The Little Band That Could Is Back!

It's been a while since I saw Tristan Clopet and his amazing band back in June of 2009, but they've never been far from my thoughts. Mostly because I play their debut album, Duende, quite often. I re-read my review of Duende just a couple of days ago and had to smile; with as much praise as I'd heaped upon the album, the words seemed immature and not quite what I wanted them to be. I needed to grow as a writer, more specifically a review writer. And as I looked back on the review and listened to Duende for the nth time, it occurred to me that Tristan Clopet & the Juice also needed to grow into what they needed to be.

When I finally listened to Purple, I couldn't help but feel like the boys were exactly where they needed to be.

Purple, much to my surprise, actually doesn't play through like an EP, but instead stands on its own as LP. Right from the beginning chords of "Proximity Bomb" (which has the most epic opening of a song since Coldplay's 2008 fan favorite, "Viva la Vida" -- and yes, I know, two very different bands and two very different songs, but the sentiment remains the same), I could hear that the music was a little more polished, a little tighter, the band members a little more complementary of each other. Where Duende gave me vague feelings of times and seasons and emotions, Purple thrusts them all into focus and makes them tangible experiences.

"Proximity Bomb", "So Alive" and "Superficiality Is a Sin" were my favorite tracks off the album, with "Proximity Bomb" holding the #1 spot on the album and for me, personally. Aside from the epic opening, which sets the stage for the rest of the album, the lyrics and the beat were at the same time fun, scattered, and incredibly intricately interwoven. The drum solo from 2:17 - 2:27 was a special treat, one to which I have only this to say: Hello, Dan Hammler! "Proximity Bomb" takes a step back from Tristan's signature funk sound into something a bit heavier, a bit more 'rock'. Once again, Tristan & the Juice leave me struggling for a word to somehow sum up their music, and again they prove that there just isn't any label for them.

"So Alive" slides right into play, low-key and surprisingly sensuous, and takes hold rather quickly. It's a throw-back to the power ballads everyone's parents knew and grew up with. My notes on the song actually says 'Kick-ass power ballads are back!', underlined about twenty times. I even cast about for a lighter. There's something simply beautiful about this song that made me want to lie down on a patch of sun-soaked carpet and just bask. Like Duende's "Oceans" and Purple's "Love and a Question", it's a very liquid arrangement, but somehow warmer and weightier.

Returning to the funk sound I first fell in love with, "Superficiality Is a Sin" immediately took me out of my sun-soaked sprawl on the floor and coaxed me back into the mindset I was in when I heard Duende's "Concrete Dreams" and "Your Love Is a Drug": tasting sex and bittersweet musk while being wrapped up in sleazy, wonderful words that flow as easily as any kind of liquor.

"Ethereal Evidence" and "Black Panther Party" were a lot of fun and I had a blast dancing around to them (which I did and I regret nothing), but they were the weakest of the album. I can't quite put my finger on why; there's just something not quite there. I don't want to say 'soulless', because that isn't the case, but a piece was missing and I couldn't connect with them the way I could with the other four.

Regardless, Tristan's voice was made for these songs, the quickly-sung (almost rapped) lyrics that trip and pause and start up again without faltering or stumbling while paired with a voice and musical arrangement so hot that even fire would melt. It's an odd dichotomy that works. Tristan may be the eponymous lead singer, but he would be nothing without his amazing band, and vice versa. The repartee they have with each other is seamless. I remember when I saw them live my friend turned to me and said something about a well-oiled machine. That's not even it. It's like listening to a single entity. They're just perfect for each other, almost to a degree that is truly stupid. Other bands wish they had this level of ease between their members. And if they keep maturing and connecting at this rate, everyone else is going to be left in the dust.

I wanted to end this review with some snappy one-liner before I rated the album, but I couldn't find the words for one. Instead, I found myself thinking that when I first reviewed Duende, Tristan Clopet & the Juice was the little band that could. Now, they're the band that could, did, and will continue to do it.

I can only imagine what else is going to be added to that list when their next album comes out. The mind boggles.

I give Purple 5 out of 5.

Review coming soon...

