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

(Cheap Lullaby)

Long before the Bloody Lovelies released an album, they were already pulling in thousands of dollars on MP3.com. A listen of the Bloody Lovelies’ debut Some Truth and a Little Money offers up plenty of reasons why the then-unsigned band found itself on Mainstream Radio Index’s charts alongside Sheryl Crow, the Red Hot Chili Peppers and Pearl Jam.

The Bloody Lovelies have an energetic pop-rock sound that is at once retro and yet utterly accessible. The fun the band is having comes through loud and clear on the album, making for happy sing-alongs and dreamy introspection alike. There are some standard piano-driven numbers like the opener “Hologram” and the gentler “Lonely Town.” The latter is sung with a delicate longing by vocalist Randy Wooten. But Wooten and his band prove they are just as capable of playing a good rollicking rock song with “Baby Tells Me (It’s Alright).”

While the Lovelies call to mind bands like Ben Folds and OK Go, they bring a quirkiness and comfort in tickling the ivories that gives their songs a sly, operatic feel. It is just odd enough to entice, but not strange enough to frighten. Just listen to the single “You Don’t Love Me” for a taste of this eccentricity: a handful of funky chords coupled with an ironic, drawling delivery gives a standard-fare breakup song a touch of personality and psychodrama.

The Lovelies’ blend of classic piano lyricism and lots of idiosyncrasies makes their music light and original, catchy and unimposing. Take this CD on a long drive, and see if you don’t come back humming the songs.

—M. Patricia Li

They Might Be Giants

Indestructible Object

(Barsuk)

Brooklyn-based progressive rockers They Might Be Giants just put out their latest EP, Indestructible Object, their first release since their June 2002 album No! The two Johns, Linnell and Flansburgh make up maybe the only 20 year-old band which is both extremely talented and as harebrained as Spinal Tap. They even have a 24-hour music hotline, Dial-A-Song, offering updates and samples of their music.

The opening track mutters of subconscious thought and hopeless wandering to the backbone of TMBG’s standard electronic beats, keyboard chords and synthesized effects. The subdued and somewhat depressing theme leads into “Memo to Human Resources,” a tune reminiscent of R.E.M. and which clearly shows their capabilities as solid songwriters. The whimsical “Au Contraire” may have been better left off the album, but demonstrates the two Johns still have a sense of humor—they sing of a poker game between Jodie Foster, Bach and Mahatma Gandhi. Next is the upbeat “Ant,” whose background horns make it ska-like. Although the trumpet, trombone and tuba add a nice dimension to the song, the band may have gone a little overboard near the end, finishing with rampant woodwind nonsense.

The EP closes with a cover of the Beach Boys’ “Caroline, No,” which was recorded live at the Coney Island Museum in their hometown. It is always risky covering a well-known song, let alone one off the immortal album Pet Sounds, but TMBG do justice to the Beach Boys with their straightforward rendition of the wholesome lost love ballad.

-—Akash Goel