It’s impossible to have a discussion about New York-based Demander without bringing up the Yeah Yeah Yeah’s, The Breeders or Sleater-Kinney. This female-fronted trio is high energy pop mania anchored by Karen Kanan Correa’s velvety-smooth vocals and a kick-ass urgent groove powered by Sivan Harlap’s drums. Jared Scott’s guitar is relentless, lending an almost proggy dynamic that’s surprising in a hard pop trio. Demander takes the best of indie rock attitude and weaves it into harmony, hooks and delectable well-crafted songs about the wicked world. Especially track 3, “Wicked World.”
Based purely on the instrumentation and vibe (spartan and snotty respectively), Demander COULD have slipped into the angst-ridden, gritty riot grrrl role of a Bikini Kill, but they instead opt for more of an elegant perusal of clean, shiny pop like some other radio-ready modern new wave revivalists (think OK Go). Put another way, they rock out hard but they’re kinda classy about it.
With just five songs in fifteen minutes it’s easy to pick stand-out tracks, and that would be “samthurman” and “Porte Cochere.” The former is clean, fresh, fun and energetic, a smarmy torch song that you’ll be singing in the shower after just a few listens. The latter is a chugging, crunchy power train of pure pop aggression that totally captures the high octane energy of Demander’s live show. (Lexi Kahn)
Tuesday, September 25, 2012
Haloburn
Let’s review the facts. Haloburn comprises ex-members of hard rockers 7th Rail Crew, Headshot and Indesit. Their debut record (Unspoken) was produced by Jim Foster (Nullset, White). The follow-up release, Ouroboros, boasts cover art by the guy who did the last Korn cover art. Oh yeah, and Haloburn is endorsed by the Pino Bros. Ink guys. So yeah, of course it rocks, that shouldn’t be a big surprise. What IS a big surprise is how, through all the face-melting, hard-hitting aggression on Ouroboros, there’s actually just as much brain as brawn on these eight tracks.
Though it doesn’t get much harder, louder or heavier than Haloburn around here, this is no meathead cock rock. The band issues an introspective, thoughtful musical message of rebirth and renewal, made all the more poignant driven home as it is with relentless rock solid rhythms and even some sophisticated progressive twists. Standouts are “Left for Dead” and “Down Side Up,” which thrills with dynamic rhythmic changes, killer drums on the bridge and a fist-pumping chorus repeating “Why don’t you give it to me.” Also of note, the twin guitar assault in “Force Fed” and “On The Brink” with Alex and Ennio doing their best to play their guitars to sound roughly like an industrial factory functioning at full speed. Showing some breadth and depth, there’s “Hidden Spaces,” a pretty, tuneful, almost prog-inspired instrumental placed near the end just before a searing cover of Bad Brains’ “Soul Craft.”
Fueled in large part by Micah’s raw, aggressive vocals, Haloburn hauls a truckload of Tool-inspired, Pantera-heavy rock with an impressive cargo of guitar power and lyrical originality. Put simply, it’s a badass hard rock release worthy of some attention. Put even more simply, get this record. (Lexi Kahn)
Though it doesn’t get much harder, louder or heavier than Haloburn around here, this is no meathead cock rock. The band issues an introspective, thoughtful musical message of rebirth and renewal, made all the more poignant driven home as it is with relentless rock solid rhythms and even some sophisticated progressive twists. Standouts are “Left for Dead” and “Down Side Up,” which thrills with dynamic rhythmic changes, killer drums on the bridge and a fist-pumping chorus repeating “Why don’t you give it to me.” Also of note, the twin guitar assault in “Force Fed” and “On The Brink” with Alex and Ennio doing their best to play their guitars to sound roughly like an industrial factory functioning at full speed. Showing some breadth and depth, there’s “Hidden Spaces,” a pretty, tuneful, almost prog-inspired instrumental placed near the end just before a searing cover of Bad Brains’ “Soul Craft.”
