‘Great Vacation!’ by Sleeping in the Aviary

 Sleeping in the Aviary is a group out of Minneapolis that’s currently out on tour. In the beginning of the summer they played with my friends band Pewter Cub (who I will talk about in another post). I was unable to attend the show due to a sudden sneak attack on my body by my eternal devious enemy sleep, but my good friend Leah was there. She was so impressed with this band, and was strangely reminded of me by the lead singer, she bought me this record thinking I would love it. It’s the third release from Sleeping in the Aviary and Leah was right, I love it.

  I can’t find much about the band or their members so I will not have my usual run down of their history and backrounds. I’ll stick to telling you what this record feels like. As for the music, it’s this odd mix of what the kids and top 40 DJs would call “indie pop”, hawaiian luas and psychedelics. The key to this strange mix working so well together is having the right amount of each sound and each instrument. Sometimes when recording music, you put things in that the average listen won’t hear. But if these things are taken out it’s very noticeable. These things are usually low talking vocals or strange noise parts and sometimes a tambourine or two. This band does that extremely well. Each song is a puzzle of instruments melding together in a very clean and pleasant way. 

  My favorite thing about this band is it’s sense of humour. Songs about getting laid before the ship you’re on sinks or the morbidly hilarious closing track ‘The Very Next Day I Died’ are not only great, but will keep a smile on your face as it gets stuck in your head at the oddest times. More bands need to be willing to be strange and silly. Attack subject matters in a different way. It makes any song more interesting. 

  So, if you wanna hear more from Sleeping in the Aviary, they are out on tour. Just head over to their facebook for dates. If you want to hear more of their music, they have a bandcamp with this and all their releases up to listen to and buy. Until next time, enjoy.

Song: ‘You Don’t Have to Drive’

‘Burn the Earth, Leave it Behind’ by Wingnut Dishwashers Union

  Recently my friend and bandmate, Jon Clegg, turned me onto what he called “one of the most meaningful bands I’ve heard in years.”. I completely agree. Just when you think punk is dead for good, someone has a slightly new twist on it.

  Wingnut Dishwashers Union is written and recorded by a man named Pat The Bunny. From what I could find out, Pat used to run a CD-R, for the love of the music label called Spare Change Records as well as played in a punk band called Johnny Hobo and The Freight Train (which, I might add, is an AWESOME band name). Pat only recorded as a full band on this album, ‘Burn the Earth, Leave it Behind’. Other than that he recorded a few albums with just an acoustic before he admitted himself in rehab for a drinking and heroine addiction. More on that in a second.

  At first listen, the music on this album may not seem especially amazing. But as I listened, the sound grew. A lot of punk sticks to the formula, guitar, drums, bass, singer. But on this album you have horns, piano, banjo and saw. It’s almost like a punk rock Neutral Milk Hotel. If punk bands do try and experiment, they usually over do it and fail in a big way, but here it’s used in perfect mix with the over all attitude of the album. The real highlight in my opinion about the music is the constant, solid base of acoustic guitar. It really shows off the attention to the song writing aspect of these songs, which is my next point.

  This man knows how to write a song. There such a great mix of songs on here that tie together. The most important aspect of these songs is they talk of revolution and of major problems in the world but they do it in a way that doesn’t preach. Pat isn’t saying “Look at how I live. I am perfect, do as I say.”. There is no “holier than thou” attitude. The feel I get is more of, “This is what I think is fucked up and what I think are good ideas.”. Pat also isn’t afraid to point out how imperfect he is. One of my favorite lines (and sadly one of the most relatable lines for me) is in the tune called ‘Just Because I Don’t Say Anything (Doesn’t Mean I Have Nothing to Say)’ that goes:

“I’d be a teenage virgin,
Jerkin’ off in my bedroom,
IF I WASN’T A 20 YEAR OLD VIRGIN,
WITHOUT A BEDROOM!“ 

  He’s also extremely passionate about what he’s saying. If you couldn’t tell just from listening, just watch him preform:

  Like I said before, Pat admitted himself into a year long rehab for drug addiction. According to his website:

“I have entered a year long treatment program for addiction. During this time I will not be able to send or receive mail. I’m sorry to people who ordered things and did not get them. It’s very unclear whether I will keep playing punk rock music when that period of time is over. I wish that I knew more, but nothing is certain right now. Thank you for liking songs that I wrote, and helping me not feel so alone a lot of the time.”

