Circus Devils – When Machines Attack

 

Circus Devils – When Machines Attack

By

Jesse E. Mullen

 

Doing soundtrack work for film or television is a difficult enterprise. Oftentimes, a musician will only see a rough cut or workprint of a film while he or she works. It’s not for neophytes. Making soundtracks for fake horror movies is even harder.

When Circus Devils released two albums on the same day in October 2013, fans had to be anxiously waiting for what creepy sounds were to come. The trio were comprised of instrumentalists – and brothers – Todd and Tim Tobias, as well as vocalist Robert Pollard.

Pollard is best known as singer/songwriter for the Dayton, Ohio band Guided By Voices. But his work with Circus Devils allowed him to stretch out into more experimental territory. Their debut 2001’s Ringworm Interiors got positive attention, not only for how well it aped horror movie soundtrack sounds from the 60s and 70s, but how it expanded on them.

With Todd Tobias assuming the role of producer, an endless array of found sounds were at the band’s disposal. Sure, there was a Lynchian and Polanskian feel to the material, but there were also echoes of the noise rock and experimental music put out by Chicago’s Touch and Go records in the 80s and 90s.

Since then, the band had gone onto all kinds of fascinating territory. They made concept albums about fictional characters (2002’s Harold Pig Memorial), double albums (2007’s Sgt. Disco) and even ventured into acoustic territory (2009’s Gringo.) It seemed like the musical possibilities for Circus Devils were endless.

So, on that fateful day in October when two Circus Devils albums were released, anticipation must have been high for whatever concepts would be followed next. One of the two albums was titled When Machines Attack. It was a sort of concept album about a dystopian future where technology rebelled against its creators. But how did it stack up?

Turns out, pretty well! After a so-so opener in “Beyond The Sky,” the listener is treated to the brilliantly unhinged noise rock of “You’re Not A Police Car.” Pollard shouts cryptic lyrics about a car chase as a siren wails. The Tobias brothers cook up another sizzling instrumental with pounding drums and thin trebly guitars.

It sounds both apocalyptic and cathartic, not unlike David Yow’s work with The Jesus Lizard. Speaking of The Jesus Lizard, “Bad Earthman” evokes their early noise rock sound with Pollard’s growling vocals and Todd Tobias producing in the style of Steve Albini.

With stop-start drums and bass, and a mean guitar, Pollard almost croons in a bass range while spooky sound effects pop in during the chorus. Once again, Todd Tobias is in fine form. His drumming is inspired, alternately sounding tight like John Bonham, and freewheeling like Keith Moon.

“Idiot Tree” is something completely different. While the previous two tracks had a sort of “controlled-chaos” approach, “Idiot Tree” is tight post-punk in the spirit of The Fall. The drums, bass and guitars even echo the rhythm and riff of “Totally Wired.”

Pollard is prolific in the same gargantuan proportion that Smith was, so the comparison is not just musical but also philosophical. Writer Jeff Gomez compared Pollard’s approach to that of an athlete, writing that “athletes are great on the aggregate, and so is Pollard.” It’s a fitting comparison, as Pollard once pitched a no-hitter.

Elsewhere, we have the trippy but heavy electronica sounds of “Blood Dummies.” Amazingly the Tobias brothers manage to keep things fresh production wise, sounding a bit like early Gorillaz but wholly their own.

Jungle sounds percolate from both speakers while synths screech. Sequenced electric piano and electronic drums are joined by the psychedelic sounds of marimba. It is both evocative of being lost in a rainforest and chilling in a dark club.

If there is one knock against the song, it’s Pollard’s vocal. It sounds a bit too much like drunken rambling, but thankfully his contributions to the song are minimal. He is in fine voice elsewhere on the album, so one bad vocal can be forgiven.

The title track is goth-y post-punk with tribal drumming resembling “The Hanging Garden” by The Cure. In fact, the apocalyptic vibe of the music and the lyrics evoke the “hell on earth” feeling of the entire Pornography album. However, unlike Robert Smith – who sang about chemical dependence and fractured relationships – Pollard goes for the supernatural.

The song is central to the concept of technology taking over the human race – with machines that literally attack. And the music matches the desperation of the theme. The bassline is interesting in particular locking in with Todd Tobias’ furious pounding. The mix also offers a claustrophobic effect with the left and right stereo channels closing in on the listener.

“Johnny Dart” is a fascinating number. It features a stop start rhythm guitar with compressed, distorted bass. Thundering drums by Todd Tobias crash around the chaos, and Pollard – oddly reserved – speak-sings the title ad nauseum. Although it never overstays its welcome, it’s not worth repeated listens. It is a lot of fun in the context of the album though.

