The Horror The Horror (Tapete Records)
Finally, probably for the first time since Felt, here's a band where Television is cited as an influence, and I can actually hear it! A young Swedish band enamored with VU, Modern Lovers and CBGBs era NYC, they also have hints of 90s British influences like Swervedriver and The Wedding Present. They have a clean and spare sound that works well becuase their songs are strong enough to not need to hide behind fancy production. Not that this is underproduced. There are some very nice, shimmery, sparkly moments. Hear "Sound of Sirens," for example. Without distortion, the song still packs an emotional whallop, even without paying attention to the lyrics. This is a sign of a great band. Released on an indie German label, this kind of hard to find. Tower currently stocks it in the import section for $21, and Rough Trade's site sells it. The label enthusiastically, and without irony, says, "This is your favourite new band!" And they're right!
Built To Spill * You In Reverse (WB)
It's weird to think they've been around over 14 years. And even before that Dough Martsch did Treepeople and other bands. A whole five years after their last album, the concise, polished, Ancient Melodies of the Future, You In Reverse finds them in a looser, jammy mode. Their 2000 live album is the closest in feel. Having done a stellar cover of "Cortez the Killer" on the live album, it's not surprising that the Neil Young influence is stronger than ever here. Forget weaker followers like Modest Mouse, Built To Spill will be the one known for consistent, durably classic rock albums.
Ladyfuzz * Kerfuffle (Transgressive/WEA International)
London's Ladyfuzz has a remarkable chameleon in Austrian Gwen Stefani-lookalike singer Liz Neumayr. She starts the album with a startling resemblence to The Slits' Ari Upp in "Hold Up," and goes on to remind me of Penetration's Pauline Murray, The Avenger's Penelope Houston, Nina Hagen, and even Karen O. What keeps Ladyfuzz elevated amongst mere revivalists is not only Neumayr's talent (she'll most certainly grow into her own distinctive voice quickly), but the band's tight yet elastic playing that keeps the songs sounding fresh and danceable.
Wolfmother (Modular/Interscope)
I have to say, it was hard to get excited about another band influenced by Led Zep and Sabbath. Sure, the Darkness were fun for an album, but most bands simply don't have the songwriting chops to pull it off without sounding tired and derivative. Yet from Kyuss to Monster Magnet, there's always exceptions that manage to record some worthwhile new material. This Brisbane, Australia group offer a couple twists that keep things fresh, including some Blue Cheer and, surprisingly, a strong White Stripes influence ("Joker And The Thief"). The album isn't even released in the U.S. yet, and the promotional machine is in full gear. I wouldn't be surprised if DJs get the promos sealed in bags of cocaine. Hence, a backlash is inevitable. It's great fun though. Bring on the tour with the smoke machines and capes!
The Ludes * The Dark Art Of Happiness (Double Dragon UK)
Yet more mates of The Libertines, Razorlight and Dogs, one could get sick of this stuff. But with the exception of the dullards Arctic Monkeys, I'm liking what I hear. Sure, they're obviously enamored with The Clash, but they have some great songwriting that transcends the sometimes cliched idea of "dirty, loose rock 'n' roll." Keep the tunes coming, and I'll keep listening.
Eagles Of Death Metal * Death By Sexy (Downtown)
This is Queens of The Stone Age's Josh Homme's side project. With Homme on the kit, his friend Jess "The Devil" Hughes fronts the band, with a decidedly more whimsical, trashy fun vibe than QOTSA. I saw them open for The Cramps one Halloween and they meshed perfectly. You'd think the raunchy rockabilly ditties would be total throwaways, but this is better than expected.
