Candied Pop

Seeing as my Spanish is limited to “donde está la biblioteca” which in most situation is damn near useless, this one not excepting, I cannot write about the lyrical content of the album and with Google Translate helping me along I am just as lost as I was in high school trying to memorize how to ask for directions to the train station. However, I know when I like something and I like Hagalo Usted Mismo. I like it an awful lot.

Hagalo Usted Mismo tears by in ten tracks clocking in under 40 minutes, which for some indie rockers is epic, but for myself it is just enough to make me play it all over again to satisfy the jones for Chilean Rock that spans The Beach Boys, Beatles, Boogie Woogie, and even brushes up against some more traditional numbers. The sad part is that the band broke up so here I am late to the party and it’s already over. Typical.

Anyway, the highlights for me are the soft swing of “Cerrar Y Abrir” which has a sort of gentle Elvis Costello feel to it with its lush layers of cymbals and reverb damp guitars. The creaky percussion and wheezing reeds of “Agua Bendita” is hypnotic as the song lurches about drunkenly from chorus to chorus. My favorite track though has to be “Bestia” with its lilting early 70’s AM Gold melodies floating along on a lonely flute and bouyed by some truly crisp guitar work. It has to be one of the most satisfying Pop number I have ever had the pleasure to listen to, ever.

Los Tres prove that in Pop music you don’t need to have mastery over the language to enjoy yourself and Hagalo Usted Mismo is one such album that transcends language barriers. Do yourself a favor and grab this album and show some love to a band that after some twenty years unplugged.

This is one of those rare albums that is recommend by a friend at the right time and place so that it syncs perfectly with the particular tilt of your world at the moment. Words Are Dead is one such album and Amy is one such friend as she advocated–actually demanded–that people stop and hear Horse Feather’s latest (you can read her spot on review over at eMusic).

Though the arrangements are sparse, conjuring the brisk chill of late autumn or the hard snap of deep winter, there still remains a quality of lushness and fullness to them. Justin Ringle and Peter Broderick craft music that is best described as the intersection of moody folk and bluegrass. There are elements of Norfolk and Western’s melancholia but rubbed with the saltiness of The Black Twig Pickers resulting in songs that play out like a long sigh but are weighted just enough so that they do not just drift away on the slightest of breezes. “Blood On The Snow” is a perfect example of this with the strings providing a counter melody to the vocals as the roll through the piece. “Honest Doubters” sees the violin come forward to stab home the main melody often competing with the vocals to wrestling them for center stage.

Words Are Dead is truly one of those albums that becomes a seasonal piece, an album that every year you pull out to listen to as you watch the world slow as it heads into Winter’s slumber. It would be more that worth it to head over to their Myspace page you can stream and download four of the tracks from the album. Highly recommended.

One of the challenges that I set before myself was to explore more Jazz, in particular artists that a creating compelling and novel work today. The reason is that I am a hypocrite because of the fact that with regards to Pop musics (Rock, Punk, Electronic, etc) I crave and demand new releases, anything more than a few years old is passed over like day old sushi. However, with Jazz, I am mired in works often no younger than thirty years and that truly is a travesty as there are albums and artists that are making beautiful art who should be listened to. Nils Wogram & Root 70 is one such ensemble.

Nimble and articulate would be good adjectives as would delicate and gentle. Like Mulligan, Wogram takes a seemingly ungainly instrument, in this case a trombone, and transforms it into lyrical dancer that can move with both speed and grace. The opening track to Fahrvergnügen demonstrates his sensitivity and care with approaching his instrument as it features flowing duet with Hayden Chisholm on alto sax. Following is “The Myth” which showcases his sharp precision as he winds his way through tight clean lines.

Wogram, however, is not the only star in the group as Root 70, comprised of Hayden Chisholm on alto sax and bass, Matt Penman on double bass, and Jochen Rückert on drums shows themselves to be in fine form. Rückert’s drumming is crisp with restrained power that bridges nicely between the type of work heard some forty years ago and today’s desire to hear a sound that is more forthright–”Bird’s Trip” highlights his style of playing well. Penman is restrained yet warm as he hold up the bottom end and his solo on Desert is captivating.

