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| by todd hunter (todd) / casey best (happyhobo) | |
1. Keeping Me Down
2. So Far
3. April to May
4. I Will
5. Resigned
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Band: Mike Ingram
CD: One Less Tomorrow |
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Review #1 - Todd Hunter
With One Less Tomorrow, Mike Ingram makes an immediate impression. Whereas conventional wisdom might put "Keeping Me Down" at the end of an album, it is track one here, and its lush layers are like a huge, harmonious hook. In fact, thanks to members of Sick Day and Temple of Low Men, three of these songs benefit from a full band sound. "April to May" is a jaunty rejection on which Larry Gates and Mike Ingram divide vocal duties; in the same key and style as "10 O'Clock Tigers" by Poster Children, the female vocal and uxoricide are all that it lacks. Another duet, "Resigned," makes good use of Brandon T. Washington's booming bass. "So Far" and "I Will" are solo efforts in the absolute, the former the more colorful of the two. Andy Lund and Mike Ingram co-produced One Less Tomorrow and accordingly have much to be proud of.
Review #2 - Casey Best
Mike Ingram's new album, One Less Tomorrow, is more than just a great CD. It's a great local CD. Ingram's songs could probably be best referred to as rock but, as with most good acts, can't really be described simply by genre title alone. The quality of this album can probably be attributed to the talent working on it; Ingram himself is a talented songwriter, vocalist, and guitarist. In addition to his voice and acoustic guitar, songs 1, 3, and 5 also borrow musicians from such accomplished local bands as Lorenzo Goetz, Temple of Low Men, and Sick Day. These tracks predominantly feature the acoustic guitar and Ingram's vocals, so they are blend in nicely with tracks 2 and 4, which are solo tracks. The guitar on the album is catchy and Ingram's vocals, while a little haunting in its style, blends in nicely. For a good look at what the C-U music scene can offer, check out Mike Ingram at http://www.mikeingram.com/.
Mike Ingram performs Thursday, April 22 at Arôma.
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| by imran sobh (imran) / robert nagel (Musiker04) | |
1. Lost and Found
2. With Your Stare
3. Me [-] You
4. My Cure, My Plague
5. Cuts
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Band: Blame Twilight
CD: With This Sharpened Edge |
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Review #1 - Imran Sobh
Normally I won't listen to a punk sounding band unless they offer something that sets them apart from the sea of other mediocre bands. Blame Twilight would have to be one of those. While maybe not completely different from your typical heavier punk sound, they are interesting enough to keep you listening.
Their cutting distortion and pounding drums make for a great contrast to the honey-like vocals and melodic riffs. They mix in a few sudden stops and changes with occasional screams to keep you guessing, yielding a nice overall effect.
From this EP, "Me [-] You" seems to really stand out to me, as it employs their strengths in a cohesive way. Although most of the tracks are sort of self-involved and ruminative in a dark way, this song is still their strongest in that aspect. In general, the lyrics serve their purpose and aren't too cheesy, but it really doesn't matter, as the vocalist has a nice smooth singing voice.
This particular album is their debut EP, and I would categorize it as one of those CDs that gets better the more you listen to it. Not to say I didn't like it at first, but it just seems to get even better over time. The riffs beg to be heard again. The only real problem I have with it is how short it is.
I really believe that Blame Twilight have a lot of potential. Their songs are catchy in their own right, and the melody can easily be burned into your brain after a few listens. This EP is but a taste that leaves you wanting more. I'm honestly interested to see how they develop. They plan on releasing a full album later this year, which will definitely be something to look for.
Review #2 - Robert Nagel
Blame Twilight made it way too easy for me to write this review. Their recent release "with this sharpened edge" highlights their talent with 5 awesome songs!
From the get-go, this 3-man band shows that they like to mix up. They play around with variation and mood to keep the listener hooked. Each musician keeps their tone and they play together really well. What I like about the CD is how each song plays into the next. It sounds really good.
My personal favorite is number four. The song begins in a mellow-SoCal style, then quickly changes to upbeat alternative rock. They have changing melodies which repeat throughout the song to give an immense variable effect.
Each song shows a different side of this mature band. They make great use of repetition to dramatize their vocals. Their instruments are layered remarkably well. Blame Twilight is over all a great band in every aspect of a rock group. I recommend this CD to everyone who respects good music. Anyone wanting a cd to just pop in and let go can find it with this one.
