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

This Week's Music, Fleet Foxes, The Naked and Famous, Reaganomics

Fleet Foxes
Helplessness Blues

Though he’s only in his 20s, Fleet Foxes singer and leader Robin Pecknold is an old soul. His band’s sound echoes former times, channeling the folk of Simon and Garfunkel and paying homage to the intricate harmonies of the Beach Boys. While the group’s debut LP was an ode to the majesty of the forest and the sun, Pecknold turns inward on “Helplessness Blues.” His wanderings are filled with introspective questions, as he ponders both his youth (“Now I am older than my mother and father/When they had their daughter/Now what does that say about me?”) and his eventual death (“I woke up one morning/All my fingers rotten/I woke up a dying man without a chance”). The music matches the weightiness of the subject matter and every note is perfectly placed—lush harmonies, finger-picked guitar melodies, and Pecknold’s soaring tenor.  Having successfully reached the top of the mountain, it’s hard to see where Fleet Foxes will go from here. 

For fans of: Simon and Garfunkel, Bon Iver

Rating: 3.5 of 4
Check out: Montezuma

The Naked and Famous
Passive Me, Aggressive You

These New Zealand electro-rockers are a sneaky bunch. Their outstanding, ultra-dancey lead single “Punching in a Dream” would lead you to believe that the group is nothing more than a well-polished, hook-heavy pop group. While that would be enough, their debut record offers up even more. Dueling boy-girl vocalists Thom Powers and Alisa Xayalith are equally adept at getting dark and moody (“Frayed,” “The Sun”). And just when you think they might drown in their ‘80s goth-inspired angst, they come back with another dreamy bounce-along (“Young Blood”) that should become the soundtrack for every teenage soap opera. Here’s to a solid debut and plenty of unexpected surprises.

For fans of: the xx, Tegan and Sara

Rating: 3.5 of 4
Check out: Young Blood

Reaganomics
Lower the Bar

Metal-punk trio Ryan's Hope were trying to make a record when they decided to take a break from taking themselves so serious. They kicked the tempo up a few hundred beats per second and unleashed every junior high joke they could remember. The result is “Lower the Bar,” a record that is equal parts NoFX and stand-up comedy. Other than a few outliers, each song track clocks in at under 90 seconds. The band masterfully tackles pressing social such as programming on The WB, Ed Hardy t-shirts, and Robocop. The songs are catchy, slightly stupid, and perfect for the pit.

For fans of: NoFX, Rancid

Rating: 3 of 4
Check out: Don't Worry, We'll Play First

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.

Beastie Boys - Hot Sauce Committee vol. II

Beastie Boys
Hot Sauce Committee, Pt. 2

Did I miss something? Where did the “Hot Sauce Committee, Pt. 2” come from? I didn’t even know there was a Pt. 1.

It turns out the band played a fast one on me. (Or maybe a slow one.) The Beasties were planning on releasing a two-part “Hot Sauce” series until Adam Yauch was diagnosed with cancer in 2009. While he recovered, the New York City trio retooled the project, releasing it as just one disc. (You can find Pt. 1 as an import, but before you shell out the extra $20 bucks, you should know it’s almost exactly the same as Pt. 2.)

For most artist, a two-year delay would certainly kill a record. Not so for the Beastie Boys. Like all their records, “Hot Sauce” exists in a strange time warp, somewhere between 1985 and outerspace.

The Beastie Boys have never felt obliged to fit into a definable category. Over the past 25 years, the groups has done pretty much done whatever they’ve wanted. Obnoxious hip-hop (“License to Ill”)? Sure. An eight-song punk rock EP (“Aglio e Olio”) that clocks in at 11 minutes? Why not. An ‘80s throwback album (“To the 5 Boroughs”) followed by a an instrumental record (“The Mix-Up”). Of course.

While each of those records had a very specific flavor, “Hot Sauce” is more reminiscent of “Check Your Head,” when all those various styles got dropped in a blender. The record starts on a high note with the funky “Make Some Noise” and the robotic “Ok.” It gets even better when they make room for a rare guest appearance, inviting fellow New Yorker Nas to add some bite to the attacking “Too Many Rappers.”

While the trio have kept with the same rhyme patterns since their early days (who else can still get away with using lines like “Let me introduce myself, I’m Ad-Rock?”), their music never stays in the same place. “Say It” sounds like a cover of Onyx’s 1993 hit “Slam” and “Don’t Play No Game” finds the group on a tropical island with Santogold.

“Hot Sauce” is wildly uneven. Things get murky in the middle third (the fuzzy “Long Burn the Fire,” the warbly “Tadlock’s Glasses”) and there are a few misses (“Crazy A%% S*&%”). But that’s a small price to pay for a record that is willing to take risks without taking itself too seriously.



For fans of: Run-DMC, Rage Against the Machine
Rating: 3 of 4
Check out: Make Some Noise (Vevo)

Song of the Day: K'Naan - Flag Wavin'

I'm pretty sure that things are busier for me at work now than they've ever been. As a result, that the last thing I want to do when I come home is more writing. So I'll put my brain on autopilot for a bit and post some songs that I've been loving lately.



I was watching a re-run of K'Naan's so-good performance on Austin City Limits the other night and it reminded me just how good this song is. (And it's even better a capella.)

The song is perfect on its own, but it's made even better from me thanks to the memories it brings back of teaching Africans in The Hague and Antwerp. I became friends with a couple of great dudes that would always invite me to sing African spirituals with them. I was always touched by the simplicity of the songs and the sincerity of the delivery. All of that's here in "Waving Flag."

If you're up for it, I'd highly recommend checking out K'Naan's full ACL set:

Watch the full episode. See more Austin City Limits.

Stop, Collaborate and Listen: Vanilla Ice is Back with an Old School Invention

I must admit, I'm a bit embarrassed by how incredibly nervous I was to talk to Vanilla Ice. The way the cell phone was shaking in my hand, you'd think it was 1990 all over again.

Much like every other human who listened to the radio in the early '90s, I knew -- and still know -- all the words to "Ice, Ice Baby." But because I was at the impressionable age of 10 when the track hit No. 1, I also remember bleaching my bangs blond, shaving stripes in my eyebrows, and doing "the worm" at a sixth grade dance. I guess that's really what I should be embarrassed about.

The reason for the phone call was not to discuss the four hardcore albums he's released since "To the Extreme" sold more than 10 million copies, to talk about his amateur motocross career nor even reminisce on his time as a cast member of "The Surreal Life." Instead, we talked about his upcoming performance with MC Hammer.

With '90s groups like New Kids on the Block and the Spice Girls already riding the nostalgia train, it makes perfect sense that the decade's biggest rap artists would want to cash in as well. But here's where it gets weird. The pair's first duo performance in 18 years isn't part of a huge, orchestrated comeback tour. It's a one-night-only event. In Orem.

I didn't know what to expect from the interview. Would Vanilla Ice (or Rob Van Winkle, as he introduced himself) be annoyed by questions about the "Ice, Ice Baby" years? Would he get upset if I asked him about Eminem incessantly taking shots at him? Would he ask me if I own a copy of his 2003 nu metal album, "Hot Sex?"

It turns out, I had no reason to be nervous -- or even embarrassed. Mr. Van Winkle was upbeat, excitable and hilarious. And more than anything, he seemed like a guy who, despite being put through the ringer, is really happy with where he's been, where he's at, and where he's going. (He also cursed like a sailor and called me "bro" a lot.)

Me: An MC Hammer/Vanilla show? Why now?

Vanilla Ice: [When I heard about it] I said, 'A show with Hammer? Are you for real?' I thought it was a joke at first. But then I thought, 'This could be good, it could be fun. I'm gonna have fun with this.' I'm excited about it, man. With all this economy and bad news, it's a good time to put a smile on people's faces again. Back in the day, when me and Hammer did it, we pretty much set the world on fire. I'll have my full band, pyrotechnics, cannons blasting -- it's gonna be full-blown entertainment. Like it used to be. I'm definitely doing some old-school stuff that I haven't done since [the '90s]. We're gonna take 'em back to the old school, do some middle school, and some new shit, too. It's just going to be a big adventure.

Was Hammer your musical foe back in the day? The Magic Johnson to your Larry Bird?
Nah. I started out as MC Hammer's opening act. It was hilarious because my record passed his on the charts. I knocked him from No. 1 and he was opening for me all the sudden [laughs]. He and I have always been friends and have always remained friends. I've always looked up to him. He's an icon.

Tell me about life as the 'White Rapper?'
I had to knock down a lot of barriers back in the day. Hammer and I were both entertainers and both ran along the same lines, but I had to face a lot more adversity -- being the white guy in rap music. There was nobody in front of me that I could use as a guideline, like Eminem could use my career as a guideline.

How did you go from radio rap to hardcore rock?
I look at music a lot different than most people. I look at it as a reflection of how you feel. That's how it should be. Music shouldn't be about image or gimmicks or f--king "American Idol." When somebody else choreographs your dance moves, somebody else writes your lyrics, someone else chooses your clothes and does your hair, in the end you're artificial. So I boycotted against all that shit, man.

I resented myself a lot. So I rebelled against myself and my whole image. Music shouldn't be about image. I like my music to be like my diary. I had a lot of anger toward my old self and other issues in my life, so I worked with [producer] Ross Robinson (Limp Bizkit, Korn) who pulled it all out of me and helped me realize music works best when it's used as therapy. Since then, I've made records with a lot of personal, heavy shit. And I love it.

When you've got anger, you should let it out. The greatest thing that's ever happened to me is to go on a musical adventure and do everything the rulebook says you're not supposed to do. Rappers don't make rock music. Well, white rappers don't rap. I like to go against the grain and do whatever I feel like doing. It just comes out that way in the music, it's never planned. I don't have some sort of master plan. I just go in and I vibe.

What's in the Vanilla i(ce)Pod?

Sh--, I listen to everything, bro. When I'm racing motocross, I'm listening to Slipknot. But I can also jam to Kanye West, Jadakiss, Black Rob. I even listen to country sometimes, bro. It's weird, but some of that Kenny Chesney sh-- is pretty cool. I can't hate it.

How do you deal with getting dissed by other artists?

That's just entertainment, my friend. It got to me at first. The greatest thing I could do was [1998 album] "Hard to Swallow." It was therapy. Now I go back, I look at everything, and I love it. I still love the Teenage Mutant Ninja Turtles, bro. Come on. [Vanilla Ice contributed the cleverly-titled track "Ninja Rap" to the first Ninja Turtles movie. He also made a stirring cameo appearance.]

There's no shame in my game anymore, man. Humiliation is a great thing. If you use it to your benefit, nothing can stop you. There's where I'm at. That's why I'm going to have fun coming to Utah and doing this show I haven't done in 18 years. I've got all sorts of crazy things running through my head right now, ideas I'm of what I'm going to do. I'm gonna have fun, man. It's time.

What do you hope will be the Vanilla Ice legacy?
I don't have much an ego left [laughs]. Whether they give me credit for it or not, I paved the way for people -- not just Eminem -- but hip-hop in general. My record was the first hip-hop song ever to be played on a pop station. Ever. It brought hip to people's ears who'd never considered listening to it. At one point, we were selling a million albums a day. It was a phenomenon. It almost killed me. It was a huge roller coaster, but without the low points I wouldn't be who I am today. We are who we are because of who we were. I'm very happy with who I am today. Life is about family and friends, bro. It's a simple thing.

Word to your mother.