1. Stephen Brodsky – Flower In A Rocket – Static Intellect (2002)
Static Intellect is an album that technically doesn’t exist. It actually has a catalog number with the now mostly defunct Hydrahead Records (HH666-53) and was supposed to be released in 2002 – it still has not been. But in the early days of file sharing, a bootlegged copy surfaced on the Internet. The quality isn’t great and I remember hearing rumors that it was actually ripped from a cassette, so it’s a little murky sounding (a couple tracks did actually receive high quality releases on comps and splits), but the songs shine through the low fidelity as a special period in Brodsky’s career. It places his main band Cave In (see: the forthcoming Plaguelist #3) somewhere between their experimental Cosmic Rock classic Jupiter and the Alternative stylings of their major label released Antenna. But more directly, it’s a fuller realization of the Pop-Rock sound he had begun to develop on his first two solo albums. “Flower In A Rocket” is bouncy and catchy as hell. It’s one of my favorites from Brodsky’s solo catalog.
NOTE: After I wrote this I found an old CD-R with a much better quality version of the song on it. No idea where it came from because all I really remember is the muddy tape rip. But the better one is actually the one you are hearing now.
2. Benton Falls – All These Things – Fighting Starlight (2001)
Benton Falls should be talked about in the same manner as Mineral or Sunny Day Real Estate when it comes to that style of what was once known as “Emo.” That’s of course not taking into account that they hit the scene significantly later, after those bands had already paved the way for them. But strictly from a sonic viewpoint they were right on par. Benton Falls were part of a very impressive Deep Elm Records roster that helped to make up a good portion - at least the mellower part - of my high school listening habits. What separated them from the pack, however, was their songwriting skill. “All These Things,” among others, made use of really intricate guitar interplay, with each guitarist feeding off the other, forging an ethereal contrast to one another. The loud-quiet-loud dynamic was typical of the style, but Benton Falls seemed to execute it perfectly, knowing the right times to hold back and the right ones to let it go as well. I dare you to not nod along when that distortion hits at 1:30.
3. Office Of Future Plans – Salamander – Office Of Future Plans (2014)
Office Of Future Plans was a band led by J. Robbins that only produced one album and minimal live appearances, but if you are a fan of Robbins other work, specifically with Channels, but certainly Burning Airines or Jawbox as well, then this stuff is for you. “Salamander” is a calm, cerebral meditation in rock. The guitars are phased to oblivion, swaying in and out, anchored by collected, cool vocal melodies. Robbins is commanding but he hangs back enough to let the music work itself through colorful shifts. Rounded out by an excellent rhythm section, “Salamander” might be on of the best in the veterans catalog.
4. My Morning Jacket – O Is The One That Is Real – Split w/Songs: Ohia (2002)
This is a really weird record. First off all, it was released by Jade Tree Records, a label neither group was associated with before or after, not to mention it was completely uncharacteristic sound-wise of anything else the label was involved with. But even the material it contains is strange. The Songs: Ohia “half” of this split is one ten minute track that was actually recorded during the sessions for a one off project featuring Songs: Ohia figurehead Jason Molina with Will Oldham and Alasdair Roberts, titled The Amalgamated Sons Of Rest. My Morning Jacket turn in three tunes and a fourth track that is those three songs played on fast-forward. Yeah, weird. But those three songs are some of their best material in my humble opinion. They were on the brink of breaking out big time. Their second album, At Dawn was getting some attention for it’s psychedelic country rock roots, something they perfected a year after the Songs: Ohia split on the magnificent It Still Moves. But here they are, not quite big time, still trying to figure themselves out. The huge washed out reverb tone that became a staple of their early sound is in full effect and Jim James wails away in his unwieldy Kermit The Frog moan. The songs are oddly arranged and lack the huge solos and catchy melodies that would later bring the band to a wider audience, but that’s also why they are so good. These are the deep cuts you wont catch them playing on their next amphitheater tour.
5. Salem – Cancel The Sun – Love It Or Leave Me (2003)
This isn’t the Witch House group, I swear. If you don’t know what that means consider yourself fortunate. This Salem was a really short-lived group that formed from the ashes of the hardcore/punk/indie rock band As Friends Rust. After vocalist Damien Moyal abruptly quit that band in 2002, the remaining members replaced him, completing a tour with their new frontman before changing their name to Salem. And it’s a good thing they did because an As Friends Rust record that didn’t feature Moyal’s unique voice wouldn’t have gone over too well. His replacement, Adam D’zurilla sounded nothing like him, which actually worked to their advantage on Love It Or Leave Me. The last two AFR releases hinted at a mellower, more indie rock approach, which they fully embraced with Salem. D’zurilla has a smoothness to his low-end voice that sails along the group’s melodic rock. Unfortunately, this 5 song EP is their only output.
