CD SPINS

by Staff  

VARIOUS ARTITSTS

Lost In Translation Soundtrack

(Emperor North Records) 

It’s not often that soundtracks can stand on their own merit as they are taken out of context from the movie. 

    The few soundtracks that I have enjoyed stand alone as a cohesive piece that doesn’t require the need of it’s film. Those are… The Exorcist, Sid and Nancy, The Mission, The Warriors, and Thief.      

Lost in Translation’s soundtrack gets it’s identity from the dark and desolate mood of the collective pieces.  Shoegazer artists from the early ‘90s (My Bloody Valentine, Jesus and Mary Chain) along with neophytes of their genre come together to provide the bleak sixty-cycle hum for the movie.    

“City Girl” starts us off with Kevin Sheilds (My Bloody Valentine) droning out a slightly minor-keyed pop tune.  Its sense of wandering loneliness seems to never end.     

Death in Vegas turns in a very “Twin Peaks”-type ditty with their ambient and spacey “Girls.”  On the edge of painful repetitious (like having your skin rubbed raw) – this song looses itself in it’s structure and fades into your subconscious until you find yourself abruptly at the next song.     

“Sometimes” is classic My Bloody Valentine. Grungy before grunge was a word/genre, nihilistic and atonal, this is the best song in the collection.  The CD ends with the archetypal shoegazer song, “Just Like Honey,” by Jesus and Mary Chain.  Disturbing as it was when it first was released, this song combines a haunting atmosphere juxtaposed by antiseptic production applications.     

The surprise here is the hidden track that has Bill Murphy singing karaoke to Roxy Music’s “More Than This.”  After it looses its comic flavor, it is actually a very poignant and dramatic rendering.    

As stated before, soundtracks do have the ability to stand on their own, provided the music director and film director worked hand in hand with the collaboration.  As it stands, Sophia Coppola was one in the same here.      

This is a great CD for a rainy Saturday afternoon crawled up on the couch with your favorite book. 

 – Jon Rice

KATHLEEN EDWARDS

Failer

(Zoe Records) 

Kathleen Edwards’ CD, Failer, is one of my favorite CDs of all time.  Period.  I’m comparing Kathleen to such Midwestern women’s folk legends as Bonnie Koloc or Megon McDonough, and she can hold her own in that rarefied company.      

If only reviewing a new CD by a new folk artist was that easy.  Edwards’ singing and songwriting remind me of her fellow Canadians Neil Young or Bruce Cockburn, or south of the border, I’d compare Kathleen Edwards with James McMurtry or Greg Brown for the way she tells a story.  She’s got their styles down musically, and she sure can tell a story of loves found and lost.      

Kathleen has helped me experience the art and craft of the singer-songwriter anew.  I can’t give her higher praise than that.      

“Six O’Clock News,” “Hockey Skates,” and “Westby” all resonate with me long after the CD’s shut down, thanks to Kathleen’s command of the guitar and the word.  Rare gifts, and you’ll likely see this record on my personal Top 10 list of this year’s releases.   

– Eric Steiner

NO MOTIV

Daylight Breaking

(Vagrant Records) Daylight Breaking could be the record that punk rockers No Motiv were meant to make a while back. 

   Caught in the common punk rock caucus, here is a band that can be immediately lumped into one genus, and be done with completely.  But they simply won’t let you.  They are out to get free, and show you how it’s done.     

Despite the eclecticism at hand here with their latest record, the smooth transitions from song to song are as assured as their authority to prevail.   

It might be noticeable that between bands like Blink 182 and No Motiv, there is a mindful sense of maturity and growth even as they still manage to embrace that crisp punk pop sound.     

Even a screamo punk band like Thursday has really evolved from visceral whiners to artists with something important to express.  No Motiv has undergone a similar transformation who despite having an optimistic title for their record, some tunes are very dark and liberal in nature.     

Any band can write about chicks and loneliness, but here is a group that clings to simplicity while reaching to ambiguity.  Perhaps it was 9/11 or the war that has caused a sudden transformation, as well as an eagerness to open up to broader issues.  It doesn’t matter the source of angst or inspiration, by track five Daylight Breaking becomes a terrific record.  By the time “Robot Eyes” arrived, I was beside myself.    

Take the dynamically epic track “Death In #S.”  It starts with muted Stevie Nicks single-string plucking and implodes into a metrical masterwork that has the gravity of a band like The Cure by way of Jimmy Eat World dynamics.     

