Music review for LEO: Blue Giant

Blue Giant's new album recently hit record stores and I wrote a review that appears on page 27 of this week's LEO. You can also read it on their website, or here.



Blue Giant
Blue Giant
(Vanguard Records)
{ sunshine }

This is what can happen when veteran musicians have fun while ignoring genre distinctions. Blue Giant's debut full-length (and follow-up to their acclaimed Target Heart EP) will meander, strut, whistle, and wail its way out of your speakers (or ear buds) and into permanent residence in your cortex (or soul). Brings: bluesy country licks and mournful piano melodies, paired with buzzy wandering solos and stomp-your-foot rhythms. Sunny with a chance of some dark clouds, the resultant soundscape is an unexpectedly pleasant dose of Dixie-fried rock that flirts perfectly with both freewheeling twang and 60's psychedelia. Kevin Robinson's voice is at once friendly and brash, which suits his vivid and frequently story-driven lyrics, coupling perfectly with co-writer Anita and even a guest appearance by Corin Tucker. Each cut stands on its own, and taken altogether the record adds up to just over 40 minutes of excellent reasons to spin it again.


You can check out their music at their website, they also have a Myspace, and you can stream the entire album here.

LEO review: KaiserCartel

Last week, KaiserCartel released their completely fan-funded follow-up to March Forth. If you pick up LEO this week and flip to page 40, you'll find my review. You can also check it out on their website, or read it here.


Secret Transit
KaiserCartel
(Daniel Records)
{ super sequel }

Crafting a sophomore full-length, from genesis to final note, is a dicey proposition. Stick with what works but avoid stagnation, cover new ground while maintaining identity – not an easy balancing process. Courtney Kaiser and Benjamin Cartel have evidently achieved this equilibrium, and the result is Secret Transit.

The alterna-folk acoustic warmth and bouncy playfulness of their debut is here in full supply, as are sundry percussive elements (ranging from hand-claps to alarm clock bells). Further, the record shines bright with expanded horizons: the first and last tracks are perfectly spooky, and a few pick-it-up tunes add a just-right pinch of needed electricity. A great example comes in a cover of "Worn Out Nervous Condition," repurposed as a delightfully addicting folk-pop meditation on love in limbo. This is a band known for diverse instrumentation and textured, intimate live performances, all of which is expertly captured here. To listen to this fan-funded project is to be unable to keep it a secret.


You can listen to the entire album on their website, and they also have a Myspace.

LEO music review: High on Fire

Mat Herron (LEO's music editor) recently asked me to write another music review, to run in the March 10th edition. Hopefully you saw it in print (on page 29) if you picked up a copy around town; you can also see it on their website; or you can read it here.



Snakes for the Divine
High on Fire
Koch Records
{ stoned conflict }

Expectations can erect hurdles only overcome by a willingness to engage in repeat listens. The sum of this album's noticeable dependence on recurrent musical themes and absurdly inaccessible vocals will likely be repellent to the uninitiated – however, after a few more spins, it generously rewards a patient preference for deliberative, psychedelic heavy metal. On their fifth studio recording, this band is again brandishing an impenetrable front line of heavy rhythmic chops punctuated by artillery blasts of precise solo strikes, unleashing a full-fledged assault of stoner guitar war. Yes, it's predictable, but in the era of the MP3-flavor-of-the-minute, consistency and tenacity are admirable. High on Fire are again confidently straddling the escarpment between sludge and speed, making Snakes for the Divine a stoic frigate of safe harbor for shred-heads.

High on Fire has a website, and you can listen to a few songs on their Myspace.

My Top Five for 2009

On December 30th, LEO's year-ending issue was circulated. It contains the 6th annual "Not Good For Nothing Quiz," and also two big Top Fives of 2009 spreads — one for Music, one for Film. I had the fortunate opportunity to contribute my own list of five to the Music feature.

Check page 16 of the print copy for the feature (page 18 for my list), or click here to see the online version.

Below, you will find my un-edited Top Five (listed alphabetically by band name), plus a bit of a bonus: two Dishonorable Mentions and two Honorable Mentions.



My Top Five


Target Heart EP
Blue Giant
(Amore!Phonics)

A Viva Voce side-project and Portland's own supergroup (including Chris Funk, Evan Railton, and Seth Lorinczi). Amalgamations like this often amount to less than the sum of their parts, but that's absolutely not the case here — the record is more exciting than this year's Viva Voce release. A southern, dare-I-say-it country vibe is added in just the right amount to a sun-drenched psych-rock aesthetic that this collaboration pulls off perfectly. Lyrically clever, musically brilliant and fun, get it on vinyl (the 12" has two bonus tracks, pushing it into LP territory) with a free MP3 download.

