MagnaPhone Magazine - Pure Music

Quintron-The Frog Tape/ www.QuintronandMissPussycat.com (Skin Graft)
Dave Poggi is Mr. Quintron, organist extraordinaire and inventor of the Drum Buddy. This record of frog noises and Hammond organ is eerie and wonderful. Listening to it while walking to work made me feel like divine in Polyester when she has her nervous breakdown. Particularly of creepy interest is his cover of the "Stray Cat Strut"-Greg Trout

The Red Masque-Feathers for Flesh/www.TheRedMasque.com/(Big Balloon)
Now this is sweet music to my ears, the perfect aural elixir to a winter's day. Sure enough, honest to goodness progressive-rock alive and well and here in our own Philadelphia! It's all here: Medieval renderings and influences, powerful and adept guitar work, beautiful vocals and intricate song patterns and storytelling. The only thing missing is the Harvest label in the center of the record! The interplay between baroque classical and straight-ahead hard rock are stunning on this piece. Keep your eyes and ears open, Lynette Shelly and her Red Masque are planning something wicked this spring! - Greg Trout

Richard Buckner-Dents and Shells/www.Richard Buckner.com/(Merge)It's 3am. The house is quiet. The only sound is crickets outside, or the occasional whir of the refrigerator. The girl you loved has long since gotten away, and you'd do anything for a friend, a place to go, or to be something. That, MagnaFriends, is the essence of this teardrop of a record. Straight ahead arrangements, flourished with lonely piano and pedal steel dominate the sounds, while Buckner's dusty, not-unlike-Robbie-Robertson vocals tell the sad stories like a talkative stranger in a bar. A real touch of autumn and a warm sadness underscore this mature and disciplined bit of Singer/Songwriting. The haunting arrangements bring to mind the detailed work of Neil Young's early recordings, a lazy comparison yes, but nonetheless apt. The sound of this record harkens back to a time when a looser, more organic feel was the norm. "Invitation" is probably the best example of this. Listen to how comfortable the instruments sound with one another, how at home the sounds seem, like a perfect set. When a songwriter is baring his soul and recounting such painful and deep minutiae, the sounds accompanying it MUST be this intimate, or it just doesn't work. Buckner risks being lost, unfortunately in the seeming thousands of Singer/Songwriters flooding current public radio everyday. But I firmly believe his sounds and songs will resonate and leave an imprint ultimately. For one reason and one reason alone. Sincerity. There is no doubt about anything on this record, from the conviction of the lyrics, to the quality of the music, to the overall execution and presentation-even the cover drawing of two birds separating from the same tree seems perfect. Yes, as I said before, this is a lonely teardrop of a record, but it's an almost flawless one. - Greg Trout

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Jigsore Terror-World End Carnage/www.JigsoreTerror.com/(Listenable)
In the late 1970's and into the 80's the world of underground music experienced a renaissance. Three distinct movements culminated to inspire an extreme sub genre called Death Metal. First off we have rumblings and explosions in Europe. New, heavy bands questioning Christianity and taking music to new, extreme velocities like Bathory and Venom were setting the scene on fire. Their American counterparts like Possessed and Destruction responded in turn and upped the speed and terror ante inspiring an even faster, more gruesome heavy metal. Throw in a bit of hardcore attitude ala The Exploited and you have yourself an international phenomenon called Death Metal. A tight collective of bands challenging established mores and pondering mortality.
This brings us to the new record by Jigsore Terror. I am not altogether sure that Jigsore Terror is doing anything new per se. This Swedish DM trio's brand of thunder is certainly exactly what you would expect. In fact, that is probably why this record works so well. While gruff deep howls over martial beats and searing, stabbing guitar riffs punctuated by the occasional blast beat is pretty much what I expected when I popped this into my stereo, its rare in the death metal world to hear such infectious exuberance-in other words they obviously love this music. That said it is some of the best of this class I have heard. The musicianship is obviously accomplished and there is an air of authenticity and even authority to their onslaught. A must for the curious and aficionado alike. To learn more about this great music, I recommend picking up a copy of Albert Mudrian's fine overview Choosing Death: The Improbable History of Death Metal and Grindcore from Feral House books.-Greg Trout

