Reviews – Page 73 – 7th Level Music

Review: All Them Witches – self-titled

Nashville’s psych / blues rockers All Them Witches (Jonathan Draper – keyboards, Ben McLeod – guitar, Charles Michael Parks, Jr. – bass and vocals, Robby Staebler – drums) have come back from a long road tour to do what any other band would do after a long tour – release a new album.

Opening with the wild, almost manic “Fishbelly 86 Onions,” the whole band goes bonkers, especially McLeod – who shreds more than usual while Parks yells out twenty counts. “Workhorse” could be considered “classic” ATW (if there is such a thing). It hits all the notes you love from the band – psychedelia, obscure lyrics, a bit of outlaw country flavor, and plenty of mystery. Plus, Staebler’s tick-tock beats are excellent on it.

“1st vs. 2nd” could almost be a Thin Lizzy track, and Parks’ bass melds so well with Draper’s keys that it’s almost impossible to tell them apart. It evolves into almost a heavy metal chug by the end. “Half-Tongue” gets us back into a psychedelic jam groove as Parks sings about, I think, a relationship that didn’t end well. I could be wrong.

“Diamond” is one of those ATW songs that you should play when people ask you to describe them. Draper’s keys move like wisps of incense smoke, McLeod’s guitar prowls like a tiger, Parks’ bass moves like a robed wizard through a library built inside a dark cave, and Staebler’s drums drive forward like a Viking boat along a bubbling river.

The band’s blues influences come out with swagger on “Harvest Feast.” “By the time I got back to my mountain, I was uninvited from the harvest feast,” Parks sings. He can only walk away dejected as he’s spurned by his family, friends, and culture. The song flows into a delightful instrumental jam highlighting Draper’s keyboard work and McLeod’s trippy riffs. “HJTC” nearly has them playing stadium rock riffs, but they hold back just enough to keep it linked to their smoky Nashville club roots.

The album ends with “Rob’s Dream,” which one can’t help but think is about something drummer Robby Staebler dreamed one night. He apparently dreamed of powerful guitars, even stronger drumming, and flying out of orbit (judging by how the track ends).

It’s another solid record from one of the best bands out there right now. While All Them Witches aren’t ruling the airwaves is beyond me, but I think they enjoy being a bit of a mystery and a treasure hunt.

Keep your mind open.

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Review: Neko Case – Hell-On

Singer-songwriter Neko Case has been through a lot in the last five years. The biggest calamity was that her home in Vermont burned to the ground while she was recording in Sweden. The loss and enlightenment that fire brought to her were the inspiration for much of her new record, Hell-On. Even the album’s cover has her wearing a crown of cigarettes while a blazing tar fire burns on her shoulder.

The title track opens the record and has Case boldly stating, “God is not a contract or a guy….God is a lusty tire fire.” Nature, much like Case, cannot be controlled. You shouldn’t even try. “Nothing quite so poison as a promise,” she warns. Just sit back and listen. You’ll come through this song (and the whole record) with respect and an altered perspective for her, nature, detachment, and femininity.

“Last Lion of Albion” is one of Case’s many songs about nature, animals, and the importance of protecting both. The beats and acoustic guitar riffs are wonderful throughout it, but they (like most everything else) can barely keep up with Case’s expert vocals and assuredness. “Halls of Sarah” encourages women to stand strong in the times of #MeToo (and check out that saxophone solo!).

“Bad Luck” is the song Case wrote after her house and barn turned into ashes. It’s surprisingly upbeat and is an anthem for standing up when you’re knocked to the ground. The song ends with Case stating, “I died and went to work.” You take the loss, and you move on. The past is gone so take the moment now and run with it. “Curse of the I-5 Corridor” is a stunning showcase for Case’s voice as she sings, “I miss the smell of mystery.” and tells the story of a woman who left home with a fake I.D. and wandered in and out of relationships, one night stands, and life in general until she meets up with a former lover in old age when they both might be mad and facing death. It’s one of her best.

“Gumball Blue” has Case singing about the trappings of fame, “Dirty Diamond” seems to be an ode to the (currently) necessary evil of petroleum, and “Oracle of the Maritimes” is a lovely story of fishermen, lost love, and the dangers of the sea. I love how “Winnie” (a song about love among women) starts off with a quick four-count drumstick tap and then switches to a sultry bass groove that moves like a bathrobe being slowly dropped to the bedroom floor.

