Psych! I just got the High Strung album on Friday. It's great. I will definitely go to the Black Cat show.
Actually, I made a number of purchases basically on spec that all worked out really, really well:
The Long Winters
The Long Winters' first album, "The Worst You Can Do Is Harm," was a self-conscious, hookless set of indie pop, and frontman John Roderick took from that and rounded out a solid, delectably pop sophomore effort, "When I Pretend to Fall." The Long Winters get happy on this one, and Roderick's vibrant, newfound confidence as a howman and songwriter allows the Long Winters' sound to finally gel. Chris Walla, Sean Nelson, Eric Corson, and Michael Schilling return for some sonic goodness, while ex-Posies guitarist/vocalist Ken Stringfellow joins the Long Winters to polish things up a bit. Extra help from R.E.M.'s Peter Buck and Pedro the Lion's Blake Wescott is a bonus in adding to Roderick's nearly accessible candied rock sound.
Album opener "Blue Diamonds" kicks things off with a swanky brass section. Roderick's self-assured vocals are a touch shy at first, but the Michael Stipe comparisons immediately disappear mid-chorus. Roderick takes control and he likes
it; it sounds so good on the synth-driven '60s pop of "Scared Straight." Shimmering space rock guitars and budding string arrangements carry the melodies of "Blanket Hog" for one of the album's brightest moments, while "Prom Night at Hater High" is equally energetic with its hoedown-like appeal. When it seems like the Long Winters
could use a break or at least a breather, "New Girl" gets cheeky with classic power pop. "When I Pretend to Fall" aptly suggests that things could go one way, but Roderick and company push and pull with harmony and emotion for a full, tangible set of songs. One listen to "Nora" and
you'll sense Roderick's soft heart. It charms you; a soft heart doesn't equal a simple album, however. ?? MacKenzie Wilson
Guster, "Keep it Together"
If there were any justice, Guster's underappreciated masterpiece, Lost and Gone Forever, would have elevated the band to superstar status, and the follow-up, Keep It Together, would have been one of the most hyped releases of 2003. But while the Boston trio has built up one of the most formidable grassroots followings in music through constant touring, powerful live performances, and a level of interaction with its fans that rivals any band in the biz, Keep It Together has the goods to finally make Guster a household name. While their two previous releases flourished through an almost bipolar combination of dark rockers and upbeat pop melodies married to biting lyrics,
Keep It Together takes a different path for the most part, focusing on even-keeled love songs. From the album's low-key opener, "Diane," to the sunny shuffle of "Ramona," Guster displays its formerly hidden well-adjusted side. Guest musician Joe Pisapia embellishes the group's already flawless harmonies on the immediately memorable "Careful," and contributes vocals and banjo to the rootsy "Jesus on the Radio," which he also co-wrote. Ben Kweller shows up on the album's official closer, the surprisingly reserved "I Hope Tomorrow Is Like Today." Fans of the band's quirkier moments aren't left behind either, with "Red Oyster Cult" featuring prog rock guitar, ELO harmonies, jingle bells, and a whistled solo worthy of the Scorpions. But there's no arguing that the high point of this album is the impossibly catchy "Amsterdam." Breaking all of Guster's self-made rules (as it does throughout the album) by adding bass and
a drum kit to the mix, the band combines a radio-ready yet experimental production style with power chords, layers of vocals, and screaming slide guitar for three and a half minutes of the finest pop/rock you're ever likely to hear.
Keep It Together may not feature the emotional dynamics or track-by-track genius of Lost and Gone Forever, but it has something that its predecessor didn't: an unabashed pop anthem that dares you to sit still. Whether the members of Guster do in fact become international rock superstars remains to be seen, but so long as they continue to make great albums like this one, their ever-expanding group of fans should be more than happy. ?? Mark Vanderhoff
The High Strung, "These Are Good Times"
Fifteen seconds, and my headphones dropped right off my ears. Oh, but not in disgust! It was to tell everyone in the room to come and listen. With skintight guitar work, but still edgy and keyed-up, The High Strung revives rock in a way that doesn??t require beating around the bush.
Though from Detroit, this straightforward, Brit-influenced rock outfit serves up tasty psychedelic guitars with candid, layered vocals that compliment each other to a ??T.? These Are Good Times seems to have a very passionate
feeling overflowing from its sophisticated aura. Blast on a warm summer night on the town for maximum efficiency.
Jourdan Ladley
www.synthesis.net The Tyde, "Twice"
The Tyde's second album, Twice, is a big step forward from their debut. Where Once felt studied and underdeveloped at times, this record is bursting with energy and memorable songs. Darren Rademaker's vocals are less of a sore thumb, as he reins in his most annoying nasal tendencies, and on tracks like the album highlight, the perfect country-pop of "Go Ask Your Dad," he sounds very strong. The album also sounds less like a hodgepodge of various influences tossed together (Flying Burrito Brothers, Rolling Stones, Lloyd Cole, Pavement, to name a few) and more like the focused work of a band finding their own voice. Of course having said that, it must be noted that the influence of Felt has become more pronounced on the band's sound. Tracks like the lilting "A Loner," the snappy and sarcastic "Henry VII," and "Crystal Canyons," on which Rademaker mimics Lawrence's vocal inflections eerily and Ann Do plays a very Martin Duffy organ solo, are very reverent and fun. Elsewhere on the record the Tyde have come up with a batch of songs that easily trump their old songs and rank right up there with any contemporary band. The rock & roll brothers-in-arms tale of "Blood Brothers," the boys and girls twisting on the beach boogaloo of "Shortboard City," the epic drone of "New D," and the searching cosmic country ballad "Best Intentions" are dynamic and exciting songs. The album has only one real dud, the bluesy "Takes a Lot of Tryin'," which smacks of bar-band boogie and features Rademaker's worst vocal. The members of the Tyde all sound much more committed and ready to rock, none more so than Ann Do, whose keyboards are more prominent throughout, as she does a great job of keeping things interesting by switching up sounds and textures on every song. Some of the credit for the new found focus and intensity on Twice should probably go to new drummer Ric Menck (also of Velvet Crush and many
other fine bands), who is one of those guys who are the living embodiment of rock & roll. Like the basketball player who goes all out for 40 minutes, diving for loose balls and ending up in the third row covered in Coke and popcorn, Menck brings soul and passion to every project he works on. Those are the two things that Twice has in spades: soul and passion. Add to that a bunch of great songs, and you've got yourself a real keeper. ?? Tim Sendra
