Rock

ADULT.

ADULT.

By Haven Langhout ADULT. is the real-life couple Nicola Kuperus and Adam Lee Miller and a variety of undisclosed electronic music gear. Anxiety Always is their second full-length EP, their first being 2001’s Resuscitation. Like its predecessor, Anxiety Always features more songs about alienation and anxiety, but this album has a more human touch to it. Perhaps it’s the addition of a bass guitar played by Adam Lee Miller. It’s not strictly computers and gear anymore. Or maybe it’s because Nicola Kuperus’ vocal style isn’t as deadpan and flat as in the past. She actually has an inflection when her voice isn’t being fed through some processor. In “Kick in the Shin” she sounds a bit wounded delivering the lines “kick in the shin, is that how you say I love you?” – a definite departure from her previously emotionless delivery on other ADULT. releases. ADULT. has a sense of humor. I’d like to think so with the lyrics on “Turn Your Back” where Kuperus taunts us “Could’ve been me, could’ve been you – neh neh neh, neh neh neh.” Or on the track “Shake Your Head” where Kuperus admonishes us to “ask your mother, the end of guessing games.” The stand-out track on this album is “Glue Your Eyelids Together”, a catchy tune with a nice dirty bass line and the chorus “glue your eyelids together!” There’s almost a manic punkish energy to it. I prefer Resuscitation because of its sparse, clinical quality, and it took me awhile to warm up to this album. Perhaps it’s because it gets a bit too “busy” in some tracks and Kuperus can sound shrill at times. But if you like this sort of music and keep in mind that ADULT. is being tongue in cheek, you’ll definitely enjoy this album, and it would make a fine addition to your collection.

All Girl Summer Fun Band

All Girl Summer Fun Band

By Greg Sampson For a time I thought it unfortunate for the girls of All Girl Summer Fun Band that I remembered their 2002 self-titled release mostly for its lukewarm reception by many critics. I remember hearing the album myself, and while I found their music catchy and even pleasant, my overall reaction could not be characterized as much more than, well, underwhelmed. It wasn’t long before I moved on to other bands who I thought were doing something more interesting and meaningful, whose music had more depth than the giggly, bubblegum punk that AGSFB were turning out. Remembering the arrogant conclusion I jumped to last year, AGSFB’s latest release, 2, really sounds like a straight-out ‘screw you’ to all the self-righteous critics who dismissed them as being too girly, too high-school, and their music too thin. In this album they’re still singing about the same crushes and make out sessions, and have even added some celebrity worship into the mix (get this: they wrote a song called – you know it – “Jason Lee.”). But in this album they sound surer of themselves, more like they know that yes, this is in fact the music they want to be making, and these are the things they want to be singing about. They don’t care what I, or any other critic for that matter, thinks. Good for them. The subtle bad attitude they exude seems to work for AGSFB on this album, and it makes 2 compelling and listenable. Only the truly heartless wouldn’t find a song like “Samantha Secret Agent” so catchy that it didn’t merit a second listening. By staying on the same road on which they started with their first album, they seem to have created a sense of progression with this release, which is a good thing. But now that they’ve shown they aren’t going to change for the critics, the big question is whether AGSFB will change for themselves. As we all know, the novelty of a band and the catchiness of its music is a fleeting thing, and audiences are notoriously fickle when that’s all there is to hang on to. So they will have to change, or they will disappear. The good news? All Girl Summer Fun Band is more than attitude, catchiness, and late-teens/early-twenties romanticism. Something might be happening in 2, just below the rigid adherence to their undergraduate ways. I wouldn’t be surprised if we saw some real growth in their music in the future.

Marc Broussard

Marc Broussard

By Brian Barney Marc Broussard first hit the stage at age five, joining his father, Hall of Fame guitarist Ted Broussard to belt out “Johnnie B. Goode.” Fifteen years later, he has become one of the brightest young talents to ever cause a record company bidding war. His legacy goes back to his grandfather, Albert, and influences within his family (most of whom are musicians) include primo Motown and classic jazz fusion. His debut release, Momentary Setback, is an eight-song collection of introspective, soulful songs that belie his young years. Broussard is the male answer to Nora Jones. His music is where Otis Redding meets Leo Kottke in a style that, with its depth, and the nature of his over-the-top songwriting and vocal prowess, is hard to pigeonhole. The opening track, “The Wanderer,” sets the tone with rich vocal lines that flirt with pop sensibilities bordering on mainstream. A Stevie Wonder funkiness resides in “Blue Jeans”, and the closing number, “Jeremiah’s Prayer,” steals the show with a happy/sad melancholy. Throughout the disc, stunning musicianship shines with drummer Mike Birch’s mastery of dynamics, David Ransons’ fluid bass lines, perfect placement by Shawn Carter on piano, and the drenching Hammond B3 organ of David Egan. The only problem with the disc is that it’s too short. Hopefully, due recognition will take place, and a major deal will see to it that Broussard’s vision doesn’t fade.

