Month of November , 2006

Recently I wrote:

We have to pass up on any music that a band has sent us themselves

It should have read:

We have yet to pass up on any music that a band has sent us themselves

We love it when bands send us their own music, and that's the stuff we're most interested in around here. That's worth clearing up. I do hope nobody read that and felt like they were being turned away.

Fully Operational X Japan - Self-titled EP CD
2005 | self-released

FOX Japan is a band mostly from West Virginia with some members scattered about the states, getting together to record and do short tours. It's a rocking indie pop band that seems to have been kicking in some incarnation or other for the last ten years, but what appears on this EP from 2005, presumably their first release, is some really well-developed music with a melancholy, biting humor.

I dig the music quite a bit, and I'd say it bears quite a bit of resemblance to Pavement. Also, I'm guessing that like Pavement, live cuts of these tunes would probably come off with more appropriate vitriol given the subject matter. The lyrics are fascinating. "Emasculate Me," which finds the narrator questioning his role protesting anything in modern life struggling to find an appropriate position to take:

My great grandad was a farmer
So my granddad could be a teacher
My granddad was a teacher
So my dad could be a lawyer
My dad became a laywer
So that I could be an artist
Oh, capital
America got rich upon the backs of slaves and natives
Now it's staying that way
Because of bombs and cheap labor
I'll happily partake and complain about it later

Not a popular stance to take in the world of indie rock! But we've definitely got a live one here. Each tune, like Emasculate Me, comes off with a rather chill vibe, very clean recording sound (especially for what sounds like home recording), but has a latent sarcasm and cynicism that is most pleasing to me. I really want to see these guys rock out and get into it. The lyrics are all pretty intimate, dealing with loan sharks and over indulging in modern convenience and living needlessly complex lives, and taking on the corporate mono-culture and evangelical Christians ("Jesus Would Be Ashamed of You People" is not to be missed, friends).

Not coincidentally, FOX Japan is coming to the Garden State where I doth reside. The dudes will be playing a place called Cafe Arabica in Morristown, NJ, where I almost never venture, and I've not heard of the venue. It's a hookah bar, and I love hookah bars. The place seems to be booking a lot of Singer/Songwriter acts. FOX Japan is playing at Cafe Arabica on Dec 28th 2006, at 9pm.

You can download two of their tunes, order their EP, connect to their MySpace page, and get general info about the band and their tour on their website. Here's Emasculate Me. Additionally, they've made a new track, "What Follows", presumably from their upcoming EP, available on their website. Quite different from the more traditional indie rockin on their first EP, it's somewhere between Belle & Sebastian and Frank Zappa, and I like it a lot, especially when Charlie Wilmoth starts screaming "ARE YOU GONNA BEHAVE!" over and over again over a wall of ripping distortion. These guys are a blast.

There are some things I need to admit:

Spoon doesn't suck. They aren't totally boring monotonous stoner rock like I have alleged in the past, behind closed doors to shocked and dismayed friends. Their record Gimme Fiction is great, with a few skippers, and they really work the stoner rock thing to put together some fucking brilliant tunes. "I Summon You" is so beautiful. The ending of the tune doesn't quite live up to the rest of it, but damn, what an amazing pop tune, and like everything on the record, done so delicately. The drummer for Spoon is perhaps one of the most restrained I've ever heard. The very subtle use of keyboard parts, a steady acoustic riff and and a melodic bassline. And Britt Daniels has The Fucking Voice. He fucking has it, that bastard. It's awesome. Even when his songs are boring, they STILL sound damn good.

Sister Jack, Was It You?, I Turn My Camera On, The Two Sides of Monsieur Valentine, ALL amazing songs.

The other thing it's time to admit is that Ted Leo also doesn't totally suck. Not totally. I have in the past found his voice really hard to listen to, and his tunes really repetitive. It still kinda holds, but I've found on listening to Hearts of Oak again that wow, "Where Have All The Rude Boys Gone?", "The High Party", and "The Ballad of Sin Eater" are fucking amazing songs. I didn't get much farther than that in the record before leaving me house today, but I put it on me ipod. For further inspection. Because I am a music snob. It's time for me to be admitting these things.

Also? I don't totally hate Coldplay anymore. The "Chill" channel on Sirius radio is often on over at my girlfriend's place and they drop the new cold play jams here and there. The tunes I've heard recently are actually pretty decent. I still can't listen to A Rush of Blood to the Head. But their tune "Don't Panic" on the Garden State soundtrack is beautiful.

