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Author: Megan Morgan

What's this gospel doing in my indie?

I freely admit it – I’m not very qualified to review a gospel album. I love Elvis’s His Hand in Mine, but that’s probably not a very fair comparison to make. (That’d be like comparing a local painter to Michelangelo.) I’m also a big Ray Charles fan, but his music is only gospel-influenced – it’s not actually gospel. I’ve heard a few gospel singers perform live before, and I’ve always been impressed by their sheer technical ability, but I don’t really know anything about the current gospel scene. However, when Will McGowan sent his album Peace Be Still to Independent Clauses, he showed some serious spunk. (We’ll rule out confusion and misunderstanding.) I admire his aplomb, so I decided to challenge myself with a gospel review.

The album is not exactly what I was expecting, probably because I don’t think I’ve heard any new gospel songs. The modernity of Will McGowan’s music definitely threw me off a little at first. There is drum or percussion programming in every song, which kind of makes the music sound like 90s R&B. (But perhaps that was what he was going for?) One song even has a short rap (“Have Your Way”). That said, however, the album’s songwriting is more original than that music of a lot of Christian rock bands, with their insistence on this structure: verse, chorus, verse, chorus, chorus a cappella, chorus with an instrumental build-up, chorus repeated ad nauseum. McGowan wrote, co-wrote, or arranged all the songs on Peace Be Still, and there is impressive songwriting ability showcased in the album. The thirteen tracks have a consistency and a similar feel, but are all subtly different.

McGowan’s voice is smooth and easy to listen to. He sings in an effortless way that is pleasant and not too showy. I like the songs that feature female background singers, such as “All I Need is You,” because they balance the artificiality of the drum machine. In addition, the strongest tracks are the ones that feature “real” instruments, so my advice to Will McGowan would be to think about maybe rounding up some more musicians. My favorite song from Peace Be Still is the ballad “I Can Call You Friend,” where McGowan plays piano. I think his music would be a lot stronger if he kept things as simple and clean as he does in this song, but overall, this release from Will McGowan is solid and shows a lot of promise.

And Now For Something Completely Different

What if David Bowie was from Australia instead of London, England? Maybe his glam, flashy (and let’s face it – awesome) style would be a little more acoustic and folk-focused. But I’d be willing to bet that he would have the same low and strong, yet quavering, voice, and he’d still have an undeniable streak of originality and rebellion. Also – his name might be Tom Bolton.

Australian Tom Bolton’s album When I Cross the River is awesome. Besides the fact that he really does sound like an alternate-reality version of Bowie, Bolton’s folk-rock tunes are highly original – I don’t think I’ve heard anything like them. The album opens with its title track, which couples acoustic guitar with keyboards and accordion. (The accordion pops up again later, too.) The effect is whimsical, and it’s just odd enough to be delightful instead of strange. You can catch Bolton’s accent from the beginning, too, which also gives “When I Cross the River” an air of complete uniqueness.

The acoustic in “Three Hearts” stands out because instead of sounding pretty and poetry-reading-coffeehouse-worthy, it comes across as gritty, grungy, and rockin’. The contrast is really neat, especially with Bolton belting out the chorus with his no-fuss, dead-on, Australian-accented vocals.

The ballad “Silver” matches electric lap-slide guitar with synth and violin, creating a spacey, mysterious, echoey atmosphere. It doesn’t sound out of place, though, because there is still an element of gritty folk amid the psychedelia. The extremely diverse “Whose Army” is one of the best of the album. There’s bluesy electric guitar, a backup singer providing rhythmic breathing (really! and it sounds cool!), snappy female harmonies, a head-bobbing steady tempo, and a hint of the Talking Heads in the eerie hooks before the chorus.

“Hey You, Yeah You” is hard to explain, but I’ll try. It has bits of spoken word throughout, and the narrative lyrics make it almost sound like a kid’s song at times. It’s also funny, and you’ll sing along to the “hey you, yeah, you, I’m talking to you!” after the first listen. The song is assuredly weird, but accessible at the same time, which might make it even weirder. The simplistic, sweet, country-tinged ballad “All I Can Do” is a good choice to follow “Hey You, Yeah You.”