Case includes her cover of Eric Bachmann‘s “Sleep All Summer” (a song that, as the story goes, made her pull over her car and weep the first time she heard it) with Bachmann performing a duet with her is another stunner about lost love. Guests artists are all over this record. K.D. Lang, Beth Ditto, Mark Lanegan, Carl Newman, Katherine Calder, and John Collins are just a few (the last three are bandmates with Ms. Case in the New Pornographers) who provide guest vocals, production, and instrumentation to various tracks.

“Black is blue if I say it is,” Case sings on “My Uncle’s Navy” – a story about a relative she admired for his strength and resolve. The album closes with “Pitch or Honey,” in which she admits, “I use major chords to make this a sadder song…An effective manipulation.” She’s right. It works. “I wrote this song for me, and now I let it go. From the island of the Texaco, I release it into the custody of my huckleberry friend. Am I making pitch or honey?” I love the idea of Case embracing detachment yet still wondering if her work is any good. It’s the curse of any artist. Being satisfied with our work is a rarity, but we know we have to release it to someone sooner or later.

Case detached from many things while making this record, some literal (her house and many possessions) and some metaphorical (things from her past that she hadn’t yet fully sent down the river). Hell-On is another beautiful work from a master of her craft and one of the strongest voices in music today.

Keep your mind open.

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Review: CHAI – Pink

Originally released in Japan last October, but first released in the U.S. earlier this year, the four-piece pop-punk band CHAI might have released the most fun record of the last 12 months – Pink.

Twin sisters Mana (vocals and keys) and Kana (guitar) joined up with high school classmate Yuna (drums) and college pal Yuuki (bass) to create music that is cute, catchy, and crunchy all at the same time. It’s the aural equivalent of Pocky, and I mean that in the best possible sense.

Beginning with “Hi Hi Baby,” a song about babies being goofy, CHAI puts down infectious cowbell-heavy beats, post-punk bass, and even steel drums to produce something so fun that you’re almost not sure how to process it.

“You are so cute. Nice face, oh yeah! We are so cute. Nice face, oh yeah!” starts off “N.E.O.”, which is nearly three minutes of pop-punk laced with psychedelia and has maybe the sickest drum and bass groove of the last year. This is the kind of track that makes you think, “Where the hell have these women been all my life?” when you hear it. The bass gets fat and the guitars and synths get fuzzy on “Boyz Seco Men” while the dual vocals between Mana and Kana bring to mid early 1990’s glam-pop love songs.

“Horechatta” adds reverb and downright sexy vocals that remind me of late 1970’s yacht rock. I’m fairly certain “Fried” is about how great fried fish is, but I could be wrong. I doubt it, because a lot of songs on Pink are about food. Tempura fish, when done well, is great, as are Mana’s bright synths on the track. “She Is Kitty” bounces like a kitten looped on catnip and chasing a butterfly, and the psychedelic touches make you think the kitten has knocked over a lava lamp in the process.

Not weird enough for you? Then try “Gyaranboo,” which I won’t even attempt to describe. “Kawaii Hito,” a song about double standards of beauty, is almost as strange. “Walking Star” is lovely pop-punk with some of the toughest guitar riffs on the record. “Sayonara Complex” is a bass-driven song that seems to produce sunlight from your speakers. The closer, “Flat Girl,” strolls along like a happy tourist on a Japanese beach. By the way, it’s about women with small breasts.

This is one of the catchiest and surprisingly trippy records released in the U.S. this year. It’s the perfect antidote for these modern, angry times.

Keep your mind open.

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Live: Garbage and Dream Wife – September 20, 2018 – Paris, France

My wife and I were delighted to learn that Garbage would be playing in Paris while we were on vacation there. I was surprised we managed to score tickets at face value, and even more surprised by the intimacy of the venue – the Bataclan. I expected a much bigger place, but the small size made the show louder, closer, and better.

Openers Dream Wife put down a raucous set of garage punk about subjects like female empowerment and ending gender bias. The people tending their merch table were having a great time all night.

Garbage came out to a lively crowd and were soon tearing through hits from their second album, Garbage 2.0. It was the 20th anniversary tour of the record, so you had to expect it. They played other hits, of course, and lead singer Shirley Manson had the crowd in her hands within moments of the first notes she sang.

They tore through tracks like “Deadwood,” “Wicked Ways” (which included parts of Depeche Mode‘s “Personal Jesus”), and “The World Is Not Enough” – the Bond theme they did from the movie of the same name back in 1999. Other highlights included “Medication,” with Manson telling the story of how she had to deal with health care in the U.S. after nearing dying of flu while on tour, “I Think I’m Paranoid,” “Sleep Together,” “Dumb,” and “Push It.”

