Courtney Drant – SAL Contributor
Jawbox – For Your Own Special Sweetheart Re-issue
Life and Times – Tragic Boogie
Future of the Left – Travels With Myself and Another
Young Widows – Old Wounds
Metric – Fantasises
Sylvie – Trees and Shade Are Our Only Fences
Art Brut – Art Brut vs Satan
Brendan Benson – My Old, Familiar Friend
The Mountain Goats – The Life Of The World To Come
Big Business – Mind the Drift
When high school friends Blair Shehan and Colby Mancasola formed the band Knapsack in 1993 while studying at the University of California at Davis, little did they know that they would help to create a movement that would be so big that their band would get buried beneath it; never getting the attention or credit they were due.
Shortly after forming Knapsack, vocalist/guitarist Shehan, drummer Mancasola, guitarist Jason Bokros and bassist Rod Meyer released a 7” on the San Diego label Goldenrod Records and took to the road. The band would later become known for their relentless touring schedule, which only helped the foursome build a fan base beyond California. By May of 1994, the band had signed with Alias Records to begin on their debut full-length.
If I told you that a particular band in the 90’s opened for the likes of Jawbreaker, Gang of Four, Counting Crows and Jawbox, while also sharing the stage with Green Day, Ben Folds Five, Nada Surf and The Butthole Surfers, you would have to think that this band would have been pretty successful in that era, right? Sadly, that is not necessarily the tale of the San Francisco Bay area band, Engine 88.
Playing their first show in April of 1992, Engine 88 (who were initially called Engine, but later changed their name to Engine 88 to avoid a legal battle with a Florida band of the same name) quickly built their brand of rapid, quirky rock while also building a solid fan base in their local community. The band’s growth could not have been timed any better, as record labels big and small were flocking to the Bay Area after bands like Rancid and Green Day started selling records by the thousands. In the fall of 1994, in the presence of A&R reps for Caroline Records, the band played a show at the Bottom of the Hill in San Francisco. After getting everyone in the crowd to simultaneously eat Pop Rocks candy as they played their set, they signed a two record deal with the label.
Engine 88 released their debut album Clean Your Room in 1995. Personally, this is my favorite Engine 88 record that I still adore to this day. Clean Your Room brilliantly mixes elements of punk rock with pop and even alternative rock to create a chunky driving sound, drawing comparisons to Fugazi, Superchunk and Pavement. Throw in singer Tom Barnes’ pleasantly peculiar voice and this album is truly unforgettable. Anchored by songs such as stand outs “Mangos”, “The Bottle” and “GTO”, the band churns out great song after great song. To support Clean Your Room the band toured the Midwest and even made it over to the East Coast for a run.
Caroline upped the ante on their 1997 follow-up, enlisting star producer Tim O’Heir to work with the band on the record. The result was Snowman, a record that took a bit of a more melodic turn for Engine 88 from Clean Your Room. This is an excellent record that would please fans of Clean Your Room, but would also allow the band to seek a wider audience. It thankfully wasn’t an overt move or a departure for the band, but rather that small step forward in the right direction. Songs like “Ballerina” and “Manclub” stand out on the record with their poppy, energetic sound. Snowman received great praise from the critics, but it failed to catapult the band to the airwaves of alternative radio that they had hoped for. Engine 88 supported the new record by opening for Counting Crows along the Great Lakes and the Midwest, playing bigger venues the band had seen before.
It was during this tour where the band realized that the dreams they had for Engine 88 would never come to fruition. Now without a label after fulfilling their deal with Caroline, the band felt that they would never be able to achieve the success that they were after and deciding to throw in the towel in late 1997.
Before their demise, Engine 88 had recorded some songs that they were very proud of and decided to release them posthumously. Flies and Death n’Stuff was released in 1998 on Wingnut Records. While very good, some of the songs on Flies sound like the band is trying to channel Sunny Day Real Estate, rather than playing their aggressive and witty brand of punk/indie rock.
Every time I listen to Clean Your Room and Snowman, I ask myself to this day what could have been if Engine 88 had decided to keep charging forward on the road and in the studio. While they may have never achieved the type of commercial success they were seeking, they may have attained more of a cult status like some of the bands they opened for did.