And the part of me that just couldn't ever listen to Radiohead again after binging in college and hating their new stuff afterwards seems to have left for good. Found myself jamming out to Kid A for the first time in some two or three years this week. I forgot how much I love those songs. Especially the live cuts on I Might Be Wrong which was released sometime afterwards.

Coming soon: an actual review and some show listings. Send me your music, tell me about your shows:

sceneless@gmail.com

Jim Testa has the scoop on Asbury Lanes and what's happening there.

They are not closing, there are shows tonight, Friday, and Saturday. Although, we know that some shows have been moved to Red Fusion (a place I'd like to check out, actually), and I'm curious why.

Apparently they are not yet in control of their web presence and are alleging foul play. The message left there yesterday that Jim caught is now gone, replaced with something brief and cryptic about going through changes.

Jim writes:

Moral: Don't believe everything you read. We did, and we got burned.

I'd like to note that in my previous post on the matter I specifically wrote that I had no confirmation on things, only rumors, and I wanted to know what was going on, so I can't say I feel burned. Ironically, I think that as before we still don't quite know the full gist of things either (and probably won't ever), but I'm glad to hear from those still in charge that they don't plan on closing the doors (and that's probably to be taken with a grain of salt, too, given the redevelopment situation and the growing property values in Asbury Park).

Okay, sorry for the terrible lede. But the word on the street (err, the internets) is that Asbury Lanes in its current form is going through a transition or possibly closing, and it looks like the website is now AWOL, but that really isn't much confirmation on this.

I love seeing and playing shows at that place, one of the few actually cool places in NJ, and it would be a real bummer for it to not be anymore. But I don't really know what's going on. So what are you hearing, if anything? Was your show canceled, were you going there next week to see your friend's band? Leave a comment or e-mail us at sceneless@gmail.com if you have a tip or scoop but don't want to be named (anonymity guaranteed).

So, not much music is sent to us here at Sceneless. Which is too bad, but mostly because, I suspect, we don't write that often. So, a lot of the music we receive is from media companies who have been hired by indie labels to go out and specifically target blogs to get the word out and build up some hype.

Have you been to The Hype Machine yet? Do go there now. There is a point to this rambling.

Yesterday I was sent "A star-studded remix EP from an unknown band with no prior releases... that is as brilliant as the original material on the band's upcoming debut album." Right. The presser that came with the disk asks not to upload the tracks, but sites other blogs as to the band's popularity (The Postmarks) and the use of the single "Goodbye" in a tv show.

So I pop it on and I have to tell you, it's pretty and sweet, but the two singles on here from the album get on my nerves because they are repetitive and boring and they seem so dwell in the Pretty Shoegaze a little too much... it sounds detached. Like if Stars had no sass or bite. The James Iha Remix of "Goodbye" is actually really damn interesting, especially if you're a Pumpkins fan because it has all those nifty latent elements of later pumpkins music, like ebows and softly whispered things in your ear, and a set of hip, downtempo chill beats.

So then I hopped onto Hype machine just to see what's up. As you can see, it looks like sending this thing to blogs and getting them to write about your band is pretty damn effective. You even get posts like this one ... which leaves me kinda speechless. but clearly, it works. people love being sent things, so they blow smoke up people's asses gladly. they love the attention and being at the top of blogging lists and such. it's a system of manufacturing consent: we send you music, yon blogger, you write good things about this New Stuff Exclusively (but not really) to get in on the Hype, to make yourself more popular and us more popular... it's like a fucking circle jerk.

This particular media company that sent us this was for the longest time sending us the most annoying e-mails, too. I love getting new music, but I guess I want music from Real Bands, music from labels where people do things themselves. I want your unwashed DIY masses. We'll certainly check out and consider everything we're sent. But man, we're getting some Lame-o Industry Stuff lately. "Star-studded." Etc. Send us YOUR music. We have yet to pass up on any music that a band has sent us themselves, because I think that really should come first around here, and larger labels and such come second.

Definitely send us stuff, but maybe it's a good idea to consider this: Someone sent us the new LP for Violet Nine, which Adam and I hated so much that we just didn't want to really give it the time. Designed to look good (I'm talking about the people in the band, click the link, you'll see what i'm talking about). Super polished and shiny. Ready for the now-defunct (thank god) K-Rock. Totally vapid. That "Warm PUNCHY sound, yeah."

Send us real music, damn it. Send us an e-mail, we'll give you a postal address: sceneless@gmail.com

The Invincible Gods

This post is a bit overdue! Back in October, just before Halloween, I got to see three excellent performances by Brunswick's Screaming Females and The Measure [sa], and Brooklyn's The Invincible Gods.

