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orphanendorphindolphindorsalfin

‘the title might suggest, this album is not your run of the mill release.  It is an extremely well produced basement release that came to fruition when long time friends Dave Dunn and Jeff Mott got together to combine their latent musical talents.  This combination exploded into a 17 track release that makes most other vanguard bands look blasxefxbfxbd.

The Robbers do not intend to mince words here.  They are very forward about the fact that this music was created as art without an audience in mind.  A compilation of music created for the sake of music a somewhat novel concept nowadays.  At the same time, these songs are not inaccessible.  Rather, they take some adjusting in order to get used to hearing something different.  If anything, that should be a compliment to both the band and the album.

Even though the music on this album was written with only two people, it is still without bound.  The Robbers draw on numerous instrumental sources to create a music environment, landscaping the aural space between the listeners’ ears.  In a similar nature to bands such as Tortoise, the Robbers’ debut release is something that lends the listener the possibility for endless exploration.  The more one listens to the album, the more subtle nuances may be discovered.

As aforementioned, “OrphanEndorphinDolphinDorsalFin” is the first collaborative work of the Robbers.  On the whole, it is a great freshman offering from the band.  Relying on experimentation and a limitless use of anything within the band’s grasp as an instrument, this album is much more than a group of songs that flow well together.  It is also an experience and, as an experience, it is impossible to capture its essence in a recording studio.  There is something missing from this album and that is the live performance.  The Robbers are a band that need to be experienced live in order to fully grasp the nature of their works.

The songs on “OrphanEndorphin” are extremely well composed and arranged.  A good deal of effort and thought went into the creation and production of each track and it shows.  The strengths of this band are hard to categorize due to the prevalence of variety and tight songwriting skills.  Some songs, such as the opening track, “What’s we’re ander?” show the Robbers’ ability to write catchy hooks and intriguing riffs without compromising a sense of artistic integrity.  Other tracks, like “A typesetter in Russia” bring out the band’s spacier and avant garde side.  “A typesetter in Russia” is actually quite reminiscent of the music of A Study In Her, one of the many bands that formed out of the ashes of D.C.’s Jenhitt.

“OrphanEndorphin” is well worth numerous listens.  If they play live locally, they are equally worthy of seeing them in order to round out the listening experience.  Considering the fact that this is their first attempt at writing songs together and that they learned how to do all of the recording for the album, it is very impressive.  The Robbers may require some time and patience, but once it clicks, it is more than worth the effort put into it.

as the eternal cowboy

‘Fat Mike likes pop punk. He’s got a good ear for it. More importantly, he seems to like bands with a sense of humor. His label, like his band NOFX, is riddled with it.

That’s why it makes perfect sense for Gainesville, Florida’s Against Me! To be releasing “As the Eternal Cowboy,” their sophomore follow-up to 2002’s “Reinventing Axl Rose.” If it’s a savory blend of punk, pop and cynicism you’re looking for, search no further.

As is the case with some albums, the cover catches your eye long before you even have a chance to put the record in. The hot pink titles pique your curiosity. Upon a closer inspection, titles such as “Clich/ Guevara,” “Sink, Florida, Sink,” and “Turn Those Clapping Hands Into Angry Balled Fists,” assure you that the band is all about a good time.

Against Me! fits well in the Fat Wreck lineup, among similar bands that easily could serve as their musical muses, including Lagwagon, NOFX, and Me First and the Gimme Gimmes.

They seem like the kind of guys that, like David Sedaris, spend most of their time in grammar school being scolded for banging their shoes against their heads and licking the light switches, and you have to love them for it. No matter how childish you want to think it is, you just can’t stop laughing.

This band represents what more punk music should be like: something as witty as it is well-written, as relentlessly comical as it is catchy.

Whether you get the pure satisfaction of hearing a groundbreaking album is up for grabs, but the fact of the matter is that you’ll never think twice about it once their antics have reeled you in.

listen hard

‘Sometimes preconceived notions get the best of you. All it may take is a certain album cover design or a band named after the singer/songwriter to elicit a cringed face or upturned nose. Often that response is followed by the phrase ?Uh oh.?

It would be a lie to say that ?Listen Hard? did not elicit such a response prior to the first listening.

To be proven wrong only makes an album that much more powerful. It?s an unexpected surprise that lightens the day a bit. It is hard to say whether Melissa?s voice or her guitar was the more impressive surprise, though.

Vocally, she is a good mixture between Ani DiFranco (the melodies and the lyrics) and Sheryl Crow (the twang).