Collections of Colonies of Bees

Collections of Colonies of Bees

By Brian Barney The latest from Collections of Colonies of Bees is comprised of musical murmurings that crescendo to eclectic swellings with acoustic guitars and analog keys. Each song seems to fade into the next with a fluid motion that mimics a boat drifting down a stream, occasionally bumping flotsam represented by sharply picked harmonics and blips of carefully manipulated notes from the keyboard. Chris Rosenau handles acoustic and lap steel guitars along with keyboards while Jon Mueller adds percussion and miscellaneous noises. This journey toward serenity in track after track of image shaping music sounds like Ravi Shankar spending an afternoon with Pink Floyd, where the occasional pop of a snare drum or rattle of a sundry percussive device shakes the listener out of a pleasant state of rapture. While probably best-suited for ambience, the occasional thud, or electronic swell of pitch causes a deviation from the flow, leaving the listener peering around the corner in anticipation of what might happen next. "fa.ce (a" will be a welcome addition to any new age collection.

Nick Cave & The Bad Seeds

Nick Cave & The Bad Seeds

By Haven Langhout What can I say? It’s a Nick Cave and the Bad Seeds album, but more mellow than ever this time around. I’m a big fan of Cave’s earlier work so I didn’t enjoy this album too much on first listen. But the more I listen to it the more I like it. There are still the somber violins and tinkling pianos, but now the love ballads have happy endings to them. There is a theme of hope and redemption throughout. Could it be that the Godfather of Goth has finally gone (*gasp*) happy on us? Well, sort of…but not quite. My favorite track off the album is “It’s a Wonderful Life”, a moody ballad where Cave admonishes his dour listeners to cheer up by singing lyrics like: “We can build our dungeons in the air and sit and cry the blues/We can stomp across the world with nails in our shoes/We can join the troubled chorus who criticize and accuse/ It don’t matter, we’ve got nothing much to lose but this wonderful life.” Kinda hopeful, huh? Another song with a positive feeling is “Bring It On”, where the tempo picks up a bit and Cave sings “Every little tear, bring it on and I’ll make them disappear.” Not too much moping on this album. On previous albums, bittersweet ballads such as “Where the Wild Roses Grow” or “The Ballad of Henry Lee” ended up in one of the lovers meeting such gruesome ends as being knifed or hit in the skull by a rock. (Yeah, it’s funny in a dark way- admit it). But that isn’t the case with the love ballads on the new album. Nick Cave is obviously very in love with his wife- as evidenced by “Rock of Gibraltar.” He pledges his eternal unwavering devotion and love to his wife with lyrics like “The best thing I’ve done is make you the one to walk with me to the altar” and compares their love to the rock of Gibraltar. It sounds like Nick Cave has finally made peace with all his demons on this album. On Nocturama, growing up sounds good.

The Blow

The Blow

By Jeremy Saperstein The Blow is Khaela Maricich. Formerly known as Get the Hell Out of the Way of the Volcano, Maricich has released at least a pair of tremendously idiosyncratic records featuring her strong breathy vocals, and appeared with other artists from the K stable, including Phil Elvrum (The Microphones) and Calvin Johnson (K czar). Sounding like a multi-tracked cross between a child’s nonsense rhymes and the tight harmonies of some sort of weird classical chamber music, Maricich’s songs never fail to make me think, either because of her clever turns of lyrical phrase (“Don’t you think we should kiss while Hüsker Dü is playing?/Do you like Grant Hart’s songs?/Do you like Bob Mould’s songs?/Have you ever sung along to ‘New Day Rising’?”) in “Jet Ski Accidents”, for example, or “Someone said that you’re a piece of paper/a piece of paper just pasted on the sky/I’ve a hunch that you’re a giant ball of rock/a million miles from me and all the people in the town”) in “The Moon Is There, I Am Here” or her clever and sophisticated-seeming (while maintaining a blisteringly charming naivety) compositional skills (the aforementioned “The Moon Is There…” or the contrapuntal harmonies in “The Touch-Me”). Throughout, the sparse instrumentation and smooth pop melodies make Bonus Album a far better bet than the studied twee of other new pop bands. Khaela Maricich is a hardcore original, like Beck or Captain Beefheart or any of a thousand others. I’m looking forward to seeing what comes next as I enjoy this release.

The Belles

The Belles

By Jeremy Saperstein I’m pretty sure I’ve sworn off nice pop records a hundred times. Some sort of social consciousness bug invades my system and I swear I’ll never listen to simple lyrics of love again. But I always crack. Omerta is a fine record to crack to. The Belles are, surprisingly, only a duo – Christopher Tolle and Jake Cardwell – from Lawrence, Kansas (the stomping grounds of American pop legends The Embarassment), but the sound is anything but sparse. Filled with power-pop and indie-rock allusions, the record will get a lot of references to other bands whose name start with ‘B’ – Beatles, Big Star, Beach Boys – and that’s not a bad comparison. The opener, “So, I Sing” is a bit of chamber-pop with what sounds like a mellotron and some gorgeously lush backing vocals, while “You Can’t Have It All” rocks with a bit of acid lead guitar seemingly lifted directly from a Buffalo Springfield record.

St. Thomas

St. Thomas

By Jeremy Saperstein I’ve gotta start this review with the same thing I’m sure every other review will start with: singer/songwriter Thomas Hansen sounds remarkably like Neil Young, in lyrics, delivery and musical construction. Okay, now that’s out of the way… If you’re already fond of the works of Mr. Young, the odds are good you’ll very much like St. Thomas as well. Formed in Norway, the band’s record is like nothing so much as country music or Americana, but from the land of the fjords, not Fords (sorry, I couldn’t resist). Without knowing him personally, I’d have to guess that English is not Hansen’s mother tongue, which leads to some inspired lyrics like: I’ve never seen a cowboy before Never told a story so sore Hey, baby, take a look at me I think I’m ready for the kick-down I can never give you in Have you ever seen my chin An umbrella is dancing on the corner Now everything is beyond her But it’s easy to poke fun at people who don’t use English well (late night talk show hosts prove that about our president every night). St. Thomas is exactly the sort of record to listen to in your car as you drive I-94 late at night between LaCrosse and Tomah, or in the echoes of your empty house after your lover has left, or if you can’t understand why other people think your Nick Drake records are depressing.

Nuna

Nuna

By Jeremy Saperstein This Milwaukee trio delivers an extremely energetic and catchy disk that seems to defy pigeonholing under any convenient label. Because they’re a trio and their music offers many of the dynamic shifts that Nirvana (and the Pixies before them) did in their ascendancy, I’m sure most critics will identify them as grunge, but there’s a quality to the songs that transcends easy categorization. While leader/singer/songwriter Nuna Minch has a tendency to use the ‘f’ word as a conversational stop gap (like some people say ‘uh’ ), he has a definite way with a pop tune as evidenced in the lilting instrumentation and sing-along melodies in “Nose Candy”. While Headcase is a fine disk on its own, I’m looking forward to watching Nuna grow and expand (and to seeing them live – they play in the area fairly frequently, according to their website).

Greg Koch

Greg Koch

By Brian Barney When Greg Koch was in the third grade, he cut out a cardboard guitar, and while using a sewing machine foot controller as a makeshift wah, proceeded to emulate Jimi Hendrix. Yeah, sure, we all did that, but Koch kept the delirium alive and went on to become one of the best and most original guitarists to ever pick up an axe. His latest release is a collection of songs, not quite songs, and spoken word that mixes music, mayhem and Kocks’ wet/dry sense of humor into a gelatinous substance called Radio Free Gristle. From its’ opening track, “The Mansqwatch Chronicles”, where a Steve Vai-like tone rides over the top of a friendly yet frightening arrangement of chord meets discord, to the last, “Your Blues” (do the math); the disc reads like a hard-boiled crime caper that you can’t put down. Standout cuts like “Chopin’s Redneck Hideaway” and “The Joy of Ax”, show Koch’s amazing approach and a style that simply can’t be categorized; where scales derail, and madness becomes melodic. Interspersed throughout the record are snippets of spoken word that range from the hilarious to the unexplainable (mostly hilarious). Koch is a Frank Zappa type for today with his musical prowess and humorous musings, and, while Radio Free Gristle will probably never reach the mainstream, fans are in for a treat with Greg Koch’s most complete work to date.