Six Covers Vol. 2
Veronica Falls
Bella Union Bellav383p
2013
I was unhappy when I saw that Veronica Falls had broken up a few years ago after only two albums. They were my favorite group and their music appealed to me like few bands ever have. Most of the bands that I have loved either went on too long for me to mind when they broke up (like R. E. M.) or broke up before I loved them (like the Beatles.) The only comparable experience I ever had was with Sleater-Kinney and they eventually got back together. I had hoped that might happen with Veronica Falls too, but last year their drummer Patrick Doyle died at the age of 32 ending those hopes. I adored his crisp, muscular drumming and his vocal contribution to the band's trademark multipart harmonies was an essential part of their sound. I've already blogged about "Veronica Falls" and "Waiting For Something To Happen" so I offer up my thoughts about this mini-album as a tribute to Doyle. It was the second of the two homemade tour souvenir records the band recorded of cover songs, although by the time they came to play here in Los Angeles in 2013 it had already sold out and I had to find a copy on the internet. The record opens with "Is Anybody There?" based on a version by Home Blitz (who I had never heard of) of a song originally recorded by the punk band Cock Sparrer (who I had heard of but never listened to.) I checked out both of those versions and Veronica Falls' cover beats both. Driven by Doyle's pounding beat and a polyphonic vocal the band makes the song their own. It would fit comfortably on either of their albums. "Love Minus Zero/No Limit" is of course the Bob Dylan classic from "Bringing It All Back Home." I was dubious at first but the song responds well to the Veronica Falls style particularly the jangly guitars and vocal harmonies. "Teenagers" was originally by the punk band The Rats who I had never heard of when I bought this. I like the original, but Veronica Falls' cover shreds it. The song is ideally suited for them and the teenage angst expressed in the lyrics is very much like their own music. I'm a big fan of "Bury Me Happy" by the Australian band The Moles from their wonderful album "Untune the Sky," but as much as I love it, I prefer the Veronica Falls version mostly because of Roxanne Clifford's vocal. Otherwise they are similar although Veronica Falls' performance is more forceful particularly with Doyle's drumming propelling the song. It is my favorite cut on the record. "Timeless Melody" was originally by the La's on their classic self-titled album. It is another song I'm a big fan of. Both versions are terrific but I give the edge to Veronica Falls mostly because of Clifford's voice. "What Deaner Was Talking About" was released by Ween on "Chocolate and Cheese." I'm not a big Ween fan although I like that album and their version of the song. Veronica Falls' version is very similar only with better singing. It is the song that sounds the least like a typical Veronica Falls song, but I still enjoy it. This a minor record but I still love it. Veronica Falls recorded so little music that I treasure any opportunity to hear them even if they are playing other people's songs. It is also a record that provides ample opportunity to appreciate Patrick Doyle's talents both as a drummer and a singer and to mourn his premature passing. Recommended to fans of The Bangles.
Colours
Ashley Eriksson
K Records KLP 245
2013
I bought this from K Records' mail order service after I caught Eriksson opening for Mount Eerie at an art space in downtown L. A. in 2013. She delivered a mesmerizing set that even kept the hipsters quiet. I probably would have bought this album eventually anyway because I'm a fan of her band Lake and have several of their albums. This does not sound much like Lake even though two of Eriksson's bandmates play on the record. The record begins with "March of the Conch" which is a slow keyboard driven instrumental that has a light, airy feel reminiscent of New Age type music. "Why Are You So Helpless?" continues the gentle pace as Eriksson croons about unhappiness and repression using images from nature. I like the way the song gradually builds in strength leading to a majestic finish. "West of the Mountain" is a dreamy ballad that celebrates nature. It is driven by a big bass line with chamber pop keyboard flourishes. The record perks up with "Arguably" which is a bouncy tune that approaches sunshine pop. The horns by Bill Kautz give the song an even brighter sound. The lyrics praise love and friendship. The record slows down again for "Ett Stilla Regn" which is a cover of a 1972 song by Swedish pop singer Ted Gärdestad. Eriksson sings it in Swedish. It is a song that uses a lyrical description of rain to describe the singer's feelings. The weather imagery continues with "Good Storm" which equates storms with emotions. The song is glacially slow with an ethereal feel to it. "Colours" is another quiet song that has a cozy domestic feeling as she describes waking up in the morning. It is rather twee, but I dig the lovely vocal. Side two opens with "Bury the House" which has more energy than most of the tracks. It has a repetitious structure that I find hypnotic. "Mother Nature's Promise" is similarly simple and repetitive, like lethargic synth-pop. "Sunset" returns to the serene dreamy sound of the songs on side one. "Humming in the Dark" is propelled by an insistent piano riff that is suggestive of locomotion which is appropriate for a song about humming while walking in the woods. "Organ Magic" is a relaxed instrumental with a slight exotica feel to it. "In the Stubborn Eyes of a Demon" looks for hope and optimism in the face of evil. The music is delicate and sensitive and gives the album a sweet finish. If you are looking to rock out, this is definitely not your record. It is introspective and subtle and requires patience to fully appreciate its charms. I like to play it late at night or on rainy days when the abundance of nature imagery has extra resonance. I find Eriksson's gentle voice to be very soothing and entrancing and she has created alluring soundscapes that enhance her voice's impact. This is a beautiful album that provides a sublime and tranquil listening experience. Recommended to fans of Lavender Diamond.