Tom Waits-Real Gone/www.Anti.com
This afternoon I strolled through our neighborhood on the way to a few errands. I slipped the brand new record by Tom Wait, "Real Gone" into my Walkman. Passing me on the street were Man furred young men with dubious wares for sale, red-eyed immigrants returning from shifts way too long and tedious, elderly women sitting on stoops watching the panorama of the street. As I moved further along I saw gutted houses, renewed houses, stray cats and pit bulls on leashes. I could smell the local African restaurant, various forms of smoke in the air, and exhaust. The same show was going on in my ears. Tom Waits new record is, as he would say, a Killer. All the characters are here, both sonic and literary: Blues riffs, doomed housewives, flamenco guitar, two- timing rats, clanging steel, the carnival, the city at night, the diner in the morning. What's different this time around is its presentation. Each song is presented as its own entity, with its own texture, own culture, and own universe. Taken as a whole or individually, this is as fine a collection of short stories as Flannery O'Connor could ever conjure. To say it's among Waits' best is safe as well. Tom Waits has recorded 20 albums in his 30-year career. He's pretty much laid the groundwork and established a set of rules. The rules are simple, take every last detail of romanticized lowlife, kitsch, beat, and gutter glamour culture, put it in a big shoe box, shake it and dump it all over the 80 minute confines of a CD. He continues with 'Real Gone' to mine that territory, how he keeps it fresh each time around is I suppose the secret that separates him from mortals. The first record by Tom Waits I ever bought was Rain Dogs in 1985. At the time the bizarre arrangements, sub-blues growling and romantic drunken elegies served as escapist fare for my fifteen-year-old mind. As I age and keep up with his records and dig into his back catalog I realize now that he IS our Howlin' Wolf, he IS our Woody Guthrie. All those he sought to emulate he has become to us. As I looked into the faces of all the fringe dwellers I could hear their voices in my ears. I used to say Johnny Cash and Tom Waits were the two voices of the downtrodden. Now there is only one. He is definitely pulling his own weight.-Greg Trout

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Jafar Barron-The Free Bop Movement
This is a solid disc and a rare treat. Barron takes all manner of Bop styles and brings them forward and up to date. Ghosts of Miles and Monk lurk in these grooves but don't overwhelm them. The exuberance and love of these sounds is infectious and evident while spinning this disc. Barron has been on the scene for a while; last time I caught him was on an acid jazz night at Silk City. He's been at his trumpet since he was six, and dead serious about it every minute. I can't say enough about his sound, and cant stress enough the talent involved in bringing bebop to the 21st century, but this cat has pulled it off. MagnaApproved to say the least.

The Briefs-Sex Objects/ www.TheBriefs.com (Better Youth Organization)
Flannel Seattle is dead, and here to throw one last handful of dirt on grunge's grave come the Briefs. Formed 5 years ago, these punk rock dandies, replete with white-framed sunglasses, bleached hair, skinny ties, and x-chromo leopard shirts have been steadily encouraging punk rock fans to forgo moshing for pogoing; a worthy mission at a time when the collective unconscious declares punk dead, or at least neutered. Their third album "Sex Objects," on BYO Records, kick starts hard with "Orange Alert," setting the tone for 14-track catapult shot. The songs run the gamut from the politically charged "Destroy the U.S.A." and "No More Presidents", through the double-barreled snotpunk of "Antisocial", to the weirdly poignant and irreverent "Killed by Ants." The music is stripped of the last 25 years of technological developments and electronic "advancements", placing us squarely in the late 70's when rock was played with guitars and amps (thank you very much) without a lot of flourish or extraneous bullshit. The Briefs play with the rabid intensity of true believers, and slingshot their songs off like raw meat to the listening wolves (that's us). The album is addictive--perhaps it's the shot of adrenaline the brain sends out when hearing a familiar form spun up and spit out so deftly.
--Susan Jonatis

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Eleni Mandell-Afternoon / www.EleniMandell.com(Zedtone)
Eleni Mandell's Afternoon is a musical trip to a thrift shop. You have the moonshine and side burned style of 70's country with "County Line", a table full of faded picture postcards with "Sun's Always Shining", and we have cheap beer, old records and some seriously R&B (circa '63) organs with Just a Dream. This is a fun record. The band sounds like they're having a ball and Ms. Mandell seems to be having a blast chewing up the scenery. I really dig the direction that Americana is going these days, with people like Jolie Holland, David Eugene Edwards and Ms. Mandell at the helm; I predict a weird and wonderful ride.

