One More Terrible Review: Funstyle by Liz Phair

i'll be the first to admit, i was less than impressed with Liz Phair's two previous outings, Somebody's Miracle and Liz Phair. Sure, they each had a track or two worth listening to, but truth be told, they weren't stellar. During the most recent phase of her career, Phair seemed to go out of her way to court an audience that wasn't interested. Worse yet, it looked like she was spiting the fan base she did have to assumedly capture a bigger slice of the marketing pie. Then, when it seemed she couldn't piss off her core any further, she does a complete and total about face and drops what has been kindly described as a career killer. i'm here to say, fuck all y'all haters. Funstyle not only isn't that bad, it's actually got a couple of "return to form" moments, too.

"Smoke" kicks things off, a tongue-in-cheek knock against her former label, essentially an imagined dialogue with her various detractors. The chorus, however, with its bluesy piano, actually is pretty damn good, reminiscent of "Baby Got Going" to my ears. "Bollywood" is the track you may have heard already, a goofy rap that further decries the industry. At this point, the album seems a bit too self-aware (if this is the album that cost Phair her career, why do all the songs talk about her fall?); i have to imagine the opening tracks were written after the fact, but still. Fortunately, silly or not, they ain't bad. The album then takes a turn towards the sincere with "You Should Know Me" and "Miss September," a nice touch. "My My" comes as close to R&B style funk as i believe Liz has ever come, and quite frankly, she holds her own admirably. Maybe it's the horns and the backing singers, but i dig the sound. "Oh Bangladesh" skews closer to the sound i've come to expect from the Illinois native, and "Bang Bang" might be the best damn song she's performed in years--it's earnest, it's simple and it's good, 'nuff said. "Beat Is Up" is another one of the silly numbers, making liberal use of a guru extolling the virtues of letting go of one's past mistakes sprinkled between Phair pushing a pumping chorus and one of the best Chicago accents since Bill Swerkski's Super Fans and Da Bears. "And He Slayed Her" is a good mid-tempo number, in the same category as the album's middle tracks. "Satisfied," interestingly enough, is the only track here i didn't particularly find satisfying. "U Hate It"closes the kimono by further shitting on the industry, imagining that the album was a success and that the heads in charge of the industry are just idiots.

While i'm not arguing with the latter, it's doubtful the former will come true. This is unfortunate, because there's a lot to like here. We'll see whether or not Ms. Liz ever returns to her former glory days, but i can say this certainly is closer than she's been in quite some time. Now, i have a theory that no Liz Phair album can succeed without one totally raunchy track ("Flowers," "Chopsticks," etc.), so hopefully we can get back to that on the next one. For the time being, though, i'm pretty content.

mp3: Oh Bangladesh (Liz Phair from Funstyle)

Yet Another Terrible Album Review: Sickle Sell Saturday Night by The Black Knights

Ever wonder would happen if the Black Keys jumped in a time machine, starting hanging out with a young Ozzy Osbourne, started having weird, occult-y sex that resulted in a couple of kids that then ended up forming a band and putting out their own music? Of course not. That's just fucking weird. Now, however, you're thinking about what that band would sound like, aren't you? Well, it might well sound like The Black Knights. Hailed as a voodoo trash blues duo (perhaps my new favorite genre description), The Dark Reverend Gary L. Hope (vox/axe) and Thomas Richard Pickford III (skins/vox) combine scuzz bucket blues with a touch of 70s rock to create an audial kick to the gut on their debut, Sickle Sell Saturday Night.

And with topics ranging from vampires ("I Drove a Stake Right Through Your Heart," "Vampire Rave") to demons ("Saturday Night Succubi"), Halloween seems the most appropriate time for this bad boy to work its way into your "Now Playing" list.

Snorting things off with "L.A. Hayfever," the boys waste no time getting grimy in this paean to cocaine. The beat is driving and menacing, and doesn't really let up for the duration of things. "Saturday Night Succubi" drops the tempo, but raises the fuzz, damn near doing the same for your blood pressure as the groove locks in and gets nasty. "Cult" opens with a tirade that calls the devil a "fucking nincom-fucking-poop;" honestly, that right there should be enough to buy the album, end of story, but the barn burner that follows is downright sick. The T-Rex homage, "Mailbomb Tom" keeps things rolling right along before "I Drove A Stake Right Through Your Heart" throttles things up a notch. "Bad Blood" slows things back down, all swampy and dark. "Schiz-" then jumps back into the thick of things, with a freakish demonic voice in the background to make sure the album maintains its unsettling air. The next few tracks continuously build upon one another to create an ever looming fright night before closing with the hauntingly appropriate "Receiver."

i'm telling you, about the only thing missing here is an ode to zombies, but what can you do? Regardless of the time of year, this is witchy music, pure and simple.

mp3: Saturday Night Succubi (The Black Knights from Sickle Sell Saturday Night)

Another Terrible Album Review: Kosmos by Micah Smith and mirF

Look at that, i was able to maintain a theme two days in a row. Will wonders never cease? Am i not taking the appropriately high dosage these days? How many licks DOES it take to get to the center of Lil' Kim? How long would you need to sterilize your tongue after the fact? So many questions, so little time. What the hell was i talking about again? Oh yes, another terrible album review...

