Deerhoof: Breakup Song

Deerhoof
Breakup Song
Polyvinyl Records [2012]









Fire Note Says:  Deerhoof  make a joyful noise on Breakup Song!

Album Review:
When you take a look back at the Deerhoof discography, it’s a little surprising to see how many stone cold classic albums they have release in the past decade. Reveille (2002), Apple O’ (2003), Milk Man (2004), The Runners Four (2005), and Friend Opportunity (2007) are all “must owns”. The band had hit a creative peak with Friend Opportunity and its follow-up, Offend Maggie (2008), was a bit of a letdown, as was last year’s Deerhoof vs Evil. Those are not bad records at all, they just weren’t as exciting as that classic stretch. I was pretty anxious to see if Deerhoof would be able to reach that lofty plateau again. Indeed they are; Breakup Song is a strong return to classic status for Deerhoof. It’s experimental, it’s poppy, it has wild changes, including multiple changes per song, and most importantly, the band sounds fun again.

Bassist/singer Satomi Matsuzaki sounds great here. She lays down some genuinely funky bass lines throughout the record, but as always, it’s her voice that always brings a smile to the face. It’s almost childlike in its beauty; it adds a sense of innocence and a pureness to the songs. Drummer Greg Saunier is one of the best drummers in rock. He really has to be seen live to truly appreciate what he brings to the table. His drumming is what propels these songs, and I have to believe if he was not such an incredible drummer, that there would be no way that the band would be able to pull off all the turn on a dime changes that they incorporate into each song.

“The Trouble with Candyhands” is the must musically stunning song on the record; it shifts back and forth between a mambo and being a straight up catchy pop song. It is an amazing achievement, and in a parallel universe, this song would be played on the radio constantly, bringing smiles to the masses.  “Fete d’Adieu” is another standout, the guitar cuts in and out between the drums, weaving in and out like welterweight boxer, dodging and slipping punches, while delivering blows of its own.  “We Do Parties” shifts gears multiple times before settling into a dance punk groove that would make LCD Soundsystem jealous.

Deerhoof has rediscovered what made them indie darlings originally. They were always experimental and poppy, but with the last two albums they were missing something…FUN. The fun is back in a big way with Breakup Song, and Deerhoof is back where they belong, at the upper echelon of indie rock bands.

Key Tracks: “Fete d’Adieu”, “The Trouble With Candyhands”, “Breakup Songs”

Bands With Similar Fire: 
Sean Lennon
Cibo Matto
Of Montreal

Deerhoof: Deerhoof Vs. Evil [Fire Note Review 2/1/11]
Deerhoof: Offend Maggie [Fire Note Review 10/8/08]
Deerhoof: Friend Oppotunity [Fire Note Review 2/5/07]

Deerhoof Website
Deerhoof Facebook
Polyvinyl Records

-Reviewed by Kevin Poindexter

Holy Ghost Tent Revival: Sweat Like The Old Days

Holy Ghost Tent Revival
Sweat Like The Old Days
Good Ship Records [2012]









Fire Note Says: Don't let the name fool you - Holy Ghost Tent Revival deliver a quality blend of Dixieland rock on third lp Sweat Like The Old Days.

Album Review:
I have found that never judging a book (or in this case an album) by its cover has always been good advice. Of course it is all about the music but it is easy to dismiss completely or to categorize Greensboro, NC band Holy Ghost Tent Revival into the surging neo-folk movement. Now once you move past their name and frequent appearances at the local bluegrass festival their style of Dixieland meets raw rock emotion delivers a surprising different experience on their third lp Sweat Like The Old Days.

This New Orleans style hits you right away as the jazzy low key horns kick off first track "The Mayan King" and establish the backbone of the record immediately. The use of a horn section is not unique but once Holy Ghost Tent Revival reveal their high quality harmonized singing, Sweat Like The Old Days grabs your attention. The more upbeat vibe on "Telephone Wire" is a good example of the bands carefree and flowing song structure that showcases all the pieces working together for positive results. The group also nicely shows off their vocal talents on the gorgeously acoustic "Come Tomorrow" which shines when its harmonized lyrics are delivered with such emotion and precision. Holy Ghost Tent Revival also don't pigeon hole themselves into a historic era as the modern pop swaying on "John Addams Family" has a nice groove that has a party atmosphere right down to its last "na na na."

Holy Ghost Tent Revival is not going to change your world but if you are looking for an album that is definitely outside the norm Sweat Like The Old Days provides a nice offset to the standard genres. Its lush arrangements, harmonizing synchronicity and noticeable passion for music should place Holy Ghost Tent Revival as a worthy stop for an entertaining and memorable 44 minute listen.

Key Tracks: "Telephone Wire", "Come Tomorrow", "John Addams Family"

Bands With Similar Fire:
Hoots & Hellmouth
Dr. Dog
Homunculus

Holy Ghost Tent Revival Website
Holy Ghost Tent Revival Facebook

-Reviewed by Christopher Anthony

Swans: The Seer

Swans
The Seer
Young God Records [2012]









Fire Note Says: The Seer is a brutal, challenging, and ultimately rewarding album from Swans.

Album Review:
Heavy, repetitious, epic, challenging, long, droney and difficult are all words I would use to describe The Seer, the new album from Swans, and I firmly believe that is exactly the response that Swans leader Michael Gira is looking for. The record is all of these things and Gira sticks to his vision without fail; never wavering from this mission.  It’s an impressive challenge that Swans have laid before their listeners. It’s as if they said, stick with us through all 2 hours of music this challenging, and we can guarantee you won’t regret it once you get to the end. Taken individually, the tracks are interesting enough, but they take on greater significance when you listen to the larger work. This album is less about the songs, and more about the song cycle, and the mood they create.

