Saturday, June 19, 2010

Music Review: Geronimo!'s Fuzzy Dreams

Fuzzy Dreams could not be a better album title for Chicago’s, fuzz-rock band Geronimo! The recent, great 90′s resurgence shares not only sound similarities, but ethos too. Bands like Vivian Girls, Male Bonding, and Dum Dum Girls are embracing the ‘rough around the edges’ sound of the 20th Century’s final decade opposed to the electronica that seems to influence many A-list indie acts at the moment. However, the 90′s aren’t exactly being ripped off – the aforementioned bands are embracing melody, low-fidelity and simplicity, all the while staying undeniably fresh like candy to the ears.

The introduction to Fuzzy Dreams begins with feedback and a host of offbeat sounds that meld together into “Thunderbattles.” The album’s opening track is spearheaded by a warm distortion and shoegaze akin to the sound of fellow Chicago natives Smashing Pumpkins. Luckily vocalist Ben Grigg isn’t as whiny as Billy Corgan.

“Design Yourself a Heart,” takes a different turn, blending intricate guitar riffs and possesses Modest Mouse cred, while the slow building, 7-minute-plus, “Battery Acid Moustache” shows a darker side of the band and their willingness to let the music dictate itself. Guitarist, KJ Blaze, displays an epic double-tracked guitar solo around the half-way point making ‘Battery’ one the strongest tracks on the album.

“Nakajima” displays the band’s softer side, while “Approaching the Skyline” has a confident, upbeat pop sound. Each song is layered and structurally sound, taking in a host of influential 90′s sounds – the drum breakdowns in “Deep Warmth” pleasantly resemble Repeater-era Fugazi while the album’s last, most epic and poignant ballad, “Judgement Day,” resembles Radiohead guitar strums and dreamy Syd Barrett-esque vocal harmonies. As the album softly fades away with a Beta Band-like horn section denouement, Fuzzy Dreams ends on a high note.

Geronimo! has successfully blended 20 years worth of indie and alternative influences into an impressive debut and a sound that ultimately belongs to themselves. Fuzzy Dreams is a complex and great display of the American underground that deserves whatever buzz it receives.

Published by This Zine

Live Show Review: Fucked Up

Two Friday nights ago was a bit of a homecoming for Toronto’s Fucked Up who played a high energy, hour long set at the landmark, Toronto Reference Library in the heart of downtown. The five story building, home to approximately two million books, was filled with kids and members of the media who stood anxiously atop the library’s blood red carpet during the nights opening act, $100.

Fucked Up threw the crowd a curveball, opening with “Two Snakes,” instead of their go-to opener, “Son the Father.” The acoustics rang loud and clear within the library’s open concept. The band played in the main foyer which is five stories high – each level circles around the walls all the way up – giving the show an almost outside concert feel.

The band then took some time to introduce a new song, which they have been playing live for some time, and the B-side to a recent single entitled, “Heir Apparent” (AKA “Holden”), after lead singer, Damian “Pink Eyes” Abraham’s son. Soon after, the singer characteristically took off his shirt stating to the crowd, “I have to be the first person in the library to not be thrown out right away for not having a shirt on.”

As the crowd enthusiastically embraced new material and classics such as, “David Comes to Life,” and “Crusades,” from their first LP, Hidden World, the band brought up a string section and placed a podium center stage in order to play the band’s new single, “Year of the Ox.” The song spanned 12 minutes and Abraham had trouble reading the French lyrics, which are sung by a duet partner on the recording. Musically, the song was tight and it kept the audience enthralled enough to stop moshing for a few minutes and just listen.

To inject the energy back into the room, the band played their most rambunctious tune, the fan favourite, “Baiting the Public,” which needed library security and friends of the band to help hold up the stage lighting and monitors. Being that the show was in a library, there were no barricades and as fans rushed the band, they began filling onto the stage and either jumping back or circling the 6-piece into a pocket of chaotic energy.

The show wound down with a staple from the band’s back catalogue, “Police.” Abraham asked the crowd which would they rather hear, the aforementioned or “Black Albino Bones,” from their Polaris Music Prize winning, Chemistry of Common Life. But to cater to new fans, Fucked Up played the albums thunderous opener, “Son the Father,” before wishing everyone happy trails and reminding us all to, “support your public library.”

Published by This Zine

Friday, June 4, 2010

TMS ALBUM REVIEW: RATATAT – LP4

Ratatat has cranked up the complexities of their arrangements by trying out new sounds and gadgets to bring listeners a fresh collection of ambient electro dance-pop.

The album opens with “Bilar”, a groovy head-bobber which even features some spoken German text. “Drugs” melds psychedelia and Daft Punk-esque guitar ‘wa-wa’ sounds (I think I heard a bong toke in there).

“Bob Gandhi” is a stand-out track with a heart-racing tempo, followed by “Mandy” – a fun and mysterious tune with circuit-bending techniques and multiple layers. “Party With Children” shows off Evan Mast’s talents with the synthesizer while guitarist, Mike Stroud, is equally as strong making this one of the album’s most impressive jams.

“Sunblocks” is easily the album’s best selection – it’s melodic yet transfixing and leads well into “Bare Feast” which pulls in worldly influences (particularly African rhythms). The album ends with “Alps” – an optimistic and Cure-esque tune. Ratatat has successfully topped LP3 while bringing a fresh outlook to the present.

Published by The Music Slut