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Due to overwhelming volume, OpeningBands.com regrets that is not accepting CD admissions at this time.
| by will zeiger (Waz711) / jason allen (idoru) | |
1. The Break
2. Shields
3. To Forgive Your Enemies
4. Bands 1
5. Inside My Mirror
6. Walls Covered in Hope
7. Do You Know What You Mean to Me
8. The Dreamers Song
9. Ease the Curtains Down
10. Brave
11. She Saves / Now I'm Where I Need to Be
12. Bands 2
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Band: Absinthe Blind
CD: Rings |
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Review #1 - Will Zeiger
Throughout the course of a long career the sound of a band often changes. This can lead to albums varying widely in feel and style. However, there is invariably at least one record that stands out in popular opinion as the definition of a band's sound. Absinthe Blind's newest release "Rings" may be as close to defining their sound as one can possibly come. The album showcases the bands many strengths beautifully and captures very closely the bands unique style.
On first listen, one of the most prominent elements of Absinthe Blind's music is the combination of brother and sister Adam and Erin Fein's vocals. Either of these two singers could easily front a band on their own, as both are extremely talented and have strong voices. The interplay between the two, though, is what really makes the vocals on this album stand out. The alternation between the two vocalists allows Absinthe Blind to have vocals that perfectly fit any mood, while the combination of their harmonies brings a new level of intensity and power to the music.
Musically, the band has a very diverse and unique sound as well. On songs like "Shields" and "Inside My Mirror" the guitar work takes center stage, alternating between spacey, delay-effected melodies and powerful distorted choruses. On these songs the keyboards emphasize the melody and add depth to the songs. However, on songs like "Bands 1" and "Do You Know What You Mean to Me?" the keyboards play a much more prominent role, forming the backbone of the song. While certain instruments do stand out more on some songs than others, Absinthe Blind really uses the combination of them together effectively on all the songs. The melodies build and swell and the music seems to fade in and out creating a nice tension and some powerful climaxes, such as in "The Break" and "Walls Covered in Hope". The only song that doesn't really seem to fit is "The Dreamers Song" a song that according to the lyrics ("It's our turn to write the Beatles' Song") is supposed to sound like a song by the Beatles. It does sound very much like a Beatles song, but it still has a sort of uniqueness about it that makes it interesting.
Overall, "Rings" is one of the best albums I have heard from any of the many bands calling Champaign-Urbana home. Absinthe Blind has a totally unique sound and knows how to structure songs to make them interesting and powerful. This album not only captures the variety of their sound, but also captures the intensity, quality, and feel of the band. "Rings", at least for me, will be the album that comes to mind now whenever I think of Absinthe Blind.
Review #2 - Jason Allen
Absinthe Blind pulls pieces of sound from every direction to form Rings, their latest album. While this could result in a disjointed collection of tracks, the band successfully creates a consistent, cohesive sound. The warm, pulsing bass and inexorable accuracy of the drums create a consistent foundation for the other instruments to build upon. Crisp guitars echo off of alpine vistas, causing the occasional avalanche of smooth distortion. Mellow keyboard parts shimmer up out of the mix, adding depth to the waves of sound. The plaintive dual male and female vocals ride atop all of this, giving most songs a surreal, ethereal feel.
While this layered sound pervades almost the entire album, some songs stand out, giving the other tracks room to breathe. The Break starts the album off strong with ambient sounds and twisting guitar leads drifting over staccato syncopated beats. The sensible words woven into perfect harmony will leave traces of this song in your head long after the first listen. Shields, the second track, fuses catchy guitar lines with clever lyrical and vocal work to come across as the most likely candidate for a single. Walls Covered in Hope is, in my opinion the highlight of the album. Beginning with simple electro elements, it builds upon itself and eventually culminates in an inspiring, emotional finale. She Saves, the first part of track eleven, is the only song on the album where the guitars open up a wall of sound and reverb-drenched space-rock wonder ensues. The songs Bands 1 and Bands 2 must also be mentioned for their graceful simplicity and the irritatingly unforgettable line repeated throughout both: "She said playing in bands won't make you well".