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| by nathan schwalm (mythox007) / joseph m. pence (notaninja) | |
Disc One
1. "Bad Dreaming" by Lorenzo Goetz
2. "Skippin Away" by Roses for Kitty
3. "Warm Breeze" by Grooveyard
4. "Not From the Sun" by Sarsaparilla
5. "Sweetest" by Eleni Moraites
6. "Swans Are Fainting" by Unbunny
7. "Rebuilding Year (for the Chicago Bulls)" by Everybody Uh Oh
8. "Everything is Changing" by G. Lee & Jet Blonde
9. "Stars Line Up" by Sincerely Calvin
10. "Mystery Girl" by Dennis Close
11. "Tell Me True" by Ample Time
12. "Too Late Now" by Shadows of Doubt
13. "Radical Cheerleader" by Paul Kotheimer
14. "Cross That Line" by Delta Kings
15. "Jolie Blonde" by Noisy Gators
Disc Two
1. "Peace in the Water" by Robynn Ragland
2. "Already Gone" by The Red Hot Valentines
3. "I Think You're Lonely" by Jiggsaw
4. "Natural" by Saltwater Vampires
5. "The Invisible Man" by The Invisible
6. "Clive Owen" by Some Velvet Morning
7. "Truth or Consequence, New Mexico" by LadyRadio (formerly The Dynamo Theorem)
8. "Bottom of My Bathtub" by Solips
9. "A Little Something Dangerous" by Humpty Dumpster
10. "Everyone But Me" by After Sundown
11. "Halo" by Equinox
12. "Rehab" by Master Blaster
13. "The Go" by Doomsday feat. SM Arson and Spinnerty
14. "Pharoah, Let Me Entertain" by The Designer Babies
15. "Balla" by Ill Noyz
16. "Hallow Hoot II" by NoizAssembly
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Band: WEFT Sessions
CD: 2002 Compilation |
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Review #1 - Nathan Schwalm
Once again, WEFT-FM has proven that they are the community radio station for East Central Illinois. This compilation is very eclectic in styles from a time capsule of the 2002 Sessions shows. The WEFT Sessions are a mainstay during Monday nights for the past several years. This is currently the only local show to feature live recordings of local talent at a radio station. As the music goes, there is something there for everyone who digs the local music scene. From the Indie rock to Hip Hop, Unplugged Rock groups to Blues, punk rock to singer songwriter tunes, there are more styles to blend in than a nifty blender of vitamins and fruit from the local department store. Many of the bands and performers are still in town and playing at shows throughout the Champaign-Urbana music scene, but there are plenty of musicians since the recordings, broke up, moved away from town, and/ or decided to join in other bands.
The first CD highlights the mellower side of the WEFT Sessions, as it covers many folk performers, singer-songwriters, unplugged rock bands, and small elements of blues, jazz, and country thrown in for added spices. The CD is off on a high note as the groove rockers Lorenzo Goetz does an awesome unplugged performance of "Bad Dreaming." The numerous highlights are Grooveyard's chilling guitar-based jazz instrumental, singer-songwriter Eleni Moraites's love song "Sweetest," G. Lee and her full band Jet Blonde's creative tune "Everything is Changing." Ample Time's melodic and innovative unplugged power pop, Shadows of Doubt's catchy blues number, Paul Kotheimer's sing-along novelty song "Radical Cheerleader," Temple of Low Men's soulful unplugged rocker "Outside," local blues rock pioneers Delta Kings, and the Noisy Gators unique Cajun country.
The second CD goes towards the plugged-in sounds of Sessions. The sounds illuminate the mind as it spans Indie Rock, Power Pop, Punk Rock, Hip-Hop, Experimental, and Electronica. It starts as Robynn Ragland performs a tune heard from an episode of Dawson's Creek, then the local favorites The Red Hot Valentines rocks out with their power pop of "Already Gone." Multiple highlights are rock band are The Invisible's novelty theme song, LadyRadio (formerly The Dynamo Theorem) original post-rock, an early form of Solips indie rock, the female-led punk-rockers Humpty Dumpster. The diverse rock of Equinox, Master Blaster's silly but fun song about Rehab with the mixture of rockish rap, Doomsday featuring DJ Spinnerty and SM Arson's laid-back Hip-Hop of "The Go," a interesting way to end the compilation of Noiz Assembly's experimental track sampling George W. Bush's speech about Terrorism.
Just for 2004, this is one of the best and definitely the most diverse compilations to hear from yet. Go out there, support local music, and make sure to turn in to WEFT-FM 90.1 whenever you are in the 35-mile radius of Champaign-Urbana. It is a very good job to Holly and the many dedicated volunteers from WEFT.
