Thao With The Get Down Stay Down - Know Better Learn Faster

I didn't feel like listening to The Flaming Lips this week, so I'm trying something completely different. But that, of course, I mean something that I have never heard of. It's not that far reaching.

Thao is a chick singing over an indie rock band. Fans of the Yeah, Yeah, Yeahs or The Raveonettes should have no problem jumping on board this collective (who, unbeknownst to me, have actually been around a few years)

Thao has written an album about relationships and the inherent trouble with them. Lyrically, the best summation of the album's themes can be heard on the title track, which you can hear below:

"But I need you to be better than me and you need me to do better than you"

"Body" is another highlight. A sexy beat and a quaint girly voice asking me to touch her. However, my demeanor and cynicism is such that I could totally ignore Thao's wiley ways, had it not been for the reckless abandon that kicks in when the Get Down Stay Down start wailing.

And that's true of the record as a whole for me. Thao's a good singer/writer/performer and that may be why the band bills her first in the name. But what sells it all to me is the jam. Not just indie guitar rock, but screaming violins and moaning horns keep Thao's otherwise lilting voice afloat. Conversely, when left seemingly to her own devices, like on "Good Bye Good Luck", she repeats a verse twice and the song just peters out.

So band: stand your ground. Thao: check yo self. You make a good band. (3 of 5 stars)

Know Better Learn Faster - Tha...

KISS - Sonic Boom

I mentioned a couple of weeks ago that I'm a huge KISS fan. Now, I don't normally do a track-by-track review. Today I will. Eat me. Important stats before we dig in:

This is KISS' first studio record in 11 years since their "reunion" record, Psycho Circus.
Peter & Ace have been replaced on tour and record with Eric Singer and Tommy Thayer, respectively.
Paul Stanley produced.
They're old. Don't expect miracles.

"Modern Day Delilah": The first single from the album and a strong opener. Paul's written a heavy riff, almost an upbeat Black Sabbath, "N.I.B."- especially when he kicks it off with the "Yeah, yeah" ala Ozzy. The song's about a predatory beast of a woman who gets her come-uppance when she makes Paul her target. Great Tommy solo.

"Russian Roulette": Another heavy one. AC/DC type-riff with such a great bass grumble that I wouldn't be surprised if Gene was not playing. What does surprise me is that Gene is singing with a strength and a cleanness that I haven't seen in him since some of the '80s stuff. Compliments aside, the cocksman lyrics leave a little to be desired. "The "Russian Roulette" chorus has absolutely nothing to do with the "I know you want me/Your knees are weak" lyrics.

"Never Enough": Another AC/DC-inspired strutter. Or maybe closer to an '80's hard rock AC/DC inspired band. Because this has a huge singalong chorus that Paul is famous for. It sounds so much like something, it's on the tip of my tongue. Plus, it's way under-produced, which I like. Lyrically, it's typical Paul. Living life to the fullest with no one standing in your way. That's a good way to be "typical".

"Yes I Know (Nobody's Perfect)": I almost blew this off as silly filler, but by the end, the chorus was sticking and I felt pretty good about it. Gene is definitely having fun with the lyric, which is about, what else- being awesome. He laughs at the end, but not in a cheeseball evil predator laugh. It really seems like he's enjoying himself. The song itself has a very retro KISS feel. This could easily have been on Rock And Roll Over. Right down to Tommy's pitch-perfect Ace-like solo.
"Stand": A Gene/Paul collaboration which sounds like other Gene-Paul collaborations. Specifically, "Stand" is modelled after "God Gave Rock And Roll To You II". Or maybe a composite of last album's "Raise Your Glasses" and "We Are One". Complete with the same Beach Boys inspired harmony break down followed by the big firework A-chord explosion. Sounds very late-'80s.
"Hot And Cold": This throwback to "Calling Dr. Love" exists only to add the KISS t-shirt slogan to a song: "If it's too loud, you're too old". But I can't give too much shit to a song whose lyrics also include the gem: "I've got the power any hour/Baby, feel my tower of power" Awesome.
''All For The Glory": Eric Singer takes the vocals on this and makes a strong showing. Not unlike Peter at his best. Another type of song about the camaraderie of being in a band that rockers just don't sing about anymore.

"Danger Us": "Danger you/Danger me/Danger us" Get it? Eight songs in, they haven't slowed down yet. Another strong Paul-rocker about gettin' down with the bad girls.

"I'm An Animal": Clearly my favorite song on this record. A Black Sabbath-y kinda riff mixed with some old "War Machine" or maybe "All Hell's Breakin' Loose" Gene put together a great sing along devil finger raiser. I hope they can nut up to play it live.

"When Lightning Strikes": KISS managed to do Tommy a solid and got him his own song. It's done in a very Ace-style and fits the character's persona. The song itself employs the cowbell to a greater extent than most KISS songs do. The verse makes me think of "Never Been Any Reason" by Head East.

"Say Yeah": Our producer gets to wind down the record with what is clearly the weakest song on the record. Sounds like Dokken or something from Paul's last record or 1983's "A Million To One". Whatever, it's no way to end an album. This is a "track 07" kind of song. The album is filled with anthems that would be perfect closers, but this one about the object of a girl's fantasy is filler.

