Review: Matt Skiba - Demos

Appears at http://www.nationalunderground.org/news/must-have-albums/177-matt-skiba-demos

There are few records whose titles perfectly describe their own content, but Demos is surely among them. Recognizing the writing stage at which these fifteen tracks were created is essential to one’s enjoyment of the album, and I use the term “album” very, very loosely. “Album” implies a cohesive body of work, but Demos doesn’t quite qualify. It is an interesting listen, nonetheless, but it cannot be held to the same standard. It is specifically intended for obsessive Alkaline Trio completists, to which we should all aspire, anyway.

Demos was recorded entirely on Skiba’s laptop. It comes as a surprise, then, that it contains so many unusual effects, particularly in the vocal department. Matt’s voice echoes, spins, and drifts, from track to track. Despite the lo-fi production, there is a notable amount of experimentation and variety. As the liner notes make clear, Matt took full advantage of GarageBand. The result is a record that will inevitably confuse those who were awaiting an expansion of his acoustic side, as was displayed on 2002’s split with Kevin Seconds.

The record kicks off with a moody opening track where Skiba revisits the lower vocal range that was prominent on Heavens’ Patent Pending, and it is heard consistently throughout the remaining tracks. This captivating croon, which perfectly suits the dark ambience, clearly contrasts Matt’s recent work with Alkaline Trio. Of course, the lively side of Skiba is presented as well, and listeners should immediately come to the conclusion that several tracks were written with the full band in mind. “S.O.S.” strips the Trio’s sound down to its most basic form, that is, a catchy riff with a familiar chord progression. Those accustomed to the band’s trademark sound will have no problem mentally filling in where the other instruments should enter. “Nausea (Cruel and Unusual),” as well, leaves one curious to hear a complete, final version, while “How the Hell Did We Get Here?” directly borrows from (or, perhaps more likely, became the basis of) an unreleased, live-only Alkaline Trio song.

“Haven’t You?” is arguably the most fully-realized track. Absent of any vocal gimmick, it is a simple acoustic tune with sweet, thoughtful lyrics, a reminder of Skiba’s profound ability to endearingly tug at the heartstrings.

Regardless of the limited audience, which is further decreased by the intentional lack of heavy promotion, one would miss out on several under-the-radar gems by ignoring this release entirely. Almost all of these songs indicate a promising musical characteristic or theme. A melody here, an intro there... these are bits and pieces of potentially incredible songs, though due to the unfinished nature of the recordings, it is up to the listener’s imagination to decide where, throughout its subsequent stages of completion, a song might go.

Rest assured, Demos is merely a taste of the future, and an official, traditional Matt Skiba full-length is on its way. Demos brings to mind the kind of recordings that remain solely within an artist’s personal files, never to see the light of day, or the kind that leak onto the internet without the songwriter’s consent. From a drum machine to brief use of pop-like Autotune, Skiba is all over the map, creatively, but then again, the writing process should never impose limitations. With Demos, Skiba brings us into this process.

Review: Defiance, Ohio - Midwestern Minutes

Appears at http://www.nationalunderground.org/news/must-have-albums/181-defiance-ohio-midwestern-minutes

The members of Defiance, Ohio, as people and as musicians, exude an undeniable charm. Their positivity is infectious. At any given show, it feels as though everyone are close friends. There is an inseparable bond between the audience and performers, which is further enforced by the amount of audience participation and the thin, often indistinguishable line between both sides.

It is unsurprising, then, that “The Reason” expresses this same feeling of camaraderie. Thematically, it shares a similarity with “Response to Griot,” as Ryan sings, “We all expect to be up for the next time you make it to town. We all think you’ll be there the next time we’re around. But some of us aren’t going to make it.” “The Reason” is a bittersweet tribute to the dedicated fans and friends of the band, in remembrance of those who could not be with them on their most recent endeavors.

Midwestern Minutes, the band’s fourth full-length, once again recalls the unifying themes of friendship, togetherness, and traveling. “Cigarettes,” one of the four re-recordings from last year’s Songs for the Icarus Project EP, provides an even briefer (the length of the original track has been cut in half) insight into the demanding but ultimately rewarding life of constant touring, while “Her Majesty’s Midwestern Islands” describes a sketchy cruise. “Hair Pool,” which makes its much-anticipated return in electric form, retains the epic qualities of the acoustic original. The climactic ending, enhanced by a guitar solo and a smile-inducing “woo-hoo!”, might even encourage one to high-five the nearest friend.

Lyrically, Midwestern Minutes offers a good deal of variety. Geoff brings a thoughtful, socially-conscious perspective, contributing two phenomenal tracks. “Dissimilarity Index,” for example, discusses the economic disparity between neighborhoods that are located within the same city. “Flood Waters,” the Will-fronted album opener, portrays an anarchistic utopia of sorts, declaring, “Hold your empty disemboweled gas tanks up high. Turn them into a bong or a still. Looting through the gas stations, tilling up our backyards... That’s my rosy picture of the end times, my friend.”

It doesn’t hurt that the band is comprised of fantastic musicians. Defiance, Ohio’s trademark sound has been refined slightly, but their unique identity remains intact. The strings are used a bit more sparingly, while the piano plays a more dominant role. This is merely a subtle change, and each instrument is used appropriately and with great effect. The upright bass even makes a brief return. Vocally, each song is fronted by one member of the band. The song distribution is about even, although BZ and Sherri’s lead vocals are unfortunately absent.

At twenty-seven minutes, my primary criticism is of the record’s brevity. Five songs have been previously released (albeit different versions), leaving a small amount of new material. “Short but sweet” has been the case of each release since 2006‘s The Great Depression, but with the two-and-a-half year wait between Midwestern Minutes and the previous full-length The Fear, the Fear, the Fear, I expected a bit more. Of course, this isn’t to say that there is anything wrong with the quality of the music itself, but the quantity leaves something to be desired. Then again, I wish that the experience, much like that of their live shows, could last forever. Defiance, Ohio, you truly are loved.