Music Review: The Muffs, Whoop Dee Doo

By Noreen Sobczyk

The Muffs have released Whoop Dee Doo, their first album in a decade, and for one musical moment all is right with the world. Long time friends and bandmates Kim Shattuck (guitars, vocals, organ), Roy McDonald (drums, percussion), and Ronnie Barnett (bass, vocals) bring excellent musicianship and songwriting as well as a spirit of fun every time, so it’s no surprise that Whoop Dee Doo follows suit. Six albums into their career, what band hasn’t released a clunker or put a bit of filler on a couple of albums? The Muffs, that’s who. The Muffs move in, kick your ass, and move out in under four minutes.

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Music Review: The Danse Society, Seduction: The Society Collection

By Less Lee Moore

If all you’ve ever heard from The Danse Society was their excellent 1985 single “Say It Again,” congratulations! You and I have something in common. It was with curiosity and anticipation that I decided to review Seduction: The Society Collection, and I was both surprised and pleased.

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Music Review: Midnight Faces, The Fire Is Gone

By Less Lee Moore

The dreamy, ’80s pop of “Wake Me” opens Midnight Faces’ sophomore album, sounding like the sunnier end of The Cure’s multicolored musical spectrum. Philip Stancil’s voice, however, is nothing like Robert Smith’s, and has a gritty, reedy edge that helps ground the songs on The Fire Is Gone.

“Over Again” has a darker vibe, albeit with that same reverbed guitar, and proves to ’80s naysayers how versatile that sound can be. The slow hush of “Shadows” features anxious harmonies and a heavy bassline.

But if you think Midnight Faces are just another wanna-be shoegaze band, think again. The soaring, joyous “Hold Tight” veers into actual power pop territory, with a chorus that could easily fit in amongst Taylor Hanson’s finest, while the whistling melody of “This Time” is ridiculously infectious.

The album switches gears again with the R&B dance flavored “Give It Up” and the electronic drums of “Animal,” which could easily be a forgotten hit from 1986. Coming full circle for the final track, “The Fire Is Gone” is another melancholy gem with some thoughtful lyrics and a fantastic chorus.

For those looking for something a little unexpected in their dream pop, I guarantee Midnight Faces will hit the spot.

The Fire Is Gone was released by Broken Factory on May 13.

Waxing Nostalgic: The Call, “Oklahoma”

By Jeffery X Martin

The Call was one of those Eighties bands that almost made it. They had a decently large fanbase, but they just never quite caught on. Most people know their biggest hit, “I Still Believe,” better from that scene in The Lost Boys, where it is performed by saxophonist/body-builder Tim Cappello. [That fuckin’ guy. All greased up and shiny in the firelight, like a Rob Liefeld comic come to veiny life.]

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Blu-Ray Review: Anaconda, Last Action Hero, The Legend Of Billie Jean

By Brad Henderson

Mill Creek has blessed us many times with their double packs and some great Blu-Rays. Yes, they come up criminally short of special features, but they do have some decent transfers and their prices are next to perfect. Recently Mill Creek has reissued some classics and I think they look fantastic.

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Music Review: Various Artists, A Classic Rock Salute to The Doors: Light My Fire

By Jeffery X Martin

It’s one of those burning musical questions, the kind of thing that keeps you up at night, losing sleep. What exactly would it sound like if a bunch of classic rock artists covered the songs of a classic rock band they were never members of? It’s a staggering premise, to be sure. I mean, is that even legal? Won’t that push the limits of rockitude past its previously agreed upon limits?

Short answer: no, it won’t. The good news is, it doesn’t completely suck.

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Music Review: Cabaret Voltaire, #7885 (Electropunk to Technopop 1978 – 1985)

By Noreen Sobczyk

#7885 (Electropunk to Technopop 1978 – 1985) continues the fruitful relationship between Cabaret Voltaire and Mute and includes revamped reissues of CDs and DVDs in box set form. These releases were initially broken into time periods, which for Cabaret Voltaire makes a whole lot of sense, because essentially you’re dealing with strikingly different sounds. #7885 is a distilled version of many creative ventures placing the entire era of the band together on one release for the first time.

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Music Review: Janiva Magness, Original

By Melissa Bratcher

If there were any justice in the world, Janiva Magness’s newest, Original, would be as ubiquitous as Adele’s last album. You should hear her songs pouring out of car windows, women (and men) singing along, tears in their eyes from the sheer power of it. After all, Magness has an unbelievable voice, emotive and strong, and writes personal lyrics that speak to everyone. Janiva Magness, of course, isn’t marketed that way, which is a shame. She needs to be heard by a wide audience. She’s amazing.

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Music Review: The Blow Monkeys, She Was Only A Grocer’s Daughter (Reissue)

By Melissa Bratcher

After reissuing The Blow Monkeys’ first two albums, as well as their stellar newest album, Feels Like A New Morning (review), Cherry Red Records has released a deluxe edition of 1987’s She Was Only A Grocer’s Daughter. And a deluxe edition it is—remastered, chock full of remixes and astoundingly good demos, enhanced by an interview with The Blow Monkeys frontman, Robert Howard (Dr. Robert), in the liner notes. It is a boon for completists, collecting all the bits and bobs into one excellent package.

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Music Review: La Roux, Trouble In Paradise

By Melissa Bratcher

Though the BPMs on La Roux’s new album, Trouble In Paradise, are lower than on her surprise hit debut, it’s still the kind of record that moves you to the dance floor. After a tumultuous break (losing her voice, breaking off from her former partner in La Roux), Elly Jackson has returned with a much warmer, fun record, and it’s a very welcome one.

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