In Rotation: Against Me!, Crystal Castles, Magnifico

 
In Rotation
Cliché punk, pleasing incoherence and raunchy Euro fun
Troy Farah
Published on 07/08/2010

Artist: Against Me!
Album: White Crosses
Rating: 2/5

If you’re in a punk band in this day and age, you’re entitled to a lot more scrutiny than other genres. It’s that age-old question: is punk more about the attitudes and lifestyles or about how one plays a powerchord?



Against Me! seeks to answer this question on their fifth album, White Crosses, but doesn’t add much. Instead, themes of wasted, misguided youth abound, hinting that lead singer Tom Gabel is worn out by the same way of life he once advocated.

Like a flip-flop reprise to Against Me!’s classic “Baby, I’m an Anarchist” White Crosses’ first single “I Was a Teenage Anarchist” comes across as some limp, mid-life crisis response to adolescent politics. Sure, dressing in all black and rioting against cops is as conformist as heading to law school and voting straight ticket Democrat. But if political action was all about clothes and mob mentality instead of some kind of substance, maybe you didn’t believe in anything to begin with.

This attitude acts as a marker for the rest of the album. It sounds good, with plenty of catchy choruses to sing along with at their concerts, but it’s soggy, apologetic and tired.

For example, “Because of the Shame” begins with sentimental piano before busting into a “whoaaaa” chant all about falling in love too deep and losing a lover. It’s definitely sad, especially if it’s true, but it’s execution is disheartening.

“Suffocation” feels like the plot to every suburban teen drama from “The OC” to “Kids.” Unfortunately, the album has nothing left to offer.

White Crosses sounds like a break-up album. Even their drummer, Warren Oakes, quit the day after it was released. All that would be dandy—seeing Gabel and co. in a new, better-suited outfit. But what we’re left with isn’t much to work with.

Want to form your own opinion? Against Me! will be performing at the Orpheum Theater, 15 W. Aspen, on Thu, July 15, at 8 p.m.

Artist: Crystal Castles

Album: Crystal Castles (II)

Rating: 4/5

For some members of the Y Generation, the blips and beeps of video games are more embedded in childhood memories than Saturday morning cartoons. If you are such a person, familiarize yourself with Crystal Castles, a jaded collection of eight-bit medleys and spewing-puke-drunk punk. It’s so danceable, so angry and so eager to bring back the ignorant warmth of childhood.

Alice Glass, the band’s incoherent frontwoman, is famous for running away from home at age 14, living with a band of drug addicts and changing her name to Vicki Vale. She met Ethan Kath (short for ‘Catheter’), recorded six songs and disappeared for six months. The band was forgotten until Kath found Glass strung out on narcotics and the two reunited.

Of course, this is all speculation. Crystal Castles are notorious for lying to the press just for the hell of it and, more likely, to create an image bigger than themselves to get attention. Their sophomore album, another self-titled release, is worthy of any and all gawking. It’s the equivalent of stepping into a sensory deprivation-chamber. Glass’ vocals are rarely, if ever, understandable over the heavy drum beat and raging synths. You can lose yourself in this music.

Crystal Castles (II) is more thematically dense and put together with less haste. The lo-fi is dumbed down, with less ambiance and more fiery, manic hooks like on “Doe Deer.”

“Year of Silence” samples vocals from a Sigur Rós song, taking the gibberish speak to a new level, but Kath’s high-pitched cover of Platinum Blonde’s “Not In Love” doesn’t have any edge. That’s about it for experimentation.

Overall, (II) doesn’t sound much different from their debut and adds little to Crystal Castles’ diversity. Even if this Toronto- based duo are accomplishing something unique, they still have room to grow.

Artist: Magnifico

Album: Magnification

Rating: 4/5

Slovenian superstar Magnifico (Robert Peut) looks like something that walked right out of the ’70s, complete with a thin, porn star moustache, a white suit, yellow-tinted aviator glasses and a cowboy hat. Combining the suave of Gogol Bordello with James Bond’s guitarist, Magnifico’s horny, Balkan jams will get you thinking about socialism in former Yugoslavia as much as long nights of sexy dancing.

Magnifico aims to push boundaries in a culture redefining itself. He’s even starred in Slovenian movies such as “Porno Film,” something like “Zack and Miri” but (mysteriously) without any nudity. His music, a combination of Balkan, funk and disco with glitchy electronica, also rub against the edges of multiple genres with an eccentric sense of humor to match.

Magnification is his 10th studio album, which caters more toward English audiences than his mainly European fans. Many more of his songs have English lyrics, but remain faithful to his style. On the downside, the album is much more tame than usual for this character.

“Zum Zum,” the album’s opener, includes Black Francis-like wailing and enough salsa dancing for a Pace picante commercial. Branded like an Apple product, “iThink” has more Southwestern influence with plenty of Mexican horns. Unlike an Apple product, the song’s political message calls for less talking and more acting.

With cool, surf rock guitar riffs, “The Land of Champions” mimics the lyrics of “House of the Rising Sun” while giving a history lesson on Magnifico’s tarnished homeland.

While Magnification mixes strong sexual desires with rampant political activism, it also brings back exotic music branded with Magnifico’s signature smirk. His catchy riffs will blend well with anyone who likes raunchy, European fun.