Elf Power

Walking With the Beggar Boys

(Orange Twin)

Since the dissolution of the Elephant 6 Collective, it seems that the players involved have been content to leave behind the sound that made the group so popular in the musical underground: bombastic, psychedelic arrangements condensed into indie-pop gems, with alternating absurdity and striking poignancy. Athens, Ga.’s Elf Power continue to depart from this sound on their new release, an album striking mostly for its choice of Athenian forebears—abandoning the region’s mid-90s psychedelic boom, here the Elves seem to be doing their best R.E.M. The album has a warm, folksy sound, immersed in twanging banjo and shuffling guitar. The consequence of this, from a band used to more complex arrangements, is that Beggar Boys ultimately suffers from boredom, especially around the middle of the album where simplistic roots-rock anthems like “Evil Eye” are so unengaging that it’s hard to believe that this is a band with not one but two full concept albums behind them.

Beggar Boys does have its pop moments. The leadoff track, “Never Believe,” is a riveting opener that belies the monotony that follows. Driving synth opens the album, and quickly gives way to peppy jangling guitar. Only slightly dampened by Andy Rieger’s nasal, expressionless voice, the song is a pleasant chunk of modern folky pop. But after ten more songs of the same, one questions how much of this sound one can take.

Elf Power has almost a completely different lineup from the time they cut their masterwork, 1999’s A Dream in Sound, and at this point it seems like a name-change wouldn’t be too much to ask.

—Christopher A. Kukstis

Knoc-turn’al

The Way I Am

(Elektra/Asylum)

Knoc-turn’al’s latest album, The Way I Am features several of the West Coast’s major rap icons.  Dr. Dre and DJ Quik deliver flawless beats while Xzibit, Snoop and Nate Dogg bless several of the album’s tracks with their vocals. While this combination of hip-hop heavy weights is usually the recipe for a well-received album, the question arises—Is Knoc-turn’al contributing anything new or is he simply relying on the notoriety of his West Coast counterparts to propel him to popularity?

The title track features Snoop and seems as though Knoc-turn’al’s decision to release this as the first single was well calculated. Although Snoop has reached icon status by epitomizing the by-gone G-Funk era, the song juxtaposes the two rappers so that the distinction between them more apparent. The Way I Am makes it clear that both Knoc-turn’al’s lyrics and flow are original. His appeal to the West Coast listener base feels authentic when he declares, “I got shell toes on / I don’t wear them Tims,” taking a subtle jab at the East Coast.

However clever he may be, Knoc-turn’al’s over-concern with West Coast pride may alienate rap fans in other regions. Knoc-turn’al focuses on appealing to a West Coast audience, especially on “Peepin Tom.” He invokes the prowess of NWA, Ice Cube, Tupac and E-40 among others to create this comical song. By weaving hints of these classic artists into his own songs, it becomes apparent that Knoc-turn’al revels in his local notoriety. His authentic California flavor makes The Way I Am a successful and entertaining album. Hopefully Knoc-turn’al will not fall victim to trying to appeal to an East Coast listener base, as it his focus on the West Coast that distinguishes his music.

—Cassandra Cummings

The Bloody Lovelies

Some Truth and a Little Money