To have a listen, click through to their website.


Blood
OSI
(InsideOut)

Kevin Moore and Jim Matheos may be an unlikely pairing, but the music born of their union is astonishing. Their third outing finds them trending a touch heavier than before, while maintaining the characteristically nuanced layering and completely relaxed vocal approach the band is known for. Available in a two-disc special edition; the savant electronic touch intertwined with metal riffs makes for unexpected, intricate compositions that demand a generous twist of the volume knob.

They have samples on their website and full songs on their Myspace.


The Incident
Porcupine Tree
(Roadrunner Records)

Five songs over two discs (the title cut is 55 minutes long), Porcupine Tree has made a definitive statement of progressive rock genius. Impressive in both breadth and depth, the album covers more sonic territory than many bands will cover over an entire career. Steve Wilson and company are undeniably fantastic musicians, at their best when they channel their abilities in service of compelling song-writing. This is exactly what they've accomplished on The Incident: intelligent music where grandiose aspirations do not preclude chop-heavy rocking, but rather incorporates both with deft mastery. Must be heard in its entirety to be believed.

For some audio taste-testing, check out the awesome player on their homepage.


11:11
Rodrigo y Gabriela
(Rubyworks)

Wielding just two acoustic guitars (sans vocals and drums), this Mexican duo has laid down 11 tracks of blistering magnificence. Perhaps you're wondering if it's possible to absolutely slay with nylon strings — Rodrigo proves it can be done. Perhaps you're wondering if fingertips like polished granite and a rhythm guitar could result in a percussive juggernaut — Gabriela proves it can be done. This album finds the couple paying tribute to one favorite influence per song (from Hendrix to Dimebag Darrell to Pink Floyd) and the results are beautiful and phenomenal.

Take a listen by checking out their website.


Cosmic Egg
Wolfmother
(Modular/Interscope)

Periodically, rock and roll finds itself in need of a savior incarnate. Depending on your perspective, now could be one of those times, and Andrew Stockdale might have the goods. New band members backing him up, he's taken the strut and wail of Wolfmother and cranked it up a notch. This album gets a nice helping of inspiration from the 70's but doesn't sound dated, and is absolutely packed with rattling riffs and rock-til-you-drop energy. Available in multiple formats, including a double-album vinyl LP with an included free download of the entire 16-track triumph on MP3. Do not miss this.

For their website go here and for their Myspace go there.



Dishonorable Mentions


Horehound
The Dead Weather

I had initially thought Horehound a candidate for my list. I heard a single on the radio, and watched them perform a song live on late night television, and was enthralled. Where had this kind of rock been hiding? But then I purchased the CD and gave it several listens. I was repeatedly surprised by the spacious production and buzzy rock and roll, only to be dismayed that something like 75% of the disc is literally drowning in some of the most obnoxiously annoying vocal tracks to dishonor a rock record since the glory days of grunge. I'm not kidding — it ruins the album.

You might be able to listen if you can get their shitty media player to work.


Black Clouds and Silver Linings
Dream Theater

It's no secret that DT has been doing a spectacular job of disappointing their long-time fans over the last couple releases. I used to buy their albums day-of-release without audition, but BC&SL was on shelves for months before I talked myself into giving it a try. For the first 11 minutes and 15-odd seconds, I was sorry I'd waited and began to believe the band had snapped out of their slump. Then, Mike Portnoy delivers his first chest-thumping vocal contribution to the album, and you begin to realize that all hope may indeed be lost. Yes, in a band with James LaBrie on lead vocals, I'm complaining about when somebody else is doing the singing. Portnoy is so damned obnoxious that he almost single-handedly ruins each track. Imagine the following ridiculous lyrics delivered seriously and in a middle-aged frat-boy shout: "A bearded gentleman! Historian! Sucking on his pipe! Distinguished accent! Making me uptight, no accident!" You can't make this stuff up. It's fucking embarrassing.

There are a few tracks for you to check out on their Myspace.



Honorable Mentions


Towards the Sun
Alexi Murdoch

Mr. Murdoch's acoustic singer/songwriter approach is often quite beautiful. This album isn't technically "out" yet — you can order from his limited indie pressing, but it won't be published and distributed until next year. The collection herein might not be as strong as his material gathered on the Away We Go soundtrack, but it's still lovely, heartfelt, and compelling.