Opening track “Lunacy” is a perfect example of this in a smaller scale. The song is built on a single two note riff that repeats throughout the entire song. It changes here and there, but the riff itself doesn’t build up to any dramatic crescendo, instead what builds is in your own head, it keeps going almost to the point of driving you crazy, and just as it hits that point, or takes you just a split second past that point, it ends. The word lunacy is also repeated over and over creating a similar effect. The whole thing really is remarkably insane. My words here don’t really do it justice. Go listen to it.

The title track, "The Seer", is a 32 minute monolith, moving through multiple sections, moving from quiet to intense, but often times hovering in the space in between the two extremes, often times flashing between the two in an instant. “Song For A Warrior” is the most accessible song here, and also the most beautiful song on the record. Karen O is the perfect foil for this music; she makes it sound downright poignant.

Former Swans vocalist Jarboe makes her first appearance on a Swans record since 1998, starting off on the track “The Seer Returns”, and more prominently on the 19 minute epic, “A Piece of the Sky”, which also features Gira collaborators and Young God recording artists Akron/Family.  The track starts with a thunderstorm that literally sounds like a piece of the sky is falling, and then shifts into a beautiful choral vocal from Jarboe. The first 9 minutes of the track are an intense sound collage which pushes the limits of the listener’s tolerance, before shifting into a post rock gear that really finds the song hitting its stride. Closing track “The Apostate” is 23 minutes of disorienting noise that seems to go nowhere and everywhere all at the same time, before ending in a barrage of drums and screams, a fitting end to a primal, aggressive, challenging record.

Key Tracks: “Song For A Warrior”, “The Wolf”, “The Seer”

Bands with Similar Fire:
Boris
Godspeed! You Black Emperor
Earth

Swans Facebook
Young God Records

-Reviewed by Kevin Poindexter

The Killers: Battle Born

The Killers
Battle Born
Island Records [2012]









Fire Note Says: The Killers try to save your life with their fourth LP Battle Born. 

Album Review:
Is it cool to like bands like The Killers these days?  Their earnestness is front and center and in neon lights on their fourth studio album, Battle Born.  They’re trying so hard to say something, to tell a story, to connect with you on an intimate level.  With songs that are crafted for arenas, the juxtaposition between this intent and the actual music can be jarring.  There’s no denying that the tunes are catchy as hell - Brandon Flowers’ voice sounds so much more refined than it did on Hot Fuss [2004].  There’s something about me that resists getting roped into what The Killers are offering, though. 

The challenge of bands that get the chance to mature in their music is losing the urgency and devastation of youth.  “Somebody Told Me” and “Mr. Brightside” are about sexual confusion and heartbreak.  “Runaways” is about getting older.  While the latter subject creates as much tension as the former two topics, the energy is much different.  I liked “Runaways” and found the lyrics to resonate with me as someone who has been married for several years.  Quite frankly, I don’t like being reminded of those tensions all the time.  To me, that’s the appeal of “Mr. Brightside” over “Runaways.”  I get to stay young when I listen to it and escape the very real responsibilities of being an adult.  And then a song like “Deadlines and Commitments” comes along, which is preachy and sobering and tries way too hard to talk someone into finding peace.  Without a doubt this song will speak to a lot of adults who are dealing with adult problems.  I’d rather someone get miserable with me than try to sing me out of it. 

There are still hints of the 80’s influence throughout the album.  However, I thought I heard just as much 80’s-era pop/rock (think Bruce Springsteen or Journey) as I did the New Wave influence that shape The Killers’ sound.  That’s not necessarily a bad thing but it does set the tone that The Killers may take themselves too seriously.  I would’ve liked to have had more fun listening to the album.  I will admit that the swelling choruses, the pulsing synthesizers, and the hooks in general are well-done and musically appealing. 

If it’s not clear, I have conflicting feelings about Battle Born.   Part of me wants to pump my fists as I listen to it; the other part of me wants to roll my eyes.  That’s the danger in the message, the music that The Killers are selling.  I’d like to see them get dirty, have a one-night stand, and in general lighten up on their next outing.

Key Tracks: “Runaways,” “The Rising Tide,” “Miss Atomic Bomb”

Bands With Similar Fire:
U2
Keane
Bruce Springsteen

The Killers: Day & Age [Fire Note Review 11/25/08]
The Killers: Sam's Town [Fire Note Review 10/4/06]

The Killers Website
The Killers Facebook
Island Records

-Reviewed by Matthew Heiner

Murder By Death: Bitter Drink, Bitter Moon

Murder By Death
Bitter Drink, Bitter Moon
Bloodshot Records [2012]









Fire Note Says: Murder By Death not only deliver the goods on their sixth full length, Bitter Drink, Bitter Moon, but have also released one of the best albums in 2012!

Album Review:
I love it when an album takes hold of me from the very first track and never lets go. This is the experience I had listening to Murder By Death's new sixth full length Bitter Drink, Bitter Moon. 

Right from the hush style of the very short opening track, "My Hill", the listener gets primed as the song's instruments build near the end and make a seamless transition into the piano playing that kicks off "Lost River". Singer Adam Turla has a unique voice which sounds like a combination of The National's Matt Berninger and the legend Johnny Cash. That description alone should pull new listeners into this record as Turla's baritone sings "I know a place where a body can hide" and sets the tone of this cinematic album that is only just getting revved up. Next track "Straight At The Sun" continues the building intensity as it is a full out rock song that once again highlights the band's musical tightness and captures the moment with a stellar explosion of out of control cello and the song's closing line "It's a dark road when you walk it alone and it gets this cold."

