Category: Reviews

Rewind Review: Screaming Females – Baby Teeth (2006)

Baby Teeth, the first album by power trio Screaming Females (Mike Abbate – bass, Jarrett Dougherty – drums, Marissa Paternoster – guitar and vocals), is like a hard slap across the face to awaken you from a stupor induced by bland rock, bro-rock, nu-metal, and other genres that tend to dominate FM airwaves and beer commercials.

Opener “Foul Mouth” bursts forth with bold drumming from Dougherty and Abbate and Paternoster’s chugging riffs. Hearing Paternoster’s voice for the first time in 2006 must’ve made a lot of heads turn. Her singing voice is a mix of (sometimes) controlled anger, heartfelt balladry, and punk snark that was sorely absent from the airwaves fourteen years ago. Paternoster’s guitars swirl and spin like a dust devil on “Electric Pilgrim.” “Jonah” gets off to a funky start with Abbate’s bass walk and continues that groove with hand-claps and strut-down-the-street beats and guitar riffs.

“Angelo’s Song” sets you up with simple guitar notes before Paternoster unleashes with her trademark guitar fury to stagger you back a few steps before it turns into almost a power-pop track. “The Bearded Lady” has some of Paternoster’s wickedest playing and Abbate and Dougherty’s snappiest rhythms on the record. The opening of “Henry’s Embryo” seems to display the band’s love of The Cars.

Abbate’s bass on “Dinosaurs” has a cool, dark feel to it that you can’t shake. The track gets so rowdy that it made my boss once tell me to turn down the volume at my desk. “Sports” is just as wild. Dougherty’s calm high-hat taps at the beginning of “Bus Driver Man” are a deceitful whisper before the whole band unloads with heavy hits that a lot of stoner metal bands would love to steal. The closing track, “Baby Jesus,” ends the album on a powerful, wild note with furious playing by the entire band.

If Screaming Females were cutting their baby teeth on this self-produced debut, they replaced them with big cat fangs. Baby Teeth is a slap with a steel gauntlet in challenge to anyone who dared scoff at them.

Keep your mind open.

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Rewind Review: Chelique Sarabia – Revolución en Música Venezolana (2019)

In 1971, the Shell Oil Company sponsored Venezuelan poet and musician Chelique Sarabia to compose an album of traditional folk music updated for modern times. This album would be given as Christmas gifts to Shell employees, friends, and customers in 1973. Sarabia enlisted local musicians to play a host of traditional instruments so he could filter those tracks through synthesizers, sequencers, tape loops, and who knows what else. The result, Revolución Electronica en Música Venezolana, was an amazing South American synth-wave album that’s still ahead of its time.

Opening track “El Pajarillo” blends funk bass with traditional guitar arrangements warped by reverb, pan, and filter controls into a trippy, exotic vacation. “Maracaibo en la Noche” blends distant female vocals and birdsongs with the psychedelic guitar. “Polo Margariteño” has what sounds like a lovely clarinet piece throughout it, and the effects are taken off the guitar to let the traditional dance rhythms come to the forefront. “Cantos de Mi Tierra” has a bit of a spooky feel to it at first, which I love, and then it curves into a beautiful dream space.

“El Cumaco de San Juan” shimmers with an underlying brightness that eventually fades as the guitars come forward as snappy as Rice Krispies. “El Diablo Suelto” is as subtle and witty as Old Scratch himself. “Polo Coriano” sounds like it’s going to be a bold piano-led track at first, but then makes a left turn and becomes a toe-tapping track that brings a smile to your face.

The opening chants of “Mare-Mare por Comer Zopoara el Pájaro Guarandol” weave in and out of the track but rarely overtake the beautiful accordion, organ, and traditional guitar flourishes. “Somobra en los Médanos” reminds me a bit of Italian romantic comedy scores from the 1960’s, and Sarabia puts the filter effects to good use again on the guitar solos.

“Barlovento” gets off to a mind-warp start and continues spinning down a rabbit hole into a Venezuelan wonderland of guitar solos, traditional hand percussion, and echoing vocal sounds. “Rio Manzanares” brings in a hot saxophone riff now and then to mix with the traditional guitar strumming, producing a great effect. Not to be outdone, the closing track, “La Bella del Tamuangue,” adds a trumpet that drifts back and forth from leading with skillful zigging and zagging to hanging out in the back with long, soft tones to add more psychedelia.

It’s a sharp record that will make you want to bug out to South American for at least a few weeks, and, again, so far ahead of its time that it sounds like it could’ve been released last week instead of almost fifty years ago.

