popwreckoning

Here at PopWreckoning, we’ve officially hit a level of mail that makes it impossible for us to give full reviews to every band. However, this does not mean we believe that these bands shouldn’t be granted some for of press. It simply means we have to scale it down a bit. Therefore, we have opted to create a feature called Bite Sized Reviews, which shall appear several times a week. This feature will contain 5 reviews each under 100 words and links to the albums website, MySpace page or label. We believe this is the best use of our mail and hope you too enjoy the reviews. They are as follows:

Jeff and the Brotherhood – Heavy Days

Jeff And The Brotherhood’s LP, Heavy Days, is filled with psychedelic rock tunes that have a grunge, punk twist; similar to Moving Units if Units’ songs were faster, and the lead singer screamed more. Although the album is split (Side A, B), neither side has a distinguishing sound.

Jake Orrall (vocals, guitar) and Jamin Orrall’s (drums) songs are filled with gritty bass lines and wah guitars. Many of the album’s songs ride the line between dance track and trip out. Perhaps they’ve created a new genre: tripdance.

myspace

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The Birds Of Avalon – Uncanny Valley

It’s hard to tell where Birds of Avalon’s album, Uncanny Valley, is coming from, or where it’s going. Appropriate, considering the goal of the album was to explore the concept of confusion.

The first half of Valley is very distorted and fuzzy. Around the seventh track, “Student Teaching,” the songs calm down significantly. “Spirit Lawyer” sounds like a classic rock band’s jam session, while “Last Rights (Funky Slide)” has a soothing vibe; the melody is watery, and comes and goes with the track’s heavy beat.

website | myspace

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Anders Parker – Skyscraper Crow

Anders Parker’s Skyscraper Crow is a concept album. Crow is filled with slow and windy acoustic songs. Skyscraper contains “laptop pop.”

Many of the songs on Crow have a melancholy feel and feature Parker singing and playing an acoustic guitar; few tracks have light percussion. The album sounds very pure.

Skyscraper is filled with subtle harmonies, whining synths and electronic clicks. Echoing drum beats give many of the songs a hollow, cold sound. Two albums. Different sounds. Both beautiful and distinct.

website | myspace

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Alan Singley & Pants Machine – Feelin’ Citrus

Alan Singley & Pants Machine’s Feelin’ Citrus is comprised of chill tunes and quirky lyrics. The album has some solid pop grooves, such as “Le Rain” and “Medley Of Revival.” Other songs, such as “We’ll Become Sand” and “Rice Pudding” sound like smooth lounge ballads. You can almost imagine the band performing in a smokey piano bar. Feelin’ Citrus is a solid and diverse album from end to finish. Sit back, chill and have a martini.

website | myspace

Want to go to a show that has it all?

Go see Emilie Autumn.

Seriously. Go. Right now.

Autumn’s “The Asylum Tour: The Key,” promised to bring her Asylum experience to fans who have been waiting to see it for the very first time. Autumn and her sexy, witty all girl band, the Bloody Crumpets (Aprella, Naughty Veronica, The Blessed Contessa and Captain Maggot), instantly grasped and held the devoted audience”

Autumn’s stage set was as elaborate and intricate as the performance that evening. A large, cream colored clock sat at center stage, while a tea and bakery set sat stage right, and Autumn’s Harpsichord sat stage left. Deep reds and light pinks accented the drapery and Autumn’s Asylum signage.

The Crumpets took the stage at 8:15, wearing embellished Burlesque inspired attire. Each woman was dressed distinctly, and wore a corset. One was red; the others were white, black and pink. The Crumpets were covered in frills and lace, and wore stripped socks and ripped fishnets.

Autumn appeared on stage after the Crumpets performed a dance number. Autumn wore a pale, rat mask and an embellished corset. A bright red heart was stitched on the fabric.

Every song was brought to life with performance art. For example, during “Liar,” the Crumpets playfully dismembered Autumn with hatchets and knives while she flailed in a wheelchair. The women brought her back to life using humorous, unenthusiastic resuscitation.