You might think Bitter Drink, Bitter Moon will settle down soon but it just doesn't even with the slower emotion on the following "No Oath, No Spill" which is still before you hit one of the catchiest tracks the band has released with the rollicking "I Came Around." It is an instant highlight on the album with its quick pace and soaring chorus that will almost make you hit repeat immediately. After the excellent next track "Hard Road" you won't believe that you have only heard half of Bitter Drink, Bitter Moon and should be excited as the next half contains its own surprises.

"The Curse Of Elkhart" has several mariachi undertones that boost the song to next level as its festive delivery is a fresh avenue for Murder By Death. "Go To The Light" is another track on the record that finds the band battling darkness and struggling to get out without being smothered by letting in just enough light to survive as Turla plainly states "I fight and I fight just to keep the spark alive." Closer "Ghost Fields" reprises some of the same chords from the earlier "Lost River" and is the perfect finale to a great album as Turla tries to convince you that he is not an eloquent man but as this song crescendos upward and rides off into the sunset you just know he was totally lying as Murder By Death has released one of their most articulate and powerful records to date!

Key Tracks: "Lost River", "I Came Around", "The Curse Of Elkhart"

Bands With Similar Fire:
The National
Nick Cave & The Bad Seeds
Johnny Cash

Murder By Death: Good Morning, Magpie [Fire Note Review 5/4/10]

Murder By Death Website
Murder By Death Facebook
Bloodshot Records

-Reviewed by Christopher Anthony

The Raveonettes: Observator

The Raveonettes
Observator
Vice Records [2012]









Fire Note Says: Observator is another in a long line of excellent albums by The Raveonettes.

Album Review:
The Raveonettes, Sune Rose Wagner and Sharin Foo, are back with their  6th album, Observator. The Danish group, who burst onto the scene with their Whip It On ep in 2002, continue to do exactly what they do best, hazy girl group inspired melodies and loud layered guitars melded together to create their own unique sound. Originally written off by some as a Jesus and Mary Chain clone, the band has proved time and time again they are much more than just the sum of their biggest influences. Their signature sound has been duplicated by a whole new set of younger artists, from Dum Dum Girls to Best Coast, with Dum Dum Girls having even called on him as a producer to help achieve that sound.

Each Raveonettes album is different that the last, often written within a strict framework, Whip It On was famously written only in b flat, Chain Gang of Love in b major etc. Observator was originally written with Los Angeles in mind, it was Wagner’s Shangri-La, but he soon found the walls closing in around him and it is reflected in the songwriting. These songs are observations of the paranoia, the seclusion and the isolation he found himself in. ‘Observations’ contains the haunting line “to live like other people, I never think I’d do, and so my love I give into this dark”. The line is even more effective because it’s sung over a solitary stark piano line, further driving home the feeling of loneliness evident in the song. Songs such as “Curse the Night” and “The Enemy” work to further demonstrate this theme.

While thematically and lyrically this album may seem like a hopeless downer, in reality, The Raveonettes have worked hard to make Observator sound beautiful, wrapping the songs in gorgeous melodies and a warm guitar haze. The record was recorded at the legendary Sunset Sounds studio, home to classic sessions from everyone from The Doors to The Beach Boys.  Just as those two bands mined similar themes on their albums and made them sound  fantastic, so have The Raveonettes. Similar to Pet Sounds, Observator isn’t impenetrable, it’s actually rather inviting. It’s as if by opening up their pain to us, it is an act of catharsis for them. Loneliness and isolation never sounded so good! The Raveonettes are now in a position where they are becoming as influential to this new wave of artists as their own influences were on them.  Being elder statesmen fits them very well!

Key Tracks: “Observations”, “Till The End”, “Young and Cold”

Bands With Similar Fire:
Best Coast
Jesus and Mary Chain
Dum Dum Girls

The Raveonettes: Raven In The Grave [Fire Note Review 4/22/11]
The Raveonettes: In And Out Of Control [Fire Note Review 10/13/09]
The Raveonettes: Lust Lust Lust [Fire Note Review 2/28/08]

The Raveonettes Website
The Raveonettes Facebook
Vice Records

-Reviewed by Kevin Poindexter

Crosley Court: Patchwork

Crosley Court
Patchwork
Self-Released [2012]









Fire Note Says: The best prog rock band you've never heard of delivers one powerhouse of a record.

Album Review:
Crosley Court’s debut studio effort, Patchwork, delivers an edgy, hard-hitting sound that many of today’s rock bands seem to have forgotten how to deliver. The record opens with a two-minute Tool-inspired intro, which makes use of a variety of distortion effects to create a soundscape that will haunt your nightmares. Immediately following this barrage of aural terror are eleven brilliantly structured progressive rock songs. Every track has been meticulously mixed, which I found both extremely refreshing and promising. Particularly when one is listening to independently recorded, mixed, and produced music--and in this case, everything was done by the band in a garage--one usually has to suffer through too much high gain, or too low vocals. This is not the case with Patchwork.