You'll see what I mean if you check out his website.


Varia Suite
Metroid Metal

Whether you've loved one or all of the Metroid games, if you've not heard the Metroid Metal take on their soundtracks, you simply must. Stemage and company have the chops to pull of a metal tribute, but they also have the finesse to unfailingly come up with arrangements that are imaginative while still translating the original tunes with honorable fidelity. There isn't an accurate measurement for how much ass this music kicks, and considering that the entire back catalog of songs is available for free/donation, you have nothing to lose. Varia Suite is a granite slab of instrumental metal, executed with precision and passion.

Go here, and go now.



Conclusion


My list of five this year is interesting to me because of its obvious lack of brutality. "No heavy metal?" you might ask. Well, here's hoping that 2010 sees a new Opeth release. Furthermore, the long-anticipated third album from Necrophagist is due soon, and should melt faces with more ferocity than the climax of an Indiana Jones movie. I should also add that, much to my dismay, I missed the release date for the newest masterpiece from Nile, Those Whom the Gods Detest. Had I obtained a copy before LEO's submission deadline for their Top Fives feature, you can be sure I would've included it. If the sample tracks I've heard are any indication, the record is a hulking Star Destroyer of death metal.

Thanks for reading, and happy listening in the New Year.

Boris review printed in LEO

Doing this review was a bit different than my previous ones. Since the release is actually a series of three singles on vinyl, the promotional company has a secret streaming website for reviewers to listen to the six songs. I nabbed the MP3 files, of course, so I wouldn't have to be tethered to a computer while listening through the tracks a few times before formulating my review.

You can see my review in print on page 28 of the December 2nd issue of LEO. A reproduction of the print copy is also available on their website. Below you will find my original text (I don't quite get the edits they applied to this one) and a few links for the band.

Japanese Heavy Rock Hits
Boris
(Southern Lord Records)
{ power trio }

This constantly experimenting Japanese heavy rock outfit has logged over 20 releases since 1996, gaining attention after 2001 due to a series of reissues by Southern Lord. Presently, their kick-ass image (an Asian take on goth-meets-metal, the threesome triumphantly posing with huge double-necked guitars) is actually heavier than the music. That's not a complaint: their sound is alien yet familiar and covers diverse territory, from danceable metal hooks to chill meandering to intense, angsty shredding. This release consists of a series of three 7" vinyls with two songs per. The six sides spun are nothing if not constantly interesting; the first track will startle you out of your seat at about 1:35, and you'll not often hear a song like "Heavy Metal Addict," complete with industrial processing, wailing guitar solos, and a good dose of hand-clapping. Not to be missed, especially if you're into collecting eccentric music on 45rpm wax.

Click here to check out the official Boris website, or listen to some music on their Myspace. LEO will be printing "Top 5 of 2009" lists soon, and I'll be posting mine here as well, along with honorable (and dishonorable) mentions.

Black Cobra "Chronomega" review in LEO

I was asked to write another review several weeks ago, and they published it last week. You can see it in print on page 43 of the November 18th issue of LEO, you can read it on their website by clicking here, and the full text of my review is reproduced below, followed by a link to some of the band's music.

Chronomega
Black Cobra
Southern Lord Records
{ hoarse chords }

If the rusty patina of bulky abandoned industrial-era equipment had a sound, it would be something like the heavily distorted guitars of Black Cobra. The tone is so thoroughly textured that you may wonder if your speakers have suddenly developed a distortion problem, but the clear drums and shouty (at times shrill) vocals will reassure you. Lyrically bleak, Chronomega is pregnant with rhythmic reiteration; even the shorter tracks repeat their oxidized riff-centric themes with conviction and patience.

It's arguably better not to know what the genre tags (doom and sludge metal) are supposed to signify about Black Cobra. This, their first album on an established label, is best approached on its own terms: absorb the plodding crunch of the nigh-epic tracks, dig the sinewy dread of the chord progressions, wince at the thrash-like vocals, discern some heavily cloaked incognito punk riffs. Imagine that your ears could understand the sensation of touching the gnarled bark of a 200 year old tree. Now hope with me that the band can accomplish this coarseness on stage – it would be a brutally intoxicating live show.

You can check out the band's homepage, and listen to a few tracks on their Myspace. I'm hoping to have another review (ever heard of Boris?) printed soon, and LEO is also planning a collection of "Top 5 of 2009" lists that should hit the newsstand in December.