Keep your mind open.

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[Thanks to Guerssen Records.]

Review: Death Valley Girls – Levitation Sessions: Live from the Astral Plane

Live from the Astral Plane is the latest in the Levitation Sessions put on by The Reverb Appreciation Society. The sessions are recorded live performances that are later streamed for ticket buyers and then released as official live albums from the respective bands. The first, from July of this year, was by Holy Wave. The newest is by Death Valley Girls, and it’s a stunner.

Any album that begins with 1980’s New Age synth-wave directions on how to astrally project is bound to be a trip, but it’s not surprising coming from DVG. They are known proponents of manifestation and utilizing the laws of attraction. The nine minutes of instruction end with “Now, with blessing, go forth.”

And DVG do exactly that, creeping out of your bedroom closest at 2am with the sublimely spooky “Abre Camino” – a track that builds on horror film heartbeat drums from Rikki Styxx and vocals from guitarist / lead vocalist Bonnie Bloomgarden and bassist / backing vocalist Nicki Pickle that border on being incantations. It bubbles like a cauldron and by the time they reach the three minute-fifty second mark you’re thinking, “Holy f*<k, they are not screwing around.”

Lead guitarist Larry Schemel leads the charge on “Street Justice” with riffs that never let up for almost three straight minutes. “Death Valley Boogie” brings in some Southern California surf riffs and some of Pickle’s fastest bass moves. The way “Sanitarium Blues” moves back and forth from low-key psychedelic grooves to hard and fast garage rock choruses is sharp.

Bloomgarden adds organ on “More Dead (Than Alive)” to provide weird contrast to Schemel’s frying pan-hot solo. Somehow, he conjures up even more heat on “666” (but, should we really be surprised with that title?). “Disco,” one of DVG’s early hits, is always a blast to hear, live or otherwise, and this version from the astral plane doesn’t disappoint.

“Wear Black” brings the band’s surf influence back for us. “It’s a man’s world, that’s what you think. It’s a man’s world, it’s not for me,” they sing on “I’m a Man, Too” – a song that throws down the gauntlet at man-splaining, sexual harassment, and male douche baggery (“If you’re a man, I’m twice a man as you.”).

“Dream Cleaver” is a nice tease since it’s the closing track of DVG’s upcoming album, Under the Spell of Joy. “Disaster (Is What We’re After)” has this great garage punk energy through it and some of Styxx’s heaviest, wildest beats. The closer, “Electric High,” chugs like a phantom train that uses bones instead of coal in its engine and leaves you a bit out of breath and wanting more by the end. Yes, the feeling is a bit tantric.

And, yes, you need to hear and own this. Let it take you out of your body, your social media feeds, your mind-space, your ego, and whatever else is containing you.

Keep your mind open.

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Rewind Review: Brijean – Walkie Talkie (2019)

Blending Los Angeles jazz and funk with Detroit and Chicago jazz and funk with hip hop from both the west and north coasts, Brijean (Brijean Murphy – percussion and vocals, Doug Stuart – beats, synths) make moody dance music, trip hoppy meditations, and shiny summer grooves on their debut album Walkie Talkie.

Murphy’s opening percussion on “Like You Do” mixes so well with Stuart’s electro-grooves that it’s sometimes to tell where one ends and the other begins. “Fundi” seems to mix in conversations you’d overhear on a subway while Murphy sings about taking your time and lying low over Stuart’s space disco beats.

“Drive Slow” is perfect for such activity, especially when cruising along a beachside road or to or from a chillwave afterparty. The underlying hip hop synths are a great touch in it. “Time moves by so slow,” Murphy sings at the opening of the peppy “Show and Tell.” “Just let your body go, it’s easy.” She and Stuart encourage us to dance and forget our troubles, a crucial skill in this day and age. It’s a lovely track that will take you away to that ideal club in your mind, even if just for a little while.

The title track reminds me of some Thievery Corporation tracks with its electro-lounge grooves and feel-good dance beats. The closer, “Meet Me After Dark,” promises a cool afterparty for all of us somewhere in the future, which is actually the present, so celebrate now with Brijean’s sweet grooves, sexy bass, and toe-tapping beats.

Walkie Talkie is lovely. It’s a much-needed dose of sonic bliss in times of self-isolation and changing seasons. Don’t skip this one.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Rewind Review: Zeke – Hellbender (2018)

I don’t know why Seattle punk legends Zeke took fourteen years off between albums, but their last album, Hellbender, shows that they didn’t slow down during that time. If anything, they came back faster (the longest song on the album lasts one minute and fifty-one seconds), louder, and rowdier than when they took a break.

