Disc Reviews
by Max Ink Staff Writers
Animal Collective - Centipede Hz
Animal Collective
Album title: Centipede Hz
By John Noyd
Posted: Feb 2013
Label: Domino
(1754) Page Views
The first official follow-up to the group’s electro-sensual masterpiece, “Meriwether Post Pavilion,” “Centipede,” worms its way to post-modern pleasure centers washed in carnival caramel consciousness; gooey loops from misfit kismet bounce, trounce, and ricochet, squishy transmissions past exhaustive mosh-pit squiggles, refracted distractions plastered in a hyperbolic collage, pelting mind-melting medleys against writhing tribal beats. Dense, intense and completely ingenious, the band returned to Baltimore to piece a feast of psychotropic kaleidoscopes harvested from crowded groove-powered pow-wows. Gurgling surges lurching in enthralling tropical squalor, AC teases mischievously cradling stray mosaics stitched from waterlogged jigsaws. Static-addled salads from radio-stoked rabble, the wonderful, woozy, “Centipede,” modulates and flutters in saturated clutter. All four original members reconvene to play Madison’s Orpheum October 16th.
Little Otik's Debut Chronicles: The Restlessness of Cynicism - Little Otik’s Debut Chronicles: The Restlessness of Cynicism
Little Otik's Debut Chronicles: The Restlessness of Cynicism
Album title: Little Otik’s Debut Chronicles: The Restlessness of Cynicism
By Dan Vierck
Posted: Feb 2013
Label: self-released
(1831) Page Views
Little Otik’s debut album, Startled by his Own Tail, is a dark, immaculately produced, intelligent and articulate journey into the wretched, withered – but still beating – heart of cynicism. First described to me by the author as a Waits-ian country album, the collection has a much wider soundscape and is clearly less of a mash-up experiment and more the realization of something that’s otherwise been pent up, congealing for years.
Track to track, the album leans heavy on layered guitars – acoustic next to slide or thrice-reverbed electric. Violins, saws, and accordions also show up. The drums, when they’re there, are as toneful as they are percussive and usually toward the back of the mix. The record has an unassuming candor that betrays its density. The general sound also betrays the effort behind the writing, arrangement and production. This album was largely one person start to finish – no band mates, no real studio, no over-the-shoulder production assistants – which is a level of long-term intellectual and physical energy that is also at odds with the general sense of ease throughout.
Lyrically, Little Otik spends much of the album searching. On “Vagina Eyes,” the narrator is walking the city looking for his sweetheart, “under the starless city sky.” When he does find her, she is “on her baby daddy’s arm.”
The lyrics of “Every Other Door” tell the story of a failed relationship, with the person left behind wondering about the fate of the person who disappeared, thinking about life in terms of opportunities and choices, and how restlessness and disorder led their lover away and (most likely) to an early grave.
The album opener, “Not a Light for Miles” is as cheerful as it sounds, and best epitomizes Startled by his Own Tail’s thematic center. The song has its narrator naked to the universe, laying in a field, repeating to himself, “There’s not a light for miles.” The narrator is weary. He wants to escape the light because the light, in every other instance, has been a tease.
The songs are distrustful, contemptuous, and pessimistic, but this album is not without life-affirming qualities. These songs have been birthed, nurtured, and brought to fruition by someone who believes wholeheartedly in their value and the absolute necessity of their existence; by someone who believes that the intellectual and physical energy spent living in wearisome, tireless cynicism deserves a document. Startled by his Own Tail does not suggest that the search is the answer. Instead it suggests that all we have is the search, and that’s sometimes startling, sometimes terrifying, always undeniable, and most importantly, ever-deserving of our faculties.
The Gomers - Gomerica
The Gomers
Album title: Gomerica
By John Noyd
Posted: Jan 2013
Label: Beeftone
(1958) Page Views
A loose collective of tight musicians where salient talent and preposterous chops are a given and polished frolicking and unmitigated digs are a no-brainer, the Gomer’s zigzag swagger and curve-ball curtain-calls makes a buff buffet for high-minded low-lifes and darkly snarky farce for poison-pen letter-senders. The band’s madcap claptrap tackles cock-rock wango-tango, rabid revivalist hoedowns and black-velvet jazz cabarets as, “Gomerica,” sizzles in heat-seeking treats for an engorged smorgasbord of jaw-dropping licks, riffs and musical tricks. Irreverent petulance served with swift subversive Cheshire cat deliverance, the rocking mockers dissect with respect; tenderly rendering lascivious mischief into blues-infused boogie and prog-rock bop pollinating Steely Dan glam with sly Was (Not Was) cheekiness, elevating heavy metal into clever social revelations and dousing torch-song dalliance in freakish glee.
