MODEST MOUSE

Good News For People Who Love Bad News

(Sony) 

After years of merely scratching at the surface, this mighty Mouse has accrued all the talents of all recruited members to deliver their opus, making them one of the most exciting bands in rock today.    

They are at long last, out of the industry-formulated indie-rock hype trap, and have just emerged as one of the most powerful new voices in music today.    

Good News For People Who Like Bad News is a wacky rock record that is atypical, visceral, and audaciously constructed.     

If lesser bands who have already achieved success, such as The White Stripes and Interpol, were inspired by musicians like Tom Waits and David Bryne, then they could have put out a record similar to Good News For People Who Like Bad News.  But they weren’t and they didn’t… so leave it up to these guys to blow the other acts away.    

Modest Mouse have divested all weaknesses, keeping the aforementioned influences in tact, to make a record that is Pavement-flavored but carries the sensibilities of everything from straight-ahead pop, avant-garde art rock, to even guitar-driven dance ditties without once sounding strained or inaccessible. Anyone who listens to it will find something to love.    

“I Am My Own Damn God,” proclaims singer/lyricist Isaac Brock. He screams one song, then sings in a hushed opiate style a’la Sparklehorse on the next. He has found his footing as both a versatile vocalist and a poet with a knack for offbeat rhyme structuring, often stockpiling words into one sentence to get the point across to himself more than anyone else. He swears, he spits, or he whispers and reflects.

    Bassist Eric Judy illustrates his agility on a spirited Talking Heads groove, “The View,” while drummer Benjamin Weikel’s staggering syncopation never tails off on the extraordinary “Satin in a Coffin.”     

Among the many other stand-out tracks are -- the ‘80s-flavored “Float On” and “Bukowski,” a banjo-tinged waltzy number with accordion and violin to boot.   

This is an album of dark proclamations miraculously spiked with hope and resurrection. As much as the basic concepts surrounding death and God evolve into the central theme of the record, there is also a sense of moving above and beyond the call of duty.   

It’s a record that is a call to arms to self-motivation and yet, being fully conscious of one’s limitations. Don’t let the good times kill you, and beware of excess pleasures that will render you immobile.   

Herky-jerky rhythms, elaborate guitar orgies, and sprinkles of keyboard candy permeate nearly every track, giving each song its own distinct ambiance and by the denouement, you feel like playing it all over again to catch all the nuances.     

This is the record that everyone should be talking about at the end of the year because it’s clearly one of the best. 

– James Laczkowski

JANIS IAN

Billie’s Bones

(Oh Boy Records)

This latest CD from this ‘60s folk rock icon was wholly enjoyable. The beats were easy and moving. The music reminded me of a flowing stream: steady and sure. There was a certain unknown impetus which seemed to drive each song. The beat was of a pop/country tempo and rhythm.     

My favorite aspect of the CD was the lyrics. They were deep—they dealt with subjects such as personal dreams and goals, (as in the song, “My Tennessee Hills”), educated topics of art and literature in Europe, (in the song “Paris In Your Eyes”), and even with themes of growing old and death.    

This veteran folk singer’s voice is interesting. It’s low and airy. She is past the middle-aged years, and her voice has a certain accomplished and matured quality.  It has a very relaxing effect overall. Dolly Parton contributes vocally on this CD, and her voice works well with Ian’s own.    

Ian’s lyrics were all poems before they were songs. I believe that one of the most fulfilling characteristics of her songs is the fact that they were written with her heart, soul, and complete energy. This is quite evident to the listener. Is that not the single most defining point of music? To release emotions?    

Sometimes artists forget this and get so caught up in the act of writing songs itself. Janis hasn’t gotten caught up in this—it is clear that every song, every lyric, every word — was a direct reaction to some event or experience in her life.     

In this way, her music breathes of life in a sheer and pure manner, doing nothing less than entrancing the listener and leaving him or her with an overall, wholesome satisfaction and gratification.     

Listen to this CD if you are feeling in a particularly pensive mood — it will most definitely get you thinking.  Enjoy! Happy musing! 

– Jackie Klapak

NEW FOUND GLORY

Catalyst

(Drive Thru/Geffen Records) 

You may have already tasted the latest New Found Glory album, Catalyst from their video, “All Downhill From Here,” that is popping up all over MTV.  The video is only an appetizer for what might be the biggest dish of the summer.    

Catalyst is the fourth album from this former Florida-based garage band.      

September 2000 brought about a self-titled CD release that hit #1 on the Billboard New Artist Chart and was certified gold.   

