New Music Reviews
By Lindsay Johnson
… the token “slow song,” although it is a sweet plea for “girls to give me some head.” ~
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Eight Minutes to Twilight Fairlanes Avenue
While the attempt at music is honorable, and notable, it is not stable enough to carry the album. There are several instruments on most tracks, including piano, saxophone, guitar, drums, a violin/cello ensemble. It seems in disarray, and the lyrics are not enough to bring it together. With lines like “You are my Heaven” and “There was not made/an embattled brigade/To save one from the burn,” one questions originality and rhyming for the sake of rhyming. In addition, and perhaps a good thing, most of the tracks begin slowly, only to introduce drums or more instruments midway through, thus picking up the tempo. Which is clearly needed most of the time. It is mastered a bit on “Luxury,” although it’s unclear if the band even likes this song. [http://www.myspace.com/eightminutestotwilight] LJ
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Bitchslicer III:Lycanthropic Fellatio
If the humor behind the Bitchslicer album “Lycanthropic Fallatio” may be unintended, it helps to paint a picture of a band so immersed in hardcore that the laughter in the “skits” between songs seems extremely out of place, but entirely welcoming. A sort of systematic drum beat repeats throughout the record without sounding too, well, repetitive. Most of the tracks are less than an underwhelming three minutes, but seem to be just long enough. There is the token “slow song,” although it is a sweet plea for “girls to give me some head.” And what may appear as the crescendo to the record—a 45 minute song titled “Legends of the Green Skull,” it is nothing but a sort of misplaced static. Overall, though, the listener is let into Bitchslicer’s nicer side, which is also chock full of talent for the hardcore scene. The record is not sloppy nor a nuisance, but a real homage to a field of music overpopulated with wanna-be’s. [http://www.bitchslicer.com] LJ
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Death on Mars Tomorrow’s Today
Death on Mars’s recent album, “Tomorrow’s Today,” opens the world to a sound that is mixed between She Wants Revenge and, somehow, Teenage Fanclub (yeah, remember them?). The result is a unique take on rock music, opening a new door for listeners. The bass-heavy beats are often the lead into tracks sung by a low, stinging voice full of strength from struggle. Lyrically, the album is downright easy, no forced metaphors anywhere, which is relieving. The melodic “Doorways” tampers with a sliding harmony, proving quite successful in the chorus. “Empty” showcases a bass comparable with that of Mike Starr (Alice in Chains), and the idea that grunge is an influence here is apparent. The band, however, works together quite well, offering a unique album that deserves to be heard and appreciated. [http://www.myspace.com/deathonmars] LJ
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The Chuck Dukowski Sextet Reverse the Polarity
Punk music led by women has, historically, been rare. Siouxsie and the Banshees, Bikini Kill, 7 Year Bitch—these bands are hard to come by. The Chuck Dukowski Sextet may be the next to join the small line up.
Led by Lora Norton’s vocal, the band has definition, rhythm, and purpose. The lyrics, at times, need an interpreter, but the voice from which they are broadcast varies between throat scratching toughness and almost beauty. The integration of a child’s voice onto the record offers a drastic contrast from the impressive vocals of Norton. Melodic instrumentally, the introduction of “This For You” commands attention right away and keeps it throughout the song; on “Open Up the Door,” the bass coupled with an acoustic guitar form a unique pairing in a sound rarely heard. This band has a lot of promise and could help to finish what The Yeah, Yeah, Yeah’s started a few years ago—a true return of women to the front of tough, almost hardcore bands. [http://www.thechuckdukowskisextet.com] LJ
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