The Deftones – Deftones

The DeftonesDeftones (Maverick)

For years the Deftones have utilized a combination of Chino Moreno’s sleepy croon and Stephen Carpenter’s unique guitar voicings to remain one of the few bands that aren’t ashamed to be smart and heavy. All the elements came together for 2000’s White Pony, a true standout in modern metal that built on 1997’s Around the Fur with improved songwriting, a knack for soft/loud dynamics, more attention to production and atmosphere and DJ Frank Delgado, who’s ambient touch sent songs like “Knife Party” and “Teenager” over the top. The result was an erotic thriller, an album equal parts sleazy and beautiful.

2003 sees the release of Deftones, the self-titled fourth album from Chino and co., and at first listen the let down is evident. White Pony now seems as if it was a one-off for the band, that all the potential shown in their first two albums was maxed out for their 2000 release.

Deftones finds the group mostly reverting to their old selves, forgoing the nuances that made Pony so great in favor of pounding the listener over the head until unconcious. After realizing how good of a band the Deftones could be, I find myself disappointed with all of the mindless dissonance and screaming.

With a band as good as the Deftones, however, you couldn’t expect the album to be a total failure. “Good Morning Beautiful” is killer; everything that makes the best of the Deftones is found here (off-kilter rhythms, manic guitar progressions coated with dreamy vocals). “Deathblow” is another victorious anthem, staggering drunk through the verses and exploding into a fit of inebriated rage during the chorus. Unfortunately, these moments are balanced by songs like “Lucky You,” which tries for Nine Inch Nails ala The Fragile and comes off instead as pretentious and forced, or “When Girls Telephone Boys,” which steps on the brain past the point of enjoyment and into the territory of really annoying. Luckily, “Anniversary of an Uninteresting Event” arrives, the counterpart of Pony‘s “Teenager,” where Moreno’s voice is utilized to move (as in emotionally, not the standard physically). The album closes with “Moana,” another solid track that can’t be argued with (except, possibly, it’s placement on the album—”Anniversary” would have served much better as a closer).

Deftones is by no means a bad album, and most Deftones fans will enjoy it—yet I can’t ignore the fact that, poised for a big step, the Deftones took one backwards. Dissapointing.

Evan Dando Gets His Shit Together

Evan DandoEvan Dando

Taste of Randolph Street, Chicago, June 20, 2003

For some reason, I always find myself rooting for Evan Dando. In spite of a lot of things that make me want to hate him (his looks, his voice sometimes), I just can’t. I like the Lemonheads, and It’s a Shame about Ray has regularly ended up in my cd player since I first heard it in 1993. But it’s been a rough decade for Dando with lots of drug issues and a creative drought. He became the crackhead that music snobs loved to hate. And we all know that after junkie musicians stop taking drugs, their music starts to suck. Sad, but true. Think Aerosmith, think Eric Clapton for the most obvious examples. So what can we expect from a sober Evan Dando?

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Glorious Noise Interview with Edward Burch

BurchEdward Burch is everywhere in Chicago. If you’ve been out to a show that’s remotely related to the “alternative country” movement, you have seen him. Maybe singing backup with the Handsome Family. Maybe doing a solo acoustic thing in the front room at the Hideout on Monday nights. You’ve seen him.

His most high-profile gig has been his partnership with former Wilco multi-tasking wizard, Jay Bennett. The 2002 Bennett-Burch album, The Palace at 4am (Part I), got lots of press for a lot of reasons: some of them music-related, some of them due to the fact that Palace was released on the same day as Wilco’s Yankee Hotel Foxtrot.

Since then, Bennett and Burch released a limited pressing of an odd collection of demo versions, alternate takes, and acoustic versions of all the songs from Palace (in order!), plus two John Cale covers. In addition to his work with Jay Bennett, Burch is involved with the Kennett Brothers, the Viper & His Famous Orchestra, and a duo with Wilco’s LeRoy Bach. Despite his busy schedule, Edward took the time to participate in an email interview with Glorious Noise…

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That’s Not Phair!