The sound of the songs on the record varies, from the angst-ridden growls of “Body of Lies,” to the lighter, pop-punk influenced “Lockdown Emergency.” Many of the songs draw inspiration from fellow progressive artists like Coheed & Cambria and Trivium, with driving riffs that would make Metallica blush. The guitar work is at times both interesting and insane, inspired and intriguing. This is to say nothing of the intricate percussion used throughout the album, which evolves beyond simply keeping time and, instead, adds another sort of melody to the music.

The songs on the album you really need to look out for are “No More Alice,” which starts out quietly with an opening guitar lick like flowing water that immediately sucks you in before exploding into its chorus; “Naked,” a much more punk-oriented song, whose lyrics about feeling vulnerable contradict its heavy, driving melody and strong lead guitar work; “Revolution” begins with a short but “Wipeout“-worthy drum intro before exploding into five minutes of socially conscious rhetoric and a call to arms; and the album closer, “Tragic,” a nine-minute epic detailing the struggles and hardships of a young woman’s life, which ends on a tear-jerking three-minute coda.

Overall, the album packs a wallop and may demand multiple listens. While you may only be able to find it at shows, this record is well worth the search.

Key Tracks: "No More Alice," "Naked," "Revolution"

Bands With Similar Fire:
Coheed & Cambria
Muse
Trivium

Crosley Court Website
Crosley Court Facebook

-Reviewed by Christian Yates

Mumford & Sons: Babel

Mumford & Sons
Babel
Glassnote Records [2012]









Fire Note Says: Highly anticipated sophomore record from UK's Mumford & Sons has its moments.

Album Review:
Since the release of their debut Sigh No More, I am not sure anyone totally predicted the Mumford explosion that has taken place over the last several years but here we are with the follow up as one of the most anticipated records of 2012. First off, Babel will absolutely push Mumford into the next stratosphere of popularity with its "stick to your fiddle" type of mentality and its similar soaring singles that were present on the group's debut.

Now as a complete collection Babel struggles to impress thoroughly because Mumford & Sons gives you a similar style over and over. The hush passionate vocal followed by an explosion of banjo then the soon to follow hook is a standard play here on Babel and for most - if it ain't broke don't fix it. This works brilliantly for the single "I Will Wait" which immediately sticks in your head and will have you humming the tune long after its conclusion. This is the magic of Mumford & Sons as they have real potential to create catchy neo-folk. Babel proves this point again on the endearing "Hopeless Wanderer" as singer Marcus Mumford connects with his audience as he pleads "Don't let your heart grow cold; I will call you by name; I will share your road" before a slight pause and a quick burst of instruments turns the track upside down before the chorus soars. It is this type of song that shows Mumford & Sons did work hard to diversify some of their sound on Babel without overhauling it.

I can respect staying the same mode and I have no doubts that fans will eat this record up but some restraint would have made Babel stellar. Instead there are three 5 plus minute tracks back to back in the mid section of this record and not enough tempo shifts to keep repeat listens moving. On shuffle mode, Babel works better to the ear and if you spring for the deluxe edition you get three worthy bonus tracks that includes the more simple and catchy "For Those Below" and a solid cover of "The Boxer" with the help of Paul Simon and Jerry Douglas. Babel by no means is a terrible record as some critics might have you believing but it is also not the savior of folk music. Mumford & Sons once again create some very memorable singles and set the stage for world domination. I still am interested in the band and next time out I would like to see the Mumfords focus on making a tight 40 minute record that does not try to oversell their talents because then you will see me give the group all the accolades they deserve - next time.

Key Tracks: "I Will Wait", "Hopeless Wanderer", "Babel"

Bands With Similar Fire:
Noah And The Whale
Coldplay
The Lumineers

Mumford & Sons: Sigh No More [Fire Note Review 3/2/10]

Mumford & Sons Website
Mumford & Sons Facebook
Glassnote Records

-Reviewed by Christopher Anthony

Menomena: Moms

Menomena
Moms
Barsuk Records [2012]









Fire Note Says: With Moms, Menomena has created the finest album of their career!

Album Review:
On their 4th album, Moms, Menomena have actually created an album centered around the duo’s sometimes complicated relationships with their mothers. While the lyrics may be a bit heavier and more mature than normal (though Mines was no walk in the park), what really perked up my ears was the fact that Menomena is once again raising a joyfully chaotic noise with the music. For those of you who may have forgotten, Menomena first came to the attention of the indie world with their debut lp, I Am The Fun Blame Monster, which was on many best of lists in 2004. Their second album, Friend and Foe, was met with almost universal acclaim in 2007. By the time of their third album, the criminally overlooked Mines, the buzz had completely worn off the band, and I could never understand why. Mines was filled with great songs, and while it might not have been as adventurous as the first two records, it certainly made up for it in artistic growth and maturity. This brings us to the difficult fourth album. Would Menomena sink or swim, would they regain some of the buzz which had seemingly evaporated? The answer is a resounding YES, Moms is a winner all across the board.

This record rewards with repeated listenings. Sonically, it impresses immediately. The music is experimental, quirky, bouncy, and joyous, and it takes chances that pay off in spades. The drums are big, the guitars snarl in all the right spots, and the vocals sound almost exactly like Blur. In fact, the record this most reminded me of on first listen was Blur’s Think Tank.

Brent Knopf left the band following Mines to devote his efforts to his project Ramona Falls full-time, and while he was very instrumental in the make-up of the first three records, Danny Seim and Justin Harris have carried on and experienced a rebirth. Many of the buzz bands from the early to mid-2000’s have fallen completely off the map, and Menomena was in danger of becoming one of those bands. Call it addition by subtraction, or whatever you like, but the fact is, Menomena have created the finest record of their career, and one of the year’s best.

