MISH MASH MUSIC REVIEWS

noreply@blogger.com (Mish Mash) — Sat, 25 Apr 2009 12:15:00 +0000

Death
...For The Whole World To See
Drag City Records
7 song vinyl LP
MP3 - POLITICANS IN MY EYES

The story couldn't be more perfect. A lost album resurfaces 30 years later from a "proto-punk" Detroit garage band, made up of three brothers who were inspired after seeing Iggy & The Stooges back in the early 70s. And now the indie music scene is turned on its collective ear, wondering how such a gem could have been ignored for so long.

While much has been made of the punk elements of this record, suffice it to say it's as much rock-n-roll as it is punk. Comparisons to Bad Brains have been inevitable, considering that the brothers are African American, and also to the aforementioned Stooges & The Ramones, but when I listen, I also hear elements of Thin Lizzy, and even Cream. Simply put, this is one heck of a rock record that just happens to be punk, before anybody called it punk. Add to this the fact that this is one of the most exciting releases I've heard in a long time, and it's 30+ years old. Says a lot about the current state of rock music, no?

Highlights include the band's original "single" Politicians In My Eyes, a rambling, riff-heavy track that has relentless drive, and the intensely played Freakin Out, which is probably the most "punk" song on the record.

MISH MASH Mandate: Preview Punk
Death Myspace Page

noreply@blogger.com (Mish Mash) — Wed, 21 Jan 2009 21:59:00 +0000

Create your own word cloud at WORDLE

noreply@blogger.com (Mish Mash) — Tue, 20 Jan 2009 16:55:00 +0000

Loronix - Music From Brazil (blog)

You'll have to forgive my excitement, but this is probably one of my greatest discoveries of late. Loronix is a blog dedicated to the music of Brazil, featuring downloads of Brazilian albums forgotten and out-of-print. It's a veritable who's who of Brazilian music: Jobim, Caymmi, Sete, Regina, Bonfa, and the list goes on. It's a wealth of music that will make your head spin, and you can literally lose hours wading through all the music and information. Simply incredible.

MISH MASH Mandate: Brazilicious

noreply@blogger.com (Mish Mash) — Thu, 08 Jan 2009 02:09:00 +0000

Charlie Parker
Bird In Time 1940-1947
Selected Recordings
and Rare Interviews
ESP Disk'
4 CD set

This amazing collection from ESP Disk' is like taking an intense college course on the formative days of bebop jazz. It not only features dozens of tunes from Parker, but it also contains vintage interviews from various artists including Parker himself, Max Roach, Milt Jackson, and others. Throw in a 32 page booklet with extensive liner notes, and you have a jazz lover's dream.

The four disc set follows Parker from his early days in the Jay McShann band to his work with Dizzie Gillespie, up through his leadership of several groups. This is the work that set him up to be the jazz legend a few years later, leading up to his tragic and untimely death in 1955.

MISH MASH Mandate: Bird Box
ESP Disk' Website

noreply@blogger.com (Mish Mash) — Fri, 02 Jan 2009 01:36:00 +0000

The Long-Player Goodbye
by Travis Elborough
Sceptre/Hodder & Stoughton
Hardcover, 468 pages

Through its various formats, the long-playing album has been the standard form of music for the past 60 years. It started off with the format-that-still-will-not-die (the LP record) and physically transferred itself onto 8 tracks, cassettes, and CDs. Now in the age of digital downloads, we can only wonder: How much longer can the concept of an album survive?

Travis Elborough ponders this question by taking us back to the very beginning and then proceeds to give us a thorough (and cheeky) history of the album, examining the context of its creation and its progression into the modern world. When the LP record entered the scene in 1948, music lovers were listening to the single-song, four-minute-per-side 78's, and an "album" would constitute a bulky, inconvenient, multiple record set. The LP revolutionized this concept by providing twenty minutes per side, opening up a multitude of possibilities that literally changed the way people listened to music.

Elborough knows his target audience well, seeking to tackle the most trivial minutiae of popular music, yet at the same time providing it in a wonderfully entertaining matter that won't scare away the casual music fan. No sacred cows are left unscathed, as he tackles and tickles subjects ranging from cheesy 50's exotica to Blue Note jazz to The Beatles and beyond. Through all of this, he shows how the album has adapted over the years, changing according to the wants and wishes of society throughout the generations, and even influencing pop culture in more ways than one.

