Review - Them Crooked Vultures

Rating: 8.0

Note: I posted this review some time ago but accidentally saved the recent Animal Collective review over it. Whoops.

As a concept Them Crooked Vultures seems hard to fault - the group's star-studded roster ought to give rock fans some pause at the very least, bringing together Josh Homme (Queens of the Stone Age), David Grohl (Nirvana, Foo Fighters) and, most compellingly, veteran Led Zeppelin bard John Paul Jones, by more than a quarter of a century the band's undisputed veteran. A snarkier critic might wonder aloud if Jack White was busy, though a) he probably was, b) he really wouldn't fit in this band and c) musicians of this caliber are probably sick of upstart critics cracking jokes on laptops on their way over to the cupboard for more Cookie Crisp anyway.

On paper the band's formula is still pretty thrilling, with TCV mostly carrying over the Queens of the Stone Age sound and aesthetic (honestly, with Homme on vocals and axe this is hardly surprising). The band plays with the unity and grace of decorated musicians who have had four years to accustom to each other, carving together meticulous, angular riffage, the nihilistic stuff the kids and other people with taste enjoy. Reading like a continuation of the Queens' final record Era Vulgaris and the less manic rock of QOTSA's and frankly even Kyuss's previous albums, this disc and this band capture more than an hour of the sort of nihilistic, pounding, tight sounds that made rock great without sounding like a hodgepodge of the personalities involved.

The Zeppelin connection actually comes mostly in hindsight; with Jones in the mix it's pretty clear that both Hommes' work and Grohl's owes a great debt to the ground blazed by the band that essentially laid the ground for metal, grunge and "stoner" rock to exist in the first place.

And Them Crooked Vultures, as an album, is as meticulously crafted and thematically consistent as any album you're likely to hear from a supergroup this year (and you can quote me). This album is more about the sound (which is topnotch) than any mood or message - if you don't require your music to be emotionally relevant to be a keeper, knock this score up a point or so.

---Dustin Steinacker

[mp3] Them Crooked Vultures - "Gunman"

Review - Animal Collective: Fall Be Kind EP

Rating: 6.8

Animal Collective has never cared for much beyond sharing the unadulterated joy of creating music. Their fans can be thankful for this and their proliferation, having released eight full albums since their 2000 debut as well as four EPs, while earning their place in the upper echelons of music. Not many bands get mentioned in the same breath as Radiohead, or with the same reverence.

The band's last EP Water Curses seemed like something of a companion to 2007's acclaimed Strawberry Jam, showing a band at the same strange high just a few short months later, but with the looser compositional standards that an EP provides. Likewise, with its gentler sound and demeanor, still eccentric but lacking roughness, it's easy to compare this record with the band's Merriweather Post Pavilion, released earlier this year.

Earlier records from this band were defined by their incorporation of ostensibly hellish sounds and extreme dissonance into a wonky world music/pop formula without compromising the benevolent feel of the music. MPP, on the other hand discarded tactile dissonance almost entirely, relying more on classical musical styles of dissonant build-up and resolution for its effect. Like all Collective releases, the recorded succeeded on the strength of its textural strength and melody, though some of the color was gone.

Fall Be Kind clearly follows this pattern, giving the band a playground to sate its tendencies toward drone, occasional mid-song shifts and cacophonous displays of drum and vocals that seem to beat most chamber pop at its own game while remaining delightfully unconventional. Unfortunately, without the rigid construction, and the wonder of unpredictable musical violence Animal Collective has offered on all of their releases, Fall Be Kind comes off only a little bland and unmemorable. It isn't that the music isn't topnotch, for the most part, but that this style has already been done on Merriweather Post Pavilion and more effectively; for every nice instrument blast or vocal harmony that excites me, I can't help but think of a moment on the previous LP that pulled off the same maneuver just as memorably.

In a vacuum Fall Be Kind would be impossible not to recommend.

---Dustin Steinacker

Time Capsule: Serart

Serart (2003)

It's easy to like world music, but often difficult to get really enthusiastic about it. It's a given that music in foreign tongues and tones helps us to build a kinship with the human race and makes us feel cultured to boot. But it's difficult to deny the perspective barrier between an artist a hemisphere away and the listener picking up her LP on a whim. Ergo, the the thrill of exploring new cultures and sounds often subsides long before you take the disc back to the library.

But Serart is folk music unlike any other, a collaboration between famed Armenian musician Arto Tunçboyacıyan and fully half of the members of System of a Down. Despite what you may expect given this description, it's legitimately soulful and contemplative, incorporating some traditional elements as well as some modern trappings without cheating either. Serart celebrates culture and heritage while remaining fully entertaining in its own right - it's a soulful, intelligent album, well-written and produced without being overly-glossy or feeling calculating. Arto gives the project focus without repressing Serj's natural tendencies to squawk and meander appropriately, resulting in a very forward-looking record that nevertheless expresses a mostly-shared cultural heritage without alienating the Western listener.

--Dustin Steinacker

Three Weeks

Here's our interview with local Utah band and my personal friends, Three Weeks!

    -Where did you come up with your band name and is there some meaning behind it?

       It was a late night and we were in a silly mood.. we were talking about putting things off, and procrastinating.. our drummer at the time made the statement.. "yeah dude.. it's like three weeks til sunday..."  And we thought that's could be kind of a cool name.. so we were 3 Weeks til Sunday for several years, until we we released our album last April.. at which time we dropped the til Sunday part, and now we are just THREE WEEKS.  It's more user friendly for people announcing us and stuff.. the name got confusing for people sometimes..

- Who are some of your musical influences?

