Psych! I'm ba-aa-aack!!!

Last night a totally d-i-y band inspired me to stop sitting on my rotund moneymaker and start blogging about music. Not for profit or to establish a writing career, but for fun! *you gasp in disbelief* So "stay tuned" for the 411 from this blog and the "sister station" www.killthecritic.blogspot.com

COMING VERY SOON:
Uncleared Samples - Online music only reviews of Paperwork Media Artists
The Mix Tape Battles - Cry Blood Apache vs. Asamov (Kill The Critic)
Listen to these artists first and make up your own mind.
Laters!

My Last CD Review @ DIY-Music!

The decision was made about a month ago - to split up CD and live show reviews, or rather, have a different p.o.v. in preparation for defining the look of my future zine (and eventual magazine). I thought it would be best to end blog reviews of CDs altogether since I'm doing reviews for other print and online magazines (for legal and personal reasons). So I'm pulling the plug on the CD blog reviews.

But on second thought, that's too extreme. There are a lot of CDs I wouldn't be reviewing in magazines or other web sites that would probably get ignored. So instead of killing the CD reviews I'm officially splitting one blog into two. DIY-Music will be dedicated to "objective" live shows and behind the scene reports of indie/underground/d-i-y music. And one "CD of the Month" review. Kill The Critic will be dedicated to honest and entertaining CD reviews, from brand new releases to classic reissues. Occasionally I'll put my two cents in about live shows. So Things That Go Pop is my last review on this blogger. (Check them out below! :-) I'd like to thank them and the other artists (you know who you are) for supporting this site. I've had a few loyal readers who encouraged me to make the move to print media and I thank them also. No thanks to the spammers who "cleverly" waste space in my comments sections. Ha-ha.

It has been fun, and I'll continue to blog about live shows and house parties I dare to attend from Austin, TX. This is supposedly the live music capital of the world, after all.

I will have at least 4 new music reviews posted at Kill The Critic this month. Check that out!

~ diy-danna

Things That Go Pop - LP

Things That Go Pop
ST
©2005 Self Released

(out of 5)

I sum up this first full-length CD from Things That Go Pop in a phrase: An infectious confection of danceable guitar and electronic pop. And what's so bad about that if it sounds this good? It's a revolutionary concept that has seemed to escape popular commercial radio - good music with thoughtful lyrics. There's probably something wrong with you if you listen to Things That Go Pop and aren't moving some part of your anatomy - if you're able. I'm not ashamed to admit, I danced in my "office" for a good 20 minutes - nearly half the length of this album. But it's just not the synthesizer & drum-driven beats that will get to you. Listen to the musicianship and harmony of guitar, keyboard, and the solid songwriting, and you've got one great indie pop/rock record to rotate in your stereo. There are 4 members in this band, and three share lead vocal duties. You would think this would confound the listener, but it only makes the CD worth listening to even more.

My last CD review was a bit long, so I won't bore you with a track by track detail. That's about as exciting as detailled billing for your cell phone. Here are highlights instead: A strong team (or is it teen) spirit song, "Teenage Plastic" introduces us to the dance party vibe that is sustained through most of the album. It also makes you aware that they do make a fuss about the lyrics. Yes, it's sweet electronic dance pop, but there's a little medicine in it. The follow-up "Bright Colors" is a definite trip, with loopy synth and catchy beat. I was on my feet dancing to the beat then. My personal favorites were "Backbeat Testament" and "Lorraine", for completely offbeat reasons. It reminded me of the old new wave music from the 1980s, with smarter electronica. The kids would probably call this Smart Pop or something like that. I'm dating myself, but the latter track reminded me of The Romantics hit "Talking In Your Sleep". Just a bit. The vocals were earnest and slightly awkward, to good effect."Backbeat" is about the sinful(?) seduction of a dancebeat. Some of the songs are not danceable, which makes a good mix. A good example? "She's Too Sexy". It's lo-fi, low key indie pop with honest lyrics and earnest delivery. It's almost sexy. There weren't really any duds, but one track, "Reason 2 H8 U" was somewhat redundant with the drum & synth combo. However, the guitar and vocals were excellent. The last track completely surprised me, in a good way. It may not be the case for some listeners, but the title alone had my attention - "Love Song for The Revolutionary". It was like coming down from a dance high. A serious song that indicated the end of the party. And like every party, every good CD must come to an end.

