The Great Demo Review 2009
We received more new-music submissions than ever this year, but that didn't keep us from reviewing every one of them
I have to admit, I was worried.
When CityBeat began planning the sixth annual all local music issue and Great Demo Review, I said I wasn’t anticipating as many demo submissions as in years past. Surely, the recession had hit everyone hard, including musicians. Boy, was I wrong. We received about 25 percent more CDs than we did last year.
I could see this as an anomaly, a result of a bad economy that more people are picking up guitars now that they’re out of work, but I think there’s more to it than that. The fact is that the local music scene has never been this exciting. Not only are there more bands and artists, but there are also more good ones. Sure, some legendary groups are reuniting, but it’s the new discoveries that are really going to make waves this year. Labels are already looking here for the next-big-thing.
The local music issue is a very big deal to me. Not only is it my favorite issue of the year, but it just so happens that the very first one CityBeat did back in 2004 was also my first time writing for the weekly. Now that I’m on staff, I may have to be a bit more diplomatic than I have in the past, but you can always depend on CityBeat to tell you about the best new local bands and artists first. And, of course, the ones that suck as well. Some things never change, but I think I speak for everyone when I say that I hope you enjoy reading it as much we like putting it together.
—Seth Combs
(“MS” = myspace.com)
Adams Gate
Untitled E.P.
If you’re into Three Doors Down and Hoobastank, or you’re in the military, you’ll probably dig these guys. A little too much cock-rock for my taste, though there’s hope in the ska-influenced third track. More of that, perhaps?
—Kelly Davis
Addiquit
Scarecrow + Criminal Mixtape
Truth be told, this wasn’t sent in. I downloaded it from Addiquit’s MySpace page for the sole purpose of reviewing it for this issue. Why? Because San Diego’s answer to M.I.A. deserves your attention. Cop it for free right now, just like me! MS/addiquit.
—Seth Combs
Aepnia
Demo
I can’t put my hand on a dictionary at the moment but I’m pretty sure “aepnia” means “relentless pursuit of mediocrity.” Give them some credit: They somehow manage to sound both pretentious and nondescript. MS/aepnia.
—Jim Ruland
Alexis Allan
EP
Maybe I’m gettin’ soft in my old age. Back in the day, I would have given this 16-year-old’s CD one spin before throwing it out the window. But with a lovely voice and Ex-Friend Joanie Mendenhall behind the boards, songs like “One Last Kiss” and “Push Me Out” speak to my inner Michelle Branch. I may be old, but a hook’s a hook, and Allan’s got a bright future. MS/alexisallan.
—Seth Combs
Amateur Pool Party
Musical Lap Dance
This CD came with a warning: “Do not listen to whilst under the influence of illegal substances. Wat [sic]… It is necessary to listen while.” Sorry guys, but not even Moroccan hash would make this tolerable. MS/amateurpoolparty.
—Kelly Davis
The Ambassador
The Ambassador Presents
Though I’m usually not one to swoon over reggae, this four-song demo really held my attention, especially the first song, “A New Season,” a five-minute-plus exercise in impressive musicianship, tasteful guitar soloing and well-placed effects. MS/theambassadorsite.
—Dryw Keltz
The Americans
The Devouring
If you aren’t familiar with crust core, don’t worry—most people aren’t. But if you’re into guttural screaming and railing against corpo-fascism, it might be time for you to learn. The Americans (ironically, natch) will be glad to instruct you. MS/theamericans.
—Lucas O’Connor
Architect Sketch
Communication in Cases for which No Other Form is Applicable
Instrumental is always tricky, and unfortunately Architect Sketch fails to construct the kind of comprehensive soundscape that renders lyrics unnecessary. As it is, I just keep waiting for the vocals to kick in. MS/architectsketch.
—Sarah Nardi
Arms Entwined
Suicide Bomb
They go from good old-fashioned, pin-your-ears-back punk rock (especially on the title track) to solipsistic dick drizzle in nothing flat. MS/armsentwined.
—Jim Ruland
The Assumptions
The Assumptions
All-over-the-place goodness, from relaxed jazziness to brief psychedelic freakouts. The more straightforward rockers fall into the middle of Pretenders Road, but it doesn’t stay there long before singer Layne Sterling and producer/guitarist Mike Kenneally take it somewhere completely different. MS/theassumptions.
—Adam Gimbel
Bamboo East
Living Large: The Pacific Coast Demos
These songs were recorded in 2004, but that still leaves a 17-year gap between them and the arguable relevance of the kind of histrionic metal that had Tawny Kitaen doing the splits on the hood of a car in that Whitesnake video. MS/dml5353.
—Sarah Nardi
Batwings
Save, and Save Often EP
Too much time in El Centro will make anyone a little crazy. Instead of shooting highway signs or cooking bathtub meth, Batwings turned their tumbleweed ennui into experimental post-punk cacophony. There are moments of fractured inspiration here, but a loose interpretation of the line between noise-as-music and noise-as-migraine suggests the band should worry less about remembering to “save” and more about knowing when to hit “delete.” MS/batwingskillyou.
—Nathan Dinsdale
Extra Special Good
The Bankhead Press
Self-Titled
You can call it funk, or soul, or R&B, but, really, it’s a true combination of all three. The entire band punches in and goes to work on the six nicely varied tracks, and Tim Felten’s keys ooze cool. Singer Rod Hubbard’s solid delivery occasionally channels Andy Bey while effortlessly changing with each tune. These guys are for real. MS/thebankheadpress.
The Bigfellas
Chubbed Up
Like the diluted answer to piano jockey Ben Folds, The Bigfellas’ 14-track second album is twice too long and half as witty as it thinks. If you’re playing pop songs, passing the five-minute mark is usually a no-no, much less doing so four times on one disc. Even if tracks like “4:20” display deft musicianship, it feels like something your dad would play on repeat after burning out his Barenaked Ladies albums. MS/thebigfellas.
—Todd Kroviak
Jon Bishop
MASSIVE Mix CD
Technically, there’s loads going on with this mix, and most of it’s good. There are great anticipatory buildups before each track’s climax, and the flow between songs is nearly seamless. But—you knew it was coming—Bishop’s mix makes me feel like I’m mainlining speed, and not in a good way (is there a good way?). I’m sure there’s a crowd for Bishop’s music—I see them every time I venture out in the Gaslamp—but I can’t say I’m looking forward to my next “MASSIVE” outing. MS/djjonbishop.
—Justin Roberts
Bitter Sober
Bitter Sober EP
Whining girls singing about “wings and unicorns”? Did you have one too many hits of nitrous before you recorded this, Bitter Sober? In all honesty, the musicianship on this EP isn’t too terrible, especially on “Is It Over?” (a question I asked myself many times during this review), but the vocals are about as appealing as pouring white-hot shards of glass into my open eyes. I can think of better things to do—like taking hits of nitrous. MS/bittersober.
—Justin Roberts
Black Hondo
3-Song Demo
A promising sketch. Imagine a lazier Black Keys fronted by Grace Slick—blues guitar, languid “I chew drugs in the high desert” tunes and a girl with a booming voice she channels from somewhere near her duodenum. They need to give the songs more structure, release her inner ape-shit and get on a bill with Grand Ole Party and Earthless. MS/blackhondo.
—Ron Summers
Black Mamba
Tour EP Winter 2009
The brothers Milgaten are all over this issue, but little bro Keith takes a back seat on this project and lets Aimee Sanchez’s voice take over. What Hope Sandoval’s solo album might have sounded like if she had kept dating the dude from The Jesus and Mary Chain. A little repetitive but a lovely sampling, indeed. MS/blackmambasongs.
—Seth Combs
Jeff Bloom
New Style
Singlehandedly making it OK for white men to sing reggae songs about children wanting peace on Earth. Wah-wah guitars, drum solos and simple “spiritual” lyrics add up to something heard all over Ocean Beach at any time of the day. MS/bloomliquidspace.