        I grew up listening to the Beatles, Eagles, Kansas, Journey.. you know the classic rock that our parents love.. so that really is the biggest influence in my writing.. trying to write songs that are catchy, and hopefully timeless.. other more modern influences would include Eve 6, Fountains of Wayne, and the Killers.

- Do you have a certain theme or feel for your current album?

     The album is called Alive Again.. and in it we deal with archetypes like  Rain, birth, resurrection... the album was produced in a time of great growth for the band, and preceded  some even bigger changes and bigger growth.  It really represents our first real steps and address to the world.

- Describe your sound/genre.

     We just call it chill rock.. it's all pretty easy to listen to..

- Who are the members of your band and their roles?

      Bryce Wood- Lead singer, guitar, songwriter
      Austin Wood- Keys, guitar, vocals, songwriter
     Christian Hathaway- Bass, vocals
     Kent Scott- drums, vocals
     We also have a full tech team that runs our light and sound headed up by Mark Lusk, Joseph Ditton, and Stuart Olsen

- What would you like to accomplish or achieve with your music?

     Show the world that there is more to listen to than just hip hop.. that music really can mean something again.  I look back at the songs that have had an impact on my life, and it's those songs by the Beatles, Simon and Garfunkle that high school kids are showing to their teachers saying.. "Listen to this new band!  They have this awesome new song called Sounds of Silence!"  I want to help people rediscover the real magic of music.

- What is your creative process like?

     I do most of my composing with my brother Austin.. Some songs almost write themselves, while others have to ripen on the vine.  I get a lot of my ideas in the shower of all places:)  Usually one of us will have a concept for a song, and we get together, and just hammer it out.

- What instruments do you use (technical specs for the nerds)?  

     I play a Talman thin body electric acoustic, and I also play a squire telecaster.  Our keyboard is a Yamaha.. nothing fancy, our bass is a Fender vintage precision bass, and our drum kit is a pearl with zxt symbols.  I sing into a sure beta 58 mic, the back up vocals run on pg 48 mics, and our system is a combination of behringer, peavy, and crown boards and amps, with Kustom speakers.

- If you could work with anyone, living or dead, who would it be?

Paul Mcartney!

- What's on your MP3 player currently?

     I actually don't have one!  I'm still in the stone age!

- Any upcoming concert events or releases?

     We will be doing a concert on Dec 4th up Utah State University Campus.. cost is $5.00 at the door, and all public is welcome

- Any final thoughts, shoutouts, tips or words of advice?

     Never be afraid to pursue your dreams.. I started writing music because I wanted to do a band, but wasn't good at playing covers.. it's amazing what you can accomplish when you put your mind to it.  Do it for the love of it.

     Please check out our website threeweeksrock.com, and find us on facebook.. we do have a fan page for the band, or add me personally.  We have a lot of videos from past shows and stuff.  If you want us to come play just email me or facebook me!  Thanks much!

Nate & his Kite

 Read on for our Q&A session with band, Nate & his Kite, an experimental rock band from Indiana.

-Nate & His Kite, very quirky but it leaves me wondering...who is this Nate and what about his kite?  Where did you come up with your band name and is there some meaning behind it?

The name “Nate & His Kite” probably has an even more quirky story.  During the spring of 2005 the majority of our band was attending college together.  Our good friend Nathaniel spent day after day ditching class and flying his kite.  It was the free spirited attitude of this that seemed to parallel the music we were making.  In 2008 Nathaniel joined our band after playing trombone on our album.  It just seemed right.

- Who are some of your musical influences?

I personally am influenced by everything I hear.  I really try to keep an open mind about genres and try to give everything I come across an honest listen.  The big influences for me are The Beatles, Tom Waits, Oingo Boingo, Talking Heads, The Format, Ozma, The Blood Brothers, and The Mars Volta.  As a whole we listen to a wide variety of things including The Beach Boys, RX Bandits, Horse the Band, and a wide range of hip hop and R&B artists. We also pull a lot from classical, jazz, and world music

- Do you have a certain theme or feel for your current album?

The idea of being isolated was a really big concept lyrically.  We tried to give each song a different perspective on that.  Musically, we focused on applying the right kind of genre to fit the mood of what we were trying to say.  It was a bit like working on a massive jigsaw puzzle, trying to find that one piece that fit in just the right place to get point across and have everything still feel like a complete song.

- Describe your sound/genre.

It’s sort of a giant collage of the music we’re influenced by.  We jump around with styles a lot and really try to make sure each song is fun but has substance.

- Who are the members of your band and their roles?

Collin Magdziarz: Lead vocals, keyboard, guitar
Robert Herrold: Lead Guitar, Vocals
Clifford Evans: Bass Guitar, Vocals
Nathaniel Ertel: Trombone, Keyboard, Various Instruments
Josiah Greatens: Drums, Vocals

- What would you like to accomplish or achieve with your music?

We really want everyone to have a good time listening to our music and take something substantial away from it.

- What is your creative process like?

Usually, a song begins with a simple idea, a few bars, a melody, or some sort of storyline or topic one of us feels strongly about.  We all have a great deal of input into the writing so it truly is a collaborative process.

- What instruments do you use (technical specs for the nerds)?

Collin: Guitar: Gibson Les Paul Standard Double Cutaway with the capacitor cut out. Amplifier: Vox AC30CC2
Robert: Guitar: Fender Stratocaster Amplifier: Vox Valvetronix
Clifford: Bass Guitar: Ibanez 5 string Amplifier: Crate
Nathaniel: Blessing Trombone, various instruments
Josiah Greatens: Mapex Drums, Sabian Cymbals
we also use a korg microkorg, casio privia, and propellerhead reason for live shows.

- If you could work with anyone, living or dead, who would it be?

I suppose I would have to say Tom Waits and Danny Elfman.