We get so many submissions at LET, i'm embarrassed to say it's almost impossible for us to listen to each and every one. That is not to say we don't give it ye olde college try, but there are only so many hours in a day. As i've opined in the past, it's often the pitch letter that separates what goes onto the iPod and what lingers in the inbox. While i obviously prefer personal notes, every now and then, an artist/PR flak/whoever puts together a compelling enough mass email that i'll bite. When the announcement for Micah Smith and mirF's Kosmos came through, claiming to combine "the musical stylings of sampled soul, jazz, and chinese hip-hop beats steeped in the words of Walt Whitman," well, i was hooked. Hells yes, i dig chinese hip-hop beats; i grew up on bad kung-fu and anime. And who doesn't like Walt Whitman? Only dumb asses, and i've got no time for their lot anyway.

When i heard the opening, sped-up strings and diva vocals on Kosmos opener "Touch," i prepared myself for the worst, though. Sure, it may be an academic argument to some, but i like my instrumental hip-hop beat heavy, not necessarily dance floor ready. i'm about the headphone nodding, which is not automatically the same thing as what gets your booty bopping, as it were. Fortunately, i was quickly rewarded for my patience, as the drums soon slowed the affair down, and the chopped vocal sample showed a whole new side to the track. "Bliss (Together)" nails the Nujabes vibe so perfectly, it damn well should be on Tribute to Jun. The closing vocal sample, a dialogue between a man and a woman, wherein the man suggests a celebration, and the woman prefers they stay home, together, and listen to records, pretty much sums up the entire vibe of the album. "Eagle Claw" ups the Asian considerably, incorporating old school chop sockey strings and woodwinds. Made me want to get my Bruce Leroy on (this one, not this one), but that might have just been me. "All Goes Onward and Outward" is a spoken word piece played over Atari beats; i'm not saying it's better to listen to stoned, but i'm not NOT saying that, either. "Rain Fall" adds a bit of bedroom vibe to the affair. (Ed. note: What is it about precipitation that automatically makes composers think about getting it on?) "Exits" is a perfect outro, which is good, because it would have been an odd name choice for any other track, don't you think?

Best of all, this one, too, is a freebie, so shake your tail feathers and pick it up yourself. Whether you need a soundtrack for to align your chi with your gravity bong or are looking to seduce that cute kunoichi that keeps throwing stars at your head during practice, this album is right for you.

mp3: Bliss (Together) (mirF from Kosmos)

mp3: Eagle Claw (Micah Smith from Kosmos)

A Terrible Week of Album Reviews: Mr. Saint Louis EP

As luck would have it, i've received and/or ferreted out a handful of full CDs worthy of review lately, so i think we may just have a Terrible Week of Album Reviews. Until i change my mind tomorrow, at least, at which point you can expect your continued coverage of largely obscure beat tunes, zombie songs and mixes about female masturbation.

i've been singing the praises of Oddisee for a minute now, and i'm guessing his latest project might just propel him a bit further into the spotlight, which clearly is a good thing. Teaming up with Olivier Daysoul (how pimp a name is that, by the by?), Oddisee set out to make a soul record and did a damn fine job doing so. The album boasts four tracks, with instrumental and acappella versions thrown in for good measure. Oh, and there's a remix featuring Von Pea. Rumors of his sweetness have yet to be confirmed as of this moment.

The record kicks off with the space groover, "In the Now." Daysoul's falsetto plays slinkily against Oddisee's funk shuffle here before the oohs and aahs jump start follow-up, "Labor." "Foolish" keeps the melody flowing, amping up the guitar and drums just enough to keep the vibe frisky without ever jerking the listener out of the established mood. "Just a Song" adds a touch more romance to the mix, playing out like a sould record should. The acappellas and instrumentals just go to show how talented each is individually, but the team-up is so nice, that probably went without saying. i also imagine it's going to make life that much easier for the inevitable slew of remixes.

i'm guessing that by the time i finish writing and posting this review it already will be far too late, but the first 1,000 downloads of the album are FREE before going to "Pay What You Want, You Cheap Motherfuckers," and since i've already got one myself, 999 of you best move your asses in a quickly manner and get you some.

mp3: In the Now (Olivier Daysoul produced by Oddisee from Mr. Saint Louis EP)

mp3: Just a Song Acappella (Olivier Daysoul produced by Oddisee from Mr. Saint Louis EP)

Album Review: Seas – Now My Home Is A Beech Tree

Seas, or SEAS depending on your affinity for caps, is the embodiment of a gorgeous sonic wonderland put forth into the realms of reality by Ben Green. Green, a resident of the greater DC megalopolis, has made a record that sounds absolutely nothing like the hustle and bustle of the powerful environs in which he lives. Instead, Now My Home Is A Beech Tree, the debut Seas record, sounds more like a stunning collection of escapist treasures, songs full of mountain mists and shimmering sunsets and perennial falls and springs. It’s not all about the power of escaping reality, however, as Seas finds loveliness in the sentiments of everyday mortals.

