Review: The Black Keys - Brothers (* * * *)

Over the past few years, Patrick Carney and Dan Auerbach have done much in the name of progress. Working with Danger Mouse to produce their 2008 album Attack & Release, providing the rhythm section for the rap-rock experiment Blakroc, and taking the time to focus on side projects last year definitely served to shake things up for a duo that was previously known more for their impressive consistency than for their innovation. Yet somehow it’s their latest record, Brothers, that feels like the most ingenuous step forward for the band in quite some time—and tellingly, with this new effort the Black Keys needed little outside assistance to accomplish that. While Brothers may be considered a return to the basics for the Akron, OH natives by some, the spread of ideas here sets the album apart from the band’s earliest material while the quality of the songs themselves makes this recent collection their strongest in some time, rivaled perhaps only by 2004's excellent Rubber Factory. (Read the rest @ In Review Online!)

Review: Wildbirds & Peacedrums (* * * *)

In an increasingly crowded indie music scene, those that produce anything genuinely unique are few and far between. However, 2009 has been a banner year for progressive music, and Wildbirds & Peacedrums is just more proof of this. Though perhaps not that well known yet, Swedish husband and wife duo Mariam Wallentin and Andreas Werliin have just released an often stunning sophomore album: The Snake is an ambitious record that unfortunately may not get the attention it deserves, but an accomplished and inspired work nonetheless. The band has been described as a "drums-and-vocals" duo (Wellentin singing and Werliin on percussion), and the two artists remain mostly faithful to that simple formula, removing guitar almost completely from the equation, and distancing themselves from the sound of bluesy rocker two-pieces like The White Stripes and The Black Keys. Instead, a more apt comparison may be to the likes of Natasha Khan or to the vocal ferocity of Bjork, whose influence is obvious during several songs on The Snake. (Continue Reading...)

There Is No Light (MP3)

New and Notable: Imelda May

Last week I gave away a song (which you can find again below) by upcoming blues/jazz/rock singer Imelda May, but I feel like she deserves a more proper introduction. The talented crooner/songwriter boasts a strong, sultry voice and a great ear for melody which have earned her a spot on the Jooles Holland show, the admiration of Jeff Beck, and no small amount of converts in her native Ireland and throughout the rest of the UK. May is just now releasing her debut album in the U.S. where I imagine she will receive a warm welcome as well, combining classic blues, boogie-woogie, and plain old rock 'n' roll into a thoroughly enjoyable and entertaining set of 12 tracks for her new record.

Opener and first single "Johnny Got a Boom Boom" sets the stage, with Imelda's smoldering vocals over an active bass line and some stellar stick work. The tune is the first of many examples of May's fantastic vocal ability with both aggressive rockers and delicate ballads, but it's readily apparent that the boys in the band are just as integral to the success of the album as their fiery frontwoman. Throughout the album they conjure up the appropriate backdrop for her bluesy poetry; "Feel Me" has some jazzy piano and a sweet guitar solo, "Big Bad Handsome Man" features delightful, squealing trumpet over a swingin' beat, and "Meet You at the Moon" slows things down for a smoky lounge ballad with all the right touches. It's gritty, sexy, and fun all at once, a record that makes for one spectacular debut.

Download the single below (or watch the video), check Imelda May and company out on MySpace, and get a hold of Love Tattoo as soon as possible - you'll be very glad you did.

Johnny Got a Boom Boom (zipped MP3)

Review: Soulive - Up Here (* * * *)

Familiar to many but new to me, jazz/blues/rock trio Soulive are back with their eighth effort, Up Here, an exceptional instrumental (well, mostly) record that showcases not only the tremendous talent of the trio but the wealth of ideas the band bring to their music as well. The band members are Neal Evans (organ, piano, etc.), Eric Krasno (guitar), and Alan Evans (drums),though the guys collaborate to provide rich horn arrangements and a couple strong vocal performances by blues singer Nigel Hall. Tackling genres from acid rock ("Backward Jack" to soulful R&B ("PJ's), the group make Up Here thoroughly entertaining and consistently surprising while retaining a very accessible and effortlessly enjoyable style. Both fans and newcomers alike should be satisfied with this latest outing from these New York natives.

