Archive for January, 2009

Leathermouth: XO

Posted in Music, Reviews with tags , , , , , , , , , , on January 30, 2009 by jnagle4

leathermouth

Leathermouth- Murder Was the Case That They Gave Me

My Chemical Romance is not a band known for simplicity.  They thrive upon spectacle, pageantry and pomposity.  So it’s easy to look at Leathermouth, guitarist Frank Iero’s hardcore side project, with skepticism.  Hardcore is all about doing it yourself, simplicity, and intimate mosh pits.  Black Flag never wrote a rock opera about a man dying of cancer.  Henry Rollins would probably punch me in the face for even insinuating such a thing.

XO is the very definition of a side project because it is not only a departure from Iero’s day job, it’s also pretty inessential.  Leathermouth isn’t a bad band and XO isn’t a bad record, but it won’t set the world on fire.  Your enjoyment of this record depends on your threshold for hardcore music.  If you like hardcore or grindcore, you will probably like this.  If you are a My Chem fan whose other favorite band is Fall Out Boy, you will wonder what the hell you got into.

The biggest problem with XO is its length.  There are ten tracks, and each of them clock in at about two and a half minutes.  It doesn’t seem like a long time, but after awhile everything starts to run together.  The songs titles are straight forward, and often the only road map to deciphering lyrics.  Iero handles lead vocals, screaming like he is on the verge of death.  He does well, but lacks the charisma to make it something other than indecipherable screaming.

The best thing about XO is the actual music.  It goes directly for the jugular and never stops for breath.  The melody of My Chemical Romance is nowhere to be found, replaced by brutal guitar riffs.  Leathermouth always sounds like they are on the edge of chaos, but they know how to control it.  A good example is “Murder Was the Case That They Gave Me.”  When you break down the arrangement, there is a lot going on.  Leathermouth makes the complicated sound simple, which is a very hard thing to do.

Leathermouth is clearly a label of love, and Iero’s passion for hardcore is evident.  However, this is the definition of a niche album.  It’s too hardcore for the My Chem fan and probably not hardcore enough for the hardcore fan.  It has its shortcomings, but has enough good moments to keep it interesting.  It’s worth checking out.

Franz Ferdinand- Tonight: Franz Ferdinand

Posted in Music, Reviews with tags , , , , , , , , , on January 29, 2009 by jnagle4

tonight-ff

When Franz Ferdinand released their second album, You Could Have It So Much Better in 2005, it seemed like they had settled into a comfortable little groove.  It offered up the same angular post-punk of their debut with a few minor curveballs.  Tonight shows a completely different side of the band.  Franz Ferdinand has always had elements of dance music in their sound, but Tonight is an overt dance album.  It pulses with the kinetic nights and bleary eyed morning afters of club life.

Franz Ferdinand spent three years making this album, and have become students of the dance genre.  Tonight glitters with icy synthesizers, artificial drumbeats and robotic guitar riffs.  This record is completely fabricated, and yet Franz Ferdinand still sounds like a rock band.  Drummer Paul Thompson uses a loose, swinging backbeat on many of the tracks, reminiscent of Some Girls era Stones.  The electronic flourishes give lead guitarist Robert Hardy an added layer of muscle.

The most impressive part of Tonight is how the album is constructed.  The album flows like an evening of night clubbing.  The first single, “Ulysses” chronicles a marijuana fueled odyssey.  The band chugs along with a reggae inflected groove that perfectly compliments the chronic haze described.  Lead singer Alex Kapranos has found the perfect tone.  He sings with a very detached monotone, perfectly capturing the vapid world of starry-eyed club kids.

The middle of the album deals with the club kid on the prowl.  “What She Came For” starts with a walking bass line with flourishes of synth.    Kapronos asks his potential partner where she got her name from, and what she’s going to do in five minutes time.  His voice alternates between a macho baritone and a stuttering falsetto.  The voice reflects both confidence and insecurity, which sums up the feelings of his character.  He claims that the girl is looking for him, but clearly he is looking for the girl.

However, like most nights at the club, the adrenaline wears off.  The morning after is chronicled in two subdued numbers, “Dream Again” and “Katherine Kiss Me.”  “Dream Again” is reminiscent of New Order, composed entirely of ambient synth.  “Katherine Kiss Me” tosses the synths aside in favor of an acoustic guitar.  The lovelorn lyrics are quite sweet, but after a night of drug fueled pickups, it seems kind of disingenuous.

