DO THE ARCHITECTURAL WATUSI – Page 28

NIKKI LANE: ALL OR NOTHIN’

(New West Records; 2014)

On her sophomore release, Nikki Lane steps up her game with the help of producer (and primary songwriting partner for ALL OR NOTHIN’) Dan Auerbach. The record is filled with plenty of girl power tunes, a couple of “get-even” tunes and even a submissive, “Stand By Your Man” kinda tune; all of them with a sense of fierce urgency that tells you that Ms Lane is not to be trifled with! In short, this ain’t no Taylor Swift fluffy pop country; she’d kick Taylor’s butt! Heck, she’d probably win an over-the-top-rope wrestle royal with Lucinda, Courtney, Miranda, Christina, Neko, Exene, Beyonce and just about any other Diva you could name (except those Blues ladies… nobody messes with them!) That estimation is borne out on the opening track, “Right Time,” a snotty (in a good way) girl power song with a twang and a pedal steel guitar. There’s no doubting who’s in charge with lyrics like, “It’s always the right time/To do the wrong thing.” “Good Man” is a cowgirl group thing, with Spector-ish “Wall of Sound” drumming and glockenspiel a-plenty. It features a more refined vocal twang and restrained pedal steel. The girl group comparison continues with “I Don’t Care.” The song comes off the starting block like “London Calling,” but the vibe quickly coalesces into something closer to the early, angry Elvis (the only Elvis that matters, not the dead fat guy). The organ, acting as more of a percussive instrument, propels the song forward as much as the bass or drums.

“You Can’t Talk To Me Like That” is a languid, plaintive country ballad. Aside from a great vocal from Nikki, the track also features an organ part that reminds me of Al Kooper’s work on Dylan’s HIGHWAY 61 REVISITED. And, there ain’t nothin’ wrong with that. With a PETER GUNN or a private eye movie soundtrack kinda vibe and a cool Tijuana Brass horn chart, “Seein’ Double” is all atmosphere, something rare for that kind of music. On “Love’s On Fire,” producer Auerbach joins Nikki for a real live, honest-to-goodness June and Johnny, Tammy and George, Dolly and Porter country duet. The song begins with minimal accompaniment but, a little over a minute in, it turns into a full blown country barn burner. “All Or Nothin’” is what the First Edition would have sounded like if Thelma Comacho or Mary Arnold sang lead instead of Kenny Rogers. It has a chugging rhythm with great percussion, organ and guitar, particularly the psychedelic solo that plays through to the fade. A driving rock beat and plenty of drawl and twang make “Sleep With a Stranger” a good “get-even” tune, with snark-laced lyrics like, “This would be a good night/To sleep with a stranger.” Lucinda and Neko would definitely approve. The snaky guitar and pedal steel leads add to the snide charm of the track.

“Man Up” is another hard-edged empowerment song: “You better get off your ass/You better man up/Or I’m gonna hafta be/The one that gets tough.” It’s kinda like the traditional country that was making the rounds and gaining popularity in the late ’70s and the early ’80s, but with tougher lyrics and more adventurous instrumentation. Jason Pierce (J Spaceman of Spacemen 3 and Spiritualized) is the co-writer on “Out of My Mind.” The tune has more in common with Pierce’s Spacemen 3 work, but with a solid pedal steel lead and a plaintive vocal from Nikki. Fiddle, piano and acoustic guitar add to the lilting country feel. The next track, “Wild One,” would not sound out of place on the first New Riders of the Purple Sage album, with the pedal steel referencing Jerry Garcia’s playing on that record. The rolling bass and nice organ sound highlight an understated vocal performance… a performance which is almost staid compared to the rest of the record. “Want My Heart Back” is a great update on the early ’60s pop sound, with piano, guitar and echoey drums (requisite tympani included) that are reminiscent of the Cascades’ “Rhythm of the Rain.” While ALL OR NOTHIN’ is an upgrade over her excellent WALK OF SHAME debut, the best material here is the stuff she co-wrote with Dan Auerbach. Hopefully, this is a creative team that will stay together for a while. With Lane and Auerbach together, I’m not sure how much better we can expect record number three to be, but I sure can’t wait to find out!

BOBBY BARE, JUNIOR’S YOUNG CRIMINALS’ STARVATION LEAGUE: UNDEFEATED

(BLOODSHOT RECORDS; 2014)

Where do you go after releasing an immaculately imperfect debut like BOO-TAY (featuring the elegantly titled single, “You Blew Me Off”)? Well, if you’re Bobby Bare, Junior (son of legendary Country Music Hall of Famer… wait for it… Tommy Overstreet! Uh… I mean, Bobby Bare), you break up the old band (Bare Junior, natch!), form a new band (the Young Criminals’ Starvation League) and sign with insurgent Americana label, Bloodshot Records. Now, sixteen years after his first release (not counting the duet he did with his Dad when he was only a lad) and with that famous wit and sarcasm still intact, Bare the younger has released UNDEFEATED, a lyrically gritty look at a failed relationship (examined more closely in the documentary, DON’T FOLLOW ME (I’M LOST)); musically, the record is all over the place, just like the previous six full-lengths. It’s also a study in economy: Ten songs in less than 40 minutes.

