PHILLIP SELWAY, Strange Dance (Bella Union). Best known as the drummer for Radiohead, Phillip Selway also has a quality solo catalog. Strange Dance is a most welcome addition to this collection. Drummers may not necessarily be known as melodic contributors to a band, but there is more than enough evidence here to prove Selway added more than percussion to his parent band’s musical output. Selway is also one of the most understated drummers around. He gives the Radiohead sound exactly what it needs. No more, no less. A solo project might lead one to believe the drummer will take advantage of his own record to cut loose. Nope. If anything, Selway’s percussion is even more understated. Why add drums when none are necessary? His singing voice, while a bit one-dimensional, is still solid as it comes across with a haunting lilt. Make no mistake — Strange Dance is not a Radiohead album, making it nice to hear one of its members stretch out and use his own voice.
HAKEN, Fauna (InsideOutMusic). Ya gotta hand it to Haken: they know who they are and see no reason to change. Instead, they focus on doing what they do best. Calling Fauna a collection of band tropes is a bit harsh. Look at it this way: no matter what, Haken’s gonna Haken! Aggressive, yet melodic compositions; plenty of odd time signatures played with challenging, stutter-step delivery; highly competent vocals from Ross Jennings; top-shelf guitar work from Richard Henshall; a well-anchored rhythm section; and good keyboard work from newest band member Peter Jones. It’s not the easiest thing in the world to make challenging music highly accessible, but Haken has a gift for doing just that. Nice of them to share that gift with the rest of us.
LES DEMERLE SOUND 67, Once in a Lifetime (Origin Records). Within two measures, no doubt remains that Les DeMerle’s Once in a Lifetime is a jazz drummer’s record. But despite its burning intensity, put aside the desire to compare this drummer with Buddy Rich when a snare drum roll is played. DeMerle is his own drummer, with a groove that swings hard regardless of the song’s tempo. This album has gone unknown since its initial recording in 1967. In fact, it was mistakenly believed his ‘69 release Spectrum was his debut album. For whatever reason, his real debut got lost in the record label shuffle before it could see the light of day. This would also have been the official debut recording of now-trumpet legend Randy Brecker, who has appeared on more albums as a leader and sideman than can be quickly counted. Vocal contributions from Genya Raven and (in one instance) Rosemary Clooney add icing to an air-tight cake. DeMerle, like many other jazz musicians of the era, manages to sneak in the occasional pop song along with jazzier efforts. But everything is played with earnestness and respect. It would’ve been a real shame to let this work languish in someone’s vault forever.
eMOLECULE, The Architect (InsideOut Records). If any band deserved a second album, it’s prog-rockers Sound of Contact. Their 2013 debut, Dimensionaut, was nothing short of wondrous. Alas, sometimes one album is all a band can produce before the band implodes. Fortunately for us, drummer Simon Collins and Kelly Nordstrom have returned with a new band, eMolecule, and another solid album. In more than a couple of ways, The Architect sounds like a continuation of Sound of Contact. That probably can’t be helped. Still, the duo have continued to grow over the years, and their sound is even more mature and, in some ways, even heavier than before.
METALLICA, 72 Seasons (Blackened Recordings). Few things are more difficult to carry than the weight of expectation. When a band is viewed as the torchbearer for a musical movement, the weight only gets heavier. For more than a few, Metallica is heavy metal, meaning any sound the band creates must maintain the standard that helped them attain their status. And this is where things get sticky for Metallica. 72 Seasons sounds clean and well-produced, even if it doesn’t sound quite like pre-And Justice for All …, which is where many hardcore fans remain rooted. But that sound, for better or worse (according to fans), has evolved. What exists now isn’t bad at all. Drummer Lars Ulrich and bassist Robert Trujillo are right on top of the groove, James Hetfield’s vocals and rhythm playing are as strong as ever. Some of Kirk Hammett’s lead guitar feels a bit restrained, but “showy” isn’t the same thing as “good,” so it fits the current soundscape. The concept of 72 Seasons is interesting in that it represents 18 years, or typically the amount of time it takes an individual to become his true self. Consider also that the band has been in existence for twice that long now, so perhaps this album represents the band’s true self now? Maybe. But the sound of this album is pure Metallica, and time will tell if songs from this album will remain in the listeners consciousness like the tunes from decades ago. For what it’s worth, they do come across as solid bangers. How long they bang will depend on whether or not fans can check their expectations at the door and let this album be what it is.