Tonight: Franz Ferdinand is a major leap forward for Franz Ferdinand.  It’s a big risk for a rock band to make a dance record, and the eighteen months they spent recording it paid off.  By taking their time, Franz Ferdinand has created an album that provides a snapshot of the impersonal glamour of club life in the late 2000s.  Rock n’ roll began as dance music, and it’s great to hear a rock band make music that you can dance to again.  It’s something that has fallen by the wayside, and hopefully this record will remind people of that.  Now if only I could get rid of this wicked hangover.

The Hair Metal Files: Vain

Posted in Music, The Hair Metal Files with tags , , , , , on January 27, 2009 by jnagle4


vainbandpic

Personnel:

Davy Vain- vocals

Danny West- guitar

James Scott- guitar

Ashley Mitchell- bass

Tom Rickard- drums

If you spend a certain amount of time in the hair metal underground, you hear this sentence a lot: “(insert band here) should have been huge.”  Once you get past the Poisons and the Mötley Crües and the RATTs, there is only one place to go, obscure.  You join a few message boards and get turned onto some of the second tier bands: Faster Pussycat, L.A. Guns, and Britny Fox.  You like them too, so you eventually get even more obscure.  You find yourself going even deeper, listening to Dangerous Toyz, Bang Tango, Tuff and Pretty Boy Floyd.  Once you start dropping Spread Eagle references in casual conversation, there’s no going back.

I know this, because I was an active member of this underground.  I engaged in arguments about which band had the superior version of “Toast of the Town,” Mötley Crüe or Pretty Boy Floyd.  I discussed the merit of Dokken post-George Lynch.  But most of all, I listened to obscure bands who should have been huge.  Tyketto, Shark Island, Bang Gang, Southgang, and Slik Toxic all had their supporters. In my opinion, that sentence only applied to one band.

Four months into my tenure at the Poison message board, my friend Thom asked me if I’d heard Vain.

“I’ve heard of them.”

“Dude, you need to get a hold of that record.  They are amazing.”

Vain only released one album on a major label, No Respect.  It had been out of print for over a decade and was one of the most sought after records on the Aqua-Net market.  A used copy on CD could fetch $100, and that was on the cheap end of the spectrum.  Like Leather Boyz With Electric Toyz, I had to settle for a cassette.  After listening to it for a day, I made a copy so it wouldn’t wear out.

The thing that sets No Respect apart from dozens of other hair metal records is its immediacy.  The opening track of nearly every hair metal record is a slow build.  The build lasts for about a minute before the band enters full-on rawk mode.  Vain doesn’t have time for such indulgence.  Danny West plays the riff for “Secrets” for two seconds before the band comes roaring in.  Except for a couple ballads, Vain never stops.

The crux of the hair metal scene was the Sunset Strip, but Vain came from San Francisco.  Thrash metal was born there, and the heavier sound is reflected in No Respect.  In fact, lead singer Davy Vain produced Death Angel’s second (and equally underrated) record, The Ultra-Violence.  Davy Vain is an anomaly among hair metal singers.  He never screams, nor does he use a fake punk or blues affectation.  His voice slithers like a snake, with a rich vibrato.  His voice oozes sex, which is appropriate because every song on No Respect deals with sex.  However, the Vain boys aren’t having fun with their sexual escapades.  There is an underlying current of paranoia on No Respect.  The album’s lead single, “Beat the Bullet,” is about sexually transmitted diseases.  This is territory that the average hair metal band never crossed.  In Davy Vain’s world, sex has very real consequences. Another interesting thing about No Respect is the lack of profanity.  Davy’s mouth is clean throughout the entire album, until “Aces,” when he proclaims that he is a “bad motherfucker.”  He uses the word so sparingly that it doesn’t lose its visceral power.

No Respect is not just the Davy Vain show.  Guitarists Danny West and James Scott play their asses off throughout the entire record, creating intricate tandem leads.  They never succumb to the clichés of hair metal.  It’s almost like they are Thin Lizzy with two-hand tapping.  Ashley Mitchell and Scott Rickard hold it all together.  Rickard isn’t a technical drummer, but like Steven Adler, he’s got feel.

In a just world, Vain would have been on the same level as Guns n’ Roses.  Unfortunately, Island Records had no idea how to handle them.  They managed to open for Skid Row on a tour of the UK, but never quite broke through in the states.  By the time they were ready to release their second record, All Those Strangers, they had been dropped.  Vain continues to make albums to this day, and while all of them have their moments, No Respect is their masterpiece.  This video is just a small taste of their power.

Recommended Listening: If you are a fan hair metal or hard rock in general, you need to own a copy of No Respect.  Fortunately, it’s back in print, so now you can score a copy without breaking the bank.

