earpollution album reviews [page 2] - issue 2.Ø4, april 2ØØØ

Alabama Thunder Pussy - Constellation
Amel Larrieux - Infinite Possibilities
Califone - Califone
Dark Angel - We Have Arrived
Defleshed - Fast Forward
D.I.T.C. - D.I.T.C.
Flash Mofo - 2.0
Fognode - Urban Passer
Grave Digger - Excalibur
High on Fire - The Art of Self Defense
Jessie Turner - All the Sweet Things
Melvins - The Crybaby
Metal Church - Live

Mudhoney - March to Fuzz
Return of the Grievous Angel (A tribute to Gram Parsons)
Steel Prophet - Messiah
Stratovarius - Inifinite
The The - NakedSelf
Therion - Deggial
Thine Eyes - My Knobs Taste Funny
Third Eye Foundation - Little Lost Soul
Tied + Tickled Trio - EA1 EA2
Town and Country - Decoration Day
Transport League - Satanic Panic

Mudhoney March to Fuzz Sub Pop Links: Mudhoney		1) Mudhoney are adamantly "not broken up." Even though bassist Matt Lukin has officially "retired" from music altogether, the band have no plans to replace him, no plans to call it quits, no plans to continue on without him--no plans, period. And that's a good thing, kids. 2) If they did break up, March to Fuzz would be the absolute, must have, compilation. It's simply fucking brilliant! One disc of fav's, a second of b-sides and rarities (three slabs of vinyl, if that's your flavor). 3) The songs on the first disc need no explanation; it's Mudhoney for chrissakes! Either you already own 'em and know 'em and love every one, or you lie about it to save face and hoof it lickety-split to your local, indie record shop and pick this baby up before your friends catch on. 4) Among the b-sides and rarities on the second disc there are some kick-ass covers of songs by The Angry Samoans, The Adolescents, The Damned, Black Flag, Minor Threat, The Crucifucks, Motörhead and Thee Headcoats (to name a few). Another sign of fucking brilliance! 5) The packing and the artwork are a work of beauty. Inviting, colorful...it just makes you want to run your fingers over every seem and fold. The only way it could have been better was had it been a scratch 'n' sniff. 6) Nuff said! Get your hands on this already! *-Craig Young* [ top of page ]
Return of the Grievous Angel (A tribute to Gram Parsons) Almo Sounds Links: Gram Parsons Byrds		Return of the Grievous Angel is a shrine built to the late Gram Parsons. A member of the Byrds during the late '60s and a founder of the Flying Burrito Brothers, Parsons also produced two solo albums in the early '70s--one the year I was considered (1973's GP), and the other the year I was realized (the posthumous release Grievous Angel in 1974). He dubbed his rock 'n' roll country juice-swap "Cosmic American Music" and proceeded to influence all subsequent country rock material ebbing from twanger mainstays like Hank Williams, Jr. to reapers like the Eagles and dabblers such as the Rolling Stones. On Return of the Grievous Angel, forces both old and new are called upon to pay tribute to one of the true fathers of both the old country rock and the increasingly popular "no depression" alternative country now finding renewed foothold in much of the rural U.S. Most notable among veteran contributors are stellar toned down offerings from Elvis Costello ("Sleepless Nights"), Cowboy Junkies ("Ooh Las Vegas"), and original Parsons collaborator and harmony-mate Emmylou Harris (on "She" with The Pretenders, "Sin City" with Beck, and "Juanita" with Sheryl Crow). Also in on the reverie are alt-country movers and shakers Wilco ("One Hundred Years from Now"), The Rolling Creekdippers ("In My Hour of Darkness") and Whiskeytown ("A Song for You"). The results are a bit uneasy at times, but an overall worthwhile event (especially considering how I usually feel about "tribute" albums). The uneasiness is quite fitting though, considering the vulnerability that Gram Parsons himself often sang with. Return of the Grievous Angel consequently works well as an introduction to the true boon of country rock music: unplugged heart-wrenching tales that can't seem to emerge as pure and endearing from other genres. The songs chosen for this album are among his most painful and haunting, and it serves as a fitting loft to the "Grievous Angel" indeed. *-Al Cordray* [ top of page ]
