It Tastes Better Than The Truth

Album: Nude With Boots
Artist: Melvins
Genre: Sludge Metal
Year: 2008
Label: Ipecac

The Melvins are an institution of weirdness. They’ve been around forever now, since 1983, I believe, that’s forever in dog years, right? Right. The band is more or less comprised of guitarist/vocalist Buzz Osborne, drummer Dale Crover and a random third member. Over the years, the band’s membership has been in flux, the inconsistent piece being the bass player. For whatever reason, the Melvins seem incapable of holding onto one for more than a few years at a time, and they’ve got quite a few ex-members. The most recent departure was Kevin Rutmanis, also of The Cows and Tomahawk, who was booted out of the band for drug use, supposedly. This left Buzz and Dale in a quandary: what to do next, right? Being a Sludge Metal band, it seemed important to have a bass player to provide a weighty end to the music. But as long as they’re getting a new bass player, they thought, why not get another drummer as well. So began the latest era of Melvimania, the era of the double drums of peace. The new members come in the form of Coady Willis (drums) and Jared Warren (bass) of low-end Assault Metal duo Big Business. Incorporating Big Business into their band was the best decision that Osborne and Crover have made in years as these two young bucks decisively augmented their already impressive sound. They’ve since released two albums with this new configuration, the supremely awesome (A) Senile Animal and the supremely bizarre Nude With Boots. We’re here to talk about the second one.

Nude With Boots is the latest release by the Melvins and it shows them to still be a powerhouse of Sludgy glory, a swamp beast from deep within the bog, come to ooze it’s way out onto civilization and take us back to a time when all that mattered was that your guitar could riff and your drums could pound. There is a sort of primal simplicity to their music and it doesn’t need to be complicated to be good. The Melvins are very technically proficient though, as is evident in the dueling drums of Crover and Warren. The pounding fury they generate is dynamic and potent, each one augmenting the other with their banging battery. The Melvins are one of those bands where you can actually hear the double drum sound, especially in the bass drums, which rumble and roll like nothing else.

Besides the drumming, the most recognizable aspect of the Melvins music is Buzz Osborne’s booming vocals. Melvins lyrics rarely if never make sense but, boy, do they take up space in the mix. On this album, like the last one, Osborne’s deep, resonant bellow is backed by each other member of the band, quadrupling the effect and giving the weighty vocals even more girth. But a Melvins album wouldn’t be complete without the raging riffage created by Osborne’s guitar. It’s grungy but not dated, hardcore with more then three chords and it solos something fierce, but not in that masturbatory, egotistical way. Without it, the Melvins wouldn’t have a prayer.

The Melvins are not a Grunge or Hardcore band though, and Nude With Boots is considerably more jammy than (A) Senile Animal was. With (A) Senile Animal, each song had a very tight structure and that was only broken for the ends of songs in which almost every track dissolved into a drum battle between Warren and Crover. But Nude With Boots is different, looser in many circumstances and with less of the grounded feel than it’s predecessor possessed. The jammyest track is probably the upbeat “Suicide In Progress” which begins life as… well… a jam, before changing tracks and devolving into the Melvins version of haunting minimalism, complete with Osborne intoning dark remarks about “little animals floating in the air”. The whole album has a more energetic (almost weirdly happy) atmosphere that has previously been unheard in their music. It contrasts starkly when weighed against other pieces of their work, especially the dark Pigs Of The Roman Empire, which was just about as menacing as you can get with the Melvins.

The finest moment on Nude With Boots comes with the thunderous screamer “The Smiling Cobra” which contains the chorus “There is no ending! And there’s no wonder why!!” which could very well be the finest description of the Melvins I’ve ever heard. Nude With Boots is an excellent continuation of the wonderful strangeness that is the Melvins, if you’re already a fan, you’ll love it. If you’ve never heard them before, it’s an excellent blend of their straight-ahead Sludge Rock and odder more experimental fare. Regardless, you should get it. Why? Cause I said so.

Something Nobody Cares About But Me!