With Rings, Absinthe Blind has created a solid record that should appeal to many, and most importantly, to fans of Good Music.
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| by todd hunter (todd) / jeremiah brock | |
1. All Systems Go
2. Time Machine
3. Plug It In and Turn It On
4. I Wanna Gotta Rock and Roll
5. We’re Just Wasting Time
6. Aquaman
7. Gamma Ray Girl
8. Rearranger
9. Dumb Girlfriend
10. New Wave Sound
11. Why I Like You
12. Away with the Birds
13. California
14. Radio
15. The Ballad of the Invisible Girl
16. All Systems Shutdown
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Band: The Amazing Killowatts
CD: The Terror of Technology |
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Review #1 - Todd Hunter
How does one explain this album?
Perhaps the worst music known to man is that manufactured for exclusive use in music classrooms with tiny desks. It spotlights adults who struggle to sound like children as they butcher folk and rock songs by singing them in impossibly flat, impossibly high voices. If, however, at the end of the workday, these faceless, nameless adults were to ingest a variety of mind-altering substances, clock out, and sing something that they cared about, the result might be this album.
The only other explanation is cyborgs with surfboards.
The party starts with "All Systems Go," an irrepressible call to action with a sing-along chorus. Next is "Time Machine," which combines guitar work worthy of Nuggets II with a story about either kicking Nazi buttocks or at least hijacking their machinery. "Aquaman" celebrates the most formidable super hero of all time, while "California" concocts a plan to soak up some sun and chop up some celebrities. The result is fun for the whole family!
No, really. Rarely is an album as much fun as The Terror of Technology. Beyond its obsession with premature death, it radiates humility and levity; otherwise, it never could carry on about heart-shaped lockets and empty light sockets and sustain an audience. Unlikely to rival generic music for mainstream exposure, The Terror of Technology instead splashes it in the face with salt water.
Review #2 - Jeremiah Brock
Power pop and pop punk are probably two of Popular Music's most unchanging – and limiting – genres. Filled primarily with major key melodies and feel-good power chording, both styles seem to necessitate artists rewriting the same types of song over and over again. This is the reason that everyone focuses on Elvis Costello's lyrical gifts instead of his music; despite quite a bit of occasional "experimentation," his work remains a little too easily recognizable. Simply put, he never met a melody he didn't like, and lot of his melodies sound pretty samey. It's also the reason why it's hard to tell the difference between Blink 182 and their legions of doppelgangers. The same four or five chords can get pretty old pretty quickly.
That said, the Amazing Killowatts play pop punk-inflected power pop with a Moog, possibly one of the most clichéd formulas in independent pop rock today. However, they skillfully manage to avoid most of the pratfalls normally involved with the formula. What separates the Killowatts from their peers is a little thing called "vitality." The Terror of Technology, their umpteenth album (albeit their first as the Killowatts, as they were previously known as Ham), abounds with unironic – and unabashed – youthful energy. Anyone who has ever encountered the band is well aware that they are about as fun a group as one is likely to find, with choreographed songs, matching uniforms, seemingly impossible physical feats, and spazzy rock god/goddess poses all being part and parcel of their standard live show. The Terror of Technology doesn't necessarily approximate their live charisma, but it does a bang-up job trying.
The record kicks off with the Killowatts' official offering to the lexicon of great pop songs, "All Systems Go." Shambling along via Atomic Satterfield's K Records-style drumming, "All Systems Go" sets the pace for the rest of the record with an unbelievably catchy chorus and genuinely affecting lyrics about a guy with a microchip ingrained in his skull ("There's a microchip inside your head/By the end of the day the doctors say that you'll be dead/Don't!/Stop!").
