New Roman Times – International Affairs

Orlando, Florida isn’t exactly known for an explosive indie rock scene, but New Roman Times is determined to make its mark regardless. With pulsating, danceable beats and slightly crunchy, head-bobbing melodies, the five-piece sounds like a mix of Death Cab for Cutie (who they supported on tour at one point) and Pinback with a biting edginess and maybe a dash of electronica.

Dan Owens fronts the band with longtime collaborator/wife Josie Fluri. Owens has a pleasing, albeit quavery voice, sounding vaguely similar to the recently disbanded Mcluskey (whose 2004 release The Difference Between Me and You is That You Are on Fire wins the award for best album title of 2004). But, the real treat is the back-and-forth vocals between Fluri and Owens. (Also, if you’re a fan of Brian Jonestown Massacre, check out Fluri’s guest vocals on “If Love is the Drug Than I Want to O.D.”). On “A Scene from the Disco Era,” pounding drum beats and floating, layered guitars interlock with Fluri’s ethereal, intimate voice as she responds to Owens’s dance floor requests: “Hold me in your arms / (so we can be free) / but there’s a chance I’ll take that it could be you / (your ways mean so decided).” Pixies and Sonic Youth references are sometimes made too freely when referring to male/female vocal combinations, but New Roman Times deserves the comparison.

After a thorough listening of International Affairs, the previous history of the band makes sense. Owens has a breakdancing past and keyboardist Melissa Parker DJs in her spare time, both of which explain the blend of dance beats with indie rock. Most of the tracks have a healthy mix of programmed beats and natural drum sounds. In a couple spots, though, the songs suffer from a bit too much effect, such as on “Consequences,” in which Fluri’s vocals are barely recognizable because of the heavy effect on her voice. “The Patient” could also use some more melody development and a little less programmed noise. The best songs on the disc emphasize guitars and vocals textured with subtle electronic flavors, not the other way around.

Some of the songs border on impossible to understand, but are just poetic enough to work with the music. On “Absolute Beginners,” Owens and Fluri muse: “Insects in a room / cry out for nothing else / I’ll be there, don’t you worry, I’ll come quick, I’ll be there in a hurry / Insects in a room/ cry out for nothing else / I’ll be there soon, don’t you worry, I’ll come quick to help you.” I have no idea what that means. But, it sure does sound good with the throbbing drumbeat and in-your-face guitars.

International Affairs is the first release from Social Recordings, a brand new label and offshoot of Orlando concert venue The Social (which Fluri manages). With a national distribution deal, big things could be on the way for New Roman Times and Social Recordings.

(8th Dimension Entertainment)

Kasabian – Kasabian

I like Primal Scream. I think their blend of rock and electronica provides some of the most consistently challenging dance music of the last 13 years (if I have the release date of their brilliant mission statement, Screamadelica right), and if one can ignore their lyrics (which, honestly, is a concept one must utilize with most dance music), there’s plenty to like.

I like the Lo-Fidelity Allstars. Their sound may initially sound derivative of a group like Primal Scream or The Stone Roses, but their sheer bombast and close adherence to the idea that techno need not be austere, empty, beat driven, migraine inducement, but instead can be funk, melodic and poppy, puts them on every dance party mix I’ve ever made. 

I should like Kasabian, a group already receiving massive hype in the UK press for their self titled debut, a fusion of rock and techno that hasn’t been seen since … well … the last Lo Fidelity Allstars album two years ago. The elements are all here- the band has a full lineup, including a very skilled drummer who knows how to use a simple bass-drum pattern to bring all the party people out to the dance floor, a keyboard player who has clearly studied up on old organ riff from both ? and the Mysterians and James Brown songs, and club-friendly track names like “Butcher Blues,” “Processed Beats,” and, for the goth fans “LSF (Lost Souls Forever).” Unfortunately, the group is simply too indie for their own good. 

If you’ve ever been to a concert by an indie-approved dance group like Hot Hot Heat, The Fever, or (recently) Modest Mouse, then you’ve surely seen the types. Sipping away on their first (and only) beer, with crossed arms, one leg slightly bent, equally mocking and scowling at audience members who are dancing, flailing, or otherwise freaking out and enjoying the music, the indie concert goes begs the question- if you’re going to go to a concert just to stay sullen and look, ahem, “cool,” then why bother showing up?  I’m sure there’s a music store just down the street where you can go make fun of people buying Coldplay CDs.