The first time I heard the record all the way through, I loved it. The second time through, well, as you might have guessed, I loved it even more. It begins with the transcendent “Narrows”, swirling around as it does, placid and tranquil and effortlessly beautiful. The haunting creep of “The Integral Accident” is terribly appealing, with more of Green’s gentle strumming and calm, steady vocals. “I know/you know/our fate is sealed,” Green sings, wondering, “What will happen when we’re gone” as a wash of melancholia grows behind him.

It’s impossible for me to pick a favorite song from Now My Home Is A Beech Tree, though with some pressurizing I’ll admit that I’m somewhat partial to the breathless, heady sound of “Cusseta”. Something about that slow-motion, dream-sequence intro makes me think of Doves, which is always a grand thing. The beat of the drum is hypnotic, and Green’s voice lulls one into all sorts of fantastical imaginings. But then again, there’s all sorts of allure all over “The Buried Ranges”, Seas taking a more uptempo route while bemoaning being a “victim of history”.

It’s a cold, black heart indeed that doesn’t warm to Now My Home Is A Beech Tree, ladies and gentlemen. What Green has created let no killjoy or crankypants tear asunder. In other words, might I suggest you get your paws on a copy of this here record, pronto-like? And there’s never been a better time, as Decoration Day is having a sale. And you can't beat that with a stick.

mp3: Valley Of The Fevers (Alternate) (Seas from Now My Home Is A Beech Tree)

Album Review: last day of summer by White Denim

i'm about a week late on this one, but i was working, so what can you do?

While in the studio working hard on their third LP, White Denim decided to put together a full, FREE* album for your listening pleasure. i've waxed rhapsodic about these boys in the past, and imagine i will do so again in the future. Often.

Entitled last day of summer, this time around, the vibe is a bit mellower than most of what Fits had to offer. Think a lot less "I Start to Run" and a lot more "Regina Holding Hands" on this one. Befitting the title, it's got those last sunny rays of summertime, an excellent send off before we get into the hard work of the coming winter months. The group continues to improve musically, showing off their instrumental chops on tracks like "incaviglia" and "light light light," but it's the slow risers like "champ" and the top tappers like "shy billy" that really get the juices flowing.

If their "hold-you-over-while-you-wait-for-the-next-full-length" is this good, thunderation, that LP is going to be incredible.

mp3: champ (White Denim from last day of summer)

mp3: shy billy (White Denim from last day of summer)

*Sure, you could have this for free, but why don't you give a little somethin' somethin' for the effort? Throw a couple of bucks their way; i did.

Album Review: Jarvis Cocker – Further Complications

To me, there is but one voice that marries the slink of super sexy seduction with droll, wry realism. That voice, my loves, belongs to Jarvis Cocker, the lanky and exceedingly droll frontman for the divine band Pulp, one of the best of the Britpop bunch, the band that made you drink and dance and screw while Blur and Oasis were waging war in the charts with their Wonderwalls and their Country Houses. Having steered Pulp for over two decades, Cocker took advantage of a lengthy lull in Pulp relations and released a rather excellent solo record, succinctly titled Jarvis. Full of the razor-sharp, sarcastic pragmatism that made Pulp so great, Jarvis was a wonderful listen (particularly the glorious songs “Black Magic” and “Tonite”). And so with the news of a second solo record, I was rather pleased and excited to see what Jarvis had to offer up the second time around.

Further Complications begins with the snappy little title track, a rollicking romp through the banalities and tribulations of modernity. As you might expect, Jarvis and his voice are the star attractions, the combination of his lyrics and that voice always proving to be a winning one. “Angela” is a dancefloor gem, not quite up to par with “Common People” or “Disco 2000” of the heydays of Pulp, but pretty fine nonetheless with its handclaps and fuzzy riffs. “I wanna love you/whilst we both still have flesh upon our bones,” Jarvis offers in his dry, no-frills delivery, “before we both become extinct,” touching upon a few of his favorite themes, sex and aging and death. But as ever, Cocker makes his dark, brooding frankness ever so appealing with the overflowing bounty of his wit and that knack for clever, engaging lyrics.

“If every relationship is a two-way street/I have been screwing in the back whilst you drive”, comes the sardonic line in “I Never Said I Was Deep”, one of the best of the best on Further Complications. It’s not exactly breaking news, but I’ll just go ahead and reiterate the fact that nobody does cynical self-deprecation better than Mister Cocker. “Hold Still” shows off Cocker’s penchant for the sexy sidle of 70s-influenced lounge, and it’s not hard to imagine Jarvis holding one of those thin microphones while swaying around a plush set on some retro pop music program, bright lights reflecting in those thick specs that have become his trademark over the years as he come hithers for the folks at home.

It was initially a bit hard for me to let go of the Jarvis from Pulp thing, given how smitten I was for that wonderful band. However, given this second solo recording, the ties are easily cut. Further Complications is a great record, and leaves no doubt as to who’s behind it. Be it in Pulp or on his own, Jarvis Cocker is a force to be reckoned with. And I think it’s a fairly safe thing to say that anything he touches will be pretty bloody fantastic.

mp3: Further Complications (Jarvis Cocker from Further Complications)

Album Review: Gringo Star – All Y’all

Ever wondered what might happen if you took four dudes with a serious love of the British Invasion and stuck ‘em smack dab in the capital of the Dirty South? Well, you can stop wondering and get yourself a copy of this here record if you wanna know, ladies and gents. Gringo Star has taken their cues from the cream of the British crop and given the skinny pantsuits and bowl cuts the Atlanta treatment, the end result of which is an album of tail feather-shakers and other fine musical treats.

