A near-perfect hybrid of indie and punk might have found its way into my record collection.  What I hear actually sounds somewhat original, so it can’t be just indie.  It also doesn’t follow the “paint by number” esthetic—or ethic, for that matter—of punk rock music.  However, Vanity Press does have dance appeal, catchy, yet airy vocal harmonies, a multitude of instruments, and a dash of attitude with an unspoiled production value.

The National Rifle have taken a slightly unorthodox (yet, in my opinion, admirable) route of releasing EP’s and EP’s only.  Without a full length yet under their belt, their latest installment Vanity Press marks their fourth release since 2006’s self-titled inception.  In a world now, where incessant delivery of content is key, such a routine allows for continual digestion with little-to-no filler.  Though hard to say, it’d be my guess that filler probably isn’t their thing anyway.

The bleak lyric “His voice is still slurred, even when sober / wanting the thrill, but you’re older” is followed by an otherwise merry arrangement.  Jangly guitar, upbeat barroom piano, an engaging female background voice, and a ticking time-bomb-like percussion are its make-up.  Getting old never sounded so good as in “In The Weeds.”

“She’s A Waste” and “Jazz History of The World” both display their Clash meets ska-pop motif.  However, while Hugh’s (the group’s lead vocalist) voice does seem to remind of an English bloke (something I forever find questionable, from an American)—it soars a little further than ol’ Joe’s.   Though his voice certainly attributes to Press’ edge, it’s the piano—here—that rounds it off.  The clean exchange of electric and acoustic guitars also adds a nice rare change to the overall static guitar sound of the record.

Adding even more variety to Vanity, Lynna’s keys change to organ, then synth on the final cuts “Same Shit Different Desk” and “Too Much T.V,” respectively.  The bass wakes up, and drives the last song home. This time, Lynna’s voice, not so subtly backs things once again, taking away from its punchiness while sounding out of place.

The National Rifle seem to have what it takes to deliver a fun, edgy and quick output.  The mystery with a five song release (each time) is that it if does in fact satisfy, then is being left without needing more, good or bad?  Or, is quick and dirty, simply the point?

- Weasel Was Here

out of 5 weasels.

1. In the Weeds
2. She’s a Waste (FREE MP3)
3. Jazz History of the World
4. Same Shit Different Desk
5. Too Much T.V.

Vanity Press was released August 31, 2010

Visit The National Rifle online: thenationalrifle.com / myspace.com/thenationalrifle

Never trust a weasel. Support the artist and find out for yourself. WestCoastWeasel.com encourages purchasing Vanity Press locally at Red Cat Records in Vancouver, B.C, any independent record store of your choice or online here.

At times, being approached to review an upcoming band’s release can be daunting for a multitude of reasons.  Thankfully these boys made it easy.  Real easy.  Hailing from the heart of Alberta seems to have worked in their favor; we hear no left-coast synth saturation and no sign of starry east-coast eyes.  Swampy, outback rock n’ roll’s on the grill this eve.  They’re servin’ up a meaty main course with a side of southern home fries.  Drinks are on the house.

Organ leads the opening track “Johnny’s New Knees” moments before a double take is required to pin whose voice is heard.  Lou Reed? No.  Perhaps for a second.  David Wilcox?  Maybe slightly, (in an admirable way) but quickly the gent before us shows that he’s got more gruff than that beloved billy goat.  The voice is Colin Anthony and it’s truly his own.  Hearing the EP’s title Nuclear Medicine as lyrics (as opposed to lyrics and title) within the opening track is a nice touch.

As the story goes, Colin’s as big on late night whiskey soaks as he is on many cigarette smokes.  He’s sure to have been headfirst in a batch when he laid down his take heard on “Release the Archers”—collectively, the strongest musical output on the record.  His haunting howls in the forefront are backed by his spooky organ offerings along side his gang’s individual weaponry.  Roy Rhyno’s delicate, though rapid hi-hat quips act as a precursor to my favorite part of the song: his drumming, though most notably, the 180° tom fills.  Kudos to the man behind the kit as well as Brad Miller’s mixing job.  The drum sound overall on this release—but more specifically on this tune—is bang on.  Now, lest we forget that while Jonny did get his new knees, he’s got some fiery leads up his sleeve.  Jon Bontje’s guitar creeps and cries subtly until the final act where his guitar, a piano and skins all go full boar, equally feeding off one another, taking it right on home.

“Captive Audience” may captivate and remind said audience of the likes of The Doors (so I’ve already heard) and while I’d agree pleasingly, Anthony sounds even dirtier than a Morrison and Rhyno sounds a tad more like a Bonham than a Densmore.  Vocals aside, I hear homage to Josh Homme and company’s more recent works.  As heavy as it is, the soft puffs of piano at the end rounds off the cut both slowly and softly.