In-between songs the ladies took part in a vivacious tea party where members of the crowd were sprayed with “tea” and various backed goods. Autumn and the Crumpets performed vaudeville inspired comedy bits, too. The dialogue between the women was filled with wit. Some of the Crumpets also entertained with fire breathing, stilt walking, feather fan dancing, burlesque, aerial flying, and acrobatic performance.

The ladies interacted with the audience during the show. They asked for advice, responded to random comments, and invited two lucky young ladies on stage to participate in Veronica’s “Rat Game.”

Autumn’s “Victoriandustrial” music is unique. Autumn masterfully plays the electronic violin and harpsichord. The delicate sound of the violin and harpsichord almost float over each song’s driving industrial beats, while her singing voice and girlish, yet menacing growls, bring each song together in a slightly demented, but beautiful package. Many of Autumn’s songs tell stories of pain and anguish. Her lyrics are incredibly vivid. Listeners can almost feel the performer’s anger and frustration.

Towards the end of Autumn’s performance, she told the audience that earlier in the day she was told that no one was going to be at the show that evening. Autumn normally tours in Europe with stellar results. She said she was surprised and pleased with the show’s turnout. She plans on returning very soon.

Hear, hear, to that.

Set List:
Best Safety Lies In Fear
4 O’Clock
Opheliac
Liar
The Art of Suicide
I Want My Innocence Back
Shalott
Dominant
God Help Me
Unlaced
Dead Is The New Alive
I Know Where You Sleep
306
Misery Loves Company
Face The Wall
Mad Girl
Bohemian Rhapsody
///
Thank God I’m Pretty

Thanks to Emilie’s forum for the set list. While this wasn’t the exact one from the Lawrence show, the order looked similar to the songs’ names I recorded.

Emilie Autumn: myspace

Air‘s Love 2 sounds like it could be the soundtrack to a Mad Men episode if it was filmed in space, and the actors’ were French. 

Love 2 is heavier than Air’s other albums because the band used live instruments while recording the album.

It wouldn’t be an Air album if there weren’t a few strikingly beautiful ambient songs, some 60s spy tracks, and lounge music.

The ambient masterpiece of the album is “Heaven’s Light.” The other atmospheric tunes include “Tropical Disease,” “You Can Tell It To Everybody” and “African Velvet.”

“Heaven’s Light” contains sounds of the cool peace one finds in the middle of a lush forest at nightfall. “Tropical Disease” conjures thoughts of a summer boat ride. Odd flute-like sounds are played over wavy piano chords and a subtle drum beat. “You Can Tell It To Everybody” has a light reggae feel and “African Velvet” has a jazz rhythm with a few sax solos.

The spy-esque and film noir inspired tunes include “So Light Is Her Footfall, “Be A Bee,” and “Eat My Beat.”

“So Light Is Her Footfall,” incorporates “wah” guitars that whine and lean along to tell a story out of a 60s thriller (perhaps Charade, since the Air guys are French and all).

“Be A Bee” plays like a driving song, with interspersed Go! Team-like chants, beach-pop rhythms, urgent sirens, and robotic clicks. “Eat My Beat” has a psych-rock feel.

The few songs on the album that sound like Air, but don’t at the same time are “Love,” “Missing The Light Of Day,” “Sing Sang Sung,” “Night Hunter” and “Do The Joy.”

“Love” is filled with random chirps and animal noises that drop in and out over a blanket of soft music and light bells. “Missing The Light Of The Day” sounds like a slower, lighter Hot Chip track with 80s synths. “Sing Sang Sung” reminds me of other Air songs I love/hate, such as “Sexy Boy,” and “Cherry Blossom Girl.” The track plays like a delicate, disco summer jam.

“Night Hunter,” has a quirky clap beat that has electronic noises akin to those that would be played at a cantina in a Star War’s film. “Do The Joy,” contains gauzy vocals mixed with rough robotic voices, and a grinding psychedelic rock guitar that fades in and out of the song.

The band recently announced that Love 2 is now available in a limited edition box set. If interested, pre-order it now.

Tracklisting:
01. Love
02. So Light Is Her Footfall
03. Be A Bee
04. Missing The Light Of The Day
05. Tropical Disease
06. Heaven’s Light
07. Night Hunter
08. Sing Sang Sung
09. Eat My Beat
10. You Can Tell It To Everybody
11. African Velvet

Air: website | myspace

Tigercity‘s Ancient Lover runs just under 40 minutes, but it provides enough hot beats and indie-rock melodies to keep any listener moving through the entire album. The Brooklyn band has made an album that allows one’s ears to go back to when bass lines were fresh, and voices rang high.

The mixture of Bill Gillim‘s smooth falsetto vocals, the pulsating beats of Joel Ford‘s bass and Gregory Settino‘s drums, and the echoed wail of Andrew Brady‘s guitar, creates some awesome funk-a-licious rock.

Lover‘s first track and recent single, “Fake Gold,” is filled with dark grooves, and lyrics that state:

I’ve got no money, no credit, no peace of mind.

In the chorus, Gillim states:

Baby I just want you to know that I’m wearing fake gold.

The next track, “Mallory,” plays like a song that should be blasting from a vintage car that’s zooming through a city at early dusk. The guitar riffs and crystal clear bell tones through “Mallory” make it quiet memorable.

The sweet dance jams on Lover are “James Iha,” “Red Lips,” and “My Type.”

“Iha’s” funky, slow beat and steady drum rocks the verses, while an avalanche of percussion extras and bright chords ring through the song’s chorus.

“My Type,” incorporates vintage synths that inspire thoughts of stories of first-time meetings that turn into epic hook ups, while “Red Lips” is driven by smooth bass and drums, and tells the story of the relationship cycle:

We both know that I’ll have time, to break your heart

One more time, again

The album also contains a few indie-rock tunes, such as “Fall Of Graz,” “Quicksand,” and “A Better Place.”

The slower paced tracks, such as “Ancient Lover” and “Watching The Mountain” are filled with chill melodies that melt into each other and lightly dance over galloping beats. The slowest song on the album, “Matter Of Time,” sounds like a doo-wop balled with watery dance beats.

Ancient Lover is a fun album that’s worthy of spinning during your next party, and long after the party has ended (hint, hint).

Tracklisting:
01. Fake Gold
02. Mallory
03. Ancient Lover
04. Fall Of Graz
05. James Iha
06. Quicksand
07. My Type
08. Red Lips
09. Watching The Mountain
10. A Better Place
11. Matter Of Time

Tigercity: myspace

I must confess the first thought that went through my head when I arrived at the Beaumont was “Damn. I’m old.”

Hanson‘s “Use Your Sole” tour, which featured Steel Train, Sherwood and Hellogoodbye, attracted a crowd of girls, aged 12 to 16, and women aged in the early 20s to mid-30s. There were a few dudes at the show, too.

The ladies in the crowd were in high spirits through the entire show. The girls’ hair flailed, and heels clomped as they shouted and cheered in sheer joy. The fans’ screams reached an all time high when Hanson took the stage.

Now, I’m not a fan of Hanson’s music, but I must admit the band earned the loud adulation it received from the crowd.

I was a bit shocked when Hanson walked on stage.

I mean, they were all grown-up.

I suppose I shouldn’t have been too surprised by the band’s mature look, but the last time I saw a photo of Hanson, the guys’ were much younger and grungier.

On Friday evening, Isaac Hanson (guitar, bass, piano, vocals) wore a white shirt with a slim, black vest and tie, and Taylor Hanson (piano, guitar, drums, vocals), wore a fitted, black shirt. Although I wasn’t able to see what Zac Hanson (drums, piano, guitar, vocals) was wearing, I can report he had a mass amount of energy. He got up from his drum kit a few times during the performance and ran around the stage to get the audience moving.

Hanson started off its set with “Worlds Of Fire,” then “Blue Sky.” Both songs were upbeat, and elicited thoughts of bright, crisp aired mornings and happy times.

During the third song, “Where’s The Love,” many of the girls in the crowd began to dance (and push through the crowd, bumping into whoever blocked the path they choose. Grr). Whenever the band sang the lyrics “round and around,” many females made swirly hand motions and jumped up and down.

The band then began playing the sweet “Strong Enough To Break,” which incorporated light, airy guitar sounds.

After playing “A Minute Without You,” the band launched into “Great Divide,” which had a Maroon 5 groove.

