Brendan Benson - My Old, Familiar Friend

Recently and widely known as one of the driving forces of The Raconteurs, Brendan Benson has quietly labored since the early nineteen nineties as a solo performer in the truest sense. Armed with a four track within the seclusion of his inhabitation, he began a career of crafting infectious power pop melodies, playing all the parts while mixing down each instrument. His latest release, My Old, Familiar Friend, showcases a more meticulously honed full sound, yet still has a sturdy foundation in the basic rich melodic pop styling’s which have always made Brendan Benson’s music so appealing.

This appeal is directly related to the knack Benson has to write a simple melody and being able to keep the dramatic action of the song intact through his musicianship. Lyrically his songwriting has long revolved around a series of smartly linked couplets which deceive as effortlessly elementary (“If she throws her heart away/I’ll be there on Garbage Day”). This simplicity is then supercharged by magnifying the couplets with layered harmonies that lift them right to your ear. The genius achieved is the preservation of this seemingly pedestrian structure developed in far more interesting compositions that come across far less complicated as the parts he’s meticulously composed.

As My Old, Familiar Friend is not only familiar in style for Benson; it is similar in the thematic first hand address he uses in confronting relationships. Within the psychedelic groove and hand claps of Whole Lot Better” the music is both ironically sweet and straightforward, mirrored by his brutally honest intentions: “I fell in love with you/and out of love with you/all in the same day.” The fresh and bright “Garbage Day” is a call to be saved from loneliness arranged with diving strings over a simple snare progression. In contrast, the dark intonations of “Feel Like Taking You Home” creeps into giving into self destructive impulses of separation, shaped with short circuiting guitar loops over a consistently maddening piano chord. While the progressive “Borrow” is a stomping rocker whose verses surge with strong fervor building to unleash a brash chorus a la early Police (“You don’t see it any other way/You don’t care what other people say").

Even the avid followers who revel in the more psychedelic country blues aspects of The Raconteurs will find something of fascination in indentifying the traces of influence that the band has had on Brendan Benson on My Old, Familiar Friend (This being his first release since forming The Raconteurs). At the same time they can also recognize what makes him unique in what he brings to the band in staying rooted in his old, familiar pop.

Aaron Simms

http://www.brendanbenson.com/

Better Than Ezra - Paper Empire

Better Than Ezra’s seventh offering Paper Empire offers an array of mass appealing contemporary mid-tempo guitar driven balladry interred among upbeat songs infused with a heavier hand of electronic manufacturing; producing a mixed bag of contrived pop orchestrations.

Thematically Paper Empire examines closely how we choose to spend our time and the choices available inside those moments. The mid tempo rocker “Absolutely Still” leads off the album with a volley of arpeggiated picking in the opening riff which carries throughout the entire tune; stylistically mirroring the protagonist’s energy in the realization of an awakening. The heavy minded “Just One Day” pushes reflection to a point of severe hypothetical wishing (“If you could change choices you made/would you do it today?”). While the wisdom gained in revisiting the moment in the pulsing chord chorus (think Coldplay’s “Yellow”) of “Hey Love” is as painfully self afflictive in its awareness as it is beautiful. Yet, the simple acknowledgment of finding that place in time is most prevalent in the melodic waltz “I Just Knew,” a humble declaration and dedication to that one and only. Equal in tone is the solemn vow of “Fit,” a musical proposal filled with sweeping string arrangements.

Amongst the balladry the album offers a few anthems for the ear. “All in” is simple Dionysian tale of a life being a festival of endless summer fun. The blunt “Hell No!” provides a humorous and quirky gladiatorial punch to the face of a foe on the way to victory. Less successful is the gaudy “Nightclubbing,” using programming stolen from the late 1980’s that should have been left there. On the whole it’s only when the programming is secondarily applied in nuance does the augmentation truly thrive in being effective.

The bread and butter of Better Than Ezra’s sound has been dependant on lead singer/guitarist Kevin Griffin’s penchant for being able to bend the hard line of writing alternative rock anthems while crossing over in appealing to a more adult contemporary audience with articulate love ballads delivered with Louisiana soul. Paper Empire, more or less, walks that line conservatively and perhaps a little too straight and narrow at times, however the times when Better Than Ezra achieves that balance their music is at its best.

Aaron Simms

http://www.betterthanezra.com/

james - hey ma

The 10th LP release from this seven piece from Manchester, England is filled with the same passion and fervor for life that brought James to the forefront in their early nineties hey-day, however while their indie Brit pop rock is terribly attractive in its grandiose compositions and quirkiness, Hey Ma is grounded in mature sound and style undeniably mirrored by the current state of ongoing terror; melding melodic allurement with abrasion.

