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CD reviews Ahimsa Theory, Ahimsa Theory RELEASED: 2004, self-released GENRE: Indie/Emo Rock This week, Eugene indie trio Ahimsa Theory embarks on a four-month, 47-state tour in support of their first album. The self-titled CD alternates seamlessly between floating guitar melodies and grungy power chords bolstered by decisive vocals in the vein of Incubus and Silverchair. The group has been touring the local circuit extensively for the short year they've been together, hitting venues in Corvallis, Salem, Portland and Eugene. Evidence of the metal-inspired power of drummer Spencer Emch, aided by bassist Warren Baumann, comes through on "Pilgrimage," while the dynamic guitar and vocal control of singer/guitarist Gabe Bledsoe is heard on the quieter "For the Night." "We had planned on getting this album together in about two weeks in the studio. It wound up taking more like three months," says Bledsoe. The naiveté is understandable from a group of guys barely old enough to drink in the bars where they play, but their talent is undeniable. The CD has already begun generating a lot of excitement among the band's growing fan base. If an album of this strength and a first tour of this magnitude is any indication of future success, Ahimsa Theory has plenty to look forward to on the road ahead. Buy it at www.ahimsatheory.com— Dave Constantin
The Anxieties, Black Hole7 and Demos from the Nowhere Zone RELEASED: 2005, Infringement Records GENRE: Punk
Colored vinyl — the music encrusted on the disc is great, but a colored record is like the last beer that takes you over the top … You lose control. The new Anxieties 7", which features "Black Hole (In the Center of my Brain)" with "You're Creeping Me Out" and "She Gets Me Drunk" on the B-side, comes on lawn flamingo pink plastic (at least the first 300 copies)! And the tunes rock too. "Black Hole," a truly anthemic punk sprint, finds leads singer Scott Von Rocket rattling off like a crazed Southern auctioneer. The frenetic lead guitar work of Tristan Tower adds to the aneurysm-inducing pace of the song. Also in my possession is a rare nine-song demo disc, which features tunes that may or may not make it on to future Anxieties releases. Two of the songs, "The De-Evolution Will Be Televised" and "I Hate Myself" are available for listening on MySpace. But the highlight of the CD has to be the Mötorhead cover "Going to Brazil." It sounds trite, but Tower totally shreds. I bet if you buy the band a ton of liquor at their next show they might burn you a copy. The 7" is available at theanxieties.com — Steven Sawada
Armored Frog, Weasel on a Weathervane RELEASED: 2005, Sleepsound Records GENRE: Lo-fi indie rock
If you've ever lain in bed, hearing echoes of guilt, celebration, fear, anticipation and remorse, you already have a sketch of Armored Frog's sound. If you don't know the feeling, then go on a bender and concentrate on the first hour or two after waking up. Most of Weasel on a Weathervane follows a sedate path. Vocals are whispered in a lullaby voice (though often when Jake Baker sings, I hear a drag cabaret performer), and, while you can still feel the solid guitar, a steady wash of synth and keys keep the sound well away from the real world. Fuzzed out and seemingly uncertain of their existence, every element is elusive and in flux. The juxtaposition of pop medleys adds to the effect, making everything blackly comedic. But for all the ethereal qualities, the lyrics of Baker and George Ayres pull the album into reality. Nostalgia and missed opportunities crop up as frequent subjects; being universal, they add to the accessibility. It's great, addicting music with a sarcastic bite. Once this album found its way to my player, it didn't leave for weeks, as neither I nor my girlfriend could part with it. — Jef Stout
Craig Einhorn, Choros RELEASED: 2005, Unicorn Productions GENRE: World music "A down-and-dirty way for Americans to get a feel for choro," writes Craig Einhorn in the notes to his new CD, "is to drink two beers rather quickly and sing 'Give My Regards to Broadway.'" The Brazilian music form choro is derived from Euro-dances such as polkas and waltzes, loosened up by African slaves, and literally means "to cry" in Portuguese. What Einhorn means is that, like everything that comes out of Brazil, from bossa nova to forro to bikini bottoms on the beach, it swings. Not all classically trained guitarists can pull this off, which is why some performances of the most famous choros, those written by Heitor Villa Lobos, can sound stiff in the wrong hands. But Eugene's Einhorn (who also overdubs electric bass and various percussion) has the touch, and with advice from Edson Oliveira and assistance from Kenny Sokoloff, Joaquin Espinoza, and Samba Ja's Brazilian-trained Jake Pegg on various percussion instruments, has put together a rich yet intimate survey of music by 20th century Brazilian and Argentine composers, including Villa Lobos, Baden Powell, and the famous "Tico-tico no Fubá" popularized by Carmen Miranda and Walt Disney. A treat for fans of guitar and world music. — Brett Campbell
