by Goose

Fergus & Geronimo- “Unlearn”

Unlearn

Fergus & Geronimo, believe it or not, is not a 1970s sitcom. Fergus & Geronimo is a duo of Jason Kelly and Andrew Savage with collaborations from others and when they perform live, they often do with a large groups of people. Yes, Fergus & Geronimo is a side project but Fergus Geronimo hopes you do not simply see them as a halfhearted attempt. Sorry, I just really think it is fun to type Fergus & Geronimo.

It is 2011 and I do not believe garage rock is still relevant; was garage rock ever relevant though? Anyways, Fergus & Geronimo fill the whole album of Unlearn with a stripped down unapologetic garage rock sound. At times, certain songs may peak your interest, most notably, “Where The Walls Are Made Of Grass”, which may take the award for Laziest Sounding Western Song Ever. Unfortunately, the past winner of this award was Natalie Cole for this great little number.

There is not much to write about this album actually. It is alright. If you want something new and fresh, do not bother even listening to it. The album becomes a bore after the second song and you have heard an album like this a hundred times. Unlearn brings nothing new to the table. As if lack of innovation was not enough, sometimes the musicianship is just sloppy. The anthem, “Wanna Know What I Would Do If I Was You”, is sluggishly sung. The vocals are almost as bad as Bill Murray in Lost In Translation. Sometimes it is nice to have relaxed vocals and at times even imperfect ones but Fergus & Geronimo sound like that drunken asshole that is always at the bar on karaoke night. As a listener of this album I feel similar to a mistreated girlfriend. I just wish Fergus & Geronimo would show that they care about me and put some passion into what they were giving me. I just want attention. I just want to know that they care. Instead, we are left with an uninspired lazy album. We are left with Fergus & Geronimo sitting on the couch and sipping a beer on Saturday night– forcing us to look for another lover that actually will show that they care.

01.11.11

by Jane Lambert

Album Review: Libby Koch “The Shadow of This Town”

It’s only right that true Alt-Country music hails from the South. Carrying the torch is Libby Koch, a Houston, TX singer/songwriter that will draw you in with her country, bluegrass, and folk brand of music. Koch has just released the enchanting album The Shadow of This Town and the Texas staple is finally starting to branch out to the rest of the world.

Starting off the record is the captivating song “Lonesome Bound,” which sets the perfect tone with a harmonica. Already the listener will be drawn in. Koch’s voice isn’t soft as it has a rather raspy tone to it, even while she is hitting high notes. “Walk Away” has a driving beat behind it that you will not be able to resist tapping your foot to. One thing the listener will notice about Koch is her Southern accent. It comes out clear in her vocals and it is charming to say the least. It allows her to put a unique twist into her music that doesn’t tire.

“Texas Saturday” brings a dose of kitsch to the album, and it’s not a bad thing, though it tends not to fit into the album lyrically. The words are playful but come off as a bit childish. Telling the story of a Saturday night in Texas, the song takes the seriousness away from the music on the record in general. Picking it back up is the title track, “Shadow of This Town,” which shows Koch’s ability to write a great song. The slow picking of the guitar and brushes used on the drums set the mood for the track and it must sound even more effective in a live setting.

“Still in Love” is a touching piece that comes right from the heart. Lyrics such as “I got a thousand songs to sing you if you stay” come off as romantic and sincere. This is the standout track on this record as it showcases Koch beautifully both vocally and musically. And yes, there is a hint of banjo in there. “Too Damn Hard,” which is a low tempo song, continues to carry on the audacity of what Koch is trying to do. She doesn’t play by any rules but her own, and that is what makes a successful musician. Though the album rarely deviates from the path it was set on, it not only works, but it works well. “Settle Down” brings the energy back up and carries in with that classic harmonica that the listener will hear throughout the record. The down-down-up-up strokes of the guitar add life into a song that could come off as dull otherwise.