Bobby Wilson: An Evening at Lux

Posted in Essays, The Bobby Wilson Chronicles with tags , , , , , on January 25, 2009 by jnagle4

lux-logo

I straighten my tie and put my jacket on. I take one last look in the mirror. I like what I see. I take a deep breath and wonder what I am getting myself into. My phone beeps, and Clyde tells me he’s at the front door. Here goes nothing.

“Dude, if I’d known you were dressing up, I’d have done it too,” he says. “On the other hand, I am your bodyguard.”

Tonight Clyde and I are attending the grand opening of Lux, a new upscale dance club downtown. I’ve never been to a dance club before, mostly because they scare me to death. Axe body gel, throbbing techno music and flashing lights are not my idea of a good time. However, my new year’s resolution was to get out of my comfort zone. When I received the invitation to Lux, I couldn’t think of anything better.

Clyde and I can’t sit still, so we pace the floor of my room incessantly. If he’s nervous, he certainly isn’t showing it. We shoot the bull for several minutes, before Clyde comes up with a brilliant idea.

“What we need is a good story. Something we can impress the ladies with.”

Translation: When in Rome, do what the Romans do.

“I got it! We work for a magazine. I’m the publicist and marketer, you’ll be the writer.”

“Um, OK.”

“I’ll be like ‘Hi, I’m Clydesdale McFarlane. What? You think that’s a weird name? You’d be surprised how marketable it is. That’s what I do, I market a magazine. This is my writer, John. You guys should get to know each other.’ It’ll be that easy.”

Clyde was extremely good at this. It was almost like he’d done it before. Still, his story had a hole.

“If we work at a magazine, what is our boss’s name?” I ask.

“Bobby.”

“Bobby?”

“Yeah. Bobby Wilson. He’s a genius. He really turned the magazine around. It was floundering before he became editor.”

“What’s the magazine called?”

“M.U.”

“What does that stand for?”

Clyde actually thinks about this one.

“Modern……damn, I’m drawing a blank.”

I finally contribute to our elaborate ruse.

“Modern Urbanite?”

“That’s fucking perfect dude.”

By now, it’s 8:15, and it’s time to hit the road. It is a bitterly cold night, which makes me nervous. Extreme cold brings my disability to the surface. Hopefully we won’t have to wait in line too long. We get dropped off across the street from the club, and a gust of bitter air hits my face. Clyde and I gingerly go across the street as my back begins to tighten up. By my estimation, I have ten minutes before I start to have a spasm.

Damn! There are steps, and no ramp. I send Clyde in to check out the situation. I start to take deep breaths to ward off the inevitable. Fortunately Clyde comes out, flanked by two bouncers.

“Hey dude, we’re gonna have to lift you up,” he says.

I quickly scan the situation. Two steps are far from ideal, but they are definitely do-able. Any more steps and we probably would have to go home. I don’t do three and up. The two mountainous bouncers pick up my 200 pound chair like it’s a feather, and the warm air of the club is reassuring.

Even though I’m now inside, I’m not out of the woods. I quietly go up to the girl behind the desk. She asks me if I’m the list. I reply in a choppy sentence and she confirms my presence. Clyde and I hustle into the elevator, which is lined with mirrors. I am pale. Clyde has never seen me in this state, and starts to get worried.

“Dude, are you OK?” he asks.

“I’ll let you know in a minute.” I reply, desperately sucking air into my lungs. My back starts to loosen up. I’m going to be OK. The elevator doors open, and we are now in the nerve center of the club. The pounding techno beat slams against my skull. It takes me a while to figure out who is warbling, but then I hear Beyoncé call out to all the single ladies. Clyde and I walk across the dance floor and go up to the bar. It’s still early, so we get our drinks quickly. There is an open bar for an hour, and Clyde and I are taking advantage. My amaretto and Coke is perfectly mixed. Clyde and I go downstairs and find a table. We scope out the situation.

“There aren’t any chairs in this place John, except for yours,” Clyde observes. “Why is that?”

“Probably because chairs disrupt the minimalist motif.”

“What the fuck are you talking about?”

“Well, they want this place to look like a minimalist underground loft, judging from that sculpture over there.”

There is a metal sculpture across from our table. The sculptor was trying way too hard to be edgy.

“That may be,” Clyde replies. “But when I am drinking whiskey, I like to be sitting down. I’m serious about my drinking, in case you didn’t know.”

“We could sit on those couches at the bar.”

“Dude, I am not drinking Jack Daniels on a couch!”