We Are The Star People
Turn Me On Dead Man
Alternative Tentacles Records Virus 453
2013
I knew nothing about this Bay Area band when I bought this album. I had never heard any of their music. I bought it partly because it was cheap, partly for the dazzling cover art, partly for being on Jello Biafra's record label, but mostly because of the band's name. If you are a Beatles fan you are probably aware that you can hear what sounds like the phrase "turn me on dead man" when you play "Revolution No. 9" backwards. It was one of the clues in the "Paul is dead" hoax. Being a Beatles nut myself, I couldn't resist this record and besides it looked like a psychedelic record which is one of my favorite genres. It turned out to be a fine album, I'm delighted that I bought it, but it is more heavy than psych with kind of a whacked out grungy sound, although the lyrics are often very trippy. The band kicks out the jams right from the start with "Heart of the Deaf" which is a paean to an evil goth woman who the singer is attracted to. The song features a pounding rhythm, a heavy riff and plenty of hard rock noise, but it is intelligent and controlled, far from the self-indulgent excesses of heavy metal. "Dreamchild" is another powerful rocker with spacy lyrics buried in the mix like a shoegaze song. I wish it went on longer. That is not a problem for the lengthy "Deep Space Pollen" which features a request to extraterrestrials to come to Earth and take the band for a ride in their spaceship although this might also be interpreted as a drug metaphor. The song is driven by a slow, thunderous riff and lots of metallic guitar noodling. "Missing Time" describes the experience of being taken by the spaceship, although it probably is also a drug trip metaphor. It starts slow and trippy and then some power riffing takes over for awhile before giving away to a calmer conclusion. Side two opens with "Her Majesty the Drug" which is a colorful invitation to take a hallucinogenic trip. The song starts out psychedelic but then a monstrous riff kicks in reminiscent of Blue Oyster Cult's classic "Godzilla." The song returns to psychedelia briefly with some lyrical sitar-like guitar sounds and then the band rocks out again. This is my favorite track on the album. I like the dramatic shifts in dynamics as well as the trippy lyrics. The band quiets down for "Let Them Eat Flowers" which is the lightest sounding song on the album. It is another drug song featuring sky and flower symbolism and it is the most overtly psychedelic song on the album. The band returns to heaviness with the hard driving "Star People" which backs up its ominous lyrics about space invaders with a powerful sonic assault that drives the song to its conclusion. The song has a prog-rock sound to it as well which makes it more interesting than a typical hard rock song. The album concludes with "Uhura" which is a sludgy instrumental that I assume is a reference to "Star Trek" in keeping with the space theme that permeates the album. As an album closer, I find it a downer. I have a limited appetite for hard rock, but this band's use of psychedelia and prog-rock to flesh out their sound makes them very appealing to me. At times I wish the music was as trippy as the lyrics, but for the most part the band's sonic roar excites me. The band's dope-crazed, sci-fi lyrics stimulate me as well. It is an imaginative and creative album that I find consistently engaging. Recommended to fans of the Warlocks and Black Rebel Motorcycle Club.
