Category: Rock (Page 115 of 241)

Two Cow Garage: Speaking in Cursive

November 21, 2008 /

“It was arrogant to think from the start / You were the only backyard Dylan / With a folksinger’s heart” sings Two Cow Garage’s Micah Schnabel in “Folksinger’s Heart.” And while even an aged Bob Dylan has more vocal heft than Schnabel, who consistently sports a rasp that sounds like he’s been yelling at the top of his lungs for hours on end, he and his Columbus, Ohio-based band do tend to write some compelling songs. The bare-bones heartland rock that marks the bulk of Speaking in Cursive, the band’s fourth album, even veers towards E Street Band territory via crashing guitar chords and Andy Schell’s tinkling keyboards on “Glass City,” one of bassist Shane Sweeney’s several turns at the lead vocal slot. Sweeney’s vocals are at their best during the quieter moments of “The Heart and the Crown,” where he again echoes Springsteen, this time in his folksy acoustic guise. This kind of vocal restraint is in short supply, but Speaking in Cursive is saved by brilliant contemplative moments like the disillusioned “Not Your Friends” and the vivid character sketch “Sadie Mae.” (Suburban Home 2008)

Two Cow Garage MySpace page

Alternative, CD QuickTakes, CD Reviews, Country, Folk, Rock

Kevin Ayers: What More Can I Say…

November 21, 2008 /

After re-emerging this year with the highly lauded The Unfairground, his first new work in well over a decade, England’s ultra-eccentric Kevin Ayers seems to be enjoying a renewed burst of popularity. In recent months there’s been a minor resurgence of everything Ayers, from reissues and compilations to thoughtful examinations of the role he played in the English prog-rock progression. Consequently, it comes as little surprise to see some digging through the vaults, with What More Can I Say… being among more interesting items unearthed of late. Essentially a set of homegrown demos that sat neglected for nearly 40 years, they point the way to some of Ayers’ prime pieces of the early ‘70s. Mostly it’s Ayers only, sketching out his songs on guitar and keyboards, with occasional accompaniment from some of his regular cronies – Mike Oldfield, David Bedford and Robert Wyatt included. All in all, it’s a fascinating insider’s view into the Ayers M.O., one that places the listener in the observer’s chair as the composer crafts his designs, verbally explaining the structure of some songs while improvising others. A couple of the tracks appear winners even early on – the affably strummed “Unfinished” (“I could just play with words all day,” Ayers offers), the triumphant keyboard processional “Crying,” and “Dreaming Doctor” which borrows the avant-garde textured effect of composers Phillip Glass and Terry Riley. Ayers says it all eloquently, and these personal tapes provide the proof. (Reel Recordings)

Kevin Ayers MySpace page

CD QuickTakes, CD Reviews, Rock

Kyle Andrews: Real Blasty

November 14, 2008 /

Kyle Andrews spins a sound that’s decidedly left of center, a sonic surge marked by giddy melodies, techno-tinged rhythms and an effusive enthusiasm that freely tugs at the parameters. Recorded, produced and played almost entirely under his own aegis, Real Blasty, Andrews’ sophomore set, delivers on all its name implies, an all-out, go-for-broke, no-holds-barred slab of indie invention. Opening track “Sushi” ups the ante from the get-go, an ebullient shout-out that provides perfect incentive for a dalliance on the dance floor. That breathless, kinetic pace is sustained throughout, but it’s especially pervasive on songs like “Polar Bear,” “Tennessee Torture Dream” and “Put Your Hands Up,” the latter a standout by virtue of its elated call to arms. There are occasional moments of reflection as well – the appropriately dubbed “Take it to Heart” being the most notable – but overall, it’s Andrews’ insistent approach that leaves the most emphatic impression, a dizzying collision of rock, racket and weirdness. Next time around Andrews may want to consider reigning himself in, at least to allow his listeners to catch a collective breath. Suffice it to say, Real Blasty is positively explosive.

Kyle Andrews MySpace page

Alternative, CD QuickTakes, CD Reviews, Dance, Electronica, Power Pop, Rock

The Korgis: Something About the Korgis – Sound & Vision

November 14, 2008 /

Leave it to an astute archival label like Angel Air to take it upon itself to revive a band like the Korgis, a deserving combo that was scarcely appreciated even in their native Great Britain. An offshoot of the equally obscure Stackridge, the trio released four albums in the late ‘70s and actually attained something of a lingering hit, a haunting little gem called “Everybody’s Got to Learn Sometime.” Etched in the great British pop tradition – one that relied on such esteemed forebears as the Kinks, the Hollies and naturally, the Beatles – the band carved its template from lush, effusive melodies, subtly shaded arrangements and the cooing vocals of chief protagonists Andy Davis and James Warren, the Stackridge expatriates who shaped the band’s sound. Something About the Korgis is their fifth offering from Angel Air and their second Korgis compilation, but given the songs’ strong first impression it’s clear the group warrant the additional exposure. Two takes on “Everybody’s Got to Learn Sometime” and a more recent release – the aptly dubbed “Something About the Beatles” – find a place among nineteen selections representing the best of the Korgis catalogue. A bonus DVD featuring an unplugged performance by the reunited trio, archival videos and an illuminating documentary complete the package, making this a must-have for that especially discerning collector who considers him or herself a Korgis completist. Angel Air

The Korgis MySpace page

CD QuickTakes, Pop, Rock

The Reel Banditos: Indochina

October 31, 2008 /

Dig it: an all-instrumental groove-out with a theme about ‘Nam, maaaan. And believe me when I say that it being all-instrumental is this disc’s saving grace when it comes to the source of inspiration. After all, this could have turned into a heavy-handed, politically bent bad trip, and well, ‘Nam’s been done to death in both all seriousness and taking knocks in comedic circles. So sit back and dig the grooves of “Saigon ’67,” which features some groovy percussion, and a cool, toked-out vibe. “Huey” filrts with wah-wah guitars and ’70s Zappa-esque frippery and goes down well. “Jungle Warfare” is laden with heartbeats and a spooky dank ambiance that makes you feel as if you are there. Then there’s the crunchy “Poisoned Sky” which puts R.E.M.’s “Orange Crush” into its pithy place. By the time you make it to “The Fall of Saigon,” you’ll be ripped and spent. Why can’t more artists who feel the need to crank out conceptual chunder follow the Reel Banditos’ lead and just keep their pens quiet and their instruments cranked? Ya got me, but this is one of those left field oddities worth a good listen. (self-released)

Reel Banditos’ MySpace page

CD QuickTakes, CD Reviews, Instrumental, Pop, Rock

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