Sparta

Sparta - Porcelain - Geffen Records

Sparta was spawned after the demise of now legendary rock outfit At The Drive In. It's that other ATDI band thats not The Mars Volta. Theres a good chance you've heard of them, but weather or not you've actually listened to the group is a toss-up.

Im approaching this review from an un-biased standpoint. I am well aware that this was released via Geffen records, and I know the band's lineage, however I am not going to hold them to unreasonable expectations or dismiss them as sell-outs. The following is an honest review based upon my opinion of this album in isolation from other factors surrounding it.

Porcelain opens up with "Guns Of Memorial Park" which pretty much sets the tempo for the rest of the record. Its a mid paced tune with wailing guitars, solid vocals, and a unique drumming style. All the songs on this album are driven heavily by the guitars which I actually like. While the singer doesn't stray too far out of his comfortable vocal range, He does a good job to keep every song sounding different.

At times this album is very optimistic, and at others is can remind you that there is a darker side to everything. This duplicity is a nice feature, which is sometimes complimented by, of all things, the drummer. The uplifiting tunes on this record are accented by bright drumming complete with shimmering hi-hat and cymbal work. While the more dismal tracks find an almost "jungle-like" drum groove to them. This is a main selling point of the "Sparta sound" to me.

Among the stand-out tracks are the lazy "Lines In the Sand" that shows the band's ability to utilize dynamics very effectively. The tune builds up to the last chorus, where it peaks and gently fades off into oblivion. "End Moraine" is probably the most angry, passionate song on the album, where the the line "Revisionist History" is belted with unquestioned passion. My favorite track, by far, on the album is the closer "Splinters" The guitar melody is just so catchy and invigorating that I can't help but be drawn to it. It is a very energetic tune, perhaps more lively than the rest of the album.

I really enjoy the introspective lyrics on the album. They are not plainly worded, but not so cryptic that you need a decoder ring to decypher them. Not to mention he has a warm voice that is almost too easily to listen to.

Production on the record is stellar. The producer gave the guitars a slightly organic feel, and didnt polish them too much. The drum mix is great, with a very earthy feel to it as well. When put together this makes the album almost seem as if it was recorded live with just vocal overdubs.

Bottom line is that this is a very well thought out album from a band that writes well thought out songs. Sparta is a melodic - rock outfit that should not be defined by what the members have done in the past, but by what they are doing right now. And I think they are doing a pretty dang good job!

OVERALL RATING: 7.6

Call Me Lightning

Call Me Lightning - The Trouble We're In - Revelation Records

Call Me Lightning are a dance-punk outfit from Milwaukee, Wisconsin. That's pretty much all there is to say about the band, and that in itself is a good and bad thing at the same time.

After first listening to The Trouble We're In, the one obvious comparison to draw is to the Talking Heads. Their influence is clearly heard in the vocal stylings of Call Me Lightning, and this is a welcome change to the many new-wave bands whose singers are polished-up Robert Smith impostors. No, Call Me Lightning are not like the Killers, and you can now rest a little easier because of it. On the same token, the vocals on this album are so extreme and flamboyant at times that it takes away from the song(see: Blood Brothers). The incessant wailing tends to take away from the songs at times. I think if the bands singer found a good balance between the wailing and actual singing, the band would be in stellar shape.

Another aspect of this album worth discussing is the lyrics. Call Me Lightning's lyrics set them apart from the new wave/dance punk pack because they don't talk about girls, and they don't talk about wallowing in depression, and they don't talk about any of the other cliche topics that their contemporaries tend to dwell on. They talk about ghosts, dragons, getting high, young entrepreneurship, and, obviously, lightning. I think it's safe to say that the members of Call Me Lightning know their way around a Dungeons and Dragons map, but we won't count that against them. They have a fresh and original take on things, and that is one of their best qualities.

