Review: France – “Remember Kids, Your Pigeon Is Sacred”

April 8, 2013 By Leave a Comment

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In this business of music/art, versatility always pays off in the long run, a belief that Clifton NJ’s France appear to have reinforced on their latest EP Remember Kids, Your Pigeon Is Sacred. The two-track EP barely hits the 7-minute mark, but there’s definitely a “quality over quantity” principle at play here. “Big Kids” sticks to a trusty “short, fast and loud” method, sporting big, driving riffs. The self-deprecating lyrics border on self-pity at times, but the energy levels prevent it from becoming too dour. “Honey” brings a more blues-oriented style to the table with hooks that are as thick and dense as the track’s namesake. The verses are like a tea kettle coming to a boil. Once the chorus kicks in Ken De Poto’s guitars rip wide open while Jared Saviano’s drumbeats fall like axe hammers before bringing things back to a calm.

Listeners who are already initiated will find that the duo have matured a great deal since their previous EP Rainbow Crow while newcomers will have a fantastic introduction to the band. It will be quite interesting to see just where Ken and Jared go from here.

Rating: A

Top Pick(s): “Honey”

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Review: Mel Washington – “Houses”

March 26, 2013 By Leave a Comment

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I’d imagine that the time South Carolina’s Mel Washington spent with his former band All Get Out is what laid the foundation for his solo work. After all, one doesn’t spend months out of the year writing and recording music, touring rigorously and pouring everything into their art without having grown in the process. After releasing multiple EPs and singles, Washington continues to make a name for himself with his latest effort Houses, an impressive album planted firmly in its Southern roots.

mel washington

Mel Washington

Washington wastes no time in making a statement on the fantastic “Whiskey Bent,” a song that can only come from those rough nights on the road. It’s a monster of an opening, with Washington’s soulful voice sailing over rugged guitar riffs. When it comes to his songwriting, Washington is something of a chameleon. Just when you think you have him pegged at the first track he spends the next eight further showcasing his versatility. Sure, “Whiskey Bent” and “We’ve Been Driving” prove that he can write arena-ready rock anthems, but Mel is never content to stick to one particular style, constantly upping the ante. The multi-instrumentalist expertly utilizes the many tools at his disposal, including slick banjo licks and breathtaking violin chords which paint a beautiful yet heartbreaking picture of lost love on “Come Back” while the harmonica and acoustic guitar are the focus on the brilliant “Caroline, West Virginia.”

Some listeners might feel a little mislead by the intro track, as the rest of the album goes through numerous tonal shifts before reaching its conclusion. However, with an open mind and unbiased ears you’ll be hard-pressed to find a collection of songs as rich and full of raw emotion as those found on Houses.

Rating: A-

Top Pick(s): ”Whiskey Bent,” “Come Back,” “Woe Is Me”

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Review: The Shins – “Port Of Morrow”

March 21, 2012 By 2 Comments

The Shins are back with a new album and a new lineup. However, does new also mean improved?

“Port Of Morrow” marks the band’s fourth full-length album, the first since 2007′s “Wincing The Night Away.” So much has happened in that span of time for frontman James Mercer, most noticeably a full lineup change prior to The Shins going on hiatus. During said hiatus James Mercer formed the side project, Broken Bells, with famed producer Danger Mouse. Together they’ve released a self-titled album in 2010 as well as an EP, the fantastic “Meyrin Fields EP” released in 2011.

Soon, Mercer went back to the well with an “All-New, All-Different” Shins and released “Port Of Morrow” on his own label Aural Apothecary with Columbia Records handling distribution.

Perhaps "All-New, All-Different" might've been a poor choice of words...

So how do the new tunes stack up? From the album’s opening track “The Rifle’s Spiral” one gets the impression that Mercer has decided to continue along with the electronic dalliances of “Wincing.” I personally would’ve been just as content if the track had been left off the album altogether, let alone be the lead track. It really brings nothing to the table. However, once “Simple Song,” the first single off the album kicks in it’s smooth sailing. The song harkens back to the classic Shins sound we’ve all come to know and love so well.

Interestingly enough those first two tracks pretty much set the tone of the album. It’s as almost James Mercer is at odds with himself musically. On one end, he’s got a lot of history with the Shins, which almost seems to exist more as a brand than a fully functioning band. It’s understandable, given the fact that from the very beginning this has always felt like Mercer’s show and his bandmates were merely carrying along his vision. On the other end, his work with Broken Bells has broadened his horizons and he probably wants to move forward. No song is more evident of that than the title track, which is also the album’s closer. If I didn’t know any better I’d think it were a Broken Bells b-side. Despite the polarizing tonal shifts, Mercer really sounds like he’s having a lot of fun with these songs. There’s a certain confidence and bounce in his vocals not heard in a few years, especially on “Bait And Switch” and “No Way Down.”

With each listen I find myself bouncing back and forth between striking a dismissive stance, wishing it sounded more like the Shins of yore or fully embracing the new direction Mercer’s taken. “Port Of Morrow” does very little to reinvent the wheel, but with some renewed focus, The Shins have released yet another great-sounding collection of music.

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