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NINE INCH NAILS
WITH TEETH
The anonymous submission pirated album review.
Track 1 - All The Love In the World
1-2-3-4-(*5*)-6-7-8-9-10
-The first half of the song is great, but hits a rough switch in tone and rhythm that doesn't fit the whole song. Slow and sappy, but go figure...it's Trent.-
Track 2 - You Know What You Are
1-2-3-4-5-6-7-(*8*)-9-10
-A nice little fast paced, pissed off song that deserves a good thrashing on the dance floor.-
Track 3 - The Collector
1-2-3-4-5-(*6*)-7-8-9-10
-It starts out snappy with a great drum beat, and follows through musically. The lyrics take some getting used to, but the song overall has merit. The chorus is a bit more rough than the verse, but give it a couple of times around, and it'll grow on you like "The Hand That Feeds."
Track 4 - The Hand That Feeds
1-2-3-4-5-6-7-(*8*)-9-10
-Released as the first single, and already hitting the radio waves, this song deserves much credit. As one of the better songs of the album, it can keep you nodding your head the whole way through with great rhythm, melody, and lyrics.-
Track 5 - Love Is Not Enough
1-2-3-4-5-(*6*)-7-8-9-10
-This song had more potential, but is in no way a failure. It seems to leave something hanging, like it could have built to more than it is, and really kick you in the ass, but some things just don't work out that way.-
Track 6 - Every Day Is Exactly The Same
1-2-3-(*4*)-5-6-7-8-9-10
-The music sounds like it would make a great video game soundtrack. Perhaps written around the same style that was used for the Quake soundtracks with more elaborate guitar work, but is somewhat slow with the lyrics, and the title of this song pretty much sums up what the song is composed of from start to finish...Exactly the same.-
Track 7 - With Teeth
1-2-3-(*4*)-5-6-7-8-9-10
-Obviously the title track for the album, the music hold a very strong groove that lasts through the entire song. Unfortunately it's pretty much the same from start to finish, outside of a very quiet vocal/piano part that is beautiful, and a small break of heavy guitar. "With-ah teeth-ah" is really not working for the song either.-
Track 8 - Only
1-2-(*3*)-4-5-6-7-8-9-10
-Apparently Jamiroquai had something to throw away that ended up in Trent's "to do" list instead of the trash can. Funky, and breaky...but bitch slaps the fxck out of "Purest Feeling."
(I don't want to believe that I gave this a 3, but there's no sense in dwelling in the past now is there.)-
Track 9 - Getting Smaller
1-2-3-4-5-6-7-8-9-(*10*)
-The best song of the album. Groll is brought out very well, Reznor does great with the lyrics, White could have been a bit more present just for the sake of recognizing his talent,...but if nothing else, buy the album just for this song/having it in your collection.-
Track 10 - Sunspots
1-2-3-4-(*5*)-6-7-8-9-10
-The verse music of this song is very nice, but the chorus is destroyed by high pitched vocals, and a synth noise that seems to whine as much as Trent does, if that's possible. The second half of the song is significantly better than the first half and is almost enough to make amends for how it started.
Track 11 - The Line Begins To Blur
1-2-3-4-5-6-(*7*)-8-9-10
-A very crunchy song from start to finish, with a lighter chorus. The vocals are more difficult to discern through the verse, and the chorus lines are clear as glass in comparison. The song polishes off with a great finish that seems reminiscent of the "silent" version of "The Day The Whole World Went Away" from the first The Fragile single.-
Track 12 - Beside You In Time
1-2-3-4-(*5*)-6-7-8-9-10
-Three and a half minutes of the song seems to be building to something spectacular, only to throw in a soft beat at a very unexpected moment that is almost impossible to hear coming, and doesn't seem to match the beat of the first part that doesn't have one...then fading into whatever it fades in to.-
Track 13 - Right Where It Belongs
1-2-3-4-5-6-7-(*8*)-9-10
-This song is beautiful in its own right, and a great way to end the album. The lyrics are almost enough to make you cry. But there's a point where the song is somewhat spoiled by a cheering crowd noise, but fortunately that sound doesn't last for more than 30 some odd seconds of the song. Outside of that, the song is soft, quiet, moving, relaxing, and all that other stuff you'd expect from a heartfelt sappy song of NIN.
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Average: 6
Overall: 7.5
The Fragile was 5 years worth of work...this album is not. However I'm sure Trent is getting a little tired, and beginning to wind down his music career. After the recent sale of his french quarter house, and 10 years/2 albums later on in his life I wouldn't be surprised if this was his next to last album with NIN. I'm going to hope that he does another one that might possibly rival this one which shouldn't be hard for him, but I won't expect too much out of it.
This album has many strong and weak points, if not more the latter. It's great to hear NIN again. New and exciting, but The Fragile chews on albums like this one.
