Category Archives: Album & EP Reviews

DANIEL TASHIAN – Arthur

Posted on by

Following the release of the third Silver Seas album ‘Chateau Revenge!’ in July 2010, frontman Daniel Tashian must have worked solidly over the following year. The Silver Seas released an acoustic counterpart to that aforementioned album and played various live shows, while Tashian’s second solo release – the semi-acoustic EP ‘The Lights of Town’ – was also released. By the summer of 2011, Tashian had recorded and released another solo record. ‘Arthur’ brings together nine songs, supposedly themed around the movie of the same name, although naturally, they’re capable of standing alone as individual compositions.

‘When You’re Gone’ is brimming with seventies pop goodness, the kind which sits at the heart of Tashian’s best compositions. It may feature some sharp guitar chords in places, but a harmony vocal, warm bass and soft electric piano lend a strong sense of melody. It’s a number which showcases Tashian’s gift for arrangement. As good as it is, maybe it could have done with being a tad longer… By the time you really get a feel for this track, it’s gone. Equally top-notch Tashian, ‘Tigerlily’ combines acoustic guitars and a smooth electric piano. The lead vocal is also suitably smooth, as the track ambles in a way which evokes a warm summer evening, with its friendly, yet slightly downbeat vibes. Its retroness makes it feel at once very familiar, but never in a way which would suggest Tashian is recycling previously used ideas. The acoustic based ‘Lighthouse’ is pure lounge-pop; it’s not bad by any means – Tashian’s voice is strong and the slide guitar lends a certain mood, but the slight samba rhythm leans on the side of just a little too easy. Still, if the intention here was to capture the feeling of the sea and drifting, it’s certainly successful.

‘Nightmarch’ finds Tashian in a rockier mood than usual, as he cries out above a jangling rhythm guitar, augmented by slightly edgy lead guitar work. The drums are fairly crashy here, too, and the bass appears unobtrusive yet rather busy in its overall approach. There’s a reasonable chorus on show, but it’s a number which requires a few plays before you’ll realise how good it is. ‘Swimming Against The Tide’ opts for a mood that’s almost disco-pop. Tashian’s vocal is strong, but unless you’re really into stuff which sounds like a Bee Gees demo sketch dressed in a Jeff Lynne cloak, it’s just a little too retro. Still, if that’s your bag, you’ll find a really funky bassline (which sounds like it was powered from a keyboard) and a generally tight arrangement here. For those who’ve spent a lot of time with The Silver Seas’ ‘High Society’ or ‘Chateau Revenge!’ there’s a possibility you’ll end up feeling that this number could’ve been the basis for something better.

‘Anna’ is an equal match for ‘Tigerlily’ in terms of greatness. Musically, it sits other end of the scale, being this album’s most feelgood number. An upfront bassline leads the way with a warm riff, which sounds incredibly effective when pitched against occasional electric piano and ringing guitar chords. Tashian’s vocal moves between whispered verses and sung choruses; the contrast between the two styles is effective. His soulful approach on a what is a very enjoyable chorus should have been this track’s big draw, but Tashian takes things a step farther… An occasional string sting tops things off excellently, reminding the listener of this artist’s obvious love for ELO and all things 70s AM radio. While this sounds a little like a ‘Chateau Revenge!’ leftover at times (mostly through its use of electric piano), it’s not second division in quality – and for those who’ve already fallen in love with The Silver Seas sound, this will likely be the number which – unsurprisingly – stands out on ‘Arthur’.

‘Arthur’ contains some enjoyable material which, in a couple of places, finds Tashian branching out a little. Since it doesn’t always reach the dizzy heights of some of the best Silver Seas stuff, it may not be the best entry point to Daniel Tashian’s work. As you’d expect from a great songwriter, though, ‘Arthur’ isn’t without a few genuine gems.