Hey Ma features the same classic James line up that recorded their break out album Laid and it's counterpart Wah Wah with Brian Eno. Continuing in the vein of those sessions, Lee Muddy Baker, who produced lead singer Tim Booth’s solo album Bone, assumes the helm as producer. Thankfully he encouraged the band to record in a jam session process to capture their best work. By recording these free style sessions the music morphs and evolves into cascading pop songs fueled by inspired spontaneity and trust. The result is a distinctly melodic collection that assumes their own identity cloaked by their thematic essence.

Tim Booth’s song writing is both delicate and furious. The pressured ache of the yearning “Oh My Heart” is a trial of strength, faith, and destiny (“No Control/Refugee/Just this life living me”). On the single “Waterfall” he rebukes himself over awakenings and the triviality of life’s diminishing trials. Then he tackles unsettlement, dealing with the incivility and senselessness of military action (“War is just about business”) expounded upon in the album’s title track and “72.” From there Booth risks to confront a deeper sense of insensitivity and isolation. On the heavy puzzlement of “Semaphore,” he’s distant, floating within a sea of helplessness and riddled with regret.

Yet amongst the outspoken lurk the subtle and sublime. Even present on the darker tracks, the guitar work is consistently bright with deep rhythm work that plummets and rises like a roller coaster. The empowering “Boom Boom” is a celebratory finish line anthem in committing to stay the course. However the standout track is the torturously gorgeous “Upside,” filled with wammy guitars that fluidly dissipate and dissolve into the chorus only to be met with a punch of punctuated trumpets and ivories. The energetic bellowed brass outtro raises the songs conclusion to a triumphant highlight. The lead bass “Of Monster & Heroes & Men” charters a course through a hopeful allegory of civilization and responsibility providing a sturdy foundation in allowing the improvisations to truly bloom brilliantly out from underneath the verse. On the track Booth sings, “We are the drivers, yet we feel driven.” One can’t help to not identify with the ownership and sense of place in which the individual is challenged to accept their stake of responsibility in the triumvirate title.

Subtle or abrasive, James implores the listener of Hey Ma to be conscious of their humanity. Expounding on the idea that for one to be alive is hard, yet to be alive and be aware is quite something more difficult.

Aaron Simms

http://www.wearejames.com/

Kolker - Antenna

Antennas is a solid blues driven album filled with maturity and heart by New York City’s The David Kolker Band. What is refreshing about this blues outfit is that it isn’t a traditional straight blues outfit but a band steeped in blues roots with the ability to expand over many genres – including the ability to trancend blues styles.

These influences range from Southern Blues (“Top of the World”), Chicago Blues (“Gilligan’s Island”), 90’s alternative rock (“Get’s You Down”) and even adult contemporary (“The Heartache”). Undoubtedly, the impetus for this diversity is celebrated in the guitar work and song writing of the band's namesake, David Kolker. The title track weaves with arching leads, accentuated with high harmonic pricks that feelingly tell of the unsettling frustration beneath the skin of the storyteller. On the inundated “How Many Times” his intro escalates with a melancholic 80’s Brit metal-like tweaking then this signature riff dissipates and weaves into Texas Flood-like colorations layered over jagged rhythm bursts reminicient of CSNY. This affinity for diversity couldn’t be executed with out the solid foundation of the thoughtful bass playing of Derek Layes, the smart snare and tom popping of Nikolaus Schuhbeck’s drum work, and Pete Keppler’s thematically accurate ivory work and percussion; particularly on evolving standouts “Top of the World” and “Happy Johnny.” Paul LeFebvre’s pedal steel playing is intuitive and infuses atmospheric moods of yearning and space, particularly significant on “Wave on the Water.”

Kolker’s vocals have an appealing warmth and calmness in the sense of a man wiser for having once been weary. His slightly raspy baritone showcases his ability to dwell in a ponderous calm while boiling underneath, characteristicly similiar of the control of Roger Waters (“Wave on the Water”). While on tracks such as “The Positive” and “Mean World” he exhibits a mature pain and heaviness in which John Mayer could take beneficial note. Lyrically Kolker’s many observations have a welcoming openness; sharing similar resonance with introspection and social outwardness of Adam Duritz from the Counting Crows, yet Kolker's conduit is more through his musical ability rather than atypical crooning. A skill he uses to his strength to best illustrate his everyman point of view.

Regardless of style, Antennas is a finite statement from The David Kolker Band in sending out an S.O.S. from the soul.

Aaron Simms

http://www.davidkolker.com/

STARK - Put it to Your Head

As it’s title implies, Stark’s Put it to Your Head is an album motivated by strong actions drawn from life taxing experiences, their effects, and possessing the individual will to over come them all and chalk it up to being, well, just life. It is the second release from this New York City rock trio, whose music and attitude is directly informed and reflective of it’s home.