It begins with the oh-so Kinks-ian jangle of title track “All Y’all,” full of vim, vigor, and cracklingly good guitars (think “All Day & All Of The Night” with a drawl). Gringo Star proves early on that next to nobody can shimmy and shake their way around a studio quite like they can. “Ask Me Why” is among the exhibits I submit to the jury for confirmation of said opinion. You can feel the sass from here, my friends. “You don’t even know what you done”, sing they, as the guitars wail sultrily away. “Come On Now” is just the cutest thing, sweet like those old ditties used to be, but with an ever-present undercurrent of naughtiness lurking just under the bounce. Much like those rapscallion Rod Stewart-led Faces, I wonder if perhaps the adage “good boys when they’re asleep” also applies to los Gringos.

“TransMission” offers a dreamy swirl of a breather from the madcap danceability of the songs before it. And yes, the Gringos also do near-ballads very well. But they’re undoubtedly at their best when gettin’ down, as in the dirty little “Holding On To Hate” and its scorching little guitar riffs. It’s a big bastard of a song, and it’s damn fine. “Don’t Go” calls to mind The Hollies (circa “Bus Stop”), with the jauntiness of the instrumentation and the synchronized vocal acrobatics. Hell’s bells, the whole dang record is sizzlin’.

The record has been out for a little while now, but it still sounds as fresh as a daisy if you ask me. Now, loving the Brit Invasion as much as I do, I might have been slightly inclined to love Gringo Star anyway. But I ask you, friends, does it really get better than a band that tends to sound like an early Kinks/Sam The Sham & The Pharaohs/Zombies/Herman’s Hermits hybrid? I’m gonna go ahead and say no, it most certainly does not. So in closing, friends, all y’all really need to give All Y’all a listen or several.

mp3: All Y’all (Gringo Star from All Y’all)

Album Review: The Jim Jones Revue – The Jim Jones Revue

Goodness gracious, great balls of fire indeed. Riddle me this, friends, how does a band from Blighty manage to channel the spirits of rock’s crucial dawning era so convincingly that listening to this here record might challenge anybody as to when it was made? How can they capture the exact firecracker tinkling of the piano, the rough, jagged polish of the guitar, and most of all, the soulful, guttural, holy howl so needed to inspire legions of fans into riotous abandon? I might not have an answer to any of that, but what I can tell you is that The Jim Jones Revue should probably become one of your favorite new/new favorite bands immediately, if not sooner.

This self-titled release has been around for a little while, but just now are we Yanks lucky enough to be able to get our mitts on it. And trust me, you’ll want to get a hold of this one. It’s like having Jerry Lee Lewis wiggling around at the keys, Little Richard running rampant with the mic, and the best axemen and rhythm section you can possibly imagine carrying the rest of the load. The rock just does not stop on this record. Does. Not. Stop. The band goes gangbusters from start to finish, and I can only imagine the holy hell of a live show they must put on (hey y'all, come on down to the D of C).

The songs on The Jim Jones Revue are short-ish, sweet, and sinfully splendid. And maybe just sinful. The most obvious reference here is 50s revivalism, and I can’t think of a soul who does it better than these gents. “Princess & The Frog” and “Hey Hey Hey Hey” are two of the best, purest rock songs you might could hear all dang year, choc full of hard-working piano and reverend-ready vocals. They do deviate slightly on occasion, “Another Daze” for instance sounds a little like the Fogerty-led CCR dragged kicking and screaming through the grime of Iggy's Motor City. And oh my, what a glorious racket that turned out to be. “Make It Hot” has shades of Skynyrd, in the roadhouse meets the stage kinda way, which endears the band to my little heart even more. “Cement Mixer” also dips its toe into the 60s waters, with a swirling organ and fuzz creeping in around the gritty edges.

Basically, my brothers and sisters, this here is a record you need to own. Amen.

mp3: Hey Hey Hey Hey (The Jim Jones Revue from The Jim Jones Revue)

Album Review: Detox Retox – Movement EP

This is one of those times when I could go on and on about how I love this band for their name alone. Detox Retox. It’s oh so clever, no? Just imagine the concept of detoxing only to retox yourself into an overindulged state once again. I’m sure the concept is anything but foreign to many of us, come to think of it. Seeing or saying Detox Retox always makes me smile. Fortunately, it’s not just the band’s name that makes this gal happy. Oh no. It’s their music, too. And lucky us, the band has just recently released the ever so excellent Movement EP, their second to date. And in this case, it’s perfectly alright to overindulge.

Movement is definitely an apt name for such an EP. The sounds are constantly in flux, these are songs that couldn’t ever be accused of sitting still. Frenetic and pulsating with energy, these six songs are representative of quite a little band on the rise in this part of the world. The main ingredients to this little party are the feisty, pretty darn sassy vocals courtesy of Michael Parker, skillfully shredded guitars clawed with equal aplomb by Parker and Nate Frey, and the plucky as all get out Double K rhythm section (comprised of Kevin Glass on bass and Kabir Khanna on drums).