September 2011

ANTHRAX – Worship Music

Posted on by

In the second half of the 00s, things became rather complicated in camp Anthrax.  After a 2005 tour reuniting the band with vocalist Joey Belladonna (who’d previously left the band in 1991), it was reported that Belladonna would be staying on to record new material.  This proved not to be, but understandably Anthrax’s “other” vocalist John Bush was unsettled.  He too, chose not to write new material with the band.  In 2007, Anthrax found a new frontman in Dan Nelson (formerly of Devilsize), with whom they played various live shows.  Work on a new album – provisionally entitled ‘Worship Music’ – began and was all but completed.  It was scheduled for a 2009 release; and then, Dan Nelson left the band and John Bush returned.  It seemed very hard to keep track of who was actually officially part of Anthrax at this point and who was not.

The proposed tour with John Bush was cancelled, bar a few festival shows – including a five date run in Australia.  Following the shows, it was announced that if legalities could be “ironed out”, Bush would re-record some of Nelson’s vocals on the ‘Worship Music’ tracks; after all, the band had a near-complete record ready to go.  This plan, too, fell by the wayside.  And then, at the beginning of 2010, Joey Belladonna returned for more live shows.

Following a string of live dates and festival appearances, Anthrax returned to the studio to finish off the troubled ‘Worship Music’.  Belladonna recorded new vocal tracks for some already complete songs.  Other songs had a degree of re-writing, while others songs were scrapped.  In their place, the band wrote completely fresh material with Belladonna.  It may not be the album as originally planned, but the finished version of ‘Worship Music’ eventually appeared in September 2011 – some two years later than planned.

The lead single ‘Fight ’Em ’Til You Can’t’ would suggest that ‘Worship Music’ picks up almost exactly where Anthrax left off with Belladonna in 1990, complete with a riff which even echoes that of ‘Persistence of Time’.  With chugging down-strokes pitched against Charlie Benante’s double bass drum, its intro is classic, classic Anthrax.  This is a feeling which doesn’t dissipate once Belladonna opens his mouth.  As you may expect, having Joey back out front just sounds right. It’s such a distinctive sound; and let’s face it, with the fans’ favourite frontman back in the fold, their “classic” sound had to be revisited.  The pre-chorus doesn’t quite live up to early promise (although the band sound as tight as possible), but that’s more than made up for with the big hook which follows.  The chorus proper is a little poppy; definitely catchy, lightning up the heavier elements.  Throw in a screaming Scott Ian solo and ‘Fight ’Em…’ recalls every reason you loved Anthrax in the 80s (yes, even those of you who turned your back on the band in the 90s). As a piece of classic metal, this track is just superb.

That’s not to say ‘Worship Music’ is a complete re-tread of Anthrax circa 1989-1990.  There are other songs here which recall other periods from the band’s past, and a few which push the band forward. ‘The Devil You Know’ is another absolute belter of a song, this time a little less thrashy and a little sharper edged.  It’s here Anthrax recall moments of their ‘Sound of White Noise’ incarnation, combining solid riffing with another huge hook.  It sounds like it was tailor made for a John Bush vocal, but even so Belladonna sounds like the consummate professional; his vocal makes its presence really felt throughout.  The songwriting is incredibly good here too, striking the perfect balance between aggression and melody.  It’s interesting to hear Belladonna’s vocal over music which is so rooted in Anthrax’s later direction, and it is perhaps, one of the best tracks recorded by the band since the mid nineties.  ‘In The End’ comes with the kind of riff you’ve come to love from Anthrax, yet it’s balanced by moments which sound rather slick.  While the smoothness of the arrangement won’t suit all tastes, the staccato riffs are upfront enough to carry the piece, while Belladonna’s vocal is one of this album’s most emotional.  Over the years, he’s lost none of his range or presence.  The second half of the track features a shift in key and moves even father towards a multi-layered sound (with some lovely twin lead work).  The extended arrangement clocks in at almost seven minutes, but never feels overlong; everything has its place.  This is followed by something less grandiose, as ‘The Giant’ meshes a great chorus – featuring another top vocal arrangement – with a jagged, riff based verse which harks back to the sounds of ‘Stomp 442’.  The tuneful vocals occasionally feel at odds with the number’s aggressive riffs, but after a few listens, this juxtaposition of styles appears to be a masterstroke.

Opening with a few rather atonal chords, ‘The Crawl’ couldn’t be any further from Anthrax’s classic sound if it tried.  Even once Benante’s drums start to pound slowly and Belladonna’s vocal takes centre stage, this plodding arrangement has more in common with post-grunge alternative rock than any kind of “proper” metal.  By the end of the first verse, things really start to lag, and the track never recovers.  Stretched across five and a half minutes, it could be said its pre-chorus has a half decent riff, though you’ll find plenty of better riffs spread across other infinitely superior tunes elsewhere on ‘Worship Music’.  ‘Earth On Hell’ is almost the complete opposite, with Anthrax tearing through really hard riffs, pushing the album in a direction which brings things much closer to ‘Among The Living’ territory.  The main riffs are of the classic thrash metal variety; these are intercut with a few moments where Anthrax play faster and more aggressively than ever before, with a buzz-saw intensity.  It’s not a complete thrashfest, however, since they’ve found room for a really melodic chorus.  Definitely one of the standout cuts.

‘Judas Priest’ provides metal thrills driven by a chugging riff and some classy metallic guitar squeals courtesy of Scott Ian and Rob Caggioni, while Benante’s drum sounds carry a huge amount of power.  In fact, Belladonna’s vocal is the track’s weakest element.  It’s not a bad vocal by any means – and it’s given a boost by a more rousing backing vocal throughout – it’s just a little underwhelming compared to the music laid down by the rest of the band.  For lead guitar work, this track is a sure fire winner, since the featured solos toward the end are absolutely killer.  The brief twin lead moment is an especially nice touch.  Like ‘The Crawl’, ‘I’m Alive’ finds Anthrax branching out a little, but with greater results.  An intro combines muted riffing in a hardcore style, combined with cleaner guitar work, which is then overlaid by a wordless vocal.  The muted riff stays the course, providing a fantastic groove metal element.  While the music has a degree of much welcome heaviness, Belladonna’s vocal has a commercial feel, which is reinforced further by a singalong chorus.  A hugely accessible piece, it’s one of the most commercial tracks in the Anthrax cannon, with a hook that could be described – at a pinch – as pop-oriented.  More open minded listeners will realise there’s nothing wrong with that of course.  For those who feel Anthrax have moved too far in a “radio-friendly rock” direction here, hopefully they’ll find solace in a guitar solo, which although brief, is the stuff of classic metal.

While you won’t find anything as mature as ‘Black Lodge’ on ‘Worship Music’, most of the material here is first rate, with only ‘The Crawl’ being the obvious clunker.  As a finished work, it’s hard to say how it compares to the intended ‘Worship Music’; but considering it pulls together lots of the best elements of Anthrax’s past, in this guise, it’s easily the best album Anthrax have released since the sorely underrated ‘Stomp 442’.

September 2011

THE REMINDING IDEAS – The House Of Weather

Posted on by

The Reminding Ideas are not interested in pleasing others with their music. The pairing of vocalist/multi-instrumentalist Michael Magnum and multi-instrumentalist Matt Soule claim not to care for any musical boundaries.  Without those boundaries many often follow, the possibilities should be wide-open.  Realising this, The Reminding Ideas have strived to create a distinctive sound; one they could call their own.  At least fifty percent of the time, they’ve not even managed that, since huge chunks of ‘House of Weather’ resembles some of Radiohead’s post ‘OK Computer’ output – only badly arranged and played by amateurs.