Their 2002 release, Sticks and Stones debuted at #4 on the Billboard Top 200 Chart with more than 91,000 copies sold.  That album is now nearly platinum.     

If history is any indication of what is to come, Catalyst should also rise to the top of the charts, because it is truly excellent.    

As far as genre goes, New Found Glory is typically thrown into the “punk-pop” category, but their sound is much harder and edgier than bands like Simple Plan, Good Charlotte and Yellowcard. NFG go well above and beyond punk-pop.    

A better term would be “punk-metal” – because there are layers of guitars and drums combined with the “punk rock vox” (that somewhat whiny tone that all “punk” bands seem to use. This blend makes this disc appealing to a broader audience, than just the punk kids.     

The whole album is a worthwhile listening experience, but the best block of songs is found right in the middle – “Doubt Full”, “Failure’s Not Flattering” and “At Least I Am Known For Something.”    

The music is hard, but it also contains amazing harmonizing vocal melodies.  The album’s current single “All Downhill From Here” is good, but don’t be surprised if other tracks surpass its popularity.    

This gets an 8 out on my scale of 1- 10.  It’s a disc I will play often this summer to get energized!    

Look for New Found Glory on the Vans’ Warped Tour, which comes to Chicago July 24th at the Tweeter Center. 

– Corine Jurgerson

ORGY

Punk Statik Paranoia

(D1 Music) 

Does a new label also mean a new sound? Not necessarily, of course, but in the case of Orgy’s third album, both changes seem to be in place.   

After switching over to a more agreeable label in D1 Music, and after taking quite a while to figure out what they wanted in their third album, Orgy have unveiled another unique piece of work.      

Orgy fans are used to a certain electro-metal style that practically defined the group in the late Nineties. The synthesizer was a must, and the trippy sounds and melodies were integral.     

Not so on this album. Orgy has not abandoned that sound completely, but they have changed their style somewhat. The metallic pop/rock sounds are easier on the ears, but are less definitive for the group. Whereas their music normally sticks out, the tracks here are not the kind we have come to expect from Orgy.     

Granted, there are a few tracks on the CD still pretty wild and electro-friendly. For example, “Beautiful Disgrace” and “Can’t Take This,” are somewhat of a throwback to the “old-school” Orgy.     

That’s about it though. Songs like “Make Up Your Mind” and “Pure,” have a more clear and melodic structure, which sound great, but are very un-Orgy like.    

Vocalist Jay Gordon has even commented on the subject, saying how Orgy’s first two albums were way more out there than this one.         

On Punk Statik Paranoia, the group focused much more on songwriting than anything. And, I must say, the quality of the lyrics has improved a lot.    

If you are into songs with meaningful lyrics, this album is for you. If you are into pop metal, this album is for you.    

If you’re a longtime Orgy fan, this album will take some getting used to, but it is also for you.    

If you are a fan of crazed, electro-metal?  Sorry, you may be slightly disappointed.

 – Allison “Ally” Berndt

JOAN JETT

Naked

(Blackheart Records) 

The “I Love Rock ‘N’ Roll” girl is back with a brand new CD called Naked, which contains sixteen hard-driven, punk rock songs.    

This is one of the best collections of new material that The Blackhearts have come out with in a long time.

    On this stellar set, they collaborated with a few well-known names like Kathleen Hanna (Le Tigre/Bikini Kill) and red hot, chart-topping songwriter/producer Linda Perry (4 Non-Blondes/Pink).    

 If you have seen the Blackheart’s live during the past few years you will recognize many of the songs –– “Androgynous,” “Fetish,” and  “Science Fiction” –– yes, this song is from the Broadway play “Rocky Horror Picture Show” that Joan starred in a few years ago.   

“Hey don’t even start/I’ll tear you apart/This comes at a bad time,” is the chorus to “Bad Time,” one of the hands down best songs on the CD.  Lyrically, it is a chilling song about a really bad break up.    

The hard-rocking “Kiss on the Lips,” the softer ballad “Watersign,” and the poppy “Everyone Knows,” all deal with relationships and are written in the classic Jett-style.  You will need to listen to a few times to these, before you suddenly slap yourself on the fore head and say – “Hey, I get it now!”   

The title track “Naked” and “Can’t Live Without You” are perfect examples of why Joan has been a survivor in the rock ‘n’ roll world all these years.  They are infectious in regards to the melody lines and well-written lyrically.  In short, they have all the right parts, all put together correctly.    

