I’ve had the pleasure of owning Titus Andronicus’ The Monitor for a month now and it is has slowly worked its way into my subconscious like a slow, smoldering fire building into an out of control blaze. The comparisons to Bruce are easy enough since both are both from Jersey, but I would throw equal bits of The Pogues, The Mats and any other band that throws caution to the wind and rocks your socks off.

The Monitor is an ambitious concept album on The Civil War. It attempts to revisit the issues that led our country to that war almost 250 years ago and where we’ve gone since. It’s somewhat bizarre in its approach, but it works. And when punk-inspired bands fire out seven minute+ tunes like a blackjack dealer dealing 15’s on the subject’s first night in Vegas, well, you know you are in for something unique.

The Monitor gets better with every spin. They pay a nice little vocal nod to their elder statesman on “A More Perfect Union” and it seems that they are willing to try just about anything thereafter. Their songs can make you feel like you’re riding a 50 foot wave one moment and crashing into the rocks the next. It’s both an exhilarating and exhausting album. Tunes like Richard II and Theme From “Cheers” connect so easily that you feel the instant need to sing along without knowing the words.

I can only assume that the Jersey quintet produce quite the racket in a live setting, whipping the crowd into a frenzy. I’ll find out at SXSW next week. The band will also be at the Pitchfork festival this summer.

Titus Andronicus – A More Perfect Union

In describing The Dutchess and The Duke, a Seattle-based duo of Jesse Lortz and Kimberly Morrison, my descriptions always begins with “you could add some of their tunes on a ’60’s mix of Newport performances and nobody would blink an eye.” But while their sound might be rooted in 60’s folk and early Stones albums, the band expands into new territory to create their own sound.

I really enjoyed their debut, She’s The Dutchess, He’s The Duke, but wondered how they could follow up without having it sound the same. Jesse Lortz had this to say:

This record was written for the studio. This record was written for Greg Ashley to record. In that sense, it was really good because we had a line to measure by: we know what we can do here.

The band added a few new elements, such as strings and keys, that provide a subtle, unobtrusive move forward for their sound. The tone of the record also feels more introspective. Morrison likens it to a rebirth:

On the last record he was so miserable, and now he’s got a kid coming and is trying to figure out what kind of person he’s gonna be and wants to be for his kid. It’s definitely more hopeful than the last record.

The single, “Hands,” has a bit of a flamenco-inspired rift to it that really kicks the album in the gear. The call and response that Lortz and Morrison deliver on “Scorpio” is fantastic as their vocals blend together. And the album closes with the amazing ‘The River,” where Lortz’s vocals seem to be channeled from the later recording of Johnny Cash. Combine that with Morrison’s harmonies, and you have a tune that sounds ethereal.

The duo are on a massive tour now, and will be at The Bottle in Chicago on 12/5.

The Dutchess & The Duke – Hands

The Dutchess & The Duke – Living This Life

For all the hype surrounding indie supergroup Monsters of Folk (Yim Yames, M. Ward, Conor Oberst, Mike Mogis), their new self-titled album does more than deliver. It exceeds my expectations and that says a lot considering how much I love Ward and Yames and that I’ve been anticipating this album for well over a year.

What Monsters of Folk are doing to the indie music scene reminds me of what LeBron James and Kobe Bryant did to high school basketball – they’re just operating on a completely different level. While everyone else was slapping the backboard on layups, LeBron was dunking from the free throw line and using his 36 year old looking face to buy everyone beer after the game. And while Kobe was taking R&B star Brandy to his high school prom, everyone else was worried about the hickey Jenny from earth science class gave them. Monsters of Folk are doing the music version of whatever that is.

Monsters of Folk is an emblem of four exceptional artists in their prime, each churning out some of the best music of their careers and converging at just the right time to deliver an album for the ages. It’s like catching lightning in a bottle.