Samantha Crain - Kid Face
Samantha Crain
Album title: Kid Face
By John Noyd
Posted: Jan 2013
Label: Ramseur Records
(1794) Page Views
Wise beyond her twenty-six years, Crain’s maturity burns bright in the nuanced lyrics and pain-staking arrangements lending polished accomplishments to her Americana leanings, yet for all her advances there is a sweet unaffected directness to, “Kid Face,” that comforts even in its darker incarnations, slipping its hard-won wisdom between infectious melodies, haunting harmonies and poetic detail. A deeply personal record, Crain’s roller-coaster mojo quietly surmises then affectionately surprises; riddled in tickled fiddles and sparkling guitars her songs straddle challenges casually balancing slow-roasted condolences inside breezy reprieves and razor-sharp sympathies. From Appalachian ballads to Choctaw gothic, “Kid,” wrestles fluid roots, hobo folk and hungry country-blues fueled by soul-seeking eagerness, rippling forgiveness and chronic honesty for a rich, authentic album capturing the unmentionable and liberating the unquenchable.
KISS - Destroyer Resurrected
KISS
Album title: Destroyer Resurrected
By Sal Serio
Posted: Dec 2012
Label: Universal Music Company
(1709) Page Views
Oh, how I remember 1976, when KISS’ “Destroyer” album was brand new! It was sometime earlier that year (or maybe late ’75) that I became aware of KISS, via WLS-AM from Chicago playing ‘Rock N Roll All Nite’ in regular rotation. After seeing those weird made up faces and comic book style costumes in the rock mags of the day, like Creem and Hit Parader, I finally bit the bullet and bought “Alive!” in mid-to-late ’76. That did it! KISS became The Beatles of my generation, and I went on a shopping spree to pick up the rest of their records. Oddly enough, even though “Destroyer” was the latest release, it took me forever to obtain a copy. All the stores were sold out of it! I did, however, quickly purchase the 45 of ‘Detroit Rock City’ b/w ‘Beth’, which long since got broken in half by an over-zealous punk rock DJ at WRST in Oshkosh in the early 80s… dammit! I don’t think that single edit of ‘Detroit Rock City’ has ever been re-released.
And so, here we are in 2012, and producer Bob Ezrin decided to revisit the “Destroyer” master tapes to release the “definitive” version, in lieu of the classic album’s 35th anniversary (never mind that it wasn’t issued until over 36 years since it’s original release). One would think, oh… great opportunity to reissue that ‘DRC’ single edit, right? How about a stripped down version of ‘Beth’ without the orchestration? How about some of the un-issued demos from that session, like ‘It’s None Of Your Business’ or the instrumental version of ‘King Of The Night Time World’ with the false starts? Surely Ezrin, Gene, and Paul would want the fans to have some extra gems if they were going to fork over the bucks to purchase the album YET AGAIN (this makes the 3rd time “Destroyer” has been released in CD format). Uh, sorry, Charlie. It was not to be.
To be fair, in the liner notes, Ezrin notes how the original 16 track masters had several instruments overlapped, so breaking down the separate tracks as he would’ve liked to, was not really possible. But surely the ‘Beth’ orchestra was recorded separately from Peter Criss’ vocal, Ezrin’s piano, and session man Dick Wagner’s acoustic guitar line? I, for one, would like to hear it without the strings!
What we do get is a somewhat louder and more modern sound… perhaps most noticeable on Criss’ booming bass drum in the intro to ‘Do You Love Me’, a couple extra vocal parts on ‘Beth’ and ‘DRC’, and Ace Frehley’s original whacked-out lead guitar part on ‘Sweet Pain’ (here one can see why Ezrin had Dick Wagner re-do it). In the case of ‘Shout It Out Loud’, the new version is actually inferior to the original, since the ending is edited way too sharply, and makes you feel like the tape ran out on the song.
Gene and Paul really annoy me sometimes. It always seems like they’re holding something back, and milking the fans for every last penny. Can you name any other band that has more “Greatest Hits” packages available?? I’m curious whether Peter and Ace are even making any money at all off of “Destroyer Resurrected”. I somehow doubt it, and Peter Criss wrote the biggest hit on the album! Without ‘Beth’ being pushed as a single, it was very likely in 1976 that “Destroyer” would’ve suffered from the same lackluster response as the first three KISS studio albums. I’m disgusted and disappointed at the current state of the KISS Nation. The ‘Flaming Youth’ has fizzled out!
Six Sided Halo - Six Sided Halo
Six Sided Halo
Album title: Six Sided Halo
By Sal Serio
Posted: Dec 2012
Label: Six Sided Halo LLC
(1937) Page Views
Still simmering, but almost ready to boil, is the Phoenix, AZ, based Six Sided Halo, who I’ll predict will have taken the national market by storm come this time next year. The unique hard rock quartet only has this 5-song E.P. out at this time, along with a new single (a cover of the Cranberries song “Zombie”).
What immediately struck me about this E.P. is the interesting instrumentation and creative use of effects, which sets them apart from most other melodic metal bands on the radio today. A song like “Fugitive From Reality” can rock really hard, but still keep the listener engaged and at attention. All five of these songs are radio-friendly yet outside of the box in terms of their arrangements.
One example could be “Through The Divine” with it’s serpentine rhythms establishing an individual identity, much in the way early Tool did. Singer Dustin “D.C.” Carrison has the chops to hold his own aside iconic front men like Dave Grohl or Shinedown’s Brent Smith.
“Apathy” and “Breakthrough” are perhaps the most emo tracks, with the type of appeal that both hardened rocksters and their girlfriends might appreciate - a sing along chorus and HUGE production. “Apathy” also features ripping lead guitar runs care of founder Jay Avarice, that seamlessly segues into a more mellow, reflective bridge. Label A & R dudes and radio programmers: take note!
Venice Gas House Trolley - When In Rome (WI) (Live)
Venice Gas House Trolley
Album title: When In Rome (WI) (Live)
By Larry Bush
Posted: Dec 2012
Label: self-released
(1186) Page Views
This live effort from Madison-based group, Venice Gas House Trolley, lends an ever-expanding and eclectic listen for musicians and the casual fan alike. Packed with psychedelic soundscapes and boundary exploring arrangements, it hangs its hat on constantly diverting from normative musical behavior, while also providing enough hooks and thick grooves to keep your head bobbing. The group’s mood switches seamlessly from the garage to the festival stage, with an ever-winding trail between the two. Within the 10-plus minutes of the sprawling, “Brain Cells Are Invisible>Didyaseewhatisaw>Brain Cells (Reprise)>Through The Parking Lot Of Silver Spangled Darkness>Whadawedonow Chant>Parking Lot (Reprise)”, we hear the band embrace tones similar to Les Claypool’s Frog Brigade while also inducing sound collages that summon the Butthole Surfers and musical breaks reminiscent of early Mothers Of Invention compositions. On “Japanese House>Streetlamps (Reprise)”, vocalist Adam Gregory Pergament (aka Flowpoetry) mixes Captain Beefheart-tinged poetry with a vocal timbre closely-linked to Frank Zappa’s crooning on “Muffin Man”. Combining multiple styles with unique instrumental prowess, VGHT waves its sonic wand to explain that while in Rome, they did as few modern acts do, and in the process have delivered a live effort which grabs our attention and mangles musical boundaries.
I Am Dragon - The Lucky Ones
I Am Dragon
Album title: The Lucky Ones
By Larry Bush
Posted: Dec 2012
Label: self-released
(1671) Page Views
I am Dragon wants us to have one hell of a good time. Their 8 track EP, “The Lucky Ones”, cuts the air with big-time riff rock, sing-along choruses, and hook after hook of rock and roll debauchery. The group also mixes electronic elements into their work to create quirky and super groovy tones. On “New Rocks”, keyboardist Luke Crary presents a tasteful ambience as the canvas for a driving band to paint upon, with Jon Stover slicing through with vintage tones and extended lead work. The track’s tasteful solo eventually cascades into a bridge dripping with progressive ambition, which culminates in a dynamic build-back to IaD’s fist-pumping calling card. A tight-knit rhythm section shines on, “No Reward is Worth This”, as bassist Dustin Skelley and drummer Andy Christoffersen split time between syncopation and mirrored fills, in perfect harmony. The release touches the listener’s palate in a variety of ways, from high-gain punk-influenced riffing to subtle and melodic piano work, providing a wide range of timbres to choose from. Dragon has come out of Blast House Studios with an extremely polished and ambitious release, showing that they are a unit with big ideas and a huge sound to match them. The EP is set for release in early 2013 with a release party at The Frequency and a supporting Midwest tour on the horizon. I am Dragon has crafted a raucous EP for head-bangers to latch onto, providing an effort which makes each listener The Lucky One, indeed.