“As a promise to you / As a promise to you / Oh, I’m Comin’ back / Comin’ back for you” is heard throughout the final—and likely the best saved for last—track “Comin’ Back For You.” We’re left with an epic piano and guitar driven ballad with an eastern European, circus friendly, organ interlude.  While the breakdown may at first seem out of place, it only makes the return to the strongest chorus on the album all the more favorable.  Whoever it is that Colin’s coming back for, he best find her.  If not—thanks to the motives and desperation in his voice—I’m going to have to find her, myself.

With a solid production, and spot-on delivery both musically and vocally I can only wish there was more here to digest.  On the bright side, having it play out in less than twenty minutes only allows us to do it all over again…even sooner.  While the name these Barrington boys carry may say otherwise—they’re sure to go anywhere but south.

…Weasel Was Here

out of 5 weasels.

1. Jonny’s New Knees
2. Release The Archers
3. Captive Audience
4. Coming Back For You (FREE MP3)

Visit The Barrington Southwinds online: myspace.com/thebarringtonsouthwinds

Never trust a weasel. Support the artist and find out for yourself. WestCoastWeasel.com encourages visiting The Barrington Southwinds online here to get your vermin hands on Nuclear Medicine.

Well, this day finally had to come; it’s a day I’ve been avoiding for a couple of reasons.  When music is the most important thing to you and your task is to either build up or tear down an all-time favorite band, it’s a little unnerving when it ends up being the latter.  Anyone who hasn’t heard White Crosses (which had one of the most premature leaks in music history) is either living underneath a rock or simply doesn’t care.  If it’s the former, well, I’d love to tell you what you’ve been missing.  I really would.

Now before the confused, blindsided and self-proclaimed “open minded” fans assume I’m another disgruntled Reinventing Axl Rose-era crab—that’s not so much the case.  Granted, it’s likely my favorite Against Me! offering but I fell in love with the band after 2007’s New Wave.  I am, however, overtly familiar and passionate about everything they achieved prior.  While it’s been only three years, they likely hold the title for the band I’ve listened to the most…ever.

The title track’s lyrics, “I wake up in the morning with the same unanswered questions / I don’t know what’s going to cure my unsettled stomach,” are oddly what runs through my mind everyday.  Tom’s distaste lies in the hands of religious fundamentalists and their warped sense of appropriate homage to aborted fetuses (as opposed to my food intolerance).  I personally find them both disgusting.  Unfortunately, in what is one of the album’s strongest cuts, a little bit of balls do sneak out as he makes his attack, but only ever so briefly.

“I Was a Teenage Anarchist” follows, addressing his not-so recent growth from a budding young revolutionary to an arena rock try-hard.  For a guy who refused to acknowledge his anarchist past (which he shouldn’t have to) for years, he sure screws the pooch on this ill-fated, too little, too late gem.  “Narrowed visions of autonomy / They wanted me to surrender my identity” are possibly some of the strongest, most reasonable lyrics—but the rest fall short.  The catchy pop tune was clearly written for those who didn’t get the anarchist thing to begin with and surely never will.  You grew up and changed?  Perfect.  I’m not an anarchist either.  However, “Do you remember when you were young and wanted to set the world on fire? / The revolution was a lie” is a hypocritical , offensive slap in the face to both the thousands of kids who brought him up and made him who he is (and likely vice versa) and to what he once stood for.  This “farce revolution” made Tom Gabel—and more importantly—Against Me!

Just as the album turns left, down an over-produced syrup-glazed road—thanks to Butch Vig and the band’s Bon Jovi-like aspirations—we are given one amazing, well-crafted pop-rock song.  It does make a fan proud of their strides as musicians, even if it’s worlds apart different from anything they’ve ever done.  “Because of the Shame” incorporates delicate piano, spot-on harmonies, a healthy blend of electric and acoustic guitars alike behind Misfits “woahs” and personal, well written lyrics (a White Crosses rarity).  It leaves a guy wanting to hit repeat and avoid the rest of the album.  And mostly for good reason.

