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Pitchfork was a fine enough band, but whatever happened between those days and the launch of Drive Like Jehu made the newer group a quantum leap forward, as this gripping album demonstrates. Starting with the deceptively calm then ripping "Caress," Drive Like Jehu lives up to the Biblical reference of the group's name by feeling like a heaven-sent storm taking everything along with it at 200 mph. The Rick Froberg/John Reis guitar team sound like they've been dipped in battery acid, wired to a power station, and let absolutely loose, screaming, nervous riffs piled on top of each other and taking off for Mars. Froberg's own wild scream singing suits it perfectly, sounding like something's about to give and leave nothing in its wake. The concluding chorus to "Spikes to You" is a call-and-response from hell, his strangled wail sounding like a last desperate cry for help, while "Good Luck In Jail" sounds even more like something from beyond a violent, horrifying wall of sound. Reis helps out himself every so often, with equally fierce results -- "Step on Chameleon" practically burns with threat both vocally and musically, Froberg's additional interjections on the chorus even more unsettling while the weirdly beautiful mid-song break takes things to an even higher level. Meanwhile, the Mike Kennedy/Mark Trombino rhythm section know when to cut out and when to go full out, throwing in a bunch of tempo shifts and changes per song without sounding like wanky prog rock wannabes. Everything is done in the service of intensity and emotion, winding everything up to explode and then explode again, as with the heart-in-throat shuddering start to "If It Kills You." Even the group's quietest moments loom with threat, sometimes just needing Kennedy's bass or a soft hum of feedback, as on the start of "O Pencil Sharp," to make the point. ~ Ned RaggettNME (Magazine) (2/13/93, p.31) - 8 - Excellent - "...an exciting ride...all concerned slam into a bunch of tunes which swerve from power-punched punk to Sonic Youth-styled `Expressway To Your Skull' [from EVOL] feedback symphony...a band with a mission that's impossible to ignore..." Drive Like Jehu Songs | 1. | Caress |
| 2. | Spikes to You |
| 3. | Step on Chameleon |
| 4. | O Pencil Sharp |
| 5. | Atom Jack |
| 6. | If It Kills You |
| 7. | Good Luck in Jail |
| 8. | Turn It Off |
| 9. | Future Home of Stucco Monstrosity |
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Drive Like Jehu Music Review Average Rating: (5 out of 5 stars)  A revolutionary, groundbreaking record
Drive Like Jehu's debut album has to be considered one of the great rock records of all time. At the time of its release, it sounded nothing like anything that came before it (except perhaps Pitchfork, which featured Drive Like Jehu members anyway), and even now, 10 years after its release, it sounds as urgent and vital as ever. You can't really pigeonhole Jehu's sound within the rock genre; it's explosively jagged and intricate, yet the melodies are insidiously catchy. Check out the unbridled intensity of "Spikes To You" and "Caress", the brilliantly complex "O Pencil Sharp", and the relentlessly pounding "Atom Jack" for album highlights. This one gets my highest recommendation.
Submitted by commodore_wheeler (Novato, CA, USA)
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Purchase Drive Like Jehu CD To buy, Click on price to add to cart | Husker Du New Day Rising CD (1985)
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Newcastle natives Venom had exploded across the U.K. in 1981, unleashing one of the most reviled, unapproachable, and, well, toxic debuts in rock history with their landmark Welcome to Hell opus. An unprecedented example of sonic excess applied to the lowest fidelity recording available (or even imaginable), the album wielded its satanic subject matter and uncontrolled speed like a weapon against all that was considered tasteful and refined in music -- a true Frankenstein's Monster, even by heavy metal standards. Needless to say, it was ruthlessly ...
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Those familiar with songwriter and lead singer Rob Pollard's quirky genius already know how inescapably catchy his tunes can be, how disorienting and delightful his shape-shifting persona, and how hard his band can rock. They also probably know how irrepressibly prolific he is, which is where this excellent six-disc box set--which collects only a sliver of GBV's monolithic vault of material--comes in.
The discs are divided by function and/or source, with one offering up a 32-track greatest-hits sampler, another selecting b-sides and rarities, another delivering demos and outtakes (most of which were previously unreleased), another containing an in-concert performance, and yet another containing their first EP, FOREVER SINCE BREAKFAST. The final disc ...
| | Trans Am Liberation CD (2004)
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While rock's political side has been anemic for years, many predicted at the time of George W. Bush's election that having another Bush in the White House would signal the resurrection of indie rock's political conscience and consciousness. While it took a few years, that side of underground rock does seem to be slowly reviving. Trans Am's Liberation is a response to the Bush administration's war on Iraq, and extends into a general critique of what the band sees as the paranoid, invasive turn that America has taken since the September 11, 2001, terrorist attacks. Indeed, with such ridiculous-yet-ominous catch phrases as "Total Information Awareness" and "Spike in the Chatter" -- both of which appear as song titles here -- there is so much to skewer that it's more than a little surprising that it's taken this long for anyone to do so. Trans Am's attempt at political commentary is somewhat unique, since the band's songs are largely instrumental; aside from Godspeed You Black Emperor! and a few others, most politically oriented bands rely on lyrics to convey their opinions. While Trans Am's need to express their political views and their cliché-busting ...
| | Peaceful Mind CD (2004)
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| | Little Annie Songs From The Coalmine Canary CD (2006)
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The most constant subject in Little Annie's (aka Annie Anxiety and Annie Bandez) work, whether she is painting, writing prose, or recording her songs, is love. Songs from the Coalmine Canary is her seventh full-length album. And, as has been her wont, it sounds completely different from any of her other offerings. Produced by Joseph Budenholzer (who also co-wrote a number of tracks and is the session's guitarist) and Antony -- of Antony and the Johnsons -- who also played piano and co-wrote a number of cuts here with Annie, and released on Durtro Jnana, Songs is, on many levels, her most searing yet most celebratory album yet. "Freddy and Me," kicks it off with the names of philosophers, psychoanalysts, sex, cultural symbols, medical conditions, drugs, religions, spiritual icons, bodily fluids, and philosophies, all accompanied by an acoustic guitar and shimmering cymbals. When the band pops in full of a cabaret orchestra's take on pop and Annie starts to sing, the need for solace and solitude in the midst of desperation is what rolls out of her mouth. But the real shock is in the refrain: "Won't you get down on your knees/and wash my weary feet made out of clay...." which she turns upside down and points at herself in the final chorus. There it is, effortless, sweet, gently swinging, and devastating. "Derma," with its beautiful organ and piano interplay and simple chord changes, is one of those songs whose first lines you never forget: "Time may heal and birds may sing/Words may kill and truth may sting/And love may conquer many things/but derma covers all..." It's jaunty and catchy, but here again, the drama in her words and her straightforward delivery turns the listener into a receptacle of a truth that may be subjective, but resonates nonetheless as a poetry in motion, ever changing, ever uncovering, ever entreating into the heavens, but rooted to itself as human after all. "Lullaby," (dedicated to the deceased John Balance of Coil and other friends) is a beautiful paean to mercy and rest. But it goes on. "The Good Ship Nasty Queen," is a cabaret song answer to Brecht and Weill's "Pirate Jenny," straight-up. If the author Kathy Acker were still with us (late author of the infamously wonderful Pussy, King of the Pirates) she'd make it her theme song. "Absynthtee-ism" is both (black) humor/cultural observation and a deeply personal and moving manifesto, inside a tune that reflects gypsy swing, theater music, and of course, the smoky Berlin cabarets of the '30s. Annie is the quintessential feminist thinker her in songs. It's a feminism not only based in theory or cultural reflection, but in spirituality, humor, and in the experiences of love and relationships -- to people, places, ...
| | Matchmakers-Jan & Lee Cocks Words Of Love CD (2004)
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This CD showcases the talents of a selection of Australian poets. Jan is the voice that carries their words to your ears with clarity and feeling. These poets receive royalties from the sale of this CD. The poems express different facets of love. The especially composed music from Australian composers enhances the mood of each poem. "It's captivating", "It's emotional", "It is so diverse"JAN COCKS - Began acting roles at the Q Theatre in the 1970s. She is happily married to Graham, since 1985, and has one son, Lee. Graham is The Matchmakers manager. In the 1990s she moved into poetry reciting - on radio for Len Somerville and in nursing homes as part of the Jeff Nicholls 'Celebration' Group. In 1996 she teamed up with a professional classical guitarist, Lincoln Brady, to perform a combined poetry and guitar Act based on the sixth-century Greek poet Sappho and an Aboriginal story of the Evening Star. In 1997 she worked with music composer and keyboard player Scott Ellson to perform a collection of poems written by South Australians.LEE COCKS - He was 13 years old when the CD was recorded in 1999. He learnt piano for 7 years under the tuition of Rodney Smith. At 6 he started playing the piano at nursing home concerts as part of the Jeff Nicholls 'Celebration' Group. In 1996 he won a 2-year music scholarship at Cabra Dominican College and has played solo piano performances at College events. He played electronic keyboard in the College Band and was also a member of the College Percussion Ensemble.THE POETS:ANNA BROOKS writes poetry and short stories. She co-edited Friendly Street Poetry Anthology 19. A collection ...
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