ART OF SONG
Atomic Suplex
“Rock & Roll Must Die”
Rock & Roll Must Die 7
Frantic City Records | 2010

My god, it’s just been Valentine’s day. We need, or at the very least, I need, something shameless. Loud and absolutely goddamn shameless.

I don’t know if they celebrate Valentine’s day in England. I don’t see why they wouldn’t, I’m sure they have Hallmark cards there…but anyway, I should get to the point. England: home of Atomic Suplex, garage rockers with accessories.

Atomic Suplex’s lead singer has the most amazing microphone-helmet-thing (see here). It’s olive green, it looks like it will protect him from nuclear warfare, and it says “rock * roll” on it. I guess it achieves the crazy lo-fi sound on the track, which prevents me from being able to discuss its lyrics in a meaningful context. But who gives a fuck? It’s not that kind of song. Anyway, Atomic Suplex put on their rock and roll helmet, it seems, and just get to work being rock superheroes.

Or supervillains…

More on Atomic Suplex | “Rock & Roll Must Die”

ART OF SONG
The Routes
“Do What’s Right By You”
Do What’s Right By You
Dirty Water Records | 2010

In my blind, ignorant times, as I held fast to 2003 and prayed the Soledad Brothers would get back together, I sometimes felt that garage rock was dead. It’s not, obviously. But bear with me for a second here, and take my mental journey. “All the Detroit groups I love have changed or become culturally irrelevant!” I wailed. “All the other music journalists make fun of me!”

But of course I was horribly wrong. Garage rock is still alive and well, in a couple of different forms. Now I’m all for Thee Oh Sees and other indie lo-fi bands who keep that garage rock sound alive while still being acceptable to reference in the ‘I know cooler music than you’ game, but I’ve found, when you want pure, unadulterated garage rock…classic, 1960’s style garage rock, you need to step outside the country.

Like to, oh, I don’t know…Japan?

The Routes are an interesting bunch. Founded by a Brit, Chris Jack, joined by Shinichi Nakayama (drums) and Toru Nishimuta (bass) in Japan, they are currently signed to a British record label. And their songs are in English…a fact which both delights and slightly disappoints me. I can’t help it. I’m a sucker for group sounds.

More on The Routes | “Do What’s Right By You”

LIVE JOURNAL
JezebelMusic.com @ Silent Barn
January 07, 2010 | Fluffy Lumbers, Museyroom, Shark?, Bonus Eventus

The Silent Barn is essentially “your friend’s basement” the venue. Smoking is allowed indoors, but ironically not outside. As I lit up outside the front door, my usual pre-show routine, the doorman ushered me inside.

“We don’t allow smoking outside,” he explained. “Don’t want to draw the cops.” And, with the tip of my cigarette glowing like a torch beacon, he led me down into the depths of the basement.

The view was a disappointment. While the blue interior and plastic flowers that wound their way up the poles were pleasing, it still did not hide the fact that there were support poles EVERYWHERE and no actual stage. A crowd clustered around the front of the room was the only sign there was a performance going on. You know, that and the actual music. Which, owing to the less-than-ideal performance space, leant a sound that was loud and flat. Still, that didn’t mean the talent didn’t show.

Train trouble and the idea that nothing would start on time kept me from seeing the first act, Fluffy Lumbers, but I heard he took the “stage” solo and with energy. As I nibbled on my vegan pop tart, courtesy of Pop Tarts Suck Toasted (http://poptartssucktoasted.blogspot.com/), I took in Museyroom. I’ll be honest, they’re not really my thing. Ambient and masturbatory, they seemed unsure of themselves. With a little practice they could have a good thing going, but at this point, a basement is where they belong. I’m not saying they don’t have potential, but they didn’t get me my $5 worth.

Shark?, on the other hand, was a treat. Channeling a definite Misfits influence, with a touch of Jim Morrison in the vocals and a blues-rock instrumental, they were incredibly entertaining. Even from my spot, where I could see approximately 1⁄4 of the lead singer, I could tell they put on a decent show. I picked up a copy of their album, which came in a record single sleeve for some band from what appears to be the early ‘80s, and I’m pretty psyched to listen to it.

