Reviews – Page 71 – 7th Level Music

Rewind Review: Clutch – Slow Hole to China: Rare and Re-released (2009)

Originally released in 2003, Clutch‘s Slow Hole to China was a collection of obscure singles, unreleased material, and cover tunes. They re-released it in 2009 as Slow Hole to China: Rare and Re-released and included three more previously unreleased tracks.

One of those tracks is the first one on this album – “King of Arizona.” It’s a solid blues rocker with harmonica by guest Eric Oblander and vocalist Neil Fallon making allusions to either an Arizona gold mine, a cemetery in Arizona, James Reavis (a con man who was nearly given ownership of most of Arizona and a good chunk of New Mexico), or, quite likely, all three.

The title track has some of Dan Maines’ heaviest bass lines. “Nickel Dime” almost has a fiery gospel feel to it. “Sea of Destruction” hits as hard, if not harder, than a lot of current metal tracks thanks to Jean-Paul Gaster‘s furious drumming and Tim Sult’s fuzzed-to-the-max guitar. Blues swagger comes in heavy on “Oregon,” “Easy Breeze,” “Hale Bopp Blues” (which is sung from the perspective of dinosaurs fearing the arrival of the Hale Bopp comet and the end of their lives on Earth), and “Four Lords.”

“Rising Son” scorches and has one of my favorite lyrics on the album – “Gravity is such a drag, and we will not obey.” I can’t help but wonder if “Guild of Muted Assassins” was inspired by one of Fallon’s old Dungeons and Dragons campaigns, because that title needs to be the name of a D&D game module. “Willie Nelson” is about Fallon’s home being raided by jackbooted figures searching for drugs, secrets, or both. It might be the former when you consider the chorus is, “I don’t know if I’m coming or going, if it’s them or me. But the one thing’s for certain, Willie Nelson only smokes killer weed.”

“Equinox” is an instrumental that has wild Santana-like percussion. “Hoodoo Operator” is a floor-stomper with Maines’ bass taking on angry bee-like quality. “Day of the Jackalope” has Fallon’s vocals distorted as if through a fault megaphone, making him sound like a madman yelling on a street corner. “Ship of Gold (West Virginia)” is an alternate version of the song of the same name that would end up on Clutch’s Elephant Riders album. It’s a bit darker and heavier than that one, and has more extended jams as well.

This is a solid collection and can stand alone as its own album instead of a collection of singles and miscellaneous tracks. It’s worth seeking out if you’re a fan of Clutch, or even if you’re not.

Keep your mind open.

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Review: Comacozer – Mydriasis

If you’re starting a band and wondering how many songs you would need on your album to take the listener on a mind-altering journey of fuzzed guitars, reverb-drenched bass, and asteroid belt heavy drums, Australia’s Comacozer have answered the question for you: Three. You would need three songs.

Granted, they are going to last anywhere from eleven to twenty minutes each, and you will have to rock them as heavily as Comacozer do, so good luck.

The opening title track to Comacozer‘s solid new album, Mydriasis (the medical term for dilation of the pupil), opens your third eye as it drops you down a rabbit hole of face melting psych rock with little bits of doom metal sprinkled on top for good measure. The guitar work on the track by Rick Burke is particularly jaw-dropping, sliding effortlessly back and forth between psychedelic jams and battle axe-heavy riffs.

“Tryptamine” starts with what sounds like a monologue by Rod Serling, which is appropriate considering the mind-warping nature of the track’s synths by James Heyligers. These synths sneak around the entire track while Andrew Panagopoulos keeps the band (and us) from drifting out of this reality by maintaining a solid, gravity-induced beat.

I love how Richard Elliott’s opening bass line on “Kykenon Journey” is almost a sinister funk-disco lick. It promises groovy things to come, and the track certainly delivers. Kykenon, for those of you unaware, is a water and barley beverage that was popular among the lower class in ancient Greece. It was often mixed with other spices and compounds that gave it a psychoactive kick, much like Panagopolous’ beats and Burke’s riffs. The song (which takes up the entire second side of the EP, by the way) is a fine rocker for the first five minutes and then switches to an even finer psychedelic trip. It’s the kind of stuff that will make you convinced the goop in your lava lamp is dancing to it. Seriously, don’t stare at your lava lamp for too long while listening to this. It might check you out of reality without you realizing it.

