1 RECORD REVIEW: Vultures 2012 - "Bare Your Teeth"

Fittingly titled “Bare Your Teeth”, this snarling beast of a record by Seattle’s own Vultures 2012, sounds like the musical equivalent of a demolition derby-- an uninhibited and ferocious debut. Musically speaking, Vultures 2012 use many time honored metal styles to their advantage. Taking cues from the genre-defining Swedish juggernauts Entombed, the 7 tracks on “Bare Your Teeth” feature throaty death metal vocals and are heavy on a mid-tempo variation of that infamous “buzz saw” guitar sound. Also apparent are the bands classic metal influences, as Jeremy Lawless and Danny Even nimbly interject frequent NWOBHM-esque guitar fills between those savage riffs, a good example being the standout track “Everyone’s Your Stepping Stone”.

Just as notable is the talented rhythm section of Tony Rodriguez (drums) and Chico King (bass) whose King Kong-sized foundation sits front and center in the mix; really maximizing the records intensity. It’s a chest beater folks, through and through.

“Bare Your Teeth” also doesn’t waste any time conveying its lyrical message of anger and displeasure with the world around us. On the surface is the internalized struggle of someone totally fed up with life’s never ending bullshit-- the feelings of a person on the brink of violently lashing out at society. Have you seen that flick “Falling Down”, where Michael Douglas flips the fuck out and takes “matters” into his own hands? You get the picture.

When all is said and done, Vultures 2012 have released a primal slab of brutal metal in “Bare Your Teeth”. It’s a record that should not only get your adrenaline pumping, raise the hair on the back of your neck, but also seriously be a call to arms for local metal fans first and foremost. It’s a record that has real crossover potential and could appeal to genre extremists, stringent metal connoisseurs, or even the mainstream, and it’s coming from right here in our own backyard.

A little over a month ago, ever so quietly, Vultures 2012 released “Bare Your Teeth” as a very limited physical release. The band has also conveniently placed their record for sale on two popular online digital music repositories. So right now, for the measly price of $6.93, you can own this local metal gem.

I’ve provided links:

Amazon
iTunes

Words by Nik Christofferson

0 [RECORD REVIEW] Sex with Strangers - The Tokyo Steel (2009)

Words by Matt Abramson

Sex With Strangers - Tokyo Steel (2009)

Here's the thing. Why do people make a huge fucking deal out of sub par acts like The Big Pink and M.I.A. (face it - that album is good for half a dozen spins, tops) when Sex With Strangers is doing the same thing a hundred times better?! It drives me fucking crazy. It's why I avoid a lot of these pop records. Oh, and because they suck.

I've really been screwing the pooch on writing this god damn record review. Usually, this is not an issue. Usually, though, I am talking about gnarly metal records. And 'Tokyo Steel' is anything but. Holy shit I love it though! Despite the slightly haggard appearance and often questionable demeanor I do love a good electro-pop record. I try not to like it, but I squirm and smile and provide the occasional backing vocal.

Frankly, following Sex With Strangers' appearance at Your Village Sucks! fest, I have not been able to stop listening to 'Tokyo Steel'. It is an amazingly fresh spin on familiar electronic themes executed so precisely that I have to argue this is the best sounding album I have heard this year. Hell, my inner audiophile is still spanking it in the next room as I type this.

Right from the album-opening title track, SWS grabs your attention and does not let go. The tandem of vocalists Hatch Benedict and Isabelle Dunlop not only work well together, they both can sing their asses off. The electronics don't just compliment the actual song and the other instruments, they are the catalyst for a pure sonic party. There is also a sprinkling of shorter, more ambient tracks which help the album flow from one great dance tune to the next. Make no mistake, though - if you aren't at least thinking about having a spontaneous dance party while listening to "We Want the Fire" or "Sharpen the Knife" then I suggest you check your pulse. Or join a convent or monastery, whichever applies.

0 [RECORD REVIEW] Prize Country (PDX) - "...With Love" (2010)

Words by Matt Abramson

Prize Country - ...With Love

(Hex Records - 2010)

Several weeks ago we witnessed Prize Country, another gem courtesy of Portland, preform for entirely too few people at the Rendezvous on a bill with the mighty Android Hero. In spite of technical issues and pitiful attendance, they played with conviction and intensity. '...With Love' had been in my possession for several weeks, but following the show I was driven to give the record much closer consideration.

Prize Country put to good use familiar tactics of bands such as Snapcase, Fugazi and Thrice but blend them with a distinct Northwest grit and ferocity. I know I get down a lot on records that tread on familiar territory, and Prize Country ain't doing anything new here, but they do it so fucking well I am left throwing my arms up in defeat and saying, "Damnit, this just plain rocks!" I have to place more consideration toward bands that perfect existing styles rather than inventing new ones. The album is relentless yet tuneful. The mix does the precise instrumentation justice and keeps the energy level near critical mass.

The nine tracks on '...With Love' may be a bit brief, but the album functions as a self-contained piece of ass kicking post-rock. Everything here is clearly in its place and executed with mastery, so check your music snobbery at the door and dig on some genuine shit. Furthermore, I implore you to keep your eyes peeled to all them concert calendars that you may get the opportunity to check out their awesome live show in the very near future.