- What's on your MP3 player currently?

I have way too much music on my iPod to list but I have been listening to the new Fun. album endlessly.

- Any upcoming concert events or releases?

We’re playing The Elbo Room in Chicago, IL on November 15.  We’ve just started booking for winter and spring of next year so there should be a number of things coming up soon.

- Any final thoughts, shoutouts, tips or words of advice?

It’s very important to keep an open mind about music and art.  There are wonderful things beneath the surface that make you think and feel new things if you just give them a chance.

For more information or streaming music please visit

http://www.myspace.com/nateandhiskite

The album Nate & His Kite and the Articifical Scenery is available now on iTunes.

Kill The Drama

Here we have an interview with Steve of the Alt. Rock band Kill The Drama. Enjoy!

-Kill the Drama, easily words to live by.  Where did you come up with your band name and is there some meaning behind it?

Back when we started, we had a female lead singer who created some serious drama within the band so I suggested we call the band something with "drama" in it. A few days later our bassist at the time, Skinny, was traveling with Adam from the band "Triggers" on a roadtrip. He called me and suggested "Kill the Drama". At first, we were a little skeptical because it made us sound like a metal band, but at the time the Killers were just coming out, and they were Indie rock / alternative so we went with it.

- Who are some of your musical influences?

This is a loaded question since we all have so many. Bryan loves bands like Coheed, Zeppelin, Deftones, Floyd, and is really inspired by great guitarists like Randy Roads and David Gilmour. He also pulls from musical theatre for his vocals as he was classically trained in that capacity. I bring a riff inspired style and some of my favorites are Tool, Placebo, Failure and Muse and I also pull great inspiration from Tom Morello and the Edge among others. Jason's real into drumming from the 90's like Dave Abruzesse from Pearl Jam and Jeremy Taggart from Our Lady Peace. He also told me he first wanted to be a drummer from watching Dave Grohl with Nirvana and that probably has a lot to do with his energetic style. Mars brings an element of Janes Addiction and Perfect Circle style basslines that can give the bands direction more of a haunting quality and groove. When you throw all of that together and more it gives us the KTD sound.

- Do you have a certain theme or feel for your current album?

Lyrically "Close Friends with Sharp Knives" is a reflection of different times in our lives. I think it captures love, death, hope, rebellion, the human spirit, betrayal,  and the grind of trying to achieve success rather well. There's also a bit of humor mixed in at times and some flat out interpretive art for the listener. Musically, the songs run the gamut from aggressive to passive, poppy to pure dynamic rock. Its not a mess though without direction. Every song had a purpose and fits on the album I think. Its the foundation of emotional-type rock the music we've been writing the last year or so.

- Describe your sound/genre.

Eurosex rock is what someone called it. I guess because of the romatic European quality to the vocals and music at times but at the same time having a sort of sexual energy to it. We've also been called arena rock because of the big riffs and grandiose elements we have in our songs. I wish we could play a full arena to see if it would carry the energy through the crowd like how we intended it to.

- Who are the members of your band and their roles?

Bryan - Vox / Guitar
Steve - Guitar / Vox
Mars - Bass
Jason - Drums / loops

- What would you like to accomplish or achieve with your music?

To continue to make real honest music and to do it for a real living where we can focus all our time and energy into it. Right now we work efficiently with the time we have and do a pretty good job of balancing creating music with recording and the lvie shows. I wish we could find someone who can take Kill the Drama to the next level. Maybe we finally can try that Arena rock thing someday?

- What is your creative process like?

Sometimes it starts with a guitar idea or bass idea that we come up with before hand and present it to the band. Other times things just kinda happen at practice. Its hard to say. Vocals usually come next where Bry writes the lyrics and sometimes pulls some ideas from a bunch of non-sensical lyric ideas I send to him. That's the real genius he has. He know what words sound good coming out of his voice and knows how to phrase them to work with the music. He's also great at writing a vocal melody which really brings the song along in the process. After we get a good start, we add a bridge or an ending. Sometimes we kinda just pull it together on the fly. The good thing is each song is different and has its own story.

- What instruments do you use (technical specs for the nerds)?

We've been experimenting with some different instruments lately. I think that you can say Bryan is a Les Paul  and Marshall guy and I'm all Strat and Hughes and Kettner Tri-amp for my thick tone. The sounds between Bry and I blend super well. Jason was on Ayote and still uses their Kepplinger snare. Mars changes gear quite often. The constant is his GK heads and cabs.

- If you could jam with anyone, living or dead, who would it be?

I'd say Tom Morello from Rage. I'm known for pulling solid riffs off the top of my head and would love to throw riffs back and forth with him. Would be incredible. I'd also like to see Bryan jam with Queen personally. He has the tone and range to basically sing whatever or however he wants. I think he could crush some Queen songs

- What's on your MP3 player currently?

So many different things. Listening to Vampire Weekend right now which is a bit odd for me. I've also been listening to "Around the Fur" by Deftones when I work out mixed with Weezer and Phantom of the Opera at times. My MP3 player is a real eclectic mess right now. You should hear it on shuffle

- Any upcoming concert events or releases?

We just recorded a video for our song "Sunshine". See it at youtube.com/killthedramamusic or myspace.com/killthedramamusic . We'll be recording soon. We have about 14 songs right now and a handful of others to finish writing. I honestly have no idea when that will be done. Hopefully by early 2010.

- Any final thoughts, shoutouts, tips or words of advice?

Next time you drink a red bull and vodka, think of us.

For more information, streaming music and videos please visit:

http://www.myspace.com/killthedramamusic

or

http://www.youtube.com/killthedramamusic

Review - Where Astronauts Go to Hide: Amongst Friends

Rating: 9.2

Albeit short, this album tickled each and every indie bone in my body.

