earpollution album reviews [page 2] - issue 2.Ø5, may 2ØØØ

Angie Aparo - The American
AnthroPile - Take.
Babylon Whores - King Fear
Do Say Make Think - Goodbye Enemy Airship, the Landlord is Dead
Eels - Daisies of the Galaxy
Foehn - Hidden Cinema Soundtrack
Gorgoroth - Incipt Satan
Himsa - GroundBREAKINGceremony
Imminent/Synapscape - Screenwalking
The Makers - Rock Star God
MDFMK - MDFMK
Mira - Mira

The Modernist - Explosion
Night in Gales - Nailwork
Nightmares on Wax - Sound of N.O.W.
Patti Smith - Gung Ho
Septic Flesh - Revolution DNA
Sonogram - Heartbeat Submarines
Soul Reaper - Written in Blood
Stevie Ray Vaughan and Double Trouble - Blues at Sunrise
U.D.O. - Holy
Various Artists - Power from The North: Sweden Rocks The World
The Ziggens - Live: Tickets Still Available

The Modernist Explosion Matador		I used to believe there was something in the water that flows through Cologne. I think, rather, it is the air they breathe. These guys--and I mean the elusive cadre of fellows who continue to pop out the most sublime minimal techno--are all deep breathers. You can hear it in every release that manages to make it across the water. Jörg Burger, under his Modernist guise, has crafted an hour of extremely open house-bent beats that will just expand your noodle. You're going to find yourself on your knees in front of your speakers, sucking at the wire mesh, trying to figure out just what is in that air that drifts over Cologne. I used to think it was the water, but this music is completely unconstrained by gravity. It flits, it swoops, it defies Newton at every turn; it builds and ebbs and dances back again like the first breeze of a new season. There's a smart sausage or two on the Matador staff. They've been very selectively licensing material from Europe for domestic release and haven't really missed yet. A couple of years ago they brought over the burger/ink release, Las Vegas, and first introduced us alienated American fans to the magic of Wolfgang Voight and Jörg Burger. While Las Vegas (totally sublime for its own reasons) was more ambient and dream-sequence based, Explosion is a constant handful of snap beats and squiggly melodies. Spring is here, kids, you can hear it in the air. Just get down near your speaker. That's it. Breathe deep. *-Mark Teppo* [ top of page ]
Night in Gales Nailwork Nuclear Blast America Links: Night in Gales		Nailwork is a bugger to describe; it jumps genres and styles with an eloquence and scariness that I thought only Opeth could achieve. Not that Night in Gales sound at all like Opeth. They definitely have their own sound. The vocals (Bjorn Goobes) mostly sound like black metal screeches but he'll change to smooth clean vocals (much like Mikael Akerfeldt of Opeth) in a melodic flash. The guitars of Frank Basten and Jens Basten (are they related, heck if I know) are sinister and disturbing one second, grinding and deafening the next and then eerily melodic throughout this superlative disc. Christian Bab (drums) and Tobias Bruchmann (bass) form a rhythm section that constantly fluctuates to the disturbing, rocking pulse of death-black-gothic-rock-metal. Whereas Opeth is quiet and sinister with a romantic flair, these guys come off as way too smart serial killers with an introspective musical side that culminates in a blackish death metal loaded with evil and grace. Who else could (or would) cover "Black Velvet" and make you love all of the melody, yet terrify you with an eerie feeling that's mired in muck of uncertainty and fear. Night in Gales may be too smart for their own good, but that's what I like best. They play without fear and yet will heighten your own unnatural fear of the strange and different. *-Sabrina Haines* [ top of page ]
Nightmares on Wax Sound of N.O.W. Matador Records		George Evelyn is reminding us that he's still alive. Maybe he's worried that we'll forget him if he wanders off for four years like he did between Smoker's Delight and Carboot Soul. Maybe he's worried about the fickle nature of the music audience and is throwing up a slab to keep his name afloat. Sound of N.O.W. offers up one new track (in two flavors) and a pair of remixes from each of his previous albums. If you've not heard the blissfully downtempo groovin' delight that is N.O.W., here's your chance to sample all this fine stuff and not have your wallet gouged. If you already know the score then the new track, "Keep On," may not be worth spending your lunch money over. "Keep On" features De La Soul doing a fair impression of fulfilling a contractual obligation. Compared to the other tracks on the EP, you'll wonder what all the fuss is about. (I'll just pretend that "Keep On" isn't representative of the direction of Nightmares on Wax. Denial fuels me in so many ways.) It's a pretty unremarkable hip-hop track, which detracts from the elegant acid jazz flavor that Evelyn has really captured with Smoker's Delight and Carboot Soul and is in strange contrast to the deep groove thrown up by Rae + Christian in their remix of "What I'm Feeling" and the sparse DJ Food re-treatment to "Dreddoverboard." Nab this EP if you're curious. Skip right on out and grab the full albums if you want the full flava and can't be bothered with the musical tease factor included herein. *-Mark Teppo* [ top of page ]