0 [RECORD REVIEW] Unnatural Helpers - "Cracked Love & Other Drugs"

Review by Nik Christofferson

Unnatural Helpers - Cracked Love & Other Drugs
(Hardly Art - 2010)

What do you get when you recruit a bunch of your pals such as Kinski’s Chris Martin, Brian Standeford and Leo Gephardt of The Catheters, Kimberly Morrison of The Dutchess and the Duke, and Kurt Bloch of The Fastbacks to lend their musical talents? In punk rock drummer, singer, and songwriter Dean Whitmore’s case, you get the most recent incarnation of the Unnatural Helpers and an excellent brand new full length record to boot.

While the Unnatural Helpers in theory have existed for a while -- and even though the band has seen its share of personnel changes -- the lack of a consistent unit doesn’t seem to weigh into the fact that their Hardly Art debut is great from start to finish. On “Cracked Love & Other Drugs”, the Helpers maintain the guitar driven pop-infused garage rock and roll sound they are known for, but manage to build upon that sound in a cohesive and gratifying manner. In my mind a clear ode to Whitmore’s clever and concise song writing skills.

The songs are short (none over two and a half minutes), yet first single "Sunshine/Pretty Girls" is an infectious fuzz bomb pop-punk ditty that lingers for days, and other standout tracks like the scathing “Brave Dumb Face” and certifiable foot stomper, “Head Collector” are definite winners in their abridged state. The Unnatural Helpers have constructed an upbeat, unpretentious, groovy, and most importantly loud as all get out collection of songs. In the brief 25 or so minutes that “Cracked Love & Other Drugs” whisks by, it has no time to stray from the point-- rock and roll is fun as hell but the lifestyle can be rough.

0 [FROM THE CRATES #21] Dream Theater - Metropolis Pt. 2: Scenes from a Memory (1999)

From the Crates by Matt Abramson

Dream Theater - Metropolis Pt. 2: Scenes from a Memory
(Elektra 1999)

"I keep having this recurring dream where I'm picking so fast that it just becomes one note." -John Petrucci (Systematic Chaos DVD)

Often times I wax poetic about the difference between shredding and wanking. They sound exactly the same to the untrained ear, yet are worlds apart in reality. The difference? Dream Theater guitarist John Petrucci. Dude is possibly the most blazing fast shredder on the Earth, but he's primarily famous for being IN A BAND AND WRITING SONGS. GOOD SONGS. WITH A BAND. WITH WORDS. Catch my drift? The other "name" guitar wankers do not hold a candle to Petrucci in tandem with the mighty Dream Theater. As a musician, the only thing left to do after a Dream Theater album is quit. I reckon you might be starting to get it. To be continued.

Anyway, I love the shit out of Dream Theater. I make judgments about how much I really like people based on their opinion of Dream Theater. They are the only band I can think of that is relentlessly heavy yet uplifting at the same time, and where I would normally find myself critical of their glossy crystal-clear sound I'm instead in awe of their studio precision. The musicianship, on the other hand, speaks for itself. One Dream Theater track is enough to make graduate level music scholars completely fucking crosseyed.

Enough ass kissing and tangental asides. 'Scenes from a Memory' is the mother of all concept albums, and it stands out amongst the vast catalog of Dream Theater concept albums. Actually, pretty much every Dream Theater album is a concept album, part of their unquestionable awesomeness. I won't get into specifics and literary criticism-type shit about the story itself (there is a lengthy Wikipedia article if you are so inclined) but I will say that I wish I could have seen the tour that followed the album, which was a full live production complete with actors and extra musicians. The 'Live Scenes from New York' triple live CD will have to do.

The things to pay attention to on this disc are recurring musical themes and the idea of present and future versus perception. Pay close attention to the second track, it introduces every musical theme on the album. By the time you get to the fifth track, "Beyond this Life", you should be completely unaware that it is in fact the fifth track. "Home" is a personal favorite. It's built on a heavy handed harmonic minor (read: Middle Eastern sounding) riff with a massive chorus that builds into an avalanche of brilliant solos and clocks in at nearly thirteen minutes. And yeah, fuckin' sitar (secretly, I think it's the work of keyboard maestro Jordan Rudess).

'Scenes' is as musically dense as it gets. I would advise against listening to it in the car, as you may well crash your shit into a tree. Also, resist the temptation to skip tracks! I know, sometimes you just need to hear your jam, but listening to the album as a whole on a reasonable sound system at an unreasonable volume undistracted is a hell of a trip, no chemical augmentation required. This column may be about the nary heard gems out there, but it's about listenable, do-not-press-stop-or-I-will-beat-your-fuckin'-ass albums first and foremost. And 'Scenes from a Memory' is about as awesome an album as anyone could ever find.

0 [FROM THE CRATES #21] Kill Sadie - Experiments in Expectation (2001)

Words by Matt Abramson

Kill Sadie – Experiments in Expectation
(2001 Dim Mak Records)

"Emo" is a pretty touchy word for a lot of folks. Legend has it that it was first used at a Fugazi concert, and it went on to represent exactly what Fugazi did - the next evolution of punk rock. Punk rock with more careful musicianship, more light and shade but the same ferocity and the same DIY ethic. Somewhere during the late 1990's Dashboard Confessional, who were a shitty band with horrible music and stupid fans, got tagged as "emo" and it was all downhill from there. Now when someone utters the word "emo", one imagines some tween wearing purple skinny jeans and a Twilight t-shirt (because an obsession with vampire cheesemo isn't exclusive to fat chicks, you know, the only sizes that Twilight shirts come in are XS and 4XL) with a ridiculous haircut listening to Circa Survive. It's fucking shameful.