What sets Stark apart from being your run-of-the-mill New York City bar band are their subtly layered style and the cohesive incorporation of that style. Their music is decidedly rock but not subjugated to blind genre predictability. The more intense guitar work of Josette infuses slight southern tinged blues riffs beside Lani Ford’s gritty punk bass rhythms (“18 Again,” “Disturbed”). While on the ditty “Dreams Come True” the entire band is able to successfully turn it down a notch via the foundation of Sweet Rob Endermann’s drumming; resulting in an indie slice of life piece that would could raise the jealousy of Liz Phair.

Vocally Ford has a clean, strong, and melodic alto with a slight vibrato that can draw you in as well as soar over you. Lyrically she is a straight shooter with an onus for tell-all honesty with little subtext that resonates simultaneously as both tough and tender. The yearning “Co-Dependant” depicts a star-crossed relationship with dichotomistic cravings. “This Day” is a tailor made rock anthem about discovering and owning up to ones own self-image. While the stand out “OH NO!” realistically captures the flood of emotions in that first instant of awareness of the inevitable.

The album closes with the acoustic “Butterfly,” a painful and personal “Dear John” letter that exhibits ugly strength and melancholic pathos out of its necessity for finality and moving on. A fitting end to an album full of life experiences from a city that could make anyone put a variety of things to their head and yet still have the will to live again.

Aaron Simms

http://www.starknyc.com/

Travis - Ode to J. Smith

Ode to J. Smith harnesses Travis’ knack for writing thoughtful and melodic pop rock and being able to implement that talent through larger sounding guitar and rhythm work; marrying the bold sound with delicate and ponderous songwriting.

Travis may have started out as a band whose mantra was proclaimed on their 1997 debut Good Feeling: “All I Want to Do is Rock,” but this quartet from Glasgow, Scotland has developed a following for their history of crossover UK indie pop hits such as “Side,” “My Eyes,” “Why Does it Always Rain on Me?” and “Writing to Reach You” which blend insightful and introspective lyrics with a winning mix of acoustic rock, banjo balladry, and Brit pop. Laying the groundwork for other successful UK counterparts such as Coldplay, Starsailor, Snow Patrol, and Keane.

On this, their sixth album, Travis ushers in a broader sound with more emphasis from their rock youth. Fuzz bass lead-in’s (“Get Up”), solitary guitar chords dropped in front of deeper tuned toms (the big chorused single “Something Anything”), and even a recorded choir (“J. Smith”) energize the songs to bring about a larger presence as well as fresh individuality. The other facit that make the songs so attractive on Ode to J. Smith is the thoughtful songwriting. Fran Healy’s lyrics have a natural contemplative deconstructiveness that caters to a broad appeal. He delves into the quandaries of making choices, ghosts of the fleeting past, the uncertain future, and the struggle to define relationships. On the opening track “Chinese Blues” Healy sings: “A million lonely people with their head in the sand/Trying to make some sense of what they don’t understand.” An exemplary highlight of one the universal applications of Travis’ ongoing struggle with life’s elemental mysteries. Most notably present in the appropriately titled “Song to Myself.”

In the spirit of exploring conflict through introversion, the album consists of many an ode to the hopes and fears of the people’s champion: Everyman, implied by the title J. Smith (being the most popular name found any city’s phonebook). These odes run the gamut of the human condition. From loyalty in “Friends,” to alarming fear in “Long Way Down,” and on to tender nostalgia in beautiful “When You Were Young.” Surprisingly, the album is absent of a traditional hidden track. But when you write “Something Anything” for Everyman, what’s left to hide?

Aaron Simms

www.travisonline.com

Your Vegas - A Town and Two Cities

A Town and Two Cities, the debut album from Your Vegas, is a cleanly pieced and polished collection of epic, en vogue, and radio friendly Brit pop rock. The songwriting is worldly, appealing, and personal, but the songs themselves come across as uninspired, predictable, and safe. Making one wonder if the band will stand out independently or fall into a rotation within a saturated genre?

The songs are successfully built around variations of the verse, chorus, verse format with such science it’s hard to gage any real sense of Your Vegas’ individuality. Undeniably, this talented quintet from Leeds, England has a knack for aching sing-a-long choruses and attractively packaged songs that are instantly likable. And it is enough to like the songs for being par. But there is a severe lack of dimension for the listener interested in hearing more than the latest variation on a pop rock song passed down from the last decade.