Key Tracks: “Skintercourse”, “One Horse”. “Plumage”, “Don’t Mess With Latexas”

Bands With Similar Fire: 
Blur
TV On The Radio
Tapes N’ Tapes

Menomena: Mines [Fire Note Review 7/27/10] [#33 Top 50 of 2010]
Menomena: Friend And Foe [Fire Note Review 2/27/07] [#19 Top 25 of 2007]

Menomena Website
Menomena Facebook
Barsuk Records

-Reviewed by Kevin Poindexter

Dum Dum Girls: End Of Daze

Dum Dum Girls
End Of Daze
Sub Pop Records [2012]









Fire Note Says:  End of Daze, the new ep from Dum Dum Girls is both haunting and gorgeous!

Album Review:
End of Daze, the new Sub Pop ep from Dum Dum Girls is simply stunning.  Partially recorded immediately after last years Only in Dreams, as well as featuring two more recent songs, End of Daze is a perfect encapsulation of everything I really like about the band.  It’s sad and melancholic, yet also uplifting and hopeful. Dee Dee as always has one of the most gorgeous voices in indie rock. Her voice is perfect for the music she writes, mining a similar territory as peers Best Coast and Vivian Girls, as well as The Raveonettes. Girl group harmonies wrapped up in swirling shoegaze guitars are in abundance here.

The obvious highlight of the album is “Season in Hell” (no not the lost Eddie and the Cruisers classic), which is perhaps the most optimistic song in their entire catalog. “It’s been a season in hell, but doesn’t the dawn look divine? It’s the end of daze” “Mine Tonight” opens the ep up on a gorgeous note. It’s a slow burner that picks up steam until finally kicking in at the 1:30 mark. It uses the slow building soft to loud dynamic very effectively. My guess is that this song would be a face melter live. “I Got Nothing” is another winner that uses the classic soft/ loud/ soft dynamic to great effect.

My only complaint with this record is that at 5 songs and 18 minutes, I want so much more. I suppose that’s the point with an ep, these are usually designed to tide you over until the next full length, but End of Daze is a completely different animal, it’s a fully formed artistic statement, although in a much shorter format.  This one is highly recommended!

Key Tracks: “Season In Hell”, “I Got Nothing”, “Mine Tonight”

Artists With Similar Fire:
Vivian Girls
Best Coast
The Raveonettes

Dum Dum Girls: Only In Dreams [Fire Note Review 10/10/11]
Dum Dum Girls: He Gets Me High [EP] [Fire Note Review 3/9/11]
Dum Dum Girls: I Will Be [Fire Note Review 3/30/10]

Dum Dum Girls Website
Dum Dum Girls Facebook
Sub Pop Records

-Reviewed by Kevin Poindexter

The Jon Spencer Blues Explosion: Meat + Bone

The Jon Spencer Blues Explosion
Meat + Bone
Boombox/Mom + Pop Records [2012]









Fire Note Says: The Jon Spencer Blues Explosion brings their signature raunchy, greaser blues sounds from the 90’s back and that’s a good thing.

Album Review:
First, let me start this review off with a disclaimer: listening to this record at high volumes may encourage a person or persons to run around shouting BLUES EXPLSION at the top of their lungs. Now that I have that off my chest I can continue the review. Being an avid listener of the Blues Explosion, I’ve always known that they spell blues with a capital F U N. This record, Meat + Bone, is no exception to that rule.

The record opener, "Black Mold", brings an exhilarating ride early on right in your face with a pounding drum, signature wail, and a rift that may have been  influenced  by their tour in Japan and China. It is a very striking song and sets the pace for the big groove of blues throughout the album. Second track, "Bag of Bones", with its honky harmonica drives the beat right down to your feet,  as if your train is rocking into the station. It really wouldn’t be a proper Blues Explosion record without a good amount of sex injected within. The fourth track, "Get Your Pants Off", brings it in spades. A funky fuzz and  thunder guitar thump take care of everything as you dance your pants off. One of my favorite aspects of the Blues Explosion is their use of slide guitar in their music. "Strange Baby" represents this perfectly.  Everything is here - a thump blues shuffle as well as a fantastic use of slide that’s placed perfectly in the song.

The Jon Spencer Blues Explosion hasn’t broken any mold making this record nor have they gone outside of their boundaries. This trio still proves that there’s a BLUES EXPLOSION still left in this powder keg. So slick back the hair, push the pedal to the metal, and rock n roll with The Jon Spencer Blues Explosion until dawn, you’ll be thankful you did.

Key Tracks: “Bag of Bones”, “Get Your Pants Off”, “Strange Baby”

Artists With Similar Fire:
The Black Keys
The White Stripes
Elvis Presley

The Jon Spencer Blues Explosion: Orange | Acme [Reissues] [Fire Note Review 10/22/10]
The Jon Spencer Blues Explosion: Extra Width | Year One [Reissues] [Fire Note Review 8/23/10]
The Jon Spencer Blues Explosion: Now I Got Worry | Controversial Negro [Reissues] [Fire Note Review 5/17/10]
The Jon Spencer Blues Explosion: Dirty Shirt Rock 'N' Roll: The First Ten Years [Fire Note Review 4/30/10]
Heavy Trash: Midnight Soul Serenade [Fire Note Review 11/30/09]

The Jon Spencer Blues Explosion Website
The Jon Spencer Blues Explosion Facebook
Boombox/Mom+Pop Records

-Reviewed by Christopher Tahy

Green Day: ¡Uno!