Ultimate review, it definitely exceeded expectations. I wouldn't have minded if the band stepped outside and got some writers to help them find a wider net to fill some different lyrical topics. But, it rocks, it's not over absurd or pretentious. It's not written, for example like the last album, around a stage show theme which pushes the songs to a predetermined direction. It's got teeth, balls and it's loud. At least I know I'm not too old. (4 of 5 stars)

Langhorne Slim - Be Set Free

I was introduced to Langhorne Slim at Lollapalooza this year. It was easily one of the most intense, fun and deep performances I saw all year. Langhorne started as a solo blues-folky and added some accompaniment along the way. At Lolla, he had brought his upright bass player and drummer. (The former of which I had the great distinction of having a fairly frightening way drunk conversation with at a Chicago bus stop.)

On this album, Langhorne throws in the kitchen sink. Various percussion, keyboards, strings all serve to change dusty black and white photographs into rich colorful landscape paintings. Sean's songs, like many folkies, focus around the travelling vagabond's life. The one who's always looking for a home and is never truly satisfied. The one who falls in love with every woman he meets, but not enough to stay. It's not a new concept, but Langhorne's lyrics have an originality to them, ("I don't wanna break your heart, but I probably will."), and his Ben-Harper-like voice (or maybe an American Cat Stevens) really sells the romanticism of the trip.

And before I sell his folky-ness (folkivity?) too much, let us not forget what I said about throwing in the kitchen sink. Some of these songs, "Say Yes" and "Cinderella" for example, could easily be loved by your average fan of Arcade Fire or Modest Mouse. A lyric like the former's, "We're in California, but it might as well be the moon." mixed with it's group vocal dynamic could probably swing the Polyphonic Spree into doing a cover.

The only unfortunate thing is that this album was released in October. The vibe is clearly a May release. Now, we have to enjoy this music while fighting the cold and the snow. A perfect example is the country waltz barn dance "So Glad I'm Coming Home", but pretty much the rest of the album should be enjoyed down by the crick in the sunshine. (4 of 5 stars)

Monsters Of Folk

Monsters Of Folk is a an indie supergroup. Much more so than the Dead Weather, even. Singer-songwriters Conor Oberst, M. Ward and Jim James of My Morning Jacket join Conor's Bright Eyes partner Mike Mogis for this alt. country collaboration. Something must have changed in me, because I remember first hearing Bright Eyes, and thought that it was pretentious and bitchy. And now I see Conor as a pretty awesome songwriter. Jim James too, I was fortunate enough to get recently acquainted with having just heard the Evil Urges album. And since I saw She & Him as more of a Zooey showcase, I have little previous relationship with M. Ward.

The album kicks off with, "Dear God", which, with its electronic drums, began to remind me of Clap Your Hands Say Yeah. However, by song's end, soaring harmony echos and string sections, I was more inclined to hearken this to some '70s adult-contemporary throwback. 10cc or the slow Hall & Oates. Also, tell me if you don't feel a little Dave Mason's "We Just Disagree" when listening to "Map Of The World".

A single, "Say Please", was much more of what I would expected from the supergroup principals. All it needs is a British voice like George Harrison to make this sound more like the Traveling Wilburys. Which is true also of "Whole Lotta Losin'", a fantastic country-blues dance jam.

I don't mind saying that sometimes, this album crosses further over into the country side than I need to be comfortable with. "Temazcal" and "The Right Place" are wrought with barroom piano and steel guitars. If this Wilco influence is your kind of style, then these tracks will probably be your favorites.

On the other hand, though (I AM a man of contradictions) "Goodway" is straight up country western, with some barely intelligible poem recitation at the end. "You taught me everything I know about takin' other people for a ride". It's a short blast of freakiness.

"My Master's Voice" is a great way to close the album. An ironically pseudo-gospel tune that infuzes all of the country/alt. country/indie pop/rock influences and rolls it into one. This album proved to be a great example what can be accomplished when some surely egocentric frontmen share the spotlight for the greater good. (4 of 5 stars)

Say Please - Monsters of Folk

Ace Frehley - Anomaly

Being a lifelong KISS fan, I was actually half-hearted prior to checking out Ace's latest. Like the Beatles (yeah, I went there), the output of each member's solo career has been pale in comparison to what they accomplish as a group. Now, Ace has had the most prolific solo career outside of KISS, and yes his three post-KISS outings have had some definite highlights. But the last effort was 15 years ago, and his contribution to the last KISS reunion album was little more than a "Rocket Ride" sequel.

But, let us not forget Ace had what most fans consider the best of the 1978 solo collection- so the potential is there. How did he fare?

Pretty well, actually. To his credit, Ace brought out long-time collaborator and nearly flawless drummer, Anton Fig. Keeps it tight. And Ace's production value I would call top notch. When the riffs are dirty, they sound dirty. And Ace has also musically created a stellar batch of riff-rockers. "Foxy & Free", "Sister" and "Genghis Khan" are all almost perfect for the auto commute from work to the bar.

