NO VALENTINE: KNOCK KNOCK

(SELF-RELEASED EP; 2019)


The should-be-signed-immediately New York trio, No Valentine, live by the old Punk credo of “Loud, Fast Rules!” Their latest release, an EP called KNOCK KNOCK, features five songs clocking in at an impressive thirteen minutes. The group is fronted by songwriting force, guitar-slinger and powerhouse vocalist Cindy Pack; Pack is quite ably supported by the rhythm section of Laura Sativa (who has played bass with legendary punks Sylvain Sylvain and Jayne County) and versatile sticksman Mike Linn.

NO VALENTINE (Cindy Pack, Mike Linn, Laura Sativa) (uncredited photo)

Things are off to an ominous start with “Down Down,” a tune so dense that you could caulk an entire house with the riffs alone. Guitar, bass and drums all meld together in a thick soup of awesomeness, while Cindy relays a spiraling mental anguish, climaxing with this final verse: “Sometime I feel like a walking train wreck/An epidemic, a viral agent/A bad narcotic/A hopeless neurotic/But mostly, I just feel psychotic.” Even the backing vocals sound somehow wounded. “Barnyard Apocalypse” sounds brighter, a rollicking type of Rock ‘n’ Roll, kinda like Unknown Hinson or Reverend Horton Heat on a bender. Still, the lyrics belie the jaunty feel of the music, with such poetic gems as, “Hallelujah, motherfuckers/Pass the mashed potatoes.” Ms Pack is apparently on a mission to prove that she is the manifest destiny queen of snotty punk music; she gets my vote! Yeah, I know that with a monarchy, you ascend to the throne (or take it in a most brutal fashion); she still has my full support. Sounding very much like a shorter version of “Halo of Flies,” the classic Alice Cooper track, “You’re Sick” grinds, grooves and hisses along ‘til the charging beast simply comes to a sudden end, as if felled by a shot from a master huntsman. The number – undoubtedly my favorite here – is the longest on the EP, coming in at an economical 3:52, besting its predecessor by a full second.

NO VALENTINE (Cindy Pack, Mike Linn, Laura Sativa) (uncredited photo)

Lemon Pie” features a spry bassline, some nimble drumming and a wickedly fuzzed-out guitar delivering a decidedly whacked approximation of a classic Country tune. If you listen closely, you can even hear Cindy’s sly vocal twang, offered, as usual, with her tongue firmly implanted in her cheek. It’s probably the most upbeat song you’re ever gonna hear from No Valentine but, it in no way sounds out of place nestled amongst the harder, punkier fare on display with KNOCK KNOCK. “Detour” is a meaty slice of early ‘70s proto-punk heaviness, sort of a bookend of dismay and misery with the opener, “Down Down.” Still looking for answers on a trip to nowhere, Pack intones her dilemma with lines like, “Ran out of gas/Ran out of oil/Can’t pay the tax/Can’t pay the toll/And now I’m stuck in the slow lane of life/And I can’t get over.” All I can say is, “And who hasn’t been there?” All in all, KNOCK KNOCK is one of the best indie releases I’ve had the pleasure of listening to in quite some time. I just wish there was more to it! Full-length, anyone? Until then, KNOCK KNOCK and No Valentine’s three previous EPs can be acquired through the group’s website or Bandcamp page.


KRISTEEN YOUNG: LIVE AT THE WITCH’S TIT

(SELF-RELEASED; 2017)

Holy crap, where did THIS thing come from? I’ve heard some Kristeen Young stuff before and thought it was unusual and compelling, but this record… whoa, mama! It’s full-on ass-kicking weirdness of the kind I used to revel in at the turn of the millennium. Young has been compared to Kate Bush before (her tendency to favor the higher registers, her unconventional delivery), but she also reminds me of a couple of Scandinavian singers such as Sofia Hardig and an artist whose name escapes me. Point is, there is a focused, melodious quality to Ms Young’s voice that you hear at times, but she is making the case here for high-stakes sonic melodrama. Young is a wild thing, untamed and sometimes scary. She takes a risk in virtually every song, and it’s breathtaking. You don’t hear stuff like this very often. And despite that title, this is NOT a live album. It’s Young’s eighth studio album and, although Tony Visconti is listed as co-producer and he has worked with Young for many years, this album was largely recorded just after David Bowie’s death; Kristeen has said Tony was not around that much. Bowie’s passing and the release of BLACKSTAR affected his availability during the sessions. Guitars growl, the bass lumbers around not necessarily keeping it linear, and Young herself stalks these soundscapes like an utterly fearless musical predator. It’s really quite glorious.

KRISTEEN YOUNG (uncredited photo)

In “You Might Be Ted, But I’m Sylvia,” a title that invites discourse, Young carefully balances some emotive, disciplined singing with a series of loud, boisterous piano octaves. At the one-minute mark, a ferocious sound emerges that sounds at first like it could be an attacking animal, but no, it’s an ominous synth sound distorted to resemble a primitive electric guitar, that bites instead. It’ll take a piece right outta ya if you aren’t prepared. “There’s a chance he might disappear,” the singer tells us, before intoning the song’s title, powerfully, preceded and followed by a hypnotically dissonant piano interval banged over and over, taking you prisoner. You CANNOT remain indifferent to the sound slicing into your ears here. You’ll either find it enthralling, as I did, or you’ll run away with your tail between your legs. “Why Am I a Feelmate” turns up the electronica, and takes things into territory occupied by the Knife (I’d be real surprised if Young was not familiar with Karin Dreijer). The vocal is spooky, partially distorted, and the music seems to celebrate chaos. And yet, Young’s control over this boundary-bashing sound is remarkable. I honestly feel rather inadequate to describe it. It’s thoroughly modern and thoroughly uninterested in anything but its own path. You can follow, yes, but you better stay a few steps behind, or something vicious may chomp into you. “These Are the Things I’m Not the Most” (another fascinating title) reminds me of what might happen if the Residents tried rapping for a bit, except the musical wilderness Young is wandering through here might freak out even the Residents. Yes, I just said that. This is really, truly strange rock music by any normal standard. But it DOES rock, and it does move and it does pulse. And it clubs you over the head sometimes, and it contemplates the universe sometimes, and it steps back with its arms crossed and simply stares at you sometimes. Often, in fact. And you don’t want to look away, cause that would make you a wimp. And you will be, some of you. This will put hairs on your chest, honestly. Or send you crying to Mommy.