The tracks with vocals, like the so-sexy-it-hurts rocker "Too Much" and the James Brown-esque "Tonight" are great, don't get me wrong, but it's best when the trio allow the focus to remain on their virtuoso instrumentals. Opener "Up Right" appropriately gets it's name from the piano Neal Evans hammers on in between horn solos, while the guitar and percussion stay more in the background but are no less expertly played. "The Swamp" relies more on Alan Evans's drumming and "PJ's" is all about Krasno's weeping guitar, but the boys generally find a good balance, sometimes going the traditional jazz route and giving everyone a chance to shine on a single track (like on "Hat Trick," for example). This is fun, rockin' blues at its absolute best, and while there are a couple tracks that don't shine quite as bright as the best cuts, the record's 40 minutes contain no filler and plenty of killer.

I'm not much of a jazz junkie, but I imagine Up Here will have almost universal appeal, especially to those that appreciate intelligently composed and skilfully executed instrumental music. Even indie kids like me should have no trouble rocking out to this eclectic set. Eight albums in and Soulive show no signs of losing their edge.

Soulive on Myspace

New and Notable: Hill Country Revue

Formed by North Mississippi Allstars members Cody Dickinson and Chris Chew, and featuring Daniel Coburn of Dixie Hustler along with several other well-known Memphis musicians, Hill Country Revue is a soulful blues-rock group that just released their first album today - Make a Move. The recipe here is fairly simple, and often familiar, but it produces some solid results. The boys use their collective musical chops to create hard-hitting rock 'n' roll with copious amounts of fiery guitar solos and some spectacular work on the rhythm section that makes the ten tracks of their debut an exciting blues record that should satisfy enthusiasts of the genre.

Explosive opener "Alice Mae," the impassioned "Let Me Love You," and the raw, gripping "Ramblin'" are good examples of the band at their best, churning out crunchy riffs and spectacular solos in between soulfully-delivered vocals. Though the album is relatively long (45 minutes) for ten songs, the group keeps their jam band tendencies to a minimum here, only showing those colors on a couple tunes, including the lengthy, solo-heavy closer "Growing Up In Mississippi." It's quite obvious this isn't the first go 'round for the boys, and while there's not much to really 'explore' on Make a Move, there's plenty to enjoy.

For a taste, head to my previous post to download "Alice Mae," or find more at the band's MySpace page.

Hill Country Revue set to release debut LP - offer free single

The name Hill Country Revue may be new, but you might have heard members Cody Dickinson and Chris Chew's other group, North Mississippi Allstars, or Daniel Coburn's band Dixie Hustler. Together, and with several other well-known Memphis musicians, the boys formed this new project - seeking to become the "the modern blues band for the new generation." The music is heavily steeped in classic Southern rock, with plenty of incidiary guitar riffs and a solid rhythm section making songs like "Alice May" an irresistable update of a timeless sound. Their debut album, Make A Move, will be released on May 12.

"The North Mississippi Allstars haven’t broken up,” Cody Dickinson says. “We’re just off doing different things. Hill Country Revue, for Chris and me, is like a big jolt of adrenaline. It changes our blood chemistry and has us firing on a whole different set of synapses. Also the input from the other guys in the band, both as musicians and friends, is amazing. So everybody gains!”

Download the track "Alice May" below, and check out the tour dates for this Spring and Summer:

Alice May (MP3)

04.24.08 – Backbeat Jazzfest Series/The Republic – New Orleans, LA
05.02.09 – George’s Majestic Lounge – Fayetteville, AR
05.16.09 – Batesville Springfest – Batesville, MS
05.23.09 – Summer Camp Fest – Chillicothe, IL
05.30.09 – The Jewish Mother – Virginia Beach, VA
06.05.09 – Wanee Festival – Live Oak, FL
06.27.09 – North MS Hill Country Picnic – Potts Camp, MS
07.05.09 – Rothbury Music Fest – Rothbury, MI
07.10.09 – All Good Music Festival – Masontown, WV
07.31.09 – Verizon Wireless Center – Noblesville, IN **
08.01.09 – Verizon Wireless Center – Noblesville, IN **

The Devil Makes Three announce tour, debut album

If you didn't know any better, you might think The Devil Makes Three originated from pretty much anywhere BUT Southern California. The drummer-less trio of of Pete Bernhard (guitar, banjo, harmonica, vocals), Lucia Turino (upright bass), and Cooper McBean (guitar, banjo, saw) make country folk music that sounds quite unlike anything made since about 1950 or so. Their old-school blues sound has a raw, rough edge and a light-hearted feel that makes for quite the musical experience. The group are set to release their third album, Do Wrong Right, on May 5 and will start touring in March.

