Kill Rock Stars

Roman Candle

admin — Tue, 06 Jul 2010 00:00:00 +0000

Some might think this is another round of Elliott Smith’s posthumous work but it’s actually his first album. Kill Rock Stars has re-released and remastered Roman Candle, which was originally released in 1994 on the Cavity Search label. It’s self-recorded and Smith played all the instruments. The album is short, only thirty minutes, but in these eight songs you can see how Smith’s great career started. Smith’s soft melancholy tone is present in the lyrics as one would expect, and the fact that it is a completely self made album doesn’t take away from the quiet fury of his music. The album doesn’t sound like a first album, but rather like a bold, bar-setting collection of fine folk songs.

Contrary to its name, the album doesn’t offer nine individual explosions of balls-of-fire-songs. Each one has spark, but the album as a whole has more of a combined, melded flow. The title track is the most upbeat and maintains its quick layered guitar rhythm throughout its three minutes and thirty-seven seconds. It’s by far the most ball-of-fire of all the songs but creates a nice opening to the album. The rest of the disc follows the classic Smith alternative folk style of beautifully harmonized vocals laid over ear soothing guitar-driven melodies.

Some tracks are delicate ballads like “No Name #3,” a dark lullaby with words like “Watched the dying day blushing in the sky/ Everyone is uptight, so come on night/ Everyone is gone, home to oblivion.” But the fragility melts away in the penultimate and longest track “Last Call” where Smith turns up the amp and adds some grit to his guitars as he sings: “You’re a tongue less talker, you don’t care what you say/ You’re a jaywalker, and you just, just walk away/ that’s all you do.”

This first album is particularly special because it marks the beginning of Smith’s incredible, and unfortunately, short career. Lucky for us, he made five more after Roman Candle, each marking Smith’s evolution as an artist. Roman Candle holds its own in the Smith canon as a first testament to his talent, and his will and need to express himself with music.

Written by: Sara Custer, July 5th 2010

BARR - Live in Philly (2/19/2007)

admin — Wed, 21 Mar 2007 03:50:00 +0000

BARR

Philadelphia, PA

There’s nothing more refreshing than a band who doesn’t take themselves too seriously, particularly when they are this catchy. Even more inspiring is a band who, perhaps unknowingly, manages to deconstruct what it means to be a male musician.

It was my first time. Seeing BARR was a release like no other. Their performance exhibited a seamless balance of blunt honesty and raw optimism. Even before they began their set, the band’s playful interactions and infectious smiles radiated warmth throughout the dim basement of the West Philadelphia venue, Clap It Off.

It was moments before the band began to play their first song, conveniently titled “First,” that I began to realize just how genuine and sincere of a place they were coming from. A slow introduction on the piano and drums gained momentum and intensity, finally giving way to the chaotic and poetic vocals of singer Brendan Fowler. Fowler stumbled over instruments as his earnest emotions poured out onto the basement floor. The drums picked up tempo and a catchy bass line occupied the space as the band moved right into “The Song is The Single.”

Fowler’s flailing arms and staggered legs suggested an openness and vulnerability I rarely witness at shows. It was as if the audience was given permission to read the trembling words and phrases of someone’s diary. We were let into Fowler’s own internal dialogue, laden with uncertainty and candor. The result was a beautifully circular stream of consciousness performance akin to spoken word layered with captivating melodies.

BARR offered the closest thing to a non-gendered performance I have ever experienced. This, in so many ways, was both liberating and reassuring. Was it possible that my notions of “male musician” had been so narrow?

BARR did not take on the stereotypically masculine character that taints so many musicians. In fact, they did what is unheard of for an all-male band. Through their movement, disposition, lyrics and melodies, they were able to expand definitions of gender, music and sexuality, thus blurring these strict and often paralyzing categories.

Written by: Sofia Marin, March 20th 2007

C.Y.S.L.A.B.F.

admin — Mon, 05 Mar 2007 03:10:00 +0000

By Mika Miko

Kill Rock Stars

Mika Miko’s C.Y.S.L.A.B.F. is a great example of what modern punk should be. It’s an energizing, loud amalgamation of sounds that many parents would apply the term “noise” to. Whether you’re a frazzled urbanite 20-something or a teen rocking in your parent’s garage the entire album does well in rhythmically pleasing your inner (or outer) rebel.

The production quality left something to be desired. Many times I found myself straining to hear the vocalist over the music. On the bright side, it gives you a nice “live” feeling if that’s your sort of thing.

The lyrics of the album matched perfectly with the musical style. Youthful and energetic words populate and dance with the mental images of teenagers skating down the street, protesting injustice or just hanging around partying in their bedrooms. All in all, Mika Miko’s latest leaves you satisfied and wanting to hear more.

Written by: Nicholas Johnson, March 4th 2007

Standing in the Way of Control

admin — Mon, 04 Dec 2006 12:51:00 +0000

By Gossip

Kill Rock Stars

The Gossip’s new album, Standing in the Way of Control, is more than interesting and different in itself. Partly, it doesn’t even sound like the Gossip. Bluesy punk of previous albums has been replaced with a garage, New York punk sound. However, this is actually done very nicely, and the audience is not lost during the change. This can be easily seen in Beth Ditto’s refined vocals, usually the raspier, bluesy texture; in Standing in the Way of Control they are stronger and give the tracks more of an edge. All of these elements cane be seen in the first track on the album, “Fire With Fire.” The first obvious quality is excellent drumming, then vocals oozing over, reeling you in to their art scene. Guitars follow the drumming, while vocals are battling the rhythm section. This track is almost three minutes, like most songs on the album. Harder and faster, this album, in the spirit of fellow Kill Rock Stars band, Sleater-Kinney, has produced a rockier impulse.

Written by: Nancy Wolfe, December 4th 2006