-:). The Japanese House
The
oldest reference in my email to The Japanese House in my inbox is from
2017. Seven years later Amber Bain, who has been making music under the
name The Japanese House makes her debut on this blog. -:) or Smileyface
is an upbeat pop song that has something from Joni Mitchell in it and
other singer-songwriters that combine a story with a strong melody.
Amber Bain has a voice that is not very distinctive in this song. She
is not overjoyed or extremely filled with joy that something is happening
that is making her happier. She puts the elation in the electric guitar
following the chorus at the end of -:). Where Bain is still sitting on
the fence the person playing the guitar is already running into the
future. A nice mix of two responses to something new.
More
trippy rock from Italy. Huge Molasses Tank Explodes is a four piece
from Milan, Fabrizio De Felice (voice, guitar, synth), Giacomo Tota
(guitar), Luca Umidi (bass) and Gabriele Arnolfo (drums). The band plans
to release its third record 'III' on 6 September. This is celebrated
with this psychedelic outing. The music is like the floor in the Johnny
Depp movie 'Fear And Loathing In Las Vegas'. Everything pulses and is
taken through a load of effect boxes. The keyboard goes through at least
two Lesley speakers to sound so wobbly. Bow Of Gold is a song that can
compete with songs of The Black Angels to name an example. A slightly
better singer would have been welcome, but the trippy voice does work
against the extremely psychedelic background of the music. Just listen to how
Bow Of Gold is built up. I really like that organ there. Summing up, a
nice introduction to a new band for me.
The
songs of The Shang Hi Los are so nice and more importantly good that I'm
almost starting to take it for granted. So I better pay attention. The
song kicks off with a strong guitar part. Just listen when that bass and
drums really come in. Especially the deep end covered by Lee Harrington
really makes a huge difference here. Listening to Morganatic Panic, I
have the impression that is more a Dan Kopko song, embellished with Jen
d'Angora's voice. It is the duo's singing that makes a big part of The
Shang Hi Los' charms though. Kopko's tough voice is matched by the
almost as tough vocals of d'Angora. The two are a match made in rock and
roll heaven or hell, wherever you think it belongs. I opt for the first. With a
little "oohs'' and "de doo run runs" lent from history Morganatic Panic
almost makes me believe all is well in world.
The
Legendary Swagger is Geoff Yeaton - vocals, Saxaphones, Skot Pollok - guitars, Jim Sena - drums and Dino Everett - bass, Vocals. The four play
garage rock bordering on punk rock and released two songs on a 7"
single. Stand is one of the songs. It is extremely hard to write
original words on Stand. Why? Because everyone loving this kind of music
has heard it all before. If you have heard Social Distortion's 'Sex,
Love And Rock 'n' Roll (2004), you know all. Intro, guitar solo, great
melody, short, explosive solo, tough singing. The good news is that The
Legendary Swagger has that swagger and energy to play a song like Stand
to the standard it needs to succeed and convince. Stand has it all, so
enjoy it.
Brad
Marino can be called a veteran of the blog by now. He returns with a
tribute EP filled with The Beach Boys from 1962-64 and Jan & Dean
sound in a very convincing way. He even has got a "woody". You will
truly have heard it all before and those older than I am for about 60
years. Marino manages to make it all sound great and with songs that are
plain old, great pop rock and roll songs that made kids wild in the
early 1960s. Together with Craig Sala (drums) and Dave Strong (rhythm
guitar) he played the basic tracks and overdubbed some things himself
later and brought in lead guitarist Bobbie Davis for the very authentic
sounding solos and Kris Rodgers for the piano parts in 'Wax, Board &
Woodie'. And then all the harmony vocals. Brad Marino is not leaving
anything to chance here. He did all this with drummer Sala. And let's
face it, it simply sounds great. Hot Rod Rampage sounds like it is
straight from the early 60s and I can't help loving it, just like I
still love to hear 'Surfin' USA, 'Surf City' or 'Help Me Rhonda'. The EP
ends with an instrumental surf song 'Tripwire'. Again, Marino really
knows what he is doing on this EP.
