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MARS ARIZONA
Hello. Cruel World
Big Barn
The San Francisco duo of Nicole
Storto and Paul Knowles goes by the
name Mars Arizona, a moniker lhat
hints at both worlds unexplored and
those mundanely familiar, celestial
aspirations and a dusty earthen reality
It's appropriate for a band that reaches
great heights, yet remains tethered
to Americana music traditions—
that sense of tradition is both Mars
Arizona's biggest asset and its only
drawback.
The track "Circus" is a high point
on the album, highlighting Knowles'
smoky grumble; placed as it is along
side Ai Perkins' wistful pedal steel—
David Grisman pops up on mandolin
as well—it comes across as weary
yet resolute, clued in to something
about human nature that's worthy of a
grim smile, a defeated chuckle. It's not
too far off from sardonic mid-period
Leonard Cohen, if he chose to spend
some time down at the bar or out at the
farm, rather than secluded up on some
mystic mountain writing poems. "Good
to Be Lucky" sees Storto take the lead,
and her voice ably remains haunting
yet crisp
If anything. Hello. Cruel World
plays too easily inside its own sand
box; if Mars Arizona stepped beyond
its own boundaries and were a little
less staid and tasteful, the duo could
accomplish something particularly
exciting. For now, though, be satis
fied with a completely well-made and
wholly thought-out album (that comes
with T. Rex, Neil Young and Loretta
Lynn covers, to boot). A cruel world,
perhaps, but a fine look at it.
Chris Hassiotis
Mars Arizona is playing al Utile
Kings on Thursday. Mar 13.
THE MARS VOLTA
Bedlam in Goliath
GSL/Strummer/Universal
The fourth studio album from
increasingly experimental prog-rock
band The Mars Volta is probably the
band's most polarizing album to date.
It's the fiist album that feels less like
the prog-rock amalgamation The Mars
Volta is known for. and more like an
experiment in sound.
From Cedric Bixler-Zavala's first
howls on "Aberinkula" to the fading
static of "Conjugal Burns." Bedlam In
Goliath comes at you hard and fast.
This album, like most of the previous
Mars Volta records, is like an exercise
in movie watching. Instead of forcing
the listener to piece together the story,
as in Frances the Mule or De-louseo
in the Comatorium. Bedlam gives it to
you right up front
The difference is that this time
the plot holes are too big to make any
damn sense out of it Still, that doesn't
necessarily make for a bad movie, it
just makes for a confusing one.
Bedlam is packed with the same
eyebrow-raising arrangements and
inventive use of distortion, static
and reverb that made De-loused
such a powerhouse debut But this
sonic inventiveness is wasted on a
couple of songs that are just garbage
Tourniquet Man" and Askepios'' are
two such songs that might make some
question why they started listening to
The Mars Volta in the first place But
the boys in the band definitely make
up lor those blunders with songs
like the funky, fuzzed out Hyena"
and the Spanish meltdown "Agadez"
The best song on the album has to
be “SoothSayer." a beautiful Middle
Eastern flavored piece that will engulf
you with emotion. There's something
so compelling about the melody that it
just pulls you in
Perhaps all the stories of how
this album came to be are true; stories
of Ouija boards and flooded studios,
stories full of mystical and mysterious
circumstances In any case, this album
is not for the casual listener But for
the devoted fans, it's definitely worth
hearing The Mars Volta's new direction,
and it'll be even more interesting to see
where the band goes next.
Charley Lee
BIRDS & WIRE
Sanford's Drive
Independently Released
The songs of Birds & //ire are
driven by the voice and lyrics of song
writer Leralynn. Although she is backed
by respected Athens musicians Neal
Fountain. Marlon Patton and Ro&by
Handley, the record feels more like a
solo project, and that has everything to
do with her outstanding skill—not the
weakness of any supporting players.
Leralynn's full-bodied, crystal clear
voice rings with the same magnetism of
Neko Case or Jenny Lewis Even when
she sings of heartbreak and struggle,
there is a warmth that pulls you; you
can almost feel the tickle of static as
her whispers cling to your ears.
