Indie and Lo-Fi music reviews

Long a staple of fanzines and mix tapes, Daniel Johnston has been offering his unique music and artwork on self-produced cassettes since 1980. An episode of MTV's "The Cutting Edge" in 1985 gave him tremendous exposure, leading to the eventual release of a couple of his better tapes on CD (on Homestead Records). "Yip/Jump Music," the fifth tape released through his own Stress label, was recorded during May of 1983 (shortly after relocating to Austin, Texas from West Virginia). Captured on a household tape recorder, it's lo-fi in the truest sense of the word. The opening track sets the tone for much of the album, with Daniel pounding the keys so fast and hard that his poor chord organ can barely honk out the notes. Out of the 20 songs, 15 are done on this thing, an instrument used to being played like Tom Waits, not Jerry Lee Lewis. But as with most of Daniel Johnston's work, the musicianship is not the point. His heartfelt lyrics and songwriting are the real stars, belted out with childlike earnestness. There's plenty of favorites here, including "Casper The Friendly Ghost," (the first of several versions he's recorded), and a handful of tunes that were later covered by bands who are fans. The Dead Milkmen did "Rocket Ship," while Half Japanese tackled "King Kong," and "Speeding Motorcycle" has been done by both Yo La Tengo and Mary Lou Lord. The rawness of Daniel's music can be harsh at first listen, but repeated sittings will reveal the strange appeal it has for his legion of fans. Amidst the tape hiss and sometimes muffled accompaniment, an endearing voice delivers the pop song in its purest form.

this is a great album, his synthesizer material, much like Hi, How Are You?

i highly recommend this to any daniel johnston fan, or elliot smith fan, or vaselines fan, or anybody who likes indie music.

[...]

This record is the perfect antidote to endless releases high in production values but with no content and all humanity drained out of them, if they had any to start with. Johnston, in my opnion, is the finest songwriting talent of the last two decades.
One of the few artists I can think of comparing him with is adult child genius Brian Wilson, Beach Boy and creator of Teenage Symphonies to God. Like Wilson, Johnston is remarkable in that he combines a childlike purity and spirit with an instinctive and incredible musical gift. Their is a strong link between Johnston's best work and Wilson's 2nd great masterpiece
The Beach Boys Love You (the first being Pet Sounds). Like Love You this is a masterwork of primitive pop that's not nearly as primitive as it first appears.
Picasso supposedly claimed that by his teens he was able to draw like the most compitent adult and then said he'd spent the rest of his artistic life striving to be able to draw like a child again. Johnston and Wilson are two examples of artists who
never lost their child like purity in their work. In Johnston's songs it can be both wonderful and unsettling...This is music filled to the brim with PURITY, BEAUTY and TRUTH.
Some will find the very basic nature of these home recordings too much for their tastes but their are not many contemporary pop songs as brilliant or individual as Museum of Love, Worried Shoes and Speeding Motorcycle (all found here)... and King Kong, one of Yip Jump Music's most left-field entries, is a song that no one who ever hears it will be able to forget. In recent years Daniel has been taken under the wing and given support from well meaning producers and musicians. Many of the results have been really lovely but there is something uniquely magical about this period of his work.
Please take a chance and invest in Daniel at his most brilliant and extreme.

The early 1990s saw the release of many classic "indie" and "alternative" rock albums. It seemed like the building momentum of the '80s post-punk underground scene, all of the great SST releases, the emergence of Sub Pop, the often [bad], but interesting Homestead Records bands... this whole broad spectrum of great underground rock music had become a tradition. And in the early 90s it all really seemed to come to fruition. Albums like Pavement's "Slanted and Enchanted" or Sebadoh's "Bakesale" represent a certain period for me. That music stood on the edge between what would become more mainstream rock, while having their feet planted firmly still in the underground. But you don't get any idea that the bands were conscious of any of this. It was just great distorted but highly catchy rock music. It's hard to explain, but there are so few artists today that still evoke that kind of sound. Most of the artists still around from those days kinda moved on to produce a lot of good records, but the raw immediate force of the older records was gone. Jason Loewenstein hasn't forgotten that sound though. He's still making it. And At Sixes and Sevens is just as raw and rocking as those old Sebadoh records, but with such better songwriting. Loewenstein has grown up in all the right ways in his music making, without the self-consciousness that often leads bands into over-producing and over-thinking themselves to the point where they lose some of the magic. Songs like "Circles", "Roswell to Jerusalem" and "Transform" need to be heard by anyone who fondly recalls those days in the early '90s when radio and tv still didn't know how to streamline "alternative" culture into a mass marketing scheme. Perhaps my review is simply meandering, but I think that some of you reading this might kinda get what I'm getting at. And if you like Jason's songs like "It's All You" or "Zone Doubt" on the last couple Sebadoh records, I don't think you'll be disappointed by this record. Another Louisville rock classic.

