High Bias aural fixations
July 14, 2002

AYTOBACH KREISOR
Aytobach Kreisor
(Rubric)
Led by Rubric prez Kenny Sehgal, who didn't get around to releasing his own band's record until five years after forming the label whose purpose it was to do just that, Aytobach Kreisor (name courtesy of some misunderstood Beatles lyric—don't ask) lays down the mind-expanding heavy psych riffs on its self-titled second album. The trio draws from the usual sources—Blue Cheer, Hendrix, Cream and Deep Purple—so there's not much here you haven't heard done before. Which is fine as long as the artist in question does the job right, and Kreisor certainly does. Sehgal is a fine picker, keeping wankery to a minimum and riffs to the max; bassist Antony Zito and drummer Jeremy O'Brien keep the rhythmic fires burning. The band hasn't quite mastered the art of writing truly memorable riff-rockers, but it's definitely getting close with tunes like "Here Tomorrow, Gone Today," "Phthalo" and the instrumental "Dizbuster." The main problem here lies in the production. Music like this should roar; even when it's getting miasmic and trippy, like the intro to "Phthalo," it should sound as if it's flowing inside your skull. But on this record, the sound is flattened and thin; the guitars just don't have the punch they should, and the vocals barely rise high enough over the music to be heard. It's nothing a good remix couldn't cure (is Chris Goss available?), and fortunately it doesn't obscure the obvious talent of those involved. If you like this sort of thing, then Aytobach Kreisor is the sort of thing you'd like. Michael Toland [buy it]

For fans of: Nebula, Captain Beyond, Novadriver

DEAD SOUL TRIBE
Dead Soul Tribe
(InsideOut)
Under the name Buddy Lackey, Dead Soul Tribe leader Devon Graves was the singer for San Diego metal band Psychotic Waltz, a group that never found wide acclaim but has become legendary in certain circles. DST is a vehicle for a more personal, though still hard-rocking, vision. Graves treats his songs as diary entries, or so he claims, but he writes lyrics impressionistic enough to leave plenty of room for interpretation (from "Powertrip:" "I am electric heroin/I'm your silent scream/I'm the pill/They use to fill/Your suicide machine"). Coupled with anthemic melodic hard rock with progressive leanings, the result is a hyper-dramatic (some might say melodramatic) song cycle about frustration and desire. "I've given up on life/There's nothing I can do," he moans in "The Drowning Machine," though he knows what he needs to feel better in "You:" "I need a friend I can run to/Someone to crawl inside." Though this kind of material lends itself to bombast, Graves manages to pull back from the brink. Though equally proficient on guitar, keyboards, bass and even flute, he always plays tastefully, while his singing never relies on screaming metal clichés. The widescreen rock of "You," brief folk-metal burst "Empty" and acoustic introspection of "Under the Weight of My Stone" manage to balance melody and melodrama, while the aggressive "Cry For Tomorrow" buries any self-pity under an onslaught of drilling riffs. Only the overwrought power ballad "Once" induces wincing. Dead Soul Tribe isn't going to change the metal world, but it's a good example of personal expression in a genre not usually noted for it. Michael Toland [buy it]

For fans of: Warrior Soul, Amorphis, Dream Theater

FLYING NUNS
Everything's Impossible These Days
(Q Division)
Arty rock trio the Flying Nuns is identified with Boston's fertile music scene, though its members live scattered across the country. Perhaps that accounts for their fractured, purposely disjointed power trio sound. Bassist/vocalist Kevin Sweeney, guitarist Pat Lynch and drummer Tony Velez write loud, catchy pop songs for Everything's Impossible These Days, but arrange them in such a way as to bring out all the sharp angles. "Rope," for instance, is constructed of what would normally be monster hooks, but the band turns them inside out so that the corners might poke your eye out if you get too close. "Disco Dancing Queen" has a bassline that fits its title, but the rest of the tune revels in disquieting edginess. "Nice Hot Spot in the Shade" percolates on a reggae beat, but one that's ever so slightly...off in some way. "Peek a Boo" uses the perfect rhythm and discordant changes to emulate the mood of a petulant adult child. This band works very hard to make sure it doesn't sound "normal." That's not to say the record is nothing but an exercise in cerebral obscurity. Quite the contrary—the tunes are unfailingly melodic, and Sweeney's open-hearted blare makes it clear that emotion is just as important to these folks as intellectualism. The Flying Nuns get the balance between high art and gut feeling just right. Not everything is impossible, apparently. Michael Toland [buy it]

