Shearwater - Breaking the Yearlings

Shearwater are often considered "underappreciated," but they're just properly appreciated by an understandably modest, devoted fanbase. Though their handsomely recorded albums and Jonathan Meiburg's former membership in Okkervil River put them in the context of NPR darlings and amphitheater headliners, they're still a tough sell: Often compared to Talk Talk at their most commercially forbidding, they're not populist like Okkervil or the National, their theatricality doesn't appeal to a specific brand of geekdom like the Decemberists or Andrew Bird, and their artiness is too pretty and studied to be edgy. Even when trying to describe what makes something like Rook's "The Snow Leopard" a staggering listen, you're left with chin-stroking explanations, like how a trumpet's fanfare finally breaks the tension of John Congleton's immaculate production, but it lasts three seconds and takes four minutes to get there.
On Animal Joy too many changes are afoot to think Meiburg isn't chafed by the situation: They've peripherally moved from one indie titan (Matador) to another (Sub Pop) and from one revered indie producer (John Congleton) to another (Danny Reisch). But more notably, take a look at the unusually plainspoken title: Animal Joy proves they are still a naturalistically minded band, but in dropping the more arcane conceptual gambits of their self-described "trilogy" of Palo Santo, Rook, and The Golden Archipelago and speaking in layman's terms both emotionally and sonically, they're taking their best shot at meeting new listeners halfway.
They come racing out of the gate to do so on "Animal Life"-- Meiburg's amped-up choirboy vocals have always been suited for grand, sweeping gestures and yet he's never delivered something so overtly pop. To put it in his preferred orinthological terms, it's a peacock moment for sure, pure 1980s corporate rock because it somehow sounds expensive, striving to honor ambition itself as intrinsically good-- it could be a Florence and the Machine song, NBC could use it to soundtrack their commercials for the Summer Olympics, but they throw in enough fussy chord changes and dissonant fringe to keep things from getting too cozy.  There's a similar release-the-hounds rush to "You As You Were", a sonic and poetic ramble culminating in Meiburg's desire to "Go back to the East/ Where it's all so civilized/ Where I was born to the life/ But I am leaving the life." Whether it's meant as a candid admission from a touring musician or a nod to the desk jockey that longs to mount a wild steed, it feels like a mission statement; Animal Joy doesn't so much stand for carnality but for the thrill in upsetting the equilibrium between domesticated repression and desire for primitive abandon.
While Animal Joy doesn't totally do away with Shearwater's exploratory tendencies, Ek's production is radio-friendly in the sense that there's a constant presence to this music-- even the comparatively quieter moments make themselves heard fairly easily. In the past, Shearwater songs occasionally got loud, but lead single "Breaking the Yearlings" is loud throughout, big churning guitars and busy, inventive percussion from the truly underappreciated Thor Harris. That said, it's still a Shearwater song in that you'll get more out of it if you happen to know that yearlings are essentially pubescent horses, energetic and unpredictable. Indeed, though considerably dialed-back, Meiburg hasn't lost his preference for poetic devices-- whether equine or otherwise-- to keep any attempts to present Shearwater as a red-blooded, blue-collar rock band short lived. Amidst the trudging orchestral strains of "Insolence", he announces rapture as a time "when my thoughts become undisciplined... it is effortless," a wish-fulfillment fantasy for a band whose power is often the result of fairly obvious effort. And though Shearwater typically allow themselves one song per album to rock out of character, "Century Eyes" or "Corridors" wouldn't prepare you for how "Immaculate" gets all Eddie & the Cruisers with it, complete with tweaked 12-bar blues riffs, and a reckless loner named Johnny as a narrative device.  From: https://pitchfork.com/reviews/albums/16277-animal-joy/

Eve's Plum - Wishing The Day Away

 

