Review: Wounded Lion Self Titled LP

Wounded Lion blends an array of often repetitive, simplistic rhythms that, when presented as a complete package, display something much more complex. Their guitar driven sound can get as jangly as Pavement's older material or as noisy as a Modest Mouse b-side. The lyrics are often humorous and charming, and tackle such subject matter as living in primitive and uncomfortable places, ("Creatures in the Creatures") and singer Brad Eberhard has a similar pitch to the late Wesley Willis - albeit not so tone-deaf.

The dichotomy of rhythmic thud and pop sensibility are WL's shtick and battle simultaneously for the length of the album. The album begins with the strongest track, "Hungry?", is a force of repetition and built from almost childlike lyrics ("I think it's hungry/ yeah, I think it's hungry"), which, when standing alone, hold nothing, but together create an impressive pop song. This formula repeats itself 12 times through the course of the record and for listeners, you either get it or you don't. "Degoba System" is simply about Yoda's hideout planet from The Empire Strikes Back, while "Pony People" either examines a new breed of humans or the variety of phony people we meet in life. The later half of the album picks it up a notch however, at this point, the songs begin to get a bit goofy - immature almost. "Block Socks" is more about the music than having something important to say, while "Silver People" is about Coors Light enthusiasts.

Whether raw or mystical, having something to say with a song is trumped by the feeling a song can produce. Although Wounded Lion's songs can be about astrology ("Belt of Orion") or geography ("Hunan Province"), they're simply just titles - these songs are chunky party tunes - they're goofy and fun and meant to be taken at face value.

Published by Treble Magazine

Album Review: Wavves - "King of the Beach"

A lot can be said, and has been said, about 2009, for Nathan Williams and his band Wavves. He manifested two impressive self-produced albums in his parents home in San Diego, which garnered buzz from high profile music press, and toured relentlessly around the world in an alcohol-induced stupor. However, 2009 also had its low points. At the Primavera Sound Festival in Spain, Williams' performance was a complete disaster and ended in a personal meltdown. Fortunately, the Primavera debacle may have been a blessing in disguise. Not long after, Williams hooked up with ex-Jay Reatard cronies, bassist Steven Pope and drummer Billy Hayes to back him on tour both musically and as a coping mechanism - things have since been on the up-swing.

Now that Wavves is not quite the one-man show it used to be, Williams & Co. have their chins up in 2010. On the cusp of the release of their ambitious third LP, King of the Beach, and the first on Fat Possum Records, the confidence resonating from the band is difficult to ignore - just look at the album title.

The album is soaked in '60s surf style riffage, beginning with the title track anthem about the greatest summer pastime, hanging out at the beach with a cold one and getting a sunburn. But as the song gets to the chorus, Williams' confidence is front and center: "You're never going to stop me," he sings.

What stands out most, looking back on Wavves' past LP's, is the level of production used in the recording process and how much the sound benefits from proper recording. The album was recorded at Sweet Tea Recording in Oxford, Miss. and the home of producer Dennis Herring, a sound perfectionist, known for his work with such acts as Modest Mouse. Sweet Tea is an obvious step up for Wavves, whose previous recordings were produced on a laptop in the suburbs.

The production is most noticeable on signature songs we have come to expect from Wavves, "Super Soaker" and "Post Acid" are straight ahead garage rock with those signature Williams vocal harmony overtones. Williams also slows it down at times, the hippy sway of "Baseball Cards" and the hopelessly romantic "Green Eyes," show a leap in his song writing, but the subject matter is often very much the same - alienation, angst and self loathing - "I don't ever want to leave home/I have everything in the back of my brain," Williams sings on "Mickey Mouse."

The new Wavves sound is most prevalent in "Idiot" - sure, Williams has used some form of primitive electronics to make weird spacey synth jams, like "Convertible Balloons" - but that, Beach-Boys-at-their-best '60s surf-pop that makes the band so easy to get behind, is at the forefront.

Wavves has definitely made their masterpiece (for now). The band allows the raw emotion of Williams' lyrics to shine through, all the while playing tighter and sounding cleaner, thanks to Herring's production. For Williams, to take on the world really would be something, and in the era of beach themed indie-pop, we may have a new king of the beach.

Published by Treble Magazine

Review: Mystery Jets' Serotonin

To explain the sound of UK outfit Mystery Jets, take a slick '80s post-punk band, much like The Cure, and mix it with the kind of imagery reminiscent of a Brett Easton Ellis novel. Produced by the legendary, Chris Thomas, who has been involved with The Sex Pistols, The Pretenders and even The Beatles, Serotonin's polished sound is certainly a throwback to the glory days of synth driven pop. Familiar though that aesthetic may be, the album touches on the best aspects of that signature '80s pop sound, most notably anthem-like choruses, like the album's opener "Alice Springs," which uses countless vocal harmonies and lyrics that dabble in self pity to create an interesting sing-along love song.

