Deerhoof – Offend Maggie

Deerhoof
Offend Maggie
killrockstars

Deerhoof have never been traditionalists. The quartet’s vocalist sings in a Japanese-English hybrid, their drummer uses a child-sized drum kit, and this summer the band purposely leaked the sheet music for their new album’s single to fans which lead to countless versions of the song being available months before its official release.

Formed in San Francisco in 1995, Deerhoof consists of classically trained drummer Greg Saunier, vocalist and bassist Satomi Matsuzaki, guitarist John Dieterich, and new guitarist Ed Rodriguez who joined the band as a full-time member in February. “Offend Maggie,” Deerhoof’s newest offering for the killrockstars label, is their most streamlined album to date. Old-school fans of the band may have a hard time wrapping their head around a sleeker Deerhoof, but with “Offend Maggie,” they’ve toned down their forays into spastic art-rock and created a more easily digested and ultimately more satisfying sound.

On “Offend Maggie,” the band manages to walk the fine line between classic riff-rock of The Who and Led Zeppelin while not completely dismissing their experimental and progressive nature. Gone are the crooked song structures and chaotic sonic outbursts from past albums such as 1999’s “Holdy Paws” or 2002’s “Reveille,” and in their stead are a group of 14 tightly focused tunes that never seem wandering or self-indulgent.

“The Tears and Music Of Love,” which erupts with a bombastic fretboard workout, is possibly the most straight forward rock track the band has ever produced, but it’s the song’s playful moments such as the hide-and-seek guitar licks that mimic Matsuzaki’s vocals that keep it fresh and not dated.

With many current rock groups such TV On The Radio and The Flaming Lips taking full advantage of heavy production and even using the studio as an instrument, Deerhoof have decided against that approach on “Offend Maggie.” Almost every song is a clutter free experience in which the instruments are completely distinct from one another and offer extreme clarity. Matsuzaki’s voice still works as more of an instrument because of her lack of discernible and often nonsensical lyrics, but here she finally seems to embrace the role of the frontwoman with her voice being pushed up to the front of the mix.

“Chandelier Searchlight” follows a thick bass riff and tin can guitar strumming to a heart-warming “la-la-la-la” chorus. The lead single “Fresh Born,” of which 35 fan-made versions can be heard on the band’s website, begins with a swaying waltz tempo that gives way to a deranged funk riff until suddenly shifting into a stop-and-go drum heavy chorus. One of the album’s most pop-like moments comes in “Basketball Get Your Groove Back,” which, in one of the oddest band-meets-sports song pairings in recent memory, features Matsuzaki singing about rebounds and bunnies over a deep blues guitar line that would not be out of place on a Foghat record.

One of Deerhoof's undeniable trademarks is the setting of mood or emotion in a song. In "Offend Maggie," they do this quite often by opening a song with a big guitar riff or introductory section that acts almost as an overture would to a symphony. It sets either a dramatic tension, "My Purple Past," or a delicate happy-go-lucky feel such as in "Snoopy Waves."

Still Deerhoof could not completely forgo their experimental and art-rock tendencies. “This Is God Speaking,” the only song on the album that features any electronic flourishes, is a mix of white noise, steel drums, and what sounds like Matsuzaki rambling through a broken telephone line. Then there is the frantic “Eaguru Guru” in which guitarists John Dieterich and Ed Rodriguez show off their guitar virtuosity that made the 2003 album “Apple O’” such a success. Even though Deerhoof are hardly the band to ever make political statements, "Eaguru Guru" features Matsuzaki singing "Red and white and blue/Probe deep inside/be collosal," which appears to be a topical statement among the staccato riffs. Eventually the song comes to a full halt and, in one of the album's most abrasive moments, starts again with a distortion drenched lightening riff until a thunderous drum-guitar climax brings the tune full circle.

What Deerhoof have done on “Offend Maggie” is successfully create a 21st century classic rock album. The big riffs and the huge drums are there, but instead of the classic sex, drugs, and rock n’ roll motif, Deerhoof offer an innovative approach that’s more enlightening than desensitizing.