Amongst Friends opens with deliciously clear vocals, understated guitar and an excellent use of violin. Each track is littered with vivid imagery and personal references. You honestly feel like you're learning about the vocalist, Josh Pederson, with each phrase he sings. The fourth track "great lakes and greater lays" makes reference to places and things so creatively and endearingly that I genuinely felt like I knew the area being described.

This album is friendly and accessible. Even now I find myself craving Pederson's voice. The lyrics and vocals are warm and welcoming. The accompanying instruments are understated but grasp at your attention.

With this freshman release, Where Astronauts Go to Hide have created for themselves a solid, achingly genuine platform from which to etch their place in the musical sphere.

--Casper Wood

[mp3] Where Astronauts Go to Hide - "The House That Kevin Garnett Rebuilt"

Review - Julian Casablancas: Phrazes For the Young

Rating: 6.3

Julian Casablancas' Phrazes For the Young fits the underwhelming solo record formula to a T - some small measure of the essence and charisma of the artiste's former group, a few bewildering design decisions caused by too few cooks in the kitchen and a frustrating lack of drive and unity. Phrazes For the Young will undoubtedly please its demographic, though it's essentially a throwaway record with little staying power, certainly not the event its trippy marketing has tried to make it into.

Anybody who's checked out the lead single "11th Dimension" has already heard the best the album has to offer (sorry), and should know pretty much exactly what to expect: a synthed-up and overproduced, melodically watered-down and unapologetically busy The Strokes record.

But even these well-informed consumers wouldn't be able to anticipate a few of the bewildering design choices in this record, including a misguided eleven-minute detour into traditional blues structures for the fourth and fifth tracks, the culmination of which is a cringingly inappropriate banjo solo near the midpoint of "Ludlow St." This track's percussion at times also sounds like a primer for misguided Pro Tools use, with stumbling, jarring claps and painfully tinny snare that clearly belong elsewhere. A singer like Casablancas, who relies on overdubs for his signature vocal style and who really has no idea just what to do with his "r"s, has no business at all singing blues.

In fact, the whole album seems painfully overmixed. Nearly every track features two guitars, bass, standard drums, even more percussion added in production, synthesizers, and extra instruments (trumpets, cowbell, handclaps) added in for mere measures at a time with really no appropriate role to fill. Unlike more seasoned musicians who can use layering and a myriad of instruments to thrilling effect, Mr. Casablancas and his producers really seem to be over their heads here. When read as a concept album Phrazes For the Young almost seems to be a treatise on musicians' fear of isolation.

With these particularly snarky asides now out of the way I should clarify that Phrazes isn't really bad per se, just uninventive, mostly colorless and ultimately unnecessary. Even in the bluesy tracks the vocals sometimes hit some almost Lennonesque wails, and most of the album (particularly the first stretch) is "good" and wholly listenable. But the great strength of The Strokes were their tightness and cohesion, something that simply can't be replicated with a playground full of sounds and only muddled, half-baked ideas of what to do with them. Sorry, but outside of his element Casablancas is exactly what his detractors have always claimed him to be - a vanilla vocalist without a clear sense of direction.

---Dustin Steinacker

[mp3] Julian Casablancas - "River of Brakelights"

Review - Neon Indian: Psychic Chasms

Rating: 8.5

Making relevant electronic music can be a difficult task. While it's nearly impossible to escape the genre's popular perception of accessible, simple rhythms and repetition, give your listeners too many party anthems and the strength of your singles starts to wear a little thin (sorry, Justice). Indie musicians, on the other hand, have the luxury of an audience raised on sonic texture and a little weirdness. Four Tet made a career out of sidestepping standard electronica for more tuneful, ambient fare, and The Knife's darker departures were accepted by critics and listeners alike despite (maybe even because of) their odd mixing choices and hyperparanoia.

Neon Indian pick a heavier, hazy sound for their debut, a heavily funk and psychedelia-oriented affair incorporating nauseated synths and guitar which distort perfectly, lackadaisical vocals and sudden, comfortable shifts in melody to joyful effect. The first time you hear some of these tracks they may floor you, though successive listens continue to yield addictive treasure and inescapable head-bobbing, even in nearly bobbed-out heads such as mine.

The funk elements are there in droves - percussive, defining bass lines drive every track - though the colder, more ethereal instrumentation makes this a perfect seasonal release for the upcoming cold. This is a giddy, disciplined and taut record which deserves to be played loud and often, rigorously-produced and involving.

What's doubly refreshing for a record such as this one is how blasted consistent it is - the group keeps track times low, occasionally trying out neat experiments in miniature songs and not subjecting listeners to filler. Songs traverse one dopamine-releasing segment after another, such as the brilliant "Mind, Drips," whose chorus hinges on a very subtle vocal background melody which fulfills its role perfectly. This is music which almost seems as if it couldn't have been created until it was already fully formed; as crucial and interdependent as each element is, changing something would seemingly require a retool of the entire track, yet the album never seems frail or collapses under its own weight.

The title track is perhaps the most striking sonic moment on the album - a very straightforward, hard-hitting beat juxtaposed with floaty vocals and almost unsure synth blasts. The track is pure sex and easily the centerpiece of the album. Psychic Chasms is a half-hour of aural bliss which never overstays its welcome or leaves you feeling sick to your stomach.