And, sadly, Kasabian would be the guys, right up front, standing completely rigid. Sure, their bassist may occasionally nod his head, and the drummer will tap his feet and smile when the skinsman on stage pulls off that difficult fill, but soon both of them will resort to stoicism after getting nasty looks from the singer. If this were a CD of rock songs that simply had techno elements, then my major gripe would be with the lyrics on the CD, but you get the idea the band really wants people to get their freak on to this, so the problems run much deeper. All the band needs to do is forget about being cool for a moment and attempt the music equivalent of a double flying jump kick. “Processed Beats” has a great, danceable riff, and, typical of clubland, a paper-thin refrain of “I ran from the tide / Won’t let you hide, Won’t let you hide.” But singer Sergio Pizzorno sleepwalks through his delivery with nary one sign that he really cares whatever it is he is singing about. Of course, it would be easy for a person to throw back the example of Primal Scream, whose singer Bobby Gillespie’s delivers his words with a syrupy haze. His voice, I would argue can be energetic when it needs to (see “Rocks” for proof), but usually is much more fitting accompanying the slow, drug-fueled song that Primal Scream are prone to writing. With Pizzorno, it sounds like he just can’t keep up with his backing band, but also like he doesn’t really want to. The idea of putting energy and passion into his delivery would require breaking the sullen image he projects. Over an amazing bassline and menacing keyboard line in “I.D.” Pizzorno mumbles, “music is my world,” and the listener is left wondering whether he means the statement ironically, or whether that’s actually all the enthusiasm he can muster. 

In fact, the album’s absolute best song is one of only a few downbeat numbers on the album, “Butcher Blues.” The track might work because of its warmer production, its Albini sounding drums and bass, or its eastern-tinged keyboards. More likely, though it’s the lack of struggle between Pizzorno’s indifferent delivery and the track’s serene music. In this instance, the elements all come together to make a song that wouldn’t sound out of place on “Screamadelica.” Closer “U-Boat” (the rationale for the title evades me, except perhaps as a shout out to Primal Scream’s controversial, “Swastika Eyes”), evokes Muse, of all things, and thanks to another unexpected and well placed drum beat, the tracks ends the album on a high note.

But really, all one needs to do to really see this CD’s place among other techno rock hybrid acts is to compare its album art to other bands. Primal Scream art is colorful, blurry, and basically the equivalent of viewing the world after a bowl or two. The Lo Fidelity Allstars take a grittier approach, but their collage-artwork still intrigues, as does the lack of any band photos. In contrast, the artwork for Kasabian is cold, and brings up imagery of communist Russia. In their individual shots in the booklet, the band let forth their most dour Gap-model expressions. Only one question, guys; isn’t dance music supposed to make people happy?

(RCA Records)

The Decemberists – Picaresque

There are few modern bands that fully embrace how powerful of a medium music is. The Decemberists are of this scarce group who use music to tell stories—stories of life and living against the backdrop of unseen spectacles. They appreciate the mystery and secrets that layer life’s lush meaning, value and its simple wonders. Their latest album, Picaresque, embraces these mysteries, skinning the hides of normalcy to reveal the most realistic fantasies that child monarchs, runaway prostitutes, ghosts, spiteful mariners, drowning angels, cannibals and suicidal couples walk among us everyday. With the whimsical album cover and their lovely detailed stories within each song, clearly The Decemberists prove that all the world’s a stage.

Even in its creation, Picaresque inspires the unconventional during its recording in a Baptist church. The sound has much of a vaudeville and cabaret feel, with rich violins and accordions supporting lead vocalist Colin Meloy’s boldly caustic voice. The harmonies are nothing less than sea-shanty worthy. The mesmerizing quality of highs and lows that crescendo throughout each song illustrate each narrative with the power to lift moods and lead minds to the darkest of places. They create characters with as much affection and specificity as a best-selling novelist. While there may be no concise beginning or end, there is nonetheless a scene portrayed as skillfully and detailed as a snapshot from an elephant’s memory. In “The Mariner’s Revenge Song,” they recorded live around one microphone, very much paralleling the theater quality of spontaneity as well as having everyone know their parts—a true stage performance.

It is apparent that an ongoing theme within the entire album is of love and loss and the tragedies surrounding both. Whether it is forbidden love, unrequited love, the loss of childhood or the loss of lovers, each character has some form of tragedy driving its psyche. The instruments play accordingly—intense and deep with rolling drums, wailing violins, and heavy guitars when these characters undergo their major strife; and they are dreamy and light mostly when the chorus repeats to tell of the story’s echoing core with whichever fitting emotion that the song invokes.

