Category: CD Reviews (Page 174 of 399)

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

Andrew Ripp: Fifty Miles to Chicago

This is what happens when a young, potentially gritty blues vocalist hires a former member of Tonic to produce his album: Fifty Miles to Chicago, 11 perfectly inoffensive, slightly soulful rock numbers that suggest what might happen if Rob Thomas listened to a lot of Electric Mud (and did not suck). In fact, Ripp flashes a lot of talent here, both in his vocal performances and his songwriting; it’s just a shame that Dan Lavery’s squeaky-clean production was allowed to suck all the sweat out of the recordings. As a result, although Ripp clearly has the chops to carry a warts-and-all record, Fifty Miles makes him sound like an impostor, an impression deepened by frictionless belters like “Lifeline” that drop him squarely in the driest, whitest square of Taylor Hicks Territory. In all fairness, Ripp co-produced the disc, with Randy Coleman – but it’s hard not to assume that he’s a much more entertaining, dynamic performer in a live setting, and that the decision to geld this record was made purely for commercial reasons. Here’s hoping that subsequent albums find Ripp more willing to color outside the lines, and give his songs the rough treatment they deserve. In the meantime, he’s got a lot more than 50 miles to go before he gets anywhere near Chicago – other than maybe the one that gave us “Hard to Say I’m Sorry.” (Get Ripp’d 2008)

Andrew Ripp MySpace page

USS Make Smoothies, Impress Crowd In Austin

USS

Canadian rock duo USS (Ubiquitous Synergy Seeker) brought their high energy rock to RedGorilla Music Fest Wednesday, complete with techno inspired beats and homemade smoothies (they made them on stage), giving everyone a taste of what it would be like if Nirvana went to a rave.

It’s true there are thousands, probably millions of independent bands in the US alone. They record in their basements or garages, tour on meager merch sales, and survive purely on adrenaline. Most of them will never make a dent in the mainstream rock market, but every now and then a band comes along that possesses enough talent and drive (the combination is key) to take them straight to the top. Case and point: USS.

You may not be familiar with USS yet, but these guys have been enjoying great success in Canada thanks to heavy radio rotation and a never-ending desire to create something completely unique. With the help of their trusty MacBooks, USS has been creating Nirvana inspired indie-rock laced with infectious beats and energy to boot, for years. Now, with intuition to guide them, USS is embarking on the ride of their life: the release of their upcoming album, and an exciting tour to follow.

USS’s set at RedGorilla Music Festival last Wednesday was an experience in and of itself. Their energy, above everything else was intense. They ran around stage shouting lyrics in perfect harmony, and spitting energy with their wicked rhymes. To top off the night, USS took the audience on a strangely entertaining ride when they proceeded to make homemade smoothies on stage, while singing. Ash would sing a line, pick up a banana, rub it all over his face and then sing another line. He’d do some more rubbing and then place the banana into the blender and pick up a strawberry. After some more singing and eccentric expressions, he would rub the strawberry all over his face, sing some more and then throw it into the blender with the other fruits. The set ended with the two drinking the smoothies and acting surprised as to how they wound up with smoothies in their hands. It was borderline train wreck, but it was brilliant, and the music was so spot on live it was incredibly entertaining. I laughed my head off, danced my heart out, and still have their melodies stuck in my head. USS puts on such a great set it’s a wonder they haven’t been around longer.

For USS, the journey to the top of the Canadian charts was surprisingly organic. It began with Ash’s desire for something he had never heard before. After swapping his electric guitar for a new MacBook—the first computer he had ever used in his life, mind you—Ashley Boo-Schultz paired up with pal and turntable master the Human Kebab. The evolution of the duo’s thoughts and desires came to fruition in the bass-heavy sound that can be heard on the band’s new record Questamation that is currently on iTunes, and will hit stores soon.

Interestingly enough USS has recorded, produced, marketed, promoted, and distributed their music without any help from a label. They’ve also been fortunate enough to grow a significant following without falling victim to mainstream media, bypassing the hoops of fire most new artists are forced to jump through to secure radio play. Instead, USS’s music has spoken for itself. The synth-pop and grunge-inspired rock that defines them has risen above the masses of indie music as some of the freshest, most promising tunes on the radio. Here’s to USS and their incredibly unique brand of indie-rock. If you missed this band at RedGorilla you should be ashamed of yourself. Trust me—you want to get to know USS, they’re coming your way. It’s only a matter of time before they’re dominating radio and tour circuit here in the states, and when they do all I can say is “I told you so!”

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