TOP PICKS
OUR PHILOSOPHY ON REVIEWS OUR review section is a little bit different. We don’t use a numbered scale or star system, and we don’t feature music we don’t like. Instead, think of this as our top picks of the month. These are the new releases that we’re really enjoying, and that we recommend you check out. We also mix in a few of our favorite live shows, as well as books and videos from time to time.
You can listen to the music featured in this issue at performermag.com. Enjoy.
Allah-Las Allah-Las Los Angeles, CA (Innovative Leisure Records)
“A scenic wander through the Golden State” Summer albums never stay around long, but Los Angeles’ Allah-Las have crafted a summer album for the ages. Brimming with bright tones and dusty old sounds that have long been due for a comeback, Allah-Las’ self-titled debut album is a sunny, sparkling ode to the Golden State. Most people might instinctively call it “surf,” but they’d be wrong – it’s too simplistic an assessment. Allah-Las uses shockingly authentic ’60s-era instrumentation to recreate the fuzzy hooks that emanated from suburban garages during the era (and never really went away), culminating in an ideal soundtrack to any day you wish were a little warmer. Though they’re from LA, they officially declare themselves a California band, and this album sounds like Northern and Southern California have finally kissed and made up – the cavernous echo of Southern beaches melt into a foundation of the spooky, psychedelic San Francisco sound. Those who judge by song titles alone – “Catamaran,” “Sacred Sands,” “Catalina” – might think this is a corny theme album for costume parties, but Allah-Las adds up to a scenic, carefree wander through a scenic, carefree state.
infectious tugs (“Ready for Duty”). Junior Violence is underpinned by wide influence, but a judicious comparison can be made to David Fridmann’s production. Think spastic use of experimental sounds and electronic nuances framed by the hook-filled indie rock trinity: bass, guitar and drums. Johnson, a keen but hapless lyricist, has a terrific voice, further hemming a - dare the eclectic similarity - Talking Heads pop, but gels smoothly with the danceable beats in “Sourpuss Down to a Science” and “Cocaine & Guns ASAP.” Each track takes a harrowing turn, giving the release unshakable variance. The single, “Marijuana’s on the Phone” offers a lull, shuffling with a slower tempo and propped up by horn blasts, sporadic electronic grammar and Johnson’s selfharmonization. Thanks to Johnson’s mature vocals and the electronic flourishes, the album delivers a broad, cohesive result that’s highly listenable and fanatically expressive. Junior Violence is solidly recommended for fans of Panda Bear, Flaming Lips or Pavement’s Wowee Zowee. Engineered and Recorded by Michael Johnson Jeff Zeigler Mastered at Peerless Mastering by Jeff Lipton and Maria Rice Produced by Michael Johnson apeschool.bandcamp.com -Christopher Petro
Bonnie ‘Prince’ Billy
Now Here’s My Plan Louisville, KY (Drag City Records)
Ape School Junior Violence
“Re-imagining past singles into expansive, rambling Americana jams”
Philadelphia, PA (Hometapes)
“Ambitious, ferocious and hook-filled acid pop” Philadelphia’s Michael Johnson (the man behind Ape School) has a thing for the avant-garde. Working with Holopaw, Kurt Vile and the War on Drugs, Johnson’s sophomore release, Junior Violence, is ambitious and catchy. The album radiates colorful synths (“Beneficiary (Don’t Blame Me)”) busy with sound and strums along with 34 SEPTEMBER 2012 PERFORMER MAGAZINE
Engineered, Recorded and Mixed at Electrical Audio by Steve Albini Mastered by Paul Oldham Produced by Steve Albini and Will Oldham www.bonnieprincebilly.com -Christopher Petro
Buffalo Killers
Dig. Sow. Love. Grow. Cincinnati, OH (Alive Records)
“Ohio band waves their freak-flag high while keeping things concise”
Mixed at Uniform Recording by Michael Johnson and
www.allah-las.com -Jody Amable
Beware pulses: rambling with distinct Americana roots. Spurring his melancholy originals with the largess of a full band then ratcheting up the tempos produces glorious, fresh definition. Most notably on “I See a Darkness,” the slowcore figurehead, here fervent with a foot-stomping beat, male/ female harmony, electric guitar, Wurlitzer organ and Oldham’s staple growl, creates an essential reworking, achieving a surprising equilibrium of immensity and catchiness. Oldham deviated from minimalist songwriting years ago (when Cat Power did the same), once his sole bearing. Now the instrumentation is roomy and freewheeling, featuring strings, keys, hearty percussion and multiple singers, making this EP a must for any follower of Oldham’s legacy.
It has been a restless year for Louisville, KY native Will Oldham (AKA: Bonnie ‘Prince’ Billy). After releasing an EP with Mariee Sioux, collaborating with David Byrne for a Robert Smith documentary and completing his own memoir, for which this record - his 26th EP - shall accompany: Will Oldham on Bonnie ‘Prince’ Billy by Alan Licht. Now Here’s My Plan is a reworking of Oldham’s most memorable and influential songs - produced, expanded and woven into a honky-tonk medley by equally iconic Steve Albini. Now Here’s My Plan courses the vein his album
This is a band that’s bound to have some killer vinyl ay home. Started by a pair of brothers and a keyboardist-turned-drummer from their old band, Thee Shams, Buffalo Killers sit nicely on the calmer side of the Howlin’ Rain/Aquarium Drunkard crop of bands, groups for whom the ’80s never happened and Dinosaur Jr. were the Stones of the ’90s. On Dig. Sow. Love. Grow. the band has made an album that sounds like it came out 40 years ago but for one big difference: it’s concise. The longest song is 4:44, and most are around the three minute mark. Opener “Get It” (which made me holler “Oh, Shit!” the first time I listened to it) could’ve been twice as long and would still be worth every second. Despite writing heavy riffs that can turn mountains into volcanoes, they don’t pummel you the way most power trios tend to (we’re looking at you Mountain, Blue Cheer, Gov’t Mule). Songs like “Blood on Your Hands” and “I Am Always Here” show a gift for creating memorable, hooky songs that recall the best of Steven Stills (dude was a beast before the coke took hold, seriously), only louder. Produced by Buffalo Killers & Mike Montgomery Recorded & Mastered by Mike Montgomery at Candyland www.buffalokillers.com -Warren McQuiston