Rarely in the pop-folk-rock category is there ever a band so dedicated and involved with every aspect of their duties as musicians. The Decemberists truly illustrate how rich and lush modern songwriting and storytelling can be. With their elements of theater, vaudeville quality and quirky scruples, Picaresque reveals a dreamy landscape of the lovely secrets and overlooked surprises of notions that everyday life is anything but—that there is a mysterious force whispering in our ears as we dream: we are greater than we will ever know. Shakespeare appreciated the all-encompassing scale of the world being but one grand stage; The Decemberists bring the stage to your ears. 

(Kill Rock Stars)

Wanted: One Time Freeze

Life Is Short. When your Grandparents say that to you, when you’re say, eight or nine, you laugh, with this subconscious perception that you’re going to live forever, and that you’ve got years and years left before you end up thinking the same way. I’ll be 18 in November. Officially an adult. That rather alarming fact has made me realise that all those patronising elders from your childhood were bang on – life is short and all you can do is sit and watch the years fly by.

I know, I know, I’m only 17. I’m practically a baby still, but I can assure you, even at my age you feel like the years have gone without you. Eighteen is an age I used to dream of when I was younger, about twelve, thinking “That’s years and years away,” and when I saw cousins and relatives turning eighteen, they seemed so grown up, so mature, and smart, and I was convinced that on coming of age, your one of the adults, and your thinking about children and houses and getting married.

Marriage is the last thing on my mind. Even before I do reach ‘that age,’ there are so many things happening, that scare me half to death – and outline my transition out of childhood and into the scary real world.

I’m currently studying for my AS levels, the first year of traditional A-levels. Suddenly I’ve come out of my GCSE’s and my safety blanket has been whipped out from under me – I may be in the same school, but the nurturing and motherly attention your teachers subjected you to for all those years has dissolved into essay after essay, responsibility you cant really get your head around, and exams appearing before you’ve had chance to catch your breath.

And then there’s an even scarier prospect – university. I know I want a degree. I need a degree for my profession – but being launched, rather forcefully, into choosing an actual university, rather than just putting it to the back of your mind for ‘when you’re older,’ is what really shocks you into growing up. You have to choose your last place of education before your thrown to the lions in the real world – you have to decide where in the county you want to go, expenses, where you’re going to live, what you actually want to do with your life – and on top of all that there’s the extra pressure of UCAS, personal statements, and whether your choice of university will actually accept you at all.

I’m currently in the process of choosing my mine, I think I’ve cracked it, and the one I’ve chosen means I can do as planned and get a house with my boyfriend – but then there’s the gut wrenching feeling of “should I move away?” “What am I missing?” “Can we afford to get a house?” You know it’s irrational, but you cant help it – I know I want to go to TASC, get my degree in journalism and live with my boyfriend for the duration – but what with everyone choosing their own Uni’s, open days, and careers advisers making you feel like this is the last chance you’ve got – you feel nervous and doubtful nonetheless.

Which leads me to my next big transition: choosing somewhere to live. My boyfriend works full time and runs his own business, so in that sense we’ve got the advantage that he can get a mortgage. We’ve been looking at potential areas we could move to – but whilst he’s clicking away on the internet and thinking about ‘our first house’ – I’m sat beside him, barely believing that I’m leaving home and moving into my own house. That I’ll be cooking, cleaning, paying bills, decorating, and then living with him– there goes safety blanket number two.

The fact these big decisions are looming are joined by small first time experiences, adding to the transition from seventeen and innocent, to 18 and independent. This June, I’m going on holiday, abroad, without my parents. For the first time. Now, I’ve been to France and Germany with school, and last summer spend a week in a hired caravan on the coast with two friends – but this is different. France and Germany, I was supervised by teachers. At the coast, my grandparents were in their caravan on the same site – but when I venture off to Salou, Spain, with the boyfriend, I’ll be very much unsupervised.

I know I’ll love it, and I am excited. I spent a weekend in London with him, and we coped fine. I think its more the fact that I’m finally doing these things, everything I knew I’d do ‘someday’ is happening all at once and I know I’m not a child anymore. I’m happy about these experiences – first times, big decisions, becoming independent, taking mine and Matt’s relationship to an adult level – but at the same time it makes me wonder where all the years went.