Being the 3rd member to join Sebadoh for "Sebadoh III" Jason knows his stuff and knows it well. Sebadoh founded by Lou Barlow while he was in Dinosaur (later Jr. added because of copyrights/also in the thrash band Deep Wound with John Mascis previously) found pal Eric Gaffney who thought "Started back in '83, started seeing things differently, hardcore wasn't doing it for me no more...started smokeing pot, thought things sounded better slow, much slower heavier black magic more to sink this posers soul" - see "Gimmie Indie Rock" from Sebadoh. Sebadoh gave out tapes for free along with adding vinyl in Dinosaur's "You're Living All Over Me" album (note the Lou solo song "Poledo" on the album) in '87. Hardcore played acoustic to freak out the punks and a spit in thier face & thier own. Lou left Dinosaur Jr to persue Seb (disputes with Mascis over the bands direction and not allowing input from his band mates) with Eric to release The Freed Man (hence freedom from J.Mascis's vision of Dino & his ego) & then Weed Forestin. They picked up Jason Lowenstein and went even more freaked out plugging in electric. Sebadoh III is a MASTERPIECE. Lou, Eric & Jason all trade off not only songwriting but all instruments. I remember seeing them at the Whiskey in LA for Bubble & Scrape (last album for Eric :( ) and was so BLOWN away I couldn't believe it. They all switched all 3 positions constantly and flawlessly during the entire show. All 3 original members can play guitar, bass, drums & sing with such diversity but always meshing with brilliance. Got to hang with em after the show, great guys. Eric left Seb, I was bummed as Sebadoh was never the same. He's in a few bands and has been playing with Les Thugs aswell. Seen Seb a few more times with different line ups along with John Davis/Folk Implosion. Anyways back to Jason, this is his solo album and it's quite amazing, as the other reviewer put it, it will remind you of the good ol' Seb days. Jason, like Eric has a way of going nuts with fits of mania 'tho not as acid soaked as Eric can be, he's quite the lot (and in my opinion the only edge really left in Seb as Lou's gone a bit too mellow/marrage?) Note: Lou's passion was driven mainly for his confusing longtime relationship with Kath & thier breakup, now his wife. If youre a Seb fan you'll need this. And Sebadoh is not dead, Jason has not left... J-Low is a great songwriter, singer and musician.

i have to say this is one of the best albums i have heard this year hosted buy ex sebadoh member jason lowenstein.an album recorded all alone in a basement with a 8 track recorder playing all the instruments himself.this guy has gottin better with age this is one of those albums that has no bad songs..all rocking all fun.even his voice is near perfection (i wonder if he quit smoking or something)also this album is definately in the same vein as any early sebadoh album the the better thing is that there is no lou barlow (the other sebadoh guy)songs to deal with all these songs completely go for it and make no room for the mellow drama that the last couple of sebadoh albums were known for.so if you like sebadoh albums like bubble and scrape and sebadoh 3 .this is not a album to miss out on .also he is touring this year so cheak out ... for all his tour dates! cool !

I bought this CD along with another Smog album, never really having heard his stuff before. I wasn't expecting the nearly raucous first track (in a low-key way, at least) but I've been won over by how bitter the song is. The rest of the album is almost as strong but one of the later tracks can grate slightly as it is slow and dirge-like. This does not help on an album of just six tracks. In all, this dark, brooding (sorry, terrible cliche, I know) album is well worth a listen, and I'll definitely have a look at some other Smog CDs soon.