Happily, the CD contains a lyric booklet.  Also included are interesting facts about each of the songs, revealed by Kenny Laguna, Joan’s manager/songwriting partner.     

Since this disc is not yet available in U.S. record stores, my advice is to log on immediately at: www.joanjett.com and click on the Merchandise link.   Any true fan of rock ‘n’ roll will want to order a copy of Naked for their music collection.  It is a must have.     

Then, as you are listening to Naked, take a look at the live concert photos that adorn the inside of the CD’s booklet.  You will find that they were snapped by none other than Midwest BEAT’s Photo Editor, Niva Bringas.  

– Anita Maree Lande 

ANNE McCUE

Role

(Messenger Records) 

This Australian-born singer/songwriter/guitarist sure can write, that’s one thing that is for sure.    

Anne McCue has been there and done that whole band thing, with several groups that have performed all over, eventually winding her up in the U.S. playing for such events as Lillith Fair. But now, she’d like to do her own solo thing.    

Her 2004 album Roll features all her own songs, guitar playing and vocals, supported by a steady rhythm section.  Instantly, the singer compares to Sheryl Crow, because their voices and ranges, as some guitar playing are extremely similar. But with McCue, there’s more of a country thing going on in the music and the arrangements.    

Her voice isn’t twangy or too southern sounding by any means, but her tunes are rife with Southern and South Western flavor.    

The tunes are good, but for the most part are slow tempo and not too exciting.  I found two exceptions to this: “Gandhi” and “50 Cent Whore.”  Those are by far the songs that capture a listener’s attention, and draw them in.    

The lyrics in the other songs are also well written, as McCue’s songwriting skills are overall strong . It is just that they lack support in her musical backing. The level that the songwriting is at, verses musicality seems unbalanced.  For that reason, the CD as a whole gets only one thumb up.   

 – Allison “Ally” Berndt   

THE VESTALS

The Vestals

(Warming House Records) 

The Vestals made an album full of clever catchy tunes that will never amount to much more than semi-semi-fame.    

The first cut, “Seven Hours,” catches the ear because the song is cleverly arranged and recalls the good ol’ days when the Beatles ruled rock.  The Beatles influence is felt here in large doses, perhaps a little more than necessary.     

The album is laced through out with good music, but nothing really great nor wonderful.  Some songs almost get annoying and melodramatic.  “Forever It’s True” is one of those songs.  The voice distortion, organic sounds, and totally out of place guitar solo may cause stereo homicide or suicide. 

If you really miss the Beatles go find this CD by The Vestals, who would actually make a decent Beatles cover band, should their “original” music career stiff.   

– Nathan Bright

JOEY McINTYRE

8:09

(Artemis Records) 

8:09, the latest solo release of former New Kid on the Block Joey McIntyre, has officially hit the store shelves.      

For those unfamiliar with McIntyre’s career post-Block rock, 8:09 is his third full-length solo release and attempts to prove that little Joey Joe is finally all grown up.     

The title 8:09 is symbolic to McIntyre for several reasons; not only is it the date that he met his wife, Barrett Williams, but it is also the address of the home that she showed him (she was a realtor…).  Of course, the couple married on August 9, 2003.  McIntyre even has 8:09 inscribed on his wedding ring.  It was only appropriate that he name his latest album 8:09…    

I’ll admit it. I was a huge New Kids on the Block Fan (and you probably were, too, so cut me some slack!)  Us girls all had our favorite New Kid, and the blue-eyed McIntyre was mine.  I had the shirts, I had the posters.  When he launched a solo career, I was psyched.     

And...perhaps surprisingly... he delivered.     

His first two albums, Stay the Same and Meet Joe Mac were what I like to call pop-tastic.  Sure, they were sugary and mall-friendly, but they had a certain edge about them that made me want to pop them in my CD player over and over. 

I love music that makes me want to dance.  I love when artists break down the barriers and get personal with the fans through their lyrics.  Up to a point, at least.    

So after a year and a half of anticipation, you can imagine my devastation when I popped in 8:09 into my 5-disc changer and realized that it flat out sucks?      

What the hell happened, Joe?  Overall, the album is bland and overproduced, which is surprising considering that the album was produced by the incredibly talented Emanuel Kiriakou, who not only plays guitar for McIntyre live, but has also recorded a top-notch album of his own (Favorite Enemy, 2002) and has had music featured in the hit film, My Big Fat Greek Wedding.   