Hanson’s music has changed a bit over the years. While they’re still very pop on some tunes, many of the band’s new songs have a bluesy feel. The musicians seem to be writing more passionate lyrics, too.

During the last half of Hanson’s set, the band played “Been There Before” and “Hey.”

“Hey,” which came from the band’s 2004 album Underneath, had a light country rock feel, while “Been There Before,” which came from the 2007 album The Walk, had John Mayer guitar influences, and was filled with rich keyboard chords.

Hanson ended the show with its big pop hit, “MmmBop,” and the feel good, “If Only.”

So, what did I learn after attending a Hanson show?

1) The guys in Hanson are talented musicians, and are still able to write fun, rompy music.
2) The band has a loyal fan base who enjoyed the new and old material.
3) The band is doing a heck of a lot of good for the world.

Set list:
Worlds On Fire
Blue Sky
Where’s The Love
A Minute Without You
Great Divide
Carry You There
Strong Enough To Break
Cecilia
These Walls
Watch Over Me
Waiting For This
Crazy Beautiful
Hey
Been There Before
Hard To Handle ?
MMMBop
Lost Without Each Other
Something Going
If Only (update: listed, but not played)

Hanson: website | myspace
Take the Walk: website

Photo by: Joshua Hammond

While the tracks on Bird Brains are rough and unpolished, the album’s simplicity, and diversity (Stereogum has stated the album jumps “between blues, African tunes, shiny reggae-esque sprawls, and lo-fi folk”) is charming.

Merrill Garbus, aka tUnE-YaRdS, recorded Bird-Brains on a digital voice recorder and assembled it using shareware mixing software.

One of the highlights on the album is “Sunlight.” The track features loud drumming and faded backing instruments; tiny, cartoon voices connect the tune to the scratchy “Lions.”

Another memorable track, “FIYA,” is simple, but catchy: “What if my own skin makes my skin crawl. What if my own flesh is suburban sprawl.”

Garbus uses odd sounds to create interesting moods in her songs. In “Jamaican,” Garbus uses a loop of a child’s cough and a shrill buzzing of a chainsaw-like tool in the background of the melody. In “Little Tiger,” the artist uses something that sounds like the mechanical whining of a sewing machine, over looping tracks of the singers voice, a ringing bell, and a car horn.

Although most of the songs on Bird-Brains are simple and sweet, a few tracks are a tad menacing, such as “News” and “Safety.”

4AD will officially release Bird Brains on November 17 in the United States.

Tracklisting:
01. For You
02. Sunlight
03. Lions
04. Hatari
05. News
06. Jamaican
07. Jumping Jack
08. Little Tiger
09. Safety
10. FIYA
11. Synonynonym (digital only)

tUNe-YaRdS: website | myspace

It’s that time of year again.

What time, you ask?

Time for Kansas City’s 96.5 The Buzz’s Halloweenie Roast.

Spooktacular!

Enjoy nine bands at the Beaumont, and partake in the Freaks Tattoo Costume Contest to get your goulish Halloween spirits in full swing before the 31st.

The show is all ages and doors are at 5 p.m on Wednesday, October, 28.

Four local bands will play inside while this crazy line-up rocks it hard outside:

Start out the evening by giving a listen to frenzied NY punk indie-rockers, White Rabbits. Listen to what the Rabbits have to offer by listening to It’s Frightening on iTunes.

Take in the cool, smooth blues and soul of the Austin-based group Black Joe Lewis (& the Honeybears). I predict that these fellas will get the crowd moving to their gritty, swing tunes. Seriously. You can’t sit still during a tune like “Bitch, I Love You.”

Next up are Sune Rose Wagner and Sharin Foo of The Raveonettes. The Everly Brothers, Cramps, Bowie (the list goes on) inspired musicians should deliver a set full of fun songs and awesome melodies. Expect to hear new tunes from their album In And Out Of Control (out Oct. 6).

The the 80s synth-pop rockers whose hairstyles were as memorable as their albums, A Flock of Seagulls, will be next on the bill.

Jet, the Australian loves who brought you “Are You Going To Be My Girl,” will be headlining the show outside. Catch up with these rockers by giving their album, Shaka Rock, a listen.