And a party it is, folks. Detox Retox has the breakneck ferocity of a DC punk band tempered by ridiculously cheeky (and even more ridiculously catchy) dancefloor grooves, making them equal parts grit and glam. For those of you who’ve ever felt compelled to cut some rug while having your eardrums assaulted by waves of blinding noise, well, this could just be the band of your dreams. With a song called “Sleep Around” I can’t help but love them, really. One of my highest of high DC band recommendations.

mp3: Caroline (Detox Retox from the Movement EP)

Album Review: The Strange Boys – Be Brave

I’ve thought about this quite a bit, and after much consideration I think my favorite thing about The Strange Boys could very well be their brattitude. Cuz let’s face it, y’all, there’s something really kinda bratty about the way they make music. It’s not just that they’re all pretty dang good at what they’re doing. It’s almost as though they play in a way that almost mocks how good they are, as if they’re scoffing at what they’re doing. And then there’s Ryan Sambol and that little rapscallion of a voice of his. Scratchy and nasal and almost jeering at times, Sambol’s voice anchors the perfectly-produced grit and grime and retro-worship that runs rampant all over Be Brave. And I tell you what, brothers and sisters, this band can be as bratty as they wanna be if they keep making music this good.

I’m writing about this record on a Sunday afternoon, and it seems a pretty dangum perfect Sunday afternoon record. It’s not too jarring (save, of course, for Sambol’s pleasantly vexing voice), its’ rhythms are on the subtle side, and it would make a perfect soundtrack to a pitcher of mimosas and some good conversation among hungover friends. Then again, it’d probably sound just as good on any other day of the week, so don’t feel like you have to reserve Be Brave for brunch alone.

As you might expect, Be Brave definitely takes all sorts of cues from all sorts of places. You’ve got the strident, plucky guitar found both in 1950s rockers and rollers and those lovable 60s Brit Invasion types playing hide and seek all over the record. A dissonant sax makes an appearance in (super awesome) title track “Be Brave”, and somehow makes perfect sense. “Friday In Paris” sounds a whole lot like The Kinks and The Small Faces, with just a hint of front porch country thrown in for good measure, and that’s a whole lotta alright with me. I go nuts for that irrepressible jangle of “Night Might” and the near-howl of Sambol’s vocals and it’s rapidly becoming my favorite track on the record. They’ve twisted and manipulated various elements to come up with their own delightful sound, and what a dandy little noise it is. Is it too soon to already be lookin forward to their next album? Cuz I am.

mp3: Be Brave (The Strange Boys from Be Brave) (Link removed by request...TWICE! Hey kids, don't look at us)

Album Review: The Black Hollies – Softly Towards The Light

If there’s one thing I love, it’s bands that have a serious affinity for their forefathers. The bands that you know without a doubt were weaned on Ogden and his flaking nut, Lola, and the Carousel. Last year I lucked upon one such band, The Black Hollies, and have developed a host of warm fuzzies for their take on the early 60s British Invasion melodies and catchy as hell pop nuggets created by all of those “The” bands the bowl-cutted, mod-suited kids used to go wild for. No corner was cut, no trick left untried. Though instead of sounding like a mere cover band, The Black Hollies stand as an example of just how to spread your retro love.

Softly Towards The Light grabs you straight away. “Run With Me Run” has enough jangle to make The Kinks and The Hollies and even The Zombies proud, and retains that recording quality that makes those old records so very appealing. “Gloomy Monday Morning” is another gem, taking their retro jingling and adding some funky grooves for an irresistible romp. “Everything’s Fine” throws some psychedelic swirls into the mix as the song gently ambles along, serving as a breather from the near breakneck pace of the preceding songs.

“Lead Me To Your Fire” is a Roman Candle of a song, furious tambourine and slick vocals urging the feet to get on the floor for some rug cutting. And as with all the songs on Softly Towards The Light, the guitar is worthy of a mention for that sharp, perfectly-played sound, present here in one heck of a solo midway through the song. “Can’t Stop These Tears (From Falling)” shows a band wearing their sensitive dude heart on their sleeve, along with showing off a slinky overall sound. “Don’t Be Afraid To Ask” closes things down nicely, giving you more jingle for your jangle than you could shake your Mary Quant boot or your skinny tie at. “Don’t forget to get the last laugh before you leave,” quoth the band as “She’s A Rainbow” style keys are tinkled, and they certainly do just that.

When it comes to Invasion revivalism, The Black Hollies have their finger on the pulse. If you haven’t worked up a dancefloor-worthy sweat by the time this record is over, you obviously haven’t been listening.

mp3: Lead Me To Your Fire (The Black Hollies from Softly Towards The Light)

Album Review: Ceremony – Rocket Fire

Before even having heard Ceremony’s Rocket Fire in its entirety, I proclaimed them to be The Best Band in Virginia, based solely on the amazing sucker punch of a performance they gave back at the U Street Music Hall in June. Now, having finally heard said record in all its sensationally searing glory, I’m solidly sticking to my guns. With that being said, friends, I’d like you to meet Ceremony. They’re from Fredericksburg, they’re nouveau gaze in its finest of fine fettle, and they’re going to do nothing short of fry your little brains.

