Walking Concert
Run to Be Born
 "I really just trusted my feeling and didn't really care whether it was going to be a hit single or whether Quicksand fans would like [Walking Concert]." -- Walter Schreifels on unitedbywalter.com
Okay, yeah; I admit it, just like every other post-hardcore fanboy -- I would absolutely LOVE to see Quicksand reunite (again). And I'm sure that my extreme love for that band has definitely had a hand in driving me to check out everything that Walter Schreifels does musically, from Moondog to World's Fastest Car to Rival Schools...and now, to Walking Concert. If you were put off by Walt's poppier work in Rival Schools (which still sounded a bit like Quicksand, truth be told), then you won't like Walking Concert either -- Run to Be Born is pretty much Walter showcasing his talent as a songwriter with pure, simple pop songs and little to no distortion. You will find no metallic sheen or drop-tuned guitars here, my friends.
But is that really a bad thing? Like I said, I miss Quicksand terribly, but Schriefels is simply a great songwriter in any genre, and I think he really proves that here by stripping away all of the histrionics that might camouflage sub-par songs. What we are treated to on Run to Be Born is an artist that doesn't have to ROCK to rock, if you catch my drift. Our man Walt gets to flex some muscles that he hasn't really had the chance to work out yet, such as the Beatles flexor ("Audrey") or the Brit-pop retractor ("Aluminium"). The Marc Bolan set of fibres also gets a few reps with a cover of "Mustang Ford." "What's Your New Thing?", the album's opener, sounds oddly like one of those early '70s pop songs that they'd play during a Scooby-Doo chase scene. (Which is good, trust me.) And then there's "The Animals", which sounds like an outtake from the Rival Schools album, with its bouncy Cache Tolman-ish bassline, some groovy in-the-pocket drumming (provided by Texas Is The Reason's Chris Daly) and Schreifels's trademark warbly vocal stylings.
After listening to Run to Be Born a few times and soaking everything in, I'm left with the feeling that the short-lived Rival Schools was merely a stopgap project until Walking Concert came along; or maybe it was a gateway drug, leading the fans down a path away from the metal of Quicksand and towards the land of pop. This is definitely the most comfortable that Schriefels has ever sounded on an album, and you can tell that Run to Be Born is a labor of love and not a gambit to appease a record label's preconceived notions. This alternately makes me happy and scares the crap out of me -- Walking Concert is a great band with a great album full of great songs...but it looks like this is also the final nail in the "will Quicksand ever get back together?" coffin. This depresses me to no end. Now I need to listen to something uplifting...oh, hello there, Walking Concert; you are indeed the salve for my wounds. Let me just put you on the CD player...
Hey, look -- Shagg and Scoob are on a bike with The Creeper! (MHo)
(Some Records -- 345 Seventh Ave., 24th Floor, New York, NY. 10001; http://www.some.com/; Walking Concert -- http://www.walkingconcert.com/)
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Waterdown
The Files You Have On Me
When I reviewed Waterdown's first album, Never Kill a Boy On the First Date, a few issues back, I was pretty blown away by it -- the group seamlessly melded power, emotion, screaming, and melody into an amalgam of pretty killer songs. At the time, Waterdown reminded me a lot of Glassjaw, and with the release of their second album, the comparison still holds true. When I first heard Glassjaw's second album Worship and Tribute, I was a little disappointed by the fact that the band had more or less eschewed the melodic side of their songwriting in favor of more complex time signatures and more emphasis on screaming and aggression. That's not a bad thing in and of itself -- I like Candiria as much as the next guy, and growth is good, but sometimes it seems as if the band is totally throwing out the baby with the bathwater.