I've come to the startling conclusion that lesson plans are the lovechildren of the devil and the Department of Education. One day, they will release their barbed wire-encrusted grip on me and I will be free to have an evening to myself. To read, or finish a screenplay, or go to a concert, or have any semblance of a life.

Until then, I am up to my eyeballs in rationales and ongoing assessments, and the online reviews will have to be put on indefinite hiatus. Not that it matters, since most of you read them in hard copy.

If I have the time, I'll be posting the reviews of Jericho's "Smoke Signals", Season 5 of Supernatural, Season 1 of Glee, my unimpressed thoughts on FlashForward (or, as I call it in my mind, CAN'T DEAL WITH JOSEPH FIENNES'S EMO WHERE'S THE FUCKING REMOTE?!), an incredibly late review of Frightened Rabbit's "The Midnight Organ Flight", and much more!

... If I have time.

Tristan Clopet & the Juice: Live at the All Asia (06.26.09)

Until June 26, 2009, my 23-year old best friend had never seen a live show.

I know.

Prior to last night, I would take a few minutes out of my day, every week, to check Live Aid and Ticketmaster in hopes of finding a band coming to Boston that I could take my best friend to see. But it never worked out; either she didn't care for the bands playing, or tickets were just too expensive. I was still determined, however, to be the one to take her to see her very first live show.

Then, one day, I received a Facebook message from the lead vocalist of one of my favorite bands, a band whose EP album I'd reviewed a while back, who told me that they were coming to Boston and would love to see me there. It was perfect. Little did I know that it was the CNC Indie Music Marathon, which meant my best friend would be exposed to several bands instead of just the one. It was something I was grateful for. I wanted her to have different sounds to compare, to see different set changes and the multitude of different instruments used. But it made me wonder just who she would be raving about by the night's end.

Unsurprisingly, it was Tristan Clopet & the Juice.

I'm not saying that because I am somewhat biased where this band is concerned, but rather because their sound was superior to the other bands playing. They definitely had competition from New York-based band, The Gypsy West, but still came out on top – as far as my best friend was concerned.

I'm inclined to agree. I spoke with Tristan after the performance and he bemoaned how it had sounded; after all, his admittedly large band had to contend with the little All Asia bar and their less-than-ideal acoustics. However, sometimes it's less about the actual sound and more about stage presence and the rapport a band has with its audience. Tristan Clopet & the Juice was the best of the evening not only because their music was more innovative than any of the other acts', but also because they were down on our level.

The band plays in such a way that it feels almost as if they are playing solely for you. They make eye contact; they smile at you, with you, almost as if you are sharing a joke that only you know. Their dialog with the audience was limited due to time constraints, but it was cheeky and fun, especially during the band member introductions. They were relaxed, comfortable in their skins like they had come out of the womb with their instruments, which made everyone in the bar that night as contented as they. Their songs slid seamless into one another, making it so the air was always filled with some type of music, whether it be the skipping roll of the guitar or an impressive drum solo performed by the entire band.

In addition to having my great expectations met, there were also two surprises for me last night. The first would be the actual band, itself. I had no idea their band and set-up was so large. Two drum sets, complete with bongos, two guitarists, a bassist, and one keyboardist amid a dozen different instruments (although the many drum sets would aid them in their last song, where they went out with a bang). Although their set-up was big, it wasn't a hindrance. All instruments were used, and not one of the band members had a hard time navigating through them. I've seen bands with large set-ups that have the performers practically swimming through them aimlessly; Tristan & the Juice were well-rehearsed and perfectly synchronized. Would they benefit more from playing bigger venues? Definitely, but they didn't let the size of All Asia to hamper them in any way.

The second surprise would be that the band has a new keyboardist, Alejandro Elizondo, who was incredibly impressive. I'm looking at the notes I took last night at the show and the first thing I wrote was "new keyboardist is made of win". It's true. Alejandro isn't just limited to his stellar keyboarding: he also plays guitar and drums – a little one-man band all on his own. It was definitely a good move for an already great band to have added him.

After my best friend got EPs from the other bands playing, as well as a t-shirt, we left All Asia at about 1:30am to make the drive home. Her first words upon entering our car were, "Tristan's band was the best out of anyone we saw, hands down." When I asked her why, she looked at me like I was brain damaged and said, "Because they were playing for us, not at us."

