MannRock: MANNROCK
April 29, 2007
MannRock
MANNROCK
Woodbury, NJ
www.mannrock.com
From the minute you play any of Mannrock’s tracks you are thrust straight into the thug life. This isn’t your local radio station’s newest single about Cristal and the disco club. This is the real sh*t. It’s real issues. With today’s mainstream radio playing bathwater that passes for rap, it’s refreshing to hear something that’s got a bite to it; something that catches the ear and doesn’t let go (like Mike Tyson). With a great use of sampling, Mannrock successfully accompanies his strong words with some funky beats, old school sound and mind-sticking loops, making you want to rock your head back and forth to the tales of street violence and drugs. Keeping it going hard and talking about reality – cops, disease, bitches and drugs — this album is thorough in keeping it real. But at the same time it makes you want to turn the bass up and crank the windows down so everyone in the city can hear. You can really feel the grit, the drama and the reality. My personal favorite was “Shall not fall,” full of power and emotion as well as the use of an adolescent choir and the croon of a heart wrenched soul singer. From start to finish each track was enticing and attention-getting; for the hardcore mood when you’re angry at everything, or when you want to really feel the beat and turn it up.
by Katie Smalley
Wayne Hsu: A Boy Named Hsu
April 29, 2007
Wayne Hsu
A Boy Named Hsu EP
www.waynehsu.com
Picture this: you’re wearing off-white linen clothes, barefoot on a pristine private beach. It’s partly cloudy outside with a light breeze while you sip your mimosa; the gentle waves of the ocean lick the legs of the chaise lounge chair you’re sitting on as the lime green VW bug drives by with that brightly colored sunflower in the dash. What music to set the scene? Why, Wayne Hsu of course!
(Where else would I have gone with this?) Wayne has an ultra-chill, jazzy, members-only club style that serenades your ears with some island flavor. A sweet guitar with a sprinkle of percussion complements Wayne’s voice that gives his music a very So Cal feel. It makes you want it to be July all year round and well, living on a tropical island couldn’t hurt either. Read more
Straitlaced: Straitlaced EP
April 29, 2007
Straitlaced
Straitlaced EP
Abington, PA
www.straitlacedrocks.com
Power pop, screamo, punk… however you describe the band Straitlaced, they can be compared to [insert name of any Warped Tour band here]. That is in no way a low blow to their originality; it shows that they are worthy of being thrown on tour with dozens of other bands in the same genre, and can instantly win over hearts a plenty. Their debut self-titled EP illustrates that they definitely know how to feed the masses their heavier doses of emo. With their prominent drum beats, insane guitar solos and strong rhythms, they can easily fit on the bill for any Warped Tour genre concert. What gives Straitlaced that nice edge is their use of screaming. On “Half The Battle”, they effectively use it as another instrument in the group rather than the main focus. Seeing as how we have enough bands out there that bitch out their enemies, hate the world and scream their lyrics, this change is much appreciated. The lyrics on that song are very well constructed for allowing the crowd to serenade the band on stage if, when, performed live: a good start for a band trying to make it. They really demonstrate their ability to be able to write for radio on Six Letters, with their catchy riffs, and again on “Burn.” With constant changes in tempo, their music is not for the beginner - yet it also proves their talent as a group. The instrumentation on “Thank You, Goodbye” really expresses how much farther ahead of the ‘unsigned band’ pack they really are. They make sure the lyrics “Thank you for the good time/I hope your heart is as full as mine/I wish you could stay longer/It’s been fun, but goodbye,” which might seem simple as a read-over, are clearly sung in a way that you can imagine the circle pits ceasing for a moment while their fans sing with them, punching their fists in the air with every beat and totally involving themselves in the energy Straitlaced provides. Throw some Thrice, Taking Back Sunday, Yellowcard’s catchy rhythms, lighter Blink and Good Charlotte into a blender and I think you’ll have a nice taste of some high quality Straitlaced flavor for your ears.