That aside, there are a handful of albums that I still proudly call emo. 'Experiments in Expectation' is one of them. Kill Sadie was a short-lived yet highly influential band with roots in Minneapolis who ended up in Seattle. As things things often go, they have a pretty concise discography and imploded into several other bands. Most notably, Steve Snere went on to sing in These Arms Are Snakes and Erin Tate ended up in Minus The Bear, both are fantastic bands that need no introduction. It's such widespread influence that makes the album instantly familiar.

0 Friday Record Reviewapalooza!

Review(s) by Matt Abramson

Them Crooked Vultures – S/T

(Interscope - 2009)

Putting Josh Homme (Kyuss, QOTSA), Dave Grohl (Foo Fighters, Nirvana), and John Paul Jones (Led Zeppelin) into a studio together will surely result in a straight up rock and roll album. ‘Them Crooked Vultures’ is exactly that. But it’s not perfect. Those hoping for round two of the last Homme/Grohl collaboration (QOTSA’s 2002 masterpiece ‘Songs for the Deaf’) will be a little disappointed. This album has the air of seasoned multi-platinum rockers doing what made them great, but lacks the ferocity of a band trying to get noticed. It is highly listenable, but nothing ground breaking.

Converge – Axe to Fall

(Epitaph - 2009)

Converge is a band that constantly delivers. Their latest outing, ‘Axe to Fall’, is no exception. Produced once again by Kurt Ballou, who also plays guitar in the band, they shred as hard and sound as good as ever and are one of the few hard bands to really key in to the importance of sonic texture on record. What is great about Converge albums is their tendency to pound through three songs in six minutes and then break out some seven-minute masterpiece. It’s not just hardcore, it’s hardcore you can listen to in the dark with headphones on.

Red Fang – S/T

(Sargent House - 2009)

Sure, it’s old school. Let’s not kid ourselves, though – nobody rocked this hard in the old school. Textbook crunchy guitars, pounding drums, migraine-inducing bass throb, and barrel-chested vocals that would be the ideal soundtrack for shooting pool and sucking down pitchers of Rainier, maybe even fighting a couple of motherfuckers. I want to shoot a movie now, just so I can use ‘Red Fang’ as the music for montages of fight scenes, car chases, drug deals and other illicit acts of rock awesomeness.

3 Inches of Blood – Here Waits Thy Doom

(Roadrunner - 2009)

I want to like 3 Inches of Blood, but I can’t. This is a well-made metal album, but it sounds like a rehash of a lot of other bands who are way better. I want to like this album. I kind of like it. However, if I want to hear this album I’m going to go listen to Judas Priest. That’s getting short-sighted, though. At the end of the day, it’s metal and thou shalt not speak ill of metal. Metal is the home team and we must support it regardless. I hereby officially commend the effort.

0 RECORD REVIEW: Baroness - "Blue Record"

Baroness – Blue Record (2009)

‘Blue Record’ is one of those albums I was looking forward to without really looking forward to. Having heard and enjoyed 2007’s ‘Red Album’ I knew that Baroness were good but had some room to grow. I knew the next album would most likely kick ass and hoped they would thicken up their sound a little with that magic metal sauce that makes both stereos and my ears very happy (side note: I think, but am not positive, that this sauce is a molten concoction of a James Hetfield guitar pick, one of Geezer Butler’s busted strings, half of a lukewarm PBR and a copy of Aqualung on vinyl, for some reason).

Well? They did. About twenty seconds into ‘The Sweetest Curse’ you know Baroness has made a motherfucker of an album. The sheer girth of shreddage that is ‘A Horse Called Golgotha’ is enough to make a guitar nerd like myself yell ‘YES!!’ at the stereo, provoking odd looks from those nearby. The production of the album, courtesy of John Congleton (an odd choice, he has not done many metal bands), rubs your face right in what ‘Red Album’ lacked sonically. Apparently, Relapse decided to pony up for a bottle of the aforementioned ‘sauce’.

The deluxe version comes with a second disc, ‘Live at Roadburn Festival 2009’, which serves as a killer encore to the album and a victory lap for the band.

‘Blue Record’ is more than just sharpening the axes, though, listening to ‘Swollen and Halo’ invokes smoky garages and attics where classic rock is still religiously spun on vinyl. Baroness kept all the right parts of their sound intact and expanded on them. Spots of acoustic guitar, plenty of solos, and the album ends just like it starts which is always a good thing. I dig it. Basically what I’m saying is I am so fucking glad someone finally busted out a Rotovibe for a trippy-ass interlude. No idea what I’m talking about? Go spin this album. You can thank me later.

