Mogwai -Come On Die Young (Chemikal Underground UK, Matador US)
Things really don’t get much better than this. I thought "Young Team" would be impossible to top, since I still listen to that record incessantly, but the Glasweigan sports proved me wrong. "Come On Die Young" is practically perfect from start to finish. It’s a record that you never wish to end, a record you can leave on repeat and never tire of.
Mogwai’s second original opus (long form) is densely lush, an album that strays from the lull-storm-lull constructs they relied so heavily on in earlier releases. It doesn’t surprise you with jolts of guitar lightning, rather it soothes you with its layers of sonic bliss. And although the album opens with the Iggy Pop-starring Punk Rock - only an unknowing listener would erroneously deduce this down as what’s to come. Mogwai is not a three-chord power riffs punk band. They’re punk in the way that Slint and Rodan were punk, using their guitars to experiment and transport. And even better is that their sound is a fuller one these days, having added Barry Burns to provide a little guitar, keyboards, and flute. The depth of the added instrumentation isn’t too extreme, it just creates a more cohesive sound.
And I’m quite pleased CODY isn’t all technoloaded, worried that it may have resemble their remix effort, Kicking A Dead Pig. Guitar based compositions are really what they create best.
Mogwai has struck an incredible chord with this release. Simply brilliant.
(DW)
As subtle and inconspicuous as the Russ Meyer movie they take their name from, Mudhoney are like your favorite bartender. Reliable, trustworthy, knows exactly what you want, and makes it good and strong. With their fuzzbox-laden guitars and Mark Arm’s trademark scowl, off the bat, you know you’re in for something great. And although it’s been a mere two years, it feels as if it’s been decades since Mudhoney last released a musical gem. But the boys took some time off (to work on some side projects and such) before they traveled down to Memphis to record with the legendary Jim Dickinson. Now I must admit that I have a huge fuzzy soft spot for Mudhoney, so even if this album was a bust, I’d still probably love it. But guess what kids… This album is the best thing they’ve released in a long long time. Simply it’s one of the best albums you’ll hear all year. Another job well done. (DW)
You only need to listen a few bars of "Academy Flight Song" to get hooked. That’s how brilliant this record is.
For their third full-length, San Diego’s No Knife headed to LA to record with You Am I’s Greg Wales (who helped unearth the pop side of the band that was dying to get out on "Hit Man Dreams"). And in its 12 tracks, "A Fire In The City of Automatons" combines a penchant for pop rock treats with some sap-free slow tunes. And the band sounds as good playing "Heavy Weather" and "Short Term Memory" as they do their more laid-back "Charming" (which features Jimmy Eat World’s Jim Adkins on guest vocals) and my personal fave, "Angel Bomb".
I babysit for a 1 ½ year old who has become accustomed to my music tastes. But every time this cd breaks for a new song, she yells out "More!". Now if that’s not a rave review, I don’t know what is. (DW)
The Pastels and fellow Scots Mogwai may have both recently released remix lps (featuring the talents of the ingenious hermit Kevin Shields). But that’s where the similarities end. Whereas Mogwai engages in powerful sonic assaults on your eardrums, The Pastels are effervescent pop at it’s finest. So much so that a remix lp was the last thing expected from the cuddly sovereigns of shamblerock. But don’t fear, the sweet opuses of the Glasweigan greats aren’t overshadowed by hardcore breakbeats or super bass n drum drives. In fact, the remixes, at times are so slight, it’s difficult to tell where the machination lies (like Cornelius’ celestial take on "Windy Hill").
"Illuminati" features a star-studded cast of knob manipulators, like Stereolab, Mouse On Mars, and Third Eye Foundation. But it succinctly exemplifies the change that has occurred within the Pastels over the 10+ years, showing that their limits have no bounds. Once they were a sloppy quartet of friends who barely knew how to hold their instruments. Today they have Kevin Shields at their beck and call. But believe you me, they are still as punk rock as they come. Yet, Shields’ treatment of "Magic Nights" is as lush and dreamy as any track found on his own "Loveless." And The Make-Up’s reworking of "Rough Riders" makes you crave a constant duet between Ian Svenonious and the cuddly Stephen McRobbie.