WEFT sessions are on every Monday night at 10 PM with the host Holly and numerous local musicians. Tune in at 90.1 FM or go to www.weft.org to enjoy.
Review #2 - Joe Pence
WEFT Sessions, the community radio programme dedicated to local music on 90.1 FM, has played host to a long-standing set of great live performances by musical artists in Champaign-Urbana and the surrounding area. Now for the first time, a sampling of many of last year's performances are finally available to the general public, in the form of a double-album with songs from over 30 different artists. These studio tapings give the geniune feel of WEFT's casual atmosphere and give a real glimpse at some notable Champaign artists sitting down, away from the glare of the studio spotlight, relaxed and really enjoying themselves.
The double-album opens with the summery sounds of Lorenzo Goetz with "Bad Dreaming." (Where have you been hiding this one at, Larry?) The first disc moves through a lot of lighter pop and roots material. Highlights include the Everybody Uh Oh's captivatingly emotional tribute to basketball "Rebuilding Year (for the Chicago Bulls)," a version of Temple of Low Men's "Outside," that catches vocalist Brandon T. Washington at his most soulful and stirring, and the bluesy licks of The Delta Kings in "Cross That Line."
The second disc focuses on somewhat more upbeat material, starting with Robynn Ragland's contemporary "Peace in the Water." Some of the more noteworthy songs on the second half include the epic qualities of Equinox's "Halo," the hip-hop, off-the-cuff bounce of Master Blaster's "Rehab," and the casual jazzy rap reflection on childhood in Chicago in Doomsday featuring SM Arson and Spinnerty's "The Go." The album ends with an ambient-styled electronic wind-down, courtesy of NoizAssembly's "Hallow Hoot II."
Some praise has to be said for the cohesiveness of this compilation; for the expansive range of different genres, it's all tied together very nicely, in part thanks to the recording skill of longtime WEFT sound engineer Mike Feldman and in part thanks to the post-production efforts of Brett Sanderson (Absinthe Blind/Triple Whip.) While some of this compilation material has been previously released (for instance, punk rockers Saltwater Vampires released their entire 2002 WEFT Session on CD,) you'd be hard-pressed to find better masterings of the material presented. The magnitude and variety is sure to please longtime WEFT Sessions listeners, and the live spontaneity and quality of the recordings makes it a draw for newcomers to the Champaign music scene. And since proceeds from this album go towards the continued support of WEFT 90.1 FM, it's hard to find a reason to pass up this distinct collection.
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| by adam terese (adam1) / jen cavallero (jentastic) | |
1. Manifest Destiny
2. Sexy Terrorist
3. Jackson Pollack is Dead
4. Shallow Inland Sea
5. I Pinch Myself
6. Good Morning Little Bird
7. Broken Limbs
8. Stick and Carrot
9. Cranes that Build Themselves
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Band: Driftless Pony Club
CD: Janel |
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Review #1 - Adam Terese
What might be best be described as a cross between Cursive and Fugazi, the Driftless Pony Club is a fine example of what the Madison, Wisconsin local music scene has to offer. Rated number five in Rolling Stone magazine, the Madison local music scene is home to a variety of formidable talents, and the Driftless Pony Club is no exception to Madison's excellence for local music. On Janel, we get a good taste (if not a short one) of the captivating, awkwardly catchy indie rock that Driftless Pony Club has to offer.
Throughout the album, DPC sticks to a darker, complex sound that perfectly compliments the raspy, sometimes almost Ian MacKaye-like, vocals. The songwriting is consistently impressive and unconventional which kept me thoroughly engaged for the duration of the album. Although subtle, the added use of the keyboard gives the music an interested edge, while at the same significantly enhances the sound in general. The music on the album is certainly complicated, but at the same time it's catchy and fun enough to still be fairly accessible. The best effort on the album (at least my favorite) happens to be "Good Morning Little Bird". Like most of the album, it is very abnormal in structure, but catchy. It rolls along beautifully starting with a simple, but pretty keyboard part, eventually evolving into a very diverse piece of music.
DPC has managed to create an exceptionally good, dark and, at times, adventurous effort. With only 9 songs, the album is over far too quick and left my ears craving more DPC. With such talent and such a mature and distinctive sound, one can only wonder what this very competent Madison band will accomplish in another year or so.
Review #2 - Jen Cavallero
Witty titles for songs can often dissappoint when actually listened to, but Driftless Pony club succeeds in making songs with names like "Sexy Terrorist" and "Jackson Pollack is Dead" work. Too many bands try to overproduce their records, but DPC seem to embrace the laid-back feel of this album. They focus on the quality of the music rather than flashy sound effects and self-obsessed album art.