I remember turning sixteen like it was yesterday. I remember my first love not so long ago, and then the heartbreak that followed when it ended. All these things have now been and gone, and it feels like I’m growing up a lot faster than I first realised. It’s said that these years are the best of your life, after you turn 16 it’s all supposed to kick off – party after party, boyfriends, dates, new friends. I was talking about mortgages to my boss at work, and he stopped and said, “you should be out on the town every weekend, spending your wage on beer and nights out, not thinking about mortgages.’

But frankly that’s not me. I do enjoy my social life, and I am living the wild teenager life in a sense – I’m not going to deny myself of a mad party or a good night out. I got to see about two live bands a month, and attend as many music festivals as I can afford in the summer.  But with time going so fast – can you believe its March already? – I feel like I need to plan, as if I’m bracing myself for when it all explodes and suddenly I’m 18.

So what I’m requesting is a time freeze. It feels like before I know it another big experience has passed, another year has gone. If I can stop time, stop this ‘growing up’ business, just for a day, maybe too, I know I’ll feel more confident in the times that are to come. I know it can’t happen, well, not right now anyway, but wouldn’t it be perfect? If you could stop time, think about what’s been and gone, think about what’s to come, and rid yourself, just for those 48 hours, of the frightening feeling that life is short, and getting shorter.

I’m 18 this November. I’ll be the ‘grown up’ at the party who all the younger cousins are in awe of, I’ll be making big decisions that will affect the rest of my life, and all I can hope for is that I will be smart, mature, and grown up.

Wanted: one time freeze.

The Academy Is… – Almost Here

Talk about a drastic change and a turn of events. The Academy Is… have gone from a god awful debut EP that sounded like the biggest Taking Back Sunday rip-off to a full-length that not only is unlike like their earlier material, but actually sounds pretty decent. My expectations for this release were cautious, nervous and down right scared of how horrible it might be. After hating their debut EP, I thought this was going to be more of the same until I actually saw these guys open for Motion City Soundtrack and Limbeck. They played a set full of songs from Almost Here that were really captivating and catchy and that’s exactly what you get on their full-length; charisma. Now I know what you are thinking, this has all been played out before, and yes it has. But, on some levels, certain bands avoid getting lost in the shuffle by twisting and turning a few things here and there. This is what exactly The Academy Is… does on this release; offer just enough originality to the mix to separate themselves from the abundance of artists in the indie punk genre that all follow the same mold. 

The biggest change for The Academy Is… rests in the area of the vocals and their delivery. Vocalist William Beckett drops the whole Taking Back Sunday thing he did on the EP, for vocals that are more genuine and delivered in a laid back sense. His delivery and approach is much better rounded and almost monotonous at times, but it works since it bleeds into the music so well. I know it takes vocalists some time to find their own niche, but hearing Beckett on this current release as opposed to the EP, he definitely was trying way too hard to be something he wasn’t. It’s not even something you have to listen for; the change is just that severe and obvious. The music follows the standard verse, chorus, verse, chorus format that goes on and on. Everything, especially the choruses, are extremely sing-a-long, yet not to the point where you get sick of it- the reason being that musical structures before the choruses are situated nicely with thick guitar and a heavy rhythm section that creates a big sound.

This album is full of songs that have “single” written all over them. In fact, I don’t think it would be going overboard to say that all ten songs have the ability to be a single or have single potential. The band also does a nice job of situating the songs. The song “Attention” is a perfect song to open the album with and does a perfect job of setting the pace and tone. All in all, this release clearly shows a band that has really decided to develop their own sound rather than try to sound like this band or that band as they previously attempted. While their music still has a long way to go before they really create their own sound, they are doing just enough to get by right now.