Buzz Halloweenie Roast: tickets

The Midland theater’s classical opera house art style was the perfect setting for the Mars Volta‘s show. It was truly an appropriate stage for the masterful musicians.The dramatic architecture of the theater complimented the show’s storybook-esque theme.

The Mars Volta had four different backdrops that were featured during different parts of the show. It was like a new chapter was beginning every time a backdrop changed.

Chapter 1: The Arrival
The first backing of the evening was printed with swirling images of eyes and black wings.

Chapter 2: Welcome to the madness
Before the show began, the cloth quickly disappeared and was replaced with a Tibetan inspired backdrop.

The Mars Volta opened with “Son et Lumiere,” the first song from De-Loused in the Comatorium. During the song, lights of deep red and blue, and bright pink and green flooded the stage. The lights illuminated the backing image, shifting the artwork into two distinct images. Isaiah Ikey Owens (keyboards), Juan Alderete (electric bass), Marcel Rodriguez-Lopez (percussion, synths), and Thomas Pridgen (drums) surrounded Cedric Bixler Zavala (lyrics, vocals), and Omar A Rodriguez-Lopez (guitars); a mass of instruments lined the stage and two flags hung by the drum set.

Zavala’s energy filled the entire room. As he ran across the stage, his dark clothing and wild curly locks complimented the stage’s colorful background. Zavala flipped his white mic stand over the heads of his band mates, reminiscent of his days in At The Drive In. As Volta jammed into their next song, Zavala sprung up, twisting his body into a semi-flip. When Volta began to play “Cotopaxi,” people in the front section of the audience began to wave their arms hypnotically. During the song, I noticed something smoking by Owens’ keyboards. While at first I thought that perhaps his instrument had lit aflame from his speedy fingers, I discovered the “smoke” was in fact steam rising from Zavala’s beverage.

Chapter 3: Psychotic trips
Before the start of “Roulette Dares (The Haunt Of),” the backdrop changed again. This time, the cloth had a large collage of faces. Zavala reached an even higher level of energy during this portion of the show (I know: I didn’t think it was possible either). He swung around the stage, swaying like a matador preparing to fight. The singer suddenly jumped across the stage towards the set of drums, and balanced on Pridgen’s bass drum, which was covered in art. The song soon faded into a cool, sexy jam that was sprinkled with a series of electronic blips and bloops, and Rodriguez-Lopez’s whale-like guitar chords.

Later in the evening when Rodriguez-Lopez broke into a solo, the crowd went wild. Following his solo, Pridgen’s talent was showcased. He has some of the cleanest, most precise drumming abilities I’ve ever heard. While the audience jumped and flailed, a series of green and purple lights shown over the crowd, causing everyone to look as if they were vibrating back and forth in sync to the music.

The band didn’t say much during their performance. Although, Zavala did take a moment to dedicate a song to those in the crowd who had supported them from the beginning. He thanked the people that allowed them to crash at their place, and thanked the people who had faith that the two fuck-ups from their last band could make this one.

Chapter 4: The end
After his heart-felt thanks, another back drop was revealed that contained a haunting face, and skeletons of fish that appeared to be covered in hoods. The band’s performance of “Luciforms” created distinct mental images of an abandoned, wrecked ship. Zavala seemed to catch the song’s words as they came out of his mouth, and mold them into invisible shapes.

Volta finished up the show with the bluesy, “The Widow,” and the manic “Wax Simulacra.”

Although Volta put on an hour and a half show, no one was ready to leave the theater at the end of the night. After the house lights came up, people continued to stand and wait, hoping the Mars Volta would appear again.

Set List:
Son et Lumiere
Inertiatic ESP
Goliath
Cotopaxi
Roulette Dares (The Haunt Of)
Viscera Eyes
Halo Of Nembutals
Eunuch Provocateur
IIyena
Teflon
Drunkship Of Lanterns
Luciforms
The Widow
Wax Simulacra

Mars Volta: website | myspace | @ bonaroo 2009

Set list courtesy of Setlist.fm

Photos by: Joshua Hammond

I’ve been a devoted Dandy Warhols fan since I was fifteen. When I first saw their video, “Not If You Were The Last Junkie On Earth,” with dancing syringes and all, I knew I would be hooked to their indie-pop sound for life.

