Reviews – Page 83 – 7th Level Music

Rewind Review: Beck – Guero (2005)

Beck was eager to rock in 2005, as evidenced by the opening of his Guero album. “E-Pro” starts off with heavy guitar, stadium drums, and that funky ass white boy delivery of his that only he can pull off without sounding like a fool. I’m sure this was a hit back then, but why isn’t it still now? The breakdown on it alone is worth multiple spins.

“Que Onda Guero” is one of the funkiest tracks Beck had laid on us in years. It has a bit of that “Loser” feel, with Spanglish lyrics and references to things like Burger King crowns and Latino vegetable vendors. The beats from the Dust Brothers on it help, of course. You can’t go wrong there. They come back for “Girl,” on which Beck plays everything else and sings about his girl “with her cheap sunglasses walking crooked down the beach.”

“Missing” has Beck lamenting the loss of his girl. I don’t know if she’s the same one from the previous track, but he was heartbroken when he wrote it. You might not realize it at first due to the bossa nova beats and smooth groove, but can’t miss it with lyrics like “I prayed heaven today would bring its hammer down on me and pound you out of my head. I can’t think with you in it.”

I’m not sure which is funkier on “Black Tambourine” – Beck’s bass or the Dust Brothers’ beats. Money Mark’s organ work on “Earthquake Weather,” might beat both of them, however. The whole track is a great mix of 1970’s funk, trip hop, and acid jazz. “Hell Yes” is vintage Beck, with lots of quirky rapping, snappy electro-beats, and fun lyrics. I think, and hope, that it’s about a janitor who gets his groove on while cleaning floors in an office building and not giving a damn what anyone thinks.

“Broken Drum” is a lament to a lost friend, with nice lonely piano work by Beck. “Scarecrow” is a near-blues toe-tapper. “Go It Alone” is about Beck deciding he’s better off being a cool loner than getting entangled in a marriage that scares the hell out of him (and that’s Jack White on bass, by the way).

With all these songs about weird and doomed relationships, songs about death were inevitable. “Farewell Ride” is something from a dark southern swamp shack sung by someone with weathered skin and gnarled hands from fistfights and hard work. “I don’t see the face of kindness, I don’t hear the mission bells, I don’t smell the morning roses. All I see is two white horses in a line carrying me to my burial ground.” Good, heavy stuff right there.

“Rental Car” is about going as far as one can on borrowed time, and the closer, “Emergency Exit” is about someone coming to grips with death and feeling relief in knowing kindness and life will go on in their absence.

I seriously have no idea how I’ve avoided this album for eleven years. Guero would’ve been in my top 10 of 2005 if I’d heard it back then. Each track is good. There’s no filler here. Shame on me for missing it.

Keep your mind open.

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The Heavy – Hurt & the Merciless

One of the things I love about The Heavy (Kelvin Swaby – vocals, Dan Taylor – guitar, Spencer Page – bass, Chris Ellul – drums) is how they come out of the gate gunning on their new album Hurt & the Merciless. “Since You’ve Been Gone” is a blazing hot track with wah-wah guitar, fat horns, and funky drumming. The Heavy don’t mess around, and we need more bands that ain’t got time for suckers. The album’s title sums up the theme of the record – every song is about nasty relationships or heartbreak.

The album’s title sums up the theme of the record – every song is about nasty relationships or heartbreak. “What Happened to the Love?” is a great example of their sound – dangerous rock with a bit of soul thrown in for good measure. “Not the One” is an anti-love song. It’s not against love, mind you, but Taylor (who wrote it) knows that getting into a relationship with the person mentioned will only bring heartbreak, so he begs them to stop the flirtations and amorous behavior that will only end in ruin. Taylor’s guitar and Page’s bass are extra funky on it.

Speaking of extra funky things, wait until you hear the horns on “The Apology.” They get a Latino / spaghetti western touch-up on “Nobody’s Hero.” “Miss California” brings the humor, with Taylor writing about a former beauty queen turned hellish bitch (“It took more than just a crucifix to keep that thing at bay.”). “Turn Up” brings back the big horns, and “A Ghost You Can’t Forget” swings hard, with Swaby channeling Howlin’ Wolf in his vocals as he sings about returning to haunt the woman who wronged him (“I’ll wipe that look from your face when I’m dancing upon your deathbed.”).