“Where Did You Go?” is also equally great in a completely different way meshing Foo Fighters vocal styling with an assured chord formation and lyrics of longing.     

Possibly the best tune is “Audition” which maintains Joy Division-bass with some of the most self-assured declarations on the record –– “Enter the ghost of a loved one/I still see her silhouette/I took the seasons for granted now I'm alone.”     

Then “Laid to Rest” puts all other rock anthems to shame, and becomes as relevant as the latest Thursday record.  But No Motiv resides in their own format, and they are both comfortable and safe in this sound.   

Mid-way on, Daylight Breaking becomes melancholy punk doused in hope and detonates with resonance that the mainstream radio scene has grown to acknowledge whole-heartedly.  It may not necessarily be something that I will listen to consistently over the year, but it’s still one of the better examples of this kind of music.      

No Motiv surfaces with an entirely electrifying record that tucks meditative afterthoughts with enthusiasm and energy.  Even when they occasionally “Fall From Grace” and let familiarity seethe towards tedium, they immediately bounce back with emotionally stimulated rock that reaches its apex within the span of only a few minutes.      

There is no doubt that these guys will become as recognized as the embraceable high-energy style they clearly have a joy creating.

 – James Laczkowski

REED MARCOTTE & STEVE CRABTREE

Return Of The Dinosaur

(Indie) 

This 11-song collection will certainly strike a strong chord with fans of rhythm-heavy stoner rock from the late ‘60s/early ‘70s.        

Plenty of country-rock overtones, some blues inflections and lots of “guitar noodling” peppers these tracks, giving the overall album a vintage sound, while not necessarily sounding dated.       

Like the best albums, these songs are not cookie cutter, which allows for each to have it’s own distinct flavor.  This stuff runs the gamut from quirky acoustic romps (“Cry Me A River”) to rockers flush with heavy duty electric guitar (“The Intruder” and “Crave”).    

Like many of today’s cutting edge young bands who are freely borrowing from the old school rock sound, Reed and Steve are doing likewise. Only there is a little more legitimacy here, because they were likewise making music back in the day.         

Yes!  As the title suggests, this is a case of middle-age musicians revisiting their roots and creating some tasty “dino-rock.”   They even get a little help from a true Chicagoland “dino-legend”, J.C. Hartsfield (of Heartsfield fame).  

Well-written and well-played, it is evident that a lot of time and love went into making this album.  Personal favorites continue to change as this album get more and more spins on my home stereo.    

The grooving piano/guitar cut, “Silence,” was initially my fave tune, but others have grown in favor to rival that one.  The longest cut on the album, “Silence,” starts out a bit low-key and plodding, but soon gets up to speed.    

Among them is the politically-charged “Anti-Gun”cut which will strike a nerve with anyone whose ever looked down the business end of a gun.       

Then there is the funky acoustic number, “Cry Me A River,” the only track not written by the duo.  Though one of the best offerings here, it is also the shortest on the CD.    

Of course, another stand out is the moving, “Bye Bye,” which features Hartsfield guesting on lead guitar.  Ol’ J.C. still bends those strings as tastefully and sweet as ever.       

At the moment, my favorite cut on Return of The Dinosaur has to be the biggest rocker of the collection, “Parasite Pal,” sounding like vintage Alice Cooper meets the Munster’s theme.     

The songs here are well written and the musicality is solid, but Reed’s vocals tend to wear a little thin on the ears by the disc’s end.   His voice is good, but his range is limited.  More vocal accompaniment would enhance some of these numbers.    

For more info: www.MP3.com/Return OfTheDinosaur.com 

– Tom Lounges

THE HONOUR RECITAL

Beginning To The End

(Indie) 

Local artists, The Honour Recital,  is hard at work out on the road supporting their latest release --- Beginning to the End.   

And their efforts look like they may soon start paying off.  Power-pop at it’s finest, THR elicits comparisons to Shoes, Switchfoot, Good Charlotte and New Found Glory.  Pounding, driving and rock solid tunes proliferate this CD.     

An expertly crafted production by John Hook, Beginning to the End is a regional collection that I heartily recommend adding to one’s collection.    

“Manifest Destiny” assaults the listener with an onslaught of crispy-crunchy guitar point/counterpoint between Matt Parker and Tim Burkey.  Terrific dynamics, punch, great vocals and harmonies make this song a standout.     