Steel Prophet Messiah Nuclear Blast America Links: Steel Prophet		Steel Prophet's been around the block a few times. They've learned how to fight, play gee-tar, rock, headbang and are probably masters at hair twirling, but they rely precious little on these metallic talents. This is pure American power metal at its '90s best. How things change--ten years ago this would have been tearing up airwaves and I would have had to hate them for their melodies and money. Time passes and I have to instead praise them and say that even though Steel Prophet didn't get the millions (maybe yet) they still have integrity and it appears they still get off on playing tuneful, speedy, rocking metal. Mythiasin's vocals are tuneful, on target, never crack and can rock although just a little too high-pitched for me. Even though this brand of metal isn't always up my alley, Steel Prophet tosses out some burners that I really enjoy, but also has a few of those metal ballads that make me want to retch. If you really enjoyed Def Leppard, Kreator, latter-era Metallica and Mötley Crüe then you are gonna worship Steel Prophet. *-Sabrina Haines* [ top of page ]
Stratovarius Infinite Nuclear Blast Records Links: Stratovarius		It says here that Stratovarius are Finland's leading melodic metal group. Well, I thought that Nirvana put these kinds of bands out of their misery. With their ball-grabbing high vocals and electrifying poofy hair, Stratovarius have highlighted everything that is/was bad about '80s melodic metal. Stratovarius toss in the sad demise of the Scorpions in the middle-'80s, dueling melodic twin guitars, and tons of falsetto vocals (à la Journey and Rush). Stratovarius' music starts out like it will rock your socks off, than they go off on this melodic ballad tangent that reminds me of Dio or Queensrÿche. Perhaps young high school "lovers" who did not live through the agony of these times the first time will find their new love ballads in Stratovarius as they swoon through their junior proms. They combine the bad aspects of everything about that sad and formerly extinct genre of radio-friendly rock. One can only hope this resurrection that Stratovarius has spawned will quickly die to save our gag reflex for wasted nights of swilling profuse amounts of alcohol rather than enduring their tunes. On a good note, perhaps Kraft is "Hunting High and Low" to use them in their next cheezy spread. *-Steve Weatherholt* [ top of page ]
The The NakedSelf Nothing Records Links: The The		Matt Johnson returns from a seven-year hiatus of new The The material and the stark light bulb of the cover art signifies the dark spaces he seeks to illuminate with these new songs. Is it himself or the human condition he seeks to elucidate? In a darkened room, Matt Johnson's guitar is noisily electrocuting him and his voice is scattered, breaking from speaker to speaker as he struggles in "BoilingPoint" to get the words out. "Words blare / Off every surface / Words glare / Till there's nowhere to look / Except to stare." This is an album you don't realize how badly you've needed until you hear it and it fits so completely into that open hollow of your heart. How long have we missed the hot, sweating, sparking, hurting energy of The The? Too long. Way too long. And as he moves from the caustic energy of the opening track into the rambling rhythm of "ShrunkenMan," you are witness to the Peeling of Skin as Johnson begins to unravel his internal exploration. "He tried to smart to catch out his own heart/Cruel to be kind as he cut out all the soft parts/But some days in little ways/Love seeps out in the things he says." A perfect accompaniment to the "Hour of Magic and Loss" presented in this month's eP, NakedSelf is a blistering and heartrending appeal to the part of you that can still feel. Is it just Johnson's condition that he sings about or all of ours? He may use pronouns in his lyrics to make you think one way, but the ache of the instrumentation and music so pulls at you that you can't help but find space for it in your own heart. "But, trapped inside my bones / Fear, desire / And hope are on fire / And will expand like smoke / And fall down like rain / Again..." I hope his exile is over and this is the beginning of a new era of The The. I'm taking to heart a verse from "SoulCatcher" because I think he has as well. "My life is halfway through/And I still haven't done/What I am here to do." *-Mark Teppo* [ top of page ]
