quickcrit - music reviews

On their recently released album, Supper Club, The Goodnight Loving continue to shed the twang in favor of fuzzy garage pop. While I loved the country punk of their early albums, I dig the retro party vibe. "The Pan" (mp3) sounds like a roughed up and snotty Beach Boys stomper with a sweet riff in the middle, while "Earworm" fulfills on its promise, loading the song with a catchy chorus, surf guitar and some shrieks of joy. At fifteen songs, there is plenty to enjoy, whether it is how "Summer Dreams" recalls British Invasion or "Bike + Stick" retains some of their country roots. I missed their set at last year's garage festival, but since their album just came out on Portland's Dirtnap Records, I bet that they'll be back soon.

You can stream the album over at Punknews.org.

I really enjoyed reading It Feels Good When I Stop, but the accompanying solo covers album was disappointing. I am happy to report that was just tiny vurp and that the new Pernice Brothers' album returns to the carefully clever phrasing and imaginative descriptions that initially drew me in a couple albums back. For the most part, the songs are stripped down to little more than a gently strummed guitar and Pernice's voice, with some subtle accompaniment that give the songs a warm and full sound. I really like "Bachamel", and not just because it reminds me of delicious mac 'n cheese. It's catchy and darkly playful. The country-tinged "Newport News" and the quiet and beautiful "The End of Faith" savor the melancholy tone while "Jacquline Susann" adds a bit of spice with couple lines of electric guitar and a quickened beat.

STAX Records was a fantastic label. My favorite, so obviously I was excited to see its rebirth. Leela James has a powerful and soulful voice. The backup singers and musicians capture and update the STAX sound perfectly. "I Ain't New To This" kicks off My Soul with some seriously catchy and funky sass. Unfortunately, aside from the lead song, the album almost completely lacks hooks. It's all solid grooves, choir harmonies, and mood, without much that sticks. With just a couple more earworms this could have been great. I guess it truly is a throwback to when soul singles were propped up with filler album tracks. I appreciate that James wrote most of these songs in her move towards music independence, but STAX, and '60s soul in general, was singles market and depended on top-notch song-writers. I hope Leela James keeps working at it. I like her sound; it's warm, full and sexy. I just wish I could love her songs.

On Tough Tuesday, Pure Country Gold slam down another solid slab of blues punk, dragging tired and traditional blues structures out to the garage to feed them amphetamines and drown them in cheap beer. It's music meant for cramped and sweaty venues (or at least that's where I like to see it). Patrick Foss sings somewhere between a growl, a bark, and a croon, all while powering out blistering riffs. I especially like it when he makes it cluck like a chicken. Drummer Jake Welliver rarely lets the pace slow below a charge.

Standouts included the fantastic "I'm The End" with its whistled bridge breaking up the barrage of rough hooks. "Wasted Day" pounds out the bands motto while "I'm Gonna Drown With You" testifies their devotion. I also dig the stellar "Moaning In The Moonlight" and "Bitch", two of three of the tracks also included on last year's much loved singles compilation, Positive Vibrations.

Yes, I have been waiting, holding my breath, three long years for the release of this album. Yes, I realize that Boxer was exceptional and some would argue insurmountable, and the other albums by The National are also wicked good. With that said, High Violet is nothing short of amazing. Never has the gloomy and ominous felt or sounded so good. Something about The National is so deeply comforting and passionate that it makes me reflectively sad and inexplicably happy at the same time -- the perfect mix of musically induced emotion. Perhaps it is Matt Berninger's familiar, nonchalant baritone or the layered, multifarious instrumentation that can turn your feelings on their head in the midst of lyrics that should only cajole depression. Take the song "England" for example: Perfectly paced with a jolt in energy towards the end, seemingly touching lyrics that could make you cry just as easily as lift you out of bed to start your day. Everything is thoughtfully calculated & orchestrated, while epic in magnitude & emotion. OK, I've said enough. If you don't listen to this album immediately and love it then we were obviously not meant to be friends. This may be the album of the year, so it would be your loss anyway. Favorite song: The whole album.

Best line: "We'll play Nuns vs. Priests... until somebody cries."

You'll likely need a bottle of whiskey and a beer-back for this one, 'cause Murder By Death loves singing 'bout drinking. Honestly, I was a little bit down-trodden upon first listen of Good Morning, Magpie, simply because I was not initially drawn in by any particular track in the same way that I was drawn in by most of the tracks off of Red of Tooth and Claw. However, as many albums do, certain songs began to sink in and did more than an adequate job of chasing away my temporary disappointment. Additionally, I admittedly start listening to new albums from bands I love with expectations that are fashioned by my intimate relationship with records and tracks of the past, momentarily forgetting that bands typically move forward and evolve. I would say that MBD may have matured, but certainly not "moved on." Adam Turla's voice remains as old-fashioned and gritty as ever, the musicianship perhaps is more impressive, and the lyrics are still a tasteful mixture of melancholy & good, drunken times.  I ultimately enjoy GM,M more than In Bocca Al Lupo but less than Red of Tooth and Claw, in general. "Foxglove," "King of the Gutters, Prince of the Dogs," "As Long As There Is Whiskey In The World" and "The Day" are my favorites and make for good starters, but as suggested above I'd grab a bottle or two and run through this one a few times so it settles in deep with your warm, whiskey buzz.

Have DBT really released 8 to 11 albums, depending on how you count? It's only shocking because I still remember my first listen and the moment I was initially blown away by their roaring southern rock chords. Although, admittedly, my interest has faded since Jason Isbell branched off on his own, nevertheless DBT still undoubtedly delivers some of the best alternative country / southern rock being manufactured today. Patterson Hood, the constant songwriter with the whiskey & cigarettes rasp, pulls more material from hard times, rough lives, scraping-by and indulging heavily, making for an album packed with hard-rocking recession anthems. Perhaps the heaviest hitting jam however is Mike Cooley's "Birthday Boy," about the depressingly unglamorous life of a call girl sweating her nights away for a measly income. I think it's fair to say that this is a political album at it's core, and in many cases you don't have to read very far into the lyrics to realize rural, southern America has been in a recession (in one form or another) since... maybe forever. "This Fucking Job" sums up the tone of album quite nicely by addressing the epically painful experience of being stuck in a dead-end, no-way-out job, but being thankful that at the very least you still have one. DBT have returned to rocking hard, with ripping chords, rugged vocals and real-talk lyrics. This is a solid effort that should make the DBT faithful, my self included, quite satisfied.

Jeremy's review: The tendency is to compare this album to Frightened Rabbit’s last one, The Midnight Organ Fight. But since that album is so very good, such a comparison doesn’t fully do The Winter of Mixed Drinks justice. I think I like this album on its own merits (or is it just the echo of Organ Fight which it triggers in my mind and in my legs?). There are a few quieter moments, but in general the songs just never stop moving, which I love. Whether it’s the insistence of the guitars and drums, the rhythmic chanting of the background singing, or the earnest vocals, this album is compelling in the most literal sense of that word – it’s hard to stop listening. The first single, “Swim Until You Can’t See Land,” left me a little cold, mostly because the key lyric, “are you a man or a bag of sand?” reminded me too much of the 40-Year Old Virgin (is that a reference? Or do the Scots just not watch Judd Apatow movies?), but tracks like “The Loneliness and the Scream,” “Skip the Youth,” “Nothing Like You,” and “Living in Colour” have kept my toes and fingers tapping away uncontrollably, much to the consternation, I’m sure, of those around me trying to get work done.