It’s a solid EP of mind-warping psychedelia from Down Under. I hope these guys can do a tour of the U.S. soon. It would be great to hear these epic instrumentals live.

Keep your mind open.

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Review: Monomotion – Fujisan

Electro artist Monomotion (AKA Erol Egintalay) drew his inspiration for his new album, Fujisan, from a warm Japanese spring. It’s focus on serenity, beauty, and positivity. Listening to this album is like going to a Zen garden / day spa that happens to have a night club in it.

The opener, “North Cascades,” briefly slows down everything around you before some hip-shaking beats bubble up to the surface to get you feeling good. “Mango” is full of those peppy beats and soothing synths that float into “Seed” – a track great for meditation or waiting in line at the airport (which can be the same thing if you do it right).

“Ecocline Patterns” needs to be on the soundtrack for the upcoming Dune movie reboot. It has dance beats that mix with strange metal sounds and synthwave computer sounds. The title track moves along like an autumn leaf on a warm Japanese spring while an unseasonably warm sun shines through the remaining leaves on the trees. “Borders” reminds me of Art of Noise cuts with its female vocal sounds and synth-string arrangements. The closing track, “Luck of the Mountains,” is a bouncy mix of happy electronic beats and hummingbird synths.

Fujisan is a warm record. It’s not something you’ll use to tear up a dance floor, but it’s something you’ll want for late night chill parties and makeout sessions in the club, or in your car, or at home, or anywhere else, really.

Keep your mind open.

Review: Ash Walker – Aquamarine

Multi-instrumentalist Ash Walker describes his newest album, Aquamarine, as “…like a deep sea voyage into the subconscious.” I’m not sure I can put it any better than that. It’s a lovely record of trip hop, dub, jazz, funk, and lounge electro that will surely be among my top records of 2019.

The opening electric dub drums of “Under the Sun” instantly cast you onto a shiny sea aboard a catamaran supplied with good drinks, lovely people, and even better music. The jazz drums and flute of “Time” (which, like the track before it, features soulful vocals by Laville) make you forget time, much like you would on that catamaran sailing across a clear sea. “Come with Us” is a great dub track with a smooth trumpet solo.

“Brave New World” brings in acid jazz flair. “Finishing Touch” keeps the acid jazz drum beats, but sprinkles trip hop on top of them and Laville’s guest vocals smooth them out. The title track tick-tocks in a soothing, hypnotizing manner. The flow of “Sanity” reminds me of a rowboat bumping against a dock as slow waves come into shore. The beats get snappy on “I Need Money,” and Walker’s inclusion of electric piano adds a sweet touch.

As one might expect, “Fat King Smoke,” is one of the funkiest tracks on the record. I love the slippery beats, the Theremin-like synths (which could really be a Theremin for all I know), and the weird electro bass line. “Ain’t Got You” (with more guest vocals by Laville, who appears four times on the record) is dancefloor-ready. “The Dagon’s Cashmere Jumper” might be my favorite song title of the year. I hope you get the reference and realize that, yes, a Dagon might need a cashmere jumper now and then while strolling around on land.

Aquamarine is otherworldly, and a pleasant journey that I’m sure sounds and feels different every time you hear it. Dive in, the water’s fine – great, in fact.

Keep your mind open.

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Live: Bebel Gilberto – Birchmere Music Hall – Alexandria, VA – June 22, 2019

We were delighted to see Bebel Gilberto again this year. In case you still don’t know, Ms. Gilberto is bossa nova royalty and has one of the loveliest voices on the planet. She played at a small venue outside Washington D.C. while we were on a trip there last month.

It was just her and her guitarist, Guerreiro Montero, playing an intimate set of some of her favorites like “Baby,” “Aganju,” “Simplesmente,” “Mais Feliz,” and her fine covers of Neil Young‘s “Harvest Moon” and Radiohead‘s “Creep.”