~ diy-danna

DJ Request Picks: "Bright Colors", "Backbeat Testament", "Lorraine", "She's Too Sexy", "Rock & Roll Leisure Class", "So Nouveau".

A revised printed version of this review will be available in INsite Magazine's Back-2-School issue, on stands September 2, 2005. Used by permission ©2005 diy-danna publishing, inc.


Things That Go Pop are:
Jared Kolarik - Hyper Vocals, Guitar, Roland SH101
Josh Batschelet - Heavy Vocals, Bass, Roland MC-09
Andy Klier - Moody Vocals, Reason2 - Computer/Keys, Guitar
Jeremy Ridge- Keeper of Rhythm (Drums)

Listen to the band @ MySpace: myspace.com/thingsthatgopop.
Official web site: www.thingsthatgopop.com

CD Available at Waterloo Records August 30, 2005.

The Total Foxes at the Carousel Lounge & Ars Ipsa Gallery

The Total Foxes

with

O'Doyle Rules
Dover Drive

August 2, 2005
The Carousel Lounge
1110 E. 52nd Street

(Out of 5, because it would've been better with a friend.)

also with

Arab League

and a special appearance by

Texas Roller Girls

August 6, 2005
Ars Ipsa Gallery
503 San Jacinto
Austin, TX

(Out of 5, because it was a darn good show.)


I made sure I got to The Carousel Lounge early to interview frontman/huitarist Jerm Pollet. There is a little bit of idol worship involved in this blog that must be explained. When I was a co-ed Gal's Panic was all the local rage. Punk Ska was hot in the mid 90s, and although they captured this sound, their songwriting was original. Even the atypical cover songs in "I Think We Need Helicopters" won me over. The Carpenters. Twice. Fast forward 10 years and a lot has changed. Jerm Pollet the artist and the man has matured in some ways, yet retained his youtful spark. This fine balance comes across in his live performances. Jerm insists on a party-like atmosphere wherever he performs, and his bandmates Stacy Hoobler (drums) and Gary Newcombe (bass) seem to thrive in it. Tonight The Total Foxes is short one fox. Gary is out sick. But the show must go on! And they still rock the party! Frontman and guitarist Jerm has made the Carousel his signature event, with a witty, laidback charm that encourages audience participation. He's the host of the entire musical carnival, plus he fills in for Mr. Richard Dawson with a round of Family Feud at the end of the night. Following The Total Foxes was the hard rock/punk sounds of Dover Drive. I noted a lot of t-shirts, and a nice tour following. There were a few fans turned away and pissed off by the no one under 21 allowed policy, but the host. It's not exactly my style of music to party to, but I loved the energy and dynamics between these band members who were on the final stop of their national tour. I was more impressed with O'Doyle Rules, although they claimed it was a weak set. The lead vocalist Scott (a former member of another Jerm Pollet band, Missile Command) was wearing a Beatles shirt, and for more notalgia, they played a remarkable cover of the Violent Femmes mega-hit song "Blister in the Sun" (b.k.a. "Big Hands"). This less than stellar performance still proved why they received a Houston Press Award for Best Indie Pop/Punk upon their return home. Congratulations...

A friend of mine got word first about The Total Foxes performing again, this to benefit a local art gallery, Ars Ipsa. He wanted to see the band Tuesday night with me, but his radio show had recently moved to a drive time slot, and he wasn't sure he'd have the energy to stay up so late. I assumed Jerm was performing solo - a performance art type event from what I read - but was pleasantly surprised to see all three foxes ready to rock. For an art gallery with no seating arrangements, there was a nice turnout, and the missing member from the last Carousel ride, Gary, impressed me with his melodic bass lines. A band was practicing above, but the quirky & catchy punk pop of The Total Foxes drowned them out. THey made room for a hip hop group called Arab League. My friend was not impressed, and declared it was racist for them to dress like Arabs, fake beards included. He compared it to blackface. I found it to be shocking at first, and could see from his p.o.v. But I tried to keep an open mind and listen to the music, the lyrics. My good friend is not a hip hop fan, so he was more interested in talking with one of the roller derby queens of the awesome Texas Roller Girls league (and who could find fault with that?). But I was impressed with the message and heart behind the lyrics - even the politically incorrect ones. For an ultra-liberal who watched Bill Maher's "Politically Incorrect" religiously, my companion surprised me by not paying much attention to the words. Yes, some of the music and beats were a bit routine. And "HipHopistan"? (Come on...) but overall, I liked Arab League's willingness to be critical of our country's Middle Eastern policy and war of terror. Please note the exchange of pronouns. War = violence. Violence is terror, no matter who's on the receiving end.

