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Yeah Yeah Yeahs - It's Blitz!

(Interscope/DGC)

3

Never having been converted to the Yeah Yeah Yeahs 80's pop-meets-NYC garage punk aesthetic, I approached this one with trepidation. But alas, this album shows a fresh new sound for the band, while not neglecting their roots too far. Embracing an 80's dance-punk hybrid, the Yeah Yeah Yeahs have created a superb pop album that could easily be their finest work to date. Leading off the album is the single, "Zero", which pulses like Blondie or Missing Persons in their prime disco phase, with a mildly psychedelic tinge. Nice song, instantly catchy, and a little bit dangerous, as Karen O's sensual, swaggering vocals carry the song's hypnotic drive. She's not the best vocalist around, but on this album she manages to convey innocence and danger just enough to convince. "Skeletons" is another gem, with a majestic build that makes for an almost epic feel and a flighty minor-key melody. "Dragon Queen" steps way back to the 80's, with a plastic dance vibe (old drum machines, elementary electronic programming). It's carried by O's streetwise little girl vocals, but otherwise remains quite forgettable. "Hysteric" is a moodier, floaty number that works far better, and along with the stripped-down closer, "Little Shadow", proves the YYYs to be a multi-faceted band that can have fun with their music, yet create some outstandingly catchy pop tunes with substance. Enjoyable.- Todd Zachritz

MxPx – On the Cover II
(Tooth and Nail Records)

3

Pop-punk royalty, the boys of MxPx are back for another go at some quirky and classic covers. Mike Herrera and Yuri Ruley are the mainstays of the group, while their original guitarist Andy Husted was replaced by Tom Wisniewski. Regardless of the group dynamic they have kept with their bright, fast and catchy brand of pop-punk assaulting the ears of anyone who will listen.  Since 1993 MxPx has released seven studio albums with one cover album. Their new release On the Cover II is their most recent venture. MxPx is basically juvenile antics ground into a fine powder, mixed with gunpowder then ignited.

            “Suburban Home” starts out in a breakneck, buzzed guitar riff with precise drumming that is just as quick. Throughout the song the rhythm is punctuated with abrupt stops and starts that leave you with a case of whiplash. “(I’m Gonna Be) 500 Miles” is an original by the Proclaimers and with edgier vocals MxPx executes it with ease. “My Brain is Hanging Upside Down” by the Ramones is a song that could have been specifically made for MxPx. Mikes vocals are infectious, the guitar is bare-bones and the drums are spot on with well timed splash cymbals.  A decent pick if you enjoy MxPx or pop-punk and the bands talent is apparent but it is still a cover album. – Nick Durcholz

Spring Creek – Way Up on a Mountain
(Rebel Records)

5

Appalachian style is living in the Rockies. Colorado boasts a foursome of string freaks premiering their first non-independent album. Spring is truly a group of rocky grass all stars. They exhibit extensive range in vocals and rhythm. Their instrumentation can be uplifting, bittersweet, lonesome or joyous. Even the lyrical side of Spring Creek is fresh and original which is difficult in the genre. This album makes clear why this group won competitions at the Telluride and Rocky Grass Festivals.  As the contemporary bluegrass wave resonates across the country this band is definitely a leader in that charge.

            The first track “My Love is Way Up on a Mountain” is a complete portrayal of an outstanding track. The chorus is catchy and full of yearning. The instruments mesh into a single flowing entity of flawless rhythm and sharp sound. “Another Lonesome Night my Dear” is sung by Jessica Smith the bands bass player. Her mellow and elated voice perfectly matches the melancholy vibe of the track. “Try and Catch the Wind” is unrefined energy. The banjo work is breathtaking and the lyrics are strong. “It’s Alright My Darlin’” is a traditional track with tasty guitar slides and a warm tone. Spring Creek is a fine brand of ‘grass. – Nick Durcholz

Eclectica - Streaming Video Soul

(ArtistShare)

1

Behind the horrifying Sgt. Pepper-style cover art lurks a selection of indulgent, hammy, jammy funk/prog/pop tunes that sail full-steam ahead in a sea of vapidity and day-glo tackiness. And that's just the first song! "Streaming Video Soul" manages to name-drop 'i-chat' and 'myspace' in a shallow and shameful attempt to seem relevant. The group's electric violin is a nice touch, but on the whole this set of tunes is far too self-consciously pretentious and directionless. It's like Prince spawned with Phish, with, well, pretty messy results. I salute the guys' not wanting to fit in to a particular niche, but that doesn't change the fact that this is really hard to sit through. - Todd Zachritz

Paleface – The Show is on the Road
(Ramseur Records)

2.5

Paleface is no stranger to the stigma of rock and roll. Paleface on acoustic guitar has been in and around music performance since 1990. Apparently he is so cool his real name is not listed on the new album. He is flanked by a very pretty drummer named Monica Samalot. This album is a fusion of blues/folk/ but the bottom line is that Paleface doesn’t have the lyrical depth and musical charisma to balance his flat vocals. My recommendation would be Samalot sing because a female voice would work so much better with their sound.

