G.G. Elvis & the T.C.P. Band : CD Review

Artist: G.G. Elvis & the T.C.P. Band
Album: Back From the Dead
2008/Mental Records
by Genie Sanchez

I always love a good punk band; I think that's really where my roots run. There's nothing better than getting your angst out while listening to a good, dirty, sweaty punk record. It can cure all aliments...I'm sure of it! On the other hand some good old fashioned rock n' roll never hurt anybody. I'm talking about Sun Records rock n' roll, stuff everyone knows the words too. I don't care what country you're from, what your age is or anything. It's those good wholesome songs from the 1950's that really make the world go round, stuff like Elvis, the king. I think many would agree that too much of a good thing is never enough, I like to think that too much of a good thing will satisfy all. That's what I hear with G.G. Elvis & the T.C.P. Band's new album, Back from the Dead. In short, this is a tribute to Elvis on a punk rock platter flavored with G.G. Allin. I know that sounds like a weird bitter taste but it works, it's all the wholesomeness of Elvis topped with the tartness of G.G. Allin. Both are kings, one is rock the other is punk, too much of a good thing will satisfy all. The band is made up of members from NOFX, Aggression, Bad Samaritans, Ill Repute, and Stalag 13 and of course Dr. Know, so these guys know what they are doing. Each track hits like a freight train, from the rendition of "Viva Las Vegas" (which makes you feel like any granny can pogo her way to the slot machines), to the mosh pit attracting cover of "Suspicious Minds," right along to the trashing version of "Love Me Tender." This whole album guarantees a fun filled mosh pit appropriate for any age. Punk meets Elvis, it doesn't get any better!

For more info => MySpace.com/ggelvis

Derby: CD Review

Artist: Derby
Album: Posters Fade
2008/Green Submarine Records
by Genie Sanchez

Over the years the music trends change. Sometimes it's sad, and most times it's greatly appreciated. One genre I do miss is the indie-pop scene of the 1990's, when catchy guitar riffs skipped gleefully along side a rolling rhythm section thru the schoolyard. I was very pleased to discover Portland, Oregon's own Derby. A three piece band made up of Nat Johnson, David Gulick, and Isaac Frost. Their new album, Posters Fade, is filled with addicting drum beats accompanied by head bopping bass lines, mellow-pop guitar and soothing vocals. Believe it or not, you can actually legitimately rock out to this album with a kazoo! The melodies instantly get stuck in your head with no intention of ever leaving…and that's a good thing! This album very well could be the perfect soundtrack to road trip with friends. The second track "All or Nothing" starts with an infectious hand clapping beat that blends well with the harmonies throughout the song. The title track "Posters Fade" gives off a chunky bass line while the guitar plays off a danceable rhythm. If you like Sloan, the Shins and remember the Gin Blossoms then Derby's Posters Fade will fit you like a glove.

Check them out at:
www.derbyrock.com
www.myspace.com/derbyrock

The Kooks 'Konk' - CD Review

The Kooks 'Konk'
{Virgin/Astralwerks 2008}

by Genie Sanchez

Most “new” things are usually better the second, third or even fourth time around. At least that’s what I’ve come to experience and expect when drinking whiskey, but it’s especially true when listening to new music. Particularly when that music is from bands I never really got into the first time around, when they put out their first album. I don’t like being force fed anything. So when my favorite radio station plays that one song over and over again (yes, Angelinos still listen to the radio! Even though we hide behind our beloved iPods and act like the only tuneage worth injecting into our denial filled self-denounced hipster ears is music we hold as being as “vintage” as the clothes we wear. We do still listen to the radio and secretly anticipate new music. So don’t be fooled) I can’t wait to turn the dial in an act of “sticking it to the man.” Usually I have to listen to a new album over and over, and over again just to be able to have its sound attach to the inside of my brain. I’ve got to allow it to fully wrap around me and absorb it before I can truly make any kind of sense of it…or at least tolerate it. Although this might be just me, I’m not sure. I think it’s probably some kind of toxic side effect of watching bad day time television and listening to the same 7 poorly produced pop songs in the carpool lane during rush hour traffic on the 101. In any instance, my aural senses need a vacation every once in a while, a breath of fresh air if you will. And every once in awhile my lack of auditory pleasure is satisfied, when those underestimated bands come out with a really well developed collection of songs. The Kooks sophomore album titled Konk satisfies my rock-snobbery. The record is named for the London studio in which it was recorded at. Pretty clever huh? Meh.