"Illuminati" is yet another brilliant piece of artistry from the wonderful Pastels. But leave it to them to make everything just perfect. (DW)
This collection of 7" singles and compilation appearances is a perfect example of The PeeChees, especially for those who have never heard this sassy Berkeley combo before. But it is also a perfect record for all those that can’t get enough of their two fantastic long-players, "Do The Math" and "Games People Play".
"Life" is a fast paced sugar rush to the eardrums, bearing both infectious lo-fi punk ramblings and tinny garage rock revelry. And you most certainly won’t be able to shake Chris Applegren’s ear-shredding nasality or Carlos’ infectious guitar grates—you’ll be happy about that too.
Unfortunately however, The PeeChees are no more. But at least they left us with a great little parting gift. (DW)
Placebo demands attention. Their cockiness is in your face - with every note that seeps out of Brian Molko’s girlish frame, with every word that is uttered from his Viva Glam-orized lips. And it is that egoism that laid the brilliant foundation of this release. Whereas it took me a couple listens to love their debut, I was immediately sucked into "Without You I’m Nothing"-- especially the sexy seductiveness of the title track. And although Bowie is still an essential part of the Placebo sound, there is more of an infusion of electronic and rock in the mix.< p> The band is now capable of being one of the greatest to emerge in the last few years—let’s just hope this attitude stays with them and that their third lp is even better. But that will take a lot of hard work indeed. (DW)
I just don’t get how people are going on and on about this band. The music is all well and good, but Caithlin Demarrais’ vocals are more off-key than dreamy (as many suggest). And it’s a huge distraction, one that could be easily rectified by good production and a singer who’s not tone deaf. I could be missing something, but Ranier Maria are not they’re all cracked up to be. Next. (DW)
Lo-fi and tinny, this Southern blues punk masterpiece feels like it was recorded in a dank and dingy shed with creaky floorboards, cobwebs, and nary a window. But rather than feeling claustrophobic, "A Golden Time" oozes spaciousness. Sad, sure. Depressing, no way. It’s 12 tracks of garaged out soul. It’s unmistakably Rock*A*Teens and it’s brilliant. (DW)
Seaweed has really outdone themselves this time. Their fifth long-player is most certainly their greatest, filled with infectious pop hooks and those harmonizing punk riffs from Clint Werner and Wade Neal. And although Wade’s "Stay Down" shouldn’t have signed off their affair, there really isn’t a clunker in the bunch. So even though Aaron Stauffer moved to northern California to hang out in a kayak, he hasn’t gotten all granola on us. There really is a little punk rock left in him. And no doubt is "Actions and Indications" one of the best records I’ll hear all year. I know it already.(DW)
Ah yes, Suede. They’re back with their fourth long-player and its only positive quality is that it’s a little more rockin’ than previous releases. I don’t think it’s because Brett Anderson’s gotten hard or anything, but he’s not whining as much as before. That alone should make it an amazing effort, but although there was a time when I liked Suede, after listening to "Head Music", I can’t believe I ever gave them the time of day.(DW)
I’ll admit it - I am a jaded Sunny Day Real Estate Fan. That’s why it took me months to purchase their third long-player. I just couldn’t come to terms with the fact that they’re back together, playing sold-out shows at Irving Plaza when I used to see them at a 200-capacity Maxwell’s. But I did it. I handed over some bills and shed some trainspotter skin. But I certainly won’t be listening to this record as much as their brilliant debut "Diary." The first track, "Pillars," is so astounding, but then and it all goes downhill. Still, Jeremy Enigk is a master when it comes to the pen and guitar double-punch, writing songs that seep into our brain and never exit. Now, I may be the only one out there disappointed by this release, but I never expected this to be a phenomenal tour de force in the first place. (DW)
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Mudhoney -Tomorrow Hit Today
(Reprise)
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No Knife -A Fire In the City Of Automatons
(Time Bomb Recordings)
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The Pastels-Illuminati
(Domino UK, Up US)
The PeeChees -Life
(Kill Rock Stars)
Placebo -Without You I'm Nothing
(Hut UK, Virgin US)
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Ranier Maria -Look Now Look Again
(Polyvinyl)
Rock*A*Teens -A Golden Time
(Merge)
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Seaweed -Actions And Indications
(Merge)
Suede -Head Music
(Columbia)
Sunny Day Real Estate -How It Feels To Be Something On
(Sub Pop)
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