- Richard Giraldi


"The Tears and Music Of Love"



"Fresh Born"



Fresh Born Sheet Music





"Chandelier Searchlight"

Jolie Holland - The Living and the Dead

Jolie Holland
The Living and the Dead
ANTI-

Holland’s newest album, The Living and the Dead, offers a laid-back Americana folk feel that keeps a steady pace and never tries to outdo itself, and it’s a nice contrast to the blues and jazz approach on her last album, Spring Time Can Kill You.

It’s Jolie Holland’s vocals that really give the shimmering guitar track, “Mexico City” it’s heart and soul. Her vocal range might be a bit limited, but she makes up for in an honest emotionally charged drawl that slightly resembles Arcade Fire vocalist Win Butler with hints of Cat Power.

Holland’s song writing ability has never been tighter than on The Living and the Dead. She weaves a rich tapestry of personal narratives that are earnest in their delivery. On the hushed “You Painted Yourself In,” Holland sings, “Invisible light in your lovers heart / will show the way through the fiery furnace / and what burns up is torn away / and what remains is a beautiful promise.”

“Fox In Its Hole” is a reflective slow-burner in which Holland’s angular vocal melodies seemingly enhance the myriad of loose percussion. While the blues rock of “Your Big Hands” features Holland howling over a Keith Richard’s influenced guitar riff about a subject not so unfamiliar to the Rolling Stones – heartbreak.

On The Living and the Dead, Holland is obviously becoming more comfortable with her country roots and made an album that would be perfect for those steamy nights in the Texas hill country. Judging by the album closer, “Enjoy Yourself” which finds Holland laughing through the majority of the song, it sounds like she’s taking her own advice.

- Richard Giraldi

"Mexico City"


Originally published in ALARM PRESS October 2008

Ra Ra Riot Play Chicago - The Subterranean

Ra Ra Riot
The Subterranean - Chicago, IL
Thursday September 11, 2008

Singer Wesley Miles was jovial in his proclamation that this was Ra Ra Riot’s third visit to Chicago this year. Then again how could he not be? The band has seemingly blown up overnight with the release of their new critically acclaimed album, “The Rhumb Line.”

When Ra Ra Riot took the stage near 11 p.m. on Thursday September 11, their lush pop compositions enlightened a packed house at Wicker Park’s dark and drab Subterranean. The crowd was packed in like sardines directly in front of the stage, but this served as a catalyst for the band to play a truly vibrant and engaging set. Featuring violinist Rebecca Zeller, guitarist Milo Bonacci, bassist Mathieu Santos, vocalist Wesley Miles, and Alexandra Lawn switching between cello and keyboard, Ra Ra Riot brings a slightly different aural experience than you’re used to at a local rock club.

The opening notes to their single, the hauntingly beautiful “Ghost Under Rocks,” hung high in the air and felt warm and inspirational. The second half of their set was highlighted by “Too too too fast” which lurches forward with a new wave keyboard line and bass riff and is ultimately brought to its climax by Wesley Mile’s soaring vocals. The band not only produced epic highs but also occasionally unleashed a delectable groove that pierced your insides.

There were, however, a few technical snafus. Zeller had problems with her monitor and amp a few times throughout the night. But more unfortunately, the band became victims of a shoddy sound system. For a Ra Ra Riot who pride themselves on texture and ambiance, occasionally some of their nuances were lost in the unusually low mix. While it didn’t hurt the overall energy they displayed on stage, sometimes the sound didn’t do them justice and that’s a tragedy.

But in the end, Ra Ra Riot displayed that raw talent and musical ability which excites not only the band members, but fans of the band who realize that they’re onto something.

- Richard Giraldi

"Too Too Too Fast Live 9/11/08"


Originally published in ALARM PRESS September 2008

The Pack A.D. Play The Hideout - Chicago, IL

The Pack A.D
The Hideout - Chicago, IL
Thursday July 17, 2008

Even though drummer Maya Miller claimed that the show was The Pack A.D.’s first in Chicago, you would never be able to tell. The British Columbia duo played with such ferociousness and intensity that they seemed like seasoned veterans use to the daily touring grind.

