Album
Post by Aaron Scholz on 3/11/2010 10:35am
Somewhere along the line, the idea of "rock and roll" music evolved (or devolved, depending on who you ask) into the more homogenous "rock" music. This means a lot of music gets lumped together that doesn't necessarily match or really even "rock" in any traditional sense. The latest release from the August Teens, A Kiss in Wisconsin, is very much a "rock and roll" record, relying on traditional song structures and but mixing in modern heaviness and other elements with much success.
Post by Emily Mills on 3/17/2010 3:45pm
I want to get something out of the way up front: I’m not even going to attempt comparisons to other artists in this review, because 1) I’m a little bored with the tired “this band meets that artist mixed with a certain drug/mood/time period” analogies that even I have relied on far too often, and 2) I’m a big fan of hip hop, but I don’t listen to enough of it to have an informed opinion of the wide range of possible influences, etc.
Suffice to say, however, that The Cornerstore, the new record by Madison’s own MC Starr, is a really good listen. Great beats, slick rhymes, nice style, and deft production work.
Starr has made a name for himself both through solo work and by being one half of Fall Guys with homegrown superstar DJ Pain 1. One of their singles, a light-hearted track about hats called “I'm Fitted (59/50),” garnered considerable attention—both positive and negative, specifically on this Madison AV Club post.
Starr comes out of the gate fighting on his new album, addressing that controversy directly on the first cut, “Rap Circle” - “Assign me a label / A little bit thug with a conscious message / I confess it I do mean it / but I rap about hats so they say I ain’t progressive.”
Post by Ben Roovers on 3/10/2010 12:15pm
Those who have heard Michael Perry do interviews may not jump at a chance to hear him sing. It would be easy to assume that the deep, gravelly voice they hear on the radio or television would not easily translate into something you’d want to hear over twangy guitar tracks. That being said, those who have read any of his books would most likely be eager to consume some words of his that aren’t put down on paper.
To those who have done both: take your pick. But have no fear! Perry’s prose can be found in abundance on Tiny Pilot, the second full-length album created by himself and his band The Long Beds, and the musical prowess shown by the group (including the vocals) is nothing to scoff at.
It is a promising sign that the band was chosen by Eau Claire native Kyle Frenette to release the album on his fast-rising Amble Down Records, the same that has signed such notables as The Daredevil Christopher Wright, We Are The Willows, and the late Wars of 1812. It is also fitting that Perry’s music would be released on a label located in northern Wisconsin, the same place from which he has drawn inspiration for his writing. As may be expected, the same characters (or at least some version of them) can be found in his songs as well. These are the quirky, idiosyncratic, and sometimes tragic characters of the Northwoods.
Post by Aaron Scholz on 2/24/2010 3:07pm
I'll admit I wasn't quite sure what to expect from Sean Michael Dargan's new album Snap Your Fingers & Stomp Your Feet. From what I'd gathered Dargan is known as a good pop songwriter as well as a purveyor of a suit-and-bow-tie stage persona. On top of playing with his own band (and boasting a large back catalog) Dargan has been a member of the Kissers, the New Handshake and the Elvis Costello tribute band Lip Service. His website bio is in a quiz format ("Score 100% and win a groovy prize!") which left me wondering if I was supposed to know much about the guy. But armed with his tastes in covers (and affection for his Irish heritage) I had a fair idea of what to expect from this record.
Snap Your Fingers... begins pretty remarkably with "Goodbye," a Big Star riff merged with an REM style melody (along with a kitchen sink of horns) that is a kiss-off song to the Bush administration. Second up is the pretty pop of "Little Miss Sunshine" which has a mile-wide hook and could easily slip onto any AOR playlist. "Ballad of Alberto Gonzales" is perhaps the most unique track on the record with very pointed lyrics (about the disgraced former Attorney General) that are matched with the sweetest and easiest melody. If you didn't pay attention to the words, you might think you were listening to an Elliot Smith outtake.
Beach House :: Teen Dream
Remember as a teenager (if you currently are not one) the sweet tranquility of drifting through adolescence, falling in and out of love as you slowly progress into adulthood? Yeah, me neither. But with Beach House’s newest album, Teen Dream, we can at least imagine that even the lows of teenage life have a melodic quality to them while the highs climax into ethereal happiness. Beach House blew up with their sophomore release, Devotion, in 2008. Devotion saturated us with sappy melancholy that placed us within a more opiate tranquility. But with Beach House’s third album, we seem to ascend out of the opiate haze and take flight high into serene skies.