So will the album survive into the next sixty years? Elborough is optimistic, yet cautious in his ultimate summation: only time will tell.

MISH MASH Mandate: How Long To Sing This Song?
The Long Player Goodbye @ Hodder & Stoughton

noreply@blogger.com (Mish Mash) — Sat, 27 Dec 2008 01:47:00 +0000

Orchestre Poly-Rythmo de Cotonou
Vol 1. - The Vodoun Effect:
Funk & Sato From Benin's Obscure Labels 1972-75
Analog Africa
14 song CD
MP3 SAMPLE - DIS MOI LA VERITE

The traditional African "Vodun" (voodoo) rhythms of Sato and Sakpata clash with the Western sounds of funk, soul, and rock in this brilliant collection of music from Benin's Orchestre Poly-Rythmo de Cotonou. This first volume of tracks covers the years 1972-1975, when the OPRdC was recorded on a simple Nagra reel-to-reel in Benin by a sound engineer with two mics.

The music is an indescribable mix of African and Western soul music, featuring funky basslines merging with hypnotizing beats in a sonic polyglot that defy categorization, at times reminding me of jazz and Latin music in spirit. The irony here is that African music helped define music in the Americas, specifically jazz, blues, and Latin music. Here we see it come full circle, where influences of the West returned to influence the sounds of its ancestry. And somewhat sadly, this 30+ years old music is being heard here for the first time, as most of it had limited printing/distribution and it was never officially released outside Benin.

So to most of us, this is all brand new and exciting to hear as if it is happening in the here and now. Another testament to the timeless nature of music and its power to thrive and grow.

MISH MASH Mandate: Timeless Funk
Analog Africa Website

noreply@blogger.com (Mish Mash) — Sun, 21 Dec 2008 20:15:00 +0000

Stan Getz
The Bossa Nova Albums
Verve
5 CD Box Set

Bossa nova was all the rage in the US for a brief time in the early 60s, thanks in large part to Stan Getz, who imported this beautiful music from Brazil, introduced us all to Antonio Carlos Jobim, and breathed new life into the world of jazz. This collection from Verve brings together five of Getz's must-have Verve albums from this period, including Jazz Samba, Jazz Samba Encore!, Big Band Bossa Nova, Getz/Gilberto, and Stan Getz With Guest Artist Laurindo Almeida. The albums have been remastered and are presented here in their original album formats with original liner notes.

I will skip the traditional album reviews (most of these albums should at least be somewhat familiar to most jazz fans) and get down to a few of my nit-picky complaints. While I must say that this is a brilliant collection, and a great introduction to the catalog of Getz, it does have its faults. The first glaring omissions are two other Getz albums which could be included, namely Getz Au Go Go (a live album with Astrud Gilberto) and Getz/Gilberto #2 (another live album, this time with João Gilberto). I especially wish Getz Au Go Go was included, because it is a wonderful album on par with the best of this box set. Also, there are no bonus/previously unreleased tracks at all, only the albums in their original form. Blame it on the fact that I'm a completist, but this makes the exclusion of the other albums even more questionable, as these five albums are not long at all and could have fit easily on two or three discs total. Another issue I have is the lack of an insert booklet, which would give the listener a better historical perspective on these recordings. Instead we are left with nothing other than the original liner notes, which only give us part of the story. Verve has unfortunately missed an opportunity to make this excellent box set an absolutely essential box set.

With that having been said, it is still good to see that Verve recognizes the importance of Getz and his contribution to jazz. As these five albums are surely staples for any serious jazz connoisseur, it's a great way to round out your collection, as far as Getz is concerned.

