Bob has been writing and performing under the moniker Bob Villain for some time now; and while I have yet to see him play live from what I’ve been told it’s truly a sight to be seen as he apparently shredded it up nicely at the Velvet Lounge in DC some time ago. This release was put out on the Seven1878 Imprint label based in Strasburg, VA. His singer/songwriter style evokes visions of one of his main influences in Evan Dando (Lemonheads) but on “Dark Side of the Room” he reaches out for a more experimental and abstract path. Often his lyrics evoke a range of emotions but always convey a certain raw quality which so many of the slickly produced pop sensation crap lacks in earnest. The recording quality is definitely above the standard bearers one expects from the apartment / basement scenes which is a great change of pace. His voice traverses from an edgy howl to a gruff melodic style throughout the album. He adds elements of harmonica to his rhythm guitar. What’s perhaps most compelling is that unlike so many singer/songwriters who pepper their album with a handful of punts, all of the songs on this quick listen are tight, well-written, and seem rather like a natural fit for his style – nothing’s forced at all. The honest approach is evident throughout and the album also features a collaboration with labelmate Christopher Feltner. Well done and I’m looking forward to a live show and a follow-up. Hit him up on his facebook and peep his bandcamp now.
Posts tagged rock
Young Livers evokes post-hardcore gritty dank guitars that drop bombs similar to seminal outfit Drive Like Jehu. “Of Misery and Toil” burns no bridges as they embark upon a steady diet of breakdowns, odd song structures, and tinkering with what we’ve all come to expect from post-indie rock outfits. Mid-range rhythms with some blasts of devastation that are few and far between remind me of a Far that doesn’t deploy a melodic singer (think Hot Water Music) and nods firmly in the direction of punk rock. Each song evokes an immediate attention span quadrant that scans the horizon looking for something better but comes up empty. I swear they are a few decades removed from the DC hardcore scene.
The first full-length album from The Union Trade debuts their cinematic post-rock experience that is mapped out with crafty climaxes and dips into caverns of lows. Cheering on the recent wave of minor key grandeur in indie rock, The Union Trade seem destined to swiftly pour their influence into the pores of songwriters across the States. Dense walls of guitar are glazed and spackled with inflections of sound effects and distortion. Their record label, Tricycle Records, better make sure they have a solid contract in place with these folks as the Union Trade is easily the next Coldplay. As emotional as it could get, “Everyday Including” is a transcendental album awash in guitar fuzzy logic and hugely catchy triumphs. Simply amazing and simply essential. Own it and friend them on myspace.
Big tits and acting ability can get you far in Hollywood, but they don’t mean shit to the wonderful world of sound waves. Scarlett’s husky voice might have SOUNDED ON PAPER like the perfect fit for covers of the whiskey-throated Tom Waits but “Anywhere I Lay My Head” (which by the way lacks the crucial subtitle of “(on Scarlett’s bosom, results in neck cramps”) is a sorted affair of pop interpretations with only one original song that was co-penned with the help of producer and multi-instrumentalist (he played darn near everything here) by none other than TV on the Radio’s own David Andrew Sitek which was a yawn not a delight. How can lips that perfect by so flawed?!? Yeah Yeah Yeah’s guitarist Nick Zinner also lends a hand to her debut. Now, I’ll leave you with what should have been the cover art…