July 2003
THE CINCH – ep
A half a world away from the much-vaunted NYC scene of the Strokes, the Liars, et al, Vancouver BC’s the Cinch were blazing their own fiery path towards garage rock heaven. Fronted by the angelic vocals of Jennifer Smyth and supported by the wire-taut six-string work of guitarists Kathy Dube and Mark Epp, the Cinch released this enchanting five-song EP themselves in Canada before it was picked up stateside by the good folks at Dirtnap. It’s a good thing, too, because ep kicks ass on so many levels that it’s hard to count them all. The Cinch wears its musical influences on its collective sleeve, stylistically recalling every honest bunch of rock legends from the Velvets and the NY Dolls to Television and even Brit buzzsaws like the Jesus & Mary Chain and My Bloody Valentine. That songs like “French Maid” and “Once A Week” manage to pillage rock history so blatantly without pretension and without sounding overly derivative is part of the Cinch’s magic. Extra credit is hereby rewarded for a bullseye shot at the Modern Lovers’ “She Cracked,” swirling guitars and pounding rhythms deliciously surrounding Smyth’s vocals like watercolors dripping across a canvas. Worth your hard-earned coin however you have to get it, check out the Cinch. (Dirtnap Records)
Deerhoof is a product of the multi-cultural musical stew that is San Francisco, and not unlike other mixed-bag bands that have come out of the “city on the bay,” it’s real hard to place your finger on Deerhoof’s sound. The ambitious foursome makes music that is, at times, a gorgeous blend of harmony and melody; a heartbeat later, they’ll crank out a chaotic cacophony that would have Eris hiding her head and covering her ears in disbelief. Apple O’ is ostensibly a romantic album, tho’ the band’s minimalist lyrics would make Picasso shrug, and while John Dieterich and Chris Cohen are imaginative, if limited guitarists, bassist Satomi Matsuzaki’s cutesy, childlike vocals grate after a cursory spin or two of the album. Adventuresome to a fault, Deerhoof may be unlike anything you’ve ever heard. It will be up to the individual listener, however, to decide if the glorious din of Apple O’ is worth the investment in time and money. (Kill Rock Stars)
Salt Lake City’s Futhermore rock the mic on the hip-hop tip…er, that is, the male/female duo of Fischer and Lee create a unique sound with rap roots and infectious dance rhythms. The pair is at their best on tracks like “Letter To Myself,” where Fischer’s awkward attempts at rhyme are overshadowed by Lee Chang’s deliciously lofty vocals and the lush backing instrumentation. Although a lot of the lyrics on She And I wrestle with problems of a romantic and spiritual nature (Furthermore is signed to Tooth & Nail), Fischer sometimes spirals into surrealistic, stream-of-consciousness fits that end up nowhere. Really, what the hell does “bearable abominable karma comical possible cause is jellyfish” mean? It’s a mystery to me. When Fischer sings “furthermore is for my enjoyment,” it’s a Freudian slip that sums up She And I perfectly. Enjoyable in an odd, disquieting way, kind of like hitting your funny bone… (Tooth & Nail Records)
Although the Reverend has vintage bootlegs in his collection with better sound quality than Undead In NYC, there’s no denying the power and the passion of the Gossip’s performance. Kicking out mutant punk blooze with a whiskey edge and an amphetamine heart, the Gossip’s secret weapon is singer Beth Ditto. Ditto’s sweaty, leather-lunged vocals rise above the muddy mix to grab the listener by the ears and shake ‘em out of their major label induced coma. Axeman Nathan Howdeschell rails at the world with all the subtlety of the Mississippi River breaking through its levees and flooding the Delta. With Ditto’s vocals lost in the din, and her lyrical obsessions with love and lust all but indecipherable, the band rocks like a drunken fratmonkey and the audience’s obvious enthusiasm is contagious. A raucous cover of the Stooges’ “I Wanna Be Your Dog,” performed with friends from Chromatics, quickly spirals out of control and into chaos before ending in an orgy of feedback and clashing instrumentation. Undead In NYC may not be the best example of the Gossip’s charms but it does show that 30 minutes is all it takes for this Arkansas trio to rock your world. (Dim Mak Records)
MORALS GALORE – Donerail
Northern Kentucky, culturally existing forever in the shadow of Cincinnati, is an unlikely place to spawn a great rock band. Yet, the area has produced one of the more interesting (and entertaining) alternative rock bands these ears have heard in Morals Galore. They sound a lot like Guided By Voices and, indeed, have been mentored and supported by GBV resident genius Bob Pollard. Where GBV tends to wear its Britpop influences on Pollard’s sleeve, however, Morals Galore imbue Donerail, the band’s debut, with a spy mix of musical influences. The album opening “Best Day” takes its first chords from the Clash, the fast-paced rocker offering hidden vocals, machine-gun guitars and crashing rhythms. “Best Day” sets the pace for the rest of Donerail, the band throwing out dark-hued introspective numbers with subdued vocals and overwhelming instrumentation alongside frenetic, hyperkinetic rockers. Think of a cross between the Replacements and Creedence Clearwater Revival (with a hint of Big Star thrown in for good measure) and you’d be in the right ballpark. The band supports its songs with thick, meaty instrumentation, stinging guitars and powerful rhythms riding high above the vocals (which really should be brought up in the mix, to better decipher the lyrics). Donerail is the musical equivalent of comfort food – it soothes the soul even while it rocks your head. (self-released)