It was our first time seeing her without a percussionist, but she and Montero did a great job and kept everyone entertained and bouncing. Ms. Gilberto knows how to work an audience and stage and there was a funny moment when she bowed and accidentally knocked her microphone off its stand. She bent over to pick it up and the top of her dress came undone as she did so. Montero, blushing and giggling all the while, had to fix the wardrobe malfunction on stage. She handled it well and used the moment to make jokes and flirt with the audience.

She recently finished her spring tour, but don’t miss her show if she’s near you. Any opportunity to see her live should be taken.

Keep your mind open.

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Review: Mexico City Blondes – Blush

Blush is a lovely electro record from Mexico City Blondes (Greg Doscher and Allie Thompson) that blends dub beats, trip hop touches, and lounge jazz.

The album opens with the snappy, funky “Out to Dry,” with Thompson’s vocals hopping around Doscher’s processed beats and effective rhythm guitar work. As soon as you hear “Addio,” you realize the decision to make it the first single from Blush was a no-brainer. The Blondes make no attempt to hide their love of Portishead as Thompson’s vocals move like a warm breeze across a rooftop nightclub full of frisky people.

“Road Noise” builds to a cool groove for the afterparty following that rooftop nightclub. Thompson’s vocals on “Thick as Thieves” remind me of Emily Haines from Metric, but Doscher keeps the track from drifting into stadium rock by rooting it with elements of synth wave in-between the electro-pop. The rattlesnake-like beats of “Yellow Sunshine” add a thrilling touch to the adventure offered by Thompson’s lyrics (“We are only looking for peace of mind. We are always keeping our eyes on the prize.”).

“Thin Line” has Thompson revealing dark secrets as she sings, “I know what it’s like on the other side.” Doscher brings in an acoustic guitar to surprise us at the beginning of “Crimson” as the beats and Thompson’s vocals swell to a trippy bliss. Thompson’s vocals are especially lovely as she sings about the risks of love on “Off the Hook.” “Sunny Day” is deceptively heavy (and those little saxophone flairs!) and deserves to be mixed by DJ’s worldwide. “All night, I keep on thinkin that you’ll never change,” Thompson sings on “All Night.” She knows she’s in a relationship that will ultimately go nowhere, but she can’t resist the moments as they come. “Reasons Why” flows well between dance beats, ambient synths, and trip hop flavors. The album closes with “Planet Caravan,” the sexiest song on the album with its languid guitars, Thompson’s mirage-like vocals, and slow seduction beats.

So far, Blush is the best make-out record I’ve heard this year. It’s also one of the best chill records and electro records I’ve heard so far in 2019. You’ll dig it.

Keep your mind open.

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Review: Bad Sports – Constant Stimulation

Texas punks Bad Sports (Daniel Fried – bass and vocals, Orville Neeley – guitar and vocals, Gregory Rutherford – drums) have been blasting in the indie scene for over a decade, and their newest album, Constant Stimulation, brings fire, rage, wisdom, snark, and riffs. Plenty of riffs.

They’re off to a fast start off with “Giving In,” with its Social Distortion-like swagger. “If it feels like giving up, it’s giving in,” they sing, calling on all of us to keep fighting. “Don’t Deserve Love” and “All Revved Up to Kill” bring in a touch of pop-punk and 1960’s garage rock vocal stylings. “Comes Close,” like the two songs before it, are love songs, or rather songs about the sometimes frustrating / fun nature of love. “When one comes close, but you don’t get no answer…” they sing, deciding not to finish the sentence because we all know what they mean. Nelly’s guitar solo vents our and their frustrations.

“Gains and Losses” is a middle finger at the current U.S. economy, its inequality, and the emptiness that wealth can bring (“Doing nothing, saying nothing, paying someone after the fact.”). “Leave your conscience behind,” they sing on “Ode to Power” – a fitting lyric aimed at those who crawl over the weak to get where and what they want. The title track focuses on our addictions to technology and our fears of silence (“I need constant stimulation, in my ears and in my eyes. I need constant stimulation or I don’t sleep at night.”). It’s a post-punk gem with great drumming from Rutherford, who puts down a beat that sounds simple but is actually damn hard to play once you realize how good he’s keeping (fast) time through the whole track.

