‘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’

‘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. 

‘Check Engine’ by SugarSpell

  Today I’m going to turn my eye to one of my favorite local acts, SugarSpell. The solo project of poet Jeffree Paul St. John, one of the coolest names ever, released out of Plymouth, MI. I met Jeffree the same way a lot of people meet Jeffree. I played the open mic at The Plymouth Coffee Bean that Jeffree host each and every Monday. You can’t miss him if you head out there. He’s the host with the long, red dreads. He’s a wonderful host and always keeps the crowd interested.

  After a few weeks of playing open mic, Jeffree and I struck up a friendship and I’ve played a show or two at The Bean. Every couple of weeks, Jeffree would start open mic himself. That was usually my favorite part. He would do this acoustic cover of ‘Institutionalized’ by Suicidal Tendencies that captured the core of the song so well while completely changing everything else about it. He has a knack for that even with his own songs.

  Needless to say, when he self released an album one December I had to pick it up. The first thing that captures you about SugarSpell, live or recorded, is Jeffree’s voice. The way it shakes out each word, trembling in between melancholy and anger. After a particularly intense performance you almost want to ask him if he’s ok. He doesn’t sing from the throat, but instead really deep down. Somewhere inside of him where emotions are pure. 

  Because he has this ability to sing from deep down, SugarSpell has a very special way of describing certain situations to the T. It amazes me how well Jeffree’s words can put you in one of your own memories. He’s another one of those songwriters that seem to write to me and about me. Sometimes I hear the words coming from my speakers and am smacked across the face with a time, place and person I’ve long forgot. Because of this, SugarSpell is often on mixes I make for special girls. 

  This album, ‘Check Engine’, is the latest from SugarSpell and definitely his most polished and straight forward work. If I have any complait at all it’s that, even with such a heart felt performance, these are all just pop songs. That isn’t such a bad thing, but I know from previous releases, Jeffree can be more experimental and I would love to hear more of that. All in all this album is still amazing and I am proud to be friends with the man behind it. 

  If you’re interested in hearing more, or would like to buy some of this SugarSpell magic, check out his bandcamp site here: sugarspell.bandcamp.com

Song: ‘Sunday’

‘The Happiness Project’ by Charles Spearin

 I’m back! I apologize for the long absence. I have no idea what came over me. Regardless, I’m back and will try to keep a steady pace going again. 

 Today we have quite the unique piece of music. In fact it’s a bit more than a collection of songs. No, ‘The Happiness Project’ is more of a documentary, art exhibit with a beautiful soundscape sound track. Toronto music scene mayor Charles Spearin, from Broken Social Scene and Do Make Say Think, turns his street, his neighbors and his friends into notes, tones and rhythms to create a musical portrait of his tiny corner of the world. 

 Charles explains his intentions best,

These are my neighbours. My wife and I have two little kids and live in a multi-cultural neighbourhood in downtown Toronto. In the hot summer months all the kids in the neighbourhood play outside together and everyone is out on their porch enjoying each other’s company, telling stories and sharing thoughts. A year or so ago I began inviting some of them over to the house for a casual interview vaguely centered around the subject of happiness. In some cases we never broached the subject directly but none-the-less my friends began to call it my “Happiness Project”.

 The best part about this album is that it actually lifts you mood. Hearing these people tell some of their stories really makes you marvel at the world. Not in my usual, “how are people like this way” either, but instead with hope and love. Everyone on this album, except for maybe Charles kid complaining about butter, has had more than their share of problems and is still happy. As if the problems were just part of the ride. Truly inspiring.

 As for the actual music on the album, it’s exactly the caliber you’d expect from a founder of Do Make Say Think and Broken Social Scene. The songs are jazzy, calming, funky and free. The way the music fades in and out of the speech, it becomes a part of the conversation. Almost like a band was in the room during the interview. This album, clocking in at just over a half hour, is a short, concise piece that is warm and, you guessed it, happy all the way through. I look forward to more from Charles and all his bands future releases. I hope they all make me this happy.

Song: ‘Vittoria’

‘The Sporting Life’ by Diamanda Galás and John Paul Jones

 Girl Power Week is coming to a close. It’s been fun. We’ve laughed, we’ve cried and we’ve longed for the long of these wonderful rock’n’roll women. So to close it out today I thought I’d test your limits for extreme music with Diamanda Galás, an avante-garde keyboardist, composer and singer. I’m gonna warn you now. The chances you will dig this are slim, but that’s ok as long as you give it a try first. Time to expand your horizons.

