November 22, 2000
BROUN FELLINIS
Out Through the N Door (Brounson/Weed)
Sort of an avant-garde jazz trio, the Broun Fellinis master the art of controlled chaos on Out Through the N Door. Bassist Kirk Peterson lays down a fierce groove, interpolating lessons learned from jazz/funk greats like Michael Henderson; drummer Kevin Carnes pushes, pulls and pounds where necessary. Together they create a sometimes roiling, sometimes simmering rhythm foundation, as if they were imported by time machine from Miles Davis' Big Fun album. Over the top of this groove blitzkrieg sits saxophonist/electric pianist/poet David Boyce, riding the waves like a champion surfer, spraying notes around like a fireman with a hose. It sounds random, and while it's certainly improvised, it's definitely not totally free; Boyce's melodies have as much clarity and purpose as the Afrocentric words he raps on "T.A.B.N.I.T.S." and "Point of View." Often brilliant, never less than interesting, the Broun Fellinis conjure a righteous enchantment.
For fans of: early 70s Miles Davis, Sun Ra, the Last Poets
THEE MICHELLE GUN ELEPHANT
Gear Blues (Alive)
Ugly, frenetic, utterly rocking garage punk from Japan. Like the best of this breed, TMGE know that at the heart of a good 60s-style punk rock song is at least a nugget of the blues, and while I'd hesitate to call this a blues record, these guys definitely understand R&B riffs and changes. Everything else is pure energy, of course, from the guitarist's slashing riffage and the rhythm section's pounding timekeeping to the singer's feral snarl (in his own language, thank you). The songwriting's topnotch as well, sporting a variety of melodic approaches and hooks with razor sharp points. The fierce openers "West Cabaret Drive" and "Smokin' Billy" are as good as this style gets, while "Boiled Oil" has a killer groove, the unlisted bonus track "Jenny" approximates a hoedown and "Killer Beach" and "Danny Go" are startlingly poppy. And when was the last time you heard a garage rock singer roll his R's? Gear Blues is primo primal power, the best beer, balls 'n' bad attitude scuzz I've heard in ages.
For fans of: Nuggets, the Cynics, the Neckbones
SALEM HILL
Not Everybody's Gold (Lazarus Records, PO Box 482, Gloucester, VA 23061)
Salem Hill's fifth album Not Everybody's Gold makes me ask the question: why haven't I heard these guys before now? As far as the prog underground (and these days, if you're prog, you're automatically underground) goes, they're just as good, if not better, than any contemporary art rockers you'd care to name. Like Spock's Beard, Salem Hill are experts at combining instrumental virtuosity and complex arrangements with memorable melodies. The tracks "Riding the Fence," "Let Loose the Arrow" and "January" immediately grab that part of the brain that responds to catchy hooks, and only after you've been reeled in do you notice how impressive the musicianship and arrangements are. The lyrics can be a problem; sometimes it seems like the band is using an awful lot of words to say very little. But when it all comes together, as it does on the 28-minute "Sweet Hope Suite," the effect is positively dazzling. With strong melodies, unflagging energy and words that actually say something, it's a genuine tour de force. Once the band starts making entire albums that consistent, they'll vault themselves to the top of the modern-day prog ladder. And if Not Everybody's Gold is any indication, that day's not far off.
For fans of: Kansas, Yes, Spock's Beard
SUPERJADED
An Inch Below E (Superjaded)
Seattle's Superjaded are an alternative rock band. You know what I mean. They're alternative in the sense that rigid-minded 90s radio programmers have defined the term. The band's songs are reasonably melodic and agreeable, full of grungy guitar riffs, competent but not particularly expressive vocals, anthemic song structures, angst, a dash of smart-ass attitude, etc. They sound like they were built from a kit. My previous model for Ultimate Commercial Alt.Rock Act used to be the Toadies, but I think Superjaded (and how about that name, huh?) take the tiara away from them. They're easy on the ears, but so what? Being sincere doesn't mean they're not soulless. Had this record appeared in 1995, they'd have been superstars in a matter of months, and residents of Where Are They Nowville in 2000 (just like the Toadies, as it happens). An Inch Below E is good the way Cindy Crawford is beautiful: it gets your attention while it's in front of you but its genericism prevents it from staying in your memory for more than half a second after you turn away. Or maybe I'm just superjaded. Ah, the hell with it.
For fans of: Foo Fighters, Toadies, Splender
BRENDAN BENSON
One Mississippi (Virgin)
Brendan Benson came out of nowhere in 1996 with this delightful album—unfortunately, he crawled right back under his rock after it came out. Which is a real shame, as he seemed poised to take the crown abandoned by Jellyfish in the early 90s. One Mississippi comes crammed full of catchy melodies, witty lyrics and a refreshing lack of pretension on the part of its young creator. Played by a basic guitar/bass/drums trio, terrific tunes like "Got No Secrets," "Maginary Girl," Me Just Purely" and the skewed mini-suite of "Tea," Bird's Eye View" and "Sittin' Pretty" that opens the record reveal a pop tunesmith of the highest order, and the Latin-sounding "Emma J" indicates there's more than just power pop in his record collection. Had he stuck around for more than one record, Benson would be enjoying the accolades heaped on the (to my ears) inferior Jason Falkner, the ex-Jellyfish guitarist who co-wrote several songs here. Benson isn't trying to reinvent the power pop wheel here; he's just writing and performing the kind of songs he likes and hopes you'll like it too. With an album this winning, you won't have any problem.
Rumors persist that Benson is at work on a follow-up, but all my quests for info, official or otherwise, were fruitless. This may be one of those great pop music one-shots. Pity.
For fans of: Jellyfish, Jason Falkner, Cotton Mather