What makes Terror almost required listening for fans of both power pop and pop punk is its consistency quality. Every single track on the record is a triumph of Buddy-Holly-meets-the-Aquabats pop sensibility without any two songs sounding too similar. Lead singer/guitarist Tyson Markley and bassist Marsha Satterfield have their vocal harmonies down to a science, turning the choruses of songs like "Away With The Birds" and "California" into memorable chants. Satterfield's pretty and naive vocal turn on the twee-pop of "We're Just Wasting Time" showcases her ever-evolving vocal talents. And the sci-fi comic book imagery of Markley's lyrics compliments the music perfectly; the larger-than-life tales of "Aquaman" ("Man oh man oh man oh man it's Aquaman!") and "Time Machine" virtually beg for the aural pop art that is the band's distorted guitar squalls and off-kilter harmonies.
Ultimately, it's this sort of unashamed geekiness that separates the Killowatts from their peers. They're not trying to come off as polished, nor are they really bidding for radio play. They seem to be content writing great pop songs about superheroes and robots and having a fun time doing it. It's only an accident of fate that their songs happen to be ingenious.
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| by lance birch (lance) / anne mastny (anne) | |
1. Love, Springfield
2. Sun Shadow
3. Unsung
4. Cul-de-sac
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Band: James Frey
CD: Sun Shadow |
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Review #1 - Lance Birch
New Jersey's James Frey combines 70's rock, a dash of country, occasional church imagery, and a very full voice to create what is rightfully called "An Album", despite only 4 songs and 20 minutes. There are enough lyrics here to make at least twice as many songs.
"Love, Springfield" is the rocking opener dealing with a troubled world that has moved online. The energy of this mid-tempo song will be sorely missed on the later tracks. The chorus-structure of "Sun Shadow" is somewhat reminiscent of that Jars Of Clay radio hit ("Flood"?), but it suffers from the weight of a monotone voice in the verse. From here, we only get slower with the ballads "Unsung" and the slightly more upbeat "Cul-de-sac".
"Unsung" is marked by the processed sound that glimmers in and out throughout the tune, ultimately prooving groovy enough in its cool redundance. "Cul-de-sac" drones on a bit, coming around to that metaphor-filled chorus one last time, but it serves to close the disc well.
Review #2 - Anne Mastny
I put the disc in my CD-Rom drive and the music that came out sounded promising. A pretty decent rock sound. Medium pace; basic guitar, bass, drum set up. Then came the vocals. All I could think was 1980s Billy Idol. Ya, not exactly my thing. This really kept me from being able to get into the album. The music, however, was pretty good. A couple of little guitar solos here and there.
The remaining three songs on the disc seemed to be a bit mellower than the album had started out. It reminded me more of music that may appeal to a bit of an older crowd, or perhaps, stoners. Just some decent chill music. Also, the vocals were more toned down on the lower-key songs, which improved the overall sound tremendously. On the whole, a good listen (with good recording), but I, personally, just wasn’t feeling the vocals.
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| by brian tracy (TwilightBurning) / steve sobel (steve) | |
1. Mind Your Own Business
2. Insect/Suspect
3. Sweetmeat
4. Bitch
5. Everything
6. Closer to Heaven
7. Blow You Away (G.T.F.A.F.M..
8. Du Liebst Mich, Nicht, Ich Lieb" Dich Nicht
9. King of Negativity
10. Miss Sway Action
11. Binary Stream
12. The Loneliest Sound I've Ever Heard
13. The Horse you Rode in on
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Band: Pigface
CD: Easy Listening... for Difficult Fuckheads |
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Review #1 - Brian Tracy
Easy Listening, Pigface's first studio album in over five years (since 1997's A New High in Low) features the most diverse array of participants of any Pigface album. Pigface generally consists of a large grouping of artists, many of whom only participate on a few of the tracks; outside of Martin Atkins, the producer and originator of Pigface, no one is on more than five of the thirteen tracks. This incarnation features a diversity of artists, ranging from former members of Public Image Limited, KMFDM, Chemlab, members of Dope, Acumen Nation and Penn from the comedic-magic act Penn & Teller and many more (the back of the CD cites 35 participants). Overall the album is very solid, though not always cohesive given the diversity of the sounds brought to the disc by the many different participants.
