Pyrrhic Victory
Life of Pi
This is the second proper full-length from what is easily one of the Bay's best alt-pop acts. The overt Weezer influence that pervaded their first album is almost gone (but not quite – check out "Young Jim Hawkins" and "Chuck Yeager"), giving way to the group's own take on big, catchy slabs of overdriven pop. One or two tunes, most notably "Song X," smack of filler, and the album's fourth quarter doesn't seem as inspired as the rest, but "Bismark," the best thing here, balances indie edge and arena anthem with absolute perfection. (www.lifeofpiband.com)
1/2
Hip Hop 9/11
Addek
Suitcase City/The Message
Speax
Progressive, gritty, socially conscious MCs and frequent collaborators Addek and Speax bring their particular flows and knowledge to solo LPs. Not that either of them is truly flying solo – both albums are dotted with guest appearances; each of these guys is represented on the other's CD; and a small handful of lyrics and tracks show up, in different versions, on both records. Of the two, Speax's ambitious double album is the more cohesive and immediately ear-friendly; vulgar and proudly Tampa-centric, these two discs don't skimp on the clever wordplay and interesting, idiosyncratic production, but definitely present them in an accessible, street-and-club-ready package. Addek's Hip Hop 9/11 is a more raw, challenging and urgent listen, often pinning his overtly political perspective on a culture in crisis – delivered in a deep vocal tone and often just slightly off-kilter cadence – to melodramatic, lo-fi faux strings or moody synths. Both releases are among the most original and resonant releases to emanate from the Bay's underground rap scene to date, though, and are stylistically kindred enough that if you dig one, you'll probably dig the other. (www.realityhiphop.com)
Hip Hop 9/11
1/2
Suitcase City/The Message
The DaVinci Commode
Damage Control
Bay area audio-comedy troupe Damage Control, that crazy loose-knit conglomerate that brought you the yuletide non-classic Santa's Crack, is not funny. The sophomoric name of this sophomore CD should tip you to that fact; if it doesn't, the first 10 or so of these 43 bits will. There's a smattering of ideas with potential buried in this overlong set of toilet-humor sketches and digs at clueless community-radio DJs – quitting smoking via a regimen of chewing dog shit; a home test for homosexuality administered rectally; landmark moments in the history of homelessness – but not many, and all are executed poorly. (www.damagecontrolonline.com) 1/2
First Time Over
Tom Stewart
The Berklee grad turned lawyer turned full-time musician (in '03) clearly has considerable guitar skills. What Stewart lacks, however, is an original voice; his sound is decidedly patterned after very early Pat Metheny, most notably in his round, echoey tone. Backed by acoustic bassist Mark Neuenschwander, a fixture on the local scene since the '80s, and Tampa-based drummer Sava Boyadjiev (originally from Bulgaria), Stewart runs through a sensitive set of originals that showcases engaging melodies and probing improvisation. First Time Over could use more dynamic range; the modern swing grooves by and large hew to the medium tempos, and Stewart doesn't mix up his guitar sounds. Another instrumental voice, or a few burnin' tunes, would have helped considerably. (www.stewartjazz.com)
-Eric Snider
Timeline
Fremont John
Okay, a show of hands – how many of you would quit your day job as an oil industry higher-up to play guitar and sing in Key West bars? Not too many, I assume, which makes Fremont John Ashton's story all the more intriguing. This guy has led an enviable double life as entrepreneur and musician, ostensibly using one to justify the other; and as of recently, he became a full-time Sarasota resident. Timeline, 12 songs culled over the past few years of gigging by himself and with his former classic rock outfit Alias, is a rare find among local CDs. First, the execution is top notch – Ashton must've spent a small fortune hiring crack session musicians and backup singers – and second, the songwriting is both expansive and experienced, neither relying solely on hackneyed rock chord progressions (the fate of many an older performing songwriter) nor alienating audiences by being too deep for its own good. While some songs occasionally invite comparisons to '70s prog rock, Timeline overflows with enough consistent, melodic riffs and rhythms to make you wonder why Fremont John didn't instead call the album Timeless. (www.fremontjohn.com)
-Mark Sanders
The View from Here
Truly Sunday
Pinellas outfit Truly Sunday plies cathartic emo that incorporates some interesting studio touches and modern-rock influence, but also relies heavily on the genre's conventions. The semi-nasal melodies, adolescent downer lyrics, 6/8 waltz-grooves and big cut-time choruses are instantly familiar – there are even some screamo vocals that seem wholly inappropriate for the material, apparently tossed in because that's what all the kids are doing these days. The band knows a good riff when it hears one, however, and when it's tearing through something somewhat original with gusto, as in the title track and "Drive to Virginia," Truly Sunday can be truly exhilarating. (www.trulysunday.com)
1/2
This Is Now!
Daylight District
There's something inherently quirky about white guys rapping. Some try to pull off a thugged-out persona (see Vanilla Ice), while others make their whiteness part of the package (see Eminem). Either way, it just seems unnatural. You can count Bradenton/Orlando group Daylight District among the latter, since their jams are so unabashedly white that you can't help but give them points for trying. Or for being sincere; within the first few lines of This Is Now!'s title track, the group – comprised of former members of the Silent Treatment and Michigan Winter – namedrops the Suncoast enclave of Cortez, Sarasota CD store Boogie Woogie and Bradenton rock group the Chase Theory. This 21-minute EP, Daylight District's first effort since forming last summer, splits the songs pretty evenly between organic hip-hop, Silent Treatment-inspired emo rock and piano-heavy rock jams. Which, for such a brief record, is impressive indeed. (www.daylightdistrict.net)
-MS
Fascination & the Participator
Hyponauts
On Fascination & the Participator, home-studio guy Jeremy Bullian juxtaposes rootsy guitar, rough vocals and a lazy rhythmic shuffle with all manner of alternately cheesy, dated and contemporary electro flourishes to produce something intimate, eccentric and cinematic; the whole thing comes off a bit like a sci-fi Western whose ideas and ambitions transcend its tiny budget. It's sometimes rough, and sometimes a bit uncertain as to what it wants to accomplish, but nearly everything here is interesting – particularly the two opening numbers and anguished "The Hypos." Bullian's obviously more interested in texture and experimentation than pop hooks or familiar styles. That doesn't mean, though, that this isn't an engaging listen, or that it's so far left-of-center as to put off folks who are into, you know, songs. (www.lofi-scifi.com)
This Hasn't Failed Us Yet?
Rumors of War
Oh Florida, land of sunshine, citrus trees and emo rock groups, how I love thee… But seriously, folks, there are a shit-ton of emo groups (and citrus trees, for that matter) in our neck of the woods. Why do we need one more? Well, when they were building Mt. Rushmore, did anyone ask why there should be four heads? My point is that Bradenton band Rumors of War should be judged on its own merits, and not seen as part of this seemingly endless trend that has got Florida's rock community by the proverbial balls right now. This Hasn't Failed Us Yet…, the band's newest release, was cut at the venerable Polysound Studios back in March. And the recording quality shows – the sounds on each of these five tracks are as tight as an S&M fetishist's ball gag. The songs themselves are well written, too; lead vocalist Ben Bakker knows how to deliver the emo-rocking goods while paying attention to the other player's needs – which, in a genre that prides itself on wailers and crybabies, is an important quality to have. (www.rumorsofwarrock.com)
1/2-MS
This article appears in Jun 2-8, 2005.
