rock – Page 19 – 7th Level Music

Rewind Review: Beck – Guero (2005)

Beck was eager to rock in 2005, as evidenced by the opening of his Guero album. “E-Pro” starts off with heavy guitar, stadium drums, and that funky ass white boy delivery of his that only he can pull off without sounding like a fool. I’m sure this was a hit back then, but why isn’t it still now? The breakdown on it alone is worth multiple spins.

“Que Onda Guero” is one of the funkiest tracks Beck had laid on us in years. It has a bit of that “Loser” feel, with Spanglish lyrics and references to things like Burger King crowns and Latino vegetable vendors. The beats from the Dust Brothers on it help, of course. You can’t go wrong there. They come back for “Girl,” on which Beck plays everything else and sings about his girl “with her cheap sunglasses walking crooked down the beach.”

“Missing” has Beck lamenting the loss of his girl. I don’t know if she’s the same one from the previous track, but he was heartbroken when he wrote it. You might not realize it at first due to the bossa nova beats and smooth groove, but can’t miss it with lyrics like “I prayed heaven today would bring its hammer down on me and pound you out of my head. I can’t think with you in it.”

I’m not sure which is funkier on “Black Tambourine” – Beck’s bass or the Dust Brothers’ beats. Money Mark’s organ work on “Earthquake Weather,” might beat both of them, however. The whole track is a great mix of 1970’s funk, trip hop, and acid jazz. “Hell Yes” is vintage Beck, with lots of quirky rapping, snappy electro-beats, and fun lyrics. I think, and hope, that it’s about a janitor who gets his groove on while cleaning floors in an office building and not giving a damn what anyone thinks.

“Broken Drum” is a lament to a lost friend, with nice lonely piano work by Beck. “Scarecrow” is a near-blues toe-tapper. “Go It Alone” is about Beck deciding he’s better off being a cool loner than getting entangled in a marriage that scares the hell out of him (and that’s Jack White on bass, by the way).

With all these songs about weird and doomed relationships, songs about death were inevitable. “Farewell Ride” is something from a dark southern swamp shack sung by someone with weathered skin and gnarled hands from fistfights and hard work. “I don’t see the face of kindness, I don’t hear the mission bells, I don’t smell the morning roses. All I see is two white horses in a line carrying me to my burial ground.” Good, heavy stuff right there.

“Rental Car” is about going as far as one can on borrowed time, and the closer, “Emergency Exit” is about someone coming to grips with death and feeling relief in knowing kindness and life will go on in their absence.

I seriously have no idea how I’ve avoided this album for eleven years. Guero would’ve been in my top 10 of 2005 if I’d heard it back then. Each track is good. There’s no filler here. Shame on me for missing it.

Keep your mind open.

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The Heavy – Hurt & the Merciless

One of the things I love about The Heavy (Kelvin Swaby – vocals, Dan Taylor – guitar, Spencer Page – bass, Chris Ellul – drums) is how they come out of the gate gunning on their new album Hurt & the Merciless. “Since You’ve Been Gone” is a blazing hot track with wah-wah guitar, fat horns, and funky drumming. The Heavy don’t mess around, and we need more bands that ain’t got time for suckers. The album’s title sums up the theme of the record – every song is about nasty relationships or heartbreak.

The album’s title sums up the theme of the record – every song is about nasty relationships or heartbreak. “What Happened to the Love?” is a great example of their sound – dangerous rock with a bit of soul thrown in for good measure. “Not the One” is an anti-love song. It’s not against love, mind you, but Taylor (who wrote it) knows that getting into a relationship with the person mentioned will only bring heartbreak, so he begs them to stop the flirtations and amorous behavior that will only end in ruin. Taylor’s guitar and Page’s bass are extra funky on it.

Speaking of extra funky things, wait until you hear the horns on “The Apology.” They get a Latino / spaghetti western touch-up on “Nobody’s Hero.” “Miss California” brings the humor, with Taylor writing about a former beauty queen turned hellish bitch (“It took more than just a crucifix to keep that thing at bay.”). “Turn Up” brings back the big horns, and “A Ghost You Can’t Forget” swings hard, with Swaby channeling Howlin’ Wolf in his vocals as he sings about returning to haunt the woman who wronged him (“I’ll wipe that look from your face when I’m dancing upon your deathbed.”).

As a former bass player, I love Page’s riff on “The Last Confession.” It thumps along and drives the whole song, really. “Mean Old Man” has Swaby asking his lover why she’s surprised by his behavior when she “knew the kind of man I was before you found yourself begging for more.”

“Slave to Your Love” has Swaby (or Taylor, who wrote it, perhaps) begging for more from a dominatrix. “Roll me over easy meat, pick me off the floor, knock me off my feet.” Ellul goes for broke on the track so hard the rest of the band can barely keep up with him.

The album ends with the soulful “Goodbye Baby,” another example of how the Heavy can switch from blistering rock to something you’d hear on a vintage Stax Records album you found at a thrift store. It’s a sad song about a breakup that hit Taylor like a Mack truck and left him dumbfounded.

Hurt & the Merciless is another fine entry in the band’s discography. They’ve yet to stumble, and are already selling out venues on their current tour. Don’t miss a chance to see them and hear these songs live.

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King Gizzard and the Lizard Wizard – Nonagon Infinity

Holy crap.

