BIGGEST REMINDER — Moving forward into the 21st century, it seems the words "diversity," "over-saturation" and "immediate access" are constantly attached to whatever crosses our path. Case in point, the music industry has become a hallow shell of itself — a once dominant, indisputable force within the consumer world, now at the mercy of the individual.
Just at your fingertips, one can track down the latest electronica trends from Iceland, ancient chants of Irish monks, djembe circles led in Zimbabwe, Brazilian lounge melodies overtaking Rio de Janerio coffee-shops, or the dirtiest southern rock barreling out of the Louisiana bayou.
The possibilities are overwhelming and often impossible to pin down before they float back into the mainframe abyss of the Internet. Yet amid all of these fly-by-night rock stars and anonymous musical entities, a handful of offerings stick out like a beacon of light over choppy waters. These recordings are just a mere taste of the beauty that has risen to the surface during the first half of 2010. Enjoy!
ROCK 'N' ROLL IS STILL ALIVE
Drive-By Truckers — "The Big To-Do."
Dragging rock 'n' roll by its collar to the woodshed" the Drive-By Truckers latest wrath" "The Big To-Do" (ATO Records)" kicks conventional square in the ass" reminding the mainstream where the Dixieland heart is — socially progressive lyrical perception in the midst of fiery guitar chords.
Chocked full of the usual drunken shenanigans from the rebel moonshiners" the unmistakable duel vocal cannons of Patterson Hood and Mike Cooley sear the listener with a sandpaper grit tough enough to remove any rust or stagnant growth one might assume has accumulated on their eighth studio album.
With its quirky small-town characters and menacing underbelly of behind-closed-doors revulsion" the record conjures similarities to Sherwood Anderson's literary masterpiece" Winesburg" Ohio.
The offering weighs you down with the force and pessimism of an obese prostitute amid a cocaine binge ("Birthday Boy"). You shake melodic hands with blue-collar glass ceilings ("Working This Job")" self-imposed heartache ("The Fourth Night of My Drinking") and childhood neglect from those who are supposed to love you unconditionally ("Daddy Learned to Fly").
Though not as haphazard in approach as "Brighter Than Creations Dark"" the songs are streamlined" undeniably catchy and more accessible than previous endeavors. The only true rebuttal to Keith Richards in technique" charm and alcohol tolerance" Cooley channels his inner Iggy Pop ("Get Downtown") and Willie Nelson ("Eyes Like Glue"). With a trifecta of squealing guitars" Jack & Diane hand claps and freewheeling lyrical lunacy" "Drag the Lake Charlie" sticks to you like the infamous humidity in Georgia, which the Truckers call home.
If anything" the Truckers have hit their stride. Distilled to perfection" the sextet is the finest rock outfit below the Mason-Dixon Line" above the Mason-Dixon Line" east of the Mississippi River and west of the Mississippi River.
BIGGEST SURPRISE
U-Melt — "Perfect World."
With the release of their third studio album, "Perfect World" (Harmonized Records), prog-rock gurus U-Melt have once again unleashed another offering of existential intuition to the backdrop of melodically proficient music.
Though the 10-track release features the last collaboration with founding guitarist Rob Salzer (who was replaced by Kevin Griffin this past winter), a feeling of unity and utopia emerge between the quartet and the listener. Each tune is structured with a unique lyrical theme. Whether it's our place in the universe, shaking hands with a stranger or just existing in our own time, the core values of beauty amid chaos is evident.
The selections are inviting and warmly embrace any who are intrigued to immerse themselves into the seemingly tranquil flow of the album. The soft yet playfully assertive finger licks of keyboardist Zac Lasher cradle eager ears. Molasses-thick bass hooks from Adam Bendy cause your legs to stick to the floor. The spiraling guitar chords of Salzer seep into your gyrating muscles, while the pendulum drumming of George Miller and three-part harmonies float out of your speakers, provoking a free fall of positive emotions.
But the true splendor of this record lies in the encouraging consistency of U-Melt — a consistency that is not only a testament to the work ethic of these road warriors, but also complements their pure intent of progression through experimentation.
PERFECT EXCUSE FOR A MIDSUMMER HOEDOWN
Hot Day at the Zoo — "Zoograss."
"The night of the recording was pure magic," said banjoist Jon Cumming. "Just one of those nights where the band and the audience came together as one."
Taped at the Waterhole in Saranac Lake on Valentine's Day 2009, Zoograss is one of those live albums that will turn into a word-of-mouth sensation as the rhythm of time passes.
"The live recording catches us at a pivotal time in our musical journey," Cumming said. "We had just taken on JT Lawrence (mandolin) as our newest member. We started to find a new voice and a new energy that we were all very excited about."
The legendary music venue has come to be known as the headquarters of the gonzo bluegrass quartet. Filled with rowdy, foot stomping Adirondack locals (and enough drinks to drown a small army), the ambiance aligned perfectly with the overzealous approach of the Massachusetts group, which has a huge following in the Champlain Valley, as does U-Melt.
"The Waterhole is just a really cool place that has great people running it," said Cumming. "(It has) a good atmosphere, a good sound system and engineer. The fans up there are good listeners who know good music when they hear it. Give them a good show and they will return the favor."
Charging up the hillside with "One Day Soon" and "Mercy of the Sea," the rebel yells and string bombardments fill the ear with a cacophony of traditional numbers amid a plethora of original material destined to become the former.
Independently releasing the album, Zoo embraces the opportunity to go in a different direction amid a recording industry clinging to life.
"The current music industry is definitely redefining itself. Gone are the days of needing to catch a label, big or small," Cumming said. "It is all very possible to do it yourself these days. Build your fan base. Sell your CDs. Get out there and play."
"I think the grass-roots method is definitely more attractive and that's how we like doing it and how it seems to be working. We want to be different by breaking boundaries and not holding to some paradigm of string music."