A strange song that works better is “Doberman Wasps.” It features a crunchy guitar riff, flanked by electronic percussion and real drums by Tobias. Pollard’s vocal in the chorus is almost percussive itself. He repeats each word several times (i.e., “me me me me”), and it has the feeling of a man-made echo/delay effect.

Perhaps “Wizard Hat Lost In The Stars” is the most sentimental song on the album. A slow detuned arpeggiated guitar plays a beautiful melody. Pollard sings in his sweetest upper register, and his lyrics are just as moving as his delivery. They are charming in their stark simplicity.

“It’s going nowhere” he repeats in the key of e major. It has the vibe of a mid-70s heavy metal ballad. The kind of song where a loud band shocked its listeners by displaying a talent for playing quietly. Not the highest of highs – as we will see – but definitely a highlight.

The mostly instrumental “The Lamb Gets Even” is another highlight. It’s trippy arpeggiated guitars and spooky Moog synthesizers make it sound like the intro to a Roman Polanski film. The ambient noises Todd Tobias conjures makes it easy to picture an establishing shot of a haunted apartment building or creepy woodlands.

But “Centerverse” is where it all comes together. It is almost a hybrid of the early tracks’ sounds with the sound of “Lamb Gets Even.” (Pounding noise rock meets spooky synths.) The passionate shouted vocal from Pollard towards the end really makes the track. The track proves he could front a heavy metal band if he wanted.

With When Machines Attack, Circus Devils turned in an album equally as fascinating as Ringworm Interiors, Gringo, or Sgt. Disco. It may not have gotten the attention of those records – AllMusic didn’t even have one of its writers review it – but it proved that the Tobias brothers and Pollard could still come up with unique and exciting ideas.

Happy Jack/2013

 

Black Rebel Motorcycle Club – Specter At The Feast

 

Black Rebel Motorcycle Club – Specter At The Feast

By

Jesse E. Mullen

 

You’ve co-led a successful indie rock band. You’ve helped revive a style of music from the mid-80s with your own spin. And you’ve enlisted the help and wisdom of family ties. But what happens when tragedy strikes down these ties?

Robert Levon Been is the bassist and co-lead vocalist of San Francisco’s Black Rebel Motorcycle Club (aka BRMC). Along with guitarist and singer Peter Hayes, the duo perfected an update of the sound established by The Jesus and Mary Chain. Their voices blended perfectly over the guitars. Drummer Nick Jago played with a primal intensity.

Their debut album B.R.M.C. was released in 2001 to rave reviews. “Spread Your Love” and the eternal “Whatever Happened To My Rock ‘N Roll? (Punk Song)” displayed a fiery intensity not heard in the era of Robbie Williams and Coldplay.

The British press ate them up. Noel Gallagher had them open for Oasis. Things were looking up for BRMC. And it didn’t look like they would ever stop. Until suddenly they did. The music press are a fickle bunch. They can champion a band one day and tear them down the very next.

BRMC found this out the hard way, when they released their second album Take Them On, On Your Own in autumn 2003. While there was nothing wrong with the album, critics said they hadn’t progressed enough since their previous release. Pitchfork singled out “US Government” as being too generic to be a protest song.

Critics were only divided further when BRMC released their third album, the all-acoustic, blues-based Howl in 2005. While many were enamored with the new direction, a select few weren’t as impressed. At this point, Been and Hayes were having problems with Jago. He had been in and out of rehab several times.

Another problem had arisen. While Been and Hayes were American, Jago was British and needed a touring visa to play in the States. Problems with his American papers nearly forced BRMC to tour exclusively in the UK and Europe. After more interpersonal issues and a poorly received 2007 album Baby 81, Jago was out.

Replacing him was The Ravenettes’ Leah Shapiro. She became a fan-favorite instantly, sounding almost exactly like her predecessor. Her hard-hitting style solidified her role as the new third member. But if anyone was going to claim the title of “fourth member of BRMC,” it was undoubtedly Michael Been.

As frontman and producer for the ‘80s band The Call – and father to Robert Levon Been – he filled two roles within the group. He acted as their soundman and in-house engineer, as well as being a personal mentor to the band. He was there when the going got tough in 2007 with Jago. And he’d just helped BRMC make their then-newest album.