Even within the span of this brief
five-song EP, Leralynn is able to create
an enveloping sense of intimacy. With
her insight and eloquence, she seems
wise and nurturing. You want to tell her
your stories, share your troubles, and
have her sing it back to you with all the
answers. Perhaps Leralynn can draw in
listeners so easily because she shares
so much of herself. Even within the
upbeat chorus of opening track "On the
Line," there is a permeating depth of
emotion. First she sings with an air of
flippant confidence; And all the times
you tried to tell me what it was I wasn't
doing /1 somehow never heard a
word." Then, just when you think she's
above influence, her vulnerability is
revealed as she pleads. “So let me call
you on the phone and cry so I won't
feel alone" Spend an hour with Bird*
& Wire, and you might find your own
confidante in these tunes
Michelle Gilzenrat
Birds and Wire 's CD release
party is on Tnursday. Mar 13 at the
Caledonia Lounge
HEADUGHTS
Some Racing. Some Stopping
Polyvinyl Record Co.
Take the sentimental formula tor all
of the broken-but-happy indie movies
you've seen in the past five years—
Garden Slate. Utile Miss Sunshine.
The Science of Sleep. Juno—toss it
into an adult-sized music box with
glockenspiels, sparkly guitars, tambou
rines. wurlitzers and leslies, and it will
most likely produce the sound of the
Headlight's well-crafted Some Racing.
Some Stopping. With a papier-mSche
approach to overlapping subtle textures
and melodic gestures, the band aims
for Phil Spector and hits stylistically
around the Beach Boy's Pel Sounds.
making a melatonin-inducing addition
to your bedtime soundtrack.
With the success of Omaha-based
indie label Saddle Creek in the mid-
'90s and beyond, it's no wonder that
the Headlights' stargazing midwestern
sound is instantly recognizable For
fans of Rilo Kiley, Bright Eyes and
Death Cab for Cutie, the band's sopho
more release is an instant sell Vocals
are delivered in melodic whispers
under a canopy of reverb, without
becoming washed out. Like other
music in its genre, the album shines
when it creates a panoramic view of the
seemingly involuntary. "Wouldn’t it be
sorta strange it we can hear our hearts
all beating at once / some racing, some
stopping / some skippin' and droppin
while we’re listening 7 " the title track
naively questions.
Though where the Headlights
deliver in style, they lack, somewhat,
in substance Several tracks are dis-
tractingly derivative, which ultimately
subtracts from the band's sincere inten
tions (the rlosina track sounds more
like Elliot Smiths than Headlights'
own) At best, the album sounds
endearing Infuse that into something
passionate, and it might translate into
something memorable
Ryan Monahan
THE BILLIONAIRES
Really Real For Forever
Too Soon
It would be pretty astonishing
if The Billionaires were, in fact, the
musicians who can be found at www.
billionairesband.com, a collection of
middle-aged dudes (and one lady) in
Hawaiian shirts and sunglasses For
half a second. I thought these new
indie poppers from Martha's Vineyard
just had an impressive commitment to
ironic humor, but that would be at odds
with their sweet, sincere sound
The first song (and clearly, the
hit single) might be called “The End
ot Summer," but instead, most of the
tunes are fresh with the glorious hope
of the end of the school year None of it
exactly sounds like AM gold, but much
of it produces the same warm, happy
feeling, and the presence of five differ
ent voices, often working in concert,
means little chance ot dismissing the
record because you're annoyed by the
vocals.
The song "Eighties Movies"
smacks of stupid nostalgia by those too
young to have experienced those flicks
the first time around, but it combines
ballad with bleepy noises and serious,
crunchy guitar in a way that drives
away irritation with the premise It's
promptly followed by “Pass the Bottle."
an ideal drunken, chaotic singalong.
then "NY Cab.’ an effective imitation of
60s French pop In short, the band has
command of many genres, and while
the album loses some steam toward the
end. it's easy enough to start it over and
melt back into that first lovely song
Hillary Brown
H@’s Top 10 Spins This Week
1. Devotchka—A Mad and Faithful Telling
2. Electric Wizard—Witchcult Today
3. Mia Doi Todd—Geo
4. Atlas Sound—Let the Blind Lead Those Who Can See
But Cannot Feel
5. Burial—Untrue
6. Itsnotyouitsme—Walled Gardens
7. School of language—Sea From Shore
8. Monade—Monstre Cosmic
9. N,o Kids—Come Into My House
10. Ladyhawk—Shots
Rankings are based on Radio 200 charts as reported by CMJ.
For more information visit www.wuog.org or listen to 90.5FM.
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