Review

No Smoking Orchestra: Life is a Miracle

Leave a comment

Although not received until early 2005 this ‘04 release instantaneously rocketed to the top of my “best of” list for last year. How do I even begin to describe this totally unique band? While Bosnian filmmaker and guitarist Emir Kusturica seems to attract most of the attention of No Smoking Orchestra these days, this is truly a group effort that depends as much on singer Dr. Nelle Karajlic’s acerbic vocals and violinist Dejan Sparavalo’s inspired arranging and writing as Kusturica’s celebrity. Equal parts vaudeville, punk rhythms and gypsy music, this is unlike anything many of you have ever been subjected to. It must be noted that this music is “inspired and taken from” the quirky film of the same name so variations on the main theme are revisited throughout the album. But the individual songs like “Wanted Man,” “Who Killed the DJ,” “Ovo je Musiki Svet” and “Gladno Srce” are the main attraction here — marches driven by the sloppy (by design) gypsy brass band, unhinged operatic singing, reasonable acoustic jazz guitar, swirling interaction between tuba, accordion and gypsy violin and more indescribable zaniness. This CD is an utter delight and highly recommended for those who are looking for uniqueness that isn’t confined to any one genre. Punk? At times. Folk-rock? Absolutely! Camp? If that’s what you wanna call it. This is the best damn soundtrack recording ever created, period!

February 2005

Dave Sleger

Review

Foggy Dew: Sleight of Hand

Leave a comment

After a steady string of CDs dating back to 1992 that were influenced heavily by English and Irish folk-rock, this Austrian combo scaled back its membership and increased its songwriting responsibilities, yielding a stripped down, subdued modern folk sound. This retooled group refocused its efforts toward instrumental precision and strength of melody, an approach hinted at slightly on 1999’s WHEN I’M THERE. That release relied solely on original compositions, albeit with a rockier edge. Unfortunately, like Lack of Limits, Foggy Dew would be received much better in the US and other English speaking regions if their enunciation were sharper and cleaner. Still, if you enjoy the sounds created by accordions, mandolins and acoustic guitar there is definitely redeeming value to found here.

February 2005

Dave Sleger

Review

An Cat Dubh: Light

Leave a comment

Unlike Lack of Limits, An Cat Dubh is a German band that has a solid grasp on English and its nuances. On this, their seventh release An Cat Dubh employs an exclusively acoustic lineup that more closely resembles the Dubliners than their previous rock-oriented efforts. Predominantly comprised of traditional Irish tunes (including the suddenly trendy “Fields of Athenry”) LIGHT also tackles selections by Tommy Sands, Eric Bogle and Bruce Springsteen. This band fares better when the amps are turned up, however, this coffeehouse set works better than expected. And the sing-along nature of these songs would be accompanied nicely by a pint of Beamish or Sprecher Irish Stout (shameless local plug).

February 2005

Dave Sleger

Review

Lack of Limits: Live Too

Leave a comment

This is the fifth album release by this German folk-rock outfit and the second live CD since 2000. Overall they perform in the classic Celtic-rock configuration of drums, bass and guitar augmented regularly by accordion and fiddle. On rare occasion saxophone and didgeridoo color their arrangements – and not always for the best. Their rendition of “16 Tons” takes on a dubious identity with the heavy saxophone and overwrought lead vocals. Of the eight tracks included here, five are traditional while two are borrowed from Pressgang’s FIRE album – “Take a Jump” and “Merrily Merrily.” Although Lack of Limits’ thick German accent may cloud one’s impression of this band, they are an extremely competent band, instrumentally speaking, who might benefit from a more natural, English speaking vocalist.

February 2005

Dave Sleger

Review

Transsylvanians: Igen!

Leave a comment

IGEN! Is the fifth release by this Berlin based folk-rock band. This self-described “Hungarian speed folk” group combines many elements toward their unique sound. A rhythmic punk intensity is matched by Eastern European compositional stylings and catchy melodies. Rapid-fire electric rhythm guitar generally dictates the mood of each piece and is accentuated by accordion, gypsy violin and relentless bass and drums. Stylistically they resemble the Ukrainians and vocally, the Transsylvanians bring to mind the contemporary Finish vocal group Värttinä. Suffice it to say, this band relies as much on traditional sounds as contemporary, but fuses them in a way that will especially appeal to listeners of alternative folk and folk-punk. Igen! was one of the most pleasant surprise releases of 2004.

