Album Reviews: Elway, Rural Alberta Advantage, One AM Radio

I get choked up just thinking about this clip.

Elway
Delusions

I’ll admit it. The only reason I checked out this Colorado band was because they’re named after my favorite Denver Broncos quarterback. The fact that the band delivers a solid debut album is just an added bonus. The strength of “Delusions” rests in its looseness. Elway churns out barroom punk rock in the vein of Hot Water Music or early Alkaline Trio, propelled by gruff vocals and catchy hooks. Though the record walks a path littered with broken hearts, the gang-vocal “whoa-oh-ohs” give an undeniable hope that everything is going to be okay. “Delusions” may not be wildly inventive, but still makes a great first impression.

For fans of: Lawrence Arms, Gaslight Anthem
Rating: 3 of 4
Check out: Passing Days (YouTube)
(And don't forget to watch the magical moment of "The Drive" by John Elway himself, shown above.)

Rural Alberta Advantage
Departing

A good band name should give a hint of what kind of music you play (see Megadeth, Sonic Youth, Geto Boys). True to its name, Rural Alberta Advantage gives off an earthy feel, but not in a Fleet Foxes, we-are-the-forest kind of way. “Departing” sounds more like a Bob Dylan record-- if he were to hole up in a cabin to make a dance record. The album is driven by a palpable tension between the vocals and the music--a singer who sounds like he should be accompanied by a banjo and a jaw harp, but instead fronts a band where the drums jump on the upbeat, xylophones plink joyously, and synthesizers sneak around in the background. It should be a mess, but somehow it makes perfect sense.

For fans of: Fleet Foxes, AA Bondy
Rating: 3 of 4
Check out: Under the Knife (YouTube)

The One AM Radio
Heaven Is Attached by a Slender Thread

Analog synths. Horns. Handclaps. “Heaven Is Attached by a Slender Thread” has all the makings of a typical dance record. But The One AM Radio doesn’t really do typical. Despite the upbeat ingredients, band leader Hrishikesh Hirway drenches the collection in lyrical melancholy. Somehow, the sadness just can’t compete with the persistent bounce. The album’s best track, “Plans,” ricochets off the walls like The Postal Service and “In a City without Seasons” feels like it was and conceived on the beach at sunset. There are brief moments with the music matches the solemnity of the message (see “The Heat”) but for the most part, despite his frowny face, Hirway can’t keep his feet from dancing.

For fans of: Hot Chip, Styrofoam
Rating: 3.5 of 4
Check out: Plans (YouTube)

Death Cab for Cutie - Codes and Keys

Death Cab for Cutie
Codes and Keys

Remember The OC? You know, with Marissa Cooper’s self-destructive tendencies and Ryan Atwood’s endless insecurities about growing up in Chino? And who could forget Seth Cohen, the lovable hipster with a passion for comic books and Death Cab for Cutie?

A lot has changed for Death Cab since they made an onscreen appearance on The OC, playing a gig at the show’s fictitious club, the Bait Shop, in 2005. Back then, Death Cab was a band who had earned a Seth Cohen-esque fan base by touring endless in a pre-MP3 Blog world. But they were also a band in transition--counting down the days to their major label debut and clearly on the verge of something much bigger.

If you ask me, 2003’s ”Transatlanticism” was the band’s high-water mark. The songwriting was miles beyond its LP predecessors, yet the endearing roughness remained, like Ben Gibbard’s warbly tenor or the fuzzed-out studio experimentation. Not to mention that it included two of the best songs in the band’s catalog--the title track and the heartbreaking “A Lack of Color.”

After such a strong release, fans were poised to disdain their first big budget release, “Plans.” But it didn’t happen. It couldn’t happen. The looseness of early records had disappeared, but the songwriting was stronger than ever before and the production was painstakingly perfect.

Given all of the effort to make “Plans” a masterpiece, it’s not surprising that 2008’s “Narrow Stairs” headed in the opposite direction. Filled with rock ‘n roll abandon, it was a guitar album, fueled by some of the darkest lyrics Gibbard has ever written.

In 2011, things feel a bit more sunny in the Death Cab camp. Gibbard is now a married man and alcohol-free. Their new record, “Codes and Keys,” is the most upbeat in years. Beats skip along wistfully, like a band in love (“You are a Tourist”). At times, it’s all the Gibbard can do to not start dancing (“Some Boys”). Even tracks that are less immediate (“Doors Wide Open,” “Unobstructed Views”) still deliver a rewarding punch.

Much like “Transatlanticism,” “Codes and Keys” strikes a beautiful balance between traditional arrangements and studio embellishment; it would not be surprising to hear these songs played on an a piano or an acoustic guitar, but the layers of synths and noise give the tracks an added depth.

Somewhere, the writers of The OC are huddled together, trying to figure out how to bring the show back to life, just so Seth Cohen can tell the world how much he likes this record.

For fans of: Modest Mouse, Franz Ferdinand
Rating: 3.5 of 4

The Rock 'n Roll Photo Pass: Demystified

Two feet away from CAKE's John McCrea

One of the perks of being a barely-paid music critic is that I get to go to a lot of shows for free. When I work with a band's publicist on a concert preview, they usually ask if I want to be on "the list" for the show. When people think of the list, they immediately imagine Wayne and Garth hanging out backstage with Alice Cooper.

Alas, nay. (Though I did get to hang out on Streetlight Manifesto's bus once. Coolest. Experience. Ever.)

It just means that I show up at the venue and say to the ticket person or whoever, "I'm on the list." They find my name -  on an actual list - and let me in without paying. While this sounds great, about every fourth time, my name hasn't really made it to the list, which results in no small amount of awkwardness, especially if I've brought a friend with me.

Sometimes I'm also offered a photo pass. If asked in advance, I say I don't need one. The reason is two fold:

1. I just have a crappy little point-and-shoot camera and I'd feel dumb standing up on the stage taking photos with it. 
2. I have no idea what such a pass entitles me to. Do I go on stage? Do I poke around in front of the band? Do I hold my pass up (again, a la Wayne's World) and work my way to the front of the crowd?

 So when I'm given a press pass at the door, I just stick it on my shirt (to look cool) and do nothing with it.

At the CAKE show a few weeks back, I was handed a pass. I decided to finally be a man and take some pictures. I bravely walked up to a security guy standing by the stage and said, "Where can I go with this photo pass?"

He looked blankly at me and shrugged his shoulders.

Eventually, another lady come up and said, "You can take pictures at the front of the stage for the first three songs."

So I did. I stood in front of the lounging-on-the-grass crowd at Red Butte garden and pretended like I knew what I was doing. Not looking like an idiot became more difficult once I was standing next to a photographer from SLUG magazine, who did know what he was doing. But I hung in there.

For about 90 seconds.

About halfway through the first song, I had taken a dozen or so pictures, which seemed like more than enough. I went back to seat, successfully having overcome my oh-so-life-threatening fear of photo passes. I am a changed man.

One of my photos is above. The SLUG guy's pics are here. I feel like I held my own.