The Waxwings-Let's Make Our Descent / www.TheWaxwings.com (Rainbow Quartz)
I've heard the Waxwings compared to a lot of bands, or sounds, and I don't agree with any of them. Waxwings are pure straight ahead bar band pop. They're a little country, a little classic, and all 80's. Yep, I said 80's. Who do these Detroit darlings remind me of? That offshoot from the paisley underground of the 80's with one foot firmly planted in the honky tonk and a beer in its hand. Green on Red, Lone Justice, Guadalcanal Diary, Let's Active, and Beat Rodeo are the ancestors of these sounds. This is perfect listening for afternoon in the sun with your old college friends.

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African Groove-Putumayo Records Compilation / www.Putamayo.com
The musical detectives at Putamayo assembled this incredibly exhaustive collection of current African pop and dance music. With everything from traditional players in a modern setting (Mali's Issa Bagayogo) to Americans playing with Afro-beat (Thievery Corporation) this is a nice beginners set. Like all collections it's hit or miss (the biggest miss being the truly regrettable "Uhiki" from Kenya's Hardstone), but for the most part this is a good representation of where African Pop is today, and how it is growing and reaching new shores.

This Moment in Black History-Midwesterncuttalistick / www.VersionCityRecords.com
Have you ever sat and pondered what it would sound like if Booker T & the MGs, The Fall, pre-Henry Black Flag, and Gang of Four started a band? Pop this in, click to track two, and listen to "Are Lipps Our Inc" to finally get your answer. I think it's exciting when bands come along that cram more influences than you can name into their sound, in turn creating something unique. Like Fishbone, !!!, and At The Drive-In, that excitement is all over these grooves. They haven't figured out exactly how to maintain listener interest for the entire record, and with 17 tracks it gets a bit same-y, but keep your ears open MagnaFriends, This Moment in Black History may be on the road to something completely unique.

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Hansoul-Philadelphia Fellowship / www.Hansoldier.com
I really like HanSoul's music, and I don't mean that passively. Some music you hear and you just like it, you warm up to it like a friend. Such is HanSoul's hip-hop. Some of you may remember HanSoul's MTV hit "Imagination" from a little over 10 years ago. In that time, he has eschewed secular rap in favor of Christian rhymes. He has also somewhere along the line become an elder statesmen of beats and rhythms. In the current world of hip hop it's rare and perhaps unheard of to hear sounds that are fresh, current, and fully informed of the past all at the same time. HanSoul's decision to become a representative of the Lord is well documented at his website. Carrying on the rugged individual and very Philly tradition of Sun Ra and Todd Rundgren, Hansoul stays true to his vision despite commerce and simply trusts people to know good music. He has crafted what may well be the best hip hop record I've heard this year. With help from fellow Philly fundamental rappers Japhia Life and Price, Hansoul has produced the rarest of creatures. A rap record consistently good from beginning to end. And the message is pretty positive too.

Halfacre Gunroom-Wrecked / www.HalfAcreGunroom.com (Deathwish)
Memphis' Halfacre Gunroom's first record is appropriately titled "Wrecked." The sound of the record exudes a smoky, sticky drunken night at a honky tonk. Their songs are populated by people whose lives are either about to be ruined, on the run, or lost. Recorded by Doug Easley of White Stripes fame, and keeping with their spearheaded movement of bringing country tradition to rock present, this quartet has a nice 80's country rock sound. Not unlike X, the Long Ryders, Green on Red, or the early work of 4 boys from Athens, GA, this is a pretty good listen in your Chevy as you head from one dive to the next one lonely summer night on a numbered highway in the middle of nowhere.

