Raymond Happiness Creates Its Own Animal

    Landmark moments in rock music have often been the result of an artist successfully merging previously distinct genres into a new style all its own. Hallmark examples include Dylan plugging in and merging literary, folk lyrics with a rock sound (Highway 61 Revisited and subsequent tour). Another notable instance was when U2 blended post-punk with Americana (Joshua Tree album and subsequent tour). While unsuccessful efforts could spawn an awkward, ugly, useless beast, in the successful instances the result is the sum being greater than the parts and the formation of a new, highly functioning animal. 

While no one here is suggesting Raymond Happiness has made a laboratory mark the equivalent of the aforementioned artists, their debut album The End is clearly its own creature with a sound that not only works, but is enjoyably and distinctly... Raymond Happiness.

The Kounter brothers of Raymond Happiness

As we've been following their successive singles and EP, RH's notable experimentalism has offered us  some highly interesting tracks. While the melee of genres they've traversed might have resulted in them becoming a mere novelty act, their full-length debut album has revealed them to be anything but mere novelty. The End, instead, is a highly honed-in collection of songs that blends Indie Alt-Pop, EDM, and even some shades of Classic rock, into a natural, flowing experience. Neither musically nor lyrically does the album sound forced, but instead is artistically constructed with heartfelt precision. The opening track (with SPARKS-ish inflections and attitude) is followed by the title cut, which sets a very modern, studio mogul feel. It also begins setting the base colors of the album with a recurring motif of somber joy. One could describe the mood as an existential or even spiritual attitude that speaks to the writing on the wall for a coming apocalypse, while there can still be a youthful spirit that goes deeper than these mere surface issues - and even far above them. Both lyrically and sonically the album repeatedly displays a depth that can be ironic, paradoxical, and thought provoking (note the chorus "We've got a long time left, and no time at all."). Throughout the listening process, one notices countless arrangement and production contrasts. Reverberation levels are both wet, and then dry. Keyboard sounds are both modern and retro (notice the Fender Rhodes sounds of "No Time At All" and the closing synth sound of its bridge that resembles the old Juno variety). Instrumental riffs are both electronic and acoustic - studio programmed and live. Often the exchanges happen several times in the same track (see the acoustic bridge of "God Only Knows" that morphs a pop ballad into a Relient K type of interlude, with the segue-way back into the main theme featuring live, post-punk, high-hat drumming). The songwriting ranges from catchy pop to an almost classic rock vibe (see especially the brilliant "Glow" which is almost a hybrid of Coldplay meets the "Late for the Sky" era of Jackson Browne, all in 6/8 time). One might expect in all this the album would be disjointed. Know for certain it's anything but that. Aside from the pop, intermission-like "Kansas" which serves strategically as a clear-your-head type of digression, the album flows almost seamlessly in a stride of both melancholic and reflective... happiness. Suffice it to say, there are "Wolves among the dogs in the yard" - but the Raymonds remind us, fortunately, there is a "way out." 

Before taking your own dogs for a walk in the warm weather of our 2022 season, know that Raymond Happiness' The End might just be the best album animal of the summer. 

You can enjoy one of the notable tracks "Wolves" right here ("Wolves" by Raymond Happiness on Youtube), but be sure and check out the entire album on SPOTIFY, APPLE MUSIC, and I-Tunes. 

-PS

(If you like any of these artists, you will probably like Raymond Happiness - or vice-versa: Pyramid Park, Foster the People, OM-53, Coldplay, Mirrours, Relient K, Owl City. Josh Garrels, Built by Titan)

 

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POWERSOLO Will Change Your Life

If you don't know POWERSOLO, you should. Somewhere between Tom Waits, Beefheart, The Residents, and The Ventures, is POWERSOLO, from Denmark. POWERSOLO will change your life.