(Fueled by Ramen)

Brendan Benson – The Alternative to Love

Some fellows who make music for a living have figured out that singing songs about girls isn’t exactly the least noble activity to be undertaken on this blue ball we call home. With some it’s just vitriol, and with others it’s a novel form of pop psychology. In fact, rock and roll would have withered on the vine and died a most uninteresting death long ago had it not been for the relational foibles of many a baffled songwriter or two. Take one look into the catalogue of say, a Matthew Sweet (a guy who be logically perceived as having paved the way for Brendan Benson and those of his ilk), whose songs about girls ranged from starry-eyed (“Girlfriend”) to viciously bitter (“Devil with the Green Eyes,” “The Ugly Truth” and the rest of Altered Beast for that matter) to facetious (“We’re the Same”) to mature and grown-up (“What Matters”), and it’s plain to see that the male perception of the fairer gender is just as tumultuous as we see female emotions to be. Matthew Sweet is only one guy out of thousands who have been perplexed by the opposite sex. Brendan Benson, a talented popster in his own right, is yet another, and the end result of both his musical toiling and emotional turmoil, The Alternative to Love, is ample proof that one need not mope in the wake of failed romantic pursuits. Dang, it’s even downright fun. Lovelorn guys without songwriting talent only wish they had an outlet like this. Wait, that’s me.

The Alternative to Love is a veritable Pez dispenser of uber-catchy, driving guitar pop tunes, one song right after the other that mask even the most jaded sentiment in a smashing riff or massive hook. It’s difficult not to become lost in the bright, lively instrumentation and miss the lyrical content, regardless of how contradictory or apropos it might be. Benson is a master pop craftsman in an era that badly needs them; it’s as if he’s cherry-picked the best quality from any number of guitar pop legends and dropped them all into his sound. A timely synthesizer fill here, a tasty harmony there, and oh, the guitars. The guitars are just everywhere. To think he’s only on his third album. Without the flubbed release of his first album, One Mississippi, you’d probably know who Brendan Benson was by now. But as it is, this is a great starting point.

“Spit It Out” bolts from the starting gate with a sugar rush of overdubbed harmonies, Rick Nielsen-esque riffs and just a dash of that punkish spunk. “Cold Hands (Warm Heart)” drops in some flavorful acoustics and what sounds like a xylophone melody; odd as it sounds, it totally works. The title track is about as perfect as a pop song gets, opening with a strummed acoustic but adding a layer every four bars through the first verse, until we’ve got an electric, some handclaps, a tambourine and a bass to usher us into the chorus. It’s just plain brilliant, in a “wow, how didn’t I think of that?” sort of way. And it’s got an appropriately bittersweet, resigned message to boot. Repeated listens will inevitably ensue.

The rest of album ably displays Benson’s strengths to equal degrees; in his hands, even the Spectorian blast of “The Pledge” sounds fresh. (C’mon, who hasn’t tried the Spector homage thing already?) As radio fades into the sunset to something much more inferior than the closing theme to Indiana Jones, it’s refreshing to see a modern artist take us back to the day when radio didn’t suck quite as badly. Like Homer Simpson said, “we all know that rock achieved perfection in 1974.” Granted, many have attempted this trick, but very few these days do it as well as Brendan Benson. This much indulging of the sweet tooth usually requires a trip to the dentist. But not this time.

(V2 Records)

Over It: Chasing Constellations

If timing is indeed everything, it has never been more perfect than right now for Orange County’s Over It. Riding a wave of great press and a shiny new record, this power-packed punk outfit has risen to heights only hinted at on their previous work. Silverstrand is more about a journey- a reflection of sorts. And as guitarist Nick Bailey explains, the band’s enthusiasm and energy couldn’t peak at a better time. Over It are outgrowing their boundaries as their present quickly becomes their future. They set simple goals at the start, but now have the stars to aim for.

Silverstrand has seen its share of delays and obstacles. With the album now finished, how does it feel to see the light at the end of tunnel so to speak?

Bailey: We are stoked! It feels amazing to be all finished. It’s always exciting to release an album but this one means a lot because we’ve stepped up all our efforts to try and make this the best release yet!

Were the delays and setbacks worth it and are you completely satisfied with the finished product?

Bailey: Totally! It does feel a little overdue because mentally we were ready to release in the fall but this did give us more time to focus our energy and try to really breakthrough with this one.

Were things made more complicated by the business?

Bailey: Yes and no. We have learned way more about the business side of it all and that has caused a few complications, but at the same time I think it’s important to experience that and this record wouldn’t be the same without all we have learned.

Was the approach to this album any different from your previous albums in terms of the process from start to finish?

Bailey: Actually this one felt more organized. We got to spend more time on pre-production, which really helped. We also went into this with way more ideas on the music side and the marketing side. We are super amped to have a street team and more funding to help advertise online and on the streets. This is a huge difference and we can’t wait to live it all out!

Your previous full-length, Timing Is Everything was such a breath of fresh air at a time when many bands were attempting that pop element, but you guys managed to pull it off better than anyone else. Are you guys worried at all, that you will never top that album in terms of quality and success?

