CD Reviews
Keeping Up With Inara George
Well, most of us haven’t been paying any attention. OK, I haven’t been paying much attention. Let’s just say that Inara George put out a beautiful, solid, wonderful album, “All Rise,” on the Ever Loving label in 2005. The cut, “Fools Work,” even got play on Gray’s Anatomy. I loved seeing her perform at the now defunct Crocodile Cafe here in Seattle and then I blissfully went on my merry way finding new things to listen to and other trouble to get into.
Since then, in addition to continuing to do her own magical work, the fabulous Ms. George went on to do side projects of assorted flavors. One side project that has intrigued me is The Bird and The Bee. Sounds just like Inara (go figure) with the addition of more instrumentation and electronica and with a different bent; it is a bit more upbeat and modern and even slightly sassy, but not obnoxious. The lyrics are sardonic, slightly twisted, but totally right on. Not sweet, not chicky, but interesting and new. The Bird and The Bee is Greg Kurstin (Action Figure Party) & Inara George and when they’re on the road (according to their MySpace page) it is Greg (Keyboards/Guitar and such), Inara (Bass and Vocals), Willow Geer (vocals), Megan Geer-Alsop (vocals), Alex Lilly (Vocals), Gus Seyffert (Guitar and such), Joey Waronker (Drums). Check them out at http://www.myspace.com/thebirdandthebee.
Another side project is George is Jones, who really is Inara George and Rod Jones of Idlewild. Apparently they wrote some songs together via email (like The U S Postal Service) and recorded a full album in a hotel room with Dave Eringa. They wanted to release the album in late 2006, but somehow it got put on hold and I have not heard anything new about this project. You can still check them out at http://www.myspace.com/georgeisjones.
Though “All Rise” is a couple of years old now, it is really worthy of a listen. You’ll be humming along in no time.
NEWS UPDATE: The Myriad were the winners of the Dew Circuit Breakout 2007 - televised by MTV2 on 12/15/07.
The Myriad band members are (listing from their MySpace page):
Jeremy Edwardson: vocals. guitars. programming
John Roger Schofield: bass. bow ready to sally fire-tipped arrows
Steven Tracy: guitars. keys. Programming
Jonathan Young: guitars. cello bow. NASA
Randy Miller: drums. intricate machinery
The Myriad released their first full-length record, You Can’t Trust a Ladder, in June 2005 to rave reviews. “Ladder” was featured as a Staff Favorite on iTunes, right up there with the Staff’s picks of Foo Fighters and White Stripes. MTV has even used some songs off the record for the Real World Denver show. The Myriad has toured extensively across the country with Lovedrug, mewithoutyou, Mutemath, As Tall As Lions, and others.
They recently signed with Koch Records (New York) for their newly released Limited Edition EP, Prelude to Arrows. It is limited in quantity, available only for a limited time, and it’s an EP so there are only 4 songs, but the limitations stop there. To support the new effort, The Myriad will be touring with The David Crowder Band (Remedy Club Tour) and Phil Wickham.
This teaser of a recording brings us a tiny glimpse of The Myriad’s new full-length album, With Arrows, With Poise, set for release in March ’08. The new full-length was recorded in Seattle and Detroit and mixed at Hansa Studios in Berlin by Michael Ilbert (The Cardigans, Kent, The Hives) and mastered at Abbey Road Studios in London by Adam Nunn (Air, Radiohead, Franz Ferdinand, Mogwai).
The Myriad’s musical style is not necessarily all over the map but it does cover a wide swath of diverse sounds. Multi-layered, atmospheric and brilliant guitar strains wrap over, around and behind lyrics of love & heartache, doubt & faith, action & indecision. Frontman, Jeremy Edwardson, said they were going for a “full body chills” effect and if they didn’t get that, they went back to the drawing board. Bassist, John Roger Schofield, said they sought “unpredictability and wildness.” They totally achieved their desired results and then some.
They have an uncanny ability to connect with the audience no matter where they play because their material is deep and penetrating and they give fully captivating, rocking performances. They have been compared to Kent, Bjork, The Verve, Radiohead, Coldplay, Interpol and Mew.
To find out more about The Myriad, visit them on MySpace, Virb, Youtube, and themyriad.net for studio video clips, little humorous stories posted by John Roger, tour dates throughout the U.S., and cool behind the scenes peeks into the tour and making of the new record in Seattle, Detroit, Berlin, and London.