"Insect/Suspect" is mesh of layered vocals, heavy drumming, and subtle energy. It plays great contrast on the next track. "Sweetmeat" starts out with a loose beat with sweetly melodic vocals merging with deeper backing vocals over a distorted chorus. Much of the album follows in the same vein switching styles and feels, going from near trip-hop styles to metals with slight industrial influences, to a track based around the sitar, a spoken word piece, and more. Easy Listening is a surprisingly cohesive album; it manages to bring artists of different backgrounds to work on pieces of varying styles and still manages to make it feel like a true album, rather than a compilation of varying artists. Pigface's "open to all" policy proves to be a blessing on this album as the diversity saves the album from blending in with the rest of what's out there right now.
Review #2 - Steve Sobel
With an album name as amusing as "Easy Listening... for Difficult Fuckheads" - expectations for a good album are high. It's odd how we can increase our hopes just by an album title or great cover artwork, but it's true.
This time around, for its first album in way too long, Pigface has yet another monstrous array of artists borrowed from other bands. For the uninitiated - that's exactly what Pigface is. Led by Martin Atkins, Pigface is an ever-changing project that consists of whatever cool artists happen to be free at the time. It has featured such famed musicians as Trent Reznor of Nine Inch Nails, and Danny Carey of Tool.
The mish-mosh of artists creates an interesting melting pot, and this album is some pretty tasty stew. While it's hard to place any of the tracks as huge standout hits, it maintains a good level of interest throughout, with quality songs and enough variety that there's a little something for (and from) everyone. It is worth noting that while much of Pigface's recorded material is good - their live show is not to be missed. It's full-scale rock power crammed into a small to medium sized venue and allowed to freely explode upon contact with oxygen.
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| by pat schmitz (Patrick) / will zeiger (Waz711) | |
1. Mystery and Misery
2. Long Knives
3. Ears Ring
4. The Double Life
5. The Awful Truth of Loving
6. The Imperatives
7. Floors
8. CT Catholic
9. Situation: Relation
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Band: Rainer Maria
CD: Long Knives Drawn |
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Review #1 - Pat Schmitz
For those not familiar with the band, Rainer Maria creates a strong indie pop-rock sound characterized by strong female-led vocals. They consist of Caithlin De Marrais on vocals and bass, Kyle Fischer on guitar, and William Kuehn on percussion. Hailing from Wisconsin, this Midwest trio moved to New York and promptly began recording and touring. Rainer Maria has since signed to Polyvinyl Records and has maintained a very successful recording career.
With their latest release, “Long Knives Drawn,” Rainer Maria presents a very developed sound. While somewhat lacking in the straight forward pop that was present in their previous music, they manage to create an intense sound that is very compelling. Instead of drawing your attention with pop hooks, “Long Knives Drawn,” exacts you with its powerful tone. The resounding vocals of Caithlin De Marrais create a penetrating feel to this album and seem much more deliberate than in previous music released by the trio. Where De Marrais once sang in a somewhat reserved way, she now holds nothing back and belts out her vocals, providing an interesting mix with the often distorted guitar of Kyle Fischer and the abrasive percussion of William Kuehn.
The opening track “Mystery and Misery” introduces you to the new abrasive rock of Rainer Maria with loud vocals and distorted guitar. This theme continues until track four “The Double Life” where they slow it down combining laid back vocals and a prominent bass line. Track seven, “Floors,” stands out by combining the best of both worlds and offering compelling verses and a loud driving chorus, while “CT Catholic” bears a very close resemblance to their previous work. In “Situation: Relation” Rainer Maria turns down the volume fulfilling their indie tendencies with a song consisting of only guitar and vocals.
They manage, despite the seemingly low number of members, to create an amazingly full sound. However, as strong as this album is, one of the first things I noticed was the lack of backup/dueling vocals of Fischer. In their previous work this added a unique and interesting texture to their music that is missing now. Overall, however, this is a solid indie-rock album and an impressive follow up for Rainer Maria.
