Sounds like Terence Bernardo can’t make up his mind. “Do I do a gritty, urban groove thing, or a slow piano jam?” Lucky for us he’s undecided. He’s given us both and sure enough there’s plenty more on Taxi Taxi’s debut, Maps and Legends. The variegated styles of Taxi Taxi are a sort of tribute to Bernardo’s kaleidoscopic, adopted hometown of New York City and his friends there who define the city and helped record the album. But music-heads from East to Left Coast will find something to love on Maps and Legends. From the Liquid Liquid-inspired party track “Shoot the Dog…” to the introspective “X Marks the Spot” Taxi Taxi holds all the songs together with inventive production, solid songwriting, and universal themes like love and loss.
The Go Find
More goodness from Morr Records. The Go Find, which began as a solo project of Dieter Sermeus, has developed into more of a full band affair. To get a sense of where The Go Find searches for inspiration, consider the artists they covered for a recent 7″: Hall & Oates backed with Pavement. A winning combination in my book. “Dictionary” blends both sounds well—understated, indie vocals over soft, 80s-style, electro-disco instrumentation (complete with echoing handclaps and Roxy Music-esque guitar riffs).
CoCo B’s
When CoCo B’s dropped their new tracks into our mailbox I experienced a spell of flashbacks: me and Matt from The Bronx hauling out to Anaheim every Sunday night, Alberto’s burritos in hand, along with crates full of CDs from Orange County bands. This was back in 2002, before Indie 103.1 was around, and a small staff of music-heads were running a great alternative station with a stupid name: Cool 94.3. Matt and I produced and hosted a (four hour!) local show called Go Loco and CoCo B’s track “Big Okie Dokie” was practically our theme song. I haven’t heard anything from them until now.
It appears CoCo B’s have been laying low, working day jobs, taking lots of time to record their new album. Alex Newport mixed the record. Sounds like the band has pulled out all the stops. Compared to the small, hushed strains of “Big Okie Dokie,” their new songs, like “Modern Lover,” are built to rock The Pond without losing their uber-indie cred. Kevin’s vocals are the American, sweeter, less monotone version of Mark E. Smith—which, ironically, make them sound nothing like Mark E. Smith if that makes sense. Gentler than The Replacements, less drugged out than The Lemonheads, CoCo B’s wear their fuzzed-out pop anthems on their sleeves as they shoulder their way through the crowd of bands hoping for their fifteen minutes. This review outta be good for .001 seconds. At least.
CoCo B’s are playing May 10th, with Ima Robot at Detroit Bar in Costa Mesa.
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Mezzanine Owls
I haven’t listened to this album much because I CANNOT STOP listening to track number four, “Lightbulb.” Seriously, it’s a problem. You know how some songs reel you in when you first hear them and you develop a temporary addiction to them? I fall for all the hooks: the layers of guitars thicken, leading up to the vocals, then drop out only to build up again until they pull all out all the stops at the chorus…”Can’t you see it sucks the life out of me…” I wish I could figure out the next line! It’s a good thing Alisa’s out of town with the girls, because she’d have pulled out her hair by now. She doesn’t have much patience for my obsessive compulsive disorder when it comes to my latest pet sounds. This song also makes me wanna pull out some Ocean Blue (anyone remember them?) and revisit that band. There’s a lot more meat to the Mezzanine Owls though. Sometimes I don’t repeat “Lightbulb” soon enough the beginning of track five, “Graceless,” leaks into my head. The play between the fuzzy guitars and the tambourine recalls The Jesus and Mary Chain. I’m not sure when I’ll be able to snap out of my funk here, but the rest of the album sounds promising.
If you’re in the L.A. area Mezzanine Owls are playing Spaceland on Tuesday, and the Bordello on Thursday as part of a Syd Barrett night with the Pity Party, Irving, and Midnight Movies.
Luz Mob
Three years in the making Luz Mob recently dropped his inspired Interpretations. Luz himself plays a couple saxophones, alto and baritone, and the bass clarinet, as well as directing a gaggle of session players across the country. The not-so-unifying thread behind this collection of covers (yes, that’s The Selector’s “The Selector”) is Luz’s wide range of musical tastes: from reggae to hip hop, ska to cumbia. He pulls all the sounds together with hip-hop beats and strong horn playing. The strength of this album lies in Luz’s ability to blend the live instrumentation with the programming without the former being enslaved by the latter. Recommended for after-hour chill sessions or the lazy days you call in “sick” to work and end up dancing all morning in your pajamas.
Radical Face
Sam and I are duking it out behind the scenes over Ben Cooper’s musical incarnations. See, Sam beat me to the post on Electric President but was snoozing on the new release from his alter-ego, Radical Face. The rule at 3hive follows: whoever drops the links into our back-end Movable Type site first gets to review that artist. So as a place holder, I wrote: “Sure, Sam snagged electric pres, but i got radical face.” I came back today to finish the post and I find this message waiting for me: “sean is a jerk.” I don’t want to take Sam’s forthcoming humiliation public, so I’ll drop it. And that’s easy to do while listening to Radical Face. You just can’t be mad at anyone listening to these simple, yet lush arrangements. His songs are cheerful without being sappy, well-textured without being muddy. Cooper mixes his acoustic and electronic instruments well, and during the recording of “Chewing Bottles” he did so under extenuating, yet amusing, circumstances.
The Futurist
New MP3 from Thee More Shallows
Chet
An old radio colleague of mine, Chet Tapp (imagine the coincidence), used to do this radio show called “Smooth As Chet.” See, Chet was a big fan of “smooth” pop. He was a complete freak for Everything But the Girl, China Crisis and The Blue Nile. Especially The Blue Nile. The band Chet gives off a nice, unhurried and controlled smoothness that I think my friend Chet would appreciate. I can imagine Chet wrapping up another hour of his supreme chill with a track like “Don’t Let Your Cruel Heart Count Me In,” or the laid-back, jazzy tune “Fight Against Darkness.” Their grandiose, over-wrought vocals may take some getting used to, but acquired tastes often become one’s preferred tastes, so be sure to give this one a few listens. In a big, cushy easy chair with your feet up and a tasty cool beverage in hand.