July 13, 2010
Dear Comrade | Self-Titled EP
FRESH BAKED
Dear Comrade
Dear Comrade EP
2010 | Unsigned
A-
I wanted deeply, in my heart of hearts, to not compare Dear Comrade to stellastarr*. But I truly think, even had I not known that Dear Comrade is the work of stellastarr* drummer/keyboardist Arthur Kremer (with the help of Emmett Aiello on lead guitar, bass by Dan Freeman, and backing and occasional lead vocals by Stefani Pekin – who also goes by Dex, and Dr. Dex, though I doubt she’s board certified), my mind would have immediately leapt to that conclusion.
Moody instrumentals, soaring female backing vocals behind almost-speaking-rather-than-singing post-punk male vocals (think almost Interpol), yeah, I could be describing either band. But while stellastarr* began reaching out toward what I would argue is a more gothic sound (in the literary sense of the word) with Harmonies for the Haunted, Dear Comrade is a little less flashy, more stripped down, and attempts to show a broader mix of influences.
“Badlands” opens the album, a semi-political track mostly about apathy. “Conflict of interests, clashing of faith / What would John Lennon fight for today? / Where’s the amber, where’s the glow / Where’s Black Panther, I just don’t know.” While I assume Kremer is referencing the 1960′s radical party, he could just as easily be asking for the Marvel Comics superhero. Oh, the joys of interpretation. The track itself is certainly enjoyable, but I think it lacks a certain spark, especially when compared to later tracks on the album.
January 17, 2009
Meat Loaf | “I Would Do Anything For Love (But I Won’t Do That)”
HATE TO ADMIT IT, BUT…
“I Would Do Anything For Love (But I Won’t Do That)”
Meatloaf
Bat out of Hell II: Back into Hell
1993 | MCA/Virgin
B
What is Rock and Roll, if not fodder for the imagination of teenage boys? You get to a certain stage, just past puberty, but not quite dating, not old enough to drive. You’re smarter, but you’re not sexy. Dungeons and Dragons, comic books and Little League are all good diversions, but there’s no girls. Hence, Rock and Roll!
In the summer of 1993, I turned 14 years old. My new favorite bands were They Might Be Giants and the Violent Femmes. I saw my first rock concert, the second greatest 90s rock bill ever: The Spin Doctors, special guests Soul Asylum and Screaming Trees (the greatest 90s rock bill ever was the following summer: Spin Doctors, special guests Gin Blossoms and Cracker. CRACKER!). 1993 was the year of the last gasp of pre-alternative hard rock: Nevermind had stunted further growth of the hair metal monolith, but In Utero had yet to choke the last breath out of the peacock-rock world. So 1993 saw the release of the last few great albums by 70s and 80s giants: Aerosmith’s Get A Grip, the Last Action Hero soundtrack, and Depeche Mode’s Songs of Faith and Devotion were all released. And so was one sequel the world didn’t even know it was dying for: Bat Out Of Hell II: Back Into Hell, the Jim Steinman-written, Meat Loaf-headlined sequel to their 1977 operatic smash Bat Out Of Hell.
More on Meat Loaf | “I Would Do Anything For Love (But I Won’t Do That)”
HATE TO ADMIT IT, BUT…
“I Would Do Anything For Love (But I Won’t Do That)”
Meatloaf
Bat out of Hell II: Back into Hell
1993 | MCA/Virgin
B
What is Rock and Roll, if not fodder for the imagination of teenage boys? You get to a certain stage, just past puberty, but not quite dating, not old enough to drive. You’re smarter, but you’re not sexy. Dungeons and Dragons, comic books and Little League are all good diversions, but there’s no girls. Hence, Rock and Roll!
In the summer of 1993, I turned 14 years old. My new favorite bands were They Might Be Giants and the Violent Femmes. I saw my first rock concert, the second greatest 90s rock bill ever: The Spin Doctors, special guests Soul Asylum and Screaming Trees (the greatest 90s rock bill ever was the following summer: Spin Doctors, special guests Gin Blossoms and Cracker. CRACKER!). 1993 was the year of the last gasp of pre-alternative hard rock: Nevermind had stunted further growth of the hair metal monolith, but In Utero had yet to choke the last breath out of the peacock-rock world. So 1993 saw the release of the last few great albums by 70s and 80s giants: Aerosmith’s Get A Grip, the Last Action Hero soundtrack, and Depeche Mode’s Songs of Faith and Devotion were all released. And so was one sequel the world didn’t even know it was dying for: Bat Out Of Hell II: Back Into Hell, the Jim Steinman-written, Meat Loaf-headlined sequel to their 1977 operatic smash Bat Out Of Hell.
More on Meat Loaf | “I Would Do Anything For Love (But I Won’t Do That)”
