Disc Reviews
by Max Ink Staff Writers
Dustin Wong - Mediation of Ecstatic Energy
Dustin Wong
Album title: Mediation of Ecstatic Energy
By John Noyd
Posted: Aug 2013
Label: Thrill Jockey
(1510) Page Views
A mad dash of flashy contrasts ranging from gracefully impatient to spaciously contagious, the concerted fury from Wong’s electro-shocked six-string ink-blots steer from weary pirouettes to imbedded shreds. A lunging jungle funneling squawks, snorts and groans among galactic static and gurgling murmurs, “Ecstatic,” snaps, relapse and recaps swimming in brazenly layered loops as the occasional drums and floating vocals conjure a varied menagerie of musical avarice simmering in a vapor-trail cocktail poured over dancing stampedes. The last in a trilogy of pedal-driven guitar smarts, the former member of art-rock ensemble Ponytail bristles in blissful missiles, stunning machine-gun runs bundled in an elastic tapestry whose wild-eyed asides slide into clock-work waltzes. Witness this bewitching wizard playing Madison’s Good Style Shop September 21st and Milwaukee’s Quarters September 23rd.
Sarah Longfield - Oneiric
Sarah Longfield
Album title: Oneiric
By Sal Serio
Posted: Jul 2013
Label: Sarah Longfield
(2784) Page Views
It’s amazing that a 5 song, 16 minute instrumental E.P. by a diminutive young lady musician could present so many challenges to the traditional rock ‘n roll listening experience. One thing is immediately obvious. Guitarist and composer Sarah Longfield is playing by nobody else’s rules but her own.
Having recently seen an overwhelming and outrageous performance by Longfield’s progressive metal group, The Fine Constant, I knew that writing a review of her music was going to present some difficulties. It’s just so completely outside the box, trying to use conventional comparisons seems pointless. But, as a point of reference, I will say that Longfield uses 8 string guitars, and does not employ typical rock chordal structures, rather a more tapping and shredding technique, and the best I can do to describe her songs is: classical metal utilizing samples and keyboard, leaving an impression of soundtracks, sometimes suspenseful and eerie, other times racing like an action film.
Poignancy is found in the sample from the movie “Amadeus” at the end of the track, “Parallels”. It’s the part where the befuddled king has to offer some sort of critique to the virtuoso composer, and can only meekly proclaim, “there’s too many notes”.
Anna Givens - Mixed Nuts
Anna Givens
Album title: Mixed Nuts
By Sal Serio
Posted: Jul 2013
Label: Galena Street Records
(1583) Page Views
The latest release by exceptional jazz vocalist Anna Givens is collection of duets with pianist Johnny O’Neal, a former member of Art Blakey And The Jazz Messengers. O’Neal also portrayed Art Tatum in the 2004 movie “Ray”. The CD title ‘Mixed Nuts’ comes from the duo’s approach to recording in an intimate yet relaxed style, Givens simply naming tunes off the top of her head, and the pair nailing the performances in one or two takes, giving the document a very “live” feel, a lot like being in a nightclub except without any ambient distractions.
Givens’ smooth and smoky singing voice is perfectly suited to the material and the stripped down arrangements. Popular jazz standards of yesteryear are rejuvenated when Givens breathes new life in to them, and her delivery is straight to the mark every time.
One may look at the compositional credits – George Gershwin, Cole Porter, Irving Berlin, Fats Waller, Billie Holliday, and Duke Ellington – and think, “oh man! That’s my Mom’s kind of music!” Well, mother knows best, don’t you know? Just like fine wine, these songs have aged superbly, especially considering the care, consideration, and grace that Givens and O’Neal apply to their collaboration. These two truly epitomize the word “style”.
Sam Phillips - Push Any Button
Sam Phillips
Album title: Push Any Button
By John Noyd
Posted: Jul 2013
Label: Littlebox Recordings
(3124) Page Views
Possessing a gift for effortless melodies with lyrics full of sly, intuitive allusions, Phillips is the perfect example of the ironic pop traditionalist. Whether bolting from a successful, albeit constricting, contemporary Christian music career or pioneering one of the first music subscription services, Phillips has always boldly marched to her own drummer. Shedding her earlier work’s petulance for sonic novelties, “Push” dazzles, creating sophisticated tastes from basic ingredients as each tune’s poetic fragments melt among rollicking hooks and infectious beats. Bright cowboy jangle rubs against psychedelic cabaret as the album dabbles in seductive chamber-folk puzzles unraveling in lilting pop-rock wisdom; practical magic flashing in sizzling mysticism. Speaking her mind, Phillips’ unabashed passions coo and swoon beautifully blending perplexing questions into direct connections full of wonder.
