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Liars: Liars

Liars
Liars
2007 | Mute

Liars are a band that like to shift their styles of music as much as they can get away with. In fact, listening to lead singer/guitarist Angus Andrew, I can picture him chameleon-lizard like sticking a spiked tongue out while chanting falsettos in an abandoned warehouse somewhere. In keeping with their array of post-punk musical numbers, Liars again puts forth a misfit group of tracks that range from Psych-pop to industrial noise. The opening track "Plaster Casts Of Everything" off the new self-titled album by Liars struck me as a song that would be perfect for any new slasher horror movie out in theatres right now. The pounding drums and metal heavy guitar riffs are thunderous, however it's probably not the most accurate description of the rest of the album. Liars actually has a more psychedelic, shoe-gazer quality that shows prominently in songs like "Pure Unevil" and "Cycle Time". "Freak Out" is their most accessible number, somewhere between Jesus and Mary Chain and Gang of Four. It has that dance quality to it that seems to poke its head up at points on the album, but without the goofy effect.

There are moments when the "noise" aspect of the band overpowers the album though. "Leather Prowler" and "The Dumb in the Rain" both feel too heavy and almost a bit hard to listen to. However, for the track "What Would They Know", that same heaviness is made more melodic, and feels like a Bauhaus song. Perhaps they were trying to balance out the less accessible tracks by having these radio friendly ones. Regardless, in doing so, Liars created an album that strives to be dark and yet poppy, creating a middle ground that can be enjoyed by a wider audience. I'd recommend "Freak Out", "Cycle Time" and "Clear Island".

-Elana Rintala

(Looking for something similar? Try these bands: Gang of Four, Sonic Youth, and the Raveonettes)

Wed Sep 12 2007 · Posted in Reviews on littleradio.com

C.O.C.O. - Play Drums + Bass

C.O.C.O.
Play Drums + Bass
2007 | K

When drums and a bass guitar are pitted against each other, and not in a techno sense, the end result is something raw, digging deep into your ID. C.O.C.O., on their latest release Play Drums + Bass, combine that aggressiveness with a beat you can, well, dance to.

With just the minimal vocal, bass and drums, this duo stomps through indie, funk and beat music, all the while keeping in mind that they want their audience to get up and shake. The opening track "Good" hooks you in with the sultry voice of Olivia Ness, backed by a funky beat that instantly reminds me of ESG. It's loose but deceptively complex. Also the woops from drummer Chris Sutton (of Dub Narcotic Sound System fame) in the background are pretty fun too.

The transitions from each song are smooth despite the obvious changes in style of music. With the meat of the song basically the same, it's probably easier to do. However, the ability to transform each song with it's simplicity into such unique gems is pretty fantastic. "For You" is a quick tempo garage beat song while "Crime" reflects more of a 60's beat, finger snapping style. "Much to Learn" really digs deep into that primal heavy sound with tribal like drums and chanting accompanied by Olivia's haunting vocals. "The End" closing out the album, is the culmination of happy, pop-beat music that leaves your heart racing. For creating this band while learning how to play their respective instruments, Play Drums + Bass is a highly polished example of what a few years and some commitment will get you. I'd recommend "For You", "Crime" and "The End".

-Elana Rintala

(Looking for something similar? Try these bands: ESG, The Ettes, and The Fall.)

Thu Sep 6 2007 · Posted in Reviews on littleradio.com

Film School: Hideout

Film School
Hideout
2007 | Beggars Banquet

Film School’s self-titled debut was a history lesson that covered many points along the darker and more brooding side of shoegaze/80’s-pop (The Cure & Ride specifically). The album sounded like a group of guys jockeying for position with no clear direction, but good tunes nonetheless. When I popped in Film School’s sophomore release, Hideout, it immediately grabbed me and sounded like a different band altogether, a better one.

While Hideout was being made things also changed in camp Film School (the addition of bassist/vocalist Lorelei Plotcyzk, guitarist Dave Dupuis and drummer Dave Smith). With the exception of keyboardist Jason Ruck, longtime band members moved on, and Greg Bertens stepped up as the principal songwriter who's vocals and melodies have seriously grown into something special. The first thing you’ll notice on Hideout is how lush and patient each song sounds. And while a standout banger like “He’s a Deep Deep Lake” from their debut soars with waves of guitar that particular track sounds dated compared to most of the new material Bertens has written.