---Dustin Steinacker

[mp3] Neon Indian - "Psychic Chasms"

Review - Armonico Hewa: OOIOO

Rating: 7.4

As somebody who embraced 2006's Taiga for its sheer weirdness and overwhelming spirit, I've always found OOIOO at their most OOIOO when they seem like they couldn't care less about the listener, the critics or anybody else. The band, like its frontwoman Yoshimi P-we (yes, Flaming Lips fans, that Yoshimi) always seemed to be most at home when they filled our eardrums with earsplitting shrieks, eccentric mass vocals and minimalistic grooves that infest your subconscious for years to come (I'm absolutely convinced that "UJA" is on infinite repeat in limbo, how thoroughly that blasted track had and has seized me). My overall impression of Taiga is one of furious noise, because even at its most listenable and exhilarating, even when it sounded like an alien pop album pitch-tweaked and remixed by angry computers, you had to keep your ears on alert for that next SZCWIIIIIII! sound effect to go reverberating through your head. Taiga was a party, but it wasn't a party record.

Well, now it's time for me to recant my old ways; Armonico Hewa may be the record we've been waiting for from this group - a more tightly structured take on the band's previous material, less abrasive, still unpredictable and adventurous, with more than a few beautiful bits. It rarely loses its way, still showcasing the band's ability to fuse alien pop with infectious grooves and furious drumming. The mix is subtler than Taiga's barrage, which always seemed to hurt your ears even in its subdued moments. You'll still see the band's old tricks - hiccup vocals, long, winding guitar drones and sudden twists in individual tracks - though Hewa almost seems to be a concession to fans with its shorter, less tiring tracks, memorable melodies and variety. There are tracks on this album that are downright beautiful, or even hummable - something that may surprise listeners looking for something to bring back the mania after Boredoms started mellowing out and musically documenting alien Bar Mitzvahs or whatever they were doing.

And the band gets their one burst of musical tinnitus out of the way earlier - it's the first eighteen seconds of the album. Future white noise is pretty subdued. Overall it's safe to say that this is a far mellower mix, something that you could listen to on headphones or even loud-ish speakers without wondering too much if you're causing any permanent harm. In a nutshell: OOIOO is starting to show the joys of musical creation while creating something that more than a mother and a few trendy noiserock fans could love. Genre-wise it's still noise, something you'll have to consider with this praise. This brand of noise has always been about finding joy and positive energy in grinding, abrasive sounds and slow progression, something this record continues to do (albeit with the band changing their focus somewhat).

In fact, this record may be the best thing we've heard from this ballpark of musicians since Boredoms released Super æ in 1998 (I'd also say Seadrum, but apparently I'd be in the minority there). This record clearly incorporates the improvisation that made OOIOO what it is, with some added musical flourishes and listenability that might make us smile instead of merely grinning and bearing it.

---Dustin Steinacker

[mp3] OOIOO - "OROKAI"

Review - Blue Record: Baroness

Rating: 8.2

Due to their geographical and occasional aural similarity to Mastodon, fellow Georgian rockers Baroness may never shake the comparisons to their brother band. After all, both groups are easily classifiable as "progressive sludge," both started on the same label and both peddle similar brands of hyperliterary, lyrically inoffensive riffage for metalheads and run-of-the-mill indie waifs alike. Hell, ads for Baroness' Red Album even shipped with Mastodon records!

In every Baroness review for at least the next few years, Mastodon will be the elephant in the room, maybe even the yardstick, the standard of measurement. This is unfortunate, as Baroness is a different beast entirely from Mastodon, and while descriptors like "a more archaic, less playful and Scandinavian Opeth" might be as fun to imagine as they are to write, the Blue Record is unique and speaks for itself both as an evolution of Baroness' previous work and as one of the more enjoyable releases this year in the genre.

This band's sonic texture is more notable than their lyrics, which are mainly archaic and incomprehensible. On the Blue Record the rhythm guitar riffs and the lead guitar winds unpredictable melodies through the long instrumental sections, while the band's vocalists add a rawer, intermittent color to the verses. The record is nicely produced, the drums in particular receiving an important place in the mix - though they're not nearly as technical as that of some of their contemporaries (including a particular group I promised not to name again in this review before I realized that I'd be mentioning the drums).

Baroness brings less obligation to the table than some of their peers, which definitely makes this record a grower. As someone who found Red Album's appeal fading after each listen, I was pleased to find the melancholic bits in Blue more involving, the breakdowns more exhilarating and the heavier parts far more thrilling than I thought after an admittedly-blah first spin. The songs don't always seem to progress naturally, and the album's narrative inconsistency doesn't really seem to be building up to anything, though it's rarely a slog and you'd be hard-pressed to find a better metal release in recent memory (meaning, naturally, in the internet age, in the last three months).

Now if Baroness' next record is only about something, they may have a classic on their hands.

--- Dustin Steinacker


[mp3] Baroness - "The Gnashing"

Where Astronauts Go to Hide

Another great interview, this time with Joshua Pederson of Minneapolis/Chicago based band Where Astronauts Go to Hide.

-Where Astronauts Go to Hide, very creative name. Made me wonder...where do they actually go to hide? Where did you come up with your band name and is there some meaning behind it?

The name has very little meaning, actually. I thought of it while dining at a small pizza place in Minneapolis that’s outer-space themed. Their delivery drivers dress in spandex suits, and wear a helmet and a cape, while transporting your pizza in a small, electric pod-car. The phrase “Where Astronauts Go To Hide,” just popped in my head. The name serves no role, and does not influence my songwriting whatsoever. We actually aim to ignore it – we’ll never intentionally have space-themed merchandise or song titles, etc.

- Who are some of your musical influences?

My greatest musical influences are my close friends in the music industry, regardless of the style. We share ideas and provide constructive criticism. So, my greatest musical influences and friends are Brett Saxon (a singer/songwriter from Brooklyn), Down with the Ship (a great folk-rock group from Omaha), and Flashbulb Fires (phenomenal, talented dudes from Denver). Then there are the obvious influences that you may or may not hear in our music: Wilco, Springsteen, and Dylan the leaders amongst them.