Dan Jones, Get Sounds Now RELEASED: 2005, Daily Records GENRE: Electric folk rock
Jones scores with Get Sounds Now. On his third full-length, Jones maintained creative ownership by releasing it on his startup label, Daily Records, rather than renewing his contract with local label Leisure King. The result is a collection of 10 tunes recorded by a plugged-in band with an off-the-cuff feel. One of Jones' strengths is his wit; he can write a charming song like "Saggy Pants" that's not just jokes about plumber's crack. Jones goes from one strong song to another, varying the tempo enough to keep things interesting. "Squids" is an album highlight, with a catchy opener and a jangly beat throughout. "Sunrise Man" shows that Jones can rock as well as roll. He slows down on "Little Machine" which sparkles with a lovely piano accompaniment. "Baron Von Wasteland" is a pop rocker about a washed-up former cosmonaut. My favorite is "Redbird in the Rain," a song that makes me smile with its metaphors and don't-give-up attitude. Jones' music reminds me that I can like Americana rock music without torturing myself with folk singers who are unable to write anything that doesn't sound like they're singing to their therapist. — Vanessa Salvia
Depravitae, Apocalypticusadisticon RELEASED: Coming out soon, self-released GENRE: Industrial/Metal Self described as "the resurrected abortion of rapists' seed," Depravitae is the first Eugene-based industrial band that I've ever heard of. Before meeting Gideon Gash and Razor Praizer one night at my DJ gig, I didn't think anyone in Eugene even listened to industrial music. Their forthcoming album Apocalypticusadisticon evokes memories of old goth club-nights I used to go to as a teenager growing up in Honolulu. I remember doing my hair like Robert Smith, painting my nails black and smearing my lips with oxblood red lipstick and hitting the Sub Club. Hundreds of candles illuminated the rooms, as whips and crops whacked against bare skin. People shackled themselves to crosses, hanging totally nude for the entire night. Above all the depravity we danced as the DJ spun Nine Inch Nails, Skinny Puppy and KMFDM. Apocalypticusadisticon harkens back to those good ol' days. I don't think anything could make me dress up like I did back then, but thanks to an advance copy of Depravitate's forthcoming album, I'm reminded why I appreciate the music of bands like Skinny Puppy. Apocalypticusadisticon captures the necessity of the electronic sound in industial music: the blips, drum machine snare whaps and creepy samples of babies crying really bring back memories. — Steven Sawada
Dubble Helix, The Machine RELEASED: 2005, Scientific Records GENRE: 8-bit, dub
Stoned-out, island experimenters forged dub (a Jamaican music with roots in reggae) out of decisive electronic elements. In the seventies, with the growing availability of synthesizers, processors and drum machines, you no longer needed live players to create large, textured sound. Thus dub was, in a way, the forerunner to most modern electronic music. It's exciting then, in a time when electronic music has become so convoluted by DJs and producers who abuse these tools to create corny, anthemic, commercially viable pop hits, to find a musician with a stripped down sound and a roots-based focus. Shane Kramer, aka Dubble Helix, has been quietly producing 8-bit and 8-bit-inspired dub locally for quite some time now. In a nutshell, 8-bit music refers to music created through sounds and songs generated from old video game consoles such as Atari, Nintendo and Sega. Some of these sounds are sampled, others are created through antique, or resurrected, or emulated, 8-bit processors. Kramer's latest recording, The Machine, utilizes 8-bit technology to create spaced-out, bass-heavy dub. Many of the tracks, especially the songs with titles such as "Missile Command" or "Bonus Round Babylon," which reference video game jargon, sound as if Lee Perry and King Tubby dissected a few sound cards from stand-alone Q-Bert games. Kramer's passion for 8-bit and dub shine through, effectively creating a unique, witty sound. The CD is available in Eugene exclusively at the Museum of Unfine Art or at www.zebox.com/dubblehelix/music— Steven Sawada