At only about 25 minutes, this CD has more raw angst and gloom than many full-length CDs. Blistering guitarwork, pained vocals, and gut-wrenching lyrics combine into a funeral dirge straight into a black pit of darkness that defies categorization. Absolutely stunning.

Many CDs are too long, this one is six tracks of perfection. I have it on my top shelf of 42 (by the way I own over 2000 and have sold 8000+)

Other SMOG stuff can be weak and wayward but Burning Kingdom is an essential for any collection of alternative rock. Comparisons can be made to Flaming Lips/Mercury Rev even Guided By Voices.

Buy it - it's a bargain!

easily one of the best releases pollard has put out in years, this collab is definetly on par with 'speak kindly'. why dont these guys collaberate again!?

what would you expect when two of indie rock's undisputed champs converge? well, what you get is a collection of slightly off-the-wall pop made timeless by the fact that this record was conceieved via the US mail and mac and bob never sat down in the studio together. given that, this album is a miracle and a gift to all who love indie rock. thank you. may i have another?

This record is the best thing Robert Pollard has put out this year. While the quality of these epistolary releases (Mac recorded the instrumental tracks independently and mailed them to Bob) has been varied (Airport 5's "Life Starts Here" was a big disappointment), "Calling Zero" is a really solid album, and I'd agree with the reviewer who likens it to "Speak Kindly Of Your Volunteer Fire Department." There's a great mix here of inspirational stadium rockers ("Never Forget Where You Get Them") and acoustic numbers ("Go Gold").

The key to Go Back Snowball's success is that Mac McCaughan adds a much-needed dose of musical inspiration, as recent releases by both GBV and Tobin Sprout this year have seemed a little repetitive and lackluster to me. And while I'll never understand how he works, Bob's singing and lyrics are particularly inspired here. If you're going to buy one GBV-related CD this year, get this one.

Swell is one of the most amazing and innovative bands I have ever heard. I own all their CD's (unless there is some import I haven't spotted) and listen to them nearly every day. I don't see how they are nnot on the top of the charts right now because frankly, they are fantastic. I swear, the first time I listened fo them, I was obsessed. And you will be too (unless you already are). When my dad picked up FOR ALL THE BEAUTIFUL PEOPLE, I wasn't expecting much, knowing about the new drummer. But I found that I couldn't get it out of my head! I was humming TODAY for hours on end in school. And don't get me wrong, FOR ALL THE BEAUTIFUL PEOPLE is not SWELL's only good CD. WELL? is great, TOO MANY DAYS WITHOUT THINKING is another good one. SWELL is a great band. I greatly encourage you to check them out.

in a perfect world, swell would be #1 pushing more units off the racks then mcdonalds pushes burgers. but it's not a perfect world and, you know what? i like the fact that they are one of the best kept secrets around.

"off in my head" is circus music and gives me some serious chills. same with "something to do" and with "blackmilk." who can't enjoy the dark humor of the lines "you're black as milk and milk ain't black / i love your mind / i'm being kind / this stupid thing is wasting all my time."

it's all in the name-> swell is swell.

My wife's 1st remark was: "Oh, easy listening this time? At least it is something different". Mine is more: "Well, they've gone all the way to Bristol, it seems. (or at least to Portishead)" ....but it is gooooood!!!!

Beulah's first album is closer to their last, "Yoko," than their other two, "When Your Heartstrings Break" and "The Coast is Never Clear." That's not necessarily a bad thing, though.

"States" is strictly rock, and Beulah has yet to discover the many instruments and pop melodies that make Beulah great. While the other albums may be better, this one is almost as good, and that's saying a lot.

The melodies are catchy after about the third listen, but then they're all wonderful and catchy in a very "come on sing along!" way. The one exception is "Slow-Mo for the Masses." It isn't catchy, or clever, or fun, it's just Miles Kurosky talk-singing over a guitar. However, the rest of the songs are wonderful.
(...)