But enough about politics. I liked the second show and thought it was for a good cause - promoting art in Austin.

~ diy-danna

Listen to these bands @ MySpace (or e-mail a complaint to):
The Total Foxes - myspace.com/thetotalfoxes
O'Doyle Rules - myspace.com/odr
Dover Drive - myspace.com/doverdrive
Arab League - not found

UPDATE: The Total Foxes are on a tour of Austin! ;-) They have a new bass player too, Boy Cory. Hear him at The Carousel Tuesday, August 16, or visit thetotalfoxes.com or their myspace page for other "tour" dates. Check out the new CD, "Retirement Community" available at fine record stores like Waterloo, Cheapos and End of an Ear.

Live At The Parish - Dance Disaster Movement

Dance Disaster Movement

with

Kill Me Tomorrow

Glass Candy

The Parish - August 5, 2005

214 6th Street (Upstairs)

Austin, TX

Unfortunately I only spoke with one of the musicians performing tonight, briefly, but I did record my first concert on MD thanks to RadioMike's generosity and technical assistance. In fact I'm recording it from purse to PC for MySpace right now! I had never heard of Dance Disaster Movement (DDM), Kill Me Tomorrow or Glass Candy before, but there was something appealing about Austin Chronicle listing under Recommended Music for the week of August 4 -10. Read it aloud and it sounds suspiciously like a fan. For a professional music critic, this is considered dangerous. Reverence for the talent is acceptable. Gushing is not. This is just my impression. It was the first thing I read, and I jumped on it after some other plans for the evening fell through. It was the best thing that could've ever happened to me musically. Socially it was suicide - no date to enjoy it with (booh-hoo). But it wasn't a pity party once I caught the suprise opening act - a trash synth punk band. (They wore garbage bags and electrical tape to make it crystal clear what they sound like.) It wasn't great music, but it was more entertaining than the "toothless pop punk" playing on the radio these days. I still don;t know the name of the band. Or the name of that 70s psychadelic rock meets synth band that I actually enjoyed. They even dressed the part. The burping synthesizer dude with the drooping mustache and dread-like black hair (was he for real?) was actually so annoying he was cool. Yes, he had the colorful open-neck Polly & Esther shirt with chains. Groovy. But I digress with the fashion report....
The synthesizer player was his grooviest when interacting with the audience. At one point he jumped off stage, danced around this pretty girl and jumped in the nearest waste receptacle (a bright euphemism for trash can). I was hooked on Glass Candy. But they weren't Glass Candy, although one of the members played with them later that night. Confused? Me too. Let me explain...
Since I was clueless about who was playing and how they sounded assumed the first band dressed in black garbage bags was Kill Me Tomorrow. In fact I misled a conservatively dressed woman who was also flying solo when I announced that she missed the first band. I think she gave me the evil eye when the actual first act on the bill took the stage, or maybe when I whipped out the MD-R as I noticed the next band setting up was obviously not DDM. I intended to record the headlining performers, but my impulsive nature took over. Good thing, too. Glass Candy - the real Glass Candy - was good. The vocalist reminded me of Blondie. Just a little bit. With programmed synthesizer in the background she got the crowd hype. A few members from the first two bands were dancing at the front of the stage. I don't care what those diehard retirement home metal rockers think - synthesizers rock. This band proved it by linking tasty synth pop with heavy guitar and drum rock. Can't we all just get along that well? I can't list particular tracks. (Just listen to my first monotone, bootleg live recording @ www.myspace.com/diyrevolution August 21). Gwen Stefani could take lessons from this chick. explained that two bands joined in because they didn't want to play competing gigs - or something like that. (Damn earplugs.) After listening to the jagged sweetness of Glass Candy I think the rest of the former No Doubt should sue Gwen's ass. She's got the money from the Bananas song. Forget The Killers, The Bravery or whoever you've been listening to lately. I like their soft new wave rock vibe, but it lacks a certain edge that I'm hearing from Glass Candy. OK - you now know where I stand with this band.
Kill Me Tomorrow was more challenging to my ears. Thanks to a couple of alcoholic beverages I was getting a little sleepy. The trippy Gong-like music wasn't helping either. So I sat down on the comfortable side bench and pretended to medititate. The Gary Oldman look-alike lead vocalist/percussionist/synth ops man woke me up with the beat of a drum at the end of the sound check. The melodic blass player, a blond lady with skunk streak bangs (who also reminded me of Blondie), and the frenetic guitarist kept up the pace with the intimidating but talented drummer. It's not the best recording, but listen to the sound check on the second track of the concert @ MySpace for proof that this is a bad, bad man. His vocals are grating, and the a lot of the rhythms he pounded out were not easily danceable. Yet he got the crowd moving, and he dad my complete attention. This is definitely not synth pop. The second brief song had an almost pulsating hip hop beat with erratic guitar riffs, and I thought I was in love with the man for a moment. The rest of the audience probably had the same reaction. Dark primal synth would be the best description for Kill Me Tomorrow. They sounded almost improvisational at times, which may frustrate - or annoy - some listeners. For other it's a primal dance experience worth hearing. The only way to describe it: Kill Me Tomorrow is a land bridge between the continental divide of Experimental American Rock and European Ambient Techno.
With Dance Disaster Movement I had a few preconceived notions from the description in the AC that were completely dismissed with the opener. Keyboardist, guitarist and human synthesizer Kevin Disco and drummer Matt Howze continued the primal dance beat. It was symphony of organ-like notes and heavy beats. I was expecting funky, quirky dance rhythms, and two guys dressed all in white doing the centipede or breakdancing across the stage. Oh, there was a little of that. Mr. Disco & Mr. Howze were in fabulous form. With the second song it was evident that this would be a beautiful disaster. The dissonant keyboards and driving drum beat had me as mesmerized as the vocalist almost chanted the lyrics. He played to the crowd with the holes in his valentine t-shirt. (Was that a red thong underwear peaking out the back of his trousers?) And there was even crowd participation with the audience (myself included) chanting along "Way-oh!" (or something like that). Then it became a pep rally for the anti-sports league. More audience participation? I didn't know where this was headed with the chants, and I was a bit skeptical. But the music soon had me not thinking so much, which is sometimes a good thing. By the end of the show, DDM delivered an electric performance that rivaled the best traditional indie rockers.
Hearing these bands live I felt as though I somehow belonged to a community of outcasts and aliens, which is easy to feel in a land of homogenization that frowns on differences that aren't automatically marketable to the masses. Today's punk has become re-packaged and gone pop. Some of it is actually worth listening to, don't misunderstand me. But planned suburban living to escape the undesirable elements (?) of urban dwellings, generic strip malls and witnessing people talking on cell phones in front of cashiers taking their orders has an alienating effect. This definitely comes out in the varying forms of musical expression with all of the bands that performed tonight. The result was unifying the music and the listener. It was people connecting through music in a world of hardwired and wireless extremes. I'll let Dance Disaster Movement have the last words in this blog review:
"Hey. Let it move. Make it right. Dance. Dance. Dance. Dance.
Lift up, take a stand. Revitalize. Dance. Dance. Dance. Dance.
Rise, captivate. Make a move. Dance. Dance. Dance. Dance.
Try, let it be. Make it through. Dance. Dance. Dance. Dance."*
~ diy-danna