Review by Metal Matt ~ @metalcobra

2 RECORD REVIEW: Russian Circles - "Geneva"

Russian Circles - Geneva (2009)

Sometimes you have to go with your gut feeling when listening to a record. Not only deciding its worth, but also the vision that comes to mind as you are engulfed into a world outside your own even if for only 46 minutes and 1 second of your life. The 46:01 I spent tonight involved me, a pair of fairly descent DJ headphones, and a copy of the new Russian Circles record “Geneva”. Though it has been in my possession for awhile and have listened to it in passing on multiple occasions, this was the first time I've sat down with the mindset of really attentively listening.

This sit down conjured the exact same images of the dark labyrinth landscape that had initially came to mind the first time I heard the haunted opening of “Fathom”. Geneva’s blend of eerie effects, pounding drums, rumbling low end, and stout riffage mixed with melodic ambiance brings to mind a vision of the most barren of post-apocalyptic wastelands. The nuclear clearing and fall out of a 3000 years’ war has left the Earth scorched of nourishment. As far as the eye can see are nothing but the most jagged peaks and impassable craters. Few still survive on limited resources, with no hope of ever rebuilding the world as it once was, most only wait to die. The title track is a bird’s eye view of the carnage, a flight over devastation and despair. "Geneva" easily stands out and is the only song on the record that rivals the sludgy riffage and mood of 2008's Stations' mammoth title track.

The addition of Seattleite and These Arms Are Snakes bassist Brian Cook has not only up’d the ante as far as musicianship goes but his ominous rumble creates a thicker than tar back drop throughout the record for Mike Sullivan’s cunning transitions from chugging metal riffs to delicate atmosphere, case in point “Melee” which brings the isolation of this imagined world a glimmer of hope, peering through the black shadow that blinds all chance of a different fate. The added use of strings only hinders the epic climax for a short time, and once again Cook’s bass is brought front foreward, and Sullivan’s haunted and inspired guitar work is exposed for what it is. Carnal. Epic. Devastating. Like most drummers making heavy music today, Dave Turncrantz is the rock. He is indeed an amazing craftsman, and on “Geneva” he delivers a killer performance on each and every track.

“Hexed All” is a lullaby, a peaceful winter slumber complete with keys, strings, and delicate picking. Beautiful. It all comes together on “Malko” though; circular guitar swirls courtesy of Sullivan, Cook’s earthmoving bass, and Turncrantz’s frantic drumming perfectly coexist on probably the most frenetic track on the album; a literal mind blower. “When the Mountain Comes to Muhammad” is enhanced with the sounds of WWII news coverage setting the stage for an eight minute accent into madness complete with horns, and an end time message wall of distortion. “Philos” is a ten minute battle of the senses, and a fitting and doom filled end.

"Geneva" is indeed dark in nature, but it is also glorious to behold. It illuminates a bleak and utterly dissonant world, one that not only leans heavily on a sci-fi imagination, but also a potentially all to real prediction of what could come due to worldly matters out of our immediate control. Russian Circles have created some incredible and ethereal soundscapes before, but this record not only tops their two previous efforts (Enter, Stations) but is a release of the highest caliber. It is an epic journey, and certainly one of finest records of 2009.

Review by SRG - @seattlerockguy

0 RECORD REVIEW: Om – "God is Good"

Om, the band consisting of former Sleep rhythm section Al Cisneros and Chris Hakius, has not had a miss yet. Needless to say there was some trepidation when Hakius announced his retirement from music last year. Om would most likely still be good, but would they still be awesome? Working again with Steve Albini (who also engineered 2007’s ‘Pilgrimage’) was a guarantee that the record would sound amazing, but would the Om dynamic remain intact? Rest easy, at about nine minutes into the album-opener ‘Thebes’, where Cisneros breaks out his classic bass overkill and the groove demolishes space and time, it is official that ‘God is Good’ delivers.

The most exciting highlight of ‘God is Good’ is not one, but two additions to the band. New drummer Emil Amos (of Portland’s stoner kings Grails) brings an intense level of groove to the already grooving-beyond-groove Om sound, and co-collaborator but not exactly band member (but he’s credited with playing a bunch of shit in the liner notes and toured with ‘em) Robert A. A. Lowe (also of Lichens, hell, he is Lichens) adds what it seems like Om may have needed – more instruments. Granted, part of the allure of previous Om releases was the balance of bombast and simplicity, but getting bits of tamboura, guitar, violin, and piano involved tastefully pays off tenfold. ‘God is Good’ is a must not just for Om fans, but music fans in general.

Review by Metal Matt ~ @metalcobra

0 RECORD REVIEW: Shrinebuilder – "S/T"

Shrinebuilder is a stoner metal fan's wet dream. The group is a collaboration between Scott Kelly (of the legendary Neurosis), Al Cisneros (of the legendary Sleep), Dale Crover (of the legendary Melvins, who also briefly played drums way back in the day for a little band a few people have heard of called Nirvana), and finally Scott 'Wino' Weinrich (who was in Saint Vitus, and every other one of those dudes was influenced the shit out of by Saint Vitus).

So it is fair to expect that the Shrinebuilder album will transcend most other albums to the realm of albums that "kick fucking ass" - and it does. The album is a great listen. It's worth buying on deluxe vinyl. But Shrinebuilder also reminds us of a depressing fact about super groups of all shapes and sizes: they will never become greater than the sum of their parts.