Patti Smith Gung Ho Arista Links: Patti Smith		I have two very strong memories of Patti Smith. The first is catching an unannounced set of hers at Bumbershoot several years back, right after her resurgence of popularity following the release of 1996's Gone Again. Accompanied only by a guitarist, I stood in awe as she pranced barefoot across the small stage and held the crowd mesmerized with the power of her words and unadorned voice as she sang "About a Boy." The second time was about a year or so later at the Gorge Amphitheater in central Washington state. She was opening up for Neil Young and Crazy Horse (whose set's footage would be included in Jim Jarmusch's Year of the Horse). As the sun set behind the stage over the Columbia River gorge, Smith's set began, and by the time she started to sing the epic "People Have the Power," dark storm clouds were brewing behind her. As Smith's voice began to crescendo and the song climaxed, the dark clouds boiled over, the wind blew her hair back and with arms upraised she shouted the chorus, "the people have the power / the people have the power." Punk's High Priestess reigned supreme, her aura and majesty leaving an indelible mark on everyone in the audience. Gung Ho is Smith's eighth release, and while not as solemn an affair as her two previous albums (Gone Again and Peace and Noise), it still stands as a firm conviction to Smith's remarkable ability as a political and spiritual orator. The cover is of her father, Grant Smith, during his soldier days in WWII, and the album's thirteen songs find Smith delving deep into themes of American history and finding answers in unlikely places; notably Ho Chi Minh who, Smith finds, understands more about American history and the fight for liberty and independence than most. At times chastising ("Glitter in Their Eyes"), at times reveling ("Upright Come") and at times just downright quirky and entertaining ("Libbie's Song"), Smith is, as always, in top form; her longtime backing band tight, their jams adding skillful color to the album's prose. Gung Ho stands alongside Smith's previous releases as a powerful work whose influence will long be felt in those who listen and follow. Dark clouds swirling, arms outstretched through windblown hair, punk's Poet Laureate has lost none of her skill. If anything, she's deepened the magic. *-Craig Young* [ top of page ]
Septic Flesh Revolution DNA Holy Records Links: Septic Flesh		A couple of years ago I received a Holy Records sampler in an order and was introduced to Septic Flesh. I never thought I would run out and start buying everything of theirs I could find, but after I became hopelessly addicted to "The Eldest Cosmonaut" I found I ended up buying not only anything and everything by Septic Flesh but also Holy Records. I just purchased Revolution DNA and found it to be yet another perfectly themed disc by Septic Flesh. These guys are just fantastic. The Clash were always my favorite band, but I am so enamored of Septic Flesh that the Clash are fading in glory compared to the majesty and power of these Greek gods. Perhaps in the '70s and '80s the Clash were the only band that mattered; in the '90s and '00s I believe Septic Flesh will lead the way to musical enlightenment. They are never afraid to blaze new paths and boldly go where other bands only aspire to go. The idea of black metal fused with symphonic elements and operatic vocals may not be novel anymore but it is done best by Septic Flesh. No other band (save Therion and In the Woods) has a chance of portraying the emotions and intelligence transferred into their music. Therion prefers more of a pure symphonic approach with less death metal and In the Woods takes a folk route. Septic Flesh melds death metal in voraciously and still heavily uses guitars and growling vocals to augment the rhythm and melody. Their music avoids the soundtrack approach that plagues most symphonic bands and is never wimpy or pathetic. Each Septic Flesh album seems to utilize a central theme that will open minds and ears to the philosophy of these masters. The power, the majesty and the theme are always first and everything else just falls into place. Revolution DNA takes a new approach--the melody is there and the theme is boldly emblazoned on the spine: "Transformation Comes From Within." This is the transformation of a band, a style and a genre. The songs all center