If there’s one fluid theme on this album it’s the questionably weak choruses.  “Suffocation,” “Ache with Me,” “High Pressure Low,” and “Rapid Decompression” all suffer from this syndrome.  You can be catchy and aim for superstardom all you want but you’re not going to get there with generics.  You almost got there with balls but now you’re lacking might in both lyrics and music.  When I interviewed Andrew, I asked (and hoped) if we’d hear the return of acoustic guitars (like some of their best, classic songs); I should have been careful what I wished for.  Instead of folky, singer-songwriter styled surprises, they just replaced one electric guitar on nearly every song with an acoustic.  Sorry, not what I was going for there.  Now they fit on any commercial radio station imaginable.  Out of the aforementioned bunch, “Rapid” is the exception as far as having a hard edge.  Hard edged or not, it’s certainly not a sharp one.  It’s bland, dull, and—to my dismay—the “rocker” ends up being one of the worst songs on the album.  What’s going on here?

“Spanish Moss” and moreover “High Pressure Low” aren’t horrible, (though simply mid-tempo rock tunes) but they’d be easier to swallow without the Vig machine pumping “aye yaye yayes” and more “woahs” (don’t even get me started on the “chica chicah’s” heard on “Ache with Me.”)  The latter tune showcases Tom’s voice beyond hard rock which could be admirable if the tune didn’t sound like something Green Day is currently auto-tuning.  Again the verse is tolerable but once that hit-making gleam appears in the eye of the chorus, all I can do is laugh.  Or cry.

At least when they got their feet wet with a big budget, a world famous producer and Vig’s varnish on New Wave, they still rocked.  Hats off to a slick, catchy rock record with punk rock influence (both lyrically and musically).  But it looks like that was it.  Call it their “segue” into a mediocre craft that further alienates those who loved them and nothing ground-breaking for those who don’t.

The final song at the end of this “what the hell happened to these guys?” journey, “Bambo Bones,” was initially equally as annoying early on, but it has grown to be one of my favored tracks.  It’s certainly anthemic and important, yet with their modern day optimism as opposed to angst.  And there’s nothing wrong with that.  But… Against… what?

…Weasel Was Here

out of 5 weasels.

Choice cuts: “White Crosses”, “Because of The Shame” “Bambo Bones”

1. White Crosses
2. I Was a Teenage Anarchist
3. Because of the Shame
4. Suffocation
5. We’re Breaking Up
6. High Pressure Low
7. Ache with Me
8. Spanish Moss
9. Rapid Decompression
10. Bamboo Bones

Visit Against Me! online: againstme.net /  myspace.com/againstme

“I Was A Teenage Anarchist” music video

“Rapid Decompression” music video

Never trust a weasel. Support the artist and find out for yourself. WestCoastWeasel.com encourages purchasing White Crosses locally at Red Cat Records in Vancouver, B.C, any independent record store of your choice or online here.

On Sage’s third (and final) release for Epitaph and/or its subsidiary Anti- he opts for personal introspection, as well as counter fundamentalism.  Enlisting an indie star studded cast of musicians (Califone, Calexico, Sparklehorse, and more) and producer (Brian Deck [Modest Mouse, Iron and Wine]) to pen Li(f)e’s arrangements, we’re left with an abstract record containing words and lyrics from a myriad of positions.

One of the album’s strongest, catchiest tracks “Little Houdini” empathetically recounts a multi-felon’s tale of struggle with the judicial system, his escapes, and family tragedy.  It is a mildly interesting story that works rather well over the acoustic strums and drums alike.  We are, however, ultimately hooked into having sympathy for a grand auto theft who’s losing estranged family members.  Take that for what it is, I guess.

The decision to seek songwriters who’ve yet to work with a rapper and to ignore writing music they think would be appropriate for hip-hop is an interesting move.  Hearing the record before realizing this tactic may leave the listener questioning the beats before them.  I know I did.  But, when one considers that Chris Walla of Death Cab For Cutie’s responsible for the danceable—Gnarls Barkley-esque—“Three Sheets To This Wind,” it does give a new sense of appreciation for the busy tune.  Sage explains that he “wasn’t trying to be no hip-hop god or rap’s ghost, shootin’ to be a rock star” over its gritty electric guitar riff.

To no surprise, digging into the lyrical content of what may not be the most exciting of tracks works in Sage’s favor.  After all, that is his craft.  He attacks religion in “I Was Zero,” carrying a serious sense of conviction with an apt delivery of sarcasm as well.  “The power of a magic trick / Immaculate concepts / Lost in the land of the cross / He’s selling real estate for some place in the clouds” is heard amongst personal favorite lyrics, “I heard God is coming and she’s a screamer.”  While its words are worthy, it lacks any musical panache much like “Diamonds and Pearls,” which unfortunately lacks a little of both.