Melissa keeps true to the statement ?I hate slow? that she makes in the song ?Selfish Side.? The distorted guitars provide fierce and fast neo-folk (such terminology may be blasxefxbfxbd yet necessary to provide an accurate description), which is also a bit reminiscent of Ms. DiFranco. Needless to say, the bass and drums follow the suit of the guitars pace making it sound a bit like a female and sober Flogging Molly.

As the album advances, the tempo slows down, as might be expected. These are the moments that the Sheryl Crow influence permeates the most.

These slower songs fit right into the folk rock genre. As its history and tradition suggest, folk musicians adhere to strict rules regarding guitar progressions and vocal stylings. After the first couple of songs, Melissa rarely breaks with tradition.

While the next part may be anticipated and unsurprising, the album remains at a fairly high quality that is worth numerous listens.

?marie in the middle,? which is the only song in the middle of the album that speeds up the tempo, has a Coldplay twist to it which makes it one of the better tracks on the album. In competition for that top spot would be the opening two tracks ?burn this guitar,? and ?shatter me.?

At points, though, the phrase ?Uh oh? was warranted. Namely, this came when Melissa felt the need to scat. Rarely if ever is it a good idea there, Cab Calloway. Leave anything jazz in roots to the jazz musicians.

must i paint you a picture?

‘Billy Bragg, the UK’s premiere singer/songwriter, may be at the forefront of keeping old-time, folk-inspired music alive. To some, he is the Phil Ochs or Woody Guthrie of our generation. He is a man that has a political agenda that who is easy for the listener to accept. The British accent, the rugged good looks, the sweeping hooks and reeling melodies: they’re irresistible… well, maybe the looks aren’t necessary. If you’re into that kind of thing, what’s better than a tall Bloke who knows what he stands for and would die for his freedom to drink a cup of tea?

Most of Bragg’s best tunes are represented on the tracks of this three-disk compilation of his work. His catchier yet mainly political tracks such as “Help Save the Youth of America,” “Waiting for the Great Leap Forwards,” and “To Have And To Have Not” are all there. So are the screw-love, I-want-sex-and-kindness songs like “A New England,” and Woody Guthrie covers with Wilco like “Way Over Yonder in the Minor Key” that exponentially increased his notoriety.

This album is a must-have and a fitting compilation for one of the most prolific and underrated musicians of our time. Also, it is a simple way to collect some of his finest musical moments without spending a fortune on his entire catalogue.

As an added bonus, the third CD contains rarity tracks, most of which are cover songs. It brings the track total up to 50 songs, an astounding number of appealing tracks that can be topped by only a few bands – most of which also happen to be British, coincidentally.

educated guess

‘Another year, another Ani Difranco album.

In the past twelve months or so, this politically minded musician has caused a good bit of controversy, something she feels quite at home doing. This time, it was not what she said that caused a stir; it’s what she refused to say. She and her potent politics parted ways. After who knows how many years and how many songs ridiculing the right, she put her pedestal aside and decided to sing from ground level.

This might turn her into a bit more of an obscure figure but this is Ani we’re talking about here. She will survive. As long as she preaches of her loves, we know she’ll stay alive.

As her 2004 offering, we have been given “Educated Guess,” fourteen new tracks characterized by their left-of-center harmonies and, well, not much else. Is it going to be good? Will it blow her fan base away? There’s got to be something innovative that Difranco will do to hold onto her groundbreaking-artist status.

The fact of the matter is, these questions are irrelevant. The question at hand to be begged is: is she still a relevant musician, or is she on her way to the VH1, “I Love The ’80s” pool of the washed up?

If you’re not sure, keep up with your cable bills and check your local listings.

It could worse. At least you won’t see her on “Hollywood Squares,” if that show even exists anymore.

Her rationalization for where she is and what she’s doing is explained in “The True Story of What Was,” a spoken-word placed directly in the middle of the album.

Excuses, excuses.

Ani, here’s a piece of advice: put down the guitar, grab a pen and paper and head to the local coffee shop. You’re good with words. Switch your medium of conveying them while you still have a chance. Another album like this and Righteous Babe is going to be in dire straits.

tomorrow come today

‘When this album showed up in the office, the questions “Where’s your anger? Where’s your fucking rage?” would have been perfect to use against the band.

After all, their streak of successful releases had to break at some point. Their combination of hardcore rhythms and sweet vocal melodies, coupled with the harshest and heaviest of screams, and the most moving lyrics (often based on militant activism) was only a fad, right?

All attempts at turning the band’s own words against them were unfertile. This album was addictive from note one. Damn you, Nathan Gray and company.

“Tomorrow Come Today” continues right along the linear path of Boysetsfire releases, combining the edginess of “The Day the Sun Went Out” with the refinement of “After the Eulogy.” Of course, there are no Motley Crue covers on this record. Oh well.