Dawes - Stories Don’t End
Dawes
Album title: Stories Don’t End
By John Noyd
Posted: Jun 2013
Label: HUB
(1747) Page Views
Like going to your favorite watering-hole, Dawes picks you up, dusts you off and spins you around the saw-dust dance-floor; reassuring, reminiscing and somehow rescuing you from yourself. Imparting hard-trodden insights in poignant biographical lyrics, this tightly-knit band delivers angelic consolation dipped in blues-tethered hesitations and modest honesty laundered in rock-solid hollers, underscored in romantic arrangements, powered by rousing beats and backed by sterling prairie-rock guitar and eloquent country-pop piano. Weathered, leveled-headed and resolute, brimming in refreshing deep breaths and sympathetic sighs, “Stories,” explores the sordid mournful life, accurately encapsulating common experiences we all hold dear with a keen, narrative clarity that balances broad proclamations against intimate details. The earnestly curious Dawes plays Madison’s Barrymore Theater July 12th with the captivating folk-duo Shovels and Rope.
Big Star - Nothing Can Hurt Me
Big Star
Album title: Nothing Can Hurt Me
By John Noyd
Posted: Jun 2013
Label: Omnivore
(1612) Page Views
A soundtrack to a documentary about a band that has been the soundtrack to countless adolescence, “Nothing,” documents an achingly soulful descent from the rebellious to the defeated. These twenty-one previously unreleased versions of Big Star’s three-album output preserve the final versions’ gallivanting rhythms, Memphis-inspired riffs and cast-iron harmonies; showcasing the delicate line this strong, talented band tread between power-pop pioneers and grunge grandfathers. Rock’s first cult band, the drama created between the band’s duel leaders and cruel injustices they withstood from the record industry infiltrated into their songs, yielding bittersweet masterpieces of fist-shaking angst and open-hearted yearnings steeped in the fickle moods of disgruntled youth. Packaging thwarted dreams into melodious odes to innocence and anger, the tender, splendid, “Hurt,” reopens wounds and massages scars.
Coliseum - Sister Faith
Coliseum
Album title: Sister Faith
By Sal Serio
Posted: Jun 2013
Label: Temporary Residence
(2866) Page Views
If somebody had told me that the new Fugazi would be found in Louisville, Kentucky, I may have raised an eyebrow of skepticism. Yet, as I first listened to the new ‘Sister Faith’ CD by Coliseum, I felt a welcome sense of familiarity. Ryan Patterson’s vocal was especially something I felt I knew. Then I realized… he’s like the perfect blend of Ian MacKaye and Guy Picciotto!
The raging post-punk meets melodic metal sound of ‘Sister Faith’s material is bold, raw, impassioned, and completely satisfying. Every track rumbles forward with the thrust and intensity of a locomotive engine. To say these songs have a sense of urgency would be a massive understatement. Patterson sings like his life depends on it, and his un-caged guitar approach is like a rock ‘n roll ringleader taming the wild feedback beast.
Coliseum is rounded out by Kayhan Vaziri and Carter Wilson, a rhythm section that kicks harder than a donkey forced headfirst in to a stanchion. ‘Sister Faith’ was produced by J. Robbins of Jawbox fame. The first single is “Love Under Will”, and other stand-out tracks include “Black Magic Punks”, “Under The Blood Of The Moon”, and “Bad Will”. I can’t recommend this CD enough!
Ballyhoo! - Pineapple Grenade
Ballyhoo!
Album title: Pineapple Grenade
By Sal Serio
Posted: Jun 2013
Label: Right Coast Records
(2436) Page Views
I now know what I would say if I put rum, pineapple, Sublime, 311, and Green Day into a blender and set it to max mix. Well, first I’d probably exclaim “voila!”, but the next thing to come from my salivating chops would be “Ballyhoo” !! Ballyhoo? Hell yes, Ballyhoo - the happening reggae-rock ska-pop punksters from Aberdeen, just Northeast of Baltimore. I have to wonder if John Waters ever showed at one of their gigs!