“Smoke and Mirrors” changes things up with quiet vocal and guitar interplay and a simple arrangement.  A very dark and gloomy tale of an individual being chained to the couch because of sickness and the pain masking drugs that are a prison.  Fantastic break in the middle of the song separates the emotion of the piece into anger -- a very good tune!      

My favorite tune has to “Pray the Rosary,” as it has remarkable work from bassist Josh Silveus recalling the work of Paul McCartney with tasty bass lines and riffs.  What works well here is the guitar-work by Parker and Burkey, chords and arpeggios on top capture the delicate nature of the song.  Mark Burkey's vocal is most realized here as he transfers the message of the song through and honest approach to the delivery.    

THR is definitely a power pop band to the hilt, with positive and sometimes uplifting lyrics.  Their honest approach to what could be tired material and concepts is what is most appealing about this band.  They also seem to work extremely well off of each others strengths without any one member being showcased.      

This is a solid and even band that deserves recognition.  I wish them well in their endeavor.  More info: www.thehonourrecital.com 

– Jon Rice

INCUBUS

A Crow Left of Murder

(Sony) 

After much hype and a trip through the image-maker machine, Incubus have released A Crow Left of the Murder ––  an album that dispels the “Teen Beat” journey these guys were on.  More raw, open and experimental in it's approach, this CD will more than likely disappoint fans of their previous works.    

The beginning to “Megalomaniac” should give the listen an indication that this isn’t your big brother’s Incubus anymore.  Weird and abstract sounds bleed into this rocker that comes off sounding a little like Rush’s Geddy Lee on the choruses!     

Their first single will probably go far, as it’s the closest to their old offerings.  The lyric –– “You’re no Jesus, you’re no Elvis” –– I am sure will get some people rattled however harmless it is in it’s context of dethroning the leaders of our time.      

The title track is a poppy little rocker that gets the feet moving.  There is this lead guitar underneath the entire track which makes it sound like there is another song being played at the same time, it’s not bad, but it is odd.     

“Talk Show On Mute” offers some great mid-tempo rock with an almost impromptu feel to it.  Offering a look at life from a different perspective, this song is the most realized on the CD.  “Made for TV Movie” ends up coming off like an old Faith No More left over... promising, but disappointing in the end.     

The best song on the album is very far from their familiar, “Here in My Room”, which features Brandon XXXXX vocals atop of a dissonant and dark musical malaise. It has a Sgt. Pepper-esque complex, that is rich in color and depth.

The majority of the CD is what appear to be trials of songs that never reach fruition, only notebooks.  Incubus certainly deserves to take their music to a different planet, yet often times leave their fans at the launch pad waving goodbye.     

A Crow Left of the Murder offers little appreciation for their fans in at least offering a bridge in which to cross into their new land.  More info:  www.enjoyincubus.com 

– James Laczkowski

LINDFORD DETWEILER

Grey Ghost Stories

(Grey Ghost Records) 

Linford Detweiler and his wife Karin Berquist are the primary forces behind Cincinnati’s Over the Rhine, and they are one of my favorite bands that always seem to land in my CD player more often than not.      

Grey Ghost Stories is a collection of Linford’s solo piano.  He’s got quite a gift, and each time I listen to Grey Ghost Stories, I hear something new, courtesy of Linford’s piano (and occasionally, guitar, on “Pirate Girls” and “I Was Thinking the Same Thing”).      

Grey Ghost Stories was recorded at Linford and Karen’s home, the Grey Ghost, and you can hear some background noise, but that’s part of this CD’s charm.      

As I said about his first solo CD, I Don’t Think There’s No Need to Bring Nothin’, Linford works wonders behind an upright piano and he shows just how powerful and emotional a solo piano can be.      

Grey Ghost Stories is an exceptional CD for fans of solo piano, and the way that “Someday We’ll Move to A Small Farm (And Watch the Snow Fall)” and “Sunday Evening” unfold makes this a CD to treasure for solace and more quiet times.  Preview Over the Rhine and Linford’s solo piano at www.overtherhine.com 

– Eric Steiner

TO MY SURPRISE

To My Surprise

(Roadrunner) 

To My Surprise will unfortunately be awash in Slipknot fans as To My Surprise is the side project for one of it's members.  That said, it sounds nothing like a Slipknot CD by any stretch of the imagination.      

If you like ‘70s flavored rock that is irreverent and fun has it’s own carefree style and sound, you will certainly enjoy this one.    

Pop rock at it's finest, “Get It to Go,” has infectious group yelps of  “Yeah, Yeah, Yeahs,” lots of power-chords and a groove that does not abate.     

