MUSIC

Rock Against Bush Volumes 1 & 2
By Various Artists

When my parents told me George W. Bush was running for re-election and that they were getting a divorce, I said nothing, but grabbed my purple Jansport backpack and ran upstairs, fighting to hold back the tears, not succeeding.

I threw myself on the bed, clutched a pillow to my face, and screamed. “Why is the world so efft up?!” I wrote in my Hello Kitty diary. I knew it wasn’t my fault that George Bush had been elected in the first place I’m not even old enough to vote! – but were my parents getting a divorce because of me?

I’m not a perfect daughter. Mom and Dad and Geroge Bush know this. But I try. Why couldn’t they stay together, and why couldn’t George W. actually fund The No Child Left Behind Act?

I called my friend Tami and bawled my eyes out. She advised me to put on Rock Against Bush and turn it up real loud. Tami said it might not bring my family together again, but at least it would, through the power and majesty of punk rock, remove that un-elected, right-wing puppet from his throne of blood. (Tami wants a career in public relations and is always talking like that, advising me to buy a new product to soothe my fragile adolescent mind.)

And what do you know – it worked! Once my parents had their faces rocked off, they realized they should remain in a loveless marriage for the sake of the children. George W. Bush was defeated through the power of rock, that boy Taylor who always sits in front of me in math class finally talked to me, and the world no longer feared and hated America. Plus I got boobs!

– STEPHI GRASSO

Between the Waters:
Connection (2004)
Tidal Wave Productions

Are you lost, in search of new, hip music, created specifically for life on the sea? Do you yearn for music to act as a soundtrack to some New Age fantasy where you’re sailing on a roving ship, comfortable, without all the evils of pirating (you know: Pillaging, shivering one’s timbers, swashbuckling, wooden legs, et cetera)? No? Me either. But if I was, this would be my kinda music.

It seems like Between the Waters have succeeded in producing something Yanni might be proud of, only with a new, rockin’ twist. It ends up sounding like Tori Amos singing with an acoustic Our Lady Peace and a bunch of Orcs (foot soldiers corrupted by elves, captured by Melkor in the First Age, in case you’re wondering. Oh, was that too fucking arcane for you? So is this music. So deal with it). To their credit: The sound production is commendable, the musicians are very talented, and they have a unique, substantive sound. It’s worth a listen, if only for a laugh.

Similar bands: Lush, Cocteau Twins, The Smiths, The Church, Crash Test Dummies, Sting projects reflective of his recent meditative (aged) work

Self described as: “Ethereal music;” “the intersection of Dream Pop, Jangle Pop and Folk Rock”

Between the Waters is releasing their debut CD, Connection, at Garfield Artworks on Friday, October 22, at 9:oo pm.

– PATRICIA MCKEAN

Cherry Monroe
Self-titled (2004)
Rust Records

As if they were bred for radio airplay, Cherry Monroe have the look, the sound, and the nose piercings to get them some attention regionally and, less-likely, on the national stage. And though their music is sometimes trite and predictable, sometimes it’s not. Like here, in this selected lyric:

I take painkillers just to be just to be with you
I take painkillers just to be just to be with you
Let’s lie beneath the stars and cry

Similar bands: Blink 182, Blur, Dashboard Confessional, Saves the Day

Self described as: “A catchy blend of Emo-love ballads, 80s British-sounding vocals and radio-friendly rock”

Cherry Monroe is releasing their self-titled debut at Mr. Smalls Theater on Saturday, October 23, at 8:oo pm. Performing with them will be Further Down, Liquafly, Luca Brazi and The Yards.

– NOVA KEENAN

Lamb of God
Ashes of the Wake (2004)
Prosthetic/Epic

Lamb of God sounds like a bunch of machine-gun fire under Cookie Monster loudly pontificating on the nature of killing people in a Gothic fantasy. Or something. One of my favorite lines on Ashes of the Wake is about Code of Honor boiling down to: When I kill you, it’s your mistake; when you kill me, I forgive you. Which, I guess, is political. Musically, their technical skills are precise – the album, on a whole, is tighter than [insert your own lude phrasing here. Examples: Tighter than a Times Square peep show during fleet week; tighter than a Nun’s wimphole (which I don’t really get); tighter than a gnat’s arse; tighter than a Vegas bellhop at a Britney Spears wedding, et cetera. Anything really implying that their instrumentation is quite taut].

Anyway, I had a chance to meet one of Lamb of God’s guitar players – Mark Morton – on their tour bus at The Rock Club in Station Square. I wanted to talk to him about politics, but he wasn’t really feeling it. He’s mostly into video games and he’s not voting. So after about ten minutes of getting nowhere with him, I left and went to Hooters (behind the Rock Club) to use the restroom. At the door, the hostess – a predictably beautiful wee brunette with a French accent – asked if I wanted to speak to the manager. And though I was only looking for the john, I said, “Uh, sure,” and talked to the manager for a minute or so. He’s voting for Kerry and he’s never heard of Lamb of God, but he’s not really sure.

Similar bands: Metallica, Megadeth, Dim Mak, The Red Chord, Cataract, God Forbid

Self-described as: “Pure American metal.”

Lamb of God’s most recent release, Ashes of the Wake, is available in record stores now.

– MISTER HO JANGLES

Kevin Finn
Something (2004)

On his debut album Surface Tracks 1999-2000, cyber-folk-singer-songwriter Kevin Finn combines traditional folk sense with curious instrumentation to form a haunting and somewhat misguided album.

Clearly inspired by progenitors of the genre like Nick Drake and Ryan Adams, Finn uses a soothing, rhythmic acoustic guitar as the principal backdrop for each track combined with random percussion instruments and an appropriately placed violin to complete a unique ambiance. The opening track, “Take the Rain”, is the album’s best and utilizes Finn’s entire songwriting prowess. Even the live tracks, especially “Like Smoke I Will Go”, seem to manage a certain ethereal quality about them. Not to be outdone, are some noteworthy song titles that use this milieu of auditory composition to transport listeners into Finn’s world. References range from obscure parables (The Boy and the Lion) and Judy Blume books (Beezus) keep listeners looking toward the next track.

Consequently, this superior sense of musical arrangement is somewhat overshadowed by predicable, superficial lyrics. Finn’s voice is adequate, but never quite matches up with the instrumentation that he has constructed. Overall, Surface Tracks is a satisfactory, listenable album which could serve as a respectable starting point for Finn’s career.

– IRVING WASHINGTON

Grain
The Bad Years (2004)

Most bands don’t wear their 70s influence like Pittsburgh natives Grain do. That’s because most can’t pull it off half as good as they can on their new album, The Bad Years.

Combining the best of mid-70s jam rock and the music that tried to destroy it (late-70s new-wave), Grain creates a sound that is simultaneously fresh and nostalgic. “Jump Into The Fire” recalls the upbeat guitar-fueled sound of Humble Pie or The Allman Brothers, but Carla Simmons repeated plea of “We can make each other happy” reminds one of the raw emotional lyrics of Blondie. You don’t expect to hear both sounds together, and you really don’t expect for it to sound good, but it does.

Even some country-rock and blues is thrown in for good measure with “Can’t Lose” and “Third Floor” featuring a twangy guitar opening and Allman Brothers influenced guitar solo. By the time this album comes to a close you’re half expecting a hardcore punk segue, or even a foray into some Black Sabbath moments of metal.

This eclectic range can hurt the band though. While their country-rock influenced songs are good, they pale when compared to their new-wave/punk tracks, such as the aggressive “Everything You’re Not” and trippy, ethereal “Landmine.”

Grain still sounds like they have to sort their influences out into a more cohesive sound, but where they are at now is almost good enough. If they keep it up, it’ll be amazing to hear these guys in the future – in the, uh, bad...years. Get it? Huh? The... album is called... eh, nevermind.

The Breakup Society
James At 35 (2004)

The Breakup Society’s debut, James At 35, isn’t the first concept album about getting dumped (see Weezer’s Pinkerton) but it’s probably the first one that won’t lead a recently dumped guy to the bar. Great in its simplicity and brutal honesty, its harsh topic is partially covered in its conviction, honesty and dry sense of humor.

The tone of the album is set from the start with “Robin Zander” the best song ever named after a member of Cheap Trick. Of course, it’s probably the only song named after a member of Cheap Trick, but if anyone ever records a bitchin’ song entitled “Bun E. Carlos,” it still probably couldn’t top this disguised tribute to the forgotten front man from the power-pop band. The song’s sad topic of being forgotten (“If all you are was just a footnote, then where does that leave you-know-who?”) is masked by its catchy tune and great garage-rock/power-pop guitar.

Despite the concept, the album rarely sinks into the realm of self-pity. And even when it does, they somehow make it work. Songs like “She Doesn’t Like That Anymore” and “Favorite Shorts,” lamentations about how girlfriends seem to hate it when you act like, well, yourself, will hit home for anyone that’s been in the same situation. But instead of bringing you down, it’ll only reaffirm that you were right and they were wrong.

Singer/guitarist Ed Masley has been in several bands before The Breakup Society, and his maturity and talent certainly show it. One of the best debut albums of the year, making power-pop sound better than it has in a very long time. The Breakup Society will be playing at the 31st Street Pub on November 6. Check it out.

– JAMES ELDRED