The brand spanking new ‘Pineapple Grenade’ disc is super fun and energetic from the get-go! There’s a lot to take in here too, with quite a few compositions that shift tempo and jump genres during the same song. Some of the more upbeat moments make me think of skate punks skanking the daisy chain and diving off the stage, but the softer stuff is more like relaxing by seaside, contemplating the waves, and inhaling bliss from a cool breeze.
The combination of Howi Spangler’s poppy vocalizations and crunchy guitar, with Scott Vandrey’s punchy electric keyboards and harmony vocals make me think this band should really be going somewhere. I’m especially impressed by “No Good” which was produced by Rome Ramierez (Sublime) and mixed by Paul Leary (Butthole Surfers). Ballyhoo is definitely surfing the fast lane!
Blue Coupe - Million Miles More
Blue Coupe
Album title: Million Miles More
By Sal Serio
Posted: Jun 2013
Label: Blue Coupe
(3290) Page Views
Blue Coupe is a new trio comprised of Dennis Dunaway (bass) from the original Alice Cooper group, with Joe Bouchard (guitar, keyboards) and Albert Bouchard (drums) from the original Blue Oyster Cult. All three sing. Their new CD, the outstanding ‘Million Miles More’, is dedicated to late Cooper guitarist Glen Buxton.
One may think, “oh, retro act…” but that would be far from the point. While many of these songs bring back the electric and eclectic vibe of ‘Agents Of Fortune’/‘Spectres’ era BOC, this collection of all new material rocks solid and has the big modern production value that sets it apart from the previous work of these three musicians. ‘Million Miles More’ stares directly into the future rather than dwelling on the past. Also of note, several special guests keep things interesting and diversified.
“Hellfire Hurry”, with a terrific vocal and pounding piano line by Joe Bouchard, features a blistering lead guitar break by Buck Dharma, giving the song a melodic urgency combined with the lush sound of classic BOC.
“Hallow’s Grave” has a duet vocal by Albert Bouchard and Alice Cooper, two of the more unique voices in rock. A huge chorus by back-up singers Tish & Snooky add to the gothic atmosphere of this shock rock killer. Albert’s drumming throughout this release is uncanny in its ultra-tight precision, with tempos both unique and, especially, unusual in the hard rock genre.
Two guest lead guitarists really spice things up nicely. Deniz Tek of Radio Birdman compliments Joe Bouchard’s husky vocal on “Supernatural Love”, while The Dictators’ Ross The Boss lays down some eardrum-rattling lead runs over top of Dunaway’s driving and punchy bass on one of this disc’s hardest rockers, “Ain’t Dead”, which also features a fun 80s style anthemic chorus.
The special bonus track “More Cowbell (Gotta Fever)” brings closure to the proceedings with a humongous grin. Albert Bouchard was the original cowbell man on “(Don’t Fear) The Reaper”, as immortalized on SNL by Will Ferrell. Therefore it is fitting that “More Cowbell” is a live party song, with audience call & response, and Albert unabashedly nailing the cowbell into oblivion.
Iggy And The Stooges - Ready To Die
Iggy And The Stooges
Album title: Ready To Die
By Sal Serio
Posted: Jun 2013
Label: Fat Possum
(1476) Page Views
It’s got to be tough when a group or an artist reaches legendary status, as they inevitably get compared to their past achievements. The general populace can be so fickle and demanding, to boot. How then, does an artist grow? Must they always be in fear of the scathing critical and public fall-out? Do they need to write the same book over and over? Let’s use Iggy & the Stooges as our case study.
The irony of the Stooges is that they were not overly appreciated when they first existed (approx 1968-1974). Their records sold dismally, and their concerts were poorly attended. What are now considered “classics” - the albums ‘Raw Power’ and ‘Funhouse’ - were commercial bombs, and with the exception of reviews by writers like the unconventional Lester Bangs, critical failures. But hell, even Bangs wrote negative stuff about the Stooges!
At some point in time though, after “punk” broke (the 1st, 2nd, and 3rd times, ahem), Iggy Pop and the Stooges became hailed as pioneers of garage rock and stripped-down, pure sweat and emotion-raw performances. How funny that they got placed on a mantle by the punker fans, and then, the unbelievable happened! The original group reformed decades later (with Mike Watt in place of the deceased Dave Alexander)… but are the faithful and the critics happy? Well, with the concert performances, generally yes, but both 2007’s ‘The Weirdness’ and the new ‘Ready To Die’, have pretty much been used for target practice since their respective release dates.