Who can argue with that?



Performance: *****
Music: *****
Presence: *****
Overall: *****

Cautious Chemists: Providing the Soundtrack to the Subconscious

The small snippet of their work that we’re given on their Myspace page makes it very clear that the Cautious Chemists are presenting us with the soundtrack to the subconscious. Their playlist yields four songs, and only one of them plays just over three minutes, leaving us with fragments of words and sound that are startlingly easy to piece together. They do so much with so little.

Brian Leak (vocals/bass) and Bryan Layne (guitar/vocals), or B² as I'm calling them in my head, bring an experimental sound that makes me feel as though I'm in a dream, or in that place between asleep and awake, listening to vague whispers in the next room. "Sailing", the longest song on the playlist, plays out the role of the ocean, late morning, on a calm day. I'm very much a visual listener, so I sat back in my chair and soaked up the overly-bright sun provided for me by the hypnotic strings of the guitar and the soft vocals of (I'm guessing) Brian. It's not so much a song as it is a quiet, unassuming experience.

This review is, unfortunately, short due to the lack of other songs and information about the band, but I hope it will encourage others to go take a listen. It won't take long, but it will definitely stay with you.

Tristan Clopet & The Juice: Best Upcoming Band in the History of Ever?

When I was first contacted by Tristan Clopet & The Juice, for some reason I thought, “This’d better not be another Christian rock group. How do these people find me?”

Luckily, they weren’t a Christian rock group. Not that there’s anything wrong with being a Christian rock group.

After listening to “Concrete Dreams”, the first song on their debut album Duende, I was intrigued. Then “End of an Era” began and I was sold. Although they claim to be Alt/Funk/Ghettotech, I found so much more in their music. In a world full of poseurs and mediocrity, I was pleasantly surprised to hear such a unique sound. They transcend genres, world regions, and times, bringing Spanish-esque guitar riffs and 70’s funk together to create something that makes me long for the hot, rolling haze of summer. I tasted sex and caught the bitter-sweet smell of musk throughout the seductive “Your Love is a Drug”, a throwback to the sounds of Soul.

But there’s a startling emotional honesty about their music, a wisdom far beyond their years that really makes me wonder if this is really their first album. This kind of caliber of music-making is not what you’d expect to find among a group of newcomers. I went in expecting amateurs and instead came out wondering how the hell they were going to top this. Because this? This is quite literally amazing.

Tristan Clopet croons as lead vocalist, possessing a voice that will literally leave you shivering where you stand and wishing that the days of Blues and Soul were still with us. The Juice (comprised of Phil Mullerschoen - drums, Colin Veit - bass, Sean Skelton - that oh, so sexy guitar, and frequenter Rich Chwastiak - percussion) complement Clopet’s vocals beautifully, seamlessly flowing all around him like music ought to. There are far too many vocalists who are at war with their other band members, all vying to be heard; Clopet and Co. are not among them.

Tristan Clopet & The Juice dare to be innovative while paying homage to the giants that have come before them, making for a fantastic debut. I only hope that they’ll make their way up to ....Boston.... sometime in the future. With talent like this, touring can’t be too far away.

I give Duende (EP) 5 out of 5.

Recommended Downloads: “Your Love is a Drug”, “Let It Go”, “Oceans”

Sex With Strangers: Giving Canada Sex Appeal Since 2006

I’m never entirely sure what my music preferences are, as they change on a nearly-constant basis. However, it takes a lot to really grab my attention beyond a fleeting fancy. That being said, Canadian band Sex With Strangers not only refuses to let my attention go, but they’re holding it for ransom. Since I’m a poor college student, it doesn’t look like I’m going to be free of them for a long time.

Sex With Strangers (myspace.com/sexwithstrangers) is hard to categorize. Are they pop? Are they rock? Are they pop-rock? Are they electronica? New wave? Are they my new favorite word, rocktronica? I, personally, have no idea. They claim to be “robot rock”. If that’s the case, the future’s looking pretty damn spectacular.