Album: Moonchild – Songs Without Words
Artist: John Zorn
Genre: Hardcore Improv
Year: 2006
Label: Tzadik

Improvised music can, in the wrong hands, go horribly, horribly wrong. Thankfully for all involved, John Zorn understands how to improv with style and skill. The Moonchild Trio was birthed out of one of the darker corners of Zorn’s mind, leading him to seek out frequent collaborators Joey Baron (drums,) Trevor Dunn (bass,) and Mike Patton (voice) to form the ultimate Hardcore Improv group. Baron is one of Zorn’s most frequent allies and a fellow Masada performer and Dunn and Patton are both of the Dada Metal band Fantômas. Under John Zorn’s direction, they are a nightmare of improvisational extremes. Musically speaking, the Moonchild Trio is a pitch black ensemble that touches on elements of Metal, Hardcore and Noise Rock. It’s a very simple arrangement, just the three performers with Zorn conducting from the wings, but the sound goes all over the place.

Like Fantômas, Patton relies on voice music outside the confines of language alternately spitting, cursing and convulsing out whatever dark abstractions pop into his head. That’s where a major difference between this work and something like Fantômas lies. With Fantômas, Patton has a set plan that he follows to the letter, but here, he’s allowed to run wild, only reigned in by Zorn. Dunn’s high tuned bass playing may be mistaken for a guitar, but it takes us on some low end rides that could only be bass work. Also allowed more room to go wild, Dunn thrashes about with the best of them providing the weightiest aspect of the music. Joey Baron’s Jazz inflected drumming beats out the primitive rhythms that hold the music together. I think that of everyone involved, Baron is probably the most constricted, because he has to keep the beat. Despite this, though, he’s still allowed a lot of room to freak out. As previously mentioned, Zorn, instead of playing his skronking saxophone, oversees and conducts the affair, like a warlock in the style of Alistair Crowley, who the album’s inspiration is partly attributed to.

Zorn had the right idea to sit this one out, lest the project just turn into Painkiller (another of his bands) without Bill Laswell. Zorn has some black patches in his mind and this is definitely one of the darkest. The album’s themes are all related to dark magics of one kind or another and that feeling of evil comes across strongly in the music. This is not for the faint of heart and those who don’t appreciate Noise should stay well away. The closest comparison I can think of is something like Ruins, which has the same arrangement of drums, bass and vocals. But Ruins is nowhere near the suffocating darkness of this album. The best way to listen to this music is from the safety of your thaumaturgical circle, with all your strongest wards in place to keep the demons away.

"Still No Rest Cause We're Not Finished Yet"

Album: Bayani
Artist: Blue Scholars
Genre: Hip-Hop/Rap
Year: 2007
Label: Mass Line Media

The Physics are fun and Grayskul is dark, but the Blue Scholars are another story entirely. Composed of Geologic (Rhymes) and Sabzi (Beats), the Scholars are the people’s Hip-Hop duo. Singing proletariat blues calling for social reform and empowerment of the people, the Blue Scholars have been called the Northwest’s finest, and thier album, Bayani, is a testament to that statement. This album is unique for a couple of reasons, but the one that stands out for me is this: This is the first Hip-Hop album I’ve ever heard without a single guest. Even Atmosphere’s God Loves Ugly had a track featuring I Self Divine. But here, it’s just Geologic and Sabzi holding their own, on their own.

Geologic is the voice of the Scholars, and what a voice indeed. While some rappers take the abstract route to storytelling, Geologic has a very direct way of explaining things. His voice is clear, crisp and completely calm. His subject matter is varied and deep, covering everything from the pain of immigrants (The Distance) to debating whether to give up riding the metro bus in favor of a car (Joe Metro.) His stories are all very accessible, making his pain and joy easily felt by the listener. Sabzi is the music of the Scholars and his production is also very accessible while remaining interesting and unique. His beats are unfettered and simple, and the samples he uses range from funky bass lines to dramatic piano phrases. It’s cool, because it’s not like mainstream Hip-Hop where the production is all glam, but it’s also not the gloomy minimalism of Grayskul or the abrasive machine funk of EL-P. It’s music for the people that’s uplifting and down-to-earth all at the same time. The combination of these two elements, Geo and Sabzi, makes for fantastic listening.