As a former bass player, I love Page’s riff on “The Last Confession.” It thumps along and drives the whole song, really. “Mean Old Man” has Swaby asking his lover why she’s surprised by his behavior when she “knew the kind of man I was before you found yourself begging for more.”

“Slave to Your Love” has Swaby (or Taylor, who wrote it, perhaps) begging for more from a dominatrix. “Roll me over easy meat, pick me off the floor, knock me off my feet.” Ellul goes for broke on the track so hard the rest of the band can barely keep up with him.

The album ends with the soulful “Goodbye Baby,” another example of how the Heavy can switch from blistering rock to something you’d hear on a vintage Stax Records album you found at a thrift store. It’s a sad song about a breakup that hit Taylor like a Mack truck and left him dumbfounded.

Hurt & the Merciless is another fine entry in the band’s discography. They’ve yet to stumble, and are already selling out venues on their current tour. Don’t miss a chance to see them and hear these songs live.

Keep your mind open.

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Wrecka Stow: Orbit Records – Mishawaka, IN

I’ve been going to Mishawaka, Indiana’s Orbit Music (805 West McKinley) for over twenty years. The place has always had a good selection of used CD’s, vinyl records, DVD’s, and other fun stuff like shirts and even vintage video games.

They had a good selection of stuff at this year’s Record Store Day event, and nearly everything in the store was 20% off to boot.

They’re even keeping cassettes and VHS tapes alive. It’s a local gold mine for VHS tape collectors.

Stop in there if you’re in the Michiana area. It’s worth the trip.

Keep your mind open.

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Wrecka Stow: Luna Records – Indianapolis, IN

Indianapolis’ Luna Records (5202 North College Avenue) was recommended to me by a friend who lives there. He and I love wrecka stows, so I trusted his judgment. He was spot-on with it, as it’s a fun store with hip employees who spin cool jazz / funk records. The content is about 60% vinyl and 40% CD’s.

The selection is large, varied, and good. Their “Buy 4 used CDs, get a fifth free” deal was too good to pass up, so I walked out with stuff from the Crystal Method, The Heavy, Kasabian, Beck, and Black Mountain.

One of my favorite parts of the store was their rack of music and art zines. I’m always happy to see indie stores supporting indie zine and comic creators.

They have a lot of stuff, but the aisles aren’t cramped. Whoever crafts their displays has a nice aesthetic.

This alone should earn someone a raise.

It’s a great place. Check it out if you’re in Indy.

Keep your mind open.

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King Gizzard and the Lizard Wizard – Nonagon Infinity

Holy crap.

King Gizzard and the Lizard Wizard have come to “fuck shit up” (as they put it) on their new record – Nonagon Infinity.

The band (Ambrose Kenny Smith – harmonica, vocals, synths, Cook Craig – guitars and bass, Eric Moore – drums, percussion, theremin, Joey Walker – guitar and vocals, Lucas Skinner – bass, Michael Cavanaugh – drums, Stu Mackenzie – guitar, vocals, flute) is wildly prolific and able to switch musical styles faster than a chameleon changes colors. Their last album, Paper Mache Dream Balloon, is a lovely bit of psychedelic hippy pop music with some rock and blues touches.

Nonagon Infinity, however, is the most blistering rock record I’ve heard in a long while. “Robot Stop” explodes from the opening seconds like a land mine hit by a tank. Each track flows seamlessly into the next. This happens so well that the album loops on itself by the end. I’ve read interviews with the band in which they had planned this all along. The album can be listened to on loop without any noticeable bumps in the road. In fact, you could start Nonagon Infinity on any of the nine tracks and it would still loop itself without stumbling. It’s an incredible piece of audio engineering.

“Big Fig Wasp” emerges from “Robot Stop” like a train emerging from a tunnel. Everything is layered in wall-flattening guitars, double drumming, and slightly distorted vocals before launching into “Gamma Knife” like a rocket leaving Cape Canaveral. The harmonica on “Gamma Knife” is the booster on that rocket, taking the song out of orbit. “People Vultures” follows it, with lyrics about rampant consumerism and a heavy Jethro Tull feel.

“Mr. Beat” has a great trippy groove before “Evil Death Roll” comes in with heavy reverb on the guitars and a cool mix of stoner rock and psychedelia. “Invisible Face” sounds like they recorded it while diving 80mph down a dark desert road. “Wah Wah” refers to both the guitar effects and the near mystical chant lyrics as it builds to mind-blowing intensity. It melts your brain into the closer (or is it the opener?) – “Road Train,” which might crush any sanity you have left by this point.

