PAPER MOON-“ Only During Thunderstorms”

Posted on April 14th, 2009 by ekko

Yes, Canada’s Paper Moon makes light, gentle pop.  You were expecting harcore?  But don’t write them off as froth.  The songs have enough heft to qualify as more than background music, largely due to the gifted, textured vocals of Allison Shevernoha.  Usually, a band like this has some pixie fronting them in a frilly dress, but Ms. Shevernoha is well aware of the need for a band’s frontperson to shine, and to bring something more to the table than just an airy voice.  Maybe it’s because she does double duty as one of the band’s two guitarists, but Ms. Shevernoha is part of a band, not just dressing on a dreampop iceberg lettuce salad

This Enormously Small Moment

What Are You Going to Do With Me?

BONUS: COVERS BY OTHER GENTLY COOL BANDS

Play the Game (Queen cover)-Beach House (YSI)

Care Of Cell 44 (zombies cover)-The Grey Race (YSI)

THE BATTLE OF THE NIGHTMARES AND HALLOWEENS

Posted on April 11th, 2009 by ekko

Soon, very soon, I will be posting my favorite horror films ever. In anticipation, I’m letting you know in advance that both Halloween and Nightmare On Elm Street are in the top 5 (and Friday the 13th is not). But none of their sequels are. Which is not to say that all the sequels stink. In fact, some of them are pretty good. Let’s find out which are the best, and which are the worst, of the 15 sequels to two of the best horror films of all time.

1. Halloween II (1981). Written by Carpenter, it picks up where the first film left off. Best scene: The hot tub, of course!

2. Halloween (2007). Rob Zombie’s reimagining, which was much better than it should have been, emphasized gore and sadism over suspense and subtlety. Although we didn’t need to know this much about Michael’s back story, Zombie’s fresh take was perfect for the nothing-is-graphic-enough modern era.

3. New Nightmare (1994). Wes returns and gets all meta. Craven, Langenkamp, and Englund all play themselves making a Freddy movie in a world where the real Freddy Krueger is trapped not in the dream world but in the film world and not by nightmares but by bad movies. An extremely strange concept, to be sure, but it works, somehow, largely due to the genius of Wes. I’m not sure it qualifies as horror, but by 1994, I think we were all relieved that at least it wasn’t horrible.

4. Halloween H20 (1988). No, it has nothing to do with water, and nor is it the 20th film in the series. It just feels like it. The 20 refers to the years that have passed since Halloween II. At least this one ignored Halloween 4 through 6, in which we were told that Laurie Strode had died, and managed to bring back Jamie Lee Curtis. This is actually a pretty good tale, and features early roles by Josh Hartnett and Michelle Williams. When she was doing the press for this, Jamie seemed to actually believe that this would be the last of the series. Not a chance.

5. A Nightmare on Elm Street 3: Dream Warriors (1987). Wes Craven returned (as a writer) to franchise to tell the tale of the remaining Elm Street children, all of whom are in the looney bin (for obvious reasons). Featuring future network psychic Patricia Arquette as Kristen, this is more of a teen action thriller than a horror flick, and when seen as such, it isn’t half bad. Of the films on this list, this one, number 5, is the last I could actually see myself recommending.

6. Halloween: Resurrection (2002). The 8th film Picked up where H20 left off, and actually bothered to explain that Laurie hadn’t killed Michael at the end of H20, she’d killed a paramedic dressed as Michael. This completely unnecessary prologue leads to a story about an internet reality show hosted by Busta Rhymes that takes place in Michael’s childhood home. Michael comes home again, and the fun begins. Not a terrible film, but not an imaginative one, either. It’s a by-the-numbers kill-as-you-go flick.

7. A Nightmare on Elm Street 2: Freddy’s Revenge (1985). Freddy goes to a pool party, and hilarity ensues. No Wes. Not terrible, but far from good.

8. A Nightmare on Elm Street 4: The Dream Master (1988). Continuing Kristen’s story from part 3, but sans any Arquettes, part four involved a battle between a good dreamer and a bad dreamer, fighting for the night lives of children. The movies started to get a little too mystical here, which is where I started losing interest in the franchise.

9. Freddy vs. Jason (2003). Y’know what I hate? When movie promos promise a showdown and a big ending but don’t deliver. I can’t possibly give away who wins in this battle, because nobody does. And if you paid movie theater prices, clearly you were the loser. I speak from experience here, folks.

10. A Nightmare on Elm Street 5: The Dream Child (1989). In number 4, we met Alice. Here, her Freddy jumps into her unborn child to come to life. We also learn that Freddy’s mom was a nun who was gang raped by 100 mental patients. Too much information, too much backstory. We can’t have sympathy for Freddy—it just doesn’t work. The only reason this isn’t the worst film in the series is because it at least made an attempt to continue the mythology.

11. Halloween 4: The Return of Michael Myers (1988). Michael stalks Laurie Strode’s daughter and is eventually dropped down a mine shaft. The real crime with this is that it is all terribly dull, and not even the killings are inventive.

12. Halloween 5: The Revenge of Michael Myers (1989). This one picks up where the last left off—Michael survived the mine accident and is taken in by a friendly hermit, a la Frankenstein. At this point, the franchise just got stupid. At the end, Michael is arrested but escapes prison with the help of Dr. Loomis’ partner (but we don’t learn that that’s who the mystery man is until the next film, six years later).

13. Halloween III: Seasons of the Witch (1982). Because a Halloween film without Michael Meyers is better than one with him, at this point.

14. Freddy’s Dead: The Final Nightmare (1991). By far the worst of the series, the creators seemed to be making this up as they went along, and went even further into Freddy’s childhood. Stupid, silly, senseless and relentless, I had a really hard time sticking through to the end for this one. But at least it’s not number 15, which I could only watch on fast forward.

15. Halloween: The Curse of Michael Myers (1995). In this, the sixth film, it’s revealed that Michael is under some kind of mystic spell. Way too much information. Then he’s stopped by being injected with sedatives. Ugh, ugh, ugh.

PICTURE OF THE DAY

Posted on April 10th, 2009 by ekko

TOM WAITS COVERS A to Z

Posted on April 10th, 2009 by ekko

Tom Waits covers, A to Z.  Indie bands.  A zip file.  ‘Nuff said.

A is for Alabama.  Down in the Hole-Blind Boys of Alabama.

B is forPancho’s Lament-The Blacks.

C is for Cat Power’s-Yesterday is Here.  (YSI)

D is for Dirt in the Ground by The Cold War Kids.  (YSI)

E is for eels’ Jesus Gonna Be Here.  (YSI)

F is for Foreign Affairs by Eleni Mandell.

G is for Goin’ Out West-Gomez.

H is for Shawn Colvin’s take on Heart of  a Saturday Night.  My favorite Tom Waits song, and my favorite cover it.

I is for House Where Nobody Lives-Is (live). Ah, the band named “Is” reminds of Bill Clinton.  Good times.

J is for Jersey Girl by Holly Cole.

K is for another one by the Kids!  I Don’t Wanna Grow Up-Cold War Kids.  The second funniest Tom Waits song ever.  (The funniest is Pasties and a G-String.  The third funniest is “The Piano Has Been Drinking.”)

L is for Les Claypool’s Bonnaroo Super Jam, a project with Gogol Bordello, did a whole show Tom Waits covers here.   Three of them were also with Metallica’s Kirk Hammett.  I recommend the whole damn show.

M is for Jockey Full of Bourbon-Moxy Fruvous.

N is for N.A.S.A.’s “Spacious Thoughts Feat. Tom Waits and Kool Keith.”  (YSI)

O is for Ol’ 55-Smashing Pumpkins.

P is for Picture in a Frame-Pearl Jam.

Q is for a moment of quiet, as we get to the letter R.

R is for Johnsburg, Illinois-Josh Ritter.

R is also for Rainbow Sleeve-Jane, to make up for the missing Q.

S is for Sarah Jarosz’s take on Come On Up To The House.

T is for Time-Ryan Adams. Not sure who the chick is on vocals, but she’s good.

U is for Cold Water-Railroad Earth. Just kidding. That’s got no U!

V is for Vamosbabe & Pascal Fricke doing “Bronx Lullaby.”

W is for the west. Goin’ Out West-Truckee Brothers

X is for marking this spot, i.e., this post.

Y is for you gotta love Z.

Z is for zipfile.

PICTURE OF THE DAY

Posted on April 9th, 2009 by ekko

STOUPE-“Decalouge”

Posted on April 9th, 2009 by ekko

Stoupe the Enemy of Mankind is better known as the phenomenally talented producer of Jedi Mind Tricks, who are, in turn, a grossly underestimated hip hop crew.  On March 31, Stoupe dropped his first solo album, “Decalogue,” the album is definitely a producer’s project.  Like the first records by D.J. Premiere, RZA, Dr. Dre and Wyclef Jean, the emphasis is on powerful beats and great guest spots to grab the mic.  Where Snoop stepped in for Dre and Lauryn helped out Clef, Stoupe gets Joell Ortiz, Block McCloud, and M.O.P., among others, to drop verses over some of the best music beds Stoupe has ever created.

Unlike many producers, Stoupe has never been content to create a simple loop or sample a hook, Stoupe does ridiculously intricate sound collages, sometimes overlaying fifty, sixty, even eighty different sounds, resulting in music you can hear over and over and still experience it like it’s new.  To his credit, Stoupe’s complexity doesn’t become distracting—he’s able to lay back and let the emcee shine, when necessary, which he does for Supastition on the “The Truth,” one of many stellar cuts on the record.  Check out the odd whistle on the hook.

