High Bias aural fixations
March 3, 2002

BORKNAGAR
Empiricism
(Century Media)
Led by guitarist Öystein G. Brun, Norway's black metal behemoth Borknagar is becoming a Frankenstein monster of extreme Nordic music. The lineup on the sextet's fifth album Empiricism boasts former Emperor bassist Tyr and Swedish singer Vintersong of the same-named ensemble, with the latter singing in English for the first time. Unlike most of its contemporaries, Borknagar pushes the boundaries of its chosen genre; fans of straight-ahead blast beats and constant screeching may be a bit disappointed by the group's sense of melody and dynamics. Tunes like "Gods of My World" and "The Black Canvas" shift skillfully betwixt aggressive thrash and majestic doom, with Gothic organ offsetting the grinding guitar work. Vintersong rises to the occasion, easily moving from perfectly feral larynx shredding to a dramatic baritone croon. Brun leads the band away from typical anti-Christian themes as well; song titles like "Four Element Synchronicity" and "The Genuine Pulse" point towards a questing muse well suited to this album's title. With Empiricism, Borknagar steps to the front ranks of the heavy metal vanguard. Michael Toland [buy it]

For fans of: Dimmu Borgir, Opeth, Emperor

CENTRO-MATIC
Distance and Clime
(Idol)
Denton, TX's mid-fi pop wonder centro-matic just keeps getting better, as evidenced by its latest slab Distance and Clime. Unlike most of their peers, Will Johnson and his crew don't see a lack of high-quality production values as a goal in and of itself, but rather as a low-budget means to get their music out there as quickly and economically as possible. The focus is on the songs themselves, as it should be with any band, no matter what the fidelity, and the prolific Johnson comes up with a batch of winners here. The opener "The Connection's Not So Civilized" packs more punch in its minute-length than most bands' four-minute anthems. The singalong chorus and gnarly guitar work of "Truth Flies Out" makes it a classic single, while the tuneful melodies and heartfelt performances of "To Unleash the Horses Now," "Patiently Standing" and "On the Sagtikos" show a band in full command of its talents. Topped off by Johnson's utterly guileless vocal, the ballad "Tonight is Not It" gently twists the emotional knife. Distance and Clime never hides its feelings under layers of irony or obscures its beauty behind a wall of crust. Smart songcraft and undisguised heart make centro-matic an exciting band. Michael Toland [buy it]

For fans of: Sebadoh, Varnaline, Built to Spill

CHARGERS STREET GANG
Holy the Bop Apocalypse
(Get Hip)
Cleveland's Chargers Street Gang takes punk rock back to the garage and roughs it up with its latest album Holy the Bop Apocalypse. Barely contained by producer Tim Kerr (Lord High Fixers, Poison 13, etc.) in Austin, TX's infamous Sweatbox, the record perfectly captures the exuberance of a bunch of young ne'er-do-wells turned loose on tape. The caffienated rhythm section barrels forward while the guitars do their best imitation of Johnny Thunders on crack, while the vocals careen from a gravely bark to an unhinged shriek. The rest of the band (it's unclear who does what) chimes in on boozy backing vox as well. The arrangements (and we use the term loosely) sound on the verge of falling apart on every track, but somehow the band keeps the train on the rails, even if it's about to vibrate to pieces. "Say No More Forever Amen" and "Hey Guys Thanks For Believing in Me" rock their catchy melodies with wild abandon; "Raised on Richards" takes 60s garage R&B and shakes it to bits. "Shitty Song" sounds like the New York Dolls after too much whiskey, while "Amazing Disgrace" would be a power ballad in more professional (read: conventional and boring) hands. Some might consider this album sloppy, but others will happily join the band out on the edge of collapse. Embrace the chaos. Michael Toland

For fans of: the Humpers, the Neckbones, the Dragons

GREEZY WHEELS
Millennium Greezy
(Tana)
Listening to Millennium Greezy, the first album from Austin's Greezy Wheels in a quarter of a century, is like hearing River City music history coming to life. The Wheels were considered the house band for the legendary Austin club the Armadillo World Headquarters; they've been there and done that in Austin for nearly 30 years, and have the Austin City Limits appearances to prove it. When violinist Sweet Mary Hattersley contracted breast cancer (from which she's fully recovered), the impetus was to complete sessions begun in the 80s and put out a brand new Greezy Wheels record. The Wheels sound remains intact after all these years, as Mary, her husband Cleve and his sister Lissa effortlessly blend pop, blues, reggae and progressive country into a tasty confection of guitars, fiddle and familial vocal harmonies.

