The Do, Dust It Off
Mia Riddle, Echo
Return to Mono, Song of the Beast
The Anthemeers, Landslide
Miranda Lee Richards, Lifeboat
Rilo Kiley, Always
Big Deal, Mai Joy
The Rentals, Friends of P
The Reputation, Face It
Sigur Ros, Svefn-G-Englar
Caitlin Rose, Learning to Ride
The Rondelles, Mission: Irresistible
The She’s, Picture of Houses
The Rocking Horse Winner, Orange Blossom
San Cisco, Solitude Is Bliss
Yael Meyer, Home to Me
Sahara Hotnights, The Difference Between Love and Hell
Saint Etienne, We’re in the City
Axelle Red, Entre Nous
The Salteens, Hallowed Ways
Santah, White Noise Bed
Hindi Zahra, Beautiful Tango
Sara Lov, Why Can’t I Be
Run for Cover Lovers, Kubota Tractor
Melanie Devaney, Last Glass of Love
Rubies, Room Without a Key
The Sadies, Tell Her What I Said
Anne, Virginal Plight
Scout Niblett, Kidnapped by Neptune
Sassparilla, Sawdust
Zoe Boekbinder, Gravity
Sarah Lee Guthrie & Johnny Irion, Butterflies
Save Ferris, Goodbye
Meshell Ndegeocello, Feeling for the Wall
The Scaramanga Six, Spent Force
Polly Scatterblood, Other Too Endless
Niki & the Dove, The Drummer
Savath & Savalas, El Solitario
Seksu Roba, Erotico
Yamantaka // Sonic Titan, Reverse Crystal // Murder of a Spider
Sex Presleys, Teddy Bear
Selby Tigers, Motorway
Stephaniesid, Life in a Northern Town
Archive for January 2012
Joel’s Hit Show, Episode 136, 11 January 2012 Playlist
January 12, 2012Cloud Control “Bliss Release”
January 8, 2012My grandma is Japanese, so this band’s name makes me giggle. At any rate, they’re just another indie rock band with an emphasis on ’70s-style power pop. “Meditation Song #2 (Why, Oh Why)” reminds me vocally of Catherine Wheel’s “Judy Staring at the Sun.”
I’m a sucker for simple hooks, and Cloud Control thrives on them, so similar to eating Psycho Donuts all day, I’m enjoying “Death Cloud.” The intro gets your attention and then the guitar before the first verse calms you down and gets you ready to rock out.
Blue Skies for Black Hearts and Edwyn Collins fans alike will appreciate “Gold Canary.” This might be the best track on the record. The female backing vocals on “Just for Now” make this a better track. Not only does it sound good, if you listen to the lyrics, her singing provides a lot of credibility to it.
The other track I like is “Hollow Drums.” It has the folk sensibility of a James Taylor or Paul Simon song but with those same female backing vocals. Hooray for that.
Big Deal “Big Deal EP”
January 8, 2012“Chair” is the first track, and iTunes thinks this is the Chair EP, but the album art begs a different story. This is kind of an advance, in that “Chair” and “Locked Up” will be tracks on the upcoming full-length, “Lights Out,” is released.
In a lot of ways it’s a standard male-female indie rock duo. And honestly that’s not a big deal. But they don’t suck. They’ll get better as time goes on, one would think. “Mai Joy” is a B-side, and “13” is a Big Star cover. Maybe on the full-length they’ll cover a Big Head Todd and the Monsters number. “Mai Joy” is the best track on here, so I don’t know how it ends up being just an unreleased track, but maybe a remastered version will show up on their second LP.
The Anthemeers “EP”
January 8, 2012They’re an indie rock band with occasional hooks but otherwise unspectacular. “Becoming Something” is really long and builds and builds but doesn’t really do anything with itself.
A shorter song that sounds about the same is “Stray Dog.” Gin Blossoms come to mind when I hear this. “Landslide” has the same guitar as the Sundays’s “Hideous Towns.”
“Peace” is another long one that starts slowly and builds over time. “Coyote” on the other hand dives right in. This is the one they save for encores. The last track is “Phaedrus” and has banjo. Not quite like Shawn Colvin’s “Sunny Came Home,” but it’s close. It does pick up as the song progresses, however.
Maybe it’s just not my cup of tea, but the Anthemeers didn’t do much for me here.
Ivy “All Hours”
January 8, 2012This band has been around nearly 18 years. That’s crazy. And the sound has evolved that entire span. Where Ivy have ended up today is in a fierce battlezone for my attention and affection. It added up to being a Top 10 album for me in 2011, and I’m remiss in finally reviewing it now. Don’t release albums in November!
Remember Big Audio Dynamite? Put Dominique Durand in front and you’ve got an idea. Bush 41-era dance beats on top of upbeat modern rock on tracks such as “Distant Lights” give you the latest incarnation of Ivy, and I adore it to pieces.