As stunning as Nonagon Infinity is, I’m sure it is even better live, so don’t miss them on their current tour. You won’t regret it, or buying this record.

Keep your mind open.

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Rewind Review: The Duke Spirit – Neptune (2008)

I first heard The Duke Spirit (Liela Moss – vocals, keys, percussion, Toby Butler – bass, Luke Ford – guitars, Daniel Higgins – guitars, organ, Olly Betts – drums) on BBC 6 Music (the greatest radio station in the world) somewhere around 2010 when they played the title track from the Duke Spirit’s 2005 debut album Cuts Across the Land. I nearly wept and thought, “Where has this band been my whole life?”

I found their 2008 release, Neptune, in a bargain CD bin at a Bloomington, Indiana wrecka stow. It opens with a brief hymn that repeats the lines “I do believe in something you know.” You can take that a couple different ways: Either Moss is telling us she has faith in something we know as truth; or she’s defiantly telling someone, perhaps us, that she has faith despite what we might believe.

The first full track, “Send a Little Love Token,” sums up everything I love about the band: Powerful vocals that evoke Patti Smith, hammering piano, big drums, and shoegaze guitar. “The Step and the Whale” is about Moss realizing too late that she’s sabotaged a relationship. It’s a sharp song for her voice, Butler’s bass sounds like something from an old Cure record, and the rest of the band puts down stuff the Jesus and Mary Chain would envy.

“Dog Roses” might be Moss remembering why she sabotaged the relationship and remembering that it was a good idea after all: “I hope you stay in charge of your mouth…When nothing’s fluid you drink yourself through it. Outside you chalk-draw yourself.” “Into the Fold,” a good rocker, is about rebuilding a relationship (“This heart could heal, if you had courage just to say what you feel.”).

“This Ship Was Built to Last” is a combination sea shanty and shoegaze track. Trust me, it works. The combination of the distorted, echoing guitar (especially after the epic bridge), Moss’ chanting vocals, and coxswain drumming is excellent.

Someone must’ve pissed off Moss when she wrote “Wooden Heart,” because it’s a searing diatribe against a former lover, but delivered with a torch song blues feel. “I would understand your heart if I could feel it,” she sings as guitars reminiscent of My Bloody Valentine riffs snake around her.

She’s not angry in “You Really Wake Up the Love in Me.” Quite the opposite, actually. “You taste so good today you’d get love from anyone,” she sings as Betts puts down some of his best licks on the record and the guitars go into full psychedelic madness by the end. “My Sunken Treasure” is borderline power pop. “Lassoo,” with its nice horn section, is the excellent power rock the Duke Spirit does so well, combining fierce vocals with raw rock instrumentation. It continues with “Neptune’s Call,” in which Moss is feeling frisky again (“I tasted the salt on you. Now I have a tongue tattoo.”). The closer, “Sovereign,” is almost a lullaby.

The Duke Spirit have a new album, Kin, due out later this year. I look forward to it. The first three released tracks are a nice blend of their styles: shoegaze, soul, rock. Neptune picks up where Cuts Across the Land left off, and the band is still moving forward.

Keep your mind open.

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Rewind Review: Kaiser Chiefs – Education, Education, Education & War (2014)

In the liner notes for Kaiser Chiefs’ (Ricky Wilson – vocals, Andrew White – guitar, Nick Baines – keyboards, Simon Rix – bass, Vijay Mistry – drums) Education, Education, Education & War, each track is listed with a year, staring with 1921 and ending with 2014 (when the album was released).

The band comes out swinging with “The Factory Gates” (Year – 1921) – a song about the plight of British factory workers trapped in their clock-in, clock-out lives. “They tell you day after day to walk through the factory gates. What you make on the factory floor, you take straight to the company store…’Til they can’t break your will anymore. You are contractually tied to death’s door,” Wilson sings with the gusto of a man ready to smash his cubicle and walk away from his job.

“Coming Home” (Year – 1951) is a fine example of Kaiser Chiefs’ power ballads, with big instrumentation and clever lyrics about a relationship that might be toxic to both people involved but might also be the best thing they’ve had. “Misery Company” (Year – 1939) is about a young officer wanting to stay off the front lines and going mad at the thought of spilling human blood (as noted by the chorus of hysterical laughter). White’s guitar sizzles on this track.