Do yourself a favor and grab the two free tracks from the album, “Breathing” and “The Myth“, from his website. Fahrvergnügen is highly recommended, especially if you are like me searching for new sounds in Jazz that still satisfy your cravings for the past.

The Submarine Races’ self-titled debut came out in June and I had hoped it would make its way to eMusic. In The Red Records, a fine punk/garage label, hadn’t sent anything to eMusic in a long time but finally a few weeks ago this one showed up. I was especially happy because it was at the top of the list for my few and far between brick and mortar purchases.

I’m glad my patience paid off because I would have been disappointed had I bought the physical disc. Not that The Submarine Races is a bad album. It’s very listenable and there are a couple of great songs. It just doesn’t live up to my mental hype. Lead Racer Ian Adams used to be in The Ponys and I was crazy about the tracks he contributed to that band, in particular the sublime “Fall Inn” on Laced With Romance. There are a few moments that equal that gem but generally speaking it’s an average album of artsy garage pop-rock.

Things get off to a particularly rough start with a challenging instrumental noise fest called “Theme.” There’s nothing else like it on the album and it’s really a questionable choice to pull listeners in. The proceedings improve vastly from there, with Adams’ nasal desperation backed by driving bass lines, alternately wiry/chunky guitar, and workmanlike drums. The most memorable songs are the ones with killer choruses, including “Get Yourself Together” and “One Forward, Three Back.” The organ and call-and-response vocals on “Ghosts and Worms” are pretty nifty too.

I noticed a lot of the chord progressions have an oldies vibe to them which contrasts nicely with the otherwise post-punk leanings. This really gives the band a distinctive sound. Hopefully Ian Adams’ tenure with The Submarine Races will at least equal his stint with The Ponys and he’ll continue to build on this promising beginning.

Drumming is not something that often gets accolades let alone mentioned very often in the non-drummer press and I’ll be the first to admit that if the album isn’t one explicitly built around rhythm I pretty much ignore it which is why I Saw The Devil Last Night And Now The Sun Shines Bright leveled me when I first heard it. Bobby Theberge maintains such a level of power that you can feel him pounding the kit like it was your chest yet he manages such control that his work is lyrical, floating to the front of the mix without being overpowering. His stick work is hypnotic and compelling both in how it propels the group forward but also in how it is integral to the melody in each song.

Now, I know that I am not too dialed into the continually fragmenting sub-genres in the Rock world but I am not entirely sure how the Emo tag was applied to Moros Eros. Maybe it is the thin veneer of keyboards that drift in the background, but the band grinds out songs that fit more in the realm of mid to late 90’s post-punk. They have a strong focus on equity in their compositions with no song being dominated by one instrument’s ego at the expense of the others. The songs are balanced and organized while managing to swing in a sort of angular fashion that is reminiscent of Fugazi and Circus Lupus. The the opening track “Today is the Day” where the drums wrestle with the guitars providing a substantial and sharp sound where Zach Tipton’s vocals can stretch like they do on “When I Wake” where DJ Schulz churns out the melody on bass with care and precision are standouts in this regard.

Maybe the Emo label comes from the lyrical focus of the album laying bare the interconnectedness of the hopeless, the resigned, and the fearful though the wanderings of the Devil in the night. Here the Devil is less an antagonist and more a device to bind these disparate tales together and it is effective as they move from a story of lost love to one where the character is wracked by questions of morality. Moros Eros is tight lyrically as they are as a band, making for a fascinating listen, and one where I often feel compelled to shout out responses in the choruses.

This year has been filled with great releases but Moros Eros’ I Saw The Devil Last Night And Now The Sun Shines Bright, with its power and lyricism, manages to shoulder many of them to the side. It is sitting at the top of my list for one of the best releases of this year. You can stream two tracks off the album “Today is the Day” and “Satan Has A Heart of Gold” over at their Myspace page. Very highly recommended.