Jessie Márquez, Sana Locura RELEASED: 2004, independently released GENRE: Latin/Cuban
When the Eugene Weekly last tried to contact Jessie Márquez she was gone, reachable only by e-mail, to play a series of shows in Cuba. After listening to her newest album, Sana Locura, her connection to Cuba in body and spirit is even more apparent. Márquez grew up in Puerto Rico before moving to Eugene and in 1996, she made her first trip to her father's homeland to visit her relatives there. Since then, she's returned on numerous occasions and studied Cuban music in Havana. Sana Locura is a rich album full of verve and texture. With roots in traditional bolero music, the album is a delicate balance between Márquez's powerful voice, the gorgeous layers of hip shaking rhythm and the incredible horns and harmonies. The title track is particularly notable for its clear, emotional beauty. "Dile Que Me Voy," another song dealing with the classic subject matter of love and heartbreak, is also exceptionally catchy and smooth. On this particular track, Julito Padrón's background vocals add depth and a dark, smoky feel to an already fine song. If you enjoy the music of the Afro-Cuban All Stars, Ana Belen or the Buena Vista Social Club, you'll enjoy the fresh twist of Sana Locura. — Melissa Bearns
Kurt Doles & Dac Crowell, Mercury RELEASED: 2005, Suilven Recordings GENRE: Avant garde, ambient Inspired by journeys — a long drive from Eugene to LA, a trip to Chicago — this mesmerizing collection of shimmering soundscapes nestles snugly in the ambient tradition of Eno, Arvo Pärt and the now-retired Harold Budd, which embraces atmospheric beauty while avoiding saccharine new agey gloop. Doles and Crowell are both highly trained musicians who ultimately abandoned their doctoral degree studies because of what they perceived as narrow-minded academic resistance to non-academic composers such as Klaus Schulze and Brian Eno. You can hear their classical training and other influences (Doles studied Balinese music at the source; Crowell, a krautrock fan, studied with Karlheinz Stockhausen), which prevents monotony. But this album will appeal to anyone who values musical beauty and doesn't automatically condemn background music — what Erik Satie called "furniture music" — as somehow tainted. Unlike the stasis that stalls so much electronic experimentation, this is moody music that moves, and is moving. — Brett Campbell
The Perverts, Upskirting RELEASED: 2005, independently released GENRE: Punk The Perverts, a local Eugene band, have the punk rock humor thing down pat, and they've proved it with UpSkirting, an arguably conceptual album that definitely lives up to the band's name. Most, if not all, of the tracks are about sex or other aspects of the mating ritual and include song titles such as "Glory Hole" and "Dirty Mind." The music is bouncy and upbeat, but many of the songs sound eerily alike. And while the album title and lyrical subject matter are a clever, humorous play on the band's name, don't pay too much attention to the lyrics. While certain sections are chuckle-worthy, some are painfully generic and rife with clichés. This effort is fun and danceable, but it takes more than a concept to make a great album. These songs probably make a better live show than an album, and unfortunately, it shows. — Sara Brickner
Teryl Hawk, La Vie en Rose RELEASED: 2005, self-released GENRE: Lounge Teryl Hawk has a nice voice. It's nice enough to pull your eardrums from the everyday babble around you, nice enough to entertain you during dinner, or even nice enough to make you tap your toes and snap your fingers. However, you might want to keep the finger snapping to just one hand, because while her voice is nice, sometimes nice isn't enough. Ms. Hawk is more than competent. She has a beautiful vocal instrument, and holds notes with a tender grasp rarely heard in pop music. Unfortunately, this might be her undoing — she seems scared of her subjects. She lacks the swagger of Peggy Lee, who masters "Fever" with regality. Instead, we hear what she is — a young girl demurely singing the words to a very powerful song. But back to the positives. If I didn't want to snap my fingers and shake my head and say, "Yeah, man, play it again," I'd be fine with hours of Teryl. She flutters up for a little vibrato at just the right points, purrs at the low notes, and never falters as she steadily produces the rest of the songs. Her voice is cute and cuddly, but it lacks the experience for some of the lyrics. La Vie en Rose could be the start of something great for this vocalist who has performed all over Eugene, but so far, she hasn't hit her stride. — Jef Stout
