Before you press play, be prepared. This album starts with a fucking bang with "Black Tongue" and doesn't really give up. The Hunter (Reprise 2011) is the group's fifth studio release and maintains a firm grasp on the listener's attention throughout.
The band admitted that this is a little more "stripped down" than many of their past recordings. That may be so, but the result is still very crisp and complex with air-tight instrumentation and vocals that range from ghostly and haunting to violently raw.
Track two, "Curl of the Burl," which was released as a single and features an incredibly bizarre music video, is a pretty decent track but is probably the weakest on the album. Fortunately it kicks back into high gear with "Blasteroid" that has lead singer/bassist Troy Sanders quite literally screaming for blood.
It's incredibly difficult to pick favorites off of this album. There is great diversity here, and the fast and thrashing is balanced perfectly with the slow, distorted grooves on songs like "Stargasm" and "All the Heavy Lifting." There is even a touch of sing-along quality later on with "Creature Lives," which sounds somewhere between Ringo Starr and Slayer.
The group has the kind of fun with their music/lyrics on this album that they've become known for. Time signatures shift constantly and there are titles like "Octopus Has No Friends" and "Bedazzled Fingernails." The latter being a truly exceptional tune.
The Hunter is layered and complex. Even the stiffest neck will be unable to resist banging to the variety of different tempos contained within. You can download it here.
Friday, September 30, 2011
Monday, September 19, 2011
Umphrey's Mcgee "Death By Stereo"
Something terrible has happened. The members of Umphrey's Mcgee must have been kidnapped because there is no other explanation for why their new album Death By Stereo (ATO) falls so short of expectations. It doesn't seem to have taken much effort to put these songs together.
The opening track, "Miami Virtue," was released as a single and sounds like it was written that way. It's an uncomfortably conventional song that could have been written or performed by anybody desperately reaching for air time. The second tune, "Domino Theory," doesn't get any better and sounds a little like an original song by a Strokes tribute band. For a band that has earned themselves a wide and loyal fan base because of their musicianship, the start couldn't be any more disappointing.
Eventually there are aspects that get closer to Umphrey's sound, but it comes in the form of "Booth Love," which they've been playing live for years. In fact, there are at least two other tracks that fans will recognize from performances in recent years. While it is nice to get studio recordings of these pieces (especially "Hajimemashite"), there were several songs they played at Summer Camp '11 that were supposed to be included, but are unaccountably absent. If anybody is interested in hearing my favorite missing songs, post a comment with your email and I'll send them along.
I'm not really certain what this record was supposed to accomplish, but hopefully it's not an indication of any stunted or stagnated growth as a group. While it isn't completely devoid of highlights, like "Search 4" or "Conduit," it's not one I would recommend for a new or longtime fan. Let's just hope that they can put this behind them and we'll treat it like some 1980s Grateful Dead album. It displays a wide range of playing styles, and the tracks leaner run times might make it attractive to new listeners, but that is simply a mistake when recording. From the sound and other reviews, it seems Death By Stereo was made with the intention to reach a wider audience. The result leaves a lot of loyal listeners by the wayside.
One more interesting point about this release. Umphrey's posted on their website and Facebook urging fans to go pick up the album at their local, independent record store. I visited several different locations around their home city of Chicago and couldn't find so much as a poster advertising for it.
The opening track, "Miami Virtue," was released as a single and sounds like it was written that way. It's an uncomfortably conventional song that could have been written or performed by anybody desperately reaching for air time. The second tune, "Domino Theory," doesn't get any better and sounds a little like an original song by a Strokes tribute band. For a band that has earned themselves a wide and loyal fan base because of their musicianship, the start couldn't be any more disappointing.
Eventually there are aspects that get closer to Umphrey's sound, but it comes in the form of "Booth Love," which they've been playing live for years. In fact, there are at least two other tracks that fans will recognize from performances in recent years. While it is nice to get studio recordings of these pieces (especially "Hajimemashite"), there were several songs they played at Summer Camp '11 that were supposed to be included, but are unaccountably absent. If anybody is interested in hearing my favorite missing songs, post a comment with your email and I'll send them along.