* From the track "Seizure" - We Are From Nowhere (2003 LP).

Zom Zoms Share "One Brain"

One Brain
Zom Zoms
©2004 Omega Point Records

(out of 5)

Future Zom Zoms CDs should come with a warning label: If you're expecting to hear something familiar, you may experience alienation which includes feeling like a stranger in a foreign land, and occasional discomfort accompanied by bouts of manic head bobbing and jaw dropping awe. In other words, the zolo* and art punk sound achieved using new wave synthesizers and spiraling vocals won't have the usual catchy pop riffs of new wave. But for some listeners it may be a welcome holiday to a strange, dark and colorful land.
Listening to One Brain then reading a mediocre review proves that a lot of music critics are full of hot air. It's almost as if they feel guilty if they enjoy hearing something that challenges their personal sense of what is functional, fashionable and simply good. Usually I'm not critical of a previous reviewer's opinion. But in this case, I think one critic did a haphazard job in the case of reviewing Zom Zom's second CD release. While I do agree with Darcie Stevens on two points - this CD is reminiscent of Devo, and "...intelligent, quirky, and rhythmic"** - I can't agree with her dismissal of the CD as "annoying, repetitive, and noisy"**. Of course music is subjective, like any other art form, and everyone has different tastes in music. I also understand that the paper she writes for is limited in space when it comes to music reviews. But she insults an active listener's intelligence when her assessment of a band's music relies on ambiguous references to the differences between art and punk, and not references to examples (tracks) that make it good, bad or somewhere in between. This is why I'm breaking my own rule. Normally I don't mention or highlight more than 5 tracks on a CD. But thanks to the Austin Chronicle's murky review, this amateur blog reviewer will mention every track to make it clear why One Brain may be worth another listener's attention.

