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Downtown Guitarist Seeks Own Path

Published by Adam on October 12, 2010

Six years ago, I wrote a glowing review in The Eagle of a band called Downtown. Backed by all-star rock producers Flood, Alan Moulder and Toni Halladay, and featuring a melancholy sound that recalled some of the best alternative rock from the late 20th century, Downtown seemed destined for success.

But we didn’t hear much about them after that.

Now Eric Brendo, the band’s guitarist and co-songwriter, is striking out on his own. A debut EP, Over the Dunes and Into the Cave, was released this summer, and Brendo tells me a long-player is due next year. He is in the midst of an October tour and plans to tour again once the LP is released.

This month’s run of shows “has been great,” and “creatively is stronger than the last tour,” says Brendo. “I’ve met some incredibly talented musicians and filmakers along the way and [am] staying really busy.”

The chances of another Downtown collaboration are “pretty slim,” says Brendo. “We toured for a bit after the Downtown release and I was doing some solo shows on the side and trying to expand as a songwriter.” Initial Brendo gigs took place mainly in New York City, but “then the touring addiction kept haunting me,” he says. So Brendo, originally from Detroit, hit the road. He spent “a year or two in L.A. and wound up living in Austin somehow, which has been beneficial in many ways so far.”

On Over the Dunes, Brendo continues to show a knack for the kind of moody, bass-laden grooves that were so core to Downtown’s 2004 debut. He wrote the songs and plays most of the instruments, though co-producer Howard Wulkan played as well. Catchy opener “Hazy Love” could have been a Downtown song, while closer “Ashes” surprises with a rootsy, acoustic twist.

If there’s one thing that’s missing from the EP, it’s a clear single — that one sparkling number guaranteed to bring down the house. On his upcoming full length, fans “can expect a little more [beats per minute] on the tracks and I’ll just be sorting out whether to fit in some of the stripped down open-feel stuff and go for what serves the album,” says Brendo. He plans to issue “a wide variety of albums over the next 5 years” and also hopes to contribute work to films.

For more info on Eric Brendo’s record and tour, click here.

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Crocodiles Sharp on ‘Sleep Forever’

Published by Adam on October 3, 2010

If you were to combine the dark, twisted fuzz of The Raveonettes with the “We know we’re good” bombast of Oasis, you’d probably end up with something a bit like Crocodiles.

But forget the comparisons (another popular one on the ‘net is The Jesus and Mary Chain). On their new LP, Sleep Forever, this San Diego band provides 35 minutes of fresh and filler-free rock ‘n roll. The choruses are big, especially on the title track, with lyrics that are simultaneously bleak and psychadelic. “When you die you don’t really die/You just paint yourself across the sky,” singer Brandon Welchaz roars over Charles Rowell’s static/melodic guitar on “Billy Speed.”

Some have bemoaned the slower tracks — the pace drops to a heartbeat on track four, “Girl in Black,” before coming back to life on a track that — ironically enough — is called “Sleep Forever.” But if you switch off your iPod’s shuffle and swallow the album the old-fashioned way (in one dose), it all comes together.

Check out the video to the rockin’ title track below:

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Change Comes to Gotham City

Published by Adam on September 3, 2010

Batman and Robin Vol. 1: Batman Reborn by Grant Morrison

My rating: 4 of 5 stars

I’ve been pretty resistant to the Grant Morrison Batman books because of all the radical changes: Bruce Wayne is dead, he has a son named Damian, Damian is now Robin, Dick Grayson (the original Robin) is Batman, Bruce Wayne is actually not dead but lost in time… It’s all a bit much.

Still, this first collection of the Batman & Robin books featuring Dick and Damian is a pretty good read. These are some of the most fun and yet dark/bloody Batman stories I’ve read in some time. And it’s nice to see a focus on two Batman heroes, rather than the veritable Batman family featured in the books preceding the Grant Morrison run. Unlike the dynamic duo of yore, Batman and Robin don’t always get along, but in the end they always come together to stop the bad guys. Morrison also invents a gaggle of psychotic new villains who fit into Gotham perfectly. And the artwork by Frank Quitely and Philip Tan is always colorful and expressive.

I’m probably still going to avoid the Bruce-as-caveman comics, but happy to see there still is good writing in Batman.

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Review: Autolux – Transit Transit

Published by Adam on August 11, 2010

After a deafening six-year silence, Autolux return with a new album that builds upon and evolves the dark, distortion-filled rock ‘n roll of their 2004 debut.