The reason for this is simple. Most bands only possess awesomeness limited to their key element, sort of like Al Cisneros is in his post-Sleep band Om. But these key elements rarely, if ever, combine into even greater entities. So when you sit around drinking a flat of Busch tallboys with your buddies picking and choosing the players that would make the "ultimate kick ass band, braaaaah" you have to realize that band in reality would never be as good as it sounds.

Super groups are overrated by default. They defy the nature of what a band really is. The greatest bands in history can never function on the same epic level outside of their 'classic' lineups. For example, Mastodon. As a unit they are the greatest band in metal, but if anyone was replaced or put out a solo record they would likely falter. Look at what happened to Black Sabbath after they fired Ozzy. ‘Mob Rules’ was cool, but it was not ‘Master of Reality’. It wasn’t even ‘Sabbath Bloody Sabbath’.

This is not to discredit the Shrinebuilder album. Again, it is awesome. It easily surpasses most releases in its genre. It certainly kicks fucking ass. It's just if it were as good as the group that recorded it, it would make any stereo that attempted to play it explode. It would be like the Medusa of stoner albums, you couldn't even look at it. It would be like Odysseus's sirens, you'd have to be tied to the mast and totally lose your fucking mind in the face of its gnarliness. It would be the brown sound.

So crank it up and appreciate it for what it is... and secretly hope they put out ten more just like it.

Review by Metal Matt ~ @metalcobra

7 My Review of Pearl Jam's Backspacer

Ok, so I totally caved Monday and “illegally” downloaded the new record from my all-time favorite band Pearl Jam. Backspacer too is a victim of the internet leak phenomenon that has been plaguing/plugging, (depends on how you look at it) bands for some time now.

Last Friday, while I was in route to Boise, Idaho for a wedding without my trusty laptop, word got out that it leaked. Many folks on various social networking sites such as Twitter and Facebook were buzzing about how good of a record it was…blah…blah…blah. All weekend I could only think about sitting down with a pair of headphones and indulging. And even though I had pre-ordered a vinyl copy and will be attending both coming Seattle shows, the excitement and urge to get home ASAP was unbearable because there was no chance in hell that I could just sit back and wait until whenever the record found its way to my doorstep; all the while knowing that there were other people out there giving in to a sneak preview before the official release date of September 20th. (The expected arrival date of my vinyl copy is the 18th, I pre-ordered through the Ten Club months ago and they are usually good about early delivery.) I rationalized my actions, by feeling good about still paying for the record and 2 concerts. It’s just an early preview, that’s all.

I have now listened to “Backspacer” at least 20 times back-to-back since Monday morning, and it is nothing less than an excellent Pearl Jam record. At this time I am tempted to say it is their best record since 1998’s Yield. But it’s hard to say that because I initially loved the last two records Riot Act, and Pearl Jam (Avocado) at release, too, and of course still do. It’s easy to rate a brand new record high because the idea has been building in my mind for months now of how great it was going to be.

Backspacer marks the return of Vs., Vitalogy, No Code, Mirror Ball, and Yield producer Brendan O’Brien to the fold. He has done a superb job of keeping the songs crisp and short, and in typical punk rock fashion Backspacer which clocks in at only 36 minutes 33 seconds goes by in a flash. How do you think I’ve listened to it so many times already? The length has no bearing on the quality of the record, as many naysayers might lead you to believe on the PJ forum.

The record opens with a bang and a 4 song rock explosion consisting of “Gonna See My Friend,” which starts with an X-influenced guitar lick and quickly hits its stride as an energetic opener.“Get Some,” which was our first real taste of Backspacer when the band debuted it back in June on Conan O’Brien, is also a solid rocker, and has already proven strong live as well. The first single from the record, “The Fixer,” is getting plenty of play time on the Seattle soft rock radio station the Mountain 103.7, but that doesn’t take away from the anthem’s positive message and instant pop gratification; the yeah…yeah…yeahs are infectious and have certainly added to the crowd participation so far live. Then we come to “Johnny Guitar,” which is probably the most interesting and fresh song on the record. With lyrics inspired by a Johnny “Guitar” Watson album cover, PJ ventures into almost 80s new-wave territory with a Cars-like guitar part a minute into the song, and a very cool Eddie vocal bridge. It’s easily the most experimental track on the album, and in my mind is reminiscent of “Unemployable”.

The elegant “Just Breathe” sounds like it could have been front and center on the Into the Wild Soundtrack. It is a beautiful track with Eddie’s strong vocals and “Guaranteed”-like finger picking guitar work. In my mind, Pearl Jam has finally written the perfect wedding love song. “Thin Air” could soon become second fiddle to this one; damn just missed it (I got married in July). It also adds a nice twist to an old formula by including a gorgeous string arrangement, and flute.

Next is “Amongst the Waves.” If this song doesn’t invoke full crowd participation in concert then all hope is lost. It’s a soaring, uplifting song much in the vain of “Given to Fly” and “In Hiding,” sparking some of my early Yield comparisons. With a classic rock vibe, killer Mike McCready solo and strong vocals by Ed, I’ll go out on a limb and say it may have the potential of becoming the next big sing-a-long next to “Alive” and “Evenflow” in concert.