A catchy, summertime feel grooves on in mid-record thanks to the keys and twangy guitar on “Polterzeitgeist,” while piano, xylophone, choir and percussive sound effects back the poetry of “16 Years.”  The latter’s musical arrangements are revisited again in a similar manner on one the album’s boldest: “The Best of Times.”  Its gold lies in the lyrical jewelry—an overtly personal journey detailing his insecurities as a child and well into his later years as a man.  The gospel-rock of “Love the Lie” delivers the best of both—his speedy, infectious tongue, as well as noteworthy musical arrangement—an otherwise unbalanced vibe on heard in Li(f)e.

Being a fan of both rock and hip-hop, one may think the amalgamation would be attractive two-fold.  I’ve rarely seen it this way whole-heartedly.  The branching out and involving indie-rockers, combined with thought provoking lyrics, today, is as punk rock or against the grain as hip-hop could be.  That said—Sage’s compelling messages are exceedingly more paramount with a more dominant beat behind them.

out of 5 weasels.

Choice cuts: “Little Houdini”, “Love The Lie”, “The Best of Times”

1. Little Houdini
2. Three Sheets To The Wind
3. I Was Zero
4. Slow Man (FREE MP3)
5. Diamonds And Pearls
6. Polterzeitgeitz
7. The Baby Stays
8. 16 Years
9. Worry Not
10. London Bridge
11. Love The Lie
12. The Best Of Times (FREE MP3)

Visit Sage Francis online: myspace.com/sagefrancis /  strangefamousrecords.com/life /  anti.com/artists/view/64

Li(f)e promo clip

Never trust a weasel. Support the artist and find out for yourself. WestCoastWeasel.com encourages purchasing Li(f)e locally at Red Cat Records in Vancouver, B.C, any independent record store of your choice or online here.

I often find myself amazed by Jack White’s genius. The man is literally oozing with music. On the Dead Weather’s Sea of Cowards, Jack and his current band—made up of his chosen disciples—have created an album that beats down all doors en route to its very own genre. At first it seems the Dead Weather are simply expanding on the garage blues they stirred up on Horehound. But it’s never as black, white and red as it seems when it comes to a Jack White project. As the album progresses you come across everything from Dean Fertita’s dark psychedelic waves of sound on “The Difference Between Us” and “I’m Mad” to the slow burning, demonic funk featured on “No Horse.”

On Under the Great White Northern Lights (The White Stripes live documentary) White explains how in confining himself to a restricted box creatively, he forces himself to be creative. If this is true Jack must have laid some rules down for the new record—“Alright, guys, no choruses, I’ll be drumming like I’m twelve coffees deep and were doing the entire record in one take… that’s right, one take!” And it’s quite obvious that the group bought into that mind state. During the 35mins Sea of Cowards runs for the listener can expect to curl up in a corner out of fright, bust into a wild trance dance to the screaming organ, shadow box to the unrelenting pound of the snare drum and finally run out into the night and howl wildly at the moon.

The intensity and general distraught that drives the Dead Weather’s second EP begins with White and Alison Mosshart. The two share vocals on most tracks, comeing together to create howling harmonies that at points sound as one. For the first five seconds of the albums single, “Die by the Drop,” you might even think the band is trying to capture that electric feel—that is before Jack Lawrence lays down the thumping distorted bass line that Mosshart slowly begins to snarl over. Originally the opening track of the disc, “Blue Blood Blues,” was slated to be the first single—its understandable why—as soon as that first bass note hits some how your ears just know a hurricane of sound is about to erupt. Jack rambles in a dark blues rap making the edge on this disc unmistakable. But even with White being more involved vocally there’s no mistaking who fronts the band. On the track “Gasoline” it sounds like Mosshart is channeling Janis Joplin’s spirit from beyond the grave. But as Mosshart moans “to be afraid is a luxury” it becomes apparent that it’s entirely likely that the front woman is a pure reincarnation of the rock goddess.

Overall this is a hard album to rate. You may love the idea and sound that the Dead Weather created or you’re maybe just sick of Jack White. But regardless of your thoughts, this is something defiantly fresh in a music season full of remixes and auto tune.

out of 5 weasels.

Choice cuts: “Blue Blood Blues”, “Gasoline”, “Die By The Drop”

Click PLAY for a 30 second free MP3 of each track or the track name for lyrics in a new tab/window

1. Blue Blood Blues
2. Hustle And Cuss
3. The Difference Between Us
4. I’m Mad
5. Die By The Drop
6. I Can’t Hear You
7. Gasoline
8. No Horse
9. Looking At The Invisible Man
10. Jawbreaker
11. Old Mary

“Die By The Drop” music video

“Looking at The Invisible Man” live from Third Man Records

“No Horse” live from Third Man Records

Never trust a rat. Support the artist and find out for yourself. WestCoastWeasel.com encourages purchasing Sea of Cowards locally at Red Cat Records in Vancouver, B.C, any independent record store of your choice or online here.