“North of Alabama By Mornin’” opens with a frenzied blast of feedback before settling in with a really cool organ signature. The tune matures into a funky, snaking groove featuring deep-in-the-mix, slightly processed, semi-maniacally ranting vocals. A nice, country-tinged hate ballad follows. “If She Cared” is highlighted by some very nice vocals (lead and backing) over a pretty piano and a lilting bass line. The ultimate “get even” song, “The Big Time,” has a sort of Mexicali feel, complete with mariachi horns and great, sarcastic lyrics: “You’re gonna miss me after I hit the big time/You won’t see me ’round here no more/Gonna get brand new, famous friends.” With a bass line reminiscent of Alice Cooper’s “Halo of Flies,” “Don’t Wanna Know” sounds like a psychedelicized Hoyt Axton tune. The guitars are all over the place, with a solo that goes from a weird twangy thing to a fuzzy freak-out. The vocal melody is one of the best that I’ve heard in a long while; the backing vocals definitely fall into the classic country music sound.

Bobby Bare, Junior (photo credit: JOSHUA BLACK WILKINS)

“The Elegant Imposter” is a minor key country waltz about a former lover (wife?) growing, changing and, ultimately, leaving her partner behind. The album’s title track sounds like an extension – or, more apt, the flip side – of the last song. Despite its name, this is much more of a lonesome, country “tear in my beer” tune which is, inexplicably, highlighted by an awesome tremolo-drenched solo. In a lyrical swerve worthy of the Jim Stafford hit, “My Girl, Bill,” “My Baby Took My Baby Away” is not about the drunken lout that the first verse has you envisioning. Nope, not at all… the litany of items that would generally have gotten the guy kicked out of the house are readily accepted and even considered cute because… it’s the baby, who is adorable, weaving and falling over, bottle in hand and pantless; “Why am I all wrong/But he’s alright,” indeed. The piano intro to “Blame Everybody (But Yourself)” has the same tempo and ragtimey groove as the previous tune, but quickly morphs into a late ’60s “sunshine pop” thing with horns and bright, cheery backing vocals. Lyrically, it seems to be an answer to the last track: “Stop blaming the kid for your problems. Stop blaming me for your problems. Stop blaming the grocer for your problems.” “As Forever Became Never Again” is another of those Hoyt Axton-sounding rock and roll songs, with a pounding rhythm section, rolling piano and some very cool guitar parts, making it my favorite UNDEFEATED track. Lobbying to dethrone that one for album supremacy is the closing track, “Don’t Stand At the Stove.” This one has everything; it’s a swirling cacophony of sounds and styles, with a percolating rhythm, chunky organ, a scratchy guitar part that turns into a Big Country kinda thing, and hypnotic falsetto vocals.

The press release calls UNDEFEATED a “breakup album” but, Bare, in his inimitable, self-deprecating style, says that it’s actually “more of a getting-dumped record.” Now, I’ve liked his music since the first time I heard it and I really wouldn’t wish misery on anybody, but, if more albums like the dark, depressing, snarky (and beautiful) UNDEFEATED would result from that misery… Well, Bobby, have I got a lady for you!

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | May 17, 2014 | Alternative Country Americana Bare Junior Bobby Bare Bobby Bare Junior Country Music Music Rock and Roll Singer/Songwriter The Young Criminals' Starvation League

FATHER MURPHY: PAIN IS ON OUR SIDE NOW

(AAGOO RECORDS EP; 2014)

I’ve always said that if something doesn’t sound just like something else I’ve heard, I will listen to it extra attentively. I suppose that’s one of my guiding MOs as a music writer. This peculiar Italian outfit, Father Murphy, sounds like almost NOTHING else. So I gave them an especially close listen and was rather stunned by what I heard. It’s some kind of nightmarish cinematic new-ambient drone/squonk punctuated by purposeful chants and dialogue, pounding percussion and, surprisingly, space to reflect. A couple of sentences in the press material provided for this four-song EP provided a compelling way in; the music is described as “the sound of the Catholic sense of guilt, a downward spiral aiming at the bottom of the hollow and then digging even deeper.” So, a party record, then? Not hardly, unless you want to clear the party quickly and be left only with the open-minded, contemplative types you prefer hanging out with anyway. This is the kind of music you experience when you’re in a certain weird mood, and want to literally be pulled out of your reality and maybe plunged into the deepest well of contradictory, destructive human behavior, to hear what the soundtrack to such might be.

Father Murphy (photo credit: ELENA TONIOLO)

On “Let the Wrong Rise With You,” it means you get a dark, ominous, machine-like drone which is soon hijacked by abrasive industrial percussion that could be the soundtrack to a terrorist group of unknown origin suddenly marching into a village (I couldn’t help thinking of Boko Haram, actually, who have been so much in the news lately). This shifts into a mid section of distorted horns or the like with a sinister drone underneath, and then a third section of plainly heard single keyboard tones that are nearly melodic in nature, with a bit of percussion here and there. Whatever the Reverend Freddie Murphy and Chiara Lee (the two singer/multi-instrumentalists responsible for all this) are up to here, it certainly has few reference points. Apparently, Julian Cope and Deerhoof are fans; the latter’s Greg Saunier produced the EP. And, Simon Reynolds has helpfully dubbed this “Italian occult psychedelia.” Certainly you’ll think of occulty things when listening to “They Will All Fail You,” which begins with the sound of glass shattering and soon treats you to the sound of various disturbed voices yelling, one of which sounds like “Trial, trial, trial,” over and over, which may indeed be what some listeners go through when subjected to this. A pounding sound, a male voice yelling a word that sounds like “Horror” repeatedly, and a dark ambient drone will make you think you’re in a very bad place, indeed – the kind of thing that happens when you watch a foreign horror movie. Children may have been harmed in the making of this music, or perhaps this is music ABOUT children being harmed… there’s that Catholic guilt thing again, I suppose. “Despite All the Grief” managed to surprise me even in the context of what preceded it, due to what is a relatively quiet low-frequency rumble/drone that is only interrupted by maybe 28 seconds of industrial-strength clanging, reminiscent of the music in the first Bartertown scenes in MAD MAX: BEYOND THUNDERDOME. There is something utterly willful about the way these tracks are arranged and performed; a potent aesthetic is at work. And, listening to samples of previous work by this group, such as 2012’s ANYWAY, YOUR CHILDREN WILL DENY IT, online only reveals that something quite original and determinedly provocative is happening here.

You’ve heard the phrase “uneasy listening?” This is THAT. There is nothing cheery or comforting about Father Murphy, but lordy, if you have a taste for dark, immersive, non personality-based cine-music, this may be something to lose yourself in. Best recommended if you’re a LAPSED Catholic or “other” in the religious column, though. If you’re still going to mass and taking communion, well, you’re liable to head straight for confession after hearing this stuff.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | May 13, 2014 | Chiara Lee EP Experimental Music Father Murphy Industrial Music Italy Music Reverend Freddie Murphy

GREY SKIES FALLEN: THE MANY SIDES OF TRUTH

(Xanthros Music; 2014)

THE MANY SIDES OF TRUTH is the sixth release by New York’s Grey Skies Fallen (the previous five are offered as free downloads at the band’s website, www.greyskiesfallen.com). The album, clocking in at less than 40 minutes, is as varied as the region from which the band hails. The overall feel is epic metal, but there are also brilliant swatches of doom, progressive and folk – elements that push to the fore in totally unexpected ways and at unexpected times throughout the course of the seven tunes. Whether this adventurous envelope-pushing is due to the maturity that comes from nearly 20 years as a band or from the two new members (Joe Sanci and Tom Anderer, guitar/vocals and bass, respectively) is a subject that I’ll leave to be debated by others; the salient point here is this: Is the record any good? Well…

The opening track, “Ritual of the Exiter,” is close to ten minutes of virtually perfect progressive folk metal. It starts in a slow, hypnotic fashion, with kinda creepy, mantric-like vocals buried low in the mix. Nearly half way through, the song proper is introduced, featuring two voices: One clean, the other harsh with a weird, robotic quality. Stun-gun guitars – the type popularized by Zak Wylde and other like-minded players – are on open display before breaking off into a quiet interlude. The respite, sweet though it is, is short, as a powerful Maidenesque instrumental section – complete with keyboards and full-throated chants – charges to its terminus. The drums and guitars are top-notch throughout, making for a fine opening salvo.

The next track encompasses the next three tunes. Acting as a prelude, “Unroot Transparent Being” reminds me of the opening guitar passages of Metallica’s ”One.” The instrumental features some very nice keyboard work, as well, but nothing more – no bass, no drums. Staying in a Classic Rock frame of mind, the guitar and the groove of “The Flame” brings to mind “Right Now” from Van Halen’s FOR UNLAWFUL CARNAL KNOWLEDGE album, while the vocals are more reminscent of Conrad Lant (Cronos of the English metal horde, Venom). In an odd (but very much appreciated) move for a band like Grey Skies Fallen, this portion of the triumvirate of mayhem is very keyboard heavy. Naturally, that leads into an atmospheric piano intro – rather like the score of an old Gothic movie – to “Of the Ancients,” a majestically evil sounding power metal piece with a well placed clean vocal performance.

A gentle, pastoral guitar piece, “Isolation Point” is full of echo and sustain and awash in feedback that somehow shimmers as it morphs into the main body of track three, a song called “End of My Rope.” This part of the suite careens forward in a bestial manner, with great, gutteral vocals before retreating slightly with a more epic sounding second half featuring clean vocals. “Winter Hand” is a more frenzied and disjointed refrain of the intro piece. This record works on so many levels that checking the “metalhead” box on your resume is not a prerequisite to total enjoyment. The technical efficiency of the players alone is worth the investment; the incredible music is simply a bonus.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | May 11, 2014 | Doom Metal Folk Metal Grey Skies Fallen Metal Music Power Metal Progressive Metal

THE WHIGS: MODERN CREATION

(New West Records; 2014)

