorus of this song is the peak of the disc. Accordingly, “Cupid In A Bombshelter” is falling action. “Wake Me Up When Autumn’s Over” is the most listenable song on the record due to its (appropriate) brevity and the fact it does not attempt to reach beyond its natural limits by way of throwaway cheats. Solid structure on this one.
Redmedic’s greatest weakness appears to be the extensive use of vocal hooks; intended to be charismatic in emo fashion, but progressively annoying with repetition. Most of the songs last too long anyway, so this may provide some beginning strategy. Redmedic’s excesses threaten further connection to the wimpy/whiny so-called “emo” of today (which seems to be the core of their current inspiration, not to mention that of most of their peers). Redmedic has more potential than that of a sub-mediocre emo band. Break away. The vocal weaknesses are fixable, but may require a conscious effort and overall songwriting maturation (within the self-imposed limits of Redmedic’s changeable identity). The band, while somewhat loose, simply shows the basic signs of youthfulness. If they continue to search for their appropriate sound, they may promise at least an album’s worth of genuinely listenable material. I would like to hear them do it.
demo summer 2005
www.redmedic.us
1.The Antonym 2.The Open Mouth Last Kiss Goodbye 3.Macabre Painted In Pastels 4.Cupid In A Bombshelter 5.Wake Me Up When Autumns Over
This is intended as a positive review, though I focus more on the faults of the band. Redmedic is a young band of a flooded genre commonly called “emo” or “emo-core”. Most songs are marked by particularly artistic structure, consisting of several parts. The sound and structure evoke images of homemade construction paper collages; patterned-edge scissors and all. Relaxed, flutterly-distorted guitar parts and meandering bass are cut by low-mix metal leads and dual vocals. One singer tends toward a throaty “hardcore” voice, while the other is more often found providing the melodic sing-song lead lines. They occasionally do the same style simultaneously, and they may do well to consider switching up their usual roles for a change of pace. The screaming/singing dynamic is somewhat overexploited, and the pursuit of a vocal approach shying from total melodic focus may be worth their while. Although their up-front melody is likely very appealing to the younger crowd, it would be nice to see them outgrow the trappings of current trends. To see them move in the general musical direction of mid-to-later Clash would not be a disappointment (hint: more room for differentiation!). They appear to have the required ingredients. I like to think of this band in terms of what it COULD be.
Onward to the demo disc songs: “The Antonym” is an intro track of Counting Crows guitar (think “Round Here” intro) invaded by “Crazy Train” bass and interesting toms before a relatively bland verse-ish bridge and some repetition. It blends very well into “The Open Mouth Last Kiss Goodbye”, whose mid-paced opening riffs are the most aggressive on the disc. The distorted rhythm guitar of this section yields a particularly bone-dry tone. The song itself is in Redmedic’s usual style (similar to the next two songs on the demo). Basically, twinkly guitar over palm-muting, with some hoarse screams in a mishmash of melody. I think this song would come off better in a good live performance. For a self-recorded demo, however, this isn’t bad. There seems to be some studio shyness/staleness in the performance itself.
“Macabre Painted In Pastels” opens nicely with a whisper before the verse and rising action of the (descending) pre-chorus riff. This is clearly the most memorable song due to its scream-along call & answer chorus. The quick bass & drums part before the bridge would have to be one of my favorite parts, for the fact it is a clear expression of the childlike playfulness encapsulating their current sound. The shouting chorus of this song is the peak of the disc. Accordingly, “Cupid In A Bombshelter” is falling action. “Wake Me Up When Autumn’s Over” is the most listenable song on the record due to its (appropriate) brevity and the fact it does not attempt to reach beyond its natural limits by way of throwaway cheats. Solid structure on this one.
Redmedic’s greatest weakness appears to be the extensive use of vocal hooks; intended to be charismatic in emo fashion, but progressively annoying with repetition. Most of the songs last too long anyway, so this may provide some beginning strategy. Redmedic’s excesses threaten further connection to the wimpy/whiny so-called “emo” of today (which seems to be the core of their current inspiration, not to mention that of most of their peers). Redmedic has more potential than that of a sub-mediocre emo band. Break away. The vocal weaknesses are fixable, but may require a conscious effort and overall songwriting maturation (within the self-imposed limits of Redmedic’s changeable identity). The band, while somewhat loose, simply shows the basic signs of youthfulness. If they continue to search for their appropriate sound, they may promise at least an album’s worth of genuinely listenable material. I would like to hear them do it.
Friday, September 16, 2005
THE FEUD - 'Language is Technology'
The Feud
'Language is Technology'
Insidious Plot Audio
steve@43rocket.com
The Feud's electronic instrumental rock is a special find, refreshing and relaxing as it is exciting. Language is Technology is a spirited journey through mystery and danger. Soft jazzy parts implying serene and simple landscapes ("Tidy Sum") build up into monstrous, big rockin' mountain wars ("There Is No Sleep/Desized"). Many parts of the Feud's songs could likely be accomplished with a combination of marching band and a jazz group, with the occasional overdrive for extra punch. Some, like "King Abner Soul Fist", employ the contained, introspective aesthetic found in parts of Joe Satriani's Crystal Planet. The album upens with "N'finite Rug", a track that has a sort of Siamese Dream-feeling sunny calmness at the begining before moving into dark and unfamiliar territory and action-movie soundtrack mode, giving us a fair sampling of what the rest of the album may hold. This work flows strongly throughout, but other standouts include "Tidy Sum" and "Citizen Beautiful Alien", both including the full range of aforementioned attributes. "Kink Abner Soul Fist" and "There Is No Sleep/Desized" work toward the gradual closing of the album. I recommend Language is Technology, not only for its diverse arrangements, but for its wide appeal to lovers of instrumentals.
'Language is Technology'
Insidious Plot Audio
steve@43rocket.com
The Feud's electronic instrumental rock is a special find, refreshing and relaxing as it is exciting. Language is Technology is a spirited journey through mystery and danger. Soft jazzy parts implying serene and simple landscapes ("Tidy Sum") build up into monstrous, big rockin' mountain wars ("There Is No Sleep/Desized"). Many parts of the Feud's songs could likely be accomplished with a combination of marching band and a jazz group, with the occasional overdrive for extra punch. Some, like "King Abner Soul Fist", employ the contained, introspective aesthetic found in parts of Joe Satriani's Crystal Planet. The album upens with "N'finite Rug", a track that has a sort of Siamese Dream-feeling sunny calmness at the begining before moving into dark and unfamiliar territory and action-movie soundtrack mode, giving us a fair sampling of what the rest of the album may hold. This work flows strongly throughout, but other standouts include "Tidy Sum" and "Citizen Beautiful Alien", both including the full range of aforementioned attributes. "Kink Abner Soul Fist" and "There Is No Sleep/Desized" work toward the gradual closing of the album. I recommend Language is Technology, not only for its diverse arrangements, but for its wide appeal to lovers of instrumentals.
SNOWGLOBE - 'Our Land Brains'
Snowglobe
'Our Land Brains'
Bardot Records
info@bardotrecords.com
Snowglobe sounds like the kind of band that would play in your backyard as you make smores over an open campfire. Between a crispy acoustic guitar/drums combination and defined brass lies a soft, cushy center that invites you to sink your teeth in. This center is what makes Snowglobe the appealing band that it is. It's hard to pinpoint, but there is some magic between the members of this group. Snowglobe's guitar-voice-brass melodies, often backed with organ and piano, imply tackiness without fully embracing it. They leave us with about 6 immediately moving tunes between a couple of 30 second transitional fillers and the less prominent, but solid numbers that make Our Land Brains a good album. It plays well from start to finish, but you will probably still find yourself waiting for the standout tracks. "Waves Rolling" brings us in with a simple, guitar-based strum-along, and is followed up by the childishly innocent-sounding "Beautiful". This is a track that may be skipped on occasion, but it plays a special part in setting the tone for the rest of the disc. "Dreamworks" is the first song with real jukebox potential, and is characterized by an engaging beat and swooping melody. "Big City Lights" is a twisting tale of the comforts of friends. "Muse" may be the best song on the album, with brass hooks filling in the spaces of a shaky guitar. It brings lifting spirits that settle with the relaxing "Stubber". It's falling action from here on out. The final track, "Thriller" is litterally 3 shakes of a maraca, and the story is over. By this time, you are satisfied and ready for bed.
