The Hard Lessons -- B & G Sides Vol. 1

Back in the halcyon winter of 2004, before whatevs.org was overrun by Russian hackers, I wrote a glowing little review of a band that opened for Back in Spades and the Nice Device. Back in Spades didn't last long and last I heard Jackson Smith was touring with mom Patti. I think the Nice Device still exist, but I expect they'll be on hiatus as front woman Alicia tries to help revive the Von Bondies.

But that little band that opened has done alright for themselves... I speak of course of the Hard Lessons. Now of course I would never take credit for their success, having written that early good review... but of course I am the instigator, the emancipator of rock n' roll and I DID come up with all the good ideas in Star Wars. So I got that going for me.

Anyway, fast forward today and you'll find the Hard Lesson going strong and building a steady buzz and following through constant touring. Which of course means that many Detroit fans who've seen the band dozens of times are taking the trio for granted.

I have a feeling that's about to change with the B & G Sides series of singles, the first of which is being released by Quack!Media in conjunction with a Magic Stick show this Friday, November 23.

There will be a total of four singles, available on CD or vinyl. Each single features interlocking art work that forms a "bigger" picture. Similarly each single features a "B" song sung by Augie and a "G" song sung by KoKo... "Boy Side"/"Girl Side." All the songs will also be available as free downloads from their website beginning on November 23.

That's a lot of gimmicks, breaking up an ep or album of material into 4 collectible singles, free downloads, trading lead vocals on each side and a hipster mocking video on the near horizon.

Plus there is whole concept album vibe. Being as the subject of the songs is modern relationships told from male and female perspectives rather than a guitarist leading a revolution against a totalitarian regime OF THE FUTURE -- the whole thing looks to play out more like an amped up-rock-out version of Grease as opposed to 2112, but it is a concept none the less.

In typical fashion, the gimmicks are just wrapping paper for the Hard Lessons music. The first two songs in the series, "See and Be Scene" and "Don't Shake My Tree" are by far the best sounding recordings the band has done to date. They've written great songs in the past, but the team of producer Donny Brown (The Verve Pipe drummer?) and engineering by Tempermill Studio's Dave Feeny (Blanche, engineer on Van De Lear Rose and player of every pedal steel part in Detroit history) and Erik Maluchnik (Holy Fire and the terribly underrated Jarrod Champion Sleeps Till Dusk) have really found a studio sound for the band that at least to my ear breaths life and energy into the songs.

The lyrics are still clever and fun, the poppy harmonies propel each chorus skyward and as you'd expect there more than a passing nod to big '70's style guitars (harmonized riffs, feedback and bluesy chords bent with an inch of their life). But again, these songs have an added depth that some of their previous recordings have lacked. These are not songs that beg the classic excuse, "You really have to hear them live to appreciate it."

The whole point of a recording in general and especially the really the great lost (at least to Americans) tradition of the 45 single isn't so much to merely document, but rather to build something worthy of the relative permanence of vinyl, tape, plastic or binary code. It's a hard lesson to learn¹, but one THL appear to have taken to heart.

Rating: 5/5

-gorilla

_{¹See what I did there? With the reference? That's going in the good pile next to "Luke I am your father" and the Death Star.}

Editors -- An End Has a Start

For many, UK's Editors debut The Back Room was viewed as quite possibly the best indie rock album the past 4 years had seen. Less than 2 years later they deliver their follow-up with similar results, via a mixture of equally dark and moody songs. Editors have been compared nauseatingly to a plethora of 70's/80's post-punk bands (Joy Division/Echo & The Bunnymen/Chameleons) as well as their contemporaries (mainly Interpol), so no need to rehash those comparisons and debates here. The influences are obvious, but Editors have their own take and style, making music that jumps out as fresh and vibrant while maintaining an air of familiarity. The Back Room features so many outstanding tracks, it's tough to fathom Tom Smith & Co topping that. The only knock against their debut is that many of the songs feature the same driving fifth gear tempo, so it can begin to sound same'ish on the surface.

Wisely, Editors don't change too much of what worked so well last time, nor do they stand flat-footed in reverence of the kudos received for an exceptional debut. Half the album ("Bones", "Racing Rats", "Smokers Outside the Hospital Doors", "An End Has A Start" and "Empty the Nest") could be mistaken as A-Team material from The Back Room. The other half is where the band’s range is expanded, throwing in some new wrinkles courtesy of a few slower tempo building songs, as well as adding piano and keyboards to the arsenal. "Put Your Towards the Air" opens with the best humming seen since Crash Test Dummies' "MMM MMM MMM MMM" (similar humming is also found on "The Weight of the World" & “When Anger Shows”).