This record is an easy listen that at times sounds like a slightly watered-down Weezer mixed with the Weakerthans. Their lyrics are catchy and one can really feel the indie rock vibe on tracks like "Good Morning Little Bird" with the addition of prominent keyboards.
This band has a lot of potential to do great things. All in all, they put forth a great result.
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| by joseph m. pence (notaninja) / mike heiber (TheUglyOrganist) | |
1. Bury the Lead
2. Carousel
3. War Parade
4. Red Shirt
5. Favorite Record
6. Spaceman
7. Firecracker
8. Surrounded
9. Ride
10. 15 Again
11. Satellite
12. Cahuenga Pass
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Band: The Lift
CD: Road to Hana |
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Review #1 - Joe Pence
If the names Jason and Matt Docter of The Lift sound a bit familiar, it's not just you. The two were both a part of The Suede Chain, a prominent player in the C-U scene of the last decade, on Mud Records, the same label that has played host to Sarge, Honcho Overload, and Mother (later Menthol). With this in mind, the sounds presented on Road to Hana might come as a surprise to those familiar with Suede Chain's Ripplemark, holding not the sonic exploration and distant grandiosity of Suede Chain's earlier recordings, but rather the Los Angeles-transplants' Britpop sensibilities and traditional song structure which reminded me more of fellow L.A. natives Paloalto.
Nowhere is this more clear than on opener "Bury the Lead," a jaunty pop song that just grabs you as an instinctive single with its chorus of catchy guitar crunch and prismatic keyboard elements. The Lift thank Henry Frayne in the liner notes and "Spaceman," with its whispery aural guitar backing, is so stellar (no pun intended) it could have been easily underwritten by Frayne's Lanterna. Similarly, the striving recourse of "Red Shirt," a reverberating procession of drums, piano, guitars, is solid and powerful and all once leaves you clearly seeing the U2 they cite so strongly as an influence. But the overbearing social consciousness of "War Parade" and the over-the-top flowery "Surrounded" and "Favorite Record" draw the pop pretty thin, and instead I left this album just wishing I could recommend it more.
Review #2 - Mike Heiber
This rock quartet from Los Angeles brings us a catchy album with songs ranging from indie pop to straight up rock. With their diverse combination of slower ballads with hints of acoustic guitar and piano to driving rock with distorted guitars, resonating bass, and spacey synthesizer, not to mention beautiful vocal harmonies, this group brings alot of the stage. One of the overriding aspects I really liked about this band was the vocals of the lead singer. He has great control over his voice whether gentle or powerful when necessary to combine with the composition and texture of the song to really catching the listener and suck you in.
I was very impressed with the song writing and diversity of songs presented on this album compared to a lot of the pop rock albums being released today. I liked almost all of the songs on this album but I would probably say my favorite song is titled "Spaceman." The song starts out as a slow spacey acoustic rock ballad and over it's almost six minutes duration becomes a driving rock jam session with some awesome synthesized effects and a guitar solo to make it an overall great song.
This song and a few of my other favorites can be downloaded and listened to from their website at www.theliftstation.com. I can only imagine that their live show would be just as energetic and catchy as the album. I recommend everyone to at least give this band a listen.
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| by imran sobh (imran) / jessica cochran (lemmingcontrol) | |
1. 1000 lbs
2. The Fire
3. Slow Down
4. Collide
5. Adonais
6. Stolypin Neckties
7. Sinking Ships
8. The Morning After
9. To The Knife
10. My House
11. Foe
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Band: Loretta
CD: The Translation |
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Review #1 - Jessica Cochran
The Translation is a release by the five piece Indiana band Loretta. Loretta is a little synth-rock, a little alternative, and a little bit harder rock.
The instrumentation on this album is very well done, with multiple guitars, keyboards from the organ to the moog, bass, drums, and on one song, violin. Some of the songs are pretty catchy and a little poppy, but there are others that are slower or heavier. My favorite song on this album though is the hidden track, an acoustic rendition of "The Fire," with the violin.
The only downfall of this CD is the singer. On some songs, like "Collide," his voice sounds ok, but on most of the tracks, the great musicianship gets overwhelmed by his high nasally voice. Some of the songs he goes into a terrible falsetto, and he is not as able to get away with it as the singer from The Darkness.
All in all, I would say this is a decent album, at some points reminding me a little of Vendetta Red in the sound, but not in the singing. Loretta's website is under construction, but you can go to www.indianapolismusic.net to get some info and hear some mp3s.