- Do you have a certain theme or feel for your current album?

Well, our most recent effort, “Amongst Friends,” is supposed to convey a sense of comfort in chaos, I guess. The songs on the album were written during an interesting time in my life where I didn’t know what I wanted or where I wanted to be. I’d discontinued my college experience and really decided to orient my energy toward music. Despite the chaos and change surrounding me, I did everything I could to maintain a positive outlook on life. In my struggles I realized that a house is a place to keep your stuff and “home” is where you are happy. Where you are comfortable. For me, “home” is amongst my beautiful friends.

- Describe your sound/genre.

Simple: Fun-loving folk-rock.

- Who are the members of your band and their roles?

Well, I’m Joshua Pederson, and I write the songs. Of course, the whole band plays a role in the creative process once I come to the table with the skeleton. I sing lead vocals, and play acoustic guitar and mandolin. Rachel Kahn plays violin mandolin, trumpet and piano. My brother, Andrew Pederson, plays electric guitar. Another pair of brothers are in the band, Matt Krumm on bass guitar and Mike Krumm on percussion. We’ve recently added Ronnie Parpart, and he will essentially play the role of the “auxiliary guy.” He’ll play a bunch of stuff. Everyone sings backup vocals.

- What would you like to accomplish or achieve with your music?

We are not a band that wants to headline arena tours and sell t-shirts for $35. Our mission is to connect with as many people as possible nationwide and assist in creating a community of talented people and music-lovers. Most of all, we are lovers of travel who love nothing more than performing for new faces each night and the healing therapy of the road in between.

- What is your creative process like?

When it comes to me, it’s sporadic. My songs assemble themselves randomly – I don’t have a staggered method. When it comes to the band, I present the song to them (usually via a demo recording) and they seem to craft their parts loosely. We’ll meet and put everything together, exchange ideas and make decisions together here and there. The band always seems to have a great idea of what vibe I’m trying to convey with a song, and for that, among many other reasons, I love them. I trust them and hardly question what they contribute.

- What instruments do you use (technical specs for the nerds)?

Well, here’s what I know for sure. I play an Alvarez acoustic guitar. Rachel and I share an Epiphone Mandobird mandolin. Rachel plays a Samuel Shen violin. Andy and Matt use assorted Fender and Vox guitars and amps. Mike plays a Tama Rockstar kit. Ronnie plays a guitar rig he essentially personally assembled, so I wouldn’t dare try to explain it.

- If you could jam with anyone, living or dead, who would it be?

It’s hard to answer this question. I’m not a “jammer.” But I feel like if I were to have the opportunity to present my songs to anyone in an intimate setting, I would have to select the people whose advice I would be the most likely to respect: Jeff Tweedy from Wilco, Andrew Bird, or anyone in the Hold Steady. I could easily say Hendrix or someone like that, but I feel like I would rather discuss music with people that are currently creating something new and interesting – and surviving in the brutal environment that is today’s music industry.

- What's on your MP3 player currently?

I recently discovered an absolutely wonderful band from Montreal called Land of Talk. I can’t get enough. I’m also listening to a lot of An Horse, Maria Taylor and Kevin Devine.

- Any upcoming concert events or releases?

We’ve got some local shows in Chicago and Minneapolis coming up before the end of the year (yeah, we’re local in two cities…). We are also premiering a music video on November 19th in Minneapolis for our song “The House that Kevin Garnett Rebuilt.” We’ll be hitting the open road again come early 2010.

- Any final thoughts, shoutouts, tips or words of advice?

Of course, I would like to thank Mstoc for featuring us on your blog site! Thanks to anyone who takes the time to read this and look up our music. I have one shout-out: our great friend Laura in Chicago who has designed a website for us, and taken loads of live pictures and video. I feel like I should credit her more often, I’m just lazy about that. Advice? I don't feel like I'm in any place to give anyone advice, but here's what I would say, if I did assume such a position: Don’t get discouraged. Some people in some cities have opinions of their own, some people only like what Pitchfork tells them to like, some cities will only like Minus the Bear cover bands. Someone, somewhere, will love what you’re doing.

The Temple Cloud Country Club

Mstoc's exclusive interview with Dean Frances-Hawksley and Andy Suttie of The Temple Cloud Country Club.

The Temple Cloud Country Club, very unique name. Where did you come up with the name and is there some meaning behind it?

Dean - We originally intended the band to be a kind of internet music collective, a ‘club’ of sorts. This is because there are only two of us and we live in different countries. We thought it would be nice to get musicians from around the world to contribute by sending files and then we could assemble the finished piece. But we’re both control freaks, so we ended up doing everything ourselves.

Andy - The name doesn't really mean anything. Temple Cloud is a small village just south of Bristol, England. I used to drive through it quite a bit. It just struck me as being a very cool, and somewhat bizarre name for a little village.

- Who are some of your musical influences?

Dean - I like the Crazy Frog. Suttie listens to anything mechanical – vacuum cleaners, engines, power tools, that kind of thing. Also, if you spill a box of matches, he can tell how many there are just by looking.

- Do you have a certain theme or feel for your current album?

Andy - I'll let Dean tell you as much or as little as he likes about the theme, but yes, it's pretty heavily themed. It's a full-on concept album, if you want to think of it like that.

Dean - Yes. The album is largely about those defining moments that mark the end of childhood, the moments at which we are ‘invented’ (hence the album’s title). A Hole in Water, for example, recalls my first understanding of suicide, an actor in a TV show I loved as a small boy. Lillian is about the death of my grandma. Indestructible is about witnessing a motorbike accident. These are the moments when we are shocked out of our childish reverie. There’s a song called The Death of a Family Pet, which speaks for itself really.