KRISTEEN YOUNG (photo credit: TONY VISCONTI)

In “I Love You SOOOO Much,” Young sings “I have always been so alone… everything I say/No one can translate,” probably the album’s most self-revealing lyric. The relatively restrained keyboard and pretty-ish vocal really WANT to walk through the door that says “NORMAL,” but they end up entering the room next door, which is labeled “ACCESSIBLE BUT OFF-KILTER.” Young is just too much of an original spirit, after doing this thing for quite a few years, to settle for anything predictable. An early Eno-evoking guitar solo sees the track out the back door, and suddenly the tune ends. Lordy. “Catland” begins with a child’s voice wanting to coax a sound out of a “kitty cat,” but you just KNOW that kind of cuteness will be short-lived. It is. The song quickly turns into a crazed rocker with tempo and chord changes that the likes of Zappa might have admired. There is no attempt to please the audience here at all, unless you are, like me, in the audience that adores flat-out weird music. The word “challenging” was meant for discs like this. And it goes on and on: “Monkey On My Breast,” “I Know You Are a Coward” (you ARE, by the way, if this record overwhelms you), the short and sarcastic ghostly mini-song that calls itself “Everything About You is Always More Important Than Anything About Me,” which is pretty much the full lyric, uncharacteristically. “Come to the Party” offers another insistent piano track before rubbing your face in all sorts of other sounds. Young seems to be issuing an important psychic missive here, but you may or may not receive it. You are probably already whimpering in the back room by now. But she closes with “Different,” certainly the most obvious adjective that timid listeners will apply to this record. There is real melancholy at work in this song, and as this wildly original artist sings “But I’m different” repeatedly, it’s actually a bit touching. I have no idea in the world how audiences have responded to Kristeen Young in the past, and the fact that she is from Saint Louis has me beaming with pride right now. This record is absolutely fucking KILLER. Except for the newest Low album, there isn’t an album that has made a stronger impression on me this year. It’s insane, it’s fresh, it’s completely unpredictable, it’s weird as hell, and apparently proud to be so. Kristeen, I think I’d be afraid to talk to you in person, but allow me to say, totally sincerely, THANK you. Thanks for kicking every kind of ass in the world and showing that yes, a female singer/songwriter can beat most men when it comes to breaking the well-established rules of the game, and not have to apologize in the slightest. I’m in awe of this record. No, it wasn’t recorded live, but my God, does this thing have an unstoppable LIFE force flowing all through it.


DANIELSON: SNAP OUTTAVIT

(JOYFUL NOISE RECORDINGS; 2018)


Love ’em or hate ’em, Danielson, as they have been called for a while (used to be Danielson Famile), have given the pop world one of the most aggressively original and impossible to ignore musical styles ever conceived. That’s not easy to do, and it has something to do with Daniel Smith’s remarkable falsetto voice (he doesn’t use it ALL the time, but it’s there in abundance on the early albums), the crazily off-kilter arrangements and the blend of sweet sonics (the female members of the troop have light, soothing voices which contrast effectively with Smith’s style) with lyrical wildness. It’s no longer a big deal to talk of Smith’s sincere brand of Christianity; there is literally nothing about that which should influence your response to the music anymore. Smith is after bigger game anyway; he has the instincts of an impassioned art rocker, and the razor-sharp focus of your favorite classic rock singer/songwriter. I have been a fan of Smith’s creation since his family’s masterpiece of a second album, TELL ANOTHER JOKE AT THE OL’ CHOPPING BLOCK. I delighted in hearing the extreme reactions of friends here and there upon encountering this highly original sound. While often challenging and a bit abrasive, I could handle anything Master Smith and company could throw at me. Therefore, it’s a bit odd to report that SNAP OUTTAVIT, a recent five-song Danielson EP, is… accessible. Sorta commercial. Easygoing. There isn’t a single track that would make anyone I know gripe, “Take that off, please!” It’s still original, of course.

The title track features, well, the title, chanted over and over by Smith while his wife Elin and sisters Rachel and Megan sing a contrasting ethereal chorus. It’s kind of strange but definitely not unlistenable. And that weird “chorus,” if you can call it that, stops here and there for a fairly normal verse or two, that sounds like, well, a singer/songwriter with something to say. Whatever that might be. “Dry Goods Dry Power” was released previously on a limited-issue vinyl EP; it’s a catchy, “normal” sounding rocker with a propulsive two-chord structure overall. Sure, there’s an eccentric middle section that has some of Smith’s patented falsetto, but not that much. It certainly is not weird compared to, say “Good News For the Pus Pickers” or “Cutest Li’l Dragon.” By the time you reach “Pendulum Mania” on this disc, you’re sort of WANTING the weirdness, if you’re a dedicated Danielson fan… and this tune mostly delivers. The girls keep singing “Swinging back and forth/Swinging back and forth now,” while Smith goes on about some convoluted topic that moves in a nice non-linear fashion, thematically. This is an imaginative song, and I have no idea what it’s about, but it’s Danielson. I like it!

DANIELSON (David Smith, Elin Smith, Rachel Galloway, Andrew Smith, Daniel Smith, Megan Slaboda) (publicity photo)

Then we get to “On Purpose,” the first song to break the five-minute mark. Here, Smith does a thing he does so well and that I used to dream about doing in a studio myself: chanting a commonly used phrase over and over, in this case, “What do you know?” It’s eminently listenable, beginning with subtle marimba and a surging background sound before that repeat phrase kicks in. Yeah! Best song here, methinks. The structural ambition of Smith’s songs is really a thing to behold, and this’un shows it quite nicely. But again, it’s not abrasive. It won’t drive anyone from the room. In fact, I can imagine some favorable “Hey, what are you playing right now?” type responses. “Who Hears Twell Van Dunder” is the kind of bizarro Danielson title that every album features examples of: What you get here is spoken voices saying things like “So happy to see you” and “Been thinking of you” and tingly marimba notes, before a childlike melody kicks in. I’m betting the children’s voices belong to Danielson offspring, and that everyone had a good time recording this gently ruminative little number. This is family music, all right. But not the family you know down the street. It’s the very talented, very original Danielson family, Mister. They play music. They sing combinations of things you’ve never heard before. They are passionate, driven and in love with life. And even if this modest little disc doesn’t truly blaze new trails, it’s a nice little reminder that one of the most original acts in pop is still out there, doing their thing. It’ll do fine until and if, Smith feels like launching another wacky full-length into the sonic universe. If you’ve never given Danielson a chance before, well, this might be a good time to “snap outtavit.”


PRIMUS: GREEN NAUGAHYDE

(PRAWN SONG RECORDS/ATO RECORDS; 2011) A REVIEW FROM THE VAULTS


For those of you who have been living under a rock, Primus is an experimental fusion rock band that incorporates more genres than I can even begin to list here. They have a sound that is completely original, theirs and theirs alone. The trio formed in 1984 in San Francisco, California coalescing around the songwriting talents of bassist and vocalist Les Claypool. Guitarist Todd Huth and Claypool, were later joined by drummer Jay Lane, though both Lane and Huth departed the band at the end of 1988. The GREEN NAUGAHYDE lineup is composed of Claypool alongside Larry LaLonde on guitar and the returning Lane on drums. The three-headed beast has had many different lineups over the years, Claypool having been the only constant. GREEN NAUGAHYDE is the group’s seventh studio album.

