Somewhere within the unquenchable, hellish inferno that encapsulated the new releases of this past summer was a little corner of heaven in which ten or so artists congregated to bring a little piece of heaven to an otherwise dismal season.
Radio hip-hop had the finest summer, presenting us with long-awaited releases from the Roots and the Beastie Boys, "The Tipping Point" and "To The 5 Boroughs," respectively.
"The Tipping Point," the follow-up to 2002's "Phrenology," was a little bit of a departure for the Roots: more pop, less street, all good. From the intro's sampling of Sly and the Family Stone's "Everybody Is A Star" to the club-ready "Duck Down," "The Tipping Point" is a pop gem with enough rough rhymes and intelligent content to hold onto an edge.
The seven years that the Beastie Boys spent away from recorded music - not counting last year's forgettable anti-Bush Internet single - were apparently not spent slacking off. While it does appear that MCA spent the entire time smoking cartons of cigarettes (his voice sounds huskier than Large Marge's of "Pee Wee's Big Adventure"), his flow and delivery are nearly flawless throughout the album, making up for a little disappointing monotony from Mike D and Adrock.
On the absolute other side of the dial stands two singer-songwriters, Denison Witmer and Mike Kinsella. Witmer, this year's answer to Elliott Smith, gathered up seven of his friends and recorded an album under the name The River Bends. "...And Flows Into The Sea," is simple, touching music guided by Witmer's soft, angelic voice and is the best album Tooth & Nail Records has released since mewithoutYou's "[A-->B]=Life."
Kinsella, former drummer for the Owls and better known by the moniker Owen, released a five-song EP, "(the ep)." Weaving tales college kids certainly could appreciate, Kinsella sings with a refreshing honesty and without bravado. Many artists speak plainly of desires to get wasted and have casual sex, but Kinsella reproaches himself for doing all of the above with unique perspectives. "I'm too tired to ride home/ If it's okay with you can I take off these shoes and stay the night?/ Just between you and me, this thing between you and me might not be anything worth singing about, or it might be just what I need," he confesses on "Breaking Away."
The Album Leaf separated itself from Sigur Ros' shadow, albeit slightly, with its latest Sub-Pop release, "In A Safe Place." The Album Leaf is Jimmy Lavalle who, like Witmer in The River Bends, uses a wide cast of characters to create his music. While Sigur Ros' Jon Thor Birgisson does lend his voice to a couple tracks and his bandmates appear on a few more, Lavalle's layered sound has an easy sound not associated with the complex patterns of Sigur Ros. "In A Safe Place" sneaks up on a listener and passes through them just as quickly, a relaxing ride the whole way through.
Wilco's latest release, "A Ghost Is Born," is not relaxing at all, and frankly unsettling. Fresh off the most talked about indie album in years, "Yankee Hotel Foxtrot," Wilco mastermind Jeff Tweedy walks through "A Ghost Is Born" like a bull in a china shop, destroying any calm or fluid melody that gets in his way. The album is clever, but not much different than its predecessor. That said, Tweedy could probably record his sleep patterns and produce a more interesting album than 90 percent of artists out there.
Another album that accomplishes the same type of feat is Pedro the Lion's "Achilles Heel." The brainchild of David Bazan, Pedro's lyrics are again more poignant than any of his contemporaries, but "Achilles Heel" fails to reach the brilliance associated with his concept album "Control" or his moving, acoustic "The Only Reason I Feel Secure." In any event, Bazan has more creative bones in his arms than major labels have in their stable and "Achilles Heel" is a great listen.
With mundane pop-punk and emo making a giant leap onto the air waves on the wings of New Found Glory, Yellowcard and Good Charlotte, it was surprising to say the least that Taking Back Sunday rebounded from a remarkably bad debut album to produce "Where You Want To Be," a polished, well-written album of heartbreak and love.
The addition of two members of the now defunct Breaking Pangaea, namely guitarist/vocalist Fred Mascherino, allowed the band to achieve a sound they tried in vain to produce with former guitarist/vocalist Ed Nolan, an entity that only served to make the band's vocals a teenage, pathetic mess.
Of local interest, Lockport-based Minuet's "Interpreting Movements That Are Preponderant To Sound" hearkens back to the indie music of a few years ago, with the creative song structures and great dynamic that made Kid Kilowatt and the Appleseed Cast music nerd heroes. On the same Buffalo label, Rainstorm Productions, Inked In Blood released "Awakening Vesuvius," a perfect hardcore EP for those who miss Strongarm. Also calling upon Shai Hulud and 7 Angels 7 Plagues, "Awakening Vesuvius" was quickly picked up for re-release by Strike First Records, a subdivision of Facedown Records.
Lastly, the most original record of the spring/summer is Old Crow Medicine Show's "O.C.M.S." Call it folk, twang, country or bluegrass; but call it amazing in any event. Their cover of Bob Dylan's "Wagon Wheel" is nearly perfect, and the whole album is fit for the soundtrack to a "O Brother, Where Art Thou?" sequel.
It's almost impossible to expect a great season of releases these days, with labels gobbling up the Hoobastanks and JoJos of the world - not the JoJo of Jodeci fame; "Forever My Lady" was the hot jam - but there always are diamonds in the rough. While jaded music critics wait for scientists to find a way to bring John Lee Hooker back to life and make Stevie Wonder write a new album, there's enough to pass the time.