Rocket Fire is the sweat equity of two Fredericksburgers, Paul Baker and John Fedowitz. The noise these two make as Ceremony is both beautiful and terrifying, full of snarling ferocity as well as dazzling rays of sweetness and light. Rocket Fire could be straight outta 1981, but in the way that only the most modern and on-point music can be. It will quite possibly make you yen for My Bloody Valentine, but also make you hanker for Ceremony themselves. “Stars Fall”, the album opener, exhibits both elements of Ceremony, the sugary sweetness and the liquefying oblivion. Crunching, jagged guitar cuts through the fabulous fuzz and the kick of the drum machine, while honeyed vocals offer respite from the attack of the instrumentation.

Even better things await the further you wade into the intense mess of sound that is Rocket Fire. “Breaking Up” is simply blistering, fierce layers of fuzz creating a blinding backdrop for lovelorn vocals. “Marianne” is another favorite, scorching guitar and still more fuzzery playing off the lovesickness of the lyrics. “You’re killing my soul, Marianne,” goes the lament, while the wall of noise undulates every which way. “Silhouette” has rapidly turned into quite possibly my favorite of favorites on Rocket Fire, darkly sinister as it is and with that fantastic rapid fire drum machine action. The heady, scathing swirl of the guitar and bass also add to the intense appeal of said song (and, to a greater extent, said record).

At this point in time, I’d say that if this here record doesn’t end up on my Best of 2010 list, hell might possibly have turned into the Arctic. And if you don’t make it a point to add this record to your collection, well, I fear there might not be any hope for you, ladies and gents.

mp3: Breaking Up (Ceremony from Rocket Fire)

mp3: Silhouette (Ceremony from Rocket Fire)

Album Review: She & Him – Volume Two

I tell you what, y’all. The wait for this one sure felt like a deep, dark, black hole of oblivion. But the end result, Volume Two certainly proves that old adage that very, very good things come to those who wait. Well, in this instance anyway. She & Him's adorable Zooey and dreamy M. put their heads together once more and came up with another batch of beautiful songs, heavy with the ghosts of country and girl group greats. These two together are utterly irresistible, between Zooey’s voice and M.’s guitar play.

They really hit the ground running straight away this time. Volume Two seems more polished than the volume that preceded it. It’s shinier, newer, and even sleeker. “In The Sun” shimmies along with that big symphonic sweep of the golden olden days, full of Zooey’s inherent quirkiness and undeniable catchiness. “Don’t Look Back” calls to mind both early Beach Boys and classic Motown, with “doo doo doos” aplenty and a ravishing retro wash to the song’s production. “Ridin’ In My Car” is impeccable in its throwback sound, with Zooey and M. showing off fantastic boy-girl vocals and the whole shebang sounding like a soda fountain classic.

I love the mix of British Invasion sounds and that twangin’ guitar of M.’s on “Gonna Get Along Without You Now”, which also lets Zooey unleash some of that Baby Patsy Cline she’s got in that voice of her. “Gonna find somebody that’s twice as cute/cuz I didn’t like you anyhow,” she prettily pouts, as M. strums along. The acoustic guitar intro to “Sing” is pretty special, and the song itself is just another gem. “Over It Over Again” is one of my favorites, a classic She & Him song with girl group sashaying alongside country and pop to dazzling effect. O, how I love it.

Now friends, with an album of this length, you might expect some throwaway songs. Well, there aren’t any. Each and every song is as good as the one before and after it. I wasn’t sure if lightning could strike twice for this unlikely dynamic duo, but strike it did. I might still be slightly partial to Volume One, but with enough listens to Volume Two I very likely could soon be singing another tune. Hot damn, these two have found musical soulmates in each other, and I’d say we’re all pretty lucky these kids got together to make music. Now, the big question is, are we gonna have to wait this long for Volume Three?

mp3: In The Sun (She & Him from Volume Two)

Album Review: These United States – What Lasts

What do near-death experiences, a stolen laptop, and the Keystone State have in common? The answer, friends, is the latest These United States album, heretofore known as What Lasts. The fourth TUS record (recorded in Pennsylvania, after singer Jesse Elliott’s near-drowning, the poor boy also having had his laptop stolen) is, as I’ve come to expect and look forward to from this band, a triumph. Running through the record for the first time, I awaited the start of each song with baited breath weighted down with heavy anticipation, because as you all know, TUS is most assuredly one of LET’s most pet of pet bands. And once more, they’ve proven their worth as one of the most relevant, most important bands of our time.

Turning another page in the goodness gracious great story that is the tall, tall These United States tale, Jesse Elliott and the fantastic four (aka Robby, Justin, Colin, and Tom) that have become permanent fellows of TUS exhibit nothing short of master class on What Lasts. The record itself feels more intimate, more personal than has any TUS record before it. At times it’s even rather stone cold sobering, the more winsome musical follies of, say, Crimes, a distant memory down a dusty road in the rearview mirror. What lies ahead is the wide open, big sky country sound of maturation, the sound of melancholy, and the sound of serious contemplative introspection.

