Music Review: Say Anything - "Hebrews"

Say Anything "Hebrews" out now!

Six albums in, and one thing is certain, Max Bemis chooses his words carefully. The title of Say Anything’s 6^th studio album, “Hebrews,” might seem like an artist getting in touch with his Jewish cultural and spiritual roots, but that would be too simplistic for the irony-laden tongue of the band’s front man. But what is he trying to say with “Hebrews,” a term that in America, can be considered derogatory toward modern-Jews, who don’t necessarily accept it as the common ethnonym? 

Couple that title with the album’s cover art of Bemis cartoonishly drawn as a Hasidic Jew surrounded by assault rifles and bazookas, it seems like he is declaring war against Judaism from within, or at least, within himself. This wouldn’t be the first time, either, that he has struggled with his religion, or religion, in general, among other things.  Yet, this definitely marks the first time that Bemis has approached these heavy themes and topics with such maturity.

Echoing the self-loathing and cynicism of their debut album “…Is a Real Boy,” Bemis reaches into the same arsenal of acerbic alienation to continue his onslaught against society, religion, and the many institutions that he considers broken. Yet, with every witty lyric admonishing the aforementioned establishments, he doesn’t shy away from turning the microscope back on himself and how that’s the biggest hurdle to overcome.

It wouldn’t be a Say Anything album otherwise.  But what separates “Hebrews” from previous efforts is the authenticity of the lyrics that haven’t been heard since their proper second album, “In Defense of the Genre.”

Songs like “John McClane,” “Judas Decapitation,” and “My Greatest Fear is Splendid,” all continue to explore Bemis’s growing apathy and building fear of complacency and insignificance, and that’s just the tip of the iceberg when it comes to his self-deprecating dossier.

Bemis imbues lines like “The truth is one day you will be greater than I, the truth is one day I will be eclipsed” or “I invite you to dethrone me, you’ve had enough of me,” with a sarcastic sincerity that sounds like he’s resigning to something greater than himself or just not caring what anyone thinks of him or his band anymore. 

Fueled with kinetic gang vocals, reminiscent of “Alive with the Glory of Love” and the welcomed angelic voice of Bemis’ wife Sherri Dupree among a slew of other guest vocals (Saves the Day’s Chris Conley, Los Campesinos’ Gareth and Kim, Get-Up Kids’ Matt Pryor, Blink 182’s Tom Delonge, etc), “Hebrews” is a call back to the Say Anything of yore but with the promise of something new…something new like zero guitars (at least for this album).

Known for their scathing guitars, you would think that this missing element would be a deal breaker, but it hardly makes you flinch.

With a musical arrangement that consist of live strings, keys, and percussion, it’s hard to fathom that this album has not one single guitar present, but the orchestration more then compensates and rocks as hard, if not harder, than any of their previous efforts. While such ambitious musical arrangements make it harder to duplicate live on stage, it will be glorious to watch and hear when Bemis and Co. manage to herd an orchestra onto their tour.  With so many unique guest vocals, it will be a shame that so many artists won’t be able to reprise their role on tour, save for his wife, Sherri Dupree-Bemis, but it will definitely leave room for on-the-road surprises.

Overall, Max Bemis seems to relish in the creative freedom of solely holding the reigns of Say Anything and the music is better for it.  Say Anything is back to form with “Hebrews.”  Listen to the album loud on quality speakers or with headphones, whether on CD or vinyl to do the mixing any justice and to bring out that angst-filled former self.

Score: 9 out of 10 Angst-Filled Rebel Yells

Marco A. Elorreaga also writes for SoundStageDirect, his first choice for all vinyl records and vinyl accessories.

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Music Review: Anthony Starble - We Need To Be Loved EP

I stumbled across Anthony Starble after I saw him performing in Spring Awakening a couple years ago.  I discovered his first EP, Living in Layers, and was instantly hooked. If this were the age of cassettes, I would have definitely worn it out many times over.