Few bands are as consistently excellent as the National, and with High Violet the Brooklyn five-piece (and an all star roster of guest performers) continue a tradition of crafting densely layered masterpieces. The group’s latest effort is a dark, brooding titan of an indie rock record, combining dark pop sensibilities, intricate orchestral arrangements and sorrowful, contemplative atmospheres.

Lyrically, the band hasn’t lost a step. Even when he throws out a line that should be patently ridiculous (“I was afraid/that I’d eat your brains/’Cause I’m Evil”), Matt Berninger’s baritone is so strong that he manages to imbue the lyrics with a palpable sense of menace. The singer still has a knack for turning a clever phrase (“Lay me on the table / Put flowers in my mouth and we can call it a summer lovin’ torture party,” “Everything means everything,” “You can put on your bathing suit and I’ll try to find something from this thing that means nothing”), and the lyrics are uniformly excellent.

And thoroughly depressing.

Make no mistake—High Violet is a sad, sad record. Almost every track is permeated with a sense of despair, resignation or defeat, making it clear both that Berninger is tired of life’s heartbreaks and that he has accepted them as unavoidable. On the very first track, Berninger sings that “It takes an ocean not to break,” the tone of his voice conceding that he is no ocean. He goes on to insist that he “didn’t want to be anyone’s ghost,” that he doesn’t “have the drugs to sort it out,” and that “sorrow won.” Berninger has ceded defeat, admitting that he is not strong enough to overcome the obstacles in his way. Many of the songs are crushingly depressing, revealing a narrator who has not seen a victory in a long, long time. There are hints of optimism, as the album ends with Berninger proudly stating that he “won’t be a runaway” and that while “the waters are rising,” the swans are singing, and all is forgiven.

The morose lyrical themes are supported by brilliantly executed instrumentations. Fraternal duos Aaron and Bryce Dressner and Scott and Bryan Devendorf do an outstanding job, painting the perfect backdrops for Berninger’s vocals. Guitars shimmer, twist and intertwine with the bass, which roams across the register, providing as much melody as it does rhythm.  Keyboards mark haunting progression of chords and add flourishes to guitar riffs, while horns and strings underlie everything providing powerful emphasis.

And the drums—oh, the drums. Bryan Devendorf’s drum beats have never been anything but spectacular, and his work on High Violet is no different. Shying away from traditional schemes and standard rock drumming, Devendorf writes parts that are just as important and melodic as any guitar part.  His drums transform album standout (and single) “Bloodbuzz Ohio” from a slow, syrupy ballad into a churning, frantic cry for help as he pounds toms, snares, cymbals and kick drums with reckless abandon.

With High Violet, the National have written an album that is more than a worthy successor to 2007’s critically adored Boxer. High Violet is a complex, engaging record, offering plenty of motivation for repeat listening. Even now, over fifty listens in, familiar parts give me shivers, I’m surprised by new details, and I slowly decipher lyrics. Each song is meticulously crafted, with layer upon layer of detail but none of the songs feel stale or canned. High Violet is a remarkable achievement for the National, and solidifies them as one of the best bands in today’s musical world.

Go buy this album. Treat yourself.

out of 5 weasels.

Click PLAY for a 30 second free MP3 of each track or the track name for lyrics in a new tab/window

1. Terrible Love
2. Sorrow
3. Anyone’s Ghost
4. Little Faith
5. Afraid of Everyone
6. Bloodbuzz Ohio (FREE MP3)
7. Lemonworld
8. Runaway
9. Conversation 16
10. England
11. Vanderlyle Crybaby Geeks

Visit The National online:  americanmary.com /  myspace.com/thenational

“Bloodbuzz Ohio” music video

“High Violet” promo clip

Never trust a hamster. Support the artist and find out for yourself. WestCoastWeasel.com encourages purchasing High Violet locally at Red Cat Records in Vancouver, B.C, any independent record store of your choice or online here.

If the Boss had written the lyrics for “Born to Run” on a front porch in Tennessee as opposed to the back of a bar in Jersey, he might have come up with a tune like “The Sweet Part of the City.”  On of Heaven is Wherever, Craig Finn and the boys get nostalgic, reminiscing with lyrics about teenage shenanigans while simultaneously issuing a gentle protest against age. With the departure of Franz Nicolay, [piano/keyboard], some fans expected a new vibe from this record. But on the Minnesota-bred, Brooklyn-based five-piece’s fourth album, they have expanded their bar friendly, classic rock feel polishing their sound into something that could one day fit among the classics they draw inspiration from now.