Somehow, I doubt Iggy and the band give a damn what anybody thinks. They never did before, why would they now? And besides, does anyone compare the latest McCartney album to ‘Abbey Road’? I mean… it’s 40 years after ‘Raw Power’! Get over it, and judge the new Stooges on its own merits.
The question here, then, is: does the new Stooges release have merits? Well, I believe so. Here’s the rub. First off, Iggy and James Williamson are back together, writing new songs, and Williamson sounds pretty damn good, especially when you consider that there was a 35 year period when he never even picked up a guitar. Extra bonus, not only does original Stooges sax man Steve Mackay stick around for this release (he was not in the original ‘Raw Power’ era Stooges band), but multi-instrumentalist Scott Thurston is back to play keyboards on “Beat That Guy”.
I will fully admit that I let this CD grow on me. It took a few listens, and I liked it more with each consecutive spin. There are a handful of tracks, like “Burn”, “Gun”, and the title track that are absolutely scorching! Williamson’s guitar slashes, smolders, and sizzles when it needs to, and also is sweetly understated on the mellower material such as “Unfriendly World” and the tribute to late Stooge Ron Asheton “The Departed”.
All I can say is, give it a fair shake. Listen with an open mind, and do not expect ‘Raw Power Pt. 2’. If the first impression leaves you cold, wait a day or two, and give it another try. I think Iggy’s longtime fans, who saw him try a ton of different musical approaches, will grow to enjoy ‘Ready To Die’ as much as I do. Plus, I know when I see the band again in concert, I want to be familiar with the newer material so I appreciate EVERY song played, and not just the stuff from the first three albums. The ironic title of this CD does not fool me, Iggy and the Stooges sound like anything but ‘Ready To Die’!
TAUK - Homunculus
TAUK
Album title: Homunculus
By Sal Serio
Posted: Jun 2013
Label: Tauk
(1517) Page Views
TAUK is the collective name of four adventurous young musicians from New York City that like their sound to be so entirely free of conventional categorization that they feature no vocals whatsoever. To this end, when I experience a TAUK album or concert, I do not feel compelled to focus on individual songs per se. Rather, I just let the entire experience wash over me, and revel in the shiver of the aftermath.
This is the type of music that fuels one’s inspiration, and turns the faucet of the listener’s creative juices on full blast. It’s effortless to daydream while the unique, shape-shifting, rhythms of drummer Isaac Teel and bassist Charlie Dolan pave the meandering super-highway for keyboardist Alric Carter and guitar player Matt Jalbert to color the trail of journey and exploration in a way that only this quartet’s far out ambitious artistry can.
Do I think you may want to take the TAUK trip yourself? For you pilgrims who live, breathe, and think outside of the box, I would voice the affirmative! But, for you undecided voters? There are some minor comparisons I can make, just to try to throw you, my dear readers, a bone, if you will. I would recommend this release to fans of newer prog/jazz/jam groups in the vein of RAQ, Tea Leaf Green, and Particle. And for you older rockers, I believe followers of improv geniuses from the classic era - let’s say early 70s Pink Floyd, Wishbone Ash, and King Crimson - will unconditionally relate to these jams as well. Just don’t think you’ll be singing along! Although, you may hum a bit. I did.
Radiation City - Animals in the Median
Radiation City
Album title: Animals in the Median
By John Noyd
Posted: Jun 2013
Label: Tender Loving Empire
(1832) Page Views
As its title implies, “Median,” creates a cozy-yet-isolated musical sanctuary surrounded by danger; cautiously inviting and teasingly delighting, the album harnesses emotional roller-coasters hedged in safe bets and proven tunefulness. Juggling multidimensional conventions the Portland, OR quintet swings from boppy, dream-pop gloss to jazz-speckled Latin rhythms, mixing lounge-party pouty inside toothy, Afro-Cuban grooviness. Sideways glances grip suspicious romances while femme fatale noir swivels in gilded lilies and killer smiles; RC’s come-hither systems gather, carry and dabble in impressive expressions, delicious pictures and enchanted semantics as wayward behavior simmers beneath beatnik cheesecake wrapped around smart, five-part harmonies. Boldly mobile and quietly stylish, the band’s ghostly roamings negotiate deft, complex connections between rock-steady therapies and dance-friendly medleys. Catch them playing Milwaukee’s Mad Planet June 19th
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