Stellar work from the rhythm section of Crahan and Robinson are featured on “Blue,” sounding much like The Shins or Fountains of Wayne with some Beatles thrown in for good measure.     

This CD is soooooo much fun!  It brings me back to the silly 1970s rock that allowed for the high platform shoes and bleached mullet!     

“Easy or Not” employs a monster riff that will have you raising your fist in the air and “oooo - oooo-ing” right along with the record.  “Come With Me” drudges along with a darker edge to it with a tale loneliness and obsession.  The throwaway song, “Who’s to Say,” finishes out the CD with an odd emptiness and lack of effort - disappointing.    

True to their name To My Surprise, is just that.  Fresh, unafraid and most importantly -- they don’t take themselves serious!  The nod to ‘70s pop rock is wonderful and the injection of their own soul makes it even better.     

Do yourself a big favor and give these guys a shot.  More info: www.tomysurprise.net 

– Jon Rice

MUSE

Absolution

(Warner Bros.) 

If a bat out of hell were to weep and take monstrously deep breaths between stanzas, then he might very well sound like Matt Bellamy, the frontman for this anything but understated trio from the UK.     

The Radiohead comparisons are apt but overused.  Still, it’s a starting point for fans of Thom Yorke’s vocal style to pursue this band as attentively as they would Mr. Thom and crew.     

As much as Bellamy has a tendency to bask in the falsetto of those he admires, the band as a whole still brings something new to the table in a way that is visceral and attention-grabbing.  Somewhere between uninhibited recklessness and hushed timidity lies this inferno of a band.     

They annihilate, then breathe new life into rock and roll, all within the span of a few minutes and it’s time they get some buzz to back them up.     

Their latest effort, Absolution, solidifies their strengths as the English band everyone should be listening to instead of Coldplay.  Not only do they unexpectedly rock harder than anything they’ve done previously, but the arrangements are also tighter, produced with more dynamic gallantry.    

When the album begins, you know which band you are listening to, because they are one of the few that combine both Rachmaninoff-style classical pianos along with charcoal grunge riffs and panicky vocals as if his voice box was shaking along with the snare beads.     

The standout track is “Hysteria,” because the guitars manage to capture that frenzy the title track suggests and is followed by one of the prettier ballads of their career, showcasing their dichotomy. They manage to assimilate drop D hardcore with industrial twinkling in such a bombastic manner that you can’t help but cheer them on, even if you’ve heard it all before in a less significant song on mainstream radio.    

“Thoughts of a Dying Atheist” enfolds a gorgeous harmony that sounds like it has been swiped from a 1930s European canzone spaced around with pulse-pounding, fast-paced 1970s punk rock vitality.     

One of the sexier examples of what Muse is capable of is the startlingly fuzz-bass boogie of “Time Is Running Out,” which sounds like the Eurythmics fronted by Freddie Mercury.  The track builds to a truly rocking climax that proves only three tracks in that this band is the real thing.  “Butterflies And Hurricanes” is also just a jaw-dropping track about self-determination that leaves you gasping in its orchestrated psychosis.    

Overall, the record seems to be about facing the inevitability of death, as well as forgiving yourself, and yet at the same time, embracing the passion of existence while still you can.      

With a record as strong as Absolution, Muse have managed to divest their prior weaknesses, all the while taking their strengths of their last two efforts and build on them in a way that sounds completely unforced.      

This is an overseas import that is more than worthy of the same success here in the states that they’ve already garnered in the UK.    

– James Laczkowski 

TIM GRIMM

Coyote’s Dream

(Vault Records) 

Singer/songwriter Tim Grimm hails from Central Indiana and technically is not a “local” artist, but his original music is just too damn good to let a few extra miles prevent me claiming this remarkable Hoosier talent as one of our own.     

Grimm’s latest collection of homespun country/folk acoustic music -- Coyote’s Dream -- has a Western-style flavor.  As with past albums, his words paint vivid pictures in one’s mind as he sings them in a Gordon Lightfoot meets Hank Williams Jr. type of voice over his acoustic guitar picking, with mandolin, banjo, dobro percussion and organ often augmenting the melodies.     

Stand out cuts are the title track, the haunting “1913 Massacre” and  “Buffalo Skinnners,” which teams him up with folk music legend, Ramblin’ Jack Elliott.  A solid set from start to finish.   

To find out more information on tremendous Midwest talent, direct your browser to: www.timgrimm.com 

– Tom Lounges

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