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VAST INDUSTRY
INDUSTRIAL REVIEWS by apSYNTH and DECAY
COMBI CHRIST
EVERYBODY HATES YOU
METROPOLIS RECORDS
2005
For a while we thought Andy LaPlegua, front man of Icon of Coil, had completely lost his mind and gone soft on us. Apparently, he just transferred all his negative energy over to his side projects Panzer AG and more recently, Combi Christ. For his latest release, "Everybody Hates You", Andy has incorporated all the noise elements of his prior Combi Christ albums and combined them with unusually harsh vocals to create a monster of an industrial hybrid.
The opening cut, "This Shit Will Fuck Up", clearly describes the attitude of the album. It's harsh, it's brash and it just might blow up your speakers. And this is just the beginning. We don't recommend this release to those who are afraid of a little (or a lot) of electronic chaos. The second heart stomping song "Enjoy the Abuse" continues to crush your senses and tickle your dark side with its sadistic lyrical approach. As a matter of fact, just about every song on this album is a sadistic tribute to something generally foul. Take the track "God Bless", the ultra groovy dance anthem. Yeah, that one is a little tribute to the world's most notorious serial killers. Or another favorite, "Today I Woke to the Rain of Blood". Ah, what a nice boy.
As brutal as this album is, it is actually quite catchy and very club friendly. Although some of the lyrics tend to get lost in the translation, we feel the energy is still present enough to over shadow this minor flaw (even when the lyrics are really cheesy). This album bridges the gap between power noise and traditional industrial dance, which will hopefully appeal to fans of both.
LIGHTS OF EUPHORIA
GEGEN DEN STROM
METROPOLIS RECORDS
2005
A massive collection of ready to play club anthems is at your finger tips with the latest effort from industrial giant Lights of Euphoria. "Gegen Den Strom", despite its redundant nature, is actually a fun album for djs and listeners alike.
The mastermind and sole creator of Lights of Euphoria, Torben Schmidt, has upped his dance floor antics with a more focused approach. By this we mean that "Gegen Den Strom" sounds more like a band effort rather than a compilation album (like his last release). Torben's electro dance style is a perfect reflection of today's modern EBM sound which incorporates pulsing drum sequences, driving bass lines and monotone vocals. However, the album manages to infuse harsher styles from artists around the globe (In Strict Confidence, Rotersand and Punto Omega) which gives the album a little diversity.
The most unfortunate aspect of "Gegen Den Strom" is that it is not a complete album. Sure there are nine songs of brand new original material, but this is a seventeen track album. That means there are a whopping eight tracks that are either remixes or older songs that have been reworked. It would have been better, in our opinion, to have released a full album of new songs and a remix album separately. The remixes themselves are not bad; it just gets a little redundant.
The lack of new material and the over abundance of remixes is what kept us from thoroughly enjoying this album. At least the band sounds complete, if not the album.
DIARY OF DREAMS
MENSCHFEIND
METROPOLIS RECORDS
2005
Diary of Dreams continues its spiral into even darker territories with their new mini-album "Menschfeind". Hot on the heels of last years amazing release, "Nigredo", Adrian Hates and company show no signs of slowing down with their latest endeavor. Imaginatively merging twisted gothic undertones with dark electro, "Menschfeind" is a genre jumping crossover (as are all their releases) sure to appeal to a wide variety of the macabre music listeners.
One could consider "Menschfeind" to be a sequel or companion album to Diary of Dreams' previous album (which technically it is), yet it has the strength to stand on its own despite only having seven tracks. This album is dark, sinister, brooding and extremely thought provoking both lyrically and instrumentally. It is a rarity to find a band in the industrial genre who manages to accomplish both. "Menschfeind" comes highly recommended.
WUMPSCUT
EVOKE
METROPOLIS RECORDS
2005
Being very old fans of Wumpscut, you could say we had very high hopes for the new full length album. After last year's dismal failure, "Bone Peeler", just about anything would be better. While "Evoke", the latest attempt for Wumpscut to blanket the scene with his music, is a definite improvement, it seems doubtful Rudy will ever return to his former glory as one of the reigning kings of industrial music.
The opener, "Maiden", left a foul taste in our mouths from the start. It is not like we dislike female vocalists, but this entire song was just plain weak. The second cut "Churist Churist" retains elements of earlier Wumpscut fare with its aggressive nature and over distorted lyrics, but still this track just got old due to repetitiveness.
However, there are a few very listenable and enjoyable movements throughout the album. For example, the title track "Evoke" has the potential to be a smashing club hit in the vein of "Wreath of Barbs" or even "Thorns" (previous Wumpscut hits that seem to never fade away). We have to admit the initial single that was released, "Rush", is the best example of what we would consider proper Wumpscut. Unfortunately, the onslaught of mediocre tracks tends to outweigh the good.
As a whole we consider the new "Wumpy" release to be ok at best. Rudy still has a long way to go if he ever hopes to reclaim the status he once had in the industrial scene.
