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Short & Skinny (Record Reviews)

By Alex Brenner

Sometimes I feel like I could talk about records for days, about the sonic orgasms I had while driving in my car, or talk about who played on what record and how much I love the producers’ work and get all geeky. But sometimes ladies and gentleman when I ask someone if a record is any good, I just want to cut out all the musical foreplay and get down to it. That brings me to our first installment of The Short and Skinny.

With so many records out and such little time I’ve decided to touch on a few new releases or recent releases you might have missed.


Cymbals Eat GuitarsWhy There are Mountains
If you took all your favorite 90’s indie bands and threw them into one room – well, that’s what this record sounds like. What sets them apart from most recent indie acts is the fact that these young indie rockers really know how to write great songs. Rather than copy and paste their obvious influences, CEG really put their own stamp on this sound. From the bombastic six minute opener “The Hazy Sea,” CEG sound like early Built to Spill or Pavement [there he goes mentioning that band again - Rube] at their heavier moments but still with a new spin on a familiar sound. I must say I was quite intrigued by this song; it must have six different changes and never returns to an actual chorus. Just when you think you have this band pegged with the whole loud/quiet/loud bit, they break out the Motown horns for “Indiana” along with an almost honky-tonk piano. What? Yes, this band knows how to mix it up. I only bought this record because the band’s name sounded cool, but what a find! Finally, a great band that understands the genre and knows how to make it their own. Definitely not as derivative as most bands currently on the top of the indie charts.
[Cymbals Eat Guitars comes to The Earl on September 28]

MP3: Cymbals Eat Guitars – Some Trees


Rhett Miller - Rhett Miller

On his third release Rhett Miller continues to travel the less graveled country road and writes well crafted pop songs. If you are a fan of his other band The Old 97s you may not like his solo records at all. The voice and the charm remain but Rhett’s obsession with jangle pop and the British Invasion really come out here. Great hooks like “I need to know where I stand” and “If It’s Not Love” really drive this record along with some great aching ballads. As a whole I found this record not as strong as 2006’s The Believer. Still Rhett Miller proves once again that he is a true tunesmith and not just another pretty face.

[Shameless plug - Rhett Miller (as Old 97s) is a listener of Atlanta's A-List on Blip.fm...are you?]

Regina Spektor - Far

I know, another girl with a piano. Wrong my friends. Don’t even think about throwing this girl in the Tori Amos and Fiona Apple arena, she is an artist in a category of her own. With her third proper release Regina Spektor expands her sound while keeping the charm 2006’s Begin to Hope. The songwriting is almost child-like using vowels as choruses such as “Eet” and singing about making computers out of macaroni pieces. Her voice is an instrument of its own; sometimes a sweeping falsetto or a human beat box or a dolphin (you have to hear it). Her inflections sound like a cross between Ella Fitzgerald and Bjork. From slow tracks like “Blue Lips” to the “Chopsticks” feel of “Folding Chair” Far keeps the listener’s attention all the way through. While not as memorable and poppy as Begin to Hope there is still plenty of melodies that will still keep you singing along.


Sleeping in the AviaryExpensive Vomit and Cheap Hotels

Ok, so this record came out last year but it’s still worth writing about. I’m always looking for something new to knock my socks off and this Minneapolis band really did the trick. If you took Blind Pilot, Avett Brothers and Fugazi and put them together, then that’s what this band sounds like. It’s punk folk with hooks galore and sing along choruses for days. From the opening rave up track “Write On,” I was instantly blown away by the band’s unique sound and the shear raw power while still keeping it folk. It’s everything from Will Oldham-style blues like dirges to the gentle country leanings of “Maybe You’re the Same” that set this record apart from the rest. And of course what would a folk record be without a good old murder ballad like “Everybody’s Different, Everybody Dies”? The song writing is very well done. The lyrics are sometimes dark but still delivered with a sense of humor and the rustic sound make this an honest record. I almost dare to call it lo-fi Violent Femmes – it’s really something worth checking out. You may skip a beat but you won’t skip a song.

[Sleeping in the Aviary will visit the 529 on August 22 and be joined by our own It's Elephant's and Vegan Coke.]
MP3: Sleeping in the Aviary – Write On

Son Volt - American Central Dust

This has got to be one of the biggest disappointments of 2009 for me. While Jay Farrar and Co. definitely have returned to form circa Trace with a fuller sound, the songs just kinda go nowhere. Listening to Farrar sing “Down to the Wire” over and over again almost sounds like he is bored with himself. Songs like “Roll On” sure do remind me of “Windfall” but it’s not enough to carry this album as a whole. It’s just one slow country shuffle after another. It’s not even debatable that this band is one of the most imitated amongst the Americana genre. While Farrar’s voice sounds as strong as ever and his lyrics much more personal than any album, his slow drawl is this album’s weakness. There are some great tracks such as “No Turning Back”, “Strength and Doubt” and the closer “Jukebox of Steel” which kept my interest briefly. A vast improvement from their last album The Search, but as a super fan I’m still waiting for Son Volt to make the album I know they are capable of.

[Son Volt will visit the Variety Playhouse on Sept. 11. Check out A-List Advance]

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