IO – Our Disintegrating Museum

cover_6321615122012_rNow, here’s something rather special.  This third release from Brummie math metal band IO brings enough heavy intensity to satisfy most open-minded metalheads while, lurking beneath the surface, their sound retains enough clunking, grinding and, frankly, epic discordance to attract those who love the noisier end of alt- and post-rock.  Looking at each of their sounds and influences individually, you will surely have heard each of their tricks and traits from other math and alt-rock/metal outfits, but these guys combine each of those in a way which makes their complex sound far more compelling than most other bands working within a similar musical framework.

‘The Lost Cosmonaut’ starts off with a huge drum sound split between the left and right channels combined with an equally big guitar riff which gives the feeling of an unheard Tool recording, before falling away to reveal post-rock style discordance and a screaming vocal.  The math-metal influence at once becomes far more insistent than the tunes progressive metal beginnings, but there’s an all-round tightness at play that carries the piece no matter which direction IO decide to try and stretch it.  Despite the riffs – and Dave Wright’s immense drum parts – taking up most of the arrangement, a screaming voice cuts through the various complexities, bring a greater feeling of bands like Bring Me The Horizon and the heavier end of In Flames.  At the point where things appear to be in danger of repeating themselves unnecessary, IO tacks on a lengthy and atmospheric coda.  Most of the riffs subside, while over a simpler time signature the band adopt a few “la la” vocals and top everything with tinkly bell percussion sounds.  This opening number may sound at first like two or three ideas cemented together, but it really works, eventually sounding greater than the sum of its constituent parts.  At first, ‘The Cisco Kid’ sounds as if it’s eight minutes are going to be devoted to similar musical hallmarks as it begins with sledgehammer riffs and another intensely shouted vocal, but then, it swiftly branches out into one of the album’s finest arrangements.  In a way which wasn’t even hinted at previously, the first chunk of this tune works around a near circular riff, with multi-tracked guitars almost having a repetitive hypnotic effect.  Following this, something even more magical happens as the band work through an instrumental section where the drums lay down an almost funky groove and – for a while, at least – the twin guitars of Al Lawson and Stu Atkins seem happy to follow, before pulling away for something far more intense.  Overall, the instrumental parts of ‘The Cisco Kid’ could almost be the work of a different band to ‘Cosmonaut’.  Imagine ISIS with occasional input from the heaviest works of Leicester post-rockers Maybeshewill (but with vocals) and that may provide a useful – if not entirely accurate – reference point.

Taking a step back, ‘Vultures of the Arctic’ begins with two and a half minutes of sheer beauty, as lovely piano motifs are played against bass and drums in a classic progressive rock style.  By the time the whole arrangement kicks in, there’s enough space for ringing guitar lines and even acoustic rhythms to help flesh out the already huge sound even farther.  Never wanting to labour even the finest of musical ideas, things then shift towards more pointed math rock (led by some great lead work courtesy of Atkins) before moving firmly into alternative metal territory.  A mix of gruff and clean voices provide a good focus, but it’s Steve Wood with his enormous bass sound which proves to be the real star throughout.  ‘I’ll Need A Diagram’ presents IO at their fastest and heaviest – and, sadly, their least imaginative.  Those who like the more extreme elements of alternative metal will without doubt get some enjoyment from this number, but the preceding lengthier pieces prove these guys are capable of so much more.  Luckily, the number’s second half takes a more restrained approach: the angry vibes replaced with a waltz of punchy bass sounds, intermittent rhythm guitar and…brass.  It seems these guys have the imagination to constantly surprise [although any surprises will ultimately be void for those reading this before listening!]

The closing pair of tunes, ‘Horse for a Particular Course’ and ‘Voyage For The Alection’, combine various traits as heard through the earlier numbers, but even so, still bring moments of absolute magic.  Wood’s bass sound, in particular, is no less impressive by the end of the album, especially when combined with distorted Thurston Moore-esque/Mogwai influenced guitar drones as it is on the second half of the latter.  ‘Horse’ – a short instrumental – essentially provides a quick glimpse of each of the band member’s potential talents.  The off-kilter time signatures are handled with absolute ease by the rhythm section, while the clean and jazz-rock influenced guitar lines place the band more in line with other UK math-rockers Bear Makes Ninja and Wot Gorilla?, two bands who released material during 2012 that helped strengthen the burgeoning UK math-rock scene.