Later on in When I Cross the River, Bolton uses the melody of “Twinkle, Twinkle Little Star” in his song “Little Star.” He plays it with only acoustic guitar and a few backup singers, which is the sparsest instrumentation on the album, but the song doesn’t need anything else. It doesn’t even need more than its minimal lyrics: “little star, help me shine.”

Overall, Tom Bolton’s When I Cross the River is really enjoyable, and would be good for anyone who’s bored with their music collection and wants something totally new and different. I’ve never reviewed anything from Australia, or from anyone above the age of 35, but I’m really glad that I did. Check out Tom Bolton on his myspace and website.

Angst in a pretty wrapper

Singer/songwriter Meghan Tonjes has a great voice – it has a rich, smoky quality at times, but also has impressive range. Her voice is clearly the best part of her debut CD, Be in Want. Tonjes is also a very solid acoustic guitar player who introduces new elements with each song. However, I can’t help but feel bummed out when I listen to Be in Want.

It’s the lyrics! The words in a song rarely bother me – I’ve been known to say (exaggeratedly, of course) that I listen to music for the music, and read books for the words. But, on Be in Want, the sparse instrumentation (it’s usually just Tonjes on acoustic guitar, but there’s piano in a few songs) puts the lyrics in the spotlight. Tonjes’ clear and attention-grabbing singing voice also emphasizes the words – all of them. You can’t miss a single bitter jab. It feels like most of the songs on the album are very personal, and each is directed to a different person who made Tonjes angry or sad. (I could be way off here, but it’s just the vibe I get.) Because of this, Be in Want is a little exhausting to listen to.

I sincerely think that Meghan Tonjes is a talented musician, but I also really want her to cheer up.

Frolic with Mermaid Skeletons

On Mermaid Skeleton’s myspace, the group claims that the band began when frontman Joshua Hryciak was inspired by the movie “Bambi.” And while I am not sure if they are completely serious about this or not, it actually makes sense after listening to their EP Darlings. The songs on this EP make me think of wood nymphs and magical forests, so it’s not hard to imagine a talking young fawn, too.

But what does it sound like? Mermaid Skeletons is a large group, with nine current members, but their music is acoustic, making the mini-folk-orchestra sound light and airy. There are percussive elements, but no drums. You won’t notice this, however, when you listen casually. (“The rhythm’s in the guitar,” as John Lennon used to say before The Beatles had a drummer.) Think Belle & Sebastian-styled melodies with a hint of Sufjan Stevens quirkiness topped off with a very talented lead vocalist. Hryciak’s voice is quite high, but it never sounds strained or forced, and his vocals (justifiably) steal the spotlight throughout Darlings. The band’s press release uses the word “sugary,” and I think this is accurate, but not in a sticky-sweet-how-cute kind of way – it’s more like icing on a cake.

The opener “Happy Bell” is just what it sounds like – both happy and bell-like, with the inclusion of the glockenspiel. It’s my favorite on the EP because of the gorgeous and catchy vocal lines, perfectly executed harmonies, and its range of dynamics to build tension. And ya gotta love glockenspiel. Really though, all of the songs on this EP have their strengths, and since it clocks in at a mere twenty minutes, you should definitely give all of Darlings a chance. All six songs (including a short accordion interlude) are on Mermaid Skeleton’s myspace. I highly recommend this darling EP, and I hope that the band will release a full-length.

Werth is Worth It!

Andy Werth and band hail from Seattle, Washington, but there’s not much evidence from their first full-length album, Burn the Maps and Bury the Compass, that it ever rains there. And while we all know this to be untrue, Andy Werth sure makes an impressive case for listeners to believe in Seattle’s perpetual sunshine. With bright accompanying horns (trumpet and sax), joyful piano arrangements, and a hint of electronic sounds mixed in, Burn the Maps and Bury the Compass is a perfect soundtrack for spring. There are clouds on the album cover, and there are some “cloudy” moments on the album, but there’s always sun in the forecast.