Bailey: Thank you! [We’re] not worried. As we mature as musicians and people, I think our songwriting will only get better. We love to write and that will only help the quality of music. Plus, the more we are out touring, writing music and releasing records it will show kids what we are all about and hopefully allow us to gain more success.

Maybe that’s the way it should be, that any band’s earlier material is essentially the most honest and down to earth- something you can’t re-create.

Bailey: The music should always be honest no matter where you are in your career. I think honesty is something we will always have in our music. Our previous work just helps us learn how to deliver that element of honesty in new ways.

Does Silverstrand pack that same punch and power of emotion as your previous releases?

Bailey: Yes, I think if you liked Timing is Everything, you will like Silverstrand. We tried to go for more of a range in our songwriting this time in hopes to maximize the emotion that’s let out. I’d like to think this one packs a pretty solid punch.

You guys clearly have a strong element of pop flavor built into your music, yet you guys seem to avoid the criticism that most bands receive. Why is that do you think?

Bailey: Hmm, maybe because we are just ourselves. I don’t think you can listen to our music and say that sounds like this band or they stole that from. I mean we have tons of influences but we try to be as original as possible, always writing songs in our own way. We don’t follow anyone else’s formula, just our own.

The internet has been such an amazing tool for you guys. If the internet didn’t exist, do you think you guys would be in the same spot you are now as a band?

Bailey: I’d like to think so, I mean the Internet is huge but I think our work ethic and efforts go beyond that so we would just find other ways to hype it up. We wouldn’t give up until we found ways for people to hear us that’s for sure.

You’ve also have been exposed to the bad aspects of the internet as Silverstand was leaked on the web months ago. Does it worry you that album sales might suffer because of this?

Bailey: That’s a tough one. It kind of goes both ways, I mean, sure maybe we could sell a few more records if someone hadn’t gotten it online but at the same time we just want to be heard. If someone puts our album online and that gives some kid the opportunity to hear us when he or she may never have, then we back it. I don’t think it can really hurt us as long as people like what they hear and come out to our shows; we support the internet getting our music out there.

Is there any way of getting around the negative aspects of the internet when you’re using it so much as a promotional tool for the band? Is it a double-edged sword so to speak?

Bailey: Yeah it kind of is, I think there will always be a negative side. Not everyone will like our songs but really that’s ok. We don’t expect everyone too. Actually, it’s kind of a good thing in a way because for every person that wants to talk shit, then you know there are even more people that are stoked. We’re not too worried about it.

The artwork and layout of the album- what’s the story behind the theme?

Bailey: The layout is based on a journey. Much like the inspiration behind a lot of the songs the art is the visual representation of all the traveling we have done that inspires us. We really wanted to focus on the move out to California so the layout depicts everything along the way. We are really happy with the way everything came together. I think we united our love for the east coast, the west coast and everything in between.

A while back you guys recorded an acoustic split CD with Junction 18. Any plans to release any more acoustic songs in the future?

Bailey: We have more acoustic songs recorded and more yet to be recorded. We love doing acoustic stuff and plan to release some of the songs later this year along with some b-sides.

How has constant life on the road helped shape and mold the band?

Bailey: We would not be the people we are or the songwriters we are without all the tour experience. Being on the road has been very moral shaping and very valuable for us all. It really helps you put the world and your own life into perspective.

What about individually? How challenging is it to be on the road all the time?

Bailey: It can be very difficult sometimes especially when you are away from family, friends and loved ones. You really have to learn to let the bad in with the good. I know we have all felt like breaking down on tour but really it only makes you stronger. Besides, the sweet just ain’t as sweet without the sour.

You’re receiving interest from major labels and actually were close to signing with a major. Do you guys plan to sign with a major or stay with Lobster?

Bailey: As much as we love Lobster, this will be our last record with them. We are not sure of future label plans just yet but we should have a much better idea as the year moves forward. We are very excited about what is to come.

Several years ago, you guys were in college and decided to put that on hold to pursue your goals as a band. Talk about never looking back- that must feel pretty good, no?

Bailey: We all made a sacrifice and decided to put off school. I think school is important but at the same time we knew the music business is too demanding and we couldn’t do both. We had to follow our hearts this time. It feels good to be where we are but I don’t think it’s a never look back type situation. Some of us could still end up in a learning environment but certainly not till Over It has lived out all our hopes and dreams.

