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Up
the Junction
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September
2001
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Issue
4
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Volume
1
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Talkback |
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Archives
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Up the Junction Volume One, Issue Three - August 2001 |
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Skin Machine - Feed the Flesh Skin Music www.skinmachine.com A long time ago in the wilds of Northeast Ohio, in a time we affectionately call 'the 80's,'there was an incredible band called Joy Circuit. The best way to describe them was a cross between Gary Numan, Simple Minds and the Fixx. And man, we're they hot! Always playing to packed houses, everybody in attendance danced 'til they dropped; even record company A & R people would frequently come to check out their shows during their five year career. Opening slots for Thomas Dolby and Devo aside, Joy Circuit was never able to break out of local hero status and get signed to a major. Shows what those yabohs from the corporate monoliths know. Subsequently Joy Circuit, after giving it their all for so many years, disbanded. Pretty much the story for countless other bands, sadly. Fast forward to today and we are blessed with Skin Machine, the latest project from ex-Joy Circuit guitarist Michael Render and vocalist Stephen Taylor and their first CD, Feed the Flesh. Not totally goth, Skin Machine is heavily influenced by Gary Numan (if you've heard Numan's latest CD's Exile and Pure, then your on the right track). Normally the term 'goth-rock' invites a stereotype of dark clad social outcasts who are seeking new ways to be shocking, or performers who cover up their inability to play by playing loud. Skin Machine is neither. Thoughtful, moody, and intoxicating best describes this trio. Taylor's vocals are, as always, incredible. His interpretations perfectly compliment Render's songs, giving them a life of their own. Too many goth vocalists work very hard at being broody and it comes across as fake, insincere. Not Taylor. He can be angry and threatening ('New Disease'), desolated and alone ('Dream of Angels'), and realistically hopeful ('Skin Machine'); and sometimes all of these at once ('Blue Noise'). Taylor has the talent to reach deep into your soul and get you to experience emotions you never knew you had - or thought you lost. Render's songwriting has never been better - dark, disturbing, yet uplifting all at once. Just check out "Skin Machine" and it will all make sense. And in a nice nod to the duo's past, there is a remake of the Joy Circuit classic 'I Must Breathe,' bringing it up to date without losing any of its original vibrancy or impact. It is so good to have these guys back. Feed the Flesh is available from the band's website and also through www.Amazon.com. Not since the return of Gary Numan has the music scene been so promising. Don't be surprised if you have to force yourself to take Feed the Flesh out of your CD player - it's that good. - Stu da Stael
The Ladybug Transistor - Argyle Heir Merge Records www.spacelab.net/~ladybug /// www.mergerecords.com In these days of the corporate machine shoving all kinds of musical placebos down our throats, it is so very refreshing that a band like The Ladybug Transistor is not only allowed to exist but also gets a prominent placement in a major studio film like High Fidelity. That was my first introduction to this band - a poster in the apartment of John Cusack's character that is in shot just about every scene set in the residence. I thought, that's a cool name. What are they like? I got my answers and more with their third album for Merge Records and fourth overall. Argyle Heir finds the New York sextet at their most eclectic. Touches of Burt Bacharach, Brian Wilson, Love, and Harry Nilsson abound throughout the CD's fourteen tracks; I swear there's even some Brahms' influences tossed in as well. And that's the beauty of this record - it keeps you guessing. One minute there's a nice 70's AM vibe, then all of a sudden (usually during the same song) everything changes and you get some alt.country or some other genre switch. And somehow it all makes wonderful sense. Gary Olson (vocals, trumpet) has a delivery not unlike Neil Hannon of the Divine Comedy, where at first it's unconventional - but soon you can't imagine anyone but him singing these songs. Then they throw you a surprise by Sasha Bell (keyboards, flute) taking over the vocal duties, and very nicely, too, for 'Catherine Elizabeth.' To further keep you on your toes, this last is basically a waltz; when was the last time you heard a waltz done on a pop record? And for good measure they throw in another waltz, the instrumental 'Fjords of Winter.' 'Wooden Bars' is a rather compelling song. It appears to be dealing with guilt that people bring upon themselves and the emotional prisons they sentence themselves to. Then there's 'The Reclusive Hero,' about how an Everyman can, and usually is, a hero to many though that's not what he is striving for. Succeeding at everyday life is the challenge. At least that's the take that I got on these songs. The songs on this record are hard to pin down, thematically. This alone would ensure repeated listenings, but the fact that they are so good alone makes you want to come back for more. Check out the sites above for more info or you can ask your local independent record store to order it. -
