Cracked and Diseased with Eliza and The Strange

Sometimes it takes a lot of leg-work in this business to find the next underground sensation, and sometimes they just fall right into your lap. A lot of the bands that have made it on to NewRockNews43 have been the result of many hours searching for just the right band to next review. Eliza and The Strange, however, were the happiest of accidents that have turned into an obsessive listening binge for the last 72 hours that's almost kept me from any sleep at all. Trolling the random Facebook feeds that pop up in front of me daily, I was intrigued by a few words detailing a new "voodoo-rock" band from Nova Scotia. That intrigue has turned into an obsession and a new top-five band in my head.

Eliza and The Strange

Eliza and The Strange are a creepy voodoo-rock five-piece from Halifax, Nova Scotia, Canada that sound like darkness and exude a sexy deviance I can't help but find myself attracted to. Composed of Eliza White (lead vocals and organ), Alex MacAskill (guitar), Ian Bennett (guitar), Jake Seaward (bass), and Kenny Myers (drums), Eliza and The Strange strangle from their instruments a hair-raising groove that would find home in any Tim Burton or Johnny Depp film. At just over 30 minutes long, their self-titled debut release (which just came out this past Friday!) drips in sex, fury, dirt, and grit, and oozes from the speakers with the same kind of intoxicating rhythms that made songs like "Queer" and "Vixen" super-sized hits for Garbage.

Eliza and The Strange's self-titled debut album

One of the hardest things to do with this album is to find just the right songs to go into detail on, because there are simply too many good ones to choose from. "Lady of the Night" is bass-led by Seaward and showcases White's deceptively sexy vocals. The guitar riff and chords laid down by MacAskill are simple and catchy, and set against Myers' cymbal crashes, perfectly encapsulate the feeling of straight power behind White's breathy vocals (though Bennett is new to the group and does not play on the majority of the album, he does play on the album's final track, "They've Got Secrets").
Yet my favorite track form the minute I hear it is track number two, "She Ain't Pretty." From second one, MacAskill's guitar riffs are addictive, and as they disappear behind Seaward's basslines and Myers' dimming during the verses, the blast/disappear form that details the song's structure is a beautifully clear and brilliant tribute to the Pixies' loud-quiet-loud dynamic. The rhythms in the song are contagious, and at just over 2 minutes, "She Ain't Pretty" is a blitzkrieg assault on my senses, tearing me apart one minute and gone the next. White's vocals are sultry and seductive during the verses, but blast forward as the chorus comes, and mixed with her dirty organ notes, the gritty guitar chords and minimalist drumming, I'm reminded of a Mudhoney-meets-Garbage mashup. With a lead-single track like this, it's no wonder that Eliza and The Strange chose "She Ain't Pretty" as the song for their first music video. Shot in an eerie black and white and washed out purple, the music video for "She Ain't Pretty" is one mindfuck after another in the best of ways. Scenes of the band tearing it up live intermingle with shots of a girl dancing and walking through a cemetery. White and company revel in the dirt and grit that they pull from their instruments, and watching them play live is like watching a building engulfed in flames: almost too scary to watch, but so ethereal and transcendent that you can't look away. Beautifully scary and wonderfully creepy, "She Ain't Pretty" is a five-star track and smash single if there ever was one. Bringing together Dead Weather-style vocals and White Stripes-influenced fretwork, Eliza and The Strange make this song an instant classic. To add fuel to the already blazing fire, MacAskill brings the whole house of cards crashing down at the end, letting loose on a blistering guitar riff and solo that tops out chaos-driven drumming and bombshell-basslines. If you listen to only one track from this album, "She Ain't Pretty" has to be it.