The Whigs are back! Five albums and three bass players into a twelve year career, the Athens, Georgia trio are showing no signs of slowing down; in fact, they rock as hard (or harder) than they ever have. “You Should Be Able To Feel It” kicks off MODERN CREATION in fine fashion. It is, quite simply, the best kind of power pop/punk with a little dose of twang thrown in for good measure… think Artful Dodger or the Replacements. Julian Dorio’s drumming is powerful and rock steady, while Parker Gispert offers up enough chunky power chords to fill an hour on any Classic Rock radio station. The chugging, percolating “Asking Strangers For Directions” has a more menacing vibe with Clash-like drumming propelling the song forward. The track has a very bottom heavy feel and the guitars are featured more as texture than anything else, until a wicked sounding phased-out solo. Not as radio friendly as the opener, but it’ll definitely show up on plenty of personal playlists. The guitar on “The Particular” has a definite metal tonality, while the whole thing has a rather minimalist, stripped down feel. Timothy Deaux’s bass playing in this setting is particularly intriguing. For comparison’s sake, imagine Tony Bourge-era Budgie filtered through early Everclear (Gispert’s vocals even sound a bit like Art Alexakis).

The Whigs (publicity photo) — The Whigs (Julian Dorio, Parker Gispert, Timothy Deaux) (publicity photo)

“Hit Me” is a funky, jangling hybrid of everything that made you love music in the first place. It’s the first single from the album and one listen will tell you why. If handled right, “Hit Me” could become a sleeper radio hit for the summer. In a similar vein, the chiming guitar, vibrant production and elastic bass of “Modern Creation” makes it another radio friendly number. The witty lyrical content is of a type that would make the studious gents from Eve 6 envious. “Friday Night” is a snotty punk song, with vocal nods to Billy Idol and the aforementioned Everclear frontman. Alternating between a plodding drone and a pop metal charge, “She Is Everywhere” has me contemplating a joint writing effort by Pete Townshend and the Oakland, California post-metal tribe, Neurosis. While that may seem like an odd combination, the Whigs pull it off spectacularly.

“Too Much In the Morning” sounds like one of those late ’90s alternative rock songs that may have prompted Dorio and Gispert to say, “Let’s start a band.” It’s a neat ballad with a charging bridge and chorus section that really elevates the song to another level. With a bouncey melodicism, “I Couldn’t Lie” is the kind of gently rocking song that Phil Lynott would sneak onto every Thin Lizzy album, a bit too heavy to be called a ballad and a little too poetic for a hard rock workout. One of the highlights of MODERN CREATION is the literate, well-conceived lyrics. “The Difference Between One and Two” continues the exceptional wordcraft, enhanced by powerful performances from the rhythm section and an almost stately guitar part, which is quite reminiscent of a Link Wray stroll. The band’s schedule has them delivering an album every other year and, while I would certainly like to have more, if the wait between releases continues to yield music of this quality, I’m happy with that. The guys are currently touring in support of MODERN CREATION. Upcoming dates can be viewed at www.thewhigs.com.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | May 10, 2014 | Alternative Rock Music Power Pop Rock and Roll Streaming Video The Whigs

INCAN ABRAHAM: TOLERANCE

(WHITE IRIS RECORDS; 2014)

I never trust music reviewers who sound like they know every single similar artist when they try to describe a new band to the reader, and it would be literally impossible for any music scribe to hear even a majority of the stuff that comes out these days; there’s just too much of it. An honest, well-intentioned reviewer, which yours truly would like to be considered, can at best hope to give you a general idea of a new group’s sound, and then offer up a few similar artists as loose references. What you need to know about Incan Abraham, and their debut album TOLERANCE (well named in these intolerant times) is that it’s melodic, stately rock bent on achieving a casual grandeur, rock that is friendly, communal and very inviting, with high male vocals and pleasing harmonies. You want reference points? Well, there is a Norwegian artist named Magnet that comes to mind but I’m guessing you don’t know that artist or the singer, Evan Johanssen, who powers it. So let’s go with a touch of Coldplay, a few dollops of Beach House and a vague smidge of Sting, arranged in such a way that it could go prog on you if the group had a ton of money, but they don’t yet, so they stop just in time to be melodically solid and easily accessible. Comparisons aside, the main thing about Incan Abraham is that they sound familiar, something that reminds you of other stuff you’ve heard, but in a good, reassuring way.

Giuliano Pizzulo, Teddy Cafaro and Spencer Mandel have evidently been friends since grade school, and you can practically hear that kind of tight-knit vibe in the close harmonies and unity of purpose here. Pizzulo’s vocals soar, typically against lush, synth-generated backdrops that never go on too long, and are always melodically winning.”Midwife,” “Concorde” and “Forgiveness” have that easy accessibility that’s elusive for so many bands, hitting the right buttons not just for a presumed mass rock audience but for jaded critics that look for something oh so different but will normally surrender to great vocals and high production values. On “Tram,” Pizzulo has the confidence in his range that allows him to hit high notes perfectly, and the resulting emotional clarity is very pleasant indeed. “Desert Hold,” a brief truffle of a tune, is sparsely arranged, with just a slightly off-center vocal, acoustic guitar, and sweet harmonies to give it a bit of company…very becoming. But “Peers” is a real highlight, a warm, lovely bit of songcraft in which the vocal harmonies wrap you in a soft blanket of comfort, outdoing Beach House by a degree or two. When the band sings “Oh, oh, oh” a few times at the end, you might be inclined to do the same at the sweet sound emanating from your player. And the jaunty keyboard figure of “Spring House”, with another breezy arrangement in tow, should seduce the majority of just about any genre audience out there save hip hop or metal. It’s easy listening for uneasy times. In short, there are two ways you can approach this kind of record: the stuffy, “oh look at me I’m a critic” way, which will have you concluding that this is a listenable, but not very original debut. Or, the way most listeners SHOULD respond to something: does it sound good? Are the vocals strong? Do the tunes invite you in and incite some emotion here and there? On that level, Incan Abraham have definitely got it going on; they are attentive, emotionally present musicians who aim to pull you right in for 45 minutes, and then let you go, feeling a good measure better. In my book, that’s a solid musical goal, and TOLERANCE is likely an understated word for what you’ll achieve by experiencing this lovely record start to finish.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | May 8, 2014 | Incan Abraham Music Pop Rock Rock Music