But just because Sabzi’s beats are head-bobbing goodness doesn’t mean that all is right with the world. The Scholars tackle serious matters in their songs and Geologic is one of the smartest, most explicit (I don’t mean swearing) political rappers I’ve ever heard. This is evidenced by tracks such as “Back Home” which is a direct comment on the Iraq war and the harrowing “50K Deep” which tells the tale of the WTO protests that took place in Seattle on November 30, 1999. It’s a brutal story to those who know it and Geo’s account is particularly memorable. It’s probably the best track on the album and makes one wonder if we’re really living in the democracy we’re purported to be.

This album has not been easy to review because I’m afraid I’m not doing it, or the Scholars, justice. I can’t find anything bad to say about it; it’s flawless. Geologic and Sabzi are the cream of the crop when it comes to Northwest Hip-Hop and you will be a better person for going out and buying this masterpiece.

Extra! Extra! Read All About It: The Dark Heart News Of Aesop Rock

Album: None Shall Pass
Artist: Aesop Rock
Genre: Hip-Hop/Rap
Year: 2007
Label: Definitive Jux

My original introduction to Definitive Jux records was through the El-P album I’ll Sleep When You’re Dead. On the album were two tracks featuring guest appearances from two other Def Jux artists: Cage and Aesop Rock. Because of this, I will forever think of these three artists as the individual parts of a triad: El-P is paranoid, Cage is gross and Aesop Rock is weird. Born Ian Bavitz, Aesop Rock is one of Def Jux’s best and strangest artists and a personal favorite of mine in the Hip-Hop world. What makes him a favorite are the bizarre, often surreal lyrical themes the man surrounds himself with. Half of the time I couldn’t begin to tell you what it is he’s rapping about but I like it. He’s not like abstract rapper Busdriver, who is often nonsensical. Like his namesake, Aesop Rock tells stories. Odd stories, strange stories, but stories none the less. Deciphering them is the fun part, as the imagery he creates is something else.

None Shall Pass is thus far my favorite Aesop Rock album and features some of the best production that he’s had so far. Rock’s main collaborator in the production world is Blockhead, who produced almost the entirety of his Labor Days album. He returns here for seven tracks while Rock himself produces five. Other guest producers include El-P and Rob Sonic who also both rap on individual tracks. The Rob Sonic track is actually one of the most fun on the album. Rock and Sonic wax lyrical about the supernatural news service “Dark Heart News” a shout out to all those who can “levitate or bend spoons”. There are other great collaborations on the album, like “Getaway Car” on which both Breeze Brewin’ and Cage (the gross one) appear. It’s actually sort of odd. Both Brewin’ and Rock stick to the tracks plan of highlighting the woes of being stuck in a cubicle all day, but when Cage gets to the mic he goes off about his experience in a mental institution from when he was a kid. It’s not so much that it’s bad rapping, what Cage has to say is interesting; it’s just sort of off topic.

Of course, I’m only guessing at the interpretation of the lyrics here. I could have it all wrong but it’s more fun to think I know what I’m talking about most of the time. The greatest moments on this album seem to be produced by Blockhead. The title track “None Shall Pass” is a bouncing ball that you chase down the street after and “Coffee”, the albums closer, is nothing short of stomptastic and features a vocal section by John Darnielle of The Mountain Goats. Both of these tracks showcase Aesop Rock’s weirdness wonderfully too, that, of course, being the point. The album has weak points, the tracks “Fumes” and “No City” being two of them, but that’s really about it. If you like strangeness in your Hip-Hop mix, don’t pass Aesop Rock.

The System is Down

Album: Scars on Broadway
Artist: Scars on Broadway
Genre: Alternative Metal
Year: 2008
Label: Interscope

With System of a Down on a much-needed hiatus, the world finds itself with a hole that was once filled by aggressive, politically urgent music. That hole it seems is going to be filled by none other then the former members of System themselves, with each member pursuing their own projects. Serj Tankian, System’s vocalist went solo, releasing a record called Elect the Dead, which was exactly what the last two System records should have been: aggressive Metal music with Serj’s often surreal poetry complementing the whole affair. Shavo Odadjian, System’s bass player, is palling around with RZA of The Wu-Tang Clan but has yet to show us anything really concrete with his Achozen project. In the interim, Daron Malakian, System’s guitarist, has teamed up with John Dolmayan, System’s drummer, to form a new band called Scars on Broadway. The formula is to combine aggressive Metal music with politically urgent vocals. Sound familiar? On Scars on Broadways debut album, the auspiciously titled Scars on Broadway, we find Malakian doing little to deviate from System of a Down’s particular brand of Thrash Metal. But is this necessarily a bad thing? The answer is yes. As a friend of mine once said “what’s the point of having a solo project if it doesn’t sound any different from your regular band?”.