PRIMUS (Larry LaLonde, Jay Lane, Les Claypool) (publicity photo)

The opening minute or so of “Hennepin Crawler” features some ethereal bass soloing and swooshing effects, then immediately bursts into a classic Primus bass line of the type that only Les Claypool can come up with. The slinky guitar playing and pumping drums make this track really groove and with Claypool graveling out the vocals in his signature way, it starts the album off in a definitively Primus way. The next few tracks are a journey, honestly; really easy to just sit back and get lost in. “Last Salmon Man” is a nice continuation of the opening track.There’s a very strange bridge leading into the chorus that is definitely original. LaLonde’s guitar is the one that shines in this track, with the solo and the bassline behind it sucking you in, getting you lost in the extremely well crafted soundscape. This album is meant to be listened to as an album which, in the singles era is super refreshing. I found myself really enjoying the record, almost losing my place and forgetting what track I was on a few times. That rarely happens to me. I thoroughly enjoyed GREEN NAUGAHYDE and you can absolutely tell that there was a ton of effort put into it by Claypool and company. If you are a Primus fan, then this will not disappoint; even if you just enjoy listening to masterful musicians play their instruments, you’ll find something here for you, as well.

PRIMUS (Larry LaLonde, Jay Lane, Les Claypool) (photo credit: TAYLOR CROTHERS)

There are a few tracks here that attempt to make a statement on the state of current events. Those, you will either really enjoy or choose to skip. I’ll be honest, there are a couple on here, like “Eternal Consumption Engine” that really ruined the groove I had going, and pulled me out of the experience. All in all, I liked this album a lot, though. Claypool is as badass as he has ever been on the bass; there are some seriously original moments on the album and a few gems that I originally overlooked: “Eyes Of The Squirrel” is a brilliant, bass filled ride into madness. “Lee Van Cleef” is by far my favorite track from the record, from the popping bassline all the way to the commentary about how everyone moved on, preferring the younger Clint Eastwood over legendary Western star Lee Van Cleef. Musically, it is an incredibly catchy song that you’ll find yourself singing and humming for quite awhile. It’s an instant addition any Primus “greatest hits” compilations. “Moron TV” is an absolute masterclass on funky bass playing. Les proves, in this song, why he is consistently placed on lists of greatest bass players of all time; there’s a thumping bass line that incorporates chords, slaps, and tempo changes that are just crazy. With high and low harmonized vocals and another slinky guitar line from Larry, with Claypool spitting out lyrics underneath that flow extremely well. Another absolute gem. All in all, I would highly recommend GREEN NAUGAHYDE as one to put on your “listen to” list, but you’ll definitely want to set aside enough time to digest it as in its entirety. That’s where it really shines!


BROADSIDE: KING OF NOTHING

(VICTORY RECORDS 7” single; 2019)

It’s been quite awhile since I’ve listened to any Pop Punk music (at least, on purpose) and, granted, Broadside’s new single may be more Pop than Punk but… it’s a’ight. In a totally non-threatening, Radio Disney kinda way. Well… mostly.

BROADSIDE (Ollie Baxxter) (uncredited photo)

The edgier Punk tone of the A-side, “King of Nothing,” while weighted with the softer sounds that are all the trend with today’s Pop music, nonetheless does feature a cool guitar signature alongside some frenetic drumming. Now, to a rocker like me, that sentence would generally set off all kinds of alarms, with the robot from LOST IN SPACE flailing its arms and wailing, “Danger, Will Robinson, danger!” and send me into an apoplectic frenzy searching for the off button (or, at the very least, the mute button ‘til I could figure out how to get the noises out of my head). And, of course, the tune could have been as disastrous as that, but the drums and guitar are definitely nice touches and Ollie Baxxter’s vocals and lyrics – the chorus warns, “Don’t pray for me/Don’t wait for me/I’m such a mess/I’ve lost all control” – have an urgency that sets “King of Nothing” apart from most of the current Pop radio fare. There are some nice – dare I say, fun – qualities, as well, making the song a rather nice introduction for the Radio Disney kids to the rough and tumble world of real music. And, it still has enough cool for the old school Pop Punk crowd to get behind.

BROADSIDE (Ollie Baxxter) (uncredited photo)

The opening twenty or so seconds of “Empty” had me flashing back to what is undoubtedly the worst Van Halen song ever written, Jump.” Don’t worry though, as the ship was quickly righted, as the keyboards aren’t as cloyingly saccharine and the lyrics are far better than that offered up by ol’ Diamond Dave; the drums are rock-steady and the guitars peek out from behind the clouds every once in awhile. While “Empty” is a couple of ticks below “King of Nothing,” it’s still a nice little diversion and quite listenable, falling more into the Aforementioned Radio Disney category than its brethren from the other side of the record. As songwriter/vocalist Ollie Baxxter relates, “I wanted to write a dance-y song making fun of how unfortunate it is to be in love, sometimes.” And so he has. Victory Records has announced that Broadside is working on a new full-length, scheduled for release next year; I’m not sure if this 7” single is intended as a preview of the album or if it’s just a stop-gap to hype the fans up for the group’s upcoming tour, opening for Set It Off. Either way, it’s certainly worth picking up at your local record shop.


STONE TEMPLE PILOTS: STONE TEMPLE PILOTS

(PLAY PEN MUSIC/RHINO RECORDS/WARNER MUSIC GROUP; 2018)

After a brief dalliance with the late Chester Bennington, Stone Temple Pilots (drummer Eric Kretz and the brothers DeLeo, guitarist Dean and bassist Robert) are back with a new record and a new singer (Jeff Gutt) in tow. Unlike the recent stale, rather listless return of the Layne Staley-less Alice In Chains, this band had me intrigued the very first time I heard the advance single, “Meadow,” on the radio; this is not an “all new, all different” STP, this is an extension of those early albums that thrilled us throughout the ‘90s. With the ghosts of both Scott Weiland and Bennington floating in and through this music, we are pummeled by the realization of just how great this band are. Gutt – lyrically and sonically – is on virtually equal footing with Weiland (even if he does kinda remind me of Layne physically).

STONE TEMPLE PILOTS (Robert DeLeo, Dean DeLeo, Jeff Gutt,Eric Kretz) (photo credit: MICHELLE SHIERS)