Such is the case, as well, with Waterdown's The Files You Have On Me. There are still hints of the touches that I liked from Never Kill a Boy (like the track "Decaffinated"), but by and large, this is an angrier and more aggressive album. Not that it's a bad listen, mind you...it's just that I liked them so damn much before that I miss the old type of material. If this is your first time checking out Waterdown, then my guess is that you'll be pretty into The Files You Have On Me, especially if you like Thursday, Hot Water Music, or the aforementioned Glassjaw. But...you might want to listen to this album before you pick up their first effort -- trust me on this one. (MHo)
(Victory Records -- 364 N. Justine St., Suite 504, Chicago, IL. 60607; http://www.victoryrecords.com/; Waterdown -- http://www.waterdown.de/)
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West
We Feel Better Now
West's We Feel Better Now is an amalgamation of styles cribbed from some of the best of bands from the last few decades. The album opener, "Bloodshed," instantly makes one think of My Bloody Valentine; it's a swirling melodic song that promises more than this album could possibly deliver. The second song, "Get Off," sounds like a Hoodoo Gurus B-side -- interesting, but nothing that special.
Each song on We Feel Better Now sounds like West were trying to create a particular sound ("Hey, let's make our Peter Murphy song." -- "Ten Million People"), but it works for them. This is one of those albums you'll put on, and then everyone will swear they've heard it before (they haven't) and will wonder who it is and where you got it. You'll feel proud for owning it (you should). Brothers Claremont (vocals/guitars) and Wellington (vocals/bass) Taylor, and drummer Peter Rosch (drums/piano) have created an entertaining album, at times dark, at times poppy. Their mixture of styles ends up tilting in their favor, resulting in a very listenable record, much like their 2001 effort, Trailduster.
It will be interesting to see what West will do next. (DAC)
(Two Dupes Records, LLC -- 184 Kent Ave., Ste. 306, Brooklyn, NY. 11211; http://www.twodupes.com/; West -- http://www.westbywestwest.com/)
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What Made Milwaukee Famous
Trying to Never Catch Up
From the opening electronic strains of "Idecide," you know that What Made Milwaukee Famous's Trying to Never Catch Up is not going to be your stereotypical indie-rock album. By the time you're halfway through the song, you're wondering why you've never heard this band before and how long it will be before you can see them live. It's a fast-paced song, with relentless guitars and beats, and it almost wears you out just listening to it. An amazing beginning to an amazing album.
This Austin act takes it cue from early- to mid-nineties Britrock but adds an unmistakable American sense of rock'n'roll (more Chicago than Austin, actually) that takes the band's music to levels that few unknown acts are able to ever reach. You can hear hints of The Beatles at times, and '80s new wave acts at others. But Trying To Never Catch Up never sounds dated -- far from it, actually. With each song, the album breathes new life into an increasingly stale genre. This is undoubtedly one of the best albums of 2004. (DAC)
(self-released; What Made Milwaukee Famous -- http://www.whatmademilwaukeefamous.com/)
Wither
Breakthrough
In the press materials for Wither, the band is referred to as a rock band from San Diego. Listening to their second CD, Breakthrough, though, I'd classify them instead as alternative rock with progressive metal bent. The synthesizers and lyrics prevent it from being straight "rock," as much as the group itself does, with Halloween shows that include full make-up, theatrical lighting, and costumes with horns.
I should mention that I'm not a fan of this music, but it's near schizophrenic the way this CD progresses. The earlier tracks are more melodic and radio play-focused; the band lists My Dying Bride and Moonspell among their influences, and that makes sense at first. By the time you've reached "Human Condition," though, it sounds as if you've switched to a new group, one that is heavily influenced by Peter Steele and Type O Negative. "Fountain" adds drums reminiscent of Godsmack to the mix, and "Sin" includes a growl-filled chorus and heavier guitar.
In fact, once you get past the first three tracks, growling happens frequently, and "Malkuth" sports heavy guitar and synthesizer-laden lyrics like: "After all the days are gone / Darkness netherworld rules the day." Surprisingly, the band doesn't really tread much into the realm of shred guitar, but there is a little in "Avalon." This band will likely wind up on Headbanger's Ball someday in the future, even if they aren't traditionally a heavy metal band and have made some steps towards leaving their Doom Metal beginnings behind. (JR)
(self-released; Wither -- http://www.wither.cc/)
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