HEAD SCAN
DEAD SILVER SKY E.P.
ARTOFFACT RECORDS
2005
Head Scan's newest E.P., "Dead Silver Sky", is nothing short of a furious blast of scorching industrial insanity. The release offers a prelude of things to come from this soon to be industrial giant. Included on this release are four versions of "Dead Silver Sky". The "Biometric" and "Component" mixes being the best in our opinion. The convulsing drum loops, eerie futuristic synths, and distorted vocals are quite capable of keeping djs ecstatic and dance floors packed. Also included are two versions of "Sentinel" and another song entitled "Metadata", which has a dark ambient/experimental vibe similar to Gridlock. While this is only a sample of what is to come we feel this should hold fans over until a new album surfaces.
GIRLS UNDER GLASS
ZYKLUS
METROPOLIS RECORDS
2005
Girls Under Glass has finally made its way to our shores after being signed to Metropolis Records. The band has been a prominent figure in the European gothic scene since their emergence in 1986. Fusing elements of metal, electro, goth/industrial and several other influences, G.U.G. manages to incorporate all these styles in a harmonious balance without one overshadowing the other.
For their American debut, G.U.G. burns through 12 tracks full of incredible musical diversity. Zyklus is infused with elements of crunchy to melodic guitar, danceable to dreamy electronics, and vocals that move from German to English and from soft spoken to hardcore with ease. One of the most impressive things about this album is its ability to please a large variety of people. Everyone from rivet heads to goths or metal heads to contemporary music listeners should find at least one aspect of this release appealing. Let's just say it covers a wide spectrum of musical varieties.
It's easy to see why this band has been an international success for so long. The band is now poised to wake up the American audiences with their amazing musical talent and intricate songwriting skills. This is one of the best examples of Dark Alternative offered so far this year.
VNV NATION
MATTER+FORM
METROPOLIS RECORDS
2005
We end this little trip into industrial's recent history with what we consider to be the best new release at this current time. It is no surprise that we bestow this honor on Ronan Harris with his unstoppable super nova of industrial sound, VNV Nation (Victory Not Vengeance).
"Matter + Form", was destined for greatness even before it was pressed. Fans and magazine reviewers alike were anxious to get our hands on this after receiving a snippet sample version a month ago. When we actually got to hear the full album we were taken a back. VNV has managed to completely change their style and yet still maintain strong elements of original sound. This sounds a bit redundant, but you have to get the whole picture. Until now VNV have been dubbed the kings of future-pop. Their formula for music creation is a basic pattern of repetitive drum loops and sequences backed by smooth, catchy lyrics and trance or progressive house melodies. Unfortunately, this method of song writing has been used and copied by far too many so called industrial artists and has virtually destroyed the integrity of the scene. For the new album, the creators have broken away from the stereotype they invented. "Matter + Form" not only expands Ronan's trained vocals but also unveils the hidden depths of his song writing and musical vision. Variations from strong progressive beat structures and new exciting synth sounds run wide throughout this album. In true VNV form, Ronan and company also widen the range of the opus by including powerful and heartfelt ballads. "Matter + Form" is an evenly matched album that takes the listener on a sound driven journey from the extremely harsh to extremely beautiful.
The only issue that kept us from giving "Matter + Form" a perfect five rivet score is the instrumentals. While the songs featuring Ronan's vocals combined with the powerful synthetic sound structures are great, there just are not enough of them. You see, the album itself is only eleven tracks long and five of those songs are long and extended instrumentals. This is not entirely a bad thing. We just feel that having three voiceless songs on this album was a bit excessive.
"Matter + Form" signals the triumphant return of VNV Nation and hopefully the end of future-pop. The band will be launching a full scale tour in the coming months and we at Movement we be attending with bells on. We recommend you do the same.
RIVET RATINGS:
Not the best, barely makes our list
A decent attempt, but improvement is warranted
A good album with strength and incredible potential
Impressive, most impressive
Brilliant, a riveting riot, completely worthy
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REVIEWS
Patrick Wolf
Wind in the Wires
(Tomlab)
I have not heard Patrick Wolf’s awe-inspiring debut record. However, even without having given it a listen, I am convinced that Wind in the Wires cannot be anything close to a sophomore slump. The opening song (and first single) "Libertine" is a flawless song that combines strings and vocals that feel very, very old (in a way that is classic, not done) with electronic noises that are very now. "Libertine" is Rufus Wainwright fronting The Postal Service if they were covering Nine Inch Nails. Wolf has perfected his grasp on using electronic white noise to pulse and accentuate, but he’s not lost with out it, as is shown on "The Shadow Sea," where just a voice and guitar sound lovely. The rest of the album is in between and quite balanced. It’s an album of traveling songs that’s fresh, and in the current musical climate, Wolf is talented enough and listeners are almost patient enough that he could become a household name, not just a hipster namedrop.