Therion Deggial Nuclear Blast America Links: Therion		Yet another magnificent work of symphonic metal. Christofer Johnsson must be a genius because he just keeps coming up with ideas that blow out the symphonic metal realm. No one else seems to have the resources or imagination that Johnsson possesses. This time he didn't use keyboards for the symphonic parts; he actually used a full choir, a tenor, strings, brass and woodwinds live from Woodhouse Studio. Instead of merging metal with some symphonic keyboards, he achieves a fullness and a truly orchestral sound by using actual musicians as opposed to samples. Deggial is Johnsson's tribute to the classical masters (Verdi, Rachmaninov and Orff). He uses portions of their works and melds metal overtures and riffs reminiscent of Accept, Witchery, Voivod and Celtic Frost. The guitar parts are extremely impressive, kudos go out to Johnsson and guitarist Thommy Eriksson. "Seven Secrets of the Sphinx" is a mighty work that will challenge classical music lovers to hop genres. I'm not sure that I am as enamored of Deggial as I was with Crowning of Atlantis, but it is a work that stands up over repeated listenings. I guess I enjoyed his earlier works more because they relied less on snippets of prior classical works than Deggial. This blows all the other symphonic metal competition out of the water. No one else even comes close to Therion. If you love classical or symphonic metal, this is a milestone that cannot be missed. *-Sabrina Haines* [ top of page ]
Thine Eyes My Knobs Taste Funny Doppler Effect Records Links: Thine Eyes		Space Invaders, Kraftwerk and maybe a little Lost in Space. Thine Eyes sound like a Terminator future with a wicked sense of humor. Welcome to My Knobs Taste Funny, the second album from Thine Eyes, a brilliant and oftentimes numbing work in electronics and other random digital transfer. Obvious references are Download, Autechre, or just about anything from the Hydrant/Sprout catalog. Containing mostly original work and remixes by an unlikely group that includes Mark Spybey, Suspicion Breeds Confidence, Not Breathing, Pain Station and Scar Tissue, My Knobs Taste Funny is a must for any electronic/IDM/tweeky industrial fan. If kicking ass with this type of music is possible, Thine Eyes certainly are wearing the steel toes. The first song "ML Theme" comes on like "Devo Corporate Anthem," part 2; a geeky and playful romp that also recalls Sesame Street. Don't let this fool you; as the album progresses, complexity and dynamic tension rule. "Sissy Punch," "Manalog," and "Quality Porn" are all perfect representations of why this band is better than most of its peers. It's the old meets the new. Thine Eyes is like an Atari with a G4 processor. *-Jeff Ashley* [ top of page ]
Third Eye Foundation Little Lost Soul Merge Records Links: Third Eye Foundation		Matt Elliot has turned more gentle with time. He used to inhabit an odd niche between the impervious beats of Alec Empire and the dense layering of Flying Saucer Attack, between dance floor terrorism and somber dissonance. But in his fourth full-length, Little Lost Soul, his beats are thinner and the blanket of distorted guitars is almost entirely replaced by tenuous strings. One is tempted to grant Elliot an upgrade and say he is not so much layering samples as he is conducting a macabre little orchestra. The opener "I've Lost That Loving Feeling" invites the compliment, as an operatic female voice dominates over the dub-inflected beat. Strings hover in the distance, around the place where the beat reverberates, adding a vaporous backdrop for the ghostly vocals. And maybe just to keep himself honest, Elliot adds a quickly whispered "Jesus" as the song winds down. This is not a case of the old adage on how things remain the same the more they seem to change. Out of nowhere comes the ballad "Lost" with fully realized vocals and an acoustic guitar. If what you're after is Elliot's signature cacophony you won't be disappointed, but you'll have to wait for some time and it happens so quickly you just might miss it. *-Edgar Ortega* [ top of page ]