 This was posted on December 6th, 2009. If my math is correct that means he is soon to be, if not already, out into the world. I have such respect for someone who chooses to get clean on their own. I am not a very big fan of drugs and booze. So even if Pat doesn’t come back to music, God forbid, good for him for doing what he needed to do to better himself. If and when he does get back into making music and touring, I make one plea to all his fans. Do not give him booze and drugs. This man has just spent a year of his life detached from his loved ones to get away from a problem he had. One story that always gets my blood boiling is about Syd Barrett. Before he quit music he apparently tried to get off drugs. During this period, “friends” of his would slip him acid in his tea because “he needed it to create.”. Fuck that. Don’t be an asshole. Help the man stay clean so he’s around to create music for a long time.

 So, to close, if you dig punk with depth, a sense of humor and a general refreshing take on something that’s been around for half a century, or if you just need some more music on your ‘Anarchist Revolution’ playlist, Wingnut Dishwashers Union is where your ears need to be. 

Song: ‘For a Girl in Rhinelander, WI’

‘Vincebus Eruptum’ by Blue Cheer

  In my ongoing quest to discover the roots of heavy music, I ran across Blue Cheer, a “blues-rock, psychedelic band”. It seems to me now that the deeper I go, the more primal, energetic and dirty the music gets and such is the case for this, Blue Cheer’s first album, ‘Vincebus Eruptum’.

  Blue Cheer formed in the mid-sixties by too many people and was soon dwindled down to the power trio of Dickie Peterson on bass and singing, Leigh Stephens on the guitar and Paul Whaley pounding the pigskins. The band quickly got to recording and found a home in the heavier sounds mixed with blues. This album is the result of that search for that sound as well as a lot of drugs. Even the name Blue Cheer is supposedly a reference to a specific brand of acid. But how can you not love a band that The Doors called “the singled most powerful band I’ve ever seen.”?

  This album is 30 minutes of blues churned out with everything at 11. Even the drums, the deep, primal, king sized drums that Whaley is beating on, are overdriven. This album is abundant in the two biggest the two main forces that make rock’n’roll, primal instincts and electricity. Everything about this record is electric. A constant bombardment of fuzz. The sheer size of the drums touches your inner caveman, especially when played as if with hammers. This album has such power, by the climax in ‘Second Time Around’ you will be sweating like Dean Moriarty at a bop joint in San Fran.

  Blue Cheer would be active in one form or another up until 2009, but this album stands out as their biggest success, both critically and commercially. The opener, a cover of Eddie Cochran’s ‘Summertime Blues’ would be their biggest hit, but it is just the opener. The whole album is a gem in the history of heavy metal. The deeper I got, the better it is.

Song: ‘Out of Focus’

‘The EEKS E.P.’ by The EEKS

  Today we take another trip to the local scene with a band from downriver Detroit, The EEKS. They are releasing their very first EP next month but through my connections with the band, I got a download of it yesterday. I have a chance to listen to it a few times now and I promised them I’d review it. Note, just because I am friends with the band does not mean I am biased. In fact, if a friend of mine makes music that I don’t like, I’m more likely to tell them. Just ask Todd or Davy. So don’t think I’m taking it easy on them when I say I like it. It’s just fact. Let’s dive in.

  First and foremost let’s talk about the band in general. The EEKS are a classic four piece horror-punk outfit comprised of guitarist Eric Giles, drummer Rogan, Scotty Hinsin on vox and Jon C. on the dirty Casio to bring in the low end. These guys haven’t been playing together long but have already made a splash in the Detroit scene. They have been wowing crowds with their subversive, upbeat punk rock goodness all around Detroit, and this is their first official release.

  This EP does what all music should do, capture the essence of the band. Every bit of The EEKS live performance shines through on this record. They have a simplified punk sound but it’s played at just the right tempo to dance around to. Rogan’s 1-2-1-2 on drums will get you bouncing your in your car or wherever you are cranking out these tunes. The mix of Jon’s dirty low-end Casio and Giles’s creepy guitar sounds sprinkled throughout songs add melody without shoving it in your face. All of that mixed with Scotty’s spine shivering vocals and this band lives up to the name The EEKS. They’re high energy, no bullshit, punk rock. There’s not much more to say besides it’s just good. It’s not perfect, but it’s good.

  I have very few criticisms and all of them small. First and foremost, get dirtier. This band has the potential to be really gritty and they are missing out on it. Maybe an extra track of really gross keyboards low in the mix and under it all. Something to really make your blood curdle. Second, mix it up a bit more. These guys have a great sound but it never hurts to experiment a bit. Maybe a slow, muddy song or a song twice as fast and extra noisy. Just have fun with the framework laid down. Other than that, I love this record and can’t wait for more.

  If you want more be sure and check out The EEKS playing at The State Bar in Detroit on Sunday, Setember 12th for only $5. It’s a fundraiser for them to release this very EP, so go support local music! And if you ant more info and news from The EEKS, check them out on Facebook. Enjoy!

Song: ‘Gotta Have It’
Note: This is not the official artwork. I just made some for my own iTunes.

