Bald Rapunzel-Diazepem (Resin/Dischord) 2000
When I was living in DC from the summer of 98 to spring of 99, I saw BR's drummer, Katy at many many shows, and in the few conversations I've had with her and the times I've seen BR play, she is one that exudes passion in so many ways. As she does her thing on stage, a smile never leaves her face. This exuberance comes through on their one, and unfortunately, only album, "Diazepam". "Dark End of the Street" sets everything up, "Salute to Nova Scotia" primes the listener, and "Ms. Leading slams everything into high gear. A definite must have for anyone into good, driving post-punk. "Sun Drop" has already made its way onto two mix tapes.
Braid-Movie Music (Polyvinyl) 2000
Eh, I like Braid a lot, and I think I could say that they are one of my favorite bands, but if this is your introduction to the band, please do not be deterred. A lot of the material of thses two discs are total throaways from their early days and such, but there are some true gems here, too. "Now I'm Exhausted" and "Circus of the Stars" are two fine examples of Braid's skills, as well as their cover of "There is a Light That Never Goes Out". To get the best possible picture of Braid, pick up "Frame and Canvas", but if you're a completist, definitely get this, too.
Catatonia-Equally Cursed & Blessed (Atlantic) 1999
Cerys Matthews is a star in the UK, but she is unfamiliar to most lisateners in the States. The thing is, she has more spirit than all of our Alanis-clones combined. Although not as impressive as "International Velvet", this album still has more than its fair share of bright spots, from the wonderful "Dead From the Waist Down" to the superb "She's A Millionaire". This is definitely a keeper.
Cursive "Domestica" (Saddle Creek) 2000.
It was three years ago when Cursive released their debut album, "Such Blinding Stars For Starving Eyes" on Crank Records. I remember reading about the band in Punk Planet or some other zine, and decided to pick up the album. It's not often that reviews let me down, especially when there are a lot of reviewers out there with similar tastes. Well, I listened to the album several times over the next few weeks, and my next trip over to Lancaster to was to trade in some albums, one of which was that Cursive album. It didn't really connect with me. The music was off and Tim Kasher voice was way too grating.
Fast forward to June 2000. I return to West Chester after a three week roadtrip across the US and I notice that the newly reformed Cursive have a new album out. I decide to give it a listen, and I play "The Radiator Hums" on my radio show. The song immediately takes me aback, the music hits harder, while not necessarily being heavier, and Tim Kasher's voice is smoother.
I am sure you've heard about this album concept by now. It is very simple, a marriage begins, with fresh promises and a bright start, but quickly falls apart and ends in a total disarray. The reason that this concept album is effective is because the scope of the subject matter is easily relatable by any listener. Everyone knows how a relationship can begin with such promise and end in shambles, sucking the life out of both parties.
The album begins with "The Casualty", which could indicate either person in the relationship, or even both. Certain emotions and occurrences are chronicled throughout this song, "as we sink deeper," "as the volume increases," and "I close my eyes and the room is spinning." Spinning out of control like this relationship. "The Martyr" kicks the album wide open in a flurry of everything that comes out of someone when they are tightly wound to the point of exploding. The feeling of running your hand through your hair or scratching at the wall comes to mind, and when the chorus kicks in with "Your tears are only alibis/To prove you still feel," you know you are in Kasher's mind, whether you like it or not.
The anxiety and drain of emotions created by a marriage break up is given life here. That life is not any more noticeable than on "The Radiator Hums." The song begins with a poppy guitar intro and an almost bittersweet first verse before kicking into the chorus with "I threw out the phone to try to keep through to you," a desperate plea to hold onto a dying line of communication. This is Kasher's last stand, you need he doesn't want to give up when he says "I want to help you but you've got to say the words/'I want to be cured.'"
This albums is about trying to the point where there is nothing more to give. When you are laying in your bed, devoid of energy with your hand on your forehead asking "Why?" A perfect companion to let those in the same situation know that they are not alone.
Cursive is back together, but will it stay this way? If they keep putting out material like this, I don't see why not. The addition of Ted from Lullaby From the Working Class to replace Steve, who is going to law school in North Carolina is a welcome change and adds a different element to the band.
Dismemberment Plan-Emergency & I (DeSoto) 1999
Dubbed copies of this album had been floating around for about a year prior to the late release of the album (from DeSoto to Interscope to DeSoto), but none of that left me prepared for the impact of the proper release. "A Life of Possibilities", their live opener for quite awhile leads off this wonderfully schizophrenic album, and is a prime example of their hybridization of their indie rock and keyboard-based sounds. "Gyroscope" and "8 1/2 Minutes" are absolutely brilliant, and "The City" is one of the most bittersweet songs I've heard all year. This, my friends, is one of the best albums of the '90's.
The Explosion (Jade Tree) 2000
This is straight-up '77 style street punk, something I was into when I was 14. When I first heard it at Repo, it immediately drew me in. It seemed very raw and immediate, although the songs come off as very similar. There is room for growth and listening to clips from the upcoming full-length, it appears as though this is merely a sampling of the good things to come from this band.
The Explosion "Flash Flash Flash" (Jade Tree) 2000.
After a promising EP, The Explosion returns mere months later with much of the same energetic, late '70's style street punk. While not noticably different than the aformentioned release, the cohesiveness of this album is what sets it apart. The downfall of this genre is that much of the material ends up sounding the same or coming off as contrived, but the Explosion is able to buck that rend admirably. Songs like "No Revolution" and "Broken Down and Out" make me feel like the Sex Pistols are still togther and Carter is president.