Middle of Nowhere” is as straight forward a rock ‘n’ roll tune, with a ballsy Led Zeppelin riff and a snotty sorta solo, as anything from the band’s original run with Weiland. The music does sound a little compressed to me, but that could just be Dean’s guitar being tuned a little bit toward the lower side of things… a sound that is not entirely unappealing to these ears. We are definitely starting things off on the right foot here. On “Guilty,” Jeff displays a certain violent swagger, much like the dangerous edge that defined many of Weiland’s lyrics: “You’re gonna pay the price/You’re gonna pay tonight.” Robert’s bass is quite prominent in the mix, highlighting just how good he is… something that I somehow missed on those classic records. The compressed sound continues, an artifact I’ve learned is unique to the vinyl version of the album; again, it sounds pretty good to me, a little more bassy, which I like. I must admit, though, it is a bit nettling to think that this may not have been the sound the group was aiming for but, you know… VINYL! The first single, “Meadow,” is steeped in the classic STP sound and could very easily be mistaken for an early outtake or a B-side from PURPLE or TINY MUSIC… SONGS FROM THE VATICAN GIFT SHOP. A staccato guitar and pumping bass are indicative of that signature sound, as well as some multi-layered vocals from Gutt. “Just a Little Lie” burns low, a near-stately pace that finds the band hitting on all cylinders. More of Jeff’s brilliantly oblique and illusory lyrics lend the tune a rather melancholy feel even as he invites the listener to sample this new Stone Temple Pilots: “Step inside the maiden ride/It helps if you don’t breathe/Patronize and criticize/And welcome to the scene.” Dean DeLeo offers a trippily laid-back solo that perfectly fits the mood of the number. A short, potent stab of near-perfection, “Six Eight,” plays out as a weighty piece of psychedelic Blues of Zepplinesque girth and Hendrixian breadth. The lyrics, again, are at once fraught with a multi-leveled complexity yet given over to the simplicity of a well-turned phrase… and here I thought it was only Rock ‘n’ Roll! “Thought She’d Be Mine” is a magnificent ballad as only STP can deliver. There’s a certain power-by-subtraction approach to Eric’s drum work, as he concentrates his efforts on the vibes, underscoring the chiming quality of the guitars. Though he’s more than proven himself through the first five tracks, this is the best indication so far as to the superb lyrical and vocal abilities of the new guy.

STONE TEMPLE PILOTS (Jeff Gutt, Robert DeLeo, Dean DeLeo, Eric Kretz) (photo credit: MICHELLE SHIERS)

Side two (or, for those of you who don’t speak “record,” the second half) kicks off with “Roll Me Under.” The song kinda makes me think, “What CORE woulda sounded like if it had been recorded by some strange mash-up of Pink Floyd and Guns ‘n’ Roses.” As far as that statement goes, Gutt’s lyrics may answer the assertion best: “Do with me what you will.” “Never Enough” is a strolling piece of mid-’60s British Invasion Mod, with a nod to Steve Marriott and Peter Frampton-era Humble Pie and Robert’s bass part has a definite Entwistle quality to it… I can almost see the Ox’s nimble, fleet-fingered hands working this one out. The melody line on “The Art of Letting Go” reminds me – believe it or not – of the Allman Brothers Band’s “Melissa.” Obviously, with that comparison, the tune is another solid ballad. The kinda open-ended lyrics could be about a lost love or the band’s two previous singers; it works nicely either way. And, of course, after the Allmans where can you go but to the Beatles? There is just something about the vocal melody line of “Finest Hour” that keeps screaming “McCartneyism!” to me. The song features the usual solid work from the musicians, especially Dean’s guitar and Kretz’s drums. “Good Shoes” is STP playing Rockabilly filtered through a rough punk groove. While maintaining the Rockabilly feel, Dean also supplies the record’s most stinging, snotty guitar along with a very Rock God solo. “Reds and Blues” is the type of song that Alice In Chains should have gone with for their return. As is, it makes a great album closer for STONE TEMPLE PILOTS and bodes well for the future of this group. While the four members of STP embrace their history and the memories of Scott Weiland and Chester Bennington here, they are also forging a path forward that should excite their fans, both old and new.


ADRIAN AARDVARK: DYING OPTIMISTICALLY

(EPIFO MUSIC; 2018)

Upon first seeing the name, Adrian Aardvark seemed to me a devouring angel, an agent of the bleakest of Black Metals. Nah… just kidding. In fact, I wasn’t sure what to expect from this album but, I gotta say, it isn’t at all like anything else I’ve heard before… not even close! I mean, it looks and smells like a rock and roll record, spliced with a fair amount of Americana and not a little bit of angst. Even so, my initial thoughts were leaning toward “Ah! Someone’s rich father has bought studio time for his son and his friends to record an album. Kinda like the Shags, woefully untalented but determined to become a band.” After a couple of songs, however, I began to warm up to, even appreciate, what this motley crew were attempting to convey. Oddly enough, while researching the band for this piece, I was amazed to discover that DYING OPTIMISTICALLY is the group’s seventh release since 2008 (and the first since BONES POSITIVE, an EP released in 2014)! I cannot honestly conceive of how I could have missed anything for the last ten years called Adrian Aardvark, though I am now old enough that such things do escape me upon occasion. Anyway, on to the review…

ADRIAN AARDVARK (Daz Bird, Shannon Stott-Rigsbee, Catherine Harrison-Wurster, Christopher Stott-Rigsbee) (photo credit: JERRY CADIEUX)

The first thing that you notice on “Just Us” is alluded to in rather veiled terms up above: Everything (wait… make that EVERYTHING) seems woefully out of tune, with the singer, Christopher Stott-Rigsbee, sounding alarmingly like a drunken karaoke enthusiast. Somewhere around the two minute mark, things almost come together, as a fuzzy bass (or, is it a cello?), insistent drumming and the scraping of a violin keep the thing from totally going over the cliff. Bonus points for – unlike the short prelude/introduction/tune-up that starts the song off – everything ending together. “If Only” definitely sounds like a drunken lament to a litany of “what if’s” in a relationship gone very wrong. Stott-Rigsbee lists his transgressions before admitting, “Yes, I am ashamed of my insecurities/Yes, I am ashamed of my stupid feelings.” Here, the music kinda sounds more in tune and of one mind, occupying a certain feedback/drone frequency that is not unappealing. In fact, the discordant buzz of the whole mess is really starting to grow on me. The cello takes a more prominent spot on “Peace In a Loving Way,” with Shannon Stott-Rigsbee droning away masterfully. The lyrics seem as though they are wedged into a melody that is simply too small to adequately contain them; try, for instance, to fit the first verse into any standard rock format without breaking your tongue: “Through updates, versions and brand new postages/The letters inside remain the same as they travel to/You through signals unseen, speaking words/Floating like waves whisper your way.” It ain’t easy. Even so, at less than two-and-a-half minutes, it feels like you’re in and out almost before you realize that the sound – and, in fact, the entire record – is actually becoming, not only palatable but, begrudgingly enjoyable, as well. The bizarrely-titled “Young Pharaohs and Horses” comes with an equally bizarre video… as it should! Drummer Daz Bard adds a bit of trombone to the proceedings, with Shannon chiming in with a scratchy (whinnying?) violin part; the weird, out-of-place gang vocals, like just about everything else on this album, are no doubt added to merely muddle the lyrical issue. Four songs in and Christopher is starting to come across as more of a true musical genius, as opposed to the offspring of a wealthy Daddy Warbucks type bankrolling his kid’s musical aspirations. “I Don’t Wanna Love No More” is a step back for me. It isn’t necessarily that the sentiments aren’t spot-on in a society of individuals struggling to find their place but, the acapella (aside from three drum rolls somewhere in the middle) delivery – impassioned as it is – just doesn’t do it for me. “Little Girl,” however, is a completely different beast. Despite some rather questionable lyrics: “I am a little girl in a big big world/My dress so clean and my hair is curled” and “Don’t you want to ride with me/Don’t you want to sleep with me” (allusions to Christopher Stott-Rigsbee’s… uh… fluid sexual identity, I know, but… still… ), this is the most fully realized, hardest rocking and most in-tune song so far. A throbbing bass line (Catherine Harrison-Wurster… on the upright, no less) and a frantic vocal performance from Christopher highlight the number.

