Sound & Fury 6-22-2006

Steve Reynolds Exile (429 Records; January 2006)

Echoing sounds of Bruce Springsteen, Ryan Adams, and Elliott Smith, singer/songwriter Steve Reynolds’s poetic lyrics and extraordinary guitar work create a powerful folk-inspired rock sound. Together with his slightly raspy voice and the raw nature of his performance, Reynolds’s debut album features an array of moods. From the heartfelt ballads of “Market Fool” to the upbeat, foot-tapping “Dear Rose,” Reynolds’s songs evoke emotions from guilt and indulgence to love lost and rediscovered. The haunting lyrics of “Only Son” pay tribute to his writing skills and the sweet sound of the old-fashioned love song “Satellite” proves his ability to draw from the past. The mellow, soothing motif of the recording makes this album perfect for everything from road trips to nightly gatherings with friends. — Stephanie Cain

Drums & Tuba Battles Olé (Righteous Babe Records; 2005)

A marching band geek’s delight – apparently it’s cool to play a tuba. The granddaddy of brass anchors the low end of this rebellious album with unprecedented dynamics. Complemented by guitar, drums, vocals, and a gaggle of effects, the six extended tracks on Battles Olé challenge the listener to the fullest. Every song on this disc seems to traverse a variety of moods. The sinister “Two Dollars” gives way to the funky aggression of “Four Notes of April.” The staggered phrasings of the latter might be Olé’s only vocal triumph. The fittingly named “Magnum Opie” reveals the jazzier persona of Drums & Tuba. An astral voyage of sorts, it makes one crave the band’s groovier side. — Tyler Blue

The Robocop Kraus They Think They Are the Robocop Kraus (Epitaph Records; February 2006)

In the newly revived department of rock bands aspiring to emulate the Talking Heads, the Robocop Kraus takes the prize. That said, it is a good record for its resuscitated genre and is full of funky bass lines and subtle electronic transitions between tracks. Good job, boys, or should I say das Muttersöhnchen, you German scoundrels? If these guys ever get popular over here, they are definitely getting sued by David Byrne, and though the songs were quite catchy at times, I simply could not escape that thought. A line from the principal track, “After Laughter Comes Tears,” contains the sentiment “we are working / hardly working,” which sums up this point quite nicely. — Patrick Moore

The Flaming Lips At War with the Mystics (Warner Bros.; April 2006)

The Lips are one of my favorite bands ever, okay? In the ’90s, no one was better (not even Sonic Youth). Since Yoshimi, however, they have been worshiping false idols, and this Mystics album is just another step down the path to musical irrelevancy. The lyrics are banal, the music is hyper-processed and derivative, and Wayne’s vocalizings have lost their personality. Honestly, holding this album up to Telepathic Surgery or The Soft Bulletin is an exercise in the most awful disappointments. If you’ve come to these Okies late in their career, this set of gizmos will probably dazzle you just fine. But like a betrayed disciple, I’m going elsewhere for my mysticism. — Derek Svennungsen

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