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Big Wheel and Others<br />
Cass McCombs<br />
Domino Records<br />
Producer: Cass McCombs<br />
Burn some sage and drink a beer. McCombs<br />
shrugs off unspoken musical fiats as he pairs<br />
blue-collar motifs with Jim Morrison aural<br />
mysticism beginning with the opening track’s<br />
hypnotic riff. Pedal steel bends the mind and<br />
McCombs’ voice haunts with the resonance of<br />
Kurt Vile and slinks with the languid nonchalance<br />
and mild amusement of Lou Reed through gypsy tales, tribal lullabies<br />
and the pleading “Brighter,” a last testament sung in black velvet notes by late<br />
actress/musician Karen Black. Rooted to the earth in some lyrical respects,<br />
Big Wheel leaves the ground in others through shadows of religion and flickerings<br />
of magic as McCombs gropes with the metaphysical. – Jessica Pace<br />
Under the Covers, Vol. 3<br />
Matthew Sweet and Susanna Hoffs<br />
Shout Factory!<br />
Producers: Matthew Sweet & Susanna Hoffs<br />
With previous forays into ‘60s and ‘70s pop,<br />
this is the third installment in the duo’s rock<br />
& roll retrospective series. Here we find them<br />
wearing their interpretative hats as the two<br />
delve into hand-picked tracks from the ‘80s,<br />
like Petty’s “Free Fallin,” the Pretenders’ “Kid”<br />
and the Go Go’s “Our Lips Are Sealed.” The<br />
performances feel genuine because, let’s face it, these two lived it! Sweet<br />
rose to prominence in the late ‘80s/early ‘90s as a solo artist and Hoffs<br />
fronted the Bangles, one of the biggest bands of the decade they are honoring.<br />
As a nostalgia vehicle it is brilliant. But it would be nice to hear Sweet<br />
and Hoffs back on the charts with original material! – Eric A. Harabadian<br />
We Need Medicine<br />
The Fratellis<br />
BMG<br />
Producers: Jon Fratelli, Stuart McCredie<br />
With the awesome song “Chelsea Dagger,”<br />
released way back in the oughts, the<br />
Fratellis set the bar high for a follow-up.<br />
Several years later, the band have blessed<br />
us with a new release. Full of the same<br />
driving, modern-day pub rock, it is a keeper.<br />
Earnest songs include the title track and<br />
“Until She Saves my Soul.” The songs are good, the band sounds tight,<br />
with energized performances in each track, indicating that five years’ rest<br />
served them well. Raise a pint to “She’s Not Gone Yet, But She’s Leaving.”<br />
It’s a raucous release; however, the production is a bit too polished for<br />
this band that, like yellowtail, is best served raw. – Brett Bush<br />
New Weather<br />
New Weather<br />
Butterscotch Records<br />
Producer: Sean Curley<br />
Warning: New Weather’s debut self-entitled<br />
album will blow your mind into an experimental<br />
world of psychedelic oblivion. If the<br />
unsettling landscape of David Lynch’s<br />
Easerhead were transformed into one of<br />
beauty and wonder, songs like “Slip” and<br />
“Everything” would serve as the transformative<br />
soundscape. Listeners will find themselves lost in trance-like tempos<br />
that ultimately leave one feeling mystically serene and rejuvenated. But<br />
not everyone will fully understand the vibrant, multifaceted power behind<br />
synth-heavy songs like “Heat Death.” Give it a chance—you might be<br />
intrigued by what you find. – Danica Bellini<br />
8<br />
8<br />
8<br />
8<br />
Floating Out To See<br />
Gringo Star<br />
My Anxious Mouth, Inc.<br />
Producer: Gringo Star<br />
Gringo Star’s greatest asset is an apparent<br />
mild psychosis, a sort of demented brilliance<br />
inspired by madness. Twisting hard rock blues<br />
with ‘60s pop and indie sensibility, the trio’s<br />
psychotropic ditties feel like the joyous burbling<br />
of a mental patient who’s been freed by<br />
his own mind. Invigorating and disturbing, this<br />
collection won’t appeal to all listeners. Their fractured prism of hallucinatory<br />
wonderment works for and against them, conjuring a flavor that invites attention<br />
but proves difficult to latch onto. This, combined with the album’s brief<br />
35:29 running time, hurts the package’s overall appeal but will still prove a<br />
trippingly good time for explorers of the subconscious. – Andy Kaufmann<br />
Shout<br />
Govt. Mule<br />
Blue Note Records<br />
Producers: Warren Haynes & Gordie Johnson<br />
This is the rock quartet’s first album of original<br />
material in roughly four years and it was<br />
certainly worth the wait. Guitarist Warren<br />
Haynes and band have always delivered a<br />
sound that is gritty, adventurous and technically<br />
precise. And this album is right on par,<br />
but with a twist. It is a two-CD set, with Disc<br />
1 featuring a set of Haynes vocally leading the group. But in unprecedented<br />
fashion, Disc 2 presents the same track list spotlighting Govt. Mule backing<br />
select songs led by Elvis Costello, Ben Harper, Dave Matthews and more.<br />
It’s an interesting concept that, for the most part, works. What an honor and<br />
tribute that such a guest list would jump on board. – Eric A. Harabadian<br />
Matangi<br />
M.I.A.<br />
Interscope Records<br />
Producers: Various<br />
This is a symphony of samples slapped<br />
together and laid under what could be perceived<br />
as lyrics, although the jury is still out.<br />
It is hard to take M.I.A. seriously as a vocalist<br />
since some kind of production element always<br />
seems to be doctoring her up. When it<br />
does appear she is really attempting to sing<br />
it comes off as high pitched, whiny, strained and ultimately hideous. The<br />
album is a full of ridiculous sounds effects and music beds that feel as if<br />
they were lifted from some obscure 8-bit video game. In a day where music<br />
can be seen as both an art and a commodity, this is neither and probably<br />
should have been left in the storage bin, at the studio. – Carl Anthony<br />
Fortress<br />
Alter Bridge<br />
Roadrunner, EMI<br />
Producer: Michael Baskette<br />
Back from solo albums and side projects,<br />
Alter Bridge releases album number four,<br />
Fortress, a heavy and textured melding of<br />
hard rock and metal executed with enough<br />
finesse to pull distinct timbre out of an<br />
onslaught of guitar and bass. Mark Tremonti<br />
on guitar pushes melody through a stone<br />
wall of sound. As instrumentalists, the band—comprised of Myles Kennedy<br />
of the Mayfield Four and three members of Creed—are in top form,<br />
though by midway through, the album becomes too much of a good thing<br />
as tedium settles in. – Jessica Pace<br />
6<br />
8<br />
3<br />
7<br />
To be considered for review in the Album Reviews section, you must have a record deal with a major label<br />
or an independent label with an established distributor. If you do not, please see our New Music Critiques section.<br />
48 November 2013 musicconnection.com