‘Vegetables’ is a number with a sound that’s very characteristic of most of The Reminding Ideas’ works.  It begins with a lone voice, before a programmed loop chimes in.  The first thing you’ll notice about said loop is that it comes loaded with a jarring offbeat…although that’s not as jarring as the clumsy splicing at its end.  We have to assume The Reminding Ideas have chosen to present the programmed element this way on purpose – and if so, it certainly pricks up the listeners ears (at least, the first time it’s heard).  However, whether this is a good or bad thing will solely be decided by the individual.  By the time the alternative rock fuelled guitars kick in, it all starts to take form.  The music has a presence and Magnum’s lead vocal sounds more settled, but soon it becomes evident this is all style and no substance.  ‘August’ begins with a cold electronic basis, over which Magnum adds a slightly haunting melody.  On first listen, you’d hope for it breaking into something crashy.  No such luck, though… Instead the tune ambles along, punctuated by a repeated piano chord, over which Magnum offers more long vocal notes.  Magnum and Soule then wander along for about four more minutes in search of an actual tune, teasing the listener; occasionally they threaten to do something interesting…yet never quite manage it.

‘The Remaining Idea’ has an extended instrumental intro, with a well placed piano motif.  The piano chords are played against a really leading bassline.  It’s one of The Reamining Ideas’ better musical ideas, but it’s still made a little unnerving by an off kilter rhythm track.  The lead vocals are almost there as an extra piece of instrumentation, but don’t add much to the overall piece; while the backwards loops and guitar feedback at the end sounds like an afterthought.  It’s almost as if Magnum and Soule had no idea how to bring this particular piece to a close.  By the time ‘This Is Where We Breathe’ appears with haunting vocal passages (subject to huge amounts of post-production), stabbed piano and a drum loop – things are sounding rather familiar.  You’ve already heard The Reminding Ideas have a good stab at this previously.  Seemingly, having no boundaries brings its own boundaries.

‘Swarm of Bees’ is the only track worth spending any real time with.  The electronic loops have a reasonable bottom end, while Magnum’s lead vocal sounds more natural.  The real drums have a solid live sound and the guitars bring a great crashy indie-rock sensibility when they’re present.  The second half of the track features extensive use of looped vocals in places and generally, it’s still not too bad.  Having said that, this is the kind of thing you will have heard on any post-millennium Radiohead record, so…uh, it’s not really worth getting excited about.

A couple of The Reminding Ideas’ musical structures just about work – in a fashion – but most miss the mark completely.  None of songs have instant choruses (or in most cases any hooks at all), but unfortunately, none of the tunes will stick in your head either.  ‘House of Weather’ is an avant-garde record for those not adventurous enough to listen to anything truly avant-garde.  This is avant-light – the kind of music created for those who think Radiohead and The Flaming Lips are somehow groundbreaking. You may find a flicker of an interesting idea here on occasion, but with so much genuinely great music out there waiting to be discovered (be it commercial and hook filled, properly avant-garde or whatever), life’s just too short for The Reminding Ideas and their wanton self-indulgence.

September 2011

THE JAYHAWKS – Mockingbird Time

Posted on by

After Mark Olson departed The Jayhawks in the mid-nineties to persue even more roots based music via a solo career and with his band Harmony Ridge Creek Dippers, his co-founder Gary Louris took charge of the band.  ‘Sound of Lies’, ‘Smile’ and ‘Rainy Day Music’ were fine albums, with Louris expanding the band’s country rock repertoire to include elements of classic pop music.  Lots of the Americana roots remained, of course, but without Olson, something was very different.

‘Mockingbird Time’ – The Jayhawks’ eighth studio album – marks the end of an eight year recording hiatus and return of Mark Olson.  It is the first Jayhawks release to feature both founding members in fifteen years. Within a few bars of the opening number ‘Hide Your Colors’, the listener is transported back to The Jayhawks at their peak, and those timeless, rootsy songs which filled the grooves of their 1994 masterpiece, ‘Hollywood Town Hall’.  The vocals may be slightly more weathered than on the early Jayhawks releases, but Olson and Louris sound simply marvellous together, with Olson’s slightly worn folksy tones underpinning Louris’s easily recognisable higher registers.