One of the biggest buzzes in the world of "indie rock" in the late 1990s was the buzz surrounding the Elephant 6 Collective, a group of like-minded friends and musicians bent on crafting singable songs and a DIY spirit with it's roots in the psyche pop-rock of the mid-to-late 60s. Most all of the bands involved in Elephant 6 have had one linking thread throughout them. That thread has been Robert Schneider, main brain behind `THE APPLES in stereo.' Mr. Schneider has lent his production genius to the debut LP of Beulah, who have since moved past the "another Elephant 6 band" label.

`Handsome Western States' is a slice from the indie-rock handbook, melding catchy melodies and tunes with Pixie's-like one-note guitar licks and disjointed, angular guitar workouts. Fresh and new? Not at all. Infinitely enjoyable? You bet. Over the course of this LP, Beulah comes across like Pavement covering THE APPES In Stereo, or even more accurately, THE APPLES In Stereo covering Pavement. The songs center around your standard "I'm a rock n' roll kind of guy" theme, remaining simple while being as hummable as The Beatles.

The close follower of Elephant 6 releases will not go wrong here, as everything that you have come to expect is represented. Great songs, homespun yet not lo-fi production, excellent harmonies, some wacky instrumentation, and a fun spirit not often found in modern music. Those more interested in a new Pavement and/or Sebadoh indie band to dig into will want to run out and pick this up as well, because all of the hallmarks of fuzzy pop are here.

This early Beulah set is currently a bit hard to find, but very rewarding if you can get it. I have tremendously enjoyed "The Coast Is Never Clear" & "Yoko"; so it's interesting to hear an earlier set by this great band. "It's 9:18; yeah it's coffee-colored evening, the headlights spin shadows on the ceiling; and I'm left here with the Gideon Bible, long strands of her hair trickle down the bed," Miles Kurosky sings on the amazing opener "Maroon Bible." On "Shotgun Dedication" Beulah adds a few Eastern musical touches combined with strong lead guitar to create a beautiful pop jewel "Eyes are blase, amputation is passe, life creates much ennui & there's nothing new to say." "I got a song prettier than your girlfriend, I got a song, it's cooler than you; you're just so hip; you open the gates of heaven; being cool, is that all that you do?" Miles asks on the addictive "Rust With Me," and follows with a lyric something like "you got the stiff for second-hand clothing, seven inches, yeah you get so hard." "Delta" has a soft acoustic opening with airy vocals. Beulah is a riveting band because they are both melodically and lyrically inventive and original. This set has great variety and is consistently strong from track to track. Seek & you shall find. Bravo!

Bill Callahan's albums are always amazing. This EP is a total knockout. Absolutley beautiful song craft and singing. "Warm Glow of A Stranger's Living Room" is a dark and brave journey into feelings that I am sure many people would love to express but can't."I Break Horses" is a classic and paced in such an effective way. "Your New Friend" is a droll and very funny exploration of a fractured relationship. Callahan's newer works are even better than this slice of ethereal beauty. Seek them out.

This is the most amazing EP I have ever heard. Bill Callahan takes his unique voice, an acoustic guitar and creates 20 magical minutes. The mood here is quite different from his last EP "Burning Kingdom." He creates a soundscape of quiet desolation. Yes it is sad, but in a different way than "Burning Kingdom." This whole ep deals with loneliness. From the sad tale of being replaced by another man (Your New friend) to the beautiful closer, (The Orange glow of a stranger's living room) that deals with Callahan taking a walk only to realize that he would rather be in a stranger's house than have to go back to his, "Kicking..." is a beautiful and yet heartbreaking 20 minutes...Callahan can so easily bring us into his world of loneliness, but ultimately it is more rewarding than anything you will ever hear.

bill smog... better than wet roads and green grass better than strawberry shortcake and my corvair... old man at the river says ...

