Hailing from San Diego, hardcore act Lewd Acts is at it again with their new full-length Black Eye Blues. At first listen, it may sound like a typical hardcore album, but interestingly enough the lyrical content (at least what I can understand) falls closer to something much more emotional than the run-of-the mill hardcore stuff out there. The lyrics of “Who Knew The West Coast Could Be So Cold” could be dropped into any emo band’s catalogue of material and pass with flying colors.
At times, Tylure’s vocals come across sounding a bit like Tim Armstrong of Rancid, although only on a few key tracks. One of the more creative intervals of this album comes four tracks into the 11-track disc with the song “You Don’t Need Me”; this 42-second cut is filled with emotional outcries of obvious love lost and is immediately backed up with “I Don’t Need You.” No complaints musically, as these guys sound fairly tight throughout the effort. Hardcore fans should really enjoy this release. Black Eye Blues hits the streets on September 1st.
Somewhere deep behind “The Orange Curtain” (a term we use here in southern California to describe Orange County) live the members of electro-punk band Intro5pect. These political punkers have been stirring up trouble since 1997 and are celebrating the release of their new EP, Record Profits, due out August 25th on A-F and GC Records.
“Originally, Record Profits was supposed to be released as a full-length a few months back, but a lot of negative stuff happened — both in people’s personal lives and with the band,” states front man Dave Small. “At some point, we realized that we weren’t going to be able to get the songs done in the way we wanted them to sound by the deadline we had set.”
What seemed to be the main factor in preventing Record Profits from becoming a full-length effort was the departure of bassist Gregg Arman. Arman left the band shortly after returning from tour in the United Kingdom, citing creative differences. Filling in Arman’s shoes on bass was LandonHell.
“This past year has been quite difficult for the band,” says keyboardist Sara Zaidi, “with the absence of Gregg and the growing pains that come with finding a new member.”
Intro5pect completed their second UK tour in 2008, even fitting in a performance on BBC Radio One with Mike Davies, a feat certainly worthy of praise, especially for an independent punk band from California. Experiencing the British punk lifestyle in comparison to those in the United States proved to be a moving and eye-opening experience for the band.
“I think it’s fantastic seeing these old 50- and 60-year-old punk rockers around England,” states Zaidi. “I think it lends to some validity to their points of view and encourages kids to really research and pay attention to the world around them.”
As Dave also points out, the youth are also much more in-the-know when it comes to political and social issues in the UK than they are here in the United States.
“It does seem like most of the fans are more politically aware and active than they are in the States, but also because punk or alternative lifestyles are taken much more seriously over there. Whereas in the US, it seems like punk is viewed by most people as a teen phase that everyone is expected to grow out of. In Europe, it feels like it’s viewed as being a permanent lifestyle and is taken much more seriously.”
Considering Intro5pect’s home base is considered to be among the most conservative areas in all of California, it’s clear their environment has influenced their music lyrically. Nearly half of Orange County’s registered voters are Republicans — not necessarily a hot bed for socially conscious punk rockers who happen to sing songs like “Fuck Your Flag.”
“While it is heavily Republican, I also feel it is quite apathetic down here as well. I suppose that many of these people live in the Orange County ‘bubble’ and are somewhat insulated from the socio-economic turmoil that the rest of the country feels,” comments Zaidi.
As bright as the California sun, the future plans of Intro5pect are also blazing brightly. In addition to the release of Record Profits, they are looking to release a full-length album by this spring and hope to make a third trek out to see their fans in the UK in the coming winter. Don’t fret, all of you U.S. fans — they also will be touring nationwide at some point next summer.
Mixing the spasmodic sounds of The Mars Volta and the tranquil interludes of Pink Floyd, Sound & Shape give us their unique brand of prog rock with The Love Electric, a five-song EP marking their second release to date.
The title track starts off the album with hectic guitar passages backed up by harmonious vocals. These harmonies carry throughout the album in several tracks, which provide some relief from the musical chaos that drive this album in a great direction. There’s something about Ryan Caudle’s vocals that reminds me Elvis Costello – but what took me by surprise was the unexpected use of saxophone by guest musician Jim Horn (who has worked with Steely Dan and Frank Sinatra) during “And We Begin As Two.”
This album has a level of unpredictability that definitely held my attention until the very end. The musical ability here is on point, especially the dynamic drumming of Jerry Pentecost during the last track, “The Solitary Journey.” I only hope these guys grow more and more experienced with each album they put out. What’s a shame is that odds are most progressive rock fans have no idea this band exists. Perhaps this album will open some ears and change that.
(Engineer Records, 210 William Street, Boonton, NJ 07005)
Sometimes when you are listening to a certain song or album you can sense the exact feelings being conveyed by the musicians involved. When I listen to Simon and Garfunkel’s “America,” I can close my eyes and picture life crossing the country on a bus back in 1960s. Pink Floyd’s Wish You Were Here gave listeners an inside look at their feelings towards their friend and former band mate Syd Barrett. The same could be said about Pain Is A Reliable Signal by singer-songwriter Sam Jacob’s The Flying Change. The album tells the story of Erica, Jacob’s wife, and her battle with a debilitating spinal condition that leaves her in constant pain and leaves Sam and Erica’s relationship in near ruins.
