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The assumption that is sometimes unfairly made of the Dischord label is that it is a repository for documenting the hardcore scene in Washington, D.C., and nothing more. However, a careful observation of its catalog would yield a wide variety of sonic experiments and textures that are on par with even the most heralded of indie post-rock imprints. The latest in a long series documenting a small circle of artist's careers in Washington, D.C., focuses on two groups comprised of two people. One-half of this puzzle is label co-founder Ian MacKaye and his Evens project, and the second-half is Jerry Busher and Jimmy Canty pairing under the guise French Toast. A far cry from the post-rock manifestos of Fugazi (Busher is the second percussionist during the group's live shows) and go-go blitzkrieg of Canty's the Nation of Ulysses/the Make-Up's funk-punk explosion projects, French Toast is a somber and electronically dominated project that nods in reverence to such other heralded D.C. projects as Happy Go Licky and more recently Dismemberment Plan. But what sets French Toast apart from these other groups is the level of restraint and maturity the duo display throughout the album's 12 songs. Sounding like it could have been easily conceived in the confines of John McEntire's Soma Studios, the duo works its anger and issues out until hitting the full, definitive stride of "Lion's Den" and "Seen Me," which wouldn't seem out of place on the finest of Pixies' recordings. The duo is versatile and moves easily from one texture to the next until the final and haunting moments of the album's closer, "Nobody Knows," a sparse piano-fronted composition whose weight is only intensified by the lingering silence in between notes. The final lyrics quite grimly state "there's no way to go but down," but In a Cave proves quite the opposite; it's an impressive debut with plenty to offer even the most stodgy of indie rock purists who still hold firm to the absurd notion that Dischord is hardcore punk and nothing else. ~ Rob Theakston
James Canty Of Make-Up & Jerry Busher Of Fugazi
Recording information: Key Club Recording Studios (07/2004).
Photographers: Bill Skibbe; Jessica Ruffins; Arianna Angles; Marc Roman; French Toast.
French Toast: Jerry Busher (piano); James Canty (bass guitar).
Personnel: James Canty (vocals, guitar, piano, keyboards, drums); Jerry Busher (vocals, keyboards, drums).
French Toast In A Cave Songs | 1. | Float Away |
| 2. | Pattern |
| 3. | New Dub |
| 4. | What I See |
| 5. | Lion's Den |
| 6. | Seen Me |
| 7. | In My Room |
| 8. | Off Center |
| 9. | Back Off or Els |
| 10. | Anger in Your Eyes |
| 11. | Insane |
| 12. | Nobody Knows |
| In A Cave Review
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Purchase In A Cave CD To buy, Click on price to add to cart | Built To Spill Ancient Melodies Of The Future CD (2001)
In A Cave album
$10.45 Built To Spill abandoned any strictly lo-fi leanings long before ANCIENT MELODIES OF THE FUTURE, the band's fifth full-length release, but it is with this album that the trio's near-perfect balance of indie- (almost math-) rock and surprisingly irresistible pop hooks hits stride for a full, satisfying LP. ANCIENT MELODIES OF THE FUTURE retains the line-up of Doug Martsch, bassist Brett Nelson, and drummer Scott Piouf for a third go around, and the consistency has paid off for the most level album of their ...
| | Pavement Slanted & Enchanted: Luxe & Reduxe CDs (1992) Remastered
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$14.99 This is a remastered and augmented edition of SLANTED AND ENCHANTED featuring the original album, the WATERY DOMESTIC EP, studio outtakes, two John Peel radio sessions from 1992, and a live recording from Brixton Academy.
Principally recorded at Louder Than You Think, Stockton, California; South Makepeace, Brooklyn, New York and Brixton Academy, London, England between December 1990 and December 1992. Includes liner notes by Stephen Malkmus.
By the time SLANTED & ENCHANTED ...
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On each of his first three recordings for Riverside Thelonious Monk included a solo piano presentation, and for many listeners these were the highlights of each recital. And so it was decided that Monk's fourth Riverside recording, THELONIOUS HIMSELF, would be composed entirely of solo interpretations...well, almost.
Those accustomed to the effusive stylings of keyboard masters such as Art Tatum might be baffled by Monk's approach. Monk is essentially a minimalist, a virtuoso of color, accent and space, who relinquished the technical trappings of his craft in pursuit of a specific aesthetic vision. Strip away the more extravagant aspects of Tatum's art--the showy runs, the ornate grace notes, the profuse modulations and asides--and you're left with an advance harmonic thinker, firmly rooted in the rhythmic pulsation of stride, not unlike Monk's "Functional." The main difference being that where Tatum compulsively fills space, Monk (like Basie) establishes a masterful sense of implication, so that listeners finish phrases in their ...
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