Category: Rock (Page 39 of 241)

Luce: The Year We’ll Have


RIYL: Jack Johnson, Jason Mraz, Ben Kweller

Not everyone quite gets the laid-back shuffle of acoustic-geetar-totin’ beach poets like Jack Johnson or zippity-bippity wordplay specialists like Jason Mraz, but that doesn’t stop them from selling tons of records and playing sold-out venues, does it? Tom Luce and his decade-old San Francisco-based band fit in that mold, and certainly could, with a bit of luck, take their mid- and up-tempo numbers to the masses, churning out the feel-good platters for the our beloved generation of peace-lovin’, hemp-wearin’, endless summer-celebratin’ kiddies to shake their tushies to year-round.

It’d be a shame, though, if his band’s exercises in featherweight groovin’ wound up overshadowing its true strengths. As we hear in this odds-and-sods acoustic EP, Luce (the band) can certainly build a solid backdrop for the wry observations and lovelorn sentiments in its songs. Folks outside the Bay Area might remember the band for the minor hit “Good Day,” which gets a cool walk-through here (though I miss the horns that punctuated the original). “Won’t Change a Thing” and the title track likewise get mid-tempo workouts, but it’s difficult to put a finger on what makes the performances sound so perfunctory.

That difficulty ends when one cues up the ballads on the EP, and a fuller, better-rounded Luce merges. Take the piano ballad-style reworking of the band’s 2002 track “Corner of the World.” On the original, Luce’s moving observations of life passing by get lost in a heavy-handed rock arrangement; left with just Tom Luce’s voice and bare but sympathetic accompaniment, the power of the lyrics comes to the fore. Same goes for “Willing to Try,” in which the band slowly builds behind a foundation of bare acoustic guitar, all serving the exquisite melody and words. The harmonies that lift “After Tomorrow” highlight the hopefulness of the lyric, and the slide guitar that fades in the outro is a perfect farewell.

The ballads on The Year We’ll Have make it worth owning (check out the Amazon link below or take the band up on its “pay what you want” offer, on its Web site). If Luce can play off the strengths they display there, they could be a household name one of these days. (Luce 2010)

Luce’s Myspace Page
Click here to buy The Year We’ll Have from Amazon.

The Like: Release Me


RIYL: Matthew Sweet, The Bangles, 60’s Mod rock

The Like return for their sophomore effort, Release Me, a 13-song set clocking in at just under 40 minutes. This collection of ’60s inspired pop rock gems will rock your socks off and keep you dancing for the duration of the record. Release Me has enough cool to satisfy retro-alternative hipsters and turn the heads of aging mods looking for some kickin’ new tunes to play at their next Vespa rally.

Founding members Z Berg (vocals/guitars) and Tennessee Thomas (drums) parted ways with Charlotte Froom (bass/vocals) and entered the recording studio with famed producer Mark Ronson, the man responsible for Amy Winehouse’s spectacular soul album, Back to Black. The English producer certainly has a knack for recreating the sounds of a different era, but Release Me would be pure novelty if it weren’t full of strong, catchy power pop that sticks to you like the sweetest tasting bubble gum. Mind you, this gum has a little bite.

While the music is sunny and very danceable, once you get past that bright veneer, you’ll find that Release Me is an album full of women scorned, breakups and broken hearts.   Even if you’re not in the mood for some Alanis angst, you can look past the lyrics and just rock out. “He’s Not A Boy” (the first single) and “I Can See It” are so damn good, they deserve radio play all summer long, and then some; while “Catch Me If You Can,” “In the End” and “Release Me” will make sure no fan is sitting down during the band’s upcoming concerts.

By the end of the album, the organ begins to wear thin, but as soon as you start thinking you may want to break that keyboard player’s fingers, the album is over. It won’t be long until you’ve scrolled back to the beginning and started the whole thing over again.

If you’ve ever wondered what the Kinks, Zombies or Who would have sounded like had they been an all-girl group who played their own instruments and sang in perfect harmony, the Like may be your answer. Here’s hoping that they continue to grow as artists like their obvious influences. (Polydor/Downtown Records, 2010)

The Like MySpace page
Click here to purchase Release Me from Amazon

Seen Your Video: The Coral, “1000 Years”

I will be the first to admit that I don’t hear every album released each year because, frankly, it’s impossible. Over 30,000 albums are put out each year. Can’t hear ’em all, and goodness knows I try.