On Real Control, Moneybrother play what I'd call pub soul, following in the footsteps of musicians like Paul Weller who looked beyond their punk rock roots for inspiration in soul and reggae. I hear the echos of Joe Strummer on the shimmering keyboard driven ballad, "We Die Only Once", and Kevin Rowland on the chorus of "6 AM". "Born Under A Bad Sign" (mp3) opens with a soaring series of la la las, before settling into a rocksteady beat, while "Here Comes The Vain Again" has some moments that recall late 60's Motown. It makes for a great mix. I love the way "Feel Like Hurting Somebody" charges into a singalong chorus. Apparently Moneybrother has been big in Scandinavia for years. You can bet I'll be checking out the back catalog.

He's playing Portland's East End on April 10th. I can't wait to hear him belt it out live.

When one of Free Energy's songs randomly comes up on shuffle I immediately smile, turn it up, and try to rate it higher than I already have. That is probably close to the definition of a "feel good hit". These songs stand out from the rest of the classic rock cribbing crowd in part because the band allows the songs room to breathe, preferring to strut rather than sprint. The solos are restrained and administered sparsely. "Dream City" kicks off with a T.Rex groove before down shifting to almost a ballad, even incorporating a little E Street saxophone at the end. I've loved the summer anthems "Hope Child" and "Free Energy" since when I first heard them last year, but the charging "Light Love" and the simple and catchy "Bang Pop" aren't far behind.

I've probably listened to Pure Country Gold more than any other Portland band this year. I just can't get enough of the duo's blistering garage blues. Far from purists, they seamlessly incorporate country, roots, punk into songs that remind me more of the propulsive and fuzzy Reigning Sound, than other blues duos, such as the Black Keys or locals Hillstomp.

Although I only just picked up Positive Vibrations recently, I've been loving their self-titled debut for the last few months. I wish I'd discovered them two years ago when it was released. Positive Vibrations is a compilation of the singles they've released since then and some of them are pretty awesome, especially when they charge through romantic boasts on"Setting Sun" (mp3) and make drinking plans for the apocalypse on "Yellow Bubbles" (mp3).

I can't wait until they release their next album, Tough Tuesday, later this spring.

Less than a year after The Satanic Satanist was released and became one of my favorite albums, Portugal. The Man is back with American Ghetto and as a fan, I couldn't be happier. American Ghetto is moodier album than the Satanist, more likely to ride a groove than build up to a soaring chorus. While the album still feels retro and soulful, the songs rely more a pulsing beat and backing harmonies. They've toned down the pop hooks, added atmosphere and electronic blips, and it works; the album is consistently good and cohesive. "The Dead Dog" is still my favorite, but "60 Years" and "All My People" aren't far behind. And that's just the first half. As the songs progress they settle into sound somewhere between chill soul and fluid psychedelic funk. "When The War Ends" closes the album out by picking up pace and almost heading back to the dancefloor. Very cool.

Um, this band is fucking rad; however, reviewing their album is going to take all my Quickcriting abilities. Example, on their Myspace page while I was trying to find basic info about their band, it has mostly ridiculous nonsense. Like their style is listed as "Hardcore, Psychedelic, R&B." What the hell does that even mean? Well, I'll tell ya what it means. This band cannot be contained, defined, or confined to one simple genre or label (see track "Land of the Freak"). In fact, they have such a lemme' see your serious face and what you're workin' with, dance your clothes off type of groove, some of their band members don't even play instruments. People in the band are there just for their legendary party attributes. Like Till Tim who is apparently listed as in charge of the TnT, or Fredovitch, who is the master of orgasms. Their website is also not clear if they are from Canada, which would account for King Khan's indie rock style vocals and heavy electric guitar riffs like on "No Regrets" or "(How Can I Keep You) Outta Harm's Way". Or if they are from South Georgia , which would explain the inevitable back bone slippage upon even a 10 second listen to "Torture" (not on the album). So, in conclusion I would say the lack of info regarding who they are, and where they come from, suits their musical sound and overall ability to turn a party out. I have a feeling their live shows will be epic, so I will check out the show at Bimbo's in S.F. on April 15th and keep y'all posted. They are also playing at the Wonderland Ballroom in Portland on April 11th if the Portland crowd wants to get hip to the scene. Laters.

