A WALLFLOWER BLOOMS - Me and the Machine
Transcription
A WALLFLOWER BLOOMS - Me and the Machine
Page 16 In Tune The Daily News WEDNESDAY, JULY 2, 2008 A WALLFLOWER BLOOMS Jakob Dylan emerges from the shadow of his famous father and, under the guidance of super producer Rick Rubin, crafts a solo debut that is worthy of the family legacy JAKOB DYLAN, “Seeing Things” (Columbia) ✰✰✰✰ — Producer extraordinaire Rick Rubin can do no wrong. The guy who helped break the Beastie Boys, rejuvenated the careers of both Johnny Cash and Neil Diamond, and has even the most jaded of Metallica fans optimistic about the metal outfit’s upcoming record, has worked his magic with Jakob Dylan. Dylan has spent the better part of two decades trying to get out from under the considerable musical shadow of his father. He never made much of an impression on me with his band the Wallflowers, but, under Rubin’s watchful eye and armed with a handful of first-rate songs and a stripped-down sound, the younger Dylan has a winner on his hands with “Seeing Things.” From the opening strains of “Evil Is Alive and Well” through the final notes of “This End of the Telescope,” Dylan has crafted an excellent solo debut. Though he might not be as good a writer as his daddy (and really, who is?), his singing voice is much better and he uses it to optimum effect on these 10 mostly excellent tracks. Among the standouts are “Valley of the Low Sun,” “Everybody Pays They Go,” “Something Good This Way Comes” and the ironic (yet not over-the-top) protest tune “War Is Kind.” Hopefully, this is the start of big things for Bob Dylan’s boy. ((Jeffrey Sisk) HERO DESTROYED, self-titled (Relapse) ✰✰✰1⁄2 — Upper Darby grindcore/death/everything-heavy label Relapse sure has a soft spot for Pittsburgh, what with them already having scooped up instrumental math wizards Don Caballero and sci-fi synth monsters Zombi. Now with Hero Destroyed in the fold, it’s a trifecta. The band’s brutal and bending seven-track debut drops Tuesday, kids, but they’re going to smash your chest cavity with songs from this satisfying record with a release show this weekend (details below). Borrowing some of those brainy calculations employed by Don Cab and adding them to a hardcore-minded serving of grinding thrash, these fellows are one of the city’s mightiest exports yet, with lead shouter Pat McNicholas’ diatribes sounding like an angrier, more venomous Jamey Jasta. The tech-minded guitar chops of Zach Moore and Jeff Turko make for a sludgy opener in “Cause for Cancer,” and they even take a turn toward Meshuggah on “Bloody Hand.” “Texas Heart Shot” has some thick and meaty basslines from Dustin Newman, the band’s secret MVP, and “Thin White Line” brings the record to a close with a thunderous breakdown and McNicholas demanding, “Cut yourself wide open!” I’d love to see Hero Destroyed capture this town’s sniveling hipsters in a room for a good savage beating. They’ll never know what hit ’em! Oh, and can’t wait for the full-length. (Brian Krasman) Hero Destroyed have a CD release show set for Saturday at 9 p.m. at 31st Street Pub in the Strip District. Admission is $5; also on the bill are Abysme and Liquified Guts. CRYPTOPSY, “The Unspoken King” (Century Media) ✰✰1⁄2 — Perhaps only the upcoming Metallica record will be more anticipated, dissected and discussed as the new one from technical death metal pioneers Cryptopsy. Listeners were warned that things were changing, experimentation was at full tilt, and with vocalist Lord Worm getting the heave-ho, the album would contain clean vocal passages via Matt McGachy. A band altering its sound can be a good thing. Take Dillinger Escape Plan and Mastodon, for example, who thrived from it. Or it can be awful. Witness Megadeth and Metallica, who badly damaged their reputations. “The Unspoken King” falls nearer to abject failure than glorious rebirth, as the daring steps they took to change make them sound dull and, more shockingly, like a really bad nu-metal band at times. If this is supposed to be the daring new Cryptopsy world, then I’d like an early checkout, because although “Worship Your Demons” and “Anoint the Dead” still have that flesh-bruising magic, there are too many moments such as “Leach” or “Bound Dead” or limp closer “(Exit) the Few” that come off as poor stabs at Faith No More weirdness or, even worse, like a bad Disturbed knockoff. And we don’t need any of that. (BK) SALLY SHAPIRO, “Remix Romance Vol. 1 and 2” (Paper Bag) ✰✰✰1⁄2 for both — Swedish Italo disco/synth pop act Sally Shapiro’s debut release “Disco Romance” was a surprise underground hit, fanning flames of admiration all over the blogosphere and inspiring a legion of producers and DJs to try their hands at reworking the songs. The results, as one might guess, are mixed, and the feelings about these new visions probably will shift from ear to ear as people digest these separate releases. By mixed, I don’t mean some are good, some are bad. Really, no one fouls up these charming, warm pop treasures, but some manage to take the songs to a higher level, while others should have left well enough alone. For example, on “Vol. 1,” Holy F**k do a magical number on “Find My Soul,” making it a bit more streamlined and pop sensible, while the Junior Boys add depth and buzzed whirring to “Jackie, Jackie.” On “Vol. 2,” the SLL remix of “I Know” sounds like it could slip easily into Erasure’s playbook, while the Dyylan Subzero Nocturne take on “Jackie Jackie” is nicely minimalist, and the Dyylan version of “Hold Me So Tight” is just plain eerie. No one manages to improve upon the gorgeous “Anorak Christmas,” nor does anyone top the original Shapiro/Johan Agebjörn version of “He Keeps Me Alive,” one of the best indie pop songs of 2007. Either way, the projects are interesting and provide new perspectives of a devastatingly strong debut record. (BK) BRAD CALEB KANE, “This Day in History” (Lovelane) ✰✰✰1⁄2 — New York City native Brad Caleb Kane grew up listening to the likes of John Lennon, Cat Stevens and Paul Simon — “Anyone with a guitar and a point of view,” he says — and those musical influences run deep on this excellent debut album. With Kane handling writing, piano, guitar and vocal duties, “This Day in History” contains 10 very personal tunes that offer a fascinating glimpse inside the mind of an up-and-coming artist. “My songs are pretty much all autobiographical,” Kane says. “But by the time I’ve gotten them out of my head and into the real world, they seem to pick up lots of new reference points.” Without question, the most affecting (and best) song on the record is “Freak,” a spare, haunting acoustic account of a disaffected teenager facing life on the streets and pondering suicide. If this too is an autobiographical song, I can only hope that Kane had some help tackling those demons. Yikes. None of the other tracks pack the same kind of emotional wallop, though that’s not to say they’re lightweight fluff. There are confessional elements to keepers such as “Out There,” “Go Mad,” “In Your Own Way” and “When the Lights Go Out,” which help make “This Day in History” a valuable addition to any record collection. ((JS) INCOGNITO, “Tales From the Beach” (Heads Up) ✰✰1⁄2 — Jean-Paul “Bluey” Maunick, the creative force behind British acid jazz collective Incognito, knew he wanted to be a musician from age 5. He heard local artists play in his native Mauritius, a tiny island off the coast of Madagascar, and “concluded that this was the life for me.” For almost three decades now, Maunick and his mates have churned out jazz- and R&B-tinged records to great acclaim in the United Kingdom. With “Tales From the Beach,” Incognito are hoping to get better recognized on American shores. Though there are some memorable moments on the group’s 18th release, “Tales From the Beach” is not an essential record. The horn work on album highlight “I Come Alive (Rimshots and Basses)” is tremendous, Joy Rose’s vocals on “It May Rain Sometime” are beautiful, and the disc-closing title track sounds like a hipper, funkier Manhattan Transfer. Yet many of the 15 tunes on “Tales From the Beach,” which clock in at a ridiculously overlong 74-plus minutes, are way too similar. It’s pleasant