Rocket Science – Eternal Holiday

The mediocrity of the Vines, Jet, and the Datsuns has soured me to Australian rock revivalist bands with self-abusive leaders. I suppose that is an obscure sub-genre, but somehow Rocket Science falls into it. Eternal Holiday was recorded just after the band’s lead singer, Roman Tucker, finished rehab after nearly overdosing. That event gives the album title perhaps unintentional poignancy. Rocket Science does wallow in the great rock and roll tradition of excess. They have their shtick, and they’re riding it for all it’s worth (sexual innuendo intended).

The song titles are pretty self-explanatory, “Sex Call,” “Too Tough to Care,” and “Dressed to Kill” all make the band’s image of trashy rock none too subtle. And I love me some sleaze. Sadly, the glittery sheen of the album’s production makes it a bit hit-and-miss. The spirits of Iggy Pop and Alice Cooper do hang around the music a bit, but don’t actually inhabit it. I don’t think the rock gods would allow Iggy to make something this produced or Alice something this tame, without first demanding a pound of flesh.

The music, tightly played with dashes of organ, has its fare share of pop hooks and harmonies – something lacking from many of Rocket Science’s contemporaries. They know that the value of a croon is often equal to or greater than a sneer in rock and roll. This particular rock and roll algebra aside (that would make a good band name, Rock and Roll Algebra… but I digress), the band is just a bit too by the numbers – I swear that pun wasn’t intentional. The blandness could be the result of the album’s production, which makes the band sound unnecessarily tame. According to fans, including such notables as Supergrass, Rocket Science have a ferocious live show- if only that came through in the album, because one thing missing from the rock revival is the raw, unbridled energy that first imbued rock and roll with such a tenacious life force.

Eternal Holiday is, somewhat, Rocket Science’s push into the American market. Unfortunately it comes at a time when music, not just in the US, is glutted with garage throwbacks. A year or two earlier, they may have made more of a dent in the cynical indie shell; especially considering they sound nothing like the Strokes (which would’ve been the kiss of death). They have an understanding of the pulse that beat in bands like Iggy Pop, the Stones, MC5, and even the Modern Lovers. But, fickle as ever, the indie music scene now demands that its bands sound fresh, rather than retro. You can’t please everybody…

(Modular Recordings)

Billy Idol – Devil’s Playground

Although it has been years since Billy Idol last released an album, he remains surprisingly relevant in today’s music scene. With an excess of pop-punkers appearing over the last five years, it is only fitting that the original returns to teach the new kids how it’s done. Devil’s Playground borrows heavily from his earlier work and is by no means a career highlight, but it does have some decent songs. 

Idol holds his own, narrowly escaping the trap of self-parody that so many older artists fall victim to.Some tracks like “Cherie” and “Romeo’s Waiting” are exceptional rockers, while others like “World Comin’ Down” are utterly forgettable. “Scream” is essentially a mash-up of his earlier hits with new lyrics, but it is an irresistible throwback to a decade of leather and slashed denim. Idol is at his best when he sings about evil on the raucous “Body Snatcher” and lumbering “Evil Eye.” But, as with all other popular 80s acts, the cheese stigma is unavoidable and the slowed down, country-tinged “Plastic Jesus” and “Lady Do or Die” do nothing to reverse the problem. 

Apparently it’s Christmas all year round for Idol, who places “Yellin’ at the Xmas Tree” right smack in the middle of his record. This makes it impossible to listen to the album in its entirety unless, of course, you’re an elf. Unfortunately, for those of us in the non-elf population, this uncalled for Christmas cheer distracts from the rock. Not that this is a particularly cheerful carol (it tells the story of a boy whose drunken father spends the holiday, appropriately, “Yellin’ at the Xmas Tree”), but it still interrupts the flow of the album. Besides, sleigh bells just aren’t very punk rock.           

Christmas song aside, Devil’s Playground provides what listeners would expect from the ‘80s icon that brought us “White Wedding,” “Rebel Yell,” and a ridiculous cameo in Adam Sandler’s last decent movie, The Wedding Singer. While the lyrics aren’t anything special, the music is fun and Idol doesn’t take himself too seriously. His backing band is very good and the album is true to his style. Idol still delivers his vocals in such a way that listeners can actually hear his trademark snarl. It’s more of the same from a punk idol … but would we want it any other way?

(Sanctuary Records)