This was my second time seeing the Warhols live. While I enjoyed the previous set more, the Warhols still put on a lovely show this time around. 

The biggest problem of the evening was the Warhols’ sound. Live, the Warhols sound more like a jam garage band than a psychedelic rock group. Many of the effects used on their albums are absent in their live performances. Also, Courtney Taylor-Taylor (vocals, guitar) had a few issues when switching from mic to mic. His vocal effects sounded a bit muffled, and he was hard to understand at times.

OK. I’m done with the bad. Now, onto the good.

Openers and Beat The World label-mates, Spindrift, began the show with their rolling, dark, psychedelic country rock. People in the audience reported that a member of the Brian Johnstown Massacre came on stage and danced around during part of Spindrift’s set. That would have been pretty sweet to see. After all, The Warhols and Massacre had, like, the best rock feud ever.

The Warhols got on stage around 10 p.m. They played a great two our show full of fan favorites and audience requests.

Last time I saw the Warhols, I was too far away to really see anything, but this time, I got to watch the show from the front. The stage set up was simple, and dark blue, red, and green lighting was used. The only frill on stage was Zia McCabe‘s (keyboards) tiny, blue hued lava lamp.

The tall and lean Taylor approached the mic, slowly tipped his black hat to the side, cooly leaned back, and began to sing to the trip inducing tone of “Be-In,” the first track off Come Down.

As the Warhols transitioned into the syncopated, grinding bass of “Shaken,’” folks on the floor began to gradually move towards the front of the room to dance (aka do the semi-drunk shimmy). McCabe’s rhythm producing ability is great. The beautiful, sprite-like McCabe not only looked amazing in her love themed shirt and darling lip ring, but she rocked the electronic bass beats.

Before launching into “You Love Me,” Taylor thanked everyone in the audience for coming, and McCabe shouted that KC was the best stop on the tour yet. Taylor went on to say he and the band enjoyed some Oklahoma Joe’s BBQ the day before the show. Before the Warhols arrived in KC, they asked people “what’s so great about KC BBQ” on their Twitter page. The band also chronicled their trip to KC on their blog.

The songs that got the biggest response from the audience that evening were the Warhols’ older hits; “The Last High,” “Bohemian Like You,” and “We Used To Be Friends.”

After the crowd was wound-up, the Warhols finished up the show with a great mix of tunes.

The fast-paced, drugged out “Horse Pills,” featured Brent DeBoer’s crazy awesome drumming abilities. I swear; the man is a metronome. He slightly teetered and tottered back and forth as his frizzed out hair bobbed above his frantic moving arms, which were clothed in a Brian Jonestown Massacre shirt.

The rompy, and dirty “Get Off” was followed by the trance track, “The Wasp In The Lotus,” which featured Peter Holmstrom‘s guitar rock outs, and the band’s far out lyrics:

Hoping and smoking

That’s what I keep hoping

That broken and smoking

That’s what I keep coping

After finishing “Boys Better,” and a slow version of “The New Country,” the Warhols thanked the audience, and told everyone that McCabe would be spinning at the Beaumont after their set ended.

Before the Warhols left the stage (they had to adhere to the strict 12 a.m. curfew – lame), they asked the audience what they wanted to hear. Thanks to the people on stage right, the Warhols decided to end with “Minnesoter.” Taylor then made one more mention of Massacre, and said he had recently spoken to Anton Newcombe (Massacre’s singer). I believe Taylor said Newcombe was in Germany, working hard. Taylor said Newcombe was a machine, and then struck the opening cord to “Minnesoter.”

Set List:
01. Be In
02. Shanken’
03. Ride
04. Talk Radio
05. Now You Love Me
06. The Legend of the Last Outlaw Trucker
07. Holden’ Me Up
08. Good Morning
09. The New Country
10. You Come In Burned
11. The Last High
12. Sleep
13. Bohemian Like You
14. Godless
15. We Used To Be Friends
16. Horse Pills
17. Get Off
18. Wasp In The Lotus
19. Boys Better
20. Country Leaver
21. Minnesoter

The Dandy Warhols: website | myspace

Photo by: Bethany Smith