Author: James B. Eldred (Page 17 of 21)

Mr. Meeble: Never Trust the Chinese

Downtempo is a tricky sub-genre of electronic music. Everyone wants to be Massive Attack or the Orb and deliver the end-all-be-all of post-club chill out. But if you take it too chill and relaxing, then the next thing you know you’re Dirty Vegas, or even worse, easy listening or New Age. It’s a fine line. On their offensively-named debut Never Trust the Chinese, Mr. Meeble tread that line like a tightrope, showing signs of sedative brilliance before tripping and falling off into the safety net of “Days Go By” derivatives. It opens great, through; “Raindrops” is a pretty out-there cover of “Raindrops Keep Falling On My Head” that combines the ’70s cheese fest with occasional interludes of cut-up glitched vocals and an even more out-of-place rapping coda. It’s not exactly perfect, but it’s certainly unique. Other tracks, like the overly aggressive “A Ton Of Bricks” (apt name: it hits you like one) are jarring and obvious attempts for mainstream appeal that come off as soulless and empty.

All of Never Trust the Chinese is like this, going back and forth between the experimental and boring, the edgy and safe. This is a band of two minds, so much so that they even split up a song to demonstrate them both. “Everything Is Good (Part 1)” is an album highlight, a mostly instrumental sonic soundscape that engulfs you. But second part blows it all to hell by removing much of what made the first part so good and replacing them with dry, vapid and tone-deaf vocals. Never Trust the Chinese has all the trappings of a debut album by a band who has not yet found their sound. These guys need to throw a desire for a Top 40 fanbase to the wind and stick to the fringe, because they’ll definitely thrive there. (Absolute Motion 2008)

Mr. Meeble MySpace Page

House of Badger: Death Birds

House of Badger describes themselves as a pop/electronica/experimental band, and as vague as that categorization is, it actually sounds about right. This is a weird band that writes weird songs and performs using weird instruments. However, they still have one foot (barely) in the pop realm; they’re the Talking Heads by way of Portland, Oregon. I mentioned the weird instruments, right? In addition to guitar and keyboards, singer Amanda Kelly also plays mandolin and Turkish saz (another plucked string instrument – thanks Wikipedia). Bass player Charlie Gallipeau rocks out old-school electronic sounds thanks to his Moog and theremin skills, while drummer Liam McNamara puts down his sticks on occasion to play the guiro as well as “the pans,” which I can only assume is a pan flute. How an unsigned indie-rock band can afford all these instruments is a mystery, but they certainly know how to use their unique instrumental capabilities to craft beautifully odd pop songs. “Vultures” and “Away” combine stark riffs with subtle ambient electronic effects to stunning effect, while the more upbeat “You Give Yourself Away” and “Into the Sun” crank up the rock and focus on the spectacular voice of Amanda Kelly, who has the ethereal quality of Siouxsie Sioux with the power of Amanda Palmer from the Dresden Dolls. Clocking in at only 30 minutes with seven songs, the only fault of Death Birds is that it leaves you wanting much more. (Self Released 2008)


House of Badger MySpace Page

The Silent Years: The Globe

Detroit’s biggest indie-rock act in terms of popularity is the White Stripes, but the city’s biggest-sounding group has to be the Silent Years. The group is technically a five-piece, but they certainly aren’t shy in asking others to join in, with over a dozen people being credited as “performers” in the liner notes of their sophomore album The Globe (and that doesn’t include the horn section, who are billed as an ensemble). Not surprisingly, The Globe is a epic-sounding record, with arching guitar riffs accompanying omnipresent keyboard melodies and driving beats while backing singers and the previously mentioned horn section wait in the wings ready to flood your speakers at a moment’s notice. Amazingly, no matter what the Silent Years try to do, they pull it off. When they’re trying guitar-driven rock (“Climb on My Back”) it works, when they get crazy with percussion and keyboards (“Goddamn You!”) it works, and even when they kick it down-home country-style (“Black Hole”), it works. Some might say that they need to tighten up a bit and pick a sound, but why? Sure, there may be a lot going on with The Globe – but it’s all good. (First Date Records 2008)


The Silent Years MySpace Page

Sunfold: Toy Tugboats

Sunfold is a unique band. Not musically, actually – in that regard they are quite average. No, Sunfold is unique because while they are technically a side project of the Annuals, the two bands’ lineups are entirely identical. The only difference between the bands is that Adam Baker and Kenny Florence have switched places, so the drummer is now the singer/guitarist and vice versa. Some may consider the move brave and unique; others (like me) consider it a cop out and cowardly. The Annuals could have released this CD as themselves, but they probably knew that their incredibly jaded, ultra-pretentious fan base wouldn’t have liked it (because it doesn’t sound like Broken Social Scene), so instead they released it under a different name. Now the same crowd that would have most likely slammed the group for abandoning their carbon copy indie-rock sound will now most likely embrace Toy Tugboats, even though it’s nothing more than a mediocre collection of guitar-driven pop songs. If any other band had released Toy Tugboats it would have gotten no attention at all, because quite frankly it doesn’t deserve it. There are few good songs here; the psychedelic “Gnosis” and the electronic-infused “Gorgée de Rubis” are both worthwhile, but most of the album is utterly forgettable and bland. Sadly, trying to explain the relationship between Sunfold and the Annuals is far more interesting and complicated than either of their records. (Terpsikhone 2008)

Sunfold MySpace Page

Chapters: Wife

Okay, look…I like Joy Division. I really do. But as a people, we need to move on. Following in the steps of Editors, Interpol and She Wants Revenge, Chapters is the latest in an increasing number of bands who believe that Joy Division is a genre of music. Throughout their five-track EP Wife , the band clings to the memory of Ian Curtis like a noose clinging to a neck of a strung-out rock star. Snare-heavy mixes, grinding guitars and intense snarky vocals are all present in spades. And if getting hung up on a singular band for your sound wasn’t enough, they also stick to the common Joy Division themes of broken relationships and broken love. But while Curtis was fond of self-loathing, Chapters seem to project their despair and the result almost comes of as misogynistic at worst or just annoying and whiny at best. Find another late 70s/early 80s British act to crib. guys. How about Ian Dury & the Blockheads? We need more of that. (Chapters 2008)

Chapters MySpace page

« Older posts Newer posts »