Crystal World
Marnie
Pylon Records 34
2013
Marnie is Helen Marnie of Ladytron, a band I'm a big fan of. I was excited to learn that she made a solo record and when I bought it last year I was not disappointed. It is a brilliant record. I can't believe I've yet to hear it on the radio, it is so much better than the vast majority of stuff they are playing. The record is not a drastic departure from Ladytron, it is not as if she has embraced punk rock or folk. It was even produced by her bandmate Daniel Hunt (along with the Icelandic composer Bardi Johansson.) There isn't really a song on here that would sound out of place on a Ladytron album, but the overall impact and feel of the record is different from Ladytron. It follows the direction introduced on the last Ladytron album "Gravity the Seducer" which had a warmer, more seductive tone than their other albums. This record goes even farther, it is rich in emotion and romantic feelings and has a more sensuous and sensitive sound. The opening track "The Hunter" sounds the most like Ladytron. It has a strong danceable beat and is driven by synthesizers. Marnie coolly croons the lyrics which are a return to the heartless femme fatale persona she often adopted with Ladytron. It is a fabulous, entrancing song that should have been a hit single. She leaves the dance floor for the dreamy "We are the Sea" which is an inviting love song that uses the natural world to represent human relations, a technique she used quite a bit on "Gravity the Seducer" and she employs it throughout this album as well. This is certainly true of "Hearts on Fire" which a moody piece of synth pop that examines the role of love in the struggles of everyday life. It is a gorgeous song bolstered by Marnie double tracking her vocal creating a lovely harmony vocal that adds to the impact of the song. Very romantic. Side two opens with "Violet Affair" which is another dreamy love song with a lush sound. "The Wind Breezes On" features one of Marnie's most beautiful vocal performances ever. I believe this exquisite song is about finding oneself. "Sugarland" has a more pronounced beat and a mechanical riff that sounds more like Ladytron as do the dark, apocalyptic lyrics. The song has a dense sound that adds to its gloominess. "High Road" is one of my favorite songs on the record. It has a driving, hypnotic riff and a sexy groove that provide the setting for Marnie's alluring vocal. The lyrics are seductive and inviting with a desperate edge worthy of Bruce Springsteen. This synth pop torch song impresses me enormously, I've listened to it a bunch of times and it still sends me. Side three opens with "Laura" which is the track that departs the farthest from Ladytron's style, it doesn't even have percussion. It is atmospheric dream pop with almost a gothic feel to it reminiscent of Kate Bush. Nature imagery abounds in this ode to a lost loved one. The beat returns for the more uptempo "Submariner" which features a romantic description of a man who has given his heart to the sea in what I believe is a song about commitment. There are some lovely synthesizer passages in this song and it builds relentlessly to a powerful climax before gracefully fading out. The album concludes with the supremely romantic and poetic "Gold." The title of the album comes from the lyrics of this song, the "crystal world" that gave birth to the love described in the song and almost the entire record as well. It is the most beautiful song on the record and like "Submariner" it builds in strength giving the album a majestic finish. The lyrics are loaded with memorable imagery and I find the song deeply moving. It is a testament to her growth as an artist. Side 4 is blank aside from an impression of Marnie's logo in the vinyl. Such a wonderful album, it validates the album as an art form. The songs build off each other and the pervasive themes of love and the natural world give the record a satisfying cohesiveness and resonance. I believe this is one of the best records of the 2000's. Since I bought it last year, I've played it more than any other record and it still thrills me every time. I hope that Marnie does not quit her day job, I adore Ladytron and their kinetic charms. With Ladytron Marnie has been extremely effective ripping into the lady-killers and the guys who have wronged her. However I think her true talent is revealed as a solo artist, her vision is more profound and expressive when released from the constraints of the dance floor. She is immensely talented and I can't wait for her to make another solo record. Recommended for Ladytron fans who wish they weren't so cynical.
Run For Cover
The Living Sisters
Vanguard 79269
2013
A mini-album from my favorite pretend sisters. I had mixed feelings when I read that the Living Sisters were releasing a covers album. These women are first-rate songwriters and all my favorite songs on their debut album, "Love to Live" had been self-penned. A covers record seemed like a regression to me. On the other hand I saw these ladies deliver some spectacular Patsy Cline covers back in 2011 at Disney Hall so I knew they had the chops to deliver a quality covers record. Thus I bought this as soon as it came out and I have to admit that my first instincts were correct. I was a little disappointed by it. It is beautifully sung but it doesn't engage me that much. It opens with "Make Love To Me" which was a big hit for Jo Stafford in 1954. The Sisters give it a western swing style arrangement which is a big improvement over Stafford's big band version. Most of the song is sung jointly by the quartet, but they also trade solo vocals for some lines which is their style for the entire album. The song has humor and energy, it even has a swinging guitar solo. It is easily my favorite track. Surprisingly the ladies take on George Clinton next with a cover of Funkadelic's "Can You Get To That?" Predictably it is a lot less funky than the original despite some greasy guitar work. The Sisters' style is to smooth over the rough spots and although I admire the creativity and skill of their vocal arrangement, I'm not convinced this was a good idea. It is interesting though. Side one concludes with a glacially slow cover of the Doris Day classic, "Que Sera, Sera." I'm not a big fan of the original, but it is more propulsive and lively than this cover. I like the prominence of the rhythm section in this arrangement, it does rock in a way and there is no denying that the singing is fantastic, but I find the track rather dull and I lose interest well before its nearly 6 minute running time expires. Side two opens with a cover of Patsy Cline's 1956 single "A Poor Man's Roses." Cline's original was country with sophisticated pop touches, the Living Sisters' version is sophisticated pop with country touches. It sounds wonderful but Cline's version has a bigger emotional punch. Next up is an a cappella arrangement of Dolly Parton's "Jolene." It is a remarkable piece of ensemble singing showing the Sisters' mastery of harmony vocals. It really sends me but it lacks the urgency that Parton brought to her original version. The side ends with another Patsy Cline cover, her immortal performance of Don Gibson's "Sweet Dreams." It is my favorite Cline record and no one is ever going to make a better version, not even great vocalists like the Living Sisters. Their version is certainly beautiful but it lacks the heart that Cline brought to the song. There is much to like about this record. The quartet's taste in covers is eclectic and tasteful, a mixture of the familiar and the obscure. The singing is impeccable, you don't hear these kind of harmonies in pop music anymore. However the record does leave me a little cold, I feel it is an exercise in style and technique and doesn't express much. I know from their solo work that these women have plenty to say and I'd rather hear another album where they do their own songs. Recommended to Linda Ronstadt fans.
