Jeff Cosgrove, History Gets Ahead of the Story (Grizzley Music)
This album is pretty niche indeed, combining a few things I tend to avoid (improvisational jazz, old-school classic organ, like, I mean right out of Lawrence Welk) with something I do appreciate regardless of setting, namely top-drawer musicianship. The story behind this (I assume) one-off is a bit convoluted; Cosgrove is a Washington, D.C.-based drummer leading a bass-free trio (himself along with organist John Medeski and sax player Jeff Lederer) in a tribute to bassist William Parker, who’s still alive. Got that? No bass playing in an album of tunes written by a jazz bassist (who, incidentally, played in a trio with Cosgrove until 2015). So, an odd duck indeed, but it gets odder; both Cosgrove and Parker love them some ad-libbing, so on the whole the record could be categorized as “skronk-coffeehouse,” if you will, a roller coaster ride of precision and spazzing. Some stellar organ-noodling on “Gospel Flowers”; adept modal sax things on “Moon”; even some noise on “Little Bird” (I had to double-check to see if a guitarist wasn’t messing around with pick-scraping in there or something; I still can’t guess what the sound is). Anyway, that; it is what it is. B — Eric W. Saeger
Skeleton, Skeleton (20 Buck Skin Records)
Debut LP from a crew of Austin, Texas-based guys who stalk a middle ground between old-time black metal and neo-street metal a la High On Fire. I have no idea why this isn’t more of a thing in the metal scene, but then again, any bunch of Air Max-wearing suburban dudes whose sole mission in life is impressing the barista girls at Starbucks knows that the quickest route to being able to brag that “we got a record contract” is to play some boring, pedestrian emo through a Mesa Boogie amplifier that’s been made wimpy and useless through too much processing. No, these guys have better riffing than any ’70s-revivalist band that I’ve heard lately (The Sword can sit down now), and it’s cut with Venom-style spazz-outs that keep listeners on their toes, or at least listening. I like everything about this one, but wait, there’s more, folks: the singer sounds like he ran out of enthusiasm for doing a scary-devil-guy Quorthon imitation the minute he got in the studio. A giant leap for mankind, in short. A+ — Eric W. Saeger
Retro Playlist
Erik W. Saeger recommends a couple of albums worth a second look.
With a new renaissance of thought and cultural realism dawning, I’m surprised that heavy metal hasn’t made a massive comeback. (Note that by “heavy metal,” I mean crazily angry music of a type that should, by all rights, be soundtracking the cultural transformations that are in the air everywhere, at least in an in vitro sense on social media.)
One of the things that may annoy you about me is the fact that I tend to ignore what’s happening in the area of “middle-of-the-road metal.” To clarify, that’s a pretty loose catchall I use to describe a wide range of bands, from mildly dangerous-sounding metalcore bands (Bullet For My Valentine, et al.) to nu-metal nonsense like Avenged Sevenfold. In contrast, my tastes gravitate to things that make Everymen feel their true power levels.
Your mileage may vary, of course. Like, for some, death metal peaked with Slayer (along with the 127,287,558 bands that sound like them) and it does the trick for them. Older folks just want some Black Sabbath. But for me it’s Ministry or bust. Their 1996 LP Filth Pig is an F5 tornado of rebellion; if you haven’t ever cranked that album’s “Dead Guy” to the point of permanent hearing loss, please do so now.
Zoomers, if you ever want to be as unstoppable as Greta Thunberg as a group, you need angry, uncompromising instrument-driven anthems, that is to say, riffs. Black Veil Brides is a cool band, but they’re literally too good in a politely melodic sense. Know what you really need, Gen Z? Sweaty fat guys with awesome, awesome guitar riffs, like Bachman Turner Overdrive. On their 1974 album Not Fragile, the title track may not have been the cleverest or most innovative use of a Marshall amp in history, but it’s perfectly conceived. The riff is exquisitely played; way past fed-up; boiling over with stubborn, overconfident resolve; and only really effective with the volume knob set to 11.
If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Email [email protected] for fastest response.
PLAYLIST
A seriously abridged compendium of recent and future CD releases
• The next traditional date for new album releases is Friday, July 17, and, as seems to be common these days, I must eat a few stupid words I said before. The Chicks’ new album Gaslighter is out on that day; it wasn’t released on March 4 as I previously reported. That was just the title-track single. It is a great song; otherwise there’s no way on Earth I’d have ever copped to this oversight, like, as if, and I blame Metacritic.com anyway, so feel free to send hate mail to them, because it’s all their fault.
• I reviewed Gang of Four’s EP This Heaven Gives Me Migraine back in February, but guess what, there is another Gang of Four EP coming out, called Anti Hero, on the 17th. If you recall, and you probably don’t, I did like Heaven, even though it was just a bunch of reruns of past GoF tunes that Andy Gill wanted to get off his chest while he was dying of pneumonia. There’s a similar downer history to this EP, a short collection of the last songs Gill was working on from his hospice bed; the story is that he was working on new tuneage until the very last. The kickoff single, “Forever Starts Now,” is an above average post-punk song, with art-wave elements borrowed from Talking Heads. By now you’ve either made up your mind about the band or avoided them like the plague, so in honor of Gill’s memory I’ll just keep my wise mouth shut about this one.
• Like everyone else on Earth, The Pretenders have something to say about the unspeakable train wreck that is the current American sociopolitical environment, but since it’s Chrissie Hynde putting in her two cents, I’ll actually pay attention, because Chrissie is my rock ’n’ roll waifu, accept no substitutes. But wait, the band’s new LP, Hate For Sale, isn’t some sort of political statement, it’s actually a tribute to The Damned, because Chrissie thinks they’re awesome, which only means that Chrissie is even more awesome than ever before. HFS is their first release since 2016’s Alone, and guess what, the original release date was May 1, but then there was the coronavirus, and here we are, it’ll finally be out at Strawberries or Tower Records or whatever store’s open. Hey, wanna know something hilarious, of course you do, they were supposed to do a five-month tour this summer with — you’ll die, I swear — Journey, of all the bands in the world. To me, that’s the ’80s-rock equivalent of Imagine Dragons touring with Black Lips, but anyway the new single, “You Can’t Hurt a Fool,” isn’t a tribute to The Damned, it’s a ’60s-Motown-influenced chill song about being in a stupid relationship, or maybe a diss of J-Lo (listen to the words), I don’t know for sure.
• To close out the week, we have Florida band Surfer Blood, with a new album, Carefree Theatre! Like so many milquetoast-indie bands, despite their scary name, these guys specialize in, you know, milquetoast-indie, but the single “Karen” is kind of loud, a little bit, and would almost be art-rock if it didn’t sound like Death Cab For Cutie with their volume accidentally cranked. It would make a great closing song for a trite hipster movie about a bunch of hipsters who are on an endless quest for an unused pair of 1971 PF Flyer sneakers, and one of the hipsters smokes weed all the time, which hurts his chances for ever finding true love, except for maybe with the crazily shy girl who works at Whole Foods and likes Perry Como records, and then it thankfully ends. — Eric W. Saeger
Local bands seeking album or EP reviews can message me on Twitter (@esaeger) or Facebook (eric.saeger.9).