Shortly after the last note of the opening track, the Hold Steady rip into the punk-fused “Soft in the Center” and “The Weekenders.” They keep up the chain smoking, bar hoping pace for the next two songs (one of which includes a shout out to Vancouver) before taking it back down a notch for the calming “We Can Get Together.” Finn’s deadpan delivery and poetic lyrics are prominent in this tune, showcasing a hint of gospel ambiance.

The band jump head first into fist pumping rock with the first single “Hurricane J.” Taking a cue from Andrew WK, the track gets the party started like something off the American Pie 2 soundtrack.  Heaven is Whenever begins to wind down with “Barley Breathing,” a classic East Coast kitchen jam—you can picture the boys swinging their pints around and singing along as Tad Kubler [guitar, keyboard] pounds on the keys. Near the end of the song Finn chants “The kids are in distraction,” a line that seems more truthful the louder you turn up the volume.  “A Slight Discomfort” takes stock of the new hipster nation the band had part in creating and uses the opportunity to scold today’s party morals saying, “Those metro guys who are never funny and afraid to die.”

The Hold Steady are currently riding a creative high—as a band and as friends—and this album reflects that. It’s a hard working album that delivers on all angles, unlike another release from a Brooklyn-based band…cough Siberian Banks cough.

Heaven is Whenever was released on May 4, 2010 on Vagrant Records

out of 5 weasels.

Click PLAY for a 30 second free MP3 of each track or the track name for lyrics in a new tab/window

1. The Sweet Part Of The City
2. Soft In The Center
3. The Weekenders
4. The Smidge
5. Rock Problems
6. We Can Get Together
7. Hurricane J
8. Barely Breathing
9. Our Whole Lives
10. A Slight Discomfort

Visit The Hold Steady online:  theholdsteady.net /  myspace.com/theholdsteady

“The Weekenders” on David Letterman

Never trust a rat. Support the artist and find out for yourself. WestCoastWeasel.com encourages purchasing Heaven is Whenever locally at Red Cat Records in Vancouver, B.C, any independent record store of your choice or online here.

When my brother recently asked “being a child of the 90’s grunge wasteland, are you stoked on the new Hole?” part of me wanted to smack him, and the other part figured, “Yeah, why not.  I do really like Hole.”  Without any real effort, I avoided listening to the single or paying too much attention to what band she brought with her, prior to giving Nobody’s Daughter a spin on its release date. Akin to simpler times (from which the original band itself spawned) unlike our current, immediate delivery of information and illegal download options—I hit play, right on time, as it was designed, this past Tuesday.

It was immediately promising, showcasing a blend of acoustic and electric guitars with syrupy (yet notable) production value.  “Nobody’s Daughter” is a captivating effort.  I figured that with the next title being “Skinny Little Bitch,” the album would pick up right where some of her snarly past efforts left off.  Being the album’s current, gritty single, it is (maybe) catchy enough to fulfill its expected potential.  It does tease us, delivering that scratchy, sleazy Courtney we’ve Loved to hate.

I guess that’s where the “riot-girl” vibe started and finished—at least for the next seven out of nine remaining songs.  Acoustic, mid-tempo tune-after-tune, back-to-back until three quarters of the way into the album?  Who produced this?  Michael Beinhorn who produced 1998’s Celebrity Skin allowed the record to be a hardcover romance novel: a hard edged front, back and a bunch of soaked tissue material in between.   Normally, I’m a fan of acoustic or mellower numbers (in moderation) but the order in which they appear and their frequency is head shaking.  “Honey” and “Pacific Coast Highway” do have their merits (more so the latter—the alleged second single); it’s just too bad that paired together (and followed by four more similar numbers) two of the brighter gems have little-to-no chance of shining on their own.  “Pacific” is reminiscent of the glitter found sprinkled on sharp post-Millennium Love cuts such as “Malibu” (from Celebrity Skin) and even a tad more recently on “Sunset Strip” from her under-rated 2004 solo effort American Sweetheart. Whatever’s left of this bruised girl’s innocence is heard here, with a bittersweet, yet delectable core.  Kudos to Billy Corgan, whose pen is introduced here, for the first time on the album.

I must say, hearing “People like you / Fuck people like me / In order to avoid agony” repeatedly, mid-record did bring back a little bite—and some balls—to boot.  “Samantha” is mildly fetching, but beyond the aforementioned provocation—she’s nothing special.  Again, if “Someone Else’s Bed” stood amongst edgier cuts, it—and its desperately infectious chorus—might stand out a little more.  Lyrics (at her age) such as, “So, you’re lying in your underwear / Oh, in someone else’s bed / So, I have another cigarette / How did I end up all alone? / How did we all end up dead?” are cringe worthy as they are questionable.  Lyrically “For Once in Your Life” offers stronger, hopeful verses with a sense of honesty and appropriate resentment.  “I swear I’m too young to be this old, this old / Covered in diamonds and covered in filth / But, I’m still breathing” rings out fairly over another acoustic ballad, thankfully though, with some noteworthy piano accompaniment.