“Starting to See” begins with a slide guitar in a haunting tone. A new twist on the album begins when harmonies enter and the sorrowful song about heartbreak invokes the emotion in Koch’s voice. On the other side of the spectrum is “Here By My Side,” which is the complete opposite of having sadness. The track picks up not only vocally but musically with its fast paced tempo in which Libby doesn’t have a second to catch her breath. “Tonight,” continues on this route and will have the listener out of their chair and dancing in no time. Infused with a great deal of country, it will appeal to everyone no matter what type of music they enjoy. It shows another side that we haven’t seen of Koch before but seemingly it fits.

Closing out the album is “Feelin’ Good Again,” which seems like an homage to her entire piece of work. Ending with the same harmonica that carried the album in, Libby Koch managed to make a record that knows almost no boundaries with The Shadow of This Town. She plays by her own rules, and that is what will set her apart from the others and get her through to the top, where she rightfully belongs.

01.03.11

by tunmer

Album Review – Valleys: “Stoner” EP

The cover of Valleys’ newest release, Stoner EP, is well suited to the mood of this three song spell: an image of tainted youth in the form of a young girl painted with Day of the Dead-like makeup. The music is dark and eerie, almost Wiccan, while retaining some sweetness with the celestial, soothing female vocals best showcased on “Ordinary Dream.”

As with the other songs on the EP, the soft vocals are offset by aggressive guitar and drums made jagged by the fuzzy feedback and reverb. This track is appropriately titled as it is deliciously dreamlike with lyrics like “your eyes are steadfast” that melt into the song.

“Ten Thousand Hours” begins with rumbling drums and a steady keyboard line that leads into static and noise as the introduction to the screaming of upset male vocals. In comes a feedback solo that seriously lasts several minutes, during which the mind wanders from the song until it is lured back in by the keyboard and reminded that there is actual music here. As soon as that happens, the song has come to an end.

“The Cold Cold Skinny” starts with ominous xylophone and girl and guy voices singing in unison, with a regimented rhythm that sounds like a chant. Distressed electric guitar in conjunction with shrill, tense keys becomes a recipe for a scene in a horror film, made even moreso with the creepy lyric “Walk into the evening with your cold, cold skinny legs.”

These three songs strategically serve as a tease or a taste, rather, to what this band may be all about, but more must be heard to discover what that really is. From Stoner EP, we get experimental rock, sultry feminine vocals and lyrics with cryptic imagery.

01.03.11

by Goose

Destroyer- “Kaputt”

Dan Bejar has been putting out music for over fifteen years under the name Destroyer; essentially, that means he has pumping out indie music ever since a little movie entitled Braveheart was released. That is a long time. This was a faraway time where Mel Gibson had not yet gone ape-shit and “social networking” meant hanging around the water-cooler. Let’s just say Destroyer is a mature band that has experimented with all types of sounds and if it was a smooth bachelor, it would know all the moves to get you in the sack.

The band’s lucky thirteenth release, Kaputt, starts off by seducing the listener. The opener “Chinatown” gives the listener exactly what they want to hear: a nice rhythmic guitar, polished vocals, and even accents of horns. Just when you think you are being sweet-talked, your suspicions are confirmed with the following fantastic single “Blue Eyes”. A song that was taken straight out of the 1950s via a weird Sammie Kaye time machine. The accompanying female vocals on the track are magnificent. “Savage Night of The Opera” and probably the best song on the album, “Suicide Demo for Kara Walker”, are pure delights and the first half of the album takes you to a time where music uplifted spirits and was amorous.

Unfortunately, the second half of the album aside from the fantastic closer “Bay of Pigs” shows a loss of steam and lyrics like “Wasting your days/Chasing some girls/Alright/Chasing cocaine to the back-rooms of the world all night” followed by the overuse of jazz horns is to the narrowest of margins pleasing. It is as though Destroyer made two albums; the first half of Kaputt is the correct way to make a reappraising of 1950s-esque music and the second half is littered with mediocre jazz.

