Songs From Under the Sink

admin — Sat, 14 Apr 2007 13:59:00 +0000

Mischief Brew describes the 14-track album Songs From Under the Sink as a “collection of anthems, ballads, marches, love songs, hate songs, and lullabies” written over five years, from 1997 to 2002. It is a “lost LP,” resurrected or “finally brought up from the cellar-or, from under the sink.” These descriptors help identify this album as being a non-identifiable hodge-podge of sorts, with a variety of distinct sounds. Some are “hot and spicy, some are just as fresh as the day they were written, and others may have passed their expiration date a bit. But that’s what happens when you clean out your cupboards.”

That sounds just about right. From the opening track “Thanks, Bastards,” with its raspy vocals and jabs at the political establishment, to the forceful lines “Fuck the city, burn it down” on “Save A City” to the jaunty sounds on “Gratitude and Thanks” and “All Our Comrades” and a folksy version of “Midnight Special” complete with cowbell – this album is the whole spice rack and then some. The lyrics on this album are politically charged throughout, but are heartfelt and not didactic. Most if not all of the songs are about some kind of rebellion, be it against The State or a state of things.

The more I listened to the album, the more impressed I became with the influence of a multitude of musical styles. What you’ll notice is how easy the songs are to listen to, learn the words, and sing along with. If you already know you have a predilection for olde-tyme-folk-punk-Celtic-gypsy-jazz, and even if you don’t, I am willing to bet you will find yourself swaying along to the lullabies and kicking your feet up in celebration for the marches.

Written by: Lillian B., April 14th 2007

Smash the Windows

admin — Sat, 07 Apr 2007 14:14:00 +0000

By Mischief Brew

Fistolo

I have truly never heard anything like Mischief Brew. Much of their music pairs such disparate elements as a heavy-metal bassline and a twangy mandolin, and a study of the lyrics reveals a similar discord: an aggressive expression of anti-establishment anger, under which lies a genuine desire to celebrate freedom and individuality. Their music feels at once like a barroom brawl and an intelligent, textured cultural critique.

While Smash the Windows incorporates solid musicianship and strong production, the vocals miss their mark. Erik Petersen growls his way through many of these songs as though he is determined to sound like a true punk-rocker, but he instead achieves a forced and grating melodrama. I picture him onstage in full pirate getup—a skull-tight bandana and crossbones punctuating a faded-black t-shirt. I appreciate the band’s tendency to combine unlikely elements (e.g., heavy metal rasping with a relaxed jazz riff), but I can’t help but think the vocals limit the potential of these songs to appeal to a wide audience.

Nevertheless, these songs are catchy and filled with a youthful sense of rebellion that dares listeners to not sing along. Raucous music and anarchistic lyrics create a powerful combination in the songs that work here, such as “Nomad’s Revolt” in which Petersen instructs us to “kill off Columbus and turn the world around.” “Roll Me Through the Gates of Hell” uses a fun, ska-influenced progression to declare “Satan’s army’s rising up soon/ well if it is, I’m the secretary of No-State.” Though some lyrics seem to stem from an immature or naïve perspective, Smash the Windows is a compelling call to action overall, and its integration of jazz, metal, punk and americana traditions treads some much-needed new musical ground.

Written by: Sarah Hudgens, April 7th 2007