The groove on “Easy Truth” is as hard as the lyrics (“All the things I knew I could rely on, they’re not there anymore, to hold true. And I tried for so long to deny it, anyway, but nothing’s going to change for me or you…Nothing’s going to change unless you want it to. Something has to change soon. That’s the easy truth.”). It’s a bit of a Ghandi reference, encouraging us to be the change we want to see in the world. It seems to me that they dabble a lit bit in psychedelia with “Everything We Wanted” (the upped fuzz taking front stage from the low-volume vocals).

“Cardboard Suits” again encourages us to change our worlds, be they local or global, for the better (“Reading headlines won’t make being here get any better. You can’t just wait for things to be divine while falling face-first for egregious disguises.”). Fried’s bass groove on “Distant Life” brings Joy Division rhythm to a fist-raising anthem.

The song closes the digital download of the album, but the CD has seven additional tracks. Among the standouts are “Don’t Get Your Hopes Up” (a great punk title on a fun punk track about hypocrisy in religion.), the sizzling “Living with Secrets,” the heavy / fuzzy bass-driven “Anymore,” and the almost-goth “Pacify My Love.”

It’s a cool record that I’m glad I stumbled upon last month. You’ll dig it if you like indie punk.

Keep your mind open.

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Review: Andre Bratten – Pax Americana

“I’ve always been fascinated with how a sound can make you feel without being something you can touch,” Oslo-based DJ and producer Andre Bratten writes in the press release I received for his newest album – Pax Americana. Recorded in a studio he built in his garden after stepping away from late night DJ sessions at clubs around the world, the new record is indeed an evocative piece that changes your perspective and makes you move.

Lead single, “HS” (one of my favorites of the year so far), is a great example of this. It’s bubbly yet laced with a little darkness to keep you grounded as you let it sink into your feet to get them tapping. The title track, comparing the current state of the U.S. to the Roman Empire, has an underlying nervous tick that bumps against soothing synths. I’m not sure if Bratten is trying to tell us Americans that everything will be all right, despite what some may fear, or the reverse of that message. It works either way.

“426” continues the dark themes, with bass lines that slow to a creepy crawl while up-tempo electro high-hats move like a rattlesnake around you. The gothic “Commonwealth” is like an Art of Noise track if Art of Noise decided to make synthwave music for horror films that take place in the year 2999. “Ranx” goes further down the darkwave rabbit hole to the point where you’re not sure it’s fading out or lulling you into a trap. The closer, “Recreation 26B,” starts with a simple beat and then builds like a rising morning tide with bright synths. It’s the kind of track that tends to take you by surprise. You’re enjoying the opening riffs and then find yourself in another mental place by the end of it and wondering how you got there. It’s a worm hole in space and time.

Pax Americana is a soundscape more than a dance record. It’s a soundscape for your garden studio, your garden party, or your mental garden (which, let’s face it, all of ours need cultivating).

Keep your mind open.

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Live – Paul McCartney – Memorial Coliseum – Ft. Wayne, IN – June 03, 2019

Thanks to a missing comma, Ft. Wayne apparently renamed the city “Fort Wayne Paul” in McCartney’s honor.

The buzz for Paul McCartney‘s first show ever in Fort Wayne, Indiana was so big that local news outlets were telling people to get to the Memorial Coliseum early, make early dinner plans, and be ready to face construction on Coliseum Boulevard.

I managed to score some upper level tickets at overinflated prices on StubHub after my initial efforts to buy face value tickets were dashed within minutes. I waited months to finally buy the tickets we had. I almost didn’t, but I couldn’t resist the chance to see a living legend in a small arena just over an hour’s drive from my house.

The crowd was enormous and buzzing from the get-go. The merchandise booth was jam-packed with people buying everything from coffee mugs and shirts to tote bags and blankets (Yes, Paul McCartney blankets.). I opted for the limited edition show poster (limited to 100 copies) for the same price as a tour shirt ($45.00). Inside, we also discovered that Sir Paul had vegetarian and vegan food options available at some of the concession stands.

We eventually made our way to our seats, which were nearly ten times face value. Scalpers suck.

The view from our $432.00 seats. Those on the floor in the first section were more than double that EACH.

They turned out to be well worth the money. Sir Paul and his band came out and started with the Beatles‘ “Hard Day’s Night” and then followed it with Wings‘ “Junior’s Farm,” which I didn’t expect and was delighted to hear.