GREAT LIVE ALBUMS (20)

Live recordings have been a part of the music industry since day one of the crude technology of the earliest devices. In fact, since there were really no studios available for recording purposes, all of those early “records” were “live recordings” in the strictest sense. However, the live album, as we now know it, is a completely different animal. That animal came into its own in the rock era and exploded with the release of ALIVE, a 1975 album by KISS, (a career making release with an overabundance of what has come to be known as “studio sweetening”), and FRAMPTON COMES ALIVE in 1976 (also hurtling “the face” and former Humble Pie guitarist to superstardom). With the unprecedented success of Peter Frampton’s fifth solo release, everybody and their brothers were releasing these documents of their latest tours (sometimes used as stop gaps between studio albums; sometimes used as a means to gain an artist’s release from a record label contract, commonly referred to as the “contractual obligation” record).

A lot of people don’t like live albums. I’m not one of those. Some of my favorite records were recorded on the road. Here’s a list of 20 live albums that I think are the best. These records are all official releases, not bootlegs… that’s a whole other list (and one you may see somewhere down the line, as well). I had a hard time keeping this list to 20 (it started out as a “Top10”) and, I’m sure that your list would look very different from this one. But, that’s what makes these things so much fun, right? So, starting with number 20, here’s the first in a series of reviews presenting 20 live albums that you should check out:

(20) WINGS: WINGS OVER AMERICA

(CAPITOL RECORDS; 1976)

To say that the original release of WINGS OVER AMERICA was a behemoth may be overstating things… but, just barely! It was a beautiful thing to look at and – in a time before gargantuan box sets were an industry norm – the three record set (enclosed in a true masterpiece of design by Hipgnosis) was one of the biggest (and, at nearly two hours, one of the longest) releases ever.

WINGS OVER AMERICA inner gatefold painting by JEFF CUMMINS

The band (drummer Joe English, guitarists/bassists Jimmy McCulloch and Denny Laine, keyboardist Linda McCartney and her husband… I think his name might have been Lester, but I’m not sure… wonder whatever happened to him?) comes out of the box rocking hard with a medley of “Venus and Mars,” “Rock Show” and “Jet.” Despite the many comments regarding Linda’s musical and vocal abilities, she was – in my humble estimation – just as integral a part of the group as Laine, McCulloch or English… heck, I even like the songs she sang lead on! Anyway, with the aid of a four man horn section, Wings proved from the get-go that they were there to play. Following a great take on “Jet” is another track from BAND ON THE RUN, the bluesy “Let Me Roll It.” Then it’s back to the VENUS AND MARS material with “Spirit of Ancient Egypt” and McCulloch’s “Medicine Jar,” a pair of tunes that had me reevaluating the merits of said album. Side two opens with a stunningly effective version of McCartney’s solo song, “Maybe I’m Amazed,” featuring some awesome, tasty guitar from McCulloch. Another slow blues – and another tune from VENUS AND MARS – follows. “Call Me Back Again” features more solid guitar work and a nice horn chart. When Paul announced this jaunt (as part of the Wings Over the World tour and his first live dates in the States since 1966), the burning question was, “Will he play any of those old songs?” The rabid fans got their answer very early in the set, as a pair of lesser (by comparison) Beatles tunes – “Lady Madonna” and the dreamy “Long and Winding Road” – were given the Wings treatment. The hyper-kinetic theme to 1973’s James Bond flick, LIVE AND LET DIE closes out the second side of the set, with McCartney pulling every cliché from every musical genre he could access at the time he wrote the song.

Wings: Linda and Paul McCartney (photo credit: BOB ELLIS)

The second album (side three, by the way things were figured way back then) starts off slow, melody wise, with one of the gentler tunes from BAND ON THE RUN, the French dancehall vibe of “Picasso’s Last Words (Drink To Me),” coupled here with a nice, lilting cover of Paul Simon’s “Richard Cory,” itself an adaptation of a late nineteenth century poem about a suicide. Vocalist Denny Laine changes the last line of the first chorus to “I wish I could be… John Denver.” The acoustic set continues with another song from BAND… , “Bluebird” before dipping into Paul’s back catalog once more, with a trio of classics: the country-tinged “I’ve Just Seen a Face,” a rather funky “Blackbird,” and what may just be the perfect ballad, “Yesterday.” A record flip (yes, kiddies, to get from side three to side four, you actually had to physically turn the thing over!) and it’s back to the electric stuff and another dose of VENUS AND MARS music, with the ragtimey “You Gave Me the Answer,” which is followed by McCartney’s paean to a few of Marvel Comics’ oddest villains in “Magneto and Titanium Man.” Denny is back on lead vocals reprising his hit with the Moody Blues, “Go Now.” It’s a nice, bluesy number enhanced by the horn section. It’s rather unfortunate that the best song on the RED ROSE SPEEDWAY album was “My Love.” It’s even more unfortunate that McCartney deemed the slow schmaltz worthy enough to perform live. Side four closes out with the rollicking “Listen To What the Man Said,” highlighted by Thadeus Richard’s clarinet.