—Adam Gimbel
Ryan Blue
Not a Clue
If Bob Dylan and David Gray were somehow to mate, there’s no telling what that unholy progeny would look like, but it would probably sound a lot like Ryan Blue. Harmonica-drenched melodies and earnest, soulful lyrics make for pleasant, if not altogether original, listening. MS/theshowbizsuits.
—Sarah Nardi
The Paul Bolton Project
One Foot In The Grave
Upon first listen, especially the David Lee Roth-esque “OWW-OWWW-YEAAAAHH-YEAAAHH-YEAH” yelp at the beginning of “Now or Never,” I was thinking this sounded kinda dated. Then I saw the 1996 copyright on the back cover. Thank heavens for the two-decade grace period for the CityBeat Local Music Issue.
—Dryw Keltz
BoomSnake
Give & Take
According to their bio, Boomsnake is a two-man band that “maintains the accessibility of The Beatles with the eccentric-ism [sic] of Animal Collective.” According to their MySpace page, they’re single, female and a Capricorn. True to their ram sign, this album is both practical and prudent. Their sound can best be described as a catchy amalgam of uncomplicated, folksy songs that would prove to be a great soundtrack for Grey’s Anatomy. MS/boomsnake.
—Enrique Limón
Burn the Day
Demo
Fans of Jack Johnson and Macy Gray might like this girl-guy, acoustic-guitar-accompanied stuff. Though at times it’s toe-tapping and energetic, it’s also heartfelt and earnest throughout, which doesn’t exactly distinguish itself in its genre. The random phone ring in the second track added flavor, albeit unintentionally. The fourth track should be scrapped.
—David Rolland
Cabrón!
This is the Letdown demo
For some it’s when British group Crass released the ominous 1978 anthem “Punk is Dead,” while for others it was in 1995, when Hot Topic opened in Mall of America. Whatever the case may be, people have been predicting the aggro-anarchist genre’s demise since its inception. But local quartet Cabrón! never got the memo, and that’s a good thing. This is a seven-song roller-coaster ride through the angst-ridden perils of life. MS/cabronsd.
—Enrique Limón
Cabuloan
Eczemaforma
This experimental band’s sound can best be described as Guns N’ Roses-meets-William Orbit at a Hare Krishna temple while dropping acid. Expect quite the trip—from serene birds chirping in “Das Ende” to spacey guitar and speed-metal drum beats in “Die Entscheidung,” which I believe is German for “cluster-fuck my brain and give me a bad rash in the process.” MS/cabuloan.
—Enrique Limón
Café Peyote
Almost Open
Textured acoustic space rock that needs time to marinate. MS/cafepeyote.
—Paul Saitowitz
Bill Cardinal
65 More Miles EP
Who knew a San Diegan could pull off such charming honky-tonk? I’ve never seen Cardinal live, but I’m guessin’ it’s a good time. MS/billcardinal.
—Kelly Davis
Carlito Headset
Cumbias de la Cucaracha
The soundtrack to the really awesome Mexican beer party commercial in my head. Where my señoritas at? MS/37p037a.
—Seth Combs
Chaz
Red Hot
The music is all over the map. From pop-punk to rock- but somewhere between Beach emo and flip-flop-gazer, Chaz has created a sound all its own. Kinda grows on you. MS/maninlimbo.
—Jim Ruland
Extra Special Good
Charles Musket
Hot Dreams
This ambitious disc uses a different set of musical colors on almost every track, whether it’s dark atmospheric stuff or upbeat ’60s pop-meets-Americana. Sharp production on warm acoustic guitars, organs and pianos clash with drums and vocals that sound like they’re coming off of a 1920s wind-up record player in a big empty church. All-star affairs usually are cluttered when too many cooks are in the kitchen, but members of Scarlet Symphony, Red Feathers and The Vision of a Dying World came up with something full of space, even when there’s a lot going on. MS/charlesmusket.
Children of Nova
6-Song Demo
Queensryche turned a choir-dork into a groupie-humper, so anything’s possible. Children of Nova’s singer has an equally pretty wail. If Coheed & Cambria converted to Scientology at the behest of John Tesh, this would result. They’ll do medium-well at shows where Red Vines and energy drinks are sold. Lay off the Sci-Fi Channel and never, ever sing as high as you do on song three. Unless you genuinely are a eunuch. MS/childrenofnova.
—Ron Summers
Cookoo
Demo
Judging from this demo, Cookoo (aka Tha Hater Terminator) is obsessed with sucka MCs who don’t know shit about real rapping: “Suckas in this rap game / you feelin’ my flame / I’m ready to bust in my chucks / till you don’t like Cobain.” It’s unclear what the expired Nirvana frontman has to do with any of this, and I wanted more interesting subject matter from someone who touts his own lyrical genius. The beat’s there, but the groove isn’t; it’s somewhat generic, but not bad. MS/cookoospc.
—David Rolland
Extra Special Good
Cosmologic
Eyes in the Back of my Head
This jazz foursome are still together after more than a decade in a town that kind of ignores them, even though they consistently make some of the most vital and exciting music around. Abundant skills, ethereal communication, wild flights of chaos and sustained moments of fleeting beauty comprise this work of art that takes cues from the approach most often known as free jazz. There is hardly an audience for it, but I’m right the fuck in the middle of it.
Dakotafish
Self-Titled EP
One to watch. Dakotafish isn’t all there yet—but Mike Fish crafts intricate indie-pop melodies that are part Pinback, part Thom Yorke wearing party pants. The one thing holding Fish back is that he undoubtedly pleasures himself to a signed copy of The Eraser more than he ought to. MS/mikefishmusic.
—Ron Summers
Death Crisis
Demo
I’ve never been to one, but this is the kind of music I imagine playing at a white-supremacist rally. In fairness to the band, I can’t decipher the lyrics to the point of knowing what they’re actually singing about—but I do know that I’m now a little angrier about something for having listened. MS/deathcrisis.
—Sarah Nardi
Deep Rooted
D.E.E.P. R.O.O.T.E.D.
Without question, one of the best hip-hop groups in San Diego. With two male MCs and a female singer, you might be tempted to throw them in that Black Eyed Peas subgenre, but these cats are as hard and as volatile as they come, even if they also have the party jams to help balance it out. MS/deeprootedent.
—Seth Combs
Demasiado
Demo & Birth of a Worm in the Inner Ear
Dude, where did I leave my flannel shirt and syringe? Oh yeah, at Demasiado’s practice space, where it’s always 1992 and Soundgarden is the shit. Like baking a bowling ball inside a cake: absolutely pointless. Their dirty little secret? They yearn to be a Tears for Fears cover band. MS/demasiadomusic.
—Jim Ruland
The Devlin Jones Band
Unrequited E.P. Love and Dirty Words
The Devlin Jones Band’s variety of bland soul and Southern-rock stylings (from La Jolla!) could best be described as sufferable. Jones’ high tenor voice and the competent guitar and drum work behind him make this band completely adequate to making a room non-silent in a non-annoying sort of way. MS/thedevlinjonesband.
—Eric Wolff
The Devotees
Free All the People
Roots reggae that’s solid sunny-afternoon-on-the-stoop mood music. Enjoy your water-pipe products and be glad you live in a town where people will always play this music. MS/thedevoteesroots.
—Lucas O’Connor
Diana Death Band
4-Song EP
If you’re a fan of The Powerchords and Wild Weekend, then meet the new queen of the punk scene. If you’re not, then chances are you’ve heard DDB’s brand of ’70-inspired garage-punk before. MS/msdianadeath.
—Seth Combs
DJ Dibo
Fragments
Often considered a good Tylenol PM substitute, one could argue that ambient is the Rodney Dangerfield of the local music scene. But acts like DJ Dibo are on a mission to change that. With his self-described “moody but mellow, ethereal yet grounded, dark without being a total downer” sound, this is a well-structured, wall-of-ssound-like introspective piece that will no doubt finally earn the down-tempo genre the respect it deserves. At least locally. www.djdibo.com.