Whether tackling slow, pounding riffs or somehow tapping into sounds which could have been made by The Jesus Lizard, Between The Buried and Me or ISIS, IO are hugely entertaining.  The riffs instantly grab the attention while the overall sense of the unexpected – and the bands insistence on throwing in as many rock-based styles as possible – makes it almost impossible to stop listening until the last notes have silenced.  Challenging, ugly, cinematic, undeniably cool; the museum can be many things – but like most artistic curios, you’ll need to experience it for yourselves to make complete sense of its overwhelming scale and inevitable impact.

January 2013

THE ANTICS – Running Faster

Hailing from New Jersey, this four piece band borrow influences from Joy Division, The Strokes and a few other post-punk/garage bands to create a debut album that’s unlikely to be very broad in its audience appeal, since their approach to all things post-punk is, at times, rather slapdash.  They appear to have a great bassist; even their guitarist offers a few interesting sounds of an angular nature, but looking beyond that, there’s not always a lot of tightness…and even less in the way of particularly memorable songs.

The album’s best track ‘Overload’ begins with a mechanical beat, joined by a simple bassline and clanging guitars.  By the time vocalist Luke Meisenbacher steps up to the mic, his voice – part unfussy belt, part croon – the band’s love of Joy Division is obvious.  Although many have been influenced by that cult electro-goth band, few – if any – have ever come close to equalling their cold mechanical brilliance, and The Antics are no exception.  Accepting the tune for what it is, though, the bass work is solid in its simplicity with a great tone, while – lurking somewhere in the back – cleaner lead guitar lines add an extra depth to the overall atmosphere [no pun intended].  Also enjoyable, ‘Payday’ has a nice walking bassline coupled with hard rhythmic chords defiantly recalling The Clash’s ‘London Calling’, over which the naturalistic vocal seems well suited.  By the time an organ part joins midway, the arrangement sounds pleasantly full, with the song’s simple swagger being its strongest selling point.

There’s yet another enjoyable bassline at the heart of ‘Take Your Passport’.  Combined with two distinctly different guitar parts – a staccato lead and intermittent crashing chord for rhythm – this is one of the band’s most effective arrangements (again, with hints of Joy Division; maybe a touch of Joy Division obsessives Editors). It almost single handedly proves this band aren’t untalented – they’re just not going to appeal to everyone.

Beyond these two tunes, the band’s output is even more of an acquired taste.  The short ‘Francine’ works around a near discordant one note guitar line tempered by a choppy rhythm and mechanical drum.  While rather angular, it sums up the unrefined elements of The Antics’ style well enough, like an old tune by Wire jammed by The Strokes.  ‘In The Night’, a slightly slower tune which allows Meisenbacher to adopt more of a croon, once again.  Occasionally his unfussy voice brings moments where his wobbling off-key is not always easy listening, eventually marring an otherwise reasonable (though never earth-shattering) tune.  A definite skipper, the quirky ‘Dancing’ sounds like the work of an unfocussed indie-rock band playing in a garage – mixing elements of The Strokes and Frankie & The Heartstrings – with raw results.  The rhythm guitars have some pull, but as with ‘In The Night’, the vocal is rather challenging (particularly so on the chorus) eventually working towards the song’s detriment.

After prolonged listening, the rawness of the vocals and general ragged approach taken on ‘Running Faster’ becomes a little too hard on the ears in places. For a DIY project, though, the album sounds decent enough from a sonic perspective and the bass is often nice and high in the mix. Overall, The Antics have a couple of good ideas (usually their more obvious Joy Division-esque ones) lurking among some largely forgettable material, but while its always easy enough to understand what they’re aiming for, they don’t always leave a lasting impression.

There’s a good EP in here somewhere.

December 2012

VARIOUS ARTISTS – Drug Buddies: A Tribute To The Lemonheads

In terms of mainstream popularity, The Lemonheads’ peak came in the early 90s, when their fifth album ‘It’s a Shame About Ray’ and cover of Simon & Garfunkel’s ‘Mrs. Robinson’ both became big hits.  Either side of that release, despite hugely unstable line-ups, the band recorded other great music, both punk based and of the summery slacker pop variety.  Each of the albums within the band’s catalogue are worthy of investigation.