Where Ace lacks, and this is nothing new, are his vocals. Some vocalists have a non-ability coolness about them: Ozzy, Bon, Brian Johnson, but I've rarely felt like that with Ace. I always just hear him talking and emphasizing sentences on the wrong word. Also, Ace could stand to hire a writer. Sometimes, he says very trite and cliché rock anthem sex stuff and other times it doesn't make much sense at all. "Genghis Khan" is primarily an awesome rock instrumental, but Ace decides to throw a wrench in the jam by repeating "So long, Genghis Khan / Now you're gone, so hold on" What the fuck are you holding on to?

Another complaint is when Ace goes rogue. Tries out some new styles that he hasn't before. "A Little Below The Angels" is some kind of "Mama, I'm Coming Home" reflexive prayer ballad, that even includes his daughter on vocals. Totally doesn't work and sounds like he's apologizing to us for singing it while he's singing it. "Change The World" fares better, and while it's not an Eric Clapton cover, it kind of feels like some glossy 80s Clapton production.

Still, Ace resurrects some of his trusty strongholds. First- with another '70s glam cover. While I generally distrust a new version of something as famous and as previously-covered as Sweet's "Fox On The Run", Ace pretty much nails this. His vocals are tight and snarly and it's all true to form. Also up as a sequel is the fourth installment of Ace's instrumental "Fractured..." series, which have always expanded on the root feeling of Ace's "Rock Bottom" intro and built on it in quite prog-rocky. This one may be my least favorite of the four, but I've always held them in some regard.

In the end, this should serve as a perfect audition tape to get Ace a slot in the next rock supergroup. Ted Nugent can take a backseat. Get Ace up with a dynamic singer with a thought inside his head, and Ace could rival KISS' newest output. (3 of 5 stars)

Sondre Lerche - Heartbeat Radio

A Norwegian indie pop artist that has existed for five albums completely under my radar releases his sixth this week. Apparently, he was a prominent player in the soundtrack to the movie "Dan In Real Life". And in a week that will be overwrought with the Beatles' remasters, I decided to go for an unknown.

My first impression is the Thom Yorke kinda voice. Except more pronounced and light. Sondre sounds like a happy person, which could very well annoy the shit out of me. But it doesn't, it's a nice sunny day as I type this and the music fits.

Also, at least at the start, Sondre basically writes songs that start with simple acoustic guitar chords. Then in the 3rd act of the songs, he throws in some sweeping orchestral string lines. It makes me wonder why he doesn't employ their use throughout the song, since they give the end a kind of excitement that isn't shown in the rest. Now I'm feeling like Sondre is trying to channel some poppier version of Rufus Wainwright.

Another song, "I Cannot Let You Go", with it's jangly electric telecaster and bouncy maracas, sounds straight out of a 1972 AM radio. Oddly, it's not a Captain & Tennille cover. "Almighty Moon" has such a straight ahead pop melody, that I was waiting for him to say that he loved the nightlife and wanted to boogie on the disco round. Other tracks though, like "Easy To Persuade" feel like a Lemonheads hold over, except with more Solid Gold-era synthesizers.

"Like Lazenby" has the rhythm and melody of something off of a showtune, like Little Shop Of Horrors or Grease. But with lyrics about fucking up and getting back on the horse, it makes for what should surely be my favorite song on the record. The version included below is live solo acoustic, which makes it sound more like Death Cab For Cutie, but don't be afraid it's still a great song.

In the end, I would say that Sondre has made an album somewhere between Rufus Wainwright and Jason Mraz. It's very light and poppy with little bursts of confused excitement. Maybe I'm just an "all or nothing" guy. (2.5 of 5 stars)

The Black Crowes - Before The Frost...Until The Freeze

Here's a concept- basically, the Crowes record a double album live in the studio. They release one disc as a hard copy and the other half is available for free download. Great promotional tool, now- onto the music.

You'll find the same warm, electric blues southern rock that you have came to love about the Black Crowes. The Dylan-like lyrical storytelling of people wrestling through hardship to find love. Except that unlike Dylan, the Crowes always get back to the chorus. Which is fine, but you know, except on their more psychedelic stuff, you can basically count on: verse/chorus/verse/chorus/solo/chorus/chorus. Even on the 8 minute song. It just adds an air of safety around the band.

And then on track 5, they break out a disco number. It seems out of place. So much so, that Rich - the brother that doesn't dance - takes his name off the writing credit. But it's only out of place until the lyric kicks in and you realize it's a coke tune.

By the time I finish disc one, while I've had a very pleasurable listening experience, I realize that I'm not going to be purchasing any of these songs. It's really just the failing of double albums in general. The good songs end up sounding too similar to themselves, while they fight against clichés like being set adrift on an ocean searching for the safety of shore. One song sounds just like "She Came In Through The Bathroom Window", another song, "Dixie Chicken".
The second disc gives us an interesting sitar-Irish-jig thing in "Aimless Peacock" and "Garden Gate" is straight-up country hoe-down. And that's how it is for most of the 2nd disc. Pretty straight-forward old-time country. Slow ballads, waltzes. I could see this getting great accolades from people who are bigger fans of this kind of music. But I'm going to stick with their higher velocity stuff. (3 of 5 stars)