Again, there is no real fault in this. It’s simply a matter of individual taste. But there are recurring trademark symptoms of this formulaic music that is blatant and obvious. The pop rock format by rote superimposes the vocals with overt audibility to the forefront thereby diminishing the actual music to uneven accompaniment. Which benefits the war heavy “The Way the War Was won” and “Salvador.” There’s the choice of the melodic falsetto chorus; instituted on the apologetic “In My Head” which hooks the verses of the song into unmemorable fodder, weakening the song considerably. Then the mixing is distributed among the instrumentation so evenly one can’t help but feeling the dull edge of digital editing. Dullness in the vein that it robs the listener from feeling any punch that these attentively crafted songs could deliver. Instead the music comes off soulless, with just enough bells and whistles to make the songs shinny and attractive to market. Take “Troubled Times,” it begins with muted Buggles-like intro verse that flows into a preview chorus that feeds into the full band second verse…to the grandiose finale. The irony isn’t lost on the song’s theme of lamenting opportunities lost.

Listening to the album as a whole makes one wonder if the yearning and passion of earnest pop rock has become such a predictably pedestrian form that it will negate even its own immediate appeal. The question then changes from: “Is Your Vegas built to last or are they only for right now?” to “Is Your Vegas even for right now?”

Aaron Simms

http://www.yourvegasmusic.com/

U2 - No Line On The Horizon

No Line on the Horizon captures the essence and tone of U2’s greatest hits in all new material. It is a true culmination of their body of work. The album is amazing because it possesses familiar elements accumulated throughout their twelve-album history, as well as new elements of arrangement that augment and enhance their branded sound. No Line on the Horizon is a finite musical statement of where they have been and how it has informed them into making them who they are today.

A sonic wall opens the album with Achtung Baby like fervor on the title track. Immediately followed by appropriately titled “Magnificent,” highlighted by lead guitar chorus fills that hearken back to The Unforgettable Fire. The single “Get on Your Boots” has an infectious Escape Club-like groove that is could easily been found on their last offering How to Dismantle an Atomic Bomb. While “I’ll Go Crazy if I Don’t Go Crazy Tonight” is stuck in a moment of a contemplative action similarly found on All You Can’t Leave Behind.

However there are definite signs of where the band is heading toward in the future. “Fez- Being Born,” a meditation on the transformative state of traveling, is infused with an expansive combination of styles; opening with a fluid trance vibe that diminishes only to emerge with an “In God’s Country” rhythm attack “Stand Up Comedy” features Adam Clayton and Larry Mullin Jr. locked down in a funkadelic sass groove, giving freedom to Bono to scat on empowerment. While “Moment of Surrender” and “Unknown Caller” have subtle foundations of electronic percussive programming that amicably support The Edge’s superb chorus and reverb licks, delivering a timeless, yet progressive sound.

Thematically the album preaches the messages hope and the choice to love. With the recurring images of hills, mountains, land, sea they affirm our capacity to scale and overcome them anew (“…and again I’m reborn/ Every day I have to find the courage with arms out” (“Breathe”). Serving as a reminder that we all possess the will to surpass boundaries.

It is truly amazing that U2 is able to cover the spectrum of their progressive life as a band and maintain a definitive sound that is identifiably their own.

Aaron Simms

http://www.u2.com/

Robert Pollard - The Crawling Distance

Anything less that twenty tracks on an album by Robert Pollard is expectedly referred to as an EP. Given the prolific history of his hundred (not joking) previous incarnations derived from and including his former band Guided By Voices, one might scream foul play in seeing a mere ten tracks on his most recent LP release The Crawling Distance. Despite the quantity, it is an odd relief to feel reasonably fulfilled by mix of the liberties taken on his twenty second solo album (still not joking) and first of 2009.

The songs are all finely rooted in a mad scientist style of basement tape rock that has been Pollard’s way of recording ever since he was a teacher in Dayton, Ohio. Even so, going solo has allow Pollard a kind of reverse experimentalism (for him) with cleaner production and well-made song structures in using journeys instead of non linear jabs; initially flirted with on GBV’s Do The Collapse. Part of those structures may be due to the peculiar set up of production of his solo style. Pollard is credited for writing all the songs, yet in the process of fleshing them out the album could clearly have been labeled a collaboration with multi-instrumentalist Todd Tobias, who plays bass, drums, guitar, keyboard, and produced the album.

The title of The Crawling Distance may be in reference to the fact that all but two songs clock in, around, or above three minutes; minor opuses given the standard history of Pollard’s knack for brevity and freedom of form. However on this solo work, Pollard neither strays far from normal time signatures, nor deviates far from traditional song framing. Most notably on the presence of a fair share of simple and breezy ballads (It’s Easy, No Island, Red Cross Vegas Night) whose arrangements effectually underscore and lift the songs to a level of a kind of sonic poetry; containing lyrics that encapsulate an air of cock-eyed wisdom from an outspoken uncle who speaks in mixed King Crimson-like mystic metaphors but does it in the attitude of The Who.