New from Saskatchewan-based Sylvie is their third release titled Trees and Shade Are Our Only Fences. Sounding at times like a more urgent Jawbox, Sylvie combines straight-ahead indie melodies with driving post-rock guitar and drums. The comparison to Jawbox might be cheap or easy since this release was produced by Jawbox founder J. Robbins. But like Jawbox, Robbins seems intent on taking the band through a range of emotions from the frantic standout opening track “Please Make it Home” to the melodically effusive Suitcases, my favorite track. While Sylvie does not break new ground here, the sound is always crisp and well executed. In general, the songs are more elaborate and sound more structured than 2005’s An Electric Trace. Vocals continue to be handled by Joel Passmore, however bassist Riva Farrell Racette is featured prominently and provides a softening female counterpart on several songs. New to Sylvie with this release is Erin Passmore, Joel’s sister, who plays keyboards and provides backing vocals, which helps create a fuller sound than the last release. Note that Joel and Erin Passmore play together in the band Rah Rah also based in Regina, Saskatchewan. It seems like Canadian bands are like co-ops that can seamlessly share members. Trees and Shade Are Our Only Fences was released in Canada on Smallman Records and on Wednesday Records in the US.
Please Make It Home
While you’ve been distracted by the latest Johnny Come Lately to hit the streets, the highly lustrous and well polished progressive hardcore quintet Brass have been busy honing their craft and taking over your playlists one song at a time.
Following up on a debut like Set & Drift is a challenge of Obamanesque proportion that would make even the most seasoned take a step back. Nothing doing here. I can think of no better way to compliment the organic atmospheres Brass created with Set & Drift than with the beautifully intimate and introspective 3 track EP A Small Breath. I can only assume that the title means that the band only had enough time for a small breath in between LP and EP. Or maybe this was just a small breath of the whirlwind of mastery that is yet to come. Either way, Brass keep cranking out exceptional quality in unprecedented quantity.
And I can’t stop listening.
A quick browse will reveal that Brass have a sound that is agreeably difficult to approximate. Some say Sunny Day Real Estate. Others, The Dismemberment Plan. I’ve seen REM mentioned more than once. Old Jawbox, At The Drive In — I can’t disagree with any of it. Brass sound like everything and nothing in an instant. Part of me can’t help but feel that this is how Genesis would sound today if Phil were in his late 20’s and went to Art School. Wrap your head around that.
The EP is available for download at the Brasslungs along with 4 new tracks recorded in late 2008. How thoughtful of the band for sharing. Be sure to return the favor the next time these guys roll into a town near you. Or at least give them a high five or something.
Genre: Prog-core (What the hell is prog core? – Will)
RIYL: My Genesis reference
Label: Self-Released
Two Skeletons
Callum Robbins was born on Janurary 27, 2006. The son of DC indie rock veteran J Robbins and Janet Morgan, Callum was diagnosed with a genetic motor neuron disease called Type 1 SMA, or Spinal Muscular Atrophy 8 months after his birthday. Almost immediately after this was announced the indie rock community responded in the best way it knows how, through music. One example is the 2 Disc, 32 track compilation appropriately named For Callum. Released through the efforts of The Cultural Society, Catlick Records, & Letterbox, For Callum greets the listener with written praise for the mother and father by Robbins Bff and Jawbox drummer, Zach Barocas. It is then off to the music collection.
Thrity year old indie rock fans like myself will be happy to see veterans such as Jawbreaker and Mission of Burma. The former contributed a demo version of their track “I Love You So Much It’s Killing Us Both”. Originally released on “Dear You”, this track has a more cathartic bridge and rougher sound overall; a nice addition to any Jawbreaker fans collection. Mission of Burma contributes a live version of their Cream cover “NSU.” The song starts with a simple pulse on the toms but then quickly blazes into Mission of Burma’s brand of rock noise. The album also features an unreleased track from a personal favorite, The Life and Times. Slow and simple, this track focuses on the bands love affair with their Moog and its humble and ethereal drone. Another favorite track (please no comments Will) is a previously unreleased track from Channels. Channels is Robbins and Morgan’s band completed by percussive wiz kid Darren Zentek. Sweet and sad this track is uncharacteristically Robbins. Multiple guitar tracks torment the listen with poignant pitch bends that are resolved by some of J’s strongest vocal work to date.
The compilation also features several great Minneapolis acts. Icy Shores contribute the melodic rocker “Backseat”. With its powerful vocal hooks, it reminded me of some of post-punkers Juno’s more rocking tracks. Halloween, Alaska’s track “Halloween” makes great use of digital effects against subdued vocals, all carried through multiple song movements. As for Self-Evident, they just plain rock. I found myself listening to “Word As A Verb” over and over again. It is asymmetrical, dissonant and heavy on the drums. Of course I could go on and on about this comp. With over 30 tracks there is going to be something for every type of Indie Rock fan. Do yourself and a beautiful family a favor, buy it.