‘Play Themes from the Dark Pink Circus’ by Heroes and Villains

  Today I thought I’d put the spotlight on another local band I know. Hailing from the new cultural center of the Detroit Metro area, Hamtramck. I wish I knew where my copy of this CD was so I could tell you more about the dates, personal and such but in my many moves it seems to have disappeared. Instead, I’ll just relate how I came to know of Heroes and Villains. 

  A long time ago, I used to be in a band with a kid named Sean Owens called The Deep End. Sean just happened to be related to the drummer Andrew. Andrew and Heroes and Villains became our idols. The band we’d always hoped to be. We were so excited when Andrew came to one of our shows. That was the most nervous I’d seen Sean since our first show. Afterwards, Andrew told us he dug it and then gave us tips. “Syncopation. Look it up.”. Months later, Sean and I were lucky enough to go see Dylan at The Palace for free (Seans mom had a sweet hook up for The Palace. We even saw Roger Waters for free once.) and all of Heroes and Villains showed up. Good group of interesting guys.

  After Sean and I drifted apart, I didn’t see Andrew much. That’s usually how those things go. It wasn’t until fairly recently, when going to see my friend, and mayor of the Hamtramck underground,  Richie Wohlfeil play a show with his band that I ran into Jeffrey Fournier, bassist for Heroes and Villains. He instantly recognized me as “Heroes and Villains biggest fan”. And a good time was had by all.

  Heroes and Villains are one of those bands that defy classification. They’re psychedelic, noisy, punk and garage all mixed into a class five hurricane of freak out tunes. Their sound is best summed up by the band themselves, “Music to kill yourself to.”. Andrew keeps a minimalist drum set busy with his hard hitting, “syncopated” (I hope he reads this) rhythms. Ernie has such layered and spacey guitar to balance with his monotonic vocals. Jeff lays down subtle and sweet bass lines to pull everything together and keep it from flying off the handle. Together they add a much needed dose of insanity to the local music scene. Too many bands play it safe. Heroes and Villains are not one of them. This is what sets them apart most and draws people like me to them. As Richie put it to me, while arguing about who really is their biggest fan, “Heroes and Villains are like The Velvet Underground of Hamtramck. Everyone who hears them is changed.”.

 I hope this review helps push them to put out their second album that I have been waiting for years to hear. If you wanna hear more, check them out on their myspace. Until next time, loose your sanity in the best way and stay cool.

Song: ‘Strawman’

‘This Year’s Model’ by Elvis Costello

 Today we go over a classic album to say the least. Elvis Costello is one of rock’n’roll’s prodigal sons. The man was just meant to make music. Since 1977, when he released his first album, Costello has done everything from new wave to symphonies. With a distinct English voice and incredible song writing, Elvis has set himself up with a nice place in music history. 

 This album is the second from Costello and his first with his backing band, The Attractions. The first thing that really stands out about the album is the use of the Fender Rhodes Organ. Let me tell you how this probably went down. The band finds this organ, loves it’s sound. They love it so much they write the sons and/or use it on every song. The only reason I know this is because it’s exactly what do when I get a new toy. Don’t get me wrong, they don’t use it to the point of annoyance. It fits very well on every occasion they use it. It’s the catchiest part of the album in fact. It’s usually the part you hum to yourself when you’re all alone in silence. 

 Probably the most significant event to unfold with this album is the addition of Pete Thomas on drums to form The Attractions. Ever since Elvis and Pete have been working together since. Pete is the kind of drummer I love, wild. A lot of great syncopated rolls and a general abundance of toms in beats. It fits the energy and the attitude of the album so well.

 Which brings me to my favorite tidbit about ‘This Year’s Model’, it’s attitude. The best way I can put it into words is by comparing it to that feeling you get right before you really lose your temper with people and pull a Hulk and smash everything in sight. It’s that moment you seize up and make little noises from your clenched teeth and roll your fingers into fist. The bodies last defense against your bottled rage. The whole album can be sung with that nasty, punk rock lip curl. The lyrics and tone make you pose in the exact positions as Elvis on the cover. This album is sure to get your blood pumping. How can you not think of an old special someone that broke your heart with lines like, “I don’t wanna kiss you. I don’t wanna touch. I don’t wanna see you, ‘cause I don’t miss you that much.” and not get a little riled up?

 I do have one beef with this album though. It has nothing to do with the music really, but the British pressing leaves off my favorite song, ‘Radio, Radio’. On the American release they take off the song featured here, ‘(I Don’t Want to Go to) Chelsea’. I think it’s high time to re-release a definitive vinyl edition of this record. Other than that, this album shines as one of the best pieces of music in rock’n’roll. Each song has enough power and attitude to never fade.