By overproduced, I mean that the album is essentially “muzak” with lyrics.  Muzak! You know...that  stuff you hear in an elevator and doctors’ offices.  You get the point.  There’s no edge.  No originality.  It all sounds canned.   

The majority of the album is made up of ballads written about a special girl that McIntyre is in love with.  Hmm… I wonder who that could be?   

The disc plays on, but if you aren’t paying close attention, you lose track of where one song ends and the next begins.  The album’s current single, “L.A. Blue” is just as forgettable as the rest of the album and will probably not continue to receive much airplay by any of the top Chicago stations.  “

    “California” is probably the most unique track on the album; it’s a little funky, a bit campy, definitely danceable.  However, sampling that emulates the Beach Boys and McIntyre’s creepy spoken word interludes throw any hopes for redemption right out the window.   

– Corine Jurgerson

JOLIE HOLLAND

Escondida

(Indie) 

Jolie Holland’s Escondida was quite an interesting experience for me. I was thoroughly impressed and equally intrigued by her music.  

            I am not even quite sure how to classify her music: it’s a combination of jazz, blues, folk, and pop.  At some points in certain songs, it almost seemed as if Jolie was singing authentic music from the 1940s.  

From the moment the first note of the first song on the CD begins, “Sascha,” my ears were utterly captivated. Her voice is sultry yet it has an exceptional range. There is a certain aura Jolie evokes through her music — it’s very easy to tell, just from listening to the songs, that Jolie is very in tune with herself, her emotions, and the world around her.     

One of the most attractive aspects of her music is its overall quality of being laid-back and just sort of grooving along.    

Jolie utilizes varied instruments which aren’t commonly found in pop music. She herself plays the ukulele. Others play instruments which include the marimba, aluminum and wooden upright basses, the mandolin, a banjo from 1867, the trumpet, the musical saw, and the soprano saxophone, along with the standard electric and acoustic guitars, piano, and drums. Whew!   

The lyrics of Jolie’s songs are vibrant, with memorable smiles and personifications, such as in her song “Black Stars,” where she sings ––  “The moon is wizened and it is old as a toad in a Chinese story.”     

The themes of her songs are earthly and truthful — the story and history of a person who has had hardships and triumphs in her life. Jolie includes two traditional songs here, “Mad Tom of Bedlam” and “Faded Coat of Blue.”    

Check this CD out for a relaxing good time. It is a great listen, if you are looking for a way to wind down after school or work. Jolie will certainly croon you into a peaceful mood. 

– Jackie Klapak

AUTOPILOT OFF

Make A Sound

(Island) 

So, many bands say –– “Hey we can’t be put into a genre or category” –– only to be roosting in a pigeonhole as they make the claim.    

Autopilot Off claim to be one of those non-genre-defined bands.  To be honest, that claim is pretty legit this time around.    

They are firmly set in punk rock, that is obvious, but here and there classic rock rears its sorely missed head. Not very often is it that those two genres mix.      

The saddest part about Autopilot Off not being able to fit into a standard genre is that a new one will most likely be made for them and imitators will file in like drones.   

The first thing you’ll notice about this band is lead singer Chris Johnson’s voice.  Something inside of his vocal chords creates a sort of resounding, reverberating, tone that is much like a drug.  You’re freaked out at first, but the more you inject his vocals into your ears, an addiction forms.      

The message of the album is not that of standard punk if you will.  It is much more ambiguous.  The album is not drowned with a story about the girl that either ––  A) dumped B) got dumped or C) is the object of affection.      

That is rather refreshing and Autopilot Off deserves some recognition for not making an album that focuses on “the girl” in a industry that is all about love, hate, sex and all the in betweens.    

If you have the chance, get your dirty little hands on this album, and inject some of this into your ears.  With such heavy hitters as Tim Armstrong of Rancid lending his approval and talent, you cannot go wrong 

– Nathan Bright

U.S. ROUGHNECKS

Twenty Bucks And Two Black Eyes

(Hellcat Records) 

The bubble has been popped.  The U.S. Roughnecks have made sure of that.  Pop-punk doesn’t even peak out for a view on Twenty Bucks and Two Black Eyes.  Even if it tried, pop-punk would surely be beat down.    

            There is nothing original at all about this album.  One could listen to the entire album and hardly be able to tell when each track ended.  The same fast beat, rough voiced, generalized, throwback punk groans and groans and groans.      

The only song that may deserve a pinch of decent song merit,  “Roughneck Noise,” loses all credibility in my book by seemingly singing about themselves.      

