17 January 2007

Band Review: UME
words: llen rad photos: anthony radbun + zach ground

The fights prior to and all those that followed get blurry as the years pass, but I distinctly remember the third time I got beaten up in grade school. Pulling myself up off the playground, dazed and bloody, I turned to my attacker fully expecting to see some murderous behemoth with cinder blocks for fists looming overhead, but there before me stood little Lyle Goodrich.


Lyle was a good foot shorter than most of the kids in our grade, including yours truly. Lyle had never gotten into an altercation prior to this debacle, nor had he ever shown the slightest proclivity for violence. I couldn’t even get mad at him for devastating the major features on my face just moments before. I just gazed at Lyle in awe and utter bemusement. I never saw it coming.

Austin band Ume is little Lyle Goodrich reincarnated. I don’t even know if Lyle is dead, but if he was and came back as a band he would be Ume. Fronted by the nymph-like Lauren Larson on guitar and vocals, the trio which is rounded out by husband Eric on bass/vocals and Jeff Barrera on drums quickly dismisses any preconceived notions one might have of the group prior to hearing them. Ume’s live show is a spectacle to behold and one that deserves to be experienced. Their sound falls somewhere between the frenetic rock of Goo era Sonic Youth and the fuzzy sludge of bands like Pelican and Isis. This is hardly the stuff you’d expect to hear from a soft-spoken philosophy doctoral student, software programmer, and an art installer. Though, it might not be all that surprising if you knew their background.


Lauren and Eric met when the former was 15 and playing in a thrash metal band at a skate park in their native Houston. “He asked me for my number on the vert ramp,” Karen recalls of the initial meeting. Three years, and a few bands later, the two were joined in matrimony. While some married couples might choose to make the most of their quality time going out on date nights at Olive Garden or browsing the IKEA catalog together, The Larson’s decided theirs would be best spent in the practice room and formed what would become Ume, “plum” in Japanese, in 2002. The triumvirate was complete when friend and bassist Barrera offered to go over to the dark side and switched to the drums. They would deny the similarities, but the obvious comparisons to rock’s royal couple Kim Gordon and Thurston Moore of Sonic Youth are can be noted when describing Lauren and Eric. Like Kim, Lauren is petite, blonde, and howls like a siren dashing your helpless wreck against a punishing rock face. Eric is Kim’s Thurston, the quiet tempest that compliments his lady’s unsettling fury with intuitive and assuring bass lines and lyrics that drip with candor. Together they create a perfect storm, tempered by Barrera’s steady pulse.

Urgent Sea is the first and, at this moment, the only recorded offering Ume has bestowed upon anxious ears. The title of the album is a wry play on words, indicative of the tumultuous circumstances that surrounded its creation. At the time, the Larsons were busy in Western Pennsylvania working on additional degrees and Barrera had to fly in intermittently from Houston to play gigs and work on songs. Lauren speaks of the process, “It was so piecemeal, the way it came together. We were still learning to play together. Jeff was still learning to play the drums. I was terrified to sing. We just wanted to see what would happen.”

The words she uses to describe the situation belie the comprehensive sound that the trio ultimately ended up with. The album is aggressive and stunning, but leaves you with the feeling that it’s not the best work yet to come from Ume. The group is now priming new material for the studio that, by my estimation, will floor you like a punch in the mouth.

Don’t say I didn’t warn you.

Book Review:
PUNK ON 45: Revolutions on Vinyl 1976-79
by Gavin Walsh
(plexus)



Set for release in March, 2007, Punk on 45: Revolutions on Vinyl 1976-79 collects a 4-year span of 45rpm 7” vinyl album art that started a revolution in design and aesthetics. The DIY attitude of the punk movement led to the wide use of collage, photocopy, and cut-n-paste techniques allowing for highly creative but affordable picture-sleeves.

Split into a timeline of punk subgenres, the book is not only a beautiful collection of record cover artwork but also a significant history lesson on an incredibly influential period of music as well. Starting out from the origins of punk in 1976, the book comprehensively displays and offers intelligent discussion on the album covers of such legends as The Clash, the Ramones, Television, the Sex Pistols, The Slits, and Blondie as well as showcasing rare artwork by groups like The Fall, Magazine, The Police, the Dead Kennedys and The Cramps, concluding with Post-Punk groups like The Cure, Joy Division and Bauhaus.

– dániel perlaky

Album Review:
WRIT ON WATER: Preserve The Sound
(self-released)



Rating: 4 out of 5 stars

Austin band Preserve the Sound have stumbled onto something. I’m not quite sure what it is yet, but the more I listen to Writ on Water the closer I am to figuring it out. The circuitous dual guitar stylings of vocalist Kevin Stutz and Dave Hodson lead the charge on “Prelude” which meanders into the aggressive “Dark Horse Candidate.” Aggressive is an interesting choice in describing this music as Stutz’s vocals are anything but.

