Category Archives: alternative

DOM LIBERATI – The Good Hurt

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domFollowing on from his first two self-released discs (‘Humans’ in 2007 and the acoustic ‘Frailty EP’ in 2008), Dom Liberati’s third release takes the sounds of his previous work and tightens them considerably, while bringing in some extra punch. Combining great hooks with a commercial alt-rock edge, ‘The Good Hurt’ is an album which captivates the listener from the first listen.

The lead track ‘We Own The Night’ begins with a jangly acoustic intro before kicking in to an alternative rock arrangement which has a bouncy air. The track has a very radio friendly quality and is a mix of influences – from new wave keyboard bleeps, to alternative rock moments in the vein of Goo Goo Dolls. Liberati’s vocal style has a tunefulness which often makes him sound at ease with this guitar driven alt-rock; however, for the chorus, Liberati’s vocals aren’t quite as restrained – their carefree manner tips the hat to Kings of Leon mouthpiece Caleb Followill [all the goodwill in the world still prevents me from calling that man a singer]. The simple hook and effective use of a ‘whooah’ make it a tune which sticks in the head. As such, it starts ‘The Good Hurt’ with a strong number.

‘Love Holds It Down’ has a bigger groove, due to a prominent bass line and a crunchy riff. Again, the hook is a very strong one, but it’s from this point on, it becomes clear that although Liberati is gifted as a songwriter, it’s his arrangements which really shine. The rhythm guitars are sharp – though never outdone by the fantastic bass work – and the drum parts are quirky, occasionally in a way which would make Stewart Copeland proud. ‘Burn’ takes those Police influences and makes them as obvious as a fist in the face. It’s a number full of hi-hats and tight drumming, which alone would be enough to warrant being likened to The Police in places, but once the track weaves its way around a fantastic bass line that’s more than reminiscent of ‘Driven To Tears’, those influences and comparisons become so, so unavoidable. Frankly, though, as far as influences go, Liberati could do far worse! The chorus brings an upbeat, jangly guitar riff, over which Liberati’s vocals are hard sounding without being aggressive.

‘Next To You’ offers something softer, with acoustic vibes overlaid with subtle electric leads. Liberati’s hushed tones have a slight Americana leaning against an atmospheric arrangement. The electric guitars and drums have a great amount of reverb and the electric piano compliments them well. The hushed vocal tones are at the other end of the scale to Dom’s louder performances on ‘We Own The Night’, but this change sits rather well among the rockier numbers. ‘Lookin’ Around’ comes with a similar laid-back quality, here capturing Liberati in a mood which would suit the under-rated Pete Droge. It’s a number which rarely breaks from an easy groove, with both Liberati’s under-stated vocal and a slide guitar solo providing the high points.

‘Won’t Let You Down’ is a mid-paced number full of staccato rhythms on the verses, which settle into fairly generic chiming guitars on the chorus. The musical approach lends itself to another Kings of Leon comparison. It’s safe, stadium rock approach makes it one of ‘The Good Hurt’s more predictable numbers, but even then, a ringing lead guitar part towards the track’s end and a rumbling bass provide some appeal on a number absolutely designed for radio. For ‘Meltdown’ a greater focus is put up on the drums with their pounding approach; over the drums, the guitars have a simple, yet fairly dominant twang. Vocally, Liberati keeps things restrained and manages not to slip into those Kings of Leon-isms on the louder moments, often being joined by a blanket of backing voices. The uber-dominant bass returns for ‘The Solution’, a number which features a great vocal, a better chorus and even better bassline, as Liberati offers something which mixes the sound of 21st century alt-rock with the quirks of late 80s hi-tech rock in the vein of Baxter Robertson (specifically the backing vocals) and ‘Power Windows’ era Rush (there’s more than a hint of Geddy Lee’s bass style throughout).

With no duff tracks and nothing which could especially be called filler material, ‘The Good Hurt’ is a very accomplished release; one which showcases a brave mix of styles without ever becoming overly flashy or outlandish. Although it plays host to plenty of top notch songs, it’s often the level of musicianship – particularly those busy basslines – which makes ‘The Good Hurt’ so good. A highly recommended listen.

May 2011

EDDIE VEDDER – Ukulele Songs

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EVPost ‘Yield’, Pearl Jam’s career seemed to go more than a bit wobbly. Their sixth and seventh albums (2000’s ‘Binaural’ and 2002’s ‘Riot Act’) were largely sub-standard. 2006’s self-titled offering offered some improvement, even scoring a US #1 single, but even so, Pearl Jam’s best days seemed long gone. And then…2009’s ‘Backspacer’ represented an unexpected return to form, quite possibly their most cohesive work since 1994’s ‘Vitalogy’.