Ready To Die
Iggy and the Stooges
Fat Possum Records FP 1296-1
2013
Depending on your perspective this is either the fifth Stooges studio album or the second Iggy and the Stooges studio album. In past posts I've expressed my reluctance to keep doing obituary posts but I just can't ignore Scott Asheton's recent passing and besides I had this album in my stack of records to blog about, I just moved it up a little. Usually these reunion albums suck. Too often they are just cynical efforts to cash in on a band's fame delivered with little passion, inspiration or relevance. This album is better than that fortunately although it can't match the first three classic records. There is nothing on here that comes close to "Search and Destroy," "Down on the Street," "TV Eye," "I Wanna Be Your Dog," or "1969." On the plus side it actually sounds a bit like "Raw Power" and there are no bad cuts on the album. The entire record is written by Iggy Pop and James Williamson, except for the last cut "The Departed" where Scott Asheton gets a co-credit. "Burn" gets the album off to a rocking start with its roaring guitars and hard driving rhythm. Lyrics like "the Goddess of beauty is beckoning to me" seem a bit pretentious for the Stooges but the theme of destruction and the rise of the young fit in with the classic ethos of the band. "Sex & Money" is one of my favorite cuts on the album. It is a hard-riffing rocker about the pursuit of the title subject bolstered by raucous sax work from Steve Mackay (who was a guest musician on "Fun House.") "Job" and "Gun" continue in a similar vein with Pop venting impressively about his dissatisfaction with his job and the world in general while the band raises a ruckus behind him. He may be in his 60s but Pop can still voice youthful rage convincingly. "Unfriendly World" shifts gears dramatically. It is a slow, countryish tune sung in a gravelly, understated manner by Pop reminiscent of Leonard Cohen or Lou Reed. The lyrics are still disaffected, but more introspective and sentimental than the rest of the album. Side two kicks off with "Ready to Die" in which the band resumes power riffing. This is another one of my favorite tracks on the album. James Williamson lays down a killer guitar solo and Pop delivers the nihilistic lyrics with gusto. "DD's" is a moronic song about sex (the title refers to bra cup size) although the lyrics are surprisingly pretentious with Pop even name dropping Aristotle, Freud and Jung at various points. It is a generic rocker enlivened by Mackay's honking sax fills. "Dirty Deal" is a terrific rocker in which Pop rants about getting ripped off by the music business. It has the best lyrics on the record, probably the most personal song on the album. Williamson has more smoking guitar work, the guy can still bring it big time. "Beat That Guy" is a lethargic song that sounds like filler although I like Williamson's solo. The album ends with "The Departed" which returns to the muted sound of "Unfriendly World" and shares its introspection and sentimentality. It is kind of a downer finish for a highly charged album, but I do appreciate the song's intelligence and sensitivity which seems like a weird thing to say about a Stooges song. I like this album a lot better than I expected to, it compares favorably to much of Pop's solo work and it does not disgrace or tarnish the Stooges' legacy. One of the biggest differences between this album and the classic Stooges records is that Pop has become a better singer which is particularly noticeable in the slower tracks. That may not necessarily be a good thing when it comes to the Stooges. The raw whininess and rage in young Iggy had its own appeal, one that I kind of prefer to the worldly, jaded crooner that Pop has become. Despite that I'm glad this record exists. It is Scott Asheton's final work and is a worthy epitaph for his impressive career. His forceful drumming drives the music relentlessly just like it always has whenever he has been behind the kit for a band. This record is a testament to rock's great loss with Asheton's passing. Recommended to people who prefer "New Values" over "The Idiot."