Fans of the individuals that make up Monsters of Folk will be pleased to hear an equal dose of Yames, Ward, and Oberst throughout, each taking on an even amount of lead singing duties. And there are magical moments for each. Oberst delivers an absolute gem with “Ahead of the Curve” (surprisingly Oz’s early favorite), M. Ward particularly shines on “Sandman, the Brakeman and Me” and Yames delivers his finest on “Losin Yo Head” (and a heckuva spiritual on “His Master’s Voice”). They also tickle the eardrums by passing the microphone around on numbers like “Say Please” and “Baby Boomer.” But Monsters of Folk are at their best when they share the microphone at once. On songs like “The Right Place” and “Magic Marker,” the three voices blend together at times to form a sort of bionic voice with superhuman powers (like Lee Majors in The Six Million Dollar Man).

If you can find a better album, I’d like to hear it. Please let me know. Monsters of Folk will be released on September 22^nd and the guys will be touring beginning in October.

Monsters of Folk – Say Please

Tour Dates:

October
13 Vancouver , BC- Orpheum
14 Portland , OR- Arlene Schnitzer Concert Hall
15 Seattle , WA- Paramount Theatre
17 Oakland , CA- Fox Theater
18 Los Angeles , CA- The Greek Theater
20 San Diego , CA- Spreckels Theatre
21 Phoenix , AZ- Orpheum Theater
22 Santa Barbara , CA- Santa Barbara Bowl
28 Omaha , NE- Holland Center
29 Minneapolis , MN- Orpheum Theatre
30 Chicago , IL- Auditorium Theatre
31 Louisville , KY- Louisville Palace Theatre

November
02 Toronto , ON- Massey Hall
03 Boston , MA- The Orpheum
06 New York , NY- United Palace
08 New York , NY- Beacon Theater
09 Philadelphia , PA- Academy of Music

My affection for A.A. Bondy is threatening my heterosexuality.  It’s partially because of the music, but there’s also an allure to his persona. The folk singer that takes the stage with his trusty guitar, harmonica and warm voice that can soothe even the most hardened soul.  The lone troubadour that earns his keep in front of crowds, spinning tales and giving a glimpse of his spirit in song.

Bondy visited us for a session last year and explained that he’d been sleeping at rest stops in his car because he hates hotels and the chemicals used to sterilize the rooms. That’s what I call a modern day cowboy. And while I’m sure it’s lonely as an indie singer-songwriter on tour, there’s something romantic about the open road and the quest to win over new fans doing what you love doing.

While A.A. Bondy’s stellar debut album American Hearts was a solo affair, he’s enlisted a band on When The Devil’s Loose. Not a full orchestra or brass section or anything, but just the right touch of electric guitar and piano to to provide a backdrop for the gloomy lyrical imagery. The album starts with an acoustic song, “Mightiest of Guns,” that would have fit perfectly on the previous record (it was written in ‘07), but it also serves as a segue into the newer material on When The Devil’s Loose. “A Slow Parade” follows and ambles slowly along over piano and winding electric guitar solos while lyrics speak of waves crashing around and the sea “talking sweet to me.” The music fits the lyrics perfectly and it’s easy to feel like you’re floating on the tide.

Despite what conclusions you might draw from the cover art or dark lyrics, Bondy’s music is a sort of therapy.  You can hit play, listen straight through and immediately hit play again. Your stresses will slowly just fade away and you find a calming peace by the time “The Mercy Wheel” is halfway over. I can’t think of a better album for the coming months, when you awake to the leaves falling to the ground and feel the crisp air on those fall mornings.

Side note: I have a feeling I’ll be needing  some A.A. Bondy after USC takes it to my Buckeyes on Saturday.

A.A. Bondy – When The Devil’s Loose

A.A. Bondy – I Can See The Pines Are Dancing

Exclusive: AA Bondy – Mightiest of Guns (from our live session w/ A.A. Bondy)

A couple weeks back I got an email name-checking Gram Parsons, Crazy Horse and The Band. And then, as if my interest wasn’t already piqued, they said the band was from Seattle and along with another HearYa favorite, The Moondoggies, were bringing pedal steel to the birth city of grunge. If I was a puppy, I would have rolled over and let the PR person rub my belly. I was that excited to download that album.

But how many times does said excitement lead to letdown? Countless times. Its easy to name-check The Band, but The Maldives strike all the right notes. The nine-piece, yep I counted them myself on MySpace, produce a huge alt-county sound including an outstanding jam towards the end of “The Time Is Right Now.” They also work in a couple of country ballads, the best of them being “Say Nothing” that features a lovely accompanying female vocalist and a mournful violin that winds through the six minute tune.