—Enrique Limón
DJ EJ
Audiocrack
One might begin to worry when Saved by the Bell’s Kelly and Zack and “used Tampax” are referenced in the first song. Not all the tracks are spectacular, but almost every one is a bonafide bootie shaker. MS/therockstar.
—Justin Roberts
DMProgress
Radio Hospital Singles
This fusion of hip-hop and breakbeats is a combination that must be taken on carefully, and, unfortunately, it seems DMProgress still has some practice to do in his lab before hitting the streets with his product. The elements are there, and with a little more effort, DMProgress could make some, um, progress. MS/dmprogress.
—Justin Roberts
Dreamtiger
Glisten
Nicely produced dual-vocal shoegazer pop with emphasis on the dream, not tiger, part of their name. Sounds a bit like Ulrich Schnauss producing a Belle & Sebastian record. MS/dreamtigermusic.
—Scott McDonald
DuBUS
Sonidosysilencio
This is good, gooey electronic dub-funk—somewhere between Nortec Collective and music for Spanish-language pornos starring pasty nerds with lots of moles. They will be my house band at my cool lounge with mid-century modern furniture. I will name a martini after them. I will, however, ban them from singing. MS/dubus.
—Ron Summers
Durant
4-Song Demo
Incredibly earnest, mellow folk-rock for lovers. I want this boy to squire my sister. Or I want to nuzzle him myself. But I really want him the fuck off my stereo.
—Ron Summers
Eclipse 79
3 song demo
Even Tool and Smashing Pumpkins had to start somewhere, and it probably sounded a bit like this. Not a bad start at all. MS/eclipse79music.
—Adam Gimbel
Edub Poet
6 song demo
“You are my awesome nectar blossom.” Really? Mediocre singing and playing on quite plain rock songs. MS/edubpoetband.
—Adam Gimbel
El Poeta
Jesus Christ, this guy sent us seven different CDs! El Poeta is one half of DJ/performance crew Dub Traffik Control, who mix electro-infused reggae. Poeta also makes his own music, ranging from electro-acoustic instrumentals (Save Changes?) to ambient-esque head-bobbers (The Maximalist). He might have sent in too many discs, but all of them were good. MS/37p037a.
—Seth Combs
Endoxi
New Blood Old Soul EP
This EP features acoustically driven pop with traces of reggae, Bradley Nowell-soundalike vocals and some nice horn bursts. It’s a soulful, upbeat blend that’s more straight-ahead rock than rasta, which suits these light-skinned groovers just fine. MS/endoxi.
—Adam Gimbel
Extra Special Good
Evervess
EP 2
Boys, are you even old enough to have Nowhere in your CD collections—because this is the damn closest thing to Ride I’ve heard in a long time (with a little Swervedriver thrown in). Tremolo’d guitars? Check. Loads of drum fills? Check. Reverb dripping from just about everything? A big, fat check to that. Could this be the start of a new generation of shoegazers? Perhaps. It’s just too bad Creation Records folded in 1999. MS/evervess.
Extinct Animals
War on Terror
Politically inspired songs of protest you can play in your backyard in a proto-Goth, early-Ministry, Crash Worship kind of way. Not quite rad, but getting there. MS/extinctanimals.
—Jim Ruland
Chad Farran
On Surfari Sessions Volume One
This is professional-ish music that was created for the soundtrack of a TV show that I think is about Christian surfers who travel all over the world trying to save people from Hell with their good vibes. If that sounds like fun, enjoy. Personally, I would rather listen to surf wax being applied to my eardrums. MS/chadfarran.
—D.A. Kolodenko
Fever Sleeves
Soft Pipes, Play On
These guys run the gamut of hard progressive rock. Just when you think you’re ready to peg them as At the Drive-In brethren (“Maximum Castles”), they flip it on you and start playing what sounds like old-school Death Cab. Either way they slice the bread, I reckon they put on a hell of live show. Dig it! MS/feversleeves.
—Seth Combs
54 Views
Hidden Door Sessions
If Digable Planets decided they had too many fans, they might do this. Good musicians, no doubt (vets of Los Able Minded Poets and P.O.D.), but they’re mired in the narcoleptic no-man’s land between hip-hop and crystal-consulting Deepak poetry. “I’ll take ‘Song Hooks or Any Semblance of an Ass-Shaking Beat’ for $100, Alex.”
—Ron Summers
FM Revolver
Leaving Madera
Sounds like every other band you hear on your FM dial, which might mean the future is bright. MS/fmrevolver.
—Paul Saitowitz
FOH
Feeling of Hate
Tight, metalish rock that doesn’t make you hate anything. MS/feelingofhate.
—Paul Saitowitz
Folding Mr. Lincoln
Within My Reach
Nancy and Harry Mestyanek have been making music together for 35 years, and their synergy is apparent on their latest full-length. It’s the kind of modern country-rock that belongs on the radio, even if it’ll be overlooked in favor of overproduced American Idol finalists. Particularly impressive is the bluegrass twang of “The Cuckoo,” which wouldn’t sound out of place alongside Alison Krauss. OK, maybe it’s not that good, but there’s plenty here to enjoy. MS/foldingmisterlincoln.
—Todd Kroviak
Francis Bacon
Demo
How can you resist two-minute punk songs? They get in, get it done and get out: Mission accomplished without a bunch of bullshit. And how can you argue with lyrics like “I don’t want to / I don’t have to / You can’t make me / Try and take me.” This is lo-fi stuff with some catchy guitar licks that I’d really like to check out live. MS/francisbaconrocks.
—David Rolland
From the Hips
Demo
Sometimes, you get something you don’t even know you want. In this case, it’s a male Patti Smith-sound-alike. Alright, maybe I don’t want it, but these three songs from North Park duo Brandon Appleton and James Petti aren’t half bad, and with some voice lessons, a little polish and a couple more members, they could be San Diego’s answer to Cold War Kids. MS/fromthehips.
—Todd Kroviak
The Jon Garner Trio
…and the happy accidents
How dare these proponents of mushmellow not only cover Toots and the Maytals’ “Pressure Drop” but actually open their posturing, soulless CD with it. What does John Garner know about shantytown poverty, crime or violence? What’s completely lacking is any sense of how trying to sound like John Mayer, Jack Johnson and Jason Mraz all rolled into one super-casual multigrain mayo sandwich might seem like a good money-making scheme, but as a musical concept it’s grounds for destruction. MS/jongarnertrio.
—D.A. Kolodenko
Get Back Loretta
Over The Wall
Here’s another batch of catchy, upbeat products from one of San Diego’s finest pop-hook factories. There are heaps of harmonies and smiley sing-along bits that spread happiness without being cheesy, which is one of the rarest things on Earth. MS/getbackloretta.
—Adam Gimbel
The Ghost Orchid
The Ghost Orchid
Apparent students of electronic artists Múm and Telefon Tel Aviv’s tutelage, The Ghost Orchid compress short, ethereal interludes and random flourishes of energy in the form of well-orchestrated music that lends itself to early, early morning listening. You know, the kind you do when it feels like you might be the only person in the world who’s awake. MS/theghostorchid.
—Justin Roberts
Eddi Giese
8-Song Demo
This is a crazy amalgam of Beach Boys, J Giels, associated yacht rock and The Rocky Horror Picture Show. Giese recorded everything himself—on a computer! If he’s joking around here (and has a partially nude, self-mutilating theatrical routine to accompany this music), he’s my new god. If not, then Steve Jobs is a criminal enabler. MS/eddigiese.
—Ron Summers
The Gifted Idiots
Demo
This demo smells like dog piss and Cheerios. By the sound of these three tracks, it makes me wonder if that’s all this duo has eaten for the past several months. In between smoking rocks, of course.
—Todd Kroviak
The Gladstone Bags
Demo
This three-song demo of folky campfire sing-alongs came in an old film-reel canister along with illustrations, vintage photos and various artsy trinkets. If the Bags spent more time on the music rather than the package, I wouldn’t get the impression they’re just goofing off. Less freak, more folk! MS/thegladstonebags.
