The Boy with No Name font> Epic Sounds like: Uninspiring music for the depressed Short take: Travis continues downward spiral into banality Dear Travis: It's not your fault, it's ours. We'll never forget the way your songs, melancholic tales of rain and driftwood disguised as uplifting, foot-tapping melodies, made our heads sway. But lately (we're talking 2003's 12 Memories and new album The Boy with No Name) , we've felt like you've been, well, a bit of a wet blanket. Sure, new track "Selfish Jean" is upbeat and bouncy, but overall it feels forced, like you're recklessly trying to turn the clock back. Also, the ripoff of the sublime percussive beat from Iggy Pop's "Lust for Life" is gratuitous and shameful. We get it, you need to grow but sad lyrics on top of sad songs are bumming out the already bummed-out Prozac nation. John Benson
One Man Revolution
Epic
Sounds like: Early Boss meets Cohen, Cash and Dylan ... almost
Short take: Great message, good strumming, unmemorable voice
Let's be honest: 90 percent of this album's sales will be to Rage Against the Machine (and maybe Audioslave) fans who'll buy it on faith, songs unheard, because The Nightwatchman is legendary guitarist Tom Morello. But Morello hasn't just created a solo album and learned to sing, he's launched an acoustic persona, politically charged and aimed at rallying support. We're talkin' fire and pitchforks at the White House. The Harvard political science graduate has essentially constructed an angry folk album for those who like fight songs. Some of the delivery is borderline cheesy, and only a few songs really pop, but the freshman effort is not entirely without merits. Besides, who doesn't like a little harmonica? Matthew Schniper
The Beatific Visions
Rough Trade
Sounds like: A countrified, goofy Hold Steady
Short take: Barroom rock for any barroom, anywhere
Brakes' sophomore album Beatific Visions plays like a jukebox set to random. "Porcupine or Pineapple" would be welcome at any underground punk party; "If I Should Die Tonight" could kickstart a line-dance hootenanny; and "Cease and Desist" is close enough to pop to soundtrack a pizza joint's dinner rush. Elsewhere, "Spring Chicken" is a howling '50s-diner twist-off, "Hold Me in the River" is a perfect pre-set dive-bar quick jam, and "Mobile Communication" has the gentle sway of last call at any pub. As in first effort Give Blood, lead singer Eamon Hamilton's whooping caterwaul is still the center-stage highlight, this time more snide and decidedly political, but always having a grand time of it. Matt Martin
All content © Copyright 2013, The Colorado Springs Independent | Website powered by Foundation
