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Posts Tagged ‘melodies’

By Julia Cooper

Americana tag team Mia and Jonah may be the musical equivalent of mac and cheese: Just as hearty helpings of the comfort food offer a simple but soothing cure for empty stomachs, the spare, commiserative melodies composing the Oakland duo’s second full-length, Rooms for Adelaide, transpire as the recipe to fill empty souls.

The Federalists, Rennick, Spandex Tiger, and Xiu Xiu

Reviews originally published in the East Bay Express on 2/20/08.

The Federalists, The Federalists. Professional-quality album art suggests this East Bay rock group means business. Indeed, after spending all of 2007 on the record, the four members look forward to extensive touring. The kicker: their grasp on classic pop is strong enough to get them noticed here and everywhere else. (self-released)

Rennick, 611-07-0681. Rennick’s sophomore record features gothic electro-pop done about as well as you’re likely to find. That’s good, because he’s going for broke: the title is his Social Security number. “The most trusting … act that any one person can ever do,” reads a note in the inside sleeve, “is to provide full exposure to all without fear.” (Rennick Music Group)

Spandex Tiger, Dumpster Love. Anyone expecting trash will get it. Late at night, looking for some pussy is the first line singer Rich Filthy growls. Really dumb, mostly fun rock is what you find in songs like “Tijuana Hand Job,” “Hemorrhoid,” and “Cock Vein,” though you’d better be drunk in a dive bar to actually appreciate them. (Hunkerdown Productions)

Xiu Xiu, Women as Lovers. Jamie Stewart’s most accessible batch of songs yet is still pretty freaky. His voice is a whisper, his melodies are ghostly, and his songs are populated with unidentifiable sounds. But by reducing his emotional distance and allowing his songcraft to mature, Stewart found what he probably always wanted: art for all of us. (Kill Rock Stars)

Subtle, Company Car, Six Organs of Admittance, Citay, and Josh Fix

Reviews originally published in the East Bay Express on 11/21/07.

Subtle, Yell&Ice (Lex Records). Remix albums usually suck. But not this collection of alternate takes on tracks from the acclaimed Oakland act’s 2006 release For Hero: For Fool, which oozes creativity from members of Why?, Wolf Parade, TV on the Radio, Hood, and the Notwist.

Company Car, Collars (self-released). Nicely mixed, relatively convincing post-hardcore with strong guitar work and a tolerable emo bent. For better or worse, it just might warrant a shot at a mainstream rock audience.

Six Organs of Admittance, Shelter from the Ash (Drag City). Medieval metal and folk pickin’ fuse via experimental rock on another interesting yet underwhelming release from the mostly-solo project of Comets on Fire’s Ben Chasny.

Citay, Little Kingdom (Deep Oceans Records). Frontman Ezra Feinberg spins instrumental gold on this sophomore Citay disc, which also features Tim Green (San Francisco’s resident post-rock Midas) on guitar, piano, and production. As beautiful as it comes.

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Unified School District, Nyles Lannon, Paper Tiger, Willow Willow, and Desoto Reds

Reviews originally published in the East Bay Express on 10/3/07.

Unified School District, Brokedown Palace (self-released). Emcee Super Ugly’s deep, sharp voice may hit some folks too hard, but at least they can’t say he’s biting someone else’s style. Ecto One’s proficient beats are unusual, too — part retro, part progressive, all choppy — making USD an alluring anomaly on the Oakland scene.

Nyles Lannon, Pressure (Badman Recording Co.). The former Film School guitarist sticks to striking out on his own: With few exceptions, Lannon wrote, performed, and recorded all of his sophomore effort, which nonetheless maintains a full, if overstuffed, plate of experimental folk-rock.

Paper Tiger, Bright Dreams of Cold Revenge EP (self-released). This four-song debut from the fledgling SF group offers a nostalgic take on lightweight alt-rock, with straightforward melodies that linger.

Willow Willow, Willow Willow (Mod Lang). Few will deny the merits of sunny, sweet British folk — but it’s a far cry from being in vogue. As Willow Willow, childhood friends Miranda Zeiger and Jessica Vohs don’t much care, and even wrote what’s likely the world’s first weed ode containing prominent use of the harpsichord.

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