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CD Review – Kirk Dubb & Mister Holmes – Thirsty (Selling Records)
Northwest Hip Hop artists, “Booze Hound from the Puget Sound,” Kirk Dubb (Kirk Warner), also known as the “derelict of drunken dialect,” and Mister Holmes (Jacob Michael Daley), a “misanthropic, thoughtful brooding archetype,” put together the full-length CD, Thirsty, in 2005, after Dubb’s long hiatus from recording the local offering, Booze and Madness, in 2001. In 2003, Dubb was nominated by Seattle Weekly as “Best Hip-Hop” act, so this CD is giving us an updated scene of drinking to beats and rhyming in the streets.
Dubb’s self-deprecating descriptions as having “the heart of a poet and the soul of a derelict,”….“forever established him as Northwest’s hip hop’s foremost Sultan of Swill.” He also stated he found the “perfect rhyming and drinking foil in Mister Holmes.”
Just about every inference and direct description of drinking, alcohol, intoxication, detox, hangovers, etc., is either on the record straight up or is alluded to in some way, since almost every song is all about carefree pub crawling (read drinking) and its effects. Not that there’s anything wrong with that. This record is tongue-in-cheek yet true to life for those who imbibe often, willfully and wantonly but without the self-pity and the hand-wringing, sweating-it mentality – it’s all in good fun.
Typical lyrics: “Who’s In the Pub?/Holmes and Dubb/Whatcha Gonna Do?/Chug-A Lug?”
These artists call it “projectile hip hop,” which is amusing since Dubb claimed he outdrank Kid Rock AND the Beastie Boys. Plus, some of the literature Dubb sent me with the CD includes a red flyer supposedly from Modern Drunkard Magazine showing Dubb as the “Drunkard of the Month,” complete with a full interview. It’s all about the hooch, no doubt.
Produced by Dynomite D (Dylan Frombach) (Beastie Boys) who worked with Dubb on Booze & Madness, and veteran producers DJ Mr. Supreme (Sharpshooters) and Grammy winner Art Hodge (Santana), Thirsty does have cred as hip hop but I must say that even with these fabulous producers the sound Holmes & Dubb have created here is very 90s-style. That isn’t necessarily a bad thing, but surprising. Perhaps all that drinking has kept them in the past? As a matter of fact, the cut “Workin’ Stiff” seems even mid-late 80s-ish, hearkening back to when rock & rap first began teaming up as a “new” sound. Dubb & Holmes do tend to keep it local though as the cut “Great Northwest” is a rockin’ track and the only cut that isn’t all about drinking but about Seattle city landmarks and references about the Puget Sound area.
I must admit overall there is a cool, steady mix of beats, basslines and rhymes reminiscent of the Beastie Boys’ older material. I hear down and dirty samples of guitars and e-drums, fat basslines and a few real instruments, but overall it is a nice mix of rock & rap that makes it fun and even “dancey” on some cuts. This could be your next party CD if your party includes a lot of drinking.
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The Blakes’ release of their self-titled full-length LP (Light in the Attic Records) in October was a much-anticipated event for Seattle’s indie music lovers. Garnet Keim (guitar/vocals), Snow Keim (bass/vocals) and Bob Husak (drums/percussion) play their hearts out and party just like the rock stars they have become and have a smashing end to their sets.
This album is chock full of one great rock ‘n’ roll song after another. Essentially it’s all about sex, relationships, drugs and did I mention sex? I must admit I do hear the many varied influences of The Strokes, Franz Ferdinand, The Cure, Sonic Youth, The Kinks, The White Stripes, and The Beatles. The Blakes’ music is definitely derivative but they have embellished all the cuts with their own tongue-in-cheek, dirty, sexy stamp. The 60s Brit Pop blends well with the bluesy numbers and jangly, sexy riffs. No doubt these boys can write catchy tunes that stick with you all day. Thank God The Blakes have made rock ‘n’ roll fun again.
“Two Times” - their signature song as it starts off with jabbing guitar plucks and distortion but the maracas win with all that ‘shake, shake, shake!’ A simple, sexy, dancey cut.
“Don’t Bother Me” - a smooth number with my favorite rock song line to date: “I’m caught up in your legs I don’t wanna get out.”