The album’s opener, “Stay Here with You,” begins on a calm note with Werth’s Ben-Foldsy piano part, but really shines during the incredibly catchy chorus. You’ll be singing along the first time you hear it. “Stay Here with You” also introduces the reoccurring theme of travel (especially by car) and direction, which would make this album really great for road trips. “Get in Your Car” has a pretty similar format to the opener, but has a different enough melody to make it another pop gem.

“15th Street” stands out for its fun lyrics and (again) its catchy chorus. By moving seamlessly from verse to hook to chorus, this song is very well-composed in an “art is hiding the art” sort of way. The energetic and dance-inducing bass (played by Steve McPherson) is also fun in “15th Street.” “Emily” has a lyric that really stands out for me – “you’ll find out there’s more to life than just being alive.” Also, listen for a neat bit in here with a low, walking piano line working in tandem with punctuating horns – it only comes once, so pay attention!

“Back Row” brings more upbeat rock to the album, and includes a downright funky horn section. Relentless, pounding energy from drummer Jeff Roeser drives the song. “Nothing to Fix” also adds another jolt of adrenaline to the second half of the album, with an insistent beat and angry lyrics.

Some of the weaker songs on Burn the Maps and Bury the Compass are the electronically-driven ones, but they are pretty short, and it is still interesting to hear it partnered with the classical piano. The best moments on this album are the choruses, which are generally the most full-sounding and satisfying parts. Another strong point is Werth’s voice, which is fun and youthful, but also developed enough to sound mature. He has a no-nonsense vocal style which hits all the notes (some of them soaring) without unnecessary embellishment. Burn the Maps and Bury the Compass will be available for purchase on April 7th, but you can check out the whole thing on Andy Werth’s website.

Zelaz-ow-ow-a brings the heat

zelazowaAfter listening to Zelazowa’s latest, Elephants on a Mousehunt, I felt that I needed tongs or a potholder to eject the CD from my stereo – their music is searing. I imagined the album actually smoking from the scorching music it contained. But, a “Caution: Contents May Be Hot” label is not needed. Sure, the contents are hot, but I wouldn’t recommend using any caution to listen to this album. It should be listened to without reserve, which is what the music itself is like.

From the very beginning of Elephants on a Mousehunt, Zelazowa packs a serious punch with their energetic, driving rock. The opener “Today is Tomorrow” is a surefire attention-grabber, with its explosive guitar riffs and no-holding-back vocals. Throughout the album, the vocals sounds like a combination of The Mars Volta’s Cedric Bixler-Zavala and Brandon Boyd of Incubus, mixed with a punk sensibility.

“Numbers,” a dark, political scorcher, increases the energy even more with a frenzied sing-along chorus. This song practically begs the listener to see Zelazowa live – and luckily, it seems like this band is on an eternal tour, so there are plenty of opportunities.

While many of the songs on this album are head-knockers with catchy hooks that encourage jumping around, Zelazowa also churns out some songs that diversify the album’s sound. “You Say Love” has more of a pop influence with really nice harmonies, and the closer “I Got My Gun” begins with an acoustic sound which grows as it progresses. Also, the more mellow and dreamy “Baby Blue (Listening to the Earth Shift)” comes as a bit of a breather or respite in the middle of the album, but doesn’t alter its edgy mood.

Elephants on a Mousehunt is a mature and carefully executed release from Zelazowa that shows daring and spunk. Be sure to check them out if you want to add a hint of wasabi to your musical palate.

Stardeath and the White Dwarfs to play in Tulsa

This Monday, Stardeath and the White Dwarfs will be coming to Bob’s (inside Cain’s Ballroom) in Tulsa, Oklahoma, and concertgoers can be sure to expect a high-energy, experimental performance.

Dennis Coyne, singer and guitarist of Stardeath and the White Dwarfs, describes the group’s live shows as having “a lot of lights, a lot of loud music, and a lot of fog.”

“It’s absolutely psychedelic,” Coyne says.

The group’s musical style fits with these aspects of their live performances.