Review #2 - Imran Sobh
After hearing only one spin of this CD, I fell in love with it. Loretta's The Translation is an album that does not get dreary or boring but at the same time keeps a cohesive sound throughout. The singer's passionate voice draws you into the rich guitars and makes you wish the album never ends. The songs range from emotianally charged laments with beautiful melodies to more pop rock sounding tracks.
I would have to say that they sound reminscent of Bends-era Radiohead. The singer's falsetto voice begs for this comparison, but after listening to the album multiple times, Loretta's sounds can be realized as their own. Instead of singling out any one track, I'll honestly say that every track on this album is a standout track. But I have to bring up "The Morning After" as it has developed to be on of my favorites.
Loretta are truly a high quality band that I think could easily hold their own in the big leagues. Their songs are memorable without being too catchy, and vary in their structure and style just enough to discern them from each other. That being said, it would do them a lot of good to progress a bit in order to stand out from their influences and give something that will stand out. With Loretta being added to my list of favorite small bands, I am really excited to see what they end up cranking out next as I'm sure it will be as pretty as their current album.
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| by jon ozaksut (wayneozacrot) / robert nagel (Musiker04) | |
1. Bringin' It Back To You
2. Again
3. Expressions
4. Heaven Can Hear You - Instrumental Bonus Track
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Band: Echofarm
CD: Echofarm |
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Review #1 - Robert Nagel
Echofarm, hailing from Indiana, kicks off a great demo CD. They start hard-line and in control to finish soft, slow, and sensitive while unmasking their true style along the way. In just the first song, had I heard Echo's intense style; changing rhythms mixed with absorbing lyrics. The guitar is something that you will continuously here, although I got a little annoyed with the sound at times. But that's just me.
The CD starts off hard-nosed and slow with "Bringin' It Back to You," then jumps quickly to a faster tempo to intensify their style. This distracted me slightly from their true style of up beat rock and good flow. I had to listen past the lead guitar, a sound which made me say "what the f*ck" at times, to hear Echo's true sound. The guitar stuck out like an old VW van from the 70's.
Echo pumps out great vibrations on the rest of the CD doing a remarkable job with their rhythm. Most notably is Echo's way of changing flow and multiple speeds of the tempo. At one point I could hear them speeding up the pulse of the song, again stressing their talent on drums and bass. A mixture of great beats, bass, and supporting guitar worked as one with the lyrics to leave me liking Echo sound. Deep layers of bass, master drums, and rhythm guitar make this group sound great.
Expressions is truly impressive, exhibiting a fast paced rhythm changing song with greatly sung lyrics and excellent rhythm guitar. I have just now heard Echofarm songs, and these four I must describe as creative, intense, chilled-out, and worthy of a jam session out at the Canopy. This CD was somewhat ambiguous for me and it would be interesting for me hear how other songs are played. I would truly like to sample other songs of Echofarm.
Review #2 - Jon Ozaksut
I love caffeine. Love it. Some weekends, I'll head up to an all-night diner with my friends and load up on coffee and cigarettes. Honestly, nothing like a good old-fashioned stimulant to pass the time. When it's time to go home, however, caffeine gets its revenge. I can't sit still, my hands shake, and the night generally ends with me tossing and turning in bed, searching and failing to find a comfortable position.
So in kicking back with a fine can of Jolt cola to review Chesterton, IN's Echofarm, it sounds reasonably clear that this band is feeling at least as skittish as I do on weekend nights. Most songs on this CD run through bridges, postchoruses, false endings and breakdowns with all the patience of a child in a room filled with toys, and drummer Patrick Harvey clearly loves his bass pedal. Now, that's not to say it's bad, per se. Echofarm are clearly competent as musicians, and most of the chord progressions and riffs start out very promisingly. Unfortunately, there's a conflict of interest in this music. Much of the sound is dictated by the chord progressions familiar to light contemporary rock -you know the feel, twangy guitars and everyman vocals - but the rhythm section dictates otherwise. Listening to all the clear syncopation lends the definite feeling of a funk or punk band, and the time changes add a "post-" to the latter appellation. Even Eric Fine's vocals swing between adult-contemporary breathiness and Fugazi-style wailing. Fer chrissakes, the "instrumental bonus track" has vocals!
But while other bands use these elements as contributions to their already solid sound, Echofarm sound like they're still searching for theirs. They're not trying to be everything to everybody - they're just looking for something to be. Echofarm is two albums and a genre selection away from putting Chesterton on the map for something besides sand dunes.
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