This is where a half-assed output leans even further towards disappointment.  At the risk of sounding insensitive I must still give my two cents on Courtney’s “Letter to God.”  I, of course, could never understand the depths of being an ex-heroin junkie widow but does she really need to ask, “What’s my life all about? / I never wanted to be the person you see / Won’t you tell me who I am?”  Well, for starters you’re an irresponsible mother and a controlling attention-whore.  And to ask “Are you disappointed or are you proud?”  What do you think? Really.  You’ve single handedly alienated every band member that was Hole (while conjuring up facetious rumors of their involvement in this “reunion”), every close band member/friend of Kurt’s band (through court battle after court battle) and continually lose your grip on the one person who you’re left to love the most—your daughter.  Maybe she’s “nobody’s daughter,” questioning how both of her parents were too fucked to care.  Ask God about that.

When the grungy numbers see the light of grey in “Loser Dust” and “How Dirty Girls Get Clean” it’s a challenge to get amped up sitting 30+ minutes into what plays out like another Courtney solo record.  It’s almost impossible not to feel that way considering the star-studded writing team that simply includes herself, Billy Corgan, and Linda Perry with no band member involvement.  The pair of rockers near the end of this painful journey are alright at best but are simply too little, too late.  Despite the over saturation of ballads throughout, the final number is a raw, “Courtney and guitar-only” number that does close the door on a good note.  Overall, sadly, this isn’t what I’d call a Hole note.  Pun certainly and deservingly intended.

…Weasel Was Here

out of 5 weasels.

Choice Cuts: Pacific Coast Highway, Never Go Hungry

Click each track name for lyrics in a new tab/window

1. For Once In Your Life
2. Honey
3. How Dirty Girls Get Clean
4. Letter To God
5. Loser Dust
6. Never Go Hungry
7. Nobody’s Daughter
8. Pacific Coast Highway
9. Samantha
10. Skinny Little Bitch
11. Someone Else’s Bed

Nobody’s Daughter was released on April 27, 2010 on Mercury Records.

Visit Hole online:  holerock.net /  myspace.com/courtneylove

“Skinny Little Bitch” live on Jimmy Kimmel

Never trust a weasel. Support the artist and find out for yourself. WestCoastWeasel.com encourages purchasing Nobody’s Dauhter locally at Red Cat Records in Vancouver, B.C, any independent record store of your choice or online here.

The last time I really listened to Crystal Castles was just before the 2009 Coachella Music and Arts Festival, as I was prepping for their set. The band rewarded my preparation (and the support of several hundreds of fans) by showing up strung out, a half hour late to their 50 minute set. Alice then treated the huge crowd with off-key, off-tempo shrieks and wails (don’t get me wrong, I enjoy Alice’s screeches when they’re pulled off well on tracks like “Xxzcxuzx Me,” but they were not done so well here), effectively ruining any chance the duo had at pulling off a worthy performance. Needless to say, I was turned off of the band, and their self-titled debut soon made its way to the bottom of my music collection.

Then 2010 rolled around, and a new track began floating around the internet. “Celestica” sounded like Crystal Castles were back in top form, mixing trance synths, glitchy chiptune beats and ethereal vocals. Shortly thereafter, the band’s second self-titled album leaked, and the release was moved up to April 23. Intrigued by the lead single, I decided to give Crystal Castles another shot, and I’m glad that I did.

On Crystal Castles (II), the band does a really good job of balancing sedate, sublime numbers like the aforementioned “Celestica” with abrasive, challenging songs like “Doe Deer.”  The duo never lets listeners get comfortable, jerking back and forth between calm and storm, doing their best to lure the audience into a false sense of security before shocking them with screams, overdriven synths and heavy drum beats.

While the band’s debut did a fair enough job of mixing up relaxed and tense songs, Crystal Castles (II) showcases the band juggling the two opposing themes within the same song. “Baptism” alternates between quiet verses characterized by a throbbing bass line and a glitchy, 8-bit keyboard riff and loud, exaggerated choruses where Alice screams “This is your baptism / And you can’t forgive them” above booming drums and stuttering, expansive synths. Ethan Kath and Alice Glass have certainly developed as songwriters, and do a much better job at balancing cohesiveness and diversity.

