{"id":835,"date":"2012-02-28T20:09:05","date_gmt":"2012-02-29T04:09:05","guid":{"rendered":"http:\/\/spclarke.com\/?page_id=835"},"modified":"2012-02-28T20:38:37","modified_gmt":"2012-02-29T04:38:37","slug":"gbu-2003-04","status":"publish","type":"page","link":"http:\/\/spclarke.com\/?page_id=835","title":{"rendered":"GBU – 2003 – 04"},"content":{"rendered":"

All Girl Summer Fun Band<\/a><\/strong><\/h2>\n

\"\"2
\n<\/em><\/strong>K Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

The Donna\u2019s these women ain\u2018t, but the Soft Donnas, maybe. And perhaps, in some ways (thematically),\u00a0 they are the anti-Sleater-Kinney (while sounding a little bit like them, at the same time). But, whatever the case, AGSFB are definitely a kick, in a Jane Weidlin-fronting-the-Go Gos sort of way- though this band is a lot more sarcastic and not nearly so stuck on themselves. \u201850s and \u201860s girl-group harmonies echo through several songs on this, their second album for K Records. Nothing groundbreaking here, but it it\u2019s all consistently entertaining and- well- fun.<\/p>\n

Guitarist vocalist Jen Sbragia was performing in the popular duo, the Softies, with ex-Tiger Trap guitarist\/vocalist Rose Melberg, when she was approached by guitarist\/vocalist Kim Baxter, who gave Sbragia a tape of songs upon which she had been working. Sbragia was impressed with Baxter\u2019s songs. She contacted Baxter, who mentioned that she had several musically like-minded friends. Among those friends was Kathy Foster, who plays drums, bass, guitar and sings, and who had already found success as a member of the Sub-Pop band the Thermals, with Hutch Harris, as well as in the duo Hutch and Kathy. Another of Baxter\u2019s friends, bassist\/drummer\/vocalist Ari Douangpanya, became the fourth member, and the band was born.<\/p>\n

A little over a year ago, they released their first, self-titled album. Now they\u2019re back, bigger and badder (and a little more electric) than last time, with fourteen new songs, which manage to capture the essence of \u201cgirl groups,\u201d going back to the \u201850s, to such acts as the Bobbettes, the Caravelles and Patience and Prudence, through the \u201860s, the Ronettes and the Shirelles, to the present. As previously stated, as a band, these women don\u2019t rock as hard as the Donnas, but in reality, AGSFB are far closer to the musical tradition of \u201cgirl groups\u201d than the Donnas will ever be.<\/p>\n

The album starts off with \u201cDear Mr. & Mrs. Troublemaker,\u201d a song which begins with a spoken-word section (ostensibly, a typed letter to a boyfriend\u2019s parents), reminiscent of the Shangri-las\u2019 \u201cLeader Of The Pack.\u201d Soon enough, however, the song explodes into a power guitar number, more in line with Throwing Muses, the Slits, or, the aforementioned Tiger Trap. Cute. \u201cDown South, Ten Hours, I-5\u201d is a \u201cband on the road\u201d number, that\u2019s also pretty cute, although it does not add a whole lot to the oeuvre.<\/p>\n

If brevity is indeed the better part of wit, then \u201cTicking Timebomb,\u201d coming in at 97 seconds in length, is pretty darn witty. It\u2019s a standard complaint, lover-gone-wrong stuff, over a hard-driving surf beat. Briefer still is \u201cInarticulate,\u201d clocking in at 86 seconds and vaguely based on an old, civil war melody. \u201cJason Lee\u201d isn\u2019t as brief, but it\u2019s even wittier; while (indirectly) referring to the Bobbettes 1957 hit \u201cMr. Lee.\u201d It\u2019s a loving crush-song for the actor (Mallrats, Chasing Amy, Dogma, etc<\/em>); a sporty march, along the lines of They Might Be Giants\u2019 brilliant \u201cAna Ng.\u201d<\/p>\n

\u201cGrizzly Bear\u201d is distinctly Tanya Donelly-esque in nature, circa her Belly period. Light-hearted and a bit off-kilter, it\u2019s a fine rocker with a double-time beat and a memorable guitar riff. Good stuff. Changing gears, \u201cDaydreaming\u201d is a dreamy number, with echoes of early U-2 in the rhythm section and eerie volume pedal guitar interjections. Meanwhile, \u201cVideo Game Heart\u201d sounds like the Shangri-Las doing a Breeders song. Chunky, hard hitting guitars and punchy drums propel the song, as a fluttery synth part lends distinctive character to the arrangement.<\/p>\n

\u201cMillion Things,\u201d \u201cParallel Park\u201d and \u201cThe Longer I Wait\u201d share a similar world view (mostly concerned with being with the loved one and making out, etc) and (in the case of the first two, anyway) a penchant for infectious, cheerleader-like handclaps in the choruses and turns.<\/p>\n

Baxter\u2019s synth strings give \u201cSamantha Secret Agent\u201d a certain epic quality, in a song that could pass for\u00a0Hunkpapa<\/em>-era Throwing Muses, doing the title track for a G-rated spy flick. The chorus is catchy, but awfully repetitive. And the storyline within the song is especially elusive.<\/p>\n

\u201cBecky,\u201d which starts out as a tender ballad, cuts across fifty years of rock \u2018n\u2019 roll girldom with razor-like precision.\u00a0 The key lyric is \u201cBecky, I wanna borrow your boyfriend\/\u2018Cause I know you don\u2018t really care\/And it doesn\u2018t seem fair to me\/I wanna borrow your boyfriend\/\u2018Cause I\u2018ve got so much love inside\/And you\u2018re just taking him for a ride.\u201d Well, there it is. Eventually the song (predictably) erupts into punky surf\u00a0 over-drive, essentially destroying the true feel of the song, but hey, that\u2019s rock \u2019n\u2019 roll.<\/p>\n

A driving beat and unison lead vocals, replete with \u201cyeah, yeah\u2019s,\u201d recall the early Beatles, in \u201cTour Heart Throb.\u201d The chorus sounds like it\u2019s being sung by women who don\u2019t speak English as their primary language. Think of Shonen Knife with subtitles. Until I looked at the title of the song, I thought the girls were singing \u201ctwo hot dogs.\u201d Anyway, it\u2019s a funny song with a surprise twist in the lyrics, in the very last line.<\/p>\n

This is real Power Puff stuff. The All Girl Summer Fun Band are almost great. They certainly play well enough, or nearly so. The lead guitar riffs, while somewhat primitive at this point, are bound to evolve. And the songs are all cleverly written, if at times incomplete. The addition of a keyboard in the mix on several songs adds depth and color.<\/p>\n

What these songs lack, in several instances, is a good bridge. A bridge need not be more than a few lines, or a brief key change. But, a bridge can add a lot of space to a song and can break up any repetitious aspects of an otherwise very solid composition.<\/p>\n

Secondly, some of these songs would benefit from different arrangements. Doing what is expected is not always the best choice for some songs. It might be interesting to think how Chrissie Hynde or Johnette Napolitano would approach a song like \u201cBecky.\u201d There is some real emotion in that song in particular, which is not fully explored here. Here we get what is expected.<\/p>\n

Still, AGSFB fire on six-cylinders most of the time. And while they might lack a little power on the steeper grades and smoke a bit in traffic, they prove themselves to be a sturdy and dependable vehicle, road friendly and- rain or shine, it always starts right up.<\/p>\n

\n

Stereo Crush<\/a><\/strong><\/h2>\n

\"\"Like A Girlfriend
\n<\/em><\/strong>Self-Produced<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

This talented quartet has produced two albums and an EP in the past five years. This second EP marks substantial growth for the band. They recorded this five-song project at Kung Fu Bakery, with Tim Ellis serving as producer and Bob Stark acting as the engineer. And those world-class talents working behind the board have helped to flesh out the band\u2019s sound, without sacrificing any of their power or spontaneity.<\/p>\n

The band cites Afghan Whigs as an influence and that can be heard in vocalist\/ guitarist Johnny Crash\u2019s impassioned Greg Dulli-like vocals. Coupled with his fiery Rick McCollum-esque guitar attack. But Erik Stanfill\u2019s keyboard approach is descended from those of\u00a0Kilroy Was Here<\/em>-period Styx and\u00a0Moving Pictures<\/em>\/Signals<\/em>-era Rush (think of \u201cTom Sawyer\u201c). Other stylistic comparisons have been made between Stereo Crush and the Smiths and the Cure. There is some truth there too, although this band sounds more like Robert Smith fronting the Smiths or Morrissey fronting the Cure. And Bono fronting Joy Division is a component here too, it would seem.<\/p>\n

Still Stereo Crush are not a retro band, despite the fact that Stanfill\u2019s keyboard patches recall \u201880s staples: the analog Sequential Circuits Prophet 5 and the digital Yamaha DX-7 synthesizers. And Stereo Crush are not a copy band either. Instead they are the sum of their influences- sounding something like many, but exactly like none. Their material is intelligent, if not always intelligible. But, with this recording, they are certainly presented in their very best light and the consistent high quality of the material here reflects that fact.<\/p>\n

Stanfill\u2019s burbling, organ-like keyboard arpeggios squirt out against Crash\u2019s brash, Neil Young-like guitar chords, over an F#m\/D progression, on \u201cOxygen.\u201d Crash\u2019s passionate vocals utter important phrases: \u201cAnd judgment calls\/Smart bombs,\u201d etc., whose apocalyptic imagery seems prophetically close to our current reality.<\/p>\n

Bassist Benjamin Rickard maintains a lean, sparse bassline through the verses, over Daniel Vallejos\u2019 robust beat. The chorus bursts forth briefly, with Crash\u2019s doppler bomber guitar figure and Stanfill\u2019s slippery, pitch-wheeled keyboard fills. Meanwhile, Rickard is allowed to play notes more frequently than once every four measures.<\/p>\n

\u201cBreak In Two\u201d follows, a song that could easily pass for Rob Thomas and Matchbox 20, except that Stereo Crush can really play their instruments and Stanfill\u2019s orchestral synth-string flourishes seem way outside of Matchbox 20\u2019s domain. Again, the arrangement is very spare, allowing for a spacious production- Rickard and Vallejo hold the song together, barely tethered together as Crash delivers the message. Stanfill\u2019s Foreigner-ish keyboard installations in the chorus give this band a unique sound. Meanwhile a strong bridge helps to elevate this song well above the mundane.<\/p>\n

Another brilliant arrangement distinguishes, \u201cPromises In Sand.\u201d Every instrument is given space to be heard, with no aural clutter, whatsoever. Crash\u2019s frenetic guitar squawks drive the song, but other guitars- a whipsmart electric rhythm guitar, as well as a frothy acoustic guitar are in the mix, in various places. Stanfill adds understated organ pads, while Vallejos and Rickard provide most of the forward motion.<\/p>\n

The title track is a moody number, with Crash\u2019s vocal sounding like Styx\u2019s original vocalist Dennis DeYoung singing over an instrumental arrangement that could pass for late \u201880s INXS. As the song progresses, a gathering reverberation of thick clouds, comprised of guitars and keys, begins to hover above rumbling bass and crashing drums. Emotively effective.<\/p>\n

The music industry is currently in such lousy shape, that it would seem there is no one home at the majors to promote the sort of intelligent, well played, well recorded music that Stereo Crush are obviously capable of creating. There are a few other bands like this around Portland. And it\u2019s a shame. They are all too good for the indie world of hit records: with sales of a couple thousand units. And the major labels so desperately don\u2019t know what they want,\u00a0 that other media (such as the internet for instance) are now about the only means by which the public can know of these great bands. This is a fine album by four good musicians and a great production team.<\/p>\n

\n

Gravity and Henry<\/a><\/strong><\/h2>\n

\"\"Sputnik: Traveling Companions
\n<\/em><\/strong>Revolve Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Gravity and Henry are a power duo of the highest order. Vocalist\/guitarist Matt Sheehy and drummer extraordinaire, Jarhid Brown (who also adds background vocals) easily pass for the Police of the 21st<\/sup>\u00a0century with this baker\u2019s dozen\u00a0 of high quality songs, well-written, well-wrought and well-produced. Intelligent, impassioned and energetic, this pair overflows with ideas, with the inherent abilities to fully execute those ideas.<\/p>\n

While not sounding particularly like anyone, Sheey and Brown call to mind \u201880s bands such as XTC, U2, Oingo Boingo and especially the Police, as well as more current acts such as Semisonic and its predecessor, Trip Shakespeare. But more so even than Scott Plouf\u2019s contribution to the Spinanes, Brown\u2019s awe-inspiring drum work integrally drives every song, with a Stewart Copeland-like authority. This is not to say that Sheehy is any slouch on guitar. With the benefit of multiple overdubs, their sound is thick and complex. These guys are way beyond competent. Having carved out a sound of their own, they explore a wide variety of musical forms.<\/p>\n

Byrdsian vocal harmonies abound on \u201cTrigger\/Response,\u201d a straight-ahead rocker. A Police-like interlude, reminiscent of \u201cEverything She Does Is Magic\u201d initiates \u201cFull Minute Figure,\u201d before the song evolves into a Big Head Todd and the Monsters sort of song: melodically earnest, emotionally subdued. Brown cuts through the \u00be time signature with incredible inventiveness, through to the intense conclusion.<\/p>\n

Some strange time signatures twine through the tightly wound \u201cMarch 4th<\/sup>,\u201d creating a sense of foreboding and darkness, evocative of\u00a0OK Computer\u00a0<\/em>period Radiohead. Brown\u2019s ever-shifting, syncopated drum work, impacting like gunshots through the course of the song, machine gun fills and thunderous cannon vollies in the verses, lead the attack.<\/p>\n

A droning, Middle Eastern flavored riff is the propulsion behind \u201cWellbutrin,\u201d as Sheehy creates an Andy Partridge like mood with Who-like overtones, with his modal guitar intonations and brusque vocal assiduity. \u201cLullaby Song,\u201d is a solemn march, with-banjo like guitar riverboats sailing on shimmering, watery percussion. \u201cShit For Laughing,\u201d features angelic three-part harmonies and reverent vocals over an (eventually) hard-hitting drum fusilade. The middle section dissolves into rippling puddles of echo-generated sounds, swirling and eddying, slowly building back to the chorus. The Verve comes to mind on this song.<\/p>\n

\u201cSinkful Of Rust\u201d balances upon a moody\u00a0 piano setting and the relentless waltzing carousel of Brown\u2019s drums, as Sheehy\u2019s voice mournfully resonates upon a sad song- like a modern update of the Moody Blues\u2019 \u201cNights In White Satin.\u201d<\/p>\n

Trip Shakespeare comes to mind\u00a0 in the soulful \u201cEmergency Exit,\u201d a rousing chant that ends abruptly, bursting like a bubble as the instrumental \u201cThe Apollo Room\u201d begins, with chiming guitar harmonics ringing like bells on a crisp spring morning, as Sheehy wordlessly calls out across the musical countryside. The guitars build to a crescendo before the cycle repeats. A ghostly piano theme hovers against sputtering drums, giving way at the end, before the thread is picked up by the drums in the next song, \u201cObjects Designed To Conserve Space.\u201d<\/p>\n

A churning beat, jagged chords and an off the cuff vocal are very XTC-ish. Brown\u2019s relentless thrashing of the drums are the primary motivation on this, another mostly instrumental number. This gives way to \u201cKicking And Screaming,\u201d a skittering contrapuntal jig, that spins deliciously in the inspired middle section. Incontrovertably powerful.<\/p>\n

Another waltz, \u201cNew Spanish Dictionary,\u201d is played fairly straight by Brown, who adds some nice jazz fills at the turns, but mostly sits back, in the dappled melancholy light cast forth by Sheehy\u2019s death-spiraling guitar riff. \u201cBackyard Epiphany\u201d is a whirling satellite of a piece that briefly crosses the sky of one\u2019s perception before blinking out of view.<\/p>\n

As the band\u2019s promo material points out, the Russian word sputnik means \u201ctraveling companion.\u201d That is an apt sentiment for the explosive talents of Matt Sheehy and Jarhid Brown. Sheehy\u2019s talent is especially admirable, as he is able to keep from being overshadowed by Brown\u2019s truly incredible drum work.<\/p>\n

It\u2019s not clear if this band will be able to pull off\u00a0 a live show, using a computer as a third member. Bringing a real bass player on board, one with the same level of skills and competency as these two monster musicians demonstrate, would make of this band one of the best power trio\u2019s anywhere, ever. While lyrically it is not clear what it is Sheehy has to say, he delivers his vocals with passion and conviction. And while there may not be any \u201chit singles\u201d here, the music is always thought provoking and jaw-droppingly well executed. This is a great young band.<\/p>\n

\n

Precursor<\/a><\/strong><\/h2>\n

\"\"Pr<\/em><\/strong>ecursor
\n<\/em><\/strong>Self-Produced<\/strong><\/p>\n

Oh, it\u2019s been over twenty years now since former Two Louies columnist Gary Aker infamously asked of the popular local hair band, \u201cSequel To What?\u201d Admittedly, his was a cheap shot, but it brings to mind another question about another band, all this time later. Precursor to what? Now hear me out, I mean this in a good way. I think.<\/p>\n

For, here is a fairly lo-fi recording of three songs, produced by an enterprising fivesome of like-minded young men, who, with a spit-and-bailing-wire approach, cobble together some very interesting music, which,\u00a0 at various times seems influenced by Zappa, the Stones, the Doors, Led Zeppelin, Afghan Whigs, Radiohead, Morphine, Blur, Offspring and Silverchair, to name but a few.<\/p>\n

This is mood music- somewhat non-linear, at times very energetic and at others a little disoriented and discorporate. The musicians, vocalist\/guitarist Andrew Munson, drummer Chad Noakes, bassist Scott Noakes, and guitarist Ryan McIntire present a sometimes dense sound. The addition of dj Jon Brennan to the mix adds an unique spin to the production, creating noir-ish contrasts and gritty textures. Sometimes the music strays from its musical point, as the band offers occasional soliloquies of gibberish. But, in many instances, they display real power in their performances, as well as real imagination.<\/p>\n

Ocean sounds, a singular guitar and a falsetto voice lead us into \u201cBlack Widow,\u201d before the song quickly gathers in intensity, if not in lucidity; raging thunderously, full of sound and fury. It\u2019s not clear what it is, but it\u2019s quite clear there\u2019s a problem here. It all resolves in some pretty, but eerie falsetto vocals.<\/p>\n

More of a straight-ahead rocker, \u201cPsalms\u201d rides upon a classic rock guitar riff and a vocal line that parallels that riff, sounding something like Supergrass at first, before the song becomes a Hives meets the Vines sort of hopped-up affair- with a spacey middle section. The apocalyptic ska of \u201cDead Man Walking\u201d creates an energized atmosphere, with vocals that sound a lot like Mick Jagger fronting the Strokes.<\/p>\n

Precursor\u2019s somewhat reckless approach to DIY home recording suits their sometimes sloppy approach to their material. But this band is not without potential. The vocals are generally charismatic in an idiosyncratic sort of way. The guitars often deliver well-wrought pieces of exposition. All in all it seems that the band has real possibilities and is, most assuredly, a precursor to something!<\/p>\n","protected":false},"excerpt":{"rendered":"

All Girl Summer Fun Band 2 K Records BUY The Donna\u2019s these women ain\u2018t, but the Soft Donnas, maybe. And perhaps, in some ways (thematically),\u00a0 they are the anti-Sleater-Kinney (while sounding a little bit like them, at the same time). … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":48,"menu_order":9,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\nGBU - 2003 - 04 - spclarke.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/spclarke.com\/?page_id=835\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GBU - 2003 - 04 - spclarke.com\" \/>\n<meta property=\"og:description\" content=\"All Girl Summer Fun Band 2 K Records BUY The Donna\u2019s these women ain\u2018t, but the Soft Donnas, maybe. 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