This album is extremely dance-able (is that a real word?) with most songs being fairly uptempo. A fat bass tone helps lock in the groove with the drummer. Some of the bands songs remind me of music from the CastleVania video game, namely "Ghosts in The Mirror" and "Ghouls". You can't help tapping your foot when you listen to this band, and I suppose that in a live setting the crowd would probably really dig them, but this isn't captured so well on disc. The guitar tone has a little too much treble for my taste, and the drums sound way too open, almost as if this were a Steve Albini recording (Note: I am anti-Albini). The vocals are mixed so that they have a very close sound, which makes the band seem sort of distant, almost like a karaoke track.

Overall, this album is a good effort. It has its high points of dance-punk glory, and it has its low points of overindulgence, repetitiveness, and likeness to video game soundtracks (or is that a high-point in disguise?). It is however, a solid release and hopefully the band develops their sound further and comes back with a stronger release next time around.

OVERALL RATING: 6.1

Gospel

Gospel - The Moon Is A Dead World - Level-Plane Records

Well I've been waiting to get my hands on this record for a while. Gospel is one of the newer bands on Level-Plane, a label with more street-cred than NWA. Gospel's new full length clocks in at a blistering 39 minutes and 5 seconds of catharsis, noise, melody, groove, and spazz. This is one of those albums that knocks you out when you first listen to it in its entirety.

Gospel collectively flex their prog muscle frequently on this disc, but there is much more to them than that. One unique aspect of their song structures is that they emphasize rhythm a lot more than most new bands, which creates lots of intensity. But it doesn't stop there! Gospel are also fans of melody, harmony, and flat out anthemic riffs. But these riffs aren't anthemic in a "We Aren't Gonna Take It" Twisted Sister kindof way, but in a "Smile That Kind of Icy Blue Smile" Saetia kindof way. They come across with such raw emotion that the songs and riffs can't help but be anthemic. I hear a sincerity much akin to Converge, and some riffs that owe a lot to their album Jane Doe, but Gospel don't just rip-off Converge. They give the proverbial head-nod on their way to lighting their amps on fire with awesomeness.

Another comparison that comes to mind is The Mars Volta, perhaps only because this band was the first to fuse afro-cuban influenced drumming, progged-out song structures, wailing guitar, and cryptic vocals to gain mainstream notoriety. I myself am not a fan of The Mars Volta for a number of reasons(but thats another review). But where The Mars Volta fails miserably, Gospel excels. TMV's (excuse the abbreviation) pension for self-absorbed droning and "structural exploration" is not found in the least on Gospels disc. These tracks find a groove, stay with it for a while, then shift on a dime to the next groove, all the while bombarding you with machine-gun drumming and lightning-fast guitar work. Gospel also doesn't bash you over the head with songs in the same key, and shows much variety in writing riffs and song structures. The track "Opium" stands out as a more exotic track, almost reminding me of label-mates Anodyne at times. Also, "And Redemption Fills The Emptiest Of Hearts" fires at you with noise a-la Dillinger Escape Plan meets Dream Theatre. Gone are the forced, shrill, high-pitched wails of Cedric Bixler-Zavala from The Mars Volta. Gospel instead replace A flamboyant skinny Latino, with a vocalist who sounds like he has lived in a van for 5 years, and hasn't shaved or showered in 10. He has a raspy, sincere yell/scream that really hits you in the pit of your stomach, and his delivery is spot on. The lyrics, while not jumbled by overindulgent 10-cent words, are cryptic at times. But this is overshadowed by the bands ability to play their little freaking hearts out.

Gospel is like the George Foreman Girll of post-everything. They cut the fat. But they don't leave out the tasty parts! Some of the highlights of this album include the righteous 9+ minute "Golden Dawn" peppered with memorable riffs, and the most memorable vocals of the album: "Hey, you got a cigarette man? yeah I know you've got one on ya! I usually keep mine in the backseat but it's buried behind all the rubble" . Im also a huge fan of the opening bass line in "Congratulations...You've Hit Bottom" It reminds me of Killers-era Iron Maiden. Also, another unique highlight to this album and the band in general is the keyboard. It fits seamlessly into the mix, and lends a good depth to the songs. It also adds as an awesome accent, and give the band a distinctly more prog-like sound (which is a good thing). It does not come off as pretentious in the least, and its one of the few, if not the only band that doesn't play horrible new-wave who can pull off using a keyboard. Thumbs up for that.