Kate Gordon
Quincy McLean & the Smooth Bastards - Le Grand Frommage Swere Records www.swerve.com.au Picture yourself in a Holiday Inn in the middle of nowhere with nothing to do. You've had dinner, nothing's on cable, and the bright spot of the town you're stuck in is the Dairy Queen that closed an hour ago. So with nothing to lose, you venture downstairs to the lounge that's decorated in early Brady Bunch for the hope of a few drinks and an early bed. You, the bartender and the town drunk are the only ones in the place. Off in the corner is yet another lounge act by appearances, with their matching tuxedos, matching haircuts, and painful Rat Pack wannabe banter, setting up their gear for the night's show. You down your drink in one gulp and realize bedtime will be much earlier than you thought. As you start to leave, the band strikes up and you are floored by what you hear: high energy, original R & B with a bar band mentality. That, ladies and gentlemen, is Quincy McLean & the Smooth Bastards. This Australian band blew me away from the get go, and I think I know why. They are a fun band that does not take themselves seriously. At first glance of the cover of Le Grand Fromage, I thought I was in store for something commendable but undoubtedly sub par. Once I heard the first chords to 'Hungry Man,' I got the joke. Quincy McLean & the Smooth Bastards are an above-par band with loads of talent and are what every great pop band is: FUN. Sure, some of the subject matter could be construed as misogynistic, the super-inflated ego of macho men posers taking over, but that's just it - this band never believes that of themselves. No band could and deliver such strikingly different themes as misogynistic, self-absorbed men who demand love from women ('Love You to Death') to a beautiful song of a man who is pining for his love who doesn't want him anymore ('Marie Claire'). Then there's 'I've Made It,' a sad tale of a musician that actually hits the big time - only time find it's not what he thought it was. Plus, how can you go wrong with a band that uses the Dead Kennedys as a metaphor for the desire to live ('Play Some More Dead Kennedys'), as well as ending the disc with an instrumental called 'Porno Groove'? True, it did take awhile for this record to grow on me. But once it did, I found the songs infectious, the band very talented, and above all else, this music is FUN.
lowsunday - elesgiem Projekt Records www.lowsunday.com / www.projeckt.com A new trend has been sweeping the world of independent music. It takes the listener on a decidedly angst filled, emotion-laded trip that inevitably stirs up the feelings of confusion and loneliness into a musical soundscape that ultimately leaves the listener exhilarated and vindicated. Okay, maybe it's not that new; after all, The Who made a career out of angst-filled rock over the last four decades, but it seems to be cropping up more and more in independent music these days. And that's pretty cool. Ambient pop's latest contenders are Pittsburgh's lowsunday, a quartet who have released their debut CD, elesgiem, through Projekt Records. Twelve original tales of loss, desperation, anger, and even death. Yet the album closes on a positive feeling with 'Disassembly', which is about accepting what fate deals you and moving on with your life. In the world of ambient pop, nothing is as it seems. A prime example of this is 'Elevate Her.' The mood of the music is upbeat, even celebratory. Yet the lyrics contrast this by telling the story of someone who wants to love, but the object of the affection is too self-absorbed to allow anyone to care for them ('you mean everything / princess wants the moon. . .'). Closely followed by 'Shine . . .' and '. . . to sleep', we're treated to a mini-opera of sorts extending the theme started in 'Elevate Her.' In order to get over the emotional upheaval of learning your ideal is vacuous, that person has to be purged from your system like any virus. The trance-like effect of these songs, and repeating of lyrics, gives the listener a sense of that person cleansing their souls. Sounds pretty heavy, dunnit? But it's that emotional impact that'll keep bringing you back to elesgiem again and again. lowsunday has delivered a very well written and performed CD, bringing to mind a peek-era Cure and My Bloody Valentine yet creating their own identity throughout. The band is currently touring the Ohio-Pennsylvania region in support of elesgiem, and you can check out a review of a recent appearance on our Center Stage page. - Stu da Stael