Next is my personal favorite new song from Backspacer, “Unthought Known.” It may be the most realized track on the record and even includes some nice keyboard work by Brendan O'Brien not PJ’s unofficial 6th member Boom Gaspar, who doesn't appear on the record. The band definitely hits their stride on this track. The song was written backstage and then performed for the first time by Eddie during one of his New Jersey solo gigs from his “Into the Wild” tour last year. Ed’s increasingly emotional performance on this song is what makes it so powerful, and I surely can relate with the lyrical theme of not allowing all of life’s mind games to stand in the way of really living.

“Supersonic,” is pure pop-punk bliss and, in my opinion, if not one of the best songs on the record, at least the most fun. It’s a real jump around the room punk rocker, with a muscle flexing bridge guitar part by Mike and Stone. It has gotten some slack, while being compared to the odd-ball “Mankind” off No Code. Though I definitely hear the similarities, it reminds me much more of one of my favorite in concert PJ punk covers, The Dead Boys’ “Sonic Reducer,” and will surely be fun to hear live.

“Speed of Sound” was released by the band in demo form a month ago and has been in constant rotation since I first heard it. It’s another touching Eddie ballad, and is another track that benefits from Eddie’s go- as-solo artist and Into the Wild. It’s a heartbreaker, and was written in the perspective of a very lonely man. It is bleak in comparison to the rest of the record, but that doesn’t take anything away from the tracks sentiment.

Force of Nature is the only song on the record that I am still unsure of, maybe because it comes at the end of a roller coaster ride of soon to be classic Pearl Jam tracks. Though it rivals both “Amongst the Waves” and “Unthought Known,” it doesn’t quite live up their sheer emotional power. I do really like the guitar sounds in this track, and Brendan, once again, adds some timely keyboard work. It has potential and this wouldn’t be the only PJ song/record that took some time to grow on me. Binaural for instance is one of my favorite Pearl Jam records, but it didn't start out that way.

A great ending to a great record The End just about says it all as Eddie croons on this gut-wrenching love ballad. Wow two PJ love songs on one album—this is unprecedented. The Into the Wild-esque closer does not fall short and may be one of Pearl Jam’s best album closers since VS’s Indifference.

I absolutely love this record. It is not only my front runner for album of the year, but even in its infancy it may be the best Pearl Jam record since Yield. There are great moments on Binaural, Riot Act, and Pearl Jam, but none of these records are as fluent, tight, and fully realized as Backspacer. With George W out of office, Eddie is seemingly more enthusiastic and clear headed. His anger has subsided, and he is speaking more from the heart about life and love rather than from politically charged rage, which has been the focal point of the last 3 records. The band sounds absolutely amazing. Mike and Stone are of course a powerful unit. Jeff’s bass is full and upfront in the mix on many of the tracks, and of course Matt “fucking” Cameron’s thunderous drumming is the tie that binds. It sounds much more like a cohesive band effort, unlike their previous effort Pearl Jam (Avocado) where Stone and Jeff were, in my opinion, sometimes over shadowed by Mike’s excellent lead guitar work, and Matt’s outstanding drumming and continual musical influence on the band’s new songs. Mike’s guitar solos are minimal but powerful this go-around (It’s ok; Mike’s a punk rocker at heart). From what I have read the album’s music writing was spread throughout the entire group with each member giving strong contributions, and of course, Eddie penning much of the lyrics. I have to give Brendon O’Brien props for undoubtedly having some influence on the direction of the record and its crispness. He has played a large part in helping channel the best qualities of the band and has fine tuned them into a record that not only early on has received positive accolades by fans and critics alike, but Backspacer should rank high amongst the other 8 albums in the Pearl Jam catalog, going down as one of their best efforts to date. Now the real test… how will these songs stand up live? I know Get Some, The Fixer, and Supersonic sound great, and hopefully the rest will be too. I’ll have the privilege of hearing them in person on September 21st and 22nd at the Key. The anticipation is killing me…..

0 Top 20 Albums of 2009...So Far: Part 2

Ok, so I finally got around to compiling the remainder of my top 2o of 2009...so far list this evening. Again these are 1o more albums that have really resonated with me so far this year, and have shared countless spins on my turntables and iPhone. I also added a short list of honorable mentions cause really there has been more than just 20 quality records as of July 2009. Without further adieu the continuation of the Seattle Rock Guys list of the top 20 "go out and get these right fucking now (preferable on vinyl)" albums of 2009...so far and honorable mentions too. Enjoy!

11. “Carving Out the Eyes of God” by Goatwhore: This is probably my favorite pure metal effort of the year so far. From beginning to end it’s a complete headbanging shred fest! Goatwhore seemed to have improved musically this go around, as guitarist Sammy Duet adds quite a few ripping solos. Ben Falgoust’s voice sounds even stronger and his southern throaty delivery is plain evil. He proves again here why he is one of the premier metal growlers around. It’s evil, it’s heavy, it’s brutal, it kicks ass!



12. “Now We Can See” by The Thermals: Portland’s The Thermals have been a northwest favorite since their conception in 2002. Here they have made an almost perfect power pop record released this time by Kill Rock Stars instead of their long time label Sub Pop. It’s pure pop rock bliss with tons of catchy tunes, and plenty of sing-a-long moments. Once again I might be a sucker for pop rock? They’ll be playing the CHBP on Saturday, can’t wait to see them again!