Think Elliot Smith, if he had fronted Thursday or No Knife. It’s a nice counter to the heavy riffs, anchored by drummer Jayson Cruz, and the absolutely stellar bass grooves of Marcos Lujan that permeate the album. It’s kind of like your mom singing you to slumber with lullabies as she smothers you with a pillow. Surprisingly, the only particularly weak track is the title song. “Writ in Water” is an instrumental piece which, though ambitious, is uneven in tempo and overindulgent at times.

“There’s no Way” is by far the best song on the album, and might be my favorite song to come from an Austin band this year. Ominous and endearing all at once, it showcases band’s ability to write addictive tunes that don’t delve into the realm of cheese. “How can I find a better temporary purpose?” Stutz inquires in earnest during the song. Well, after listening to Writ in Water, I’m not really sure how to answer that. This music thing seems to suit them pretty well.

– llen rad

Album Review:
TV ON THE RADIO: Return To Cookie Mountain
(interscope)



Rating: 5 out of 5 stars

Like some of you, I was at the Austin City Limits festival this year when TV on the Radio performed. They are perhaps one of the most polarizing bands in rock right now as there seems to be no middle ground on the public sentiment towards them. People seem to love what they’re doing or fail to find the value in it.

To be completely honest, I was somewhat under whelmed with their performance at the concert. To me their fuzz fried soul seemed flat and generally ill conceived. I thought I’d give them another chance with their sophomore album Return to Cookie Mountain, based on the strength of their single, “Wolf Like Me” and I’m really ecstatic that I did.

Opening track, “I was a lover” draws the listener in with soaring horn and string hits reminiscent of the musical scores from mid-nineties urban dramas like Fresh and New Jack City. Vocalists Tunde Adebimpe and Kyp Malone wax poetic on life, love, and happiness or lack thereof on this track, and 12 others, with visual imagery that will undoubtedly keep your mind adroit. Your corporal senses won’t be neglected either, as you may find it entirely too difficult to keep from moving to the beats brought to life by producer/member Dave Sitek and Co. Even David Bowie lends his approval and his pipes on the uplifting “Province." This epic ride through scenes both esoteric and mundane is capped off with an Afro-beat sizzler, “Things You Can Do,” that would make the likes of Fela Kuti proud. Return to Cookie Mountain is a challenging listen, and may require several plays before it clicks. But you can be assured that this one album that is worth repeating.

– llen rad

03 January 2007

Album Review:
THE OCTOPUS PROJECT and BLACK MOTH SUPER RAINBOW: The House of Apples and Eyeballs
(graveface records)



Rating: 4 out of 5 stars

Following up the excellent One Ten Hundred Thousand Million, Austin-based noisy pseudo-electronic freakout post-dance rock-rock group, The Octopus Project, mash-up their own multi-dimensional musings with those of Chicago-based Black Moth Super Rainbow on The House of Apples and Eyeballs.

The result of a year-long long distance collaboration, the record incorporates the drums, guitars, piano and theremin of The Octopus Project with the synths, atari sounds, vocoder, and electronic beats of Black Moth Super Rainbow to create a soundtrack to an extraterrestrial fairytale – fluttering whimsically through the bends and folds of space time until the listener no longer knows which direction is forward or backward. In case you’re confused, that’s a good thing... no, it’s a great thing.

– dániel perlaky

Album Review:
ROBIN THICKE: The Evolution of Robin Thicke
(interscope)



Rating: 4.5 out of 5 stars

If Justin Timberlake ever happens to take sexy away in the near future, Robin Thicke will be right behind him to bring it back again. Thicke’s second album could not have a more aptly named title, as the crooner truly evolves his blue-eyed soul into a much more mature effort than his debut (A Beautiful World, 2003). Thicke has succeeded behind the scenes of the music industry for years, penning tracks for big names including Usher and Michael Jackson – but this sophomore set gives the gifted songwriter his own identity by establishing an original blend of pop-themed love songs with new R&B flavor.

A guest appearance by Faith Evans and two by Lil’ Wayne (including a remix of “Shooter,” a track from Thicke’s first album) help give The Evolution credibility among R&B circles, but the album’s pop synths and catchy lyrics make this set one for fans of both genres. For those who enjoy the new rhythmic hip-pop recently released by artists like Timberlake and Diddy, this is a great addition to your album collection. The bonus for The Evolution of Robin Thicke is an added sense of maturity, which puts this album above and beyond its competition.

– jordan davidoff