To continue their voodoo-rock groove, Eliza and The Strange come back a few minutes later with "White Lies," a riff-driven song that builds on itself with effects and rhythm that make it unforgettable. Wet with sweat and grime, "White Lies" is everything that's great about rock 'n' roll and going to a small, hole-in-the-wall club to see an amazing band. I can feel myself being jostled and jilted between the other sweaty concert goers, and any song that can bring that to me as I sit writing at a computer has an innate intense power that makes it more than just a diamond in the rough. MacAskill's bouncy guitar rhythm is rough around the edges and helped along by Myers' simplistic yet decisive drumming. White's organ creeps onto the scene with muddy blues notes, and twinkles dimly in the night just over MacAskill's nimble fretwork. With distortion and feedback enough for ten guitars, MacAskill sets "White Lies" apart from the rest with a subtle conniption of attitude that speaks to the versatility and power behind the track. Yet "White Lies" also plays host to a brilliantly disguised rhythm change, and with the stop/start dynamic of the song and White's hypnotic vocals to sway to, I'm lost in a dark vortex of purpled-black.
"They've Got Secrets" is not only the last track on Eliza and The Strange's album, but it's also the longest. I love the slow, droning bassline, the laid-back drum beat and vocal set that reek of blues-rock heritage and attitude. The two minutes in White goes full-throttle on her organ as Seaward and Myers share energy on the rhythm section just below MacAskill's heavy riffs. Bennett, who makes his recording debut with the band on this track, is quick to keep up with MacAskill, injecting his own brand of adrenaline into the brittle skeleton of the song. The only way to describe this song is as darkness incarnate amped up to an epic level and laced with seductive hypnotism. The best way to close out the album, and certainly a track that leaves me wanting more, "They've Got Secrets" is a brash whirlwind of distorted guitars and blood-curdling wails.
The fact that this is the debut album says something to me about this band. Eliza and The Strange are full-throttle all the way through all 30 minutes of this recording, and with these ten songs under their belts, the hair on the back of my necks stands up at the thought of what else these guys could be capable of. The combination of minimalist rhythms and eerily seductive vocals is a winning idea, and on their self-titled debut, Eliza and The Strange take the idea to its most triumphant heights. The only thing that's strange about this band is that they don't already have a major following of thousands. No doubt that when people start listening to this album in addition to the music video, big things will start to happen for Eliza and The Strange. I can't wait to see what this band comes up with next, because I know in my bones it's going to be something reveling in voodoo-rock and unbelievably addictive.

Sounds Like: The White Stripes, The Dead Weather, Garbage, The Kills

Key Tracks from Eliza and The Strange: "She Ain't Pretty," "Crack," "White Lies," "Disease," "Lady of the Night," "They've Got Secrets"

Check out Eliza and The Strange more at their: Homepage, Facebook and Myspace  

Hangin' Out with The Coathangers

I found these guys, or girls rather, today, and after hearing their song "Toomerhead," I had to check them out at a place where I could here more from them. The girls I'm talking about? The Coathangers, an experimental post-punk rock group that I'm proud to say comes from right here in Atlanta.
Comprising members Julia Kugel (guitar and vocals), Meredith Franco (bass and vocals), Candice Jones (keyboards and vocals), and Stephanie Luke (drums and vocals), The Coathangers deliver a solid punch to the gut of post-punk Slits-style rock with Bikini Kill type vocals. Don't let that be your deciding factor, though. These girls may share some similarities with Bikini Kill, but like their bio says, they'd rather "crack jokes with Andrew W.K. than sip tea with Kathleen Hannah and her crew." That's ok with me though, since I love Andrew W.K. as much as Bikini Kill (and my sister entered to his song "She Is Beautiful" at her Bat-Mitzvah). One thing I learn, though, while reading the Hangers' reviews on their site is that, although receiving reviews by such publications as Spin.com, MTV.com, and Creative Loafing, I have yet to read an in-depth review that truly exposes The Coathangers through their unique sound rather than stringing a few words together that sound nice. That is gonna change today, right here.
So I guess I'll take it from the beginning. While it was "Tommerhead" that originally attracted me to their new album Scramble, I was soon blown away with some of the other tracks on the CD. Case in point, "Stop Stomp Stompin'," track three on the album, which starts out with a very Slits-inspired drum beat by Luke which I love. I've always liked minimalist drumming (one of the reasons I love Meg White so much), and here Luke says more through her minimalist drumming than most people would be aware of. Right on top of Luke's beat is Franco's bass, a strong backbone for Kugel's weird, yet interesting guitar notes. While Jones's keys are scaled back a little here, she can be heard along with the other three delivering Bikini Kill-style vocals. While these girls must hate to be called Riot Grrrl, I see it not as a label for them, but mainly as one of their possible influences.
Their next track that I listen to, "Bury Me," seems to go beyond the Riot Grrrl sound, encompassing also Babes in Toyland, Pixies, and L7 (at least to my ears). While there is an undeniable proto-punk influence here, with vocals like Bratmobile's Allison Wolfe, Kugel's guitar chords have become more melodic than Riot Grrrl really allows for, and Jones's keys here add to the melody, making it a thicker track than the previous. Luke's drumming too, mixes with Franco's harsh bass notes to provide a Doors-like sound under the proto-punk guitar work and vocals.
I think one of my favorites from the album, though, is the very next track, "Dreamboat." Here Jones shines, her keys providing an easy, yet strong melody that Kugel solidifies with her riffs. Luke's drumming is Pixies meets The Slits, and Franco's bass work is Stooges and Raincoats-inspired. A fantastic track the exudes melody and tact, rhythm and power. A definite must-hear single, at least in my book.
"Dreamboat" is followed by the last track of my review, "Pussywillow." This song is definitely one where Franco's bass prowess is showcased, and again the Hangers seem to have altered their sound to something different. Now, rather than hearing Bikini Kill and L7, I hear Robots in Disguise, an all-female electropunk group. The Coathangers are not copying RID, but to drastically alter their sound style from The Slits and Bikini Kill to The Doors and Robots in Disguise just speaks to their versatility, and their talent. Luke's drumming now sounds Pixies-led, and with Kugel's sparse notes, and the lack of a prominent key section, I'm floored that The Coathangers can make such an amazing change in just 2 seconds. This must be killer at their live shows, and I hope they play here again soon, cuz I'll definitely be in the crowd.
These girls are so far more indie than major, and perhaps that's they wanna keep it. But if I heard them, and I worked at SONY or Geffen, I'd try everything I knew to get them to sign with me. Brilliant work girls.

Sounds Like: Bikini Kill, The Slits, Pixies, Robots in Disguise, The Doors

Key Tracks from Scramble: "Pussywillow," "Stop Stomp Stompin'," "Dreamboat," "Bury me," "Toomerhead"

Check out The Coathangers more at: http://www.thecoathangers.com/index2.html and http://www.myspace.com/fuckthecoathangers

Friday Night with The Shackeltons

So I've been listening to these guys all morning, and I just gotta say, they're freakin' amazing. Hailing from Chambersburg, Pennsylvania, The Shackeltons are a new-wave/indie-rock band with an amazing sound that seems to blend Cage the Elephant with Silversun Pickups. Fitting, it seems then, that they're touring with Cage the Elephant. I got way psyched, though, when I saw they were coming to Atlanta this Saturday. There's no way I'm missing seeing these guys live, especially if Cage the Elephant's gonna be there too.

Made up of Mark Redding (vocals), Eric Fisak (guitar), Ryan Egolf (guitar), Justin McDaniel (bass), and Sean Hallock (drums), The Shackeltons bring a soul-ish funk to their new-wave numbers, and as they expand on the indie-rock sound, I'm floored that these guys have a sound that's so different. I see on their Myspace that they've recieved rave comments by the Seattle Times and Rolling Stone, but unfortunately I just don't trust big name magazines and papers to talk about what's really important. So here I am, and four track reviews later, you'll know all you need to know about The Shackeltons.

I start with "Get Out," a clearly indie-rock/blues-rock-influenced track that takes away any wonder I might have as to why these guys are touring with CTE. Fisak's and Egolf's guitars are distorted pleasures to my ears, blending new-wave/indie-rock with blues rhythms and garage-rock beats. Hallock's drums are crazy here, reaching John Bonham-like levels, and as McDaniel's bass just keeps pumping and pumping, I'm reminded of John Entwhistle by his style. Above it all are Redding's frenzied blues-rock/funk vocals. I can't decide whether he's singing or screaming, or a mixture of both, but the bottom line is that I love it, and whatever he's doing, he's doing it right.

Song number two for me is "Emergency," an easy-starting song that rides on Fisak's melodic guitar progression as Egolf's lays down a rhythm track. One thing I love though, is the way Redding speaks the vocals at the beginning of the song. I'm reminded of a Johnny Cash/Jim Morrison sound, where Redding here is trying to get something deeper out of the lyrics. Trying to push the poetry through to the audience, and I love it. Among it all is McDaniel's bass, softly keeping time in the background as Hallock's drums are slow, almost lazy, but still managing to find the snare and cymbals at the right times. Definitely a new-wave-inspired track, and I'm almost tempted to label this track at least as shoegaze-alternative. It reminds me a little bit of Smashing Pumpkins through the lazy beat and heart-felt, poetic vocals. And with everything speeding up towards the end, it's definitely one of the must-hear songs on the album.