The last band to go on was Bonus Eventus, a band from the Dinosaurs in Vietnam collective, members of which, Jenn and Liz Pelly (of pellytwins.blogspot.com) helped organize the show. (And also took the helm to DJ between sets. Talk about multi-tasking!)

Channeling the party vibe that is their very being, Bonus Eventus took the stage with three people wanting to sing and one microphone. All leaning in, in an almost mo-town sort of way, they screamed the lyrics to their songs and hoped to hell the mic caught it. It was actually rather endearing, as they were dealing with more than their share of technical difficulties.

At first there had been concern that they would run out of time to perform, with Shark? taking the stage later than anticipated. However, after running through their repertoire (“We have nothing left to play!”), they were momentarily at a loss for what to do. But, thanks to the close-knit nature of the audience, a solution was at hand! Friends and co-members of band the Abberlines joined the stage with guitarist Matt Ludwig for an impromptu reunion. Their mellow sounds ended the night as the underage chugged their $2 Budweiser and prepared for the long train ride home.

by allison levin

HIDDEN GEMS

Orchestre Stukas | L’Afrique Danse Presents Orchestre Stukas
Yesterday was a sad day in the music world, and devastating for the world at large. I was once the wallowing type, but I’m instating a rule for myself this winter: NO DOWNER MUSIC. So I’m glad that I just found Orchestre Stukas, (also sometimes known as The Stukas Boys?), a 1970s soukous/rumba-esque band from the former Zaire. The Stukas Boys were fronted by Lita Bembo, the Congolese version of James Brown, who you can see in action here. Fast-paced, with a psych guitar and fun, deft rhythm, this four-song record is a good way to keep your mood afloat for around forty minutes. Then just watch some more of their videos, I guess. Well, I guess the rest of the week is going to be Orchestre Stukas and Jay Reatard on repeat for me. Try to feel better, world.
by Erin Sheehy

Willie Nelson | Willie Nelson Sings Kristofferson
Willie Nelson always seems to be putting out a new album, whether he’s taken the time to get good material together (2006’s Songbird, 2009’s American Classic) or not (the other twelve albums he’s made in the past decade). This album, one of three that Willie put out in 1979, is a gold nugget with a modest concept that seems to have gotten lost in the expanse of Willie’s discography. It doesn’t get much simpler than this: find a good country-rock backing band and cover a bunch of top-notch songs written by Kris Kristofferson, including “Me and Bobby McGee” (a prior hit for Janis Joplin), “Sunday Morning Coming Down” (a hit for Johnny Cash), and “Help Me Make It Through The Night” (an unjustly forgotten hit for Sammi Smith). The resulting album is a low-key pleasure.
by Justin Remer

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ART OF SONG
Codeine Velvet Club
“The Black Roses”
Codeine Velvet Club
Island Records (UK Release Only) | 2009

Oh hey, the guy from The Fratellis has a side project. Why should you care? I’m about to tell you why. Because it’s better than you or I actually would expect. And we’re discerning, I know. But you should know to trust me by now, have I led you astray? Exactly.

So The Fratellis didn’t really impress me, except for that music video. You know the one, the one with the pin-up girls in shades of brunette, blonde and redhead, who looked totally badass and awesome and expressed their inherent girl power while being fabulous. I liked that. I have a thing for pin-up. It appears Jon Lawler of The Fratellis had a thing for it too, because not only did he dedicate a music video to it, but he formed a side-project with Lou Hickey, a burlesque performer.

I gain more respect for the man as time goes on. The same cannot be said for The Fratellis. And that’s all I’m saying about The Fratellis, a sad tale about a band that can really only make one type of song.