So if you liked The Mars Volta better when they were sincere and called themselves At The Drive In, if you appreciate musicianship, if you hate any music with the word "droning" involved, and if you want to hear a band that doesn't make music to get laid, then Gospel is your band.

With that said, go buy this freakin' album!

OVERALL RATING: 9.4

The Mailman Rocks!

I got my copy of Gospel's "The Moon Is A Dead World" in the mail today, a whole 2 days ahead of schedule! I've been listening non-stop since 2:30, but I will refrain from writing a review untill it all sinks in. I am very excited about this band right now! Check them out at www.themoonisadeadworld.com

Saxon Shore

Saxon Shore - The Exquisite Death Of - Burnt Toast Vinyl

The latest offering from Saxon Shore sees them with new members, and a new method of recording this time around. Their last records "Luck Won't Save Us From A Jackpot Of Nothing" was recorded entirely using file sharing. Each member of the band would record their tracks themselves and then exchange them via the internet to compose the album. This time around, the guys hooked up with producer Dave Friddman at Tarbox Road studios to track the album all in one place.

From start to finish, this album can be looked at as a retrospective of life. The emotions conveyed on the album range from happy, excited, and triumphant, to sad, depressed, and angry. This is a very unique quality which I very much enjoy. The first track "The Revolution Will Be Streaming" is a wonderful soaring epic which sets the tone of the album nicely. One of the best features about this album is that although keyboards and electronics are present, they are used tastefully. This allows the acoustic instruments (guitar, drums, bass) to be brought to the forefront and creates a very organic feel atypical of most instrumental acts out there today. Although not as organic as say, Godspeed You! Black Emperor, Saxon shore are far more organic than most. The second track let's you know that this group is very good at using textural elements to create mood. "This Shameless Moment" uses a sort of washed-out drum filter effect which creates wonderful texture, while the keyboards float in and out of the mix effortlessly. The bass still retains driving tone and cuts through to help keep the tune moving forward. This tune periodically explodes into epic moments. Steve Roessner begins to showcase his tasty drum fills and effective use of cymbal accents. His sense of groove is felt strongly through the entire album.

Production on this album is flawless, and Friddman does it again creating an awesome mix. I was particularly fond of the sound he got on the new Mercury Rev record, and a simmilar, yet unique sound was brought to the table for Saxon Shore.

There isn't much more to say about this record than the fact that is epic beyond epic-ness. It is instrumental post-rock done the right way. Think if Isis listened to more Mogwai than Neurosis, and you might be on the right track. Throw in ambience, electronics, and a solid instrumental backbone, and the beast is born! Saxon Shore do not disappoint on this release, and we should se bigger and better from them in the future.

OVERALL RATING: 8.5

New Electric

New Electric - s/t - Perpetual Motion Machine Label

New Electric is a 4 piece instrumental group, but don't let that scare you off! Where many instrumental bands of late have become pretentious and un-accessible (is that a word?), New Electric rise above. The newest M83 album comes to mind as pointless programmed drivel with more electronics than you can shake a stick at. And The guy is French. But we wont go there...

New Electric is composed of four guys who all have degrees in music performance, some from NYU. This definitely shows through in their songwriting chops. The 4 songs on this EP all retain somewhat traditional structures while standing out from one another completely. The use of odd time signatures such as 7/4 and 5/4 does much to keep the structures from becoming monotonous.

