Extended? Please. Another double thingy action.
The industry is fast. So fast that the slowpokes like myself are in constant state of catchup. Hence these 2-in-1 reviews. How did I get so behind? If anything ever goes wrong you can blame it on these available handy evils: A) Lars Ulrich. B) Rio. C) The Black Plague. D) That assdick who cut me off on the freeway and didn't wave. And the increasingly most convincing thing to blame it on: E) Myspace.com.
In any case, let's focus at the matter at hand. Two EPs. That should make for the equivalent of one full record review. Seeing that I did my fair share of blabbing on the last marathon blog, I'll once again try to keep it sweet and simple, and with more one liners than a Zucker Brothers flick. Zing!
Calexico/Iron and Wine - In the Reins - Overcoat
Rogue Wave - 10:1 - Sub Pop
I'll start with Sam Beam, also recognized as Iron and Wine. We've already established that Mr. Beam has the ability to make dudes cry (see past blogs to "taste the sad"), does he have the ability to make dudes cry with a fuller arrangement?
Short answer is Yes. Long answer is Fuck yes. I thought Woman King EP was a bit of a misstep, be it a very tearjerking, minor misstep. It's ambitious but imperfect and the best song "Jezebel" was the most similar to Iron and Wine's previous work. Electric guitars and pianos seemed somewhat foreign to Beam and Co. and awkardness at times fumbled into mixed results. Beam's ability to write a tune still shines through, and his voice is lovely as always.
On In the Reins, Beam leaves it to Calexico, masters of the dark-country, americana arrangement to capture Beam's rough-edged, hyper-real emotions and at the same time draw out anything in Beam that he might not have known he had in him, sounds he would not have thought to use, words that he might not have thought to write, facial hair he might not have thought to grow. In the real world, these little realizations are inspired by many things: love, heartbreak, liberal arts private school, sex, LSD. For Beam, it's Joey Burns and John Convertino.
The opening track "He Lays in the Reins" is signature Calexico, theatrical, dark and flourishing. Beam's soft voice and softer melody takes it all in and just lets go (with almost over-the-top guest spanish verse mixed in). The sound is reminiscent of what Calexico did for Neko Case on Blacklisted. It's creepy and methodical, but at the same time, lulling, expressive and so darn purty. I always thought it was Angelo Badalamenti soundtracking a western Lynch film. It's a shame this song only hints at this sound, never to go back. But sometimes a drop of the sweet sweet nectar is far more pleasing than dunking your head in a barrel of it.
The following tracks shake it up even more. "Prison on Route 41" is a Beam vehicle (if the former was Burns/Convertino vehicle), again his keen sense of folk melody plays well with the country backdrop of acoustics, wheezebox and slide. The harmony-laden "A History of Lovers" is country pop meets Chuck Berry with cheery band of horns, upbeat and catchy as all get-up. From there, things get a little more gray, all excellent tracks but not as eye-popping as the first three numbers. The jazziness of "Burn that Broken Bed" comes from wily horns buzzing with sort of this improv feel, like a session. "Dead Man's Will" is the most stripped down track of the record, practically an Iron and Wine arrangement, but gets lifted by an amazing harmony between Beam and Burns.
As Iron and Wine branches out with a little help from his (amazingly talented musican) friends, another Sub Pop rep tries to recreate a little of the magic that put them on the carpet ride to sold out shows and big time shout-outs. Rogue Wave in my office is practically bigger than the King of Pop. At first we were all like "Dude man, Rogue Wave. The Fillmore. With of Montreal opening." The explosion of the success (see a past blog 5/21/05 on the connection between my co-worker and Desoto Reds drummer, Jeremiah Johnson and Rogue Wave) has propelled our fantasy show bookings to new heights that soon it'll be "Rogue Wave. The Moon. Opening for Jesus Christ and his Incredible Band of Kazoo Playing Martians. THE Jesus Christ. Zach (Rogue) drinking PBRs with God, Ray Davies and the ghosts of Elliott Smith and Gram Parsons backstage."
As for the music on 10:1 EP, Zach Rogue has kept it simple on most of the tracks here. "Interruptions" is subdued for the most part, gentle and and even keel, "interrupted" (boooo) periodically by a rhythmic crashing tom and Rogue's prechorus hurried singing. "Crush the Camera" is more of the same, full of melody and soft baby hooks, indie-folk-pop bliss with nostalgic non-sequiturs.
The one odd ball is the title track "10:1" which in comparison is a raucous, frenetic new wave circus number. The guitars rage with fuzz a blaze. Heavy organs follow the punk rock drum beat. And Zach Rogue's voice, distorted and wild, is barely recognizable from the light birdy sounds he normally makes. You know what? It actually sounds like Desoto Reds song. Go figure.
If 10:1 is any indication, Rogue Wave's upcoming record Descended Like Vultures should be more of the same excellent pop as Out of the Shadow. It's a tease. If 10:1 is a tease, In the Reins is a full on flirt. One can only hope that Beam and Calexico will keep the flirtation going and continue this very very perfect union.