Party
Dozen is a duo from Sydney in Australia. Kirsty Tickle plays saxophone
and Jonathan Boulet is a percussionist. What can you expect from such a
different kind of line up? Not what I'm hearing in The Big Man Upstairs.
This is a very solid song with an immense beat. Yes, there are very
warped saxophone solos in the song but if someone had told me it was a
distorted harmonica, I would have believed it as well. Tickle is singing
also but as if she she wants to hide it. The video is about mass protests
and arrests in Queensland. It tells of political corruption and the rise
of punk music in protest. Coincidence has it, I was in Australia in the
winter and spring of 1977 but no news reached the village where my
mother was raised in NSW. I only learn of it 47 years later! It all
takes me away from The Big Man Upstairs itself. This is a great song. An
alternative early The Waterboys with that saxophone. The album 'Crime
in Australia' is due on 6 September.
MJ
Lenderman, guitarist in alternative rock band Wednesday, is making a
name for himself more and more. With She's Leaving You' he adds another
alternative rock song to his oeuvre that adds nothing new to a genre in
existence for over 35 years and yet has it all. I can't really explain
why to be honest. The song just has it. That is the only thing I can
sensibly say. The right vocal melody, the right notes progressing to the
next chord, the exact right interplay and a few tough sounding solos.
For me this spells Buffalo Tom as I got to know the band with
'Taillights Fade' in 1992. MJ Lenderman recreates the hey-day of
alternative rock and adds another great song to that roster. That is all
you need to know. Will he have the time to keep playing in Wednesday
though?
An
instrumental track is something I usually pass by. What to write about
an instrumental? In a way it is nonsense I am writing here, as I usually focus on the music and refrain from commenting on the lyrics. Delving is
led by Nick DiSalvo and one of a few band he's active in, with Elder as
best known. Zodiak is very worth while listening to. The single version
is abridged, as the more ambient part is far longer on the album ('All
Paths Diverge' 23 August). It is an easy conclusion that Zodiak was
influenced by symphonic rock groups from the 70s, with its well taken
care of sounds and references to classical music in the way the song is
structured. There is some great guitar playing in the song, with a huge
bass and drums behind it to prop it up and make it shine. The keyboard is
there as a nice extra. This single version is already 8.31 minutes,
so be prepared. 8 minutes plus and I have not missed a singer. That is
meant as a compliment.
When did I buy my last Bright Eyes record? It turns out I was still in my previous marriage and that was in the 00s. And for me out of nowhere Bright Eyes releases this great and fun song called Bells And Whistles. Conor Oberst still sounds as if each word has to be wrung from him one at a time, and perhaps even a bit more now he's well into his 40s. His voice makes the new single recognisable instantly, the music far less so. Bells And Whistles has a vibe that could have been made by The Decemberists. There is even a trumpet later on, there are whistles and a bouncing piano. Together with Mike Mogis and Nate Walcott Oberst provides Bright Eyes with a great comeback single. I had not expected to hear something I liked by the band any more. It is so nice to be surprised every once in a while.
Another instrumental no less. With Stepping Loose Black Market Karma returns to the blog after one and a half years. The new single is off the upcoming album 'Wobble' (26 July) and is a totally different song than the others I know. It is not so much psychedelic, despite have some hints due to a wobbly sound here and there. It is a stab at 1960s film music, let's say John Barry of some of these French movies containing pretty girls on and near the beach. Underneath the slow moving music, underscoring the heat at the beaches of southern France, there is a more modern beat. Like it was introduced by G. Love & Special Sauce in the early 90s when he mixed different genres. Black Market Karma does this for film music and makes me want to go on holiday. Good idea, but not just yet.
Wout de Natris - van der Borght
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