The Brian Jonestown Massacre - Who Killed Sgt Peppers? - 2010

The Brian Jonestown Massacre, Who Killed Sgt Peppers?, A Records, 2010
Back in the day a new release from BJM just meant that a new week had begun. The band was so prolific, it seemed impossible to keep up with them. But ever since bandleader Anton Newcombe defected to Iceland, the band's release dates have become such special occasions that even longtime devotees can feel like a tuxedo and a scented invitation are required just to listen to their new stuff. Which isn't a bad thing. If there is one band out there that has paid their dues, it is BJM, and that dedication to keeping it real allows for a certain amount of well, understanding. So they've cleaned up, kicked the drugs (supposedly), and started writing lyrics in French. But does that mean they've gotten better?

That depends. The gritty, schizo genius that characterized their early work has largely evaporated over the years, and while Who Killed Sgt Peppers? shows flashes of the chaotic brilliance Newcombe was once possessed with, most of the album seems to trip itself into dance dance electronica Eurotrash shit. It lacks an organic feel and seems like it was made by a machine,rather than a human, like a Kraftwerk album. Even stand out tracks like "Unger Hinfr" are cold and lonesome sounding, as if, when you drop all the badass swirling dissonance and sassy vocals, the song itself just wants a big fat hug.

Newcombe's always been fiercly independent and adamant about following his own creative vision and dancing with the voices in his head, but as a songwriter he's always wanted us to join in. At times, he was the closest thing to John Lennon most of us had ever seen. I'm not sure that's the case anymore, which is a shame.
-stacks

Local Album of the Year! 2009 Edition

Local Music
Album of the Year
Charles McVey, Animal, Impure Records
There were several great releases this year by local bands. Lawrence's Left on Northwood unleashed a monster at the beginning of the year with Gut Check Personality; veteran Topeka rockers Backlash finally unveiled their self-titled magnum opus, a fist in the air rock-on statement that was hard to ignore; and then, of course, there's Kick Kick, whose Powerplay was a flawless power pop masterpiece that still hasn't left our office stereo. But, despite the quality of those releases and several others, one album just kept kicking around our heads here at The Point, Charles McVey's gutsy, passionate, and thought provoking Animal.


It is dificult to single out one reason why Animal was chosen. It is a very listenable album of piano driven college rock that sways from the intimate to the furious with ease. Anchored by his longtime, outstanding rhythm section of Max Paley (bass) and Erik Kessinger (whose drumming is a real bright spot), McVey comfortably excercises his well-honed (and underappreciated) talents as a songwriter. It's the most focused he's ever been, and his gruff, sexy voice hovers over the recording like the angel of some broke down old time blues singer. The production, as well, is remarkable - nearly everything about this album, even the saxophone (Dan Kozak) is perfectly executed.
But Animal is more than a pop album. On the surface it is a deeply personal exploration of one mans sexual identity in relationship to his faith, and his decision to relinquish his faith because of it's hypocrisy. It is an incredibly bold statement about religion and humanity that few artists (local or otherwise) would have the balls to make. But it is more than that. Throughout the album, McVey asks questions we all should be asking, demands answers that we all should demand of our authority figures, and makes decisions we should make based on the (lack of) response received. At heart, Animal is not the personal album it was billed as, but a defiant social statement that cuts to the heart of the state of modern man. It's an album of disconnect, confusion, and, ultimately, the enlightenment that comes from the realization that all of the authority thrust on us, be it spiritual, governmental, social, or parental, does not equal love. And that nothing is more important than love. Nothing. Congratulations Mr McVey, you've made one for the ages, and made a few lives better. - Marshall Stacks
Contact Charles through his Myspace: http://www.myspace.com/charlessmcvey

End of Year / End of Decade Best of Lists!

The end of the year is time to give thanks to the hardworking souls who write the stuff you read here in The Point. These folks sit at their desks for hours, staring at glowing monitors, battling hangover induced writers block and urges to just go fuck it all and get that job at WalMart their mothers keep telling them they should have, just to move a little love into the world in the form of an honest, well thought out review, interview, or editorial. Ironically enough, here at The Point, gratitude is shown with copies of The Beatles Remastered box set (which none of us could afford and were to afraid to steal online) and the option to do end of year lists instead of actually write something. This year, being the end of the decade, allows for an added bonus - best of the decade lists. Sure they're annoying and cumbersome, pretentious and forgettable, but please indulge us for a minute or two. Speaking of which... For those you out there who think that music journalists aren't an integral part of your "scene": I don't care how many hits you have on your MySpace, or how much "the industry is changing", no one is going to take your shitty band seriously for long without friendly writers to tell them why they should listen to you. Good music + good journalism = rock stars and underpaid journalists. Just keep giving me the free records and I'm happy. - Stacks

