March 2, 2010 Fringe Arts

Spins

by R. Brian HastieClare RaspopowAshley opheim

Bobo from
monkeyhowl.com
Self-titled EP
Independent

This album would probably have done better as the soundtrack of a failed ‘90s movie featuring an animatronic gorilla learning, living, loving—the kind of crap that Brendan Fraser might have starred in. As a single, it’s singularly unimpressive. This release is nothing but gimmicky sampled bird song, rudimentary chord progressions and some asshole talking in rhymes over the track. This smacks of a bunch of guys who got together in their basement, got too high or drunk and walked away with “genius.” I’m sure when they get together with their friends they put this album on and sit there and watch with expectant faces as everyone present has to listen. There’s no need to listen to these “songs,” to go to their website or pay money for this schlock.

1/10
—Clare Raspopow

Silly Kissers
Precious Necklace
Arbutus Records

There should be a place in everyone’s heart for Silly Kissers’ new dance-tastic album Precious Necklace—that is to say, if you are open to your playful side. The local band’s third album boasts a more refined sound, yet maintains the gushy electro goodness of their prior releases. Lead singers Jane Penny and Bobby Lamont lend contagious lyrics and provide a pleasing symmetry of masculine and feminine vibes over the synth wizardry. Call it an ‘80s flashback, but Silly Kissers have never been more relevant. If title track “Precious Necklace” is a crystal ball into their future sound, expect big things from this band.

8/10
—Ashley Opheim

Blacklisted
No One Deserves
To Be Here
More Than Me
Deathwish Inc.

Philly hardcore unit Blacklisted have undertaken a long and strange journey over the past eight years. The band crisscrossed North America, playing to dozens in the continent’s worst shitholes. Thankfully, however, these growing pains have turned a rather formulaic band into a strange hybrid of raw rock n’ roll and hardcore edge.

The shift in tone that began on 2008’s Heavier Than Heaven, Lonelier Than God comes to full fruition here. The band has learned to turn their bursts of primal hardcore into a set of elastic compositions that shift in speed and tone, slowing things down and exploring real goshdarn melodies. The title track is a shining example of this: two minutes and 40 seconds of fuzzed-out guitars, stomptastic drums and gruff, pleading vocals that would make David Yow happy. Stand-out track “Skeletons” follows a similar pattern, a three-minute romp with a propulsive drumbeat and clean vocals. Call it an evolution of rockcore proportions.

8/10
—R. Brian Hastie