For a taste of the upcoming record, download the opening track "All Hail" below and visit their MySpace to hear a few more tunes. Stay tuned for a full album review a little closer to the release date.

All Hail (MP3)


Tour Dates:

MARCH

March 12: Club Fred - FRESNO, CA
March 13: Las Vegas Country Saloon - LAS VEGAS, NEVADA
March 14: The Green Room, FLAGSTAFF, CA
March 16: WXSW Festival - TUCSON, ARIZONA
March 21 - Submerged, Austin TX
March 18: Lovejoys - AUSTIN, TX
March 23: The Blue Door - OKLAHOMA CITY, OKLAHOMA
March 26: Burt's Tiki Lounge: SALT LAKE CITY, UTAH

MAY

May 2: Great American Music Hall - San Francisco, CA . CD RELEASE
CONCERT)
May 10: Downtown Brew - San Luis Obispo, CA
May 11: Downtown Brew: San Luis Obispo, CA
May 15: Mystic Theater, PETALUMA, CA
May 17: The Historic Ashland Armory, ASHLAND, Oregon
May 22: Stawberry Music Festival. YOSEMITE NATIONAL PARK, CA
May 26: WOW Hall, EUGENE, OR
May 27: Wonder Ballroom, PORTLAND, OR
May 28: The Crocodile - SEATTLE, WASHINGTON
May 29: Baby Bar - SPOKANE, WASHINGTON
May 30: The Other Side - MISSOULA, MONTANA
May 31: The FIlling Station - BOZEMAN, MONTANA

Review: Benjy Ferree - Come Back to the Five and Dime, Bobby Dee Bobbe Dee (* * * *)

Concept albums can be tricky beasts. There's a great deal of artistic credibility associated with many of these projects, but also a general feeling that these records are less likely to succeed from a musical standpoint. Personally, I tend to avoid albums with an exceptionally strong concept or story running through them; I'm just not frequently willing to wrap my head around the often obtuse tale being conveyed to me over 10 or 12 tracks. I can think of some notable exceptions, however, and Benjy Ferree's latest, "Come Back to the Five and Dime, Bobby Dee Bobby Dee" can now be added to that short list.

Ferree has crafted what could be considered a tribute to the late Bobby Driscoll, the child star who portrayed Peter Pan in the 1953 Disney movie and then faded into obscurity, poverty, and drugs after being discarded as a less marketable teenager, eventually dying at the young age of 31. A strange concept, to be sure, but one that is carried out with style and confidence. The album's unique story, quirky production, and gritty rock presentation make for a fascinating musical journey unlike anything you've heard before.

While I don't pretend to understand the wealth of references and odd lyrical phrases, some of them are fairly obvious. Peter Pan, "In the name of lost boys everywhere" and Pinocchio, "My conscience is a cricket, every time I curse you know he gives me a ticket," are both referred to in opener "Tired of Being Good." Elsewhere, Ferree refers to the ruthlessness of showbiz in "Big Business" and "Blown Out," the awkwardness of youth in "When You're 16," and "Whirlpool of Love," and a general feeling of frustration and loneliness throughout the record.

Ferree's keeps the emotion in the record palpable with his fresh and exciting rock sound, pushing things forward even when the lyrics become too obtuse to be worth figuring out. Quite a bit of the classic rock 'n' roll genre is covered in 'Bobby Dee,' like the honkey-tonk rock of "Big Business," the bluesy "Fear," complete with soulful choir vocals, and the White Stripes-esque "Great Scott!" Ferree's voice, which hovers somewhere between Freddy Mercury and Jack White, delivers even the most absurd of lines in a convincing manner, and his arrangements keep you on your toes. He's also quite the musician, crafting raw guitar hooks that make the music immediate and intense.

'Bobby Dee' is probably too bizarre and complex for some listeners to love, but Ferree has managed to create something that is not only unique, but also easy to appreciate and, most importantly, enjoy in a more casual way. However you present it, rock 'n' roll music this good is worth experiencing.

Review: The Black Keys - CD/DVD

CD: Attack & Release (* * * *)

Somehow, I managed to get through most of 2008 (though not all of it, fortunately) without hearing much of The Black Keys latest effort, Attack & Release, the duo's fifth full-length album. Long the flag-bearers of old-school meat 'n' potatoes rock in modern times, Dan Auerbach and Patrick Carney of Akron, OH have shaken things up a bit this time around with the (in)famous Danger Mouse heading up the production duties. The result is a slightly more stylish and sleek version of The Black Keys typical guitar and drum barrage.

Though hardcore fans and rock purists might balk at Danger Mouse's production flourishes (flute, keys, exotic-sounding background vocals, etc.), Attack & Release feels like a necessary step in the evolution of the band. The difference becomes most apparent on the album's slower tracks, where the details give the songs layers of depth behind the typical guitar/drum/voice combo. The opener "All You Ever Wanted" floats along amid hazy vocals and acoustic guitars, while "Psychotic Girl" combines banjo, piano, and what sounds like a haunted choir in a psychedelic slow-burner. Of course, what would a Black Keys record be without some down 'n' dirty rock songs. "I Got Mine" and "Remember When (Side B)" eschew any flowery studio tricks for simple six-string assaults.

Though both the highs and the lows on Attack & Release succeed, some of the most enjoyable moments are made when the duo find a balance between their aggressive rock and slow, meandering blues styles. "So He Won't Break" and "Oceans & Streams" are solid, mid-tempo tunes with plenty of soul and just a little extra production that really hits the spot, while the closer "Things Ain't Like They Used To Be" is a lonely ballad featuring guest vocals by Jessica Lea Mayfield that wraps things up nicely.

While The Black Keys might not grab you quite the way they used to, Auerbach and Carney have taken steps to avoid complacency and remain a vital, relevant rock 'n' roll presence.

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DVD: Live At The Crystal Ballroom (* * * * 1/2)

Known for their explosive live performances and their ability to draw an impressive crowd wherever they go, The Black Keys now give those of us who have missed out thus far (or those hoping to relive the experience) a concert DVD of their show on April 4, 2008 at The Crystal Ballroom.

It's remarkable how two men can produce so much noise and energy on stage. Right from the beginning notes of "Same Old Thing," Auerbach and Carney kick things into high gear and never let up throughout 17 songs lasting just over an hour. This performance displays the band at their most simple and primal, with no other musicians taking the stage and Auerbach only once trading in his guitar for the keyboard (though it was so fuzzed out, it was practically the same thing). Occasionally the duo take some time to jam for a bit which is fun for a live show, but they know where to draw the line and manage to keep things focused.

The duo don't waste much time on chit-chat besides the obligatory "thanks so much" and "we love being here" kind of thing, they just gave the people what they wanted, real rock 'n' roll. No pretension, no distractions (well, besides the multi-colored light show), and no dull moments. Auerbach stomps and sways, howling into the microphone while Carney pounds away. And the crowd? They love every minute of it.

As an introduction to The Black Keys or as a reminder of their greatness, Live At The Crystal Ballroom is the band at their absolute best.

For more information on the tracklist and a live track download, check out my earlier post.

New Artist: Matt Morris

While Matt Morris might seem new to the music scene, he's anything but. Already an accomplished songwriter, his tunes have been sung by pop stars like Justin Timberlake, Kelly Clarkson, and Christina Aguilera. Remember "Miss Independent"?

Now he's adding singer and musician to his resume with plans to release a full album next year. Meanwhile, he recently released an EP called Backstage At Bonnaroo And Other Acoustic Performances, an obviously titled collection of five acoustic tracks for fans of his stripped-down performances. Though Matt's songwriting credit points to a more mainstream approach to pop music, the EP showcases his versatility as an artist with little more than just his piano and guitar. "Money" brings to mind a more soulful Jack Johnson, "Bloodline" is a country-tinged folk ballad, and "The Un-American" sounds something like a Queen song with its bouncing piano and Morris' Mraz-meets-Mercury tenor voice.

Backstage At Banaroo is a fun introduction to Matt Morris as an exciting and talented new singer/songwriter. I'll be looking forward to hearing more about him in the upcoming months.

The EP is available now on iTunes; check out "Money" on his MySpace page.