I have to admit, I have a hard time remembering Stereolab's song titles. So with the many compilation discs this band has issued I had assumed that I had this wonderful EP pretty much covered. After purchasing the (highly recommended) ABC Music BBC recordings I fell in love with the song "Laisser-Faire", one of the most perfect and beautiful recordings the groop has ever recorded. Soon after that, I saw a used copy of this EP and picked it up to have the studio version of the song. To my happy surprise I soon discovered that NONE of the material on this EP has been compiled. (Actually the term "mini album" is slightly more appropriate. Although 4 songs are listed a couple of them are more like several different songs with one title and the whole thing clocks in at slightly under half an hour.)
The rest of the music is almost as wonderful as "Laisser-Faire". From the opening slow-motion "Roadrunner" style riffing of "Low Fi" to the last beautiful strains of "Electro" this entire disc is excellent. If you are a fan of the pre Dots and Loops groop you HAVE to have this in your collection.

It's a pity that one of the best Stereolab recordings is kept somewhat of a secret. Consider yourself lucky if you find this at a music store, like I did. It really does represent the original line-up at its peak. It features mostly the loud analog keyboard drones that early Stereolab is known for, but the last couple minutes of "Elektro" are possibly the most beautiful thing they have ever recorded. This is the recording I would play for someone (along with Emperor Tomato Ketchup and First Of the Microbe Hunters) if they asked me what Stereolab sounds like.

seeing as though there is no resemblence to past and present stereolab's i would determine this to be the original band's lineup at it's peak. the recording here is primitive at best but it definetly gets your attention. check out laisser-faire for some lyrics that are ringing true at this very moment. a must have for any fan of the band or politics in general.

if you are just jumping in swell waters, start w/ "41", which is not only their masterpiece, but one of the best "unheard" recordings of the 90's. really. this is nearly as good. swell play what most term "indie", but don't let the label scare you away. swell's music is uncatagorizable. the guitars swirl, slice and strum, the drumwork relentless (not loud, but strong), filled with strange sounds and instrumentation(not off-putting, just different) and the lyrics put most indie bands to shame. it works on 2 levels... the album flows as a seemless whole, like the best psychedelic music, but you can also enjoy the individual tracks (unlike most psych music). recommended for fans of death cab, pink floyd, song-based electronica, coldplay, singer-songwriter fare... get it? it's for everyone. love it, love it, love it. (by the way, 4 stars is high in my mind). if they had 1/2's, i'd give it one of those too....

once i heard "41" 11 years ago, their 3rd cd, i was hooked to all things swell..they just made so much sense musically and the mood they created was perfect for almost all settings..up, down and sidewise..
this cd brings them back to that concept of one long song connected by tracks and it all works too fine...just remember that there is no other band that sounds like them..i believe that is their true offering...david freel is probably the most underrated singer/songwriter there is....his lyrics are abstractly to the bone and his words make me shake my head in agreement...and the acoustic grooves and that psycho-specific guitar makes me swoony..if thats a word.
this cd has sean back on the drums...a vital piece of their music..he beats like no other...truely unique....
so buy this and you will start to think like all swell fans....why aren't these guys as well known as elvis....they are too good...one of my favorites in the last decade....really....aint no lie...
and freel likes jamesons...just like me...

I was first introduced to Swell years ago in the office of a certain Dentist, who I think was phasing out nitrous oxide in favor of musical hypnosis..."Follow the drum line, my son, Just follow the drums..." Well, anyway, this album is different. By Swell standards, 'Whenever You're Ready' is up-tempo, relentlessly. Upbeat, full of insight and hope, this work is truly a pleasant, painless, departure. Hope the train stays on this track for a while. Thanks.

I usually listen to Hillary Duff, but this is almost as good. I almost like this more than listening to my dog pass gas.

Chris Fewell is, hands down, the best artist I've ever had the pleasure of lisening to, I love every thing he dose, the lyrics, the music, just the good feeling it gives me when I hear his music!!

If you crave the works of Lennon/McCartney, Led Zeppelin, Bob Marley, Queen, the Kinks, etc., you are in for a wonderful treat. Chris Fewell has put together a variety of musical styles in this album, which is why I liked it. What is so incredible is that some of this material is actually a couple of years old; This is significant because Chris is only 18 years old! He has been putting music together since he was about 13, was in another band for about 3 years, and now has started down his own path; You will NOT be disappointed in this album, and I am anxiously awaiting any future material by this kid.

CHRIS, YOU ROCK!!!!!!!!!!

RG