The Lucksmiths - Why Doesn't That Surprise Me Candle
Records (Aus) www.candlerecords.com / http://lucksmiths.understandishable.org/ There have been two great summer Sunday morning albums that have graced my stereo for years: XTC's Skylarking and Woodface by Crowded House. Fantastic records that relax, entertain and enhance the laziness of summer Sundays. And now The Lucksmiths' latest CD can be added to this rather exclusive list. Why Doesn't That Surprise Me contains fourteen songs filled with wonderful arrangements, incredible wordplay, and just plain catchy tunes. This Aussie trio doesn't disappoint. All the songs deal with relationships and all their melodramatic glory, from strong and healthy to desperately trying to hang on. The only exception is 'Beach Boys Medley' which isn't a medley at all, but a tribute to Brian Wilson touching on the difficulties this pop genius had in 1970's and 1980's with mental illness and substance abuse. Amazingly, the Lucksmiths convey all of this in the span of one minute and sixteen seconds. Not only is the wordplay fabulous throughout the CD, but the tune 'Broken Bones' also juxtaposes a happy, upbeat melody against a lyric about spousal abuse. Go figure. Later on, 'Fear of Rollercoasters' acts as a metaphor for the fear of growing up while 'Self-Preservation' celebrates individuality and nonconformity. A wide variety of themes to be sure, but the songs are presented in such a calm way that they are not overbearing or melodramatic. On the contrary, the album is a very honest one. The Lucksmiths have just wrapped up a tour of the US (see Archives, UTJ #2 for a review) and are about to embark on the Swedish and UK legs of the tour in the fall. Be sure you catch them. - Dennis Blandford
Bigwheel - Rugby Train Sandbox Records www.sandbox.com The San Francisco Bay area is Mecca for power pop lovers the world over. Hometown to Jellyfish and Chris Von Sneidern, host to the now defunct Poptopia Festival and recent 2001: A Pop Fantasy Festival, there is really no better place to be for power pop than San Francisco. Bigwheel continues this tradition with their Sandbox Records CD, Rugby Train. Not to be confused with the late 80's Peter Searcy-fronted Big Wheel, this quartet delivers ten very strong, hook-filled pop gems with great harmonies and a lot of fun. The CD opens with 'Plaintive Ballad of the 90's' a song about trying to recapture the salad days of youth. Probably the most interesting and exciting tune of the bunch is '1967.' Here, the band pays a loving tribute to the music of that year by touching on just about every psychedelic hit, lyrically and musically, from the Beatles to Jefferson Airplane with loads of fantastic wordplay throughout. Another
great play on words is in the tune 'Silicon Valley Girl.' Although this
one borders on novelty where '1967' is inspired. Not to say it's a bad
song, but 'Silicon Valley Girl' will ironically enough sound dated in
a few years where '1967' won't. I have to admit that I have tried to find out some more info on Bigwheel, but their website is no longer up and any searches I've attempted didn't yield anything useful. My advice is to contact the label and order Rugby Train before it goes out of print and another fine example of California power pop is lost forever.
The Kennedys - Positively Live! Jiffyjam Records www.jiffyjam.com www.KennedysMusic.com The first release from Jiffyjam Records is also the latest from The Kennedys. Positively Live! is a collection of songs recorded over three dates from their recent acoustic tour, and shows off Maura and Pete Kennedy's individual talents very nicely in a very intimate setting. Over an hour of 90's folk pop graces this CD, and I hesitate to say this but I am reminded of the Indigo Girls early years. That's not meant as a slam to either the Indigo Girls or the Kennedys, I just think it's an unfair statement to make since they are both duos and they are both folk pop. Kind of like saying the Beatles and the Stones are the same because they're both British and they both covered Chuck Berry tunes. Starting things off is a rousing version of the title track to their second CD, Life is Large, the tone is set for the rest of the disc. The Kennedys throw in a few surprises such as their choice of covers (Robert Johnson's 'Come in My Kitchen,' traditional folk songs like 'Orange Blossom Special,' etc.) and even a tune or two from Pete's solo work. Maura Kennedy's vocals are magnificent throughout, proving that she has a strong, impassioned voice and Pete's guitar playing is immaculate. If you like your music bare to the bone, check out Positively Live!