Mistry’s drums hit hard on “Ruffians on Parade” (Year – 1947). It’s easy to hear this as a song about the high the UK was on after World War II ended, but it’s actually a song about how a lot of us have turned into jerks in a world affected by terrorism. We’ve given up privacy and some of our freedom for the illusion of safety and consumerism (“At the last stand of the day, we lost more than we saved. In the dark of the arcades, we spend more than we made.”). “Meanwhile Up in Heaven” (Year – 1970) challenges us to free ourselves from this trap (“And your mind is the key. It is the key that sets you free.”). It’s another big ballad that casually strolls into power pop, although Rix’s bass is particularly fat on it.

“One More Last Song” (Year – 1991) is about post-1980’s greed, and it has a nice, nearly psychedelic keyboard breakdown in it by Baines at one point before the guitar, bass, and drums roll back in to make it a nice rocker. “My Life” (Year – 2000) is a sharp tune about someone moving on after the end of a relationship that had run its course (much like the 1990’s had and everyone looked forward to a new millennium and new opportunities). The band cooks on it and Wilson’s lyrics are Zen-like in their portrayal of someone waking up from their illusions (“I walk along the sand with my shoes in my hand to the daylight, and I realize the fishermen are heading out to ocean. The café owner turns on the urn, flips the sign round to open, and it goes on.”).

“Bows & Arrows” (Year – 1962) could be about a couple who rely on each other to get through everyday life or about two buddies in Viet Nam who rely on each other to stay alive – or both. It has one of the standards of any Kaiser Chiefs record – the chant-along chorus (“We the people created equal, and if that’s true then we’re not the only ones.”).

“Cannons” (Year – 2014) is a damning tirade against Big Government, Big Brother, The Man, the 1%, or whatever you want to call them. Kaiser Chiefs again remind us that we have compromised much for the feeling of security (“They’re making all the difficult decisions, politicians and children first, followed by their personal physicians who say you will be happy if you expect the worst.”). The song ends with a poem, “The Occupation,” read by actor bill Nighy, and speaks of people letting things fall apart around them while the rich get richer.

“Roses” (Year – 1980) is a low key (at least in the beginning) ending to the record, as Wilson sings about the failure of his generation, most of whom didn’t live up to their claims they were going to change the world or not fall into the rat race (“The bottles in the drug store were all just piss and ink. The flags you wore are rags under the sink.”). It’s not all gloom and doom, however. The song turns into a lovely song about hope (“It’s dark where the roses grow.”) with lush keyboards by the time it’s finished.

Education, Education, Education & War is one of the angriest albums I’ve heard in a while, but also one of the cleverest. Kaiser Chiefs have always been able to hide scathing lyrics in near-pop songs, and this album has some of their best deceptive work.

Keep your mind open.

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Night Beats – Who Sold My Generation

It is fitting, crucial in fact, that the name of the newest Night Beats record isn’t Who Sold My Generation? It’s Who Sold My Generation. No question mark. Night Beats (Robert Levon Breen – bass and backing vocals, Danny Lee Blackwell – guitar, vocals, piano, percussion, bass, James Traeger – drums) aren’t asking who sold their generation to career politicians, multinational banks, and corporations. They already know. It was sold by “spitting news anchors,” people selling toxic junk as food and drink, those in power who let that power corrupt them, and, mostly, damningly, their generation for allowing it to happen.

“Celebration #1” is a spoken word manifesto over a freak-out beat, blues bass walk, and dark alley guitar. “When they come into your down, the sons of a sold generation, they’ll grab what isn’t nailed down,” Blackwell sings. Millennials don’t expect things to be handed to them, but they are tired of their future being bartered, sold, and stolen. They are here to take it back.

“Power Child” makes sure you know this is a Night Beats record because it is full of their usual great grooves, reverb, slick drumming, and sound that would be just as fresh if they’d originally opened for MC5. Blackwell’s shredding solo on it closes out the song, leaving you wanting more. Don’t worry, because “Right / Wrong” is just as good. I always like the vocal effects Blackwell uses. It’s hard to discern sometimes where his normal singing voice ends and where distortion and reverb begins, and I think that’s great.

“No Cops” is the first single from the record, and it’s a burner with Been’s bad ass bass, Traeger’s floor-stomping drums, and Blackwell’s guitar that seems to be everywhere at once as he sings about a couple days in the city gone horribly wrong. It’s nice to hear the band branching out into border rock territory with the Spanish lyrics in “Porque Manana,” which could be translated as “Why Tomorrow?” Since there’s no question mark here either, I’m guessing it’s actually “Because Tomorrow.” Act now, because tomorrow isn’t guaranteed to any of us.

