The past week, I spent much of my time listening to a trio of bands that, for the most part, didn’t do much for me. But they weren’t irredeemable, and they all had their moments. So, I figured I’d just throw them together in one post.
Besides an interestingly random name, this group has some star power behind it, led by Omar Rodriguez-Lopez — best known as the founder and driving force behind heavy act The Mars Volta — and Teri Gender Bender, the lead singer of Le Butcherettes.
The group was formed in 2012 when Rodriguez-Lopez returned to his hometown of El Paso, Texas, after basically dissolving his main band and began looking for a new project.
With Teri Gender Bender’s vocals leading the way, Bosnian Rainbows deliver a sound that is definitely an acquired taste. Some of the labels associated with the group include experimental rock, electro-rock, art rock and art punk.
A better description might be, “a less accessible version of Warpaint.”
That’s probably the best song on the band’s self-titled debut, which came out this past June. Other decent tracks are “Torn Maps” and “The Eye Fell In Love”.
Weirdo Rippers, the 2007 debut by No Age, is pretty much worthless and does not need to be heard by anyone ever again. But that’s OK, because it provides an origin point for the Los Angeles duo’s interesting progression.
Playing together since 2005, Dean Allen Spunt (drums, vocals) and Randy Randall (guitar) have gradually transitioned from annoying noise rockers to something closer to Dinosaur Jr. with an edge.
The band’s 2008 follow-up, Nouns, is, at its best, like something that could have been on the soundtrack to Nick and Norah’s Infinite Playlist.
It’s as close to straight-up indie-rock as the band has come during its career. The group’s next release, 2010’s Everything In Between, gives off more of a lazy-slacker vibe. Things are definitely toned down, a little garbled, with a lo-fi feel.
In terms of accessibility, it falls somewhere between the band’s previous two releases. A little further down the spectrum is No Age’s latest release, An Object, which comes out later this month.
The album has a real post-punk vibe, kinda like Joy Division at their most raw. There are some decent songs, such as “I Won’t Be Your Generator”, but there is plenty of less-than-stellar filler.
Look at it on paper, and it totally makes sense. A man from a relatively well-known indie band is at a party and he runs into a woman from an equally popular band. They hit it off, and, eventually, they decide they should make music together.
In theory, that sounds like the makings of a decent band. Unfortunately, that formula doesn’t always pan out.
Such is the case of The Babies, the combination of Vivian Girls guitarist Cassie Ramone and Woods bassist Kevin Morby. What should have been a lo-fi fan’s wet dream turned into something closer to the musical version of mumblecore.
Most of the songs on the Brooklyn band’s 2011 self-titled debut are dominated by male-female harmonies, with Ramone’s voice often taking the lead.
On the follow-up, 2012’s Our House On the Hill, Morby takes on a larger singing role, providing the main vocals on several tracks.
While the first album sounded like a poor man’s version of Best Coast, the second offering is admittedly more palatable and more fleshed out. And it’s probably the best album referenced in this post.