Neither Hot Nor Cold: Auto Interiors' Second Album, Let's Agree to Deceive Our Best Friends

Auto Interiors, Let's Agree to
Deceive Our Best Friends, Rykodisc

Now everybody's breakin' up somebody else's home,
before somebody else starts breaking up their own.
--Elvis Costello, "Sneaky Feelings"

Based on the title of their second album, I was expecting something with more...edge. 

Or attitude. Or something. It brings to mind Elvis Costello's anthem of frustration, "Sneaky Feelings." In addition, the off-kilter ferris wheel photos that decorate the disc raised my expectations, since I have a thing about spirals, mandalas, etc.

This Boston quartet's approach to alt-rock and/or power pop isn't bad, but I don't hear much—or enough, at any rate—that sets them apart from the pack. Sometimes they sound shoegaze, sometimes mod—it's partly due to Eric Waxwood's Paul Weller-meets-Costello voice—but that just makes me want to listen to the Jam. Or Blur. Or Ted Leo & the Pharmacists. Maybe even the Kaiser Chiefs.

The press notes claim they once worshipped at the My Bloody Valentine altar. Now they've moved onto the Kinks. 

Guitarist Larry Mansdorf quips that they play "record collector rock." The notes add that their collections include T-Rex, Big Star, the Small Faces, the Brian Jonestown Massacre, the New Pornographers, and Sloan. I'll buy that. This tasteful foursome isn't imitating any of those acts, but they're in the same basic ballpark.

Whenever a group is competent in all regards—singing, playing, writing, etc.—I feel I should give them an automatic thumbs-up, but if they don't do anything for me, that doesn't seem completely honest. I neither hate nor love Let's Agree to Deceive Our Best Friends. I'm lukewarm about it. Of course, the Good Book (Revelation 3:16) has that great line, "So because thou art lukewarm, and neither hot nor cold, I will spew thee out of my mouth." I wouldn't go that far in the case of Auto Interiors, but a little more "heat" would surely do them good.

Endnote: Images from the Auto Interiors MySpace Page and the AMG. I am not and have never been a Christian...but I can't deny the power of certain Biblical passages. Incidentally, I once tried to read The New Testament in Spanish, but had to give up. It's an interesting way to brush up on a language—and an important text (regardless as to your personal beliefs)—but alas, I do not have the patience of Job.

Six for the Road: Boys Like Girls, The Ghost Is Dancing, the Hanslick Rebellion, and More

Various Artists,
CrystalTop Music Presents,
CrystalTop Music

I'd never heard of CrystalTop Music or any of the artists on this compilation, but the entire package comes as a nice surprise. Most of the acts assay some form of electronica or jazz-oriented pop, which means plenty of stand-up bass and Fender Rhodes. I can imagine their music playing in small bistros and funky boutiques—and I don't mean that as a putdown. (I do, after all, like to eat, shop...and listen to music.)

Though the names may be new to me, several have notable collaborations in
their past. Trumpeter Dion Tucker of Oddlogik, for instance, has worked with Mos Def and Rhodes scholar Herbie Hancock, while Martín Perna of Ocote Soul Sounds founded Antibalas and is described as a "frequent collaborator with TV on the Radio."

As a bonus, the well designed gatefold incorporates the band names in multiple typefaces. It reminds
me of Bruce Licher's letterpress work (the Savage Republic co-founder has also provided art for Camper Van Beethoven and REM). Recommended to fans of Low, Feist, and the Eels.

Boys Like Girls, Boys Like Girls, Columbia

I can only assume I received this CD because I've reviewed a lot
of teenybopper fare lately, like Gym Class Heroes and Hellogoodbye (who show up in this Boston's band's list of thanks).

This quartet probably puts on a fun show, but their debut is the usual over-produced major label version of punk-pop. No doubt many of these groups grew up with Green Day, but few have as much to say, and by the time they emerge from the corporate wringer, they all sound alike. Boys Like Girls are no exception.

The Ghost Is Dancing, The Darkest Spark,
Sonic Unyon Recordings [6/19/07]

Just as I know I'm gonna dislike some records within the first few seconds, I take to others straight away. Then there are those I need to listen to a few times to determine what I think. The Darkest Spark doesn't fall into that category. I liked it immediately.

The press notes sum up the appeal succinctly, i.e. "trumpets collide with theremin and hundred-year old pump organs mingle with toys and bells..." On their first full-length, this Toronto collective comes on like a cross between the Polyphonic Spree
and Arcade Fire, but more earthy and less, um, self-important.

The Hanslick Rebellion, The Deli of Life, Eschatone Records

Musically, this New York four-piece occupies the middle
ground between classic rock and alternative. Lyrically, their
EP occupies the middle ground between punk and hard rock.

In "Pop," they lament, "You sold me out." In "You Are Boring the Shit Out of Me," they exclaim, "Jesus fucking Christ / fuck off." The Hanslick Rebellion may be angry, but they aren't punk. (Though anger has come to be seen
as the exclusive province of punk, it's always been just as symptomatic of strange bedfellows folk and metal.)

Sometimes they sound pub-glammy, like Mott the Hoople [above], sometimes pop-metallic, like Alice in Chains. I like Mott, I don't like Alice, and I feel the same about The Deli of Life: mixed.

Silver Daggers, New High & Ord, Load Records

Like their name, Los Angeles quintet Silver Daggers aim to assault...your eardrums. The shouting and bashing is fine for what it is, but it's the odd little post-punk touches that make New High & Ord work: the frequent blasts of brass, odd tempo changes, and moments of unexpected calm amidst the chaos.

Personally, I like more structure to my noise, but fans of saxophone player Jenna Thornhill's Mika Miko should give
this disc a listen. Featuring frenetic artwork by Gary Panter
(Pee-Wee's Playhouse), who has also designed album covers
for Yo La Tengo and first-wave LA punks the Screamers.

Adam Zwig, Cast Iron Letters, Conscious Records

On this third effort, this Dylan acolyte serves up folk-rock with country trimmings. Cast Iron Letters isn't without merit, but my tolerance for po-faced folk is pretty low. (My tolerance for fanciful folk, like Lavender Diamond, on the other hand, is pretty high.)

Like his forebears, the Portland singer/songwriter has a limited range, which works fine on songs like opening track "Castaways," but less so on protest numbers like "Who Killed Michael Vaughn," where he strains the entire time (ouch). Also, he uses Zimmy's famous phrase "Masters of War" not once—but twice.

Endnote: Images from Sonic Unyon Recordings. Incidentally, Silver Daggers take their moniker from the folk song of the same name. And thanks to labels who make hi-res images available—everybody wins!

N'exist Pas: No Second Troy's Narcotic

No Second Troy, Narcotic, self-released [5/8/07]

I knew I was in trouble right from the start. The press kit compares this DC combo to Coldplay, Snow Patrol, Aqualung, U2, the Fray, and Death Cab
for Cutie. I have a soft spot for U2, but I'm no fan of the rest of these bands (and those who sound like U2 usually suck).

After listening to Narcotic, I'm no fan of No Second Troy either. The quintet serves as a reminder that not all independent recording artists play "indie rock"—whether you see that as a good thing or not. Either way, the opposite is worse: corporate rock.

For many artists, independent labels are just a stepping stone to bigger things. NST's second sounds like a major label recording. The band would probably take that as a compliment. It isn't.

Though it's unlikely they spent millions on the production, it sounds like they did (and on "Brighten Up", they do boast, "We've got money to burn"). They know how to play, they know how to write, and Jeff Wharen has a radio-ready voice. Every song is crying out for commercial radio airplay.

Further, NST may well have put their hearts into this thing. I have no idea. They remind me of a million other bands, but unless they hit it big—which is clearly their goal—I'll forget all about them in the days to come. Listening to this album wasn't painful, but it left no impression, had no effect. It's as if it never even existed.