Wings: Jimmy McCulloch and Paul McCartney (uncredited photo)

Side five introduces the new album, WINGS AT THE SPEED OF SOUND, starting with the goofy pop of “Let ’em In,” one of two big hits from the record. Laine’s sinuous “Time To Hide” kicks up the rock ‘n’ roll again before the other big hit, “Silly Love Songs,” gets an early airing. I know that a lot of people cite this song, in particular, as proof that McCartney’s post-Beatles work was schmaltzy pop crap, but I’ve always liked it. So sue me, ’cause I think this version is pretty darn fun! Rocker Paul returns on “Beware My Love,” one of his more muscular forays into the realm of hard rock. Throughout WINGS OVER AMERICA, Paul, Jimmy and Denny had been switching back and forth between guitar and bass (and, occasionally, piano) but, the imaginative bass work (and the tone) on this side is all Paul and, for that reason alone, is the highlight of the set. Paul continues on bass on the final side with “Letting Go” another VENUS AND MARS rocker. “Letting Go” is followed by what is probably McCartney’s most well-known post-Beatles tune, “Band On the Run.” The bass (McCartney again) is quite prominent and the guitars, drums and Linda’s synthesizer cut through at times, but the song sounds thin somehow. It’s still a great rocker. The encores, “Hi, Hi, Hi” and “Soily,” sound better. The guitar interaction between McCulloch and Laine is possibly the strongest of the entire album, with McCulloch on slide and Laine playing a double neck. Paul McCartney wanted to prove that this wasn’t just his Wings, but a cohesive unit of five very talented musicians. I’d have to say that they definitely proved his point with the Wings Over the World tour and the WINGS OVER AMERICA album, which is why it’s one of the 20 best live albums ever.

The most recent release of WINGS OVER AMERICA came in 2013, with standard two CD and three LP versions, a Best Buy version with an extra CD of eight songs recorded at San Francisco’s famed Cow Palace and a sprawling box set featuring all three CDs, as well as a DVD of a television special called WINGS OVER THE WORLD and four books.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | May 7, 2014 | Classic Rock Denny Laine Jimmy McCulloch Joe English Linda McCartney List Live Recording Paul McCartney Pop Music Rock and Roll Streaming Video Thadius Richard The Beatles Wings

MACEDO: PAPER DOLL

(MOONGOLD RECORDS EP; 2014)

Twin sisters Michelle and Melissa Macedo have released a 6-song EP that aches of sincerity and hours spent contemplating life and love, something that hardly makes them unique. What DOES is that their tunes are growers, plaintive ballads and unpredictable rockers that insinuate themselves gradually into your psyche. PAPER DOLL follows a couple of previous releases the Pasadena, CA sisters put together (including 2011’s FLAGS AND BOXES), and seems intent on neatly encapsulating their strengths for a slowly growing audience, those strengths being dual vocals that are similar but which create a pleasing tension throughout, strong lyrics that reflect a high degree of emotional authenticity, and mostly sterling arrangements that feature piano, organ and violin in a swirl of energy that is pulled towards art song in one direction and Alanis Morissette-type love snarls in another. There’s something very familiar about the Macedo sound, and I swear this is the last time I’ll EVER mention the Indigo Girls in a review of ANYTHING, just on general principle, but the EP’s first couple of songs do bring that group to mind actually bettering them in many ways. These tunes manage to NOT be self-indulgent, something the Indigos were convicted of long ago, and if a few Alanis-y moments draw attention to themselves, well, that’s okay. Everyone’s gotta sound a little like someone else, right? Vocals are upfront throughout and the piano is mixed with sparkling clarity. So the verses tend to stand out: “Do you remember when we found that fortune teller/You thought they for sure knew me better/There is only time that’s taken/There’s only time that takes,” the girls sing, seemingly sharing a private conversation that we get to be in on, and we want to know more. There are effective pauses here and there, which shows that either the Macedos or their producer is paying attention to arrangement and overall flow. It’s nice stuff.