You can tell that Lou Hickey, with her side of the creative process, was looking to write songs she could strip to (or burlesque to, if we really want to mince words, since burlesque and stripping are entirely different arts). Songs that were sexy and slightly dirty. Songs that conveyed the image of smoky clubs where men wore suit jackets and drowned their sorrows in big glasses of scotch while some pretty girl shook what her mother gave her, all the while keeping on her pasties and g-string. Because there was something called class back then. There was also rampant misogyny, but that’s a story for another day. Or fucking watch Mad Men, I don’t know.
More on Codeine Velvet Club | “The Black Roses”

HIDDEN GEMS
Dan Melchior’s Broke Revue | Heavy Dirt
Billy Childish is known for his millions of side-projects almost as much as his work influencing garage punk as we know it. But what about the people HE works with? Holly Golightly’s had her White Stripes fun (“It’s True That We Love One Another”), but what of Dan Melchior, longtime collaborator with both? He’s had his Stripe-y touch too, with Dan Melchior’s Broke Revue opening for the band, but this is about Heavy Dirt, released on garage mainstays In the Red Records, during the now excellently vintage year of 2001. With the right dash of blues, and Melchior’s ever-so-slightly British touch, this is a strong album that offers a familiar The Headcoats-esque sound.
by allison levin

Various Artists | Skulls Without Borders
I was listening to Dan Melchior when allison sent me her writeup of Heavy Dirt, so I decided it was fate and that I had to tell you about Skulls Without Borders, Siltbreeze’s new limited-edition compilation that features a menacing, aloof track from Melchior, along with other gnarlies from Kurt Vile, Sic Alps and more. All in all, this little comp is the auditory version of something you find growing under a dumpster – grimy, fuzzy, and fascinating. Siltbreeze has sold out of their 10”, but digital copies abound in the blog world, and if you prefer not to freeload from awesome artists and labels (insert finger-wag here), Siltbreeze should have a digital edition available to buy soon. Listen here.
by Erin Sheehy
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The year is drawing to a close. I can’t speak for you (though oh, how I try!), but I’m getting ready to put on my sparkliest outfit and go out to some lame New Years party where I will inevitably drink too much and end up trying to kiss too many people when the clock strikes midnight. That’s how I roll.

Do you know what’s as earnestly convoluted as my New Year’s intentions? The Holy Ghost remix of Van She’s cover of Blue Oyster Cult’s “Don’t Fear the Reaper.” (See, I told you it was convoluted.) But as convoluted as this mixture seems (a remix of a cover) it’s really quality. The work and care is present, hence the earnestness of this equation. This wasn’t Van She just crapping out a cover, and Holy Ghost deciding they’ll fuck around with it a little. There appears to be actual effort here, which is something I can certainly appreciate.

A fairly mellow remix (to be fair, “Don’t Fear The Reaper” isn’t exactly a booty-shaking jam), I would imagine this would enter the New Year’s party rotation after the ball dropped, when people are still going, but not with quite the enthusiasm they were previously. A collective breather, if you will.

Van She doesn’t really take too many risks with this cover, instead going with the flow and sticking to the roots of the original. Holy Ghost throws in enough of a backbeat to keep you moving. And it intensifies, hitting the first peak around 1:50, throwing in some swelling piano in the background to add a little drama.
More on Van She | Don’t Fear The Reaper [Holy Ghost’s B-Live Mix]

HIDDEN GEMS
John Lurie | Fishing With John: Original Music From The Series
John Lurie, leader of the avant-jazz group The Lounge Lizards and star of Jim Jarmusch’s early movies, created and directed a six-episode TV series in 1992 where he took various indie celebs (Jarmusch, Tom Waits, Dennis Hopper) to various far-flung locales and fished with them. The end result is funnier and more absurd than you would expect. This soundtrack is appropriately peppered with funny non sequiturs, but most of the tracks are short pieces of score that merge Lurie’s jazz sound with more distinctly world-music elements. Both the DVD of the series and the soundtrack are must-owns.
by Justin Remer

The Frogs | It’s Only Right And Natural
It’s no wonder you don’t remember The Frogs, though they had their share of fervent supporters (Beck, Smashing Pumpkins, etc.): brothers Jimmy and Dennis Flemion seemed hell bent on alienating absolutely everyone. Those of us who got it, though, were…rewarded…with some of the most gloriously offensive records ever released. It’s Only Right and Natural, the Frogs’ gay concept record, is at least their second best (“best” being a relative term). Songs about homosexual relations in the locker room, homosexual relations combined with drug abuse, and homosexual relations with no strings attached abound, all wrapped up in music played barely more capably than on The Shaggs’ Philosophy of the World. Totally NSFW, but fuck it. Go ahead and get fired.
by Brook Pridemore
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