For fans of: Mission of Burma, the Minutemen, Skeleton Key

IZZ
I Move
(Doone)
Tuneful and ambitious, multifaceted New York quintet IZZ masterfully combines pop and progressive rock on its sophomore release I Move. From pop it draws marvelously hooky melodies, relationship-oriented lyrics and soulful vocals; from prog it takes complex time signatures, intricate arrangements and the kind of bridges usually found in grand progressive epics. It's a mix not unlike California contemporaries Spock's Beard and the Rocket Scientists, except that IZZ de-emphasizes instrumental virtuosity and puts everything it has in service of the songs themselves. The lead-off cut "Spinnin' Round" is a good example of the band's eclectic approach, with its hip hop-influenced drum loop, warm synths, prog guitars and keyboardist Tom Gaglano's pristine vocal. The rest of the record follows wide-ranging suit, with the prog/fusion instrumental "Star Evil Gnoma Su," straight pop of "I Already Know" and Celtic lilt of the Tempest-like "The Mists of Dalriada," among others. As might be expected, the best tracks play mix 'n' match, as in the prog-poppin' delights of "Another Door," "Knight of Nights" and the title track, perhaps the ultimate IZZ moment. No matter what the approach it takes, the band makes it all sound like IZZ. I Move is a stunning showcase for a multitalented, forward-thinking ensemble, with melody at the forefront. Michael Toland [buy it]

For fans of: FM, Adrian Belew, Spock's Beard

JACOB FRED JAZZ ODYSSEY
All Is One—Live In New York City
(Knitting Factory)
On its second album All Is One—Live In New York City, hard-driving trio Jacob Fred Jazz Odyssey brings funk and psychedelia into the sphere of improvisational jazz, instead of the other way around like most young jam ensembles. Pianist Brian Haas and bassist Reed Mathis are just as likely to switch roles as play their traditional parts, with Haas holding down the bottom on his Fender Rhodes and Mathis playing effects-laden solos; see "There Is No Method" for corroboration. Drummer Jason Smart keeps the arrangements together with a flexible rhythm bed and busy cymbal work. Exploratory modal tunes like "Lovejoy" and "Hunter Gatherer" (featuring a couple of guest percussionists) effortlessly conjure up the spirit of early 70s Miles Davis, a frequent and much-appreciate touchstone for many improv groups these days. This isn't jazz for jamband fans, though; unlike its peers in Medeski, Martin & Wood or Soulive, JFJO is more interested in finding those elusive melodies that only appear inside wandering improvisations than in making fans shake their groove thangs. Gettin' jiggy wit' it is not what this group is about. This is by no means a slam against those fine outfits, just an observation—JFJO is perfectly happy to ride a groove, but it would rather search the ether for new melodies. You're invited to search with them. Michael Toland [buy it]

For fans of: Medeski, Martin & Wood, Zony Mash, John Scofield

THE RAY MASON BAND
Three Dollar Man
(Captivating)
Ray Mason is one of those great American songwriters who somehow never seems to get his head above the surface of popular indifference. This has nothing to do with the quality of his work. As his latest album Three Dollar Man proves, he's a master of literate, rootsy power pop that tickles the taste buds and fills the stomach in equal measure. With casual wit, emotional resonance and bouncy hooks, tunes like "Newsboy's Toss," "Footrest" and "I've Got a Good Dentist" roll off Mason's tongue and into your pleasure zone. The exuberant roots rock of "Reverb and a Zip Code" and sardonic country of "You'll Never Play Here Again" (which should be titled "The Club Band's Lament") will induce both chuckles and winces from other musicians, while the blue-eyed soul of "Ear For Rain" and "Someone I Can't Get Over" will find universal recognition. Best of all, nearly every tune comes in at less than three minutes—this is a guy who knows how to trim his songs down to their purest essence. So why hasn't Mason caught on with a wider audience? Maybe it's his voice, which even Mason himself would no doubt admit is no great shakes, though you can't deny the sincerity in its wavery tone. More likely, though, it's his modest presentation of his own talents. Mason isn't the kind of guy to engage high-profile guests or use trendy production gimmicks to get attention; he'd rather just play his tunes and let listeners find him in their own time. Which, as long as he keeps making records as good as Three Dollar Man, should be happening shortly. Michael Toland [buy it]

For fans of: Walter Clevenger, Dwight Twilley, Richard X. Heyman

THE POSSIBILITIES
Way Out
(Parasol)
The Possibilities have gained some notoriety over the past few years as various members have been seen collaborating with indie rock darling Jack Logan. But the Athens, Georgia quintet has been around since the early 90s; now it's finally getting recognition for its own work. The band's second album Way Out makes one wish they'd stepped into the spotlight sooner. The Possibilities don't do anything unique—the twelve tunes are pretty standard issue rootsy power pop. They're just damn good tunes. All five members sing, and all of them do it well, and all are apparently fine songwriters (the songs are collectively credited). Whether rocking out ("Downtown Dream"), honkytonkin' ("Everywhere I Look"), nodding to forebears ("Coming in Waves," the Beach Boys tribute "Swing and Sway," Del Shannon's "What Makes You Run") or just cranking out pure pop ("Now and Then You Appear," "Wouldn't Take Nothing," the title track), the group always bears down hard on the melody, letting enthusiasm and emotion be carried on top of insinuating hooks and singalong choruses. The Possibilities go Way Out on a limb of pure pleasure. Michael Toland [buy it]

For fans of: Big Star, the Volebeats, Chris Stamey

Copyright © 2002 High Bias