Review #2 - Will Zeiger
With a sound that seems like an unlikely hybrid of garage rock straightforwardness, indie-rock styling, and 19th century German poetics, Rainer Maria’s “Long Knives Drawn” is a perfect combination of some of the good trends in rock today. Although the band consists only of Kyle Fischer on guitar, William Kuehn on drums, and Caithlin De Marris on bass, the three members manage to produce a surprisingly deep and varied sound. This sound, coupled with the powerful vocals and inspired lyrics of De Marris, add up to a very strong album from this New York City trio.
The aspect of Rainer Maria that immediately stands out upon first listen are the vocals of De Marris. Her voice is quite strong for a female rock singer and she is able to utilize it fully. On “Mystery and Misery” she sings in a half scream, while on tracks like “The Imperatives” and “Situation: Relation” she is able to sing beautifully in a softer voice, truly demonstrating the range of her abilities. The lyrics, likely inspired by the symbolist poet Rainer Maria Rilke after which the band is named, fit perfectly with her vocals as well. Most of the songs deal with emotional conflicts and the difficulties involved in relationships. Together, the vocals and lyrics allow De Marris to play everything from the sad, lonely girl to the scorned, vindictive lover.
On second listen, however, it quickly becomes clear that the music backing the vocals is just as interesting. Rainer Maria’s sound is amazingly deep considering their bare-bones instrumentation. The drums and bass provide a solid background, pacing the songs while introducing variety as well. Most of the sound though emanates from the constantly distorted guitar of Fischer. He manages to change the sound of the songs from the garage rock/punk of “Mystery and Misery” to the almost poppy “The Awful Truth of Loving” to the depressed, pained “The Imperatives”. Other than the standard alternation between soft melodies and furious strumming, he adds in some unique touches, such as featuring harmonics. It all adds up to tracks with much more going on than immediately appears on the surface.
The only major flaw of this album is the disappearance of Fischer’s vocals. On past albums, Fischer and De Marris split time handling the vocals, alternating between male and female. This created a unique tension and added another level of depth to the overall sound of the band. Although De Marris is capable of handling the vocals on her own, the loss of Fischer leaves the sound somewhat lacking in comparison to past efforts. However, on the whole “Long Knives Drawn” is a step forward in the progression of Rainer Maria, an album in which many tired of mainstream rock may be able to find sanctuary. Rainer Maria will also be performing at the Courtyard Café February 8th, a great opportunity for anyone interested in getting a better idea of their sound.
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| by will zeiger (Waz711) / todd hunter (todd) | |
1. Shed Our Skin
2. Walking Time Bomb
3. Lay Me Down
4. The Other Side of Me
5. Differences
6. Too Late for Tomorrow
7. Labels
8. Not the One
9. Carelessly
10. Willed to Wait
11. Leave Me Wondering
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Band: Roscoe Plush
CD: All for the Senses |
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Review #1 - Steve Sobel
[editor's note: Todd Hunter was going to do this review, but he is temporarily on the OpeningBands.com injured reserve list]
As a rabid Illini Hockey fan of six years, it's weird to pop in this disc. Lead singer Steve Fina played hockey for the Illini and (please don't let him see this and kick my ass) was quite the scrappy guy.
Everyone's got a soft side somewhere though, and the vocals on Roscoe Plush are soothing and enjoyable. If forced at gunpoint to categorize Roscoe Plush, I'd put them closer to Dave Matthews than typical pop rock, but they really don't fall into the jam-band stereotype. It's rock music that you can listen to just about anywhere, and for better or for worse, if you listen to it around your parents, they may just ask who it is and get themselves a copy. I say for better - it's just widely accessible and good music.
With a wide variety of instrumentation, and a good dose of pop sensibility, Roscoe Plush come out strong immediately with "Shed our Skin". It's a catchy tune that grabs the attention right away, leads well to the energy filled "Walking Time Bomb".
