Category: CD QuickTakes (Page 87 of 149)

The Answer: Everyday Demons

Offering pure proof that good old-fashioned cock rock doesn’t need to sound as airbrushed as Nickelback (or as depressingly stupid as Hinder), AC/DC openers the Answer toss starving AOR fans a heavy bone with Everyday Demons. There isn’t a lick here you haven’t already heard a thousand times, but that’s sort of the point – each of these 11 tracks takes the most tried and true ingredients of your favorite classic rock records and regurgitates them with as much of that bad ‘n’ ballsy old-school spirit as you could reasonably expect in 2009. Don’t expect any Darkness-style camp, or any of the sour-faced defensive posturing you’ll hear from most other 21st-century rock revivalists, in these songs – the Answer, unlike most of their peers, remember that rockin’ is its own reward, and any given track on Everyday Demons would have sounded just fine being blasted out of a car stereo in the parking lot of your neighborhood liquor store on a Friday afternoon in 1990. It should go without saying that this is fairly awesome – but it should also be obvious that in sticking with screeched, fist-pumping choruses and double-tracked solos from low-slung guitars, the band essentially paints itself into a corner that it can only escape with the aid of songs that do more than evoke memories of every aging hesher’s misspent youth. Everyday Demons is unmistakably cut from “classic rock” cloth, but it isn’t a classic in its own right. Still, it’s a hell of a lot of fun. If you’ve been wondering which of the current crop of young rock bands has the balls to restore the genre’s faded glory, here’s your Answer. (The End 2009)

The Answer MySpace page

Sonos: Sonos

A cappella music is supposed to be the domain of fun-for-a-minute novelty acts like the Nylons or the Blenders, and even the best of the genre often sounds as though it was recorded by the same grinning, finger-snapping, vest-wearing nerds you laughed at during spring assembly in high school. The last time anyone cared about an a cappella single was in 1993, when Huey Lewis and the News scored a fluke hit with a cover of Curtis Mayfield’s “It’s Alright” – and when a genre’s last taste of success came from Huey Lewis, you know it’s seen better days. Into this cultural vacuum steps the six-member Los Angeles outfit known as Sonos, and although their press materials contain all the dreaded buzzwords used by makers of terminally unhip music – “push the envelope,” “redefine a genre” – their self-titled debut is actually far better than you might expect, especially given their über-hip taste in cover selections (Bjork’s “Jaga,” Radiohead’s “Everything in Its Right Place,” Imogen Heap’s “Come Here Boy”) and/or the presence of AAA radio pox Sara Bareilles, who contributes vocals to her own “Gravity.” It helps that they aren’t a straight a cappella outfit – many of the tracks incorporate light instrumentation, and they aren’t afraid to chop and twiddle with their vocals – but what really puts Sonos across is the ease with which the group manages to substitute a cool modern feel for the stereotypical Up With People vibe. No vests here, in other words – and if Sonos is still a novelty, it’s one that’ll take a good, long while to wear off. (Big Helium 2009)

Sonos MySpace page

Max Morgan: Interrupting the Silence

His album artwork promises an artist with the velvety smoothness of a young, guitar-toting Kenny G, combined with the addle-brained exuberance of Richard Simmons on Oxycontin – but Max Morgan’s Interrupting the Silence delivers on neither promise, instead providing the listener with an idea of what it might sound like if Leo Sayer had replaced Kevin Cronin in REO Speedwagon. The answer to that question, in case you were wondering, is a lot of generic pop/rock grooves with plentiful falsetto and a few scoops of faux vocal grit, not to mention a load of embarrassing lyrical clichés (“Wait for Me,” in particular, would make Bryan Adams blush). Morgan is a technically sound vocalist, and when he manages to come up with the right material for his voice, he does a fine job of showing off his range, but often – as is the case with the groanworthy “Ya Better Believe” – he doesn’t know which dumb-ass lines to cut, or how not to beat a mildly pleasant groove until it’s dead. (“Believe” is only 3:14 long, but feels like a prog epic.) Morgan’s love for cheese is bottomless; he begins the closing track, “Prayer for No One,” with the line “Hello, Ground Control, I think we’ve got a problem,” channels Michael W. Smith on the weepy power ballad “Nobody’s Coming to My Rescue,” and generally tends to hit Disney Channel rock territory when he’s aiming for arena slayer status. The result is the CD equivalent of a tract home: The pieces are all assembled competently enough, but they’re made from such flimsy stuff, the effort was largely wasted. (Chime 2009)

Max Morgan MySpace page

Bon Iver: Blood Bank

Thankfully, Justin Vernon’s international reputation wasn’t sullied by his deliberate mangling of the French words for “good winter” as his choice for his nom de plume Bon Iver. Indeed, with the release of his much-touted debut For Jessica, Forever Ago, his Gothic backwoods motif somehow struck a chord with Americana enthusiasts both here and abroad, winning unusually rave reviews for a rookie artist from so far a field in the heartland. This four-song set, a prequel of sorts, maintains the wistful gaze and low-lit aura that dominated that debut, but also draws the shades back to reveal a little more light. Opening track “Blood Bank” maintains his steady strum but ups the energy level to a more enthusiastic pace. The hollow-eyed desire of “Beach Baby” falls back to a plaintive pastiche, but “Babys” slowly builds towards a semi-psychedelic crescendo. The EP ends in much the same way, ethereal harmonies weaving in and out, as if Bon Iver had consulted Brian Wilson about how to affect a cosmic shift. Recommended for those who believe ambiance is everything. (Jagjaguwar)

Bon Iver MySpace page

Ian McGlynn: This Is the Sound

Every once in a while, an artist’s music has this way of striking us in our musical pleasure center. Singer/songwriter/pianist Ian McGlynn’s second full-length album, This Is the Sound, is likely going to have that effect on you if you are a fan of dreamy alt-pop. McGlynn’s tenor and some of his melodies will remind you a bit of John Lennon, but his songwriting leans more towards a cross between Ben Folds and Aqualung, and the production on this effort (it’s self-produced with help from songwriting partner John Mosloskie) bring the songs to life in powerful fashion. Much of McGlynn’s material has a cool underground vibe, but some of the tracks on This Is the Sound stand out. In particular, “Night Driving” paints a vivid picture with its dark yet melodic feel, and “Memorial Day Parade” is as close to straight-up pop as McGlynn gets. And he takes things up a notch on the opening track “Play Dead,” which is haunting, beautiful and able to stop you from whatever it is you were doing before you started listening. McGlynn’s music has been placed in both independent and major motion pictures, and whether or not you have heard him before or think you may have, he’s well worth seeking out. (LABEL: Bailey Park)

Ian McGlynn MySpace Page

« Older posts Newer posts »