By now, more people have started to trickle in. Attractive women are in full force, but unfortunately most of them seem attached. Their boyfriends seem like parodies of macho club guys: gelled hair, bulging biceps, and Armani Exchange t-shirts. There are only two people in the club wearing a suit. The other one looks like he as a stick up his ass. After a few minutes of people watching, Clyde and I start to talk again. At this point, the music is so loud that we have to scream in each other’s ears.

“DO YOU EVER WALK INTO A ROOM AND AUTOMATICALLY KNOW THAT YOU ARE THE SMARTEST PERSON THERE?” I ask.

“THAT’S PRETTY MUCH HOW I FEEL RIGHT NOW!” Clyde says.

“WHERE IS DJ SKRIBBLE? I THOUGHT HE WAS GOING TO BE HERE!”

“I DUNNO MAN, BUT DOES IT MATTER?”

“OF COURSE NOT!”

The dance floor starts to fill up. I go back up to the bar. I am about to order a second amaretto and Coke, but then I remember my resolution. Therefore, I utter a sentence that I never thought I’d use.

“I’ll have a Jack and Coke.”

The bartender serves me my first real drink. I look at it for a few seconds, and think of how proud Monica would be if she were here. She’d be wiping away tears of joy. After a few proud thoughts, I take a sip.

Christ! This stuff is terrible. It’s like drinking motor oil. Monica and Clyde drink it straight! I feel like a complete wuss at this moment, so I decide to suck it up and finish it. I return to the table and take another sip. I make a face, and Clyde asks me what I ordered. I tell him.

“What the fuck were you thinking, ordering a Jack and Coke?!”

“I wanted to try it.”

“John, you don’t ‘try’ Jack and Coke. That’s a real fucking drink right there. I mean, it’s quite a leap from amaretto and Coke to Jack and Coke. It’s a man’s drink.

“I guess I’m not a man then, because this is awful.”

“No, you are just a different kind of man.”

Clyde can be quite kind in certain situations. He finishes my Jack and Coke, complaining because there is apparently too much Coke.

We scope out the dance floor, which is now completely full. A group of 40-year old women are dancing in a group. Christ, they’ve spotted me. One of them dances over and starts petting my hair. Another one grabs my chin. This is awkward. I am now thoroughly creeped out, so I retreat. I see them talking to Clyde and I feel guilty. I look like an asshole. I sheepishly apologize to the cougars. They are very nice and I dance with them, but my stock has significantly gone down. I’d rather be dancing with that hot blonde over there.

By now its 11:30 and the techno is getting to me. Clyde agrees, and we call for a ride home. I’m bummed out they didn’t play my jam. While we wait in the lobby, I hear the first few bars.

“It was all a dream, I used to read Word Up! magazine”

Goddamn it!

Interview: Ollie of Los Campesinos!

Posted in Interviews, Music with tags , , , on January 17, 2009 by jnagle4

olliePhoto credit: Oliver Peel

Los Campesinos! became a critical darling in 2008, releasing the double whammy of Hold on Now Youngster! and We Are Beautiful, We Are Doomed.  The band’s enticing mix of Pavement-style avant noise and poppy melodies also appeal to the indie rock faithful, packing venues around the world.  I sat down with the band’s drummer, Ollie, before their show at the Ottobar to discuss touring, influences and the origin of their name.

John: You guys were on break for awhile and this is the first date of your East Coast tour?

Ollie: We finished touring in November. We did a Christmas show in Paris, but other than that we haven’t really done anything.

John: When was that?

Ollie: It was the 18th of December. That was the last show we played.

John: When you start a new tour, does the first show set the bar for the rest of the dates?

Ollie: It can. If it’s a really good show it can set the standard.

John: What are your expectations for this tour? Is it the first time that you’ve really toured the US?

Ollie: We toured here in May and June, but we didn’t come to Baltimore or a lot of the places that we are playing on this tour. We did a big tour then, but we’re playing a lot of new places that we are looking forward to.

John: Does the setlist stay static or do you try to change it up every night?

Ollie: We have a core setlist that we sort of chop and change in case a song isn’t working live or if there is something else that we feel like playing.

John: Do you try to incorporate new songs in the setlist to test them out?

Ollie: We have before, but with the last record, We Are Beautiful, We Are Doomed, the songs weren’t finished when we were touring, so we didn’t get a chance to test them out.

John: How are American audiences different from European audiences?

Ollie: It depends. In Holland we’ve had really good, party animal-type audiences. Spain is always really good. Germany and Belgium are usually very reserved. Britain is always very mixed; it depends on where you go. American audiences are really nice because they seem to get us more than people in Europe. It’s really good, because people actually know our stuff. It’s very impressive.