“It’s loud and bright in every sense of the word – loud and bright in sound and in color,” Coyne says of the band’s sound.

Stardeath and the White Dwarfs formed about four years ago, and its members hail from Oklahoma City and Norman. Coyne says he got started playing music by being around it a lot as a kid – he’s Wayne Coyne of the Flaming Lips’ nephew!

“I grew up around music my whole life, and by being close with the Lips,” Coyne says. “Growing up, it was always around, so that really had to give me some interest in it.”

Coyne says that Wayne helps the group “in a way that any good uncle would,” but that he also helps and influences Stardeath and the White Dwarfs musically.

“It’s awesome,” Coyne says of having Wayne as an uncle. “There’s nothing to complain about except that he’s hard to keep up with because he’s such a hard worker.”

As a band coming out of Oklahoma, Coyne says that he has always liked the Oklahoma City and Norman music scenes. And, in addition to this, he says that it’s nice having just enough bands in the area without having an overload of competition. Oklahoma’s low cost of living is also a benefit.

“Being a band from Oklahoma is great because everything is cheap,” adds Coyne.

About seven months ago, Stardeath and the White Dwarfs was signed to Warner Bros. Records, but when they first found out, the group was working as a road crew for the Flaming Lips. They were so busy that Coyne says the group didn’t have a lot of time to consider the news.

“It was weird because we didn’t have time to digest anything,” Coyne says. “We didn’t get the news until we had arrived in England and were setting up for the Lips.”

The band recently finished their full-length album with Warner Bros., and it will be released in May. Also for the label, Stardeath and the White Dwarfs collaborated with the Flaming Lips on a cover of Madonna’s “Borderline.” The song is included on a compilation of Warner Bros. Records covers, released for the company’s 50th anniversary. Coyne says that “Borderline” was chosen carefully.

“Well, you wanna do something absurd, but not too absurd, but also not so serious that it’s boring,” he says.

The recording was completed long-distance – at the time, Stardeath and the White Dwarfs were recording in Oklahoma, and the Flaming Lips were working on Christmas on Mars in New York. They worked on the track in their two separate studios, emailing pieces back and forth, and working out issues by talking on the phone.

Currently, Stardeath and the White Dwarfs are running a very busy tour, playing a show in a different state almost every night.

“The schedule sounds brutal, but once you get rolling, it goes by so fast,” Coyne says. “There’s no sleep, and you’re driving a lot, but doing a lot in a little period is better because it keeps you on track.”

The band stops in Tulsa, in their home state, this Monday, March 16. The show is scheduled for 9 p.m. at Bob’s, inside Cain’s Ballroom. Be sure to check out Stardeath and the White Dwarfs for an energetic, psychedelic spectacle, and to support an Oklahoma-bred group!

Embracing the Weird with Voluntary Mother Earth

Voluntary Mother Earth band leader, Akihiko Hayahawa (a.k.a. “Aki”), thinks that we live in a weird world.

“The world we came to know is an extremely absurd place, where a humongous aluminum pipe is flying in the sky with people in it,” Aki says. “We roll a chain around an animal’s neck and call it a family member. People paint their faces and call it beauty. We tend to take these things for granted. But if you take a look around and really think about it, this place is f***** up.”

However, life’s oddities don’t drag Aki and Voluntary Mother Earth down. In fact, this satirical, insane, genre-diverse group gets their inspiration from our weird world.

You can take what’s f***** up and get angry, feel depressed, go crazy – it’s your choice. I just decided to laugh at it. And that’s how the songs are born,” Aki says.

Claiming to be one of the weirdest bands to ever exist on Earth, Voluntary Mother Earth is a three-piece rock group that formed in 2004, originally hailing from Denton, Texas. They released an album (Voluntary Invasion) there, but soon relocated to Tokyo. Withstanding several lineup changes, Voluntary Mother Earth toured the U.S. and released a new album (Unacceptable Vegetable) in 2007. Now, band members Aki Hayahawa (guitar and vocals), Noriff Micky (bass), and Fujita Fajita (drums), are going on another U.S. tour and bringing their unique blend of musical styles with them.