            The title track “The Show is on the Road” has an upbeat, eccentric tone but Paleface’s vocals in the chorus topples the energy of the song. “New York, New York” has a shifty, melancholy sound and the chorus catchy but the verses are drab and shallow at best. “A Cheatin’ Song” has an infectious beat and smooth guitar composition but again the vocals don’t cut it and the lyrics are too repetitive.  “If Only I” is one of the best songs on the album vocally because Samalot sings about half of it but the lyrics in this song are sufferable. This band has talent but they clearly need a vocal and lyrical overhaul. –Nick Durcholz

Daddy - For A Second Time

(Cedar Street Records)

3

Now, this is a refreshingly warm and familiar sound, as the Nashville duo of Will Kimbrough and Tommy Womack (collectively Daddy) create some mighty fine classic folk/rock/Americana with country and blues accents. "Nobody From Nowhere" is a rootsy rock track with a laid-back vibe and masterful pop hooks, and therefore is well-chosen as the album's lead-in. But Kimbrough and Womack deliver well throughout this solid and enjoyable album. They bring in some goofiness on the old-school country lament of "I Want To Be Clean", while "Redemption Is The Mother's Only Son" is a more serious, low-key, and reflective lament. "Love In A Bottle" has a well-worn swagger that's fun, catchy, and just feels, well, real. But it's not all sincere and convincing -- "I Went To Heaven In A Dream Last Night" reminds me of those awful free credit report commercials. Meh. Nonetheless, that aside, fans of anyone from Dylan to Wilco will find plenty to like about Daddy. And score some local points -- Womack used to be in Government Cheese, who played Evansville many (many) years back!  - Todd Zachritz

Rachel Taylor Brown – Susan Storm’s Ugly Sister and other Saints and Superheroes
(Cutthroat Pop Records) - cdbaby.com/cd/rtbrown4

4

This is mood music pertaining to extraordinary beings. Being a fan or both saints and superheroes I thoroughly enjoy the concept behind this album and the offbeat stories within the lyrics of the tracks. Rachel Taylor Brown has a quirky, epic musicality that immediately sparks interest. Brown is also quite capable on the piano and emotionally rich in tone and vocals. Due to the previous statements the novelty of the album is balanced by its lyrical content and Brown’s vocal and tone. This is Brown’s sixth album and it is obvious by this CD she has tweaked and polished her product.

            “Susan Storm’s Ugly Sister” is a trance-like track with haunting keys and vocals with strategically placed climactic screams. “Lonely Galactus, The World Eater” boasts a steady, minor piano progression with vocals in which the listener can feel the sorrow and passion of the creature Galactus. “Bruce Wayne’s Bastard Son” is a chant/march of a song that makes Superman sound like a real asshole. A strange and interesting picture helped along with Brown’s hallowed vocals. “St. Fina” is a standout on this album. It transcends genre and contains such an eerie passion. Brown has a style all her own. – Nick Durcholz

Samantha Crain and the Midnight Shivers - Songs In The Night

(Ramseur Records)

3.5

Lovely and slightly freaky Americana folk vibes from Oklahoma, with Crain's unique vocals recalling kindred souls like Joanna Newsom or Bjork , but placed more within a straightforward songwriting foundation (and certainly not as 'flighty' as those comparisons might imply). Production by Danny Kadar (My Morning Jacket, Grizzly Bear) is sympathetic -- keeping a clear and honest vibe that allows all the instruments and Crain's almost-ghostly vocals to shine through. There are some strong songs here, to be certain. Take "Scissor Tales,” with its almost Western shuffle and narrative construction. Crain is a skilled wordsmith, and her band never steals the limelight, adding color and subtlety in all the right places. Songs in the Night is a perfectly fine album of mature tunes from a band who have a boatload of potential. I'm impressed. - Todd Zachritz

Tower Of Power - Great American Soulbook

(TOP Records)

1

Wow. This venerable funk outfit (they've been at it since the 70's funk/horn heyday) really gives their all on this homage to classic soul. TOP opens it all with the Stevie Wonder-inspired (okay, it's a carbon-copy) "You Met Your Match.” They bring in the immortal Tom Jones for a cover of Isaac Hayes' "I Thank You" -- not bad, but ultimately forgettable. Nu-soul belter Joss Stone fronts "It Takes Two,” which is so glossy/antiseptic that it seems almost like a joke, somehow, and that's a highlight here. I shouldn't even mention the presence of Huey Lewis later in the album, but somehow I feel you should know. Yeah, it's like that.