The opener, “All the Way,” has drums that pop like the SKS rifle on the album’s cover, snapping you awake no matter where you are. “Two Lane Blacktop” covers one of Zeke’s favorite topics – racing – and will make you stomp your gas pedal to the floor, even if you’re sitting at a desk, with it’s sizzling guitar solo and pursuit driving beats. “On the Road” (the aforementioned “long” song) covers similar ground and could be the score to a 1970’s car chase scene in which competing muscle cars plow through an empty brewery.

“Working Man” is so frantic that you imagine the title subject is hopped up on Red Bull and Mini-Thins as he speeds down a country road in his pickup so as not to be late, again, to his job at the mobile home factory. The title track is, somehow, even faster. Zeke excel at blistering pace tracks, and this album is full of them. “Hellbender” and “County Jail” each last under a minute.

The vocals on “Burn” sound like they’re yelled out of a sore throat, and I mean that in the best possible way. The drums on “Goin’ Down” hit so hard that you imagine at least five snare drum heads were broken during the record session. “White Wolf” is, I think, about some ghost wolf or the spirit of rock and roll or some cool art Zeke saw on the side of a customized Chevy van. It shreds, that’s for sure.

Speaking of unknown song meanings, I don’t know if “AR-15” is a salute to the firearm or a punk raging against gun violence. I’m fairly certain, however, that “Cougar Rock,” is about shagging older women. The guitar and drums breakdown on it is outstanding. “Devil’s Night” will get your body moving with its heart attack beats.

The last three songs on the album are more tracks about driving fast cars and blaring your horn so everyone else gets the hell out of the way. “Ride On” is a song perfect for that fire-shooting guitar guy from the last Mad Max movie. “Red Line” moves into the red on your speedometer within seconds of its opening and doesn’t let up for a full minute. “Big Rig” is suitable for smashing everything in sight harder than Kool-Aid Man breaking through a brick wall.

Zeke albums are so fast and wild that reviewing them is difficult. They’re more experiences than albums. You’re not the same once you hear one, and Hellbender will shake you up and leave you in the dust.

Keep your mind open.

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Rewind Review: Calibro 35 – Sogni Di Gloria (2014)

Milano, Italy’s Calibro 35 make music for films that are either independent affairs or that never existed, but should. Their score to Sogni Di Gloria, however, is from an actual comedic film directed by John Snellinberg about two men named Giulio – one of Italian descent and the other of Chinese descent – living in Italy and trying to get by.

The score gets off to a fun start on “Maionese (Titoli de Testa)” with plenty of surf guitar to go around for everyone. “Tema dello Sbattezzato” brings in delightful organ to match the cool guitar licks. “Come un valzer” could fit right into a 1970’s Euro-crime film, and “Notturno” is the late night jazz of your dreams.

The organ chords on “Tema di Alice” bring to mind summer walks along a sunlit country road. “Tema dello Sbattezzato (Bolero)” is a nice reprise. The guitars on “Tema malinconico” take on a bit of a psychedelic touch with their surf tones. “La partita” is a fun race with groovy bass and super-spy synths. You might want to check your pulse if it doesn’t move you. The whistling on “Un rigors sbagliato” will remind you of many spaghetti western scores – something Calibro 35 do well.

The bass groove on “Lento dello Sbattezzato” is slick in its subtlety. “Come un tango” is fun, sexy, and mysterious all at the same time. More funky bass is prominent throughout “Sala da carte,” and I love that groovy 1960’s organ, too.

The score ends with reprises of “Tema dello Sbattezzato” and “Tema malinconico” before we’re treated to the lovely “Il tempo che non ho vissuto” – the only song with vocals on the record. They are, of course, in Italian, and, of course, beautiful.

I need to track down this film, and any that Calbro 35 have scored. If the films are half as good as the scores, they’ll be winners.

Keep your mind open.

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Review: Kelly Lee Owens – Inner Song

It takes guts to open your new album with a Radiohead cover, but that’s exactly what Kelly Lee Owens does on her (no shocker, if you’d heard her amazing self-titled debut – which was my top album of 2017) excellent new record, Innner Song. Owens has stated in press releases that Inner Song follows “the hardest three years of my life,” and one could view the record (and her) as a phoenix rising from ashes.

