Category: Alternative (Page 40 of 155)

A Tale Of Two Singers: Creed vs. Alter Bridge

Creed: Live (DC3 Global)
RIYL: The sound of dogs being murdered underwater, Nickelback

Alter Bridge Live In Amsterdam (DC3 Global)
RIYL: Seether, 3 Doors Down, Daughtry

Remember Creed? Yeah, me too. In fact I’m still in the support group. Their reunion tour was the first in an unholy trinity of ’90s reunion announcements (the other two being Blink-182 and Limp Bizkit), and this live DVD captures the band’s Second Coming in all its horror. It’s been a few years, but Creed still sounds like Creed, a plodding combination of Alice in Chains, Pearl Jam and every mid-’90s Christian rock band you never heard. However, the downtime has not been kind to singer Scott Stapp; he can’t hit the notes like he used to, and is frequently flat and out of tune. However, Stapp never sounded all that great to begin with, so you might not notice. What you will notice is that he looks horrible. Easily 20-30 pounds heavier, and before the end of the third song, the man is just drenched in sweat. He doesn’t look fat (hell, he’s thinner than I am, so I’m not one to talk), but he looks unhealthy as hell, as if he needs a tank of oxygen and an adrenaline shot at any minute or he’ll keel over the second he stops his guttural whaling. Behind him the rest of the band just seems like they’re going through the motions, dealing with a frontman they’ve long tired of. Stapp’s lack of endurance means that he takes frequent breaks between songs to talk to the audience and at one point proclaims that “You can change your legacy and destiny, man.” And that may be true, but this DVD sure as hell won’t do it. Hell, even if you liked Creed back in “the day” (the day being the late-’90s/early-’00s) you won’t want to hear/see this incarnation of them. This is a horrible excuse for a concert video and is even below the low standards that Creed fans undoubtedly have.

When Creed got back together, the future of Alter Bridge, the band made up of everyone from Creed except Stapp (with Myles Kennedy replacing him), was immediately called into question. However, they let everyone know right away that they weren’t going anywhere no matter how successful the Creed reunion turned out to be, and after watching their “Live in Amsterdam” DVD, it’s easy to see why. They actually like being in this band. Say what you will about Alter Bridge – they certainly aren’t original and at their best they’re just slightly above average, but their brand of classic rock redux is light years above anything Creed ever put out. And the band seems to know it, as they happily strut around stage, play to the crowd and just seem to have a good time. One can assume that Kennedy is to thank for this; he is a great front man with boundless energy and enthusiasm and he even seems to like his bandmates. And while the songs he’s singing may not always be great, he can sure as hell sing. So, Alter Bridge is a great live band, but their songs are not – and that’s a bit of a bummer. Still, if you like Alter Bridge this is a must-buy, as it showcases a band at the top of its game, happy to perform and happy to be with a lead singer who isn’t a pompous, bloated has-been who’s more suited to front a Meatloaf tribute act.

Kevin Barker: You and Me


RIYL: Grateful Dead, Veviter, Conor Oberst

Kevin Barker’s tenure as a sideman for the likes of Devendra Banhart, Joanna Newsom, Vashti Bunyan, Vetiver, and Espers appears to have prepped him well. On this, his first outing as a front man, Barker meshes the rustic perspective garnered from his well-heeled resume with an off-handed saunter that often recalls Jerry Garcia and the Grateful Dead in limber jam band mode.

Produced by Thom Monahan (Vetiver, Gary Louris), You And Me, assembles an all-star cast of nu-folk veterans, including Newsom, Pat Sansone (Wilco), Jonathan Wilson (Elvis Costello, Jenny Lewis), Eric Johnson (Shins, Fruit Bats), and Otto Hauser (Vetiver, Espers). The proceedings convene with Barker’s down-home intents on full view, the emphatic pluck and stomp of “Little Picture of You,” the low-lit gaze of “You & Me” and the modest shuffle of “Mountain & Bear” signaling Banhart’s intent to veer towards backwoods realms. Factor in the quiet saunter of “Amber” and the folk-infused delivery of “My Lady” and it becomes clear that Barker embodies both a wayfaring minstrel taken with traditional musings and a knowing musician whose work is underscored by an alternative inclination. (Gnomon Song 2009)

Kevin Barker MySpace page

Spoon: Transference

3 1/2 stars
RIYL: Modest Mouse, Pixies

With an album name like Transference, generally meaning misdirected emotions or a kind of displacement, it should come as no surprise that Spoon side-step their usual M.O for their seventh studio album. For those who grew accustomed to the band’s neatness on albums like Gimme Fictionand Ga Ga Ga Ga Ga, Transference will feel unkempt, while early adopters of the band might appreciate the album’s raw qualities.