Then I move to "Yellow Cadillac," a melancholy-esque song that starts, like the previous, on a few slow guitar notes. But then McDaniel and Hallock crash in together, and with Hallock's movements on the snare and toms, it slowly builds into an amazing speed, with Egolf laying down a rhythm and Fisak following suit. Redding's vocals here, too, at more poetic, less sing-songy, and with this music, I wouldn't have it any other way. They fit brilliantly, and his voice is just raspy enough to grab my attention without alienating me with roars. I love the stop-start tempo of the song, making use of the Pixies quiet-loud dynamic, and the great, melodic guitar riff towards the end doesn't hurt either. Brilliant song.

The last track I listen to is "Madeline," and from second one, it starts with a fantastic bass line from McDaniel. Then Hallock builds in on the kit, and Fisak and Egolf lay down perfectly synched guitars to provide Redding with a stage for his harsh, new-wave/indie vocals. What I love most about this track, besides the catchy guitar riffing, is the incredible ambiance it exudes. It just feels like you're falling into the music, and that's something that will take a song right to the top if it can do it right. A solid finish to what promises to be a fantastic album.

Sounds Like: Silversun Pickups, Smashing Pumpkins, Pixies, Cage the Elephant

Key Tracks from The Shackeltons: "Emergency," "Get Out," "Yellow Cadillac," "Madeline"

Check out The Shackeltons more at: http://www.myspace.com/theshackeltons and http://www.theshackeltons.com/main/

The Room Next Door

The last group I listened to out of Germany was Scorpions, so when I discovered that they and this group shared the same homeland, I was ready for another taste of German hard-rock and alternative-metal.

Out of Siegen, Germany I present to you and your soon-to-be-happy ears Room Next Door, a timeless mix of alternative, rock, grunge, and indie. In the fantastic tradition of the Ramones, these guys (and girl) adopt stage surnames, and frankly I love the way they sound. Made up of Steve Next Door (lead vocals and guitar), Tobi Next Door (lead guitar and vocals), Laura Next Door (bass), and Jan Next Door (drums), these guys know how to make a sound so versatile it goes from The Strokes to Nirvana in no time.

The first song  I listen to from their promo CD is "Get Out on It," a song that boasts the dirty, distortion of Mudhoney's "Touch Me I'm Sick" and the hardcore vocals of Black Flag laid next to smooth, Strokes-like vocals. Jan's simple drum beat reminds me of Meg White's minimalist drumming, which I love by the way, and Tobi's guitar riffs are reminiscent of '60s garage rock. The interplay on this song between Steve's rhythm guitar and Laura's bass is also something that strikes me, as it reminds me of the interplay heard in groups like Pixies and Sonic Youth.

The next track, "Just One Step Away from Here," is a departure from the muddled, dirty guitar, in favor of a more indie sound. Tobi, however, delivers some notes on this with the perfect distortion for me to compare them to seminal acid-rock bands like Quicksilver Messenger Service and 13th Floor Elevators. Steve's vocals on this one show he can be hardcore if he likes, but also slow himself down for a more easy-going song.

The chilled-out aspect doesn't last long though, as I'm soon launched into "Losing the Magic," a song that's got Green River's guitar riffs and U2's vocal style. There's no other way to describe this group with any other words than "different" and "versatile." I love the guitar solo on this song. It just creeps up on you and stabs you in the throat with a sick riff that would make the Scorpions foam at the mouth.  

The last track I'll touch on here is "Lost in This Town." While "Potato Man" is also an interesting track, "Lost in This Town" just screams classic punk to me, living up to the legacy of the Ramones and the Sex Pistols. In fact, not only does Steve's voice and guitar sound like Joey and Johnny Ramone, respectively, but the bass and drums also remind me of those classic punk groups. The only thing that seems to move away from the Ramones ideal is Tobi's great guitar solo. But I'm not complaining; it's sick. Check these guys out. Germany gave us the Scorpions, and now they've given us Room Next Door.

Sounds Like: Scorpions, Ramones, Sex Pistols, The Strokes, The Vines, Mudhoney

Key Tracks from their 2009 Promo CD: "Get Out on It," "Losing the Magic," "Lost in This Town," "Just One Step Away from Here"

Check out Room Next Door more at: http://www.roomnextdoor.de/htm/index.htm and http://www.unsigned.com/roomnextdoor