-PS

RAYMOND HAPPINESS Debut Album is Coming

 

Central California is in a bit of a buzz right now anticipating the release of the debut album by RAYMOND HAPPINESS. Admittedly, our arid landscape is not known for its alt-music prowess, but Raymond is bringing us some possible happiness - and hope. If their freshman project is as strong as this track (listen to WOLVES right here), we could be in for something special. Be watching here at Potluck for our forthcoming review of the entire album.   -P.S. 

We've FINALLY Listened to Marc Plainguet...

And as we expected - it turns out we like his stuff. 

Some of you might know our bio as band POTLUCK SUICIDE (see lengthy description akin to War and Peace under "Why Potluck Suicide"). Some know that our long-awaited, never released third album recorded in 1994 was to be entitled:

WE'VE NEVER LISTENED TO MARC PLAINGUET 

BUT WE'D PROBABLY LIKE HIS STUFF

We figured this title would help zine reviewers from a priori, assumed comparisons and making that the primary theme of their article content (for instance, True Tunes' highly dismissive 1991 review of our second album Stan Was a Plush Toy which basically pigeon-holed us as plagiarists). Hence, we came up with this title, which was both factually accurate and quite catchy. We know reviewers have a tough job, and we're only trying to be helpful.    

Now, it turns out, Marc Plainguet has starting releasing his stuff on Bandcamp. And guess what? Come to find out, we like his stuff! Some Marc P. album reviews should be forthcoming right here on P.S.

 Until then, just know: Our unreleased third album title was prophetic.

-P.S. 

Atombender - "Wait of the World" album review

I listen to a lot of music - an assorted, plethora of tune-age of eclectic genres - dating back years. Of the "rock" variety (concerning which we often sub-categorize endlessly ad infinitum), when it comes to albums there are a handful of qualities which make the artists' work stimulating for me. Typically I'm simply looking for something that is... 1) Interesting. From the "interesting" plank I move into the subcategory of it being... 2) Moving.  At this juncture, I'm hoping the collection of songs will be 3) Continuously play-worthy (re-spinnable). Maybe it's needless to say, but I've listened to literally thousands of albums I've found to be interesting, I've listened to hundreds I've found to be moving - but then there's this 3rd category, where the work is interesting, moving, and even worthy of many, even countless, re-spins.


Without a doubt, the indie pop-punk band Atombender's recent release "Wait of the World" has already found its way into that third category for me.


So, utilizing an Aristotelian, 3-point polemic format (along with some cheese and crackers)...


From the perspective of an initial listen, there are countless qualities WOTW has which are really interesting. The songs have numerous catchy moments, plays-on-words, abrupt energy explosions as well as direction changes. The horn and retro-synth blend is more regular in this full-length offering than in their previous EP - as well as being even more enjoyable. The melodies, hooks, and harmonies are all packaged in a unique way and are right there for the taking. From the sneakily complex opener "Carpet Hearts," to the straight-forward, MXPX-like-punk-drive of "Back to the Basics" - to the playful, almost Dylan-esque lyric format of "Curse My Metal Body" (with the cynical, repetition of "everything that's beautiful is gone") - A-Bender's new album punches you in the mouth at your first point of exposure.


The album, furthermore, is also very moving. WOTW's lyric content is chock-full of life dilemma doubts and spiritual pilgrimage signposts. This becomes evident as one gives a more careful re-listening to tracks such as Amputations, US Hwy 30, Sinkhole, Great Lakes, Weight and Sea, and Ad Astra Per Aspera. I'll admit I'm a bit of a sucker for location/geographical references in songs and, well, this album has them. I'm close to certain "Sinkhole" is about some college town known as Ames, IA, and these types of references give the entire work that sort of "Asbury Park/Thunder Road" - or even Sufjan Steven-ish "Illinoise" vibe. For the record, I love that vibe - especially when, as in this case, it seems to be very genuine. Unlike some of these others, however, WOTW interjects glimpses of light as opposed to just ending up at the dark, dead ends of back streets. I must say, this was a pretty adventurous undertaking for a "pop" punk band's first full-length album, but they pull it off - and I mean, they really pull it off. Were it for merely the above reasons alone, "Wait" should be like a shared, time-capsule "magnum opus" for alternative music fans who have any connection to Ames, IA or the surrounding areas.