The music itself is a prog-rock inspired freak-out of sorts, with guitars wailing, and fuzz bass (courtesy of Oscar Rodriguez) stepping up to the plate often to carry the melodic duties. This aspect is truly creative and allows both guitarists the opportunity to lay down great textures for embellishment. The versatility of these songs speaks volumes. The first song "Surf" comes in with guns blazing. This tune has very strong forward motion, and propels relentlessly until the end. The second song "Don't Send Me Home" allows the band to explore some ambiance and spacey textures, while still maintaining a tight groove and plowing ahead. This tune is a little mellower than "Surf" but still has an intensity all its own. The ending riff calls to mind De-Loused in The Comatorium era Mars Volta (and in a good way). The third song "Bananarchy" is a flurry of eight-notes and triplets which never seems to stop punching you in the face.(and it hurts so good!) Here the band explores the time signature of 9/8 with flawless execution. Oscar's virtuosity on the bass is showcased on this tune, alongside attractive soaring guitar lines. The last, and my favorite track on the EP is "Circus" In this tune the group explodes and nothing is left held back. The last riff is the most epic of any on the disk, creating a monolith of sound. And the clincher for me is when the guitar comes in with a sort of western-esque (is that a word too?) slide solo, bringing the whole thing together and sending it off with double the strength it started at.

My only gripe is the production. The recording gets the job done, but a more clean, precise production would've gone the extra mile in my opinion. The drums sound flat, and sometimes the guitar effects are lost in the mix. But the bass cuts through brilliantly, and I thank the engineer for that!

Dont be afraid of this instrumental group, they just want to show you some good 'ol rock lovin'! They dont want to make you wait through 9 minutes of droning junk to hear the good part. They most certainly don't want to whine about how their girlfriend is a slut (aren't they all?)They dont want to burst your eardrums with drum machines and electronic blips, they want to molest you via fuzz-bass. And trust me, you'll like it!

OVERALL RATING: 8.9

Welcome!

This newly founded blog will be a place for me to ramble and review Cds and records that I acquire. Most of the time Ill be posting reviews for things I already have, and that I like, but I will try to post a variety of styles and such to keep it broad, and not to create an illusion that I like everything I listen to. First up: Cave In!

Cave In - Perfect Pitch Black - Hydra Head Records

Cave In's newest release Perfect Pitch Black sees them returning to their Hydra Head records home after the tribulations of a one album run with major label RCA. Antenna, the bands previous offering through said label was an industry "flop", and supporting tours saw Cave In sharing the stage with acts such as Muse, which may come as a surprise to fans who have followed this band since their blistering hardcore debut "Until Your Heart Stops" After close to two years of touring, the guys decided to part ways with RCA, and found comfort back home with Hydra Head Records.

This album sees somewhat of a "return to form" for Cave In, embracing its own hardcore roots while fusing it with its clever indie songwriting ability of newer albums such as Jupiter and Tides Of Tomorrow. The most obvious change is the return of screaming in this album, courtesy of Caleb Scofield. This element is brought back into the fold, but not without some hesitation as can be expected. This album hits hard right off the bat, but the last few tracks sort of just lack the forward motion of the first part of the album. This is partly due to the fact that the first half of this album is noticeably more "scream-heavy" than the latter.

Cave In have drifted towards longer songs once again, which is a welcome change. Most of the songs on this album clock in around four to five minutes, with the exception of the 7 minute "Paranormal" This gives the group time to establish a groove, and to explore all aspects of that groove, embellishing it at times with guitar harmonies, churning bass lines, occasional electronics, and very nice riff variation. The interplay between the two guitars and bass on this album is stellar, especially during the sixteenth-note triplet lick in "Trepanning".

This album was recorded in a number of different studios over an extended period of time, but the mixing and mastering was done so well that I personally cannot tell. The bass tone is one of the high points of the production for me; it is almost abrasive, while maintaining tone, and it cuts through the mix perfectly. The guitar tones match very well, and effects are put to good use throughout the album, with tasteful embellishments that never go too far.

The danger Cave In faced with making this album was facing criticism that they were backtracking, trying to gain back old fans by a return to older-styled material, and thus selling out even worse than when they singed to RCA. On the contrary, I think this is the album Cave In had to make if it was going to keep on making music. All the guys were obviously out of gas and ready to do things differently, and this is made evident by the awesome liner notes included with the album. This is the only album Cave In could make, or else they would have broken up.

OVERALL RATING: 9.2