Review: Sandwich by Psychostick

Psychostick
Sandwich
Rock Ridge Music
Release Date: May 5th, 2009

Psychostick is certainly in a league of their own. They play music that borders on hardcore, with impressive instrumentation and breakdowns galore. In other words, nothing terribly distinguishable. Then, there are the lyrics that cast them into a completely different realm of music. Call it humorcore.

The indie scene was blessed with the release of Incredibad earlier this year, providing talented, legit songs that were also side-splitting. Sandwich, for better or worse, is in a similar vein, creating seriously funny tunes that are also, well, good. They play an in-your-face style of metal/hardcore, but the vocals are clean and comprehensible, which is obviously important since they are important to the whole schtick. To fans familiar with the brand of music, it should not come off as abrasive at all, although it has its share of intense moments. Even if it seems too “hard” on the surface, it is actually worth the listen to derive the humor from the songs. After all, they are not serious at all and the contrast between quasi-hardcore and the silly, mundane lyrics (as on Incredibad) make the album that much funnier.

A candidate for most random album title and concept of all time, Sandwich has plenty of food-themed songs to whet your appetite (groan.) The almost-title track, “This Is Not A Song, It’s A Sandwich” is a prime example of the complete ridiculousness of the lyrics in a Psychostick song/sandwich. In essence, one could derive the idea behind any of the songs from their title, and in this case it is literally a defense of how the track-in-question is not a song, but is rather a type of delicatessen delight, and how it could not possibly be a host of other things (“It couldn’t be a chick, ‘cause it doesn’t want to marry.” Amen, brother.) Does it make any sense? It defies all logic, but the intense defense is unavoidably funny. Anyone who has stepped foot into a grocery store can relate to “Grocery Escape Plan,” a simple tale of stream-of-consciousness thoughts that occur while grocery shopping, punctuated at nearly every syllable. Actually, a good deal of the songs are relatable. Take “Don’t Eat My Food” for instance, which is a brutal look at the infuriating occurrence of having a coveted item of food eaten by someone else. “Caffeine” sounds exactly like a song that would be on a caffeine rush and consequently crashing from it. Aside from the universality of food, there are other topics touched upon, as the redundancy and frustrations of minimum wage jobs (aptly titled “Minimum Rage”), bombardment by spam (“You’ve Got Mail Enhancement”), and subtly getting back at a slightly frustrating roommate (“Passive Vengeance”) all deliver the laughs while maintaining a decent level of musicianship. “#1 Radio $ingle” is an all-too-perfect satire of commercial radio, literally spelling out the recipe for success in the song while purposely sounding extremely bland enough to be tolerable by nearly anyone.

It is audibly possible to tell that Psychostick clearly do not give a shit and are clearly not serious, and you almost get the feeling that any small idea that they get becomes the concept for a song (“Orange” almost takes the ridiculousness a bit too far, but it is still passable because of its delivery.) However, the band is quite talented, and makes the album a multidimensional one, with actual musical ability combining with actual humor. The immediate impact of the album is impossible to avoid, lending it to be repeatedly listened to while still being effectively funny. In sum, the self-created hype surrounding Sandwich is pretty much deserved and spot-on, as the album is exactly what to expect: Legitimately hard music and harder hitting laughs. You could do a lot worse than to sit through the hoagie-in-disguise that is Sandwich.

Psychostick - BEER! (from We Couldn't Think of a Title)

Rating:

1/2

News on Upcoming Set Your Goals LP

So, big news ... for me anyway. Three years after the California six-piece's first full length, Mutiny!, Set Your Goals has completed their follow-up LP and plan on releasing it on July 21. So what if I found out like a month after the band officially released this information, I've been waiting for this shit to drop since I first got into SYG! According to vocalist Matt Wilson, " ... this record is 10x the record Mutiny! was in every way and we think you'll all agree." That's a pretty hefty promise considering how fucking good Mutiny! was but I really can't say I doubt it for a second. Wilson went on to tell fans that this yet-to-be-named album will be "faster, less goofy, more complex musically and lyrically." The album will be released with the help of Epitaph Records (screw you, Eulogy). Right now, you can catch the guys as they tour with New Found Glory, Bayside, and Shai Hulud ... still hoping to make the Boston show on April 30th.

New Nine Inch Nails!

Just like that, Trent comes out of nowhere and drops a new album on the world, just like he did with the decent, free The Slip last year. After interminable delays between albums, Trent has been cranking them out as of late! Year Zero, its respective remix album, four Ghosts albums, The Slip, and now Strobe Light. Produced by the one and only Timbaland (nice move, Trent!), it features such eclectic guest spots by the likes of Jay-Z, Chris Martin, Sheryl Crow, Maynard James Keenan and Justin Timberlake! The last two join Trent on the long overdue sequel to "Closer" aptly titled "Even Closer." The first single is apparently "Everybody's Doing It," the forceful foursome to be recokned with for 2009, including the aforementioned Martin and Hov along with freakin' Bono!

