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Porcupine Tree – ‘In Absentia’ (Lava)
There aren’t many bands around these days that make me want
to run out and buy their latest release as soon as it’s available. Porcupine
Tree is one of the few that do, and once again my loyalty has been rewarded with
a strong, personal album of progressive psychedelia. Rather than sounding like
some throwback to the seventies, though, Porcupine Tree mix in elements of
modern rock and electronic music to create a wholly unique and contemporary
sound. Lead off single “Strip the Soul” is the closest thing to a commercial
song on the album, an eerie number somewhat reminiscent of Nine Inch Nails or
Filter. “Blackest Eyes” finds the band in heavy metal mode for a peek into the
mind of a seriously disturbed individual. On the melancholy “The Sound of Muzak”
vocalist/songwriter Stephen Wilson decries the state of modern rock, singing
“The music of rebellion/ makes you wanna rage/ but it’s made by millionaires/
who are nearly twice your age”. “Prodigal” finds Wilson lamenting that he can’t
find solace even in religion or drugs, but by the end offers some hope with the
lines “The good times never seem to last/ (You know it’s not so bad)”. ‘In
Absentia’ is probably the band’s bleakest release over all. It’s a challenging
album to be sure, but worth the effort for those seeking music of substance and
depth. (Bob Ignizio)
The Sabians – ‘Beauty for Ashes’ (The Music Cartel)
I really hate to beat up on a band that’s trying to do
something different, but now and then we all have to do things we don’t like.
It’s not that folk music and metal can’t be mixed. Amorphis do just that quite
well. The Sabians, however, are another story. This sounds like a bunch of
renaissance fair refugees playing on Black Sabbath’s gear. And while I’m not
against bands dealing with unusual approaches to spirituality, their Gnostic
influenced lyrics leave me with no choice but to steal the review of Spinal
Tap’s ‘The Gospel According to Spinal Tap’. “This pretentious, ponderous
collection of religious rock songs is enough to prompt the questions, what day
did God create The Sabians, and couldn’t he have rested on that day, too?”
Hardcore fans of doom metal icons Sleep may want to pick this up because it
features drummer Chris Hakius, but I would advise against that course of action.
(Bob Ignizio)
Sahara Hotnights – ‘Jennie Bomb’ (Jet Set)
The Swedish invasion continues with the all-female Sahara
Hotnights. While hardly the most original band in the world, the Hotnights take
on melodic hard rock is catchy and fun. The riffing and vocal melodies show the
unmistakable influence of seventies bands like AC/DC, The Runaways, Cheap Trick,
and Sweet, but the thin production could stand to be punched up a bit. Still,
songs like “Alright Alright (Here’s My Fist Where’s the Fight?)” and “Keep Up
the Speed” are decent rockers, and the band shows their sensitive side without
becoming saccharine on the rock ballad “With or Without Control”. English not
being their first language, lyrics aren’t really the band’s strong suit. I’m
not asking for Morrisonesque poetry, but a few memorable lines on par with the
Runaways “Hello daddy, hello mom, I’m your ch-ch-ch-ch-cherry bomb” would be
nice. “The Sahara Hotnights aren’t quite worthy of “next big thing” status yet,
but ‘Jennie Bomb’ shows potential and should be worth checking out for girl
group fans and seventies freaks. (Bob Ignizio)
Squarepusher - 'Do You Know Squarepusher?' (Warp)
Largely abandoning the jazzy style of the past couple
Squarepusher albums, this is a return to old school electronic music that will
likely please many of Squarepusher's fans. The disc opens with a strong
up-tempo title track featuring heavily processed vocals and complex rhythms and
minimal synth. "F-Train" and "Kill Robok" are darker and more subdued
pieces that create an eerie atmosphere similar to some of Aphex Twin's creepy
ambient works. "Anstromm-Feck 4" starts with a simple melody that is soon
fighting to be heard over a barrage of electronic beats. "Mutilation
Colony" is an ambient synth lament that sounds like it belongs in a funeral
parlor from the future. The album closes with a cover version of Joy
Division's "Love Will Tear us Apart", the only major weak spot in an otherwise
decent release. (Bob Ignizio)
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