prog rock

Thirteen

admin — Tue, 25 May 2010 00:00:00 +0000

“Jangly” is a complimentary adjective in my music lexicon. It's a descriptor applied quite often to indie rock bands of the early '90s: think classic-era music from UK label 4AD. In the case of Texas trio Tribella, jangly serves as both a term of endearment as well as a nod to their forebearers. These darlings of the Austin music scene produce edgy ethereal power pop, showcased in fine form on their debut full-length album Thirteen.

Released on the heels of the six-song EP My Guest List, and following the band's 2009 U.S. tour, Tribella's Thirteen is an ambitious collection, featuring nine (highly) original songs and one remix. Tribella has three members: lyricist, guitarist and lead vocalist Sarah Glynn, bassist Rae Golding, and drummer/vocalist Dena Gerbrecht. They've kept good live company, sharing stages with such artists as San Antonio trio Girl in a Coma and music festival mainstay Sarah Bettens (K's Choice). The group dips its toes into pseudo-Britpop, indie rock, prog, shoegaze, and even math rock. The result is a gleaming multifaceted expanse, leaping joyously from rhythm to rhythm–often within the same song–while still achieving a constancy of sound that successfully unifies the album.

With lyrics like “Think of all the books you'll read/Now that you're rid of me,” the title track is wry bittersweet barb. Its sting hearkens back to the Lush song, “Ciao!” (featuring Jarvis Cocker of Pulp), in which a recently separated couple barrage each other with insults while wallowing in regret and denial. “Revolution Script” eloquently considers the socio-political impact of our actions, sans preachiness: “Look back with a rock in my hand/Throw it in the future/Hope it might land.”

Previously released EP lead track “My Guest List” also features prominently on Thirteen, both in its original form and as a tinkling, yet somewhat tepid, remix courtesy of Eric LeRoc. There's a sassy defiant charm to its chorus: “And all the world that matters/Will be on my guest list/And all my friends that matter/Will be on my guest list.” It seems to be at once mocking such a shallow mentality, while at the same time celebrating the truly important things in our own little microcosms by bestowing upon them the honor of VIP status.

For me, Tribella's sound is so familiar that it's difficult to critique. I just... like it. I delight in their use of irregular meters (highlighted with the title song, which is played in 13/8 time), their cynical-sweet lyrics, and most of all, Glynn and Gerbrecht's dense harmonies. If your heart doesn't beat to the rhythms of groups like Belly, Throwing Muses, Lush, or Metric, then Tribella might not be your cup of tea. Not everyone cottons to the complex flavors of genre-defying rock. But do me a favor: give it a teensy taste. Please? You never know. You just might like it.

Written by: M. Brianna Stallings, May 24th 2010

Troubled, Shaken Etc.

admin — Sun, 27 Sep 2009 17:12:00 +0000

By Sian Alice Group

The Social Registry

British rock band Sian Alice Group’s latest effort can be categorized somewhere between prog rock, ambient folk, and experimental. Clocking in anywhere between two and eight minutes, their songs wind around and bump up against one another, creating a cohesive sophomore album. Troubled, Shaken Etc., in all its bewildering glory, is the followup to their critically acclaimed 59:59.

On "First Song - Angelina" and "Close to the Ground"—one of the album's most memorable tracks—Sian Ahern's haunting vocals carry the tune over lilting piano melodies and fading percussion. While never an imposing front woman, it’s clear—not just from the band’s chosen name—that Ahern is a force with which to be reckoned. What can I say? I like tough gals with delicate voices.

Even at only 1:55, “Longstrakt” is a memorable track, reminiscent of label mates Gang Gang Dance with its hypnotic, repetitive percussion. Want to be instantly transported into a psychedelic horror film? This is the song for you.

While the entire album shifts moods and structure repeatedly, it retains a cohesive quality. It fades as forgettable background music if you stop paying attention, but take it to a listening party with your super hip composer friends and impress them all with your ability to listen to the album tracks out of order.

Bands on The Social Registry label are often uninhibited by confusing rhythms, comfortable with unconventional songwriting and vocal abilities. Sian Alice Group is no exception, though it should be noted that their ethereal sounds may be more listenable than other musicians who keep the same professional ties. This is more fact than strength or weakness.

On tour in the U.S. starting in September, their casual post-rock shows ought to be worth entrance fees, if not the token t-shirt.