enough music in small doses, but the lack of diversity makes this a difficult record to get through in one sitting. ((JS) NELS ANDREWS, “Off Track Betting” (Ignatiius) 4 — Singer/songwriter Nels Andrews was born in California, but his travels have taken him from New Mexico to South Dakota to Alaska, where he worked in the fisheries after graduation. That wandering spirit is alive in his music, which is low-key, rootsy Americana at its core. “Off Track Betting,” his long-awaited follow-up to 2005’s “Sunday Shoes,” dropped in Europe earlier this year and rose to No. 2 on the Euro Americana chart. It only takes one spin to see why. With a haunting sound that’s drawn comparisons to Ryan Adams and Edwin McCain, Andrews has matured as a songwriter. He weaves fascinating slice-of-life tales that he describes as “voices from a campground in the desert winter, from behind the wheel of a yellow cab, of driving a rented car through the streets of a town that froze in time and still treats you like a stranger.” That’s hyperbole, of course, but not as much as you might think. Winning tunes such as “Fever Dream,” “Three Days,” “Butterfly Wing” and “Sunday Shoes” paint pictures with words and music that are sure to stick with you long after the CD stops spinning. ((JS) PRIMA J, self-titled (Geffen) ✰✰✰ — I don’t have many guilty musical pleasures, but that list has grown by one with this infectious debut release from teen pop duo Prima J. Comprised of Mexican-American cousins Jessica and Janelle Martinez, Prima J made a splash last summer with the single “Rock Star,” which made it onto the “Bratz” soundtrack. “Rock Star” appears here as well, a fitting close to the 13track collection, but plenty other tunes are equally catchy. There’s the hilariously silly fun of “Leftovers,” the affirma- IT tion-set-to-a-Latin-beat of “Corazon (You’re Not Alone)” and Prima J manage to pull off “Boom,” a seemingly unnecessary update of the L’Trimm’s “Cars With the Boom.” If “Nadie” sounds familiar, it should, as the cousins offer up a respectful Spanish-language version of the Alicia Keys hit “No One.” While there isn’t any offensive language on the record, parents should exercise caution. Some of the subject matter is a little racy — especially the thinly veiled sexual overtones of “Tame” and “Chilosa” — and might not be appropriate for the tweens I expect will be clamoring for this album. ((JS) WALTER BECKER, “Circus Money” (Mailboat) ✰✰✰✰ — For all intents and purposes, Donald Fagen and Walter Becker were the Lennon & McCartney of ’70s jazz rock icons Steely Dan. They shared songwriting and singing duties for a band that gave us such classics as “Hey Nineteen,” “Deacon Blues” and “FM.” For years, however, I’ve assumed (mistakenly, it turns out) that Fagen was the man behind the Dan. After all, Becker has slid into the producer’s chair for most of the past three decades, leaving the music making to others. “Circus Money” is just the second solo album for the 58year-old Becker, but it’s enough to convince me that at the very least, he and Fagen were on equal footing back when they were busy “Reelin’ in the Years.” This 12-track collection is a fantastic throwback to the classic Steely Dan sound, with Becker sharing songwriting chores this time around with producer Larry Klein. Fans are sure to warm to standout tracks such as disc opener “Door Number Two,” “Bob Is Not Your Uncle Anymore,” “Selfish Gene” and “Somebody’s Saturday Night.” Becker shines brightest, however, on “Circus Money’s” centerpiece tracks, the reggae-tinged “Darkling Down” and the moving “God’s Eye View.” This super record likely won’t spawn any radio hits, but it’s an absolute must for Steely Dan fans. ((JS) JOSH PRESTON, “Exit Sounds” (Me and the Machine) ✰✰✰ — Nashville singer/songwriter Josh Preston started his professional career playing numerous sideman gigs up and down the East Coast. An accomplished guitarist, what he really wanted was to strike out on his own. Preston began writing his own material and, in 2006, started work on what would become his solo debut. A well-received EP followed last