High Bias aural fixations
July 7, 2003

BILLY JOE WINGHEAD
Precious Moments with Billy Joe Winghead
(RAFR)
A bunch of Okies with a slew of mini-albums behind them, the reprobates in Billy Joe Winghead finally unleash a whole CD's worth of boozed-up twangrunge on Precious Moments With Billy Joe Winghead. Loudly, proudly smartass, BJW sets fire to the testicles of classic rock, punk, metal and country and jauntily takes satirical aim at, well, pretty much anything in sight. That field of view may not be too large outside the trailer park, but it does encompass C&W history ("Branson on My Mind"), truckstop lovin' ("Rest Stop Romeo"), tribal surf music ("Muk Muk"), sexual consequences ("Judy's Getting Big") and sex in general ("Komanawanaleia," "Hairless Kitty"). Classic tracks get the same irreverent treatment; witness the fuzz-choked takes on "Harlem Nocturne" and Duke Ellington's "Caravan," not to mention the bombastic mauling of Bobby Goldsboro's "Honey" and, of course, Skynyrd's "Free Bird" (with a version that indicates some members of the band have seen Dash Rip Rock a time or two). This is the kind of silly yet savage snarl rock that usually works better on stage than on disk, but that's not to say the Wingheads don't know their way around a mic and a mixing board here. Get your daily dose of rock & roll sleaze with these Precious Moments. Michael Toland [buy it]

For fans of: the Supersuckers, the New Duncan Imperials, Dash Rip Rock

CHANDEEN
Echoes
(Kalinkaland)
Chandeen has balls. Oh, you wouldn't think so at first listen—the German band's seventh album Echoes isn't loud or obnoxious, and never calls attention to itself. The music—mostly Harold Löwy's melodious keyboards and Antje Schulz's pretty coo—is almost painfully delicate, a fragile wisp of glass set carefully on an old wooden shelf. Antje's lyrics practically overflow with romantic passion, as she swoons in anticipation of incipient love or in agony over the loss of same. That's when she writes the words at all, and here's where the huevos come in. Chandeen actually has the audacity to take poetry by Oscar Wilde ("In the Forest," "Impressions - la fruite de la lune"), Edgar Allen Poe ("A Dream Within a Dream") and William Blake ("A Dream") and set it to music. This could lead to all kinds of accusations of pretentiousness, hubris, etc., but such would be unfounded. Amazingly, it works, every time. The duo is smart enough to keep the accompaniment minimalist, letting the words speak for themselves, and Antje's vocal melodies, no doubt meticulously worked out, compliment the poets' natural rhythms. The results range from pretty aural wallpaper to gorgeously compelling tone poems. Echoes has a level of ambition belied by its modest presentation, and it's an ambition mostly fulfilled. Michael Toland

For fans of: Hannah Fury, Enya, Stoa

DOG FASHION DISCO
Committed to a Bright Future
(Spitfire)
There's been a lot of genrefucking going on lately, which can be seen either as attempts to move rock music forward by combining and recombining its various elements, or simply a way for the musicians to keep from getting bored. Dog Fashion Disco probably falls into the latter camp; the D.C. combo unselfconsciously tosses in bits of hardcore, New Wave, showtunes and even some jazz into its metal casserole, baking it to a slick dish that may peak the palette of those who remember Faith No More in its more extreme moments. Lead singer Todd Smith has the requisite obliterating scream down, but he's just as likely to sing out forcefully or croon with a slightly maniacal edge, as if he's relaying the voices in his head to all and sundry. Needless to say, the dynamics are all over the place, but the band knows how to shift from whisper to scream without making it a bumpy ride. "Pogo the Clown," "Rapist Eyes" and "Fetus on the Beat" work that mojo best, while the softer and more melodic "Déjà Vu" and the funky "Magical Band of Fools" stick to one groove and work just as well. The lyrical content occasionally falters, favoring outrage for outrageousness' sake a bit too often, but the music definitely gets the adrenaline going and the eyes rolling, which is the most important thing anyway, right? Michael Toland [buy it]

For fans of: Faith No More, System of a Down, Oingo Boingo

ROBIN GUTHRIE
Imperial
(Bella Union)
So what's the use of having your own label if you don't release your own music? Actually, former Cocteau Twins guitarist Robin Guthrie has taken advantage of his Bella Union imprint for his new band Violet Indiana, but this is his first record there under his own name. If you're familiar with Guthrie's prior work, this is pretty much what you'd expect: hazy, shimmering guitar and keyboard swells and languid melodies. It's like his Cocteau Twins work, minus the rhythm section and vocals. The cover—a naked female torso covered in drops of water from the surf just behind her—is evocative of the music; "Freefall," "Music For Labour" and "Falling From Grace" definitely conjure up images of rolling waves, flying seagulls and darkening skin as twilight emerges on the beach. Needless to say, this isn't exactly the album you'd use to pump yourself up before hitting the weight bench, and it might not be prudent for Guthrie to do too many more albums like this, but as far as relaxation and chilling out is concerned, this is quite nice. Michael Toland [buy it]