The other tunes here, which include covers of folks like Aretha, Bill Withers, Marvin Gaye, James Brown, and Otis Redding, don't so much reinterpret the songs as recreate them. The trouble is, TOP don't bring much of their own thing to the table. It's mostly a slick, by-the-numbers rehash of those classic soul/disco tunes that paved the way for modern day R&B. Where's the depth, and the grittiness that makes this kinda music so refreshing? Great American Soulbook would be great for a cheesy 70's theme party, but otherwise, leave this one behind. - Todd Zachritz 

Kate Mann - Things Look Different When The Sun Goes Down

(Orange Dress Records)

2

Hailing from the faraway Southwest (New Mexico, specifically), folksy singer/songwriter Mann has a profound connection to Native American culture and the dusty American landscapes of her upbringing. Her songs are often lonely, introspective and personal looks at life, relationships, and spirituality, as seen through the eyes of an old soul who's experienced both highs and lows (or so it seems). "Things Look Different" is a lovely set of brisk Americana sounds that range from flamenco ("La Llorona") to plaintive ballads ("Here Again"); from alt.country shuffles ("Funny Thing") to songs for her beloved dog (the sweet "Loki's Lullaby"). Her voice is as gentle or commanding as it needs to be, and her band's instrumentation (with cello, fiddle, and saw, as well as piano, accordion, and more) are like swathes of color amidst Kate's acoustic guitar and charmingly warm vocals. Kate Mann is the real thing, and here's to hoping she gets some notice with this fine CD of earthy, free-thinking independent music. - Todd Zachritz

J.G. Thirlwell - The Venture Brothers - The Music Of J.G. Thirlwell

(Williams Street)

5

It's kind of refreshing to see an uber-talented composer like Thirlwell getting some major exposure scoring this Adult Swim animated series. What some fans may not know is that he's been active for 30-ish years, recording weird industrial big-band bombast as Foetus and/or Steroid Maximus. Regardless of his past, this set of tunes from the several seasons of the 'Venture Brothers' series runs the gamut from feisty space-age lounge to tribal jungle swagger to swingin' hard-boiled spy thrillers ("Tuff") to tense classical ("13 BigMon/Boys As Transformers"). Thirlwell's been duly inspired by the music of Carl Stalling (think the original 'Looney Tunes'), as well as some far-out avant garde noise, so expect a lively, upbeat, and intensely visual set of tunes that bumps and grinds like Quentin Tarantino caught in a go-go bar after ingesting far too much peyote. "Node Wrestling" is packed with gyrating funk -- and is almost humorous, it's so over the top. "Damion" is a dark little gem worthy of a Tim Burton film. The charmingly-titled "Assclamp!" is a frenzied bit of drum-and-bass techno with dramatic strings and brass. "Warped Carousel" is just that - a scary surreal carnival trip. I could go on and on. Suffice to say, this is a wildly diverse album with more thrills and chills than a rollercoaster. Wow. - Todd Zachritz

hard to find – Three Years Later
(Consolidated Productions)

4

Tri-State trio hard to find (the band prefers the all-lowercase spelling of their name, thank you) contain alums from area bands such as Pre-DeLorean Doc Browns and Tragic Heroine, to name a couple. And before giving their five-track debut EP a spin, I was told to expect “Sonic Youth, a little Pixies” for some reference sounds. So armed with that info, and considering the history of the band members – David Davis (guitar, vocals), Joe Vowels (bass) and Matt Kolb (drums) – I felt I had a pretty good idea of what to expect: dynamic, well-orchestrated tunes with a pop sensibility combined with a healthy dose of organic, off-the-cuff-sounding arrangements and not-so-subtle glimpses of near-orgiastic noise.

            But the band’s level of maturity exceeded my expectations. Not to say that the members of hard to find were necessarily immature in their previous efforts, but considering the above-mentioned bands were on-again, off-again mainstays of the all-ages scene, I couldn’t help but have a preconceived bias about the guys’ newest effort.

            I was wrong about that. Three Years Later does indeed give off distinctive flavors of the quiet/loud/quiet found with Black Francis’ band, and the arrangements are, by and large, pop in nature. But the playing here – from the groovy riffing from Davis to the steely backbone provided by Vowels and Kolb – is quite polished and a studied result of three guys who bring a distinctive vibe to what are, in essence, five simple, fun, and mostly upbeat songs.

            One nifty surprise was hearing tinges of Mark Bolan’s voice in Davis’ singing, and anything remotely like T-Rex is a winner in my book.

            Check out the band at myspace.com/biggspower and you can visit Joe's Records to pick up a copy of Three Years Later. - Dylan Gibbs