Happily, to offset the meter, there are shares of quirky delights that find resonance and fascinate the curiosity. “By Silence Be Destroyed” reeks of garage rock with an off the shoulder, blasé resignation. While the masculine anthem of “Cave Zone” is a tonally barbarous yelp for sanctuary both bold and fragile that's thematically worthy of Victor Hugo novel. Yet, it is the warm, empowering, and rather normal “The Butler Stands For All Of Us” that most effectively represents Pollard’s signature style, representative of the mood of GBV’s Under the Bushes, Under the Stars. The song includes the phrase: “It pays to know who you are/Cuz that’s who you are.” Not only knowing who he is, but being able to mine a career from writing, recording, and performing on his own terms, there isn’t a description more emblematically defining Robert Pollard than his own lyric.

Aaron Simms

http://www.robertpollard.net/

Mastodon - Crack the Skye

Crack the Skye is a wet dream for any classic rock station looking to bridge the gap in the hope of marrying their weathered, tried, and tired head banging faithful with the desperately hungry young offspring that scoffed at the guise of nu-metal while holding out for a second coming of the good old days. Long no more, Mastodon delivers a metal album that expands generations. The rhythm section trudges with a 70’s Sabbath-like weight, the lead guitar work is reminiscent of the best that the 90’s Seattle grunge had to offer in musicianship (Cantrell, Thayil), while the vocals have the multiplicity of the new century’s front men in using the committee approach (Brann Dailor (Drums), Bret Hinds (Lead Guitar), and Troy Sanders (Bass); sometimes in tandem even on the same track.

What is unique about Crack the Skye is that Mastodon succeeds in fusing physical sensation of the music with attempting to tell an arching mythological story without being perceived like dungeon masters that hate reality. The music comes across nothing short of brutal and fist pumping, while the lyrics are conceptual. They foretell of an outer worldly journey and even time travel, which is immediately evident from the Icarian opening track “Oblivion,” a remorseful tale of anticipation and dread of the possible opportunity of absolution after failure. The epic four part “The Czar” blends A Perfect Circle-like delicacy with ripping emotional leads a la Black Label Society that save the song from becoming dour. However the true journey piece of “The Last Baron” concludes the album in a thirteen minute hyper-aware ode to salvation.

This is the fourth offering from the Atlanta grown quartet (Bill Kelliher on guitar) and their first produced by Brendan O’Brien (Stone Temple Pilots, Bruce Springsteen, Pearl Jam) who keeps the flow of the collected songs tight and allows the band to do what they do best: rock.

Aaron Simms

www.mastodonrocks.com

The Airborne Toxic Event - The Airborne Toxic Event

The self titled full length debut from Los Angeles quintet The Airborne Toxic Event is a colorful, tight, and energetic indie pop jaunt that is unapologetically infectious. It is their major label debut (Majordomo) yet The Airborne Toxic Event retain the charm of a ma and pa start-up record which grants it a universal appeal while standing out from the clumping of British and American independent rock acts.

The band’s name originates from White Noise, a novel by Don DeLillo that explores the effect of a poisonous cloud’s social and personal implications on the individual. The description of the cloud served as the bands name and as a mirror to the myriad of life changes that influenced singer guitarist Mikel Jollett’s choice to change his vocation from novelist to song writer.

Undeniably the strength of The Airborne Toxic Event is being musically articulate. The songs are well made and smart with out being apparent and obvious. The production work by Pete Min is air tight. Daren Taylor’s popcorn drum work and Noah Harmon’s bass lines are classic with out being cliché. Anna Bulbrook’s viola and keyboards are never out of place, being used incidentally on “This is Nowhere” and also providing depth on the heart felt single “Sometime Around Midnight.” Stephen Chen’s lead guitar playing is subtle and bright, which contrast well with Jollett’s jangly rhythm work. Arguably, the raspy vocal range of Jollett may come off as limited but has an honest storyteller’s point of view that is authentic and committed.

The album moves at such a raucous pace it feels like it ends shortly after it begins. The Violent Femme-like “Papillion” is a snappy and messy ditty of self-loathing. While the nostalgic “Gasoline” and “Missy” recall the most melodic jauntiness of Mike Ness’ solo work.

If they can out live the inaccurate labeling from the media; like “the American answer to The Killers or Snow Patrol,” and stay on target in producing appealing, cross-over pop rock The Airborne Toxic Event have the tools to grow into an institution.

