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November 6, 2008
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2008-11-06 
Reviews - CD
Buckcherry
Black Butterfly
(Eleven Seven/Universal)

D

Buckcherry

Josh Todd's inner monologue prior to the writing of Black Butterfly: "Our manager says Crazy Bitch made us cool again, so we should put out another album right away to ride the wave. The thing is, I haven't got any good song ideas, and Keith Nelson is out of riffs. Hmm. This is a problem. Wait! I'll just rehash a bunch of trite lyrics about love, sex and being too drunk to fuck! Ooh - that's a good song title! This is gold! And then I'll crank out some whiny, unimaginative ballads like Sorry. The only question now is where to put the platinum records we get when the fans don't realize most of this album is crap..."
— Mike Warkentin
Chow Chow
Colours and Lines
(Fantastic Plastic Records)

C

Chow Chow

Chow Chow bounces around amongst styles and sounds over eight songs and 26 minutes. Guitars alternate between ringing Edge-esque riffs (opener Suits Like Animals) and post-punk influenced choppy notes (album highlight Lost in the 3D's), and the rhythm section experiments with drum-tracks, loops and samples, as well as a kit. A Roland 303 features heavily throughout as the band tries to merge electro and rock - a fusion that Black Kids have managed on the recent Partie Traumatic, but which Chow Chow rarely succeeds at. Had the band pared these 26 minutes down to the successful 12 scattered amidst the album, I'd likely be raving about Colours and Lines instead of warning you off it.
— Michael Elves
Jackson Browne
Time the Conqueror
(Inside Recordings)

B

Jackson Browne

The protest song: a dusty vestige of the '60s or a contemporary tool of social change? Jackson Browne has spent the better part of his nearly 60 years taking on those who wield power. Time the Conqueror tackles big issues such as the drums of war, the Cuban blockade and hunger. But it also dives into more personal subjects such as men's sexual appetites, the progression of time and looking backwards to see things going forward. Browne's voice is rich and familiar while the arrangements remain reminiscent of his best pop-folk.
— Chris Brown
Koushik
Out My Window
(Stones Throw)

B

Koushik

Hipster-deluxe Peanut Butter Wolf's Stone's Throw label is a repository for bands that generally move to the kind of groovy beats associated with another, distant time. Hitting the mark yet again with the lovely Out My Window, there is no doubt these folks are onto something pretty unique. Canada's Koushik Gosh is a guy who seems to know more than a little about musical flow. Stealing a page from classic 1960s vintage sunshine pop à la The Free Design, Koushik and his allies combine beat-tastic technology with a loose and mellow retro sound to come up with a vibe that is laid back without being boring.
— Jeff Monk
Loudon Wainwright III
Recovery
(Yep Roc)

B

Loudon Wainwright III

While Rufus and Martha Wainwright have made their own waves in the music industry, their old man Loudon was there first - and these re-recordings of some of his best-loved songs come at time when it makes sense to hear them again with reworked instrumentation. He combines a knowing smirk with his off-the-wall observations of the human condition. Tracks such as Be Careful There's a Baby In The House, The Man Who Couldn't Cry and Saw Your Name in the Paper are classics of the form, and stand comparison to work of the late Warren Zevon in their ability to make you wince, sneer or shudder.
— Jeff Monk
The Watson Twins
Fire Songs
(Vanguard)

C-

The Watson Twins

Chandra and Leigh Watson are the duo of the moment when it comes to earnest, folk-tinged roots-country, and on their first full-length album, they show promise, albeit at a low energy level. Opening track How Am I To Be pretty much encapsulates what these gals can do when they're hitting on all cylinders. With its classic girl-group, echo-laden vibe, it toddles along elegantly with a carefree vibe that is mildly intoxicating. From there, the twins sound like they're searching for something to hang their dolorous vocals on - to only marginal effect. Without their current hipster cred, these twins are sadly and singularly uninteresting.
— Jeff Monk
Sierra Hull
Secrets
(Rounder)

B-

Sierra Hull

Youngster Sierra Hull is a melodic bluegrass mandolin player and singer who, at 16, has more talent and a better grasp on the genre than many seasoned pros. Hull's vocals have an endearing, straightforward innocence but it's her mastery of the mandolin that carries this recording; her solos are crisp, focused and interesting. Passion and emotion may be a bit lacking, but the potential for greatness is certainly here.
— Chris Brown
Mötley Crüe
Saints of Los Angeles
(Eleven Seven Music)

C+

Mötley Crüe

Mötley Crüe isn't a good band. It's a broken clock (Freudian slip avoided) that's managed to be right once in a while, but its members survive more on their reputation than their talent. Yes, they cranked out some hair metal classics, but they've also dumped a lot of crap into record stores, and the coke-filled days of the Sunset Strip are long gone. Saints of Los Angeles won't admit that and feels contrived, like it's being depraved only to move a few units. Nevertheless, a few good tracks (title cut Face Down in the Dirt) will be enough for hardcore fans to ignore my warning and buy the disc anyway.
— Mike Warkentin
Chrome Division
Booze, Broads and Beelzebub
(Nuclear Blast)

B

Chrome Division

 Disc of the Week

Every black metal musician hits a stage at which he needs to write about something besides ritual sacrifice. Shagrath from Dimmu Borgir got there about two years ago and formed Chrome Division, a biker-metal outfit that owes a dirty debt to Motörhead and Black Label Society. The resulting tongue-in-cheek tracks on this sophomore effort are JD-soaked blasts of punk-influenced rock 'n' roll, and they cook pretty well, even if they don't reinvent the chopper wheel. I actually prefer this stuff to BLS, mostly because Zakk Wylde can't sing, so if you like it loud, leather-clad and proud, join the Chrome Division.
— Mike Warkentin
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