Stompers, ballads, easy-going rockers – these boys have it all. Much like The Moondoggies, they aren’t afraid to stretch a song over 5 mintues which I absolutely love. They even slipped a 10 minute tune with the amazing “Walk Away.” The Maldives have done an amazing job of intertwining your traditional elements of country with just enough rock to give them a kick in the ass when necessary. They are still mainly working out in and around the West Coast but they have landed right on my radar here in The Midwest.

Website | MySpace | Mt. Fuji Records

The Maldives – Tequila Sunday

Stanley are a five-piece outfit from South London that found its way in to our inbox a couple weeks back. After assuring me that they weren’t Chelsea fans, I spun their debut EP and my toes were tapping immediately. They deliver a blend of indie pop with hints of folk – and folk tends to hit our sweet spot.

My buddy Moish once described She & Him (The M. Ward and Zooey Deschanel collaboration) as saccharine because it was sweet and just left you feeling good. The same description would also work for Stanley. Fronted by the angelic voice of Hazel, the band eases through the five song EP in effortless fashion. The tunes are wonderfully arranged and leave you in a better place.

No US dates in the foreseeable future, but for our UK readers, they seem to be playing all over London. In fact, there are some pictures on their site from a performance at a place called The Barfly, where I once got monumentally wasted.

MySpace

Stanley – Nothing to Say

Patterson Hood of Drive-By Truckers is set to release his sophomore solo album called Murdering Oscar on June23rd.  Killers and Stars, his solo debut, was an acoustic album that sounded like it was recorded in a bathroom. The lo-fi treatment served the album well. It’s a depressing affair that was recorded at a time when Patterson was going through some tough shit. I was expecting similar slow, acoustic sounds on Murdering Oscar, but that is not what greeted me when I pressed play.

Big, ominous guitar riffs roll in like thunderheads when the title track opens things up. You immediately feel the song’s intensity before a grizzled word is uttered from Patterson’s southern jowls. Then the tale of kill or be killed begins to unfold: “I killed Oscar/Shot him in the head/Put the gun in his mouth/ Watched his brains fly out.” Um, okay. Let me start that song over knowing what I know now. And proceed.

The song reminded me Patterson’s song “The Assasin” from Killers and Stars about a professional killer that loses the taste for his murderous ways. On “Murdering Oscar” it’s as if this same character is confronted from someone he’s wronged and relapses back into blood thirst. While on “The Assassin” the character contemplates quitting for good, he is now remorseless and says “I don’t need forgiveness for my sins/ I don’t need redemption for my sins/ Got the satisfaction of a job well done with my own bare hands.”

After “Murdering Oscar” ends, you’ll need to press pause just to catch your breath. It’s like watching a Quinten Terrintino movie where you can’t quite believe the casual treatment of violence and gore.  Once recovered, the rest of the album lowers the intensity level on songs like “Pollyana,” “Pride of the Yankees” about Lou Gherig, “Grandaddy,” a song about growing old, and the whimsical “She’s A Little Randy.”

Drive-by Truckers fans will not be disappointed. Most songs would fit in perfectly on any DBT album, but these are Patterson’s and Murdering Oscar is a great step forward from Killers and Stars. Head over to his MySpace page to hear more tracks and check tour dates. He’ll be in Chicago on June 20th at the Metro with Will Johnson of Centro-matic.

Website | MySpace

Patterson Hood – I Understand Now

Video: Patterson Hood – She’s a Little Randy (Live)

The Roadside Graves, a criminally overlooked New Jersey band, is back with a massively ambitious release. After 2007’s No One Will Know Where You Have Been, the boys have landed on Autumn Tone Records which is also home to J. Tillman and The Henry Clay People. My Son’s Home is 18 tunes strong and, while that usually is a signal that a band needs to trim some fat, this album is brimming with alt-country genius from beginning to end.