One of the key aspects of Crystal Castles (II) is that even though it works from the same basic palette as the duo’s debut (8-Bit Keyboards, some samples, drum machines and some vocals), it manages to remain interesting and engaging throughout. My biggest gripe with the band’s earlier work is that it is fairly homogenous, and easy to get bored of. By making each song more internally diverse, Crystal Castles are able to keep the listener’s attention for the whole 50 minutes of Crystal Castles (II).

The songs on the band’s newest album have the ability to be even more popular than “Crimewave” or “Magic Spells,” dance anthems for the hipster crowd. The duo from Toronto have an ear for poppy hooks and present them through a uniquely distorted lens. I’m sold on this album, maybe even enough to give them another shot live.

Maybe.

Crystal Castles was released digitally on April 23, 2010. It will be released physically May 25, on Fiction Records.

out of 5 weasels.

Choice Cuts: Empathy, Baptism, Celestica

Click each track name for lyrics in a new tab/window

1. Fainting Spells
2. Celestica
3. Doe Deer
4. Baptism
5. Year of Silence
6. Empathy
7. Suffocation
8. Violent Dreams
9. Vietnam
10. Birds
11. Pap Smear
12. Not in Love
13. Intimate
14. I Am Made of Chalk

“Celestia”

Visit Crystal Castles online: crystalcastles.com /  myspace.com/crystalcastles

“Crimewave” from Crystal Castles (I)

“Knights” from Crystal Castles (I)

“Courtship Dating” from Crystal Castles (I)

Never trust a hamster. Support the artist and find out for yourself. WestCoastWeasel.com encourages purchasing Crystal Castles locally at Red Cat Records in Vancouver, B.C, any independent record store of your choice or online here.

Caribou has always been something of an enigma. With no real aesthetic consistency between albums, Dan Snaith’s musical vision has been notoriously difficult to pin down. While his earlier works focused on minimalistic, drone-heavy psychedelic electronica, the Canadian born (but London based) musician shifted to a more traditional, poppier sound for 2007’s Andorra, drawing heavily from the Beatles and the Beach Boys.

Early single “Odessa” indicated that fans looking for more of the same would be disappointed. The album opener is a swirling, sample-heavy dance number with a driving bass line and soothing vocals. Snaith says that he spent a lot of time in clubs preparing for this record, and it shows. Throughout Swim, grooves and beats are the main focus as Caribou meticulously pieces together his compositions with the sole intent of making them danceable. Lyrics often take a backseat (“Sun” features one lyric: “sun,” repeated) in order to showcase the instrumentals and the result is an album that is entirely focused on busting a groove.

On some tracks, Snaith works expertly to build tension and suspense before flawlessly executing the release. “Sun” and “Kaili” both work this formula to perfection, hinting throughout at the climax to come, but never giving anything away until the right moment. Other songs are content simply to simmer, to mixed results. Both “Bowls” and “Lalibela” keep things fairly relaxed, reworking their melodies several times while throwing in an occasional piece of flair—bongo drums, a flute loop, strangely muted bells, or haunting vocal chants—and never really peak. While they don’t match the excitement that songs like “Odessa” or “Sun” provide, both pieces work really well as ambient interludes between more lively songs.

That puts Swim at a bit of a crossroads. While dance-friendly grooves abound, the songs are always tinged with a hint of restraint. There’s enough weirdness to deter casual listening and dancing, but the big moments are there, if you stick around to listen for them. None of the tracks go full-bore into club-hit territory, preferring instead to keep the bass lines and drum beats muted and murky, as if you were listening to them underwater.

Dan Snaith calls his work “liquid dance music,” and it’s an apt descriptor. The beats are fluid, everything is a little bit dampened, and the melodies appear through the murk like flashes of sunlight.  Swim isn’t going to produce the next nightclub anthem, but if you’re looking for to get down to something a little more challenging, Caribou might be just what you need.

Swim was released April 19, 2010 on Merge Records.

out of 5 weasels.

Click PLAY for a 30 second free MP3 of each track or the track name for lyrics in a new tab/window

1. Odessa (FREE MP3)
2. Sun
3. Kaili
4. Found Out
5. Bowls
6. Leave House
7. Hannibal
8. Lalibela
9. Jamelia

FREE MP3’s:

• Oh No Ono – “Eleanor Speaks” (Caribou Remix)
• Caribou – “Odessa” (Night Jewel Remix)

Visit Caribou online: caribou.fm /  myspace.com/cariboumanitoba

“Odessa” music video

Never trust a hamster. Support the artist and find out for yourself. WestCoastWeasel.com encourages purchasing Swim locally at Red Cat Records in Vancouver, B.C, any independent record store of your choice or online here.