System of a Down created an excellent record in their early days and has steadily progressed backwards from there. The first album was a blend of Malakian’s Thrash Metal leanings and Tankian’s abstract, yet politically aware, lyrics. It was dark, abrasive and yet kind of accessible, probably due to Rick (The Dick) Rubin’s production. The second album was more of the same but even more accessible. System’s last two full lengths, Mezmerize and Hypnotize, were both mainly penned by Malakian, with him stepping forward to share vocal duties with Tankian. Here’s where the camels back breaks. Malakian, while able to pen an excellent riff, can’t sing like Tankian, he doesn’t even come close. Also, his lyrics tend to be more straightforward and down to earth in comparison to Tankian’s uncanny ramblings, giving the whole thing a less abstract and more unfussy atmosphere. This is what ruined the last two System albums for me, too much Malakian, not enough Tankian. Malakian was responsible as the lead songwriter on both albums for penning some of the worst songs in System’s catalogue, with Serj stepping in to save the day in only a couple of places. So my reaction to hearing that Malakian was releasing a solo album went like this: “Really? Why?”

But here’s a question, does Malakian fail as epically when Tankian isn’t around to be compared to? The answer is: kind of. Malakain still suffers from one big factor: his voice. It’s just annoying, high pitched and whiny. However good the music is completely overshadowed by the man’s petulant wailing. This is what I believe I will refer to as “Rush Syndrome” a situation where otherwise talented musicians suffer from an inept vocalist (maybe not, Rush isn’t that talented, suggestions?) The music, when taken on its own, is adequate. If you like the riffage of System then you won’t have any complaints here. That, however, is the problem. Adequate instrumentation and poor vocals combine to form even poorer music and there isn’t a whole lot of new ground being covered here. Malakian is still pissed about the system, the government, and the world and shows no signs of lightening up. And that’s fine, it’s good to be politically conscious, but that doesn’t mean you have to sing about it.
I am of the opinion that Scars on Broadway is a project with a future as every single fan of System of a Down will be sure to pick it up. But is it as good as either previous System records or Tankian’s solo album? No. Not really.

I still like Malakian, provided he doesn’t sing. The man has some musical chops that aren’t going away anytime soon. But he needs his band for them really to shine and he needs a vocalist worth backing Oh well. Maybe Odadjian’s project will bear fruit, cause this one sure didn’t.

We Carry On: The New Sounds of Portishead

Album: Third
Artist: Portishead
Genre: Down Tempo Electronica
Year: 2008
Label: Island

This is not Portishead of yore. In 1994, Portishead was one of the premier Trip-Hop acts, along with Massive Attack. Their music was informed by a Down Tempo, Jazz influenced sound, with Beth Gibbon’s unearthly vocals haunting the air. Their first album, Dummy, is a classic piece of Bristol Trip-Hop. In 1997, they released a self titled album and 1998, a live album. They then withdrew from the spotlight and performed for roughly ten years. Last year, Portishead returned with their appropriately named “Third” album. Unlike the Noir Jazz sounds of Portishead classic, this is a different animal, drawing on numerous electronic elements to form a cold and alienating whole. This album, more than their previous efforts, centers around the musical wizardry of Geoff Barrow and Adrian Utley. Beth Gibbons is still present and her vocals remain as eerie as ever, but the music she sings over is far more forward then the music of Dummy or the self-titled album.

The music of Dummy was immediately beautiful and spooky. The music of Third on the other hand, is immediately spooky, but the beauty may take time to emerge. Having eschewed the Jazz influence almost entirely, this album sounds rougher, not more rock, but more electric, with fewer samples and more raw sound, the kind you might get from a really old synth. This isn’t the only major twist though. One of the tracks, the short “Deep Water” is 1 minute and 33 seconds of Beth Gibbons and a tropical ukulele, creating one of the strangest Portishead songs ever recorded. It’s the most fun, and I do mean FUN, that you’ll ever have with Portishead and it reveals a sort of humor not normally seen in Gibbon’s sadness soaked vocals. “Machine Gun”, on the other hand, is a jack hammer of a song, with sharp, repetitive beats banging along like factory machines. It’s probably the loudest Portishead song that’s ever been committed to tape and its menacing atmosphere communicates a kind of fear that has only been hinted at in their music.