“It’s like Frank Zappa meets Jimi Hendrix in a playground where serious right brains are hanging out and having a great time,” Aki says of their sound.

The group’s music is frequently hilarious, with song titles like “I Said, ‘Just Water, Please,’ And She Gave Me Sprite,” but Voluntary Mother Earth is not merely funny. They glide effortlessly through many genres – hard rock and funk, to name a few – showcasing a wide understanding of music and sophisticated songwriting from Aki.

When their music is played live, Aki says that there are usually two “tribes” of reactions from the audience. One tribe, he says, is called “Idigthistus,” and consists of people who “really go for it,” dancing, screaming, and occasionally giving painful high-fives.

“What can I say, love hurts at times,” Aki adds. “When I find folks from this particular tribe during our set, I tend to invite them to come up onstage and have them dance with the band. As it turns out, America is the home of this tribe.”

Unfortunately, the second tribe, “Idontgetthistus,” does exist in some towns, Aki says, but VME doesn’t let these non-right-brainers bother them. In fact, during one set, a woman named Sandra from Connecticut began as a member of this latter “tribe,” but was soon converted. Aki says that Sandra, who he dubbed “the drunk woman from hell,” was loudly yelling “Booooring!” in between the songs of the set, and causing a lot of trouble for VME.

“I was on the verge of making full use of my right to free speech, and telling her to go have intercourse with her good self,” Aki says of the incident. “That’s when Zen came down on me all the way from the East, and spoke words of wisdom. The answer, my friend, was surely blowing in the wind. Instead of shouting at her to get lost, I asked her, as politely as I could manage, how she’d like to come join the band onstage and sing a song with us. She thought it was a great idea.”

Impulsive, audience-engaging actions like this one are common during Voluntary Mother Earth’s live shows.

“Expect to be brought up onstage and be asked to dance like there’s no tomorrow to a song that’s not danceable,” Aki says, also adding that sometimes it’s push-ups instead of dancing.

And as for their live music, Aki says that they like to play different versions of the songs on their albums.

“Expect higher-energy versions of the songs with live-show-only arrangements,” he says. “You can hear a punk version of what was on the record a ballad, and things like that. Expect FUN.”

Aki adds that these live performances are a part of what makes them one of the weirdest bands on Earth.

“It’s the atmosphere we create together with the audience that makes us one of the weirdest,” he says.

So, this March, if you need to exercise your right brain, if you need a heaping dose of the absurd, or if you feel like dancing like a maniac, check our Voluntary Mother Earth on their tour, which is listed in full on their myspace. And for those who can’t attend one of these locations, they will be releasing a new “official bootleg” live album on March 11, which even includes the incident with Sandra, the drunk woman from hell.

“Have you ever heard ‘field recording’ of local tribes living in the depths of a jungle singing their local folk tunes, and stuff like that? Take this album as the field recording of a low-budget touring act,” Aki says of the live album.

The band will also be releasing a new full-length studio album sometime this year. In the meantime, stay weird, Aki suggests.

“I want you to know that if you are not afraid of breaking through the walls around you that keep you “normal” and are ready to find out that the world is a really absurd place, then the beer’s on me.”

There's no doubt about The Educated Guess

Need a vacation? The Educated Guess can give you one. Their latest project, West Skyline Drive, not only sounds western, but is so compelling that it can actually take you there. It takes the romantic, nearly mythological ideas of the West and adds the unique blend of rock and roll with an orchestra. The result is a rich, wholly-realized, symphonic sound. And if I sound like I’m raving, well, I am. I tried to write this review while listening to West Skyline Drive (for the umpteenth time), but found that with it playing, I was perfectly content to stare at the blank page and just listen. It’s distractingly, engrossingly good.

The first movement begins (and beckons) with “1862 Overture,” a seamless blend of reoccurring motifs. Interweaving solos from the strings and brass are nothing short of gorgeous, while the twangy guitar sound and complicated, ever-changing drumming give it a modern twist. Songwriter/composer Charlie Brumley (who’s also the lead vocalist and pianist) is obviously talented, right from the beginning. The overture glides right into “Bullets,” which includes a rockin’ syncopation bit sure to toe-tap, and a thumpin’ bass line from Jon Venegoni (He also plays tuba!).