But the above is not even primarily what I like about "Wait." The album is also ridiculously re-spinnable. In just a handful of days since its release I think I listened to it something in the neighborhood of twenty-five to thirty times. I just can't seem to get enough of it. I've often asked myself what it is about certain albums that are able to find their way into my third category? To some degree, it's subjective - and replete with intangibles. However, I continue to explore some theories. Of course, the album needs to be interesting, and moving - that's how it got this far on my spin-list. But it also needs to be continually interesting - even progressively so. I see much of this having to do with fine-tuning choices being made about songwriting, arrangements, and production. In the case of WOTW, there are a myriad of delightful nuances within these categories which stand out. It's pretty remarkable to this reviewer that an indie band's first full length recording could exemplify such mature songwriting. After multiple spins, one becomes more and more aware of the diversities in the song structures - along with the variations and dropping in and out of vocals/instruments in the arrangements. Just explore the track "US Hwy 30" several times (again, love the geography reference) and I guarantee you that, aside from the fact that on a surface level it's a fun, catchy song - you'll hear different, enjoyable nuances with each and every intake. Focus only on the instruments the fourth (or seventeenth) time through, and you'll notice a staccato, popping synth sound in spots you'll swear wasn't there your first couple of listens. Savor the unexpected chord progression just prior to the terrific closing section, and you're likely to fall in love with this song as much as I have. This song is no exception, however. Essentially, the whole album is this way. From the vocals echoing the infectious, but initially subtle synth-riff in "Great Lakes," to harmonies bouncing from being unresolved to resolved, to lyric lines which remain unresolved - the album toys with the listener in wonderful ways. Both the band and the Des Moines studio guru Griffin Landa are to be commended for the production being professional, but not too glossy - for being well-thought out, while remaining rough around various edges. The vocal harmonies are tight and yet markedly "punk" (is anyone else like me getting a little annoyed of hearing sweet, over-reverberated Beach Boys-like harmonies on "punk" albums? Sometimes it seems as if "pop-punk" has completely "popped"). "Wait's" keyboard usage gives one the feeling someone just dusted off an old ARP mono-synth and ran it through a little guitar amp. Trust me, it's an exceptional feeling, and I wouldn't have it any other way. Lyrically, the album pours out meaningful, disclosing emotion while still maintaining a cryptic mystery which keeps the guests wondering (or "waiting?"). A prime example is the song "Night Guard." The words feature the delicious combination of being simple yet strangely opaque. The tone is thoughtful, yet haunting. The observer might be moved to reflection, or she might just get a little creeped out - or even experience both simultaneously. Aside from the fact that the band stretched themselves into attempting to write this slowly crescendo-ing/abruptly-ending piece reminiscent of perhaps U2/Coldplay - they also twisted into it into their liking with a powerfully placed voice effect, background primal expressions, and loads of spiritual angst. With Rohlf's lead vocal sounding eerily reminiscent of the old post-punk singer Mike Peters of the Alarm, and with the production still remaining raw, the song is like Arcade Fire meets The Clash accompanied by Modest Mouse - along with a brief shade of... Pink Floyd. All that said - incredibly, it works. I mean, it works magically. Along with additional, indefinable intangibles - the song almost seems to have a kind of staying, replay-ability of U2's "One." Yeah, I know - that's a pretty bold thing to say, but I'm telling you the song is that good.


Although I consider "Guard" to be a high point track, every song on WOTW grows stronger through repeated spins so that by the time the listener adventures through the anthemic group voices of the closing number (Ad Astra Per Aspera) he wants to play the whole thing again - without waiting (weighting?).


I have no intention of "rating" albums/books on this site, so if you're not completely certain what I think about    Atomender's WOTW, read the above review again. Or better yet, pick up the album and listen to it about thirty times for yourself.