It’s surprising that in all the years of being Pearl Jam’s frontman (and instantly recognisable voice) it took Eddie Vedder so long to record his first full solo album. That honour went to the soundtrack for the 2007 movie ‘Into The Wild’ (although Vedder was no stranger to soundtracks by that point, having already contributed recordings to the soundtracks for ‘I Am Sam’ (solo) and ‘Dead Man Walking’ (two recordings with Nasrat Fateh Ali Khan). This, Vedder’s first non-soundtrack work, still sounds like it ought to accompany a movie. ‘Ukulele Songs’ does exactly what it says on the tin: a bunch of recordings featuring Edward Louis Severson III and his uke. It offers sixteen pieces of music – some original compositions, some covers – with the Vedder-penned numbers, supposedly written between 2001 and 2011.

A re-recording of the 2002’s Pearl Jam track ‘Can’t Keep’ opens the disc, where after a muted strings intro Vedder busily hammers at his ukulele. His vocal has a strong delivery in places, but the stripped back nature of the arrangement painfully highlights his limitations as his vocal wobbles off-key in various places, particularly during the longer notes. It sort of works on the ukulele, but then it was supposedly on the uke that Vedder wrote his original demo of the number way back when. With the token gesture to Vedder’s rock career out of the way, ‘Sleeping By Myself’ brings a folk vibe, with a vocal much softer around its edges and the ukulele similarly toned down. Although the idea of Vedder + uke may seem like a mere quirk, this has a campfire charm and wonderfully intimate nature. Similarly, the gentle ‘Without You’ features Vedder’s best vocal, with more bass end than some of the other tracks, but essentially capturing the brilliant softer sounds of his range, in a recording which could stand alongside Pearl Jam’s ‘Better Man’ in terms of vocal greatness. Elsewhere, the ringing tones of ‘You’re True’ (a number which, although fine, would be even better with a mandolin included too) and relatively sparse ‘Light Today’ provide enjoyment, if not a lot of variety.

While some of Vedder’s self penned tunes have a one-take DIY charm, it’s a couple of cover tunes which perhaps leave the strongest impression. ‘Sleepless Nights’ (best known in versions by The Everly Brothers and Gram Parsons with Emmylou Harris) finds Vedder joined by The Frames’ Glen Hansard. With that second harmony voice, Vedder sounds more natural, and although his voice is louder – more distinctive than Hansard’s – the two performers sound good together. Cat Power guests on a version of the 1920’s song ‘Tonight You Belong To Me’ (possibly best loved in its 1979 rendition by Steve Martin and Bernadette Peters from The Jerk), and as expected, with Vedder providing the lower registers and slightly mumbly delivery and Cat delivering a distinctive female counter melody (with their male/female parts in reverse of Martin & Peters), it’s schmaltzy simplicity is lovely. He really pushes his luck a little far on an empty rendition of The Mamas and Papas ‘Dream a Little Dream’, though, where the baritone vocal is almost inaudible.

‘Ukulele Songs’ certainly adheres to that old saying that a solo work should be markedly different from a performer’s “day job”. The album is enjoyable in places, though its sparse qualities understandably show up Vedder’s occasional vocal raggedness. Also, the fairly uniform nature of the material means ‘Ukulele Songs’ doesn’t always sound like it was designed to be heard in one sitting; even with the relatively short running time of 35 minutes it can feel a little one paced. Even so, there are a few great tracks to be cherry-picked.

May 2011

BOWERY BEASTS – Heavy You EP

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bbBowery Beasts have been hyped as the best band to come out of Los Angeles for years. Former Sex Pistols man Steve Jones has been very vocal about them. Their ‘Heavy You’ EP is a fairly intense mix of alternative rock sounds, which initially isn’t so easy to grasp.

‘He Was Your First Tattoo’ works around a groove-led drum rhythm, which at first makes the listener think we’re headed for garage rock territory. However, those drums are a bit of red herring, as once the chorus rolls around, the band have settled into a mid-paced alt-rock groove. The drums retain a great live sound throughout. In places, the rhythm guitars jangle from the right speaker, at the bottom of the mix overlaid by a whole world of other guitar parts. Marion Belle’s vocals fuse elements of alternative 90s rock and 1970 rock star wailing in such a way that gives Bowery Beasts a proper edginess. It’s a number which requires a few spins for it to reveal all of its many layers, but after a while, Bowery Beasts’ style seems to work…even though at times you might try and convince yourself it shouldn’t.