They closed with “The Trick Is to Keep Breathing,” a new song called “No Horses” (which Manson said is about an environmental apocalypse), and “Cherry Lips” (which Manson said has become the Garbage concert anthem).

It was a fun show with an appreciative crowd. You can’t ask for much more than that.

Keep your mind open.

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Review: Exploded View – Obey

International experimental musicians Exploded View (Annika Henderson hailing from Berlin and Hugo Quezada and Martin Thulin from Mexico City) explore themes of punishment and isolation (physical, mental, social) on their new album Obey.

They open with the instrumental “Lullaby,” which could be the opening theme to a Mario Bava movie, and then slide into the sultry “Open Road,” which could be the opening theme to David Lynch’s next movie. Henderson’s voice hypnotizes you within moments and Quezada and Thulin’s instrumentation ranges from weird lounge jazz to dreamwave. “Dark Stains” brings in krautrock bass and synths while Henderson sings about lost time and a lover’s deceptions.

“What would you do if your love was gone tomorrow and you never found the words to say?” Henderson asks on the haunting synthwave track “Gone Tomorrow,” in which Exploded View implores us to not wait and not to be afraid to find love. The unsettling title track is about obeying not only laws but also the unwritten rules of society (both in the flesh and online) which can get you ostracized if you don’t tow the line. Henderson’s voice seems to be on the outside of the song, like she’s being punished for not conforming. I can’t help but think of another filmmaker when hearing this track – John Carpenter. It seems to flow out of his film They Live.

“Sleepers” is one of the best synthwave tracks of the year, with buzzsaw guitars, sunlight-bright synths, dark bass, and Henderson’s vocals calling out to you through your dreams. “Letting Go of Childhood Dreams” is about the sometimes cold nature of reality. Again, Henderson’s vocals seem distant, almost like she’s fading away as the synths drift into every corner of the room.

The catchy “Raven Raven” is probably being blasted in goth dance clubs across Europe by now. If not, it should be. It’s perfect for dark rooms, make-out sessions, late night Metro rides, and catching the eyes of a raven-haired maiden as she looks at you over a cup of jet black espresso at 2am. “Come On Honey” brings in chaotic guitars and frenetic percussion while Henderson’s vocals keep us and her bandmates grounded (but just barely). The closing track, “Rant,” is appropriately urgent. Henderson implores us one last time to embrace life, love, and beauty. “Life could be so damn simple, if you let it,” she sings.

We’re too busy obeying, however. We’re obeying advertising, 24-hour news cycles, social media, and the expectations and opinions of others and not trusting our own minds, eyes, and hearts.

Stop obeying. Start living. That’s the message of Exploded View’s Obey.

Keep your mind open.

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Review: mmph – Serenade

Sae Heum Han, otherwise known as mmph, has released his second EP of electronic instrumentals – Serenade – and I’m not sure I can describe it better than the official press release for it, which states: “Melodically focused, orchestrally informed and rhythmically driven, each of Serenade’s five songs utilize a different classical trope to create Wagnerian suites in miniature. ‘Minuet’ is a stately dance in triple time (performance), ‘Tragedy’ is a play (death), ‘Elegy’ is a mourning poem (death), and ‘Serenade’ is a courtship song often played in the open air (love).”

“Minuet” is indeed a performance, with big, crashing guitars, percussion, and synths before lush pianos and strings take over the track. The choppy synths on “Tragedy” remind me of a crashing helicopter (or at least the sounds of such an event when seen in action films), which is appropriate for the title. They become almost angelic wails at one point.

The middle track, “Woodlawn,” starts and stops with chopped-up beats that resemble panicked breathing and uncertainty. “Elegy” is the creepy little synth brother to Mussorgsky’s “A Night on Bald Mountain.” The synths become gothic chants and the beats are the flapping of demon wings. The title track’s themes of love and courtship is evident from the first few notes. Synths bloom and burst and chase each other around like giddy lovers.

Serenade is an impressive piece of work. It’s bold and artful, and one of the more interesting electronica albums this year.

Keep your mind open.

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Review: Magic Wands – Abrakadabra

Starting with an odd, distorted chant (“Bashmuuu”), Magic Wands‘ newest album, Abrakadabra, is both meditative and exciting. The sudden burst of “Nocturnal” (one of the best shoegaze tracks of 2018) is like a stage magician throwing down a small flash bomb onstage. Synths move like dancing handkerchiefs and singer / guitarist Dexy Valentine (whose name WordPress keeps wanting to autocorrect to “Sexy Valentine,” by the way) sings, “I’m invincible when I’m with you.” Well, sign me up for any required heroics, Mrs. Valentine.