- Describe your sound/genre.

Dean - I can’t. Sorry.

Andy - Ask someone else. I really don't know. My wife describes it as Un-Easy-Listening, which I thought was quite clever. If you look at the blog on MySpace (We Sound Like what?) you can find a truly odd range of material that we have been compared with. Sometimes people call us prog, and sometimes people call us retro. Actually, can we be both progressive and retropsective at the same time?

-Who are the members of the band and their roles?

Dean - There are two of us, myself (Dean Frances-Hawksley) and Andy Suttie. I write the songs and provide vocals and minimal acoustic guitar. Suttie takes my folksy arrangements and changes them into what you hear on the album – adding drums and bass and piano and whatever else, and producing the whole thing. It’s a very efficient unit.

Andy - There's only Dean and me. I play guitar, bass and keyboards.

- What would you like to accomplish or achieve with your music?

Dean ­- I’d like for our music to be an influence for good health, like eating broccoli or carrot sticks. Musical broccolli.

- What is your creative process like?

Dean - The songs are written quickly and there are many of them. I send them to Suttie. The ones he likes he arranges and sends back to me. That’s the core of it done. After that it’s all details, getting things to sound as good as possible, re-doing vocals and the like. And all without ever being in the same room together.

Andy - Usually Dean sends me a rough demo of a song with acoustic guitar and vocal, and I send it back with a rough attempt at an arrangement. usually we bounce things backwards and forwards by email a few times, adding and changing things before we settle on something. I have a more hands-on role in productions, but Dean has a lot of input.

- What instruments do you use (technical specs for the nerds)?

Dean - We don’t rule out using any instrument, and we don’t rule out ruling out any instrument. We use a mix of real and sampled instruments, whatever we can play, steal or borrow basically.

Andy - I write the orchetsral parts and programme them in Cubase.

- If you could jam with anyone, living or dead, who would it be?

Dean ­- I don’t know how Suttie would feel on this one – he’s a far better guitar player than me, so maybe he would enjoy it – but I hate jamming, I even dislike the word. Jamming always seems so wasteful, an activity for stoners. I have bad connotations of drunk people sitting around late at night, reducing every song to three chords, repeating the same verse time and again because they can’t remember the words. Spare me. But if Bob Dylan invited me to his house I would do whatever he asked. I would play Rockin All Over The World for three hours solid if he asked me to. I would even do the moves.

Andy - I was never a fan of jammimg with anyone. I like to play music which is worked out and structured when I play with other musicians. I can't think of anyone I'd rather work with than Dean at the moment.

 - What's on your MP3 player currently?

Dean - I don’t use one. I’m listening to a clarinet quintet by Mozart at this moment. Then I intend playing some Crazy Frog.

Andy - I don't have an mp3 player.

- Any upcoming concert events or releases?

Dean - Yes – the album. The album is out on the 28th of this month. We’re hoping to play live gigs from spring next year.

- Any final thoughts, shoutouts, tips or words of advice?

Dean - Yes, don’t deliberately mis-spell words on your FaceBook updates to make yourself seem tough and ill-educated. FaceBook is inane enough without making matters worse. Unless you are tough and ill-educated, in which case, please don’t hurt me.

You can find more about the band, their album and listen to their music at
http://www.myspace.com/thetemplecloudcountryclub

Or at

http://www.templecloudcountryclub.co.uk

Review - Qu: Sherwood

Rating: 7.3

“I am the favorite in a fight that I can’t win.”

On an album loaded with catchy tracks, Sherwood’s third release Qu (out October 13th on MySpace Records), has me tapping my toes and singing under my breath while I work on reports at my desk. Vocal harmonies and distortion saturated guitar solos hook you while the jazzy drums and lyrical synth hold you tight.

The lyrics are energetic and you’ll be singing along before you realize it. Peppy, upbeat tracks create a happy pop rock feel while the languid slow numbers opine about love and life. Qu, in its entirety, is an addictive and memorable collection of songs sure to have you bobbing your head and tapping your fingers on the steering wheel as you remember summer nights spent in the arms of your High School sweetheart.


Track by track review for Sherwood Qu:

Shelter – Perfectly displays Sherwood’s harmonic gift. At not even a minute long this is an nice little display of the vocal talent of the group.

Maybe This Time – I really enjoyed the percussive mimic of a rapidly beating clock as the intro to this song. The lyrics are empowering. This is a fun, poppy way to open the full length tracks for the album.

Hit the Bottom – Of all the songs on Qu, this is the song I see playing on Top 40 radio. The track is danceable, singable and is already stuck in my head. You’ll hear this song being hummed and sung by high school students the world around. It’s pretty hard not to get caught up in the chorus and in the breakdown in the middle of the song.

Make it Through – Charming rhythms and clear vocals in “Make it Through” will easily hook you. The song is relatively slowly paced but is still a fun, catchy tune.

You Are – Yet another song I could easily see, or hear as it were, playing on the loudspeakers at a High School dance or play during one of the awkward silent moments on The Hills. It’s still catchy as hell and fun to sing along with.

Ground Beneath My Feet – The very instant this track started I could not help but draw comparisons to The Fray. The use of the keys, even the vocals and lyric style all smack heavily of songs like “How to Save a Life.” After a slow intro, the song drops into a more driven style. It’s a good song and if you’re a fan of bands like The Fray, this is the track for you.

Around You – Another song that quickly had me comparing Sherwood to bands like The Fray. This number is genuine and romantic. Use this on your digital mixtape for your significant other.
What Are You Waiting For? – I suppose, in answer to the question posed by this song, I’m waiting for this song to really pick up. This is the first, but not last, example of a song where I expected the song to pick up/speed up/get better and it just never quite ended up where I was hoping it would.

