2 Grylz Quarterly short reviews

Bill “Bat Man” Grasshopper Records, 2005: All pretensions about “outsider music” aside, listening to this album made me feel uncomfortable. It’s unclear whether the voice on the album is that of a mentally retarded person or just someone playing a part: either way it pushes the bounds of good taste a little. I could start a whole debate about levels of comprehension and exploitative relationships, but I don’t think the record even merits that. I just isn’t very good, or enjoyable. I’m a little surprised Vice Records got scooped on this, as it seems right up their alley. Skip it.

Everything But the Girl “Adapt or Die: Ten Years of Remixes” Atlantic Records, 2005: Tracy Thorn might be a mother of three, but I’d wager that countless babies have been conceived while listening to her sultry voice. Seductive dance hall favorites Everything but the Girl has returned (sort of) from a permanent hiatus to release a remix collection of their greatest hits. Remix albums are always hit or miss, but this one shines far above most. It starts with an unlikely yet amazing collaboration: DJ Jazzy Jeff remixing the lush “Mirrorball.” Their big hit, “Missing,” is given the up-tempo treatment by CL McSpadden, and “Lullaby of Clubland” is reimagined as a modern house dance track by Jay “Sinister” Sealee. “Corcovado” would not sound out of place on in a Latin nightclub, and “Down Hill Racer” showcases the hardest beats on the record.

Most bands would struggle with a voice like Tracy’s; ethereal and breathy, it could easily fade into the background. Ben Watt, Tracy’s partner and collaborator, realizes just what he has, and makes every effort to showcase her vocals, although not at the expense of the music. Everything but the Girl was always under-appreciated in their time, and a new record, according to Tracy, is out of the question. Fans will have to content themselves with their back catalogues and this brilliant new album.

Jeff Kaiser and Andrew Pask “The Choir Boys” PF Mentum 2004: The first time I tried to listen to this record, I put it on in my car and thought it was defective. It wasn’t; it’s just very, very spare. Jeff Kaiser plays trumpet, quartertone trumpet, and flugelhorn, while Andres Pask is on clarinet, bass clarinet, soprano, alter, and tenor saxophones, and bass penny whistle. They both seem to be controlling effects, which they refer to “live processing.”

This is a record that requires the listener’s full attention, as it fades in and out in several parts and at times just seems to feature one droning noise. Most of the tracks hover around the ten-minute mark, with “Blue Air Habit” clocking in at 17:31. Instruments squeak and squawk, with odd samples in the background (chirping birds, anyone?). Half the time I felt like I was listening to Phillip Glass, the other half I thought maybe an Enya track had been put on by mistake.

All this having been said, the record is not bad, although it is niche and experimental. I felt like I was in studio, watching one men pick up a random wind instrument while the other played with distortion pedals. I can see this being played in the background at a classy yet hip art opening, or in a trendy coffee shop. Just don’t try to throw it on while motoring.

Via Satellite “Cities are Temples” Loud and Clear Records, 2005: Via Satellite just might give critical darlings Radiohead a run for their money. I initially wasn’t expecting much when I put this on, and I have to say I was blown away. The opening track, “Seven Winged Lions,” is one of the loveliest songs I’ve heard in a good long while; the vocals evoke Thom Yorke without aping him, and the melody is gentle and pretty. Drew Andrews and Scott Mercado trade vocal duties, and they each showcase their distinctive styles perfectly. Andrews’ gentle croon works well on the softer songs, whereas Mercado seems comfortable at the helm of the noisier rock tracks. Drummer Tim Reese, who also handles the samples, which he blends easily into the songs, ably backs them.

“Close As I Can,” “Revival,” and “Cotton,” seems to have been conceived as a triumvirate, and the songs blend together almost seamlessly. They are in the middle of the record and embody the heart of not only the album, but also the band. It’s not very hard to put out an electronica-influenced indie rock album these days, but it’s damn hard to put out a good one. Via Satellite, despite their ridiculous name, manage to have achieved this feat. They’ve come from nowhere, and I can’t wait to see where they’re going.