That aforementioned Radiohead cover is “Arpeggi” (from 2007’s In Rainbows) and she starts it with subtle, humming bass that’s almost subliminal. Owens sings about letting go of things in the past that cannot be fixed on “On” – which has her voice moving and sounding like birds released from a cage. It builds into a thumping, bumping floor-filler. Owens excels at tracks like this that take you on a journey from peaceful meditations to booty-shaking workouts.

“Melt!” – a song about global warming that samples collapsing glaciers and people ice skating – deserves to be on every DJ’s hot list of dance tracks this year. “Free yourself with the truth that’s already in you,” Owens sings on the haunting “Re-Wild.” It’s advice all of us can use, and Owens’ use of echoing synths helps it sink in like acupuncture needle. “Jeanette” is all bouncy synths and beats that make you want to dance and then hug everyone and then dance some more.

“L.I.N.E.” (“Love Is Not Enough”) has Owens realizing that “love is not enough to stay…love is not enough alone” as she walks away from a dead-end relationship with someone offended by truth. “Corner of My Sky” features none other than John Cale on vocals singing and speaking poetry over Owens’ lush synths. “Night” blends house, ambient, and chill wave, and “Flow” is perfectly named as it bumps, grooves, sways, and, yes, flows along like a happy balloon bouncing down the street on a summer wind. The album ends with sort of a reverse lullaby on “Wake-Up.” The soft song is great for relaxation, but Owens tells us (and herself) to open our eyes and move forward (the only direction we can move in this life, really).

That fact that Owens could create an album as lovely as Inner Song after “the hardest three years of my life” is a testament to her fortitude. I’m glad she made it through the trials and came out, like a phoenix, stronger.

Keep your mind open.

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[Thanks to Jessica at Pitch Perfect PR.]

Review: Spun Out – Touch the Sound

If I had to pick one word to describe Spun Out‘s debut album, Touch the Sound, it might be “lush.”

Formed by former members of Chicago indie rockers NE-HI, Spun Out (the main trio being Alex Otake, James Weir, and Mikey Wells) are more of a musical community than a band. Spun Out is all about collaboration with friends and colleagues, or, as they describe it, “…a revolving door for our friends to come in and work with us.”

It produces great results. Opener “Another House” builds to a great mix of shoegaze and psych. “Such Are the Lonely” has power pop bounce but doesn’t lose its shoegaze roots, and that brief saxophone solo by Kevin Jacobi is a cool way to end it and leave you wanting more. Thankfully, Sean Page‘s keyboard work on “Dark Room,” backed with a wicked beat that Chicago hip hop DJ’s are probably sampling even now, more than satisfies.

The acoustic guitar chords of “Running It Backwards” bring early tracks by The Fall and The Church to mind. “Antioch” walks along the edge of synthwave at the beginning and then takes the plunge into a pool of lovely dream pop that instantly mellows you. “Off the Vine” brings in funky bass and keyboards to produce dance-psych (Did Spun Out just create a new genre?). “Don’t Act Down” implores us to rise above chaos and drama and not succumb to such distractions from the journey inward amid its groovy beats.

Speaking of groovy beats (full drum kit and plenty of hand percussion, I think I even heard a triangle in there), the opening ones on “Pretender” will get your toes tapping. “Cruel and Unusual” is as lovely as a warm breeze drifting across a Chicago balcony in late summer when either baseball team in town is doing well in their division’s standing. The closer, “Plastic Comet,” starts out with a tribute to Bob Dylan and “Knocking on Heaven’s Door” with its lyrics and then it melts into lava lamp psychedelia.

It’s a lush record that is suitable for lounging on the couch, the balcony, the beach, or the park…or the dance floor. A surprising number of songs on Touch the Sound will get you moving. It’s a good debut and a successful experiment that bodes well for future records.

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]

Review: Gordon Koang – Unity

Gordon Koang might be the biggest musical legend you’ve never heard. Born in South Sudan, Koang and his cousin, Paul Biel, began playing gospel music and historical tales and were soon selling self-produced indie CDs and tapes. Koang’s reputation grew and grew until he was in high demand everywhere in his homeland and became known as “The Michael Jackson of South Sudan.” While touring in Australia in 2013, violence erupted in South Sudan and both men applied for asylum in Australia – leaving families behind in hope of bringing them to Australia soon. Koang and Biel weren’t granted Australian citizenship for another six years after they hit it big with a couple sharp singles and their shows became rallying points for refugee charity efforts.

Koang’s newest album (his eleventh, mind you), Unity, is an uplifting tribute to both of Koang and Biel’s home countries and to hope, love, and faith.