Creaky Wooden Floor” opens the second half – continuing the strong showing from “Little Girl” – with more weird metaphorical (metaphysical?) lyrics about beets and elephants. The song is pretty nifty, in a New Country kind of way and is delivered, like the previous four tracks, in a short, punk rock fashion. On “Get Gotten,” a chunky guitar riff rides along for a spell before being joined by a very nice violin part; the unmelodic, unnerving howls of Stott-Rigsbee deliver quite an impressive effect. Somewhere about two minutes in, the whole thing shifts gears amidst a beautifully shambolic break before completely collapsing in upon itself at the end. I may have just crowned a new favorite track! There is an insistent hint of didgeridoo (a masterfully understated performance by Christopher) throughout “Horny Wildebeast,” which seems perfectly natural given the song’s title. After a rather rambunctious start, the final four minutes or so seem to settle into a nice mid-tempo with – dare I say? – quietly elegant violin and cello dancing over the top. “Oo Ra Ra” and “The Sun” form a sort of intermingled couplet, with melody, choruses and chanting kinda running through the two-as-one pieces (or, piece, as the case may be). The former is a surprisingly melodic bit of falderol with lyrics somehow befitting the proceedings, such as “Put down the knife, we don’t have to fight/We can make love till morning’s light.” The number eventually devolves into the type of musical chants that the “natives” in all of those old Johnny Weissmuller movies are so fond of. “The Sun” blasts forth from that, a forceful, blistering piece of noise of the type I find so appealing. The lyrics here tend to lean toward a rather cogent warning from everybody’s favorite ball of light: “Feel my heat/Feel the cancer/You can’t be given life/Without being given death.” Oh, Sun, you’re such a kidder! A cool, unexpected blast of the Blues, filtered through various other styles of what has generally become known as “Americana” may, at a mere five-and-a-quarter minutes, prove “Misery Shaker” to be Adrian Aardvark’s magnum opus. Time changes and style shifts glide together seamlessly, held together by the superior percussive efforts of Daz Bird.

ADRIAN AARDVARK (Christopher Stott-Rigsbee, Catherine Harrison-Wurster, Daz Bird, Shannon Stott-Rigsbee) (uncredited photo)

As mentioned at the outset, I was totally unprepared for the musical onslaught of Adrian Aardvark and was, initially, taken aback by the complete atonality of the first track but… I must say that I have been richly rewarded by sticking with the program, seeing it through to its brilliant climax. Heck, I may just have to revisit the group’s Bandcamp page and listen to their other releases… after I’ve rested up a bit from this DYING OPTIMISTICALLY experience.


JOE DENINZON AND STRATOSPHEERIUS: GUILTY OF INNOCENCE

(MELODIC REVOLUTION RECORDS; 2017)

The music of Stratospheerius is a frenzied, brilliant amalgam of the Blues, Progressive Rock, Funk, improvisational Jazz, Classical and orchestral music, along with just about any other genre or sub-genre you can come up with. I’m not sure, but… there may also be a bit of the kitchen sink in there somewhere. Led by virtuoso violinist Joe Deninzon, a man sometimes referred to as “the Jimi Hendrix of the electric violin,” the quartet comes closest in spirit – if not in actual sonic delivery – to the early music (through, say, 1976’s ZOOT ALLURES) of Frank Zappa and his various groups. The resultant sound is a chaotic rush of genuine (and genius) eclecticism. There is certainly more than a little of something for everyone on the band’s fifth release, GUILTY OF INNOCENCE.

JOE DENINZON AND STRATOSPHEERIUS (Aurelien Budynek, Joe Deninzon, Lucianna Padmore, Jamie Bishop) (uncredited photo)

The record kicks off with “Behind the Curtain.” With lyrics like “Welcome to the circus/It’s your biggest nightmare/Wear the scarlet letter/Scrutinized forever” and “Put your mask on/And tuck your shirt in/Pay no attention to the man behind the curtain,” the song acts as a sort of catch-all warning against the behind-the-scenes machinations that fuel the music industry or intolerance or political correctness or… You get the point. With a heavy, pound-yer-face-in riff-a-rama approach, bassist Jamie Bishop and drummer Lucianna Padmore lay down an exceptionally tight groove allowing Deninzon and guitarist Aurelien Budynek to go crazy with wicked dueling solos. As an opening salvo or as a stand alone piece of music, this one is a near-perfect shot across the bow of accepted norms. “Take Your Medicine” is a nasty little piece of work about “glass houses” and “casting the first stone.” It’s a bass heavy blast of funkiness with Joe’s violin filling in nicely for a full horn section. Guitar, violin and vocals add a rather hard rock urgency to the proceedings, with another dose of wild soloing, a feature that lends a certain Zappa-esque quality to this record. According to Mister Deninzon, the title track (“Guilty of Innocence,” for those with a short memory span) was “inspired by my 2012 stint in jury duty and deals with crime and punishment. I was presiding on a rape trial and the guy who I thought was guilty got off practically scot-free.” Padmore and Bishop lay down a modest Ska-influenced groove, while spastic violin leads and muscular metal riffs drive the tune. The violins and bass take on an almost operatic quality during the break and, just because I enjoy mentioning musical touch-points to give the reader a better idea of what to expect, the song’s chorus has a very Who-like feel, melodically speaking. Piling on to that musical heritage, let me say that if you’re a fan of Bela Fleck and the Flecktones or the previously mentioned Frank Zappa, you’re gonna love this one. “Face” is a sombre little ditty, sort of a slow burn piece with scathing lyrics about people (lovers, partners, friends, perfect strangers) who are more than willing to openly attack you just for the pure enjoyment: “These scars ain’t healing/It’s too late to make amends/I dodge the bullet/Your tongue flies across the room/Build up the callous/’Til I grow numb to the doom and gloom.” A very Hendrix-ian solo by Deninzon adds a certain psychedelic (or maybe it’s “psychotic”) mania to the number. The introduction to the frantic retelling of the Muse hit “Hysteria” features glass-shattering soprano Melanie Mitrano before a warbling high-register vocal from Joe takes over; the latter fits the surrounding chaos of the tune perfectly. There’s a certain “Flight of the Bumble Bee” quality to the always on-point violin work, highlighted by a massive solo, all backed impeccably by the metal leanings of Stratospheerius.