I had the opportunity to speak with Colleen Fitzpatrick, Eve’s Plum’s vocalist. Eve’s Plum recently released their second CD titled Cherry Alive and they are visiting town as part of Ray Gun magazine’s first ever concert tour. Cherry Alive was produced by Fred Maher, a drummer who has worked with everyone from Lou Reed and Material to Bill Laswell, that would also be Material wouldn’t it? He has also produced CDs by Matthew Sweet as well as a Belly single.
Fitzpatrick called me from a tour bus parked in Tulsa, Oklahoma. The Maher tour was on its second date and she reported that things are going well so far. Her press materials have her working as a dancer and actress before she joined the band. She studied ballet at NYU. I asked her what kind of dancing she did. She said that she’d done stage dancing, jazz dancing, and some dancing in videos back when that was popular. She couldn’t remember what videos she’d done, but she did remember one she didn’t do. She was called to dance in a Pat Benatar video, but was unable to make the photo shoot due to a prior commitment. It’s too bad because we could have had a new pop singer as the dancer in an old pop singer’s videos.
Next I asked about the songs. Who writes the songs? The press release gives the impression that Fitzpatrick does all the writing and it isn’t true. She does write most of the lyrics, but the songs are either co-written by guitarist Michael Kotch and Fitzpatrick or they are written as band songs. The songs are good, risking some criticism from all the strange little subcultures that read this rag, I’ll say that Eve’s Plum has some excellent pop songs. Nothing alternative about it, nothing cutting edge, nothing hard or industrial, it’s simply pop music. I guess I should slam it, but I fall for a pop band fronted by a girl every now and again.
The next question I asked was about their song on the Spirit of ‘73: Rock for Choice compilation—a benefit album for Rock for Choice. The project was in the works for about three years according to Fitzpatrick. For reasons I don’t understand and she didn’t know, the album was politically controversial. Record labels didn’t want to touch it. I asked about the man factor, but Fitzpatrick didn’t have information. She did say that a woman was responsible for finally completing the album. Eve’s Plum was excited about recording a song from the seventies. Remember Fitzpatrick is a dancer and they cover a disco song on Spirit of ‘73. She and the rest of the band were supporters of the cause.
The next question was about any weird encounters with audience members she’s experienced. She does write some songs dealing with sex in a blatant fashion and she is quite lovely. The basis for this question was the recent Heather Nova concert. If you were one of the psychos staring at Nova, get over it and find yourself a girlfriend. Fitzpatrick reports that she’s had none of the weirdoes chasing her. She said her band is a boy/girl band and that Heather Nova “must be a sex symbol.”  From: https://www.slugmag.com/archived/eves-plum-november-1995/   

Fuchsia - Another Nail

Taking their name from Lady Fuchsia Groan of the 1940's novel `Titus Groan', Fuchsia were a British progressive-folk group made up of students who delivered a single cherished little album that has since picked up quite a legendary underground status over the last few decades. Comprised of charming and sprightly folk tunes with lush orchestrated instrumentation and keen pop melodies, it almost sounds like a cross between early Pink Floyd and the Syd Barrett solo albums, Electric Light Orchestra and a pinch of Gentle Giant, Caravan and Fruupp, making for a whimsical, energetic and sweet psych-lite folk gem.
The group is directed by lead singer and guitarist Tony Durant, who fleshes out Fuchsia's acoustic/electric sound with a predominantly female band on violin, cello, viola, harmonium and piano. Opener `Gone With The Mouse' is softly energetic and lively, propelled by forcefully jangling plugged-in guitar strums, sighing plaintive backing vocal longings from the girls and lightly proggy orchestral-like violin interludes that soar gently with confidence.
‘A Tiny Book', one of the more ambitious pieces at eight minutes, is a mini-suite of subtle reprising passages that seamlessly move in and out of each-other, darting through everything from frantic electric bursts, wearily wistful ballad ruminations and regal-flecked pomp in the finale that would make Gentle Giant green with envy! Pay close attention to this track - Tony's likable voice here often sounds like the results of a lovechild between the Floyd's Syd Barrett and the nasally Steven Wilson of the early Porcupine Tree works! But moving on, ‘Another Nail' is bookended with violin-fuelled whimsy that wouldn't have sounded out of place on Caravan albums like `For Girls Who Grow Plump in the Night' before crashing into a politely wilder vocal psychedelic runaway rocker with a touch of Pink Floyd's The Piper at the Gates of Dawn's 'Astronomy Domine' to it!
The B-side's ‘Shoes And Ships' is one of the strongest tunes on the album, a fragile yet elegant folk-popper with frequent orchestral reprises in place of a vocal chorus and a longer instrumental acoustic guitar outro, and it almost sounds like a template for a million indie-pop/folk bands ever since. The playful and loopy ‘The Nothing Song' practically screams Syd Barrett and his `Madcap Laughs' and 'Barrett' albums, and along with some darker little traces locked in, there's a deliciously bent and slightly `off' quality to it all! It's a psychedelic romp that throws in everything from big percussion crashes, rumbling drums, dramatic orchestration, with shambling acoustic guitars alongside manic and mischievous electric guitar soloing. 'Me And My Kite', a favourite amongst fans of the album and group, is a gorgeously twee pop-charmer with a sweet and achingly simple chorus, and the dreamy bluesy guitar bends of closer `Just Anyone' again reminds of the earliest Floyd works.
Sadly, sparse advertising and failed touring opportunities lead to the premature demise of the group soon after, until a compilation of unreleased and related pieces entitled 'Fuchsia, Mahogany and Other Gems' emerged in 2005, and more excitingly a revamped modern line-up assembled by Mr Durant, now based in Australia, delivering a well-received proper follow-up `Fuchsia II: From Psychedelia...To a Distant Place' in 2013. But for over forty years now, this charming self-titled work has been Fuchsia's defining musical statement, one that holds an effortlessly melodic crossover quality that would also likely appeal to non-folk fans, and it has retained its infectious and precious charm ever since.  From: https://www.progarchives.com/artist.asp?id=2585