But lest you think These United States has left the good jangle behind them, fret not. Songs like the splendid “The Great River” and “Water & Wheat” proudly fly that old faithful TUS jingle pop folk banner. It must be said that the bulk of What Lasts is indeed on the more serious side of the coin, though, which while initially disquieting becomes more and more appealing as the record goes on. “Life&Death She&I” is cause for both sadness and joy, regarding the subject matter and 70s-esque feel to the beat with that foxy steel, respectively. Title track “What Lasts” is music to mope to, with the haunting, shimmery steel and Elliott’s voice taking on particularly plaintive emotional tones. They often seem to tread water that greats like The Band might approve of, and that I most certainly do.

Sure, it’s the most serious These United States record to date. It made me furrow my brow just a touch. But What Lasts is a tremendously fantastic record. And hell, I’m still waiting for Jesse to put a foot wrong when it comes to his lyrics. He once more shows the kids how to write a record full of amazing songs. They’ve come such a very long way from the gate to the garden of Eden. And yet, perhaps they’ve just come full circle. When it comes to These United States, only the old devil moon really knows. And that’s the way it ought to be.

mp3: The Great River (These United States from What Lasts)

Album Review: Washed Out – Life Of Leisure EP

I’m deathly afraid of sharks (mamas, don’t let your kiddies alone with Jaws when they’re young and impressionable), which means of course that I don’t venture out into the surf much if I can help it. However, the weather here in the greater DC metro area has been so disgustingly, abysmally, horrifyingly hot and humid lately that the cover of Ernest Greene's, better known as Washed Out’s Life Of Leisure EP makes me want to be that girl, floating along in a glassy sunset sea, preferably while the sharks are otherwise engaged and Washed Out is playing somewhere on a stereo nearby. This EP is a damn fine way to take the edge off the summertime, my sweets, from the very first breath to the last. It takes those hazy crazy days of summer and mixes and undulates and sleeks them into something effortlessly, breathtakingly beautiful.

“Get Up” is a slow, dreamsicle of a song, hithering and thithering along on a placid rhythm, as cool as the other side of the pillow. If possible, “New Theory” is even cooler, icy beats and presenting itself as a perfect party-by-the-beach-fire song. Or the perfect lounge-by-the-pool-while-double-fisting-frozen-drinks kinda song. You get the idea. It’s all things lovely and summerproof. Things keep drifting along gloriously with “Hold Out”, which at three and a half minutes clocks in as the EP’s longest song. “Feel It All Around” has an air of back in the day to it, a song that certainly lives quite a life of leisure. Yet again, the downtempo meander hits the spot. “Lately”, well, that’s another hotdiggitydog song. And “You’ll See It”, friends, if you haven’t already heard it, is nothing short of hypnotic. The liveliest of the songs, it is just about perfect in every way. It’s so good you just might end up listening to it for hours, over and over and over and over. And yes, I am speaking from personal experience.

Sweltering temps regardless, Washed Out has hereby produced one of the finest damn EPs of recent memory. It’s new and old and fresh and clean and hot to trot and ice cold. I suspect I’ll adore this collection of songs just as much in the dead of winter as I do today, in the midst of the sizzle of late July. I love it so, and you might just love it too.

mp3: New Theory (Washed Out from Life Of Leisure) (song removed by request, sorry kiddos. Don't blame us.)

Album Review: Loose Lips – Lower Your Expectations And Be Happy EP

Loose lips sink ships, so they say. But what do they know, anyway? This DC variety of Loose Lips has nothing whatsoever to do with sinking your battleship or any other type of maritime vessel, but they sure can rock your little socks off, and get you fighting the serious urge to shake your behind, too.

My darling little iTunes library calls them “indie rock,” but there’s much more to Loose Lips than meets such a vague classification. Sure, they’re indie. And yes, they do, in fact, rock. But somewhere in that broadness, the band manages to capture the essence of DC, in the form of an infectious little 5-song EP. It’s got the grit and grime of the city we know and love, as well as the rock and punk elements of DC’s past, mixed with some shiny sleekness and careful execution. Oh, and there’s some kicky little grooves to get you dancin’ to boot. I knew the band had gotten under my skin when I found the song “Be Happy” popping into my head at random times. At the library? Yep. Sitting on the couch at home? Check. The catchiness cannot be escaped, my friends.

Having listened to Lower Your Expectations And Be Happy, and considering the recent live performance I witnessed, I might just have to go ahead and hereby proclaim Loose Lips to be one of my top 5 local bands. This pretty fine EP makes me really excited to see what else the band has up its collective sleeve.

mp3: Be Happy (Loose Lips from the Lower Your Expectations And Be Happy EP)

Album Review: Kevin Hart, Seriously Funny

Truth in advertising apparently is not dead, as evidenced by the title of Kevin Hart's latest comedy CD, Seriously Funny. Taped at a Cleveland performance with such stars in the audience as Shaquille O'Neil and Lebron James, Hart spends an hour riffing on what he knows best--his kids, family and friends, and the trials and tribulations associated with each. Hart mines comedy gold telling tales of the only time his mother gave him permission to cuss, his crazy, parolee uncle, and what happened when his good friend was confronted with a picture of a "hotdog without the bun" on his daughter's phone. Hart stays away from the overtly political stuff, which gives his material a somehow more honest feel. His insights into family life, however, have a universal touch that should appeal to most audiences.