“Magoo” rocks you, gets in your head and itches you where you scratch.
“Modern Man” so Strokes-like and catchy as hell. Sexy, savory and sweet all at once.
“Run” uses those Cure-style keyboards to great effect, together with Bob’s great beats makes this a song a pre-emo theme song.
“Commit” - up-tempo and the story of most guys today (it should be entitled “Can’t Commmit”).
“Don’t Want That Now” – sexy, dreamy, jangly, rockin’.
“Lintwalk” - so early Cure it is endearingly sweet.
“Vampire” – dark, driven, sexy. Always thought Vampires were totally hot.
“Lie Next To Me” – rock, stock and smoking riffs.
“Pistol Grip” – complex rhythms and interesting phrasing.
“Picture” - 60s Brit Pop style and s e x y.
“Streets” – Rockin, hard driving, scrappy number reminiscent of The Stooges.
Check out The Blakes at www.myspace.com/theblakes
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Mono in VCF – self-released, self-titled full-length CD - Out November 2007
The most enchanting and heartbreaking record in recent history. There is absolutely nothing like its innovative, seductively dark, haunting and dramatic, lush sound out there. Some want to classify this work as psychedelic pop, but it goes beyond that into a class of its own. I could throw out a few additional inadequate adjectives such as ethereal, moody, desire-filled apprehension, and shoegazing yet soulful. Others have called it “brilliantly beautiful,” “gloomily romantic,” and “doomy & dreamy.”
Five-piece Mono in VCF is Jason Falk, drums, Hunter Lea, guitar, keys, vocals, Jordan Luckman, bass, vocals, Kim Miller, vocals, and Dylan Taggart, keyboards, guitar. The band is based at Tacoma, Washington. Songwriting duties fall to Hunter Lea and Jordan Luckman and we are lucky they have the ability to craft such powerful musical concepts.
Listening to this full-length debut was one of my favorite assignments all year. Mono in VCF finished laying down their tracks late this summer at Jupiter Studios with Superman of the Soundboard, Martin Feveyear (Presidents of the United States, Queens of the Stone Age) producing, overseeing quality and lending a guiding hand. This record sounds so polished and amazingly deep that it is astonishing.
Their influences are so retro for musicians so young. Clearly Phil Spector’s “Wall of Sound” and Dr. Robert Moog’s synthesizer play major roles in their sound, but the many acts they follow such as The Poppy Family, David Axelrod, The Beatles, The Delfonics, Serge Gainsbourg, The Carpenters, Lee Hazlewood, The Kinks, Pink Floyd, Talk Talk, and The Zombies are an aggregate of divergent yet cohesive sounds with whom they’ve definitely got an understanding and similar artistic intent. Note that Jarvis Cocker is a fan of the band and had them open for him when he was last in Seattle. Terry Jacks (Poppy Family) backs up on vocals on a couple of the cuts as well.
If it were up to me, it would be required listening – period. This recording is the epitome of 60’s cinematic sound, and with its mysterious, echoed strings, powerful orchestral arrangements, entrancing guitars, and those haunting lyrics sung so captivatingly by Kim Miller, it is entirely irresistible. This record is an intricately woven tapestry of sounds, textures, moods and emotions. Even the lineup of the cuts, from start to finish is reminiscent of a film noir score – only better. You can create a movie in your head with your own version of the heartbreak you hear.
Miller is the perfect fit for this sound quality and this type of production. Her deeply alluring and soulful vocal style is somewhat like Karen Carpenter with a bit of Beth Gibbons, too, and is simply incredible. Miller’s voice is flawlessly captured and woven into the fullness of the lush, orchestrated backgrounds ably provided by Lea, Luckman, Taggart, and Falk.
Escape City Scrapers: Dark, dramatic doomsaying – “In an age of decay in the city/I waste my hours away/the friends I don’t need won’t see me/but the rain clouds seem to stay”
Spider Rotation: Heartbreaking words - “Alone with each other what are we going to do?/In love with another, I thought you still loved me, too/a heart held under water/turned red blood into blue”
Masha: Killer phrasing - “You put your face inside my hands/I put my faith into each breath/if love is your drug then we got high on my supply/I didn’t now that it would go so soon”
Key to the House: An almost happy-sounding fight over a house at the end of love.