While not a concept album, it’s obvious that death, and its stamp on loved ones left behind is a central theme of Tom Smith's tunes. The title track finds Smith bellowing “More and more people I know are getting ill (Put something good on the ashes now be still)…But in the end, still my broken limbs, will find time to mend”. On "The Weight of the World" Smith sings, "You fuse my broken bones back together again, lift the weight of the world". The song is very appropriately buoyed by Urbanowicz's furious high pitched piercing guitar, which sounds like more like a micro-surgical saw than a musical instrument. The very next track “Bones”, features a chorus of “Bones, Starved of flesh, Surround an aching heart, Full of love”. Throughout the album, Urbanowicz's guitar work is lightening fast and sharp like an instrument of death. As The Fray have the Grey’s Anatomy market covered, it’s not difficult to imagine any number of songs being fittingly used in a future episode of Nip/Tuck or an operating room scene in a movie. The choice tracks of the bunch may be the three (“When Anger Shows”, “Spiders”, “Put Your Head Towards the Air”) in which the band shows its proficient ability to start slowly and build up in waves, rather than kicking off with an immediate blazing intro. All three also prominently feature Smith’s piano chops, hinting at the variety of sounds that the band’s capable of on later releases when they are unshackled to take more risks.

The only major flaw with the album is its closer, “Well Worn Hand”, which displays an anguished Tom Smith singing shakily sans his normally confident baritone on the slow piano ballad. It's questionable as to why this song was picked to be on the album, much less as the finale, other than it holds a heavy load of personal sentiment for Smith (a song about a friend’s suicide). The b-sides off The Back Room revealed material that was arguably as strong as anything on the LP. “You Are Fading” is arguably Editors’ best song, and didn't even make the first cut for the original debut (released on rare bonus disc for The Back Room).

The overall sound on An End Has a Start is anthemic arena rock (obvs, Jacknife Lee produced it), reminiscent of the glory years of U2 & REM. Whereas Coldplay/Idlewild/ Snow Patrol/The Killers have all recently gone for the big epic arena rock sound, Editors are actually able to pull it off without pretension, without sounding too slick, and without being too brooding and morbidly depressing. Where others fail, Editors seem to get that drama just for the sake of drama is anything but. While the songs appear to be rooted by an obsession with death, Smith's conviction and earnestness somehow manages to put the listener's mind at ease with a feeling of hope and survival amidst omnipresent fear and paranoia. Much like its predecessor, this album grows on you and the layers of sounds are pealed away with each listen. If The Back Room didn’t win you over, it’s unlikely that this album will change your mind.

Rating: 5/5

-Damore

Dan Deacon -- Spiderman of the Rings

Usually, here on recordreviews.org, we try to review albums in the week they come out. That rule is in place, because popular music is inherently disposable -- what's the point of writing a review of a month old album just to tell people it's awesome or it sucks. By that time, most people have already made their own call.

I've made an exception here for Dan Deacon, because Spiderman of the Rings is the kind of album most people will never hear and it is one of the most joyous musical experiences of year. It's passionate, exuberant and one of the best things I've heard since I started this site. I've been meaning to write about it, I like it better all the time, so I'm making sure I get this review out in the ether.

Like many people, I first heard of Dan Deacon via this odd little internet video from several years ago (before You Tube made everyone famous). It's Dan playing music "really cool 6 year olds would write if they had this stuff" on Good Morning Savannah with a very respectful host and a weather report in the middle. I thought it was interesting, but I didn't necessarily see this panning out to bigger and better things -- this seemed like a likely career peak.

Two or three years later we have Spiderman of the Rings with songs like "Okie Dokie" -- an infectious electonica wonder with a chorus that defies you to forget it. If you've heard it, you're probably singing "I've got a rattlesnake gun" and "I've got an aerosmith gun"¹ right now. And why the hell not. This is a song that at it's core, is about having fun -- something virtually lost on most recording artists today, who are either dour, preaching over consumption, or choking on their own intellect or clever popstar aspirations.

Not that the music is stupid -- it just plays stupid in the vein of the best of Devo -- who would never be confused with actual ignorance. In fact, the best compliment by way of analogy I can pay this album is that it sounds very much like the score to an unreleased Wes Anderson Movie about Wayne Coyne's dreams, composed by Mark Mothersbaugh.

Take this little review as my apology for not reviewing this album earlier and if you've already got it, well then you know what I'm talking about.

Rating: 5/5

-Gorilla

_{¹I have no idea what an Aerosmith gun is or where one could be appropriated. Is it for hunting Aerosmiths? Does it fire Aerosmiths? Projectile Joe Perrys to win the war on terror? I do know however, that I would like to buy an Aerosmith gun, if you know where to get one.}

LCD Soundsystem -- Sound of Silver

Pardon the alliteration (and cliché, for that matter), but music makes memories. More commonly, songs in particular have the unprecedented ability to cause one to wax ecstatic those glorious halcyon days of yesteryear - good or bad. For instance, I’ll always remember when and where I was when first hearing The Verve’s epic “Bittersweet Symphony.” Or furthermore the fact that “In The Meantime,” the Moog-laden hit by forgotten and forgettable Brit act Spacehog, reminds me of my entire booze-fueled freshman year of college. Sure, this by no means is a revolutionary theory and most – if not all – of us can relate to such.