Beat The Devil’s Tattoo was released in spring 2010. It combined their earlier, electric sound with the acoustic slide guitars of Howl. While the reception was middling, it was still a massive accomplishment for the group. They’d carved out their niche, developed a cult following, and found a drummer who wasn’t going to blow at any second.

It seemed that the trials of the past were finally in the rearview for BRMC. They could now enjoy life on the road like the gang they were named after. That was until August 19^th, 2010. It was supposed to be a wonderful weekend. But one piece of news changed everything.

The band were slated to play at the Pukkelpop festival in Belgium. It is an annual event where some of the best names in alternative music play. Everything was set into place until Michael Been suffered a fatal heart attack. He was 60 years old.

Through their grief, BRMC soldiered on through a fierce set. But as the reality of the situation sunk in, the band was at an all-time low. Michael Been was their mentor, the one that dug them out of crisis with their first drummer and spread his wisdom from his own touring days. How could they go on without him?

BRMC approached the situation the only way they knew how. By making another record. They started out slowly in early 2011. But in spring of 2013, Specter At The Feast was finally ready for release. The existence of the album was a miracle in and of itself. But fans still had to wonder – could BRMC make another great album? And could they do it without their staunchest ally?

The album gets off to a spooky start with “Fire Walker.” BRMC are dialed down to a volume of five rather than their typical 11. Been is almost whispering his vocals. This is ambient music closer to what Radiohead achieved on “Identikit” than typical BRMC. But it makes for an effective mood setter

In tribute to their fallen comrade Michael Been, BRMC recorded a cover of “Let The Day Begin” by The Call.  It’s an extremely uplifting anthem, the kind of song that winds up being used as theme tune for presidential campaigns.

BRMC more than does it justice, with Robert Levon Been providing passionate lead vocals. In fact, the cover might be better than the original. Stripped from the tinniness of the late 80s production, BRMC modernize the song for the 2010s.

Not one to be outdone by his bandmate, Peter Hayes delivers a passionate, Ride-styled rocker in “Hate The Taste.” Been delivers an excellent bassline and Shapiro locks in with a cymbal-heavy beat. The guitars crunch with a repeating riff that will certainly be stuck in your head.

Lyrically, the song seems to describe the poor decisions one makes while under the influence. Hayes sings the vocals with spirit, evoking the sound of Alex Turner. It’s the kind of song that works well in any context, be it a party, blasting from a car stereo, or celebrating a goal at a football match.

BRMC are again evoking the past on the rocking “Rival.” It’s catchy refrain of “I need a rival” recalling “Spread Your Love” and “US Government.” Musically the track sprints along with the energy of “Whatever Happened To My Rock ‘N Roll? (Punk Song).” BRMC again prove that you don’t have to reinvent the wheel to be good.

However, they are in new territory towards the end of the album. “Sometimes The Light” is Spiritualized-style gospel/dreampop complete with the Vox Continental organ sounds and angelic harmonies. With the gospel overtones of the track, one has to wonder if this is another tribute to Been’s late father.

But perhaps the specter of Michael Been – and the specter in the title – is no more audible than in album closer “Lose Yourself.” A slow-burning dreamy tune which builds in the chorus, Robert’s voice is completely unobscured for once. He prefaces each chorus with a refrain of “Why don’t you lose yourself?”

After all the band had been through the previous three years, it is nice to hear them stretch out. And stretch out they do. In epic fashion reminiscent of “Champagne Supernova,” Hayes plays a skyscraping guitar solo for the ages in the middle of the track. Shapiro plays with restraint, her drums forming a soft steady beat. Gradually, the song ends and the album fades into ghostly oblivion.

It is somewhat of a miracle that Black Rebel Motorcycle Club persevered through their tragic loss. That they made an album which not only stacks up to their older work but charts a new path forward is even more impressive. Specter At The Feast often trades their signature roar for a spooky ambiance, but BRMC prove that this is just as viable.

Abstract Dragon/2013

 

 

 

 

 

 

Ringo Deathstarr – God’s Dream

Ringo Deathstarr – God’s Dream

By

Jesse E. Mullen

Powerful shoegazing release with a post-punk edge. You can tell from the photo of Alex with the rifle just what you are getting into here. "Flower Power" is almost industrial at the start, but shifts to a much more pastoral bridge section later on. The entire album is this thrilling and beautiful; “Shut Your Eyes” is simply otherworldly, with the gentle vocals of Alex and Elliott melting into the guitars. The title track is equal parts noise and melody with a fuzz section towards the end, and a throbbing bassline. But Alex’s melodic vocals give the tune its emotional resonance.  Highly recommended.

Noyes Records/2013