Genre: Indie/Rock
RIYL: Indie Rock
Label: Catlick
For more information about Callum Robbins, please visit:
www.callumrobbins.blogspot.com
www.desotorecords.com/cal
For more information about SMA, please visit:
Spinal Muscular Atrophy Foundation: www.smafoundation.org
Families of Spinal Muscular Atrophy: www.fsma.org
Ghosts In The City didn’t really hit me til I put the reliable ole headphones on. As the opener bleeds into the second track, it dawned upon me. History are mining some awesome territory here. The band brings to mind the frantic nature of Shelby Cinca’s bands (Frodus and Decahedron to be exact). There has always been something almost mathematical about Cinca’s projects and History echoes those sentiments. The band also remind me of one of my favorite underrated bands of all time in Clair De Lune. I could just end the review right there and recommend but I’ll indulge you instead. History practice a certain controlled chaos that strikes a chord somewhere firmly between melody and aggression. The band might be from the sunny confines of Orlando, Florida but the dark atmospheres that surrounds the band’s songs tend to contradict. A few things stand out which separate History from their peers. The addition of the keyboard is a new element to bands mining this territory. Never overpowering, the keys are only used to accentuate the band’s arrangements. Also, the addition of female vocals make their first of numerous appearances on the strong “Horn Of The Unicorn.” That element adds a different dynamic to the band’s already ambitious sound. History are calculating and cunning in their compositions. The band seemingly lulls the listener into a state of complacency only to bludgeon them over the head repeatedly…but only in a good way of course. History do suffer a bit from the “sameness” aspect and the vocals feel a bit strained at times. But, other than those minor complaints, Ghosts In The City is a hell of a debut from a band flaunting some serious potential.
Genre: Post-Hardcore/Rock
RIYL: Engine Down, Jawbox, Shiner
Label: Self-Released
Bloody Death Of Murder
Blue Khaki Dance Party
Short Review
If Brass were around ten years ago they would be on Desoto Records and J. Robbins would be producing this record. If that sounds appealing to you (and it should), then you need Set & Drift.
Long Review
Brass‘ Set & Drift is just one of those records that I dread reviewing. It has been sitting at the top of my “to do reviews” pile for weeks now. This is certainly not a record that you can just sit down, listen to a couple of times and then belt out a paragraph or two and feel like you have done it some kind of justice. In fact, I spent a good hour going through my music collection just trying to draw some parallels to what the Brass are doing here. And hell, all I came up with was a list of about 10-15 bands that I’m not sure make sense or not. I did at least figure out who Brass vocalist Joe Webber reminded me so much of. It was vocalist/guitarist Donnie Dureau of the Australian band Blueline Medic. It seems as though Dureau and Webber could be voice doubles. It should also be noted that the bands are similar in scope with their angular, yet driving styles. It especially shows on the Brass track “The Optimist.” However, Brass are a bit more ambitious than Blueline Medic ever were and Set & Drift is a remarkable journey because of that.
I mention Webber’s vocals because they are certainly noteworthy. His vocals are peculiar yet they fit right in tune with the band’s sonic whirlwind. And what a maelstrom of sound Brass are able to create on Set & Drift. The band is so adept in their arrangements and everything sounds completely natural and organic. Not to mention the tracking of the album is perfect. That is a characteristic that is far too often overlooked. Bad tracking has hindered some great records over the years. Set & Drift is a tremendously diverse album as well. Brass can go from tempered instrumentals to raw screams at will. Screaming has become cliche but Brass practice it ever so subtly that it is able strike a real nerve. It adds yet another characteristic (aggression) to the band’s already rich sound. With all those elements at play, the band never restricts themselves and never stretches their compositions to thin. Tempos change and moods may float in and out but, there is a solid atmosphere that the band has created. It hovers over Set & Drift almost triumphantly. It is the sound of a band truly finding their own unique voice and it is intoxicating.
In this day and age it is beyond pleasurable to hear a band that is quite capable of standing completely alone against all odds and comparisons. Set & Drift is everything a rock band should strive for in an album. But, it is also mysterious and challenging. Of course that will turn some listeners away. Yet, by taking that less traveled path, Brass are primed to win a lot of hearts and ears with such a bold record. Try as you might, Set & Drift is not easily interpreted. But perhaps, that is its charm and why I can’t stop listening.
Genre: Indie/Rock
RIYL: The Dismemberment Plan, Jawbox, Shudder To Think, Blueline Medic, Kerosene 454, Shiner, The Standard, Juno, The Twilight Sad, Sunny Day Real Estate
Label: Self-Released
Tall Ships
Autumn Hex Signs
01-Brass%20_%20Autumn%20Hex%20Signs.mp3
Separate Bodies
“Savory” comes from Jawbox’s 1994 major label debut, For Your Own Special Sweetheart.