Affluenza” is another funky number with “ripped from the headlines” lyrics about people who believe themselves superior to “the little people” and, therefore, above the law because of that superior wealth and high standards of living. The song has a kind of Living Colour rock vibe happening, with lyrical barbs aplenty over sharp jabs of guitar and violin. Guest performer Rave Tesar adds an oddly appealing set of synthesizer “bloops,” giving the whole thing a cool late ‘70s funk sound. A hard(ish) rocking, progressive sort of pop-metal thing with Queen-like aspirations, “Parallel Reality” is choke full of breathy vocals, an absolutely killer rhythm (and a melody line to match) and, of course, the usual high-minded violin/guitar interplay that makes this band and this album essential listening. “Game of Chicken” starts out sounding like it coulda been an OVER-NITE SENSATION outtake, but then turns into sort of a Kansas prog-pop kinda thing. The playing and soloing remain top-notch and raise the piece out of what could have been a severe abyss of doldrums. The wholly (holy?) improvisational “Dream Diary Cadenza” is a muscular, solo violin freakout rife with flashes of Hendrixisms, Van Halenisms, Beckisms, Zappaisms and any other guitar genius ism that you could ever bring to mind. A brilliant workout from a master technician of his chosen craft. “Soul Food” is a nearly thirteen minute extravaganza with a veritable orchestra of guest artists: Melanie Mitrano, Rave Tesar, guitarists Alex Skolnick (!) and Randy McStine, violinist Eddie Venegas, violist (?) Earl Maneein and cellists Patrice Jackson and Leo Grinhaus. The piece is epic in every musical sense of the word and is, truly, a fitting end to a superb album. You owe it to yourself to obtain GUILTY OF INNOCENCE; you can do so by visiting CD Baby, Amazon or any of the other “usual places” and, naturally, at the group’s Bandcamp page.


INTIMATELY LOUD: THE JON AUER INTERVIEW

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After a year of loss (drummer Darius Minwalla and former bassist Joe Skyward both passed away) and of new beginnings (the release of their first record in six years, SOLID STATES), the Posies – Jon Auer and Ken Stringfellow, with drummer Frankie Siragusa – hit the road with a string of secret, “Pop-Up” shows. Playing in unconventional locations and venues, the newly revitalized band has hit upon one of the more intriguing ways to get their music out to the most die-hard Posies fans. I had the opportunity to speak with Jon Auer before a recent show in Minneapolis, which found him traveling and taking a ferry to his appointed destination.

THE MULE: So, you’ve been doing this since you were… what, seventeen? The Posies, solo work, REM, Big Star…

JON AUER: Well, yes…there’s solo work and I’ve been in Big Star. Ken’s done REM and also Big Star… we’ve both done many other things and worked in many different situations with different people… for instance, I’ve also worked on a record with William Shatner and Ben Folds (2004’s HAS BEEN).

THE MULE: Well, there you go. That’s even more important; that’s really impressive!

JON: Right, haha! But, anyway… you were saying?

THE MULE: How do you keep things fresh? How do you maintain that initial excitement? You know… what you felt at the beginning?

JON: I think it’s by trying to not repeat ourselves. That’s had a huge impact on the amount of enjoyment that I or we get out of what we do. I mean, I think it’s the same in life; if you’re sorta coasting and doing what you’ve always done perhaps it’s nice for awhile but eventually it can become stale. I mean, it may be comfortable in a way but… is it exciting? That’s the question. And, I think we’ve been very good about making the effort to not just take an easy route when we make a record or try something new. I think that if you examine every one of our records there are common threads for sure but they are all very different, each their own distinct thing… like little aural time capsules of where we were at the point in time we made them. I don’t know, man… I mean, there are bands that just try to do one thing and they do it – like Orville Redenbacher, you know? “Do one thing and do it better than anybody else” haha! – That works for certain groups… AC/DC springs to mind; I mean, I don’t really think I’ll be expecting a new AC/DC record to surprise me. If they do, that would be kinda cool but, by the same token – no offense to AC/DC – will I really need a new AC/DC record if it doesn’t? I mean… I could be wrong but I’d wager it’s probably just gonna sound like what you would expect. The Posies aren’t like that. We fall into the camp of musicians and artists who ask “What’s the point of repeating yourself?” But, the funny thing is, though we often make concerted efforts to sound massively different and then, you know…. we are who we are anyways. It may be different from what we’ve done before, often very much so, but it still sounds like “us.” It doesn’t ever sound like a completely different band because it still has the vocals and the harmonies and the way that we write songs, it’s just… It’s more like buying a new outfit ’cause you wanna try a new look or feel or maybe like trying some kind of new food that you’ve never had before because you don’t want to keep the same items on the menu all the time. It’s that kind of vibe. That’s what keeps it fresh: The new ideas and approaches.

The Posies (Jon Auer, Ken Stringfellow) (photo credit: DOT PIERSON)

The Posies (Jon Auer, Ken Stringfellow) (photo credit: DOT PIERSON)

And, adding to that, this whole method of touring that we’re utilizing now is another way in which we’ve been able to re-invigorate the process because it’s not being done in way that we’ve experienced ourselves before. It’s a new format, a new line-up… we’re going out as a three-piece, playing unlikely spaces, unusual venues. We’ve turned it into a way of doing things where it’s just… the band. We are the crew, we are the roadies, we are the ones who sell the merchandise… we’re the drivers. We do it all.

THE MULE: So, it’s almost back to the beginning again.

JON: In a way, yes. We’re finding… you’d think it would be kind of like, “Oh jeez, what have we taken on? It’s too much!” But, the opposite has occurred where I feel like, “Wow, I’ve got a real sense of purpose here” because there’s always something to do and nobody’s doing it for us. You either succeed or fail by your own hand, whatever you have to accomplish on any given day. It’s really kinda up to you; there’s no one else to shoulder anything on. All the activity morphs into having a lot of satisfaction with what gets accomplished, which is a ton.

THE MULE: Right. Uh… how did this idea of the pop-up show come about and how does that exactly work?

JON: Well, as far as this recent touring we’re doing, Ken toured in a very similar manner with an artist named Holly last year and he thought it would work really well with us… and he was right, big time. Due to scheduling, we missed a window in 2016 to do a regular club tour and this is what we did instead and it was a real eye opener, a pleasant surprise. That said, I’ve got to go back a little farther even. I realize that playing living rooms or atypical spaces isn’t a new concept. I mean, other people have been and are doing it and I admit that even as a solo artist, I’ve done… I had a nice little… what would you call it? Not a tour per se, but I had a nice little thing going where I would do certain house concerts every year at the same places since the mid-2000s. I had a nice group of regulars, really cool people, that would have me to visit and perform and they were always super great places and people there were just people there to listen. The audiences were a nice cozy size and merch sales were always good. Often there would be excellent bottles of wine around, you know… nice meals and you were well taken care of and had a great time hanging out around the show as well. There’s a lot to be said for that way of doing it; you take that and compare that to the model of maybe playing a dingy rock club in some city and then staying in, say, a Motel 6, if you wanna be cost effective, and it’s not quite the same equation, is it? Haha! Don’t get me wrong… there are many cool, classic clubs in America but then there’s often the issue that not everybody in the club is there to see you. Like, maybe there’s someone that comes because they’re a friend of the bartender or they just come to casually check you out for a few songs or they just come because they got on the list for free and wanna drink beers and talk in the back and they aren’t listening to you anyway.

