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Richard Frankz: The Traveler

August 26, 2008 / Captain Capm

Richard Frankz explodes out of your stereo with his good-time honky tonk/blues-country cookin’! It’s true, people. Frankz is a solid songwriter and The Traveler is a fine CD packed with journeyman type songs. “Just Being Me” swings with steady assurance with tight production and rock solid playing by Frankz’ band. “More Each Day” has a smooth kind of ’70s professionalism to it, while the same rings true for “Just Spending Time (With You).” Then there’s the pop side of Frankz, which is best experienced on a track like “I Could Never Fall” that sounds like something Chicago might have done when Terry Kath was still alive. Good stuff, indeed. “Southern Summer Nights” recalls Little River Band as well as Glen Campbell. And on “One Step Forward” Richard Frankz shows off his abilities at melding country and bluegrass with much panache. The Traveler is certainly a rock-solid album that fans of older country stars and just plain good songwriting and performing will like. It’s certainly nice to hear this style of music at this quality being made today. (Richard Frankz Music)

Richard Frankz’ MySpace page.

Artists, Blues, CD QuickTakes, CD Reviews, Country, Pop

Biography of Ferns: Pastel Gothic

August 25, 2008 / James B. Eldred

Biography Of Ferns is a Seattle-based band who formed in the late ’90s, but they obviously want to be a British post-punk from the late ’70s. One listen to Pastel Gothic and you’ll be sure to pick up hints of Public Image Ltd., Wire, Joy Division and most obviously Gang of Four. That’s cool, those are good bands to use as a starting point (God only knows more bands should), but there’s a difference between “being influenced by” and “trying to sound exactly the same as,” and Biography of Ferns far too often fall into the latter category. It’s not that they’re bad; there are a quite a few good tracks here. The first half of the album is especially strong; “Join the Barber,” “The Charmer” and “Accidental Town” all deftly combine the dance-friendly vibe of Gang of Four with the general insanity of more experimental acts from the time like Public Image Ltd. But Pastel Gothic is one top-heavy record, and the steam runs out quickly. By the time things wrap up with “Ring of Oaks” and “First Kiss” the catchy melodies are long gone and all that’s left is a boring excursion into post-punk masturbatory shoegazing. And someone needs to slap the hell out of their lead singer until he dumps the ridiculous fake British accent. On a completely unrelated note, these guys should tour with Unicycle Loves You. Not because they sound anything alike, but because they’re both two of the stupidest band names you’re likely to hear. (Tellous 2007)

Biography of Ferns MySpace page

Alternative, CD QuickTakes, CD Reviews

Goldcure: Portuguese Prince

August 22, 2008 / Jeff Giles

You might think Goldcure is sort of a silly name for a band – and you’d be right – but when you stop to consider that these guys used to call themselves Lillylock Timber, it doesn’t sound so bad after all. The Austin four-piece’s debut album, Portuguese Prince (names are clearly not this band’s strong suit) tries to wed Wilco, Travis, the Verve, U2, and the Beach Boys; as you might imagine, it comes nowhere near achieving its goals, but that doesn’t mean it’s a bad album. In fact, it’s actually surprisingly good – what comes across at first as a rather generic first effort reveals itself, after repeated listens, as a deceptively simple collection of 21st century classic rock songs. The band’s got a knack for stately, slow-building anthems, ringing harmonies, and wide open arrangements – and they lucked out in landing Austin legend Stephen Doster behind the decks, too. Doster, who was working with Pretenders guitarist James Honeyman-Scott at the time of his death, says he heard “unfinished business” when he listened to Goldcure – which, as any self-respecting rock nerd could tell you, is pretty heavy praise for a baby band. Damn if they don’t hold up underneath it, though. Goldcure lacks the immediate power of its influences, but give ‘em a few years – and a few more songs like “Rubber Inside” and “Lucky to See” – and they might just get there. (Sorin 2008)

Goldcure MySpace page

CD QuickTakes, CD Reviews, Rock

Woven: Designer Codes

August 22, 2008 / James B. Eldred

Listening to Woven can be extremely annoying, and not just because their lead signer can’t sing (although that plays a large factor in it). Woven is so annoying because each of their records are textbook examples of how to squander potential. They’ve shown promise ever since their 2001 EP debut EPrime to become a great electronic act, maybe even a mainstream version of Aphex Twin. However, instead of embracing their inner glitch, the group continues to try and combine their natural talent for breakbeats and killer loops with generic, utterly boring alt-rock straight out of the late-’90s post-grunge handbook. Much of the blame for the band’s failure to successfully merge the two decidedly very different genres should be placed on singer Ory Hodis. There hasn’t been a signer this bad in a band this good since Einar’s days with Bjork in the Sugarcubes. Hodis seems to have two styles, whisper sing/speak and falsetto yelling/whining, and he can’t pull off either. Songs on Designer Codes are completely ruined by him. “Perception Whore” and “Inhale” are awesome IDM-inspired bits of insanity, kind of like Radiohead’s Kid A with some balls. But the second Hodis opens his mouth and unleashes his inner sensitive alt-rock bitch, the songs are totally ruined. Hodis should shut his mouth and Woven should either recruit a new lead singer or seriously consider reinventing themselves as an instrumental act, since that is one area they need no help in.

Woven MySpace page

Alternative, CD QuickTakes, CD Reviews, Electronica

Samantha Crain: The Confiscation

August 22, 2008 / Lee Zimmerman

For a girl of such tender years – being all of 20 in fact – Samantha Crain boasts a surprisingly old-fashioned approach. Her five-song EP, tellingly-titled The Confiscation, sounds like it was recorded in an antebellum parlor, with everyone sitting in a circle and playing into a single microphone. The ambiance is casually nonchalant and sometimes slightly askew, complementing Crain’s unfettered vocals, which bring to mind an unlikely middle ground between Bjork’s cacophony and Marianne Faithful’s raspy resolve. Still, the most unusual element in Crain’s musical mix is its set-up. Billing her disc as “a musical novella,” she takes a literary approach with the various tracks, referring to them as chapters rather than songs. This befits the material’s darker rumblings and further adds to the intrigue. The mood is mostly melancholic, reflective of titles like “Beloved, We Have Expired” and “In Smithereens, The Search For Affinity,” two numbers where ache and mourning seem to hold sway. (Ramseur Records)

Samantha Crain MySpace page

CD QuickTakes, CD Reviews, Folk