—Seth Combs
Goblin Cock
Come With Me If You Want To Live
The semi-satirical metal side-project from Pinback wizard Rob Crow has some things going for it that most fledgling acts don’t, not the least of which is talent. Heavy enough to satisfy but light and tight enough to digest, the brooding grind of songs like “Loch” and “Ode to Billy Jack” land the band closer to Tool territory than anyone would rightfully expect from a group that might as well have called itself Choking on Penis. MS/goblincock.
—Nathan Dinsdale
Grandfather Dad
Love in America
With the album name and song titles like “Pat Buchanon on Fire,” you’d think this was some kind of hard riot-punk band, but instead they offer the kind of electronic music that could have been a much-improved soundtrack for Ladyhawke. MS/summerfuncollective.
—Eric Wolff
Danny Green
With you in Mind
Appealing, inoffensive acoustic and electric jazz piano (and a little melodian) over mostly Brazlian-inspired grooves. The talented Green writes lyrical melodies and surrounds himself with other excellent musicians, whom he graciously allows to stretch out. The overall effect is engaging and pleasant, if not terribly exciting. MS/dannygreensd.
—D.A. Kolodenko
Gross Negligence
Self-Titled EP
GN’s utopia includes “Five million empty pools and not a single cop!” These are six good skate-punk songs in less than eight minutes. If you have open wounds on your arms and legs, occasionally evacuate on hoods of squad cars and view dark alleys as a ripe place for commerce, Gross Negligence is for you. MS/grossnegligencehc.
—Ron Summers
Michael Dean Grulli
My Heart in my Head Demos
Remember the music from the Dracula puppet musical in Forgetting Sarah Marshall? Well, maybe if there were puppets singing this tripe, I could get into it, but anyone who starts their CD with “Do you take what you can get? / Do you get what you can take? / By the powers vested in me / These are the songs that I make” deserves to be anus-raped by Michael Bolton. Seriously, it would be one of the worst things I’ve ever heard if it wasn’t so unintensionally funny. MS/michaeldeangrulli.
—Seth Combs
Extra Special Good
Guava Belly
It’s...Guava Belly
At first glance, this quintet might seem like yet another beachy Sublime/Nickelback hybrid by way of Jimmy Buffett, but look closer and you’ll find a versatile band with a well-balanced mix of styles appealing to both the martini and the Jack Daniels crowds. Led by Dan Hammer, an A/V professional-turned-rock star, their sophomore recording ranges from heartfelt ballads (“River View”) and unapologetic rockers (“Somewhere in South America)” to the aptly titled “Cashing Out, which, with its tales of heartbreak and cocaine, would have made the Man in Black himself crack a smile. If that weren’t enough to pique your interest, “Time Tells All” introduces us to the beauty of scientific gangsta rap, hating on atmospheric physicist Fred Singer, who’s called a “poser faker,” and warning us about the perils of uncontrolled carbon emissions: “Fuck MTV cribs, check my global warming channel / Ain’t gots a pool, but I got 10 solar panels / n’ I insulates my house with cris soaked flannel.” Al Gore, eat your heart out. MS/guavabelly.
Gurtrudestein
The Power of Human Failure
A raucous, low-fi, bottomed-out eight-song assault. Like a cross between the Mono Men on meth and the Tyrades out of Chicago. If you’re a lazy vampire or an apathetic zombie, Gurtrudestein will help you get in the mood for some wholesale slaughter. I’ll be honest, these guys scare me a little bit. MS/gurtrudestein.
—Jim Ruland
Happy Ron
Terribly Happy
Remove the H, replace it with a C followed by an r and you’ll get a pretty fair assessment of this album, which features such misogynous ditties as “All She Needs is a Spanking” and “Sick of Her Shit,” the latter being an ode to washed-up strippers. MS/happyron.
—Sarah Nardi
Heavy Glow
Self-titled EP
Seventies rock swagger and crunchy guitar hooks abound on this rock trio’s polished debut EP, recorded at Velvet Revolver’s studio. Sounds like a band that would also claim L.A. as a home, which they do. MS/heavyglowmusic
—Adam Gimbel
Hialeah
Breaking Point demo
“Tight but generic” was my first response. Then I saw the “Thanks, CityBeat” on Hialeah’s MySpace page, for making them an “ExtraSpecialGood” in 2005’s Local Music Issue. Sigh. But I just can’t get excited about this demo. Don’t hate me, guys. MS/hialeah.
—Kelly Davis
Hotel St. George
Hundreds & Thousands
I want to like Hotel St. George more than I actually do. But, try as I might, they’re still relegated to that vast purgatorial nebula in my mind where good, not great, indie rock bands go to die. There seems to be a conscious effort to up the ante (and creative energy) of previous efforts, and there’s more of a serrated edge to the polish on their pop-rock but, in the end, Hundreds & Thousands just gets lost in the crowd. MS/hotelstgeorge.
—Nathan Dinsdale
Extra Special Good
Illuminauts
Practice Session—11/29/08
Sheeeit, if this is a practice session, then what happens when these guys play for real? If you miss the days when DJ Shadow was cool and trip-hop wasn’t just some forgotten, played-only-on-Big Sonic Chill subgenre, this trio is for you. As far as I can tell, the group consists of three knob-twiddlers and a turntablist, all forming like Voltron to make one amazingly chilled-out sound. Anyone who can sample the guitar jangle from Sonic Youth’s “Bull in the Heather” and the “oww-ee-oww” chant from The Wizard of Oz is on the short list to play my next house party. MS/illuminauts.
Charlie Imes
On An Island
This disc is exactly what you’d expect from a self-proclaimed singer/songwriter/seasider that carries his own potted palmtree and bucket of beer on his album cover. If he’s never heard of Jimmy Buffet or James Taylor, I’ll buy you dinner. Luckily, there’s a slew of contributions from well-known local musicians who add some Hawaiian/Bacharach gloss to the beach fiesta. MS/crimesofmusic.
—Adam Gimbel
Inciting Riots
Crucified for Our Beliefs
Basic but energetic, well-arranged but standard ’80s throwback hardcore fare. The best song is “Nasty Cough.” It’s funny, and singer Ugly Lenny stays on key (unlike the rest of the record). True, it was hard to get past the ridiculous lyrics, but if you’re a fan of Adolph Hitler or Rush Limbaugh, there’s lots of hate to love here. Oh, and guys: No, you are not going to “burn this city to the ground.” You are going to work at Home Depot. MS/incitingriots.
—D.A. Kolodenko
Incomplete Neighbor
4 Song Demo
If you like your indie on the clean, poppy side, à la Pinback, you’ll prolly dig this bunch, but if you prefer a little crunch to munch in your sonic stew, these neighbors may, indeed, come off as incomplete. MS/incompleteneighbor.
—Dryw Keltz
Israel Bissell
Disillusioned Hero
Israel Bissell imagines a world in which Cat Stevens wears billowy Renaissance pants and walks about Ireland serenading lasses. Celtic spirits may or may not assist them in their quest, but they’re a shoo-in for the next round of Irish Spring soap jingles. MS/israelbissell.
—Ron Summers
JAC
Untitled
It was inevitable that the space created by Ben Harper and Lenny Kravitz would be filled. Everything is faithful and serviceable, but there isn’t much new ground being covered here. MS/JAC.
—Lucas O’Connor
Nathan James
The Bear
He has a San Diego phone number, sings about Los Angeles and, according to his MySpace page, moved to Iowa City. Sorry, Iowa, but now you’re stuck listening to his derivitaive pop-folk. MS/nathanjamesmyspace.
—Seth Combs
Vanja James
Demo
Do you miss the Lilith Fair? Vanja James would be playing the opening slot on the side stage if it were still 1998. The only distinguishing characteristics are the lyrics, which sound like excerpts from Sarah McLachlan’s 11th-grade diary. MS/vanjajames.
