October 16–23, 1997

music|the music issue

the music issue

Hometown Heroes

A cavalcade of notable Philly releases.

by Neil Gladstone

Bardo Pond

Lapsed (Matador)

This album rocks. No, it doesn't rock in a way that's going to put Bardo Pond on the Ozzfest tour, but the Bardo Pond on Lapsed is heavier, fuzzier and more cohesive than the quintet that played on their last album, Amanita. Sure all the members may be the same, but guitarists John and Michael Gibbons have learned how to get the most out of their fuzzboxes, with piercing leads that make melodic statements instead of just textural soundscapes. Isobel Sollenberg's soothing vocal offsets the blistering guitars with a dewy melody. Much of Bardo Pond's early output has fallen under the gauzy prog-rock category that includes Can and Amon Düül II. Lapsed still finds Bardo blissed out in the stratosphere, but moving closer to the Sonic Boom school of pulsing, torrential guitar. The grinding "Tommy Gun Angel" and bluesy "Pick My Brain" demand and deserve much more of the listener's undivided attention than the band's previous output. The album maintains a similar texture throughout without becoming repetitive or tiresome. One of the best local releases of the year.

 

Bootlickers

Universal Nancy EP

On the inside sleeve of Universal Nancy, The Bootlickers point to Aimee Mann, R.E.M. and Crowded House as their musical inspiration, but their songs are more akin to the Magnetic Fields or Belle & Sebastian. Like those artists, they balance syrupy sentiments and sweet melodies with dry instrumentation and wistful singing. John McNeill's clean guitar strum plays counterpoint to the trio's three-part harmonies. Bootlicker lyrics can be extremely intense or tongue-in-cheek cute. In "Stephen," McNeill flies a kite with the ghost of a dead friend. "Sure of You" praises and questions a new romance with the goofy line: "In a Hardy Boys Mystery you're the greatest clue/ Though I've always been partial to Nancy Drew." Of course who could overlook the Bootlickers' cover of "These Boots are Made for Walkin'" with its phrase: "These Boots are made for lickin'." Though some of the hokier vocal arrangements could be toned down a bit, Universal Nancy is a very promising debut.

(For more info contact Ed LeBlanc, 333 South Camac St., Phila., PA 19107. The Bootlickers will be playing at Franny's Place Café on Halloween.)

 

Lenola

The Swerving Corpse (Tappersize)

On The Swerving Corpse, New Jersey's Lenola borrows ideas from two different schools of '90s rock and almost comes up with an original combination. One the one hand they've got hypnotic guitar drone topped with whispering vocals. My Bloody Valentine perfected this fusion a few years back on the album Loveless and unfortunately disappeared off the face of the earth. Lenola breaks their hypnotic wall of guitar with warped and prickly leads that take a note from the Pavement songbook circa Slanted and Enchanted. Two great sounds that sound great together? Sometimes. Though most of The Swerving Corpse is good, it's only occasionally great. "Spazco" is one of those finer moments. Juxtaposing a simple one-note riff with an expansive layer of delayed guitar makes for both a snappy hook and impressive texture. "Track This" is a little looser, but also works this formula well. On this album, the quartet seems to be forging its way to a distinctive sound (much more so than on their last outing, The Last 10 Ft. of the Suicide Mile). At this rate, the follow-up to The Swerving Corpse will probably be killer.

 

Love Seed Mama Jump

Seven Stories High (Zani-Mati)

Do you remember a late-night commercial advertising Freedom Rock—a collection of '70s folk rock bands? Seven Stories High is like freedom rock for the '90s. Love Seed Mama Jump is a little bit grungier than the first-wave freedom rockers like Bread and Canned Heat, but still fine for that open-air festival feel. Breezy guitar, sweet harmonies and head-bopping rhythms. Now if they could just do something about that band name?

 

The Low Road

Demolition (Record Cellar)

It's probably wrong to think of Demolition as the typical demo compilation. Most of the tracks were recorded with Adam Lasus at (the old) Studio Red and previously released on the cassettes Superior Quality Eggs, Crunch and Frü-Fry between 1990-92. Though the band played their last gig on Valentine's Day this year, it seems they were working on new material up until the end. The 19-track compilation features six previously unreleased songs (recorded as recently as '97), which are notable additions to The Low Road canon, not just forgettable B-sides. But it's the older ditties that prove why this spry band got signed (to Caroline) in the first place. Economical arrangements of harmonica, horns and violin make the most of Mike Brenner's heady lyrics and fragile melodies, recalling the influence of Richard Thompson, Bob Dylan and Pete Townshend. Unfortunately, it also points out that The Low Road's two full-lengths were unnecessarily overproduced. These mid-fi renditions capture the live energy of band without the superfluous arrangements that weighed down later releases. Hey, is it too soon for a reunion?

 

The Marinernine

A Little Something from the Weathervane's Perspective (Miner Street)

If you're expecting the indie pop Marinernine of yore, think again. This CD begins by scratching an old Star Trek record and just gets spacier from there on out. Songs? Who needs 'em. Computer bleeps, imploding drums, crying babies and guitar scrapes are where it's at. According to the press release, the idea driving this record is to capture the harmonic frequencies and "ghost sounds" that arise out of the combinations of different instruments and effect units. Bear in mind that half of the group, Brian McTear and Jason Knight, are recording engineers that co-own Miner Street studio. Weathervane seems like it was put together over a few late nights tooling around with the tape running. There are flashes of brilliance and other moments that could easily have been forgotten. It's always interesting, but not always engrossing.

 

Nerve Generator

"Hold Me Down" b/w "It's Over"

If it's true that the '80s retro craze is about to break at any moment, Nerve Generator is here just in time. They play peppy, new-wave pop with intricate synth leads that recall vintage Pete Shelley and Gary Numan. The overall effect may be kind of cheesy, but it's also fun. Never mind the Rentals, here's Nerve Generator.

(For more info contact James Botha, P.O. Box 42784, Phila., PA 19101.)

 

Various Artists

An Evening in Nivram (MuSick)

Just because there's only one Pennsylvania band on this collection (Harrisburg's Omega Men), doesn't mean this first-rate tribute album should be overlooked. The impressive lineup includes everyone from The Aqua Velvets to Teisco Del Ray and Jim Mankey (of Concrete Blonde fame). Fans of The Shadows—one of the greatest instrumental bands of the early '60s—will no doubt be impressed by the reverent and inventive covers on An Evening in Nivram. Every track is twangy, but purists will take note of The Omega Men's use of organ and Rickenbacker 12-string on "Main Theme" and Davie Allan fuzzing out "Tales of a Raggy Tramline." These tunes are so surfy it's a hard to believe that they're being released on a record label out of the landlocked town of Lansdowne, PA.