Third is nigh perfect, though it may not appeal to you in the same way that Dummy did. But this isn’t Dummy and shouldn’t be confused for it or their self-titled album. As I said before, this is a new animal, bred from blue electronics and an earth angel’s voice. Its sound is foreign, yet familiar and brings a kind of melancholy that hasn’t been felt in music for a long time. If you’re feeling blue, this album is for you.

Crack Sabbath: Better Than Your Kiss Cover Band.

Album: Bar Slut
Artist: Crack Sabbath
Genre: Jazz/Metal (sort of)
Year: 2004
Label: ???

Crack Sabbath is the best cover band that you’ll ever hear. This is not up for debate. Consisting of Seattle’s saxophone maestro Skerik, Hammond organ wizard Ron Weinstein, bass player Keith Lowe and drummer Mike Stone, the group is a veritable who’s who of Seattle Jazz power. I don’t know the group’s history, how they came together or really any details about the schematics, but it’s not for lack of trying. There simply is no information about them anywhere on the Internet. That being said, I’ll tell you what I know and hope to add something to the void of information.

As previously stated, Crack Sabbath is a cover band and the best one you’ll ever hear. I say this because, what other group could possibly produce such kick ass covers of both Charles Mingus and Nirvana tunes on the same CD? That’s right, no one. Most cover bands produce redundant music by simply playing the original work note for note without any variation or interesting contortions. But Crack Sabbath provides us with music that twists and turns so much you’ll have whip lash by the end of the album. Arguably, the best take on the album is their cover of Charles Mingus’s fantastic “Better Get Hit In Yo’ Soul” (slightly re-titled) which follows the original masterfully up until the bridge, where they break down into a cover of Black Sabbath’s Sweat Leaf. Mixing Mingus and Sabbath may sound like sacrilege, but it works out surprisingly well, the two elements brought together by master musicians. Keith Lowe is no Charles Mingus, but then again no one is and he does his best to fill his big shoes and does an admirable job. Skerik and Weinstein completely steal the show on the track, however, Skerik’s roaring sax takes center stage while being augmented by Weinstein’s manic organ. Things take an even more lunatic turn when the group tackles Nirvana’s “Breed” on which Keith Lowe’s grungy bass playing propels the track forward at breakneck pace. As good as it is, having heard the original so many times, I’m completely sick of this song and it’s cool to hear Skerik and Co. breath new life into this dilapidated carcass.

Just because Crack Sabbath is a cover band doesn’t mean they only perform covers. Four of the twelve tracks on the album are original works and all of them are utterly strange. The first is the droning “Crack of Doom” which opens the album and would make Drone Metal masters Sunn O))) proud. “Bar Slut” is a more traditional Jazz cut that demonstrates the groups compositional chops best and is the proper start to the album. The two strangest tracks though, are “Makin Out With My Dad” and “Bukkake Ducati” both of which take the Black Sabbath influence to heart giving us powerful Jazz Metal cuts that would make Ozzy Osborne blow a gasket. These are also the only vocal tracks on the album, with vocalist Brad Mowen growling his way through both of them. With Bar Slut, Crack Sabbath demonstrates some serious ambition and manages to follow through on it expertly. Some may balk at this modern group devouring and reanimating the works of Mingus, Davis and Cobain, but I’m not one of them. This album is solid and it’ll be worth your time to go to the extra effort to find a copy.

In Honor Of Oldominion's 10th Birthday Part. 2: I Think You Need A Lullaby

Album: Bleed
Artist: Smoke of Oldominion
Genre: Hip-Hop/Rap
Year: 2006
Label: Superhappywax

The Pacific Northwest is home to a vast and diverse Hip-Hop community. This is no longer news to me. One of the most interesting aspects of this community is the Oldominion collective. Comprised of over twenty odd members, Oldominion is a force to by reckoned with and features the talents of such Hip-Hop luminaries as Onry Ozzborn, JFK, Sleep, Syndel, Candidt and Smoke to name just a few. While Ozzborn and JFK have found some more recognition as the Grayskul duo, many of the other artists seem to go with little or no public acknowledgement of their work. Oldominion isn’t The Wu-Tang after all, and a lot of their music goes unheard by most people. This is truly a shame as the work I’ve heard thus far has all been pretty dope. The Gigantics debut album, Die Already, was my first exposure to the world of Oldominion. Though not an Oldominion album, it featured the talents of many members of the collective and was put together by Onry Ozzborn, easily my favorite rapper in the whole group… until now. Now, the line has been blurred by Smoke, whose debut solo album, Bleed, is giving Osborn and Grayskul a strong run for their money.

Smoke is a producer and emcee that, I think, may have crafted one of the finest Hip-Hop albums I’ve heard in months. Most of the production on this album is provided by Smoke himself, with just a few tracks being built by other Oldominion members. The sound of Oldominion, especially Smoke’s, production is becoming very familiar to me. It’s distinct, often dark and usually minimalistic in comparison to other Hip-Hop acts, with bare bone sound providing excellent backing for Smoke’s surrealistic ramblings. As an emcee he’s somewhere between the weirdness of Aesop Rock and the darkness of JFK, finding the place where they meet, and using the best elements of both worlds to his advantage. He’s also much speedier in his delivery than either of the aforementioned, words flying out of his motor powered mouth faster than a Circle Jerks song. His subject matter ranges from religion to relationships, darkness to drugs and each one is tackled with a kind of deadpan enthusiasm that reveals the powerful mind behind the wordy rhymes. This album is riddled with strong tracks like a gangster’s corpse is riddled with bullet holes. The combination of Smoke’s production and rhymes are an intoxicating concoction, which is a heady, but rewarding, brew to drink.

Easily the best track on the album is the addiction dirge of “Lullaby” with its midnight tolling clock chimes and doom saying guitar riffs. The track details Smoke’s descent into drug hell as he does everything in his power to maintain his high, disregarding everything else around him in favor of drugs. Sleepless, cold and aching he finds himself powerless, as does a girl of his acquaintance who also finds her life falling apart under the weight of her addiction. This track is chilling and quite worrisome in many ways. You hope that this tale is that of a character and not Smoke’s personal experience, because, quite frankly, it sounds like death in a bottle. But it’s also the best track on the album, combining Smoke’s mastery of production and lyrics as well as showcasing the gorgeous vocals of Yadria Brown, whose chorus adds to the hopeless atmosphere of the track.

There are other great songs on the album, like the flamenco guitars and self-deprecating lyrics of “Mudd” as well as the down tempo bass lines of the title track “Bleed” but no other track has quite the deathly cold atmosphere of “Lullaby”. For some people that’s probably a good thing, but, in my opinion, I could have stood to see more tracks in its (cold) vein. Though, again, the album is incredibly strong and “Lullaby” just happens to be its strongest moment.

This album is an excellent introduction to the Oldominion collective and a compelling document in and of its self. Smoke can hold his own and will hold your attention all the way through to the end.

In Honor Of Oldominion's 10th Birthday Part. 1: I'm An Owl In Flight!

Album: Bloody Radio
Artist: Grayskul
Genre: Hip-Hop/Rap
Year: 2007
Label: Rhymesayers Entertainment

Gloom is in the air when it rains in Seattle, and it rains a lot. Grayskul is the Hip-Hop personification of that overcast atmosphere, all dark tones and gothic lyrics. As Hip-Hop duos go, Grayskul is one of the finest and in good company being part of the Pacific Northwest’s Hip-Hop community and an offshoot of the Oldominion collective. Comprised of Onry Ozzborn and JFK, the two spit vernacular bleakness over gloomy beats, most of which are provided by various members of the Oldominion crew. This latest album, Bloody Radio, is over a year old at this point but is a strong document of this dynamic duo’s unique spin on Hip-Hop. You could call it Doom-Hop or Goth-Hop if you want to get really silly, but those are blanket terms that don’t accurately describe the eclectic mix of styles found here.