"Lay Me Down", the song that won Roscoe Plush our Opening Band contest, is an extremely catchy pop ballad that beat out great competition for a reason. The anti-pop amongst our readers may be turned off by the polished and catchy songs on this album, but it's packed with talented songwriting and nice production.
The rest of the album uses a wide variety of instruments as well as musical styles pulling from rock, jazz and blues. Like it or not, there's something to be said for the ability to write songs that get stuck in people's heads and therefore played on the radio. In contrast to over-produced and oversimplified pop, though, Roscoe Plush is one of those bands that'll be successful because they're talented and write great songs rather than oversimplified mush produced for the masses. I, for one, will tune in to hear them.
Review #2 - Will Zeiger
Roscoe Plush could easily be on the radio. That statement, however, can mean one of two things. For the vast majority of people, Roscoe Plush’s new album "All for the Senses" is one composed of eleven catchy pop rock songs. Indeed, songs like "Lay Me Down" and "Differences" would fit perfectly into most radio rotations right alongside bands like Matchbox 20 and the Goo Goo Dolls. The band’s sound, comprised of acoustic and electric guitars, drums, bass, piano, and occasionally organ, is almost the definition of mainstream popular rock. Combined with raspy, just-above-a-whisper vocals and easy-to-sing-along-with lyrics, Roscoe Plush’s songs have a familiar and pleasing sound. Most songs begin with a simple acoustic guitar strum or melody from either a piano or an organ until the chorus, when the second guitar, full of distortion, comes to the front to give the song its memorability. The songs are varied enough to keep things interesting for the duration of the album, but for the most part, remain true to this sort of "pop" structure.
However, for listeners such as myself that do not really enjoy the mainstream pop rock sound, "All for the Senses" fails to avoid the so-called pitfalls of the genre. While the piano/organ parts add a bit of uniqueness to Roscoe Plush’s sound, the songs never stray far enough from conventional form to be anything really special. The guitar work, while proficient and appealing, is nothing new and sounds just a little too much like bands that have come before them. The vocals are pleasant but never seem to be truly inspired and are rarely filled with enough emotion to make them stand out. Also, a few of the songs, such as "Labels", have the borderline cheesy, let’s-make-the-world-a-better-place type feel that has, in my opinion, plagued mainstream pop rock. The few songs that do try to kind of break free of the mold with jazzy or bluesy interludes help, but overall end up sounding a little too jam-band like.
"All for the Senses" is really an album with limited, but paradoxically, widespread appeal. Roscoe Plush has produced an album full of well played, catchy songs that any mainstream pop rock fan should appreciate and enjoy. The few unique elements they incorporate even help to set them apart a bit from many of the other bands within this genre. In the end, though, these are not enough to create something truly interesting that might win over fans with more experimental or diverse musical tastes.
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| by brian tracy (TwilightBurning) / yejoon koh (yejoon) | |
1. the melody
2. headline
3. sleepwalk
4. anywhere
5. s.o.u.l.
6. hold your breath
7. whatchu want
8. something to prove
9. don't come through
10. movement
11. anywhere (remix.
12. it's all love
13. all I got
14. sacred ground
15. world stops
16. freefall
17. ebony sea
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Band: Soulstice
CD: North by Northwest |
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Review #1 - Brian Tracy
On his debut release "North by Northwest" SoulStice proves that there is more to the Champaign-Urbana scene than the well known "alternative" scene. SoulStice brings steadily flowing beats mixed with vocal clarity to produce a set of tracks that you can"t stop tapping your foot to.
"the melody," starts off the album with a relaxed hypnotic beat, bringing you in headfirst, whether you wanted to or not. From there the rest of the album does its job also, grabbing the listener and not letting go for the much of the remainder of the album. "whatchu want" and "sacred ground" are also stand-out tracks that showcase the musical and vocal talent that goes into this album.