MISH MASH Mandate: Blame It On The Bossa Nova
Verve Music Group Website

noreply@blogger.com (Mish Mash) — Tue, 09 Dec 2008 22:35:00 +0000

The Sprague Brothers
4 New Smashing Songs!
Wichita Falls Records
4 song CD

The Sprague Brothers (Frank and Chris) are back, this time with a cookin' little original four song EP that accentuates their retroactive rock-n-roll skills. The boys lead it off with two surf cuts, Batmobile and Dragula, putting a cheeky stamp on all that is kitschy and cool about the 60s. Golden Sahara is laid back and quiet with a focus on shimmering vocals, a Brian Wilson/Pet Sounds inspired song that is simply mesmerizing. The EP is rounded off with the twangy guitars of Return Of The Munsters, where the Spragues lay it all out. The only way this could be better is if it were available on vinyl, because that is what this music was made for.

MISH MASH Mandate: 60s Smash!
Sprague Brothers Website

noreply@blogger.com (Mish Mash) — Wed, 26 Nov 2008 01:53:00 +0000

Hank Williams
The Unreleased Recordings
Time Life
3 CD Box Set
54 songs

This is the holy grail for Hank Williams fans, an official release of recordings from the Mother's Best Flour Company radio show in 1951. Apparently, this CD collection is the first installment in a series over the next three years, with 54 of the total 143 songs presented here.

Legend has it that these recordings were originally saved from a trash bin by a WSM radio station employee, only to remain officially unreleased because of ongoing legal issues for the past 50 years. Poor quality bootlegs have popped up over the years, but this is the first time that properly mastered tracks have been presented to the public. One of the criticisms I've seen about this set is that it edits down the original shows and features only the songs, not the chatter and commercials in between. My answer to that would be that presenting the entire shows would be quite an undertaking that would be priced out of the average music buyer's range. This condensed packaging is sure to bring this wonderful lost music to more people in the long run.

The sound quality is suprisingly good, on par with studio recordings from this era. Hank and his band play the hits, along with many songs that were never recorded for the label --- this fact makes this collection even more worthwhile. The live setting also makes the music more personable, removed from the confines of the a recording studio.

Fans of Hank Williams and classic country have been given a treasure that is timeless and priceless, and thankfully just in time for the holidays.

MISH MASH Mandate: Trash To Treasure
Hank Williams - Time Life Website

noreply@blogger.com (Mish Mash) — Fri, 21 Nov 2008 02:45:00 +0000

Hilde Marie Kjersem
A Killer For That Ache
Rune Grammofon
11 song CD

Perhaps the best way to describe this one is fascinatingly unpredictable. The flowing, rustic strums of the autoharp ring in the lead off track, Sleepyhead.. Her quiet and gentle vocals ease in gracefully yet poignantly on this song, reminiscent of classic American country & western --- although she is, in fact, Norwegian. Kjersem continues this theme in the traditional sounds of Mary Full Of Grace, where her voice stands starkly amidst the barest of instrumentation.

Yet, on the next song, Fantasy, we are taken in an altogether different direction, a psychedelic pop rock song that twists and turns with dynamic abandon. From there we move into the melodrama of Marie Antoinette, where marching drums mingle with a dramatic cry of "Off with her head!" The title track is acapella, featuring a choir of voices that drift underneath Kjersem's singing. Midwest Country has a more definitive and deliberate western feel, while London Bridge incorporates industrial sound effects as the rhythm section, and Working Girl revolves around a lonely and hollow banjo.

The closest comparison I could probably make here is with Daniel Lanois, as Kjersem takes a similar post-traditionalist approach with plenty of pop experimentation. There's a timeless quality about her songwriting, yet she has a modern edge that gives it a 21st Century feel. It's the perfect mix of past and present, with a nod to the future.

MISH MASH Mandate: Norwegian Wood
Hilde Marie Kjersem Website

noreply@blogger.com (Mish Mash) — Sat, 15 Nov 2008 01:28:00 +0000

Pre
Almighty Low
Self-Released
18 song CD

It's all about the atmosphere. Pre brings his instrumental beats with a subtle intensity, choosing to creep along with laid-back grooves instead of getting in your face with aggressive speed or volume. Simplicity is the key, with uncluttered rhythms and sounds intermingling without trying to do too much. The music is allowed to breathe, giving the listener time to digest and decipher each sound and rhythm at an easy pace. It's like acid jazz filtered through hip hop.

At the same time, none of the songs have time to wear out their welcome, as Pre keeps them fairly short and sweet. Before you know it, you've grooved your way through a dozen and a half tracks without even realizing it.

MISH MASH Mandate: Alrighty Almighty
Pre Website

noreply@blogger.com (Mish Mash) — Tue, 28 Oct 2008 01:01:00 +0000

Dutch Uncles
Face In
Tapete Records
10 song CD

If the Dutch Uncles sound like they're young and happy, it's because they are. This youthful quartet bounces along with a carefree spirit, led by singer Duncan Paton, whose gentle and rounded vocals sounds like a middle school boy who just happened to fall into the grips of a rocking garage band.

There's not much in the way of teen angst or aggression, yet the band brings in the edginess in a meddling of dissonance and herky-jerky rhythms. Big shimmering guitars and drums make just the right juxtaposition for the unassuming vocals, and it's a perfect fit. The band truly shines in the track Steadycam, where the blending of catchy pop, off kilter beats and Paton's distinctive crooning all comes together in a blissful and wistful state of grace.

MISH MASH Mandate: Ready, Steady, Go
Dutch Uncles at Tapete Records Website

noreply@blogger.com (Mish Mash) — Sun, 19 Oct 2008 00:54:00 +0000

Oscar Peterson
Live in '63,'64 & '65
Jazz Icons
16 song DVD

I hate to admit this to you dear readers, but when I discovered that the third live set on this disc included trumpeter Clark Terry with the original trio, I immediately skipped over the first two sets to watch the last one. You see, this was the classic lineup that was featured on the landmark 1964 album, Oscar Peterson Trio Plus One, one of my all-time favorite jazz albums, period. This DVD contains live versions of three of those tunes, plus another one with Terry. So, you'll have to forgive my impatience, as I could not wait through the other two sets with the remote being so close by and near my trigger finger. After witnessing that set twice (ahem), I moved back to the first two, overjoyed from end to begining and back to the end.

As mentioned above, there are three live sets presented on the DVD, the first being in Sweden in 1963, then Denmark in 1964, and finally, Finland in 1965. All three shows are wonderfully produced, with excellent video and audio quality. It's easy to see that Europeans took their jazz seriously in the 60s, and these high-quality, multi-camera recordings are proof positive of that fact. The famous trio of Peterson, Ray Brown and Ed Thigpen simply smoke their way through each track, showing their knack as one of the tightest jazz trios that ever existed.

In Sweden, trumpeter Roy Eldridge joins them for a smooth, muted take on But Not For Me, and in Denmark the trio slowly shuffles its way through an amazing rendition of Bags' Groove. But, it's the Finland tracks that steal the show, as Terry walks on after the opener Yours Is My Heart Alone to join the trio in their version of Mack The Knife. From there, Terry wah-wahs his way through Blues For Smedley and drifts dreamily in Misty. The real short-but-sweet treat here is the closer, Mumbles, where Clark Terry does his famous bluesy scat-singing as his alter-ego "Mumbles". Even though the song only lasts a couple of minutes, it makes owning this disc more than worthwhile by itself.

MISH MASH Mandate: Tripleplusgood
Oscar Peterson @ Jazz Icons Website

noreply@blogger.com (Mish Mash) — Fri, 10 Oct 2008 17:20:00 +0000

Alva Noto
UNITXT
Raster-Noton
26 track CD

German audio artist Alva Noto (Carsten Nicolai) twists and turns electronic music into an interesting and exciting direction, taking the underlying noise of the information age and transforming it into rhythmic beats. The way I understand it is that Nicolai/Noto mathematically mixes his electronic audio units into a 120 bpm grid. It's a barrage of wonderful noise, wound together in beat packets that rip through the speakers unrelentingly. To enhance this in a most peculiar way, poet Anne-James Chaton then adds a spoken word vocal over a few of these tracks, providing a jarring human element thrown into this decidedly unhuman mix.

The second part of the album, however, takes the digital noise factor to its most base extreme. Noto converts non-audio computer program files into digital audio files, resulting in a wall of unbearable sound. Want to know what the programs Word, Excel, and Powerpoint sound like? Well, maybe you don't. It's hard to sit through a one minute and forty second track of pure digital chaos (Word), even out of morbid curiosity.