Another point: It’s called “Decalouge” because there’s only 10 songs, and the entire thing clocks in at less then 40 minutes.  Which is a good thing, because it lets Stoupe play only “A” sides: No filler (except maybe for “Evil Deeds”).  It’s nothing like Jedi Mind Tricks, either—not only because it lacks Paz’s characteristically dark flow, but also because it lacks any consistent flow at all, with every track performed by different artist.  Still, it’s bizarre that none of his JMT buddies can’t help him out.  A few songs sound like JMT beats, though like “When the Sun Goes Down,” which is well-suited to Saigon’s steady, no-bullshit flow and his ability to sing a hook.  One of the best bangers here.  And the most standout cut: Transition of Power, featuring M.O.P.: it’s heavy, hard, and everything you expect from an ex-Jedi producer.

All in all, a very good record.  But I still miss Paz.

Transition of Power-Stoupe and M.O.P. (YSI)

PICTURE OF THE DAY

Posted on April 8th, 2009 by ekko

CLOCK HANDS STRANGLE-“Distaccati”

Posted on April 8th, 2009 by ekko


Clock Hands Strangle’s debut, Redshift/Blueshift, was hailed by many (including me) as brilliant, but criticized by others as derivative.  And if that was the general reaction to their first album, I can only predict an even more intense divide over Distaccati, the band’s sophomore release.  Even more so than album one, album two combines elements of classic “important” rock (think Joni Mitchell and Bob Dylan) with the major elements of “important” indie (think Built to Spill, Bright Eyes, and Modest Mouse), by making introspective, often obtuse songs with lyrical references to esoteric literary glitterati and intricate weaving between vocals and instruments.

Not content to simply an “indie” band or to write an “Americana” songbook, Clock Hands Strangle jump fearlessly from complex long-form songs to simpler, acoustic meditations on a single theme.  This may make the band hard to classify, and may similarly make it harder for them to find their audience.

The band is at their best when they do their own thing, which sounds a little like old indie Modest Mouse but without the screaming, and is less than their best when they try to do Bob Dylan’s thing, such as on “To A Meteorite In A Museum,” which is clearly a tribute to Bob’s “Don’t Think Twice, It’s All Right” era.  That isn’t to day that Clock Hands’ acoustic earnestness is bad, it’s just less good than the rest of their material, mainly because it sounds a little forced and, yes, a little derivative.  This band doesn’t have to borrow from its heroes—they have enough musical chops and lyrical skill to form their own dynasty.  But this is a minor criticism: Overall, Distaccati is on my short list for a top ten album of the year; it showcases a variety of skills without sacrificing a conceptual “sound,” so that the album, when listened to in its entirety, sounds more like an essay than a collection of thoughts.  Not too many
bands can successfully pull off a true “album” of this kind anymore, and that’s too bad.

Bravo!

Desert Music (YSI)

Distaccati (Live at WMSE) (YSI)

BONUS MODEST MOUSE COVER AND REMIX!

Bukowski (Congleton/Godbey Remix) (YSI)

South of Heaven (Slayer Cover) (YSI)

STONE FOXES-“Stone Foxes”

Posted on April 7th, 2009 by ekko

Reviewing Stone Foxes’ new, self titled debut is not a simple task. Based on the name and the group photo, I assume that they are a bunch of uppity Whitesnake wannabes who will only make it big if they cover a song by The Sweet. But then I hear their music. Certainly, lead singer Shannon Koehler could excel at mid-eighties faux-blues, but the band behind him is firmly entrenched in the early seventies. Koehler’s voice is young and crisp, and it’s shocking to hear how much bottom he can bring, when the song calls for it. Unlike other modern bluesrockers like The Black Keys, Stone Foxes show remarkable range. They go from the slow, bluesy “Sweep a Road” and their cover of “Spoonful,” to country (“Mercury”), and inject the garage/psychedelic sound of the sixties without adding noodley jams that are the trademark of bands like Black Mountain. (In fact, the longer songs on the record are also the weakest songs on the record.) And then there’s “Beneath Mt. Sinai,” which would be my choice for a single: It’s got the singalong blues growl of the best stuff on the first Jet album, but without the pop production. It’s easy to imagine the Allmans, Steppenwolf or Moby Grape doing the same song in the studio: Muscular, moving, and the kind of guitarwork that’s guaranteed to make college boys fall on their backs and strum the air with wild abandon.

Stone Foxes have a tight, bluesrock sound that recalls Aerosmith’s first record, a sound not often emulated by bands of today. If these guys don’t break big, I don’t know what will.

Beneath Mt. Sinai (YSI)

Bonus Classic Rocky Blues Covers:

Sookie Sookie (Steppenwolf)-Smashing Pumpkins (YSI)

Goin’ Down South (RL Burnside Cover)-The Black Keys (YSI)

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