-Whitney Weiss
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Maserati / Cinemechanica / We Versus the Shark
(Hello Sir Records)
I am excited for Hello Sir Records. This split, the Athens, GA’s first release, consists of two songs apiece from Maserati, Cinemechanica, and We Versus the Shark. We Versus the Shark have an enthusiastic review of their full-length in this issue that you should read. Their two songs, which bring up the rear on this three-way split, are delightfully chaotic.
Maserati, whose two songs kick off the CD, manage to wrangle bass, guitars, and drums into two very tight, very solid songs that almost reach six minutes apiece but never lose their listeners along the way. Their sound is huge and their talent is unwavering.
Sandwiched between Maserati and We Versus the Shark is Cinemechanica. I would love Cinemechanica just for titling a song "I’m Tired of Paul McCartney," but thankfully I can also love them for their guitars, which sound like they’re rap-battling each other over drums that sometimes abruptly switch time but wouldn’t cause anything more dangerous than a dance move paused in mid-air.
These are three bands very much worth listening to, and if Hello Sir! has managed to find a trio of excellence, I excitedly await any future releases this label has to offer.
-Whitney Weiss
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Lazy Lane
Keepers Of The Gloom
Fright Night Publishing
A new band has risen from the grave in the dark music realm, proving there is still "life" in the gothic scene. Hailing from Pittsburgh Pa, Lazy Lane are one of the more interesting musical groups I have heard in some time. Consisting of Lily Lane (vocals/keyboards), Aaron Richardson (bass), Aaron Simmons (drums) and Greg Ballato (guitar) these four musicians create an eerie brew that is fresh and very original. Lily's sensual, almost innocent little girl vocals, combined with creepy keyboard atmospherics, laid back beats, groovy basslines, and some amazing guitar work can only be described as a goth band with a 60's psychedelic vibe. One reason for this is Greg Ballato's fretboard mastery. He conjures forth some dark bluesy phrasing and manages to get a great "Hendrix" tone that is simply amazing.
Lyrically, the songs are pretty standard goth fare. Graveyards, darkness, fear, etc... However there is some humor to the songs such as "Goth Girl" with it's take on the "cute mainstream girl meets dark mysterious goth boy" which was very amusing. Also "Hell's Candy" in which Lily just oozes sexuality as she beckons you to come with her on Halloween to "taste her candy which is oh so sweet." The entire feel of the album has a very dreamy and hypnotic effect to it, but the band can rock out (and does) on several tracks. One song in particular, "Graveyard" was reminicent of a sinister Saturday morning cartoon theme song with it's loose, slighty punk feel.
I always enjoy being impressed with a band right from the start, and Lazy Lane's "Keepers Of The Gloom" scored with high marks. It's a spooky cool mix of several musical influences that work really well together, mainly due to the incredible talent of the members themselves. This is the band all the goth crowd has been waiting for, so don't wait untill Halloween to pick this one up!
-Craig Harvey
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Menomena
I Am The Fun Blame Monster!
(Team Clermont)
If Menomena’s album sucked, I would still tell you to buy it for the packaging. It is the best packaging I have ever seen. I will not give away its secret, because you might steal it. But really. Best packaging since the Diskettes used old floppy discs to hold their CDs. Don’t steal that idea either.
I am happy to report that Menomena does not suck. Instead, they astonish. This is their debut, and everything works. The cut-and-paste beats sound great next to more easily accessible piano lines. The entire album feels like a cohesive piece of music. I am so very pleased that the excellent packaging is not in vain.
-Whitney Weiss
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Mount Analog
New Skin
(Film Guerrero)
Mount Analog is who’s-who of quirky and gifted Pacific Northwest experimental musicians. At the helm of the sessions is Tucker Martine, who does an excellent job in charge. Some of the material, like "Night Night," is haunting and a bit creepy. Other songs go different directions, like "Fall," which is atmospheric and a bit jazzy, and "Gospel Melodica," which soars like Spiritualized. If atmospheric music appeals to you, or if you have ever liked Brian Eno, I bet you will enjoy New Skin.
-Whitney Weiss
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Nine Inch Nails
The Downward Spiral 10th Anniversary Edition
(Nothing/Interscope)
I don’t know about you, but it kind of blows my mind to think that The Downward Spiral is a decade old. I don’t remember if I was thinking about technology the first time I heard it. In fact, I recall being more amazed by this brooding boy from Pennsylvania singing like Prince about wanting to fuck us all like animals. I still love "Closer," but this time around, I’m more amazed that more people don’t express their debt to Trent Reznor. Thankfully, there’s a new Nine Inch Nails album scheduled for May, and Trent is hitting the road with a new band. Maybe that will jog a few memories.