Live or on record, Zom Zoms are brilliant at capturing attention and polarizing an audience. They succeed immediately with the spasmatic intro "Wake of Zom Zoms". It lies disturbingly between the paranormal and psychosexual and caught me off guard (even though I heard similarly disturbing lyrics in a live version of "Hyper Lenny" a few nights before). "Pray to Zom Zoms" is an absurd song that masks the ridicule of idol worship with holier than thou vocal stylings. For me, it was the real intro to a band that thrives on off the beaten path lyrics, peculiar and exciting vocals, and of course, dynamic synthesizers. This isn't just chaotic noise. It's real music. Listen to "Hyper Lenny" more than once and you might agree. It's a work of dark humor that will remind you of a cartoon, and lead vocalist/guitarist Zom is the foley artist. The sounds coming out of his mouth are as cool and quirky as any classic Saturday morning surrealism fest. My favorite track "Static" has a great chord progression that sounds almost melodic, and the lyrics are brilliant. Following that is an awful train wreck of a song - "The Cockatoo Cries "Zom!"". It's a frivolous mess, but for some reason it's so horrible it's actually good when it all unravels. I thought about skipping "Recipes Resume" because the lyrics mean absolutely nothing to me. I'd like to believe that's the point of this song. I simply can't understand it, and probably wouldn't understand it all if they gave me the lyrics. But the funky rhythm is worth mentioning. "Steve Martin Is Going Nowhere" is a merciless and funny track. I like a few movies listed in the song, so it took a lot of composure not to scowl. But it took even more composure not to crack up laughing when the actor's less auspicious movies were mentioned. "Stubborn Beast Flesh" is as disconcerting as the title indicates, and the darkest and most deeply disturbing of all the songs. "Laser" had the opposite effect. The wordplay is absurd so of course I thought it was an original song, but now I am compelled to seek out the original version by Aviador Dro. The finale is a cover of a song by The Judy's - "TV". I heard the song before at The Record Rack when I was a little kid. I thought it was a cool song then. I still do. These three music artists share One Brain very well. Overall, there are some brilliant tracks that make this a very good CD to play often. I look forward to a new release featuring adventurous vocals and synthesizers from Zom Zoms.
~ diy-danna

Photo by Elizabeth Skadden

Zom Zoms Are (left to right):
Phil Philmapster - Fabulous Keytar, Synthesizer & Vocals
Zom Philmapster - Jaw-dropping Vocals, Guitar & Synthesizer
Zoms Frenchman - Incomparable CompuRhythm, Synthesizer & Vocals
A self-titled 12" Vinyl EP is now available through Wonk Records, or at Waterloo Records and End of An Ear. A New CD Coming Soon!
Visit the band's web site: tubezomzoms.com
MySpace: Zom Zoms

*See "Zolo Synthesis" 1997 by Terry Sharkie
** Austin Chronicle Review - October 22, 2004

AUX In ATX - Local Band's First Performance

AUX
July 16, 2005*
Hole In The Wall
Austin, TX

(out of 5)

I went to Hole In The Wall with a few friends and missed the first band, but we were just in time to see AUX, a brand new band from right here in the live music capital of the world. What did I enjoyed most about AUX? The fact that this was their live debut. The energy, obvious onstage chemistry, and love of music is something that the crowd appreciated too. They started off strong with the upbeat lead vocalist, Rodney, who also plays guitar. Bass and drums were a little sluggish at first, But the lead guitarist, Cole, swung his axe and by the end of the song the crowd was impressed. By the second song I began to see life in the rhythm section, and they sounded like they'd been practicing together for two years - not two months.
~ diy-danna

*Performance notes are missing so no further detail at this time, but this blog entry will be updated with AUX's debut highlights by 11:59 PM (CST) Thursday, July 21, 2005.