13. “Static Tensions” by Kylesa: When I saw Kylesa open up for Wino’s The Hidden Hand a couple years ago my eyes almost popped out of head with jubilee. They were so awesomely heavy it was ridiculous. Over their career the band has delved into many metal genres most notably being the doom and hardcore varietals, but on this new record they expand their evolving sound with a mix of crushing sludge, psychedelia, and straight up aggression that is all Kylesa. Oh yeah and their frontman is a frontwoman, and she can scream like a demon.


14. “Help!” by Thee Oh Sees: I got my first taste of this bay area outfit a month ago when I ventured to The Crocodile on a Monday to check out Jay Reatard, turns out Thee Oh Sees stole the show for me. They play an odd lo-fi rockabilly mixed with 60’s garage rock (I hear The Cramps, myself). Their frontman John Dwyer is a riot in a live setting with all his onstage antics. The music comes across very well on record as well, “Help!” is reverb drenched and sounds like it was recorded in a basement somewhere, but sometimes there’s something to be said for that DIY quality.


15. “Keep It Hid” by Dan Auerbach: This is the first solo album for the guitarist-singer of The Black Keys. In my opinion this record doesn’t stray too far from the 2008 Danger Mouse produced record “Attack and Release” which means that once again the music continues to stray from The Black Keys’ signature fuzzed out blues rock. To be perfectly honest that’s fine because I’m not sure these guys could do any wrong at this point. If you are already a fan, just know that this record could easily have been labeled a Black Keys record.


16. “Wavering Radiant” by Isis: For my tastes this might be the best Isis record to date, but I really enjoyed 2006’s “In the Absence of Truth” as well. It’s probably the most accessible record in their catalog, but also may be the most diverse. I love the more psychedelic moments but there are plenty of heavy moments too. It’s a great record of hipsters and headbangers alike.


17. “Hazards of Love” by The Decemberists: At first listen I wasn’t impressed at all with this record, compared to their previous album “The Crane Wife” it just seemed like the lesser of the two. It took seeing the record played live in its entirety at Sasquatch this year to breathe some life into it for me. It was quite the spectacle as Colin Meloy played guitar hero with the sudo Black Sabbath riff parts and the amazing voice of My Brightest Diamond’s Shara Worden as the queen stole the show. I think it was the first post-Sasquatch record I tore into. I love the concept of a complete album in general, and this one is best listened to in its entirety.


18. “Wolfgang Amadeus Phoenix” by Phoenix: This record is on everyone’s shortlist this year so far, and so I decided I would be foolish to ignore it. It is a fun indie electro-pop record, with plenty of catchy danceable moments. The French band has seemed to hit the big time recently, as I caught their energetic performance on SNL a couple weeks ago. This performance may have been the tipping point for me adding this record to the top 20.


19. “The Devil You Know” by Heaven and Hell: This is the first record for the Dio-era Black Sabbath since 1992’s Dehuminizer. Due to legal issues, they decided to go with the Heaven and Hell moniker after their 1980 record of the same name. It’s amazing that these old fogies can still make a solid, vital metal record. Tony Iommi has some pretty heavy riffs left in him, and Ronnie James Dio’s voice is still strong and soaring. The rest of the band Geezer Butler and Vinny Appice anchor the group as well as any rhythm section around. I drove up to Vancouver in 2007 to see them during one of their first reunion tours and it was nothing short of fucking awesome. They play here in August but to my disappointment I won’t be able to attend.


20. “Hold Time” by M. Ward: Portland’s Matt Ward has put out a very solid record in 2009, and it’s a simple, charming slice of Americana. “Hold Time” is anchored by the instant classic “Ain’t Nobody Like You” and the Buddy Holly cover “Rave On” and in my mind it makes the list despite its mediocre status among the music press. This rock guy is a fan of Ward’s rock tendencies on this record, and even though he gets crap for staying sort of stuck in America’s rock n roll past, I dig it.

Well, thats the list as I see it Monday July 6th at 9:44pm. It could totally change with any new release or discovery. I guess that's the way I like it, I always love discovering new music and wish it could be a full time job. I now want to add a quick list of honorable mentions, they are very good records as well and deserve multiple spins. I hope this list as a whole helps fill any musical voids you may have.

Honorable mentions of 2009...so far:

"Face Control" by Handsome Furs
"200 Thousand Million" by The Black Lips
"Hordes of Chaos" by Kreator
"Time Waits For No Slave" by Napalm Death
"Bitte Orca" by Dirty Projectors
"Concrete Class" by Lonely H
"Post-Nothing" by Japandroids
"Together Through Life" by Bob Dylan
"Merriweather Post Pavillion" by Animal Collective
"Actor" by St. Vincent
"Swoon" by Silversun Pickups
"The Harvest Floor" by Cattle Decapitation
"The Age of Nero" by Satyricon
"We Sing the Body Electric! by The Lonely Forest
"Kingdom of Rust" by Doves

Any more you want to add? Let's compile an even better list. Leave some comments because I'm sure I'm missing some excellent rock, metal, indie, punk and alternative records!!