The Annuals' Sweet Sister sounds like the band playing around with electronic beats and fringe instruments. The bouncing "Loxtep" (mp3) incorporates a boing sound that could be a released spring or an African mbira, while "Turncloaking" has something that sounds like those cylinders that you turn upside down to make an animal noise. For all I know they both could be a keyboard. But the songs never suffer for the experimentation, rather they shift and shimmy with polyrhythms and breakbeats while kids cheer. The soothing "Holler And Howl" features electronic squiggles over a New Orleans shuffle. The EP is rounded out by a cover of Johnny Cash's "Flesh And Blood" that retains the sweeping country strings but with more upbeat vocals. Overall, it's a short, cohesive blast of fun indie pop. Sweet.

As Portland's biggest acoustic export these days, it makes sense for Blind Pilot to release a live EP with their now expanded their lineup to tide fans over until their next studio full length. Three of the five tracks off the EP are quietly beautiful stripped-down versions of well-loved songs from 3 Rounds And A Sound. However, after having listened to the album pretty heavily for the last two years, the two new recordings are the real treat. "Look At Miss Ohio" is a loping Gillian Welch cover that they fill out and make their own, while "Get It Out" is brand new song that builds into a pleasantly catchy chorus. Overall, it's a solid EP for fans. However, after seeing them perform a fantastic version of MGMT's "Kids" at the Crystal Ballroom I wish they included a version of that too.

The video of "Kids" is cut off and doesn't really capture rich acoustic sound of the performance, but it'll give you an idea of what you missed.

With Midlake, Local Natives, and Mumford & Sons all releasing albums in a span of a few months (weeks, depending on when you evaluate the international release dates), folk rooted rock is really making a surge. I suppose this is really nothing new in particular, I just feel like the market for stringed, minstrel-like  instruments (other than guitar and bass of course) and layered harmonies have really hit a high.  Fleet Foxes appears to be the preeminent power in this broad genre at this point in time; however, with the Sigh No More LP I think Mumford & Sons can give ‘em a run for their money. This London-based quartet, whose name sounds more like a general store or cobbler shop than a band, takes their vocal harmonies and instrumentation real seriously, with nearly every track making a slow-building skyward arch until your heart is lifted and your speakers are overflowing with sound. The absence of drums on most tracks does not prevent them from inducing foot-stomping and body rocking. There is plenty of strummy acoustic guitar, joined by vigorous banjo, key pounding and memorable lines - creating tracks that ooze with upbeat, confident vibes. This album accomplishes what I think a lot of bands aim for but fall short of... an LP that doesn’t feel deflated by already released EPs. “Little Lion Man,” “Awake My Soul” and “Winter Winds” are my favorites, but truthfully, I don’t think that there is a bad piece on the entire release.

OK Go have made a house-hold name for themselves by recording high school cheer choreographed, single-shot videos that go viral seconds after posting and then are followed up by scores of impersonations and blogosphere commentary. It all started with "A Million Ways" followed up by "Here It Goes Again"  and, now, most recently, "This Too Shall Pass." Lost amidst all this YouTube hype for the general public is the fact that OK Go actually makes music in addition to those tracks featured in their widely watched, low-budget videos. It is undeniable that the aforementioned trio of songs are excellent; "This Too Shall Pass" being what I consider to be the most catchy, and lovable of all the songs off Of The Blue Colour Of The Sky, but it also should be noted that with this album the OK Go have matured in their songwriting and musical diversity. OK Go's singles have been appealing from the get go, but this is perhaps the first album of theirs that I have truly enjoyed from beginning to end. Songs like the electro, fist-pump inducing, bass-thumping "White Knuckles" (below), the jerky, 'tude filled "WTF?" or the TV On The Radio-esque "Needing/Getting" all show that OK Go have decided to stop being something cliché (I know that sounds harsh, but I like when bands differentiate themselves) and to embrace a very broad spectrum that cannot be classified or, at times, even identified in one short review... although I'm not sure what to make of "Before The Earth Was Round" (Thoughts? Comments?). I wouldn't say that this album brings anything groundbreaking to the table, but it is a solid on each track and covers the gamut of styles & influences that won't leave you bored. Since you've likely already seen the new video, enjoy this one for a fresh new beat. "Back From Kathmandu" and "In The Glass" are also quite good.