Written by: Brittany Shoot, September 27th 2009

The Turn of a Friendly Card (Expanded Edition)

admin — Mon, 08 Jun 2009 23:15:00 +0000

By The Alan Parsons Project

RCA Records

Alan Parsons needs no introduction. In addition to his production credits on albums like The Beatles' Abbey Road and Pink Floyd's Dark Side Of The Moon, this iconic musician achieved success with his own band, The Alan Parsons Project. With the remastered version of his classic 1980 album, The Turn of a Friendly Card (Expanded Edition), fans now have a chance to listen to previously unreleased alternate takes and demos. I'm not usually big on remastered versions of classic albums—to me, nothing beats the sound of a vinyl record—but the sound is very good on this. I don't have a copy of this album on vinyl to compare the sound with, but they seem to have done a good job at preserving the warmth and integrity of the sonics.

The Turn of a Friendly Card is a concept album that tells the story of a gambler and the toll it takes on his life. The album swoops from dramatic highs to melancholy lows as the “Friendly Card” turns out to be not-so-friendly. Solidly written and tightly executed, this album is a pleasure to listen to. As with any prog-rock record, the album ambles and wanders; while there are times it might benefit from being a tad shorter, the songs are very compelling with an almost cinematic quality.

There are seventeen tracks on this album—the first ten are the remastered songs from the original album; the remaining seven are bonus tracks—treating the listener to alternate versions of “May Be a Price to Pay,” “Nothing Left to Lose,” “Time,” “Games People Play,” and “The Gold Bug.” These mixes make for an interesting listen, with the inclusion of demos and early rough mixes. These bonus tracks will probably be of more interest to die hard fans than casual listeners, but there are some standouts—you don't have to be an audio buff to enjoy “Nothing Left To Lose (Chris Rainbow Overdub Vocal Compilation),” which highlights Rainbow's striking vocals. I think any lover of classic rock will enjoy The Turn of a Friendly Card (Expanded Edition)—I'd be willing to bet on it.

Written by: Beeb Ashcroft, June 8th 2009

Boo Human

admin — Sun, 01 Jun 2008 17:12:00 +0000

By Joan of Arc

Polyvinyl

Chicago-based Joan of Arc, and the family Kinsella, return with their second Polyvinyl release Boo Human. This time they have arrived with 14 musicians in tow to create a more complex and thorough album.

Staying true to their quirky indie rock roots, Boo Human starts of with a medley of sounds and styles. The initial track lolls with layered guitars and fuzzy vocals like an introduction to the sounds to come. The second track, “Laughter Reflected Back,” is more in line with the indie rock beats you would expect from this group; it’s experimental while still being approachable and has a drum line that seems to be taking two steps forward and one step back.

“Just Pack or Unpack” follows this track in the same vein, but with less exciting drums and a bass melody that is easier to follow for the five minutes of its existence. A melancholic and poetic drop of strings breaks up the rock stream with "9/11 2," but nicely leads into “A Tell-Tale Penis,” a track where the collaboration of all those musicians really shines, as the piano collaborates with the percussion to compliment the simple guitar melodies.

The album slowly and evolves into a cohesive four-song block, part surreal prog rock and part orchestrated jam with bits of pop, each track smoothly leading into the next creating a seamless and earnest stream that shows the bands maturity. With the exception of the final track, the album isn’t held together by lyrics and riffs, but rather each song establishes its own unique sound. Indeed, the last song, “So-and-So,” is the humble story of how sometimes we’re doomed to end up ex-so and so’s. Boo Human isn’t as ambiguous, but rather a wholly diverse experience from another impressive Chicago band.

Written by: Sara Custer, June 1st 2008

All of a Sudden I Miss Everyone

admin — Mon, 09 Apr 2007 02:54:00 +0000

By Explosions in the Sky

Temporary Residence

I have always been fascinated by this band because of the people who are interested in them, as well as their name. Listening to Explosions in the Sky for this review was my first experience of them. I have to admit, I pretty much fell in love at first listen. The simultaneous wash and wall of sound is incredibly emotional, which is enormously challenging for an instrumental band. More and more, I am fascinated by Temporary Residence's releases, as Envy, labelmates of Explosions in the Sky, is my favorite live band.

In "The Birth and the Death of the Day," the first song on this release, the timing of the drums coming in full force is completely breathtaking. I definitely felt like this record needed more than one listen to fully grasp, and I felt like being on a bit of a journey with its creators. I was excited to read in their one-sheet that this band has avoided jumping to a major label despite offers, and has opted not to play LiveNation/Clear Channel venues as much as possible. I get inspired by bands, whose genre would often presuppose such decisions, that make alternate ones.

The record was produced by John Congleton (The Roots, The Mountain Goats) and is worth a listen for the brilliant engineering alone. I was particularly impressed with the incorporation of the piano on "What Do You Go Home To?." It is prominent and crisp, sitting tastefully in the mix of the other instruments. This is a great record to have when you want to lie in bed and think unadulterated thoughts; it almost feels meditative. I hope to catch them live really soon and would be interested to see how they pull it off.

Written by: Katy Otto, April 8th 2007