around the transformations still inherent in daily life: science, technology, genetics and nature. Transformations are left open to each human to decide if they are for or against. I believe they are addressing every side to transformation. Their lyrics are remarkable, poetry that is very subjective and evolutionary--maybe even revolutionary depending on point of view. Did I mention the superlative packaging and slipcover case? Holy Records loves good packaging. The music is very technologically based with less of an organic sound than on earlier works. Septic Flesh is utilizing samples courtesy of Chris A. melded with the imaginative guitars of both Sotiris V. and Chris A. Spiros A. is the storyteller, mixing clean operatic and death vocals to relay the transformative music. Akis K. is a pointed drummer forcing the music and the rhythm to follow their collective wills. All members of Septic Flesh fuse into a cohesive unit that appears to be without egos and annoying solos, and loaded with grace and class. Now that they have fused the elements of today's technology with the articles of their musical war, all that's left is to wonder where these geniuses will go next. The Revolution is here, Septic Flesh will show the paths, it's your decision to walk to the store or electronically purchase their manifesto. *-Sabrina Haines* [ top of page ]
Sonogram Heartbeat Submarines Simulacra Records		I was a little behind this month, so I popped this CD into the player one night before sleep, hoping to wake with a dream-suggested review all ready. That night, I slept like a rock. I was probably overtired, I thought, I'll just have to try again. Second night: more rock impersonations. It took most of a week to realize that what was submerging me so completely was the aquatic drift of the music. Sonogram's Heartbeat Submarines is deep sleep therapy. And I'm not talking Kitaro-style New Age that puts you in a catatonic state or how Thomas Köner puts so much space between each curve of his prayer bowl drones that you need about sixteen CDs to simply hear one iteration of the waveform. Sonogram's melodies and drifting soundscapes are both minimal and expansive. You climb into your tiny little diving bell and drop into the shallow end of the pool. Down in the deep end is where Sonogram lives. You can hear the bubble and pulse through the warm water. You are drawn in by the sprightly melodies, cloaked and enveloped by the larger tones, drawn towards the deep end... No, must stay awake. My alpha waves are increasing. Must find a flashlight. Must finish the review. Must consciously hear all eleven tracks. Must...zzzzzzzzzzz... *-Mark Teppo* [ top of page ]
Soul Reaper Written in Blood Nuclear Blast America		Curiously, Soul Reaper sounds like a progression from drummer Tobias Kjellgren's other band, Dissection. Soul Reaper is endowed with a taste for death metal, the desire to buck current trends, a viciously fast drummer and a singer that makes Freddy Krueger sound like a crooner. This is made for those who desire brutal music with even more brutal vocals. Christoffer Hjerte'n has got the rawest vocals I've heard so far in death metal--literally he sounds like he drank Dahmer's vat of acid. The vocals match the abrasive, brutal death metal perfectly. The lyrics (when you can understand them) are definitely evil and unsettling. Written in Blood is a juggernaut of evil, brutality and cacophony. The guitars, vocals and bass seem to be just enough slower than the drums that they set your nerves on end (purposely). After you have been sufficiently jangled they will all merge for a few seconds of death metal bliss before blurring out and bludgeoning that one last twitching nerve. Written in Blood is not for those who want melody, it is created for those with nerves strong enough to listen and smart enough to realize they really do want to hurt you in the name of Satan. *-Sabrina Haines* [ top of page ]
Stevie Ray Vaughan and Double Trouble Blues at Sunrise Epic Links: Stevie Ray Vaughan		I got a little irritated when I first saw this album on display. The man's been dead for ten years, and they're still milking him for every drop of his legend's blood. They've already released two greatest hits albums. Nevertheless, I bit on account of some tempting contents...two unreleased tracks, and the almost ten-minute long video version of "Texas Flood" which has never been available except on the Live at the El Mocambo video. This version truly thrills the senses, and brings dead hearts back to life. If you're a Vaughan fan that can't get enough of his extended blues jams, then I must admit this is your album. Unreleased track number one is the 11-minute "Tin Pan Alley," and it lays back and soothes in steady, soulful tones. Number two is a soaring session take of "The Sky is Crying," an SRV standard. Mixing cigarette smoke with these babies are several of the Texan's fine blues exhibits, a duet with Albert King (on "Blues at Sunrise") being one also worthy of mention. Perhaps a better introduction to Stevie Ray Vaughan than his aforementioned "hits" albums, if you enjoy blues. *-Al Cordray* [ top of page ]