For fans of: Lanterna, Air, Scenic

LAZERWOLFS
Get Mad
(Lazerwolfs)
Missoula, Montana's Lazerwolfs bring on La Rock on their third disk Get Mad, a red, white and blue collar celebration of six strings, tom toms and high volume. Guitarist Jimmy Rolle throws out power chords and ripping licks in a fast and furious maelstrom, while drummer Bubba Warne keeps the rolls coming (don't forget that cowbell!) and bassist Chris La Tray holds the chaos together. Neither Rolle nor La Tray have particularly distinctive voices, but they're perfectly suitable for the loud 'n' proud antics on display here. Besides, Rolle's fiery axe work is, unsurprisingly, the focus here; this is pure power trio hard rock, after all. Like most bands of this ilk, songs make the difference between a band whose CD you'll pop in more than once and the one whose music you ignore when it comes on the jukebox, and Lazerwolfs know how to topple on the right side of that duality. The grooving "Elemental" makes all those recycled stoner rock licks sound fresh again, "Ride" indicates that there's some life in that classic rock corpse after all and the angry "Dissent" proves that a brain is lurking underneath the riffola. Amazing what can be done with the usual prosaic tools in the hands of a bunch of unpretentious guys. Michael Toland

For fans of: Dirty Power, American Dog, Fireball Ministry

ANDY PARSONS/GENE LEWIN/JOHN PATITUCCI/BEN MONDER
Flip!
(Sons of Sound)
Saxophonist Andy Parsons and drummer Gene Lewin lead bassist John Patitucci and guitarist Ben Monder through a smart set of melodic Parsons originals on Flip! At no point does the improvisational interplay cease, as Lewin and Patitucci lay down the swing and Parsons and Monder dance on top. Despite the constant motion, however, this is no technical blowout. Parsons keeps the melodies sweet and flowing. His sax playing, mellifluous without becoming soppy, fits his style perfectly, and Monder's fleet-fingered but spare runs compliment the leader's horn lines nicely. Listen to the way Monder's volume swells add buoyancy to Parson's melody licks on "Miss Conception," or the way both musicians exhibit sheer joy in playing in "Lot of Our Souls." Throughout all the players just revel in the pleasure of playing straight-up, no-bullshit jazz. If you need a traditional jazz fix, you'll flip over Flip! Michael Toland [buy it]

For fans of: Bob Mintzer, Greg Osby, Pat Metheny's non-Group projects

JOE PISAPIA
Daydreams
(Ambassador)
This is the first solo effort from Joe Pisapia, the singer/guitarist of the uniquely named Jersey-cum-Nashville vocal-rock trio Joe Marc's Brother. Whereas Joe Marc's Brother made us breathless with the ingenious three-part harmonies and feverish throttle of their last LP, Around the Year With, Pisapia just gets plain breathy on this outing. However, unlike the usual frontman-goes-solo story, Daydreams does not mark Pisapia's departure from his band, but rather marks a quick detour from the usual high energy guitar/drums/bass/ harmonies thing. Eager fans of the gentler side of rock are now treated to a full album of the types of songs that rock songwriters generally use sparingly on their LPs.

It seems that it would have been much too simple, though, for a writer as skillful as Pisapia to go bare-bones and do a simple one-guitar, one-mic, one-take record. On the contrary, Daydreams is an opportunity for Pisapia to show off his talents as not only a writer and arranger, but also as an amateur classical pianist (as in the spacious "Lullaby" or the overflowing "Dancing Partner") and a jazz guitarist ("Daydreams II"). Although he pitches some songs that could very well fit on any Joe Marc's Brother disc (such as the fantastic and swampy "Sometimes"), this is a record that shows what he can do outside of his band. The majority of the songs, however, are romantic Pisapia compositions performed on acoustic guitar, accompanied by upright bass, carefully arranged strings, mild percussion, stylistically incompatible but delightful synths, and light keyboards. It is a fairly contemporary update of the British folk-rock and American singer/songwriter sound of the late 60s and early 70s. Perhaps a more modest Rufus Wainwright comes to mind.

The quintessential number, "Empty," is introduced with a vaguely oriental lullaby section swaddled in guitar harmonics, tympanic sounds and vocal echoes, and fully commences with nimble acoustic guitar work, upright bass (presumably played by Joe), strings and Pisapia's own warm, distinctive voice. The absence of percussion is used to an advantage as Pisapia creates a free-flowing human rhythm with such devices as a wavering tempo, the jazzy thumps of the upright bass and the chamber-like undulations of the strings. With a memorable melody to boot, it is surely one of the prettiest and most accomplished songs from his entire oeuvre.

The subject matter of the album is hopelessly romantic and almost at a loss for images or poetic devices as it casually presents a tragic heart ready to be hurt. In "Sooner Than Later" he sings, "So if you really don't love me let me know/And if you don't care for me/Or if you care for somebody else/ Let me know sooner than later/ Before I fall deeper away." Again in "I'm Coming Home Soon," he sings, "I'm coming home soon/And when I do I will see you/That is if you'll see me too." Meanwhile he delivers these lyrics with the agreeable earnestness of Kermit the Frog politely asking Ms. Piggy not to break his heart anymore. Because most of the songs follow this tone, the strings which dominate the sonic landscape often act as a heart-tugging device used to sweep you away instead of always remaining at the service of the music.

On the other hand, Pisapia is equally frank about addressing what seems to be his Buddhist life philosophy. In "Swimming Song" he sings, "Problems of this world/Strip away your soul/But I know a place/A perfect state of grace/And everyone is humbled." Likewise in "River River" he sings, "There's a lot here in my soul that I don't know/And I may never know/I look at you ñ you let it go/You make it look so easy." These types of sentiments do well to offset the aw-shucks quality of his romanticism, portraying him believably as genuine soul seeker, among other things. And thankfully, the music is not that simple. Jonathan Donaldson

For fans of: Ron Sexsmith, Travis, Cat Stevens

Copyright © 2003 High Bias