Each song is unique in sound with exceptional lyrics that strike you between the eyes. For those unfamiliar with them, I would liken their sound to a blend of Felice Brothers, Trainwreck Riders, Son Volt and The Band with a sprinkling of Gaelic influence in the vein of The Waterboys. The band is fronted by John Gleason and his voice and songwriting will have you believing the man has lived a number of lives.

In a day, where America spends countless time voting on their next plastic wannabe superstar, our time would be well-spent listening to bands like The Roadside Graves who fill their songs with emotion, heart and soul. Oz and I both have the same favorite track, “Ruby.” This is one of the tunes that has that loose, ramshackle Felice Brothers sound as it tells the story of a man back from war and his love, Ruby. Gleason and Jeremy alternate singing verses towards the end of the tune and the interplay is extraordinary.

On the opposite end of the spectrum is the title track, “My Son’s Home.” Gleason pours every ounce of his soul into the tune with the barest of instrumentation and backing vocals. It’s absolutely mesmerizing and hasn’t lost an ounce of its impact despite numerous listens.

I could rattle off amazing tune after amazing tune which would make this review about 2,000 words long but instead I will just urge you to purchase this brilliant album. The boys will be doing a tour later this summer and will be making their way through Chicago, hopefully with a stop in Shirk’s studio for a session.

Website | MySpace

The Roadside Graves – Far and Wide

Update: After reading that we loved “Ruby,” we were given permission to also post that mp3.

The Roadside Graves – Ruby

The Dexateens take it easy on Singlewide. Building on the success of Hardwire Healing and using a few tricks they picked up while working with Patterson Hood of Drive-By Truckers, the boys from Alabama decide to dial things down a notch on their fourth album. And while the amps may not be as high as the old days of Red Dust Rising, the songwriting has never been better.

Led by Elliot McPherson and John Smith, Singlewide produces a sound more fitting of a back porch than a smoky rock club. I actually fired this up while knocking down a cool one this past weekend. The sun was going down as I sat on the porch watching my monsters romp around and it felt so right.

Songs are structured around the acoustic guitar as McPherson and Smith trade easy going licks. The harmonies that flow throughout the album are effortless and its hard not to imagine the boys on rocking chairs drinking a big pitcher of Lynchburg Lemonade.

The second song, “Caption,” is my favorite. It’s an introspective look at one’s place in life and the lazy guitar lick that permeates throughout the tune sounds half-exhausted as it leaves the amp. A couple other faves include “Charlemagne” featuring slide guitar and “Missionary Blues” with standout lyrics. And to top things off, David Berman of Silver Jews makes a guest appearance on the final track, “Can You Whoop It.” It’s the last song Berman recorded before quitting music in January.

We’ll have a live session with The Dexateens in the coming weeks. Until then, you can Buy it at Amazon for $7.99.

The Dexateens – Down Low

The Dexateens – Can You Whoop It

During SXSW you hear about so many bands that are “the next big thing.” Usually they don’t live up to the hype, but there is the rare occasion when someone tells you about a band that turns out to be a gem. Chief is one such example. I was introduced to Chief band member, Michael Fujikawa, when I trekked across town to see another good band called Hungry Villagers. I typed “Chief” into my phone and filed it away.

Later on I bumped into Michael again, this time at The Love Language show where Chief ended up singing harmony for a band called Dawes. My interest was piqued, but I never tracked them down for a true performance in Austin. One visit to their MySpace page after arriving home made me regret it. The NY via LA band describes themselves as the offspring of Buffalo Tom and Oasis with Neil Young as an uncle.

In spite of the Oasis reference, I am loving this band. Their melodies wash over you and sink deep down into your being.  The boys may have moved out of California but their sunny roots have not abandoned them in their new home. After repeated listens, I would say that if you enjoy bands like Fleet Foxes and The Moondoggies, then Chief is for you. From the first verses of the opening track “Your Direction” to the last chords of “Nice People,” I felt that I had discovered a band that is ready to explode on to the scene.

The boys have recently signed to a well known label and are set to put out their debut later this year. They’re hitting Glastonbury and have some other dates set for Europe. Let’s hope they set up a proper US tour so I can right the wrong of not seeing them in Austin.

MySpace

Chief – Your Direction

Video: Chief – Nice People

Chief – Nice People from nevernever on Vimeo.