Category: External Music (Page 17 of 50)

Knugu: Quadrilogy

If one thing’s for sure, the production of this four-song EP by Knugu is damned impressive. Not one note or beat is out of place, and the vocals are well balanced with the instrumentation. However, if feels like there’s something missing here. The opening song “Getting Over You” has a nice melody and memorable chorus, but it seems to end far too soon. “Dark Angels” is delicate and crystalline in its guitar work, but lyrically it feels as if it’s running in place (beautiful background vocals, though). The vocals by Knugu on “Ad in Personals” sound a little too dramatic at times, and when he twists some of the notes at the ends of the words at times, it’s a little cringe-inducing. And “Running Back to You” sounds like a nice little flashback to the mid-‘80s. It’s pleasant enough, and the whole thing is supposed to depict “the life of a young American couple in the first decade of the 21st century,” but overall there’s not a lot to hang your hat on here. Perhaps a full-length release could fix this problem next time around. (Self-released)

Knugu MySpace page

John Paul: Belmont Boulevard

John Paul has the sort of musical dynamic that runs through a lot of Paul Westerberg’s best solo stuff. The guitars have a nice twang to their tone, and the rhythms and attitude are very much like the former ‘Mats frontman. Vocally, Paul sounds like a really young Don McLean mixed with Ryan Adams’ rough edges. Very impressive, no matter how you cut it. “21” is a killer song, showcasing all of these elements. “Set Me Up” certainly swings more to the twangy side of the Ryan Adams pasture, and “Chameleon” sounds like a great, long lost song from early ‘90s college radio. Sometimes things get a little CMTV sounding, as on “.45,” which has great potential but almost becomes undone by its arrangement and lyrics. But a song like “Sleepless” quickly remedies that, where Paul’s formula works perfectly. It’s also on this song that he sounds like his own man, and it’s definitely a standout tune. The production is lush and with any luck, John Paul will soon be a recognized name with this nice collection of songs. (Self-released)

John Paul MySpace page

Seen Your Video: Morningwood, “Sugarbaby”

Leave it to New York’s Morningwood to make another video that stands out from the pack. “Nth Degree” was an instant classic with its references to album covers past, but their latest clip, “Sugarbaby,” goes in a different direction. Three words: sex with puppets.

All right, this version doesn’t actually show any puppet sex, but there is a quick cut that suggests the guy in the limo was about to receive a happy ending, if you know what I mean. And psssst: if you go to the YouTube page this video is on, you’ll see a link to the uncensored video. Haven’t watched it yet, myself. I just ate lunch.

Can’t get enough Morningwood? You’re in luck – they’re on Letterman tonight. And they don’t even have an album to promote yet. They’re still in the studio. Hurry the hell up, guys.

Hills Rolling : Something Delicious

Trey McGriff is Hills Rolling, and on his second album under the moniker he has not only made one of the most compact releases of the year (nine tracks at 27 minutes), but also one of the most enjoyable. Opening track “I Wake Up” instantly reminds one of a great old Lou Reed tune, with its two-chord verse structure before melting down into a tasty, beautiful bridge. “Need It” is all retro and fuzzed-out with its garage band riffage – a new dose of Nuggets for the new generation. “Nothing Like Good Times” treads into Teenage Fanclub territory with its pretty acoustic guitars and lyrical pursuits. “Aditude” is electric, danceable, and just plain good rocking fun. McGriff is never flashy or tries anything he can’t. This is fun, smart pop that anyone can enjoy. Certainly one of the best DIY indie releases to come around in a while. Snap it up now, please. (Whiskey Child Records)

Hills Rolling MySpace page

Michael Schenker Group: In the Midst of Beauty

In the Midst of Beauty should be a better record. Michael Schenker stocks his band with solid pros, including Toto drummer Simon Phillips, current Deep Purple and former Rainbow keyboardist Don Airey, and former Whitesnake bassist Neil Murray. That is an impressive lineup considering they are supporting one of the most iconic six-stringers in the genre. As part of the UFO, Schenker produced some of the most memorable licks in classic rock history through his contributions to Lights Out, Force It, and Obsession. The weak link on the record and one from which the album can’t recover is the vocals of Gary Barden, back again with MSG. His vocals sound like what the Cult’s Ian Astbury will be able to deliver when his voice blows out. Barden’s range is limited and he just doesn’t have any pop. Sure, it is fun to hear Schenker blast into one of his 7,000 solos on this record, but the pace of the material is set to coast. Nothing takes off and rips like the best Michael Schenker stuff does. There is no edge or motor, and Phillips sounds bored simply keeping time to these light metal grooves. Most of the record is listenable except for the dreadful balladry of “Summerdays,” which further exposes the limitations of Barden’s voice. With the excellent talent around him, Schenker wastes the opportunity to return to form. It’s not bad – it just isn’t Schenker good. (Inakustik)

Michael Schenker My Space page

« Older posts Newer posts »