Endnote: U2 image from the archives, NST image from their official website. You can also visit them at their MySpace Page.

May 2007 Reviews

These are the reviews
and other assignments
I'm working on this month.

Amazon CDs:
Test Your Reflex - The Burning Hour.

Amazon DVDs: Big - The Director's Cut [special features] (Penny Marshall directs Tom Hanks), The Chocolate War (Keith Gordon's directorial debut), 638 Ways to Kill Castro, Driving Lessons
(Brit eccentricity with Rupert "Ron Weasley" Grint), Maxed Out
(debt doc), Vengeance Is Mine (Shohei Imamura crime drama!),
On the Riviera (Walter Lang directs Danny Kaye), A Wedding
(Robert Altman alert!), Making Love (with Harry "Hot Lips" Ham-
lin), and Kitchen Confidential - The Complete Series [two-disc
set] (It's official: I'm a Darren Star expert; I've also reviewed
Beverly Hills 90210, Melrose Place, and Grosse Pointe).

Amazon Theatricals: Once (Before Sunrise as an Irish music-
al), Avenue Montaigne (Altmanesque ensemble effort), Golden
Door (Charlotte Gainsbourg alert!), The Ex (office comedy with
Zach Braff & Jason Bateman), Waitress (Adrienne Shelley directs
Keri Russell), Rocket Science (narrative debut from the direc-
tor of Spellbound), and Paris, Je T'aime (shorts anthology).

The Stranger: I contributed to this year's SIFF Notes. Tit-
les include Eternal Summer, Grave Decisions, Life on the Ed-
ge, My Friend & His Wife, Running on Empty, Frozen City, Off-
screen, Paprika, The Bet Collector, Gypsy Caravan, and Amer-
ican Shopper. Posts for Slog include a gush about Romain Dur-
is, a preview of a punk duo, Nina Simone as soundtrack signi-
fier, a look at walkouts, and a celebration of faces.



Endnote: Image from the AMG (Leon Lecash credited). "Maggie
May," one of my least favorites from Rod the Mod, appears on the
otherwise excellent Every Picture Tells a Story. Incidentally, I
don't think the tune's a loser. It's just that, with rare exceptions,
I hate story songs. (I prefer the rollicking title track and boozy
sing-a-long "Reason to Believe.") Exceptions: Lou's "Take a Walk
on the Wild Side" and the Kinks' "Lola," after which I named my
tiny cat. Seriously, she may be small in stature, but Lola has all
the attitude of Ray Davies' hero/heroine (coincidentally, I'm
currently listening to the Gun Club's "She's Like Heroin to
Me," but that is, I suppose, a story for another day...).

Seattle Film Blog: Remembrance of Things Past

I recently upgraded the following Seattle Film Blog entries, all from 2005-2006. The point was to jazz things up with new—or better quality— images, cleaner formatting ("Symmetry! symmetry!"), links, and the like. So, if you missed any of them the first time around... 

 

***** ***** ***** ***** ***** ***** ***** ***** ***** ***** 

 The Beat That My Heart Skipped (dir: Jacques Audiard; with Romain Duris), The Bridesmaid (Claude Chabrol; Benoît Magimel, above), A Chat With Robinson Devor (five-part interview), Festival (Murray Lerner; Bob Dylan, etc.), Free Zone (Amos Gitai), Histoire(s) du Cinéma (Godard), Kryzstof Kieslowski Short Films, Max and Grace (AKA My Suicidal Sweetheart), Pusher II - With Blood on My Hands (with Mads Mikkelsen), Russian Dolls (more Duris!), Sherrybaby (with Maggie Gyllenhaal), Shopgirl (with Claire Danes), Sophie Scholl - The Final Days (best foreign-language film nominee), Spirit of the Beehive (Víctor Erice), and The Treasures of Long Gone John (with the man himself).

 

Endnote: Time permitting, I plan to revisit all my reviews to ensure that the layout is consistent throughout. For those unfamiliar with Seattle Film Blog, the site began as a forum for Tablet writers to cover the Seattle International Film Festival. Since the paper collapsed, Mike Whybark has kept the site going. Now contributors post reviews, interviews, and other bits of business all year long. (Aside from siffblog.com, you can access the site using cinelucida.com, cinecrit.com, and cinescopist.com.) After covering the fest for Seattle Film Blog for three years, I'll be writing for The Stranger this time around. Image from The Villager.

Here Comes the Sun: Lavender Diamond's Imagine Our Love

Lavender Diamond, Imagine Our Love,
M a t a d o r [5/8/07]

Earth is the most beautiful planet so don't forget to
laugh at the sunsets.
-- Becky Stark, 12/23/06

Possessing a rare five-octave vocal range, she displayed
the ability to imitate instrumentation and even birds.
-- Wikipedia entry on Minnie Riperton

Based on last year's Cavalry of Light EP, I was looking forward to the full-length debut from this Los Angeles quartet. They haven't let me down. On the contrary, they've surpassed my expectations.

My only complaint is that ecstatic nursery rhyme "You Broke My Heart," which dates from 2005, doesn't appear on Imagine Our Love, but that's good news for those who picked up the four-track disc. Led by world peace proponent Becky Stark, Lavender Diamond makes folk for dream-pop fans, dream-pop for folk fans.

That description may be over-simplification, but it's a start. For one thing, the classically trained soprano doesn't have one specific singing style. She has a few, though all are related. Sometimes, she sounds like a traditional folk singer, sometimes like a sunshine pop chanteuse (especially when she harmonizes with herself).

Comparisons abound to such disparate artists as Emmylou Harris, Shirley Collins, Nico, Karen Carpenter, and Kate Bush. I don't hear any of them—especially the deep, dark Nico—but Stark does has a similar sort of hyper-feminine thing going on. Instead, I hear Free Design, Starless and Bible Black—even a little Joan Baez.

Stark, who began her career
as a bird-like character named Lavender Diamond, can hit the highest of the high notes. And it's impressive, but I don't think she's merely trying to show off, although she comes close on "Dance Until Tomorrow," in which she gives Maya Rudolph's opera-trained mother Minnie Riperton
a run for the money (see the glass-shattering "Lovin' You").

Some people simply express themselves best at the top of their range. Some, like Nina Simone, and—yes—Nico, at the bottom.
It isn't just what you're born with, but what feels most natural. When I think of the soprano in pop, Judy Collins and Joni Mitchell are the first women who come to mind. Stark doesn't sound like them either, but in a sense, she's following in their footsteps.

At the same time, she's carving out her own path. I can compare her to other vocalists—or try to, at any rate—but Imagine Our Love is a unique creation. Folk and dream-pop mingle with gospel ("Side of the Lord") and country ("My Shadow Is a Monday").

Wikipedia classifies the band, which includes Jeff Rosenberg (guitar), Steve Gregoropoulos (piano), and Ron Regé Jr. (drums), as "New Weird America," but not freak-folk (or psych folk, as they call it). That makes sense, although Lavender Diamond is more pop-oriented than some of the artists most closely associated with freak-folk, like Joanna Newsom. In other words, the classification isn't innacurate, but it is somewhat misleading.

As for the lyrics, there's some intriguing stuff here. I'm not sure about "I'll never stop a bullet / But a bullet might stop me ("The Garden Rose"), which evokes "I Gave My Love a Cherry"—so brilliantly deconstructed by John Belushi in National Lampoon's Animal House—but none of Stark's other words gave me pause.

Mostly I've been too dazzled by the voice and the instrumentation, which includes woodwind and brass, to dig much deeper. "Like an Arrow," for instance, follows the same trance-like trajectory that makes "You Broke My Heart" so effective. Stark repeats the line, "Heart like an arrow...closer," repeatedly as
the piano and drums build around her. Much like My Bloody Valentine's "Soon," I could listen to it on a permanent loop. I've always agreed with James Brown that when you find a good groove, you should "do it to death," as it were. That they do.

Suffice to say, I'm crazy about this record. Those allergic
to sunshine and flowers are advised to stay far, far away.

*****

Lovin' you is easy 'cause you're beautiful.
-- Minnie Riperton, "Lovin' You" (1974)

Endnote: For more information, please see the band's official website, their MySpace Page, or their Matador Records entry. Lavender Diamond plays Seattle's Sonic Boom on 5/8 at 11pm and The Triple Door on 5/22. Images from Matador and Soul Walking.

Good Vibrations: The Oh Sees

The Oh Sees, Sucks
Blood, Castle Face

This music, these people...offer
nothing but proof that songs
...and sound for that matter...can play us as instruments.
--Dave Sitek, TV on the Radio

***** ***** ***** *****

Although Sitek didn't produce the fifth CD from the Oh Sees
(formerly Orange County Sound or Orinoka Crash Suite—take
your pick), he was behind the boards for last year's The Cool Death of Island Raiders. His band has also toured with them.

They don't sound much like TV on the Radio, but I can
see why he likes them. I do, too, which is surprising, be-
cause John Dwyer (vocals, guitar) hails from the Coach-
whips, and that Bay Area band never did it for me.

Then again, if I'm not mistaken, Brigid Dawson (vocals, per-
cussion) has played with Lavender Diamond—at least that's what
the press notes say; I haven't been able to verify that connection
yet—and this quartet sounds more like them than the 'Whips.

Just imagine a gauzier 'Diamond as fronted by the ghost(s) of
Syd Barrett. Jigmae Baer (drums) and Sweet Petey Dammit
(guitar) complete the line-up. The first three OCS records, in-
cidentally, were Dwyer solo efforts (LD drummer Jeff Rosen-
berg, Dwyer's partner in Pink & Brown, guests on his debut).

For the most part, this is pret-
ty narcotized stuff. I have a high tolerance for that. For those who don't, it'll all prob-
ably sound rather aimless and attenuated, but I like the slow and quiet as much as the loud and fast. (Same for movies.) If anything, I need records like this to help me unwind, and I find the combination of brushed drums, theremin, and saw very re-
laxing indeed. Granted, I have no interest in music so mellow
it puts me to sleep, and the Oh Sees dodge that bullet handily.

Dwyer and Dawson, who often sing in unison, compete with the
feedback that ebbs and flows throughout the record. Consequent-
ly, it's hard to make out the lyrics. Sometimes I can tell what they
are singing, sometimes not. With neo-psychedelia, that tends to
work best. I don't want to hear every word, since I'm looking for
an experience more than a story or collection of stories. Maybe
the stories are compelling. I'll have to listen more closely to say
for sure...although that sometimes leads to disappointment.

For now, I'm enjoying Sucks Blood in much the same way
I've been enjoying Greg Ashley's Painted Garden. Is psyche-
delia coming back into style, or have I just been out of touch?
(Most likely, a combination of the two.) I've always been a fan,
so I'm digging this resurgence. As long as the acts continue to
avoid sounding like carbon copies of the psych heroes of yore,
I'm all for it. Theremin lovers: meet your new favorite band.

***** ***** ***** *****

Endnote: The Oh Sees
play the Vera Project on 6/2.
Incidentally, I often complain
about cover art that isn't quite
up to snuff. I'm sorry to re-
port that Sucks Blood falls
into that unfortunate cate-
gory. The front features an
unappealing illustration, but
the back is a winner. It's simply a snapshot of a work of embroid-
ery, but I find the image—a tiger surrounded by red, orange, and
blue flowers—quite pleasing. (Must be the Henri Rousseau fan in
me.) For more information about The Oh Sees, please see their
MySpace Page. Images from the AMG, MySpace, and Promonet.