3 [RECORD REVIEW(S)] Top 20 Albums of 2009...So Far: Part 1

I’ve been pondering this list for a couple weeks now, ever since I was asked by my buddy Ryan to give some input for an Amazon.com blog post of the same nature. There has been a ton of great stuff released in 2009 so far. It’s been a huge year for indie bands, a slightly saturated but good beginning of the year for metal, and 2009 also marks the return of so many great veteran bands who are back and sort of re-establishing themselves as premier rock acts. I have compiled what I believe to be a very solid list, these are albums that have been on heavy, heavy rotation in my life and I am proud to recommend them to whomever has an open mind and open ears. So without further adieu here is the first 10 off the Seattle Rock Guy’s list of the top 20 "go out and get these right fucking now (preferably on vinyl)" albums of 2009...so far:

1. “Crack the Skye” by Mastodon: This album is a psych metal masterpiece, and I personally have not heard a better record this year. From beginning to end it’s a complete journey and a hell of a ride. The album’s eccentric themes of astral travel and out of body experiences are way over shadowed by Mastodon’s musicianship, these guys can flat out play their instruments. With “Crack the Skye” Mastodon again show why they are the new school leaders in a diverse and talented metal genre. Also get award for best album art ever!



2. “The Eternal” by Sonic Youth: The first time I heard the first single “Sacred Trixter” off SY’s new record I was hooked. The first thing that came to mind was this sounds like “Washing Machine” era SY, which was my first exposure to the band in 1995. The record is good from start to finish, and really solidifies their legacy as one of the great American alternative rock acts. Can’t wait until the Capital Hill Block Party July 24-25th!



3. “Ok Bear” by Jeremy Enigk: Seattle’s own Jeremy Enigk has been a busy guy so far in 2009, he has released an amazing solo effort reminiscent of his 1996 masterpiece “Return of the Frog Queen”, played a couple of Seattle solo shows with a 13 piece orchestra, and has reformed his seminal post grunge band Sunny Day Real Estate much to the delight of this fan. If you haven’t grabbed tickets for either the SDRE Seattle gig in October or September gig in Portland hurry up, they’ll surely be gone soon.



4. “I Blame You” by Obits: New York’s Obits is the new project fronted by ex-Hot Snakes and ex-Drive Like Jehu main man Rick Froberg. Obits was formed from the ashes of Hot Snakes in 2005, but didn’t release a record until 2009. I got my first taste of Obits at SP20 in 2008, and picked up “I Blame You” and then the Sub Pop released Record Store Day 7” in April. The Obits sound is part punk, part garage rock and part rockabilly. It’s a very good record, and a welcome rock addition to the Sub Pop roster.



5. “Veckatimest” by Grizzly Bear: This is the third full length release from Massachusetts Brooklyn, NY natives Grizzly Bear. I wouldn’t say it’s a perfect record from start to finish, but Grizzly Bear’s chamber pop harmonies and melodies are a welcome departure from my metal infused life. The album is anchored by the great “Two Weeks”; needless to say I have been dropping the needle on this one frequently.



6. “It’s Blitz” by Yeah Yeah Yeahs: I can’t say I was a fan of the YYY’s prior to the release of “It’s Blitz”. It wasn’t until their single “Zero” intrigued me to visit their earlier releases that I realized the power of this band. This go around they have created a truly excellent electro-synth disco record, which is a departure from their noise punk roots. All I know is Karen O is an amazing performer and it’s incredible how much noise these three make in a live setting. I suspect the YYY’s will be around for awhile especially since they were able to re-invent themselves without much complaint from their fans.



7. “Mind the Drift” by Big Business: This is the third full length from former Seattleites Big Business (relocated to LA…Boo!). The duo decided to take a break from playing in the Melvins, added a full time guitar player in Toshi Kasai, and has recorded in my opinion their best record to date. It’s has plenty of BB’s signature heavy drum and bass sound but with interesting flairs of guitar noodling. It comes off experimental but fresh to my ears; give me Coady and Jared’s massive rumble any day of the week.



8. “The Mountain” by Heartless Bastards: When I first heard of Heartless Bastards from my buddy Dan they were a 4 piece. I went and saw them rock the Tractor Tavern in probably 2005. One thing that stood out then and stands out now is the heart and soul of the band, front woman Erika Wennerstrom, for she has such an interesting and original vocal style and not to mention she writes all the songs. In 2009 Heartless Bastards have returned with a new rhythm section and one of the best records of the year so far. They play heavy, blues infused rock with hints of everyone from the Black Keys to Black Sabbath, and killed Mondays 12pm main stage slot at Sasquatch by the way.



9. “Farm” by Dinosaur Jr.: Talk about another great alternative band that has made a major comeback along with SY. Dino Jr. has put out two solid records in recent years, the first being “Beyond” in 2007 and now “Farm”. This record rocks! The opening track “Pieces” is my favorite and they tore down the house with it last week on Jimmy Fallon. Maybe I’m late to the party but J Mascis’s guitar work here is some of the best I’ve heard in a while, and for me elevates his status as a premier player.



10. “Dos” by Wooden Shjips: There's no shortage of psychedelic rock bands these days, but Wooden Shjips have to rank among the more interesting. For one thing these guys manage to sound heavy and robust without resorting to piling up the fuzz levels, but beyond that they manage to capture the same spirit that made this music so vital in its '60s and '70s heyday. I put this on the turntable recently and there it stayed.



Well, here are the first ten. The remaining ten will be up this week. So by however means you acquire your music these days, I think you have some work to do. Enjoy!