On the more country side of things, ‘Guilder Annie’ is a superb number, rootsy but never syrupy.  It’s a number full of great harmonies, which once set against an almost waltzing arrangement augmented by a subtle steel guitar, becomes essential Jayhawks.  Also very commendable, ‘Black Eyed Susan’ showcases the acoustic side of the band; while the acoustic vibes are great – and a moody fiddle accompaniment works well – it’s the dual vocals of Olson and Louris which really pull in the listener.  Strong, yet never perfect, their very natural style gives the sense of something recorded in one take.  As the track pulls to a close, the fiddle takes centre stage, playing in a more upbeat style.  Since the music never really breaks from its original mid-paced arrangement, this gives a much needed climax.

The title cut has a sense of fragility, beginning with a slightly jarring vocal complimenting a simple piano line from Karen Grotberg.  At first, it’s a song which appears unsure of itself, but soon, the drums find a place and a steady bass line pulls everything together. By the time you’ve tuned into Olson’s vocal midway, the track really starts to build.  Occasionally the use of accordion can be a little distracting, but the other elements are wonderful. From some rather more passionate vocals, a brief guitar break and Grotberg’s piano – which has a presence throughout – everything is wonderful.  By the close of the number the piano finally finds the courage to add a few lead notes to the mix.  This track may not grab you at first, but after a few spins, the warmth of the arrangement and romanticism within the lyrics will have won you over.  If it doesn’t click with you after a while, let’s just assume you have no soul.

Slightly edgier, Cinammon Love’  brings in a Neil Young style reverbed guitar, over which Olson and Louris lay a dual vocal. On occasion, the lead is placed against a selection of backing voices which appear to be working against the harmony.  The spikier parts of the arrangement are given the perfect counterpart in a chorus which focuses a on much tighter vocal harmony, acoustic guitar and piano.  There’s just the right balance between the smoother moments and the slightly rockier elements. ‘Stand Out In The Rain’ adds an occasional steel guitar to the band’s country rock sound, but due to a slightly louder approach to the guitar on the chorus, things do not ever feel too country.  The guitar is in a similar style to parts of ‘Cinammon Love’, but once again, this never seems intrusive.  While the arrangement is top notch, in terms of song writing, this number is potentially ‘Mockingbird Time’s weakest, due to constant repetition.  Still, everyone’s allowed a creative blip!

Elsewhere, ‘High Water Blues’ provides a strong acoustic stomp, lavish with harmonies and ‘Pouring Rain at Dawn’ is simply gorgeous.  On the latter, the band offer something incredibly understated; twin harmony vocals – with Louris taking the lead – sit well against a shuffling country number with brushed drums and warm bass.

Perhaps the best number of all, however, is ‘Tiny Arrows’, a moody piece which captures both Olson and Louris in their finest voices this time out.  Louris’s higher pitch is given the perfect accompaniment by Orson’s soft melodies, but no matter how great their voices are, it’s the epicness of the music which will have you coming back time and again.  Over a brooding soundscape, the steel guitars cry softly against the acoustic rhythms and the piano has a sense of leading without dominance.  Think of a softer, slightly spacier take of Neil Young’s ‘Cortez The Killer’ and you’ll have about half an idea what this sounds like.  Honestly, this could be one of the finest numbers the band has ever recorded.

Fans of The Jayhawks will undoubtedly welcome their return, and rightly so, since ‘Mockingbird Time’ is remarkably consistent.  After a few listens, these songs will feel almost as familiar as those songs the band recorded nearly two decades previously, proving The Jayhawks are still among alt-country’s finest, no matter how long between releases.

 

September 2011

BUTCH WALKER & THE BLACK WIDOWS – The Spade

Posted on by

Butch Walker’s album ‘I Liked It Better When You Had No Heart’ led America’s legendary Rolling Stone magazine to proclaim him “one of America’s best singer-songwriters”. With a bunch of solo albums under his belt, plus releases with his former bands Marvelous 3 and Southgang, he’s already knocked up a fair amount of accolades. If you take into account he’s written and produced songs for Katy Perry, Avril Lavigne and Weezer, as well as many others, he deserves more recognition (especially from UK audiences).

