The Chain Gang Of 1974, Wayward Fire

By Less Lee Moore

Based on “Undercover”—the first song I heard by The Chain Gang Of 1974—I was excited, fully expecting the album Wayward Fire to be crammed with lush, moody, ’80s-influenced synthy dance pop. (Even the cover art reminds me of Echo and The Bunnymen’s Songs To Learn And Sing.) Since my teen years were spent listening to the original incarnation of that style of music, I’m glad that so many bands are redefining the sound as a genre of its own, not just some passing fad. Yet, Wayward Fire is not what I expected.

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Iceage, New Brigade

By Less Lee Moore

Iceage is the kind of band that music critics slobber all over (and if you read music blogs, you’ll have heard about them already). This probably sounds like I’m insulting Iceage and music critics in one hastily written sentence, but be patient with me; I had to put that out there to get it out of the way.

Hearing “White Rune” for the first time was invigorating, to say the least. And to be fair to music critics, in part because I am one, there’s an awful lot of crappy music out there, so any hint of potential non-crap is pretty damn exciting to us.

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Iggy & The Stooges, Raw Power Live

By Less Lee Moore

Raw Power, the last official Stooges record, was originally released in 1973 and has been the subject of conflict ever since (amongst the band and its fans), due to the various remixed and reissued versions. This live album, recorded in September 2010 at the All Tomorrow’s Parties Festival in New York is a great interpretation of Raw Power and completely free of any polemic politics. There are some minor changes: the track list is slightly rearranged and “I Got A Right” is added on at the end, but nothing could ever change the incredible spirit of these songs. Raw Power is the perfect description of not just The Stooges, but Iggy Pop himself.

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Invisible Hand, S/T

By Less Lee Moore

At first the name Invisible Hand conjured images of some kind of Scooby Doo villain. Discovering that the lead singer and songwriter is named “Adam Smith” (yes, his real name) made me laugh; hearing the band’s music did, too. Invisible Hand isn’t a joke band, though they are clever, both musically and lyrically. They’re also incredibly fun and addictive.

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Erland & The Carnival, Nightingale

By Less Lee Moore

“A musical and melancholy sound” is not just a lyric from “Nightingale,” the title track from Erland & The Carnival‘s latest album, but also a perfect description of the band. They weave both musical references and literary allusions into their distinctive melodies, creating an evocative, intoxicating musical tapestry that is lush and extraordinary.
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Floating Action, Desert Etiquette

By Less Lee Moore

Although the name Floating Action is derived from a vintage Gretsch drum pedal, it’s perfect metaphor for multi-instrumentalist singer/songwriter Seth Kauffman’s latest release. Desert Etiquette‘s ten twangy, trebly tunes are like sugar crystals floating on a stream of golden honey, dewdrops sparkling in the sunrise of a chilly spring morning, or the embers flaring from a campfire in the clearing of the dark, snowy forest. Everything is as natural and comfortable as being outdoors.
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Anna Waronker, California Fade

By Less Lee Moore

Singer/songwriter Anna Waronker has surrounded herself with talented musician friends for her second full-length album, but no voice rings as clear as Anna’s own. Her lovely alto is the shining star in this collection of tunes on which she also plays piano, guitar, synths, and more. Waronker has a real gift for harmonies and melodies; these skills become particularly gratifying in the way she crafts the endings of her songs, as they transcend the typical fade out or repeated chorus, and transform the entire song into something better than the sum of its parts. Additionally, Waronker’s vocal and string arrangements are beautifully crafted.
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Foetus, Hide

By Less Lee Moore

“Don’t ask me any questions you don’t want the answer to.”
—From “You’re Trying To Break Me”

At the risk of beginning a Foetus review with reference to another, I will do just that. If Sparks, the uncategorizable band composed (mostly) of brothers Ron and Russell Mael, can be said to make music that is practically theatrical, then Foetus, also known as JG Thirlwell, makes music that is downright cinematical.

And you know those annoying people who claim to despise movies that make them think? Those people will never appreciate JG Thirlwell. Sometimes it feels exhausting trying to figure out all his references and nods and motifs, especially when he keeps his true self so close to the chest. But for those of us who love listening to his music over and over—digging and pondering, delving deeper and deeper into it—the payoff is outstanding.
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