Julie Dexter - Conscious LP

Conscious
Julie Dexter
©2005 Ketch A Vibe Records

(out of 5)

With Conscious, the third time is indeed the charm for the soulful U.K. singer Julie Dexter. I first heard her silky neo-soul vocals while sampling new indie music at the eclectic cdbaby.com 3 years ago, and have been looking forward to hearing more from Ms. Dexter. I had high expectations after waiting so long since her wonderful sophomore LP Dexterity, to the point of downloading mp3s from the new album before a copy of the LP was available. From hearing "Choices", the opening track, I knew her latest CD was worth the 3 years wait. She starts off with a very laidback but musically conscious vibe that is consistent throughout the album that announces a strong, "new" force of nature in R&B/Soul. Unlike many Top 40 R&B albums, Conscious has wonderfully subtle and poetic lyrics, and music that doesn't sound programmed from a keyboard or the latest software for mass consumption. Please make a mental note: Julie Dexter offers the triple threat talents of writing, performing and producing - her way. This perfect example of how wonderful diy music is and can be is reflected in her conscious decision to take creative control of her music, not being dictated by marketing trends. As a British singer of Jamaican descent in a U.S./Multinational Corporation dominated music industry, this is a risky move. But the risk has paid off in more ways than one - she's sold more than 40,000 copies of this CD since it's limited release in Fall 2004, reaching fans across the Atlantic and around the globe - and inspiring other musical artists to write their own destinies. (Just listen to the Marvin Gaye "What's Goin' On" vibe of "The Race".) And please quote me on this: Julie Dexter's "Conscious" rivals Jill Scott's gem "Beautifully Human" and Erykah Badu's underappreciated "Worldwide Underground". And she does it without relying on a copycat style. Julie Dexter has found her own voice, and that voice is clear with relaxed confidence and grace. Like her previous albums, Peace of Mind and Dexterity, she further explores her reggae roots, yet maintains her distinctive soulful jazz and funk sound in Conscious. Some of the remarkable songs include an opposite's attract heart-clencher "Like Ours", and "Show Me Now" - a beckoning slow groove with a seductive flute in the background. The title track asks the listener to question our existence, or as one biography states "re-evaluate ourselves".* Then it all unwinds with "Rain Song", a jazzy, lazy Sunday afternoon track reminiscent of the sweet and soft Abbey Lincoln. Overall, her leisurely musical meditation "Conscious" is welcome in a culture that seems dominated by mediocre talent that doesn't survive 15-minutes of fame. Julie Dexter is truly conscious in an unconscious music scene. This CD is higly recommended for R&B, reggae, and neo-soul lovers, hip-hop heads, and even jazz purists. Ketch a vibe and enjoy.
~ diy-danna

I loved every track, but here are my 3 Radio Play Picks: "Like Ours", "Look Who's Got Your Back", and "Show Me Now"

CD available at CDBaby.com, CDNow/Amazon (free mp3 downloads), and Waterloo Records in Austin, TX.

Julie Dexter web site: www.juliedexter.com

*Biographical quote courtesy of CDNow.com's Editorial Review.

Remembering Luther Vandross

Luther Vandross (1951-2005)

I fell in love with Luther Vandross' in 1984 when he sang a medley of the Carpenters' "Superstar" and Aretha Franklin's "Until You Come Back to Me" at a concert in Beaumont, TX. My mother finally decided I was old enough to attend a concert. I had really wanted to see Jesse Johnson (a one hit wonder associated with Prince and The Time) and Midnight Star that night. I thought Mr. Vandross was too mushy for me because my mom and her friends adored him. But of course, it was Luther who stole the show and my heart. He went on to become one of the best male R&B singers of all time, stealing the hearts of fans of all ages. To quote one of his closest friends, Roberta Flack, who compelled him to go solo after years in the background:

"He was a musician who couldn't help but give you all he had. He was the kind of guy who was born to do what he did musically and let the world know about it. He was not born to keep it smothered in the chest."

Luther Vandross definitely gave all he had that night at my very first concert over 20 years ago. He will be missed.

