Mojo's Music reviews- Broken Frame, Middleman,Son of the Sun

[Jack Topht!]

Boo Yah thanks a lot for the review.

[mojophilter]

So I was directed to the Chlyde Myspace (http://www.myspace.com/chlyde) site expecting to hear another mediocre bit of self-promotion. Nope. These guys are the real deal.

According to their bio, Chlyde has been a hundred years in the making. While this may be a bit of mythmaking hyperbole, the seeds of Chlyde were undoubtedly planted sometime before 1970 and nourished on generous infusions of overdrive, Les Pauls, and Marshall stacks.

Nowhere is the sound more defined than in "Replenished", a song straight out of the British Blues Festivals that sprang up around the rotting corpse of the Summer Love. This song would have been completely at home on any of Cream's LPs and only serves to remind of how far Clapton has fallen from his God days. Hell, they even manage to use cowbell that makes you forget Christopher Walken on Saturday Night Live.

Similarly, "Stride" opens on a Pre-Eliminator ZZ Top riff that could serve as definition for Texas Blues and "Lost in a Galaxy" has enough of classic Sabbath in it to make you forget the embarassment that Ozzie has become. Each of these songs extends over five minutes and feel like a missing cut from the albums you bought when they were pressed into vinyl. This is not to say that there is anything dated in these songs. These are not pretty displays for the museum of past rock greatness. Indeed, they seem to be proof that the DNA of awe-inspiring blues-based rock lives on, even if it occasionally skips a generation.

This seems to be a theme through these three songs. While many legendary groups have "matured", sold out, or faded into middle age, Chlyde reminds us all of what made these guys legendary to start with. The guitar playing is inspired every second of every song, echoing the all-time guitar gods without ever descending into the realm of aping, or far worse, parody. What has remained constant over the 40+ years or so is the raw power and emotion called forth during that time.

Finally, a special mention needs to be made of Jon Bobo's vocals. They are, in a word, perfect. There is no afectation, no sense that he is trying to sound like these icons; there seems simply to be no other way for it to come out, and that ineffable quality that separates the good from the great is dripping off of every note and every phrase like crimson drops from the royal bloodline.

A lot of bands take their cues from this legendary period.

Chlyde is the rare band that seems capable of creating a legend of its own.

[swingline]

What an awesome review. Thank you so much.

[mojophilter]

What an awesome review. Thank you so much.

What an awesome band.

Thank you so much.

[craiggers]

oh, haha i didn't realize this whole time we were talking about jonbob. go jonbob!

[mojophilter]

Lindsey Grate - Food Sex

The CD arrived at the house accompanied by a brochure for bed-wetting treatment. This, in a nutshell, is a pretty good indicator of Lindsey Grate's Food Sex CD. What the hell am I supposed to make of a brochure for bed-wetting treatment? Is it a joke? Is it a political statement? Is she suggesting that eneuresis is part of my own personal heartbreak? I'm sure it's supposed to mean something, but the focus and target seem completely incidental.

This is pretty much the problem with the whole CD. Well, that and Ms. Grate's seemingly congenital inability to hold a note. Most songs in this
10 (well actually 9) song offering are simply arranged, with electronic piano, single cymbal, and unadorned, wobbly vocal. Occasionally, this is supplemented by an acoustic guitar or some other sparse instrumentation.

Starting with track 1 (and 5) "bulimiamimicsoralrape" begins with a straight Long Island Oh... My... God..., proceeds to the inspired, "I've got a dude who really loves me. He shaves off all his pubes. It makes his dick look bigger." and finishes up with a screamed double time DEAD, DEAD, DEAD!!" stoppping along the way to advise the listener to eat his or her vegetables - "Eat up all your vegetables so you won't be a vegetable". Aside from the fact that a lot of this has become performance art cliche' by now, (see Yoko Ono's "Mummy's Only Looking for her Hands in the Snow") the target of the "art" is lost to me. With a title as provocative as "bulimia mimics oral rape" I'm looking for anger and violation rather than a "Dude who really loves me". Or at least some tie to body image and self-worth. Shock me or offend me, but don't leave me scratching my head and yawning.

A lot of these songs come off like missing tracks from Pheobe Boufet's Central Perk Live! album. "Chemical's Gone" especially sounds like one of the songs played for Chris Isaak's class of gradeschoolers, again veering randomly from poisoned food to working at a porn shop. "Fit Loving Better" starts off with single casio chords with the accompanied by an elementary school drum section, while "Comfy Job" and "Sally Select" cloaks themselves in the new irony to take yet another shot at the undead cubicle drones.

Ms. Grate comes closest to hitting the mark on "Workhorse" and "Interconnected", the two tracks with the least strident political railing. "Workhorse" is a bizarre marriage of They Might Be Giants and Courtney Love. The double tracked vocals are, I assume, intentionally out of tune (although they occasionally find each other, the badly untuned guitar double stop at the break and end figures to confirm this) and the last line "work tastes good to a work horse" actually achieves a bit os emotional resonance.

On the other hand, "Interconnected" with Ms. Grate's voice compressed almost to AM radio quality which helps tonally, is probably the closest she hopes to get to traditional song composition. It's also the closest she gets to consistentcy. Starting with a reference to I heart Huckabees and continuing that movie's absurdist Bhuddist view through an indy-geek arrangement and singable chorus, "Interconnected" would fit nicely on the Huckabee soundtrack. Of course the final "this is where I get off" lyric could simply be a dismissal of the optimism and a rejection of an empty-headed happiness, but I'll choose Zen over nihlism any day.

While I realize this is not intended for the same demographic that's buying the pop du jour, it has the feeling of being thrown together without any revision or editing. Loaded images are presented but left to wither and focus shifts in and out, resulting in more misses than hits. Musically, most of the tracks have a disregard for standard conventions like intonation and consistent phrasing. Although this can be used to great effect, here it just seems like the effort wasn't made. Flashes of musical competency on certain tracks make me feel the artist doesn't have the consideration and respect for the listener to actually craft the song - opting instead for easy, one-off shots like passing a stolen bed-wetting brochure off as an artistic statement.

[Sylph]

dammit, Mojo, you just told me that I do not want to hear this, but you wrote it so well that now I want to hear it anyway.

[v2k]

I concur regarding Lindsey's music. Not very good, but hey maybe that is the point.

[mojophilter]

"Art music" is tough to review. (Global Village Idiots have been without peer for God knows how many years, while LaCacahouette are among the best newer purveyors) You can't look at it the same as a pop record, and I try to keep that in mind.

To her credit, I did give her my initial impressions of the three songs on myspace and she still sent me the disc and explicitly said to write what I wanted. (http://www.myspace.com/lindseygreat)

I'm kind of torn as to whether to let bands know where I'm going with the reviews. I have no desire to slam a band that's only looking for feedback. I've kind of settled on a policy that if a band sends me something to review and I really don't like it, I'll give them the option of calling it off. On the other hand, I plan on buying a local CD every week or two for review and that will be open season.

She also sent me a copy of The Baby Machines disc which is really good. I'll probably be writing a review of that soon, but I'm listening to Stand's latest CD (Very good) so that will be my next review.

[Sylph]

I'm listening to Stand's latest CD (Very good) so that will be my next review.

waiting with 'bated breath.....

[mojophilter]

Stand - Travel Light

There is an immediate temptation to play “Spot the influence” with Stand’s latest CD, - some David Gilmour here, a bit of Imperial Bedroom there, a little Gordon Sumner thrown in for good measure, and a healthy serving of OK Computer all around – but to do so would be a disservice to this meticulously crafted and thoroughly modern CD.

On “Travel Light”, Songs spiral out, scattering emotional cluster bombs as they go which explode with unexpected force throughout an achingly beautiful sonic landscape. Indeed, an initial listen left me spent and collapsed into the couch like so much spilled coffee even before I had a clue what Alan Doyle and Neil Eurelle were singing about.

And it is their rich, expressive voices that carry the weight of feeling on top of the luxurious arrangements. Each phrase is delivered naturally, and without a touch of the stylized self-consciousness that might doom lesser talent. Even when they are simply repeating the phrase, “She is so happy now” at the outro of “Carousel”, the CD’s opening track, there’s more to be had than can be found on the pages of the OED.

It’s not all high-handed seriousness, however. While “Days Gone” (seemingly the commercial single) is a bit of existential crisis, its irresistibly singable alternating lines in the verses and a hooky chorus have enough echoes of 80s Britpop to keep the secretaries listening at work all day. This is not to suggest that the song is a throwaway; indeed, there’s a fine line between accessible and disposable, and “Days Gone” never veers off into inconsequence.

On the other hand, with its touching metaphor of love too dear to keep, “White Elephants” hits with an emotional impact that leaves you reeling, delivering a solar plexus shot familiar to anyone who has ever thought that the ones you love deserve better. Truly, this is a beautiful song that exists in an entirely separate universe than the reductionist love songs on today’s airwaves.

On an altogether different note, “Dressed to Kill”, with its disco beat, slinky bass, and dramatic piano, seems perfectly suited for the next James Bond movie, possessed as it is of all the refined style of an Armani tuxedo, all the elegant power of an Aston Martin, and all the steaming sexiness of every Bond girl who has fallen prone on to 007’s bed.

If I have any quibble with the CD, it would be with some choices of electronic adornment, particularly the opening bass thump on “Carousel”. While this undoubtedly gives the song a modern feel, personally, I would prefer to rely on David Walsh’s heavenly keyboards and Carl Dowling’s perfectly placed drumming.

In fleeting moments, we feel more keenly than we know, and emotion is crystallized a split second before it dissolves again into the ether. Stand lives in this moment and holds it up for all of us to see. This is not music for the kids, but any grownup, anybody, who has lived and loved more deeply, owes it to himself to share a moment with Stand.

Stand will be playing in Buffalo on September 22. You should go.

http://www.standland.com

[greenTshirt]

another excellent review...

really entertaining read Mojo...

keep them coming

[Sylph]

Stand - Travel Light

There is an immediate temptation to play “Spot the influence” with Stand’s latest CD, - some David Gilmour here, a bit of Imperial Bedroom there, a little Gordon Sumner thrown in for good measure, and a healthy serving of OK Computer all around – but to do so would be a disservice to this meticulously crafted and thoroughly modern CD.

On “Travel Light”, Songs spiral out, scattering emotional cluster bombs as they go which explode with unexpected force throughout an achingly beautiful sonic landscape. Indeed, an initial listen left me spent and collapsed into the couch like so much spilled coffee even before I had a clue what Alan Doyle and Neil Eurelle were singing about.

And it is their rich, expressive voices that carry the weight of feeling on top of the luxurious arrangements. Each phrase is delivered naturally, and without a touch of the stylized self-consciousness that might doom lesser talent. Even when they are simply repeating the phrase, “She is so happy now” at the outro of “Carousel”, the CD’s opening track, there’s more to be had than can be found on the pages of the OED.

It’s not all high-handed seriousness, however. While “Days Gone” (seemingly the commercial single) is a bit of existential crisis, its irresistibly singable alternating lines in the verses and a hooky chorus have enough echoes of 80s Britpop to keep the secretaries listening at work all day. This is not to suggest that the song is a throwaway; indeed, there’s a fine line between accessible and disposable, and “Days Gone” never veers off into inconsequence.

On the other hand, with its touching metaphor of love too dear to keep, “White Elephants” hits with an emotional impact that leaves you reeling, delivering a solar plexus shot familiar to anyone who has ever thought that the ones you love deserve better. Truly, this is a beautiful song that exists in an entirely separate universe than the reductionist love songs on today’s airwaves.

On an altogether different note, “Dressed to Kill”, with its disco beat, slinky bass, and dramatic piano, seems perfectly suited for the next James Bond movie, possessed as it is of all the refined style of an Armani tuxedo, all the elegant power of an Aston Martin, and all the steaming sexiness of every Bond girl who has fallen prone on to 007’s bed.

If I have any quibble with the CD, it would be with some choices of electronic adornment, particularly the opening bass thump on “Carousel”. While this undoubtedly gives the song a modern feel, personally, I would prefer to rely on David Walsh’s heavenly keyboards and Carl Dowling’s perfectly placed drumming.

In fleeting moments, we feel more keenly than we know, and emotion is crystallized a split second before it dissolves again into the ether. Stand lives in this moment and holds it up for all of us to see. This is not music for the kids, but any grownup, anybody, who has lived and loved more deeply, owes it to himself to share a moment with Stand.

Stand will be playing in Buffalo on September 22. You should go.

http://www.standland.com

QFT

http://www.myspace.com/standland

[skimask]

after reading this stuff, I could not resist a quick review from my point of view...

My review of Jack Topht and Lindsey Grate:

Jack Topht and Lindsey Grate are musical geniuses, decades, if not centuries or millenia beyond the current state of our society's evolution - musical and social - it will take the masses eons to catch on. For the few geniuses who can (that includes you, Greg Greg! ) interpret genius correctly, it will be observed that this so-called 'anti-music' is among the most musical music ever created - it reaches far beyond the current grasp of what passes for music - far beyond the distorted guitar- drums- bass- 'on-key' (thank kew pitch correction and Pro Tools!) or 'emotional' (Eddie Vedder nu-metal clone-ism)vocal delivery of most of today's 'musical' charlatans. Lindsey's use of off key vocals works, it is a GOOD 'off key' - a MUSICAL 'off-key' that would be hurt by being 'on key' to conventional standards of today - it works better than the often 'off key' vocal work of New Order's Bernard Sumner before he took singing lessons ("Movement", or "Power, Corruption and Lies", anyone?), and even surpasses the still often-misunderstood greatness and true genius of the vocalizations of Yoko Ono (despite her influence being obvious in much pop music since, such as the B-52's vocals)- perhaps it is in essence along the spiritual lines of those 'odd' tones in Eastern music the Western ear is unaccustomed to, which are not found on the conventional piano keyboard or guitar neck layout. Maybe it is more of a microtonalism. Whatever, it works. Jack Topht's 'deadpan' delivery evokes meaning and feeling where overwrought screaming and angst has missed for decades and continues to miss (punk rock, nu metal, whatever)- for it has far evolved beyond that. It is beyond the most far-out-there hip hop (which is our most current form of music to have evolved into a fully coherent self-contained beast) I have heard - it goes the extra step and succeeds. This is the new folk music - Jack Topht is Woody Guthrie come back from the far distant future in a time machine. Lindsey Grate is the female equivalent of aforementioned statement.

[mojophilter]

You seem to be saying that I reviewed this using the DIck Clark "It's got a good beat and I can dance to it" standard. I thought I was pretty clear in saying that wasn't the case.

Since we're entering discussion mode here, if this were simply the new folk music I could understand it. I am by no means a stickler for pitch or perfect delivery. More can be taken out of an earnest if imperfect delivery than the polished perfection of Britney's new disc. And I'm 100% with you in my disdain for what Eddie Vedder hath wraught.

I suppose you can simply say that I don't recognize the genius of these two - that I'm not sophisticated enough and too parochial in my musical evaluation. And I might agree with you. BUT I am not entirely ignorant of John Cage and Yoko Ono's contribution to music. I believe I referenced them in my reviews (maybe not) This is neither Cage nor Ono, though. The best of the avant garde is thoughtfuly constructed and actualized in its delivery.

For example, the backward track in Topht's is interesting as "anti-music" statement I suppose, but a "genius" would have developed the backward track within the context of the original to stand on its own. "flipping the tape" isn't, by itself, art.

We can disagree as to whether it "works" or not, but don't parade microtonalism out as the reason. There are a lot of people doing amazing stuff with microtonalism (ask Klangfarben panopticon on the board) and to try to put Ms. Grate in the same category, does a disservice to all concerned.

Overall, my main problem with Food Sex was that so much was left lying on the table. Art is hard and the CD had the feel of being thrown out without much development. I suppose that can be its own statement, but then you can't argue that it's a carefully crafted artistic statement. Like the bedwetting material enclosed, it's a cheap reference that's left unrealized.

Like I said, I thought Topht's stuff was more successful in making its point. Grate's disc had the feel of "completing the assignment" without the passion found in the best art.