—Todd Kroviak
Jamuel Saxon
4 Pop Hits & 1 Reggae Classic EP
Eighties-inspired electro R&B for the hipster set. If “Dick in a Box” and Empire of the Sun are your idea of romance, then this side-project from Keith Milgaten of The Vision of a Dying World is your new bump-and-grind soundtrack. MS/jamuelsaxon.
—Seth Combs
Japanese Sunday
Taps Taps Lights Out
This 2006 release is a shoegazery opus that draws up plays from the Sunny Day Real Estate and Pinback blueprint, sneaking in the occasional Death Angel riff when no one’s looking. MS/japanesesunday.
—Scott McDonald
The Jazz Project
Big Band: The Music of Ken Downing, Thanks For The Memories
Thank God there are enough people alive that appreciate this music to be able to form a band big enough to do it justice. Most aging music lovers know Downing through the album’s title track (thanks to Bob Hope adopting it as his own), but the other tunes will make you swing, jump and hold yer gal close (on the slow jams).
—Adam Gimbel
Molly Jenson
Maybe Tomorrow
Girls who dig female songstresses such as Sheryl Crow and Jewel will surely latch onto this well-produced full-length, a candid peek into the complex emotional cycle of yet another talented singer-songwriter. Guys will probably just figure they heard the songs in a Tampax commercial. MS/mollyjenson.
—Dryw Keltz
Jinx King
Demo
Fun for a backyard barbecue, but if you want to play formulaic countryish blues rock and make it beyond the tent, you need to add something fresh to the mix. You also need a better singer. Play parties. Have fun. Stop making demos. MS/jinxking.
—D.A. Kolodenko
Jonny Kat
La Jolla
This CD reissue sounds like it was remastered in a dumpster on the back of a truck, if at all, but it’s classic ’80s punk in the vein of early Replacements from a band that did it better than any others at the time—and even some around today.
—Seth Combs
Kinome
Untitled EP
Playing your instruments at mismatched tempos doesn’t make your music more psychedelic—it just makes it bad. MS/kinome.
—Kelly Davis
Lady Vain
Grew Up Too Soon
Three-piece, lo-fi, garage-rock delivered with expediency and a punk-rock whine. Suited for heavy drinking or college radio, if we had any. MS/theladyvain.
—Scott McDonald
Jesse LaMonaca
Alive on Law St.
Everybody wants to be Ryan Adams, and understandably so: One man and an acoustic guitar churning out soulful music to seduce and be seduced by. This stuff is more melody and less despair, and you’ll be humming it for days. Good or bad, that’s up to you. MS/jesselamonaca.
—Lucas O’Connor
Laservülf and Thunderböldt
Mex Offender In Sexico
Born from the prosthetic vagina of Spinal Tap, mankind shall now behold these warlocks of rock. “Smoking crack with your Loooord, driving in my Ford—FAST!” MS/laserwolfandthunderbolt.
—Scott McDonald
Le Coquette
Aim For the Eyes
Like any seasoned El Cajon Boulevard hooker can tell you, when things get rough, aim for the balls. Electro duo Le Coquette—with their hipster good looks—want you to aim up north, so that adversaries can admire your perfectly feathered side-swoosh hair and barely buttoning toddler jeans before they go down for the count. Just when you think they’re yet another dime-a-dozen North Park sound staple, they get down and dirty and hit you with the bare-knuckle, punk-sprinkled “Fuck Your Cruiser.” MS/lecoquette.
—Enrique Limón
Eddie Lenhart
Levittown
The production on these mid-tempo, by-the-numbers singer-songwritery songs sounds like a million bucks, and big-deal bluegrass instrumentalist Dennis Caplinger gives it some great music moments. However, this is a solo affair, and Lenhart doesn’t really impress with lines like “Dreams / I’ve got dreams / Don’t you know what that means? I love you… in my life.” MS/eddielenhartband.
—Adam Gimbel
Jessica Lerner
Demo
One of my favorite Clem Snide lyrics of all time is “The beautiful were never meant to suffer.” Lerner has pipes aplenty, but her piano-based music is as vapid and fleeting as her good looks. MS/jessicalerner.
—Seth Combs
Local Red
Crossroads EP
Punk-ska stuff with big shout-along choruses, cool traditional-sounding organs and beginning band horns. The shouting is better than the singing, but it’s hard to not love. MS/localred.
—Adam Gimbel
Longsleeves
Three December EPs
Jame Musselman (aka “Long-sleeves”) apparently had a long December. The first of his three EPs, Black Swamp, is sparse folk fare that bogs down in a mire of heart-on-sleeve dreck about “weeping willow trees” and the like. In contrast, the subdued electronica of follow-ups The Rift and Wire Fraud suggests that Mr. Sleeves should spend more time with his laptop and less time with maudlin introspective masturbation. MS/longsleeves.
—Nathan Dinsdale
Loves Cruel Malady
Demo
Christian Death meets Smashing Pumpkins. More distortion than drama, and that’s a good thing. MS/lovescruelmalady.
—Jim Ruland
Madera
Lumination
They claim to play “gypsy reggae rock” but it’s more global catastrophe than world music. Somebody very stoned must have raided the percussion section at Guitar Center right after composing a series of pseudo-trippy poems. Still, I could imagine them going over well at the O.B. Street Fair. MS/maderamusic.
—D.A. Kolodenko
Janiva Magness
What Love Will Do
Next time my mom comes to visit, I’m taking her to see Janiva Magness. A couple vodka tonics into the evening, we’ll be snapping our fingers and shaking our asses like we did when I was a kid listening to her Carole King and Bonnie Raitt albums. While Magness may not be quite the same caliber, she’s well on her way. And knowing my mom, after a few drinks, she won’t know the difference. MS/janivamagness.
—Justin Roberts
Having fun? There's more praise and smack on the next page.
Comments
Several months back I saw Architect Sketch play at what was then Chasers and remember a good number of songs having vocals. I liked it so much I purchased the album which you misnamed in your review-it is actually called "Communication In Cases For Which No Other Form Is Applicable." A listen to the full EP will demonstrate that there are indeed plenty of vocals--in 3/5 songs. The fact that the album is misnamed and incorrectly characterized makes me wonder if Sarah Nardi even bothered to listen to the entire thing. Sarah, you are certainly allowed to not like it--everyone's tastes are different-- but the music scene in this town is certainly not served by a lazy review of one of its own.
Every year CityBeat does their demo review wrap up -- and still, no audio files along with the review. It's as if we are just supposed to take the reviewer's word for it, in terms of what's hot and what is not. That's really doing a disservice to the artists, because most music reviewers are not musicians. I don't see the point in reviewing demos if the readers cannot judge for themselves.
Some of these reviews also make no sense whatsoever. Case in point, one writer states "It was inevitable that the space created by Ben Harper and Lenny Kravitz would be filled." What? I mean, other than they are both light skinned black guys in rock, what to Lenny and Ben have to do with each other?.........and what is this mysterious space they've created?
Here is the basic criteria for writing a music rewiew: If you are WRITING about music that a reader cannot HEAR, then the words you use in your review ought to describe the music so as to clue the reader in to the sound. If a random person off the street cannot read your review and have an idea of what style of music the artist you're reviewing plays, then you are a poor writer, the review is useless. Be honest. Look not only at your own reviews, SD City Beat writers, but also those of your peers. If you didn't know the author of the review (and thus the relevance of their taste and opinion) or the artist being reviewed, would the review help you understand the artist? Would it fit the basic criteria for writing a music review? Put simply, how is writing something to the effect of "this artist sucks" give me any idea of why you'd think that?
It would be helpful for those who feel wronged to ascribe to my Absolute Value theory of reviews, which borrows from the Absolute Value theory used in mathematics.
Basically, the number "1" has an absolute value of "1." At the same time, "-1" also has an absolute value of "1." The idea behind this is that both numbers, be they positive or negative, have the equal ability to move or change perceived value, in a positive or negative direction.
