DAVE SOLDIER "THE KROPOTKINS"

Dave Soldier is perhaps, slightly crazy, ok probably more than slightly. As evidence I offer his work with the Thai Elephant Orchestra in which a group of elephants improvises on giant musical instruments. But, there is always a but, his collaboration with Sam Bennet, Dog, Mark Feldman, Jonathan Kane and Lorrette Velvette as the Kropotkins is wonderful folky american music. It leaves me with a feeling of the dirty south. This record has a sense of humor without sounding like a comedy album (good cheap transportation). Covering ground everywhere from Bukka Whites "Parchman farm" to a vedic text from 3000 B.C. I believe is based on the 129th hymn of the 10th Mandala of the Rig veda. It is about the origins of the universe. This has been and will continue to be a favorite.

Ruins "Symphonica"

Strangly heavy and operatic. The pounding rythms that are Ruins, primarily bass and drums, seem here to have recieved a glamour coating. The addition of two female vocalists, one with seemingly operatic sights the other with a husky/sex voice, and virtuoso progressive synth make this reworking of Ruins tunes feel somehow more mainstream, more accessible,more for the masses, while still never for the weak of heart. Probably the closest thing I could use to describe this would be Frank Zappa, that is, if Zappa was crazy and japanese. The polyrhythms are great. I love hearing different voices talkchantsinging over the top of one another in seeming disarrangement. I love the ability to start/stop on the theoretical dime. At times it may seem like nonsense and others it seems to be the only thing that makes sense.

Ryan Adams "Love Is Hell"

Since the demise of Whiskeytown Mr. Adams has continued to write amazing music. He is a very prolific songwriter and it is my bet he will continue to be. By example, 2005 saw the release of "cold roses" a double disc in may, "Jacksonville city nights" in sept, and 29 in dec. But back to the record in question, 2004s "Love Is Hell" was originaly released as two seperate eps. As I believe the two seperate parts where meant to make one complete whole, and as such this review is of the disc containing both.
Over all I find this record to be darker than the majority of his work. However, this is not a bad thing. Actually, I rather appreciate this. Its a pity he got the grammy nod for his cover of Oasis "wonderwall". Admitedly, his version is way moody and brilliant even though or perhaps because his voice is cracking. I just find it odd that with all of his available music, they could not find even one of his songs to nominate him for.

My favorite tracks on the record:
"This house is not for sale" is a delightful little ghost story.
"Anybody wanna take me home" comes across like a rhetorical question that he already knows the answer to.
"The Shadowlands" is like water for my dying thirst.
"Avalanche" haunts a little spot inside me.
"Do not let me go" gives voice to words I wish I could have at several times in my life.
I find "I see monsters" soothing.

BLACK MOUNTAIN "black mountain"

Of recent I seem to be in a very retro mood. Listening to alot of old sounding music. I find myself fascinated with Black Mountain. Like many of the great records from the late 60's and early 70's I find Black Mountain somewhat hard to pidgeon hole. flowing back and forth between classic hard rock, psychedelic, progressive, sometimes blending them all at the same time. If "Jet" is the radio friendly version of retro, then "Black mountain" is the radio unfriendly version. I heard a rumor they opened for "coldplay". I have no idea who would have come up with that pairing but it makes no sense to me. favorite tracks: "Don't Run Our Hearts Around", "Druganaut", and the beautiful stoner groove of "Set Us Free".

Devandra Banhart "Rejoicing in the hands..."

Young god records has done us the honor of releasing the first true studio recordings of the young Mr. Banhart. Cleaner and more accessible than the previous recordings, Rejoicing finds itself repeatedly in my player. Still sounding like a folkster from a bygone era, Devandra leads us through his abstract world leaving us with perhaps more questions than answers. I believe he is destined to be as important as Nick Drake, but hopefuly without the tragedy. If I didn't know any better, I never would have thought these songs were recorded in the last 30 years. His odly wavering and lilting vocals fit nicely over the acoustic. I wish I could sit warming in the summer sun in an empty field and be 14 again with this record as the soundtrack.

wolf parade "appologies to the queen mary"

On first listen all I could think of was Modest Mouse. Then I heard some similarities to Arcade Fire, without the density. Clap your hands say yeah floated thru my thoughts as well as mid 80's Daniel Amos. I did not like this record initialy. But the more I listened the more it grew on me. The more my ears were able to hear it. I do find it to be instantly accessible in the fact that it sounds familiar (like something else) but I do think this record stands on its own also. singular and unique. The transformation happened on my second time thru. When I hit "Dear sons and daughters of hungery ghosts". I played it over 6 times. It is damn near immaculate. I suggest you buy it and learn to love it. Just like I did.

ETHYL MEATPLOW "Happy Days Sweetheart"

Listening to this on the way into work today brought I smile to my face. Sometimes I forget just how much I love this record. Back in 93 this was my first exposure to the lovely Carla Bozulich.

This record is the epitome of rock if rock is a poem by Rimbaud. Experimental, noise, dirty sexy, disturbing, boundry shoving, all rolled together with rocking, cheesy synth, and a sick hook in there at times.

I find "opening precautionary instructions" to be disturbing with all the sawing, pregnancy refrences, and screaming.

"Suck" starts pounding and it is so infectious I cant sit still.

"devil's johnson" comes along and I smile and laugh. I always wonder who the freak under the bed is.

Moving along to "car" with more pounding drums and tasty squealing.

"queenie" is a personal favorite, a highpoint of this trainwreck of an album. With a catchy spoken yelled chorus "fu#$ing bitch C*nt fu*#ckin death queenie death til we die til we die til were dead til were dead." that always makes me want to scream along. its hard not to jump around madly while pumping your fist or various body parts in the air.

The delightfuly twisted carpenters cover "close to you" is damn near some form of perverted bliss.

"tommy" seems to take it down a notch but only one or two.

"mustard requiem" is a delightfuly noisy filler piece.

"abazab" is probably my least favorite as it just takes more time to get to...

"ripened peach" slows way down and has a pleasant groove. "like a whore with no remorse."

"feed" & "rise" buzz into your brain and are both solid rockers.

"for my sleepy lover" some nice spoken word

"sad bear" plods along with some pleasant banging and thrashing.

"track 15" experimental noise soundscape...

This record is wonderfuly disjointed. Not for the feint of heart.

BUY IT. LOVE IT.

It is strange to me how this record fits most all of my moods. If I am angry, it fits. If I am sad, it fits. If I just want to jump around like an idiot, this is definately it. If I want to grin with perverted pleasure this is it.

Additionally: find her solo records; I'm gonna stop killing, the redheaded stranger, evangelista or the bands The Geraldine Fibbers & Scarnella

TOM WAITS "orphans: brawlers, bawlers and bastards

I find it difficult to put god in a box... to qualify the sublime disarray that is Mr. Waits.

this recording is like wanting to drink a glass of bourbon filled with gravel and rusty nails. Some of it will be smooth, some of it may bring tears to your eyes and some of it will just punish you.

This is the simple beauty of this record. 54 tracks of Saint, Sinner, Devil and Savior. That gets blended together in the way that only T.W. can.

The uninitiated may find this record hard to listen to. I find it bliss.