Page 26 - the Noise March 2017 Edition

BY BEVERLEY NAPALM
ALBUM REVIEWS FROM ‘ROUND THE ‘HOOD
THE MOVE
Magnetic Waves Of Sound: The Best Of (Esoteric / Cherry Red)
ALI SPERRY
crooked feelings
(self released)
The Move are often over- looked when considering the greats of the ‘60s. If they are mentioned at all, it is often as a sidenote in reference to the more commercially visible Electric Light Orchestra. (At the end of their career, The Move morphed into ELO. Well ... not exactly, but sort of.) In songwriter Roy Wood, The Move quickly amassed a canon of remarkable pop caliber. The
band, five striking looking and talented individuals, had the cheekbones, pop chops and confidence to go head to head with any of the greats from the time.
Their prop heavy stage shows, complete with axes, smashed up TVs, strippers, strobe lights and pyrotechnics, were gleefully manic affairs. Visually the band was ahead of their time. Their energetic performances even gave up-and-coming-smash-it-up artists The Who a run for their money in terms of unbridled mayhem.
The Move on vinyl however, was a far more considered and regal affair, and delightfully schizophrenic. Their early career started out with Pop-Art Mod based musings, blossoming into flowery psyche, an occasional bit of doo-wop, and rounding off the band’s existence with some heavy riff based proto Metal-Glam. Initially born out of the“beat boom,”The Move got their foot in the door of the UK Top 10 from the get-go. They cemented a reputation as a great singles band, with a string of infectious early offerings such as “Flowers in the Rain” and “Fire Brigade.”
The band weathered numerous line-up changes with apparent effortless ease. How many bands can you think of that the lead singer leaves, and the band continues with even greater commercial success?
I was familiar with much of the material on this collection, though I must say I was very im- pressed with the mastering of these tracks. I am often skeptical of repackaged and re-mastered collections, but in this instance, the results are tremendous. The songs sound fantastic, huge and clear. The bonus DVD is remarkable also, with many German TV performances that alone should cement the bands cherished place in pop history.
Crossover? I didn’t realize that was a genre. Back in my teens I am pretty sure we used to call this “Thrash Metal.” It certainly has a foot in both punk and metal camps, and follows a fine tradi- tion of punk bands that upped their musicianship, and as a result went a bit metal somewhere along their way. Napalm Death, Carcass, and Doom spring to mind.
I am not as yet completely versed in
the current “crossover” genre, but that
is of no matter as there is much value
to take away from this. Especially for
punks like me, who are happy to get down with a bit of metal thrown in the mix. There are some impressive individual member performances on this, Iron Reagan’s 3rd full length.
Running at less than 30 minutes, most of the songs on this 18-song collection barely trouble the 2 minute mark, with many not even making the one minute mark. The band, as expected, takes pride in their performance. They are fully locked in as a group with solid interaction. Every member clearly has a role to play and as a result, the songs are aggressive and super tight. The drums are full tilt, with a nice bit of double bass drum action here and there. The guitars at times have a delicious sandpaper like quality.
Iron Reagan, (nice pun on Iron Maiden, I assume), deal in lyrically nihilistic and dark themed energy. Why not? These are after all, dark and nihilistic times. And it’s okay to be p***ed off! The vocals are hoarse and shouted, loaded with much antisocial comment (e.g. “F*** The Neighbors” and “Dead with My Friends”). Ensuring this is the perfect go-to disc for many a disaffected youth wishing to test their parents’ patience.
Hailing from Nashville, and knowing nothing about Ms. Sperry, I mistakenly assumed this would be a country album. It certainly is a little country flavored, though mainly due to the instrumentation. But only in the way in which “Wichita Linesman” could be considered country-pop. Ms. Sperry’s vocals take the center stage throughout, with a warm Kar- en Carpenter-esque purity. It’s familiar and inviting.
This album has a great re-
laxed gait to it. There is a meticulous focus and attention to detail with regard to songwrit- ing and arrangement, with many cool song enhancing subtleties. I particularly enjoyed the unexpected accordion on “Ol’ Will.” Aside from Ms. Sperry’s delightful vocal delivery, I am very taken with the string arrangements that do a great job of opening up each song’s potential. Album opener, “All These Crooked Feelings,” with a clipped and percussive bass line, erupts into a glorious western soundscape with tympani drums, a catchy twangy guitar, and sweeping strings. It is a dynamic and rewarding start to the proceedings. Elsewhere highlights include the measured waltz of “Rewind” and dreamy “Wisteria.” AliSperry.com
Flagstaff ’s
pin up boys Heebie Jeebies, scare us up a tasty new 3 tracker. Upbeat EP opener “Alone,” with an in- spired and raw choppy guitar, would be a wel- come addition to any Pebbles ‘60s garage punk compilation. There is a progression in the Heebies regres- sion – from ‘70s to ‘60s. “On A Rock” sees the band deviating slight- ly from the hard-rock that defined their de- but release,“First Time,” and dives headstrong and into grimy riff- cranked garage punk.
Throughout, the
vocals (Zeb Max) are
the cornerstone of
proceedings, passion-
ate and energetic,
delivered with an au-
thentic and confident
swagger. There is cool
interaction and clear
understanding of the
sonic space between
the guitars and drums
required to make the
songs work. EP closer
“Feel” with its 7-minute hypnotic psyche groove has an unapologetic Doors / Iggy and the Stooges vibe. Heads up Flagstaffians, keep ‘em peeled for local incendiary live performances from these boys. It’s greasy. But that’s just how we like it, ya punk.
Heebie-jeebies.bandcamp.com
HEEBIE JEEBIES
“on a rock”
(self released)
local
IRON REGAN
Crossover Ministry
(Relapse Records)
26 • March 2017 | the NOISE arts & news | www.thenoise.us
26 • March 2017 | the NOISE arts & news | www.thenoise.us