At last, Starble has released a follow up EP, We Need To Be Loved, and damn if I didn't fall in love with this one just as much as his first.  Four songs packed with some wonderful lyrics, a stunning voice, and a great musicianship make up this woefully short, but supremely good, album

Click the RAWR for the full review!

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Music Review: Voices Only 2012 and Forte II

It's a new genre for me, probably inspired partly by Glee and artists like Sam Tsui (who coincidentally just came on my iPod as I type this), but it's a genre that has instantly taken up residence in my heart.  Since then, I've developed an addiction to the semi-recent college a Capella group album from Ben Folds, and to the Yale group The Duke's Men.  Still, I hungered for more and I found a great source.

Voices Only releases the best of college a Capella performances yearly and also with their Forte collection non school a Capella groups.  Let me tell you, you're getting the cream of the crop here.

Available now are Voice Only 2012 Volume One and Two (plus previous years!) and Voices Only Forte II.  Both are great introductions to the genre and feature popular songs in ways you've probably never heard before.

The 2012 Collection features the best in college A Capella groups including The Michigan G-Men, Richmond Octaves, The JMU BluesTones, and many more from all over the country.  Really beautiful, fun, unique interpretations here.  I can't find a complaint in the bunch.  These groups are just incredible.

The set really gives exposure to a lot of these college groups you'd never hear otherwise and in fact if any of them released their own albums I'd be all over them too.

EDIT:  I have been informed that these artists and groups indeed DO have albums out and they're available on iTunes.  My wallet is lighter at the thought.

Work is just beginning on the 2013 collection and I can't even wait.

With Forte II (2), things go in a different direction.  This collection features artists and groups that are not collegiate vocal groups and here things even get international with some non English tracks.  These tracks are a little more varied and almost experimental.  There are some multi-track performances from solo artists and some tracks even have some music involved which I was surprised by but the spirit of the genre remains in those songs.

One of my favorites on Forte II, is Musae performing Pink's Glitter in the Sky, which you can hear on our recent Top 10 Movies of 2012 episode of Pop Culture Beast presents SHOW (available on iTunes).

These two albums are great for fans of the genre and great jumping off points for those just getting into it.  If you were a fan of any of the groups from NBC's The Sing-Off, than these albums are definitely for you.

Voices Only 2012 and Forte II are available now from your favorite digital retailers!

For more information visit http://www.voicesonlyacappella.com

Voices Only 2012...10 out of 10 Glee Clubs!
Forte II...9 out of 10 Glee Clubs!

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Dirty Vegas' Electric Love Out April 26!

Don’t be fooled by the name, there is nothing dirty about the noise that Dirty Vegas is making in the dance or indie rock scene. The Grammy award-winning triplet return for their soiree into the dance-rock genre, which has been blowing up recently, with the release of their third album, Electric Love (Om Records), out on April 26. And it’s much welcomed. Unlike the recent trend of making rock music sound like dance music (Two Door Cinema Club), these guys, led by vocalist Steven Smith, make dance music that rocks.

Smith boasts his lovelorn lyrics like the Brandon Flowers of yore, before he became all self-important in trying to capture glam-rock status. Although these guys play actual instruments, don’t be fooled by appearances, they’re DJs at heart. Their beats and tempo from keyboards and synthesizers alike speak for themselves in songs “Little White Doves” and their single and title-track, “Electric Love.”

Electronica (and the several genres that have appeared since the heyday of Moby, such as dubstep and drum ‘n’ bass) has come a long way with artists such as Skrillex and Deadmau5, who make half their music on computers. It’s nice to have the sound of a band that actually records their music in a studio. Recorded in London over the span of last year, it is without a doubt that their surroundings had a major influence in their new sound. Their edgier rock sound is reminiscent of UK staples such as The Artic Monkeys and Razorlight.