Applied to music criticism, reviewer X likes band Y. She says "It was great!" That's a review of positive value for the creator. Conversely, reviewer X dislikes band Z. "No bueno," she says. Band Z feels hurt! But it's all perceived value; it's a critisism based on personal taste. For example, saying a band would be great for an OB crowd is a perceived slight, until 500 OB kids go download your song and come to your next show, since that's the culture they love.
An easier interpretation would be "No press is bad press." Unless you're Kinome - who happen to be the baddest and most well-endowed triumvirate of rock since the Mamas and the Papas, post Cass, to be so thoroughly (yet succinctly) dismissed.
Weep not, slighted bands.
Davard -- this has nothing to do with "slighted bands" or mathematics equations. The reviews are so overly pretentious and frankly no help whatsoever.
Regardless of actual content, Davard points out, through example, that all these reviews are simply ways for the writers to say something humorous. It's like the worst episode of Mystery Science Theater 3000 ever - because if you had to listen to the commentary of those jerk-offs without actually watching the clip, there's no way you'd stay tuned. There's a definite logic about the music clips / audio files being a necessary part of this demo review effort. Since the reviewers clearly put their own humorous interpretation of the demo phonics as their primary motivation for writing any review at all, at the very least we readers might be able to appreciate their humor with a little taste of the sound ... Occam's razor: it's probably just too much work for people who do nothing but sit around all day making fun of others.
I can appreciate that there were a lot of entries for these "reviews" but I have to agree, no audio? I really feel sorry inparticular for those who got Sarah as a reviewer. Those bands really got short changed and with no audio it's like a double-whammy for them.
Amazing that nobody here seem to like Sarah "Nadir" but I get the feeling thats how it is in real life for her as well
The format of these reviews - one to two sentences - make it really difficult to give any kind of in-depth analysis. Unfortunately, that means that the strongest and least analytically developed impressions are the ones that make onto the page. That said, it does take more to offer praise than criticism and reading over my reviews, I took the easy route. Its really not representative of the kind of person I am and as someone who is also trying to make a living by putting work out there, I should have tempered my comments with some of my more positive impressions of these artists. In particular, Melanie Sponslee has a truly beautiful voice, so does Nicole Torres. Ryan Blue actually sounds like he should already be famous and Death Crisis may scare me, but there's a ton of people who would really dig them. Brian Rodriguez is clearly passionate about what de does and so is Alan Silva (who,if you want to google him, already has a prolific body of work). Happy Ron and Bamboo East aren't my thing but people who are into quirky folk and metal, respectively, may find that they're fans. And lastly, Architect Sketch, to whom I owe a huge apology for misprinting the name of their demo, Communication in Cases for which No Other Form is Applicable, are obvioulsy very talented musicians - despite my personal feelings on their instrumental tracks. All that said, these are just my opinions - and while I like to think that I don't actually represent the nadir of anything - what I think about this doesn't really matter that much. Everyone has to form their own impressions.
Meatwad,
To have included audio for each review would have taken an obscene amount of time to upload and probably would have crashed our server. Most of these bands have MySpace pages where you can listen to their music and decide for yourself whether they deserved the review they got.
As far as Architect Sketch is concerned, I agree with Sarah—lovely music, very well recorded, but in listening to it, I kept hoping vocals would kick in. I'm pretty sure the EP had no vocals aside from some chanting on the first song.
—Kelly Davis
Keep in mind that all of the musicians submitted their music to be "reviewed" not "described". They had to go in knowing full well that they could very well get a bad review. Still, as a musician, having been described wrongly....in City Beat...by writer friends....several times...I was probably more sensitive than most about being sure to let readers know what it sounded like.
You don't see many music lists this long with direct clickable audio links because it would take an insane amount of time. Putting their Myspace or website link helped us with our reviews on occasion, maybe it could help you with yours. We only had to listen to 15-30 discs. If you want to check out a couple of hundred acts, have fun. There's lots of great stuff in there!
Kelly, CityBeat at the very least could have provided links to the audio files, and it wouldn't take a lot of time or energy. We're moving into 2010 here -- audio files a'int that big a deal. You're the journalists -- provide the info. to your readers in a format that is accessible and user friendly. Without the audio files, these writers come off as unadulterated snobs -- and I can understand why some of these artists are a little peeved -- especially when some of the reviewers begin reverting to name calling. No wonder Lou Reed hates music journalists.
Kelly:
Being snarky doesn't make you sound smart. It doesn't even, contrary to popular belief, make you a better hipster. It just makes you sound like someone suffering from a massive inferiority complex because the best they've done in life is... well, writing snarky reviews of some band's demo tape.
See the review of The Americans? That's a review. All you do is say whether something is "good" or "bad" and then give some petty, pseudo-biting remark to make yourself sound smart. A computer program could do your job. Wonder why newspapers are going out of business? PROTIP: A blogger would have done a better job on this.
FWIW: I'm not in any of these bands, and I pretty much hate rock music. But I also hate shoddy "journalist" snarkmongers who seem to populate the column inches of every alt weekly in America. Hopefully soon you'll all go the way of the newspapers that employ real journalists. Good luck finding gainful employment with your bachelors in communication.
Also, grandma, shoegaze has been back for about five years now. Try picking up some music press one in a while.
PS: Did someone really say "comprehensive soundscape?" Hang yourself. Seriously. Now.
www.grindhouseland.com
www.blacksungazette.com
A hybrid of the previous two ideas makes sense. The Myspace page for each artist was already listed - it wouldn't take much work to add HREF tags around it so readers could navigate to the artist's page and listen for themselves. Hell, I'd do it for you guys. Next time around.
I agree with several of the folks on here: no press is bad press (and so thank you SD City Beat for reviewing so many discs and doing so in alphabetical order ;), and hyperlinks to the artists' page would be helpful. So here you go: visit www.myspace.com/AEPNIA for 4 free downloadable mp3s from our soon-to-be released debut full-length. If you dig, come see us this Saturday, March 7th @ Brick By Brick with our pals, FM Revolver. Enjoy! -Teri / AEPNIA
www.myspace.com/AEPNIA
Ulysses Lazarus-How dare you attack Kelly. If you need someone to spit your vitriol at then try it on me. I'm used to getting it from bloggers like you.
The fact of the matter is that if you knew anything or had as much journalistic skills as Kelly has in her little pinky, then you'd know that for over seven years Kelly has reported the news in San Diego. She has broken stories, scooped her competitors, been published in books and championed causes that others don't bother to report on. For you, a blogger it seems, to attack her and say that this is the best she's ever done in her life only disproves your point that a blogger could have done a better job than her. You didn't bother doing your research on Kelly. You didn't see what else she's written. You're about as familiar with her body of work as you are with any music that's not hardcore. So. it seems you're wrong. A blogger couldn't have done a better job, because you didn't even bother researching the subject you were reviewing.
Kelly Davis is a REAL journalist. You, sir, are not even in the same league. When Kelly looks back on her life she will have a body of work to be proud of. Now I don't know what your day job is, but judging by the two links you posted, it seems all that you're offering the world are two dime-a-dozen blogs where you opine on crappy movies, rant borderline anti-semitic inaccuracies about the recent Palestinian/Israeli conflict and, naturally, there's a post about your love of Chihuahuas! That's hard-hitting stuff, man! But seriously, Kelly has changed things. She's influenced people that make a difference in the world and asked the tough questions to those she saw as falling short. I seriously doubt you can say the same for yourself and the truth is that I doubt anyone will remember your body of work once you're gone.
Oh, and one more thing. Did you honestly say that Morrissey "was my first homosexual crush, and one that I clung to fervently over the years." Hang yourself. Seriously. Now.
I'm sorry, did I make a woman cry? Is that why you're playing Internet white knight? I must be doing something right if the big guns are coming out to attack me... and QUOTING me while they're at it. Wow, dude, I liked Morrissey when I was 13! I totally suck!
My blog is meant to be personal and fun (for me). If your special lady friend is what counts for a "REAL journalist"... no wonder all the newspapers are going out of business. If you can only say good things about her by way of tearing into me- a lowly blogger as you repeat over and over again- it's a pretty sad commentary on you, your girlfriend, and your entire organization.