It's very seldom you discover a band nowadays that drives you to find out more about them. Like when you find an old vinyl record from some obscure band you’ve never thought twice about but in your mind that record has now become your obsession, it's the one that is the holy grail of all albums and instantaneously you fall in love with that band and from that moment your life’s mission is to find and listen to every single album ever made by that one band. You’re intrigued, smitten, infatuated, you’re in love. I never really got into the Kooks, I mean I had heard them on the radio a little bit, seen their music videos and sure they are cute guys, they have some catchy songs but for whatever reason I just never caught on to them. But then I listened to Konk and now I find myself trying to find any and all songs that they ever put out. This album is a great mix of Brit-pop rock. It’s got it all; rockin’ guitar riffs, a danceable rhythm section, and catchy vocals... really, what more could a girl ask for? Oh and don’t you hate it when every track of an album sounds oddly like the all the rest. I do, you can’t tell if it’s all one forty minute track or 12 separate ones, not to worry here though! Each track on Konk is completely its own, the way it should be. The single “Always where I need to be” is entertaining and could easily fill the dance floor with hipsters wanting to rock out behind their ray bans. While the fourth track, “Do you wanna,” has a swagger to it all its own and is sure to get even the most timid girl to the front of the stage to strut her stuff for singer Luke Pritchard. “See the Sun” gives off a warm glow shining light on the bands “vintage” fundamental influences making for an astounding opener to an album that screams the work of genius.

I’m not sure how “popular” this album will be on the top forty chart, in fact I don’t believe it will be on there for very long if it gets on it at all, but if it does I’m defiantly listening to my radio! I’m sure of one thing though, I know that this album will be held as jewel in the treasure box of our generation's music and will become on of those albums our kids find when they are teenagers or twenty-something’s and they will hold this as great work of art, a staple in their “vintage” music collection, a cut above the rest.Konk will shine on for years to come. Well done Kooks, well done!

Thrice - CD Review

Alchemy Index Vol. III & IV – Air & Earth
Rating: 7/10
by Jeremy Deal

From the initial announcement of Thrice’s intentions to record a set of 4 EP’s, each attributed to one of the main elements, fans were polarized, with stances that ranged from calling the idea “genius” to “pretentiousness”. I fell moreso into the former, thinking that the idea held a lot of promise; the concept of taking their music to another level, making it more of an art than a collection of “itunes candy,” was commendable. For months we heard tidbits about the sounds and dynamics of making songs fit their respective “element”, a few songs were performed live mostly to acclaim, and the band kept fans in touch with the process via their own blogsite. After all the build-up, the band signed to Vagrant and it was announced that The Alchemy Index would now be split into two different two disc sets. It was this last step that I think gave Thrice the biggest hinderance to their latest endeavors.

It was with Vheissu that Thrice really began creating a sound apart from their mostly hardcore back-catalogue. What made that album a true gem, to myself, was that it ran the gambit of crushingly heavy aural assaults to beautiful soundscapes that really drew out one’s imagination. It was a complete package. The Alchemy Index would’ve faired better if it would’ve been allowed that same privilege. The second half of the band’s project comes in the form of “Air” & “Earth”. If “Fire” & “Water” were two polar opposites of the spectrum, “Air” & “Earth” feel like the middle pieces that would’ve cemented it all together.

“Air” consists of songs dealing mostly with the ideals of flying and hopefulness (funny how those two themes go hand in hand so well huh?). True to its namesake, the songs also manage to have a dreamy, wispy vibe to them, which is epitomized by the enveloping sound of the disc’s closer, “Silver Wings”. The two strongest tracks from this EP are “Daedalus” and “The Sky Is Falling”, the former which finds the band on their second visit to the story of Icarus (this one quite chilling in nature) and the latter being a rather rapid paced commentary on society’s unwillingness to “see” the world around it crashing. “A Song for Milly Michaelson” is an unusual tribute to an 80’s movie in which a boy proves that his belief in something, if strong enough, can bring it to fruition.

“Earth” is something more likened to Dustin Kensrue’s solo album last year. Its tone is more folky and simplistic in nature. One of the Alchemy songs that has longest been played in concert, “Come All You Weary” can be found on this disc; on it, they sing of camaraderie and redemption through brotherhood. After hearing the complete project, it remains a favorite of mine, though the general consensus from their fans is a bit more indifferent. This disc also features some of the more obscure instrumentation and experimentation in style of all four entries. “Digging My Own Grave” is a ghostly little number that features a rather well placed woodwind piece that makes it almost jazzy (if ghostly and jazzy can coexist, then there you have it). Two other oddities are “The Lion & The Wolf”, a piano driven, twisted lullaby, and the far-too-short closer for the disc, “Child of Dust,” which brings the creepiest element of their “Earth” disc in its closing.

The pair of EPs are a strong effort in their own right, but feel much shorter than their counterparts despite the inclusion of the 6 minute “Daedalus”. There also doesn’t feel to be quite as much diversity on these two albums as a ‘cohesive unit” as there was on Volumes I & II. This goes back to my argument from before that the Alchemy Index, if released as one project unto itself, would be a solid work and a more balanced affair. Thrice have definitely proven that they have the creative chops to carry out a vision and do so in high fashion. This album serves best as a reminder that they have the right idea and hopefully will earn them more weight in the decision making process next time. Eyes are already pointed forward to what the band will do next, as it has the potential to be a masterpiece if they’re allowed to keep their ideals from being diluted by typical commercial handling.