Traeger plays drums and a maraca at the same time on “Sunday Mourning,” creating one of the best beats on the record, and Been’s bass line on it holds the song together so well that I imagine he’s a bricklayer when he’s not on tour. Been is the newest member of Night Beats, and his addition has taken the band to another level. His bass work is a hot mix of boogie blues, psychedelia, and funk. Not to be outdone, Blackwell’s guitar on “Sunday Mourning” might make your jaw fall off your head.

“Shangri Lah” and “Bad Love” reveal the band’s love of surf music. “Burn to Breathe” is a slow burn of excellent psychedelia that calls back to the 1960’s better than most modern psychedelic bands can even attempt.

The Monkees’ “Last Train to Clarksville” is about a young man about to be sent to Vietnam. Night Beats rock far harder than the Monkees, of course (although “Clarksville” is a great tune), but I can’t help wondering if “Last Train to Jordan” might be the band’s tribute to members of their generation who served in the Middle East.

“Ain’t gonna wait for tomorrow, ain’t gonna wait for tonight,” Blackwell sings on “Turn the Lights.” Again, complacency is the enemy of us all. The song has a great harmonica solo. So, as a sloppy player of the Mississippi saxophone myself, I love it.

The album closes with “Egypt Berry” – perhaps the most raucous rocker on the record. Pay attention, upcoming bands: If you’re wondering how to end your album, you might want to take a lesson from Night Beats. End with a song that combines Arabian-flavored guitar, Elvis Presley rhythm section beats, Johnny Cash bass, surf cymbals, and a false ending that gives you one last hit before you go.

This is already in my top records of 2016 so far and will most likely be in the top ten for the entire year. Night Beats get better with each record, so buy this and their whole catalogue. Do not hesitate. Hesitation helped sell a generation to one percent of the populace. Night Beats have warned us to not let it happen again.

Keep your mind open.

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Wrecka Stow: 606 Records – Chicago, IL

Located at 1808 South Allport Street in Chicago, Illinois, 606 Records is a nice vinyl and cassette store (as well as books and magazines devoted to music) conveniently located across from Thalia Hall and in a booming part of the city. There’s a large Hispanic community in the area, so there are some good Mexican restaurants nearby as well.

606 Records has neat art inside and a wide selection of good vinyl ranging from gospel and world music to rock and rap.

They were playing some neat psychedelic rock when I arrived there on March 10, 2016. I was tempted to flip through the rock records while I was there, but I was running short on time and wanted to get to the Levitation Chicago festival at Thalia Hall before the first band started. I spotted this groovy graffiti art as I left.

It’s a neat store with a slick look. I recommend it for vinyl lovers and for anyone checking out a show at Thalia Hall.

Keep your mind open.

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Rewind Review: Scratch and the Upsetters – Super Ape (1976)

[Rewind Reviews are reviews of records at least a year old that I haven’t heard before.]

Lee “Scratch” Perry is the father of dub and one of the greatest reggae legends to walk the Earth. His 1976 Super Ape record with his backing band the Upsetters (Boris Gardener – bass, Mickey & Denbow – drums, Earl Smith – guitar, E. Stirling – piano, Skullying – conga, Bobby Ellis, Dirty Harry, H. Marquis, and Vin Gordon – horns, E. Evans – flute) is considered by many to be one of the greatest dub records of all time.

“Zion’s Blood” delivers what would become classic bass lines in dub music, while “Croaking Lizard” has that great itchy percussion, distant echoing guitar, and mantra-like lyrics you’ve come to expect.

“Black Vest” lets the horn section stretch its muscles, while “Underground” has a crispy beat backing reverbed female vocals and a guitar that sounds like it was recorded on a space station. I love the way the horns and flute mesh on “Curly Dub,” and “Dread Lion” is a classic dub song with references to the Almighty.

“Three in One” melds into “Patience,” as both have great spacey vibes to them. “Dub along with me” sing Scratch’s back-up singers before the title track floats into the room like a stoned ghost and creeps into your mind.

This is where dub starts, as does a few other genres. House music, hip-hop, dubstep, ambient, trance, and even some punk and shoegaze started here. Super Ape is essential if you’re a fan of dub, reggae, or milestone records.

Keep your mind open.

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