Green Day
¡Uno!
Reprise/Warner Bros. Records [2012]









Fire Note Says: Green Day goes back to the basics on ¡Uno! which makes for a fun pop punk ride.

Album Review:
Sometimes it is nice to hear an artist sound like what you think they should sound like. Over the last eight years Green Day have taken their driving power pop punk to the extremes for solid results on the themed American Idiot [2004] and 21st Century Breakdown [2009]. ¡Uno! takes a step back from the complexity of those records and just simply comes at fans with a carefree and catchy 42 minute pop punk ride.

This direction can immediately be heard on opening track "Nuclear Family" with its foot tapping rhythms, familiar quick guitar chords and Billie Joe's unmistakable delivery. It is a 3 minute nugget that really could fit into any of their 90's output. That same era of Green Day surfaces more than not here on ¡Uno! which for me was an instant draw. Historically, Green Day could always be counted on for having songs that never shied away from a cuss word or two (or ten), sounded great with maxed out volume, and instantly had a hook that anyone could sing along within seconds. When the speedy "Let Yourself Go" hits your speakers it will strike an instant chord as Armstrong plainly states "I don't give a fuck anyway!" and the song is the perfect example for what I am talking about.

Not all the tracks here on ¡Uno! keep to the format as the more dance rock found in "Kill The DJ" gives Green Day a new avenue here that just comes off OK and ultimately becomes somewhat forgettable while the closing over 5 minute single, "Oh Love", is definitely built for radio and fails to finish off a really good punk pop record properly.  I would even say compared to the other 10 tracks that comprise ¡Uno! the two singles are the outliers from the overall sound. This does not mean they are not catchy after repeat listens but they truly are not the dominate flavor on this album. ¡Uno! of course is part one of the trilogy as ¡Dos! hits retail next month and ¡Tré! lands in January, so it will be interesting how these records connect and who knows, the more unique sounding tracks here may become the norm moving forward. I will say that after this strong and fun performance - I can't wait to find out!

Key Tracks: "Let Yourself Go", "Loss Of Control", "Nuclear Family"

Bands With Similar Fire:
Riverdales
New Found Glory
Blink-182

Green Day: Awesome As F**k [Fire Note Review 4/11/11]
Green Day: 21st Century Breakdown [Fire Note Review 5/15/09]

Green Day Website
Green Day Facebook
Reprise/Warner Bros. Records

-Reviewed by Christopher Anthony

The Helio Sequence: Negotiations

The Helio Sequence
Negotiations
Sub Pop Records [2012]









Fire Note Says: Negotiations is a vast, gorgeous pop record from the Portland duo!

Album Review:
While on tour in support of their 2008 lp, Keep Your Eyes Ahead, The Helio Sequence’s practice space/studio flooded. Luckily most of the equipment was either out on the road with them, or high enough off the ground to be saved, but bottom line, they needed to find a new “home”. Their new space was double the size, which meant they could have double the gear. Negotiations is the product of this new space, and the extra size of the room and gear that could be used is immediately evident. This record sounds bigger than anything they have done in the past, you can hear the space in the room. The record is covered in reverb like it was recorded in a vast old warehouse (which it was!).

From album opener, “One More Time”, it’s clear that this isn’t going to be a typical Helio Sequence record. The song shimmers, like an early 90’s Lush track. The guitars jangle, the drums crack, and the vocals float on top, similar to what Hamilton Leithauser does with The Walkmen. In fact, the second song, “October”, sounds like it could have fit comfortably on that bands newest lp, Heaven. This record is so big; it’s hard to believe it was recorded by just two men.

While The Helio Sequence sound confident and sonically impressive here, they haven’t necessarily learned how to use all of this new found expansiveness effectively. The record suffers somewhat from an overwhelming sameness. Each song starts slowly and builds to an impressive conclusion, but it’s hard not to think they aren’t using the same sonic blueprint over and over. That’s not to say it’s not a good blueprint, it is, but it could be more varied and paced better. The record is only 43 minutes long, but it can be a bit rough to sit thru Negotiations in one sitting. I found that if I broke it up into smaller pieces, it worked much better for me, and I enjoyed it much more. Individually each track is immaculate, but taken as a whole, the repetition can dull the experience.

Key Tracks: “One More Time”, “October”, “Harvester of Souls”

Bands With Similar Fire:
The Walkmen
Morning Benders
Grizzly Bear

The Helio Sequence Website
The Helio Sequence Facebook
Sub Pop Records

-Reviewed by Kevin Poindexter

Boston Spaceships release cover art & track list for new Greatest Hits record

Boston Spaceships - "The Greatest Hits Of Boston Spaceships: Out Of The Universe By Sundown"

Album Released on Oct 8, 2012

This is a Fire Records only release.








More information below on the new compilation record from Robert Pollard's Boston Spaceships. Great way to catch up if you have not picked up any albums from this stellar side project!

Between 2008-2011, Boston Spaceships released five albums, beginning with Brown Submarine, a pop punk album made by guys who've worn out the grooves on their Cheap Trick, Alice Cooper, Wire and dBs record, and culminating in the 75-minute double-LP masterpiece, Let It Beard, one of the most ambitious, varied, sprawling, and yet entirely coherent records Pollard has ever made. Let It Bleed features a variety of sonic textures, in part courtesy of a host of guest guitarists/luminaries including Colin Newman (Wire), J. Mascis (Dinosaur Jr.) and Steve Wynn (Dream Syndicate).