I'm not really certain what this record was supposed to accomplish, but hopefully it's not an indication of any stunted or stagnated growth as a group. While it isn't completely devoid of highlights, like "Search 4" or "Conduit," it's not one I would recommend for a new or longtime fan. Let's just hope that they can put this behind them and we'll treat it like some 1980s Grateful Dead album. It displays a wide range of playing styles, and the tracks leaner run times might make it attractive to new listeners, but that is simply a mistake when recording. From the sound and other reviews, it seems Death By Stereo was made with the intention to reach a wider audience. The result leaves a lot of loyal listeners by the wayside.
One more interesting point about this release. Umphrey's posted on their website and Facebook urging fans to go pick up the album at their local, independent record store. I visited several different locations around their home city of Chicago and couldn't find so much as a poster advertising for it.
Tuesday, September 13, 2011
Primus "Green Naugahyde"
Monsters of alternative, Primus, have returned for their first full-length studio album since 1999's Antipop (Interscope/Prawn Song). With song titles like "Last Salmon Man" and "Eyes of the Squirrel," you can rest assured that Green Naugahyde (ATO/Prawn Song) is Primus like they never left.
After a brief, building introduction ("Prelude to a Crawl") the unorthodox, distorted style that Les Claypool has perfected over the years kicks in on "Hennepin Crawler." And immediately there is that recognizably complex foundation from drummer Jay Lane and by the end of the track guitarist Larry LaLonde has melted off your face and you're foaming at the mouth for more.
Lane rejoined the band earlier this year after leaving the group in 1988. He was most recently playing with Phil Lesh and Further. While this is Lane's first full-length album with Primus, Claypool attributes the writing of almost all early drum parts (that really established their sound) to the long absent member.
Claypool's lyrics are as hilarious and sharp-witted as ever; most noticeably on the satirical songs "Eternal Consumption Engine" and "Moron TV." And there's "Lee Van Cleef," which falls in line with the many other Claypool tunes that seem to be inspired by little more than some invented name. All backed by awesome, tight instrumentation. The song "Green Ranger" is a good extended example of the Pink Floyd influence that peaks its spacey head at intervals throughout the album.
Green Naugahyde is ear-grabbing to the very end. It sounds incredibly refined while maintaining their standard brand of weird. They've even included a live version of "Those Damned Blue Collar Tweekers." My only complaint is that it took too damn long. Download it here, now.
After a brief, building introduction ("Prelude to a Crawl") the unorthodox, distorted style that Les Claypool has perfected over the years kicks in on "Hennepin Crawler." And immediately there is that recognizably complex foundation from drummer Jay Lane and by the end of the track guitarist Larry LaLonde has melted off your face and you're foaming at the mouth for more.
Lane rejoined the band earlier this year after leaving the group in 1988. He was most recently playing with Phil Lesh and Further. While this is Lane's first full-length album with Primus, Claypool attributes the writing of almost all early drum parts (that really established their sound) to the long absent member.
Claypool's lyrics are as hilarious and sharp-witted as ever; most noticeably on the satirical songs "Eternal Consumption Engine" and "Moron TV." And there's "Lee Van Cleef," which falls in line with the many other Claypool tunes that seem to be inspired by little more than some invented name. All backed by awesome, tight instrumentation. The song "Green Ranger" is a good extended example of the Pink Floyd influence that peaks its spacey head at intervals throughout the album.
Green Naugahyde is ear-grabbing to the very end. It sounds incredibly refined while maintaining their standard brand of weird. They've even included a live version of "Those Damned Blue Collar Tweekers." My only complaint is that it took too damn long. Download it here, now.
Monday, September 12, 2011
Spread, Goose Island Brewing Company, Chicago 9-9-11
Hailing from Carbondale, IL, Spread brings a lot of fun energy and diversity to the stage. I've caught them the at the last two Summer Camps and they drew quite a crowd into the 312 Vibe Tent in '11. Nick Stein sat in on the keys for the absent Steven Kaufman, and blended nicely into the groups sometimes shape-shifting sound.
The set ranged from very shredding hard rock, highlighting the talents of guitarist Dave Petrizzo, to dance inducing riffs akin to STS9 or Lotus. Drummer Patrick Reynolds also took vocal duties for a cover of Stevie Wonder's "Boogie On Reggae Woman" and a ripping version of the Grateful Dead tune "Turn On Your Lovelight."