His 2011 album, ‘The Spade’ comes loaded with the sharp song writing which his fans have come to expect, even though the music lacks the slickness of some of his previous outings. The lead single ‘Summer of 89’ is stupidly catchy. The chorus which comes loaded with gang vocals and a bouncy riff, which alone would be enough to guarantee a standout track. Walker takes things a step farther, however, with amusing tales of the past: he name checks Kiss along the way as well as throwing us the reminder that “nobody knew Bryan Adams wasn’t cool…the TV just told me he was”. [Bryan’s big undoing was also the thing that undoubtedly made him the most money – we probably never need to hear that Robin Hood song ever again. I’ll still proclaim Adams’s 1984 release ‘Reckless’ to be a genre classic, mind.] Also excellent, ‘Everysinglebodyelse’ has a rousing arrangement which has a more seventies glam vibe. Walker’s song writing and arranging is superb, and his band tight – yet never too tight. A strong chorus and arrangement would have carried this track alone, but the addition of a sax (with overtones of Bowie’s ‘Diamond Dogs’) just pushes the track into the realms of potential cult classic.

In a softer mood, ‘Sweethearts’ adopts a Stones-ish swagger, where Walker gets to air a more retro sound to his voice and playing. The bar-room guitars which swamp this track are just lovely, and played against a great lead vocal (and equally great female harmony), this feels like the tune The Quireboys have often strived to record, but haven’t often managed. ‘Synthesizer’ combines a wry humour with some rather excellent rinky-dinky tack piano lines, which sound like a Paul Williams composition for The Muppets (see tracks like ‘Movin’ Right Along’). Huge influences from seventies pop/rock shine through, but those are tempered with gang vocals very much rooted in the 80s. Although Walker’s lead voice is strong, it’s the combination of his lead with a slightly call-and-response backing which lends this tune its bucketful of charm. In an absolute change in style, Walker follows this classy old style pop rock workout with ‘Dublin Crow’ – a country-rock stomper, heavy on the banjos and twangy guitars. All things considered, it manages to sound well-crafted in the musical department but somehow disposable at the same time. It certainly feels like filler compared to gold standard offerings like ‘Summer of 89’.

With a mix of atonal guitars and hefty thumping drum, ‘Bodegas and Blood’ is less accessible than some of the other songs, and doesn’t have a particularly strong chorus to reel in the listener. As such, it sits beside ‘Dublin Crow’ as something which doesn’t quite reach its full potential. That said, a few of the cleaner guitar sounds during an instrumental break are pleasing enough. After a false start, ‘Bullet Belt’ brings the album something far more aggressive, as Walker spits an angry vocal over pounding drums and a hugely fuzzed up bassline. He avoids pushing the track too far into alternative rock territory by employing a bubblegum pop chorus – with a hint of the sixties in places – essentially pulling this tune in two different directions. The music and verses may aspire to the likes of New York Dolls, but the chorus turns that on its head: the songcraft is slicker and generally more accessible than the verses ever would have suggested. For no-nonsense, guitar driven rock/pop in a radio friendly vein, ‘Day Drunk’ has some good moments, chiefly a retro guitar riff and solid bass, while Walker’s vocal maintains a strong presence. Its chorus is something of a weakness, though, since it’s hard to get the most out a one word refrain, no matter how many multi-layered voices it comes loaded with!

Overall, ‘The Spade’s best strength comes from Walker’s ability to make each of the songs his own. While the subgenres of rock and pop on show here will often sound familiar, he rarely imitates any obvious influences. It’s not a patch on 2008’s ‘Sycamore Meadows’ – Walker would have to really be on form to release another album as consistent as that one – but even so, you’ll find more than a handful of top tunes scattered among this album’s eleven cuts.

September 2011