Do yourself a favor and snag this album now, while it's still available. All you need is a valid e-mail address. Thanks Trent for making the day so special for fans and music lovers alike.

Fuckin' cleverly crafted BSoD....

Artist to Watch: Jukebox the Ghost

Hey e'rybody! Sorry for seemingly not giving a shit about the blog, things have been pretty hectic but I figured Gary could use a break from basically being the only contributor for the past month to tell you about an awesome new band called . . . Jukebox the Ghost!

I found out about this D.C. trio a couple weeks ago (completely on my own, obviously!) and have been unable to pull myself away from their unique brand of piano-infused indie rock. Think Ben Folds but with the dramatic flair of Queen and grandious creativity of The Flaming Lips. At some points, they might even make you think this is what Schroeder's (from the Peanuts) band would sound like. Anyway, immediately upon first listen, you'll discover just how infectious Jukebox the Ghost really is. The lyrics of frontman Ben Thornewell serve as the insanely optimistic and jovial centerpiece of the group, whether he is spittin rhymes about hiding your love away in the extremely bubbly "Hold It In" or the apparent end of the world in the, somehow, still upbeat "Beady Eyes On The Horizon." It is with this, as well as the catchy guitar work of Tommy Siegel and steady drumming of Jesse Kristin, that Jukebox the Ghost is able to perfectly capture the feelings of happiness and lightheartedness in every melody they create. In a nutshell, listening to the tunes of JTG will put a smile on your face. Do yourself a huge favor and check out their LP entitled Let Live and Let Ghosts.

Exhibit A

Exhibit B

Glaring Omission!

Truth: We may collectively be a quarter of the way through the no longer nascent year. However, there is a late addition to the party that is referred to by some as the Most Anticipated Albums of 2009.

I know when Nick, Ryan and I posted our respective albums that we could not wait to hear for '09, many immediately recognized the one album that was suspiciously absent on all three lists.

I, of course, am referring to Sandwich, the upcoming sophomore release by the band Psychostick.

Any album named Sandwich deserves some sort of acknowledgment based on title alone, whether it be an abrasive cold shoulder or giddy open-armed embrace. We are sincerely hoping that the latter will come true come May 5th.

At this point of the article, one may reflect inwardly and ask oneself: "What the fuck is this pretentious cunt talking about?"

Look, if We Couldn't Think of a Title, Psychostick's debut LP, is any type of barometer for what to expect, then there really is no reason not to be a little excited. I'll explain. Psychostick is not quite the beacon of ubiquity in any genre, big or small. But, these guys are pretty fucking funny. The humor is not terribly complex or anything, but they elicit involuntary laughter time and time again. Personally, the three of us have realized that the band pretty much is exactly like us, but actually musically talented. On one song, they bemoan the labors of laundry. On another, they take us on a joyride through the entire alphabet highway (no rest stops either, those are for pussies.) "BEER!!!" is pretty self-explanatory in nature, as it simply celebrates the pros and cons of the popular hops-based alcoholic beverage. Any guy can relate to the universality of "Scrotal Torment," with its thrash metal-sounding beat reminiscent of speedy, severe scrotum scratching. Similarly, "Throwin' Down" details how sometimes, let's be real, girls' logic is a bit shaky and ridiculous. "Two Ton Paperweight" is an affectionate title applied to the singer's "piece of shit" car. "Prozak Milkshake" is an overall satire on 96% of all depressio-rock garbage on commercial radio. In fact, lead man Rob "Rawrb!" Kersey eerily sounds a lot like Aaron Lewis from Staind in the verses that describe why he's depressed. There's a bit of ribbing in the direction of Disturbed, with the "DIE DIE WHORE DIE" part reminiscent of "Down with the Sickness", coupled with random vocalized non-sequitirs like "Who farted?"

The songs are pretty funny, yes, but the band is pretty talented. The bass easily stands out as just straight ridiculous, with awesome bass slaps throughout the album that are just plain good. The band's overall sound is a bit hardcoreish, but not offensive to the ears really. Wikipedia describes them as humorcore and hardcore punk. That's not too bad. But musically, they are pretty legit, and they have some breakdowns that would make actual serious bands envious.