            If you are a fan of the same old punk formula…then this album is for you cause it doesn’t get much more “same ol’, same ol’” than this slab of sound.       

I can only pray that I don’t get a beat down after this review, because my neck is “smooth” and this roughneck stuff leaves me rather chaffed   

– Nathan Bright

VARIOUS ARTISTS

Roasting Posers ~ Vol. 1

(Brutal World Productions) 

The Heavycore organization has taken advantage of “spreading the word” via DVD to promote and showcase some serious metal, in their own personalized way.    

After putting out two Heavycore compilations (Core Til Death I and II), the follow-up was a natural progression and provided a brutal (and bloody) taste of what underground Metal has to offer, given the chance.    

Roasting Posers Volume I features 16 Videos clocking in at 90 minutes.  Six of the videos are live, with six bands hailing from Illinois.  Overall, the videos are worthy of airplay and are of kick ass good quality.    

            Along with Pro-Pain doing “Casualties of War (Live)”, you can headbang to the likes of Lividity, Low Twelve, Osmuim, Systemic and various other metal bands.   

Besides the videos, there’s the introductions, commentary, shots of the Heavycore Dancers, a few out takes and bonus video of the Heavycore anthem performed live, plus you’re treated to several Poser Disposal Service commercials.       

No glitz, no glam and no egos.  Across the board you get a good representation of the metal scenes across the country.    

            There is a specific website at www.roastingposers.com  for information pertaining to the video and upcoming projects or if you’re not familiar with the Heavycore entity or need to get reacquainted visit www.heavycore.org 

I couldn’t have asked for a more slamming way to start my day, chugging a pot of coffee and having my own private Heavycore show in my living room, Hell Yeah!!  

– Diane Demeter

 ALANIS MORISSETTE

So-Called Chaos

(Maverick) 

There’s just something about her confessional, idiosyncratic approach to lyric writing that reads and sounds more like unabridged notebook journal entries.   

Her deep breaths before each choral exhale are escorted by a bizarre bend of the final note sung, which makes her intonations quite distinctive and unusual. She may be repetitive and thanks to being an MTV staple, most folks have written her off, but there is never a shred of doubt that he she possesses assertion in what she sings about and there is no mistaking the catharsis that often ensues.   

Take her ambitious second effort, Supposed Former Infatuation Junkie.  Yes, Alanis needed an editor to trim down the track listing, but it is simply a tremendous showcase of her remarkable capacity for cunning wordplay and delectable testimonials about spirituality and self-conflicts.   

`At times however, there is no mistaking the fact that her didactic prose is best left for the diary vault, but at its pinnacle, that particular record remains audacious and revealing, the kind of album that many female artists only hint at mustering up.      

She’s still no Ani DiFranco, but on songs like “That Would Be Good” or “Joining You” she is able to somehow integrate pop conventions with originality and lyrics that even the most jaded listener could identify with.      

It’s sad to report that she’s not really reaching beyond the surface with her latest effort, So-Called Chaos.  If you’re expecting sonic chaos or experimental production techniques, delete that anticipation immediately.  The sound is anything but chaotic or even remotely challenging, unlike her predecessors.  It’s more relaxed and sedated than anything she’s ever done, often sounding too digestible.    

 In short, here it’s just more of the same ol’ same ol’ which should please hardcore fans, but it sounds as if she’s regressing back to being radio friendly instead of striving more emotionally engaging material.      

            Instead of trying to get back touch with the radio, she should be looking more inward and presenting herself in a way that can drop jaws again.  She’s playing it safe in other words, and it leaves the listener expecting more.   

So-Called Chaos is mostly a missed opportunity to build on some of the strengths represented in her last two records, and will undoubtedly bring her detractors to the forefront with fingers waving and disparagements abound.     

“This Grudge” is a bittersweet ballad about autonomy and determination to set things straight. “Eight Easy Steps” is a tacky but catchy number about self-help gurus.    

            First single, “Everything,” is a better example of Alanis’ strengths as a self-instructive lyricist, pondering her doubts and the perceptions of others that surround her.    

Alanis continues to be expressive, honest, and exemplifies some of the better qualities that pop music has to offer, but you wish she would scream instead of sing, because every song floats by, and sounds more like a murmur.  She’s capable of a lion’s roar, and once she learns to get past the cookie-cutter pop rock realm of production, then perhaps we can welcome her back.     

Until then, give the girl a break.  It sounds like she may need one. 

– James Laczkowski