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Yowie-Cryptoology / www.SkinGraftRecords.com
Now this is exciting music. Listening to this disc, it's just palpable that this trio from St. Louis knows its on to something. They are taking music down to the workbench, dismantling it, holding it up to the light, shaking it next to their ears and putting it back together as many ways they can. This is the sound of musicians taking the technical rules of music, isolating themselves from the popular laws and creating something new. I listened to this one over and over the day it came in the mail and I still haven't gotten to the bottom of it. I'm told Yowie is a formidable live force as well, supporting the likes of Chuck Berry, Jay Farrar and Nelly. Yowie has to be heard to be believed. Do it now.

Interpol-Antics / www.InterpolNY.com (Matador)
New York band Interpol's second album Antics sticks to the same formula as their debut album, Turn on the Bright Lights, but has lifted the dark veil delivering lighter, tighter songs about longing for love and companionship. With simultaneous strumming guitars, progressive beats, and the ambient sound of a synthesizer, Interpol has a definite influence from favored 80's bands. Antics takes these traits used on their debut and makes something new: something that is their own. It sounds as if they've mastered the use of a metronome; each song is focused on precision and each instrument acknowledges what the song needs. The songs are still full of despair, but unlike their melodic darkness in Turn on the Bright Lights, Antics creates upbeat sparkling charms of hope throughout.

The first track starts off with "Next Exit", a slow tune about "going to the city, not the town." This calming melody prepares you for a trip through dueling guitar dance beats that even stiff necks will nod their heads to. The first single, "Slow Hands," is a dance floor breaker sure to please hip-wigglers and shoulder-shakers. There are also slower gems, like "Take you on a Cruise" and familiar songs like "Narc", "Length of Love", and "A Time to Be So Small" which have been performed live over the last two years (or on the Precipitate EP). Singer Paul Banks now commands you to listen to his pleas. Although many of the lyrics are just okay, Banks sounds more pronounced, and confident that maybe this time he'll prove himself worthy of love. If Interpol continues creating progressive songs that are heartfelt and melodic, they just might get their wish. --Aqila Clement

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Goatsnake-I/Dog Days / www.GoatSnake.com (Southern Lord)
How much do I love Goatsnake? How much do I really love the basic heavy, dirty riffs of this tighter than tight doom outfit? Let's put it this way, if there was a big SST on the back of this record it would not appear out of place. The handful of old heads who know what I am talking about know exactly what a compliment this is and those who don't should just go buy it, go directly to track two ("Innocent") and enjoy one of the finest guitar riffs in the past 10 years. Oh, this is a collection of their first two essential records from 1999-2000. Just go get it and turn it all the way up

Saxon-Lionheart/(www.Saxon747.com) (SPV)
"Where were you in '79 when the damn began to burst..." asked Biff Byford in the NWOBHM anthem "Denim and Leather" arguably Saxon's finest hour. Truth be told though in response to Biff's query most of you reading this review probably weren't even born yet or were at least still in diapers! Well, fortunately for you these guys are still around nearly 25 years later and still playing it loud and proud! Lead track "Witchfinder General" comes crashing out of the gate and right off the bat the most notable aspect of Saxon 2004 is the addition of new drummer Jarg Michael (formerly of Stratovarius) who's obvious superiority over previous skin pounder Fritz Randow adds a new dimension to the Saxon sound...I feel it safe to say these 11 cuts are definitely among Saxon's most exuberant ever! While those expecting to hear familiar strains similar to "Wheels of Steel" or "Dallas 1pm" might be somewhat disappointed one listen to "Man and Machine" or "To Live by the Sword" should deter any notion that these boys have dried up. Whether "Lionheart" will make Saxon the superstars they deserve to be in the US remains doubtful, I think it's certainly safe to say it will come as ear candy to even the most discerning of metal purists out there. PLAY IT LOUD! -Ralph Bates

