Antony and the Johnsons "I am a Bird Now" (Secretly Canadian) Sounds like: the curious, decadent musings of a male Nina Simone, in the company of a chorus of 1,000 sexually ambiguous angels. B+
Artist Raymond Pettibon once said, "when I see a train, I want to take it into my arms." Perhaps he wished to embrace human motion. There is something about the icy, moving, trans-human feeling that Antony emits that leads listeners to take him into your arms. Antony is a speeding locomotive made of a devastating density of sound.
If there were any other reason to take Antony into your arms, it would be his fetal position-inducing croon that seems laden with every feeling of pain ever felt. There's no esoteric beating around the bush with Antony's decidedly morose, absurd lyrics, as he utters, "My lady's story is one of breast amputation," on "My Lady's Story."
Similarly, there is a tragic amount of gender anxiety on "I am a Bird Now." "One day I'll grow up and be a beautiful woman / One day I'll grow up and be a beautiful girl," Antony moans on "For Today I am a Boy." The band's back-catalogue includes the haunting "I Fell in Love with a Dead Boy," which poses the question, "are you a boy or a girl?" On "You are My Sister," and "Fistful of Love," which features guest vocals from Boy George and Lou Reed respectively, there is no reluctance toward that same ambiguous questioning that leaves a soul broken or bereft. "So many memories, there's nothing left to gain from remembering," Antony wails.
That kind of vulnerability surfaces throughout the album as a whole, even on "Fistful of Love," the closest the album ever comes to soaring above its usual melancholy, this time in the way his otherwise stoic voice wavers over the trumpet line. The album decrescendos, finally concluding with "Bad Gurl," as Antony plaintively decides, "bad girls go to heaven, and bad girls can fly." This seems to provide some closure to the gripping complexity of gender identity from the previous eight songs, but the conclusion, "I'm free at last!" on "Free at Last" is Antony's declaration of independence.
- JEN TURNER
Blueprint "1988" (Rhymesayers) Sounds Like: 1988 without most of the insight and innovation. B+
1988 was the year for hip-hop. "It Takes a Nation of Millions" and "By All Means Necessary" were launching fiery sermons from the inner city into suburban living rooms. "Straight Outta Compton" was founding gangster rap, "Strictly Business" saw sampling become recognized art and "Follow the Leader" displayed a still unmatched lyrical effort. And the Fresh Prince was so darn adorable. In his first solo effort, Blueprint, former frontman for underground hip-hop duo Soul Position, attempts to pay tribute to the year that saw unquestionably the most prolific amount of classic releases in hip-hop history.
The disappointing yet probably expected news: This review should be the last time the year 1988 will be mentioned alongside any of those essentials. The good news, however, is that while his reach exceeds his grasp, Blueprint has a solid understanding of what makes for good music and the album contains moments that suggest he may get there eventually.
Blueprint does a nice job resurrecting some staples of late '80s production: Eric B.'s cavernous drum accents, the Bomb Squad's flavor for distortion and EPMD's infectious funk. The album's first few tracks unfold successfully, highlighted by the piano-driven standout title track. Unfortunately, the middle of the album, including a cameo by Aesop Rock, drags under heavy guitar sludge beats. Thankfully, the playful horn funk of "Where's Your Girlfriend At?" and the percussion rich "Kill Me First" right the ship as the album closes. Lyrical content and delivery fits the production but ultimately leaves the listener hopeful Blueprint can find his own, more focused, voice in the future.
-DAN POTOCKI
Ben Lee "Awake is the New Sleep" (New West) Sounds like: the Care Bears got a pop star to represent them. D
Get your yoga gear ready, kids. Or at least try to find a hardcore drug that will make you see rainbows so that you can appreciate the hippie, soul-searching mumblings of Australian singer-songwriter Ben Lee. Lee's sixth album, "Awake is the New Sleep," is an un-listenable compilation of wimpy, mellow songs that would only be perfect for a place like the American Taoist Healing Center, the recipient of Lee's first thank-you on the inside of his album cover. Lee acknowledges them for "teaching him 'nothing' - what it is and how to get there," explaining so much about Lee's empty wanna-be pop ballads.
Brad Wood, who also produced Lee's debut album, "Grandpaw Would," in 1995, also cut this album. It's surprising to hear that Wood, who also produced for Smashing Pumpkins and Liz Phair, would allow Lee to create a mind numbing nine-minute and 48-second song about absolutely nothing. "Light," which is no different from Lee's other songs, portrays his incessant need to show the world that he is profound and deep. Songs like "Whatever it Takes" and "Apple Candy" are horrible, dull excuses for Lee to pretend to be a singer.
For those who aren't peace-loving, bell-bottom-wearing musicians, searching for the meaning of life, avoid Ben Lee at all costs. And those of you who are, don't waste your money on the biggest fake-hippie to ever try to climb the pop music charts.
-JENNIFER VARADI
Another Breath "Not Now, Not Ever" (Rival) Sounds like: a poor man's Cab Assassin. D
This album features various nuances of punk music. You know, the kind with generic power chords going at full volume while some pretentious dude screams out his lyrics incoherently. Why do so many bands strive to sound like this? Do people like it? God forbid that a band like this gets any groupie action. They are putrid.
Not to say that the album is totally terrible. It clocks in at less than 15 minutes. It's a long 15 minutes, but it would be impossible handle 30 minutes of this drivel. So, because Another Breath was nice enough to release a short album, they move up from an F to a D-minus.