Fueled in large part by Micah’s raw, aggressive vocals, Haloburn hauls a truckload of Tool-inspired, Pantera-heavy rock with an impressive cargo of guitar power and lyrical originality. Put simply, it’s a badass hard rock release worthy of some attention. Put even more simply, get this record. (Lexi Kahn)
Three Day Threshold
The band that made it cool to wear bolero ties and cowboy hats to Boston rock clubs has released another CD, and Lord have mercy, it just might be their best yet. Against the Grain (Hi-N-Dry) fortifies Three Day Threshold's distinctive amalgam of alt-country and Irish drinking songs, but turns up the heat on everything. The energy surging through every track is contagious and after one listen you'll either want to get drunk or barbecue something. Maybe ride a mechanical bull.
"Narrow it Down" is a great opener. It's a barn dance, an up tempo boot-tapping sing-a-long that's actually a torch song for a woman yet to be found. A cheerful torch song though, as the lyrics imply thereâ's plenty of time to take the ladies out one at a time until the right gal shows up. "I ain't doin' nothing wrong, just got to narrow it down," sings front man Kier Byrnes with debonair self-assurance. With 3DT's usual irresistible charm, this song manages to be adorable and endearing while evoking a lecherously misogynistic strut and swagger. There's just something about country songs that give the guys the go-ahead to lay it all on the line. As Tammy Wynette said, "after all, he's just a man."
For sheer knee-slapping awesomeness, check out the hilarious "Uni." Too much exposition will ruin your first listen, so for now I'll just direct you to Three Day Threshold's Myspace page where you can hear it for yourself. Other picks include "Right Outside the Door," "Kelly, I'm Coming Over," "Softly” and another sing-a-long, "It's Alright." Also a nice surprise is the traditional "Whiskey, You're the Devil," a 3DT favorite that had made an appearance on the "Homecookin" CD, their 1999 debut.
Three Day Threshold has been putting out excellent records since 1999, but Against the Grain shows that a little worldly wisdom (i.e., maturity) goes a long way towards authenticating this brand of blood on the saddle country rock. For one thing, there's far more wanton humor on this record. Then there's the powerhouse of a band, with searing guitar and mandolin riffs at the core and whole corral full of guest performers. Then there's front man Kier Byrnes, who has never been in finer voice. When a performer's skill catches up with his enthusiasm, it's a mighty fine day indeed. Always a good singer and the band's rabble-rousing leader, Kier has clearly hit his stride as a vocalist. There's less cow punk bellowing than on earlier recordings, replaced with more refined and warm, dare I say great, singing. And then, to borrow a lyric from track 7, "The Ghost of Jimmy Ryan," GodDAMN that mandolin! (Lexi Kahn)
"Narrow it Down" is a great opener. It's a barn dance, an up tempo boot-tapping sing-a-long that's actually a torch song for a woman yet to be found. A cheerful torch song though, as the lyrics imply thereâ's plenty of time to take the ladies out one at a time until the right gal shows up. "I ain't doin' nothing wrong, just got to narrow it down," sings front man Kier Byrnes with debonair self-assurance. With 3DT's usual irresistible charm, this song manages to be adorable and endearing while evoking a lecherously misogynistic strut and swagger. There's just something about country songs that give the guys the go-ahead to lay it all on the line. As Tammy Wynette said, "after all, he's just a man."
For sheer knee-slapping awesomeness, check out the hilarious "Uni." Too much exposition will ruin your first listen, so for now I'll just direct you to Three Day Threshold's Myspace page where you can hear it for yourself. Other picks include "Right Outside the Door," "Kelly, I'm Coming Over," "Softly” and another sing-a-long, "It's Alright." Also a nice surprise is the traditional "Whiskey, You're the Devil," a 3DT favorite that had made an appearance on the "Homecookin" CD, their 1999 debut.
Three Day Threshold has been putting out excellent records since 1999, but Against the Grain shows that a little worldly wisdom (i.e., maturity) goes a long way towards authenticating this brand of blood on the saddle country rock. For one thing, there's far more wanton humor on this record. Then there's the powerhouse of a band, with searing guitar and mandolin riffs at the core and whole corral full of guest performers. Then there's front man Kier Byrnes, who has never been in finer voice. When a performer's skill catches up with his enthusiasm, it's a mighty fine day indeed. Always a good singer and the band's rabble-rousing leader, Kier has clearly hit his stride as a vocalist. There's less cow punk bellowing than on earlier recordings, replaced with more refined and warm, dare I say great, singing. And then, to borrow a lyric from track 7, "The Ghost of Jimmy Ryan," GodDAMN that mandolin! (Lexi Kahn)
The Daily Pravda
(November 2001)
In the music and lyrics of 80s glam rock gods and today's coiffed, vinyl-clad revivalists who worship them, there's an obvious penchant for a sleazy, swaggering sort of kitsch. This is, after all, a gloriously androgynous subculture where sometimes, musically, style trumps substance, much the same way certain young men spend a ton of money on hair products to look like they don't spend any money on hair products (you know who you are, Bedhead boy).
