Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Two Cool Singles from Fun, Entertaining Brooklyn Bands

Spanking Charlene have a brand-new version of Dismissed with a Kiss – the title track to their deliciously fun album – just out on Little Steven Van Zandt’s label Wicked Cool. How cool is that? The pay-radio conglomerate SiriusXM ran a yearlong “best unsigned band contest,” which we had no idea existed. And Spanking Charlene won! Imagine that. When is the last time a band that didn’t suck actually won some kind of contest? Maybe never? And as you can hear from the single (at the band’s reverbnation), it’s a lot of fun. We’re partial to the Eric Ambel-produced original because it’s on the album, one of the first ones we ever got in the mail back when we started the blog in 2007, but this is killer. Charlene McPherson’s wounded wail is as seductive as ever and Mo Goldner’s guitars roar and sizzle. They’ve got a new album due out this fall, titled Where Are the Freaks which is something to look forward to, ostensibly a blast from a much cooler East Village NYC past.

Strange Haze also have a new single out, Let Me Hear the Dropping Pin, available at cdbaby both as a download AND on purple vinyl, which we obviously recommend. It’s as hilarious as pretty much everything the Brooklyn stoner retro-metal band has ever come up with. It’s kind of a three-minute history of weedhead music from, say, 1964 to 1974. A fuzztone funk intro and classic garage riffage sets the stage for the woozy one-liners, which begin with “I don’t have nothing to do today, but I got all day to do it, so I got to get away.” The rest are just as good, or…at least as surreal. The band has the oldschool, rolling, kinda funky early 70s groove down cold and some musical jokes to go with the lyrical ones, and of course a guitar solo. It might sound like an insult to say the higher you are, the more fun this is, but that’s the point.

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May 10, 2011 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Soda Shop’s First Compilation Kicks Ass

If you’re wondering what the cool kids across the USA are listening to, chances are that some of it is right here. Last month our colleagues over at the Soda Shop put out a massive free compilation – the first in a series – that you should get your hands on if you like metal or the louder fringes of stoner music. The corporate media are trying as hard as they can to make you believe that anyone over age eight actually listens to Kesha, or that anyone actually enjoys Arcade Fire instead of merely pretending to because they don’t want to seem uncool in front of their trendoid friends. The reality is that metal is bigger than ever, and maybe better than ever, because the new wave of bands who play it have gone back to the source, the motherlode of it all, Black Sabbath. Tony Iommi should be proud of what he spawned here, yet while most of the bands here have the sludgy slow stoner groove, double and tripletracked solos and chromatic riffage, they aren’t ripoffs either. This is a LONG album, sixteen songs, most of them well over five minutes a clip and most of them various shades of excellent. A couple of them are spoofs, but most of them are straight up pure adrenaline.

Period-perfect early 70s style band Stone Axe open this up with riff-rock on the off beat. Is it a Sabbath homage? A parody? Maybe both. Meat Charger, by Boston’s Gozu, sets lazy drawling Skynyrd vocals over crunchy riffs, more artsy than their smoking Meth Cowboy/Mr. Riddle release from last year. Ohio band Lo-Pan’s Dragline works a long psychedelic 1-chord intro into brain-melting, galloping torrents of guitar triplets, while Brisbane band Shellfin get even more hypnotic, proving that you don’t even have to change chords at all, at least until the overtones are ringing so loud it sounds like a guitar orchestra. And when they do, it’s pretty macabre. Seattle power trio Mos Generator also keep it simple and smart, from the War Pigs echoes on the intro, a catchy bass solo and the ridiculously tuneful, too-brief guitar solo out.

Dayton, Ohio’s Blaxeed, “a heavy drinkin’ hard rockin’ no frills 4 man rock-n-roll band” are represented by the swaying, slightly funky Whiskey Warrior, and have the balls to quote the Beatles. Devil to Pay, from Indianapolis, offer the fuzztoned riffs and doomy lyrics of High Horse, with a juicy brief wah-wah solo to wind it up. The best of all of them may be Cleveland band Venomin James’ Cosmonaut, sounding like Pantera covering Sabbath, some cooly ominous backing vocals lurking toxically in the background and a ferociously charging, doublespeed bridge – if you like this, also check out the scorching live version of their song Abu Graib.

There are also some great songs here that don’t reference Sabbath at all. The funniest track here, Brooklyn band Strange Haze’s Straight Dope, is pure early 70s satire, complete with “soulful” blues harp. This band’s lyrics are off the hook – on this one, the singer wants to walk you “down to the marble garden with a buckskin bottle of wine – sometimes I get so drunk I can sing just like a child…” Luder (German for “little shit”) hail from Detroit, springing from the ashes of the band Slot, and add a dreampop/shoegaze vibe with bassist Sue Lott’s ethereal vocals over layers of crunch and echoey swirl. California trio Whores of Tijuana do a funny punk/metal-meets-ghoulabilly number. And another Detroit band, Chapstik, offers a punishing blast of mostly instrumental metal/hardcore a la the Bad Brains but more chromatic. The compilation starts to run low on gas toward the end, with some nu-metal and grungy stuff that stands out like a sore thumb. But the beauty of this compilation is that you can cherrypick the good stuff, and there’s plenty to choose from. Besides, it’s free. Spread the word and keep your eyes open for Volume 2.

March 18, 2011 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 3 Comments

Formerly Whooping Crane, Now Strange Haze, Same Great Album

“You have to be stoned to listen to this” is usually an insult. We don’t ordinarily advocate for or against the use of one substance or another – that should be an individual choice, and a legal one. But if the phrase “strange haze” has any kind of special meaning for you, Strange Haze’s album Riffin’ for Rent is the kind that you really ought to hear after indulging. If your dad still gets stoned, smoke him up and then try to convince him that this band was around when he was doing it all the time. He just might believe you.

Strange Haze (formerly known as Whooping Crane) should have been the band in Almost Famous. Hilariously satirical, sometimes cruelly, sometimes fondly, the Brooklyn rockers’ stoner shtick works as well as it does because they’re such excellent musicians. When’s the last time you heard a metal band with a drummer who can swing like crazy? Everybody knows that you have to have chops to play metal really well, but these guys don’t just know their early 70s stoner music, they know soul, and Stones, and Sabbath, and Skynyrd, and probably a bunch of bands from that era who were quickly forgotten because they weren’t as good. That’s what Strange Haze sound like. They’ll riff on a single chord for what seems minutes on end, and yet there’s something fresh and unselfconsciously fun about it. They know every cliche in the book and aren’t afraid to employ them wherever they’d be the most ridiculous. Likewise, their lyrics, delivered in a deadpan, period perfect faux-bluesy drawl, are beyond hilarious.

The opening track is She’s a Knockout, which sounds like the MC5 as done by Grand Funk Railroad. It’s about a girl “who was born in the heart of the whooping crane,” with an irresistible multiple-tracked bluesmetal solo out. Track two, Tomm Tapp starts out as sludgy but swinging riff-metal in the Poobah vein and adds honking harmonica for, you know, that authentic bluesy feeling – and suddenly goes all starlit and rapt for a second before the bludgeoning begins again. “Can you see the fork in the road? Close your eyes before they explode!” They follow that with Hang Loose, six minutes of wah funk, Sabbath style with some woozy southern overtones: “Summer of love don’t tell no lies ’cause we’re underneath the firefly…smoking the kingsized ultralights, still looking kinda tight.”

One Hit Sally is a tribute to a girl convinced that her smoke-filled room is more interesting than anything that could possibly exist outside it, pulsing along on a Stax/Volt bass groove with grand guignol art-rock guitar flourishes. The perfectly titled Voomp! keeps the funky groove going (if you remember early 70s Texas “hard rock” band Bloodrock, this is that kind of thing). The funniest song on the album is Straight Dope, playfully taking a 60s soul riff, adding more of that honking harmonica and a priceless lyric:

Walked down to the marble garden with a buckskin bottle of wine
Sometimes I get so drunk I can sing just like a child

The bonus track that you can get from their bandcamp site is That’s More Like It, working both sides of the Atlantic for a riff-loaded hash buzz, then a skunkweed heartland metal vibe: “Make you crawl like an armadillo, armageddon in an armchair!” In addition to this one, Strange Haze will be on the Soda Shop’s upcoming free compilation coming out Feb 22.

February 16, 2011 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment