(Windup Entertainment)
BOYSETSFIRE, a politically fueled, five-piece group from Delaware, challenge their reputation as a hard-core band by infusing several of the tracks of the EP with both melodic and punk elements. The quintet's follow-up to their well-received, breakthrough album After the Eulogy, still serves as the basis for the band's leftist, political ideology.
Challenging the U.S. government's role in such events as 9/11 (\heads down and hands up, our need for safety has been hijacked again""), BSF energetically calls for action against the United States' place in a war with Iraq, the events leading to such a catastrophic decision and the involvement of the U.S. government in bringing about these events. Of course, they are denouncing what they see as the tendency for self-involvement and greed in a capitalist system--a system that is unequivocally unfair and unjust according to their Communist schema.
BSF takes on the United States' role in fighting terrorism with war, as well as its coincidence with infringement on civil liberties. On ""Bathory's Sainthood,"" they belt out lyrics dealing with the vast economic inequalities in the U.S. (""Sure 1 percent rules, but heaven's made of gold"") and also the mass media's part in draping a curtain over the public eye regarding U.S. foreign relations and corporate affairs.
BSF's lyrical content is largely political. A few of its members are budding young Communists and a portion of Live for Today's proceeds are being donated to the Center for Constitutional Rights. However, the fact that BSF previously played dates with the Vans Warped Tour, the corporate-sponsored, mostly mall-punk trash tour of the summer, leaves one skeptical about the seriousness of their Communist agenda. But hey, apparently everyone gets sucked into the corporate marketing machine at sometime or another.
Musically, the distinctive vocals of lead singer Nathan Gray drive each track on Live For Today. His voice nicely complements the energy of the lyrics themselves. On such tracks as ""Release the Dogs,"" ""Curtain Call"" and ""Handful of Redemption,"" BSF explores more listener-friendly musical elements, while building on their hard-core roots. ""Curtain Call"" seems imbued with a more poppy punk sound, as does ""Handful of Redemption,"" a track that combines both traditional punk chords and harmonious vocals between Gray and guitarist Chad Istvan.
Overall, the two tracks that stand out are songs from the previously released After the Eulogy (2000)--the title song ""After the Eulogy"" and the last track of the EP, ""Rookie."" That said, BSF seems most successful when they stick to their hard-core grounding, as this genre best serves their political purpose and Gray's vocals fit nicely within it.
is a mediocre release at best that doesn't ignite as much fire in the listener as it is supposed to do. With such radical lyrical content, BSF doesn't seem to step up to the challenge of musically matching their message. Considering the best, most energizing tracks on the disc were taken from their previous record, it would be wise to check out After the Eulogy, if you haven't already. Rather than pick up this EP, wait for another BSF full-length release due in April.
(K Records)
tells the story of an odyssey, as though it were penned by a child, toward something that is dark and well-hidden deep in the poetic mind of a musician. This musician is Phil Elvrums, who highly esteemed for his psycho-experimental songwriting and astute producing on previous Microphones albums. Elvrum, who is the mastermind behind the Microphones and other K Record bands, such as Old Time Relijun, once again delivers a stellar album.
Named after a mountain near Elvrum's childhood home on Fidalgo Island, WA, requires the listener to try to remember the lucid daydreams of childhood, especially how, once, even the most common objects seemed as important and enigmatic as the universe itself.
A five song, lo-fi opera of sorts, possesses a clear storyline that could have easily been conjured up and tossed alongside anyone's childhood set of Legos. This lyrical journey begins with Elvrum quietly singing about a trip across the sea and the consequent disorientation and loneliness felt in a strange land. The album finally culminates during a confrontation with the ""big black cloud,"" representing fear and death, in which Elvrum's character eventually realizes he's always retained what he thought was lost.
This story is given life with calculated drumwork, horns and various other instrumental layers that often act simply as musical accompaniment. Despite all this, the album avoids absurdity because of Elvrum's lyrical and musical maturity.
For example, aggressive beats are contrasted with restrained guitar work, bit down to the wick of sound, to recreate the strange, ethereal place through which Elvrum carries us during the opening track, ""The Sun."" Microphones fans will recognize the ending beats from The Glow, Pt. 2 as the song begins, but those familiar heartbeats dissolve into driving distortion, obtrusive brass and soft vocals.
Deeper into the album, Elvrum's production skills become quite evident, especially during ""Mount Eerie."" A careful listener will unearth the depth of the songs, as they are almost all buried in layers of musical silt. Perhaps lo-fi at it's finest, rarely becomes so abrasive that you'd have to turn down the volume. Overall, distills simplicity with dark themes and musical restraint. The product is magnificent. The Microphones depth and psychological deftness make a true gem.
