Ra Ra Riot - the Orchard (Barsuk)

The kids from Brooklyn release their sophomore effort to much anticipation, and the perfect time of year for its arrival. "The Orchard," begins with the title track, a soft ballad, driven by strings as Wes Miles croons over a trebly bass line mimicking the melody at times. This is definitely not what I expected as an opener, considering the band's debut, but after two or three plays, it suits the album perfectly. The second track, "Boy," and the album's first single, takes you right to where "the Rhumb Line," left off. Its syncopated rhythm and catchy melodies working together with Alexandra Lawn and Rebecca Zeller's dueling strings is excellent. This is probably one of the album's highlights and definitely takes you to that place where leaves are falling/winter is near-feeling of the first record. "Too Dramatic," another uptempo catchy tempo in the vein of "Too Too Too Fast" is a key upbeat track. "Massachusetts," is boring for a lack of a better word, and clocking in at 5 and half minutes is not helping the song or the listener. It makes me not want to visit that state even more now than the Bee Gees tried to make it sound cool on their take of that mysterious place up north. Alexandra Lawn takes lead vocals on "You and I know," which was unexpected, and I like it. Her voice suits the mellow string driven ballad. This band does these types of song WELL, but I'd like to see "Ra Ra Riot" be a little less "ballad heavy" on the next album. For and album of 10 tracks, half of them are of that nature.

Other key tracks are, the bouncy off kilter rhythm of "Shadowcasting," and "Do you remember," again with  Wes's vocals being uplifted by the strings and the rhythm of the band behind him. For the band's second full length record, this is definitely well received by yours truly. I am anxious to see what they come up with next.
Until then...

The Score: 7.5 out 10 bells
The Math: The Rhumb Line - the caffeine X a mellow season = The Orchard

Pixies at the Tower Theater, Philadelphia - 09/07/2010

Wow!

All I can say, is wow. The pioneers of an alternative generation that never got the commercial respect they deserved, returned for another reunion, but this time, a smaller venue, the Tower Theater. What a great night for music, and much to my surprise, their best record was played...in its entirety.

Lights dim, fog machine emits smoke and the crowd is silent, watching a strange foreign film where a woman is getting her eyeballs sliced (hint hint). After 5 to 10 minutes, the strange movie ends, the band walks to their equipment and plays "Dancing the Manta Ray." A very mid-tempo song, followed by 3 more B-Sides, much to the crowds confusion. Kim Deal announces they are playing "deep cuts." The screen flashes the word, "Doolittle," and out belts Frank Black's opening lines to "Debaser," tieing the film together with the set. After a few songs from the album I figure out, wow, I think they're playing the entire album from beginning to end!!!! Duh? And they did. It was impressively tight. Frank Black/Francis's vocals were perfection as well as Kim. The DVD that was released from the last reunion did not display how great his vocals are live. I couldn't comprehend how he can scream so loud and long and still hit those falsetto notes throughout the night. The band was on top of their game.

High points of the set were "Here Comes Your Man" with the hokey screen of all of their faces behind them being silly and bobbing to the song as they were performing. They really seemed to appreciate each other and be really happy to be there at the show. "David Lovering," singing "La La Love You," another highpoint, "Hey," ofcourse another great one, and one of my favorites was hearing Kim and Frank's harmonines on "Silver" sounding just like the record was superbly done. After "Gouge Away," the band does a big bow w/the the screen behind them doing the same, and a long goodbye, as if they were trying to say goodbye to each and every individual. The band leaves the stage and we await the encore.

1st encore, "Wave of Mutilation" reprise, this time, U.K. Surf version, followed by a violently noisy "Into the White," as the exit the stage again.

2nd encore, Kim announces, "we know more songs than just that album," and out comes more early Pixies tracks. "Nimrod's Son," "Vamos," "Isla de Encanta," and finally, a few tries to nail that "alright, stop" intro, all in good fun of course, and out comes "Where is my Mind," with all of the house lights on full shine. It was a great ending to a great show. It couldn't have been more pleased.

The Score: 8.5
The Math: Doolittle + a few besides x a strong performance = Pixies @the Tower Theater

The Breeders at the Unitarian Church in Philly 09-03-10

Friday night, Septermber 3rd, 2010 and a sold out crowd of people in a non-air conditioned basement of the First Unitarian Church, anxiously await 90's alternative heroes "the Breeders" to take the stage. Following the extremely noisy "Hot Guts," (how appropriately named for the evening) I have to admit, since my shirt was soaked in the disgusting heat, I was almost ready to leave, but as soon as "the Breeders" kicked into the first song "Overglazed," from "Mountain Battles," the heat didn't seem to bother me for the next hour and 15 minutes. Kind of a short show, huh? That's ok, I won't complain, it was hot as fuck.

The band sounded great. Kim Deal's voice sounds as good as it always has in the past, if not better. The last time I saw the Breeders was back in 95 so it was great to see them 15 years later and still having a clean well mixed melodic sound. Following the opening tracks from the last record, "Bang On," and few others, they played most of the favorites from "Last Splash" throughout the night. First off, "Divine Hammer," and later with "No Aloha," "Saints,"and "Flipside." Of course they played "Cannonball," but not last, surprisingly. The band was tight, except for a little flub in the second chorus of the latter, but Kelly Deal laughed it off. Also, some some songs by the "Amps" made it to the list that night. All in all, great song selection, great set, good performance.

If you were expecting some stage tricks, crazy lighting, a backdrop, costume changes, pyrotechnics...then you just weren't there in the 90's my friend. This was alternative rock at its finest. Simple and plain, and that's how we liked it back then.

The Score: 7 out of 10 rocking bells
The Math: Mid 90's alt superheroes- the stardom x hot church + good songs = The Breeders @the Church

Stars - Five Ghosts (vagrant)

Fresh out of Canada with a new album is the band "Stars" with "the Five Ghosts." The shared members of "Broken Social Scene" have put together a fine list of dreamy indie pop wonder on the new set.

The album begins with the somber "Dead Hearts," one of the album's triumphs. Amy Millan's call-and-response whispering vocal with Torquil Campbell soars over etheral strings. It sounds like they are mourning together, or preparing for the battle to come. A catchy chorus sweeps in with staccato instrumentation, and the vocals harmonize for an even catchier chorus, chanting "dead hearts are everywhere." The band wastes no time to pick up the pace on "Wasted Daylight," reminiscent of Postal Service meets Metric. "Fixed," the breakout single of the band is very "Cure-esqe" with its upbeat jingle and single note melodies, and I love it.  This is another example of taking from an influence and putting it back out there...correctly.

"Stars" takes you to the discotheque on the chorus of "We don't want your body," with its steady bass drum and rhythmic guitar. They get a little mellow and "jazzy," for lack of a better word, on "Changes," which is not a terrible song, but I like them more when they take you through their electro dreamy side.

I really, really dig this band, to me they just get better and better.

The Score: 7.5 out of 10
The Math: soft crisp boy/girl vocals + mid-tempo electric soundscapes = the Five Ghosts

Dr. Dog - Shame, Shame (Anti)

Philly's beloved Dr. Dog returns for another take on their old-fashioned indie/classic rock n' roll. This Anti-Records debut begins with "The Stranger," a carousel of sound staying true to Dr. Dog fashion songwriting and analog goodness. The album's first single "Shadow People," and second track from the album, doesn't really lead anywhere. The poor lyrical chants, "where did all of the shadow people go," sounds like they  aren't really trying to go anywhere new and exciting as a band either. Between that mediocracy, and the country ballads, yes, call it country/country-esque/alt-country or whatever, but "Station" and title track, "Shame Shame" are a little too country for my taste with their slide guitars and overall "twang." Add a couple of dreary ballads, "I only wear blue," and "Someday" and it makes it hard to get through this record.

I hate to be one to badmouth fellow Philadelphians, especially after giving fake Philadelphians "Free Energy" a somewhat decent review. Look, I'm a long time supporter, and fan of Dr. Dog, but this album just isn't up to par with their catalog, especially the greatness of the last record, "Fate." I will have to put some blame on "Rob Schnapf" (Beck, Elliot Smith) who took more of a producer roll on this album. Sorry Rob.

The salvaging points are the post Beatle-esque ping-pong vocals of "Mirror, Mirror" and the track "Unbearable." This will remind you that Dr. Dog still has their signature sound, they are still a force to be reckoned with live, and should give you some hope that they'll come back strong on the next one. I have faith boys, I still love me some Dr. Dog.

The Score: 4.5 out of 10 bells
The Math: Dr. Dog + some country vibes + a few downers = Shame, Shame