MBV joke.

-"Loveless" is such a brilliant record.

-Yes, but isn't anything?

Northwest Territory

I went on a trip to the Northwest part of the continental United States last week. My friend, Peter, was gracious enough to treat me to just about everything while I was out there including half my airfare and a ticket to see Seattle's Damien Jurado play at Mississippi Studios in Portland, which I assume is one of the city's finer venues.

Jurado has been throwing down killer songs of double crossing lovers, haunted memories, and ponies for more than a long time. While his subject matter doesn't always stray very far from the road set out before him, he never seems content to record the same set of songs wrapped in a different package with each new release.

One album might be recorded on a peasant's budget and sound similar to an early Mountain Goat's album, the next might have a full rock band, the next a stripped down, backwoods Mississippi jug-and fiddle accompaniment. Reworking his sound, rather than reinventing himself.

Portland's Dolorean was one of the three openers. They are a pretty solid Americana outfit. Think good parts of Wilco without the obnoxious ego or that extra something that sets them apart from the rest of the herd.

I missed the third opener's name, but he was a Bob Dylan-esque folkie complete with this crazy voice that I can only best describe as a sounding like a slide whistle. My only comment is that he played much longer than anyone else, including Jurado. Perhaps twice as long. Additional note to aspiring musicians/singer/songwriters: If you're going to have the gall to do an encore when you're an opener, please don't make it a 9-minute-plus folk opus about everything.

Literally, EVERYTHING.

When it was over, Peter said that he thought Damien Jurado was like a more literary version of Will Oldham. I agree. So if you like Bonnie "Prince" Billy, you might want to look into some Jurado.

We're Guards!

Yesterday afternoon I got to wondering when Starflyer 59 might be putting out a new record. I try to check in at the band website regularly but it hasn't changed in the past 2 years (an announcement that Dial M is coming out October 28, 2008). One Tuesday I just happened to go to the bands myspace page, which appears to be updated more frequently than their website, to be greeted by the announcement that the new album, Changing of the Guard, will be released today.

Upon first listen, it is a strong album. It sounds akin to Dial M, but darker and more haunted. Even the more peppy sounding songs are juxtaposed with very dark lyrics. J. Martin's vocals also seemed to be pushed back in the mix much more than the past few releases, calling to mind 1980's Brit-pop. Indeed, songs such as "I had a Song for the Ages" sounds like it could be a latter day Smiths song (sans the Morrisey vocals).

Neon Horse

Amber,

the first page of this review pretty much sums up my conclusions on "christian" music. I found it interesting and articulate in a way that I'm too jaded to express.

Lucas,

You will recognize some of the bands mentioned in this review. I don't know if you have any interest, but I would recommend checking this band out; even if it's just for the novelty factor.

Peter,

Hi. I'll see you in a couple of weeks, yeah?

NEON HORSE Review; Myspace

Fine China's Three Strikes

Arizona is the last place you'd expect to find an band that worships 80's europop with the fervor that Michael Bay fans do explosions. Much less so than in 1997 when Fine China signed to Velvet Blue Music and released their "No One Knows" ep, a collection of songs that prompted a young me and friend David to take notice, become interested and expand our, then limited, musical landscape.

The following is a weak baseball analogy of their three albums:

Strike One: "When the World Sings" was their first of Fine China's three albums and continued the collaboration between the band and Ronnie Martin (of Joy Electric) that started with the bands second ep "Rialto Bridge". This album features some very strong songwriting and construction for a band that, at the time, was basically a novelty. The songs were, however, completely drowned out by Ronnie Martin's overdone, synth-heavy, production. Upon listening, it would appear that Martin ran wild and seemed to make Fine China his side project rather than producing the band and letting their instruments shine through. The only reason I'm able to still listen to the record is because I was able to see the band while turing for this album. They left the synth at home and recreated much of the annoying sounds on the record with real instruments; highlighting the songwriting and a surprisingly tight and original band.

Strike Two: "You Make Me Hate Music" was the band's second (and most awesomely named) album in which they left Ronnie Martin's production in favor of his brother Jason (of Starflyer 59). The new Martin left a subtle, yet unmistakeable, mark on this record. Where Ronnie used heavy synth and technoesque beats, Jason added a little more reverb and the songs on this record seem to be played at 20bpm slower than they should be. While it was a relief to have the band out from the synth grip, it was disappointing that the songwriting was so melancholy. The best way to describe the album is "a downer", because of both material and expectations. However, listening with fresh ears after years on the shelf (or hard drive) the album doesn't sound as much like the let down I remember it being, but the songs are also much more depressing than I realized in 2002. I'd be interested in hearing Jason Martin produce this band today as he has grown leaps in bounds as a producer over the past few years.

Strike Three (or: A Hit!) So we'll say the strike is on me for not having a physical copy of "The Jaws of Life" on hand. I can't tell you who produced it or much about the record because I didn't even know it existed until 8 months ago. Whatever the process was, everything seemed to fall into place. The songwriting is as solid as ever; the music ever euro. But it all works to the advantage of the record. Keep in mind that this album was the only one released in a time where anyone know about bands like Interpol. The europop revival wasn't "hip" for most of Fine China's existence. Perhaps it was the success of bands like Interpol that made 2005 a fertile year for Fine China to become the next big thing. But for whatever reason, they didn't and subsequently broke up.

(this is from "Jaws of Life" but for whatever reason the picture is of the cover from "You Make Me Hate Music")

It's always a shame when the world loses a great pop band that nobody has heard of.

Wild Nothing: Gemini

If the Smiths ever recorded a song that was engineered by Kevin Shields that had a love child with Starflyer 59, the resulting eraserheadmutant-childsong would be "Chinatown" by Wild Nothing. I've really liked everything I've heard from this record so far. Thanks to Chris M. Short for bringing something worth hearing to my attention.

I especially how the songs are moody and spacey with plenty of reverb to go around, without sacrificing strong songwriting.

Consider This

Rainer Maria was the best woman-fronted rock and roll band since EVER; yes, even better than the Yeah Yeah Yeahs. A comparison: Caithlin De Marrais is a much stronger singer than Karen O, and never had to dress like a $5 hooker trying to pick up a $10 John to prove it. Karen O might have more stage charisma, but stage antics don't really come through on the record. And if you do want to go there, Kyle Fischer had more than enough charisma for one band, let alone one member of a band; he played everything Nick Zinner does all while jumping around like he had ants in his pants and was also on fire. Brain Chase and William Kuehn have surprisingly similar playing styles as well as blank facial expressions and, as far as drummers go, I'd be happy to see them mud wrestle to the death. Kuehn, however will have a little glint in his eye and a barely-there curl at the corners of his mouth.

This turned out to be Rainer Maria's swan song single. They never did make very good videos, but one can assume this was largely due to budget restraints. Which begs the question as to why this band never took off to the level the Yeah Yeah Yeahs have. Notice that you can still recognize the instrumentation as derived from actual instruments.

I was completely blown away with "Maps" especially that it came from a band such as the Yeah Yeah Yeahs, who didn't really have another song that would have prepared me for how gut-wrenchingly awesome "Maps" was. I never really got into them until last year when Amber played me this song. I like to think of it as "Maps: The Sequel". Notice the awesome (and low-budget) effect when the band appears in the alley although the sounds that you hear, aren't the sounds the instruments they're playing would make in that particular setting.

Let's be fair. Both of these videos suck more than a neutron star, but were used to illustrate the mannerisms of the individuals and the wildly different budgets the bands have worked with.