That being the case, then The Daily Pravda should be filed under something other than "Brit pop revivalists." There's no shortage of substance anywhere on these five perfect tracks. While She's So Mature mines a familiar gorgeous, stirring Brit pop gold, calling The Daily Pravda simply '80s retro is like calling Watership Down a book about rabbits. The Daily Pravda has the musical prowess to back up what they're doing, the singing is flawless, and every song pops with gorgeous chimey guitars (loving the tones on these guitars) and supremely graceful drums (loving the drumming finesse). The not-so-secret weapon is the compelling front man, Dave Jackal, whose confessional singing style has been compared to Bowie and Jarvis Cocker. When the vocals are this poignant, you want them right out in front in the mix, and they are – not a single nuance is missed. That's smart, because lyrically this EP contains enough brawn to be the beginnings of a rock opera. "Home Invasion" particularly whetted my appetite to listen to my Hedwig. If performed at the end of an act two, the crowd would be on its feet. Also awesome are "Viva Natalia" and the title track.
The irresistible appeal of these songs seems to be the way The Daily Pravda deftly crafts spiraling towers of chorus, verse, chorus, building melody upon melody and fleshing out the heartwarming chords with layers of keys, synths and more guitars. The dynamics are key. These songs aren’t content to merely amble. They’re on the run, constantly propelling on the beautiful lyrical lines, the melodic hooks and the dreamy, theatrical singing. By the time each song is halfway through they’ve got you — hooks, lines and singer. (Oh come on, it had to be done).
She's So Mature is so good in every possible way that The Daily Pravda has motivated a pressing request to the Low Budget Superhero webmaster for a new section of the site — based on one listen to this five-song teaser, we want to highlight a Favorite CD of the Month.
Speaking as one who once played Divine Comedy's "Short Album About Love" twenty-eight times in one night, I'd just like to personally thank Dave Jackal and the rest of The Daily Pravda for making this record. (Lexi Kahn)
In the music and lyrics of 80s glam rock gods and today's coiffed, vinyl-clad revivalists who worship them, there's an obvious penchant for a sleazy, swaggering sort of kitsch. This is, after all, a gloriously androgynous subculture where sometimes, musically, style trumps substance, much the same way certain young men spend a ton of money on hair products to look like they don't spend any money on hair products (you know who you are, Bedhead boy).
That being the case, then The Daily Pravda should be filed under something other than "Brit pop revivalists." There's no shortage of substance anywhere on these five perfect tracks. While She's So Mature mines a familiar gorgeous, stirring Brit pop gold, calling The Daily Pravda simply '80s retro is like calling Watership Down a book about rabbits. The Daily Pravda has the musical prowess to back up what they're doing, the singing is flawless, and every song pops with gorgeous chimey guitars (loving the tones on these guitars) and supremely graceful drums (loving the drumming finesse). The not-so-secret weapon is the compelling front man, Dave Jackal, whose confessional singing style has been compared to Bowie and Jarvis Cocker. When the vocals are this poignant, you want them right out in front in the mix, and they are – not a single nuance is missed. That's smart, because lyrically this EP contains enough brawn to be the beginnings of a rock opera. "Home Invasion" particularly whetted my appetite to listen to my Hedwig. If performed at the end of an act two, the crowd would be on its feet. Also awesome are "Viva Natalia" and the title track.
The irresistible appeal of these songs seems to be the way The Daily Pravda deftly crafts spiraling towers of chorus, verse, chorus, building melody upon melody and fleshing out the heartwarming chords with layers of keys, synths and more guitars. The dynamics are key. These songs aren’t content to merely amble. They’re on the run, constantly propelling on the beautiful lyrical lines, the melodic hooks and the dreamy, theatrical singing. By the time each song is halfway through they’ve got you — hooks, lines and singer. (Oh come on, it had to be done).