Post by Aaron Scholz on 2/10/2010 9:50am
Droids Attack's Must Destroy is the hardest hitting record of the year, certainly unlike anything else I've heard in Madison. Starting from the long slow riff of "Unforgiven" all the way through the insanity of "Astro Glider" this record plays like its own private war zone. The band specializes in the sort of post-Sabbath heaviness that's been a staple of stoner rock over the last 30 years. But with some of the greatest song titles ever ("The Great Wall of 'Gina" being my favorite) and the presence of that damned Droid lurking in the background, these guys understand the sheer entertainment value of what they do.
"The Arcade Bully" starts as a hyper rocker with quick time changes and then stutters into a slow jam that alternates talkbox solos and heavy layered riffs. The keyboards that poke into the mix throughout the record blend in so well that you'd think it was part of the act (maybe the Droid can learn to tickle the ivories on stage). Brad Van has the perfect voice for this band, at times recalling the gut busting prowess of Lemmy or Ian Gillian. I especially like "Canadian Death Bus" with its killing lyrics and massive long fluid guitar solos. Bassist Nate Bush told me some crazy stories about their trip across the border a few years back and this song seems like a fitting tribute to being out of the country in the post-9/11 world.
Post by Emily Mills on 2/3/2010 4:50pm
El Guante has never been the type of rapper to just sit back and go with the expected flow of the genre. From his time as a major figure on the Madison hip hop, social justice, educational, and publishing scenes, the relatively unassuming man known day-to-day as Kyle Myhre has worked hard to create a style and flow uniquely his own. He has also made a habit of exploring issues at greater length and depth than most rappers ever do. On his newest record, An Unwelcome Guest (Tru Ruts | Speakeasy Records), Guante somehow manages to push the envelope even further.
With the help of superb hip hop producer Big Cats! and a handful of guest artists—including alt-country singer Haley Bonar, rappers Prolyphic, Eric Blair and more—Guante creates a nearly fully realized concept album that follows a single, strange journey from track one to 15. The liner notes of the record lay out the idea behind the project: “I wanted to make an album that no one had already made. I wanted to push the boundaries of hip hop narrative. I wanted to rap in ways I’d never rapped before. I wanted to play with perspective and characterization in ways that a single storytelling song just doesn’t have time to do. I wanted to explore issues of displacement, the movement of people and the role of violence in social change…I also wanted zombies to be involved. And a superhero mythology. And a love story.”
Post by Joshua James on 1/28/2010 3:42pm
I was unaware of Appleton’s The Chairs until I checked my e-mail this morning; I'm feeling a bit behind the curve for what could be one of the best unsigned acts in our fair state. I will admit that I don’t keep up much with the music coming out of the Fox Cities--although I resided there for a little over five years--because usually any of those bands worth their salt migrate to Milwaukee, Madison, or Chicago.
It isn’t as if no decent music comes from north-central Wisconsin. See: Jeremiah Nelson, Wars of 1812, John Statz, The Blueheels, Cock E.S.P., H. Chinaski, and This Bright Apocalypse. It's just that the Appleton, Oshkosh, Green Bay and surrounding areas are an industrial wasteland that often, and perhaps unjustly, go unnoticed.
The Fox Cities are overlooked no longer ,my friends, because The Chairs have opened my eyes. Nine Ways is the band's second LP and while I haven’t heard anything other than it the band sounds well seasoned and comfortable within their constructs. Album opener “David” is a deconstructed piece of keys and glockenspiel married beautifully with layered vocals that reminds me quite a bit of Califone with simple delivery and experimental backing.
Post by Jesse Russell on 1/27/2010 1:49pm
There are roughly a dozen Madison bands that consistently impress me. The Treats, whether it be a live performance or plastic disc of recordings, happen to be one of those bands. They're bombastic, crunchy, and a big splash of bluesy - all of which they continue on their newest release, Sir Unicorn. They officially dropped the album last week at a show I dearly wanted to attend (and preview by writing this review, but life, it happens), especially after listening to the new disc. It is chock full of songs that work well on an album, but demand to be played loud and live.
The cop out way to describe The Treats is by comparing the band to the White Stripes - especially on songs like “Headroom” - but with the album Sir Unicorn they stretch their wings and seem to fly beyond the popular alternative blues sounds and swoop in and indulge in some Celtic tinged storytelling - specifically, the title track.
Post by Aaron Scholz on 1/20/2010 11:30am
Shaking Strangers, the new album by Madison rockers Meteorade, is filled with music that teeters on the edge of power pop with a mash of great hooks but very non-power pop song structures. One track is titled "Postslackerism" and that concept sums up their sound: a bit of Pavement oddness with some Pixies noisiness plus a grab bag of grunge and pop bands from all over filling up the kitchen sink. "Thick Rotten Song" blends a smooth riff with very strange lyrics ("It’s happening all over the place/sulfur swarms are covering over my face") which careens to a halt backed with nice howling harmonies.
