December Reviews

The Acacia Strain
Continent
8/19/08
Prosthetic Records
www.myspace.com/theacaciastrain

RATING: BAD ASS

Fierce on lyrics, yet repetitive instrumentally, the Acacia Strain's fourth offering doesn't offer anything innovative to the metal gods, but it's as loud and pulse-pounding as ever. In a big way, the band offers up way too much of the same, and you notice that when the barrage of guitar and drum assaults don't change a whole lot throughout the first seven songs. But when you here the extended chords come up in "Cthulu," and the intense guitar solo in "Dr. Doom," it shows signs of what the band is really capable of.

The vocals spit venom and the truth with a profound intensity. They can be placed among the angriest in metal. And when you read through the lyrics, you find that the bands writing is pretty well thought out, even if most of the songs are about apoplectic scenes of destruction. Along with "Cthulu" and "Dr. Doom," the songs to hear include "Fucking Christ," "The Seaward," and "Kraken." The musical number at the end is also the biggest breathe of fresh air for the album. Overall, Continent is perfect for any metal fan that's looking for something new that doesn't stray too far from the usual path. Bill Meagher

***

Bruiser
RightBeforeTheStopAhead
10/24/08
Self-release
www.bruiserband.com

RATING: BAD ASS

It would be easy for a person to dismiss Bruiser for being unoriginal – the band owes an obvious debt to early grunge, the more punk-leaning end of pub rock, and even some emocore – but that person would also have his head so far up his own ass that you're better off ignoring him. Because, while it's easy to attack Bruiser for not being the most visionary, forward-thinking band with their latest EP, RightBeforeTheStopAhead, it's also completely missing the point – that Bruiser are doing what they do so damn well.

There's not a single riff here that isn't immediate, not a single instance of phoned-in songwriting - aptly titled centerpiece "LOUD/soft" is a near-perfect study in thoughtful pacing, with instrumental breaks and subtle variations on the song's piano-led theme occurring at just the right moments. And it manages all this in under three minutes.

Sure, this isn't a genre-defying revelation. Things aren't perfect – guitarist/vocalist Dan Stock's over-emotive, wounded dog singing is going to be a deal breaker for some – but what is? For a band you've never heard of offering a free 18 minute slice of unpretentious, celebratory rock, they come close enough. Bill Stewart

***

Edie Sedgwick
Things Are Getting Sinister & Sinisterer
11/11/08
Dischord Records
http://www.ediesedgwick.biz/

RATING: SEMI-OBNOXIOUS

Mixing artistic freedom with untamed ambition does not always cohesively reward. Take former El Guapo/Antelope/Supersystem member Justin Moyer, whose recently-concocted alter-ego. Edie Sedgwick, is the star of the show on Moyer's super-biographic new album, Things Are Getting Sinister & Sinisterer.

Edie Sedgwick's disk-spanning chants and wails start off loveably tolerable, with the shouts popping in from the left and right, with modest synth-and-beat work acting easily as backing support. Unfortunately, after several tracks of center-spotlight, nearly all the auditory appeal this electroclash superstar gave birth to washes into itself, mixing and distorting all musical purpose. Though this album has much potential, there are only so many ways you can listen to one musician's story. Greg Bem

***

Pawnshop Roses
Versions EP
2008
Earvolution Records
pawnshoproses.com

RATING: BAD ASS

From the opening seconds of this six-song EP, it's clear that something special is going on. Maybe it's the horns and vocals that sound like they were recorded during the golden age of soul. Maybe it's the sheer energy of the track standing in contrast to the contemporary swamp of moody, muted tones. Or maybe it's simply a reminder that music has the power to make you happier on a very basic level.

This is the kind of music that makes you wish you'd been at the studio watching the band play just so you could share the joy of recording it. Singer Paul Keen says it best in the bridge of "Second Hand Love" - "I'm sorry, I'm just having so much fun." This EP sees the Pawnshop Roses having fun trying out the styles they love to listen to. Whether recording both a soul and a country version of "Second Hand Love," or doing their best Rolling Stones impression on "Goodbye Sarah K," these guys are having fun, being true to their roots, and making some damn good music.

The only argument against the value of this music is that it is derivative of nearly the entire catalog of good blues and rock 'n' roll. Their version of "That's All Right" can't beat Elvis', and their "Statesboro Blues" can't beat the Allmans', but, to be fair, those are some high bars. And besides, it doesn't seem as if they're trying to produce the definitive versions of these songs. They're just doing what a good band should – making music they love. In other words, derivative music isn't necessarily a problem, as long as it's this good.

Is it high art? No. Is it a classic record? Probably not. But it is honest music from honest men having an honestly great time. Nick Krefting

***

Bears
Simple Machinery
9/2/08
Self-released
www.bearspop.com

RATING: BAD ASS

If cuddling with music were possible, Simple Machinery would be the ideal partner. Bears' second full-length serves as a lyrical band-aid for the broken hearted. With lyrics like "Should I try to live without all you have to give," ("Everything I Need") and "I knew we were doomed right from the start," ("Wait and See") the album might seem like the ultimate cry fest. Yet, the sound is upbeat and catchy, in an indie folk-like way. The combo of cheerful sound with tortured lyrics gives the hopeless romantic a depressive fix all while seeing the light at the end of the tunnel.

Bears' brand of pop is a meld of bells, keyboard and, perhaps the oldest instrument known to man after to voice, the hand clap. Simple Machinery's Belle and Sebastian sound with a funky twist presents a steady flow throughout the album, but maybe too much flow. The music itself is distinct, however, each track doesn't carry its own presence. Besides that the 13-track album could be confused with one marathon of a song, Bears put out a fun selection that makes you want to dance around to mourn your hurt heart rather than crawl in a hole to weep. Samantha Krotzer