In Los Angeles: Boy meets girl agony. “I met a girl in LA/she said Nice to meet you/I didn’t catch your name/what was it again?/I said it’s ok it happens to me all the time/I don’t mind that I’m quite forgettable – I’m not looking for what you’re looking for/but if I was you’d be the first to know, I swear” There’s No Blood in Bone: Absolutely fabulous cover – better than any I’ve heard to date.
Chanteuse: Swirling, cinematic sadness. Death of a Spark: Sexy & dark.
The Only One: The most heartbreaking lyrics ever – so here it is: “If you want to rip my heart out, go ahead/Go get on, get it over with/If the sight of blood should make you sick/I’ll do my best to bleed under my skin.”
Cinch Ring: A taste of lust and deceit.
We Could’ve Owned the World: A drifting, nearly spiritual instrumental.
This band is hot. Their work is unlike any other and this record is something you ought to get immediately. I don’t say that often, in fact, I’ve never even suggested that before, so there you go. Listen, listen, listen – each time a new gem is uncovered.
From Mono in VCF’s own webpage – What MONO IN VCF means:
MONO IN VCF utilizes Phil Spector’s mono “Wall of Sound” production techniques and modern synthesizer sounds made possible by Dr. Robert Moog. “VCF” stands for voltage-controlled filter and is a feature on many Moog synthesizers.
For more information go to: www.myspace.com/monoinvcf and www.monoinvcf.com
A listening party was planned at Seattle’s Pacific Science Center on November 14 - a smashing success with an afterparty at Hazelwood in Ballard.
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“The Blakes,” brothers Garnet Keim (guitar/vocals) and Snow Keim (bass/vocals), along with drummer Robert “Bob” Husak, recently debuted this fabulous, limited edition, 5-song EP release, “The Blakes” [a/k/a “Streets” (after cut no. 3)]. It is totally a teaser for their debut album on Light in the Attic Records coming out in October 2007. Apparently, the president of Light in the Attic likes to drink tequila in the back of a van when trying to convince a band to sign with them. Rightfully so, because The Blakes’ brand of rock is too “dirty” for the big labels which is just fine with me. Bob Husak is the Keith Moon of this generation - very innovative with up front and back beat at the same time. Snow’s basslines send a shiver up my spine each time I hear them and Garnet’s vocals and guitar work keep me listening. The Blakes have a sound that is difficult to duplicate and refreshingly original because they went back to rock’s roots for their sound.
“Streets” is a great slice of rock music heaven, so I must get my hands on the full-length as soon as possible. The boys went to work with producer, Martin Feveryear of Jupiter Records (Presidents of the United States, Amber Pacific, Slender Means), and turned out a first-rate listen from this very hard working, tequila-loving, Seattle indie band. They are the perfect combination of dirty, gritty and sexy. Bad boys to be sure, but first-rate musicians underneath it all.
Although the brothers Keim were not allowed to listen to rock music as teenagers at home, they were influenced by such divergent bands as The Smiths and The Cramps to the Beatles and the Beach Boys. Their sound, to quote their MySpace page is, “……..really nice man…..it’s like old but new all at the same time……. dirty, dancey and jangley ..$%@” like if a marshall was cranked to 13 in a dirty hotel after midnight with the lights off…” because I could not have captured a description of their sound any better than that. They are the quintessential rock ‘n’ roll band - complete with the smokin hot looks, attitude, lyrics & sound. I definitely hear the White Stripes and a John Lennon-esque phrasing in both the lyrics and the tenor of Garnet’s captivating voice.
With throwback lyrics about relationships gone awry and gritty guitar riffs, “Magoo,” gets in your head and itches you where you scratch. “Pistol Grip” has intricate and complex rhythms and makes you listen to every phrase carefully. “Streets” is a hard-driving, scrappy number reminiscent of The Stooges. “Die” is nearly psychadelic rock, until you get hit between the eyes with realism gone haywire. The last song on the EP, “Village Green,” floats up on billowing clouds of cool sounding like they came up from Strawberry Fields.
The Blakes were Spin Magazine’s “Artists of the Day” on August 28, 2007, and were one of the best acts playing Bumbershoot this year. They have totally paid their dues getting to where they are now and finally are getting recognition for their work. Excellent all around. Good job.
For more information on The Blakes, check out their website at http://www.myspace.com/theblakes