Their first full-length album, The Modern Seduction paints a vivid picture of a futuristic dystopia, all sharp angles and sheets of steel, in which the ruling class and the rebels clash. Or at least that’s what I got out of it. The album is fantastic – I couldn’t stop listening to it. I swayed my way through “The Modern Seduction”, I bounced through the endlessly fun “Dance Commander”, and rocked out to the loud and fabulous “Downtown Fever”. The album culminates with “New Persuader”, a tune that sounds like the lovechild of Eurythmics and Duran Duran and will leave you with your toe tapping and your mouth stretched into a huge grin.

For a pop/rock/pop-rock/electronic/new wave/rocktronic band, their lyrics are surprisingly insightful. After the 3rd time I listened to “Dance Commander”, by far their most peppy song on the album, I really started to listen to the words. You can’t go wrong with lyrics like ‘It’s a long way from high fashion / everyone waits while the formers take action / the silence is coming tonight’.

All in all, for a first full-length compilation, it’s phenomenal. My only complaint is that The Modern Seduction is so recent, which means I’m going to have to wait a while for their next one.

I give The Modern Seduction 5 out of 5.

Alternative Ulster: Salem State's Best Kept Secret

It's hard for someone like me to find new music. I hate most of the new music that comes out, and the radio stations I enjoy play only classic rock or oldies. When the Jonas Brothers made the cover of Rolling Stone, I was just about ready to give up altogether.

Fortunately, I took a rather drab class with a rather fantastic individual. Said person happens to DJ a radio show on Tuesdays, from 9-12pm, called "Radio Ulster". Dan Forest helms an amazing little gig, playing everything from my beloved classic rock to indie to folk to punk to hard rock, not to mention whatever his listeners request. Forest's tastes are so eclectic that every listener will walk away satisfied, and possibly a bit spoiled.

I've discovered more songs and bands than I can name within the last few weeks alone. Alternative Ulster has become the staple of my Tuesdays, and the music I glean from the program usually tends to get me through the week.

Forest, himself, is a decent host. His music knowledge is second-to-none, and during his speaking segments he will definitely educate those who need it. I've learned quite a lot about the singers and bands he plays, everything from their roots in the music industry to concert dates to fun little tidbits that somehow bring it all together. My only complaint is that Forest sometimes doesn't seem all that confident in his abilities as a DJ. However, I think he has some great potential to take his little show to new heights, should he choose to up his enthusiasm level. Maybe if he takes a shot of pure espresso before every show...?

Anyway, should you be in need of some good music, both old and new, Alternative Ulster is where you ought to tune in.

Listen to Dan Forest on Alternative Ulster 91.7FM on Tuesdays, 9-12pm.

http://www.wmwmonline.com/
http://www.wmwmonline.com/
http://www.wmwmonline.com/

Girl Talk: not just for females anymore! (Music)

I was getting made up for a photo shoot when my friend, the photographer, asked if we could listen to some music. At my hearty consent, he brought iTunes up and began playing a series of remixed songs that were all set to an incredibly catchy beat. Amazed, I listened carefully and was able to pick out at least 10 songs I knew out of each.

Girl Talk is Pittsburgh mash-up musician Gregg Gillis. He specializes in sample-based remixes, in which he uses at least a dozen elements from different songs to create a "new" song. Seriously. I'll sit there and be like, "THAT'S GENESIS! OMG THAT'S GWEN! AND THAT'S KANSAS! AND THAT'S THE PETSHOP BOYS!"

He plays many shows in clubs, and I almost got to go to one but couldn't due to the FLU. Stupid virus, ruining my life.

Night Ripper is his most recent album, 16 tracks, all amalgamations of rap, pop, old school rock, and grunge. They're amazingly catchy and very fun to work out to. When I was stuck in the Overlook Hotel, I'd listen to them every day on the treadmill. It's a fun album and never gets old, especially when you're constantly discovering the songs in the mixes.

I highly recommend Girl Talk to anyone looking for something bouncy to listen to when exercising, running, or on the highway and in need of something fun.

SONG OF THE DAY!!

The newest segment! Every week on Thursday I will post a song that I think you ought to be aware of. It will be a different genre, band, era, whatever every time -- or at least most of the time. Click the song title, download, and enjoy!