“The Ballad of Enough” contrasts catchy, upbeat music with satirical, yet thoughtful, lyrics about self-pity. It’s also great to sing along to, if you’re into that (guilty). The pedal steel guitar is featured in the next track, “Into Dust.” It gives an organic, liquid feel to the ballad, while also adding to the impressive list of diverse instruments included on the album.

If I had to pick a favorite from West Skyline Drive, it’d be “Hero Complex.” Starting with just guitar (from electric guitarist Jordan Rogers) and vocals, the orchestra and percussion then add punchy exclamations. It builds really well, up until a wonderfully full middle section that’s irresistibly danceable. “Friend from Foe” concludes the first movement with pretty guitar riffs and verses that add something new each time.

The majestic instrumental “Antebellum” sounds the most western on the album – it always make me think I’m on Lonesome Dove Ranch about to, I dunno, do something noble. The melody is explored through all sorts of timbres – a whistler, strings, and even an opera singer. “Antebellum” balances nicely with “Lullaby No. 1 (Sunset),” which lives up to its name, but without making anyone sleepy.

“A Coward’s Last Stand” displays some of Brumley’s best vocals in his low, clear voice. This song seems almost more like a poem, with its poignant images and delicate piano parts. In contrast, “Native Son” takes things back to rock and roll, especially with an energetic guitar solo from Rogers. Drummer Brian Pincus wows with his sheer technical, virtuosic skill. “Ghosts and Empty Cities” makes me think of the Dust Bowl… in a good way. There’s a clever turn of words with “I couldn’t leave behind/what was mine to claim/my destiny/did manifest.” The hopeful, almost anthemic, closer “The Ballad of Return” gives everyone their time to shine, and it concludes with a reappearing musical motif, firmly establishing the cohesiveness of West Skyline Drive.

This album is recommended for anyone who likes depth of songwriting and intstrumental complexity in their music. The Educated Guess will be playing with their Emperor Norton Orchestra around the St. Louis area this summer.

The Boxing Lesson takes rock to space

The Boxing Lesson claims to be from Austin, Texas (and I guess I believe them), but they sound like they’re from outer space. The group’s latest album, Wild Streaks & Windy Days, establishes a psychedelic, dreamy sound that remains consistent throughout.

The opening track of the album is titled “Dark Side of the Moog” – a funny name for an otherwise serious song. Paul Waclawsky’s guitar riff is head-bangable, and Jaylinn Davidson’s moog playing gives the song its otherworldly feel. The driving beat (provided by Jake Mitchell) adds a heavier rock flavor that makes this song a strong opener. Surely, there must be aliens somewhere out there, doing drugs or dancing (or both) to “Dark Side of the Moog.”

“Hopscotch & Sodapop” has the biggest pop influence on Wild Streaks & Windy Days, which is unsurprising when taking the song title into account, and therefore stands out compared to the rest of the album. It doesn’t differ too much, however, because the guitar and synthesizers keep the mood psychedelic. There is also a breakdown moment in the middle, where the fast tempo slows down a bit; this sounds more like the rest of Wild Steaks & Windy Days.

“Hanging with the Wrong Crowd” and “Dance with Meow” both have an electronica/dance feel, but, again, they still fit nicely with the other songs on the album. Probably the strongest aspect of this release from The Boxing Lesson is their ability to blend several different styles with their own predominant genre of space-rock. As a result, the album has enough diversity to be interesting, but is also very cohesive.

Waclawsky’s vocals really shine in “Wild Streaks & Windy Days,” the last track. Its slow tempo gives him a chance to show off his clear, high voice, and it also makes this song sound a little like Sigur Rós. Overall, this album is recommended for Pink Floyd fans, or for astronaut-wannabes. The Boxing Lesson is currently on tour, and is coming at The Opolis next week, for all you Normanites.