The Downward Spiral as it was a decade ago is quite fine and dandy. The songs are flawless, it’s a theme record that can be listened to without getting buried in pretension, and the sound quality is amazing. It doesn’t sound dated at all. But Trent Reznor is nothing if not a perfectionist, so there are two reissues to choose from (and real fans will most likely choose both). One is a two CD set. Disc one is a digitally remastered version of the album. I am not an expert on sound, but I think this sounds damn good. But I’d be buying it for disc two, anyway, where there are demos and remixes of the stuff on the album AND non-album songs and b-sides. The b-sides are perfect for biding your time until the release of With Teeth. The other version of this reissue is a CD/DVD. The CD is still remastered, and the DVD includes some amazing sound mixes for equipment I most likely don’t own, as well as music videos for "Closer" and "March of the Pigs" and "Hurt." There is also an image gallery.
You most likely have not picked up your copy of The Downward Spiral lately. Instead of searching for it, go buy the two-CD version and wonder why you ever stopped listening to this album in the first place. I am writing this review for you, the casual listener, because I am certain that even the moderate NIN fans have already worn their 10th anniversary copies out by now.
-Whitney Weiss
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General Patton vs The X-ecutioners
Selftitled
Ipecac Recordings
Mike Patton has teamed up with with those bad ass muthas from NYC and they've all turned away with a fresh amount of tearing down the house. A sick mix ranging from Clint Eastwood, to outlaw military, to southern swank, with a good dose of kung fu and crunk fist duking it out in Motown. So basically Patton vs Xcution is going where the industrial scene has been heading but few have been brave enough to travel. This very successful experimentation has helped refine a different breed. All in all hard to label, which is to this reviewer, where all of the best music walks the line.
You've known Patton from pop hitter Faith No More, Mr. Bungle, Lovage and his further trips with Fantomas, Peeping Tom and many others. If these versatile musicians don't eventually - or haven't already - hooked up with Pigface, or the Legendary Pink circle of artists, I think destiny is broken or has been blinded by bleach or something. And if Marilyn Manson tramps it up with Snoop Dog and Lil' John we know who to blame... or credit? Seriously.. get messed up and check this fucker out.
~n.thorin
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Foetus
Love
Birdman Records
J.G. Thirwell is becoming a master at self-reinvention. This is another from this prolific artist that ranges through so many influences and genres that listening to it from beginning to end feels like being on some odd opium dream. Though in some distinctly askew way.
Sometimes you feel like you're in some James Bond mission gone horribly awry, sometimes a child's room in a brokedown palace being serenaded to sleep by a white wig at a harpsichord. And he asks, "why is Elton John eulogizing me in some song?" Then you take a fricken tromp down a french boulevard with one of your earlobes packaged and marked with no return address.
On this album we get the luscious duet "This Blessed Evening" with Jennifer Charles (of Elysian Fields, Lovage) and an appearance by the amazing Pamelia Kurstin, the world's foremost thereminist. There is also a DVD release of three videos includng the talents of Karen O of the Yeah Yeah Yeahs, Spike Jonze, and Jeremy Solterbeck ( Lovage and Handsome Boy Modelling School director ). And uh, did anyone know that J.G.T. scores Venture Brothers on Adult Swim? I love that toon.
I just have one question. What is your Foetus?
~n.thorin
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The Futureheads
The Futureheads
(679)
There hasn’t been a song as fun yet quirky as "Le Garage" since The Talking Heads recorded "Once In A Lifetime." This self-titled album has two important things going for it: consistency and vocals. You see, all four members of The Futureheads sing, harmonize, and generally make their music sound different from other upbeat pop music. When musical instruments are added to the mix, vocals from four people manages to not get muddled! The Futureheads need to utilize their vocal talents to the fullest, because that’s one of the best things about this record. As for the consistency, well, because each song turns into the next without any unpleasant jolts or contemplation as to why a track was included, what might be a simple but enjoyable record instead is great enough to make me care what The Futureheads do next.
-Whitney Weiss
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Big Sandy and his Fly-Rite Boys
It’s Time
(Yep Roc)
"Chalk It Up To the Blues" is pure hip-shaking Elvis! "Her Hair Is A Mess" is all reverb guitars and boys in cool suits with pompadours asking girls to dance. I bet John Waters would put "Strollin’ With Mary Jane" in a movie, since its guitars are sleazy in that classic way. Big Sandy and his Fly-Rite Boys do a few particular sounds particularly good. It’s Time is catchy, fun, and entertaining. Definitely worth buying!
-Whitney Weiss
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Northern State
All City
(Columbia)
Remember the time Northern State was supposed to get big and there were a bunch of favorable reviews of their CD, but in the end, Fannypack got all the attention for "Cameltoe?" Well I don’t see Fannypack with ?uestlove on their newest CD! I mean, the first thing you hear on All City is a hip-hop version of a playground handslap chant. So crafty! But here’s the thing: ?uestlove makes me think "oh, Northern State wants to be taken seriously like hip-hop" but the album ends with Har Mar Superstar guesting, and Har Mar, musical talent aside, always always always means kitsch. But what if I told you "Summer Never Ends" is a kickass track? Keep making music, Northern State. I’ll keep listening, even if I don’t know what you’re trying to do, exactly.