"Flash a Hungry Smile" is a definite highlight and is more reminiscent of that signature Mystery Jets sound that astounded critics on the first release, Making Dens. But barring a few exceptions, each song is essentially a carbon copy of the one that preceded it. Don't get me wrong, these are obviously well crafted pop songs, but that certain formula gets repetitive when taking the album in as a whole. The album's first single, "Dreaming of Another World" is one of the few songs that doesn't sound like a typical Mystery Jets song. In fact, it sounds more like a Peter Bjorn and John song (without the whistling) and is the best song the second side has to offer.

Mystery Jets, more specifically, Blaine Harrison and father Harrison, have crafted a well produced but formulaic album, soaked in a synth-driven nostalgic pop sound we've seen many times over, even more so now that the 1980s are a distant memory. The band does create a few gems throughout the album that are worth a listen, but the album as a whole doesn't manage to sustain the same overall captivating effect.

Published by Treble Magazine

Review: LIVE FROM SPACE (DVD) Paul Wertico's Mid-East/Mid-West Alliance

I could never imagine being a professional drummer at age 15, unlike Chicago jazz drummer, Paul Wertico who, I should also mention, is a seven-time Grammy award winner. To be frank, Wertico receives praise up the arse: being voted “Fusion! Drummer of the Year” in the 1997 DRUM! Magazine reader's poll and placed in the top five in the modern day, “Electric Jazz” category in Modern Drummer Magazine's reader's poll in 1997/1998. The Chicago Tribune also named Wertico one of the, “Chicagoans of the Year,” in 2004. Besides his accolades, Wertico has played on many modern day jazz classics including his work with the Pat Metheny Group during the 1980s and '90s, up until he left the group in 2001. When not touring, Wertico engages himself in numerous creative activities in the Chicago area and has since played with ethnomusicologist Paul Berliner and KUDU and the Memphis Nighthawks.

Wertico and his new quintet, Paul Wertico's Mid-East/Mid-West Alliance, comprised of Israeli duo Marbin and Chicago's Paul Wertico Trio, recently released a live DVD titled Live From Space. The DVD takes place during the album release party for the band's album, Impressions of a City, and consists of the band's second time playing together (the first was the recording of the album).

The show is presented, visually, in a very professional manner – multiple camera angles accompanied by a fully mixed and mastered multi-track audio recording so every viewer can witness/listen to every note. The show begins with a 43 minute fully improvised, acid-jazz jam session, reminiscent of the album itself. The band then kick into Wertico's back catalog, playing “African Sunset,” an eight minute masterpiece followed by a terrific, four minute drum solo from Wertico himself, so viewers can see what all the fuss is about. The latter half of the DVD is a half hour of Wertico's most precious work, ending with the spacious and groovy, “Testament.” For Wertico fans, this DVD is a must have, showcasing innovative, finely tuned jazz talent. For new fans of modern jazz, this would be a staple, and a great place to start before your journey backwards.

Published by This Zine

Music Review: Microphonies “Time Kills”

Microphonies is the brainchild of Sam Farfsing, an LA/NYC based artist concerned with more than just the audio aspects to his music but also the visual. Sam has taken part in numerous bands, including the noise-pop Unk-Cegi, the indie-folk project Bananacorn and his post-punk band Hello Fever, which released two records on Sound Virus in 2005 and makes Sam a busy musician and artist, which translates into his newest effort, Microphonies.

Microphonies recently released the LP Time Kills on LA label Track Number Records, which is, according to Terrorbird Media, “a much needed slice of snarky, spazzy 8-bit synth/noise punk,” to say the least. For close followers of the California electronica sound, the album is a unique piece of artwork, but for listeners interested in something a little more palatable, don’t expect it. The road of musical crystalizing is a long progression if you are to to find yourself on Farfsing’s doorstep.

Farfsing’s creation is genre splitting nonetheless, fusing many drum and bass sounds similar to Aphex Twin (“Mr. And Mrs. Blank”), while remaining raw in the same vain as the glory days of Universal Indicator and their brand of acid techno (“In 3′s”).

Microphonies are easy to get behind because the sampling is obscure and the sound is fresh and in your face. Top tracks include “Vexxed” and “Vatican City Pretties.”

Published by This Zine