Don’t Quit Your Band (Nickel Eye)

Nickel Eye – Time of the Assassins (Rykodisc)

With a deep steady bass line, Nikolai Fraiture introduces himself as a solo performer (away from the Strokes). While his singing sounds lackadaisical, the bass line is tight and inviting. Mixing rock/pop with some folk and blues, Nickel Eye creates a sound different from the Strokes, but not entirely new.

Now, while I don’t hate it, it leaves something to be desired.  Time of the Assassins reminds me of any little band who plays the music because of pure enjoyment but playing loft gigs to friends in feeble attempts of being discovered. It is interesting to hear the bass as a leading instrument, but his vocals are weakest element and diminishes any effect the bass playing creates.

Although, he plays the bass, doublebass, harmonica, guitar and whistles on this album, it’s still not enough to be raved about. Personally, I feel the construction of the songs would better suit the Strokes instead of lack as a solo project. No doubt that Nick Eye has talent as a bassist, and now he can be recognized as a song arranger. Some songs have a groove that is compelling, once you accept the vocals will not match the beauty of the instrumentals.

Track Listing:

1. Intro*
2. You and Everyone Else*
3. Back from Exhile
4. Fountain Avenue
5. This Is The End
6. Dying Star*
7. Brandy Of The Damned*
8. Providence, R.I. *
9. Where The Cold Wind Blows
10. Another Sunny Afternoon
11. Hey, That’s No Way to Say Goodbye – Nickel Eye, Cohen, Leonard

Rating: C-

Escape to a Dreamy Landscape

Cotton Jones – Paranoid Cocoon (Suicide Squeeze)

I know there are influences of blues rock, alt country and indie pop, but I still don’t know what Cotton Jones is!

The opening track “Up This Tree (Went This Heart I Have),” starts with a simple bass line and the mysterious line of “all around, all around this head of mine I was scratching out the view.” We’ve all been there, the mental place where we don’t know what’s happening. The dirty heavy male vocals are joined by a very young sounding female. (Those female vocals even resemble a young Michael Jackson). Matching the attitude of the music, the lyrics are seeking a return to an easier and more carefree time.

The song blends right into the next which morphs into a haunting groove from an electronic keyboard. The matching of deep male vocals and cheery high-pitched female vocals compliments in a really non-competitive way. The “Cheer Up Now” gives a 60’s groove a fix to the problem of being overwhelmed established in track 1.

“By Morning Light” takes a passe Johnny Cash approach. With lyrics such as “I cry just to see the tears” with the addition of whistling and string arrangements, it gives something more organic to the recognizable sound. “Pretty Little Ashtray in the Sun” picks up the temp and personifies items and repeats “Oh The human kindness has begun” in a Beatle-esque way.

While some songs are more alt country (“Gone The Bells”), others are more “psychadelic” and furthermore some are gentle blues rock. All the different textures work well together to share the mood which matches the album title of Paranoid Cocoon.

The setting that comes to mind when listening to Paranoid Cocoon is either sun bathing on a drifting rowboat or watching snowdrifts building as the winter wind numbs your nose and toes. By the end of the album, the overwhelming feeling brought up in the lyrics disperses itself  and are replaced with the lyrics:”all the demons have been slayed”. A sentiment of protection is built and a new feeling of “everything is gonna be okay” closes out the album.

With such clarity and seemingly complexity, Paranoid Cocoon could easily end up on the 2009 Top Year End List. There is some desperation/emotion in the vocals; a wavering, somewhat psychedelic keyboard, and soft strings and gentle drumming that paint a dreamy landscape that brings everything together.

Track List:

1. Up A Tree (This Heart I Have)*
2. Gotta Cheer Up*
3. Some Strange Rain
4. Gone The Bells*
5. Photo Summerlude
6. By Morning Light
7. Cotton and Velvet
8. Little Ashtray in The Sun*
9. Blood Red Sentimental Blues
10. I Am The Charger

Rating: B+

Trippin’ With Howlies

With blues guitar solos, phrases and words as choruses, they bring back a classic style with some unclassy content. They have proclaimed themselves as the first real rock band of the 21st century. By the end of the album, any arguments regarding that statement are more difficult to defend.

Kicking off with “Sea Level,” Howlies waste no time in showing who they are and what they are afraid of; which turns out to be nothing.

With lyrics that resemble Kings of Leon, the rest of the music is like a Frankenstien of all the rock gods of the past. The songs have a punch and a kick to them. Even slower songs such as “Smoke” can hardly be described as slow.

Howlies definitely has a youthful sound. A sound that would fill a bar. With enthusiasm and a great, honest sound, Howlies deserve at least a shot.

Themes and lifestyles from their southern (Atlanta) roots shine though either in sound or in lyrics. In “Sweet Denise v. Road Rage Rhonda” covers Jesus and road racing while other songs mention activities that are found at the most raucous bars. Don’t worry though, to listen to Howlies, you don’t have to sport cowboy boots. Any shoes that allow toe tapping or dancing are apt.

At the most elementary level, Howlies mix southern rock with classic rock and give rock the rougher edge it’s been missing.

Rating: C+

(Howlies – Trippin’ With Howlies (Over Under Records))

Update: 1/28/09: The quote of being the first rock band of the 21st century was by Kim Fowley, not by the band.