February 2005

Dave Sleger

Review

Oysterband: The Big Session, Volume 1

Leave a comment

Once regarded as prominent torchbearers of the alternative folk-rock movement along with the Pogues and Men They Couldn’t Hang (some even labeled them as punks), Oysterband have gradually settled into the role of venerable, thoughtful folkies. In fact, perhaps to their chagrin, Oysterband now more closely resembles artists like Fairport Convention and Richard & Linda Thompson than they might be willing to admit. On this, their umpteenth release, they are joined by longtime friend June Tabor (remember FREEDOM AND RAIN), Eliza Carthy and members of Show of Hands and Chicago alt-country group Handsome Family, among others. There is nothing particularly alternative here, instead, reliable British folk-rock in the classic mold; “John Barleycorn” is performed in the Fairport style and the a cappella “The New Jerusalem” sounds as if it belongs on any number of Steeleye Span albums. This album is so chock full of inspirational and moving songs that it begs the question, when will THE BIG SESSION, VOLUME 2 be released?

February 2005

Dave Sleger

hhttp://www.oysterband.co.uk/
Review

Neck: Sod ‘em & Begorrah

Leave a comment

If the 6-song “Psycho Ceilidh” is considered an EP, and “Here’s Mud in your Eye” is essentially the same as a remixed “Necked,” than an argument could be made that “Sod ‘em & Begorrah” is the second actual release from the band Neck. As such, it proves to be a strong sophomore release.
As in all of their previous CDs, one of Neck’s strongest identifying characteristics is the arrangement. The band plays in many layers; the solid, rock rhythm section is sharply accented by the fiddle, banjo, and occasionally, the Uilleann pipes, providing an elaborate and consistent backdrop for O’Keefe’s vocals. Marie McCormack’s wandering whistle completes Neck’s sound with its continuous exploration of the melody.
The new CD maintains a level of rowdiness just a notch or so above the band’s usual approach with the electric guitar occupying a more prominent role in the majority of the songs than it has in past releases. Although this obscures the clarity of the vocals in some cases, it provides the overall feel of the disc with a fuller, edgier sound
“Sod ‘em…” does, however, contain a few slower numbers, (“May the Road Rise With You,” “Caoineadh/Blood on the Streets,” and an Uilleann pipe-infused “I’ll Take Me Back.”) These are approached with a degree of emotion that really draws out the passionate capacities of Leeson O’Keefe’s voice, and makes these songs standouts on the disc.
Of the traditional tracks on the disc “The ‘Psycho-Ceilidh’ Mayhem Set” is an eight and a half minute long set of traditional jigs and reels that starts innocently enough, but soon snowballs into an intensity akin to that of riding a rollercoaster holding an armful of cats! (As soon as this track ended, I caught my breath, and played it again! It’s that good.)
Bean-counters should be pleased as the disc clocks in at a hair shy of one full hour from start to finish with no weak “filler” tracks included.
As a second release, it clearly surpasses the dreaded “Follow-up” stigma that plagues many second discs. As a fourth release, it continues to combine great song-writing with excellent orchestration. However you count it, “Sod ‘em and Begorrah” is a CD that any visitor to the Shite ‘n’ Onion site should have.

February 2005

Review by: Christopher Toler, The Blathering Gommel

Review

The Electrics: Old, New, Borrowed and Green

Leave a comment

The Electrics have gone and recorded the CD they have threatened to make for a while and could have made on “Rock’n’Reel” if the producer hadn’t lost his nerve and buried the guitars in the mix. This time the guitars are loud, loud and louder – rumor has it ManOwar on hearing “Old, New, Borrowed and Green” have hung up their leather jock-straps and the Real McKenzies have bought long trousers. If you heard Killicranked-up on Shite’n’Onions vol. 1, this is in a similar vain. If not then imagine a cross of Scottish and Irish traditional, 70’s Glam (Slade & T-Rex) and PUNK ROCK (Sex Pistols.) All men play on McTen – indeed.

February 2005

Review

Dropkick Murphys: Singles Collection Volume 2

Leave a comment

Kind of a stop-gap between releases I guess, putout just in time for Paddy’s Day and the DKMs now traditional run of shows in Boston, Basically this a collection of b-sides and other rarities that you spent a lot of money on eBay trying to amass. It’s a mixed bag of covers. A decent but not essential release.

February 2005

http://www.dropkickmurphys.com/
Review

The Steam Pig: Ugly Bastard Everything

Leave a comment

The Steam Pig continue their vicious audio assault against all those they despise (and mankind in general) with their 4th release. “Ugly Bastard Everything” continues the shift towards Hard Core/Industrial sounds started on the last release “Potshots” and away from the more straight ahead Street Punk/Oi of the earlier releases. To my untrained ears it’s a mix of old Therapy?, Helmet and US Hard Core – and I’m sure someone will tell me I’m either deaf, stupid or ignorant for making those comparisons (and oh yeah doesn’t the cover look a bit like the back of Queen’s , “The Miracle”).

February 2005

Potato-eating, Whiskey-drinking, Bog-trotting, CELTIC PUNK ROCK