How many bands have been called “Kitten” before? Surely this is neither the first nor the last. This EP starts with “Kill the Light,” and it sounds like newer Yeah Yeah Yeahs. The sound here is definitely typical of today’s female-fronted modern rock bands. “Chinatown” sounds like “Kill the Light.” It is a little more ’80s, I guess, like Missing Persons.
“Johnny Johnny Johnny” and “Allison Day” mindlessly went by. Nothing wrong or right with them. “Kitten With a Whip” is luckily better than a cliche to wrap up the record. It has bits of Marianne Pillsbury’s “Fixer Upper Lover” and some random Pretty Girls Make Graves in it. The synths clinch the track’s spot as “best track on the EP.” Bully for them.
Archive for the ‘KSCU’ Category
Kitten “Sunday School”
March 13, 2011Lia Ices “Grown Unknown”
March 13, 2011I am guessing it’s pronounced “ICE-is.” She is another singer-songwriter with a piano and beautiful voice. You can never have too many of these, and you should know going in whether this is of interest to you. I’ll take all I can get. “Love Is Won” is a good example of what you can expect.
“Little Marriage” is a waltz and has ethereal backing vocals that complement the rest of the song perfectly. “Daphne” features Justin Vernon if you’re into that sort of thing. The title track has clapping to keep the beat while Ices wails away. It is a standout track in that the rest are much quieter.
Corpus Callosum “Corpus Callosum”
March 13, 2011I’ve seen these guys a few times at Nickel City, so it only made sense that I would review their record as well. They’re a little bit country and a little bit offbeat. And I think one of the dudes in the band works at Barefoot Coffee in Santa Clara. That place was awesome until they got rid of Whim of the Barista. You could order that and never know what you were going to get. It was perfect for an indecisive bastard such as myself. Now, when you try to get them to do it, they grudgingly oblige, but they never seem really happy about it. Luckily that guy can always fall back on his future in Corpus Callosum, a band that has great potential if it can stay true to its sound.
“The Ridgepole Sags” is as fine an example as any when it comes to their sound. There is some accordion mixed in, and it reminds me of Boris. I enjoy the CD packaging. It has a pull tab to get it open, so someday mint copies will be very scarce and worth thousands. Before disappointing their respective families by announcing a career in music, I bet at least half of them had marketing backgrounds.
“Riding Home” is a little stranger but again not out-and-out weird. The whole record is really a low-key excuse to broaden your horizons without having to join a cult or start smoking crack. Did you see “The Fighter”? Crack is tough to overcome.
“I Hate You” is a long story with a beginning, middle and end. You could play this when you have to go to Women’s Restroom 5 or Men’s Restroom 7. “The Siblings Greely” sounds like a male version of Sinead Lohan’s “No Mermaid.” The chorus doesn’t quite work, but the rest of the song is amazing.
Tristeza “Paisajes”
March 13, 2011They’re all instrumentals, and this CD can serve as a bed while you’re talking if you want. Subtle differences abound, but you really can’t go wrong with any of them. They recommend you listen to “Raise Your Gaze” and “Newbury,” although the onesheet is littered with typos, so who knows? Give me “Missoula” any day. It has better samples. (Remember when samples were called “sound effects”?)
The last track, Cholo, is also a little more upbeat, like “Newbury.” None of the tracks sound as if you’re on hold or anything, but these definitely work better. But beyond the standard of “voiceover music,” there’s little to recommend. But it is time to remake that “How to Make a Whopper” instructional video, isn’t it?
The Chromium Heart “Chrome”
March 13, 2011This band has nothing to do with Topps or Bowman Chrome, which is a shame, but it is still a CD worth collecting. “Bricks” is the first track and a little faster than some of those Death Cab for Cutie classics. The art of inoffensive indie pop rock has been perfected.
I get a good feeling listening to “This Feeling,” a slower number that must be dreadful live. Although the vocals don’t sound like it, musically it is reminiscent of famous Oasis ballads. “Rusty Veins” bridges the gap of those two songs, and really the 1997-2006 era is well-represented on the record throughout. The last track is “We Sail.” It’s another dragger, but the country hints give it a better sound.
