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a fifteen-minute experience your mom would hate more. The hardcore trio’s self-titled recording kicks off with a few ominous, droning strums of a guitar, when the drum kit joins in, they ratchet up the speed and almost never look back. The album’s first cut, “Spectral Hand,” lays the groundwork for the remaining seven tracks on the EP. The track rocks back and forth between breakneck sprints that must take instruments and vocal chords to their absolute limit before laying into thick, sludgy grooves with heaps of splashing crash cymbals. Even though Error only seem to have two speeds—blazing Kamakazi or Earth-shattering dirge, the two extremes play out perfectly over the short run time. Vocalist John Nagel vacillates between vocal-chord-shredding wails and hellhound howells. And, though neither really makes lyrics that perceptible, the angst and rage in his performance coupled with
track titles like “Negative Space,” “Money Still Stinks” and “Crude Mode” make the attitude pretty clear. But the interplay between guitarist J.D. Woodell and drummer Joe Milik is the real star of the EP. Woodell and Milik inflict such intense torture on their respective instruments over the course of Error, it’s a wonder there wasn’t a kickstarter campaign for them to get new ones. Even if, at any given time, the Iowa City hardcore scene is only about 50 punks deep, you don’t need a whole lot when a band like Error throws down this hard. John Schlotfelt will be reading Crime and Punishment for the next four-six weeks. Unknown Component
Greg Brown Hymns to What is Left gregbrownmusic.org Following a nearly-aborted album in 2011 (Freak Flag, which I reviewed in LV issue #103) Greg Brown was quoted as saying, “I enjoyed it; even though it was a bitch—what with the lightning, mixing problems, etc.,” he admitted, “it got me interested in recording again, and I hope to put out a few more lowkey, small pressings... smaller and smaller is my goal.” Just over a year later, Brown fulfills that desire by recording and self-releasing Hymns to
What is Left—an album stripped to the bare essentials—no drums or bass. The album continues the winning formula of Brown on acoustic guitar and signature gravelly baritone (except for the surprising falsetto in “Beshams Bokarie”), and longtime sideman and producer Bo Ramsey providing his trademark atmospheric guitar tones. Helping fill out the sound are Bob Black on banjo, Al Murphy on fiddle and longtime friend Dave Moore on button accordion. Brown taps in his family as well, with daughters Constie and Pieta and wife Iris DeMent all contributing vocals. Brown takes the opportunity to present his version of “Brand New Angel” which he wrote for Jeff Bridges to sing in Crazy Heart. I get a self-conscious chuckle out of his ode to weight gain “Fatboy Blues.” (My pants keep getting tighter, but it’s not because I’m aroused / I can’t fish out my lighter or loose change / now, I guess I’ll get a fanny pack— if they come in size 52.) “All of Those Things” has taken the place of “In The Dark With You” as my favorite Greg Brown song. Its uncomplicated, circular lyric of contrasts—I’m a poet, I’m mute / I’m ugly, I’m cute / I’m rich, destitute and I’m all of those things with my baby—and melody delivered with passion and reflection makes this one of the standout tracks. Greg Brown’s ability to return to the creative well for 25 albums is impressive, but Hymns to What is Left is quickly becoming my favorite. It’s an observational quilt, a patchwork of wry wisdom with frayed edges, melancholy, but laced with acerbic wit and occasional joy. The perfect wrap for the coming colder months. Michael Roeder is a self-proclaimed "music savant." When he's not writing for Little Village he blogs at http://www.playbsides.com.
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