by Iris Karasick
Stillframe: Appetizer
April 29, 2007
Stillframe
Appetizer
Philadelphia, PA
www.stillframemusic.com
I’ve always had a soft spot for Stillframe, since becoming acquainted with their music late 2004, due to a combination of an uncommon vocal sound, first-rate songwriting, and the band’s intense level of professionalism. Appetizer is no exception, improving upon past pieces, adding levels that further display their emotional connection with, passion for, and musical proficiency in their work. The CD starts off with It’s Over Now, a high-energy piece that shoots you right into the emotional roller coaster that is Appetizer. Far Away is the best display of Brad’s distinctive vocals, and the most mellow of the songs displayed on Appetizer. My personal favorite is Never the Hero, a piece that represents, in my opinion, the best collaboration between each member of the band, giving a completely unified sound, and with lyrics that will appeal to anyone who’s ever wanted anything significant in their lives. Appetizer is technically sound, and combines intelligent lyrics with Brad’s vocals (slightly reminiscent of Billy Corgan, but minus the over-dramatic nature) to bring listeners a musical emotional outlet that we can all use from time to time. As Brad says in The Taste, “I want this so bad, I can taste it. I know someday, I will make it,” I’m confident that these guys will. Be sure to check out Appetizer.
by Jennifer Mattern
The Scott Harris Project: The Sixteenth Minute
April 29, 2007
The Scott Harris Project
The Sixteenth Minute
Long Island, NY
www.ScottHarrisMusic.net
Mix John Mayer with some actual oomph, and you’ll have Long Island’s Scott Harris. The Sixteenth Minute isn’t necessarily anything you haven’t heard before, but rather a quality contribution to the commercial acoustic trend we’ve witnessed over the last several years. What sets Harris apart is that he’s able to not only fill the shoes of successful acoustic artists before him, but he transcends previous works by bringing an uncommon energy to common themes, and adds a new layer to a familiar sound by incorporating apparent jazz, and sometimes almost Latin, influences within his work, with 3 Days being a perfect example. Scott’s vocals are soft yet commanding, and when combined with his natural song-writing ability and a catchy rhythm, he produces some very commercial radio-friendly music. Live It Up starts you off on an up-beat, almost bouncy note, emphasizing Harris’ youth and energy, not to mention talent. Wonder takes us to a more mellow, perhaps classic, side generally associated with acoustic artists like Mayer. (The vocal similarities are sometimes eerily familiar.) Same Dream is my personal favorite, reminding me of an opportunity I had a few years back to see Howie Day plan an acoustic set on my college campus, before his deal with Epic. The similarity isn’t necessarily in the general sound or vocal work, but instead it’s the fact that this is the song where I feel Harris comes across as being the most intimately involved in every aspect of his music, the same thing I felt watching Day perform. There’s an almost inexplicable depth to Harris’ music, and it would be a refreshing addition to the music library of anyone with an interest in acoustic, rock, or even jazz.
by Jennifer Mattern
Roselind: Roselind
April 29, 2007
Roselind
Roselind
Philadelphia, PA
www.Roselind.com
One thing that Roselind likes to do is harmonize. There must be a harmony of some form or another in every track off their self-titled EP. And they don’t just do it, but they perform it well. Especially on the radio friendly “Never Be The Same”, not only are there vocal harmonies but they have an extremely catchy three part guitar bridge that totally makes the song. Their music is very classic rock heavy, and you’d think growing up they just sat around and collected all the Bon Jovi and Guns and Roses records available to buy, waited until they were about thirty something to motivate themselves to form a band and then just play what they like to hear. However, they surprised even me at being only 18 years old! For being such a young band, they sure sound like they’re veterans of the genre. A classic rock gem is “Hobbyhorse” which is just laced with their influences and if you’re not paying attention, you really can’t tell the difference. Plus the vocals have that signature raspy-ness that give the tunes that rock edge but are still sweet enough to sing the songs. The lyrics are nothing to rave about but if they were perfect, then I’d be surprised that they had no flaws. Local boys, they tend to jam out at the local venues and they fit the local scene well. So let’s see: they cater to an older age group as well as a sizeable portion of the Philadelphia population that enjoys the format, and they sing songs that are catchy as hell… I think they’re strumming the right chords. “Favorite Vice” is a favorite with its extremely catchy hooks, John Bon Jovi sound-alike vocals and radio lovin’ chorus. So if you were or are SOL on tickets to see JBJ when he comes to your town, don’t cry – pick up the Roselind record and then realize you just saved yourself a whole fatwad of money! And then you can bawl in hysteria at the thought of missing out on that tushy.