“Your Skin Brims” gets its Alanis on rather overtly, although the tempo shifts are unexpected. And the demands of the lyrics are more subtle: “Remember when we talked about the warning signs?” goes one refrain, and the whole song appears to be about a relationship that is in trouble, trying to figure out where the blame lies. As the music surges with organic intensity, our protagonist starts damning things in the lyrics: “Damn, I’m a cynic/Damn, I’m about to kiss my worst critic,” a Macedo gal intones, a great lyric that serves up a whole platterful of angst truly universal and easy to empathize with. By this time, they’ve pretty much GOT you, these girls; whatever might be missing in originality is certainly THERE in focused self-awareness, always important on introspective platters such as this. So the final track, “Amazing,” just SLAYS. It’s a potent composition which makes quite a convincing case for Macedo as an act to be reckoned with. I’m guessing it’s Melissa on lead vocal, telling us in an effectively nasally voice something that positively hurts to hear: “Amazing always, no one can stay that way/But will you still love me when I fade away/There’s a child inside me/Who functions out of fear/Though you shouldn’t come closer/You should still stay here.” Having been in relationships where this kind of sentiment would’ve been a welcome burst of honesty, I felt chills listening to the song. The piano is stark and lovely, the violin comes in just at the right time to create haunting musical devastation, and there’s some background organ that only serves to heighten this song’s contention for “classic” status. It’s the kind of tune that you just KNOW would hold a crowd at rapt attention in some tiny little lounge lucky enough to have Macedo on the bill that night. “I’m amazing next to you, it’s true/Just your presence pulls me through/And inspires my desires/When you’re gone, my heart breaks on and on and on,” the girls sing, with an understated power that few could possibly resist. There is something truly authentic about Macedo that a whole slew of other similar acts could only hope to achieve. Whether it’s the sisterly bond placed front and center, the sometimes tart vocals that make almost every word clearly audible, or the clean keyboard-driven arrangements, these six songs have a cumulative effect that is hard to shake. PAPER DOLL is not thin or passive in any way; it’s the work of two women who are living, breathing advocates for speaking up, facing the contradictions and anguish of true love with honesty and self-respect, and setting it all to musical compositions worthy of any attentive listener’s attention. I can’t shrug this one off, and that’s a compliment, folks.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | May 6, 2014 | EP Macedo Music Pop Music Singer/Songwriter

LIARS: MESS

(MUTE RECORDS; 2014)

Anxious times require anxious music. For some of us, anyway. Oh sure, it’s great to put on a platter that soothes and comforts and makes you forget all your dreary, unsolvable problems, while giving you a false sense of hope that all will most likely be well. But if you’re really tensed up about things, and pretty sure the human race is on a downward spiral, and you just want to hear a band that not only soundtracks that MESS of a mood, but somehow makes it exciting and even a communal, deliriously cathartic experience, well then, Liars are your band. Honestly, these guys are one of the most hypnotic, darkly alluring rock acts putting sound to disc these days, and whether you know about them or not, I’m here to tell you they’ve made seven straight fantastic albums in the new millennium, and there ain’t many who can make that claim. Based in LA these days (but having originated in Brooklyn), the trio of Angus Andrew (one of rock’s most ferociously original presences), Aaron Hemphill and Julian Gross embody an aesthetic that’s hard to pin down; they stray away from formula as a rule, and try to make each album as different as possible from the last one, yet the truth about Liars is that the music occupies a “post punk” sort of realm which allows for clang-banging industrial grooves, atonal freneticism, evocative ambient, danceable rock/techno riffs and witchy, twitchy, tribal chants to co-exist in a unified, original blend. No album is exactly like the last one, but none are as radically different as the band would sometimes have you believe. They are consistent in the mesmerizing, unsettling brew they serve up, owing to Andrew’s memorable vocal style (he can careen from snarling low tones to gorgeously evocative falsetto in an instant), insistent rhythm tracks throughout their recorded oeuvre, and a willingness to experiment with electronica in a mostly rocking context. No one song is necessarily all that original, but Liars seem to accumulate a more and more unique sonic perspective as time goes on. They have attitude a-plenty.