Even in the center of Wrigleyville, where the guys order their haircuts like McDonald's value meals and the pizza places blast dub-step onto Friday night Clark Street, Spread coaxed people out of their seats to dance to the Grateful Dead. They play with a tightness often found in much older groups and have the talent to attract a lot of attention. When the scene is dominated by groups well into their second decade of performing, Spread steps nicely in tradition of the jam community and injecting some vitality at a time when their seems to be more Macbooks in bands than guitars.
The set ranged from very shredding hard rock, highlighting the talents of guitarist Dave Petrizzo, to dance inducing riffs akin to STS9 or Lotus. Drummer Patrick Reynolds also took vocal duties for a cover of Stevie Wonder's "Boogie On Reggae Woman" and a ripping version of the Grateful Dead tune "Turn On Your Lovelight."
Even in the center of Wrigleyville, where the guys order their haircuts like McDonald's value meals and the pizza places blast dub-step onto Friday night Clark Street, Spread coaxed people out of their seats to dance to the Grateful Dead. They play with a tightness often found in much older groups and have the talent to attract a lot of attention. When the scene is dominated by groups well into their second decade of performing, Spread steps nicely in tradition of the jam community and injecting some vitality at a time when their seems to be more Macbooks in bands than guitars.
Sunday, September 4, 2011
The New Mastersounds NCMF After party, The Bottom Lounge, Chicago 9-3-11
Following their rainy 2:30pm set at the North Coast Music Festival, the British soul/funk quartet rounded the corner on Lake Street for an official NCMF after party at the much more intimate Bottom Lounge. Most of the crowd was covered in a stinky fatigue from dancing in Union Park all afternoon, but the room hummed with pent-up energy as members of the road crew finished tweaking the stage set-up.
It was already 12:30am when The New Mastersounds took their places and kicked the crowd into high gear from the first creamy notes. Guitarist and bandleader Eddie Roberts donned a fake pigeon on his shoulder and drummer Simon Allen expressed his dislike of cheap, American beer. But who can blame him?
The set consisted mostly of songs from older albums such as 102%, but did include "Can You Get It" and "Freckles" from their new album(see review below). They also debuted a brand new composition. It stuck closely with their signature sound--instrumental, funky and upbeat.
Despite mics set up for each member, "Can You Get It" was the only song that featured vocals during the performance. It tests the fans' ears to identify specific songs due to the lack of chorus. That didn't bother the audience and the pillars were the only stationary things in the room. Even one mohawked young man with a set jaw that seemed to be resisting the urge to dance began to bounce to the groove by the third or fourth song.
It was nearly three in the morning when the crowd spilled onto Lake Street, hailing cabs or walking to cars or unlocking bikes and everybody was singing the melody of the last tune and laughing as they trickled off into the cool September night.
As is common in their realm of the musical world, the emphasis falls on performances and reacting to the crowd's energy and doing their damnedest to keep anybody from crossing their arms or checking the time. By those standards, The New Mastersounds are extremely good at what they do. Go here and find out when they are playing near you.
It was already 12:30am when The New Mastersounds took their places and kicked the crowd into high gear from the first creamy notes. Guitarist and bandleader Eddie Roberts donned a fake pigeon on his shoulder and drummer Simon Allen expressed his dislike of cheap, American beer. But who can blame him?
The set consisted mostly of songs from older albums such as 102%, but did include "Can You Get It" and "Freckles" from their new album(see review below). They also debuted a brand new composition. It stuck closely with their signature sound--instrumental, funky and upbeat.
Despite mics set up for each member, "Can You Get It" was the only song that featured vocals during the performance. It tests the fans' ears to identify specific songs due to the lack of chorus. That didn't bother the audience and the pillars were the only stationary things in the room. Even one mohawked young man with a set jaw that seemed to be resisting the urge to dance began to bounce to the groove by the third or fourth song.
It was nearly three in the morning when the crowd spilled onto Lake Street, hailing cabs or walking to cars or unlocking bikes and everybody was singing the melody of the last tune and laughing as they trickled off into the cool September night.
As is common in their realm of the musical world, the emphasis falls on performances and reacting to the crowd's energy and doing their damnedest to keep anybody from crossing their arms or checking the time. By those standards, The New Mastersounds are extremely good at what they do. Go here and find out when they are playing near you.
Subscribe to:
Comments (Atom)