Perhaps it’s because I’ve always thought of Bertens as the singer/guitarist of a quintet, simply a piece of the puzzle, but he’s much more than that now. Turns out he is the puzzle and carries this album like a matured writer and musician giving the audience a peek into his life. His voice hints at personal relationships and the experiences we have all come across concerning love and failure.

Several outstanding songs that appear on Hideout easily distinguish this album as a true progression in form. “Capitalized I” and the ultra-catchy “Go Down Together” will remind you of the building miasma created by Serena-Maneesh, only Film School are less concerned with blown-out noise and ruckus. Other tracks vary but are quite sticky as we follow Film School down a consistent path of dreamy pop. The band unleashes devastating melodies and awesome guitar structures on “Compare”. This song could work as a radio single because the melody is so inviting and eventually transforms itself into a beast. Bertens also reveals a beautiful falsetto on “Florida”. The music and vocals create a tension against the chaotic keys and repetitive wash of reverb, a real gem for Pale Saints fans. Once the song opens the floodgates you’ve got to be sold on this record.

With the help of some notable musicians like Colm O’ Ciosoig  (My Bloody Valentine), Tracy Uba (ex-Timonium) and Paul Wilson (Snow Patrol) the album displays a real variety of rhythms and vocal styles. But I still get the feeling that this record exists as the product of Greg Bertens locking himself up in a studio and revealing himself the way he’s always wanted to.

-Scott McDonald

(Looking for something similar? Try these bands: Pale Saints, Slowdive, and Psychedelic Furs.)

Tue Sep 4 2007 · Posted in Reviews on littleradio.com

No Age: Weirdo Rippers

No Age
Weirdo Rippers
2007 | Fatcat Records

If you were in L.A. recently and missed one of No Age performances, that's too bad- they're really good. However, they've just put out Weirdo Rippers, which is pretty close to what they sound like live. No Age do not completely settle on one style here. The songs picked off of the five EPs (all vinyl releases, all different labels) from this past year dabble in lush, hypnotic static, in indie pop melody and in garage beats. They are a fine product out of Los Angeles.

Weirdo Rippers starts out with shimmery static guitar on "Every Artist Needs a Tragedy" and turns the listener on their head as they cut in with fuzzed out vocals and thumping drums in a definable rhythm. The next track "Boy Void" is an example of their punk/garage beats that get your heart racing, but then just as quickly they ease you back down into "I Wanna Sleep". This up and down plummeting of tempos in songs feels exact, like they know what you need next.

I hate that people will pass off No Age as "noise", when really, many of the songs have that swirling, melodic style ("Neck Escaper") found in more "shoe-gazer" type bands (or even bands like Spaceman 3). They do get loud though; hitting frenetic beats so wild you wonder if hearts will explode- like in the back to back punch of "My Life's Alright Without You" and "Everybody's Down". That's also their appeal; they do both so well it seems effortless listening to them. What I also admire is how well they emulate their sound both on record and live. I always have high esteem for those bands who can do this, because I've found that there are those well-weathered bands out there can't always compete with their recorded sounds. So, again I have the dilemma of trying to pick a few songs to listen to- let me just recommend you listen to the whole album.

-Elana Rintala

(Looking for something similar? Try these bands: Japanther, Spaceman 3, and Deerhunter.)

Wed Aug 29 2007 · Posted in Reviews on littleradio.com

Hilly Krystal (1932-2007)

Hilly Kristal, the founder of legendary New York punk club CBGB, died yesterday due to complications from lung cancer. He was 75 years old. Kristal founded the club in 1973, primarily to showcase bluegrass and country artists. But it quickly became a breeding ground for experimental rock and punk music (Blondie, the Talking Heads, Television, Patti Smith, the Ramones…).

Kristal was born in Manhattan in 1932. Soon after his family relocated to Hightstown, New Jersey and he began to study music at a young age. He eventually entered the Settlement Music School in Philadelphia then moved to New York, spending the '50s and '60s performing in various bands.

According to Billboard.com, a private memorial will be held first, with a public tribute to follow at a date to be announced. Rest in peace.

Wed Aug 29 2007 · Posted in Daily on littleradio.com