So, what of this new MESS recording? Well, it’s got a lot of catchy synth-based electronica grooves, a veneer of angsty (yet often comical) dismay at the state of things, and a fairly polished production (despite that title). If you remember that news item from a few years back about a drug-addled nutcase who tried to eat another man’s face off, the distorted spoken word spook-chants that open “Mask Maker” won’t put you in the most ebullient mood, but the basic track is standard electronic riffage that you can tap your feet to. In general, the lyrics on Liars recordings aren’t what you notice; you probably won’t pick out verses such as “I can’t get better/I want the best though/If I’m running out of lifetime/You should just say so” on the track “Vox Tuned DED,” but you’ll be bobbing your head and taking note of the gripping aural atmosphere that is beginning to build. Check off references like Depeche Mode, Joy Division, Ultravox and Underworld if you want, but this is Liars’ world; you just stumble around in it. “I’m No Gold” is a relatively long track (six plus minutes), but the rockin’ is solid and the distorted vocals will take you prisoner fairly quickly. And “Pro Anti Anti” is genuinely a hypnotic track, with some minimal keyboard sorcery, a proggy latter section and a lyric that seems rather emblematic of these guys: “They brood in ecstasy, a thought to wrap your head ’round.” Yeah, CHECK! “Can’t Hear Well” features Andrew singing through a voice-muddling device over a repeating 3-tone synth riff that you simply can’t ignore; It’s even kinda sad. This music is just NOT like other music. Tune it in, mofos, or get da ef outa here! But if you’ve been sorta “meh” up to this point, “Mess On a Mission” will lasso your full attention with its contrapuntal rhythms, a Talking Heads kinda vibe, Andrew’s going both full falsetto (on what passes for a chorus here, something like “our next solution” repeated over and over) and the inescapable refrain, “Facts are facts and fiction’s fiction,” pounded at your eardrums like it’s the most important utterance ever made, and who knows, perhaps it is. This is one damned memorable slab of music. “Darkslide” is a creepy instrumental that harkens back to THEY WERE WRONG, SO WE DROWNED, the group’s maligned but underrated 2003 opus on all things witchy and witchcrafty. “Dress Walker” is danceable and irresistible, just simple, captivating modern electro-rock that does its thing efficiently and evocatively, with the bonus of interesting lyrics such as “From the floor, another new passage, another exit/I refused, I was exactly where I belonged/When the world sings from the halls and the demon’s at the door/Let the one inside and sing along,” if you care to read the booklet while you are listening. Liars, by the way, do NOT usually feature the lyrics on their releases. “Perpetual Village” is quintessential Liars: weird, trancey, dark and long (nine glorious minutes!), doing a wonderfully Bowie-esque job of keeping your attention through its determinedly insular electro-murk. And then things close out with the downright haunting “Left Speaker Blown,” which seems to evoke both Brian Eno in its ambient overtones and Joy Division in its underlying bleakness. But ear pleasing, nonetheless. Liars really can’t be pigeonholed; though they can be dissonant at times, they are NOT all that abrasive, and they are drawn to hypnotic, recurring sounds and rhythms, which serves them well. They behave like a tribe, honestly, and their music has always had tribal elements in it. If you happen to wander into their part of the sonic jungle, which is a bit of an unsettling place, they won’t hurt you or “eat your face off,” despite whatever fears you might have. In fact, they’d probably invite you to their camp for some homemade beer and mad late-night dancing. Just don’t expect them to stick around or see to your accommodations, though. Liars are on the MOVE, driven by some force that only they truly understand. A decade-plus of their sonic sojourns has been a compelling thing for us fans of adventurous music. Sure, the results may be a MESS at times, but there’s pure MAGIC just as often. As for me, I’m puttin’ on the face paint, drinking something potent and getting ready to dance around the fire. In my head, anyway, which Liars have sent me far down the twisting corridors of. Anxiety may be pressing in from the darkness, but ya know what? I ain’t that scared no more! Liars got my back…

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | May 3, 2014 | Electronica Liars Music Rock Music

ANAGNORISIS: BEYOND ALL LIGHT

(SELF-RELEASED; 2013)

With a cursory listen to Anagnorisis’ second full length, BEYOND ALL LIGHT, it’s obvious that these guys are very talented musicians with a strong sense of where they’re going and a stronger sense of the sound that’s going to take them there. Dig a little deeper and listen a little closer and you catch a bit of the problem that is endemic of a lot of self-produced, self-released music: The production and the mix seem a bit muddy, particularly throughout the first half. It’s not unlistenable… believe me, I’ve heard worse! There are points where the instruments are practically discernable from each other and the vocals seem to be just low enough in the mix to be an annoyance. Maybe I’m missing something… maybe the band is taking Motorhead’s credo of “Everything louder than everything else” to its ultimate conclusion. Whatever… I did hear enough that I liked to tell you about the good stuff. So…

Anagnorisis (Josh Mumford, Chris Smith, Zachary Kerr, Zac Denham, Samuel Hartman) (photo credit: KURT STRECKER)

The album is played out as two dark suites of three songs each. The first, encompassing the tunes “Eulerian Path,” “This Cursed Blood,” and “Death Mimics Life,” delivers a brutal display of abuse and despair. Here’s where the mix comes in to play. With the vocals low in the mix, the lyrics lose most of the emotional impact. I’ve heard (and liked) plenty of vocalists who perform in this fashion (gutteral barks sounding as if they emanate from the very bowels of Hell) but… I don’t know. It could be that Zachary Kerr (the band’s former bassist turned front man) has a higher pitched voice than is usually heard in such settings; more likely, it’s just a matter of his voice being buried in the swirling eddy of almost incomprehensible violence coming from the instruments’ unrelenting barrage.

“Abyss,” “Bountiful Godless Life” and “Forever Night” comprise the second black suite. It is a distinct sonic improvement over the first half of the record. The vocals are pushed out front… not much, but just enough to make them more understandable. In the context of a better mix, Kerr’s voice and unconventional delivery really grows on you and even, in certain passages, shines. Likewise, the guitars and utilitarian keyboards aren’t faded into the miasmic background, allowing the listener to bask in the precise lead and rhythm work and fluid solos of Zak Denham (who also mixed). It also unmuddies the excellent work of the rhythm section (newest members, bassist Josh Mumford – with both Kerr and Denham adding bass parts, as well – and drummer Chris Smith, ably assisted by keyboardist Samuel Hartman, whose work I’ve already mentioned). Every record I own (the big vinyl things that you have to flip over to hear everything) has a favored side. Though side one of BEYOND ALL LIGHT isn’t bad, it’s side two that’ll get the most spins on my turntable.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | April 25, 2014 | Anagnorisis Black Metal Metal Music Zachary Kerr Zak Denham

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