First, I should like to say that I have really been digging how Asbury Lanes has been putting on these shows featuring only two bands in an evening, and that it usually starts sometime after 10pm. It's a good vibe and it's nice to have an event that doesn't have 6 bands, but gives two complementing acts a lot of time to really cut loose.

I had not really gotten a chance to listen to the Gods last time I saw them at The Parlor in New Brunswick, so I was really stoked for this show. The band is a three-piece (Jim Testa has some excellent background and things to say about them here), with Candace on vocals, Sean on guitar and vocals, and Nick on drums. Invincible Gods is the phoenix rising from the ashes of The Atomic Missiles (some of the story of this band includes a humourously told tale of an insane roommate out in Los Angeles who was in large part responsible for their defection from that west coast badland of people who will forever wait tables waiting to get famous; it just wasn't for them).

Despite the lack of a bassist, with guitar running into both bass and guitar amps, the band played very dynamic less-is-more rippin dance and pop tunes, and kicked out some seriously Pissed At Current Events lyrics that had the small crowd at Asbury Lanes immediately in love, captivated until the end of the set. I must confess that I was a foot tapper and till about late in the set when I just couldn't help it and had to dance like a freak. Not many bands can make me dance like a freak! It was punk ass, it was Candace bopping around, it was amazing vocal interplay between herself and Sean, it was really tight drumming by Nick that was in lock step with Sean who was not even a little bit afraid of leaving the rhythm duty to rip fills and solos. The sound is complex and sparse, it's a very naked performance done with complete confidence. I love this band. They don't need a bassist, but they would be Even Better if they did have someone filling in that tamber for them.

Screaming Females fucking rocked. Not a surprise. The band is getting tighter while also getting looser with their stage performance. Marissa seems to be trying to literally bludgeoning pop music when she jumps on top of her strat and starts beating the thing! Songs kinda fall apart and stop on purpose only to come ripping back into a surprise final chorus with a killer hook. The band is playing with the confidence of people who know what they're capable of, and who've taken it on the road and earned it. I picked up their 7" for only $5 bucks, and it's beautiful, although I have yet to go over to Adam's house to listen to it on his Hi-Fi (I own no record player). I'm literally fiending to hear it. The individual made canvas sleeves of the 100 copies are at once fun and silly, and harrowing and frightening "dear god hide me under the bed, don't let her find me," reads mine! I love the soviet red vinyl. I fucking love it.

Screaming Females

On some of the newer material the screa-males are playing, I'm noticing that bassist King Mike is starting to dig funkier, more complex grooves with drummer Jarrett Dougherty, riffs that saw him working his fingers like I've not seen him work them before, grooves that have Jarrett kicking it tight and fast, the band just holding on while Marissa shreds away.

The last band of the evening was The Measure [SA], also hailing from New Brunswick, NJ. Kicking a pop-punk meets cowpunk and some fast brunswick hardcore punk, they were really quite an entertaining group. One of the highlights of the set was when singer and guitarist Mike Regrets proposed to his girlfriend after abruptly stopping the second song, much to everyone's shock! (For the record, she said, "yes"). The band was absolutely infectious, especially kicking the single from their new LP / 7", Union Pool (check it out on their myspace page!). "Meet me there on Sundaaaaaay! Cuz you got me!" Singer and guitarist Lauren Measure has such a powerful stage presence being tall and lean and throwing out a rockin sweet voice. I was also very impressed with their rhythm section. The drummer worked his ass off while managing to sing lead on a couple of tunes himself. I'm really looking forward to catching these folks again.

The Measure [SA] has a show coming up at The Court Tavern in New Brunswick next week, Wed the 22nd of November. Screaming Females have their next show at The Parlor (233 Hamilton Street) in New Brunswick on Saturday December 9th, another basement jam and a birthday party! I don't know when The Invincible Gods are playing next (can't seem to find an Upcoming Shows listing for them anywhere), but I'm keeping an eye out.

I've got a few more pictures over here, but I'm noticing that I need to spend a little time changing how I'm using flash at night indoors, because it's Not Good right now. I regretfully took no pictures of The Measure [sa]. (a couple of photos were taken by Mike from My Punk, but I can't remember which ones! Help, Mike!)