6. Christiansen – Jhazz Never Spelled So Good – Forensics Brothers And Sisters! (2002)
One time I saw Christiansen in the basement lounge at CBGB. I can’t recall the exact circumstances, but they played a super late set that pushed into the early hours of the morning. At one point, they were told to play one more song, but they hadn’t really played very long and obviously no one wanted them to end. So they ran that song into another, and then even one more. As they kept playing, security began to approach the stage and hang around, waiting for an opportunity to end the show without complete chaos ensuing. When it became apparent that the band had no intentions of stopping on their own, the guards started getting on the stage, trying to unplug Christiansen’s gear. The one thing that sticks out in my mind is one of them attempting to get around the guitar player who was set up against the wall, to reach behind his amp and pull the plug, but the guitar player, while never missing a note, sort of drifted over and pinned the security guard, who was twice his size, between him and the wall. Eventually they got everything turned off, but the band encouraged the audience to clap along while they kept singing. Security looked pissed off. Good times.
7. Seven Ways Out – Into The Water – A Reflection Of Self (2002)
This was a local band from the hotbed of Rock N Roll known as Clifton Park, NY. I spent my glory years there, wandering around the 24/7 Wal-Mart and drinking coffee at Denny’s, living that suburban teenage life. These guys were friends of mine, some of which I played in other bands with. The major difference, though, is this one was actually good. Keith Lewis was the vocalist and main songwriter and he had a pretty original sounding style. The songs themselves were pretty simple in concept, but Keith packed a solid vocal talent – somewhere between Dax Riggs and Scott Weiland – and he exercised it to the best of his ability. The melodies are strong and catchy and the band featured a really solid rhythm section that gave an extra punch to the songs. I’d be remiss if I didn’t mention the drumming of my high school best friend Andy Naylor (still friends!), because this song would be completely different without that Gomorrah’s Season Ends era Earth Crisis bouncing tom-tom part in the verses. Hang on while I get nostalgic.
8. Chamberlain – Surrendering The Ghost – Fate’s Got A Driver (1995)
There are actually two different versions of this same record, Fate’s Got A Driver. They have the same music, but differ in artwork, vocal tracks and band name. It was originally released by Split Lip, featuring a new mellower rock direction the band wanted to continue to explore. Fearing their name and association with the hardcore scene would hinder their ability to try different ideas, they decided to continue on under Chamberlain instead. Vocalist David Moore was also unhappy with his performance and took the change in name as an opportunity to re-track his voice for a re-release. Doghouse Records must be pretty cool because they actually went along with the whole thing and re-issued the album, this time under Chamberlain. The record itself serves more as the artistic turning point for the band – hinting at the alt-country they would embrace on their next record while still showing some signs of the Indiana bred “Midwest Emocore” sound they helped develop. Moore’s vocals are stronger on the Chamberlain version, but only begin to show the promise of what he would later deliver on The Moon My Saddle. I guess the same can really be said for the band as a whole, but that doesn’t mean it’s not loaded with great songs like “Surrendering The Ghost.”
9. Camper Van Beethoven – Jack Ruby – Key Lime Pie (1989)
I really like this Camper Van Beethoven album, but I’d be lying if I said I knew much about it. I picked this cd up on a complete whim from a thrift store years ago, only because I knew it was David Lowery from Cracker and he also happened to be somewhat on my mind having just produced and played bass on Jason Molina’s Black Ram album. Synchronicities like that have led me to discovering really cool things. Key Lime Pie, though, is some sort of weird psychedelic-indie-rock-americana record and “Jack Ruby” is probably my favorite song from it. It progresses really oddly, with soaring slide guitar leads, an unorthodox drumbeat and a chorus of backing vocal tracks. If anyone has any other recommendations of other Camper Van Beethoven albums to check out, let me know.
10. Nick Cave & The Bad Seeds – The Sorrowful Wife – No More Shall We Part (2001)
Nick Cave’s first record of the 21st Century is one of the finest in his vast discography. Following a four-year silence, during which he fought his addictions, No More Shall We Part is as much an aural painting as it is an album. Like Oxbow’s The Narcotic Story (see: Plaguelist #1), it packs an underlying feeling of existential dread. The songs center around Cave’s voice, propelling long-winded, exhaustively detailed story lines of desolation, loneliness and yearning over touches of his haunting piano playing. But it’s the backing band, The Bad Seeds, who add just the right accompaniment at each turn, from ghostly string arrangements to crushing flashes of distorted guitar. But when the songs get loud, they don’t get loud for rocks sake, they add to the darkest depths of the albums overall picture. Cave and company are painting with a huge palate.
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