Magnus Cooper. Contributing writer, expert on noise rock and pretentious indie rock, leader of the second wave of 'spock rock'.
Best of 2009
No surprises here, guys. I like what I like, hate what I hate. Can't kill the fuzz. Kill the fuzz. Happy new year, everyone!
1. The Paper Chase, Someday this Could All Be Yours, Kill Rock*s
2. Lightning Bolt, Earthly Delights, Load Records
3. Animal Collective, Merriweather Post Pavillion, Domino Records
4. Raekwon, Only Built for Cuban Linx... Pt. II, EMI Records
5. Dirty Projectors, Bitte Orca, Domino Records
Faves, 2000-2009
1. Black Dice, Beaches and Canyons, Domino Records, 2002
2. Bright Eyes, Lifted (or The Story is in the Soil, Keep Your Ear to the Ground), Saddle Creek, 2002
3. Radiohead, Kid A, Capitol Records, 2000
4. Lightning Bolt, Hypermagic Mountain, Load Records, 2005
5. Lightning Bolt, Earthly Delights, Load Records, 2009
6. Panda Bear, Young Prayer, Paw Tracks, 2004
7. Bon Iver, For Emma, Forever Ago, Jagjaguwar, 2008
8. Cheveu, Cheveu, Born Bad Records, 2008
9. Dirty Projectors, Bitte Orca, Domino Records, 2009
10. Converge, Jane Doe, Equal Vision Records, 2001

Marshall Stacks: Music editor, The Point, last true Ramones fan, pain in the ass.
What a year, what a decade (sigh)! I'll give it a try...
2009
1. Neil Young, Archives Volume I, 1963-1972, Reprise Records
2. The Beatles Remasters, Capitol Records
3. Thirteenth Floor Elevators, Sign of the Three Eyed Men (Box Set), International Artists
4. Wolf Eyes, Always Wrong, Sub Pop
5. The Thermals, Now We Can See, Kill Rock *s
Decade (Note: The Avett Brothers would have been higher if not for their last release...)
1. Ramones, Ramones (Reissue), Sire / Rhino
2. Ramones, Road to Ruin (Reissue), Sire / Rhino
3. Ramones, Leave Home (Reissue), Sire / Rhino
4. Ramones, Rocket to Russia (Reissue), Sire / Rhino
5. The Exploding Hearts, Guitar Romantic, Dirtnap Records, 2003
6. Radiohead, Amnesiac, Capitol Records, 2001
7. Tom Waits, Alice, Anti, 2002
8. Television, Adventure (Reissue), Elektra, 2005
9. Neko Case and Her Boyfriends, Furnace Room Lullaby, Bloodshot Records, 2000
10. The Avett Brothers, Introducing... Emotionalism, Ramseur Records, 2007

Jack Partain, Editor, The Point. AKA, "the guy that isn't going to let Marshall write smart ass comments about him here".
'09
1. The Felice Brothers, Yonder is the Clock, Team Love Records
2. The Flaming Lips, Embryonic, Capitol Records
3. The Mountain Goats, The Life of the World to Come, 4AD
4. Vic Chesnut, At the Cut, Constellation Records
5. Assjack, Assjack, Curb Records
Decade
1. Godspeed You! Black Emporer, Lift Your Skinny Fists Like Antenna's To Heaven, Constellation Records, 2000
2. Sodastream, Looks Like a Russian, Trifecta Records, 2000
3. Whiskeytown, Pnuemonia, Lost Highway, 2001
4. Sun Kil Moon, Ghosts of the Great Highway, Caldo Verde Records, 2003
5. The Mountain Goats, Tallahassee, 4AD, 2002
6. Red House Painters, Old Ramone, Sub Pop, 2001
7. The Great Lake Swimmers, Ongiara, Nettwork Records, 2007
8. Royal City, Little Hearts Ease, Rough Trade, 2004
9. The Avett Brothers, Introducing... Emotionalism, Ramseur Records, 2004
10. The Mountain Goats, The Coroners Gambit, Absolutely Kosher, 2000

State Champion - Stale Champagne - Review

State Champion, Stale Champagne, Sophomore Lounge Records, 2010
Wow. Just wow. I have not heard a new artist with this much potential in a long time, particularly from the alt/country world which lately seems determined to become a piece of lint inside Jeff Tweedy's bloated naval. The facts before the praise: State Champion are from Louisville and are fronted by a guy named Ryan Davis. Champagne is their first full length and it's a bad ass, kick ass, introduction to a band that could single-handedly resurrect the wild and youthful spirit of a once fertile genre. Anchored by a steady backbone of expert songwriting ala The Drive by Truckers and The Old '97s, but revelling in the rough edges that ripped bands like Whiskeytown apart, the brilliance of Champagne as a debut seems almost effortless, as if it were recorded a decade ago and intentionally held back to be released just in the nick of time.

From the opener 'Thanks Given' it's clear the band has enough twang and circumstance to compete with anything coming out of Texas, but with a clear understanding of the importance of rocking out and the songs that follow are a mix of down home jams and anthemic country rock singalongs for indie kids that have pulled their heads out of their asses and put down the Vampire Weekend crap. Personally, I found myself applauding at the end of each track on the CD. Pay attention, you'll hear about these guys again. -jack partain