CAPTAIN RAAB, Dead Precedents (Independent). Making a unique-sounding guitar-oriented album isn’t the easiest thing to do. But Captain Raab seems to have found a way to do it. Consisting a four 10-plus minute suites, Raab uses the sounds generated on this album exclusively on guitar, not unlike what Adrian Belew did with his Guitar As Orchestra. The difference here being that Raab’s work still sounds like guitars with no use of synthesizers. His sounds are still effects-driven, but the music is very organic, as though he sought to move the music forward via his feet moving over traditional effects pedals used by everyday guitarists, along with his thinner (but effective) sounding bridge pickup. This record is a fascinating ambient and experimental journey.
THE LACONIC, Amor Fati (Iapetus). Chicago-based touch guitarist Marc Pelath, by way of his band The Laconic, has created an album that is remarkably engaging from Note One. Straddling the lines between progressive rock, post-rock, and perhaps a touch of classical, Pelath has created a sonic landscape that is as pleasant as it is ambitious. Helping to maintain that high level is Gary Husband (John McLaughlin, Allan Holdsworth) on keyboards, with additional classy input by touch guitarist Tim Gardner and drummer Juan Dahmen. Each keeps his contribution lean and on-point. No matter how aggressive the music gets, the groove is always there. Marc Pelath had created a work that will go down smoothly next to the likes of Trey Gunn, Tony Levin, and Markus Reuter. It is well worth exploration.
DOMINIC MILLER, Vagabond (ECM). Probably best known for his work with Sting, guitarist Dominic Miller steps to the forefront to create an album that is a perfect fit for his third ECM release. The most appropriate adjectives to describe the music are “chill” and “melancholy” as Miller and band lay out lush soundscapes with plenty of room for them to breathe while Miller’s acoustic guitar or Jacob Karlzon’s piano gently works his way through. None of the music sounds forced. In fact, it’s quite the opposite. This is a true work of addition by limitation. Find a quiet, comfortable place and let the sounds wash over you.
THE NATIONAL, First Two Pages of Frankenstein (4AD Ltd). Even as their profile continues to rise, indie-rockers The National never lose track of their true selves. They know what works for them, and they continue to make the most out of it. The band is often the master of understatement, and First Two Pages of Frankenstein is no exception. The mix is open and spacious, giving more than enough room for everyone involved to breathe. Vocalist Matt Berninger’s deep, gravel-fueled voice is mellow and introspective, making for a great counter to the occasional female voices (including Taylor Swift) he shares melodies with. The guitars and keyboards of Aaron and Bryce Dessner provide solid framework for the songs without overwhelming things, giving the songs more than enough room to get where they need to go. As (seemingly) always, the songs offer deeply personal and introspective viewpoints, giving us no choice but to find their true meaning within ourselves. It’s a low-key journey, but a journey full of purpose and well worth taking. The music starts great and only gets better with repeated plays.
FOO FIGHTERS, But Here We Are (RCA). The spirit of Taylor Hawkins — the Foo Fighters drummer who tragically passed away a year ago — hangs prominently over the band’s new album But Here We Are. Hawkins’s death devastated the band, and this album is Dave Grohl and company facing that demon and finding a way to keep going. Grohl returns to the drum kit (Josh Freese has since been brought aboard to replace Hawkins) and the band goes about honoring their friend in the best way possible: by making quality music. Which songs are about Hawkins? Pick one! The symbolism can be found just about everywhere, even as the lyrics can be deemed subject to interpretation. But “Rest,” particularly the chorus, tugs hardest on the heartstrings. Even the album’s cover art appears to depict the void left by a departed brother. The good news is, the band has indeed found a way to keep going in fine fashion. And that void will be filled again soon enough.
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That album by The Laconic went down very nicely here. 👍
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