by Iris Karasick
OK Go: Oh No
April 29, 2007
OK Go
Oh No
Capitol Records
www.Okgo.net
What do you expect as a follow up to a band’s debut album that had loveable lyrics and heart-winning hooks? Something exactly like this. If their first record didn’t convince you that they had what it takes to swoon indie kids to enjoy poppy music, then Oh No, sure will. Thirteen explosive tracks that get better with each one; don’t worry they’re just as catchy as they are expected. After touring the world for two years, the four Chicago natives grabbed the attention of producer Tore Johansson who helped make Franz Ferdinand who they are now. They recorded these beauties in Sweden and released them for your listening pleasure on August 30th. Their first single “A Million Ways” has the obvious influences of Mr. Johansson and his work with Franz Ferdinand, but it still rocks your speakers nonetheless. You can also see their jaw-dropping Justin Timberlake dance moves in their (what looks like self-produced) music video on their website OKgo.net. During their two-year tour they played many small clubs, showcasing both old, future and their track off the Future Soundtrack of America, but with this album now out for play, you can expect their audience to be much larger. It almost sounds like they went through all of their CDs while on that tour bus for two years and decided to include a taste of everything on their sophomore album. 60s harmonies, 80s synth pop, a touch of the grungier rock - it’s a beautiful mesh of decades of winning inspiration. Their familiar sound comes alive on “Crash The Party” and again on “Do What You Want” with hooks that will have you… well, hooked! Closing with a full-bodied “The House Wins”, that has a hint of Blur, Oh No seems like it covered all bases, until you let it start over again you and re-discover one of the best little bands Chicago has to offer.
by Iris Karasick
Maggie, Pierce, and EJ: The Silver Album
April 29, 2007
Maggie, Pierce and E.J.
The Silver Album
Philadelphia, PA
www.mpeband.com
This band fooled me! I thought I was reviewing a record for MPE Band… not Maggie Pierce and EJ!! I didn’t even know they had such a compilation out. I remember buying their first record when they played at my day camp, and I’m really not that old. Anyway, it’s amazing to see that they’re still around! Bravo! And from what I remember, still rockin’ out those acoustic tunes. Their newest record, entitled Silver (all their albums are color coded), is a triple disc set, so if you’re into acoustic rock, you get more bang for your buck! The way the game plan is laid out is six songs are on each of the three CDs in the set. They’re each grouped by their sound (ingenious!) and set to progress through the day. The album was recorded in Germany, hence the German titles of each CD (Morgen-morning, Mittag-midday and Nacht-night). And each of the CDs fit the mood of their respective titles. So naturally the softer tracks are on disc one, the more upbeat on two and the heavier tracks on three. IMHO the best track available for listening on their website is “Music of the Sea.” Off the second disc, “Mittag,” the gradual build to a record scratching, dance poppy, acoustic love song totally sets the mood. They invite you to “stay and listen to the music of the sea” and I just want to take them up of their offer. “Kennison” which is on the second disc as well, is totally different from every other track I think I’ve ever heard from them. It’s a full out rock song when I’m used to hearing a more acoustic based feel throughout. Doesn’t mean that it’s a bad track though, I thought it was a nice balance. The other upbeat track up for a gander is “Yipee-I-A” on the third disc, “Nacht.” It’s pretty rocking, and Maggie almost reminds me of Liz Phair on this track being the girl singing a rock song. The first disc, “Morgen,” appears to be the softest of the three, providing us with the soft, gentleness of acoustic rock and all its beauty. Plus it really demonstrates MPE’s talent very well. Acoustic trio with a decent balance of male and female vocals, some rocking songs, some softer songs with a good decade of music to establish themselves, with a fair amount of music to offer on their latest release, its really worth your time to check this record out, besides the fact that its so well constructed, also for your wallet’s sake.
by Iris Karasick
Stone Gato
April 29, 2007
What thrills me about this album is the versatility and the mixing of all cultures. Where else do you hear the twangs of electric violin, reminiscent of a country hoedown accompanying the one, two, cha cha cha of the drums and guitar? Look no further than Stone Gato, an eclectic foursome taking full range of percussion and strings to bring a great twist to the same old salsa dance. Taking folky Americana and colliding it with Latin beats, Stone Gato brings you north and south of the border all at once. A true mixing of cultures and sounds, this band really knows how to keep the momentum and your feet going. With a mix of Spanish and English lyrics it doesn’t matter if you don’t understand all the words because you can easily get lost in the beats to keep “dancing the night away,” as heard in “Mala,” an upbeat song with a feverishly fast-changing tempo, leaving you only to imagine the strings of the violin’s bow going as fast as your hips on the dance floor.