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RHAPSODY-Symphony Of Enchanted Lands II - The Dark Secret/(www.MightyRhapsody) (SPV)
It should come as no surprise to those who've been following Luca Turilli and his band of merry men that Rhapsody's latest opus "Symphony Of Enchanted Lands...II" is nothing short of breathtaking. One simply cannot deny the magnitude of the disc as it flows from start to finish (peppered by numerous narratives by none other than Saruman himself , veteran horror/fantasy film actor Christopher Lee) as if it were a heavy metal film score. In fact the soundscapes and textures within make it nearly impossible NOT to actually visualize the actions being described. From rolling majestic hills over some enchanted land to the darkest forests where all evil dwells the listener is indeed taken on a sublime musical journey the likes of which I for one have never experienced or even thought possible for that matter. It is indeed overwhelming upon first listen. However, upon closer inspection it seems every detail is painstakingly worked over to perfection with the possible exception of the actual songs! Yes, sadly amidst all the sounds effects, narratives, symphonic interludes and various other distractions it becomes very apparent there isn't much "meat" in between and this of course is where it really counts. What I found here (and in all fairness, let it be known that this is my first "real" exposure to the band) were exhausting endless guitar solos that seemed to go nowhere and triple time double bass drum beats where it was not only unnecessary but also inappropriate. The songs themselves while for the most part seemed fairly well penned were just...well, not very exciting and overplayed. So here we have a very strange dynamic in effect. On one hand I'm absolutely astonished by the production and concept of the disc yet disappointed by the actual musical content. What's worse is the overall running time of 72+ mins. makes it a very strenuous listen for one sitting. I can only hope that in the future Rhapsody works more on their song craft because with that in place they WILL actually be the stuff legends are made of. -Ralph Bates

Metal Church-The Weight Of The World (www.MetalChurch.com) (SPV)
Personnel changes can often be necessary in the growth of a band...other times it can be devastating. The 20-year plus career of Metal Church was marked by significant personnel changes within its ranks following the release of the bands second album in 1986 for Elektra records The Dark. This, of course, was the exit of original vocalist David Wayne and guitarist main songwriter Kurt Vanderhoof followed by the entrance of former Heretic singer Mike Howe and former Blind Illusion guitarist John Marshall for the stellar 1989 release of the bands third offering Blessing in Disguise. In spite of these significant changes to the fold the band rose to the occasion and recorded what was arguably their strongest and most mature output to date. Now, fast-forward 15 years later and history repeats itself for these Seattle metal merchants. This time Marshall is out and Vanderhoof is back in. No problem there but hold on...we've also lost original second guitarist Craig Wells, vocalist Mike Howe and bassist Duke Erikson. So who ARE these guys going by the name of Metal Church?!? Good question, and one that I can't help but still raise as I listen to "Weight of the World." Quite simply too much of the trademark "Church" sound has been lost. While Vanderhoof still helps the band retain a bit of the old classic tone he simply cannot single-handedly save this sinking ship. The vocals of Ronny Munroe seem out of place with the Vanderhoof songcraft and do very little to convince me that he has any right to be in the same band that once contained two of metal's most virile frontmen David Wayne and Mike Howe. Munroe's delivery lacks the confidence and command necessary to push these songs over the top...or for that matter even simply make them work. New guitarist Jay Reynolds (formerly of legendary's Judas Priest wannabes Malice) does a fine job with his axe duties and songs such as the title track, "Leave Them Behind" and "Sunless Sky" are basically crafted well enough to almost stand up to some of the bands more classic moments from their 20 year history. However, there aren't enough of these moments to combat the remainder of the lack luster material or to even withstand the desperate situation in the vocal department. Unfortunately unless some more changes are made I'm afraid that Metal Church is destined to return to that very same graveyard from whence they came. -Ralph Bates

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The David Joel Quartet-Live at Chris'
Lead guitarist, composer David Joel is continuiing a grand tradition. A tradition of jazz fusion and sonic exploration begun by Miles, the Mahivishnu Orchestra, and Weather Report. David Joel and company paint landscapes of sound, starry meditative explorations and turn the listener to traveler, inviting them to let the quartet to be a guide to musical challenges and unique structures. Lucky for us, Mr. Joel is a Philadelphia mainstay in the Jazz scene and an email to guitsan@hotmail.com will be a good way to find out when Mr. Joel and his crew are leaving for their next journey beyond.

