More notions from under the radar. I’ll admit the first time I wrote something of this nature, I hadn’t done much research into it. It seemed to be casual knowledge to me. Also, most of the bands were on well-established labels (with the exception of The Men), so it was easier to write and garner attention for the casual blog-reader. This time, I did some field work and dug up some real gems. Read on.
Goner – Rock & Roll Always Forgets (unreleased) 11 Songs in 43 minutes.
I’ve always had this theory based on the romantic idea of a bands third work being the one that gives them their sure foot as artists. For instance, Black Sabbath’s Master of Reality is the album where the slight classical nods of music infused into their heavy blues-rock was brought to the forefront. The songs “Embryo” and “Orchid” are obvious classical guitar pieces that surround the Sabbath classic “Children of the Grave”. This is important, because this album entertains the thought that there are only two styles of “Heavy Metal;” One is based on Blues and the other based on Classical music. Or maybe not. Radiohead’s OK Computer, was deemed a classic when it was released and still defines the band to this day, ten years later. Bowie’s The Man Who Sold the World, paved the way for his glam rock alter-ego, Ziggy Stardust. NME critics stated that this album was where the story of Bowies’ music really started. U2’s War was their first album where the political views of the band (or Bono, however you see it) where revealed to the public. So, these could be coincidences. But again, I did say this theory was “romantically” based, which is due to the fact that I “love” music. I just wanted you to know where I’m coming from.
Fast forward to 2007; Goner have their third album “in the can.” The first two Goner records were released by small labels and garnered some-but-not-so-significant attention from the press. Goner (to those with unfamiliar ears), are a healthy mix of early R.E.M. infused with Devo-esque treatments. The keyboard-bass and drum trio, along with double vocal harmonies, hooks most listeners on first take. RNRAF paints the picture of circumstance that’s been met with an air of defeat. Hindsight is setting in. Along for the ride are its companions; loneliness and upbeat cynicism. “Better Than Blue”, the albums four and a half minute opener, musically and lyrically, successfully tackle the job of setting the scene for the rest of album. Scott Phillips explores, almost, his entire vocal range in the chorus. The next eight songs average 3 minutes a piece, showcasing the whirlwird rewind storytelling of the lessons learned. “Jersery Roy/Islands Worth of Avenues”, the albums sub-closer, makes its way over the threshold in almost nine minutes, starting as an acoustic ballad before it settles into Goners’ atmospheric execution of their own crafted sound. “Some Lose, Some Pay” finds Goner treading folkwater again with cautionary lyrics directed at the outside world, and also to themselves: “For the fight is coming, whether you like it or not.” While Goner has taken the initiative over and over for a potential release, the album is still label-less. To hear it, keep your eyes posted to your local rags to see if Goner is playing. Give them something to look forward to.
Megafaun – Bury The Square (self-released) 6 songs in 39 minutes
Megafaun rose from the ashes of DeYarmond Edison, a band that spent most of its time in Raleigh out of the range of popular radar. However, fans of DE will attest to the excellent songwriting and knack for improvisation. The trio approach folk in a suttle, “everyone’s waking up from a wild night” type of way. There’s harmony, disorientation, and ultimately, comfort. The first half of the record has Megafaun running all over place; the first track, “Find Your Mark” starts strong, slows down and picks back up. The second acts as the tape-loop induced coda for the first track. The albums centerpiece, “Where We Belong”, clocking in at over 11 minutes emphasizes that notion of waking up in a somewhat lucid manner. The next half of the record is more structured, with more solid vocals and harmonies in play. There are times when the sounds of The Dead and The Band seem to be obvious. This is good since they do their influences justice. They sneak in electric guitar and alternate percussion to accompany the banjo and vocal harmonies that have reigned over the album for the last track, “Lazy Suicide.” This album provides Raleigh with a musical vernacular that is much needed in this town.
Savage Knights – Solo Basura (self released) 9 songs in 48 minutes
The album opens up with a cover of Sun Ra’s “Tiny Pyramids.” If you are familiar with Sun Ra’s work, you can hear where the Knights get their atmosphere from. They are not necessarily psychedelic jazz. Crowmeat Bob has been promoting his idea of jazz within the triangle for years. He seems to have assembled a stellar band, which includes John Hubbard (currently of The Men) and Mike Isenberg on drums, as well as other guest appearances. They sound more like the soundtrack to a David Lynch film about the mob. At times they also throw in a bit of no-wave influence. However no-wave’s normally disjointed song structure formula is cast aside for the consistently excellent drumming of Isenberg. The songwriting ping-pong’s between Crowmeat and Isenberg. Crowmeats’ compositions seem to attack and sometimes race the listener down a narrow hall, avoiding collisions with a wall at the last second. Isenberg’s approach seems to be a little more laid back, melodic, but still slightly suspicious, particularly on the excellent “Mushroom Skyline”. Along with Sun Ra, there are covers by The Melvins (“Foaming”) and Archie Shepp, another jazz influence on this incredibly talented band.