All in all, it is okay because as the album closes, Destroyer has delivered the hits just like any crafty veteran manages to do in the time it is given. Kaputt is a blast; the musicianship for the most part is great, lyrics are interesting albeit a few eye-rolling moments, and there are a handful of catchy singles.

12.21.10

by Goose

Review: Guards – self-titled EP

Guards EP
Guards is essentially just singer Richie Follin with contributions from Caroline Polachek (Chairlift) and Cults. The album is filled with so much sound that one might think it was a five-piece band. There are many instruments used on the album and each does a particular job to create a lo-fi pop experience.

If MGMT was married to Karen O and The Kids and had an illegitimate child with Arcade Fire, it would be Guards. This bastard child croons, chants, and makes sure it is heard on all eight tracks of Guards. Guards seemingly have all the characteristics of its parents: It has the “Oooh Oooh Oooh” backing vocals a la Arcade Fire, yowling vocals set to a magical keyboard a la MGMT, and a childlike wonder tone a la Karen O and the Kids. It has been a while since a debut EP has been so ambitious.

This is not some exasperating brat that steals from its parents’ success, in fact, Guards explores new terrain especially with vocal harmonies. “Sail It Slow” strides forward smoothly as the vocals play off one another in a vigorous fashion. The opening track “Resolution Of One” has a chorus that explodes like a Jerry Bruckheimer movie. On “Crystal Truth”, there is a blissful melody that makes you wonder how no one has written it before. Each song is solid in its own distinct way and it never feels like you have been listening to the same song for too long. This is probably due to the fact that most songs do not go past the three minute point. Also, each song flies by with the help of the harmonizing refrains. Instrumentally, everything is solid especially the thunderous drums. The beat always feels firm next to such sweet-tempered vocals and each instrument highlights another fittingly.

It is impossible not to allude to other bands that Guards sounds like but that does not take away from the achievements of Guards. No doubt, Guards sounds like the illegitimate child of a few notable indie bands but who really cares? At least it is not the illegitimate child of MC Hammer and LFO. This is a wonderful debut EP for the little brat.

12.18.10

by Goose

Ghost House – “Departures”

Ghost House is a self-proclaimed soul band that hails from Vancouver and hope you take notice of their debut album, Departures, with it’s satisfying harmonization of new wave, Motown soul, funk, and some may even say nu-jazz genres. Certain songs will get stuck deep in your head for days like the tracking device in Total Recall. However, just like that same tracking device, some are excruciatingly painful as well.

When you listen to Departures, you truly want to love it because Ghost House sound like they had a blast recording the whole album. Each song is filled with blotches of piano, excellent guitar riffs, and frenetic drumbeats that would make even the most grumpy old uncle dance at a wedding. With this being said, you wish the album would surprise at some point with a different methodology besides the drums and guitar making out with each other in gross public displays of affection. I was on the edge of my seat waiting for horns to come in at certain points just to break up the piano, guitar, and drum orgy that continues for all ten songs with no recess. If it was not for the refreshing female vocals in “Origami Nightmare” each song would mesh together as a monotonous drone. At some point you begin questioning how long you have been listening to the album. Even the audio clip of a weather forecast on “The Crows Know” is a welcoming change of pace on the album. Vocally and lyrically, everything is fine. There is nothing to bleat about in that aspect but the true problem is the song dynamics or should I say lack thereof.

There are plenty of catchy songs on Departures; standout songs such as “Transmit”, “The Crows Know” and “Penultimate” litter the album with hope but do not make up for the bland others that drag it down like an anchor straight to the bottom of the indie music sea where countless other bands have drowned due to lack of experimentation. Do not get me wrong, I fully enjoyed Departures, but with each listen you get an overwhelming sense that the band has the potential to record something much better in the future. This is a formidable first step though.