~ diy-danna

Heartless Bastards - Stairs and Elevators

Heartless Bastards
"Stairs and Elevators"
©2005 Fat Possum Records

(out of 5)
*Read the live show review here.*

Like more than a few people who listened online and bought the CD after hearing Heartless Bastards live, I felt a little disheartened with "Stairs and Elevators" at first hearing. When I finally ripped open the CD after the last show's encore I expected a polished (and less sincere) CD than hearing the band in person. But in this case, the live performance was more polished. With an amazing live sound like theirs, I understand it may be difficult for the best recording engineer in the world to capture the same magic of a live performance. However, this less than stellar production surprised me after listening to two great Fat Possum releases - rock 'n' soul king Solomon Burke's "Don't Give Up On Me" and R.L. Burnside's "A Bothered Mind". Erika Wennerstrom's honey & vinegar vocals are just as powerful as these living legends, but you may not be able to make this bold comparison by just listening to the album. Her equally profound guitar, Mike Lamping's soulful bass, and Kevin Vaughn's intense percussion also sound confined, and at times muzzled. What good is lightning in a bottle if it isn't released? But forgive the techincal limitations and listen to the heartfelt sound of the invitational "Gray". You will be hooked. There are several other standout tracks that make this CD a dream to listen to: "New Resolution", a song that reads like a journal meditation/poem; the sleepy rocker "My Maker"; "Runnin'" - a scorching track that should get serious radio play; the enigmatic slow groove of "The Will Song"; and the subdued discontent of "The Piano Song". In between are unforgettable emotional highs and lows present in great lyrics, wonderful tempo changes, and daring punk crescendos that accentuate the many shades of the blues they play so well. If you're not lucky enough to hear Heartless Bastards create an amazing alchemy of punk & blues live this year, I highly recommend "Stairs and Elevators". It's an uplifting CD (pun intended) despite it's technical flaws. I dare to hope for the release of a live CD by the winter holidays. What wonderful gifts they would be.

~ diy-danna

An abridged version of this review was originally posted July 1, 2005 @ cdnow/amazon.com.

Those Heartless Bastards! A Live Review

Heartless Bastards is (L-R): Kevin Vaughn, drums; Mike Lamping, bass; Erika Wennerstrom, vocals & guitar

Heartless Bastards
Stubb's BBQ - Austin, TX
6/28/05 & 6/29/05

*Read the CD Review!*

I topped off my celebration of Black Music Month by listening to a punk band named after a wrong answer to a Tom Petty trivia question. Why? Because this amazingly soulful, but little known, punk & blues band, Heartless Bastards, proved the old adage wrong: lightning does strike twice. It was two amazing nights of free live music performed by a trio of talented musicians who aren't black. It's a revolutionary idea even today - to cross the invisble line and listen to a punk & blues band that sounds as soulful as John Legend. (Who's coming to town 2 days late, July 2nd.) I read and will now paraphrase a quote from a 21st century songstress of African descent. She defines soul music as any music that touches or moves your inner being - beyond genre, geographical boundaries, and color lines. The Heartless Bastards of Ohio have confirmed her opinion. Good punk rock is good soul music. The first night was amazing, and the second night was confirmation that this talented trio is one of the best rock (and blues) bands around today. The entire experience can be summed up like this: Listening to Heartless Bastards live is like listening to an impromptu jam session between Leadbelly, Led Zeppelin, Janis Joplin, The Band, Jefferson Airplane, and The White Stripes. The Heartless Bastard sound, if you want to define it is lightning in a bottle let loose. And the rhythmic changes and melodic nuances within each song are akin to peeling a pungent but sweet onion. Any attempt to peel to the core reveals another layer of sweetness in a rock steady rhythm and blues funk. The song arrangements could be compared to a swimmer changing strokes mid-stream. Whatever metaphor you prefer, the band is a promising and inspiring. The first night was a wonderful musical journey - thanks to the clever lyricism of Heartless Bastards' stunning vocalist & guitarist Erika Wennerstrom - and the entire audience was willing to take the trip. One song, "My Resolution", almost compelled me to ask an older audience member, who may have remembered the 1960s, if the listening to live music back then was anything like this. (But that would have been rudely interrupting his experience.) Yet the Heartless Bastards are progressive rockers, moving forward with a grinding yet melodic sound that defies genre.
With closed eyes and open hearts again on the second night, the trio effortlessly skipped from song to song, the same songs. But it sounded fresh to my ears. There were more people in the audience at the second performance - a bigger congregation of music lovers. Both audiences were listening to a few songs that might remind some of a black gospel choir, or perhaps singing in a small black southern baptist church. And one of the songs may beckon a Harlem Renaissance poem you can't help nodding your head and tapping your feet to all the while. Both performances will remain unforgettable times during a time most of us would hope to forget. War and poverty and dirty politics aside, this amazing live band helped the audience to mourn and let go, if not overcome, their worries for a while. And these so-called Heartless Bastards helped us to remember and enjoy the hope and beauty still left in this world, even under the crushing rock of the blues. I call it a great way to end Black Music Month. I call it good soul music.