by Katie Smalley
Liz Phair: Somebody’s Miracle
April 29, 2007
AN OPEN LETTER FROM IRIS:
As one of indie rock’s most celebrated icons, Liz Phair has created a standard for herself that I’m sure she is struggling to live up to with her second pop album release. But I don’t want this to be like every other review. I know her fans, both old and new, are going to have mixed feelings about Somebody’s Miracle, but for me, I applaud Ms. Phair. She has an album on a prestigious music magazine’s list of best albums of all time, she tours despite being a mom, and she even performed at this year’s waning Lollapalooza in her hometown. She is also fabulously attractive, which is ironic because in today’s corporate music world, the beautiful people are the ones that tend to sing for MTV. Writing music is difficult, but writing indie rock music I think is an accomplishment that is seemingly overlooked. The hipster audience is far more critical about their music than any other format. As soon as a band submits a song that is radio-worthy, that said band has lost their fantastic underground roots and elite status among indie rock fans. They will whine and complain that their favorite artist has sold out, writing music for the masses, conforming to society and moving away from writing music for the music and instead for the money. And if artists have to “sell-out” in order to make a buck, and in that process they lose a fan base, then something is wrong. I write this message to you because I saw something this weekend, and it changed my perspective on many of the ‘Liz Phair’ issues: I saw her in concert… again. However, this show was post the release of Somebody’s Miracle, out October 4th. I was interested to see how the audience, her fans, would respond to her playing her new pop tunes live. Never, in all of the concerts that I have been to (and I am quite seasoned), have I seen an audience like I saw at her show. And honestly, I don’t think Liz expected it either. Present were her oldest fans and the teenagers who listen to the radio. She blushed while we sang along to every single one of her songs, throwing punches in the air as if we were at a punk rock concert and even joining her while she played tracks from her first self-titled pop album. I was dancing more to her music than I have at dance-pop shows. I even danced with a stranger and we smiled at each other because we connected over something that we both loved without even speaking to each other: her music. Someone requested a song and Liz didn’t even remember how it went, and asked the fan to come up on stage with her to help with the song. Even guys were bellowing out asking Liz to have their children, along with singing their favorites. These fans were truly in love with everything that has to do with Liz Phair. With that being said…
CD REVIEW
One thing that fans of Liz Phair, and anyone for that matter, need to realize is that people grow up, they move on. She’s still somebody’s blow job queen, however, there is no more fu*k and run: she’s a mom; mom’s can’t do that. Music style can change too, and in this case, it has. Once the indie rock idol, breaking the steadfast male dominance of the genre, the pretty girl who doesn’t sing pretty girl music, Liz stood tall and wrote a self-titled pop album. Somebody’s Miracle can be said to be the follow-up to this record, when in reality Somebody’s Miracle is her sixth release. The blend of catchy radio-friendly pop tunes and her indie rock roots really come together on Somebody’s Miracle. Her off-key voice comes alive on tracks, proving that even though some might believe she has conformed to the glitz and glamour of the American pop queen, she will always be a rock princess. The title track “Everything To Me” is the first single and ten times more mature than any of her earlier releases, musically and lyrically. The uplifting positive characteristics of this track pave the mood of the record, which is good since millions are going to be exposed to it thanks to airplay. “Lazy Dreamer” is another core track that has potential to be big, due in part to a rockin’, bass-heavy melody with a candy-coated hook, that I can see winning the ears of many pop fans and the hearts back of lost Phair believers. “Leap of Innocence” and “Table For One”, while both audibly different, are also very strong tracks that embrace her deep vocals, revive her early acoustic-focused gems, and help keep the record from being branded as totally pop. I chuckled at the extreme similarity of “Got My Own Thing” to that of “Ooh Boy” by Real McCoy, however, there could be underlying humor to the intentions of that and the implications of originality in the track title, or I could totally be reading into that way too much. Either way, Somebody’s Miracle really captures the current Liz Phair. Sometimes artists release albums that just aren’t up to par with the rest of their library, and that’s okay, they usually realize it and admit their faults. Some people believe this is an apology for her earlier record-flop. I don’t even see a reason to apologize; she writes fantastic music, it’s expressive, catchy and celebrated by her fans when she performs it live. She is a beautiful black sheep to pop music and an established sweetheart amongst the indie rock legends, and for her, this record is a keystone for bridging the gap that so many people believe exist between her roots and recent work, and I think she did a fantastic job.
by Iris Karasick