PROTIP: I am not, nor do I claim to be a "REAL journalist" and don't really care what a bunch of self-important, middle-class blowhards think of it. I don't derive my identity from being a writer. Don't like my blog? Watch me not care. You're not my audience, chief.
I'm not even sure where to begin with your comment about my alleged "anti-semetism" but as I explicitly support the Palestinian cause that would seem to be a non-sequitor... or are you, like most Zionist apologists, unaware that Arabs are a semitic people? Did they not cover that in your MFA program?
Hardcore occupies a special place in my heart and a comparatively small place on my hard drive. I have twice as much hip-hop, free jazz, and girl pop, four times as much reggae, and five times as much country. Make some more idiotic assumptions about me, Captain Grad School.
Seriously, is every person for alt weeklies in America a spineless half-wit, or just the ones that I encounter?
Oh... and FWIW, my day job is mechanical designer. You see I actually create after tax earnings for my employer. I know, crazy, isn't it? There are people who actually make things of value at work instead of spouting tired Gen X cliches for a living! Imagine that!
PS: Published? In <i>books</i>? Wow! She's like the monkey who touched the monolith in 2001! Almost <i>no one</i> is published. In <i>books</i> no less.
If you sense my sarcasm, it's the sarcasm of a man who is also "published in books" and thus, knows what a paltry and meaningless achievement that is. I don't need to throw my resume around to make an argument. Everyone with an IQ over 15 reading this knows who's the middle class clown who got called out and who's the razor-tongued master of disaster. Just like everyone with a brain in San Diego laughs at your cliched, hack newspaper.
GOOD LUCK WITH THAT, BRO.
I think my main point Ulysses is that's rather dubious to attack someone for something you so clearly do yourself. You pan Morrissey's new album (and for good reason), but only because you spent some time with it and listened to it. Kelly did the same with the bands she reviewed. She listened to every song and even checked some out on MySpace and the like. Your problem might be with the writing or the method of the reviews, but I hardly see any indication that you practice what you preach on your own forums. You might think that the reviews were lazy, but I find that to be a rather subjective claim and I'm sure you can agree with that. I have no problem with you saying anything that say, but when you call someone out for not doing their job and do so without knowing anything about their job or their body of work, well, you just look like a fool. I don't call you out for being a crappy mechanical designer because I don't know anything about your job or how well you do it. I'm sorry, but I don't think you can argue with that logic.
Hi Ulysses,
You didn't make me cry. We do this issue each year knowing that we'll get comments like yours. I'd say come by The Casbah tonight and I'll buy you a drink, but you don't even live in San Diego.
BTW, your blog's precious.
Hugs and chihuahuas,
--Kelly
1) I said that Mozzer's new album was the best one since Southpaw Grammar, and well worth stealing from the RIAA using one's preferred method. I don't see how that adds up to a panning. I also pay great attention to what the album sounds like, amid my drooling over his Reed Richards-style greying at the temples.
2) The reviews are lazy. Go check out Grindhouseland. Tell me if there's a single movie on there that you can't get a vague sense of the plot from using my review. If there is, I'll gladly change it. The point is, with a goodly number of these reviews, the reader is left with no impression of what the music actually, y'know, SOUNDS LIKE.
3) I have, for the last several years, waged Internet jihad against lazy and dismissive reviews. I occupied the letters page of the Smith Sophian for two weeks. Even those Seven Sisters ladies can't get enough of my trademark egotistical sarcasm. Burroughs "A Review of the Reviewers" is required reading for all people looking to review things and not look like the jerks at Pitchfork Media.
4) Old SubGenius proverb say "I don't practice what I preach, because I'm not the type of man I'm preaching to." Or as the learned sage O'Shea Jackson once said "Do I look like a muthaf***in role model?" Are you really trying to emulate me? Do you think I'm trying to emulate your paper? So how does anything I do relate to anything you do? Or are you, again, just trying to put the attention back on me?
5) I'd gladly accept the offer for a drink. In person I'm gregarious and charming. Seriously. One look at the hair and you know I'm right. Sink a Tom Collins for me tonight.
6) "Precious" is kind of what BSG is going for, so I take this as high praise, regardless of intentions.
UL—
We've been doing this Great Demo Review thing for the last five or six years and it"s always been two or three sentences per demo, a few more for extra special goods. Bands know, or should know, what to expect when they send in their CDs.
—Kelly
Hey, I have a Tip: Go to Google. Type in "NAME OF BAND" and "MySpace" and, voila! It magically brings you to a link that will take you to the MySpace page of the band you typed in. I don't know how this crazy internet thing works, I only know that it does.
Oh yeah, and one more thing: Critiquing the writers of these reviews is not one iota different than their critiquing the bands. You are all doing the same thing, it's what everybody does, all the time, relentlessly. In the office, on the block, in the club, at the family gathering - We all talk smack about other people so lighten up and have fun with it.
For the most in-depth critique of criticism imaginable check out Famous Mortimer's "A Review Of 'A Review of the Reviewers.'" IT IS THE ULTIMATE REVIEW!!!!!!!!!!
we got slammed. hee-hee.
http://jongarnertrio.com
i just read of bunch of other reviews. wow, these guys are a waste of time.
don't bother, san diego is a great place to practice, but seems pretty irrelevant.
notice how many groups skip coming to town?
We got the worst review possible from an idiot who did not even listen to the album. He has a chip on his shoulder, and took it out on us.
Why they had him review our music, I don't know. He doesn't like our kind of music. He got upset because we covered "pressure drop". He didn't describe it at all, but to say we had no business doing so. From then on the rest of the album was deemed "soulless". That song is one the most popular tracks on the record, so I know he's just looney.
This cranky old f#$k, who may at one time been relevant, then presumes to know how we were raised, in what situation, and so on.
The biggest mistake he makes, amoung many, is the myth that only poor can have soul. Fool. Now, I have been middle class, and I have sleep in the park too, on the street. Neither determines soul.
You don't have to like our music, but that was a mean-spirited and personal attack on our characters.
Luckily, nobody will read this list but bands.
Seriously.
Thanks for the worthless review that wasn't a review, but a personal vendetta against the world as D.A. sees it.
Silly rabbit.
Now, I'm not totally in love with our record either, but it's not what he says it is.
Please listen for yourself, and be the judge.
http://myspace.com/jongarnertrio
And for all you reviewers bashing other people without really doing your job, with open ears and minds, shame on you.
and maybe a pox too.
hey, i just crapped my pants, i think i'm ready to be a reviewer for citybeat.
TO: D.A. KOLODENKO
From: JON GARNER
my first reaction is honestly to come test your street tough persona. and i'd be happy to, if you'd like.
but, the real problem here is you and your lack of logic in this review.
you did not review the music, you reviewed your imagined creation of the band.
you blast us for sounding like jason mraz, jack johnson, and john mayer. suggesting that it's a bad thing somehow. that makes sense, these guys aren't doing well.
but, we don't sound anything like these artists.
although i don't listen to these artists, i believe they are making sincere, good music. what would you have music be?
what is your superior concept of music?
deconstruction? that's old too, brutha.
if you were a real musician, or at least music critic you would see that the strongest influence that you could readily see is in the music is G.love.
but you didn't listen to the album. i hope they don't pay you.
CITYBEAT, this is a terrible idea. make these reviewers go through tons of albums, styles they don't like,understand, or appreciate.
the second biggest influence in the music is jazz.
the third, the late 70's recordings of gilberto gil, and jorge ben.
do you know how they are? no.
look to brazil tropicalia.,
again, a bad, but honest review, i can accept. a dishonest, shoddy, and ignorant review is just lame.
again, please contact mr da.kolodenko
jongarnertrio at gmail dot com
or reply in this open forum.
or we can meet for coffee sometime.
pick a place, peaches.
thanks for your time
Jon,
I don't have time to have coffee with you or to argue with you about music. I'm sorry you didn't like my review of your record. I promise you that if you make a good one I will like it.