~ diy-danna

Visit the band @ MySpace or theheartlessbastards.com for tour updates.

La Snacks - Brown Orange Black Gray

"Brown, Orange, Black & Gray"

La Snacks

© 2005 Cashcow Records

(out of 5)

Warning: if you want a fair review of this CD, you're not going to get it. And here are 3 reasons why:

1. This is my favorite band from Southeast Texas.
2. I think almost everything they do is brilliant.
3. I bought a copy right before their show because I couldn't wait.

So, to borrow two words from a great rock song, all apologies if this review is too saccharine for your taste. La Snacks is an acquired taste itself, like most new indie rock bands.

La Snacks' full length debut, Brown, Orange, Black & Gray, is a fan-pleasing mélange of catchy riffs, hooks, and idiosyncratic but intelligent songwriting. For the unfamiliar listener, it's a welcome refreshment that borrows (and steals) from pop culture, personal tragicomedy, and the sociopolitically obscure. What more could you want from an indie rock/emo blues recording that isn't afraid to not take itself too seriously? From what I remember of their obligatory band bio La Snacks formed in Beaumont, TX in 2003 from the rubble of a band known as Purge (hmmm...) The line up at that time consisted of a slightly sarcastic looking & sounding intellectual crooner; a kick your you-know-what and take your name drummer; a punk goddess bass player (now in the cheerleading section); an unpredictable livewire metal guitarist (now living his metal dream); and in contrast, a solid rock perfectionist guitarist who just might amaze you. The no-nonsense bass player is a wonderful new addition to this eclectic yet cohesive band. You can hear the love when listening to the newer tracks that comprise Brown Orange Black Gray. Some of the songs from this lengthy sampler left me full of great expectations from future La Snacks LPs. (Hope that isn't a reviewer's jinx.) Some of the tracks are from the Foolish Boy EP, and all are great showcases for a young band full of promise. If the infecttious pop/punk of "Are We In Danger" elevated my expectations of a light-hearted rock record, then the blues rock of "Port Arthur" was the comedown. If you aren't from this depressed area like myself, you may not empathize, but it's a beautiful, too brief ballad to a town that could've been great. "Emo Kind of Love" is probably La Snacks' biggest crowd control hit. This rock steady recording will please any indie rock snob, but the live version is better. If you're an indie/alternative rock fan who also happens to love Jennifer Lopez, you may take some offense by this song. Now we get to one of my favorite songs - "Roman Yell". One day I hope to sit down with the band and ask them what this song is about. When I listen to it I don't imagine a love song about a sexy retro gal. I see this smoldering track as a metaphor for the decline of Western Civilization. To quote from the liner note lyrics: "The Roman Yell/She left me here/Without a sound/I guess I could not tell". I wish I could indulge and mention every glorious track on this stunning 42.5 minute LP, but I'll skip to a few more highlights: "You're Telling Me Something" is not a pretty rock song, and it's probably the best track on the entire CD because it's a no-thrills, no-frills, lackadaisical charmer. Perhaps the best lyrics in the entire album can be heard in "Barren Land". It first struck me as a "Port Arthur" reprise, but it's definitely not. It didn't leave me hanging in apathy for a ghost town, but with hope that change and growth, and "Peace love and understanding" is possible. The finale, "Charlie's Dead", gives a nod (and a wink) to rock & roll hijinks and insanity. It's a post-modern indie rock & blues ballad for the fans.
For anal retentive active listeners, Brown, Orange, Black & Gray may fall short of indie rock perfection. But for those with shorter attention spans, the hors d'oeuvre approach to their latest and greatest (so far) effort will be flawless. It may also challenge you to let go of preconceptions of what a good indie/alternative rock album should be. La Snacks' exceptional CD will remind you to listen to those other exceptional indie rock CDs collecting dust. So go ahead and listen to music you love, without all the hype and vainglory. I dare you.

La Snacks is:

Robert Segovia - Vocals & Attitude
Joe Deshotel - Guitar & Attitude
Trae Branham - Bass & Attitude
Jamey Matte - Drums & Attitude

web site: LaSnacks
second site: Myspace.com
fan site: Fans @ Yahoo/Launch

The CD is on sale now online @ Cashcow Records, or in stores - Waterloo Records & Cheapo Discs in Austin, TX.