-Whitney Weiss
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Parchman Farm
Parchman Farm
(Jackpine)
It’s 2005. (Most of) San Francisco is gentrified. Ssssh, don’t tell Parchman Farm! If you like acid trips, Janis Joplin, cowbells, Jimi Hendrix, or nostalgia, you will love this. I only like 3 of the 5 and I am stoked on this CD, even though the cover art had me convinced it was entirely too derivative for me to enjoy it. This band is talented enough to deserve getting compared to Cream. I look forward to hearing their next full-length or EP.
-Whitney Weiss
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We Versus the Shark
Ruin Everything!
(Hello Sir)
This band should go on tour and have Clickers open for them. Unfortunately, you probably don’t know who Clickers are, so that isn’t the best reference. Okay. We Versus the Shark are from Athens, GA, but their guitars don’t sound like Athens. They sound like D.C., like The Dismemberment Plan’s more spastic moments. The band itself as a cohesive group do not sound like The Dismemberment Plan as a cohesive group, but aside from the spastic guitars, sometimes the vocals lean that way, too.
The word a lot of people would use for this album is "math-rock." I don’t know what that means, exactly, except that it denotes that the chords are complicated and happening past the third fret. Oh, and that the time signatures are a little jerky, even though there are handclaps and drum beats and bass lines that encourage dancing. So in those ways, We Versus the Shark do appear to just be math-rock. But math-rock is just a fancy way of saying post-punk and new-new wave but not with simple chords, isn’t it? Who knows. Instead of finding a word to describe their sound, I shall describe the physical reaction to their sound.
Feet tap and heads nod softly. Then the cymbals get hit harder and the vocals turn into a yowl, and the heads nod harder. Maybe the arms flail. Then back to the foot tap, which sometimes becomes the foot bounce, and the enthused nod and occasionally, when the lead guitar and the rhythm guitar bounce together, the spastic head twitch that happens in the booty, too. You can dance to this, but not easily. So much better than The Rapture. Worth a million better words than the ones I’m writing. Get this CD. Love this band.
-Whitney Weiss
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The Black Maria
Lead Us to Reason (demo)
Victory Records
The Black Maria is goth rock at its finest. The boys really know what they are doing for their first album. Although they do sound like every other band signed to Victory Records, they do a wonderful job of putting angry lyrics to awesome instrumentals. Their songs don’t leave a bad "aftertaste" in your mind, but refreshes it. Unlike most, hardcore bands today The Black Maria guys balance their screaming, and the amount of singing very nicely. I really enjoyed their song "Our Commitment’s a Sickness". Their vocals in the song are very well done and the instrumentals are beyond my expectations for a band on their label. Overall, I liked The Black Maria’s record, and am planning on buying it for all my hardcore rock friends.
by Jamie Arntson-Kynn
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Eye of Fatima
(self produced)
I was unimpressed by the Eye Fatima CD when I picked it up and placed it in my stereo. But, after listening to a few bars of the first song, they put me in my place. This grunge/punk band definitely impressed me, and you can tell that they work hard on producing their music. The first track, Test, had heavier grunge sound, with a definite Nirvana/Black Sabbath aftertaste. The second song on their CD, Nihilists, which happened to be my favorite, starts off as a slower track with a Sublime feel and goes into a punk riff and travels to the sounds of the Ramones. The third track, D. Prob, is harder, and more metal, and is a perfect finish for the guys of Eye of Fatima. The CD’s mix of grunge/punk inspired music was a success with me.
by Jamie Arntson-Kynn
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micro-REVIEWS
Ethan Daniel Davidson
Free the Ethan Daniel Davidson Five
(Times Beach Records)
An anti-Nashville presence who reminds listeners that country music
needn’t be championed only by those who voted for Bush, Ethan Daniel
Davidson writes clever and biting songs with titles such as "Your Flag
Decal Won’t Get You Into Heaven Anymore" and lyrics like "Suppose the
next time they throw a war, no one shows up/The next time they throw an
economy, no one’s there to give a fuck"). If you’re listening to music
to forget about the state of things, you can skip more political songs
for "I Can Drink You Pretty" and other tracks of a similar nature.
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Mark Dignam
…And One For All
(Times Beach Records)
Mark Dignam started out busking in Ireland. Twenty years later, he’s
recording surprisingly beautiful albums. I say surprisingly, because
I’d not heard of him before and was immediately put at peace by the
guitars and vocals of the opening track to his latest album, …And One
For All. Dignam’s voice is a bit overwhelmingly loud in the mix a
couple times on the album, but for the most part this is some great
songwriting that, if it finds itself into the right hands, could very
well score an important moment of The O.C. (in a good way, like how
Joseph Arthur’s song did).