With such cult status – and Evan Dando’s knack with a throwaway pop ditty deserving of the praise he has intermittently been given – it’s obvious they would be a huge influence upon other jangle-pop bands from Boston and beyond.  On this tribute disc, twenty one DIY bands have been brought together, putting their mark on various tunes associated with The Lemonheads, alongside one original composition about Dando himself.  The results, as you may expect, are mixed.

For ‘I’ll Do It Anyway’, Star fuzz things up considerably, so much so there’s more distortion than actual tune in places, but they make it their own.  Cutting through the sheets of trebly noise, a twee female voice evokes recordings by Velocity Girl and other 90s indie favourites, and once you’ve tuned into the band’s style, Dando’s melodic leanings eventually shine through, especially on the chorus, which still stands up as an amazing piece of pop.  Far less fortunate is Marauder’s take on the lovely ‘Down About It’.  There are a few nice slide guitar notes and a reasonable jangle, but any enjoyment is killed by an extremely flat vocal performance.  Better, Himson re-imagine ‘My Drug Buddy’ as stripped down workout for acoustic guitar and ukulele.  While it turns out exactly as you’d expect for something with a uke in tow, all harmony vocals are well executed and the electric guitar laying down jazzy leads intermittently provides a welcome addition.

Following a long-wave radio-esque intro, Shindig don’t really use the full spectrum of their obvious talents on ‘Confetti’, preferring instead to offer something as close to Dando’s vision as they can. This is fine, but without the sharpness in the guitar department it doesn’t quite have the impact it should.  Vicious Whiskey turn in a raucous version of ‘6ix’ (originally from the overlooked ‘Car Button Cloth’) which, while a little unimaginative, their version is great in its own right, chockfull of garage-sounding guitar lines and a small serving of feedback for good measure.  In the hands of The Neuvos, ‘It’s a Shame About Ray’ has plenty of summery guitars, shimmering constantly and an occasional accompaniment which sounds as if it really ought to belong to a brass section.  Both features are enjoyable on this slightly slower rendition, but like Marauder, The Neuvos is a band hampered by a wobbly vocalist.  Overall, Neuvos’ offering is a case of “close, but…”

Fans of The Lemonheads’ punkier sounds may find some enjoyment from Numbers on Napkins thrashing their way through a decent version of ‘Uhh’ (the comp’s only Ben Deily related tune), and Suinage taking the jangly ‘Stove’ and cranking the speed and volume just enough to make it interesting.   Both are worth spinning, though neither are classic.  [Since Deily’s compositions are seemingly fair game – unless, of course, NoN chose ‘Uhhh’ unknowingly, it’s a pity they didn’t plump for his vastly superior ‘Second Chance’.]

So with a lot of the material hovering around the enjoyable but workmanlike mark or – in a couple of cases – bewilderingly bad, why should you bother checking out this comp?   Hidden amongst the more average material, there are a few of bright shining stars…and it’s those that have used a little more imagination that gives ‘Drug Buddies’ a huge lift.  With a staccato riff leading the way, Trucker Cleavage offer a rendition of ‘Being Around’ that’s got plenty of punch via a chunky bass riff and slightly discordant lead guitar.  What makes this enjoyable, though, is the lead vocal performance: it’s delivered in a nasal harmony throughout, hugely reminiscent of John Linnell and John Flansborough of They Might Be Giants!  A hugely jangly take on ‘The Great Big No’ sounds at times like the work of a bad Matthew Sweet impersonator, but if you can make it past that, it’s musically sound, making use of swirling keyboards and  big power pop harmonies throughout.  You’re probably curious about the ballsy one-note guitar solo from the original version…  It’s now nowhere to be heard!  The instrumental break here is filled with a suitable amount of noodling, always tastefully played, not shadowing the rest of the tune.

The best of the bunch is Lucky Day’s thoughtful reimagining of ‘Bit Part’, stretching it out to three times the original length.  While the vocal melody remains intact, the music is soft and almost loungy, with the addition of wordless oohs and ahs reminiscent of Sixpence None The Richer.  Of all the tunes featured on ‘Drug Buddies’, Lucky Day are streets ahead of the competition, taking a once trashy ninety second trashy number and dressing it up with passionate vocals and a multi-layered arrangement, culminating in a funky lead bass solo.  In short, this is a tune not to be missed.