On Thursday July 17, The Pack A.D. played for a paltry, but interested PBR swigging crowd at the appropriately named The Hideout. Becky Black’s fiery guitar playing set the mood for the night while Maya Miller’s powerful drum machine backbeat held the songs together. After their first couple of songs, it is obvious The Pack A.D. are much more than your neighborhood blues bar band. Their amps are set far past 11, and their less is more approach to the blues is refreshing in a time of analog synthesizers and digital processing. The songs themselves were reminiscent of the White Stripes in terms of style but different in execution. While Jack White tries his hardest to create memorable hooks and choruses, Becky Black sings straight from the heart. Her Janis Joplin like soulful howl is emotionally piercing.

Though their music is completely different, The Pack A.D. brings that female energy last seen in Sleater-Kinney to the forefront. Unfortunately the crowd slowly wandered out by the end of the show leaving only a few left including drummer Maya Miller’s family. However, The Pack A.D. didn’t seem to mind or care for that matter. They were up on stage doing their best, delivering I don’t give a fuck rock and roll at it’s finest

- Richard Giraldi

"What's up there"


Originally published in ALARM PRESS July 2008

Laura Reed & Deep Pocket – soul : music

Laura Reed & Deep Pocket
soul : music
Independent

Laura Reed & Deep Pocket’s soul : music is so recognizable and so effortless; it’s hard to imagine it’s the Asheville, North Carolina group’s debut album. Reed’s soulful howl steer the group and give it an old school R&B flavor. However, it’s Deep Pocket, featuring drummer Jim Buchanon, bassist Ben Didelot, and keyboard player Ryan Burns that create the moody funk and reggae backdrops that compliment Reed’s vocals so well.

The opening track, “Well,” contains bouncy keyboard lines and DJ scratches to give it that complete dancehall feel. However, it’s the odder tracks from the bunch that sound the most interesting. The Bob Marley inspired “One World” features Reed proclaiming “We don’t need no first world/we don’t need no third world/what we need is one world” over a barrage of percussion tracks, and “Omm Lei Lei” is a dark, off-kilter number with a hyperactive organ riff.

The ballads, including “Praise You” and “Tomorrow”, act as a showcase for Reed’s vocal ability but sound more lethargic than the rest of the album. soul : music may sound like a very familiar record, but that is what makes it a pleasurable listen. It will be interesting to see what Laura Reed & Deep Pocket can cook up next.

- Richard Giraldi

"Laura Reed & Deep Pocket Live"


Originally published in OffBeat April 2008

Outformation – Traveler’s Rest

Outformation
Traveler’s Rest
Outerprise

If you can’t tell by the old west images on the front cover, Outformtion is a country rock band that leans heavily on jam band antics. The band features guitarist and vocalist Sam Holt, bassist Grady Upchurch, drummer Lee Schwartz, keyboard player C.R. Gruver, and Jeff “birddog” lane on additional percussion.

Traveler’s Rest sounds like a soundtrack to indie-rock spaghetti western. “Carnac” relies on a driving up-tempo guitar riff and light percussion, and “Dark Severinson” asserts a live atmosphere with a lush piano line until Holt opens with “Thank you all for coming, it’s a lot of fun” which gives way to a distorted guitar solo.

But Outformation sounds best when tackling straight up county takes, such as the track “Winds.” The band conjures up images of drunken saloon nights, with Holt singing “Why does everything fall all to hell when I’m gone/I seen it all go wrong up at home with a song/Blow your dreams away like the winds of Mexico.” The problem with Traveler’s Rest is that the riff-age just isn’t that memorable, and the production leaves the guitar sounding thin.

The group seems more focused on the instrumentation, which may be why the vocals don’t have the power and southern drawl that is a necessity in country rock. Traveler’s Rest appeals to the listener’s inner blue-collar worker and feels like the band at your local dive bar, but that maybe that’s what they’re aiming for in the first place.

- Richard Giraldi

"Carnac"


Originally published in OffBeat April 2008

The Karl Denson Trio – Lunar Orbit

The Karl Denson Trio
Lunar Orbit
Bobby Ace

The packaging may read “The Karl Denson Trio,” but Lunar Orbit is pretty much a one-man show. Karl Denson began his career as a member of Lenny Kravtiz’s band, but he went on to form numerous other projects including The Greyboy Allstars and Karl Denson’s Tiny Universe. Primarily a saxophonist and flautist, Denson explores his funk and jazz roots on Lunar Orbit.

The album focuses on the woodwind-organ-drum set-up, but Denson is the only constant on the album. The rest is a rotating cast of players including organ players Kenneth Crouch, Will Blades, and Anthony Smith, drummers Aaron Redfield and Jake Najor, and Steve Haney on congas. The album opens with the title track, “Lunar Orbit,” in which a pulsating organ, thumping reverse bass, and a steady rock beat starkly contrast with Denson’s melodic flute line. “The Plain Truth” is a jazzy scorcher that features the wildest Denson sax solo of the bunch.

Denson’s best attribute is that he plays with energy, regardless of the instrument. A couple of tracks reach over seven minutes, but rarely do they get boring and weighty. Occasionally, however, Denson does falter, such as the smooth jazz take, “Won’t Somebody,” which wouldn’t be out of place on a Michael Bolton album.

But Denson manages to stay focused, and not seem self-aggrandizing. Lunar Orbit never gets experimental, but it keeps the listener intrigued because of its simplicity.

- Richard Giraldi

"CTA"


Originally published OffBeat February 2008

Marco Benevento - Live At The Tonic

Marco Benevento
Live At The Tonic
Ropeadope

At first glance, keyboard wizard Marco Benevento’s “Live at Tonic,” featuring highlights from his November 2006 residency at the legendary and now defunct New York jazz club Tonic, may seem a bit intimidating. At three discs long, the album’s full playing time is slightly over three hours. However, even though it is a whole lot of music, the album doesn’t feel long and that’s why it works. Benevento, best known for his Benevento/Russo duo work with drummer Joe Russo, treats the listener to a wide array of originals and covers. While a few tunes are done solo, most of the time Benevento invites his friends to play along with him including drummers Russo and Matt Chamberlain, Phish bassist Mike Gordon, Jacob Fred Jazz Odyssey’s bassist and guitarist Reed Mathis, and trumpeter Steve Bernstein.

Benevento manages to use songs from all varieties including jazz, pop, and even classic rock, but never does it feel out of place. From the majestic jazz take on Pink Floyd’s “Fearless” to the frantic Benevento original, “The Night Before October,” disc one sets the album’s furious pacing. The sequencing to the album is one of its major strengths, and there are few, if any, lulls during its entirety. Disc two’s opening one-two punch of the strangely intoxicating “Peppermint Hippo” and “We’re Using Time For Fun” grab the listener’s attention with abrupt rhythm changes and dissonant melody lines, but the songs don’t drag and feel structured rather than wandering. Benevento even finds time for fun throwing in some standard, but equally playful covers of Carly Simon’s James Bond song, “Nobody Does It Better,” and Spencer Davis Group’s “Gimmie Some Lovin.”

Marco Benevento’s “Live At Tonic,” simply takes a group of talented musicians and let’s them do their thing while having a good time, and that’s what makes it such a success - it’s fun.

- Richard Giraldi

"Nobody Does It Better"


Originally published in OffBeat January 2008

John Scofield – This Meets That

John Scofield
This Meets That
Emarcy/Umgd

The name John Scofield really needs no introduction. The jazz guitarist is not only a master of improvisation but has recorded with a number of jazz legends including Miles Davis, Charles Mingus, and Medeski, Martin, and Wood. During the 1990’s Scofield often flirted with a distorted guitar tone but kept things warm rather than fuzzy.

Scofield’s new album, This Meets That continues to walk the line of jazz-rock fusion, yet he keeps it streamlined and modern rather than falling into generic jazz clichés. The stop-go opener “The Low Road,” begins with a cacophony of random guitar hits until unloading into a meaty rock riff between some funky melody lines. A simmering horn section holds the track’s fiery guitar antics together.

The most engaging songs, however, aren’t even Scofield originals. On the Charlie Rich cover, “Behind Closed Doors,” Scofield’s touch includes lush sweeping blues licks, and “House Of The Rising Sun,” has new life injected into it with Scofield trading spacey phrases with Bill Frissel. Even the Rolling Stones are given new life with a scorching cover of, “Satisfaction,” which relies on a soulful sixties swing.

Scofield misses the point on a few of his attempts. His nod to New Orleans, “Heck Of A Job,” whose title comes from President Bush’s praise to FEMA director Michael Brown following hurricane Katrina, is complete with a backbeat that would make Zigaboo Modeliste do a double-take. However, he can’t quite hit that down and dirty funk that New Orleanians are used to, and it comes off sounding weak. Still, Scofield manages to explore these different styles with confidence. This Meets That is a genre-bending journey and proves that he’s still at the top of his game.

- Richard Giraldi

"Satisfaction"


Originally published in OffBeat December 2007

Audry’s Old Bed – Tragedy On Dogpound Road

Audry’s Old Bed
Tragedy On Dogpound Road
Independent

Audry’s Old Bed already has quite an interesting history for being a fairly new alternative-folk father-son duo. John and Kyle Herbert are the founders of the group and were based in pre-Katrina New Orleans. Shortly before Katrina, they invited some of their musician friends, such as Eddie Ecker, Tom Maron, and Beth Patterson, to join them at ground floor productions in St. Bernard parish to record a full-length album. Like most of St. Bernard after Katrina, the studio was completely destroyed along with the master tracks for “Tragedy On Dogpound Road.” Luckily there were a few mixed and mastered copies of the album floating around, and the project was finally completed in 2007.

The album is a collection of heartfelt folk songs with earnest and enduring lyrics. The opener, “Cannonball,” begins with soft acoustic guitar strumming along a harmonica melody line, which gives way to John Herbert’s Springsteen inspired vocal howl, “I want to follow you into some kind of forgotten midnight dream | my god knows just what I mean | and I’ve been shot through the night like a cannonball.” The album does lack a bit in terms of diversity. Many of the songs have the same guitar tone and similar song structure.

The last two tracks are a bit more experimental, however. “Signals” has a darker production and features some exceptional theremin work, while “Shining Path” was written solely by Kyle Herbert and features a haunting ending with sirens and moog synthesizer sounds. “Tragedy On Dogpound Road” is a warm album that recalls floating down a muddy Louisiana swap on one of those sultry summer nights.

- Richard Giraldi

Originally published in OffBeat October 2007

The Zydepunks – Exile Waltz

The Zydepunks
Exile Waltz
Nine Mile

The Zydepunks cornered the market when it comes to Zydeco music with a punk tinge. No other band could successfully combine those genres and not sound like imitators. Since their formation, the Zydepunks have been one of New Orleans’ most rousing live performers. Their energetic arrangements will get you moving whether you’re at a bar or a Celtic festival.

On their new album, “Exile Waltz,” the Zydepunks deliver a rambunctious collection of Celtic, Irish, and European standards. The rhythm section anchors their punk style, while the accordian, fiddle, and Ti-Juan’s hyper Afro-French vocals give them an authentic Zydeco feel. “Boudreaux Crosses the Danube” starts off with a winding melody straight from a jack-in-the-box, and then explodes into a lightening-fast variation on an Irish jig. Shortly after the halfway point, the song breaks down into a hypnotic waltz, but soon regains its frisky tempo. A seductive little number that recalls old Parisian nights unravels into a rapid-fire accordion assault on “Andropov/Polka Felix.”

While the Zydepunks twist on these standards is interesting, it would be nice to hear some originals scattered through out. Still, it’s very difficult to get bored while listening to a Zydepunks record. “Exile Waltz” is lively, infectious, and an extremely fun listen.

- Richard Giraldi

"Zydepunks Live @ The Dragon's Den"


Originally published in OffBeat September 2007

Various Artists - The Harlem Experiment

Various Artists
The Harlem Experiment
Ropeadope

In 2001, Ropeadope records began an interesting experiment. They took acclaimed musicians from the same hometown, but from varying musical genres, and put them all in the same studio just to see what happens. The experiment spawned the genre-bending albums the “Philadelphia Experiment” and the “Detroit Experiment”. For their newest venture, Ropeadope headed back to the northeast and zeroed in on Harlem, New York.

The Harlem house band for this album sounds more like a an all-star team, and includes Bowie guitarist Carlos Alomar, acclaimed jazz drummer Steve Berrios, and klezmer musician Don Byron. Rounding out the eclectic bunch are Ruben Rodriguez on bass, Eddie Martinez on keys, and arranger Steve Bernstein on trumpet. “The Harlem Experiment” melds jazz, funk, klezmer, afro-beat, and salsa together while stretching instrumental experimentation to its limits.

One of the best aspects of the album is the production. The sound is crystal clear, and the instruments seem to burst from the speakers. On “One For Jackie,” the drums thrust through the chilled out synthesizer and trumpet lines to give the song a dirty yet structured feel. Harlem’s own Cab Calloway’s gets the experimental treatment here when they take his jazz standard, “Reefer Man”, to new heights with a pulsating salsa backbeat. Between the tracks Mums provides radio DJ-like chatter that give the album a conceptual feel.

In the end the experiment is an overwhelming success, leaving us with one of the funkiest albums I’ve heard outside of New Orleans.

- Richard Giraldi

"Reefer Man"


Originally published in OffBeat September 2007

Dax Riggs - We Sing of Only Blood or Love

Dax Riggs
We Sing of Only Blood or Love
Fat Possum

Ex-deadboy & the Elephantmen front man Dax Riggs posted a message on the old deadboy myspace website stating that deadboy was no more, but they were more than just a band and, “it’s in my DNA.” That must explain why Riggs’ new album is similar to the gothic swamp-glam of deadboy’s debut album. Releasing it under his own name rather than under the deadboy moniker, he sheds some of his folk-y aspirations for a more grunge rock and blues oriented sound.

“We Sing of Only Blood or Love,” is dirty swamp-rock album from start to finish. Brooding guitars give way to Dax’s soulful crooning on the Soundgarden-esque, “Night Is The Notion.” “Radiation Blues” is a post-apocalyptic rocker with a slow churning blues verse, which picks up speed during a distorted guitar filled chorus. Much of the album is heavy and raw, including the industrial sounding “Truth in the Dark.” “Living is Suicide” begins with a hauntingly vocal melody over rhythmic guitar strums and evolves into a dark new wave section with pounding piano chords that resemble Elton John’s “Crocodile Rock.”

The album falters during the slower numbers, however. The poppy-acoustic-folk of “Ouroboros” and bluesy ballad ”The Terrors of Nightlife” showcase Dax’s vocal ability, but they just don’t have the same bite and heavy backbeat that propels the other songs. “We Sing of Only Blood or Love,” is a raw, dark, and grimy journey, and I’m sure Dax wouldn’t want it any other way.

- Richard Giraldi

"Night Is The Notion"


Originally published in OffBeat August 2007

Various Artists - For New Orleans: A Benefit for the Musicians’ Village

Various Artists
For New Orleans: A Benefit for the Musicians’ Village
Sugarfoot

“For New Orleans: A Benefit For The Musician’s Village, Habitat For Humanity” is compilation CD whose efforts not only support the city but our musicians as well. Proceeds from the disc go directly to the Musician’s Village housing community in the Ninth Ward. Musicians, publishing companies, and corporations donated their music, royalties, and financial support to this project.

Many of the songs included are about New Orleans, but even if they weren’t written about New Orleans directly, they seem to embody the spirit of the city. The tunes selected are genre spanning, from folk to blues to rock to experimental jazz. The first disc includes Larry John McNally’s crescent city homage, “I Love To Wake Up In New Orleans,” Marshall Crenshaw’s bluesy folk-rock number, “Gasoline Baby,” The Jayhawks’ uplifting “Caught With A Smile,” and a previously unreleased take on Bob Dylan’s “I Shall be Released” by Jeff Buckley from a New Jersey WFMU radio broadcast.

Susan McKeown’s hopeful, “Wheels Of The World,” Natalie Merchant’s banjo-laden soother, “Weeping Pilgrim,” the poppy acoustic rock of “Closer to Fine” by the Indigo Girls, and Sandy Hinding’s slow burning “Blue Bayou” can be found on the second disc.

“For New Orleans,” is full of feel good and inspirational music that we all need sometimes, and by purchasing the compilation you can help support our city and our music.


- Richard Giraldi

Originally published in OffBeat August 2007

Gov’t Majik – The Dirty South Afro-Beat Arkestra

Gov’t Majik
The Dirty South Afro-Beat Arkestra
ShineNOLA Records

“The Dirty South Afro-Beat Arkestra,” is a fitting name for Gov’t Majik’s debut album. Gov’t Majik dedicates the album to the city of New Orleans and to all those who are rebuilding their lives. Majik not only returned to New Orleans post Katrina, but they became one of the most prominent jazz/funk groups in the New Orleans circuit.

Known for their intense and mesmerizing live shows, the nine-piece did it’s best to recapture that same energy on CD. Some tracks worked well and others not as much. The opener, “Welcome To The Undaground (Ballin…),” is an incredibly danceable number featuring jungle drums which later shifts to a more familiar funk-rock finish. The rhythm section takes the reigns on the hip-hop flavored, “Fo Sho,” while fuzzed-out guitar and tenor sax round out the funky creeper, “Hyde And Seek.” However, the band tends to hold back a bit at points. Sometimes it leads to songs remaining in the same tempo and mood, and this causes difficultly in distinguishing between tracks in some cases.

The band still manages to to create some unique and interesting music that is anything but standard. This album is a good introduction to Gov’t Majik, but check them out at a club when you get a chance.

- Richard Giraldi

"Gov't Agitator"


Originally published in OffBeat July 2007

The Bongoloids - The Anaesthetic Revelation of Ray Bong

The Bongoloids
The Anaesthetic Revelation of Ray Bong
Independent


The Bongoloids aren’t your average stoner rock band. They create a unique twist on the genre by adding psychedelic-jazz, electronica, bluegrass, and funk elements to their music. Their new album, “The Anaesthetic Revelation Of Ray Bong,” is full of enough buzzes and beeps to keep most stoners interested, while those sober might have a harder time wrapping their head around it.

Instead of heavy down tuned guitars, the Bongoloids’ version of stoner rock relies on Ray Bong’s vast array of synthesizers. The album opens with “It Doesn’t Matter What You Do,” one of the few tracks with vocals. The track transcends almost every genre; the techno drums give way to classic rock organs followed by techno squalls. Most of the tracks are in the same vein, until “I Know That You Love New Orleans.” The track uses an odd sampling of Rush Limbaugh speaking about New Orleans. If you thought Rush Limbaugh’s squeaky voice was annoying on the radio, it doesn’t do much to put it against some low-fi techno either.


The album’s final three tracks are the real standouts. Here the drums and instruments sound more natural and live. “Nitrous Cloud,” features a killer space jam that recalls some of Sonic Youth’s noisier moments over steady jazz beats. While the album is a bit scattershot, it might prove entertaining for those who wanting to expand their mind.

- Richard Giraldi

"Ray Bong Live"
Bongoroo2


Originally published in OffBeat July 2007

Blair - Pluto

Blair
Pluto
Independent


Somewhere between Conor Oberst’s scratchy narratives and Cat Power’s soulful grace, you’ll find New Orleans’ Blair. It’s no wonder that she opened for both acts when they breezed through New Orleans recently. They are a direct influence on Blair’s pop-folk sound and heartfelt lyrics. These elements are what make her new EP, “Pluto”, a joy for the listener. She sounds more like a seasoned veteran than a 23 year old on the verge of releasing her sophomore effort. Each of the four tracks brings a different sound and mood, yet they all complement each other.

“Half Moon” begins with Blair strumming and singing with urgency. After about a minute a steady backbeat enters which leads to a Flaming Lips-esque synthesizer jam out. Then Blair returns with folk-rock based progression and proclaims, “…but in the bar / the place stays dark/ hear’em howl / hear ‘em bark / at the half moon.” Moments like these are what make “Pluto” sound so fresh.

Even though you can clearly hear Blair’s influences in her music, she adds her own unique experimental touches. “Wolf Boy” takes indie rock sounds and adds Blair’s whispery cries that give way to Cat Power comparisons. “I was a Mona Lisa / and you made me abstract art,” she sings in the wishful, country-folk of Mona Lisa. The last track is “Blues Song,” a slow burner complete with slide-guitar that mimics her sultry summer vocal lines. “Pluto” is the perfect album for those hot, humid New Orleans summer nights when only music can cool you down.

- Richard Giraldi

Originally published in OffBeat July 2007