The 10 tracks that tell this heartbreaking story hit you like a ton of bricks with their intense emotional tone. Jacob’s voice — especially on the first track of the album, “Broken Bow” — comes across sounding a bit like Leonard Cohen while being backed up by a beautiful choir of female voices. “If You See Something” lightens the mood with playful sounds of ukuleles and scattered horns; all while “St. Mary’s” rock distortion edge throws listeners a curve ball in the midst of all the somber tones.
By the end of the album, you feel as if you watched a movie. You truly feel Jacob’s pain and regret. There’s something brutally honest and haunting about the collection of songs featured here. They will pull at your emotions and leave you in a state of awe. Pain Is A Reliable Signal will not only please the ears but it will also leave your imagination reeling as it rides this emotional musical roller-coaster of pain, love, and fear.
(Scarlet Shame Records, PO Box 20680, Park West Station, New York, NY 10025)
Self-describing their sound as “space rock,” Exeter rocketed onto the Austin, Texas music scene over four years ago and are now ready to send their debut full-length effort into orbit.
Grey Noise, White Lies attempts to grip the listener with a mix of driving rock tones and spacey guitar riffs that drift about from song to song. The album opens up with “Bittersweet Vanity,” a lively tune that really showcases their drummer Ky’s skills. The title track comes in halfway through the album in the form of a very impressive instrumental sound that clearly highlights the band’s instrumental prowess. In terms of vocals, lead vocalist Mike shines on tracks like “Widowmaker,” but his overall performance throughout the album comes off bland and uninspiring, clearly a disappointment considering the instrumental tightness of his band mates. In my opinion, "Numb" is the best track on the album, capturing the very best of what Exeter has to offer. The track mixes their orbital ambient sound with intervals of heavy breakdowns and dark hard hitting lyrics.
Grey Noise, White Lies is a fairly solid first full-length effort backed up by a really impressive group of musicians. While it’s not exactly “out this is world” material, Exeter has an exciting sound that should continue to be fine-tuned as they mature as a band.
(Engineer Records, 210 William Street, Boonton, NJ 07005)
Oftentimes in the realm of independent music, an artist or album comes around and banks on the idea of a gimmick rooted in simplicity and familiarity. A poet recites dark drab stories of love lost, drunken highs, and drugged lows while the band plays loosely along. Songs full of silly childish lyrics are only regarded as “cute” by adoring female fans.
This is pretty much the end result of Marmoset’s newest album Tea Tornado. Their sound can only be described as an attempt to capture the lo-fi post-punk garage sound that’s already been done a million times over. Tracks like “Hallway” catch the band attempting at a pop-psychedelic vibe, but cuts like “”I Love My Things” and “Written Today” are built around repetitive juvenile lyrics based on a garage rock beat. As someone who is new to Marmoset, this album does nothing for me in the way of bringing any excitement of a new musical discovery.
(Joyful Noise Recordings, PO Box 20109 Indianapolis, IN 46220)
What can only be described at multi-instrumental acoustic experimentation, Hermit Thrushes brings you their newest piece of work, Slight Fountain. This 14-track album comes across as a twisted yet respectable homage to the sporadic sounds of Frank Zappa and the Mothers of Invention, as well as the classical acoustic folk sounds of decades past.
The album tracks through quite smoothly considering some of the songs involve unconventional tempo changes, like in the song “Push.” One of the more subtle yet impressive cuts on Slight Fountain is an acoustic guitar instrumental track entitled “Headless.” “Found House” is an off-tune multi-instrumental psychedelic pop piece that accentuates the controlled madness that encompasses this band’s odd sound.
Although the likeliness of mainstream success with a band like Hermit Thrushes is unlikely, I think those with an open musical mind will enjoy this album for its quirkiness and heart. Heart…now that’s something missing in music these days, and it’s clear these guys aren’t afraid to show they have it.
(Joyful Noise Recordings, PO Box 20109 Indianapolis, IN 46220)
My liking for the pop-punk genre has definitely dissipated as I have grown older. The days of being packed in a crowd like a sardine for a 30-minute set of MXPX or The Ataris at Warped Tour feels like light years ago. Although I’m not actively singing along to songs about heartbreak and teen angst in my late 20s, I know that many are at a point in their lives when three-part harmonies and catchy guitar hooks can work wonders. That’s why The Startover has my utmost respect with the release of their three-track self-titled EP. Hailing from the UK, These lads are laying down a vibe that should please those who fancy the pop-punk sound. Besides the harmonious vocals, the bands instrumental talent is fairly strong with several guitar and drum breakdowns throughout the effort. If you are a fan of the genre or just looking for a new sound to bring back those nostalgic teenage feelings, The Startover bring the goods.
(Engineer Records, 210 William Street, Boonton, NJ 07005)