This marks Comedy Central's second forray into CDs, by my count at least, and as far as i'm concerned, they're easily two for two in the victory column. Whereas their first release with Reggie Watts was a bit more on the surreal side, Hart's offering is a straight-up stand-up affair.

i'll admit, i had at one time written off Hart as the poor man's D.L. Hughley, but Seriously Funny is a game changer, proving Hart deserves his space on-stage with the best of them. The only "shortcomings" here are a couple of times when Hart clearly is doing some visual jokes that don't translate into a purely audio setting. Of course, this happens on damn near every comedy album ever put to wax, so it seems unfair to judge too harshly on this measure alone.

Bottom line, dude is funny. Seriously funny, as a matter of fact. But don't just take my or his word for it. See for yourself.

mp3: One of My Biggest Fears (Kevin Hart from Seriously Funny)

Album Review: Valentiger – Power Lines to Electric Times

I’ve got to admit, I was initially drawn to Valentiger because, well, let’s face it. They’ve pretty much got the cutest, warmest fuzzy of a band name ever. That may or may not be what they were going for, but being a sucker for a good band name, I appreciate the effort. Having been so drawn in, it really would have been quite heartbreaking had their album been horrible. As luck would have it, though, not only do they have a great name, they’ve got a great little album here, too.

Power Lines to Electric Times is, among other things, what I like to call a good Sunday afternoon record. It’s got both the lovely mellowness required for relaxing, but also a good bit of kick that helps really make the most of those last few waning hours of the weekend. It starts with the fantastic “Aboveboard”, a lightly jangling song with a hearty dose of down home warmth. “Leaving Town” is one of my favorites, heavy on the jangle and full of honest, frank vocals. Oh, and it’s got some serious mouth organ goin’ on, and that wins me over every time. The song shows off the subtle influence of a range of folks, from the candid earnestness of The Boss to the tight angularity of Brit bands like The Jam.

“Never Ready” is another of my favorites, the delicate strumming of the guitar working like a lullaby, soothing and peaceful. The dancing piano and softly-hit drums add to a tranquility that’s nigh on magical. “Bosses In Their Offices” is a delight, full of front porch attitude and an overall liveliness. The instrumentation at the end of “Under The Gun” is the musical equivalent of a glorious sunset over a Northern lake, surrounded by pines and clutching a beer while sitting in an Adirondack chair watching the fireflies. “The Girl That Everyone Forget” is a yet another favorite, a rollicking little firecracker, big on harmony and simple, heartfelt sounds.

Remember the name Valentiger, my loves. They’re one of those bands that takes inspiration the everyday banalities of life and crafts them into splendid little songs, full of honesty and without a whiff of pretension. Power Lines to Electric Times is a rustic, pastoral folk rock-with-a-dash-of-pop record. Well-played, well-written, and well done. It won my heart, and I’m pretty sure it’ll do the same to you.

mp3: Never Ready (Valentiger from Power Lines to Electric Times)

Album Review: Blue Giant – Blue Giant

The tango. Doubles tennis. Making a thing go right. Two can be just about perfect for any number of things. For instance, as dastardly duo Viva Voce, Kevin & Anita Robinson proved you only need two to make some pretty fantastic music. But the Alabama transplants aren’t resting on their twosome laurels. Oh no. They’ve decided to try expansion on for size, in their new band Blue Giant. And I think you’ll find, as I did, that sometimes, in music as in other things, bigger can sometimes be pretty darn good.

In Viva Voce, Mr. & Mrs. Robinson created gorgeously sung, gorgeously played songs. In Blue Giant, guess what? There’s more of the same. However, the songs feel fuller, more expansive, and just plain bigger than you might have expected. The overall feel is much the same, country meets folk meets sunshiney West Coast pop, but it’s not merely Viva Voce with extra members.

There’s a whole lot to love about the self-titled Blue Giant release. “Blue Sunshine” is a perfect summer song, banjo playing backup to a fantastic guitar and giving Kevin a chance to show off his full-bodied vocal tones. “Target Heart” is a perfect little honky-tong lovesick song, with beautifully lovelorn lyrics and what sounds like an old-time player piano adding to the song’s charm.

“When Will The Sun Shine” sounds a lot like a Viva Voce song, with Kevin & Anita sharing much of the vocal duties and featuring strong guitar play. And Anita’s voice is positively haunting in the stark, slowed down mid-section of the song. “Run Rabbit Run” is another one that got my attention. It’s got more banjo, which is never a bad thing if you ask me. The lively tambourine adds that extra jangle that gets my blood really pumping. The mournfulness of “Gone For Good” is aided by the strong, winsome vocals of Corin Tucker, and the wail of the steel gives the song added heartbreak.

Fellow fans of Viva Voce, rejoice. If you’ve been missing the family Robinson, this is your lucky day. I probably still lean a bit more towards Viva Voce, but Blue Giant is a welcome addition to the Robinsonian oeuvre.

mp3: Blue Sunshine (Blue Giant from Blue Giant)