The album holds up as a solid piece with very few faults. For an album that has 16 original tracks (and one remix) there is not enough variety in the musical tracks. The tracks are all well done, but they are all so relaxed that after 10 tracks the music was getting a little too hypnotic.
Outside of that, the album is a great example of what goes on here in Champaign that far more people should know about. With Top 40 owning the radio and television and most rap being over hyped and under talented it"s nice to know that there still does exist quality music of all genres only minutes from your home.
Review #2 - Yejoon Koh
With a name like SoulStice, one would probably expect down-to-earth intelligent hip-hop, and that's exactly what SoulStice's debut full-length album North by Northwest delivers. Each track boasts well-thought out intricate lyrics, which prove to be thought provoking and clever. The music backing the vocals is funky and groove-oriented for the most part.
SoulStice is pretty self-sufficient on this album – only three of the sixteen songs have guest vocals (something that is unheard of in mainstream rap). Although he's the only one rapping for almost the whole album, his style is diverse enough to keep the listener's interest. Lines like "I write slow / verses birthin' nurse ‘em from the embryo" shows his lyrical prowess, and most his hooks are catchy enough to sing along with.
The recording's quality is about as good as any major recording out there with the exception of "Don't Come Through," whose sample sounds a bit cheap. Many respected underground hip-hop artists such as the Mudkids have fallen into the trap of having high quality records with sub-par sound. North by Northwest, on the other hand, has crisp and clear sound while maintaining a "streets" quality to it.
North by Northwest is a solid debut effort for SoulStice. Its only real downfall is that it's longer than it should have been. A few tracks could have been cut from the record resulting in a more compact, effective album since 17 tracks is a bit long for any artist. Also, SoulStice has room to mature, but as good as he is now it should be interesting to see him progress. In the mean time, any hip hop head should definitely check out this album.
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| by brian tracy (TwilightBurning) / brian mertz (DJMertz) | |
1. Lyric
2. Settle Down
3. Declarations of Faith
4. Honestly
5. El Sol
6. Of a Broken Heart
7. Ride a Black Swan
8. Heartsong
9. Endless Summer
10. Baby Let’s Rock!
11. Yeah!
12. Desire
13. Jesus, I/Mary Star of the Sea
14. Come With Me
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Band: Zwan
CD: Mary Star of the Sea |
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Review #1 - Brian Tracy
With the release of their debut, Mary Star of the Sea, Zwan give the world one of the most anticipated and hyped releases in awhile. In case you're wondering why this release is so hyped consider this; Zwan is the first major project that former Smashing Pumpkins members Billy Corgan, guitar/vocals, and Jimmy Chamberlin, drums, have worked on since the dissolution of the Smashing Pumpkins in 2000. Joining them on this venture are Paz Lechantin from A Perfect Circle, bass and backing vocals, Matt Sweeney from Chavez, guitar and backing vocals, and David Pajo from Slint, guitar. On their debut Zwan lives up to the expectations that one might hold of a band that includes half of the Smashing Pumpkins; it is nearly impossible not to compare the two especially since both bands feature Corgan's extremely unique voice. While the connection between the two is undeniable, it is still possible to listen to one and appreciate the differences and the steps that have been taken to not make another Smashing Pumpkins record.
Upon hearing the first single, "Honestly," my reaction was simply, "Wow, Billy Corgan is happy now, great, it's the Happy Pumpkins," While the radical change from the dreary tones of the Smashing Pumpkins is appreciated, the undeniable 180 is so disarming that initially it is hard to compare it to anything else. Upon further listening to the single, and the rest of the album, I no longer simply hear the Prozac Pumpkins, Zwan is a band with their own distinctions.
Songs such as "Lyric" and "Settle Down" are great power-rock tracks that are full of vigorous energy that gives them a youthful feel that have the subtle power to make you smile. The single, "Honestly," has a power all its own, wonderful melodies and heartfelt lyrics make it hard to get sick of the song, no matter how heavy it's rotated on the radio. Towards the middle of the album, the songs begin to lose some of their power; "Yeah" and "Desire' feel a bit weak in comparison to the earlier energetic, upbeat tracks. “Jesus, I/Mary Star of the Sea” helps to bring the album out on a high note; the 14 minute track showcases both the more personal lyrics and intricate instrumentation that give Zwan their successes on their first effort. While the similarities between Zwan and the Pumpkins will continue to surface it is safe to say that Zwan will eventually earn their name as a band, instead of "Billy Corgan's new band."