…And that previously mentioned original track written as a tribute to Evan?  Mean Carlene’s ‘Evan Says’, surprisingly, is an okay slice of jangle pop that befits Boston’s slacker hero.  Staccato riffs and a repetition of the title are its main concerns, but it’s a more than solid piece of pop rock. Given that it’s writers Mean Carlene appear to be reasonably talented – certainly far more talented than some of ‘Drug Buddies’ contributors – it would have been good to hear them singing one of the many Lemonheads numbers not included here: where are ‘Dawn Can’t Decide’, ‘It’s About Time’ ‘Mallo Cup’, ‘Half The Time’?  Surely all are better than the ‘Car Button Cloth’ era tunes present…

Listen for yourselves using the widget below.  For the hardcore Lemonheads fan, ‘Drug Buddies’ may not always be much more than a welcome distraction, but there are a handful of tunes worth downloading.

November 2012

BEAR MAKES NINJA – Shouting At Bridges

Bear Makes Ninja are a three-piece Mathrock band from Leicestershire.  At the root of the seven tunes featured on ‘Shouting At Bridges’ (their second EP), you’ll find lots of the usual musical complexity associated with the subgenre – the bastard child of alternative rock and progressive metal – but what makes BMN really tick is their love of a heavy riff.

Such a riff cuts through the middle of ‘Fruit Can’t Fly’, exposing a huge admiration for early Smashing Pumpkins.   While there’s very little in the way of a chorus, the push and pull between (almost) harmonious singing and all out shouting holds the attention well enough, while riff wise – alternating between the Pumpkins-esque groove and something much faster – the band show themselves have some decent rock chops.  Digging a little deeper, some of the drum work is of particular note, especially the rather fast hi-hat work.  Overall, this is a fantastic number…especially with the volume cranked; the EP is worth investigating on the strength of this track alone. On the more melodic side, ‘Human-zee’ shows jazzier leanings within BMN’s sound:  the off-kilter rhythm and jazz guitar lines are key here, but although their journey into such territory is enjoyable, it’s quickly apparent that James Palmer isn’t quite as adept at the guitar noodlings as Wot Gorilla?’s Ben Farnell.  Even so, his jazzier chops make a fine base for drummer Karina Lawrence to build a quirky rhythm to compliment Ben Kutzner’s busy bass riffs.

‘Beef Sweets’ pulls Bear Makes Ninja’s three key styles into one short instrumental piece.  A clean guitar riff played with some delay paves the way for an unfussy and rather chunky bass part.  These two elements provide the bulk of the tune, but BMN aren’t quite done: to round things off, another huge riff (of a Helmet-esque chugginess) pulls things to a gradual close.  Perhaps more could have been made of this tune – and the size of that riff in particular – but in terms of simply highlighting this band’s main sounds, it does a reasonable job.

The second half of ‘Shouting At Bridges’ never stretches beyond the musical themes laid down within the first three tracks, but even so, it’s not without enjoyment.  ‘The Duke and The Rogue’ sounds great during the noisier moments, a wall of guitars hinting at influences from Oceansize and Tool, while the shouty, English accented lead voice shows a fair lack of restraint (in a good way); ‘A Welcome Break’s intro includes the EPs strongest drum part – crossing slightly jazz inflected rhythms with a marching solidity.  Both are standout moments that suggest that while Bear Makes Ninja aren’t always quite as consistent as a couple of their peers [namely Tubelord and the aforementioned Wot Gorilla?, both of whom BMN have supported], when those sparks of brilliance are there, this are capable of more than holding their own within a burgeoning scene of mathrock bands.

Closing the EP, ‘Keep Wandering’ is a short, light piece that features a simplistic guitar part with a gentle echo, giving the track a nice live sound.  After a while, a one-line vocal creeps in, with all band members singing off kilter (not quite in a round) and slightly off-key.  While it completely dispenses with Bear Makes Ninja’s metallic oomph and is far from their best tune, it seems like an appropriate way to wind down.

For those who feel largely unmoved by the mathrock movement, as good as they can be at times, Bear Makes Ninja aren’t likely to change any minds.  For those who love a few screamy vocals, huge riffs and aren’t adverse to a bit of proggy twiddling, although ‘Shouting At Bridges’ is a little uneven, there will certainly be a couple of tunes here which rattle the brain cells.

October 2012

RAH RAH – The Poet’s Dead

In the summer of 2012, Rah Rah’s Erin Passmore released ‘Downtown’, an excellent EP mixing quieter singer-songwriter moments with occasional bursts of rock.  The result was wholly charming, but only really a stop-gap until her band were ready to unleash their next album.

That record, ‘The Poet’s Dead’ (Rah Rah’s third full-length release) is a monster.  While there are a handful of tunes offering straight up indie rock (almost guaranteed to please those who still have a fondness for Pavement etc), its more distinctive tunes are the few cast from a much bigger range of influences and sounds – sometimes all thrown together.  Those busier tunes care not for subtlety.

One such number, ‘First Kiss’ features an incredibly loud drum and droning keys, which are both joined by almost equally loud guitar chords to create a particularly rousing piece of rock.  Although most of the tune sounds not entirely unlike something The Flaming Lips would have created during their ‘Satellite Heart’ period, it is not without its quieter more moments, where violin, some plucked strings and soft wordless female harmonies add a little more atmosphere.  A simple refrain of the song’s title passes as a hook, but like the aforementioned Lips – or perhaps fellow Canadians Arcade Fire – any chorus hooks take second place to multi-layered bombast.  Almost as full-on, ‘20s’ has verses combining slightly waily vocals (courtesy of keyboard player Kristina Hedland) and a noodling guitar, while the chorus – and ensuing instrumental parts – present a wall of guitars crashing their way through everything, backed with something which sounds very much like a mellotron.  Between these two elements, there’s not much room for much else, and yet, Rah Rah find space for a world of harmony vocals and a rattling bassline which really captures the general aggression within the loudest parts of the arrangement.

The title cut – one of the disc’s more instantly likeable numbers – bares a passing resemblance to The New Pornographers with its male/female dual vocals and breezy approach.  With a simple chorus, some electric piano, a bridge with handclaps and more besides, it’s generally sunny approach is quite welcome.  Given Marshall Burns’ liking of a slightly flat vocal, perhaps some will hear just as much of a latter-day Pavement influence, although it’s unlikely Stephen Malkmus would ever release anything quite this chirpy… Whatever you glean from it, it shows Rah Rah in an excellent light.

Pulling a huge influence from the 90s, the slow and brooding ‘Dead Man’ has a distorted, lead guitar part which would please J Mascis, while still finding room for the obviously melodic – in this case wordless female vocals singing in harmony (possibly Erin Passmore multi-tracked).  The juxtaposition of these two disparate styles lifts the tune above being merely a piece recycling old alt-rock ideas from two decades previously.  Keeping with a similar mood, ‘Fake Our Love’ works around an incredibly jangly base, where Rah Rah wind up sounding like a cross between The Decemberists, The Jicks and Wilco, with a little of their own natural flair helping to carry it off.

Fans who either loved Erin Passmore’s contributions to Rah Rah previously – or else came to Rah Rah via her solo outing – are treated to a couple of first-rate numbers in ‘Prairie Girl’ and ‘I’m a Killer’, where Passmore’s voice is placed right up front. Musically, ‘Prairie Girl’ has a simple base where loud-ish guitar chords provide a pleasing choppy rhythm and the drums follow suit, rarely breaking from a march.  While this may sound musically simple, maybe even a little harsh, Erin’s softer vocal provides a wonderful contrast, capturing all of that crying wonderment which made her EP special. ‘I’m a Killer’ is bleaker, preferring instead to build from an electronic base, which gives a rather unnatural feel in places.  Rather than borrowing from classic synth-pop, all electronic sounds featured within are very cold, almost with the mood of an 8-bit Nintendo soundtrack.  Luckily, a world of chiming indie-rock guitar lines are waiting in the wings, and what eventually blooms is another tuneful (albeit slightly mechanical) rocker which really suits Passmore’s vocal delivery.

While some of the vocals are a touch, uh, wayward, most of ‘The Poet’s Dead’s songs are strong enough to carry off any potential weaknesses. Some of these tunes are wonderful from the off, but due to the band’s occasional tendency for delivering their music in such an extravagant way, some take a while before the various elements really sink in.  However, once everything clicks, ‘The Poet’s Dead’ shows its full potential – the result is an album with barely a weak song in the bunch.

October 2012