That said, an entire album of comparable significance is less frequent an occurrence, but unsurprisingly has more staying power. I find myself revisiting many LPs from the last decade much more than just specific songs, the mood and texture of each track transporting me to a time and place I at times still long for. And while it may be premature for me to say, Sound Of Silver – the brilliant second LP from New York disco-punk group LCD Soundsystem – will forever remind me of 2007, the twilight and closing chapter of my 20’s.

“The truth is, I was shocked,” sings LCD Soundsystem mastermind James Murphy on “Time To Get Away” and I couldn’t agree with him more. The group’s eponymous debut was inconsistent, though its bright spots (“Daft Punk Is Playing At My House”, “Losing My Edge”) were certainly shimmering and full of promise. That promise was better reflected in last year’s Nike-sponsored workout jam entitled 45:33, a high-energy adrenaline rush that would make even the laziest man get off his ass and run a 5K in record time. In fact, the most genius bits of 45:33 appear throughout Sounds Of Silver, most notably the album’s centerpiece, the hypnotic “Someone Great.” But the genius does not start, nor stop there.

Album opener “Get Innocuous!” has a thumping backbeat that seems destined for repetition if not for Murphy’s best David Bowie impression. The song sets the tone for the entire record; Murphy unabashedly wears his influences firmly on both sleeves – strictly as homage, not thievery. “All My Friends” is the musical equivalent to a runaway train (or endless party, perhaps?) chugging along until crash or climax. It feels as though the ride may never end, nor do you want it to. The title track borrows from the same formula as “Get Innocuous!” and “All My Friends” by using a continuous rhythmic assault, only to add layers of ear candy until reaching an intense zenith that borrows from early Depeche Mode. Closer “New I Love You…” is a confessional Lou Reed poem, and while it may be the album’s only downtempo moment, it acts as a perfect post-script to a joyous adventure; a come-down of sorts.

Not since Moby’s Play or Fatboy Slim’s You’ve Come A Long Way, Baby has a dance record sounded so marketable. It seemed as though every song from those aforementioned LPs appeared in some sort of advertisement, film or television program, and Sound Of Silver has that same appeal. This was what The Chemical Brothers were attempting to accomplish with Push The Button (and they did, but only to an extent).

Admittedly, I have been an offender of deeming something as masterful far too early. I’d be lying if I said that I first heard Sound Of Silver upon its release date of March 20th. However that was not the case: I received a copy last December and would’ve named it my ‘2006 Album of the Year’ if not for technicality’s sake¹. What I have learned throughout years of music appreciation is that the best albums are always the ones you go back to. It has seemed like a lifetime since first hearing Sound Of Silver, and it still sounds like silver with every listen.

Memories indeed does music make. James Murphy has etched his way into mine for years to come.

Rating: 5/5

BOW!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

-Peabs

¹ <sub>The management of recordreviews.org does not endorse nor personally sponsor the actions of "staff-writers" during off hours, which include 12am-11:59pm, Monday-Sunday. We have however, promised to buy everyone in the office lunch from White Castle should we ever get an office.


-- Cordially, the before mentioned management.</sub>

Arcade Fire -- Neon Bible.

With their dynamic debut Funeral, Montreal-collective Arcade Fire captured the attention of the music scene and were suddenly deemed both indie-rock's great white hope and hype. Say what you will about the aforementioned hype; few debut records in recent memory had as much focus and maturity, and one would find it difficult to believe Arcade Fire would be able to duplicate such fervor without fear of banality and repetition.

To say Neon Bible doesn't disappoint would be an understatement. Arcade Fire has grown into an even more passionate and mature group, their songs growing more expansive as the band comes into their own sound. The dark tone of Funeral isn't nearly as blatant, nor abundant; frontman Win Butler sings with (and of) hope, joy and faith.

That's not to say this is an overtly religious album, despite the name (or the fact that the band recorded in a converted church). It's moreso an album of rehabilitation. Where Funeral was a grieving process, Neon Bible sees the band moving on with their respective lives with a new sense of soul. This may be best exemplified in the majestic "No Cars Go," a song probably best known as being the "one played live that wasn't on Funeral" (it also appears on their eponymous EP). The track - like the band - has grown up, even if only a couple of years; the arrangement is one of sweeping grandiose confidence.

Moments like these occur often throughout Neon Bible. Butler evokes the honesty of Nebraska-era Springsteen on first single "Intervention" and (especially) the alt-country-ish narrative "(Antichrist Television Blues)." The beautiful "Ocean of Noise" features droning shoegazer guitar - reminiscent of the criminally-underrated Brit band Ride - and mariachi horns over a Roy Orbison-like croon. And while these influences are rather apparent, they are never overdone and always fresh-sounding.

It's still up in the air whether or not Arcade Fire may not be the saviors of indie rock's future. What is certain is that they are the kings of indie rock's present.

Rating: 5/5

-Peabs