Calexico: http://www.casadecalexico.com
Iron and Wine: http://www.ironandwine.com
Rogue Wave: http://www.roguewavemusic.com
In any case, let's focus at the matter at hand. Two EPs. That should make for the equivalent of one full record review. Seeing that I did my fair share of blabbing on the last marathon blog, I'll once again try to keep it sweet and simple, and with more one liners than a Zucker Brothers flick. Zing!
Calexico/Iron and Wine - In the Reins - Overcoat
Rogue Wave - 10:1 - Sub Pop
I'll start with Sam Beam, also recognized as Iron and Wine. We've already established that Mr. Beam has the ability to make dudes cry (see past blogs to "taste the sad"), does he have the ability to make dudes cry with a fuller arrangement?
Short answer is Yes. Long answer is Fuck yes. I thought Woman King EP was a bit of a misstep, be it a very tearjerking, minor misstep. It's ambitious but imperfect and the best song "Jezebel" was the most similar to Iron and Wine's previous work. Electric guitars and pianos seemed somewhat foreign to Beam and Co. and awkardness at times fumbled into mixed results. Beam's ability to write a tune still shines through, and his voice is lovely as always.
On In the Reins, Beam leaves it to Calexico, masters of the dark-country, americana arrangement to capture Beam's rough-edged, hyper-real emotions and at the same time draw out anything in Beam that he might not have known he had in him, sounds he would not have thought to use, words that he might not have thought to write, facial hair he might not have thought to grow. In the real world, these little realizations are inspired by many things: love, heartbreak, liberal arts private school, sex, LSD. For Beam, it's Joey Burns and John Convertino.
The opening track "He Lays in the Reins" is signature Calexico, theatrical, dark and flourishing. Beam's soft voice and softer melody takes it all in and just lets go (with almost over-the-top guest spanish verse mixed in). The sound is reminiscent of what Calexico did for Neko Case on Blacklisted. It's creepy and methodical, but at the same time, lulling, expressive and so darn purty. I always thought it was Angelo Badalamenti soundtracking a western Lynch film. It's a shame this song only hints at this sound, never to go back. But sometimes a drop of the sweet sweet nectar is far more pleasing than dunking your head in a barrel of it.
The following tracks shake it up even more. "Prison on Route 41" is a Beam vehicle (if the former was Burns/Convertino vehicle), again his keen sense of folk melody plays well with the country backdrop of acoustics, wheezebox and slide. The harmony-laden "A History of Lovers" is country pop meets Chuck Berry with cheery band of horns, upbeat and catchy as all get-up. From there, things get a little more gray, all excellent tracks but not as eye-popping as the first three numbers. The jazziness of "Burn that Broken Bed" comes from wily horns buzzing with sort of this improv feel, like a session. "Dead Man's Will" is the most stripped down track of the record, practically an Iron and Wine arrangement, but gets lifted by an amazing harmony between Beam and Burns.
As Iron and Wine branches out with a little help from his (amazingly talented musican) friends, another Sub Pop rep tries to recreate a little of the magic that put them on the carpet ride to sold out shows and big time shout-outs. Rogue Wave in my office is practically bigger than the King of Pop. At first we were all like "Dude man, Rogue Wave. The Fillmore. With of Montreal opening." The explosion of the success (see a past blog 5/21/05 on the connection between my co-worker and Desoto Reds drummer, Jeremiah Johnson and Rogue Wave) has propelled our fantasy show bookings to new heights that soon it'll be "Rogue Wave. The Moon. Opening for Jesus Christ and his Incredible Band of Kazoo Playing Martians. THE Jesus Christ. Zach (Rogue) drinking PBRs with God, Ray Davies and the ghosts of Elliott Smith and Gram Parsons backstage."
As for the music on 10:1 EP, Zach Rogue has kept it simple on most of the tracks here. "Interruptions" is subdued for the most part, gentle and and even keel, "interrupted" (boooo) periodically by a rhythmic crashing tom and Rogue's prechorus hurried singing. "Crush the Camera" is more of the same, full of melody and soft baby hooks, indie-folk-pop bliss with nostalgic non-sequiturs.
The one odd ball is the title track "10:1" which in comparison is a raucous, frenetic new wave circus number. The guitars rage with fuzz a blaze. Heavy organs follow the punk rock drum beat. And Zach Rogue's voice, distorted and wild, is barely recognizable from the light birdy sounds he normally makes. You know what? It actually sounds like Desoto Reds song. Go figure.
If 10:1 is any indication, Rogue Wave's upcoming record Descended Like Vultures should be more of the same excellent pop as Out of the Shadow. It's a tease. If 10:1 is a tease, In the Reins is a full on flirt. One can only hope that Beam and Calexico will keep the flirtation going and continue this very very perfect union.
Calexico: http://www.casadecalexico.com
Iron and Wine: http://www.ironandwine.com
Rogue Wave: http://www.roguewavemusic.com
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