The California-based band has garnered comparisons to ’90s alt-rock greats like Sonic Youth, thanks to its members’ ability to infuse noisy rock with real pop sensibility. The group’s forte is dissonant guitar underpinned by driving drums and a steady bass. Bass guitarist Eugene Goreshter is the lead singer, often sounding like a deranged Ben Gibbard (of Death Cab for Cutie fame). Drummer Carla Azar also ably contibutes vocals to a few tracks, sometimes trading off lines with Goreshter.

More than half a decade after their first LP Future Perfect, Autolux has reined in some of the noise. Goreshter’s vocals in Transit Transit show more melodic range, and the band seems less afraid to offer up the slow and mellow. While several of the tracks sound in the same vein of their original material (“Census,” “Audience No. 2”), they’re interwined with songs that remind of the Beatles (“Spots,” “The Bouncing Wall”), Earlimart and the Raveonettes. But while the influences show, there’s never a doubt that this is an Autolux album.

You can stream all of Transit Transit on the band’s MySpace page. My current favorite is “Highchair.”

If you like it, the MP3 version of the album is currently only $5.99 on Amazon.

Say Yea to Gorillaz, Broken Bells

Published by Adam on March 13, 2010

Hard to believe 2010 is already 1/4 over! I feel like it was just yesterday when I wrote a post about my top rock albums of 2009! Three months into the new year, and there’s already been a smattering of great albums. Some, like Gorillaz’ Plastic Beach, I had been expecting. Others, like Yeasayer’s fantastic sophomore album, caught me by surprise.

Here’s my take on some fresh music:

Gorillaz – Plastic Beach Before its release, co-creator/singer Damon Albarn called Plastic Beach “the most pop record I’ve ever made in many ways.”

In my opinion, that’s a little misleading.

Yes, the cartoon band has scored an all-star cast of collaborators, including Snoop Dogg, Mos Def, Lou Reed, Bobby Womack and half of the Clash. And yes, a single or two is probably going to shoot up the charts (“Stylo” and “Some Kind of Nature” are very addictive). But let’s be clear here: this album ain’t feel good…er… Inc. The most upbeat song in the set (which coincidentally features De La Soul), is about kids eating processed jellyfish for breakfast.

Don’t get me wrong. This is another excellent Gorillaz album, but I wonder if I just feel that way because I’m a fan of Blur’s later years. Many of the Albarn-sung tracks sound like they could have fit on that band’s Think Tank, or Albarn’s other side project, The Good, The Bad & The Queen. Without the cartoon eccentricity Gorillaz are famous for, some of these tracks — like “Cloud of Unknowing” — are kind of a drag. Sure there’s more hip-hop and dance beats here than any Blur album, but this is by far Gorillaz’ darkest album yet.

**** (out of five stars)

Broken Bells – Broken Bells It took only one listen of lead single “The High Road” to make me voracious to hear more from this collaboration of The Shins’ James Mercer and Danger Mouse, the guy who managed to mash the Beatles’ White Album with Jay-Z’s Black Album. I even made the song my ring tone.

Now that the full album is out, did Broken Bells live up to their promise? For the most part, yes. It’s not as revolutionary as the single led me to believe (you could probably mistake this for a slightly more experimental Shins album). But it’s pretty strong the whole way through, mixing Mercer’s meloncholy well with Danger Mouse’s tight beats and creative production. Most importantly, I’m still left wanting to hear more.

**** (out of five stars)

Yeasayer – Odd Blood The band told Spin Magazine recently that they picked the name Yeasayer in part because it sounded like a cult. With their new album Odd Blood, this band is going to pick up quite a following.

It’s difficult to make a convincing case on paper for this band. Odd Blood is full of ’80s synth and Peter Gabriel vocals. But Yeasayer’s relentless enthusiasm makes it all sound new and uncharted — kind of like what MGMT did for the Beegees. And c’mon, even Kanye talked this band up on his blog. He’s still got street cred, right?

Whatever, probably the biggest compliment I can give this band is that after 10+ listens, the songs still sound fresh. You can’t say “Nay” to that.

***** (out of five stars)

Fionn Regan – The Shadow of an Empire On his first album, The End of History, this talented young Irish singer/songwriter mixed earnest folk vocals with intricate acoustic guitar melodies. The best songs, like the superb “Hunters Map,” had the kind of quiet power that could transport you to another place. Overall though, History was a trifle inconsistent and long-winded.

On Shadow of an Empire, Regan comes back with the kind of ramshackle punch that the Libertines used to do so well. But while Shadow has got more muscle, only a couple songs stand out: “Genocide Matinee” and “Violent Demeanour.” Regan clearly has range and songwriting skill, but you can’t help but feel he hasn’t reached his full potential. Here’s hoping third time’s the charm.

*** (out of five stars)