John: Your two records were very critically acclaimed in the US. Were you surprised by the reaction?

Ollie: We were really pleased, but it was a bit of a shock to get support from Pitchfork and Rolling Stone. The reaction has been much better here than it has back home in Britain.

John: Really?

Ollie: Yeah.

John: Well, indie rock is very big over here right now. Do you notice a difference?

Ollie: Yeah. It seems like all the bands that we are into have a big following over here. Back home, it’s all the same kind of music; the London based skinny-jeans, post-Strokes, post-Libertines style.

John: Your band name roughly translates to “the farmers” or “the peasants” in Spanish. How did you come up with the name?

Ollie: Neil used to take Spanish in school and he suggested the name when we were coming up with names. We liked it and how it read, and we put the exclamation mark to put a cap on both ends. It’s got no political meaning or anything. When we go to Spain, people take a lot of interest because it’s a Spanish name, but we’ve never meant anything by it. We never thought people would ask us what it meant.

John:Why did you guys decide to take Campesinos! as a surname? Was it a tribute to The Ramones?

Ollie: I suppose it can be taken that way. Mostly it’s because we’re one big family.

John: The band released two records in 2008. We’re in a time now where the album is losing its importance. Why did you guys take such a gamble when most bands release one record every two years?

Ollie: The second one, We Are Beautiful, We Are Doomed, was never actually intended to be an album. We’d been playing a lot of the stuff on Hold On Now Youngster! ever since we started the band, and we were getting bored with it. We still enjoy playing the songs, but if you play them every night, it can get old. So we decided to make an EP at the end of the year so we’d have three new songs to play and people would have something new to listen to. Back home, we toured about three times in one year and if you come to see us three times and we don’t play anything different, it’s kind of like “Well, what’s the point of going to watch them?” It’s good to have new things to play. So the EP with three tracks turned into ten tracks, which people are now calling an album.

John: Do you feel pressure to remain so prolific?

Ollie: I don’t think so. We just enjoy doing what we want. The labels let us do what we want, so there is no real pressure to do anything a certain way, which is really good.

John: You guys have been described as indie-pop, but I hear a definite punk rock influence in your music. Who are your influences?

Ollie: I suppose our core influence is Pavement. We’re real big fans of them. We’re also influenced by bands like Grandaddy, Deerhoof and Yo La Tengo. Those are our core influences, but we’re all influenced by different people and different bands. For instance, Gareth is really into riot-grrl music. We’ve all got very varied musical taste.

John: So each member brings something different to the table?

Ollie: Yeah.

John: Who is your biggest influence?

Ollie: I’ve always been a fan of ‘90s grunge music, so bands like Mudhoney, Mother Love Bone and Soundgarden.

John: How do you guys approach songwriting?

Ollie: (lead guitarist) Tom will come up with an idea and bring it together. Then he sends it across to (lead singer) Gareth, who will write lyrics for it. Then the rest of us will go into a practice room and come up with ideas, arrangements and change things.

John: So it’s very democratic?

Ollie: Yeah, if something isn’t working, we’ll all come up with ideas for it.

John: But Tom and Gareth are your main songwriters, your Lennon/McCartney if you will?

Ollie: (laughs) If you wanna call it that, yeah.

John: Hold on Now Youngster! is a very effervescent record, while We Are Beautiful is more introspective. Was this done on purpose?

Ollie: We Are Beautiful is more autobiographical. The songs are taken from experiences that Gareth had whilst touring North America in May and June, whereas the first album, is just kinda stuff he wrote about. For example, there’s a song where he talks about throwing up outside a Mexican restaurant, he actually did that. He’s become more confident with writing about himself.

John: So do you think the songs are more mature?

Ollie: Yeah. I think it shows how we’ve developed as a band, so the songs are more complicated. They are still pop songs at their heart, but they are more developed pop songs.

John: What are your plans for the rest of the year?

Ollie: We’re doing this tour and perhaps a bit of recording. Then we’re going to do a Canadian and West Coast tour, which will be really fun and then a bit more recording. By then it’ll be festival season, so we’ll be doing festivals.

John: Who would you most like to open up for?

Ollie: Probably everybody’s would be Pavement. When we over here touring last May and June, Stephen Malkmus was touring the UK and his booker asked if we were available. So we could have opened up for Malkmus but since we were doing a huge tour, we obviously couldn’t. If we could open for Pavement, that would be a dream.

John: Why was 2007 the year that punk rock broke your heart?

Ollie: (laughs) I don’t know, that’s Gareth again. I don’t want to get in trouble for saying the wrong thing.