Blood review printed in LEO

LEO recently gave me the opportunity to write another music review, and it was published this week. I also decided to try making an audio version of the review, which you can listen to by clicking the play button below.

Here's the original text of my review, followed by a link to the review on LEO's website, and a scan of the slightly edited version that appeared in print.

Blood
OSI
(InsideOut)
<heavy repose>

For the third time, Jim Matheos and Kevin Moore have combined progressive metal and almost ambient electronica, producing an intriguing genre-bending album. This release welcomes Gavin Harrison on drums, with guest vocals on one track by Mikael Åkerfeldt.

The paradox of capacious atmospheres against thick riffing, over Moore's almost terminally laid-back vocals, seems designed to demand repeated listens for full appreciation. Heaviness is present but restrained, with the meticulous groove of the drums and the exacting guitar chops employed in direct service of the overall compositions, or not at all. Albums with this much programming often sound completely artificial, a problem Blood deftly avoids – the production is perfect, but also alive and breathing, almost leaping from the stereo to reward the careful listener.

OSI's newest is one of those uncommon, diverse and nuanced records that you both love getting lost in, and playing – loud, on real speakers – for anybody who is willing to listen.

To see the online copy of the review and check out LEO's website, please click here.

Also worth mentioning is that if you spend the extra two or three dollars to get the two-disc version of the album, you get the deliciously heavy "No Celebrations" with Tim Bowness guesting on vocals, plus a cover of the Elliott Smith song "Christian Brothers," and an extended version of the second track from the album. To view the official website for OSI, click here.

SOB

A few weeks ago, LEO asked me to write another music review. I ended up with a pre-release copy of the debut from Scars on Broadway. The album came out maybe two weeks ago, but my review wasn't printed until this week.

You can hear a track or two on the band's website, or you can check out two of the songs mentioned in my review at their Myspace page. For some reason my review was edited, and in a way that doesn't make much sense to me. One sentence was cut in half, and one sentence was actually lengthened to include a dig at SOAD. Plus, if you consider the wasted spacing higher on the page in the printed issue, there's no reason to have shortened my review for space constraints.

Anyway, the online version is here, and my original text is here:

Scars on Broadway
Scars on Broadway
(INTERSCOPE)
{incongruous}

With SOAD on hiatus, lead guitarist Malakian and drummer Dolmayan have formed a new band called Scars on Broadway. A more straight-forward rock direction is attempted, but the music ultimately fails to live up to the hype.

Most of the songs sound like two or three minute ideas that rely on a single hook, frantic delivery, and little else. The record’s cohesion is questionable – is this minimized formula rock? A studio-slick amalgam of punk, dance, and disjointed screaming passages? Did he really just shout “supercalifragalisticexpealidocious”? Lyrics range from political commentary to frivolous nonsense, and Malakian's descending hollering during the verses of "Chemicals" is laughably obnoxious.

These disparate elements do work together on a couple produced-to-sound-heavy pop songs: not completely on the single “They Say,” but tracks like "Kill Each Other / Live Forever" and "Babylon" are better. To compliment this debut, I could characterize it as diverse and driving, but it's more honest to just note its lack of development and direction. Scars on Broadway is an odd attempt at over-produced frat-rock that does not compare favorably with the band members' previous work.

Published in LEO

I've had some letters published in LEO a few times over the past year or so, but this week they published a music review that I wrote! Below are two songs that you can listen to (make sure to listen past the 3:20 mark on the second one), a scan of the review, and the full text.

Click here to listen to "Coil."

Click here to listen to "Porcelain Heart."


Watershed
Opeth
(ROADRUNNER)
{beautiful agony}

After waiting for three years, with only the live double-album The Roundhouse Tapes to tide us over last year, fans will be eager to finally have their appetite for Opeth's mixture of '70s prog rock and Swedish death metal satisfied (if only temporarily).

Those unfamiliar with Opeth will do well not to let "progressive death metal" fool them into missing this album. Its three-minute opener might be the band's most beautifully gentle acoustic song yet, and Åkerfeldt employs his powerful growling voice for less than half of the vocals on Watershed. But make no mistake — the band's reputation for complex arrangements, stunning musicianship and thundering heaviness is skillfully reinforced.

Death metal at its best can be epically brilliant, as made clear on tracks like "Heir Apparent" and "The Lotus Eater." And at 11-plus minutes, "Hessian Peel" is like a negative photograph of Opeth's continual journey into new territory: Long and gorgeous progressive melodies are only sparsely interrupted by brutal genius for a minute or so, reminding us that music can still be exciting.