Testface, Doctor Won't You Get Us to Dawn RELEASED: 2005, Sleepsound Records/Broken Sparrow Records GENRE: Psych-folk/americana
There are a variety of adjectives that could be used to describe this album: Mellow or depressing for the sound, artsy or bizarre for the lyrics. But disturbing, stream-of-consciousness lyrics like "Chase the bloody trail back to the bleeding side of the wound/ Blame it on the bloodline/ Blame it on the wound," may turn some people off to the music. The album paints a series of nightmarish pictures, which seem like they must have been inspired by either a) horror movies b) hallucinations or c) drugs — lots of them. Don't get me wrong; I certainly enjoy some artists, like Dave Matthews and The Beatles, who have clearly dabbled in their share of mind-altering substances. But this music just gives me the heebie-jeebies. — Ursula Evans-Heritage
Intern Battle! New intern Emily has a different take on the Testface album. Read on… Adjectives like mellow, artsy and stream-of-consciousness are usually regarded as praise when used to describe a band's sound, and without a doubt are compliments when applied to Testface's new album. Yes, it's mellow. But rightly so. The record takes on a dreamy and spaced-out feel, and the sheer ingenuity of the band shines in their slow-paced songs and abstract lyrics. The illusory vocals are a flawless fit for the backing instrumentals, serving as the perfect punctuation to a sound that is transcendent in its bitter-sweetness. — Emily Freeman
Thomas Mapfumo & The Blacks Unlimited, Rise Up RELEASED: 2005, Calabash Music GENRE: World music
Mapfumo, one of the 20th century's greatest musicians, has lately been based in Eugene, where he recorded Rise Up with an 11-member band of Zimbabwean vets and local musicians on guitar, mbira (thumb-plucked metal harp), call and response vocals (featuring exquisite female singers), keyboards, bass, drums, flute and horns. Whether because of his long separation from Zimbabwe — his band has been threatened and harassed by dictator Robert Mugabe's increasingly repressive and corrupt government — upheaval in his record label, management and marriage, or his homeland's descent into poverty and dictatorship, Rise Up has a more somber feel than Mapfumo's other recent recordings. But it continues the 60-year-old singer/songwriter's restless, bubbling fusion of various African musical forms with American soul and R&B, reggae, and more. Some lyrics (sung in Shona) call on listeners to rise up and take a stand against injustice; others decry immorality and corruption and other scourges of his homeland. Just as the apartheid government did a quarter century ago during the black majority's liberation struggle, the Mugabe regime has banned Mapfumo's music from the country's radio stations. But his powerful message and danceable music are now crossing the planet via cyberspace — it's the first world music album released exclusively in digital format. Download it at thomasmapfumo.calabashmusic.com/ — Brett Campbell
Yeltsin, We Will Be a Factory RELEASED: 2005, My Horoscope Records GENRE: Rock A dozen or so Yeltsin shows in the last year and change would never have led me to think their first full-length album would open with an echoing guitar line that sounds remarkably like a song from The Crow soundtrack. The likeness is short-lived, though, and only one of a variety of influences that infuse We Will Be a Factory. It's a solid, skillfully created rock album, marked throughout with distinctive instrumental melodies. "Sitting in the Corner" brings to mind The Replacements, roughly distorted and driven, with talky vocals; "Handful of Pennies," starts in Pixies territory, but shifts quickly to the staccato guitar that seems to be guitarist Jacob Pavlak's hallmark. The album's main weakness is a tendency to pace the songs too similarly: Jivan Valpey's drumming is precise and lively, but can't always perk up the mid-tempo vocal melodies. A jaunty exception is the energetic "What Someone Said to Me," which borrows the riff from "My Sharona" or "Girl You Want" — take your pick — and runs it through a landscape of soaring guitars. The other highlight is "Evergreen," a catchy tune that imbues the instrumental parts perfectly with the nostalgia of the lyrics. If tempo's my only real complaint , Yeltsin is clearly doing a lot of things right. — Molly Templeton
:: Intro :: Genus Pro :: Eugene Bands :: Corvallis Bands :: CD Reviews :: CD Quickies :: |
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