Halestorm - The Strange Case Of…
Halestorm
Album title: The Strange Case Of…
By Sal Serio
Posted: Nov 2012
Label: Atlantic
(1582) Page Views
Still spunky, headstrong, and completely in-your-face, Lzzy Hale and Halestorm are back with both guns blazing on their second major-label release “The Strange Case Of…”. The CD blasts off to the mosh-pit stratosphere with “Love Bites (So Do I)” and it’s relentlessly brutal tempo that teeters on the edge of hardcore, but is balanced by it’s catchy chorus and Lzzy’s trademark tough and tantalizing vocal.
I don’t think anyone would confuse Lzzy for being a fragile, sensitive, “pretty girl”, but this disc seems to be on a mission to make sure everyone knows she’s a badass. Not only is the overall sound and attitude of this release as aggressive as anything the mostly-male metal crowd could create, but the lyrics assure there’s no confusion that Lzzy is 100% in control, and this creative endeavor was made solely on her terms. The songs “Freak Like Me” and “You Call Me A Bitch Like It’s A Bad Thing” drive that point home unapologetically.
I’m a little confused why Halestorm is playing such a small venue on their return visit to Madison, but lucky ticket-holders can revel in the glory of the outrageous triple bill of Halestorm, In This Moment, and Eve To Adam at the Majestic Theatre on Wednesday, December 5th. Next time, come back to a bigger room so more fans can get their fix!
Mark Knopfler - Privateering
Mark Knopfler
Album title: Privateering
By John Noyd
Posted: Oct 2012
Label: Universal
(2033) Page Views
Steering steadily through American roots including hobo boogie, rock-a—billy bop and honky-tonk blues, “Privateering,” is ironically available only as an import.Devoted guitarist, the Dire Straits statesman’s latest journey tackles twenty songs in a double disc he wrote, plays and produces. Sheparding his own crack band with talented guests, Knopfler’s nimble pickin’, whiskey-tinged whispers and casual narratives flower, growl and shine in duffle-bag shuffles, backroom ballads and wistful mariner’s shanties, balancing bayou grooves and sly venting between ruminating kudos and pensive remembering. Arriving with a full electric band and a hour plus set Mark tours beside Bob Dylan playing Madison’s Alliant Energy Center November 5th, St Paul’s Xcel Energy Center November 7th then Milwaukee’s Bradley Center and Chicago’s United Center November 8th and 9th.
Amanda Palmer and the Grand Theft Orchestra - Theater is Evil
Amanda Palmer and the Grand Theft Orchestra
Album title: Theater is Evil
By John Noyd
Posted: Oct 2012
Label: 8ft Records
(1826) Page Views
Bristling riffs lifts chiseled riddles riding roller coaster explosions between sumptuous lunges, staunch romps and inventive interventions. Subversive purrs turn from personal murmurs into grand slam grandstanding as hauntingly gothic bohemia grows deeper and steamier in the hands of former Dresden Dall, renegade blogger Amanda Palmer. “Evil,” seethes and seizes; operatic cataclysms and catechism cynicism blend wrenching emotional tensions into fascinating ballads and exasperating cabaret, tempting redemptions write caustic subplots through pop-rock pirouettes for lavish, upbeat burlesque as each tune her Grand Theft Orchestra conquers saunters in jaunty confidence, clamoring in clandestine providence as intimate details emerge in coy rejoicing and brazen games. Fresh off the European leg of their world tour Amanda and her band of artful dodgers play Milwaukee’s Turner Hall November 11th
Matt and Kim - Lightning
Matt and Kim
Album title: Lightning
By John Noyd
Posted: Oct 2012
Label: FADER
(2203) Page Views
Hyperbolic schmaltz trimmed in punk-pop pow and shouted from the rooftop vocals, the home-studio, self-produced, “Lightning,” flashes athletic treasures from intrepid Brooklynites wielding an almost eerie ability to get to the point. Raw, muscular pep-rally punch chews enthusiastically on funky hip-hop blocks, hook-filled indie-rock and gleeful collegiate moxie as the duo concentrate on succinct synths, robust percussion and restless messages delivering unabashed crashes and colliding calliope mash-ups in an exhaustively polished mosh-pit road-trip from head to heart and back again. Talented battlers, Matt and Kim’s blunt stunts come subtly accompanied by shiny sonic details; calculated grooves, candied candor and dynamic dazzle contribute to the disc’s compact dashes, bubbly rumbles and sequined sequences. The pair plays Milwaukee’s Rave November 8th along with fellow left-field rocker Oberhofer
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