That’s why this whole pop-up thing, playing in these unique venues, is so… works so well, because you really don’t get anybody there that’s just a casual audience member; they’re all usually, generally, fans that have many of your records. Or, they’re bringing people with them who’ve never heard really us but are very curious, like they’re friends are trying to indoctrinate them into the ‘ways’ of the Posies, pass it on to them. People are very respectful and they’re there because they want to listen and have a fun hang. Not only that, they’re also willing to hear us play new stuff, you know? It’s not just someone showing up to hear the hit. You know what I mean? Like they want to hear the one song and then they’re gonna leave? That never happens. We actually play our entire new record in our set… we mix it in with other stuff, of course, but, we play all twelve songs most nights. Nobody seems to mind and I think we did a very good job of designing our set list so there’s just enough familiar stuff and new stuff mixed together in the right combination at the right times so that nobody gets bored or too anxious…us included. It’s worked out incredibly well. I mean, when you experience something like this and everybody has such a good time, you kind of wonder, “What’s the point of doing it the other way?” And, also, in terms of the whole pop-up concept, it really does add mystery to the whole event as well and I mean, hey…who doesn’t like a little mystery in life? That also keeps things interesting, keeps things humming. It makes everyone more curious and filled with more anticipation and then there’s also the surprise and payoff of showing up and finding out, “Oh, this is where the show is tonight!” Okay… I’m in a back yard in Phoenix. Or, I’m at some recording studio I’ve always wanted to go to that I didn’t know they did shows there. Or, my God, look at this amazing house and how good it would sound in here.” Anyway, it’s surprising how well it’s worked… and that’s why we’re doing it again: Because it was so good.

THE MULE: Very cool. So, you’ve kinda half way answered one of my… well, actually a couple of other questions. The first, about how the tour is going; obviously, it’s going swimmingly well. And, the other thing is, obviously, I’m talking to you not only because of SOLID STATES, but also because you are playing in kinda my back yard, next Wednesday, in Saint Louis. So, I was going to ask you what we could expect at the Saint Louis show.

The Posies (Ken Stringfellow, Frankie Siragusa, Jon Auer) (photo credit: RENE OONK)

The Posies (Ken Stringfellow, Frankie Siragusa, Jon Auer) (photo credit: RENE OONK)

JON: Well, you know… uh, it’s cool because I don’t think we’ve done a Posies show in Saint Louis since… I want to say… 2005 maybe? Is that even possible? Hmm… Maybe it was even longer ago than that, maybe Ken and I played as a duo last time around, in 2000 or so… it’s been a while, you know? The last time I was actually in Saint Louis for anything, I think, was to play with Big Star, at a small outdoor festival with Son Volt, I believe. I forget where it was…I want to say it was downtown by some impressive looking architecture, some State buildings or structures like that. This time around I think you can expect us to be psyched to be playing a place we haven’t really done enough playing in. And you can also expect something visceral … there’s a lot of energy in our show; I mean, the record’s very… it has a lot of energy in it but, it’s also rather lush and pretty and moody and the live show kicks all of it up a couple of notches at least, because it’s just… well, it’s louder for one thing! Word to the wise: Bring earplugs! I’d tell everybody to do that. It’s not a quiet show and a lot of these shows are in smaller and/or unusual spaces where the acoustics are more explosive sounding… So, it’s always good to have some protection for your ears. Seriously, folks. You can really expect some… We don’t phone it in, you know, just because we’ve been doing what we do for quite a while now. I mean, we really try to give it our all every night, no matter how far we have traveled to get there or if our bodies are aching or whatnot. I mean, there’s no point coming to do it if we’re not having… we just want people to have a great time and enjoy it ourselves.

THE MULE: Okay… this may be kind of a hard question for you to answer. But… uh, I’m gonna ask it anyway. How did the deaths of Darius and, later, Joe effect the recording process and plans for the tours you’ve been doing since?

JON: Well… Darius was… Oh, jeez… I mean, it’s the kind of thing you really can’t do justice to in an interview, honestly, you know. Explaining just how much of an impact not having Darius and then Joe around anymore had… just how much of an impact that’s had on my life, on our lives…well, I mean, in the case of Darius, you’re talking about someone who played in my solo band three years before he joined the Posies and then he was with the Posies fourteen years afterwards. He was pretty much my best male friend and I was devastated when he died. And, he died right near the beginning of… I’d say a third to maybe almost halfway through making SOLID STATES? So, the question for me then became, “What do I even want to make a record for anymore?” I was super distraught and confused by the loss and I was constantly trying to make sense out of losing him when ultimately there was no sense to be found in any of it. Eventually, what ended up happening was it worked its way into some of the remaining songs I hadn’t written yet and… how could it not, y’know? It’s funny, because I always think it’s kind of obvious but, many people, they need more direct clues or a clearer road map to figure it out because they often misconstrue a song’s meaning… and fair enough, people interpret songs the way they want to interpret them unless they’re clearly spelled out, sure. And, I bring in some… we often use unusual imagery and metaphors so, actually, it’s not always so straight forward. For instance, there’s a song “Unlikely Places,” I’ve seen many reviews of it now, and unless people knew what it was about, some seem to consider it… they think it’s about a boy and a girl relationship, a romantic relationship and it’s so far from that. It’s really about me dealing with the loss of Darius, what it did to me and where I was trying to go or get to to figure out how to deal with the loss. People can help you and you can get advice… you can do therapy and you can do whatever but, no one can really totally… It’s such a personal thing. No one can get you through it, to a place where you can live with it, but yourself in the end. I don’t know what you’ve experienced as far as loss… parental or… but, it was a total ‘before and after’ moment for me in life, losing Darius, and…well… that’s just the way it is. We did eventually soldier on and got back to the music but it was painful. There’s another song, “Rollercoaster Zen,” that is for Darius. If you really look at the lyrics to that, you can see that I’m talking about him… almost to him. The dreams I’ve had… I had… oh, God, I had some incredibly vivid dreams about him, like he was still here. I don’t know. I don’t wanna keep going on too much about it because it’s too hard to explain, totally. But, you get the vibe, right?

THE MULE: Yeah. I actually just lost my mother a few weeks ago and… I was actually her caregiver for the last ten years and… it’s rough, man.

JON: So you’ve been… You know – in an even more primal way, since it’s your mother – probably the stuff I’m talking about. It just is what it is but it doesn’t make it any easier to deal with. You’ve just got to learn live with it eventually, you know? And it takes time. And it can bubble up at the weirdest times in the weirdest places, the grief, yes?

THE MULE: Right and, like you were saying, everybody is trying to help… there are the platitudes, “It’ll get better” and I know all that stuff but, there are times where it’s just like, “Leave me alone. Let me deal.”