Eliane Elias - Around the City
2006 | RCA Victor Records

It keeps happening that I look at a CD's cover art, read the tracks, develop some kind of "oh, it's gonna be like ____" impression, and then I listen to it and it turns out I was really off-base. I'm glad that this keeps happening. I have a keen interest in all things Brazilian, and just like some people have a fetish for all things Japanese, even super-deformed characters on keychains, I'm a big fan of Brazilian culture, especially the other-worldly music.

That is certainly driving my interest in Eliane Elias's record Around the City. It's thirteen tracks mixing her originals with Jazz arrangements of covers that are quite brilliantly put together. The opening track "Running" is so far my favorite, and it's an original. I really didn't think a cover of Bob Marley's "Jammin'" would be any good at all, but the musical performance is quite over the top, it's not to be missed.

On the other hand, I truly hope that I never hear "Oye Como Va" again, and of the various covers on this record, I'm very surprised to see this included, especially since 1) that tune has been worked to death by everybody and their mother, and 2) this is the one cover who's arrangement doesn't really add much to or do much with the original.

I'm a little surprised at how many covers are on this record (6); my guess is that this record is aimed at Jazz heads, who find it very common to pickup records that highlight performance and arrangement of standards and popular tunes, where the praise is to be found in the interpretation.

All in all, this disc is a really fun, sexy, chill listen, it makes you want to sip wine and dance slowly in some place dark, especially if you're listening to it at work while programming database code. Yus. The general impression I get from this record is of an artist who is focused on the music itself, and I think that doing bizarre covers of popular tunes is about as close as she's willing to go to selling herself as a piece of pop media, there's really no compromising the music on the other tunes for cliche pop hooks, and there's quite a bit of Brazilian Portuguese for lyrics.

Dead Leaf Echo
Faint Violet Whiff
2006 | Year Of The Gallon Records

From the opening track of this six song EP, Dead Leaf Echo charges forward with the droning-rock sound made enormously popular by Interpol a couple of years back (along with some healthy dosings of Morissey and U2), but like a lot of Interpol's material, it seems to lack the hooks I think you need to get away with that.

Because the music isn't exactly in your face (the exception being the heavily reverbed drum kit), the vocals are bright and on top of the mix, and because the vocals become that which my interest hinges upon, I guess I'm feeling a little more demanding than I usually would. The singing isn't off-pitch, but I want to hear less breathy Morrisey crooning, my ear keeps looking for something to cut like a knife through the dreamy texture of these songs and the laden production.

"Poison Lips" really goes head-first into the Morrisey memorializing. Really some pretty stuff, but it's just not for me. On the other hand, "Walking Away" seems to do a much better job of channeling the various evident influences into a working formula, the first track on the disk where this two-piece writing team (plus friends) bears its teeth. Suddenly you hear a lot more U2. I'm wondering if perhaps these songs wouldn't benefit from production that was less slick? The really pretty, dreamy and delayed guitars sound far away, even when there's a musical interlude.

"Shell of Love" is honestly very pretty. "Ooooooh, what in the world have you become?" It's so sad and beautiful. It's on this track that sheer sincerity makes it through the monstrously difficult task of recording what is honestly an active and living expression (a performance) of an emotion, and making it easily replicable. Recording music is heinously difficult because you're trying to freeze that which is essentially motion. "Shell of Love" is one of those amazing moments immortalized, the perfect take, the perfect sound, the perfect mix, and you couldn't ever do it the same way again if you tried.

"Denial" continues in this vein, but it's running time of nearly 8 minutes is a bit more than I can stand in the particular format. Back are the blurred swirling droning sounds and a vocal line that has the right amount of passion but lacks the hook it needs to cut through. Some really interesting things take place wherein ambient / environment noises are mixed in and panned hard stereo right to left (like sirens on the street).

The last track is a remix of "Shell of Love" by Invisible Kid (I think this is his link), an interesting take on what is easily this record's single, but I have to say I don't think the beats and added ambient workings add much to the tune, I really prefer the cleared space of the original where the singer is able to reach through all the heavy production and chorus effect and into your heart.

There's really a lot of potential in this group and its song writing, and I would imagine catching the singer alone with his guitar somewhere would be one of the most intimate and enjoyable performances you could ask for. Faint Violet Whiff takes a bit of a beating with effects processing when it needs to have a real warm-blooded energy if these songs are going to make it inside you like "Shell of Love" does. I'm not saying it needs to rock. But you want the listener to feel the heat of those tears.

Dead Leaf Echo: Thanks very much for sending this in, I appreciate it. I'm sure this record was a lot of hard work, and I hope that my criticism here is constructive.

Billy Gray
billy@tankcrash.com