“How’s Never” has a Britpop sounds that’s, well, quick, painless, and easy. “World Without You” is more electronic, the way New Order used to do it. And it’s not too much of a stretch to hear Durand channeling Bernard Sumner a bit here.
An acoustic piano/guitar sendup provides the perfect background for “I Still Want You.” Maybe it is the song you would expect a band like this to do, but that doesn’t make it any less appropriate. When Londonbeat turned the synths off, they could do this sound as well.
If you miss Ivy’s ’90s sound, “Lost in the Sun” throws you a bone. Yes, I miss it, too. The last track is “The Conversation,” and I’ll have one with anyone that wants one. It’s so nice to have Ivy back after all these years.
The She’s “Then It Starts to Feel Like Summer”
January 8, 2012Bits of twee pop and ’60s girl group harmonies here. Sort of a Beat Happening meets The Pipettes, I guess. On tracks such as “Running” you can’t help but relax and listen to a new act doing the same thing with a time-honored musical style. I absolutely love this.
“Picture of Houses” is even more amazing than the other tracks. The guitar reminds me of All Girl Summer Fun Band, but there is enough of a rock edge to deepen the texture of the song overall.
If you want something a little more power pop, try “Fabian.” Although it’s still distinctly “The She’s,” the sound is noticeably a departure from the other tracks. Perhaps inspired by recent biopic “The Runaways,” “Kids of Rock” has a bit more energy. The first half of this album is quite traditional, and the second half seems to show what else the band is capable of. I can’t help but wonder what will be in store for them.
Yael Meyer “Everything Will Be Alright”
January 8, 2012Oh, that’s why they compare Yael Meyer to Feist. This review is over.
For those of you that stuck around, I can tell you which songs sound better, but you’re dealing with a Feist clone, for better or worse. I, for one, am pretty excited. “Backbone” is a great example of mixing good programming with even-better lyrics. The synths and drumbeat are done in a Baxter style, although Meyer is a much better singer than Nina Ramsby.
The beat from Death Cab for Cutie’s “Why You’d Want to Live Here” is noticeable on “Heartbeat.” It’s still an original song, though. “Shed Their Fear” is pretty, especially the chorus, which has subtle, pleasing harmonies.
When I hear “Home to Me” I want to come home to her. This song has it all, even jingle bells. This is why you don’t release albums in the fall. The strength of this song alone would have propelled the entire album into my Top 10 of 2011. Oh well.
The other track I recommend is “The Night.” It’s a little slower and focuses on her voice and the piano. Dot Allison does a better job of this, but Meyer is still pretty amazing.
Axelle Red “Un Coeur Comme Le Mien”
January 8, 2012This warbling waffler is from Belgium. The songs are all in French. I’m not sure what “Red” means, though. At any rate, she’s been around for 20 years but still looks young because of how she styles her hair. That’s a tip from me to you: Cover your crows feet with your hair, and you’ll look 10 years younger.
“La Claque” is the first track and gives you an idea of what to expect: Mature singer/songwriters may be a dime a dozen, but few have the experience that Axelle Red beings to le tableau, er, I mean the table.
The guitar at the beginning of “La Liberte C’est Quoi” sounds like the intro to Janet Jackson’s “Someone to Call My Lover.” Vocally Red sounds like Kate Bush here. If you like ’60s girl group-style music, “Entre Nous” will work for you. Her voice is a little closer to Liz Phair’s here, and the guy that sings with her is also a talent. This is one of the best tracks on the album.
“Elle Est Tout Pour Lui” is a more traditional rock ballad, reminiscent of Heart or Alannah Myles, except, of course, it’s in French. I also like the guitar work in “Dans les Bras des Hommes,” especially during the bridge.
The other track I like is “Le Mur.” You get a range of style with this record, but mostly it’s darker modern rock with lush instrumentation. Works for me.
Damn Handsome and the Birthday Suits “Promotional EP”
January 8, 2012I reviewed a previous EP so I figured I would give them another shot. These local cats confused iTunes, who thought this was a Ramona the Pest EP from years back. For all we know they could have overwritten a CD-RW of that one.
At any rate “Incredibles” is the first track, and the guitar sounds like Tegan and Sara. It sounds a lot better than their previous effort. That much I can assure you.
“Days” has the same bassline as the Tegan and Sara song whose guitar was in the previous track. That’s weird. This song is a fairly straightforward rock ‘n’ roll song. “Pink Flamingos” has a mid-90s alternative rock feel, sort of like Bare Jr. if you remember them. The melody here rips something off, but again, I can’t quite place it. I’m thinking Aerosmith or Guns ‘N’ Roses here.
The last track is Angels. This one is for fans of Reverend Horton Heat or Devil Makes Three.
This sounds a lot better than that Decapitate the People for the Government stuff that they were doing before.
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