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Nonpoint
Recoil
(Lava)
I never thought I would say this, but a band has actually ruined a
Phil Collins song ("In the Air Tonight"). I was never really a fan of
the Phil Collins, but I am REALLY not a fan of boring metal bands. It’s
not 1994 anymore, and MTV won’t even care about this crap.
YARRRRRRRGH! GRRRRRRRRR! There is an acoustic bonus track. If you miss
KoRn, I suppose you might enjoy this.
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The Sadies
Favourite Colors
(Yep Rock)
An overall enjoyable collection of pitch-perfect country hooks with
just the right amount of reverb, fingerpicking, and low-voiced men
singing. The Sadies are solid, but their style of sometimes shoe-gazing
country pop might not please all readers of Movement.
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Ahab Rex
Rollin’ With The Ahab Rex Quintet
Sounds like they’re playing in a cement garage through ancient amps
with the treble and distortion knobs cranked to 11. Loud, cranky,
heavy, and misleadingly named. That is Ahab Rex and that is also this
album.
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The Hentchmen
FormFollowsFunction
(Times Beach Records)
Over a decade old, this Detroit trio makes unpretentious rock music.
Sort of like a black tee shirt, there’s not much else for me to say
about them. Simple, in a good way.
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Liars Academy
Demons
(Equal Vision)
I know people who like this band, but their record just isn’t doing it
for me. They seem very sincere and dedicated, so I will refrain from
describing their music to you and suggest perhaps trying a review by
someone who really, really likes them. Or just talking to someone who
doesn’t write reviews who really, really likes them. The people I know
who like them describe them as "intense" and "passionate." So do with
that what you will.
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The Violettes
The Violettes
(Team Clermont)
60s pop vocal melodies hold together this hodpodge of sitar and
flute/guitar and drums. The Violettes have taken everything about
shoegazing music that makes people want to get high, and everything
about The Beatles’ flirting with far-Eastern music that makes people
want to get high, and combined them to make a self-titled debut that
–you guessed it!—will most likely inspire bong hits a-plenty. Followed
by rolling around on a soft yet shaggy carpet. And smiling.
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Billy Nayer Shows
Rabbit
(BNS)
Billy Nayer Show sings like Jack Black when he’s in full-on Tenacious
D mode. Thus, if the purpose of this record was somewhat serious, it
unfortunately fails. For musical comedy, it satisfies. Oh, and the
instrumentation is pretty solid.
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The Moaners
Dark Snack
(Yep Rock)
The Moaners are like Bikini Kill from the bayou. Like That Dog if That
Dog had listened to a lot of alt-country. Actually, they’re more like
Luscious Jackson when it comes to band make-up (so all you all-girl
band fans don’t get angry for the first two comparisons, full
disclosure is necessary.) "Elizabeth Cotten’s Song" starts out with
harmonica and sort of swaggers into a honky tonk hook. "Heart Attack"
is more straightforward rock and roll. The Moaners do both well.
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The Zutons
Who Killed…The Zutons
(Epic)
"Pressure Point" sounds like The White Stripes. A lot like The White
Stripes. The rest of the CD sounds more rockabilly than dirty lo-fi,
with some bittersweet acoustic guitar in a wistful southern rock sort
of way (which is funny, because they’re British. NME adores them). The
Zutons have written some decent songs, but nothing that’s really stuck
in my mind after listening to them. I’m certain they will have at least
two successful singles on the MTV. I’d give their second album a listen
for sure.
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Anthony David
3 Chords & The Truth
(Brash)
Anthony David opts for real-life instruments and arrangements instead
of heaps of pre-programmed button-pushing. Therefore, Anthony Davis, I
salute you. Your hook on "GA Peach" is saucy and catchy. I hope you opt
to push the original and not the remix.
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Ethan Daniel Davidson
Better Living Through Selling EP
(Times Beach Recordings)
A 7 minute, 22 second song "Terrorist" combines overdone spoken word
and electronic samples. Though the lyrics are political, instead of
being touching, this feels like "How to Write a Political Song."
There’s such a thing as too overt or over the top ruining good
intentions.
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Corrina Repp
It’s Only The Future
(Hush)
Corrina Repp has a very nice, somewhat haunting voice. It becomes more
haunting when placed next to stark instrumentation (the requisite white
noise guitar sound, some sparse piano). In settings like this, such as
the title track, this CD works. Other moments, where the instrumentals
are sort of Portishead, some tracks still manage to succeed, and others
sort of limp along. However, a vast majority of this album works and is
certain to be the perfect choice of music for when you’re feeling
bitter but want to hear something sad that’s also pretty.
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Watchers
Dunes Phase
(Gern Blandsten Records)
!!! in a wind tunnel pausing occasionally to do Duran Duran covers.