The jangly guitars of “Houdini” by Dexy and Chris Valentine bounce all around the room, and the guitars on “DNA” come at you from multiple directions. Don’t miss Tommy Alexander’s bass on it because it’s so smooth it might slide right by you if you’re not careful. “Realms” almost lures you into a dream, and “Loveline” is wonderful dream pop. The band refers to their sound as “lovewave,” and that description is apt on this track (and the whole record, really). “New Device” brings back the shoegaze, and “Chains and Fur” belongs on your boudoir playlist. I love how both Chris and Dexy Valentine layer their vocals over one another on the track.

That “double vocal” effect is just as good, if not better, on “Diamond Road,” which begs to be played in a convertible driving across the U.S. on a lonely night. Drummer Pablo Amador puts down some wicked beats on “Julie Ann Gray” as Dexy Valentine’s vocals are slightly muted yet covered in reverb. It’s like a lost Dum Dum Girls track. “Big Life” is a lovely close to a lovely record…unless you get the digital download that comes with the bonus track “Puzzle of Love.” It’s worth it. The guitars are bold and bright and the beats are playful.

As I mentioned above, Abrakadabra is a lovely record. “Lovewave” might be your new favorite thing after hearing this.

Keep your mind open.

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Clutch – Book of Bad Decisions

The winner of Most Intriguing Album Cover of the year might go to Clutch‘s new release – Book of Bad Decisions. The cover doesn’t feature a book at all, just a painting of a bald eagle on a branch either looking at something off to its right or looking back at us with perhaps apathy or vigilance. Then there’s the title. What bad decisions make up this book? Does it refer to a certain as-yet unnamed book? Let’s not forget the bald eagle is a symbol of the United States, and that symbol has turned its back on us. Has it done so because of our bad decisions in recent times? Is Clutch, who are lovers of history, warning us through a simple image that we are at risk of losing what makes this country great?

The album opens with a tale from the history of the band – “Gimme the Keys.” It’s the story of one of their earliest gigs when they played a small summer festival / large party in the middle of Corn Field Nowhere, USA, and were accused of stealing a microphone from another band and / or the party’s coordinators. It opens with fuzzy feedback and then turns into a blistering fire that only Clutch seems to know how to unleash. One of the best parts is hearing Neil Fallon re-enacting his words to the band’s accusers. Tim Sult‘s guitar moves back and forth between metal and psychedelia with ease.

“Spirit of ’76” is another history lesson from the band, possibly referring to 1776, the political landscape of 1976 (in which Fallon mentions a “farmer with peanuts in his hand” – Jimmy Carter?), or even the 1975 album of the same name by Spirit. Knowing Clutch’s catalogue like I do, I wouldn’t be surprised if it’s all three. Jean-Paul Gaster‘s beats on this will have you doing bass drum kicks under your desk before you realize it. The title track opens with almost drone-metal bass from Dan Maines and talks of dark clouds and leads to killer shredding by Sult.

“How to Shake Hands” has Gaster going bonkers while Fallon takes on elections and political campaigning. Fallon claims he’s going to release all information about UFO’s and “put Jimi Hendrix on the twenty-dollar bill and Bill Hicks on the five note” once he’s President. He could probably win on those three promises alone. “In Walks Barbarella” brings in a horn section as Fallon sings about his childhood love of science fiction, “weaponized funk,” and hot women. In other words, Clutch has written a tune about yours truly.

Jerry Lee Lewis-like piano runs through “Vision Quest.” The nearly backward opening drums on “Weird Times” are appropriate, and Gaster’s cowbell was probably begging for mercy by the time he was done laying down the drum tracks. I like the music box-like underlying sounds of “Emily Dickinson.” It has a great swagger to it as well that probably flattens crowds when played live. “Sonic Counselor” has a dirty fuzz to it that makes you feel a bit mean, and it probably should be on your newest workout playlist.

“A Good Fire” starts with bluesy drums as Fallon sings about the joys of bonfires in autumn and the whole band is soon burning up behind him. “Ghoul Wrangler,” apart from having a cool title, takes off like a dragstrip racer off the line and doesn’t look back. As much as it rocks, “H.B. Is in Control” rocks even harder (which almost seems impossible). Gaster sounds like he’s having the time of his life behind his kit and Maines’ groove is so solid that you could build a skyscraper atop it.