With the standard two to three years Spoon takes between records, it’s clear that a lot of planning goes into each album – but with Transference, that implication is a bit sad, because the album projects a one-off kind of attitude. Apparently the band had to work hard even to make it sound like they didn’t. The songs are rife with actions that make the writing feel half thought out – from pauses in the middle of words and sentences, to uncharacteristically long and directionless instrumentals. It would be something if this resulted in some new experimental form or sound, but it’s not wildly different – just slightly off-kilter. So mostly it reads like Spoon got into the studio with material that hadn’t quite fermented.

With its ambling feel, the tracks that bend the ear are the poppier ones, or the serious deviations in style. On “Written in Reverse,” Britt Daniel is literally screaming for your attention – and get it he does. “Who Makes Your Money,” on the other hand, stands out for its echoey, distant subtlety, and “Goodnight Laura” for its unusual display of sentiment, “When you think your thoughts be sure that they are sweet ones.”

Transference is a classic grower, an album that will reward those with the patience -which will most likely be Spoon’s most established fans. Unfortunately for others, what lingers most may not be the songs, but questions of what might have happened if the band sat on these songs awhile longer, or what might have happened if the band actually went wild instead of just trying to sound like they did. Merge 2010

Spoon MySpace Page

Gobotron: On Your Mark, Get Set…


RIYL: The Lemonheads, Pavement, Ben Kweller

On Your Mark, Get Set… receives bonus points off the bat for the band title, which riffs on our favorite video game of all time. It also receives a couple ‘Who’d a thunk it’ points because the album is the work of Manchester Orchestra guitarist Robert McDowell, a band who had us running for the hills two minutes into their performance at last year’s Lollapalooza. But still waters apparently run deep, as McDowell’s solo venture, which he performed and recorded by himself one summer and mixed the following summer, bears no resemblance to his day job, forsaking shrieking melodrama for yesteryear-flavored indie pop. “Nice Things” could pass for a lo-fi Sloan, and “Never Turn Around,” with its classic give-and-take vocals, is as perfect a power pop song as you’re likely to hear in this year or the next. Which means, of course, that there is no chance of these elements being incorporated into Manchester Orchestra’s sound, a decision that is as understandable (five words: girls don’t like power pop) as it is unfortunate. With any luck, thought, the Audities listees will buy enough copies of On Your Mark, Get Set… to encourage McDowell to give it another go. (Favorite Gentlemen 2010)

Gobotron MySpace page

The Watson Twins: Talking to You, Talking to Me


RIYL: Jenny Lewis, Cocteau Twins, Patty Larkin

After nearly a decade attempting to make their name among L.A.’s alternative elite, the Watson Twins scored their big breakthrough when they were chosen by Rilo Kiley’s Jenny Lewis to share the billing on her first solo outing, Rabbit Fur Coat, in 2006. Since then, they’ve been able to carry the marquee rights on their own, earning themselves a deal with the venerable Vanguard label, which released last year’s major label debut, Fire Songs and subsequently, an even better sophomore set.

Despite their down-home Appalachian upbringing, the sisters lean less on heartland sentiments and more on urban rock sensibilities, a modernist approach that places the emphasis on propulsive rhythms and eclectic arrangements to bolster their dreamy harmonies. In the course of these dozen tracks, the Watsons’ vary their vocals between the languid and the assertive, with melodies that veer from ethereal hymns to those that sound positively chipper by comparison. So while songs like “Forever Me,” “Snow Canyons” and “Give Me a Chance” tend to cast the album in a meditative haze, the pronounced stomp of “Savin’ You” and “U-N-Me” bolster the bottom line and add the emphasis that’s needed. (Vanguard 2010)

The Watson Twins MySpace page

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