Highly enjoyable.
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The Chris Stamey Experience
Experience A Question of Temperature
(Yep Rock)
Things to know about this CD:
1. It’s essentially Yo La Tengo + Tyson Rogers on keyboard.
2. During October 2004, it was kind of sort of released as another record.
3. It contains well-chosen and delightful covers.
4. It’s happy, exciting, and fun!
5. You should get it. Seriously!
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The Comas
Conductor
(Yep Roc)
A CD full of beautiful and sometimes forlorn pop songs that comes with
a DVD of music videos for each of those songs is made even more amusing
by the idea that the inspiration for much of this album was a breakup
with someone who acted on Dawson’s Creek.
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Yourcodenameis:Milo
All Roads To Fault EP
(Beggars)
With the more accessible elements of their sound sharing similarities
with Interpol, and their less accessible elements consisting of things
that appeal to those with infinite patience for atonal guitar noodlings
and screams, Yourcodenameis:Milo should be exploding any day now.
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bloom
Osinner
(Fighting Records)
A three-piece band from Gainesville that’s been playing music for over
nine years, bloom’s sound is heavy on the guitars and drums. Guided By
Voices liked them enough to let them open for them (this is a plus) but
they were the main musical support for the Suicide Girls tour (this is
a minus). The sound is aggressive, but it’s also catchy. And it came
from Gainesville!
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Rat Cat Hogan
We’re Bicostal
(Skrocki Records)
This record’s not perfect; actually it gets pretty awkward at times.
But the point of making it seems to have been just to make some music,
and because of that, it succeeds admirably. "Birthday Cake in Bed" is
relaxing and happy, a song that makes me smile. Other songs are
shakier, a couple of songs might be better, but I think it sums Rat Cat
Hogan up best, as it is about poppy, lo-fi fun, even if it’s off-tune
sometimes.
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Inouk
No Danger
(Say Hey)
A band with a large, sweeping sound, like sonic waves bringing clumps
of various genres to shore. Most of this CD feels much larger than the
listener, but not daunting. A seriously impressive debut, No Danger
impresses from start to close. It’ll be quite interesting to see what
direction Inouk takes with their sound next.
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Battles
B EP
(Dim Mak Records)
Overall this EP is crisp, well-ironed musicianship, but every so often
a sound goes on for a bit too long. If you’re feeling brainy and/or
elite, this is for you.
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The Heavenly States
Monument
(Baria Records)
Two-song indie-pop single, complete with "woo ho hoos."
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Emok
Shove Your Head into the Ground and Feed it to the Earth
(Wrong)
Nasally vocals. Most of the time loud rock buzzy guitars. Lots of
angry yelling. Totally dated testosterone ARRRRRRRRRR YOOOOOOOOO music.
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Holy Ghost
Welcome to Ignore Us
(Clearly)
They sound a little too much like Hot Hot Heat, but besides that,
there are a couple of enjoyable moments.
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One Of The Loudest Tragedies Ever Heard…
The Skin EP
(Wedgie)
They’re not good enough to have a name this long. But they do play
sun-soaked L.A. "alternative rock" that is embarrasingly catchy at
times. Something you’ll listen to if it comes on the radio and no one
else is around.
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Various Artists
Upstairs at Larry’s: Lawrence Welk Uncorked
(Vanguard)
Unremarkable lounge techno takes on Lawrence Welk songs.
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Charlotte Martin
On Your Shore
(RCA)
Major labels stop signing girls with pianos.
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James L. Venable
Holding Space: Music by James L. Venable
(Screaming Fan)
Man who writes scores for movies releases album of songs that sound
like scores for movies that don’t exist. They’d probably sound good if
there was an actual movie involved in listening to them.
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The Loved Ones
The Loved Ones
(Jade Tree)
An EP of very, very upbeat pop punk music with spot-on harmonies.
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Racetrack
City Lights
(Skrocki)
Chris Walla can do no wrong when recording and mixing! I know he is
going to be very busy with Death Cab getting signed to a major label
and all, but please, Chris, don’t forget about Racetrack! They are
adorable! If you’re a fan of Go Sailor, you will develop a brutal crush
on Racetrack.
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The Mattoid
Eterninfinity
(cleft music)
The Mattoid is not a "the" band, but rather, the name for a
Scandinavian musician who sounds surprisingly glam and/or like Velvet
Underground. It’s a little eccentric, sure, but never cheesy. If you
like Modern Lovers or Roxy Music, I bet you’ll like this a lot.
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The Gena Rowlands Band
…La Merde et Les Etoiles
(Autoclave)
Pop music with an ear for more ambitious compositions, The Gena
Rowlands band succeeds in making emotion audible. "Easter @ The 7-11"
might be a bit much to hoist onto the shoulders of a new listener, but
by the time you’re halfway through the CD and at that track, it won’t
seem trying at all.
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