Darius Minwalla; Joe Skyward (uncredited photos)

Darius Minwalla; Joe Skyward (uncredited photos)

JON: Yeah, and you know what?… It’s so true… at times, often there’s nothing worse than a platitude because… you know people mean well but, it really doesn’t do justice to the loss. It’s nobody’s fault, but it doesn’t. It doesn’t really help so… it would almost be better if people would… So, yeah, I feel for you, man. There’s been a couple for me recently… As mentioned, Darius… and right before we went our first tour this year in Europe, Joe passing as well…In his case, Joe had been dealing with his cancer for awhile so we knew that he was in trouble and trying to work through it but when he finally passed it happened so fast that it was shocking too. I mean, one day I just woke up to a Facebook message from our old drummer, Brian Young, who was in the band when Joe was in the band, and… it was just pretty much, “Joe passed.” and I was just…I felt like… it was hard to believe. So then it became not only one friend lost in the last couple of years, but two. It’s still hard to believe, to wrap my head around it all, that they are no longer with us. I don’t know how old you are; I’ll be forty-seven this year.

THE MULE: Yeah… I got you beat by a few years.

JON: Okay. Still, my brother and I were just talking about this… he mentioned that really we’re just getting to the point in our lives, the ‘season’ you could say, where that’s gonna be part of our lives from now on. Like, simply, the older you get, more loss can occur… Okay… we’re getting pretty philosophical here now but… it seems true enough.. The record ended up being a way to help me deal with some of that and it kinda does a little bit and helps me celebrate lost friends… but, I don’t think anyone likes that kind change, losing people close to you, learning about loss the hard way. It hurts. My God! But, ultimately…what else can you do? We’ve gotta get back to life and live as best we can.

THE MULE: Exactly. Well, let’s get back to some more, uh… rock and rolley kind of things. Actually, last question and I will let you get back to life. Beyond SOLID STATES and this tour, what is next for you, personally, and the band?

Dynamo Royale (Tiz Aramini, Jon Auer) (photo credit: JASON TANG)

Dynamo Royale (Tiz Aramini, Jon Auer) (photo credit: JASON TANG)

JON: I have some other projects that I’d like to promote more, spend more quality time with. There’s a duo project with Tiz Aramini called Dynamo Royale that I’m working on a proper release for. The record’s called STRAIGHT ON THE DIAGONAL and there will be more time to spread that around. You can find it and us on Bandcamp as well. It’s quite different from the Posies, perhaps more layered even, but it still has that kind of… it’s got my melodic sense woven in there with hers as well. It’s a very unique collaboration. I’d also like to make another solo record. It’s been… Jeez, the last one I put out, SONGS FROM THE YEAR OF OUR DEMISES was in 2006 so, like… I’m way overdue! And, there’s also a group I’m part of called Unseen Beings with Stephen Becker from Le Concorde and Brian Young, who played with Fountains of Wayne and now plays with The Jesus and Marychain, we have a record called AKA INFINITY due to be released next year. Then, hopefully, along with all that, we’re going to continue to realize some Posies reissues that we’ve been talking about. One of them has been out for a while – our first record, FAILURE – on this great label called Omnivore Recordings. They do excellent reissues with deluxe packaging and a lot of care, the works…we feel they like do things right, let’s put it that way. They’ve been asking to do our three major label records too: DEAR 23, FROSTING ON THE BEATER, and AMAZING DISGRACE. That’s been in talks for a while and I think 2017 might be the year for it, when they actually do come out or at least they start to come out.

And then, beyond that…I had so much fun doing this last round of touring, it was so reinvigorating and life affirming after everything we went through so, I think we’d… You never can predict what’s going to happen exactly but…I think we’d really like to try to make another Posies record and sooner than later, you know? Not wait another six years… Try to get one out in the no so distant future because… hey, we’re not getting any younger and we’re having so much fun. I think we all thought this, you know, that this is working, what we’re doing now feels good… we’re playing great, we’re enjoying it, we are a good working unit … and I don’t think we expect to enjoy it as much as we did. I certainly didn’t. To me, it feels like we thought, well, let’s see if we can do this even, after what we went through with losing our bandmates and… we pulled through and it feels… It feels really good. So, uh… I’d like some more of that feeling, please.

The Poseis (Ken Stringfellow, Jon Auer, Franke Siragusa) (photo credit: MARC GOLDSMITH)

The Poseis (Ken Stringfellow, Jon Auer, Franke Siragusa) (photo credit: MARC GOLDSMITH)

Jon and the Posies are playing a pop-up show in Saint Louis, on Wednesday, September 28. For ticket prices and location, visit the band’s website. Other upcoming tour dates and more news about the Posies are available there, as well.


JOHN THAYER: FACE TO FACE

(EON RECORDS; 2016)

4PAN1T

If that name looks vaguely familiar, there’s good reason for it… John’s little brother, Tommy, is Ace Frehley in KISS; not really – the younger Thayer, who spent a couple of decades as the band’s sorta right hand everyman, stepped into the boots and make-up when the original Space Ace left the band for the second (or was it the third?) and final time. But, this review isn’t about Tommy, it’s about his brother, John and his latest EP, called FACE TO FACE. John’s music is as far away from KISS as you’re likely to hear: A slick alterna-pop sound with a high gloss production sheen. Thayer and his current partner-in-crime, Rob Daiker, handle vocals, most instrumentation and production on this third release. The title track kicks things off, with some really nice – dare I say, “pretty?” – vocals and layers of strings, provided by a group called the Magik-Magik Orchestra. “Not Afraid” has a little harder feel; featuring a slightly Gothic tone and a solid guitar solo, the song is fairly impressive. As good as the track is, I’m just not sold on the over-production. I certainly wouldn’t mind hearing this one in a live setting… I’m betting that it absolutely burns on-stage with a full rock band.

John Thayer (uncredited photo)

John Thayer (uncredited photo)

Another strong entry is “Really Doesn’t Matter.” The number has a definite Tom Petty feel to it, delivered in a standard rock ‘n’ roll format with two guitars, bass and drums with the occasional orchestral flourish. “Angel” is what is called, within the industry, “Adult Contemporary.” Not that there’s anything wrong with that; the song really isn’t too bad, falling somewhere between Nsync and the fluffier bits from Goo Goo Dolls. On “Lonely Eyes,” the guitars have a harder edge and the orchestration somehow sounds rather ominous, if not downright vicious. The whole sound of the tune is kind of haunted, with a dark, lonely feel to it. The track threatens from the beginning, finally letting rip with a mean guitar solo. FACE TO FACE isn’t long, clocking in at just under nineteen minutes, and it sounds just a little too slick for my tastes but, the songs themselves and the performances are top notch; if you are a fan of the glossy pop and rock that dominated radio and MTV from the early 1980s into the pre-Grunge ’90s, John Thayer will sit nicely in your collection with those bands and records. You can order FACE TO FACE, as well as John’s previous EPs, LAUREL STREET and TAKE IT BACK from the artist’s website.