Their first standout tracks come with their opening numbers, “Little White Doves,” and “Electric Love” with lyrics reminiscent of Morrissey with lines like “I remember what its like to be a victim almost every night” and “I leave my house onto the streets and I’m searching for anything to fill my needs.” Smith spouts out these words in a melancholy drawl behind an upbeat tempo in such a fashion that one questions if they’re having mood swings. This combo is no doubt compliments of their keyboardist/DJ Paul Harris and bassist/guitarist/DJ Ben Harris (no relation). With Smith, they create such a polarizing effect that you start to believe you are bipolar, but for the better.

“Little White Doves” then transforms into an anthem-like chant, as Smith sings “we come like little white doves, little white doves, little white doves, baby” that just makes you want to jump up and down as you shout along. With “Electric Love,” and all other songs, you feel the same effect. These guys know how to make an infectious chorus and one can’t help but to just sing along. Other stand out tracks are the tribal-infused, “Pressure,” and their 80’s pop-gem, “Weekend.”

“It was just purely about getting in the studio and making music,” enthuses Smith. “It brought back so many good memories about starting out, because it took all the expectancy out of the equation.”

Although they had no expectations, the years have made rabid fans expect a worthy follow-up to Grammy-winning release Days Go By, and they don’t fail to deliver. With Jena Malone appearing in their first two videos for “Electric Love” and “Changes,” it’s just a cherry on top for the creme brulee of the dance world. Electric Love made me believe in love at first listen. But buyer beware, codependency might ensue.

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Music Review: Meat Beat Manifesto - Answers Come in Dreams

For his follow-up to 2008’s Autoimmune Meat Beat Manifesto’s Jack Dangers has stepped away from that album’s counterculture party vibe and into a darker territory than we’ve heard before. Answers Come in Dreams is a 180-degree turn from the more playful Meat Beat Manifesto (or MBM) we’ve seen since Dangers took the group on tour several times from 2005 through 2008.

Feeling somewhat close in spirit to 2002’s R.U.O.K.?, Answers Come in Dreams is a slower, more sinister, and much less fun affair that demands focus. Dark dub, plodding downtempo rhythms, and deep curdling bass lines define the majority of the tracks here. Save for a single repeated phrase on the track “Quietus”, there are almost no vocals, from Dangers or his usually-excellent samples – though a familiar one pops up in “Zenta!”. Because there are fewer samples, scratches or other MBM staples present, the creepiness and isolation evoked is made that much clearer. In the hands of a less experienced musician, these tracks could sound simplistic or even boring, but the sounds Dangers uses to fill in the layers are so rich and textured that even on a lossy .mp3 you can’t help but be drawn in.

Answers Come in Dreams’ style is best exemplified on “Waterphone”, which bubbles its way through nine-plus minutes of eerie funk that will have you both nodding your head and looking over your shoulder. It’s also the track with the most progression, containing more distinct sections than the rest. Opener “Luminol”, for example, doesn’t change much in its six minutes, but the drums hit hard enough that you don’t really want it to, either.

The most experimental (and darkest) track is “Token Words”, a droning ambient piece that belongs in a horror film score. Play this one on your system at Halloween and be the scariest house on the block! On the other hand, “010130”, which sounds like drukqs-era Aphex Twin, skitters along so pleasantly that at first it felt out of place. Rather, it serves as a nice thematic shift to set up the album’s final three tracks, which are slightly more upbeat and a tad sunnier than the rest. “010130”, at just over a minute, is also criminally short, especially on a disc where the average track time is over six minutes.

Although the not-so-hidden acronym in the album’s title may clue you in on how it’s best experienced, to become fully absorbed in Dangers’s atmosphere requires only open ears and an open mind. Patient listeners will be rewarded in full.

Pop Culture Beast score for Answers Come in Dreams: 8/10

Answers Come in Dreams is out now on Metropolis Records.
Pick it up on Amazon here or on the Metropolis site here.

Purportedly, every track on the album is to have an accompanying video, though so far only “#Zero”, “Quietus”, and “Mnemonic” have been released.

Check out the video for non-album track “Totally Together”, from the EP of the same name:

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