They're certainly not masters of either craft, but they combine them both decently and the result is a fun, funny band that obviously do not take themselves seriously at all despite being musically talented. Sandwich boasts twenty-plus tracks such as the paradoxical "This Is Not A Song, It's A Sandwich," the inquisitive "Metal?", "Grocery Escape Plan," "Too Many Food," "Don't Eat My Food," "The Hunger Within" (yes, a bit of a food theme as the album name suggests), and the eagerly anticipated sequel to "BEER!!!" We'll probably review it when it leaks/comes out. No promises, though, considering the blog is fledgling and rarely updated.

UPDATE! (4/5) Sandwich has leaked!!!1

Myspace: Psychostick

seconding gary's post

i mean i've basically just been listening to a weekend in the city so i don't think anyone wants to hear me speak.

the new u2 is a solid B, as was Watchmen.

Apologies

Sorry for sucking balls at updating in March.

We're all alive. So that's good, right?



...So, how 'bout that Grizzly Bear album?

Review: The Pains of Being Pure at Heart by The Pains of Being of Being Pure at Heart

The Pains of Being Pure at Heart
The Pains of Being Pure at Heart
Slumberland
Release Date: February 3, 2009

The Pains of Being Pure at Heart are spry newcomers on the indie scene with their eponymous Slumberland debut. Their arrival is much welcomed, not so much because they do something entirely unique, but because of how they execute what they do. At a first, seemingly superficial listen, they may sound like another lo-fi noise rock band, with the somewhat droning guitars and fuzz on a majority of the tracks, leading to a rather reflexive reaction to lump them with the countless other similar bands. However, what is really going on here should be pleasant enough to please many listeners.

At the core of their sound are indeed the warm and fuzzy guitars, coupled with a propulsive bass and simple albeit necessary drumming. It is not so lo-fi as to be abrasive to the inner ear, but rather it adds to the implied naïveté of the album. Each song is a rather infectious pop jam about being young, dumb and in love, with restrained vocals and small, well-placed additions to differentiate the tracks. Sure, we’ve been down this path before, and they know that, but their execution is laudable, particularly for a first effort. The album is subtle, sweet and sublime that is undeniably addicting and applicable, automatically invoking a connection to either life now or the all of a sudden not-so-distant past youth. Add to the list of adjectives “speedy”: “Come Saturday” starts out with a fast-paced pseudo-punk intro punctuated with the impossibly catchy backing of “ooh ooh ooh,” as the chorus softly states “Come Saturday, you’ll come to stay / You’ll come to sway in my arms.” The dreamy haze of “Everything With You” is indeed simple and sweet, with the male/female vocal combination and the lines “I’m with you and the stars are crashing through / I want everything with you.” You have got to love that universal experience of teenage love. Speaking of which, “A Teenager in Love” has the ever-popular decade of the Eighties written all over it, consistently punctuated with small keyboard additions, on top of the soft guitar and ever-persistent drums.

The clear standout track on the album is “Stay Alive.” Like all of the songs, the basic elements are all there to make it fit right in on the album. Yet, the repressed emotion behind the song is unavoidable, with its periodic plinks on the keyboard and the upbeat tempo. The chorus takes the song to purely anthemic levels that are unrivaled elsewhere on the album, with typically simple lyrics that say more than enough: “Don’t you try to shoot up the sky / Tonight, we’ll stay alive.” All signs point to a curiously cheery track, but the words and the deeper tone make it feel like an almost coping, almost cheering-up sort of mood perhaps right after the shocking melancholy of an attempted suicide of a friend. It is their finest offering of their well-crafted fuzz-pop.

Pains is truly an unabashed pop album, with something to appeal to mostly anyone. It is subtle, touching music about being young while avoiding the sound of a retread; What’s not to like?

The Pains of Being Pure at Heart - "Everything With You"


Rating:

Review: March of the Zapotec/Holland by Beirut

Beirut
March of the Zapotec/Holland (2xEP)
Ba Da Bing Records
Release Date: February 17, 2009




Radiohead decided to change things up by ditching the traditional rock instruments for a more electronic and atmospheric sound on their career-defining Kid A. Zach Condon, the young guru from Santa Fe behind the name Beirut, decided to take a trip to Oaxaca, Mexico with The Jimenez Band, a modest 19-piece band to make some tunes. The result is the first side of this double EP, March of the Zapotec. The Mexican influence from the talented backing band is apparent immediately, who do a great job of diversifying the side’s six tracks and packing them with an emotional punch. Definitely different but also quite creative and expressive, Zapotec creates a rich atmosphere of both celebration and despair and cultivates emotions ranging from happiness to melancholy. “The Akara” opens up as if a slow epic, with its brooding horns and Condon’s restrained yet effective vocals, whereas “The Shrew” sounds like something that would be played at the reception of a Mexican wedding, as everyone danced in sync to the horn section. The six songs mostly flow into one another, creating a continuous albeit brief glimpse of Beirut with a Mexican flair. How many bands can put that on their resume, and say they did effectively to boot?