Head songwriter Cleve pays tribute to Roky Erickson with "Dr. Wayout," to the session man with "Sideman's Party" and to alternative sexuality with "Punishment Room." He gives Lissa a couple of cool-toned showcases with the slinky "I Just Like Being a Girl" and the snide "I Stick the Doll (With Burning Pins)." The easygoing originals share space with a quintet of intriguing covers that sheds light into the Greezers' eclectic creative process: Lou Reed's "Walk On the Wild Side," the Beatles' "Tomorrow Never Knows," Hank Williams' "Jambalaya," Richard Berry's "Louie Louie" (a song that no one need ever cover again, frankly) and reggae veterans' the Heptones' "Book of Rules." The easygoing vocals and relaxed performances may leave those with short attention spans at a loss, though Sweet Mary's sparkling fiddle work will perk them right back up. Longtime Austin music fans, however, will be happy to know that their favorite band is making history once again. Michael Toland [buy it]

For fans of: Rickie Lee Jones, Willie Nelson, Jimmy Buffett

HADACOL
All In Your Head
(Slewfoot)
Kansas City roots rock troupe Hadacol doesn't get nearly the attention it deserves. Minus the smoldering sex appeal (not to mention psychodrama) of Ryan Adams, the outlaw miasma of Steve Earle or the brooding obscurity of Jay Farrar, the quartet (led by singing/guitaring brothers Fred and Greg Wickham) has to rely on its songs and its straightforward presentation of same on its sophomore release All In Your Head. Fortunately, that's not a problem; Hadacol long ago mastered the ins and outs of U.S. roots music, from Buddy Holly to CCR and Johnny Cash. With Fred's personable vocals and spitfire guitar leading the way, the band moves efficiently from moody rockers ("Watch It Burn") and rhythmic country ("Dump Truck") to heartfelt balladry ("Already Broken") and good-natured raveups ("Airplane Song"). There's even a bit of Doug Sahmish garage pop ("Gerald Ford") and a fireball take on a traditional folk song ("Little Sadie"). The Wickham siblings' tunes hit just the right notes melodically and emotionally, and there doesn't seem to be a variation on American roots music the band can't handle beautifully. Cleanly produced by the Skeletons' Lou Whitney, All In Your Head is a roots rock lovers' delight. Michael Toland [buy it]

For fans of: 80s Everly Brothers, Shaver, Foster & Lloyd

SUSHIROBO
Drawings And Garbage Structures
(Pattern 25)
Like the bastard children of the Residents (how difficult would it be to file a paternity suit against one of them?) who've discovered an old cache of Gary Numan albums, Seattle's Sushirobo isn't necessarily what you might expect if you're at all familiar with the sweet (and very traditional) power pop of leader Rick Roberts' former band the Posies. Eerie gurgles and spacey whooshes, taut, dry guitar and disaffected vocals are the modus operandi on Drawings And Garbage Structures. Sometimes creepy and often infectious, don't be surprised to find yourself singing along with "Rat Or Mole?" and its insistent chorus, "Are you a rat or a mole?" In fact, several tracks (like the shimmering "Garbage Structure" with its repeated "Is there someone you wish was dead?") might incite the listener to accompany Roberts' robotic delivery, although what you're actually singing is mostly inscrutable, "The Bluer Their Eyes" being one of the more straightforward. It's all good fun and invoking their name might stump your music snob friend, but it's doubtful that not having heard Drawings And Garbage Structures will be a deathbed regret. It will perhaps bring some comfort to those who haven't known what to do with themselves since the breakup of Soul Coughing. Tom Demalon

For fans of: The Moog Cookbook, Devo, Air

ROCKY VOTOLATO
Burning My Travels Clean
(Second Nature)
Northwest singer/songwriter Rocky Votolato has been quietly building up a catalog both with his band Waxwing and as a solo performer. Burning My Travels Clean is his third album in the latter configuration and is probably his most accomplished to date. Armed with an acoustic guitar, a plaintive voice and a gift for poetic imagery, Votolato presents eleven songs powered by a passionate desire to communicate. "So show me everything/I'm always aching to see," he croons in "Holding Onto Water," adding "I'm learning to trust you enough to take from you/You can trust me too." He moves from lonely piano ballads ("October") through propulsive country rock "("Without Eyes Still Seeing") to strangely hopeful laments ("Treasure Chest," which proclaims "Life is rich and ripe with thoughts unsung and songs unheard"). Votolato manages the balancing act of being overtly emotional without being overwrought, and if his melodic skill hasn't quite caught up with his ability to translate deep feelings into cogent thoughts, he's improving all the time. Michael Toland

For fans of: Dashboard Confessional, Jason & Alison, Chris McFarland

Copyright © 2002 High Bias