This week's song is Broken Social Scene's powerful Lover's Spit.

*THIS SONG WILL BE AVAILABLE FOR 7 DAYS ONLY!*

**If you download, I want to know your thoughts. So don't click if you don't want to share.**


I first heard this song in a (favorite) Queer as Folk episode and fell in love. Every time I listen to this, I feel an odd combination of depression, envy, and buoyancy.

Thoughts?

"Foiled" (2006), a review of Blue October's most recent CD

While you're all working hard on making your wreath balls and writing your X-mas lists, I'm going to tell you all about a band called Blue October.

When my dorm had burned down and I was trapped in the Overlook Hotel, my roommate and I were watching VH1 one afternoon, where the video for "Into the Ocean" was featured. The song immediately struck something in me and I immediately downloaded it and listened to it over and over and over and -- well, you get the gist.

Not long after, I purchased the entire CD, "Foiled", and set about listening to it. However, I only really listened to "Into the Ocean" and "X Amount of Words", because I clearly have an attention span that will allow only two items into my mind at any given period of time.

But I just recently listened to "Foiled" in its entirety, and the CD blew me away.

Blue October is comprised of Justin Furstenfeld (lead vocals), Jeremy Furstenfeld (drums, percussion), Ryan Delahoussaye (violin/viola, mandolin, piano, vocals), C.B. Hudson (guitar) and Matt Noveskey (bass guitar). The band originated in Houston, TX.

The songs are written by Justin, who is a recovering drug addict and alcoholic, and has battled with bipolar disorder through most of his life. Most of the songs are about his battles with addiction, overcoming them, and letting go. And even for the listeners who have never, first-hand, experienced drug or alcohol addiction, the lyrics are relatable and hypnotically beautiful, from the flow and ebb beat of "Into the Ocean" to the smarting, harsh "Hate Me" to the forgiving and hopeful "Overweight". All of the songs are poetry at its finest, and make me wonder just what it is I'm doing with my writing career, because I could never string together those sentences and have them flow like that.

Blue October is innovative and not afraid to throw addiction, something society tends to sweep under the rug and hope it will resolve itself, into the faces of the listeners, not to demand sympathy but rather to remind that there are people out there who need sympathy, or even just a kind word or smile. And they pull that off without sounding preachy in the least.

I recommend "Foiled" to anyone who knows what it's like to hurt and feel alone, or knows someone who feels that way, or just simply wants to listen to beautiful words put to beautiful music.

"Foiled" definitely gets a 5 out of 5.

Words are flowing out....

.... and they're flowing out because this movie was good.

While I'll admit that director Julie Taymor was a bit self-indulgent, Across the Universe is definitely worth the $10. It's not your typical musical, which makes it all the more real (and better).

The cast was perfect; they worked so well with and off of each other. Especially Jim Sturgess (Jude) and Joe Anderson (Max): best friends if I've ever seen them. Evan Rachel Wood did a wonderful job, and I was also really impressed with Martin Luther McCoy for his JoJo (Jimi Hendrix) and Dana Fuchs, who played the role of Sadie (Janis Joplin). I'd been listening to the soundtrack for about three weeks before seeing the movie, and when I first heard the song "Helter Skelter", I thought Janis had come back from the dead.

However, in a single scene, Eddie Izzard (that's right!) as Mr. Kite stole the show. It was surreal as can be and I absolutely loved it. After taking the course Surrealism and Rebellion with a man sent to earth as a gift (Michael Deragon, my former professor), I felt I could appreciate it a lot more. And appreciate it I did. I was so impressed with the circus scene. I'd see it again just for that.

The songs were great, even Bono's renditions of "I am the Walrus" and "Lucy in the Sky with Diamonds". You'd think that ANY cover of ANY Beatles song would be terrible, especially any done by Bono... but these were not terrible in any way. Like I said, I've been listening to the soundtrack non-stop. I highly recommend you get your butt to Amazon.com and buy it. Totally worth it.

There were some issues I had with transitions, but that's purely technical and fades away in the backdrop of a movie I won't soon forget.

I give Across the Universe 4 out of 5.