 Diamanda Galás was born in San Diego, California in 1955. From a very early age she mastered the piano. By 24 she was the lead in ‘Un Jour comme un autre’, a French opera based on the alleged arrest and torture of a Turkish woman accused of treason. What makes Diamanda stand out as an artist is not only her abilities on piano and with arranging, but her three and a half octave, bone chilling voice. In the 80’s, Diamanda made a trilogy of operas collectively titled ‘Masque of the Red Death’ about the world AIDS crisis. It is probably, and I mean this in a very good way, one of the most terrifying things I’ve ever heard. It sends chills up my spine and down every other part of my body.

 With this album, ‘The Sporting Life’, long time admirer John Paul Jones of Led Zeppelin fame joined up with Diamanda. This is easily her most accesible album. It’s almost weirder to hear her with this type of music than as the an opera singer. It’s a lot ike those ‘Punk Sings Disco’ albums you see everywhere except it’s ‘Avante-Garde Goes Cajun’. This album goes all over the map of musical styles. Strangely it somehow works. 

 So if you don’t like avante-garde operas about AIDS that’s fine. Diamanda Galás definitely isn’t everyones cup of tea but you don’t know until you listen. And hey, John Paul Jones likes her. That’s good enough for me to give her a shot.

Song: ‘Devil’s Rodeo’

‘Live Through This’ by Hole

  This is the review that gets me in trouble. I’m gonna say it right out. I like Hole. So if you’ve got some vendetta against Courtney Love that doesn’t allow you to like good music out of some sense of loyalty to her late husband, stop reading. They gone? Ok now that all the rational people are left let’s move on.

 Hole was formed in late 1989 by the only two consistant members, Eric Erlandson and Courtney Love. After their first album, ‘Pretty on the Inside’, which was more of a noisy punk record, Hole released ‘Live Through This’, a pop/grunge LP that is more accessible on the surface. Bubbling beneath however is one of the most rattling things I can think of, Courtney Love’s voice. Say what you will about her but the girl can rock the fuck out. That voice could peel paint and I love it. I may not like her as a human but I can’t help liking her music.

 As for the rest of the album, it’s catchy but raw. It’s the equivalent of giving someone a hug before telling them to fuck off. Some parts are fun and infectious to the point you can almost dance to them, while others are just a sneering spit in the face. It’s a great balance and a great sound. No wonder it sold so many copies. Even in such a sad time, only a few days after Kurt was found. Some people even think he wrote most of the album, but I’ll leave the conspiracies to Wikipedia and YouTube commenters.  

 In conclusion, if you can ignore the Cobain uber-fanboys long enough to listen to some Hole, you might enjoy it. It’s a prettied up fuck you to everyone. It’s just good punk rock. 

Song: ‘Gutless’

‘This Is It and I Am It and You Are It and so is That and He Is It and She Is It and It Is It and That Is That’ by Marnie Stern 

 What can I really say about Marnie Stern? Rarely in the history of music has something been so explosively out of left field. Marnie makes such insane, complex music I could probably be convinced she is an alien and has come to whip humanity into a hypnotic state. I think I’m ok with that.

 Marnie actually comes from New York City where she garnered a taste for bands like Lightning Bolt, Deerhoof and Hella. The best way I can use to describe Marnie’s guitar playing is with an equation that goes something like, Best Parts of Van Halen+The London Symphony+Glenn Branca+A Good Dose of Speed. Something along those lines. The point is, she will melt your face. Period. 

 Now with a talent like Marnie Stern it’s hard to make a band. It’s nearly impossible to find people to keep up. Lucky for us there is enough talent out there to not only keep up but further great talents like Marnie. I am speaking in particular of drummer Zach Hill of Hella. I can’t think of anyone else who could compliment the nerve shattering guitar tapping Marnie lays down. The end result is a sensation that equals your finger in an electrical socket, but in a great way. Marnie Stern is definitely not something you listen to after a long day and are looking to wind down. It’s more the kind of album you put on to stay awake after days of sleeplessness or on a long road trip when you need to keep your eyes wide to make it to the next stop. It’s pure tapping insanity.

 All that being said, this is not an album you want to miss. Even if hyper guitar punk rock doesn’t sound like your thing, you’ve at least got listen in awe to the precision and speed. If this were a Guitar Hero song the controllers would explode. Just get a bucket first so you have something to catch your melted face in.

Song: ‘The Package is Wrapped’