UnphairLiz PhairLiz Phair (Capitol)

It’s always been Liz Phair’s greatest trick to entice with a come hither finger, only to kick you in the balls when you get close enough to kiss her. The real kicker? She always leaves you wanting more. This is partly why her two albums since the landmark debut Exile in Guyville were so eagerly anticipated, and it’s also why her latest, the long-awaited, eponymous followup to 1998’s Whitechocolatespaceegg, is so contentious for longtime Phair observers. It flirts around—and occasionally fucks—with her own reputation/history, but it’s also Liz’s most brazen stab yet at mainstream acceptance. Liz Phair, then, becomes a problem record for both audiences. The fanboys are pissed because they have to share even more of their girl with Jetta-driving Sheryl Crow fans. Meanwhile, blanket-hogging mainstreamers might be confused by the record’s sudden rights and lefts down alleys of blue language and hot sex. Phair herself has made her desire for a larger audience clear. But by strip mining her past for a cash money future—and delivering some of the weakest material of her career in the process—she just may have alienated both sides of the bed.

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Clem Snide – Soft Spot

Clem SnideSoft Spot (SpinART)

Sometimes it can be a big drag when a band’s singer falls in love. As song after song on the latest cd pours out, detailing the ineffable greatness of the new flame and the sense of newfound contentment and everyday happiness, listening to it can be about as much fun as watching couples make out in a park where you’re trying to read a book or just think about your miserable lonely life.

But not Soft Spot by Clem Snide. It’s too pretty to complain about, and besides, I kind of like the singer’s new girlfriend. She looks critically at herself in the mirror; she gets colds and chapped lips; she seems to worry about aging—it’s hard to feel anything but warmth toward someone so human. Throughout the album, Eef Barzelay showers this vulnerable, anonymous person with songs of wholehearted love and devotion. “Summer will come, with Al Green and sweetened ice tea,” he sings emotionally on “All Green.” “Summer will come and be all green with the sweetness of thee.” “You’re the flower of my heart,” he sings on “Find Love,” somehow not sounding like a total idiot. “That my thoughts can’t tear apart. We have love, we have love/ strong enough to doubt.” There, in the last clause, is the skeptical, sometimes sarcastic note touched in so many other Clem Snide songs. But here, it’s consistently overridden by the singer’s brave embrace of emotion.

Mutual love, for some reason, isn’t a great subject for rock songs. “Gee, you’re swell,” as a feeling, just isn’t that interesting—aching regret, helpless addiction, yearning from afar, and bitter denunciation all seem to lend themselves more naturally to songwriting than the happiness that comes with genuine love. But Eef Barzelay turns that on its head. He’s exuberant in his expressions of affection, but the songs are also irresistible—effortlessly melodic and catchy. A swooping, romantic violin noodles around the melody in some, making them so liltingly memorable that they seem like future favorite dance tunes for contemporary couples to celebrate anniversaries to. (See, I’m hopelessly won over by this album, and I’m really bitter!) “There is nothing in this world if I can’t share my love with you,” goes the refrain on “There is Nothing,” a simple country ballad. “All the riches of this world, can’t compare to your smile/ and if only for a kiss, I would walk a thousand miles.” I could endlessly quote Barzelay’s mature, well expressed acceptance of love in its totality and the change that brings to one’s general outlook. The singer’s trademark cleverness is evident in many lines, but this time on the side of niceness, not meanness: “You could be coming down with something/ so I’ll come down, with you,” he sings to his chilled, sneezing love.

It’s not all gentle mellowness. There’s the fast, Elvis C. and the Attractions-ish rave-up, “Where There’s Love There’s Action,” a harmonica-driven rocker that’s about just really liking to be with somebody. And there’s the equally engaging “Happy Birthday,” a likable song for the band’s drummer. “Half-Jewish boys make kick-ass drummers,” Barzelay sings warmly, “but if you need lessons I’ll have to pay.” He seems full of real, open-hearted feeling for everyone on this record. Near the end he sings a quiet, finger-picked “Forever Young”-esque song (“Fontanelle”) which, like a benediction, hopes for the listener: “May God hold you in his hand.”

This cd didn’t leave my player for weeks after I got it. It’s uplifting, fun to sing along with, melodically beautiful, and love-soaked but not in a clichéd way.

You can download “All Green” from SpinART, and there are other Clem Snide mp3s at mp3.com.

Rock and roll can change your life.