The other side of the EP, Holland, which is attributed to Condon’s pre-Beirut pseudonym Realpeople, completely changes gears, providing an entirely different yet still fulfilling experience. Holland turns introverted, trading in big band bombast for simple yet effective electronics in the background of Condon’s more prominently displayed singing. Each track, like on Zapotec, serves some sort of purpose, creating varying degrees of atmosphere and emotion. “Venice” opens up slow and downtrodden, featuring hints of horns as if the two sides of the EPs coalesced briefly. The closer, “No Dice,” is quite unlike any other song on the 2xEP, creating a bouncy otherworldly atmosphere that persistently propels the listener further and further into the introverted realm of the imagination’s conjuration. The length of the track, at close to five and a half minutes, effectively allows the listener to get lost in this outer space dream world before being brought back down to Earth soon enough.

EPs are an odd commodity, since artists use them for myriad purposes, whether to release a single and ten remixes, a short collaboration album, a random assortment or collection or to provide a stopgap in between LPs. Beirut uses this innovative double EP as a way to channel his creative expressivity into two very different genres of music, both well-crafted and relatively innovative, all the while not overstaying his welcome in either category.

Beirut - La Llorona


Rating:

Review: Incredibad by The Lonely Island

The Lonely Island
Incredibad
Universal Records
Release Date: February 10, 2009

On the December 17, 2005 episode of the ageless sketch comedy show that is Saturday Night Live, Andy Samberg and Chris Parnell unleashed a force to be reckoned with onto the unsuspecting audience that night: The SNL Digital Short known as “Lazy Sunday.”At this point, the SNL Digital Short was a new, unproven commodity, with “Lazy Sunday” being just the second short premiered. However, there would be many, many more to come, partially because of the unprecedented success of “Lazy Sunday,” with its mammoth amount of YouTube views and iTunes downloads. The success is well-deserved: The clip was a breath of hilarious fresh air for SNL, which, in general, had been flat and underwhelming for several seasons. Unbeknownst to many at the time, the creative powerhouse behind the nerdcore hip-hop was none other than the triforce of The Lonely Island, who finally released a full album of truly hysterical pseudo-hip-hop joints.

Aided by the likes of Justin Timberlake, T-Pain, Norah Jones, Natalie Portman, Julian Casablancas from The Strokes and Jack Black, The Lonely Island master the synthesis of comedy and hip-hop on almost every track of their debut album, Incredibad. It is not just parody but also homage, as each song showcases a different, well-known aspect of many popular hip-hop and rap songs. The T-Pain collaboration of “I’m on a Boat” is a perfect example, as it parodies the ongoing abuse of AutoTune in many rap and R&B songs, all the while repeating the simple fact that they are, indeed, on a boat. Like many of the songs on the album, the beats are surprisingly legitimate. In fact, if any rapper utilized them and put out a “real” rap song, it would not be discordant at all. The hilarity ensues, therefore, with the contrast of beat and lyrics. On the surface, “Lazy Sunday” sounds like a brutal gangster rap song. Additionally, the delivery of the rhymes is fittingly fierce and intense. However, in actuality, it’s just about two guys going to see The Chronicles of Narnia on an otherwise uneventful Sunday afternoon. The Lonely Island effectively use stark contrasts like this on the entire album. “Natalie’s Rap” showcases the “true” side of actress Natalie Portman, as she vulgarly and hilariously details who she really is.

The Lonely Island use popular hip-hop and comedic motifs and meld them together with great success. Simple things like repetition elicit many laughs without getting old. Case in point: “Like A Boss” details an average day in the life of “the boss” Andy Samberg, which starts out typical, but soon gets more and more exaggerated and, thus, funny. The repetition sets in because every single thing that is listed is followed by the descriptor “like a boss:” “Micromanage / Like a boss! / Promote synergy / Like a boss!” Hip-hop mainstays like product placement are emphasized in “Dreamgirl,” whereas the popular inclusion of space-filling skits and interludes are also present and, like their hip-hop counterparts, are not very funny.

Alas, the album as a whole does its job of making hip-hop songs with side-splitting lyrics and atypical topics. The closing title track has the trio asking a thankful alien (yeah, you’re going to have to hear that one on your own to find out why) to be “the greatest fake MCs on earth.” The Lonely Island know better than to take themselves seriously, yet they finely filter the basic tenets of comedy and hip-hop music, and the end result is Incredibad, a highly replayable, surprisingly infectious and of course hilarious album from beginning to end.

The Lonely Island - I'm on a Boat (feat. T-Pain)

Rating: