| | Weird War If You Can't Beat 'Em, Bite 'Em CD Weird War Discography of CDs
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Originally the name of Ian Svenonius, Michelle Mae, and Neil Hagerty's supergroup, Weird War became the name of Svenonius and Mae's other post-Make-Up band when a group of French graffiti artists claimed the rights to the name the Scene Creamers. Fittingly enough, Weird War's second album, If You Can't Beat 'Em, Bite 'Em, plays like a cross between the first Weird War album's conceptual noodling and the more focused psych-funk-rock of the Scene Creamers' I Suck on That Emotion. Regardless of its name, the band is just as weird as ever, applying freaky garage-funk to sex and politics; while Weird War's approach and themes could be considered repetitive at this point, the band still sounds like no one else. If You Can't Beat 'Em, Bite 'Em finds Weird War continuing to follow their bliss, particularly on "Tess," a psych pop ode to Tess of the D'Urbervilles, and "Music for Masturbation," the aptly wanky, slightly creepy monologue that opens the album and sets the stage for its sexual/political manifestos. A stoned vibe permeates the whole affair like a cloud of pot smoke, for better and worse; it works well on "One by One," a ballad that quotes Pink Floyd in its music and Chairman Mao in its lyrics, and also, obviously, on "Store Bought Pot." However, it blunts (so to speak) the impact of some of the harder songs, such as "Licking Stick," "Moment in Time," and "Chemical Rank," all of which end up sounding more than a little formless. Despite its lazy haze, If You Can't Beat 'Em, Bite 'Em has a few standout moments: "AK-47" is the album's clearest statement of intent, uniting revolutionary fervor and the urge to get up and dance. "NDSP" blurs the boundaries of sex and power, repeating the phrase "sexual Palestine" like a mantra over tumbling drums. Not surprisingly, the title track is the album's best, offering the lean, muscular rhythms and witty wordplay that should've been on more of If You Can't Beat 'Em, Bite 'Em; however, the guest vocal by Jennifer Herrema (billed here as JJ Rox) almost redeems the rest of the album by itself. Neither the best nor the worst chapter in Svenonius and Mae's career, If You Can't Beat 'Em, Bite 'Em is often frustratingly and surprisingly lukewarm, especially considering the triumphs of their previous bands. ~ Heather Phares
Weird War: M.M., Ian, Alex.
Personnel: Alex Minoff (vocals, guitar, electric guitar, electric sitar, harpsichord, drums, percussion); Michelle Mae (vocals, electric guitar, Clavinet, electric bass, percussion); Ian Svenonius (vocals); Azita (piano).
Q (p.108) - 3 stars out of 5 - "Zooming between itchy-scratchy grooves and more folky moods, Weird War prove that weird doesn't need to mean inaccessible. A mind-bending collection." Mojo (Publisher) (3/04, p.110) - 4 stars out of 5 - "[T]he trio strikes up some profound, irresistible grooves..." If You Can't Beat 'Em, Bite 'Em Music | List Price | $17.97 (You save $1.82) | | Category | Rock/Pop Albums, Rock CDs, Oldies, Garage Band | | Label | Drag City | | Orig Year | 2004 | | All Time Sales Rank | 155036  | | CD Universe Part number | 6631554 | | Discs | 1 | | Release Date | Jan 27, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Weird War; Seth Bohn | | Engineer | Jessica Ruffins; Bill Skibbe | | Personnel | Alex Minoff - vocals, guitar, electric guitar, electric sitar, harpsichord, drums, percussion Ian Svenonius - vocals M·m Michelle Mae - vocals, electric guitar, Clavinet, electric bass, percussion Sebastian Thomson
Also: Dignificant Worm, JJ Rox, Azita |
Weird War If You Can't Beat 'Em, Bite 'Em Songs If You Can't Beat 'Em, Bite 'Em Review
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$8.99 Aloha emphatically trumps their pair of mostly exquisite Polyvinyl EPs with an even more exciting debut full-length album that further blurs the distinction between prog rock, jazz, pop, and post-rock while extending the legacies of all of them. That's Your Fire is a wildly adventurous recording, full of vibrant experimentation and improvisatory chance taking that is consistently pulled off. Although the band delves into innumerable musical genres, there is no mistaking their identity, thanks in large part to the sensational musicianship of the four band members. Aloha's deep and dreamy basslines, complex drumming, and mystically sparkling rhythm guitar would have been enough to set them apart from similar-minded peers. But the ubiquitous presence of vibes, as well as Tony Cavallario's melodically flexible vocals, renders the music mantra-inducing, which in no way implies that the quartet is all otherworldliness and no edge. They jump from the ethereal (the delusory oases of "Liberty" and "Heading East") to the spasmodic (the angular, punk space-age bachelor pad Devo of "Last Night I Dreamt You Slept Beside Me") with ease, ricocheting from the hulking pop anthem "Ferocious Love" to the jazz-funk fusion of "A Hundred Stories" to free jazz. None of the songs ...
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$15.39 Lee Mallory, Randy Swickard, Allison Buft (background vocals).
Recorded between 1966 & 1970. Includes liner notes by Dotti Holmberg.
Although Holmberg did not release solo recordings in the 1960s, she recorded fairly often in the studio and at home, yielding enough material to produce this 17-song mixture of 1966-1970 studio productions and home demos. Her Curt Boettcher association is what will probably draw a lot of collectors' attention to her work in the first place, though as it happens just four of these tracks (all from 1966) were produced by Boettcher. Those Boettcher cuts are, well, typical Boettcher: candy-sweet melodies and lyrics matched to multi-layered Baroque pop production, with Holmberg's vocals verging on the childlike (not always to good ...
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$15.59 IF I SHOULD FALL FROM GRACE WITH GOD marked an apex for the Pogues--with producer Steve Lillywhite at the helm, their neo-traditional Irish songcraft was given a particularly timeless touch without compromising any of the band's trademark intensity. Adding yet another wrinkle of the Irish experience to his profound, intense lyrical oeuvre, Shane MacGowan touches on the Irish in New York, occasionally conjuring up reminders of George M. Cohan (who even gets name-checked here, on "Thousands Are Sailing"). "Metropolis" is a jazzy, brass-fueled instrumental, while the over-the-top sentimentality and swirling strings of "Fairy Tale of New York" made it an instant Christmas classic.
From the irreverent bravado of the opening title track straight through to the jokey, fatalistic closer, "Worms," IF I SHOULD FALL is a rollicking, sometimes brutally honest document, driven hard by the band's inspiringly tight, masterful playing and propelled by the raspy vocal and compelling lyrical attack of MacGowan. "Bottle Of Smoke" ...
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