year, setting the stage for “Exit Sounds,” his most ambitious effort to date. Things open with the haunting “If I Had a Light in You,” a brooding, downbeat tune that sets the tone for the remaining 12 tracks. There are more songs in that vein (too many, in fact) on the album, as Preston seems to be cleansing his soul with sad keepers such as “Safety Feels the Exit,” “Temptation,” “Addict” and “Thousand Years.” Even the disc-closing bonus track “Please Tell Me You’ll Be Home for Christmas” maintains a melancholy vibe. All of this makes “Exit Sounds” a record that needs to be spun several times (and in the right frame of mind) to be appreciated. Though a little too mopey for my taste, Preston is a capable frontman in his own right. ((JS) REV THEORY, “Light It Up” (Interscope) ✰✰ — So you’ve worn out all your Nickelback and Seether CDs and are getting tired of listening to Daughtry’s debut over and over again. What’s a selfrespecting young rocker to do? Well, if you’re looking for more middle-of-the-road guitar-driven rock sound (hello Mercy Fall, how ya doing Saving Abel?), you could do worse than this soso sophomore release by New York City quintet Rev Theory. Of course, you’re not going to get lyrics much deeper than “Give me a hell / Give me a yeah / Stand up right now” (from first single “Hell Yeah”) or “It’s on tonight so hold on / ’Cause we’re about to light it up” (from the title track), but nobody said the guys formerly known as Revolution Theory were poets. There are plenty of rocking guitars that should raise testosterone levels across America, and Rev Theory score with tunes such as “Broken Bones” and “Ten Years.” Unfortunately, the post-grunge sound — though still prevalent on modern rock radio — no longer packs a real punch. ((JS) FLEET FOXES, self-titled (Sub Pop) ✰✰✰1⁄2 — As mentioned in this space a couple months ago when reviewing their excellent “Sun Giant” EP, Seattle’s Fleet Foxes are about as far removed from the Emerald City’s trademark grunge sound as you can get. Instead, this talented quintet is all about the happy, with cheery introspective melodies enveloping frontman Robin Pecknold’s soothing tenor. Their self-titled debut has earned almost universal acclaim since it dropped last month, though I found the EP to be more satisfying. In my case, a little of Pecknold’s whimsical crooning goes a long way. The Foxes don’t make things easy on the listener as the record opens with a pair of droning a capella tunes that establish a tone, no doubt, but also might alienate some would-be fans. Just when you think hope is lost, however, Pecknold and his mates hit their stride with remarkable tracks such as “Ragged Wood,” “Tiger Mountain Peasant Song,” “He Doesn’t Know Why” and “Blue Ridge Mountains.” In addition to the slow start, Fleet Foxes go astray a few times. “Quiet Houses” is forgettable and I found “Meadowlarks” to be downright annoying. Still, the Foxes have crafted a satisfying debut that, if you’re in the right frame of mind when you pop it into your CD player, might just sweep you away on a wispy musical cloud. ((JS) HAYDEN, “In Field & Town” (Hardwood/Fat Possum) ✰✰✰1⁄2 — My very first thought when spinning this latest release from Canadian lo-fi folk rocker Hayden is that he sounds an awful lot like Elvis Perkins, whose 2007 debut is one of my favorite albums. Of course, with four previous studio efforts (plus a live release) to his credit since 1996, it’s probably more accurate to say that Perkins sounds a lot like him. Either way, “In Field & Town” is an almost-great collection of 11 quiet, often introspective tunes of heartbreak that underscore the 37-year-old Toronto native’s evolution as a songwriter. There are a few songs that miss the mark (“The Van Song,” “The Hardest Part”) but Hayden makes up for the occasional misstep with keepers “More Than Alive,” “Worthy of Your Esteem,” “Did I Wake Up Beside You,” “Weight of the World,” “Lonely Security Guard” and the beautiful sadness of disc closer “Barely Friends.” ((JS) ★ — Run for your life ★★ — Not awesome ★★★ — Not too shabby ★★★★ — Pretty sweet ★★★★★ — Awesome