I must confess to loving just about everything Greg Cartwright has been involved in; Reigning Sound's amalgam of country, soul, garage rock grit just feels like home to me. Each album takes a slightly different spin on that perfect formula. This time, rather than packing the sonic gut punch of Too Much Guitar, Love And Curses is more a slow burn, making it's impact a little less immediate. As a result, the songs take longer to sink in and reveal their greatness. However, the shredded vocals and thumping drums of "If I Can't Come Back" and the uh huhs and oh yeahs shouted over a bouncing organ on "Stick Up For Me" rival the urgency of any of my previous favorites. Over all, it's a solid album of rough and tumble relationships delivered by Cartwright's sandpaper rasp and alternately ringing and chugging guitar. So good.

Please do not limit your experience with this album to subdued enjoyment through tinny, acute computer speakers. When in the hands of a producer like Brian Burton, whom you may know as Danger Mouse and I have come to thoroughly respect, you know the full range of sound shall be explored. To really FEEEEL the experience, turning the bass up and putting the top down is absolutely essential. Let me put it this way: If your band’s lead singer was your teenage daughter, and you were a protective father, you would not want said daughter venturing out on her own with a wave-maker possessing Danger Mouse-like skills and experience because she’ll go places she’s never gone before (musically speaking). The man’s resume speaks for itself (Google it!). The freshest notch on his producer belt is James Mercer, lead singer and songwriter for The Shins, whom most people seem to like or at the very least, respect. On their self-titled release, Mercer’s vocals are laced exquisitely over the soft-landing beats and orchestration that Burton lays down, and if you are any sort of radio listener, I’m sure “The High Road” has graced your speakers, whether you knew it or not. Tracks like “The Ghost Inside,” “Citizen” and “October” prove to the naysayers what kind of brilliance the cross-over collaboration can achieve; but, perhaps the lofty prospects and expectations of such a high-profile collaboration are too astronomical to be comprehended, because at the end of the day, this is pretty much what you would expect from two stellar artists coming together. If you like what Burton’s electronic production added to The Black Keys' recent nugget, Attack and Release, and if you have followed The Shins' path since their inauguration, then you’ll know precisely what you’re getting, in a good way. Although The Shins’ audience is not small, there is enough beat-dropping to extend the appeal beyond the indie rock crowd. And if you are a card-carrying fan of these hombres independent of each other, your mind might not be entirely blown, but you will find a best-of-both-worlds collision that you'll be over-playing in no time.

Man, did we ever drop the ball on this one. The band from Noid strikes again, and the QCers are caught with their pants down. After Nuts broke The Heavy back in May of 08 and then they slotted in at 21 on QuickCrit's Top 35 Albums of 2008 it should have been a given that their sophomore release, The House That Dirt Built, would have been quick out of the gate, but alas all we plugged was the video for "How You Like Me Now?" Don't let our neglect fool you, this album rocks some serious soul sauce. After much deliberation, someone, I forget who exactly, decided the only way to classify the sexy, gritty swagger of Kelvin Swaby's vocals and the funky, dance-inducing grooves is as hot, sweaty "stripper soul." And with The Heavy a new genre was born. Well, I won't linger too much cause it's obvious that you should either: (a) already rock this band heavily, or (b) will be doing so shortly. Other tracks to get in your all-purpose play-list immediately are: "Sixteen," "No Time," "What You Want Me To Do?" and, my personal favorite, "Short Change Hero." Also, let it be known, this is the last time I put something so awesome off for so long.