MISH MASH Mandate: Bring The Noize
Alva Noto Website
Alva Noto (US distribution)

noreply@blogger.com (Mish Mash) — Sun, 05 Oct 2008 00:55:00 +0000

Rahsaan Roland Kirk
Live in '63 & '67
Jazz Icons
14 song DVD

While the lineup of other Jazz Icons titles sounds like the standard rundown of Who's Who in jazz (and it's a list that would make you drool), thankfully the series also digs a little deeper to cover a few artists who may have been slighted by the passage of time. Rahsaan Roland Kirk is one of those artists. Sometimes dismissed as a novelty jazz act, this disc proves that his talent of playing more than one horn at once was more than a mere gimmick and an integral part of his unique playing style.

The DVD showcases three separate European live sets, two in Belgium and Holland in 1963, and a performance in Norway from 1967. The beauty of having the archival film is that we get to see Kirk in action. Hearing him play two or three horns at once is one thing, but seeing it is another. On an audio recording, three horns sounds like three horns no matter how many people are playing, but on video, the full effect is felt as we see Kirk fingering and blowing his horns like a man possessed by the music. Having only heard his recordings over the years, I personally had never seen Kirk in action before, so it was a pleasant treat to put his technique into perspective.

The culmination of his distinct talent is evident in the track Three For The Festival, which is presented here twice, from each of the 1963 concerts. Kirk plays three sax parts simultaneously in this tune, along with a separate flute solo. When he plays the three horns at once, he sounds like an entire horn section ripping out. His sound is not weakened by the extra load, instead it expands and explodes with fervor. It's an amazing amount of music from one person, and seeing it does not make it any easier to believe.

MISH MASH Mandate: Three Is A Magic Number
Rahsaan Roland Kirk Page @ Jazz Icons

noreply@blogger.com (Mish Mash) — Fri, 26 Sep 2008 20:11:00 +0000

Hanne Orvad
Choral Works (Corona)
Dacapo Open Space
7 song CD

The cover art of Hanne Orvad's Corona is a fantastic introduction to the works held within. It depicts an abstract space-scape, splashed with hazy gradient colors that reach out into the void. Orvad's music does much the same thing, only with a cappella vocal choirs that paint pictures in the ethereal darkness of aural space.

Corona is a collection of Orvad's works from 1991 to 2003, as performed by the Danish National Vocal Ensemble, Danish National Chamber Choir, and Danish National Girls' Choir. Orvad uses their choral voices in place of instruments (with the exception of Threna, which includes instrumentation), building her interpretive orchestrations around Danish poetic verse, giving them life beyond mere words on the page. She also stretches the words away from their contextual meaning, mainly concentrating on the sounds of the words as they're being sung. This is even more apparent for someone who does not understand Danish (or Latin, in the case of Vega), as the words come across as something approaching pure tones, as the listener is not distracted by the meaning of the words.

The overall effect is atmospheric and expansive like the openess of space, voices rising and drifting into the openess with a light and airy dissipation. There's also an almost spiritualness involved, as you can picture a choir performing inside a great cathedral, with voices filling up and echoing across an enormous physical space.

MISH MASH Mandate: Voices Carry
Dacapo Records
Hanne Orvad Page @ Naxos

noreply@blogger.com (Mish Mash) — Thu, 18 Sep 2008 21:03:00 +0000

The Vital Might
Red Planet
Magma Music
10 song CD

The Vital Might is a modern rock amalgam, showcasing all that is good and worthy in the current state of progressive modern rock. Their approach is dynamic, moments of easiness surrounded by sheer loudness, a towering haze of condensed sound layers that shift throughout. Think The Mars Volta meets the Doves, with a dash of early Radiohead thrown in for good measure.

The album begins with Phantom Spaceman, a track that stops and stutters around a staccato guitar riff. From there we find a more classic indie/alternative pop sound in The Truth, which gives way to the unusually-observant-yet-gripping City, a song that repeatedly asks "Why is this city here?" Trouble rips along like a Rush tune played at double time, borrowing a bit of early 90s grunginess to make its final point understood.

The band is adventurous and quick to avoid the pigeonhole, eagerly supplying the listener eclectic musical visions with each new track. While the blueprint is somewhat scattered in theory, it never fails to deliver results.

MISH MASH Mandate: Red Rover
The Vital Might Website

noreply@blogger.com (Mish Mash) — Sun, 14 Sep 2008 00:29:00 +0000

Various Artists
In The Pines
Tar Heel Folk Songs & Fiddle Tunes
Old Time Music Of North Carolina 1926-1936
Old Hat Records
24 song CD with booklet
TOM DOOLEY MP3 SAMPLE

North Carolina has always had a rich tradition of "hillbilly" music, and this latest release from Old Hat Records documents the era of major label activity in the Tar Heel State from 1926-1936. It seems that the influx of industry and disposable income into the state early in the 20th Century convinced the labels that there was an audience for recordings of native musicians, so a wealth of tradtional North Carolina music was recorded at that time, ending with the failing economy of the Great Depression. In effect, we're given a unique snapshot of that decade of recording activity, along with literal, rare photographic snapshots in the 22 page booklet. As an added bonus, most of the tracks have never been released on CD before now.

The disc begins with the track that started it all, "Dock" Walsh's In The Pines, recorded in 1926 by Columbia in Atlanta. It's a simple and stark folk song featuring only Walsh's solo vocals and banjo, reminiscent of a blues song with its repetitive lines and percussive picking. Old time gospel surfaces in Dixon Brothers' & Mutt Evans' Are You Sure?, where they pointedly ask, "shall I meet you in the land beyond the sky?"

Perhaps the most interesting track is the original version of Tom Dooley, as performed by writer/fiddler G.B. Grayson & guitarist Henry Whitter, which of course was made famous decades later by The Kingston Trio. The original has a decidedly upbeat bluegrass feel, told in a winding storytelling fashion, differing from the later version. In the booklet, we get the background story of Tom Dula (aka Dooley), who was hanged for murder in 1868 at Statesville.

As with all Old Hat releases, In The Pines is flawless in both execution and presentation, as attention to detail and quality is impeccable. This disc has a wonderful selection of hard-to-find music, along with even harder-to-find information and documentation rounding it out. Simply put, this is more than a history lesson --- it's a chance to meet the musical past face-to-face.

MISH MASH Mandate: Doodlebuggin'
Old Hat Records Website

noreply@blogger.com (Mish Mash) — Wed, 10 Sep 2008 00:32:00 +0000

WILX
Didactic Dichotomy
Self-Released
8 song CD

Crawling from the same Southern Gothic mid-section of Georgia that spawned R.E.M., WILX stirs up an edgy, country-fried rock album that is sure to shake things up down in Athens. While they also worked with R.E.M. producer John Keane, the band's original roots are in Mississippi, which explains why the comparisons to Stipe & Co. are short and sweet. There's an underlying grittiness that escapes the high-falutin' musical panache of the traditional Athens music scene.

WILX keeps it simple, relying on big guitar riffs and anthemic choruses, not trying to get flashy or heady. Their forumla works without being formulaic, freshly riding the wave of classic rock without sounding derivative or simply retro. For me, this all comes together in the absolute driving rock of To You And Yours, where a fuzzy bass rides gleefully beneath one of the catchiest rock hooks I've heard in a long, long time.

This is the kind of album where you can imagine that the band really does best in a live setting, as every song sounds like its been finely honed in front of an eager audience. My advice would be to catch the album, and while you're at it, catch them live if you get the chance.

MISH MASH Mandate: Southern Soul Stew
Wilx Website

noreply@blogger.com (Mish Mash) — Mon, 11 Aug 2008 01:53:00 +0000

The Bloodsugars
Purpose Was Again
Video Single
Engineroom Recordings

It's not often that I get all revved up about a video, especially in a day and age where the idea of a music video has become passe, other than a way to pass the time on YouTube. The Bloodsugars have somehow rediscovered the magic that made us fall in love with music videos a quarter century ago (and yes, it has been that long).

The group revives the spirit of the early 80s with their song Purpose Was Again, a positive and upbeat pop tune that lends itself to the goofy animated imagery in the accompanying video. The band plays with cartoon instruments and flies weightless in outer space, while cartoon rocketships cruise by. It doesn't make sense, but it's not supposed to, and that's the beauty of it all. A great effort, and one that perfectly embraces the essence of music video. Now if we could only talk MTV into playing them again...

MISH MASH Mandate: MTV Killed The Video Star
Engine Room Recordings Website

noreply@blogger.com (Mish Mash) — Sun, 03 Aug 2008 01:04:00 +0000

Johnny Foreigner
Waited Up Til It Was Light
Nettwerk Music
13 song CD

Johnny Foreigner's critically acclaimed UK debut will soon be unleashed on the US, and believe me when I say that you have something to look forward to. Their music is pure pop mayhem, a crazed and frantic adventure that never lets up. It's beautifully noisy and loud, reveling in anarchy while loosely holding on to just enough pop hookery to keep from going completely off the rails.

In other words, it's edgy but still listenable, chaotic without falling into pretentious avant garde wankery. The dual male/female vocal team becomes a unique platform to launch lyrical projectiles, their voices singing, shouting, and screaming through the veritable traffic jam of musical noise.

MISH MASH Mandate: New Noise
Johnny Foreigner Website

noreply@blogger.com (Mish Mash) — Mon, 28 Jul 2008 01:13:00 +0000

Sick Of Sarah
Sick Of Sarah
Adamant Records
10 Song CD

The all-female ensemble Sick Of Sarah revives the spirit of early 90s Riot Grrrl mentality and adds their own special twist. Not quite as angry as their fore-mothers, they nevertheless ride through the album with an undercurrent of anxiety and angst. It's combined with a solid indie mentality that brims with attitude and feminine strength.

Musically, the group dabbles in catchy, jangly pop that revolves around a pair of guitars and the voice of lead singer Abisha Uhl. Uhl sings with a passionate plea, wrapped in a youthful and energetic innocence that draws you right in. On the track Bittersweet, all these elements come together in perfect coordination as a prime example of their work.

MISH MASH Mandate: Sweet Sickness
Adamant Records Website

noreply@blogger.com (Mish Mash) — Fri, 25 Jul 2008 01:50:00 +0000

Radio Radio
Alarm 1 Alarm 2
Self-Released
4 song CD

Roll up every post-punk new wave band you ever loved from the late 70s/early 80s and you'll have something similar to Radio Radio. They have perfected their sticky sweet power pop, topping it off with a smart and smooth 80s plastic sheen.

With only four songs, the EP passes by so fast and furious that there's not enough time to get weary or bored --- all killer, no filler. It's like four hit singles in a row, from the synth-rock driving title song to the funky Kraftwerk-inspired electronic dance rhythms of I, Computer. I couldn't think of a better way to ride out the dog days of summer.

MISH MASH Mandate: Ride The Wave
Radio Radio Website

noreply@blogger.com (Mish Mash) — Fri, 18 Jul 2008 01:16:00 +0000

Mike Musick
Honest
Union St Records
10 song CD

While his name might be a little on the questionable side of rich and cheesy goodness, Mike Musick (which I've just been informed is actually his real name - Ed.) makes up for it with one of the best indie pop albums I've heard in a long, long time. Catchy and singable from beginning to end, Musick lets his skillful pop creativity come blazing through on every track.

At times he reminds me of David Gray, or maybe Joe Jackson, quite possibly because of his laid back and understated approach. Most of the time his songs revolve around a memorable hook and simple beat, letting the pop grow and flower into full bloom without any unnecessary flourishes. This simplicity is key, and it makes this an album you'll want to hear over and over again.

MISH MASH Mandate: Steppin' Out
Mike Musick Website

noreply@blogger.com (Mish Mash) — Sat, 12 Jul 2008 00:40:00 +0000

Imperial China
Methods
Self-released
4 song CD

Worlds collide within the progressive music of Imperial China, as influences such as Rage Against The Machine intersect with Fugazi, creating an edgy and aggressive sound that defies simplistic categorization. It's angst-filled and loud, yet smartly executed, using disjointed guitar noise set against off-kilter beats to provide a wall of dissonance that envelops the listener.

While there are only four tracks, the songs themselves are a little longer than the usual rock song (around 6 minutes on average), plus they are layered thick with weaving progressions, key changes, and about-face rhythms. It all adds up to a complete and fulfilling experience, one that that rarely comes with a short EP.

MISH MASH Mandate: Imperial Attack
Imperial China Website