'Our Land Brains'
Bardot Records
info@bardotrecords.com
Snowglobe sounds like the kind of band that would play in your backyard as you make smores over an open campfire. Between a crispy acoustic guitar/drums combination and defined brass lies a soft, cushy center that invites you to sink your teeth in. This center is what makes Snowglobe the appealing band that it is. It's hard to pinpoint, but there is some magic between the members of this group. Snowglobe's guitar-voice-brass melodies, often backed with organ and piano, imply tackiness without fully embracing it. They leave us with about 6 immediately moving tunes between a couple of 30 second transitional fillers and the less prominent, but solid numbers that make Our Land Brains a good album. It plays well from start to finish, but you will probably still find yourself waiting for the standout tracks. "Waves Rolling" brings us in with a simple, guitar-based strum-along, and is followed up by the childishly innocent-sounding "Beautiful". This is a track that may be skipped on occasion, but it plays a special part in setting the tone for the rest of the disc. "Dreamworks" is the first song with real jukebox potential, and is characterized by an engaging beat and swooping melody. "Big City Lights" is a twisting tale of the comforts of friends. "Muse" may be the best song on the album, with brass hooks filling in the spaces of a shaky guitar. It brings lifting spirits that settle with the relaxing "Stubber". It's falling action from here on out. The final track, "Thriller" is litterally 3 shakes of a maraca, and the story is over. By this time, you are satisfied and ready for bed.
TIARA - 'Titletron'
Tiara
'Titletron'
Grand Theft Autumn Records
Tiara plays soft guitar pop-rock with moments of semi-crunch excitement. With popping drums and a mix of up to three electric and acoustic guitars, the textures make interesting tread for the melodic, yawning vocals. Titletron is opened with "Extended Forecast", a muffled weather report accompanied by the guitars that will define the album. "Wish You Away" cuts through with a relaxed Spanish guitar feel into a strong chorus, begging a second listen from the start. "The New Hero" is a step down in intensity, and begins with the hook from "Summer Breeze" by Seals & Crofts, which annoyingly never returns. "Velveteen Rabbit" returns some of the vibe of "Wish You Away" and features tambourines, light keyboard, and guitars of glistening fuzz. The second half of the album suggests scenery: "Waiting On Blue Skies" is drawn out, just like an overcast day with scattered showers. "What We've Become" is welcoming and refreshing, like going to the malt shop to forget your problems. "Nowhere Slow" trails off into the dark, without intention of coming back. This is a pleasing album, covering a great deal of territory. The progression from immediately recognizable songs to the more laid-back couch epics works to define the direction of the album, but more of the preceding would be welcome.
'Titletron'
Grand Theft Autumn Records
Tiara plays soft guitar pop-rock with moments of semi-crunch excitement. With popping drums and a mix of up to three electric and acoustic guitars, the textures make interesting tread for the melodic, yawning vocals. Titletron is opened with "Extended Forecast", a muffled weather report accompanied by the guitars that will define the album. "Wish You Away" cuts through with a relaxed Spanish guitar feel into a strong chorus, begging a second listen from the start. "The New Hero" is a step down in intensity, and begins with the hook from "Summer Breeze" by Seals & Crofts, which annoyingly never returns. "Velveteen Rabbit" returns some of the vibe of "Wish You Away" and features tambourines, light keyboard, and guitars of glistening fuzz. The second half of the album suggests scenery: "Waiting On Blue Skies" is drawn out, just like an overcast day with scattered showers. "What We've Become" is welcoming and refreshing, like going to the malt shop to forget your problems. "Nowhere Slow" trails off into the dark, without intention of coming back. This is a pleasing album, covering a great deal of territory. The progression from immediately recognizable songs to the more laid-back couch epics works to define the direction of the album, but more of the preceding would be welcome.
ALOHA - 'Sugar'
Aloha
'Sugar'
Polyvinyl Records
lauren@freelancetcetera
Vibraphone-Rock has arrived, and it is here to stay. Ohio's Aloha combine voice, guitar, vibraphone, synthesizers, and varied percussion to establish a sub-genre with attributes that could be applied to many styles with good results. But Aloha didn't just throw in a vibraphone and claim to be the new thing - they've shown it. Their sound is a jazzy mix that is light, uplifting, and sometimes quite cathartic. After two and a half minutes of acquaintance time with the instrumental mixture, "They See Rocks" explodes through with vocals and suspenseful chiming, giving way to Matthew Gengler's runaway bass. The captivating bass playing marks this one, and everything else is maneuvering around it. It's no wonder they placed it at the beginning. A great follow-up track is "Let Your Head Hang Low", opening with a sing-along chorus over smiling guitar chops, to be augmented by Caribbean and drum kit percussion. Many of the less predominant tracks hold their own in an aura of vibraphone that is truly angelic at times. Aloha would be a better-than-decent rock-pop band without it, but the vibraphone gives 'Sugar' its extra sweetness. "Protest Song" is a cloud of whirling, whistling tones, and we get a glimpse of the storm at the center. The calm of "Thieves All Around Us" follows, a five-minute walk in the park. The interesting "Dissolving" threatens to leave us, then fades from a modest, but climactic point into a snowstorm of guitar, vibraphones, and barely audible synth-capuccino sounds. "We Get Down" is somewhat reminiscient of Ben Folds Five, and closes the disc to the march of crashing cymbals. You're missing out if you don't at least hear a few tracks from this album. Even if the vibraphone seems like a bit much, it is worth your time to experience Aloha's interpretation of a rare concept.
'Sugar'
Polyvinyl Records
lauren@freelancetcetera
Vibraphone-Rock has arrived, and it is here to stay. Ohio's Aloha combine voice, guitar, vibraphone, synthesizers, and varied percussion to establish a sub-genre with attributes that could be applied to many styles with good results. But Aloha didn't just throw in a vibraphone and claim to be the new thing - they've shown it. Their sound is a jazzy mix that is light, uplifting, and sometimes quite cathartic. After two and a half minutes of acquaintance time with the instrumental mixture, "They See Rocks" explodes through with vocals and suspenseful chiming, giving way to Matthew Gengler's runaway bass. The captivating bass playing marks this one, and everything else is maneuvering around it. It's no wonder they placed it at the beginning. A great follow-up track is "Let Your Head Hang Low", opening with a sing-along chorus over smiling guitar chops, to be augmented by Caribbean and drum kit percussion. Many of the less predominant tracks hold their own in an aura of vibraphone that is truly angelic at times. Aloha would be a better-than-decent rock-pop band without it, but the vibraphone gives 'Sugar' its extra sweetness. "Protest Song" is a cloud of whirling, whistling tones, and we get a glimpse of the storm at the center. The calm of "Thieves All Around Us" follows, a five-minute walk in the park. The interesting "Dissolving" threatens to leave us, then fades from a modest, but climactic point into a snowstorm of guitar, vibraphones, and barely audible synth-capuccino sounds. "We Get Down" is somewhat reminiscient of Ben Folds Five, and closes the disc to the march of crashing cymbals. You're missing out if you don't at least hear a few tracks from this album. Even if the vibraphone seems like a bit much, it is worth your time to experience Aloha's interpretation of a rare concept.
Welcome to the new home of The PhoenixHeart Review
This will be the new home of The PhoenixHeart Review. The old site will still be available and is still fully operational. It is simply easier to add reviews here. The old site WILL NOT be updated, while this site will continue to receive new reviews.
Until this site is finished, the old site is available at
http://www.angelfire.com/indie/phoenixheart/review.html
Thanks for reading.
All reviews/writings Copyright (c) 2001-2005 PhoenixHeart Records & Media.
Until this site is finished, the old site is available at
http://www.angelfire.com/indie/phoenixheart/review.html
Thanks for reading.
All reviews/writings Copyright (c) 2001-2005 PhoenixHeart Records & Media.
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