Review #2 - Brian Mertz
I have been writing music reviews for different publications for about five years. Doing something for five years usually makes it easier to do. That is certainly not the case with music reviews. It wasn't easy to tear apart my then favorite band in a newspaper after they had made a hideous new album. I felt that the words I used to describe Daft Punk's "Discovery" fell short of conveying how groundbreaking and amazing that album was. And as I sit here writing a review for the new Zwan album, I am confronted by a new problem that makes this review difficult to write.
You see, I had the privilege and pleasure of seeing Zwan perform two nights at the Metro in Chicago. This was a little over one week before I got to hear their debut album, Mary Star of the Sea. Those performances were so intense, and so incredible, that separating what I heard there from what I hear on the album is a task. Such an awful task, that I scrapped large chunks of my first review to come up with the one you're reading now. So as a preface, let me say that each and every one of you who reads this article should try to see Zwan live. It will change your expectations of rock and roll shows.
With that disclaimer laid before you, I still say that Mary Star of the Sea is a fantastic album. For fans of the Smashing Pumpkins, Billy Corgan (the lead singer/guitarist/song writer of Zwan) has delivered another collection of well structured, impecibly produced rock songs. Joined by fellow Pumpkin Jimmy Chamberlin on drums, Matt Sweeny on guitar, Dave Pajo (formerly of Slint) on guitar, and Paz Lenchantin (from A Perfect Circle) on bass, Zwan is a tight unit whose members compliment each other almost perfectly.
The recording is crisp, the guitar effects are used tastefully, and Paz's crystal clear female backing vocals somehow manage to work with Corgan's infamous coarse voice on songs like "Settle Down" and the first single, "Honestly." As expected, Chamberlin's drumming drives a lot of the songs such as "Declarations of Faith."
What this album might be remembered for, if it turns out to be a widespread success, is that there is a conscious effort to bring back guitar solos. In a musical landscape stripped barren by New York garage bands, formulaic pop-punk, and broody nu-metal rap rock, Corgan and Sweeny's melodic and complex solos feel weird at first. Consistently hearing meaningful and musical guitar solos on songs like "Honestly" and "Jesus, I / Mary Star of the Sea" are like going back to your favorite grandma's house for the first time in years. After readjusting to the familiar smells and sounds, you start to remember why you liked visiting grandma in the first place. There is a reason why guitar gods like Hendrix and Page were praised for soloing. People enjoy the feeling of improvisation and uncertainty. Zwan's solos up the neck of the guitar always push the envelope without sounding like a cheesy hair metal band solo. In short, the solos on this album capture the energy that makes Zwan such a fantastic band in the live setting.
Comparisons will certainly be drawn to the Smashing Pumpkins simply because Corgan's voice is so distinctive, and much of the distorted guitar work sounds the same. But, on a closer listen, what makes Zwan so different is that the songs are far happier now than the gloom that usually hung over Pumpkins' albums. The song, "Endless Summer" is an upbeat, rolling song with a chorus so infectuous and catchy that it will be lodged in minds for days on end. In "Settle Down" Corgan sings, "la di da, la di da." Perhaps some old Pumpkins fans will long for the songs of gloom, but personally, I its good to hear a band make genuinely happy music that you can still bang your head to. And while some might complain that many of the songs have the same sound and structure, I think that this entire album sounds different enough from what is out there to look past that shortcoming.
So there it is. A review of the new Zwan album. In the long run, this might turn out to be one of my reviews that I think didn't do justice to the beauty and mastery of the album. My suggestion to you is to go buy the Zwan album and see for yourself.
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