Not Gonna Love – Easily my favourite track on this album. This is a catchy, inviting and thoroughly fun song. I was singing along by my second listen. From first taste I was absolutely enamored with “Not Gonna Love.” It had a classic rock feel with a twist. The drums had me feeling as though I had just finished watching The Breakfast Club or Say Anything. I wish this track had been placed earlier in the album, however.

Worn – This number is gentle and heartwarming. This song features a lovely female voice in a duet. “Worn” is the type of song you’ll love when you’re thinking about your significant other.

Free – Again featuring a driving emphasis on the keys, “Free” is a slow anthem. The message seems befitting of a more enthusiastic soundtrack but the slow steady pace of the song is still entertaining. This is one of those tracks when you expect that at any time the song will pick up. Unfortunately, it never does.

No Better – Ending the album is a slow piece detailing a story of divorce as told from the eyes of the child or children. The depressing subject matter is hard to fit into the rest of the album. The song is touching, though, and is one of those numbers you’ll undoubtedly belt at the top of your lungs when you’re feeling down.

---Casper Wood

My Brothers Banned

Mstoc's first interview. Here we chat with Lyle Puente of My Brothers Banned.

-My Brothers Banned, very quirky and a great play on words. Where did you come up with your band name and is there some meaning behind it?

When the banned started, my brother played drums and a brother sister duo were part of the group.
We laughed about naming ourselves after the sibling factor.
We thought band, but it was taken. The word Banned came up and I though whoooaaaa, this is so much better. Playing gigs is pretty funny watching the door people ask who people are here to see. It's quickly and Abbot and Costello routine.
My brother and the brother sister team have since moved on. Perhaps making the name prophetic? Haha

- Who are some of your musical influences?

I adore harmony and melody. The sound of the Byrds, particularly with Gram Parsons.
Gram Parsons is a huge influence as well. I love Big Star and the effect they had one bands like REM, Teenage Fanclub and the Bangles. The Beatlesque melodies of Oasis make me very happy. The lush harmonies of the "Mamas and the Papas"! The British band Gomez is one of my favorites too. Listening to them taught me so much.


- Do you have a certain theme or feel for your current album?

"Everyone's Banned" I just released and the feel was meant to convey a lush embrace of sonic texture and mood.
I kept the overall mood less dynamic, less concerned with huge energy, to try and create a constant subtle environment.
The next album, "Banned Wagon" will be more about using energy and be a little louder.

- Describe your sound/genre.

I suspect with the changing categories any attempt on my part would be inaccurate.
I like to pretend that my production techniques provide me with a.... what if Phil Spector and Brian Eno had a baby. I Love the wall of sound type of approach, but also love creating new sounds as sculptures that move, have color, and are new.

- What would you like to accomplish or achieve with your music?

I'd just like to be able to keep doing this.
I love it, am very disciplined and hope to find a place in the world.

- What is your creative process like?

Writing is an easy laid back approach.
I have a dedicated writing space where I sit with an acoustic 12 string guitar.
I will just start playing and then write it down before I forget.
Most songs come out fast. Rachel was complete in a few minutes, Turn around more labored over with time. Sometimes they need to grow.
The timing can be odd in many songs. Rachael being a good example.
There are two extra beats in each line of the verse.
I considered this a separation of the way each line lyric is staccato then elongated and held. This can present a challenge when recording if the structure isn't understood.


Recording is more exploratory, with a full work day year round kind of thing.
I boot up about 8 am and boot down about 11 p.m.. There is less a time frame on completion that a focus on working.
First come rough tracks to establish a baseline, then the building commences.
Sometimes playing with an old moog and crafting a noise that will meld with a guitar intro melody means a good day here.
Sometimes it works backwards and my brother will come in with drums long after the rest is complete. For me thats a nice way to work, because it does set the pace so much as ices the cake. This allows my brother more space to create something other than a set of building blocks.

- What instruments do you use (technical specs for the nerds)?

I use all of them. I have tried to have representation of everything that makes noise divided in families. I currently lack a french horn. Its one of my very favorites and is high on the desired acquisitions list. I try to learn instruments enough to make me happy, but far from very well.
All songs are based with my 12 string guitar, then I add what ever I think will add to the song.
I often use mandolin, banjo, piano, cello, accordion, melodica, lap steel, flute, saxophone and am very fond of old synths. I keep a pail of broken glass too. That has become one of my favorite percussion sounds.
My favorite guitar is a Strat with a Humbucker in the bridge. The tremolo bar brings me great joy. It is my drug of choice.

- If you could jam with anyone, living or dead, who would it be?

My great grandfather, who played the mandolin.

- What's on your MP3 player currently?

A mix with the Yeah Yeah Yeahs, Oasis, old 97's, the Shins, Modest Mouse and Regina Spektor.

- Any upcoming concert events or releases?

Both. We are playing the NYC marathon this November and then retreat back into the studio. I planned 3 album and 3 EP releases in 12 months.
The first being out later this week. "Everyone's Banned". Its up on CDbaby.com now, itunes later in the week.
The EP "For you in December, and the album "Banned Wagon" in January.


-Who are the members of your band or contributing artists and their roles?

The roles vary greatly. The "Everyone's Banned" release features my brother Eric Puente on drums, Quinn Murphy on bass and Hilary Levit singing harmony with me.

- Any final thoughts, shoutouts, tips or words of advice?

I like our world very much.


You can find out more about My Brothers Banned, the albums or listen and purchase music at
http://www.myspace.com/mybrothersbanned
Or at
http://www.mybrothersbanned.com