Waiting For Something To Happen
Veronica Falls
Slumberland SLR 185
2013
No record released in the past few years has given me more pleasure than "Veronica Falls" the 2011 debut album by Veronica Falls. I could hardly wait for their next one and bought it the day it came out. I love it. This band absolutely slays me. I saw their show at the Troubadour last Friday and it was pure rock and roll magic. From the opening number "Tell Me" off the new record to their brilliant encore cover of Roky Erickson's "Starry Eyes" they had me wrapped around their fingers. I could go on and on gushing about how I loved their show, but instead I'll gush about the new record. It basically adheres to the sound and style of the debut although none of the new tracks rocks as hard as "Beachy Head" or "Come On Over." With their second album there is more of an emphasis on pop over power (although they made the new songs rock in concert.) Like the debut, the album sounds great - dueling jangly guitars, crisp drumming and those wonderful three part harmonies from Roxanne Clifford, James Hoare and Patrick Doyle, all of which make this record endlessly enjoyable. I've been playing it over and over and I'm not even close to being tired of it. It opens with the highly propulsive "Tell Me" which has a surprising raga rock feel to it. I find the guitar interplay between Clifford and Hoare quite thrilling to listen to. The band's debut had a bit of snark to it, but this album feels more sincere and heartfelt. This song seems genuinely romantic with its emphasis on honesty and sharing. I like the new outlook. "Teenage" is an ultra-poppy song laden with hooks and jangly guitar featuring a very sweet lead vocal from Clifford. It is a charming evocation of teenage romance with an irresistible offer of a late night drive listening to the music I like. It doesn't make me feel like a teenager again (thank God) but it does make me feel younger. "Broken Toy" is about two emotionally damaged people trying to connect. I can relate to the song, it really touches me. It is a fast paced song that showcases the group's ability to fuse pop songcraft with a hard-driving rhythm that is extremely appealing to a power pop junkie like me. I love the jangly guitar solos on this song. In "Shooting Star" Clifford sings about looking for a sign or some direction and asking the subject of the song to help her out. The song is slower than most of the tracks on the album, which makes the beauty of the band's three part harmonies more noticeable. This band sounds terrific slow or fast. My favorite song on the album is "Waiting For Something to Happen" which is like the flipside of "Shooting Star" in that Clifford challenges the subject of the song to stop being passive and show some initiative. It is another song I strongly relate to. It is an uptempo power pop song that is loaded with hooks. My other favorite song on the record is a rocked up slice of jangle pop, "If You Still Want Me." It reminds me of early R.E.M. which is about the highest compliment I can make. It depicts another troubled relationship in which Clifford asks "if you could have me, would you still want me?" Side two opens with the loud feedback that precedes the love song "My Heart Beats" which is a return to the straight ahead rock attack of their debut. Doyle's forceful drumming is an integral part of the Veronica Falls sound, if I were a drummer I would want to play exactly like him. He delivers such a relentless beat, I can't sit still while I'm listening. "Everybody's Changing" is a slower song full of pop sweetness. It is about being true to yourself and moving forward. The rocking "Buried Alive" is the oddest song on the album, its striking lyrics evoke the goth imagery the band played around with on their debut. Clifford sings "I wanna get sick, I wanna catch everything you've ever caught" which is not a sentiment you hear very often. "Falling Out" is a pretty jangle pop song about trying to keep a relationship going. The chorus on this song really sends me. "So Tired" is a pounding rocker that finds Clifford looking for change, something different from what she already knows. "Daniel" is a slow, heartfelt plea for the lover in the song to remain with the singer. It is a delicately lovely and moving song. The album concludes with "Last Conversation" which is about moving on and finding happiness. I find it very inspiring and uplifting, a nice way to end the record. I know right now that this is going to be my favorite record of 2013. I'm just crazy about it. I'm impressed by the band's growth as songwriters, the lyrics are getting more complex and personal, and the songs are full of pop craft and inventiveness while retaining their rock power. This is a flawless record and it leaves me hungry for the next one. I love the album cover too, I would have bought it for that alone even if I had never heard of the group. With two wonderful albums under their belt, I guess it is time for me to accept that Veronica Falls is now my favorite band. Recommended to fans of the Shop Assistants and Lush.