She's So Mature is so good in every possible way that The Daily Pravda has motivated a pressing request to the Low Budget Superhero webmaster for a new section of the site — based on one listen to this five-song teaser, we want to highlight a Favorite CD of the Month.
Speaking as one who once played Divine Comedy's "Short Album About Love" twenty-eight times in one night, I'd just like to personally thank Dave Jackal and the rest of The Daily Pravda for making this record. (Lexi Kahn)
Newmerika
Sometimes the old “judging a book by its cover” adage comes at you full blast. With a press kit that makes a huge fuss over their multi-race band members (like it’s groundbreaking), plus song lyrics that contain the band name (as annoying as spelling out words in lyrics, which they also do), I fully expected to hate Newmerika. Hate ‘em like I hate jelly shoes. But I could not have been more wrong.
With just one listen, Newmerika proves that accessible, refreshingly tuneful rock rap is possible if you just focus on the groove, strip out all the excess filler, and let the songs breathe.
And it turns out that they place a heavy emphasis on their races and religions because the music is a deliberate cross-cultural fade. They’re not boasting social altruism — they’re crafting a message that utterly depends on their ability to blend rock and roll with hip-hop, and also to fuse varying belief systems into one big allowance of “respect.” Really, if the whole world were to mirror the social and theological dynamics present in Newmerika’s music, we would be living in a modern Paradise.
But social themes aside, the “She’s On Fire” EP is musically sound. Newmerika exhibits influences as varied as Led Zeppelin and Pete Rock and CL Smooth, topically plying everything from dark angst to political commentary. Some Newmerika tracks are available on Myspace, and “Doo Dat” is a stand-out favorite with its sick groove and clever lyrics (in spite of the aforementioned spelling, etc, for which they have been forgiven because the material is so good.)
Newmerika’s backbone is a duo known as Phonz (vocals) and Hollywood (guitars & vocals) with Chubby Billions adding turntables. There’s also the vital rhythms courtesy of Joe Cool on bass and Funknasty at the kit. Newmerika’s musical idea is delivered frankly and directly, no holds barred, especially on the somewhat disturbing title track about a tragically unlucky woman. Chubby Billions employs great breaks and samples, Hollywood’s guitars propel the songs forward and Phonz’s casual, smooth rapping is both poetic and rocking. Hopefully this EP will be followed up by a full-length, because Newmerika’s really got something here. (Lexi Kahn)
With just one listen, Newmerika proves that accessible, refreshingly tuneful rock rap is possible if you just focus on the groove, strip out all the excess filler, and let the songs breathe.
And it turns out that they place a heavy emphasis on their races and religions because the music is a deliberate cross-cultural fade. They’re not boasting social altruism — they’re crafting a message that utterly depends on their ability to blend rock and roll with hip-hop, and also to fuse varying belief systems into one big allowance of “respect.” Really, if the whole world were to mirror the social and theological dynamics present in Newmerika’s music, we would be living in a modern Paradise.
But social themes aside, the “She’s On Fire” EP is musically sound. Newmerika exhibits influences as varied as Led Zeppelin and Pete Rock and CL Smooth, topically plying everything from dark angst to political commentary. Some Newmerika tracks are available on Myspace, and “Doo Dat” is a stand-out favorite with its sick groove and clever lyrics (in spite of the aforementioned spelling, etc, for which they have been forgiven because the material is so good.)
Newmerika’s backbone is a duo known as Phonz (vocals) and Hollywood (guitars & vocals) with Chubby Billions adding turntables. There’s also the vital rhythms courtesy of Joe Cool on bass and Funknasty at the kit. Newmerika’s musical idea is delivered frankly and directly, no holds barred, especially on the somewhat disturbing title track about a tragically unlucky woman. Chubby Billions employs great breaks and samples, Hollywood’s guitars propel the songs forward and Phonz’s casual, smooth rapping is both poetic and rocking. Hopefully this EP will be followed up by a full-length, because Newmerika’s really got something here. (Lexi Kahn)
Thee Psych-O-Daisies
(November 2001)
THEE PSYCH-O-DAISIES - Talk About Their Generation
“Our first gig was like dying and
going to heaven,” says Nancy Neon, Thee Psych-o-Daisies combination go-go
dancer/tambourine thumper. “It's absolutely the most fun that a human being can
have while vertical!” Heaven on earth for this nutty little band is beat
generation rock, centered around the holy trinity of Clapton, Beck, and Page,
from the moody psychedelic to the R&B to the three-chord garage punk. No matter what time of year it is, Thee
Psych-o-Daisies have got your Summer of Love right here.