How can a band be both edgy and refined, you may wonder? Well, ask the fire starters themselves. It is a complex formula that, it seems safe to assume, no one at MIT has replicated (although the heavily chorused bass riffs on parts of “Tomorrow Come Today” do flirt with comparisons to Tool – that is not necessarily a bad thing).

This album does make you realize just how commercial the hardcore sound has become recently. That, too, is not necessarily bad. It’s just interesting to see how many bands are living off the revenue that such a radio-unfriendly sound generates. It seems a long way off before Boysetsfire will be on TRL, but many of their contemporaries have gone that route.

It is reassuring to have a band like BSF still producing moving work. They are a band with a prevailing conscience. Not only will they not let themselves lose this admirable trait, but they, alongside of bands like Propagandhi, make it a point to stick it to any hypocrite who happens to hear the album. It’s old-school punk, all about ethics and keeping it real. Considering the sad state toward which music is headed, their sentiments seem almost nostalgic.

To picture BSF, think of Noam Chomsky fronting a hardcore band (his voice is almost raspy enough). Of course, that’s taking it a bit far. The band has always tackled intense issues from deconstructing the government, to bringing issues of sexuality and abuse to the forefront, to war. This album is no different. Expect the topics of September 11, and the government’s reaction and responses to “the day that changed the world” to come up in a few songs.

Whether or no you dispute the appropriateness of these topics, there is one undeniable statement that can be made about BSF. For any hardcore fan, they are the best thing that has ever come out of Newark, Delaware.

anthology

“Glorious New Zealand rock from the country that brought you, well, little else. The music is, as the name insinuates, good clean rock. It sounds like Cap’n Jazz without the noise and with a bit more pop sensibility. This anthology is for all fans of rock. The Clean has been making quality music for over two decades and it is about time that they get what is due to them. High points: In spirit and in history, it’s like a better Violent Femmes. Low points: The recording itself is very flat and does not allow the full dynamic range of the band to show.”

Blues in his Bones

‘”Music was always a weapon,” began Judah Bauer, the creative force behind 20 Miles.

Like an army at war, Judah is relentless. If he is not on tour with John Spencer Blues Explosion, he is on the road with 20 Miles. He has been playing guitar in both bands for a combined 15 years or so. Needless to say, the man has his scars and can honorably considered a veteran.rnIn between yawns, the obviously worn-down musician trudged on about touring, a never-ending work ethic, and his musical “mission.”

“I feel like I’ve been at war for the last few years. It’s chaos. While one band is resting, I’m on tour with the other. I barely have the time to make it from America to Australia to join the other band before the next show.”

After such a tour of duty, the average soldier would probably expect nothing less than a homecoming parade and an early retirement. Not Judah.

“I’m getting better at the guitar and that’s what I really want. I don’t want to think too far ahead. I just want to be where I’m at right now and always evolving.”

His work ethic has certainly paid off in unimaginable ways. Most recently, the Blues Explosion was included in the filming of an episode from an upcoming PBS documentary series “The Blues,” at Radio City Music Hall. A different director filmed each episode and Wim Wenders, known best for directing “Buena Vista Social Club” and “The End of Violence,” directed the Blues Explosion’s episode. Afterwards, a gala concert was held where the band got to play with the likes of Buddy Guy, Aerosmith, B.B. King, and John Fogerty.

In London, Judah got to play guitar for blues music legend Solomon Burke.

Originally, 20 Miles was a project fronted with his brother Donovan. Donovan has since left the band to pursue other ventures. Since then, Judah has fully taken the creative helm.

“This tour will break in the new band. If everything works out, they will be on the next record,” mentioned Judah, who was, at this point, running behind schedule.

A plethora of musicians have worked on the 20 Miles albums and they seem to come and go with each passing release.

As the song “Rhythm bound” off of the most recent album “Keep it coming…” suggests, music has always been a part of his life. Blues enraptured Bauer early on, as did jazz. Citing John Lee Hooker and Miles Davis as influences, it became apparent early on that music would be a big part of his life.rnStarting off with the saxophone, and eventually moving over to the guitar, Judah started his first band at an early age. Exceptional Children, his new-wave unstructured noise band which also featured Donovan, was just a passing phase, as he claims the genre of indie music also is.

“I can’t get out of that bag. I’ll never shake it. Punk is the scene that I grew up in but I’ve changed a lot.”

Judah describes 20 Mile as a mixture of “garagey” Tom Petty and the Rolling Stone’s “Exile on Main Street.”

“I like that sort of feminine blues/rock thing that they (the Rolling Stones) do,” said Judah.rnThe mix of these influences does show, as well as the bleeding across band lines from the Blues Explosion to 20 Miles. None of the influences are thought out in the writing process, though.rn”If we were that premeditated, we’d be accomplished poets,” cleverly quipped Judah. “Well-rehearsed music just bores me. I don’t see the point in it.”