Ed Hines Band “Danger Love”
February 27, 2011So I have a friend named Ed Hines. We used to work together. When I saw this record, I figured I should see what he would sound like if he were a band.
Well, “Space Man” sounds like Morrissey, except the lyrics aren’t depressing. In fact, they are downright happy. “Song 1400” is a love song that would make Kepi Ghoulie blush. The organ completes it.
“Your Daddy” reminds me of the Steve Martin album I have. Actually, most of the tracks do. “Bloodstream” is weird enough that an act like Corpus Callosum could have done it.
“Cindy Said” is the last track. Like the other tracks, it is very simple, musically, with offbeat lyrics. It’s hard to take the band seriously because they don’t take themselves seriously. But I will dust off a chestnut I used when I reviewed Convalescent Surprise’s EP: You can really taste the goat.
The Joy Formidable “I Don’t Want to See You Like This” (single)
February 27, 2011The single itself? Sure. It sounds like someone gave Blondie’s “Dreaming” a 30-year update. Musically, it makes me think of the chorus of Smashing Pumpkins’ “Tonight.” There’s a lot of stuff going on all at once. The second track is the Grouplove Remix, and it’s a lot better if you’re into synths. Very peppy and upbeat. It is what you expect from a remix, except the track itself is not longer. (Actually it is 19 seconds shorter.)
The last track is a live version of “Popinjay.” It’s fine.
Sassparilla “Ramshackle”
February 27, 2011This is how Portland, Oregon, does country. (Admittedly, it would be fun to see how Portland, Maine, does country, as well.) The comparisons to Virginian-era Neko Case are too easy to make, so I’ll let you do that.
“Devil” is like a checklist for this sort of thing. Harmonica? Check. Sing about a dog? Check. Female backing vocals, especially on the chorus? Check. The beat reminds me of the Charlie Daniels Band’s “The Devil Went Down to Georgia.”
“Mexico” has the vocals mixed high, but my expectations of a cohesive story were dashed early on. Still, it rooty-toots with the best of ’em. Square dancing is good for the core if you do it right. “Bruised by Tears” is a good time song for good time guys and gals.
“Sawdust” is a lot of fun as well. The songs don’t all sound the same, but they definitely all have the same vibe. You aren’t in store for any big surprises, and that just might be fine.
Trashcan Sinatras “Best of Trashcan Sinatras (1990-2010 Radio Sampler)”
February 27, 2011Little bits of everything. You may know some of these songs. “Only Tongue Can Tell” inspired the Muffs, melodywise, when they wrote “Sad Tomorrow.” But crack open a Zima and enjoy some of these power pop classics.
“The Best Man’s Fall” has beautiful backing harmony. “Hayfever” doesn’t make me sneeze. The chorus, however, is full of hooks, just like many of their piercing-laced fans back in the proverbial day.
For a snapshot of the mid-’90s sound, look no further than “The Genius I Was.” “Welcome Back” is a bit more upbeat and sounds like a peppier Chris Isaak song. (They do exist, promise.)
If a slower ballad is what you’re looking for, “Weightlifting” is half Gin Blossoms, half Better Than Ezra. “I Wish You’d Met Her” has a more modern feel, and if you do like me and put the album on repeat, you get quite a contrast when it loops back to “Only Tongue Can Tell” again. But the common thread among all the tracks is a smooth sound that makes you happy to be alive. Unless you’re a zombie.
Old 97’s “The Grand Theatre Volume One”
February 27, 2011I thought I was keeping up on Old 97’s, but they’ve done a ton of shit that I haven’t heard. I’m old, but I’m not 97. At any rate, their sound currently resides in the slow Social Distortion genre. “The Grand Theatre” would have been a hit in 1997, I am sure, and that’s the last number-based joke I will make.
“The Magician” is a good track title considering the name of the album. There are bits of Stray Cats running around in this number. Why does anyone under 30 like this band again?
For those who are into this new brand of alt-country, the obligatory track is clearly “Let the Whiskey Take the Reins.” There is also “You Smoke Too Much.” Who am I to argue?
“Please Hold On While the Train Is Moving” sounds like a clever title, but really it’s just a warmed over John Cougar Mellencamp attempt. So be it.
You could do a lot worse. I know you love Old 97’s so go ahead and love them.
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