Track List

1. You Satisfy Me
2. John the Dwarf Wants to Become an Angel
3. Earmarked For Collision
4. Question Girl Alright
5. Make A Record For Lo-Life
6. Headache Revolution
7. Tabby And Lucy
8. Canned Food Demon
9. How Wrong You Are
10. Come On Baby Grace
11. German Field Of Shadows
12. Let is Rest for a Little While
13. Big O Gets an Earful
14. In the Bathroom (Up Half The Night)
15. Tourist UFO

Boston Spaceships: Let It Beard [Fire Note Review 8/1/11]
Boston Spaceships: Our Cubehouse Still Rocks [Fire Note Review 9/1/10]
Boston Spaceships: Camera Found The Ray Gun [EP] [Fire Note Review 3/19/10]
Boston Spaceships: Licking Stamps And Drinking Shitty Coffee [Fire Note Review 12/10/09]
Boston Spaceships: Zero To 99 [Fire Note Review 10/1/09]
Boston Spaceships: The Planets Are Blasted [Fire Note Review 2/13/09]
Boston Spaceships: Headache Revolution 7" [Fire Note Review 1/12/09]
Boston Spaceships: Brown Submarine [Fire Note Review 9/16/08]

The Corin Tucker Band: Kill My Blues

The Corin Tucker Band
Kill My Blues
Kill Rock Stars [2012]









Fire Note Says: Corin Tucker finds her Sleater-Kinney voice again on sophomore solo album Kill My Blues.

Album Review:
Hands down, Corin Tucker has one of the absolute fiercest vocals in all of music, past or present. Now on her sophomore solo outing, Kill My Blues, the ex-Sleater-Kinney frontwoman ditches the acoustic guitars, cellos and violins which found their way onto her debut, 1,000 Years [2010], for what she knows best - riot grrl punk rock.

You get this rejuvenated Tucker right off on first track "Groundhog Day" where she quickly sums up her whereabouts in the line "Wait, you see, now, I took a rest; I took some time to be a mom and have some kids" as the Corin snarl which dominated the late 90's is back in full force. "Constance" is the next track that truly stands out as it features a more reserved singing Tucker until its exploding mid-point which has Corin sharply turning everything up 10 notches as the guitar rock riff kicks in and she belts out the chorus. This I believe is the difference between Corin Tucker today and the Corin Tucker that fronted Sleater-Kinney. She now has a greater control and focus over her vocal that at times shows positive restraint as she now allows songs to develop before letting her power chops come out of the cage. This balance gives Kill My Blues the progression you would expect from Tucker in 2012 without giving up any of her strengths.

Kill My Blues also benefits from Tucker's band being together now for two years which includes touring, traveling, making music and actually having input on the record. This collaboration shines on songs like "Summer Jams" that relies just as much on the stylistic chord changes as it does on Tucker's voice. If there is anything to pick at here, I am sure that Corin Tucker will be dismissed in some circles as she nears her 40th birthday. Sure her perspective has changed and matured with her life experiences but when you take Kill My Blues for a spin all of that caution or pettiness should go out the window because I will tell you that Corin Tucker is all rock n roll here and compared to her debut this is the album that I really wanted to see her make!

Key Tracks: "Groundhog Day", "Constance", "Joey"

Bands With Similar Fire:
Yeah Yeah Yeahs
Wild Flag
Concrete Blonde

The Corin Tucker Band: 1,000 Years [Fire Note Review 10/7/10]

The Corin Tucker Band Website
The Corin Tucker Band Facebook
Kill Rock Stars

-Reviewed by Christopher Anthony

How To Dress Well: Total Loss

How To Dress Well
Total Loss
Acephale Records [2012]









Fire Note Says: How to Dress Well impresses with their second full-length Total Loss.

Album Review:
How to Dress Well is Tom Krell, a Brooklynite who produces and sings on the second full-length album Total Loss.  Much of the album is sung in falsetto, which reminded me most recently of Bon Iver.  There are other similarities between Justin Vernon and Krell including the ability to create a mood and atmosphere with their music.  In fact, Total Loss is one of the most emotionally resonating albums I’ve listened to since Bon Iver’s last LP.  How to Dress Well does have more of an R&B flavor, evocative of The Weeknd, so do not start thinking this is Bon Iver redux.  

Krell establishes the mood of the album with the first track “When I Was In Trouble.”  There are a few moments of quiet fuzz and then an organ plays what sounds like a dirge.  This is how an album with the title of Total Loss should begin.  Much like Bon Iver, I didn’t feel a need to dive into the lyrics and extract their meaning - their meaning is evident in how the song is sung and produced.  In fact, knowing the lyrics could weaken the album in some way.  “Cold Nites” follows and I’ll admit that it got a bit dusty in the room the first time I heard it.  Yeah, I teared up.  I was filled with wonder and appreciation for being able to connect with this track on an intimate level.  The tone for the remainder of the album is consistent with these first two tracks with room for some funk and grooves.  Even “Cold Nites” has a heavy dose of that funk served with a side of wistfulness.  “Running Back” sounds like a great Prince track, which is never a bad thing. 

My only problem with Total Loss is its somewhat lack of diversity as the album moves along even though I feel there is enough here to keep my attention and appreciate the care and detail pored into the tracklist.  And to be honest, this is a minor quibble when contrasted with the strengths of this album.  Total Loss surprised me when I first listened to it - I was not expecting the craftsmanship and ambiance it provided.  I think that surprise worked in the album’s favor.  This is not a one-listener by any means.  Total Loss is one of my favorites of the year so far and its understatedness demands attention.   

