Emotional Listening #41

Show Me the Way to Go Home - Cain Marko (Tapes Not Bombs, 2012)
Cain Marko were an excellent Grand Rapids, MI noodly pop punk band that just recently broke up, unfortunately. 2012's Show Me the Way to Go Home is their only full-length release, and it is on par with the best music that has been coming from this genre over the past few years. They do the shouty Gainesville punk thing with bright, melodic, technical guitars extremely well. It's a shame I discovered them so late in the game and only got to see them live once.
Top jams: "Four Dutchmen Walk Into a Bar...," "...Then Ride Into the Apocalypse," "Promises in Pen," "Show Me the Way to Go Home," "Kitchen Knife," "It's Just You and Me, Hemingway!," "Moonshine Aviation," "Three Word Graveyard"




Uomini d'Onore - Fireside (Startracks/Crank!, 1998)
I recall hearing of Fireside back in the high school beginning stages of my interest in 90s emo, but, never cared quite enough to further investigate. Last fall, a stumbled upon a used vinyl copy of their third LP, Uomini d'Onore, at Vertigo Music in Grand Rapids, and decided it was finally time to check 'em out. Apparently, Fireside were an award winning band that was part of the early 90s hardcore scene in Sweden before heading more toward the more melodic side of things on Uomini d'Onore. I have no idea what they actually sounded like before this record, but, I always assumed they were just another emo band due to their affiliation with Crank! Records and being featured on the (Don't Forget to) Breathe compilation. However, this is not accurate. The best way to describe them, at least on Uomini d'Onore, would be as a heavy, melodic rock band. Sure, there are subtle notes of emo sprinkled throughout, and a good portion of the time, the guitars and bass play with an urgency not unlike that found in hardcore music. But, with all of that combined with the pro production and Kristofer Astrom's quality singing, there are more than a few moments where Fireside sound like Shiner or even Swervedriver. While I could have done without the solo acoustic closing track, this record turned out to rule big time for me. "Sweatbead," "Dos" and "Layer" are especially awesome.
Top jams: "Let Rasputin Do It," "Happy Porno Living," "Sweatbead," "Dos," "Anywhere is a Resort," "Layer"




Nodzzz - Nodzzz (What's Your Rupture?, 2008)
As far as I can tell, Nodzzz are no longer a band. This is a shame because their sound is a fun one, even if there wasn't really anywhere else they could take it. They play super jangly, lo-fi guitar pop to the extreme. The bonus is the hilariously nerdy, child-like singing and lyrics. I probably prefer 2011's sophomore follow-up, Innings, but, their 2008 self-titled debut (which, awesomely is 10 minutes clocking in at barely over 15 minutes) is almost as good. "Is She There?" is the best possible opener, and, well, I legitimately like every song that follows, I am just more partial to "Highway Memorial Shrine," "I Have Bad News," "I Can't Wait" and "City Has No Eyes."
Top jams: "Is She There?," "Highway Memorial Shrine," "In the City (Contact High)," "Controlled Karaoke," "I Have Bad News," "Losing My Accent," "I Can't Wait," "City Has No Eyes"

Emotional Listening #40

Buffalo Tom - Buffalo Tom (SST, 1988)
I stumbled upon a used copy of Buffalo Tom's 1988 self-titled debut LP at a record store in Toledo this past fall, and I figured it was finally time to spend some time with it. Bravender tells me that 1992's Let Me Come Over and 1993's Big Red Letter Day are THE ONES, but,I felt obligated to start here since I actually own it on vinyl. This is not a mind-blowing debut by any means. It sounds like a mix of Husker Du's poppier moments and Dinosaur Jr. (which is convenient, as J. Mascus produced this) minus the noodly guitar solos and melodies that aren't quite as good. I was sort of bored by this at first, but, after a few times through, I've really come around to it. "Sunflower Suit" is a fantastic opener, and the album chugs along at such a pace that pretty much every-other-song is totally great. This album couldn't end in a better way than the "Flashing Stars," "Walk Away" and "Reason Why" combination.
Top jams: "Sunflower Suit," "Impossible," "In the Attic," "Flashing Stars," "Walk Away," "Reason Why"




Japanese Whispers - The Cure (Sire, 1983)
While Japanese Whispers is a short collection of singles and B-sides, it really follows like a proper studio LP. The Cure were in an interesting place in 1983, somewhere between their jangly, guitar-driven post-punk beginnings and the orchestral, shoegaze/new wave marriage that is 1989's Disintegration. The songs on Japanese Whispers are full of fake drums, awesome sounding synths, and Robert Smith's usual melodrama combined with his penchant for dark, goth-y pop hooks. "The Lovecats" has always been a favorite Cure song of mine thanks to the more expansive 1986 singles collection, Staring at the Sea.  However, "The Upstairs Room" has really come out of the woodwork as a new all-time favorite. I'm really liking "Let's Go to Bed" a lot more now than ever before, too. Japanese Whispers is almost on par with The Head on the Door, for me.
Top jams: "Let's Go to Bed," "Just One Kiss," "The Upstairs Room," "Speak My Language," "The Lovecats"




Me and Mr. Ray - Miracle Legion (Rough Trade, 1989)
I realize that Me and Mr. Ray probably isn't the Miracle Legion record to begin with, but, oh well. In case you didn't know, Miracle Legion is Mark Mulcahy's pre-Polaris (band from The Adventures of Pete & Pete) project. They released four full-length albums from 1987 to 1996. Me and Mr. Ray is the second, and it is a sparse affair, consisting mostly of jangly acoustic guitars, light drumming and Mulcahy's terrific voice. The album opens up awesomely with the one-two-three punch of "The Ladies From Town," "And Then?," and "Old & New." The middle and end aren't nearly as memorable, but "You're the One Lee" and "Even Better" are nice little peaks to contrast with those valleys. "Even Better" is especially great.
Top jams: "The Ladies From Town," "And Then?," "Old & New," "Sailors and Animals," "You're the One Lee," "Even Better"




If It Weren't for Venetian Blinds, It Would be Curtains for Us All - Piebald (Big Wheel Recreation, 1999)
Oh, Piebald. Why has it been that not until now I am giving their 1999 LP, If It Weren't for Venetian Blinds, It Would be Curtains for Us All, its due attention? I've been very much interested in this band since high school, and have spent plenty of time with their 2002 album, We Are the Only Friends We Have. Also, Bravender put "Location is Everything" on a fall mix for me quite a few years back, and that's been either my favorite or second favorite Piebald song since (along with "American Hearts"). Anyway, Rise Records gave both of these albums plus the one prior, When Life Hands You Lemons, the deluxe package vinyl reissue treatment in 2010, and I purchased that for a mere $30 and haven't looked back. I have finally been putting the appropriate amount of focus on If It Weren't for Venetian Blinds... because, let's face it: It's the best Piebald album. There are certainly elements of emo and pop punk here, but, overall, they sound like no one else. I have always been a fan of guitar harmonies, and their are quite a few instances here (most prominently in "Rules for Mules" and "Location is Everything"). There is plenty of pop sensibility on If It Weren't for Venetian Blinds..., but, you won't hear your traditional pop song structure. Thankfully, Piebald is more complicated and demanding than that, and Travis Sheffel's funny, clever lyrics are icing on the cake. If you're looking for the best moments, there are too many to detail further in this already lengthy blurb, so, just reference the "Top Jams" section. Every single one of those songs is worthwhile.
Top jams: "Grace Kelly With Wings," "We Believe in Karma," "Mess With the Blues," "Dirty Harry and the Thunderbolts," "Rules for Mules," "Giddy Like a Schoolgirl," "If Marcus Garvy Dies, Then Marcus Garvy Lives," "Location is Everything"

Emotional Listening #39

Alight of Night - Crystal Stilts (Slumberland, 2008)
2008 was pretty much the year that lo-fi punk-infused music re-broke. I didn't quite get the appeal back then; it took me until 2009 to truly catch on to the brilliance of Vivian Girls, No Age, Women, Crystal Stilts, etc. My passion for the latter was pretty deep for a couple years, thanks to the strength of tracks like "Love is a Wave," "Silver Sun" and "Half a Moon." Now that I'm revisiting their breakthrough debut LP, Alight of Night, I'm noticing that this might be their best release. The band has since shed most of its doom and gloom, but here, it's wonderfully formed into a mix of Joy Division-style post-punk and psychedelic 60s rock inspired by The Velvet Underground. Alight of Night is both haunting and gorgeous, and well worth coming back to.
Top jams: "The Dazzled," "Crystal Stilts," "Graveyard Orbit," "Prismatic Room," "Shattered Shine," "The City in the Sea"




Eccsame the Photon Band - Lilys (SpinART, 1994)
Eccsame the Photon Band, the second full-length record from Lilys, isn't quite shoegaze, but, it is close enough to start the descriptions there. There's a lot more going on here than just warped, bendy, overdriven and effect-laden guitars and soft, buried vocals. I mean, there is some of that, but those aren't the defining characteristics of this record. There is a whole lot of space on this record, which, is fascinating because at the same time, there are some huge sounds here. Just listen to how big and roomy the drums sound and pretty much every song (that features drums). "Day of the Monkey" and "FBI and Their Toronto Transmitters" are prime examples where the music overall is very subtle and the drums nearly overpower. "The Hermit Crab" is easily the album's best track, with its clever melodies, droney and jangly guitars, and forward-moving groove. Lilys resident weirdo genius, Kurt Heasley, can really write a melody, and, this becomes even more apparent on later albums Better Can't Make Your Life Better and The 3-Way. Heasley did a lot of genre hopping from album to album, and, Eccsame the Photon Band is the release I've spent the most time with thus far. However, it seems that pretty much every style he has touched on, whether it's this more unique combination of things, or full-on shoegaze, or Kinks-referencing 60s pop, he has done a tremendous job.
Top jams: "High Writer at Home," "Day of the Monkey," "FBI and Their Toronto Transmitters," "The Turtle Which Died Before Knowing," "The Hermit Crab," "Overlit Canyon (The Obscured Wingtip Memoir)," "Kodiak (Reprise)," "Radiotricity"




Stephen Malkmus - Stephen Malkmus (Matador, 2001)
I know, it's weird and sad that I'm just now fully familiarizing myself with the great Stephen Malkmus' debut solo LP. I'm already well versed in 2008's Real Emotional Trash, 2011's Mirror Traffic and even this year's Wig Out at Jagbags. Why is it that Stephen Malkmus didn't come until now? Good question! Now, my thoughts: It is a totally great record. I don't know that I'd consider it the Malkmus record that sounds the most like Pavement, but, it does pick up pretty much right where Terror Twilight left off. It's got a lot of the usually Malkmus-isms: Awesome sounding guitars, surprisingly complex melodies, and clever, often times non-sensical lyrics. "The Hook," "Discretion Grove," "Troubbble," and "Jenny & the Ess-Dog" are all great, but, "Pink India" is the best.
Top jams: "Phantasies," "Jo Jo's Jacket," "Church on White," "The Hook," "Discretion Grove," "Troubbble," "Pink India," "Jenny & the Ess-Dog"




We Love Life - Pulp (Island, 2001)
My girlfriend Sara is a huge Britpop fan, and has been diligently convincing me that, much to my surprise, the 90s classics in that genre are not all cheesy, overwrought, arrogant exercises in trying to be the biggest band in the world. What I'm trying to say is that, yes, that seems to be an element of the style, but, that's not all there is to it. There actually are really good songs and albums. Now, there's no real rhyme or reason to why I decided to start with Pulp's 2001 swan song, We Love Life. Back in January, Sara and I were driving back from a weekend in Traverse City and I had my iPod on random, and, a song from this record came on and I really liked it, so, I decided to go with it. There is quite a diversity of sounds here, and, I would consider them grandiose, due to the slightly more expanded orchestration on a good number of the songs. Still, We Love Life is generally a huge guitar pop album at its heart. Opener "Weeds" and "The Night That Minnie Timperley Died" are both excellent, but, "Trees" is the true jam of the album.
Top jams: "Weeds," "The Night That Minnie Timperley Died," "Trees," "Bob Lind (The Only Way is Down)," "Bad Cover Version," "Sunrise"




Colour Trip - Ringo Deathstarr (Club AC30, 2011)
Ringo Deathstarr aren't really the most unique or forward-thinking band around, but, they do a really great job at paying homage to shoegaze heavy hitters My Bloody Valentine, Slowdive and Ride. There is a more modern lean in the production, focus on groove, and more intentional drumming on their debut LP Colour Trip.  Otherwise, this is pretty much a straightforward, poppy shoegaze record that is done so well that any lack of originality is completely forgiven. Colour Trip may be a little too top heavy, but, you couldn't ask for it to start in a better way than with "Imagine Hearts."
Top jams: "Imagine Hearts," "Do It Every Time," "So High," "Kaleidoscope," "Chloe," "You Don't Listen"