Pentagram-Show 'em How / www.RamsHead.org (Dogstreet)
Legendary Maryland doomsters Pentagram just-released their latest Show 'em How. Underground legend Bobby Liebling, backed by members of Internal Void and Penance, has turned in a solid throwback to the early 70's material recently collected on First Daze Here, and not just because it's over half rewrites of that material. There is a youthful spirit here that seems to capture and relish the magic of early Pentagram. A return to the wood paneled basements, cheap beer and pimply girlfriend feel of the old days. It's difficult for me to write a review without exclaiming how happy I am that they exist, so there, I said it. GO buy this disc and find out what makes me so happy. -Trout

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Firebird-no. 3 (SPV) / www.SPV.de
From across the pond, we have Firebird, who are taking some serious Humble Pie and Johnny Winter worship are turning out some nice power trio rock that the metal scene has been sorely missing for oh, about 25 years. Bill Steer, sometimes of Cathedral, fronts one of the coolest and most engaging bands in all of heavy rock right now. Go get it and listen to it in the parking lot with your pals and a cooler before the concert.

Internal Void-Matricide (Dogstreet)
Start with Track 6 of Internal Void's latest Matricide and you'll hear exactly what great bell-bottom metal is all about. From the enigmatic lyrics concerning how very wrong our world is today, to the nearly symphonic crescendo of power guitar riffage, this is music both full of the past and brimming over with the future. If this were 1973, we would be sleeping out for tickets to be blown away by them at the Spectrum, and in a perfect world they would be filling Lincoln Financial Field today. Crucial, important, powerful metal.

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Dove-S/T / www.WallOfDove.com
Dove are from outer space, or at least another dimension - not Winter Haven, FL like they keep trying to tell us. Their powerhouse guitars, pulsating bass, and drum pummeling magic, are just the stuff H.P. Lovecraft was warning us that old Cthluhu was hiding in his little house under the sea. Well, pick up Dove's disc and hear it all for yourself. This psychedelic-metal-fuzz-tripped-out-classic belongs right there on the shelf with your Dr. Strange comics and Dr. Who videos. Heavy.

Dove's Interstellar Overdrive of a CD is now available at the MagnaPhone Marketplace. Visit www.MagnaPhoneMagazine.com/Dove

Desert Sons-100 Miles / www.DesertSons.org
The Netherlands's Desert Sons are coming from a few places, all uniquely 70's. On their record cover, they invoke the Smokey & the Bandit iconography that became pretty popular in the late 70's. On record, Desert Sons purports to be a European entry in the Kyuss/Fu Manchu sweepstakes. On 2002's 100 Miles, head on over to the last track, "Grande Cojones", and you'll also hear a nice Uriah Heep/doom influence that could be harbinger to some great music.

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25 Suaves-I Want it Loud/www.25suaves.com (Bulb)
Seeing that the cover displays an amplifier that is even bigger than the mountainous countryside behind it, I am not sure how seriously 25 Suaves is taking their brand of Nugent/Motorhead/Deep Purple worship, or how seriously we are expected to take it, as well. That said 25 Suaves perfectly replicates balls-out arena-metal rock and roll. But adds little new. Whether or not this is intended to be ironic, it is merely pedestrian and routine. -Trout

Pete Miser-Camouflage is Relative / www.PeteMiser.com (CoupDeGrace)
Pete Miser is here to get us back on track. Remember nigh about ten years ago when Digable Planets, Tribe, De La Soul etc were making music and beats for those who prefer the coffee shop to the bar, a book to a video game or as I came to call it "Turtleneck hip-hop"? Whether you do or not, that's what Pete Miser is doing. Coming from Portland, Oregan by way of Brooklyn, this DJ, Producer, Rapper and multi-instrumentalist, is full of observations. Taking on such heady topics as faceless conformity, racism, terrorism, and the state of his own being, backing it with beats and rhythms both familiar and refreshing, this is one of the year's revelations. A MagnaMust.