22 Brides - Another Distant Light

It never fails... every time I'm ready to declare alternative rock dead, some group comes along to prove to me there are signs of life in the stagnating genre. This time around, it was the duo of Carrie and Libby Johnson, better known as 22 Brides, who gave me reason to see new blood in the alternative rock world. Their third album, Demolition Day, reminds me a lot of the Indigo Girls, only with more of an edge musically and lyrically. For such a short album, a lot of enjoyment is packed into it - and that makes all the difference.
Often, the lyrics sing about relationships and the pain that can be caused as a result of them. The title track is one moving example of the heroine in the song trying to break out of a relationship that is headed towards (if it's not already in) trouble ("Getting out of here is the hard part now / You haven't learned a thing"). What provides the added punch needed to the song is the musicianship of Libby and Carrie (who often trade leads throughout the album); they know that a good lyric means nothing without a good song to make the message hit home.
Similar to the title track, "Another Distant Light" looks in at a woman who dreams of leaving a dead-end relationship, but doesn't seem to have the resolve to do so just yet. Lyrics: "He moves into the distance / Each time I start to turn / He moves and so I listen / To learn what I might learn". The aspect of feeling trapped is summed up in the line, "I don't know how to be free / So silently I shrug". Ka-pow.
But for the messages of hopelessness conveyed in Demolition Day, there are moments where the rays of daylight shine brightly. Tracks like "So It Goes" offer the hopes of passing on life's lessons learned from a parent to a child, even as they look towards a new chapter in their lives ("Old words beyond us / Water under the bridge").
The surprising thing about 22 Brides is that despite the often dark tone to the lyrics, the sisters Johnson, through their vocal delivery and often upbeat tone they set in their music, are able to help the listener feel better after going through the album. How they are able to do this I am not certain, but whatever magic they're creating, it works well.
The eleven songs on this disc are surprisingly short; four tracks clock in at under three minutes each. However, 22 Brides seem to know how long it takes to get their message across, and they don't want to pad it out with any extraneous material. That being said, I would have preferred the disc to be longer; something this good shouldn't end so quickly. It's too rock-oriented to call folk, yet it's too folky to classify as rock. Instead, Demolition Day creates its own unique musical category for 22 Brides: just good music.  From: https://dailyvault.com/toc.php5?review=471

Curse The Son - Suicide By Drummer

Already half-way through the year and we’ve encountered a number of game changing records already. ‘Excruciation’ (2020) by Curse The Son must surely be counted among them. It’s the New Haven doomers’ fourth album since their inception in 2007, chock full of fire and brimstone.
“Suicide by Drummer” was the first single to greet us some months ago, a dawn-to-dusk kind of experience delivering a spirited Ozzyesque opening followed by a stark change of tone and a dead serious close. Whether vibrant or grim, Ron Vanacore’s wicked vocal approach gives each song on Excruciation a distinct identifying mark, along with the devastating low-end his guitar delivers – reinforced by the punishing rhythm section of Brendan Keefe (bass) and Rob Ives (drums).
Vanacore comments: “In this bizarro world we currently find ourselves in, a band’s life’s blood has been taken away. Who could ever have thought that live performances would be such an outlandish concept? Pre-Covid19, Curse the Son had already made the decision to unleash videos for every song on Excruciation! That decision appears even more relevant and necessary now! Fast forward a year and here we all are…isolated, lonely, nervous and frustrated. Fear not friends, music is alive and well.”  From: https://doomedandstoned.com/post/620552765519904768/cursetheson

Venus Hum - Mechanics & Mathematics Live

 Venus Hum - Mechanics & Mathematics Live - Part 1

 Venus Hum - Mechanics & Mathematics Live - Part 2

 

It’s hard to review a concert DVD. I mean, it’s a concert. A DVD is just going to remove one of the most important elements of a live music show; the shared experience of partaking in a musical event. Even the best concert DVD’s (for the best, watch Blur’s “No Distance Left To Run”) lack that certain something. You can see the crowd, you can hear them, but where’s the delinquent tosser swinging his pint around, arms flailing? Where’s the obscured view? Where’s the aching back, nurtured through hours of standing up and not moving very much? Hmmmmm… maybe the DVD is a better option after all?
Venus Hum have been around for 10 years or so. Comprising of Annette Strean, Kip Kubin and Tony Miracle this little trio might not be that well known to you, especially outside of the US. You might have seen them if you ever saw the Blue Man Group live, as they supported and played with them on their Complex tour. But they pretty much sit under the radar. But that has never stopped them consistently producing some of the finest, melodic and interesting electronica to have ever come out of the US. Which is surprising for an act hailing from Nashville, TN, the home of country & western.
So, the DVD. Well, this is no ordinary concert DVD. As in, it’s not an amalgam of a few shows from a long running sell out tour. This is a film of a one off gig, played at a small, intimate venue in Cincinnati, OH called The Monastery, an old church converted into a recording studio and performance space. A small crowd and a close, intimate experience for those attending. The first 20 minutes or so are dedicated to a short interview with the band, interspersed with snippets of footage from rehearsals.
The rest of the DVD is the show and a lovely event it is. Most of the “Mechanics & Mathematics” album is covered along with tracks from their previous long players. From a synth geeks perspective, there’s not as much synth geekery to take in, save for an ARP 2600, Roland System 100m, a Space Echo and some other random bits and bobs. This is a heavily laptop based show with some rear projections going on. Tony Miracle seems more than happy with his very old Evolution MK149. Mine now languishes in the loft. But this is all a blessing. Why? Well, for once you can concentrate on the music. There’s no flashy technology going on here. It’s two guys, Ableton Live (and Logic, I think), and the amazing vocals of Annette, seen here sporting a rather school mistress-y look which is quite a contrast to her previous guises. She’s still hot though!
This is a lovely DVD of a great little gig, the intimacy of which is superbly conveyed by the camera work. The music “does the talking”, the projections mere frilly, but effective edging. For once, a live DVD that’s more about the music than anything else. The band’s desire was to get their live act noticed by many more people. This DVD does that job perfectly. Stay tuned after the credits for an excellent impromptu and completely unrehearsed version of “Alice”. No sequencing, just guitar, keys and a soaring vocal. Quite exquisite.  From: https://www.failedmuso.com/venus-hum-mechanics-mathematics-a-concert-film-by-neil-smith/

 

 

Meat Puppets - Backwater

There’s an axiom when it comes to writing, which is to tell the truth. Even if you’re writing fiction, even if a character or narrator is lying, it’s important for the “voice” to come from a truthful place. That’s what people connect to, as opposed to the artifice and posturing and marketing and bullshit that we all put up with much of the time. The same is true of all art, of course: truthfulness is essential for connection.
These thoughts play around in my mind while listening to Too High To Die. There’s a core truthfulness and integrity to this band’s sound and songwriting that shines through.  Which is to say that I’d be absolutely astonished if the Meat Puppets started writing songs like “Backwater” or “Evil Love” with the intent of, “Hey guys, I think these are the ones that really gonna pop on rock radio and MTV’s Buzz Bin!”
Which is also to say that truthfulness is a core reason why those songs and Too High To Die is great. It helps of course that the album is wildly rangy and eclectic, consistently interesting and surprising. It flitters between melodic grunge and country, roots, and blues-inspired rock in a way that gets better and better every time I throw it on.
“Backwater” is arguably the band’s biggest hit, though Meat Puppets never achieved the massive commercial success of some of their contemporaries. “Melodic grunge” is the best way to describe it, though you can also feel a little country influence. It’s also a well-constructed and tight song with a really nice grungy hook. Like many, I probably heard of Meat Puppets for the first time by way of Nirvana’s Unplugged performance on MTV. Kurt Cobain brought a few members of the band on stage and the entire crew performed the Meat Puppets’ songs “Lake of Fire” and “Plateau.”
While “Lake of Fire” was originally released on Meat Puppets II, back in 1984, it also appears on Too High To Die. If you’re like me, and you’ve listened to Nirvana’s Unplugged… uh, many times, it’s really interesting to think about the versions of “Lake of Fire” and “Plateau” in comparison to one another.  In any event, Meat Puppets’ “Lake of Fire” is a wildly original song, another spin on country-ish grunge, this time with a quieter bent (and a mix of acoustic and electric guitars).
The more I listen to Too High To Die, the more I’m taken with “Evil Love.” There’s much about it that could have been a hit 1980s pop song, but it’s processed through the unique sensibilities of the Meat Puppets, making for an incredible original creation.  From: https://popthruster.com/2023/04/08/meat-puppets-too-high-to-die/