“Hot Bottom Feeder,” believe it or not is Neil Fallon’s recipe for crab cakes. Seriously. The only thing better than the fact that Clutch put a recipe song on their new album is how damn good the song is. It’s one of their best blues-laced rockers in a long while, full of Sult’s hot guitar licks and the band’s humor. “Paper & Strife” sizzles past you at the speed of an out-of-control train engine, and the closer, “Lorelei,” practically has Fallon yelling to the heavens about the murmuring rock of legend in Germany that has possibly lured many ships to a watery grave.

Book of Bad Decisions is another good rocker from Clutch, who never swing and miss. Historical themes are nothing new to Clutch records, but they’ve woven them into this album with more subtlety and cleverness than usual. They’ve warned us to always keep history in mind, because, well, you know what happens when you forget it.

Keep your mind open.

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Protomartyr – Consolation

Produced in part with Kelly Deal of the Breeders and Pixies, Protomartyr‘s four-song EP, Consolation, packs more punch than many double albums in the punk, post-punk, neo-rock, or alt-rock genres.

The opening squall of “Wait” is like the sound of the gates opening at the Kentucky Derby, and the band are four horses running in peak form. Vocalist Joe Casey growls, yells, and snarls while drummer Alex Leonard seems to put down four different beats at once.

“Same Face in a Different Mirror” would be a great title for a giallo film from the 1970’s, and Greg Ahee‘s opening guitar riff is indeed creepy enough for a stylish Italian slasher film. It’s like Protomartyr put Joy Division, Editors, and Bauhaus in a juicer and extracted the micronutrients from all three for one track.

The last two tracks feature Ms. Deal on backing vocals. The first is “Wheel of Fortune,” and it’s easily one of the best tracks of the year. It comes out swinging, not giving you much time to breathe in the first minute before it breaks down into something that sounds like the soundtrack from a ghost film. Casey’s vocals slowly rise from the ground (lifted by Scott Davidson‘s fine bass work), unleashing some of his inner Nick Cave before the band kicks down the door. Davidson’s bass walk opens “You Always Win” and Casey sings about a troubled relationship he can’t bring himself to leave while Ahee’s guitar shoegaze riffs are subtle and stunning at the same time and Leonard unleashes a quick drum solo, which are sorely missing from rock nowadays.

Consolation is sharp as a knife and one of the better EP releases of 2018, so don’t skip it.

Keep your mind open.

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Rewind Review: Le Bucherettes – A Raw Youth (2015)

Mexico’s Le Bucherettes manage to combine psychedelia, garage rock, snotty punk, and disco fever all into one band. Their third album, A Raw Youth, covers everything from pre-2016 election anxiety to serial killers.

“Shave the Pride” gets it off to a loud, wild start with lead singer Terri Gender Bender belting out lyrics about anger and arrogance (“The size of your rage drowns my urge for lovin’.”). “Mallely” has the disco synths of Jamie Aaron Aux and the powerful drumming of Chris Common throwing you into dance fits. “Reason to Die Young” has Gender Bender claiming there’s “no sign of life in this hell hole,” but her assured vocals feel reassuring. Her Iggy Pop influence can’t be denied in her vocals and stage presence, and it’s in full view on “La Uva” (“The Grape”) in which Pop sings guest vocals with her. It’s a wild, Pixies-like track with its ebb and flow of volume and controlled, distorted chaos. “Sold Less Than Gold” is a lyrically brutal song about child slavery that’s almost disguised as a pop song with its bright synths.

“Stab My Back” is a giant middle finger to a man who once tried to keep Bender down. It’s like a Yeah Yeah Yeahs song combined with a kick in the nuts. “They Fuck You Over” has Bender drawing a line in the sand against the 1% (“‘Winners’ never touch skins. They know how to eat like bulldogs. They fuck you over…I try to manage this game by doing the worst that I can.”).

“Witchles C Spot” is a bold, almost Metric-like tune about toxic love, fetish sex, and obsession. It’s sexy, scary, and sinister all at once. “The Hitch Hiker” is about a serial killer, and might be an ode to the 1986 film The Hitcher. “Lonely & Drunk” is a powerful build up of synths, drums, and weird bass as Bender’s vocals slither out of your speakers as she sings about bad decisions made during bad times. The bizarre title of “Oil the Shoe if the Critter Knew Any Better” is perfect for the weird lyrics about ghosts, eating your vegetables, and how screwed up a relationship can be if one doesn’t face fears. The closer, “My Half,” is a warped song about love and possibly Bender’s Electra complex with guest guitar and synth-bass work by John Frusciante.

It’s a wild, weird record. Le Bucherettes were on my list of bands to investigate for a while, and I’m glad I finally got around to it. You should, too.

Keep your mind open.

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