The album moves from that D-minus to a straight D because of the liner notes. Not only does Another Breath print out their indecipherable lyrics (seriously, they make "Louis Louis" by the Kingsmen sound like a Kenneth Branagh production of "Othello"), they write about the inspiration behind each song. High comedy! One song is about body image. Another is a call to boycott Hot Topic. The most personal song appears to be about not letting your father's plans for you interfere with your own dreams. A good sentiment, but here's a message to whoever wrote that song: whatever your dad wanted you to do with your life, it beats playing in Another Breath.
-L. RUSSELL ALLEN IV
Grayskul "Deadlivers" (Rhymesayers) Sounds Like: if El-P lightened up a bit. A-
Grayskul's "Deadlivers" adds another to the list of imaginative, creative and intelligent debuts from the Rhymesayers label. "Deadlivers" offers a unique twist on the word heavy, unorthodox production styles that have made labelmates Eyedea and Abilities, Atmosphere and Brother Ali indie kids as well as critical darlings. The three-man crew of Onry Ozzborn, JFK and bass player Rob Castro occasionally falter and use that thesaurus a little more than necessary, but have produced an infectiously enjoyable album.
"Deadlivers" envelopes the listener in an eerie world of sullen pianos, wandering violins, thumping brass and wispy atmospheric backgrounds, as if Tom Waits and the GZA teamed up to produce an album. Onry Ozzborn and JFK trade critical, longwinded verses, opting for subject matter over memorable or inventive rhyme scheme. The album's many memorable tracks, the skeleton key jangle of "Once Upon a Time" and bouncy, flute-driven "Vixen," balance instantly addictive hooks with insightful verses. Fans of any Rhymesayers or Def Jux artists will be right at home with "Deadlivers."
- D.P.
Del Cielo "Us vs. Them" (Lovitt) Sounds Like: Liz Phair heading an emo outfit while begging them for a harder sound. B
There's something very exciting about catching a band like Del Cielo at this point in their career. After opening for bands like Q not U and Against Me!, they've established a semblance of staying power since the band's birth in 2001. A female punk-pop band with indie sensibilities, Del Cielo's second album is a very easy listen and establishes the group as head and shoulders over similar acts in the areas of sheer musical talent and uniqueness. The only missing ingredient seems to be a larger destination for the band as a whole.
At the forefront of Del Cielo's sound are strong and resolute vocals. Very few all-girl bands want to explore the full register of notes that the female vocal chords are capable of. Yet Del Cielo seems curious and expansive in that regard, with guitarist Andrea Lisi hitting high C notes regularly, adding elements of folk to the album's sound. Instrumentally, the tracks on "Us vs. Them" are fantastic especially during Lisi's power solo on "Scream." Bassist Basla Andolsun adds solid and soft bass lines in appropriate spots, with drummer Katy Otto wrapping the band in a big bow.
Despite showing extraordinary potential, there are some glaring problems in Del Cielo's sound that need to be addressed before they can move forward. First of all, for a band that relies on lyrics heavily, the actual written prose is very boring owing more to execution of notes then strength or excitement of lyrics. There's also the matter of resolving the band's musical direction more concretely. While they've established two decent and very divergent attitudes of melodic garage music and slow driving punk, there's a stronger middle ground to be found, especially given the unique personality that each members already possess.
"Us vs. Them" is only Del Cielo's second album. While they will undoubtedly have to build on some of the trends they've begun to explore, seeing how they will do it will be a worthwhile experience.
- NEAL FERSKO
...And You Will Know Us By the Trail of Dead "Worlds Apart" (Interscope) Sounds Like: the band that could never be too pretentious comes really darn close. B
It's such a strange thing. How can a band have lyrics like, "Let boys and girls on BBC / See corpses, rapes and amputees / What do you think now of the American Dream?" and think people will take them seriously? How can they put a peasant dance called "Russia My Homeland" on the record they are supposed to be trying to prove themselves with? How can they perform on Letterman with two drummers, or have "Dark Side of the Moon"-esque backing vocals ("All White") and think they can get away with it? How can they do any of those things and think they can get away with it?
The strange thing is they do. From the very beginning you know these guys are going to mess with your head with a track entitled "Overture," which starts out with a simple, bouncy piano bit and somehow morphs into a seething battle tattoo (complete with anguished screams from women and children in the background).
This record shows that Trail of Dead is really quite versatile. The band goes from loud, raucous "Worlds Apart" into the piano ballad "Summer 91," with a melody that at times sounds almost like a John Lennon song. And as lame as the idea of having a Russian peasant dance on an indie-rock album sounds, turns out it's actually well written.
Unfortunately, some of the album slides into guilty-pleasure territory. "Worlds Apart" - it's mentioned a lot, but come on, you have to hear this song - is such a guilty pleasure. And some songs are just bad ("Classic Art Showcase"). but mostly this third LP is a fun listen.
- CHRIS DeWITT
A Change of Pace "An Offer You Can't Refuse" (Immortal) Sounds like: photocopied pop-punk/emo A-
While everyone hates cookie-cutter bands, A Change of Pace's sound is forgivable because it's really good. Their new album sounds like many other bands out there, but throws in some unique elements here and there.
What makes them stand out from the others is their ability to touch many different genres throughout the album. There are the harder rock songs complete with driving guitars and screaming such as "Asleep at the Wheel," the upbeat and a little whiny love song, "December," and the acoustic heartfelt song complete with a string section appearing in "A Farewell to Friendship."
The singer's voice is good, as he can go from screaming his head off to a whiny emo guy in the next song. Musically, they are like many other talented bands. There's nothing special or standout, but it is all excellent.
-ALICIA KRAWITZ