D.A. "Peaches" Kolodenko
sure you do. you've got time da. i can ride the bus with you on the way to el pollo loco, or wherever you're shift manager now.
or i can bring the coffee to you, it's really no trouble.
don't be shy, peaches.
the album is good.
you just don't like this style.
it's like this.
i could give you the best hamburger in the world, and if you're a vegetarian, you're not going to like it.
why in the world did you review us?
and hatefully?
you should have just passed it along, or not reviewed us.
bands do not know that will get this freakin shotgun review when they submit. we assume that if we are to get a review, it will be a standard review about 3/4 through the rag. not this sham.
like i said, though, you don't have to like it. but do your job. you did not.
you did not address any of the points made in comments or my email to you.
my theory is that you are unable to.
i've read your other reviews. i get what you like. you just had no business reviewing us.
and you are a coward, and unable to justify your review.
i play with some of the guys in cosmologic. i've recorded with them. yeah, i play your deconstructionist music too.
i play everything from free to classical.
there's a lot of music out there, you are cutting yourself off from it.
your loss, and the community since they have chosen to give you a voice.
what punk band were you in '79?
has anyone heard of it?
did it mean anything?
i'm sure it did to somebody.
the point is, your close-minded hateful approach to music is not helpful to the world. and certainly not to the san diego music scene.
i have been a real gigging jazz musician. i the real stuff too, not smooth, for 15 years. i was taking lester young and sonny rollins solos off records when i was 16 years old. i know what it is to be playing music that the regular people just don't get. these are the bands you champion. i get it.
but open your ears.
you are just a troll.
you won't get it.
and you probably won't respond, because you so busy. whatevah.
you're not, you are just unable.
you are an intellectual munchkin and a fraud.
you didn't listen to the cd.
you were prejudiced against it.
too bad your bosses don't care. maybe you're the boss. i don't know. what a waste.
but hey, man, keep trying, be super cool, yeah, be a hip wannabe that bashes on people for Citybeat.
and we can't play pressure drop?
you're a clown. i don't share your white guilt.
you don't understand the meaning of that song.
or much of anything except abrasive is cool, and everything else sucks.
you are synaptically challenged.
at best.
ok, i guess that's the end of the rant.
send me your novel, i'd love to review it.
or i could be like you and just review it now, sight unseen.
Jon, I listened to your CD. I didn't like it. My job was to review it. Get over it. Stop worrying about one negative review and focus on your music.
NOTE: If anyone has any CDs/DVDs that they're tempted to throw in the trash but hesitate because they don't want to clog a landfill, San Diego has a CD recycling drop off center:
5955 Miramesa Blvd, Suite F
San Diego , California 92121
Tel: 858-602-6008 (ask for Kevin)
Hours: M-F 9AM-5PM
Please call prior to drop off.
D.A. Kolodenko
no you didn't listen.
and no, you didn't review.
you spewed personal bias and prejudice.
i don't know why you think that is journalism. it's cheap and easy.
as i've said three times now, an honest but bad review i can accept.
it seems to me that this review thing is more about you reviewers than the bands or the music. each reviewer trying to one up each other. who can come up with the wittiest way to put down a band in one sentence.
petty.
again, you addressed nothing. you're good at slight of hand. karl rove-like, maybe more sean hannity.
actually, your articles are pretty good. you seem like a good compiler.
but, as a reviewer you lick b*lls.
i am over it. we have gotten other great reviews.
to all other artists, don't listen to these clowns. they're just patting themselves on the back. right down to their smug suggestions to bring our cds to recycling, i assume, based upon the infinite wisdom and final judgment of their review. so clever and witty, you must be so proud of you.
musicians, forget these people.
keep going with your music!
mr. d.a. kolodenko,
we await your novel.
ok, i think i've said all i want to say.
coffee offer still applies.
bands, don't be afraid of these people.
it's just citybeat. is that where you go to find music?
over it.
you can recycle your citybeat at these locations:
http://www.sandiego.gov/environmental-se...
this is kinda fun, colon-dank-o
hey, reviewer kinghts, guess who?
hey i wanted to apologize.
i just read all the reviews, i didn't know this whole thing wasn't serious.
it's just one big circle jerk for the reviewers.
at the artist's expense. but hey, it's all in fun.
my bad.
time to clean up your messy little room!
ulysseslazarus is dead on.
John-In defense of D.A., I have to say that even if your music wasn't his kind or style of music, I think that it's worth pointing out that several of the music writers have since listened to your music (out of curiosity and to see if indeed, perhaps, D.A. missed something), myself included, and we all agree that it's not very good. So your argument that he had no business reviewing your music because he won't get the brilliance of it or whatever just because it's not what he usually listens to is a bit of a fallacy. I like all kinds of music, including the "alt soul indie funk" you claim to make. D.A. also likes all kinds of music, but mostly he likes good music. Seriously, take your meds.
And look man, we're not in the business of tearing down local bands just because we get off on it. We just call it like we see it. If we gave every band a glowing review, then how do we really say anything at all? If you're so confident in the strength of your music, then who cares if D.A. doesn't like it. You seem to have such a low opinion of him already that I find it odd that you're getting so bent out of shape about his review. You're lucky I didn't get your CD. I think D.A. was too kind.
is this the same seth combs from longmeadow?
No.
Enough with the fighting boys.
Jon, you should let everyone know that you'll be playing at Soda Bar on April 9. Any band that totes around a stand-up bass deserve some props.
—Kelly
did i ruffle your tail-feathers, seth?
we are done with you frauds.
everything i said is accurate.
see you out there.
yes, thank you, kelly, for letting everybody who has read this far know we are at the soda bar on april 9th.
Seth - Thanks for clearing up that you and Kelly listened to every song on the CDs that you received. I was wondering if you can clarify whether or not everyone who does reviews actually listens to every song or is instructed to at least. So often one gets the impression that they don't but I'd be interested in whether or not that's an accurate impression
Given the one around right now, please don't take my question as confrontational, I just honestly would be interested in knowing.
Thanks!
First off I am not hating on you guys. In fact I found myself laughing quite a bit at the reviews. I can respect the fact that you will do; since its hard to get someone to acctually review your music other than friends and well wishers telling you its the s#!$.
However I have a problem with this:
Addiquit
Scarecrow + Criminal Mixtape
Truth be told, this wasnt sent in. I downloaded it from Addiquits MySpace page for the sole purpose of reviewing it for this issue. Why? Because San Diego's answer to M.I.A. deserves your attention. Cop it for free right now, just like me! MS/addiquit.
While you explain why you reviewed it I still take issue with the fact that this artist didnt take the time to send you anything in but you went out of your way to review it. Why cant I send in a link to download the album? It seems only fair, we didnt send in a demo we sent in the retail copy of the album. Its not cheap from the artwork to getting it pressed. On top of the mailing and packaging of the cd so you guys could review it. While we set aside a certain amount of cd's for this type of stuff I would have preferred to send you guys the album in a zip file or a link to download it.
I know you guys/girls have biased opinions and all that but think about how that comes off to other artists out there who dont get the coverage and have to work to get reviewed.
No hate just my 2 cents.
ADAMNT raises an interesting point. Have we reached an era where bands should be able to send links to Myspace pages or zip files to get reviewed instead of wasteful and costly discs and packaging? If so, would the music editor then be bombarded with a virtual junk pile far higher than the real one that we had to sort through to find gems to review for this issue? (one of those gems, I should point out here, was The West Indies CD I reviewed [see music reviews pt. 2], which features the stellar DJing of non-hater, ADAMNT.
...I meant Demo Reviews pt. 2, and to close the parentheses.)
Even if you would have given s a bad review I still would have enjoyed it. Some of your reviews had the whole crew rolling. Your writing is on point d.a. kolodenko.
oh ya and
SHAMELESS PROMOTION #3020
The West Indies record release party Friday April 24th at the South Park Bar and Grill