Key Tracks: “Cold Nites,” “When I Was In Trouble,” “Running Back”

Bands With Similar Fire:
Bon Iver
The Weeknd
M83

How To Dress Well: Love Remains [Fire Note Review 10/18/10] [#30 Top 50 of 2010]

How To Dress Well Website
How To Dress Well Facebook
Acephale Records 

-Reviewed by Matthew Heiner

Band Of Horses: Mirage Rock

Band of Horses
Mirage Rock
Columbia Records [2012]









Fire Note Says: Band of Horses return on their fourth LP with a solid outing. 

Album Review:
Band of Horses broke out with their last album, Grammy-nominated Infinite Arms [2010].  Two years later the group returns with a solid follow-up to that record.  Mirage Rock is expertly crafted with high production value.  There is a great balance between the ballads and uptempo pieces and the track list is arranged in a way to avoid listener fatigue.  At times Band of Horses sounds too slick, though, making things look overly easy and automatic.  For this reason some of the emotional energy or heft is missing from this release. 

This is a bit surprising given some of the heady topics being covered.  Two track titles, “Slow Cruel Hands of Time” and “Everything’s Gonna Be Undone” speak to the sense of mortality and loss that creep up throughout Mirage Rock.  Although I appreciated the intent behind these themes, they failed to emotionally connect with me because of the lack of depth given to these issues.  At times the pleasantness of the harmonies and the prettiness of the album, works against creating a certain amount of tension that would have helped me have a cathartic experience.  This is a nice-sounding album that fails to resonate on a deeper level.  The attempts at that tension, most notably “Dumpster World,” typically miss the mark by a hair or two.

I also found myself playing spot the influence while listening to Mirage Rock.  Harmony-minded classic rock (Crosby, Stills, Nash, and Young or The Eagles) could be heard on almost every track.  Band of Horses have the formula down and this brings a sense of nostalgia to Mirage Rock as well.  Those who enjoy that genre will find themselves right at home here; others may find the lack of newness a bit staid.  You can count me in the latter group.  I enjoyed Mirage Rock the most when BoH speeds things up and has fun.  “Knock Knock” and “A Little Biblical” stand out for me in that regard. 

Although I’m a bit disappointed with this LP, I found it easy to listen to and will no doubt fire it up again in the near future.  I think Band of Horses missed a chance and might have played things a bit too safe here, which ultimately limits the quality of Mirage Rock.

Key Tracks: “Knock Knock,” “A Little Biblical,” “Feud”

Bands With Similar Fire:
Neil Young
Fleet Foxes
Wilco

Band Of Horses: Infinite Arms [Fire Note Review 5/14/10]
Band Of Horses: Cease To Begin [Fire Note Review 10/9/07] [#3 Top 25 of 2007]

Band Of Horses Website
Band Of Horses Facebook
Columbia Records

-Reviewed by Matthew Heiner

Grizzly Bear: Shields

Grizzly Bear
Shields
Warp Records [2012]









The Fire Note Says: While it feels like the framework of greatness is there, Grizzly Bear's new album, Shields, doesn't quite match their last top performer Veckatimest.

Album Review:
Grizzly Bear's last record, Veckatimest [2009], topped the chart and was number one in our 2009 Blazing Top 50 year end countdown. The musical craftsmanship, harmonies, and hype for the record were all there and it was warranted. Daniel Rossen & Co. crafted an album were vocals soared, guitars fluttered, pianos pounded, and drums thundered. The album was a dream wonderland of exhilaration; you could close your eyes and float away with ease. Here Grizzly Bear returns with the follow up, Shields, a more expansive album that soars in sections but at certain points may be too sparse for its own good.

The first track, “Sleeping Ute“, seems to be heading in the right direction for the same Veckatimest grandiosity with a clever chord bounce that leads into a swirling fury or instrumentation that evokes some of the grandest dream pop. The song then ends with what may be conceived as a whimper that left me wanting a bit more. In my mind I wanted the track to continue the buildup that I know Grizzly Bear is capable of. The next track, “Speak in Rounds”, makes a call back to the frenzy, flutter strum of Veckatimest opener “Southern Point” which is quite a high complement. It keeps the energy lofted and is a fine track, although it still feels like something is missing and maybe could have used a bit more exploration.  The fourth track, “Yet Again”, heavily says Radiohead to the listening brain and while that seems like high praise it still has a slight been there done that feel to it. If you take a listen to Radiohead’s “Knives Out” or most of anything off of Amnesiac [2001], I believe you will hear what I am talking about.

I know my review heavily favors the first half of the album but it was hard to pick up on the overall mood that Grizzly Bear was trying to create. The album definitely has a grand idea with an expansive canvas but for me it just didn't have enough paint to finish the project. Shields surprises are fast and loose and Grizzly Bear clearly wanted the listener reminded that this is a full marathon not just a quick mile run. Shields by any means is not a bad album, but it just doesn’t seem like the follow up to Veckatimest that I was waiting for. Maybe it caught me at the wrong moment as I didn't want a challenge but wanted an experience! I am not sure how Shields will play out after several more listens but I will admit that it is a true grower and who knows, Grizzly Bear could still strike my inner chord, as hoped, down the road but for right now I am holding my reviewer ground on this outing.

Key Tracks: “Sleeping Ute”, “gun-shy”, “Yet Again”

Bands With Similar Fire:
Radiohead
TV On Radio
The National

Grizzly Bear Website
Grizzly Bear Facebook
Warp Records

-Reviewed by Christopher Tahy