After a brief intro of feedback, ‘White Diamond Babe’ provides jangly guitar rock in a fairly predictable fashion. The most striking feature is another rock solid drum part until the chorus where Belle pushes his vocal to extremes, at times hitting a piercing banshee wail. Among the more ordinary indie-rock elements, there’s a moment which appears a little darker with fuzzy sampled voices and reverb. Underneath the layers of guitar, there are hints of a great bass line. The upbeat ‘Young Rockers’ shows Bowery Beasts at their most accessible – at least in terms of radio friendliness – with a strong hook, more restrained vocal and multilayered guitars. It’s the EP’s most sing-along offering, certainly, but it’s relatively safe approach means it’s not always as distinctive as Bowery Beasts are capable of being.

‘Amulet’ provides a change in mood, with plenty of acoustics overlaid by ringing electric guitar, The vocals harmonise for a huge part of the number, which uses of lots of retro rock elements, both from the 90s and 70s, with a reverb filled guitar solo filling several bars towards the track’s end. Its familiarity is certainly comforting, though Belle’s shriek which cuts through a good proportion of the track will not be easy listening for everyone. The closing number, ‘Rock N Roll Queen’, continues in a mellow vibe, as acoustic guitar work is joined by sparing piano lines and the sound of flutes. Each of these elements combined create something magical. It provides a great contrast with the darker edges present on ‘White Diamond Blue’. Belle’s vocal style features moments where you’d think he was evoking the spirit of Mother Love Bone/Malfunkshun legend Andrew Wood; something which becomes really obvious when he delivers the word “honey” with almost exactly the same affectation.

‘Heavy You’ is unlikely to click with you on first hearing. It may not even click with you on the second. Some of you might not even get it at all. It may not always be easy listening (and most of it isn’t as dreamy and smooth as a few of the non-EP tracks floating around the net, ‘Jean’ in particular) but perseverance definitely pays off, since this release features some great moments.

May 2011

READYMADE BREAKUP – Readymade Breakup

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readymadebreakupWith a solid fusion of alternative rock riffs and power pop harmonies, Readymade Breakup’s sound will undoubtedly bring to mind several bands you’ve heard before. Their first two albums (2007’s ‘Isn’t That What It’s For?’ and 2008’s ‘Alive On The Vine’) have their moments, but the third album by this New Jersey band – now down to a four piece following the departure of keyboardist Matt Jaworski – demonstrates a stronger gift for great songcraft and musicianship.

The album opens with a simple drum pattern and fairly angry rhythm guitar work. This kind of relative simplicity could have appeared lumpy, but bassist Gay Elvis plays a fairly busy bassline to flesh things out. When then the chorus kicks in. It’s not as hooky as you’d expect, but even so, Paul Rosevar’s lead vocal is very strong. By the time the harder alternative edges hit the chorus for the second time (via a bridge full of Beatle-esque harmonies), it’s obvious they may be on to something. A similar mid-pace drives ‘Just’, where the band embrace lots of great 90s sounds, but it’s the more aggressive styles of The Posies (circa ‘Amazing Disgrace’) and Ty Tabor’s short-lived Jughead project from 2002 which are among the most obvious, thanks to the collision of chunky riffs with a wall of power pop harmony vocals.

‘Waiting For You’ is the first of a few real standouts, dominated by a busy drum pattern intercut with huge guitar chords. It’s at this point Readymade Breakup really start to hit their stride; their brand of alt-rock showing hints of the lighter Foo Fighters material. ‘Unzip My Face (I Miss You)’ follows swiftly and its faster pace is very welcome. While a simple chorus brings with it a great hook, musically, it’s Gay Elvis’s rumbling bass and Spicy O’Neil’s crashy drumming style which provide the best moments. While some solid backing harmonies and an occasional piano hint at the noisy end of power pop, it’s another slice of 90s retro, alternative rock = the kind which Readymade Breakup seem to deliver so well.

After an acoustic opening, ‘Good Things’ is another upbeat number – and one which features all of Readymade Breakup’s best elements in just over three minutes. A solid electric riff compliments the acoustic rhythm, and although the full-on riffs all but dominate afterwards, the acoustic work can still be heard rounding out the sound of the quieter moments. As before, Gay Elvis’s bass playing is superbly busy throughout and O’Neil’s drumming features a couple of quirky moments. With a fantastic mix of riffs and harmonies (and a rather raucous guitar solo from Jim Fitzgerald), this is the sound of Readymade Breakup at their best. The more discerning listeners among you may hear something reminiscent of oft overlooked 90s alternative band Mother May I during the noisier sections. The album is worth checking out for this track alone.

The closing number finds Readymade Breakup leaving one of their best for last. ‘Erased’ is a mid-paced workout, full of lush harmony vocals, punctuated by occasional ringing guitar. There’s not so much of a chorus here as on some of the previous numbers, but those harmonies and a slightly more adventurous arrangement make up for that – particularly on a funky bridge section featuring Rosevar laying down some funky electric piano. The band eventually delivers some louder, more typical rock riffs before the fadeout.

After a slow start, ‘Readymade Breakup’ proves to be a very strong release indeed, tougher in places than some of Readymade Breakup’s previous outings. The fusion of alternative rock and power pop might not always be of interest to the more pop-oriented listeners among you…but for those who like alternative rock with a focus on strong song-writing and big harmonies, this is an album which could be a cult classic.

May 2011

8IN8 – Nighty Night

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palmer folds gaiman kushianBilled as ‘Tomorrow’s supergroup today’, 8in8 is an impromptu project spearheaded by sometime Dresden Dolls frontwoman Amanda Palmer. Palmer’s dark cabaret works can sometimes be an acquired taste, but amongst the sharp edges and quirkiness, she often demonstrates a fun side. This was never more obvious than on her 2010 EP ‘Amanda Palmer Plays the Popular Hits of Radiohead on Her Magical Ukulele’, which (aside from an occasional appearance of a broken piano) does exactly what it says on the tin. Her work on 8in8’s ‘Nighty Night’ has none of the novelty factor of that EP – nor does it feature a ukulele – and Palmer herself does not appear as harsh or challenging here as perhaps she once did.

Also appearing as part of the project are the legendary Ben Folds (who previously made extensive appearances on 2008’s ‘Who Killed Amanda Palmer’), OK GO frontman Damian Kulash and writer Neil Gaiman, who also has the distinction of being Amanda Palmer’s husband. According to Palmer’s online blog, it was Gaiman who contributed the lion’s share of the lyrics to this project.

For Ben Folds fans, ‘Twelve Line Song’ is the EPs essential track, as aside from a backing vocal from Palmer, musically, it could easily be a demo of an unreleased Folds number. His bouncy piano work is augmented by a marching drum (also played by Folds), over which his vocals are sparky. In all, despite the unpolished nature, it’s a track which could be better than most of the material from Folds’s disappointing ‘Way To Normal’. As it pulls to a close, the dominant drums and piano line shuffle along with just Palmer’s ‘do do do’ refrain for company. As it ends, if you’re a Folds fan yourself, you’ll undoubtedly want more. If your listening preferences favour Amanda Palmer, ‘I’ll Be My Mirror’ pushes her distinctive vocal upfront on a number which features an even more dominant drum line. The lyrics are hard, concerning a homeless asian woman shouting at her own reflection; a lyric which offers the suggestion that one day it could be any one of us. Palmer’s slightly harsh voice is given suitable accompaniment from crashing guitar chords from Damian Kulash and as far as straighter rock vibes are concerned, it’s one of the EP’s best offerings.

The rest of ‘Nighty Night’ is decent, though not quite in the same league as those numbers. ‘One Tiny Thing’ features Kulash’s lead vocal weaved around a very seventies inspired stomp and handclap arrangement. It doesn’t really deviate from its opening groove and after a few listens becomes rather ordinary. ‘Nikola Tesla’ features stabbed piano and a harsh, Lene Lovich style vocal from Palmer. Augmented by Ben Folds on drums and a warm bass line from Kulash, it grabs the attention but is certainly a number for Palmer fans only. This is balanced out by the soft ‘Because The Origami’, a gentle piano duet between Palmer and Folds, whose voices blend rather well. Palmer’s solo voice retains a few ragged edges, but Folds’s piano line remains sympathetic throughout. Closing the EP, ‘The Problem With Saints’ finds Neil Gaiman stepping up the microphone to deliver a very music hall style vocal in a slightly flat, yet charming tone. It shouldn’t work, but is given a lift by Folds’s stabbing piano work, giving way to a almost silent movie esque solo in the centre. It’s certainly a memorable way to end an already quirky release.

This six song EP is the result of a plan to write and record eight songs in eight hours as a benefit for the Berklee College of Music in Boston. The fact that it was recorded almost off-the-cuff really shows, as the tracks featured have a great in the studio sound. Although some tracks are better than others, it’s a marvel they all turned out as well as they have, given there was little time for quality control. ‘Nighty Night’ is an unmissable and rather unexpected rough diamond.

You can stream or download the EP from the widget below.

May 2010