Having said that, I at least hear about albums coming out, even if I don’t hear them. But when I saw a recent press release talking about the upcoming Butterfly House being the Coral’s sixth album, I uttered the words that piss me off when I hear them from other people: “They’re still together?” The funny thing is, I had just been thinking of the band – loved their song “Dreaming of You,” from their 2002 debut – and wondered what had happened to them. After their 2003 sophomore effort Magic and Medicine, I literally had not heard a word of their existence until the other day. You’d think I would have accidentally heard something, but no.

And if the song “1000 Years” is any indication, I’m thinking I missed a few damn good records. James Skelly’s vocals are less Eric Burdon bluesy growl than ’90s Madchester shoegazer whisper, but the song is an absolute psych-pop gem, and the video is appropriately loaded with liquid camera shots and crude good/evil symbolism (man with wolf’s head, horses, water, an ankh). Butterfly House is currently scheduled to be import-only. Here’s hoping they change their minds.

Me, Myself, and iPod 6/16/10: Rock chalk Jayhawk

esd ipod

Mark Olson – Little Bird of Freedom
As a longtime fan of the Jayhawks’ 1995 gem Tomorrow the Green Grass, I’ll do anything for Mark Olson, Gary Louris and Marc Perlman. The three are occasionally moonlighting as the Jayhawks – this after Louris personally told me when he was promoting his last solo album that the Jayhawks were done; thank goodness he was wrong – but this is from Olson’s upcoming solo album Many Colored Kite, due in late July.

The Silver Seas – Another Bad Night’s Sleep
Here’s the amazing thing about Chateau Revenge, the forthcoming sophomore effort from the Silver Seas: we’ve posted two great songs from the album for download (you can find the other one here), and we still haven’t touched my favorites from the album. Singer Daniel Tashian sounds a bit more like Rufus Wainwright on this one than his usual Jackson Browne baritone. It’s all good to me.

Hey Champ – Neverest
There are a lot of bands making valuable contributions to the new synth pop wave – the tricky part is finding them. For every band like Hey Champ, there are 20 shit bands who play vintage synthesizers and sneer a lot. That’s not synth pop; that’s just posing. These guys get it; their songs are based on songs, not attitude. And if you really want to get freaked out, check out the video for this song. Dolphin boobies!

Everything Everything – Schoolin’
Not to be confused with shit ’90s band Everything, who had that lame-ass song about seeing better days. This is a UK band that sounds like they’ve been spinning a lot of Neptunes productions. Funny that I keep comparing bands to other artists who haven’t sold any records, but the first person I thought of when I heard this was Kenna.

Crocodiles – Sleep Forever
I’m just going to assume that the band name came from the Echo & the Bunnymen song of the same name, because these guys have clearly heard a few Echo records. Big, jangly, quasi-psychedelic ’60s guitar rock song. Here’s hoping the full-length is just as good.

Olafur Arnalds – Tunglio (Moon)
Because even download columns need a come-down song. This string-kissed instrumental is heartbreakingly beautiful. Don’t be surprised if it winds up serving as the score to a “Grey’s Anatomy” montage in the fall.

The Gaslight Anthem: American Slang


RIYL: The Clash, Bruce Springsteen, Green Day

For a band that’s been recording for five years, the Gaslight Anthem sounds amazingly seasoned on their second full release, American Slang.  The beauty of this album is hearing a band in transition.  They’ve always been rooted in a kind of Clash-like punkish pop, and Brian Fallon’s love of Bruce Springsteen has been evident since their nascence.  If you like the game of “Name That Influence” you’ll certainly hear both the Clash and Springsteen in American Slang, but the band is more than that.  The first three songs on the album just blaze as wonderful anthems, but songs like “Diamond Church Street Choir” show the band stretching out with musical choices that alternate the tempo with a kind of soulful and breezy verse and a soaring chorus. It’s flourishes like that (and the intro to “Boxer”) that illustrate that this band is maturing leaps and bounds ahead of their peers.

American Slang is tight – clocking in at under 35 minutes – and the songs vary just enough that the album never sounds like the band are a bunch of Johnny One Notes.  Often with the pre-release hype of new albums from the “New hot thing” it’s more sizzle than steak, but with American Slang, the Gaslight Anthem has crafted a substantial collection of songs that will be among the best albums of 2010. (SideOneDummy 2010)

Gaslight Anthem MySpace Page
Click to buy American Slang from Amazon

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