King Gizzard and the Lizard Wizard have come to “fuck shit up” (as they put it) on their new record – Nonagon Infinity.

The band (Ambrose Kenny Smith – harmonica, vocals, synths, Cook Craig – guitars and bass, Eric Moore – drums, percussion, theremin, Joey Walker – guitar and vocals, Lucas Skinner – bass, Michael Cavanaugh – drums, Stu Mackenzie – guitar, vocals, flute) is wildly prolific and able to switch musical styles faster than a chameleon changes colors. Their last album, Paper Mache Dream Balloon, is a lovely bit of psychedelic hippy pop music with some rock and blues touches.

Nonagon Infinity, however, is the most blistering rock record I’ve heard in a long while. “Robot Stop” explodes from the opening seconds like a land mine hit by a tank. Each track flows seamlessly into the next. This happens so well that the album loops on itself by the end. I’ve read interviews with the band in which they had planned this all along. The album can be listened to on loop without any noticeable bumps in the road. In fact, you could start Nonagon Infinity on any of the nine tracks and it would still loop itself without stumbling. It’s an incredible piece of audio engineering.

“Big Fig Wasp” emerges from “Robot Stop” like a train emerging from a tunnel. Everything is layered in wall-flattening guitars, double drumming, and slightly distorted vocals before launching into “Gamma Knife” like a rocket leaving Cape Canaveral. The harmonica on “Gamma Knife” is the booster on that rocket, taking the song out of orbit. “People Vultures” follows it, with lyrics about rampant consumerism and a heavy Jethro Tull feel.

“Mr. Beat” has a great trippy groove before “Evil Death Roll” comes in with heavy reverb on the guitars and a cool mix of stoner rock and psychedelia. “Invisible Face” sounds like they recorded it while diving 80mph down a dark desert road. “Wah Wah” refers to both the guitar effects and the near mystical chant lyrics as it builds to mind-blowing intensity. It melts your brain into the closer (or is it the opener?) – “Road Train,” which might crush any sanity you have left by this point.

As stunning as Nonagon Infinity is, I’m sure it is even better live, so don’t miss them on their current tour. You won’t regret it, or buying this record.

Keep your mind open.

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Levitation Austin artist spotlight: Allah-Las

Los Angeles psych-rockers Allah-Las will be performing at Levitation Austin on May 1st. They have a neat mix of surf, psych, and 1960s garage rock that I’m guessing comes from the fact that three of them met while working at Amoeba Records where they had ample opportunity to talk music and dig up vintage gems from the era.

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Levitation Austin artist spotlight: King Gizzard and the Lizard Wizard

Australian psych-rockers King Gizzard and the Lizard Wizard return to Levitation Austin on May 1st. My wife and I were lucky enough to see their first performance on U.S. soil at the festival two years ago, and I’m keen to see them again. Their new album, Nonagon Infinity, is a sizzling rocker that loops on itself from multiple directions. Hearing it live should be mind-blowing.

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Prince can now see the sun day or night.

Prince has left us. To say he was an innovator is a massive understatement. He’s influenced more people than we can ever know. Everyone has been writing about his massive hits, his virtuoso guitar work, his multiple talents in and out of the studio, his basketball skills, and everything to do with Purple Rain.

I choose to remember how damn fun he was. Yes, he wrote and performed songs about heartbreak and loss, but I’ll always remember him for his funk influences and how he encouraged all of us to get our groove on, and by that I mean to get laid. Prince encouraged us to embrace our inner nature and to overcome haters by being bigger, bolder, and ballsier than them.

I plan to write a larger piece on Prince’s cementing of his legendary status at the 2007 Super Bowl, but for now let us remember him with the joy he brought us and encouraged us to have with him.

Keep your mind open.

https://www.youtube.com/watch?v=FwWBJ3U3THs

Levitation Austin artist spotlight: Drinking Flowers

Los Angeles post-punk band Drinking Flowers will bring their cool drone / psychedelic sound to Levitation Austin on May 1st, playing the Levitation Tent that day. This is another band I hadn’t heard of before they were booked for the festival. I love discovering new, good bands, and they sound like another one I’ll be obsessed with by the time their set is finished.

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Levitation Austin artist spotlight: Cellar Doors

This San Francisco psychedelic three-piece Cellar Doors makes haunting, intriguing sounds that hooked me from the first listen. I hadn’t heard of them until they landed a spot at Levitation Austin, so I’m thankful for their upcoming appearance on May 1st. They open the Levitation Tent stage, and I’m sure it will be a good start to the day.

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Levitation Austin artist spotlight: Brian Wilson

A major coup for Levitation Austin this year is landing the legendary Brian Wilson of the Beach Boys. He’ll be performing the landmark classic album Pet Sounds in its entirety for its 50th anniversary on April 30th. He’s only doing this in a few spots around the world, so this performance is a must-see.

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Levitation Austin artist spotlight: The Black Angels

It’s hard for me to express how much I love The Black Angels. I first heard them when I downloaded a music compilation that contained their song “Doves.” It was my gateway drug to the psychedelic music renaissance that was going on without my knowledge. I’ve seen them five times since (Detroit, Chicago, Indianapolis, twice at Levitation Austin) and will see them any chance I get.

They curate the Levitation festival, so they always play the main stage. I will stand in the thunderstorms that might come on April 30th in Austin if I must to see them again.

Keep your mind open.

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