Koang opens the album with “Aslyum Seeker” – a straight-up story of him finally receiving his Australian citizenship (“My dear asylum seeker, we know you’re waiting for your permanent protection visa. We know you’ve been waiting a long time.). He seems to be reciting one of many letters he received over the course of six years while dancehall beats thump behind him and he sings without holding a grudge.

“Stand Up (Clap Your Hands)” was the song that got the attention of Australian music aficionados everywhere and helped them realized Gordon’s music could be a new national treasure. It’s wonderfully catchy (and his first song with English lyrics) and will make you do exactly what the title suggests. The thumping beats of “Kone Ke Ran” provided by Biel and Gordon’s traditional thom (sort of a Sudanese lute) mix to provide a hypnotizing rhythm that’s impossible to ignore.

“South Sudan” is, of course, a song about his much-missed homeland and the wife and children (one of whom he has yet to meet) who await the day they can travel Down Under and meet up with him. The mix of handclap beats, hand percussion, and Koang’s intricate chords is delightful. The bright organ chords on “Mal Mi Goa” are a beautiful addition to Koang’s thom strumming.

The bouncy organ of “Tiel E Nywal Ke Ran (We Don’t Have a Problem with Anyone)” produces instant hip-shaking and grooving. It, like the entire album, is full of bright energy that cannot be ignored. Gordon’s thom is right out in front on the closer, “Te Ke Me Thile Ji Kuoth Nhial.” His Nuer language vocals skip along with his strumming and Biel’s hand drum beats.

I read a quote from Gordon about people listening to his music who might not understand Nuer. He said, more or less, “Don’t worry, God will translate it for you.” The themes of hope, love, longing, and unity are universal, and this record is a beautiful message from Gordon, Biel, and the Creator.

Keep your mind open.

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[Thanks to Brid at Pitch Perfect PR.]

Review: Brown Acid: The 10th Trip

It’s stunning to realize that Riding Easy Records has released ten Brown Acid compilations of long forgotten and buried stoner rock / acid rock / metal cuts in just five years. How do they find this stuff? The stories of how they tracked down these obscure bands, some of whom never released even a full LP, must be fascinating.

“The Tenth Trip” is one of the best compilations to date. It starts with the squelchy, groovy “Tensions” by Flint, Michigan’s Sounds Synonymous from 1969. The fuzz on it is cranked to the max and the organ stabs push the track into psychedelic territory. Yreka, California’s Ralph Williams and the Wright Brothers‘ 1972 track, “Never Again,” lays down a Black Sabbath-like groove mixed with swampy blues, and the backing vocals / grunts mixed with the wicked bass line alone should’ve made this a big radio hit.

“Relax your mind,” suggests Louisville, Kentucky’s Conception on their 1969 cut “Babylon.” The snotty vocals remind me a bit of MC5 and Thin Lizzy in their delivery, and man, that guitar breakdown is breath-taking. Atlanta, Georgia’s Bitter Creek proclaim, “I think I hear the sound of thunder.” on the 1970 heavy stoner metal cut “Plastic Thunder.” The drums certainly sound like a thunderstorm and it has enough guitar pedal effects for an entire record.

New Orleans’ Rubber Memory put down a serious psychedelic show with “All Together” from 1970. Dallas’ First State Bank might be the most cleverly named band on the whole compilation (as you would see their name in practically every town in the country), and their 1970 track “Mr. Sun” has a sweet groove that drifts along for a little over three minutes as the singer asks the sun (who appears to be the only thing around to give him the time of day) how to win back his girl.

The double entendre of Brothers and One‘s “Hard On Me” (New Waterford, Nova Scotia, 1974) is another criminally unheard rocker with a floor-stomping beat that should’ve made it a cult classic if nothing else. Naming your Tucson, Arizona band Frozen Band is a nice touch, and their 1969 track “Electric Soul” has serious Jimi Hendrix vibes in both the guitar chords (with a bit of Santana, too) and the vocal styling. Birmingham, Alabama’s Brood encourage you not to throw out your old weed on “The Roach” from 1969. I love how unapologetic they are about it. The anthology ends with Iowa City’s / West Minister, Colorado’s Tabernash and their 1969 track “Head Collect.” It’s a nice, trippy end cap to the record as they sing about death, the afterlife, and cosmic things seen while lounging under the stars.

This is definitely a trip worth taking and it makes you wonder how many more forgotten bands and singles are out there if Riding Easy Records has already found ten anthologies’ worth in just five years.

Keep your mind open.

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[Thanks to Dave from US / THEM Group.]