“All My Lovin'” and “Letting Go” followed before they got to “Who Cares” (an anti-bullying song) and “Come On to Me” from his new album Egypt Station (with “Got to Get You into My Life” sandwiched between them).

The Wings track “Let Me Roll It” was followed by a brief instrumental cover of Jimi Hendrix‘s “Purple Haze” and McCartney telling a fun story of him seeing Hendrix play in London just a couple days after Sgt. Pepper’s Lonely Hearts Club Band was released. Another Wings highlight just a couple songs later was “Let ’em In” – a personal favorite of mine.

“Maybe I’m Amazed” is still powerful, and even more so live. Another fun treat was he and his band performing the first Quarrymen song “In Spite of All the Danger.” He told a fun story about the recording of “Love Me Do” (in which he admitted you can still hear how nervous he was singing it in the song after John Lennon asked him to do it so he could play the harmonica on the track) before playing a fun version of it and then playing a solo acoustic version of “Blackbird,” which is still beautiful and poignant. His ode to Lennon, “Here Today,” also tugged at the heartstrings.

In case you’re wondering, Sir Paul played bass, electric guitar (on which he can shred, by the way), acoustic guitar, mandolin, piano, and ukulele throughout the show. The ukulele he played, by the way, was the one given to him by George Harrison. The song he played on it? Harrison’s “Something,” of course, which sounded great.

“George was a very accomplished ukulele player. Many people don’t know that.”

McCartney’s band were no slouches either, with two guitarists, a keyboardist, a drummer, a three-man horn section, and a top-notch sound and video crew doing great work throughout the three-hour show. The graphics on “Back in the USSR” were great, and the pyrotechnics during “Live and Let Die” (complete with jets of fire and cannon explosions) were big crowd-pleasers.

“Live and Let Die” (with cannons and flame throwers)

The main set ended with “Hey Jude.” That alone with over two hours. The encore was another half-hour and included “Birthday,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Helter Skelter” (a wild, unexpected treat), “Golden Slumbers,” “Carry That Weight” (another welcome addition), and ended with (What else?) “The End.”

He looked great, sounded great, and brought us all a great time. He shows no signs of slowing down, so catch him if you can. The stories he tells are almost worth the ticket price by themselves.

Keep your mind open.

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Review: French Vanilla – How Am I Not Myself?

Los Angeles queercore / post-punk quartet French Vanilla’s new album, How Am I Not Myself?, is brash, bold, funny, a dare for all of us to do something terrifying – let our true selves come out of our shells and face the world.

The instantly groovy “Real or Not” starts the album with funky bass and Sally Spitz’s hooping and hollering vocals that dance almost as much as Daniel Trautfield’s saxophone. Spitz more or less asks if we’re are living our truth or succumbing to outside influences and living a lie for someone else’s sake. “Lost Power” is a sharp takedown of Spitz’s former lover. “All the Time” was the first single off the album, and it’s as funky as hell with Greg Shilton putting down chops as slick as the shine on James Brown’s boots.

“Friendly Fire” is a clever track about the stresses of queer folk realizing their nature while in a straight relationship. Guitarist Ali Day unleashes a cool guitar riff on “Protective” that’s somehow jagged and fuzzy at the same time. The whole track brings to mind early B-52’s records with its urgent rhythm and excellent vocals by Spitz.

Trautfield’s sax gets another good workout on “Suddenly” (He seems to be everywhere at once on the song.), which also boasts another fabulous bass line to back it. It builds to a hip-shaking groove and, I can attest, is great for a workout playlist. “Joan of Marc,” the wonderfully titled “Bromosapien,” and “Move Along, Move Ahead” stick a feminist middle finger in the eye of misogyny, “man-splaining,” sexism, and body / sex shaming.

“I saw the future. I held it up to my face. It was absolutely fascinating,” Spitz sings on “Sensitive (Not Too Sensitive).” The album ends with this track encouraging all of us to follow French Vanilla’s path and live true in what could be a fascinating future if we choose to have it.

How Am I Not Myself? is a question we all need to ask ourselves, sometimes daily, and it’s an album we all need to hear.

Keep your mind open.

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