Aaron Simms

http://www.theairbornetoxicevent.com

Chris Cornell - Scream

From the initial flare of the fan fare that opens Scream, the third solo offering from Chris Cornell; it immediately makes one wonder if somehow they are listening to the newest artist produced by Timbaland. They are. The producer responsible for works by Aaliyah, Brandy, and Jay-Z has been entrusted with shaping the latest offering from one of the marquee vocalists in rock. The result of the collaboration is an eclectic mix of smart electronic beats and brooding, smokey rock n’ soul which seems more primed for the clubs than the mosh pits. What makes Scream a shock however isn’t necessary this new directional choice of form for the former Soundgarden singer, but the departure in genre on making a contemporary pop album.

Cornell has a long history and diversity as a collaborator. From the grunge era Temple of the Dog and Screaming Trees to his post Soundgarden super group Audioslave, which featured the musical core of the politically minded Rage Against the Machine. On his two previous solo outings, Euphoria Mourning and Carry On, Cornell has flirted with styles outside his hard rocking roots that have included folk ballads and rhythm and blues. Therefore the prospect of what magic could come from merging the historical big guitar sounds and trademark yowling of Cornell with the superlative programmed arrangements of Timbaland is a tantalizing concept to fathom. Even could be viewed and considered a progression for both.

However the partnership is less than equal as the guitars are diminished and the programmed percussion reign and overwhelm; form fitting the jagged and crude into a more pristine and synthetic mold. While Cornell’s connection to the material grabs attention, the polished barrage of chorus’ and attentively careful structures of each verse come off with a fine packaging cleanliness that seem to emotionally curtail the ache and visceral weight of this proven soul rocker’s potential. Having said that, the methodology of programming is sharp, dynamic and crisp with a vast array of beautiful, melodic, and aggressive songs that, given they find their audience, will be dutifully received.

The album leads with the aptly titled “Part of Me.” A break-beat blues lament on denying temptation that features Cornell’s signature croon. As his choice of illustrative form may be new, the themes visited are familiar: regret (the complex “Time”), loss (the breezy Top 40 R&B ballad ‘Long Gone” and the heavily lamented “Other Side of Town”) and empowerment (the bass pumping “Get Up”). Just because the guitars are stowed doesn’t mean there are an absence of, er, rockers (the self destructive “Enemy,” the infectious “Take Me Alive,” and the excellent “Never Far Away”). The most telling track however is “Climbing Up The Walls.” It is the albums closest thing to a traditional rock song and ironically comes across the most pop.

As a piece, the album moves cohesively, peppered with interesting outtros and intermittent bridge work that sonically perk the listener only to change gears dramatically after. Like in life, transitions should just happen. Arguably the album could be trimmed back by a few ideas.

The metaphoric cover art is a never truer assertion of fair warning and a statement of Cornell’s boldness for this departure. On principle, the rock n’ roll faithful could easily dismiss this effort as heresy (a la 1980’s Peter Cetera from 1970’s Chicago). Has he joined the rhythm nation? Or could this be his Kid A? From the swell of the organ and harmonica on the traditional blues laden hidden track, it could be evident of yet another endeavor.

Regardless, when an artist tries to say something in a new way, the medium shouldn’t over shadow the message. This is exactly what this inventive pop album is up against. The challenge of this collaboration will be if Timbaland and Cornell can find a cross section of their audiences that will embrace the album. For all its daring complexity, Scream is simply a demonstrative success of Cornell in exceeding boundaries.

Aaron Simms

http://www.chriscornell.com

The Von Bondies – Love Hate and Then There’s You

The third album from this indie power pop from Detroit, Michigan is full of buzzing garage band guitars that are kept crisp in glossy production that restrains The Von Bondies’ Love Hate and Then There’s You from being too gritty yet it successfully captures the energetic punch of their live shows.

At times the album carries a desperate urgency and struts its voracity. Immediately evident in the opening track “This is Our Perfect Crime” and “The Chancer,” which are tailor made for shout-a-longs. Then there is the more heart (and tear) on sleeve songs with layers of “ooohs” and swooning chorus’ that soften and reveal an appealing vulnerability; such as the indifferent first single “Pale Bride.”

A possible citation for the diversity could be due to singer and guitarist Jason Stollensteimer sharing writing duties for the first time with drummer Don Blum, on four of the twelve tracks, and producer Butch Walker (Hot, Hot, Heat, The Donnas), on two tracks. Also involved is Rich Parker (Black Rebel Motorcycle Club) who produced three of the tracks.