“I'm deeply, deeply into the
British 60s stuff,” says guitarist Jacques Thibodeau, “so naturally I dig the
Yardbirds and Small Faces.” Nancy calls herself the punk of the combo and
“while Rachel likes the moody, psyche stuff, I go wildest for stuff like
‘Sometimes Good Guys Don't Wear White’, and the Chocolate Watch Band version of
‘I'm Not Like Everybody Else.’”
Thee Psych-O-Daisies (despite
having the most cumbersome band name to come along in awhile!) are an
easy-going, breezy group of friends who simply love to play the songs they grew
up with. They got together when the
band that Rachel and John were in together went extinct before ever leaving the
rehearsal space. Non-plussed, Rachel,
the primary energy behind the Daisies, forged ahead. One thing she did was to bring the irrepressible Kenne Highland
on board. Kenne describes himself as
“not much of a singer” but nobody cares; Kenne does it anyway, with wild abandon. And all the band members share a desire to
revive the old favorites. “I believe
most people in general enjoy our shows,” says Jacques. “There are so many
people in this town who have a genuine appreciation for this type of music, I
think they really enjoy hearing things that perhaps they haven't heard in years
or never saw live. I'm not saying we're the Yardbirds, but I know I personally
try to evoke the spirit of what I believe the original song was trying to get
across.”
The best part about being a Daisy?
“Having our friends show up and have fun at our gigs is the ULTIMATE!” says
Nancy. “It's just a big party. Kinda
like a high school reunion with people who actually share musical
sensibilities.” And in future, Thee
Psych-o-Daisies may not get to be part of a story about cover bands—they’re
hoping to eventually start playing originals. “I personally would like to have
a set of about 50% covers and 50% originals,” says Jacques. Peace, brothers and
sisters.
The Boy Joys
(November 2001)
BOY JOYS
Don’t Hate Them
Because They’re Beautiful
Paula Kelley, Aaron Tap, and Ad
Frank don’t NEED to play Bee Gees songs out in clubs. In fact, some of their
friends think they’re crazy. You’d think Aaron would be busy enough, what with
running Stop, Pop & Roll Records and playing guitar in several bands--
including Paula’s band, which, by the way, has recently come off two tours and
released a gem of a record. And Ad Frank! Well, this equal parts sprightly/dour
singer/songwriter has recently released a deeply personal, elegant and funny
album that’s going to top more than a few lists for ‘best record of the year.’
Yep, these are some prolific and talented musicians, kids. So why don blinding
white suits and croon “How Deep Is Your Love”?
“Aaron and I were out drinking,” recalls Ad. “We had
only known each other for a week, and we got into dueling Barry Gibb
impersonations. I suggested we start the band, but expected it to be duly
ignored like most other things I say when I'm in my cups. Much to my surprise
(literally, for I did not even remember the conversation) he called me on
Monday asking when we were rehearsing.” Maybe Ad forgot that Aaron earnestly
covered “I Started a Joke” in his old band, Betty Goo, and that Paula has been
a proud Gibb devotee since childhood.
Ladies and gentlemen, the Boy Joys.
In their song selection the Boy Joys tend towards
the early Beatles-inspired, vocal-oriented pop material, only just beginning to
include some of the better-known disco tunes in their set. “Their early albums
really kick major ass,” says Aaron. “And Main Course is one of the most perfect
pop albums ever.“ The Boy Joys insist that the Bee Gees are underrated as
songwriters, “probably because of their caterwaulic vocal stylings and the fact
that they don't have a single original idea in their heads,” says Ad. But, “by
bludgeoning audiences with one great song after another, it generally becomes
impossible to ignore how good they are.”
Aaron agrees, “Even the so-called goofy disco stuff is often very
hard-core beneath the slick surface.” All told, it’s just as fun to see this
band as it is for Aaron, Ad, and Paula to get up there and sing these songs.
For example, “Hearing Paula sing ‘I'm a man,’ and knowing just how wrong that
is,” says Aaron.
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