Rand Lines Trio
Learning Sanskrit
Independent Release
originally published November 21, 2007
Pianist and guitarist Rand Lines is one of Athens' more conservative jazz musicians. By "conservative," I don't mean stuffy, narrow-minded or nostalgic; I mean simply that you won't hear any jam-band digressions, fusion pyrotechnics or ametrical freakouts in his work with his trio or The Ramekins. In other words, his music doesn't challenge Wynton Marsalis' idea of jazz.
To merely pinpoint Lines' sound along a continuum, though, is to miss the point. Learning Sanskrit, his first recording with drummer Jason Cheek and bassist Dennis Baraw, is less concerned with tracing jazz's boundary lines than with exploring the space within them. Compositionally, texturally, emotionally, the album's eight songs are diverse. "Gingerbread Man," with its stuttering intro and pull-push dynamics, swings like a cut from one of those heady Blue Note LPs from the '60s. The dewy cymbals, probing bass and fluid electric guitar work in "Poplar" recall classic material from another great jazz imprint, the atmospheric ECM label.
For a debut release, Learning Sanskrit is tight and well-played. Lines' hands simultaneously coax lovely clusters of notes from the piano in "Not So Much," reminding me of Brad Mehldau's skillful two-handed solos. Speaking of Mehldau, his "When It Rains" is rendered energetically here, with Cheek and Baraw brewing up a quiet storm over Lines' graceful melody. Like the Trio's other songs, this interpretation of Mehldau impresses with its attention to detail and dignity.
Rand Lines Trio is playing at the Melting Point on Thursday, Dec. 13.
Dylan Blues Project
Possum Hollow Road
Independent Release
originally published November 21, 2007
With “Dylan” and “Project” in its moniker, one might first mistake the longtime local blueshounds in Dylan Blues Project as creating an homage to the froggy Mr. Zimmerman. However, the trio, led by Ila-based guitarist Avery Dylan (Haze, College Boys & the Townies), has churned out some seriously bluesy Southern rock in the Athens area and beyond for the better part of the last 10 years.
Possum Hollow Road is actually the final release for the Dylan Blues Project proper, though Dylan plans to carry on with a new band (the similarly titled Avery Dylan Project) comprised of different members. On Possum Hollow Road, though, Dylan, drummer Brian Crum and bassist Britton Posey sound like they’re just getting warmed up.
Commanded by Dylan’s sinewy Stratocaster licks and rough-hewn vocals, the bandmembers do on record what they do just about any other night of the week - serve up no-nonsense, floor-tom-rattling bar blues with little frills attached. Whether it’s the suave, near Lyle Lovett-sounding “Back on Track” or more aggressive, Hendrix-inspired fare like “What It Means,” Possum Hollow Road is a fitting souvenir of this group’s final chapter and, we can only assume, a partial preview of what’s to come from Dylan and his new ’mates. This time around, though, they sure could use a harp player!
Avery Dylan Project is playing at Allen’s Bar & Grill on Friday, Nov. 23.
Electro Group
Good Technology
Clairecords
originally published November 21, 2007
The long-time-coming sophomore release from Sacramento band Electro Group runs head first into the wall of sound. Utilizing electronic loops, Moog and spacey samples, the trio of Matt Hull (drums), Ian Hernandez (bass) and Tim Jacobson (guitar, vocals) have created an album that surprises as much as it endears. Without even going any further than the second song, it’s hard not to get excited and say “this is the best album of 2007” (it’s not, but damn, it’s close).
Good Technology delivers fuzzed out guitar and warbly vocals that crescendo high over melodic bass lines and spasmodic drums. Tim Jacobson’s vocals are barely intelligible due to the guitar distortion and the droned falsetto in his voice, but honestly, it’s hardly noticeable. Shifting between Paisley Underground pop and shoegazer-laden atmospherics, Good Technology meshes the two into a fine pulp of aural bliss. The psychedelic soundscapes and shoegaze-y melodies beckon to some lost My Bloody Valentine or Jesus and Mary Chain record.
The songs worthy of the most time on repeat are “Raise Your Head,” “Two Course March” and the blistering “Bikini States.” Every song is great, and if it takes another six years to create a masterpiece like this, then so be it - Good Technology was worth the wait.
Shout Out Louds
Our Ill Wills
Merge
originally published November 21, 2007
Our Ill Wills marks the second international release from the Scandinavian Shout Out Louds, and the album takes a decidedly different path from the band’s previous feel-good spirit lifter, Howl Howl Gaff Gaff. This latest one could be considered indie-pop for grown-ups. The whole album has a mature sound to it; the arrangements are tight and lush, the lyrics are meaningful and expressive, and the mood is wistful without being too depressing. Vaguely reminiscent of bands like The Cure, The Smiths, and to a lesser degree, Bright Eyes, Our Ill Wills eschews some of the New Wave traps in favor of charming baroque-pop melodies. Our Ill Wills draws on the old familiar themes of love and regret, of finding yourself and losing yourself, and of idealism versus realism.
Yet, when Adam Olenius pleas “I just want to be bothered with real love” on “Tonight I Have to Leave It,” the sentiment has never felt more earnest. “Your Parent’s Living Room” is the standout track, with an instrumental break so sweet, it’s barely audible over the sounds of your own sighing. “Blue Headlights,” with its dulcet boy/ girl vocals and “Impossible,” with its nearly seven-minute ode to heartbreak, tie for a close second. Not too sad, and not to joyful, Our Ill Wills winds up being the album that most appropriately welcomes autumn, and it’s about time for that season anyway.
If you are having problems with the site, or have questions or suggestions, please contact us here. Thanks!
Care to comment on this article? Click here!
You will be the first person to comment on this article.