Out of all of his musical projects, 20 Miles is the rawest endeavor. It fits into the blues scene, which promises concerts worth attending, and music written on a higher metaphysical level.

http://www.wwujd.com/

‘Ever have a problem telling if something was singularly the most brilliant concept of all time, or if it was among some of the worst? That’s exactly the way the “What Would Uncle Jesse Do?” web site will make you feel. At points, you’re ready to laud its genius. Then, you scroll down the page a little and read some of the most worn material since knock-knock jokes.

Most noticeably, the site seems to enjoy lifting material like extreme comments such as calling everything “totally sweet,” and using “crapped my pants”-style jokes that other, more oft-viewed comedy sites have been known to do. It’s too obvious.

Wait a minute…

This site isn’t funny “ha-ha,” it’s funny “strange.” Eh, the Uncle Jesse instructional on how to teach a monkey Kung Fu is OK but far from brilliant. Nevertheless, it is a spectacle – and that is the point of the Web Site of the Week. It’s a necessity to have something off-kilter to help set your workweek straight.

One of the newer additions to the site is an essay contest (the first annual one ended recently), which could win you a day with Uncle Jesse. It sounded promising, even after realizing that the contest was bogus. The three top essays were published online and, at that point, it became obvious that even the submissions were probably bogus. The writing style is too similar to the site’s content.

The most frequently recurring funny/strange part of the site is the superimposed John Stamos pictures. The digitally altered images are about as dead-on accurate as George W. Bush’s grammar. Have mercy, it’s bad! Also, he seems to appear in most pictures with a can of PBR (Pabst Blue Ribbon). While we may not have be masters of the history of “Full House,” it seems like there is no real connection between the man and the beer.

You have to wonder, what would Uncle Jesse (err… John Stamos) do if knew this site existed?

Honesty is the best policy

‘”I don’t do well with big groups of people,” Tim Kinsella admits.

If he met the countless legions of fans he has inspired, he would probably go into cardiac arrest. This is something he either denies or just avoids at all costs.

“It’s not hard for me to NOT think about it,” he says.

Every aspect of his life has been built in such a fashion that he can avoid doing so. His motivation is to keep writing music. It’s what he does for fun, not for finances. His home has been turned into a studio and he lives with most of the musicians with whom he writes and, more often than not, at least one of those musicians is a relative of his. He doesn’t go to parties often and he keeps his socializing to a bare minimum. As a matter of fact, he combines work and play all in one. As a bartender, he makes enough to cover his finances and, as a bonus, all of his friends join him during shifts for drink and merriment.

“People call me and ask me to come to parties and if I turn down the invitation so that I can record, they get mad at me,” he said. “After a decade, they still have trouble accepting that this is who I am and what I do.”

It’s not that there’s an intentional wall being built up around him, it just appears that he’s completely unaware of the impact he’s made on the people around him, not to mention the entire independent music world.

One of the most common sentiments I’ve encountered while interviewing musicians is a statement such as the following one made by Denver Dalley of Statistics and Desaparecidos:

“I’m just like everyone else in indie rock,” he said. “I grew up on and was inspired to write music by that Cap’n Jazz album, ‘Analphabetapolothology.’”

This was Tim Kinsella’s first band. Cap’n Jazz was wrongfully described as “emo,” though it would be accurate to say his cryptic lyrics came directly from the heart. The band pioneered a solid combination of math and art rock, proving that real punk took talent to write. What really captured the essence of this band, though, was Kinsella’s voice. His screechy scream, at that point in time, was unheard of.

After hearing his voice, it’s impossible to deny the effect it has had. That particular brand of screaming has been replicated countless times by many of the bands that have formed since then.

Since the band’s breakup in 1994, the members have formed countless offshoots, including The Promise Ring, American Football, The Owls, Friend/Enemy, Ghosts and Vodka, Vermont, Joan of Arc, etc. The most recent of these incarnations is Make Believe.

Joan of Arc, Kinsella’s artsy rock project, and Make Believe have the same lineup for both recording and touring but the music is said to differ greatly. Make Believe will be picking up where Cap’n Jazz and The Owls left off. It’s a straightforward project bound to rock your face. No effects, no drug problems, no bullshit. Just rock, that’s it.

“What else am I going to do?” Kinsella questioned. He’s soft-spoken and laid-back. He’s does not hold back what is on his mind but he takes his time saying it.

“In the band we always ask each other, ‘What if we had real lives?’ but none of us want to do that. With the amount of work that we do, it’d be impossible.”