[SHOW PLUG] Splintr Unplugged

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The fine people over at Splintr have a series of gigs this month showcasing "first-time acoustic theater performances" from some of our top local acts. Appropriately named Splintr Unplugged, this special event consists of two nights in June each showcasing two groups rocking out acoustic style. Show is also directed by Quark Henares, which should be interesting to see how that'll play out. The info is pretty much spelled out on the poster above but do feel free to check out the Splintr site for more info on this gig as well as word on other cool happenings around the metro this month.

[ALBUM REVIEW] Corinne Bailey Rae - The Sea

The notion that Ms. Rae's latest were influenced by the unfortunate, accidental death of her husband some years ago is hard to deny. While in a way it's hard to acknowledge how that influence played out. Production on this album did begin before that tragic event. The obvious aside, The Sea truly is a much deeper, more soulful outing that her self titled debut. And it's more organic as Ms. Rae would explain:

On the first album, it was me and a producer in a basement going though hundreds of snare drum sounds to find the right one. With a live band, you can stretch out more and try new things out without feeling you're having to undo this meticulously built-up track.

And try new things they did. Unlike her debut album, there was no clear artistic narrative as there are fairly great leaps of genres. From the upbeat and mod-ish "Paper Dolls" to the vintage pop of "Paris Nights/New York Mornings", these are not the usual tunes you would associate her with. Yet all these trials are well anchored by her familiar voice, which in itself has matured. The end result being finding beauty in a dark period in your life.


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[ALBUM REVIEW] Fact - In The Blink of An Eye

When was the last time you saw a Japanese breakout from beyond their native country this past decade? Really? Quick! Try to name 3! Were they wearing masks? They've got nothing on Fact.

I'd be hard pressed to specifically categorize their music but I suppose it would start with a "post-" (for their own mix of punk, metal and electronica) and end with a "core" (it's a tight mix with very little deviation). Though I'd be lying if I didn't acknowledge the novelty factor as what makes Fact so special. But goddamn, they play their instruments very well! And yes, it's a Japanese band trying to sing in English but you are given little room to complain with each song coming out like clockwork and hitting you in the face.

Specific to this record now. Fact is pretty much just honing their skills. I read their singer, Hiro, was getting better in his English and yes, it can still sound goofy on some parts. Recent reviews apparently brought up William Hung comparisons for some reason. Though what he lacks in verbal comprehension he would totally make up with in just plain belting it out. Case in point is the post bridge pre-chorus on the featured track "Slip of the Lip". Again, little room to complain as they have also gotten tighter, musically. The very least you can say is that this record is more of the same. Fact does have a lot to prove. The abundance of drive on their music means if they haven't already won you over, they very well are on their way.

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[ALBUM REVIEW] Alkaline Trio - This Addiction

Back in 2003, for a band with three albums to their credit in their specialized genre of grim subject matters laced with strong punk melodies, it wasn't all too surprising that their release at the time, Good Mourning, sounded like they were running out of steam. Even singer Matt Skiba admitted to not being 100% about that record. It's with that sentiment which drove their next few releases (2005's Crimson and 2008's Agony & Irony) to be more well thought out. What we got were grander productions that emphasized their core themes while the band also lost the rawness of their earlier records. Don't get me wrong. I still listened and while I think "Help Me" is a fantastic song, it's no "Mr. Chainsaw".

Their new record, This Addiction, is pretty much a culmination of all past lessons. It's a welcome relapse to their earlier punk roots further elevated with production values of the past two albums. They've developed a precise direction on how to make a much tighter punk record without that neither sounds too raw nor too glam. Though they will surprise you with aspects from earlier recordings and some new accents too (trumpets! wtf?!). They know how to keep it simple. Or at least make it sound simple.

Though not all reversions worked for them. Somehow all of bassist Dan Andriano's songs devolved back to being the tracks I'll usualy skip over. What the hell happened there guys? I loved "The Poison" and "Do You Wanna Know?". Different strokes I guess.

Interesting to see how this would affect future releases from the band. There are varying degrees of success to the methods they employ. But as the album title suggests, you may be stuck with this record until they churn out the next one. But more times than not, it's a willing choice.

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Moneen - The World I Want To Leave Behind

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What first attracted me to Canadian emo rock outfit Moneen was their energy. The convulsive display that was their video for "Are We Really Happy With Who We Are Right Now" got me hooked from then on. To sum up their sound, you'd come for the energy but stay for the melodies.