U.D.O. Holy Nuclear Blast America Links: U.D.O. Accept		Cross my heart and hope to die, I really underestimated Udo Dirkschneider's ability before hearing Holy. I figured "Oh yeah, another commercial metal band with a has been." How wrong I was. I know Udo must be getting up there in years and I figured his best stuff had long since been used in Accept (his former band). You cannot imagine my shock when I became hopelessly addicted to Holy. From the day it hit the cd player I have been shocked and upping my volume switch. I defy any human to listen to Holy without tapping their toes and banging their head. There isn't one dud on the whole disc. This is a must purchase for those who thought Udo was creatively dead. U.D.O. even recruited former Accept drummer Stefan Kaufman, who proves that he is multi-instrumental by wailing on the guitar strings just as hard as he used to beat the skins in Accept. Holy is an essential cd for every collection from the old-time metallers who loved Accept and '80s metal to the new black metal subdudes that could learn from such a powerful release. I can't even pick out a favorite song since I've managed to memorize each one and sing along every day on the turnpike. This is the real deal. *-Sabrina Haines* [ top of page ]
Various Artists Power from The North: Sweden Rocks The World Digital Dimension Entertainment, Inc.		Compiled by Lennart Larsson of Phantom Music as a tribute to the long history of Swedish Hard Rock Metal, I admit that I was not aware of many of these bands before this compilation, but after listening I think there's quite a few of the "original" bands that I'd like to hear. Each (mostly) Swedish band of today covers one song by a Swedish hard rock metal band from yesteryear. Normally tribute albums really stink, but this one is pretty darn good, mostly because I've never heard the originals and it makes every song seem new. The best of the compilation are In Flames, Lost Souls, Meshuggah, Lion's Share (a little too '80s sounding but still really catchy and good), Transport League, The Crown, Hammerfall, Gooseflesh (weird song, great cover) and the Haunted. Locomotive Breath's cover was a little high-pitched vocally for my tastes, Entombed's cover was too slow, but really scary, Quill's was just too slow and stoned and Southpaw's Yngwie Malmsteen cover was still repulsively high-pitched but musically great. The only songs that really stunk were two ballads--one by Glory and one by Treasure Land. Man, were those two songs horrible, absolutely unlistenable. Of course it could just be that I hate ballads that much. Overall this is a great compilation that will introduce you to quite a few great Swedish bands and allow you to hear a piece of Swedish rock history all while bobbing your head and tapping your feet. Incidentally the Meshuggah and In Flames tracks are fantastic. Messhugah's track is live and hot. Fans of any of these bands will want to snag this chunk of Swedish history before it's gone. *-Sabrina Haines* [ top of page ]
The Ziggens Live: Tickets Still Available Skunk Records/Cornerstone R.A.S Links: The Ziggens		Damn, what a great album cover. I've got a soft spot for self-deprecation, and the idea of playing to a stadium "full" of only two people strikes that spot dead-on. Further investigation indicates that The Ziggens don't seem to take themselves or anything else very seriously...except for their music, which is solidly fun surf punk. If you traded Sublime's reggae aspect for surf, you'd have an idea of the sound of The Ziggens; I doubt it's a coincidence they're on the same label. This is, unfortunately, a live album. Why unfortunately? Because even though it does a great job of transporting the sounds and energy of a live show to the couch in my living room, it's almost too faithful in its inclusion of between-songs banter which breaks the flow of tunes. When I listen to this at work, I can't go get a beer while the band's happily chatting like I can at a club--so I just want them to get on to the next tune. The tunes here are where it's at: they're fun, tight and well-played, from the cover of "Breakin' the Law" to the rolling-down-the-highway "Strange Way To Live" and the surf-rawk mosh of "Surfungus." If (like me) you're new to The Ziggens, it might be more advisable to start with a studio album in order to fully appreciate the "nuances" of this live disc; if you're already a fan, by all means get this album. *-Paul Goracke* [ top of page ]

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