It makes sense then that what makes Love Hate and Then There’s You fun to listen to is the spectrum of tones of indie influence on the album. Ranging from the dive bar, anti-radio call-out of “She’s Dead to Me” to the bright, pop dance vibe of “Accidents Will Happen” to the snappy, a la “Earth Angel,” retro classic “Modern Saints” (“Take my hand/close that door/take my heart away/evermore.”) Therefore we can accept the dichotomy of grit and gloss as harmonious for they simply define the sound of The Von Bondies.

Aaron Simms

http://www.vonbondies.com/

NINJA 2009 Tour Sampler

It may be a labeled a “sampler” but attention must be paid as an immediate sign of the times to come. The NINJA 2009 Tour Sampler, recently released March 20 on-line, is a taste of what is to be a juggernaut of a tour this summer across North America by the triumvirate of Jane’s Addiction, Nine Inch Nails, and the newly formed Street Sweeper. No the world didn't time warped back to 1991’s Lollapalooza when Nine Inch Nails’ Pretty Hate Machine was a tiny little dot on the radar of the few. When Ritual de lo Habitual hoisted Jane’s Addiction to the forefront of the alternative nation while proving to be the original line up’s swan song. Or when an unknown band called Rage Against the Machine was just starting to make noise in Los Angeles. There is a form of poetic irony then that in 2009 a tour featuring members of these three bands will appear on the same card while Trent Reznor contemplates stepping away from Nine Inch Nails, a reformed original Jane’s Addiction is recording (with Reznor producing), in addition to being supported by Street Sweeper, a new collaboration featuring Rage’s Tom Morello and Boots Riley of The Coup.

The sampler features two unreleased tracks from each band but is stylistically universal in its aggression, attitude, and angst. The funk and groove of Street Sweeper’s “Clap for the Killers” and “The Oath” features Morello’s guitar licks slashing in a voodoo child like waves against the confident and righteous vocals of Boots Riley. The break-neck wail of processed guitars and thumping bass driven romp of “Not So Pretty Now” and the heavy crunge of “Non-Entity” (Both B-sides from With Teeth) showcase Nine Inch Nails with a diversity of vehement, fatalistic, and delicate tones (reminiscent of 1999’s The Fragile) that could be extremely powerful (and effectively playable) live.

Most interesting, however, is the presence two “new” studio tracks from Jane’s Addiction, originally released on their 1987 live album debut Jane’s Addiction (widely referred to for years as “The Triple X Album” or “Live at the Roxy”). It’s a bold risk to attempt to make new two non-single tracks that fans have coveted for over twenty years (George Lucas, anyone?) Amazingly, the gamble is validated. The thundering rampages of toms that launch “Chip Away” are guttural, sharp, and fierce. Perry Farrell’s voice soars into a rave as the primal sound swarms under the nuanced hand of Reznor. The weight of Eric Avery’s thumping intro to “Whores” primes a burst of swagger from a band which hasn’t conveyed that essential grit and attack of sound in a recording since Avery left the group in 1991. Which leads the listener to curiously ask: Is it the connection to the classic material or is it the reconciled energy between the four original players that have provided the spark on these tracks?

Considering the energy, musicianship, and mutual admiration of the artists in these prolific bands, it leads one to wonder if any collaboration will occur on any given night on stage. Dave Navarro played on NIN’s Piggy (Nothing Can Stop Me Now) on 1995’s Further Down the Spiral and NIN’s 1989’s Pretty Hate Machine’s “Ringfinger” lifts a sample from Jane’s Addiction’s “Had A Dad.” Perhaps fans could see a rendition of Jane’s “Pigs in Zen” featuring Reznor on vocals and Morello on lead guitar?

Looking ahead to the future, after the show is over, fans can look to hold on to the night by looking for Street Sweeper’s debut this year featuring the currently released first single "Fight! Smash! Win!" as well as a retrospective box-set from Jane’s Addiction titled A Cabinet of Curiosities is to be released April 21, 2009. As prolific as Trent Reznor has been over the last few years, it is hard to determine if Nine Inch Nails will release more material or are to go gracefully into the void.

Aaron Simms

http://www.ninja2009.com

Fleet Foxes - Fleet Foxes

Every once in a great while the voice of an artist cancels out the noise of world and willingly you stop to give them your full attention. The self titled full length by the Fleet Foxes is a fresh ode of a vintage melodic pop record. It is a welcome anomaly in a contemporary landscape filled with pop music dominated by Broadway want-a-be “Idol” worshiping, break-beat R & B, and the endless succession of imitable Brooklyn hipster bands. Given the band's individuality, it is ironic to discover this Seattle based five piece is signed to the same label (SUB POP) that served as home to the Grunge founders of the early 1990’s. Yet it’s somehow appropriate that another band from the Northwest is breaking new ground in old ways. By fusing popular forms that have similarities to the Brian Wilson influenced pop of the 60’s and the catchy country rock side of Bob Dylan, Fleet Foxes transfuse them into a poetic, contemporary sound of their own.