My friend Alex once said that all the best rappers have really weird voices and this is why he likes the Beastie Boys so much. Onry Ozzborn is gifted with a deep, powerful voice that carries his points across very clearly. JFK on the other hand, has a bizarre voice, very nasal pitched and a bit harder to understand. These are the primary voices on the album and they both are well complemented by the down tempo beats. The album has a very shadowy atmosphere, like wandering a city’s alleyways at night and that affords it an unusual presence in the Hip-Hop world. Every track on the album has kind of a minimalist bent to it, unlike some other Hip-Hop production which is all flash and glam, this is very subdued, not so much that it fades out of sight, but small enough not to obscure any of the voices.

Underground Hip-Hop being the collaborative environment that it can be, Bloody Radio is rife with guests, all of whom manage to lend their talents without overshadowing the stars of the album, those being Ozzborn and JFK. The list is pretty impressive actually. Cage shows up to say something nasty (as usual) on the short but sweet “How to Load a Tech” and Pigeon John ghosts his way through puppet show of “Dance the Frantic”. But the most impressive collaborative tracks come in the form of 1) the zombie apocalypse of “The Office” which has its chorus provided by the incomparable Aesop Rock and its final verse by Slug of Atmosphere, and 2) The haunting “Missing” which features not only some of Ozzborn and JFK’s finest verses, but also Andrea Zollo of Pretty Girls Make Graves singing chilling words about the loss of the soul.

The best track is number 4, the title track “Bloody Radio.” Ozzborn and JFK take time to wax out their opinions of modern radio and how it’s a cesspool of bad beats and repetitive lyrics. The track’s fast pace is different for the album, and provides one of their few shout-along choruses “What makes the world go round? THE RADIO! What makes you scream out loud? THE RADIO!” It’s the best track on an album with no real weak takes. Onry Ozzborn is quickly rising higher and higher in the musical world, being one half of Grayskul and the mastermind behind The Gigantics. What he’ll do next is anyone’s guess, but it’ll be good, I can promise you that much.

And We All Went To Heaven In A Little Row Boat...

Album: Ocean Songs
Artist: The Dirty Three
Genre: Instrumental Rock
Year: 1998
Label: Touch and Go

There’s something truly wondrous about the ocean. It’s vast, unknowable and beautiful beyond reason. The feeling you get when witnessing unknowable beauty is the same as that which The Dirty Three’s Ocean Songs evokes. The Dirty Three is composed of Warren Ellis (Violin, also of Nick Cave and the Bad Seeds,) Jim White (Drums) and Mick Turner (Electric Guitar) and together they create some “Authentic Celestial Music.” Picture this: You’re drifting out to sea in a little wooden row boat. The water is calm, the air is warm, and a cool breeze blows. Overhead you can see the starlight, the sky is completely clear. Moonlight shines all around you, illuminating the dark waters. As you gently drift, you hear angels fluttering above you. The angels are singing. You feel totally at peace with yourself and the world around you. And that’s just the first track. This album is worth acquiring for “Sirena” alone, but that is not the only reason.

I’ve heard that the earlier music by The Dirty Three was more raucous, more chaotic, but this album is nothing of the sort. Completely instrumental, this music has no need for words to tell stories. The melodies are nothing if not celestial, giving one the feeling of being rocked gently to sleep by the ocean current. Not that you would want to sleep through this, I’m just saying it’s calming music. It’s like taking a shower and letting the dirt and grim wash away, leaving you feeling clean and refreshed. Although there is no real leader to The Dirty Three, Warren Ellis’s violin is definitely the star attraction here. It’s elegant and captivating, steering the course of the album. Mick Turner and Jim White provide the groundwork for the album, allowing room for Ellis to work his magic.

White’s masterful brush drumming is especially gifted, providing the glue that holds the band together. He and Turner are not just background musicians and have more then their fair share of limelight, but to me, Ellis is the man. His playing is considerably different here then it is with The Bad Seeds. There he is furious and frenzied, but here, he is cool and calm, completely serene by contrast. It is a testament to his abilities that he can so effortlessly shift between the worlds of serenity and rambunctiousness, without carrying over any evidence of the other.

This album doesn’t really have that many flaws. The theme may get old for you after awhile, but if you bought an album of “Ocean Songs” and then want to hear something about the Gobi Desert that’s your own problem then isn’t it? This album is a masterful work of art and you should acquire it at once. Now, if you’ll excuse me, I’m still lost at sea and have a little while left before I find my way home.