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lowsunday - Full Wave Rectifier The Lime Spider - Akron, Ohio, June 30, 2001 The Lime Spider, Akron's newest club located in the heart of the newly renovated downtown district, played host to two great regional acts on this early summer night: Projekt Records recording artists lowsunday (from Pittsburgh , and Akron's own Full Wave Rectifier. To start with, this club is a fantastic place to see live music. A long, narrow room, The Lime Spider offers comfortable seating (every view of the stage is great), affordable drink prices, and a friendly staff. A bold step by owner Danny Basone (who also plays drums for local outfit Zero Parade), here's hoping his plan of bringing talented, original acts to Akron is successful in this day of sports bars and dance clubs. Full Wave Rectifier got things rolling with a new tune, 'Now I'm Sane' and kept the standing room only crowd dancing and bopping for their whole set. Jer Herring (vocals. Guitar) led these self-described 'geek punks' through a blistering hour of original music. Bruce Winer's drumming was relentless while Chris Dopler's bass kept everything anchored. In particular, Mary Plazo (guitar, vocals) was in fine form and her confidence as a vocalist increases with each show. 'Transfer Interrupted' and 'Stop Signs and Purple Flowers,' both featuring Plazo on lead vocals, were just two highlights of a great show. Full Wave Rectifier will be releasing their first full-length CD sometime this year. Check out their website for more info. Touring in support of their debut CD, elesgiem, lowsunday took the stage after a short interval. This was the ambient pop ensemble's first appearance at the Lime Spider, and if this night was any indication there will be more visits in the future. The crowd genuinely took to lowsunday, and they responded by delivering an inspired set. Slowly building momentum from the start, an atmosphere of intense, dramatic music was created, much in the vein of the Cure, My Bloody Valentine, and New Order. lowsunday successfully melded the elements of ambient pop and techno in an effortless display of original music. 'Wallpaper Room' from elesgiem exemplified this perfectly. Developing from a slow, brooding number, the intensity increased to an emotional level rarely seen in young bands. Keep an eye on lowsunday; they'll be going places. - Brewster
Skin Machine - Set to Burn Jillian's Blue Cat Live - Akron, Ohio, July 7, 2001 It
was kind of a melancholy night for Skin Machine. This was the last
show for a few months while vocalist Stephen Taylor recuperates
from back surgery scheduled in August. No, the group isn't breaking up;
on the contrary, they'll be working on material for their follow up to
their debut disc Feed the Flesh (see Digital
page this issue). However, Taylor's surgery is pretty serious and everyone
here at UTJ wishes him a speedy recovery. Set to Burn, a new Northeast Ohio act, played two sets of original Goth-pop in the Peter Murphy-Depeche Mode vein. They even covered DM's 'Enjoy the Silence,' and very admirably, too. Why the lead singer chose to perform both sets with no pants is beyond me. He did grab the attention of more than one passerby, though. After a very short intermission, Skin Machine took the criminally small crowd by storm. Opening with their namesake tune, the Ohio trio offered up two sets of incredible music. Drawing equally from their first release and newer material, Taylor and company were dead on from the get go. Aside from Taylor, the trio is completed with guitarist-songwriter Michael Render and Kevin Kimmel on bass. The drums and keyboards are prerecorded on computer; no messy tape loops to contend with, just nice, digital perfection. Amazingly, this set-up allows the group to really cut loose. If anything this showcases the group's talents better than if they were a five-piece. And the crowd loved it, too. It's been too long since I've seen people get up and dance to live, original music. It was nice to see it on this night, and you haven't experienced anything until you hear these guys perform Prince's 'When Doves Cry.' It's got to be heard to be believed. Come late fall, early winter Skin Machine should be playing out again. Catch them if you can.
www.skinmachine.com
Glenn Tilbrook The Magic Bag - Detroit, MI, July 29, 2001 Back in medieval times, a minstrel or troubadour would travel from village to village singing songs and reporting the news of the day. Jump ahead 600 years and you'll find Glenn Tilbrook doing just about the same thing. Armed with only a guitar, great songs, and a quick wit, the ex-Squeeze frontman delivered a wonderfully entertaining show covering his extraordinary career. From the beginnings of Squeeze to his latest CD (The Incomplete Glenn Tilbrook), the man did not disappoint. Tilbrook approached the night as if her were playing in his living room and had a few friends (150 or so) over for afternoon tea. Constantly roaming the stage, he joked with audience, told stories about the old Squeeze days, and gladly took requests. All this and he was fighting a cold, too. I've seen healthier performers give less than what Tilbrook gave tonight. For instance, during the classic 'Take Me I'm Yours' he invited 'anyone who can play guitar' up on stage. One fan responded and proceeded to steal the show with an impromptu jam ending the song as the fan played a very impressive solo. Through it all, Tilbrook beamed proudly and was very happy to share the spotlight. Many surprises were in store for the evening; a number of tunes form his new solo CD, countless hits from the Squeeze catalog (including some obscurities like 'Letting Go" and 'Piccadilly'), and a couple obscure covers. No matter what Tilbrook played, the audience loved it. For 'Black Coffee in Bed' and 'Tempted,' the crowd did an amazing thing: taking it upon itself with no prompting from Tilbrook whatsoever, they sang the backing vocals for these songs, with harmonies! I've witnessed many things in my lengthy concert going career, but I've never seen that happen before. Not with harmonies. For the last encore, Tilbrook did something else unexpected. He unplugged his guitar and went into the crowd at the front of the stage to perform 'Goodbye Girl.' If that wasn't enough, halfway through the song he noticed someone in the crowd holding up a cell phone. Tilbrook stopped playing, took the phone and began talking to the person on the other end! After a few seconds, he handed the phone back and continued on with the song, again with the audience providing backing vocals! Glenn Tilbrook is a rare talent indeed. A consistently wonderful songwriter who loves to entertain and appreciates his fans, he gives his all with every performance. He'll be touring the rest of the US and Canada in August and then it's on to Australia and New Zealand in September. Don't miss him. -
Chris Leib www.glenntilbrook.com
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