While each album usually employs the former of their energy/melody formula, a lone measured track stands out, showcasing their abilities of the formula's latter. One would assume the evolution of such a band like Moneen would come a time where they'd pull a Jimmy Eat World and make an entire album with greater focus to their melodious side.

And that leads us to "The World I Want To Leave Behind". Early listens might dare disappoint longtime fans with accusations of turning things down a notch. Though they may soon realize that while the album is not as hard, it's just as powerful. Just listen to the featured track below.

Them Crooked Vultures - Self Titled

The problem with supergroups nowadays, or perhaps since forever, is that the sum never equals its parts. There is never a fine resolve in the mix of the individual traits or gimmicks that are brought together (The Raconteurs get a pass here since no one can name the other two guys in the band). Then comes along a band like Them Crooked Vultures. And it just works. Formulate your own hypothesis as to how. I'd like to think it's due to each member's band of origin is in itself a supergroup, making this an ubergroup. But the bottom line is it just works.

What you have here is no nonsense rock. An effortless jam. Closest comparrison is to "Songs of the Deaf" era Queens of the Stone Age but minus the trip despite that it is their frontman fronting this. Doubt you need to be that saavy to recognize that's Dave Grohl on drums. Having John Paul Jones in there gives their Zeppelin connection a bit more liberty. And it's nice to hear a bassist who can keep up with John Homme's riffs. And they all compliment each other quite well.

The album as a whole kind of equates to a quickie but quality definitely wins over quantity. Just about every track can perfectly sum up what I've tried to pick apart in this here review. But lets throw you the porn soundtrack boogie in the album for the featured track.

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Flight of the Conchords - I Told You I Was Freaky

Here's the deal. I loved the first season of HBO's Flight of the Conchords. Loved it hard I tells ya! But here's why: I've been a fan of Flight of the Conchords (the band) long before the show came around. Rocking The Distant Future EP and various bootlegs where I've grown to love their off beat humor and genuine musicianship. The first season would then use those earlier songs. Even updating some of them making it quite a thrill for longtime fans to see these songs paired with visuals. The eventual soundtrack album for that season, in a sense, served as a "best-of" for that era.

With their second outing, I Told You I Was Freaky, the duo's stock goes down a bit. Humor is the same, albeit more of the same. The music takes on more of a dance/disco feel to things. Whether they thought of this as upping the ante, we may never know. My main gripe is how a majority of the album may be difficult to appreciate if one had not seen the episodes they take from, which makes this a total reverse from the previous record.

The only cut I really loved (and featured below) is the break-up medley Carol Brown. Would have fit nicely on the first record thus making it a high point for this second one. The video was especially charming (Look it up. I hear it was directed by Michel Gondry.)

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Hit The Lights - Coast to Coast EP

EPs such as this are designed as in between album filler. Hit The Lights do not deny this fact but do try to spice the idea up a bit: two new songs, two covers, and two acoustic renditions of older songs. Production on the tracks have stepped up considerably compared to previous releases. And the new cuts, while derivative and amalgamated, get the job done. I want to say the Coast to Coast EP is typical Hit The Lights.

While the genre has since glossed itself to the point where it's hard to distinguish a majority of the acts with the early 2000 payola pop standards it once set out to destroy, ain't nothing wrong with pop punk when done right.

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The Swellers - Ups and Downsizing

Well it seemed about high time for a renaissance of sorts for the so-cal punk genre. Or maybe I missed it that much. But Michigan quartet, The Swellers, sure takes me back to that much more innocent time of minimalist, no-nonsense anthems of buzzsaw guitars in 3-4 chords or less. It's very much agressive without being too preachy in a Rise Against sort of way and takes all the right catchy pop hooks and cues that makes the genre last. You'll come for the fast album openers like "2009" but stay for the bouncing numbers like the featured track, "Sleeper".

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Kings of Convenience - Declaration of Dependence

I've had some time to really listen to this album now and I'm still trying to wrap my head around it. But really, it was more coming to terms that this record simply isn't that good. The duo stated intentions of making something even quieter, if that was at all possible if you know Kings of Convenience. But they only came back with something, dare I say, somewhat unremarkable?

That said, there really still is no other. It's still KoC and it's still definitely the go to album to have in your ear while walking around these latter months of the year while replaying love affairs in your mind. So much so that one can conclude that even at their worst, KoC still succeeds.

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