Album Review: Deerhoof, Deerhoof Vs. Evil

Release Date: January 25
Label: Polyvinyl

I find it very hard to review bands like Deerhoof. For the better part of the past two decades, this San Francisco-based band has recorded album after album of off-the-wall, experimental art-rock, rarely changing the basic formula for their music. Deerhoof live off the tension created by their spiky, rhythmically complex instrumentation and singer/bassist Satomi Matsuzaki's almost childlike voice. It's a jarring effect and one that I've never been wild about, but it's an undeniable element of the band's sound. Deerhoof Vs. Evil features more of the same, although some of the band's rougher edges are smoothed out by some surprisingly lilting melodic touches (listen to "The Merry Barracks"). Matsuzaki's voice is as polarizing as ever, especially when her lyrics boil down to chirpy, repeated chants, such as on tracks like "Hey I Can." However, a few songs, most notably "Behold A Marvel In The Darkness," construct a fun, more traditional indie rock vibe that suits her voice quite well. Deerhoof Vs. Evil isn't going to be the album that sells me completely on the merits of Deerhoof. However, that doesn't prevent it from being a strong, consistent record from a band that seems quite determined not to compromise when it comes to their musical style.

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Milton Bradley

Well, it's been a bit hectic this past hour for Mariners fans. News broke that Milton Bradley, our $12 million fourth outfielder/backup DH for the 2011 season, was arrested today on felony charges in LA. The specifics of the charges relate to "criminal threats," which were reportedly made to an unidentified woman. Milton has since been released on bail.

There had already been much murmuring about whether the team would elect to just cut Bradley loose, eating the money they owe him in exchange for not having to deal with any potential personality issues. Needless to say, these developments make that outcome look all but certain. The next question is whether or not this could void his contract. I won't lie: as a Mariners fan looking at a potentially dreary 2011 season, I'd love for the team to have an extra $12 million to spend as they see fit. However, I hope that whatever is unfolding with Milton and the Mariners is finished first, in a fair and just manner for everyone involved.

Album Review: Smith Westerns, Dye It Blonde

Release Date: January 18
Label: Fat Possum Records

Smith Westerns are a four-piece band from Chicago, who traffic in a slightly more indie-friendly version of glam-rock's fabulous riffitude. However, if you read the reviews of Dye It Blonde, the group's second album, one point is hammered over and over again: holy sweet jesus christ, these kids are young! Their debut album was recorded while the band members were in high school. Which was last year. That's some sobering stuff for a guy like myself, at the ripe ol' age of twenty-two. However, the average age of Smith Westerns has ended up haunting them in a distinctly gimmicky way. We're not talking about music recorded by children, but we're getting uncomfortably close. Everything they've released thus far has been greeted with condescending disclaimers about the band being "good for their age." Dye It Blonde's critical reception has been no different, as various major publications have been heaping praise upon it. Yet, once you recover from the shock of realizing you're listening to young whippersnappers, the album loses a fair bit of charm. Beneath these (presumably) cherubic, young, smiling faces lurks a set of catchy-but-uninspired riffs borrowed from T. Rex albums. The sparkling keyboards in the background give off a distinctly calculated quality as they try to evoke weary decadence. The lyrics expound upon the usual themes of youth, love, romance, tragedy and various combinations thereof. Sure, hearing teenagers play music this professional is nifty, but that doesn't automatically make it great. At the end of the day, Dye It Blonde plays strictly by the rules, aping a set of heroes whose heyday was long before Smith Westerns' band members (or myself) were born. Their inability to add anything substantial to an old formula keeps them from being anything truly noteworthy.

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In Kennedy We Trust

Believe it or not, the baseball offseason is starting to wind down. The last major free agents are signing contracts and teams are starting to pluck roster-fillers off the scrap pile. Here's what my dear Mariners have been doing while their Seahawk fellows were busy overthrowing the New Orleans Saints:

-we signed Adam Kennedy to a minor league deal. It's sad that this is one of the more exciting things that's happened this offseason, but Kennedy actually has a decent chance of making the team out of Spring Training. He could force Tui off the roster and provide a quality veteran backup at second and third base. He can also steal a bag or two. Welcome to the family, Adam.

-veteran catcher Josh Bard returned to the organization on another minor league deal. If the club wants Adam Moore to play regularly at Tacoma instead of sporadically backing up Olivo in Seattle, Bard could see some time with the club as a more suitable backup.

-Olivo's signing became official, meaning that someone had to get dropped off the roster. That ended up being right-hander Anthony Varvaro, a hard throwing relief prospect who had some control problems. He pitched in a few games with the club in September, impressing few. He will not be terribly missed.

-finally, it looks like David Aardsma's hip surgery is a bit more serious than initially reported. Wonderful. Brandon League, start mentally preparing for closing games. We're gonna need you and that amazing splitter than you never throw.

Album Review: Tapes 'N Tapes, Outside

Release Date: January 11
Label: Ibid Records

For about a month during the summer of 2005, "blog bands" were the latest craze. The word-of-mouth buzz and snowballing popularity that the internet fostered allowed a handful of bands to raise themselves out of the morass of indie rock wannabes and get some national attention. The most famous of these bands was Clap Your Hands Say Yeah, who ended up selling hundreds of thousands of copies of their debut album out of their apartment. However, finishing second in the blog band race was Tapes 'N Tapes, a nervy little quartet out of Minneapolis, who scored major critical points with 2005's The Loon. Fast-forward to 2011 and we find Tapes 'N Tapes trying to put the pieces back together. Outside is their third album, following the disappointing and much-mocked Walk It Off. Most of the music press seems to have moved on, but Outside contains a surprising amount of charm for a band most have already written off. The band's signature thin guitar work and urgency has evolved a bit, allowing more keyboard texture and eclectic instrumentation. The band's most compelling element, though, remains frontman Josh Grier's voice, capable of lifting even the most generic of indie rock tracks into another level with its emotional immediacy and rough edges. The album's opener, "Badaboom," benefits the most from Grier's histrionics, as he switches gears halfway through, turning a fragile whisper into a defiant, raspy roar. Songs like "SWM," "Desert Plane" and the aptly named "Freak Out" further consolidate the band's strengths. Outside is far from perfect and Tapes 'N Tapes still have plenty of work ahead of them if they want to reestablish themselves as an above average band. However, it's an admirable step forward for a band that time is rapidly forgetting.

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