Tied + Tickled Trio EA1 EA2 Drag City		Something more than the math is off in Tied + Tickled Trio's first stateside release. The six-member outfit give a half-hearted attempt at the electro-jazz of Isotope 217 but creamier, less fluid and a good deal whiter. Being Bavarian, it's perhaps no surprise they can't swing, though they seem to have a knack for building beats from simple noise bursts. It's precisely this talent that goes to waste during the bashful funk of "Unwholpol" or the piano-driven "Yolanda." And it's their inability to syncopate that ultimately sinks the former and stiffens "Yolanda" into a frigid, if pretty, little tune. That's not to say that Tied + Tickled Trio can't find the middle ground between the two impulses. "4 Pole" proves that much with its wailing saxophone and steady pulsing beat. The song shifts gears to overdrive when the ensemble chimes in with piercing shards of brass. It's awkward and tough, though possibly redeeming. Or perhaps the more accessible "DB Track," where a throbbing bass line lends coherence to an otherwise choppy beat and a meandering saxophone intertwines with some guitar fuzz. The song eventually flows into a drum solo of sorts as samples pile on, adding highlights to the beat on the left speaker at one moment and then the right in the next. While Tied + Tickled Trio don't make the grade on quality control, they at least make good on breadth. They run the gamut from electronica to old school jazz, hitting most of the highs and few of the lows. *-Edgar Ortega* [ top of page ]
Town and Country Decoration Day Thrill Jockey		However expansive its name,Town and Country write songs for music boxes. Slight and slow, Decoration Day delivers its three songs almost literally one note at a time. A guitar pluck here, then a high note on the piano followed by a complementary note on the glockenspiel. And all that played time and again with the rhythmic flair of a chronometer. Although at times the album lapses into generic music for horror movies, you suspect the album may reach as far as the stately Music for Films. For one, the songs don't linger on a mood for long. The notes hardly vary, but you seem to travel big distances with each alteration. Secondly, every song is incredibly diffuse. You'll never remember this album, though you'll likely crack a smile whenever you focus intently enough to catch a small quirk in the sequence. *-Edgar Ortega* [ top of page ]
Transport League Satanic Panic Pavement Links: Transport League		Enigmas of riddles wrapped up in a gaggle of giggles and covered in corporate pixie dust. Background: Band is Swedish and this was recorded in the home of melodic death metal--Gothenburg, Sweden. Tony Jelencovich's vocals are not death, more rock and metal like Entombed, Cathedral or Soulfly. Half of this disk is quality groove metal with slight industrial and techno accents. Transport League combines the heaviness of Machine Head, Pissing Razors and Cathedral with the melodic appeal of Sevendust or Marilyn Manson, the thrash of Soulfly and the angst of Katatonia--topped with the rage of the Jesus Lizard, Helmet and Earth Crisis. Songs like "Hell Predicted," "Plague Ship" (a doomy rocker in the vein of Cathedral), "Neckdraft," "Last," "Creep Provider" and "Man Sized Drain" are brilliant chunks of hard-rocking, boot-stomping, doom-tinged, rage-filled, groove metal with thrash leanings and industrial accents. After the first few songs you are so psyched for the rest of the disk when tragedy strikes. Then the 360--the other half of this disk reeks of sellout stank. Satanic Panic's worse half is slow, copycat, gold-digging, industrial techno alternametal dirges that make you want to slash your own wrists to escape the torturous muzak. The putrid side of Transport League combines the pretentiousness of Live with the melodies of Korn and the brutality of Limp Bizkit with those soul/rap leanings of Soulfly tossed in for measure along with the annoying electronics of Marilyn Manson, Nine Inch Nails and Prodigy. This side of the band must have dropped the tag on this band--Transport League isn't nearly as boring as the name implies. Songs like "Shut to Dawn," "Psycho Connected," "Lord of a Thousand Suns," "Un-Man Conquer" and "Tar" will sour the entire experience as they reek of regressing commercialism. I've never heard Transport League before so I don't know what kind of a transition the band is in, but I know transition when I hear it. Half of this is really good (my husband thinks they rock) and half of this really sucks (yep, he agrees too). This isn't going to appeal to grindheads or death metallers, but it could stand as Pavement's bid to the semi-commercial metal sweepstakes. Fans of Machine Head, Soulfly, Sepultura and '80s thrash will find this band interesting, but future releases should be watched quite carefully. The good still vastly outnumbers the not-so-great on Satanic Panic and it is a very good release. The future concerns me. This could be the next big thing or the next big nothing...it all depends on the music. *-Sabrina Haines* [ top of page ]

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