What’s most refreshing about Fleet Foxes is that they embrace arranging their songs collectively as a band. Each track feels seamlessly built in cohesion; none more evident than witnessed on the meticulous and haunting “Heard Them Stirring.” Through collaboration they are able to transpose the writing strength of lead vocalist Robin Pecknold into soaring structured harmonies. Which are the hall mark of the album and are used delicately to build each song through enforced repetition; evident in the bellowing strength of the stand out “White Winter Hymnal.” Pecknold’s lyrics reflect ponderous storytelling styles that range from early country crooning timber of Neil Young to the more disjointed tenor laden Animal Collective. Despite the intimacy and temporal feel of the album, the lead vocal chorus effect on Fleet Foxes tends to come across a bit over layered. However they use that layering well in mixing somber traces of melancholy with the hopefulness in spirit, derived from leaned nostalgic lessons. Fleet Foxes exemplify a warmth and simplicity, which is as tried and contemporary as any thing that has come before or available now.

Aaron Simms

www.subpop.com/artists/fleet_foxes

Jim White – Transnormal Skiperoo

The music of Jim White has, in some way, illustrated a peak into the quirky, spiritual, and the none-too-familiar parts of Americana in the rural south. On Transnormal Skiperoo he has put together an album of delta blues, roots rock, and (not quite) alt. country that is eclectic as the individual stories hatched from each song. White’s calling card of honest observations of life as it was, or could be, offer insight and amusement that serve as moral time capsules as he marries acerbic wit to classic narratives about faith and normal folk (“Seems like the more that you lose/the more you ache to find…” on “A Town Called Amen”).

Surrounded by a series of collaborators, he’s found the best blend of a band since 1997’s Wrong Eyed Jesus! Through programming, wispy percussion, and pedal steel there is a delicacy and uplifting sparseness that plants the listener right down in the Mississippi Valley. Yet, his “spiritual gurudom” extends far past the rail way tracks; much like David Byrne, who has hosted White on his Luaka Bop label since his debut.

Most of the tracks have a calm musical drawl that allows White’s acid lyrics to calmly resonate; evident on the sobering “Jailbird” and the lamentable pipe dreams of “Plywood Superman.” However there are a few tunes that’ll keep your toe tapping. Specifically the stand out “Crash into the Sun,” accentuated with horns and hand claps, as well as the simple and straightforward “Turquoise House.” Above all, the most surprising thing about Transnormal Skiperoo may be how abnormally normal it seems. Jim White may be bridging the more esoteric jabs of reason that made his earlier works so vivid and interesting, but after a listen you’ll come to find he still just makes enough sense for you to want to play it again.

Aaron Simms

www.jimwhite.net

The Verve - Forth

Although the landscape of popular music has changed since their last release the Verve has put together a powerful and diverse collection of new songs that are as resonant as anything they have previously released. Forth is a fine amalgamation of the sonic psychedelic of their early work coupled with a more straight forward songwriting style that brought the band into the mainstream on their last offering 1994’s Urban Hymns.

The album is a definite sign of progression, evident in the band cohesively applying their sonic tonalities of texture to a more sculpted structure (also evolving from singer Richard Ashcroft’s solo work), while stylistically keeping it simple. Out of this structure, a diverse palate of colors shine. Like the dance worthy swagger in "Love is Noise" and on signature dream scape wonders such as "Numbness."

The mixing on Forth places Ashcroft’s vocals more in the forefront of the music, but they are never over shadowing. His baritone audibly rests where it’s evenly supported by waves of complimentary melodic nuances that propel each song's journey. Yet what gives this album its greatest appeal is the unsung, subtle precision from the bass and percussion team of Simon Jones and Pete Salisbury. The foundation of each song have a solid clarity. Making room for guitarist Nick McCabe’s tones to resonate with propensity far past the dissipating distorted wall-of-sounds in earlier efforts; this allows Ashcroft room to explore with more variety on such tracks as the sonorous "Noise Epic" to the delicacy of "Valium Skies." The album also features Ashcroft continuing to explore themes of existence and morality in the quest for comprehension of the human condition, evident on tracks such as the title track "Sit and Wonder" and "Appalachian Springs" (“Does any body know really know where we’re going to go?”). In the age of super groups and the new incarnations of established bands, it’s rare to find a band able to come together after a long absence and produce original, interesting and vibrant work. Forth is worthy of its title.

Aaron Simms

http://www.theverve.co.uk/