-PS

Atombender "Wait of the World" in numerous formats available at Bandcamp:
http://atombender.bandcamp.com/album/wait-of-the-world

                 Atombender promo photography by Matthew Smith of The Beautiful Voyage
                 http://thebeautifulvoyage.com/


                 Atombender cover art by John Rohlf graphic design
                 http://www.jonrohlf.com/




                 Atombender on Facebook:
                 http://www.facebook.com/atombenderband
 
                 Atombender Facebook band page:
                 http://www.facebook.com/atombenderband#!/atombenderband/app_178091127385
       

Atombender Album Release Concert - Zeke's in Ames, Iowa May 11, 2012

Ames, Iowa's alt/punk band Atombender has developed quite a reputation for putting on amazing shows. This year (2012) I decided to check it out for myself. As it turns out, I wasn't disappointed. I've seen them twice now, but at their most recent show they especially outdid themselves. Their album release concert in Ames, IA (May 11 at Zeke's) was packed with an avid AB fan-base who attended with euphoric anticipation. After some solid opening acts (I caught most of the History on Repeat show which was very enjoyable), the bender boys took the stage at roughly 10pm. Following an ironic recorded music intro, they immediately pealed into the opening song ("Carpet Hearts") from their new album release ("Wait of the World"). The live performance of the song exemplified the edgy-yet-playful arrangements on the album of powerful drums/bass, guitar, and their unconventional blend of horns/retro-synth. Mix in the in-your-face vocal performance of two of the best front-men in the indie-rock scene (John Rohlf - vocals/trombone; Justin Smiley-Oyen - vocals/trumpet), and you have an introductory synopsis of an Atombender live assault.

After kicking out another new song ("Great Lakes") featuring very melodic vocal harmonies and an infectious synth-riff echoed by the vocals, they broke into an older fan-favorite - the highly energetic "FM Waves" from their previous EP "Poison Gasses for the Masses."

If you haven't seen an AB show, try to channel into a vibe of a bunch of friends hanging out. The sense of unity between the band and fans is such that at times they almost seem to blend into one unit. Cartoon character dressed fans are down front helping to rescue falling mike stands while front man ("Smiley") regularly joins the crowd for some some zany romping and frolicking. It truly is an adventure that everyone in the room has embarked on together.

In the midst of several more high-powered new songs, the band then offered a slower tempo number ("Night Guard") which featured guitar player (Zach Brenner) on piano and the addition of another percussion player (to accompany drummer Ben Wiedenhoeft). The album version of the song is one of several featured epic, yet still raw punk-ish tracks (the others being Weight and Sea and Ad Astra Per Aspera) - and the live version enhanced the successful effort they've made to stretch themselves musically/lyrically. In this reviewer's opinion, this was one of several unique highlights of the show.

Other strong new songs displayed included "Sinkhole," "Amputations," and one of my personal favorites "Curse My Metal Body" (one of several new songs that stuck in my head from the previous concert I attended in Des Moines). After suggesting "let's have a dance contest" during a stellar cover of  "Kids" by Mgmt (featuring an excellent, pronounced synth-riff by keyboard player Michael Davis), they eventually closed out their set by performing the track that finishes the new album: Ad Astra Per Aspera. Singer John Rohlf described it as a song of hopeful focus through difficult times. The distinctly spiritual mood of the song translated well into the live setting.

Following a very zealous audience recall, they favored fans with two more songs - the crowd-pleasing staples "Silent" (which bass player Jacob King humorously introduced as "Yoda in My Pocket") and "A Better Plan" from their earlier EP. In all, the concert was a high-octane, yet emotionally reflective event. Rumor has it that the mainstream band Hello-Goodbye felt Atombender should have been the rightful winners of the battle of the band contest at ISU's "Veisha" a couple of years ago. After seeing their album release concert, I can see why (One report says that the judges felt the band exhibited too much energy - imagine that).

I heard that because of plans/schedules it's possible it might be a very long while before Atombender performs again - but in the very least do yourself a favor and pick up their new CD "Wait of the World" available on itunes, bandcamp, amazonmp3 - among other places.

P.S.