Posted by: Ryan Allen on July 31, 2008 at 1:20 pm

The Oscillating Fan Club, Feverish Dreams As Told By… (Loco Gnosis, 2008)

MP3: “Party Hat”

Just when you thought Detroit’s rock underbelly was done cooking up inspirational and original jams (we’re talking the likes of Wildcatting, Prussia, and Dutch Pink), the Oscillating Fan Club‘s Feverish Dreams As Told By… comes along and drops a massive and awesome surf-influenced psyche-rock bomb directly on our heads. Formed in 2004 by high school chums Ray Thompson and Pierce Reynolds, the OFC came together over a joint love for 1960s Brit-pop and the more experimental sounds of string wranglers like Sonic Youth and Television. After kicking around for a few years — releasing one EP entitled Beatles Catting Wildly for local-indie force Loco Gnosis in August of 2007 — the OFC have honed their influences, and the result is this 16-song strong monster of an album. Rowdy tracks like “My Grave Face” may nod to the Pixies, and “Suburban Lovers of the Dead” would appeal to anybody looking for a perfect modern combo of Tapes ‘n Tapes’ quirk and the Shins at their most amped up, but mostly, these dudes are digging on some different shit all together. While other groups waste their time searching for the perfect pop moment, or perhaps beating a dead horse, the OFC are busy digesting and regurgitating reverb-drenched surfedelia (“Party Hat”), Eastern European-style guitar skronk (“7 Nights in Khartoum”), and space-aged bachelor pad inspired instrumentals (“Acoustic Jellyfish”) — all flanked by moments of psyche-rock brilliance that wouldn’t be out of place on Olivia Tremor Control’s classic Black Foliage album. It’s the kind of stuff that would make Thurston Moore, Frank Black, and local psyche-pop hero Matthew Smith (of Outrageous Cherry) freak out with enthusiastic glee. Plus, these guys put on a live show that is as unpredictable and unhinged as the directions they choose to take on Feverish Dreams; a winning combination, if you ask us. Score another one for Detroit’s new school of weird. — Ryan Allen

The Oscillating Fan Club’s Record Release Party, w/ Zoos of Berlin + Kindle • 8/2 • The C.A.I.D.

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Posted by: Ryan Allen on July 31, 2008 at 1:00 pm

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Ever wonder what our office looks like? What we’re all about? What it looks like when somebody is surfing the Detour site and then posting it on YouTube? Well, now you can, thanks to Tom Hendrickson and Metromode, who recently dropped by the bivouac to film this sweet little piece on us. Go ahead: try and not be jealous of our luxurious leather couch and battle ship-styled desks. Both can crush you. — The Detour Crew

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Posted by: Ryan Allen on July 31, 2008 at 12:10 pm

Horse Feathers, House With No Home (Kill Rock Stars, 2008)

MP3: “Working Poor ”

Recently, Canadian folk acts such as Great Lakes Swimmers, Sunparlour Players, and the Hidden Cameras have gained a fairly decent amount of success by combining traditional folk music with a contemporary sound. You would figure that Portland, Oregon is close enough to the Land of the Free (health care, that is) that a band would be able to gain access to that formula simply through osmosis. Not the case with Horse Feathers. While too symphonic to be considered bluegrass, and too easy-listening to be folk, House With No Home still tries its hardest to worm its way in there somewhere. The follow-up to 2006’s Words Are Dead (which somehow managed to make it onto NPR’s Top 10 Albums of 2006), the album fails to step forward from the sleepytime sound that was initially introduced by the band. Lead vocalist Justin Ringle may have a voice of pure gold (imagine Iron & Wine’s Samuel Beam minus the creepy fucking beard), and Peter Broderick seems to be very talented on the banjo and violin (“Working Poor” is a shining example) and can play one mean cello (has that ever been said in the history of music?), but by the time it’s all put together, not a single track on the album reaches any sort of climax. While fans of Starbucks, Volkswagen, and Gary Jules may systematically fall in love with the album at first listen, it leaves the rest of the population wanting. — Adam O’Connor

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Posted by: Ryan Allen on July 31, 2008 at 8:00 am

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Electric Six, “Formula 409” (Metropolis, 2008)

So you’re chilling at Belle Isle, trying to get a tan, when all of a sudden some motherfucking lizards dressed in suits snatch you and your band mates up, throw you in a van, take you some secret location, electrocute you, and eventually jam to your new song “Formula 409.” Hm. Sounds like just another day in the dangerous, high voltage world of Dick Valentine and the members of the Electric Six. — Ryan Allen

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Posted by: Ryan Allen on July 29, 2008 at 3:15 pm

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If you were a fan of Sub Pop, Canadian rock music, Sonic Youth, or lo-fi albums that sounded like they were recorded with a four-track held together by some rubber bands and a couple of pipe-cleaners, then 90s-alt-punk band Eric’s Trip should not be unfamiliar to you. If you were busy listening to Smashmouth and Sugar Ray, however, let’s get you up to speed: Formed in 1990 in Moncton, New Brunswick, Canada, Eric’s Trip (who took their moniker from the Sonic Youth song of the same name) flourished under a haze of purple and blue colored lo-fi fuzz, and — like a lot of bands in the 90s — released tons of records, singles, and EPs for the likes of Sub Pop, Sonic Unyon, and Sloan’s Murderecords. What set them apart from the pack of plastic-y alternative bands aiming for buzz-bin gold, however, was their attempt to combine punk and metal’s scuzzy sludge with harmonizing male and female voices that sounded as sweet and precious as a newborn baby. Plus, the band didn’t need the hi-fi gloss; songs like “In The Garage,” “View Master” and “Girlfriend” — and classic albums like Love Tara, Forever Again, and Purple Blue — stood on their own without some Butch Vig-type mucking things up with a professional sheen. If you ask us, all these new bands now championing the lo-fi aesthetic — including No Age, the Thermals, and Times New Viking, to name but a few — would be nowhere without the influence of the almighty Eric’s Read more

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Posted by: Johnny Loftus on July 29, 2008 at 11:00 am

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Bad Company, “Good Lovin’ Gone Bad” (Swan Song, 1975)

The kickoff to Straight Shooter, Bad Company’s 1975 follow-up to their debut self-titled and big breakthrough, the groove on “Good Lovin’ Gone Bad” is as razor-sharp as this footage is murky and shit-tastic. But the low quality image just makes this clip more badass. Watching it now, you can see how dudes like Van Halen ripped off Bad Company’s stage moves, making them bigger and more flamboyant but always keep that chip balanced on the shoulder. Watching it now, you can see how songs like this just keep showing up on classic rock radio. They’re durable. They’re tough. They’re like motorcycles with no suspension. — Thomas Rooker White

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Posted by: Ryan Allen on July 29, 2008 at 9:00 am

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Posted by: Ryan Allen on July 28, 2008 at 1:00 pm

CSS, Donkey (Sup Pop, 2008)

MP3: “Rat Is Dead (Rage)”

After a whirlwind of touring, partying and fame CSS — everybody’s favorite Brazilian art-punk collective — is back with Donkey the follow up to their self-titled 2006 debut. Donkey is fun, brash, and dirty — but a little slicker than its predecessor and with a little more maturity thrown in. But not too much maturity. Even an emotionally heavy song like “Left Behind” recommends jumping onto tables and dancing your ass off until you die as a solid plan for quelling the nightmares of heartbreak.

Guitar plays a much more front and center role on Donkey, which sometimes works well, and other times sounds too polished and leaves a few tracks sounding one step away from an Avril Lavigne song. The finest moments on the album come when the band embraces their fun, beat-heavy side. The album opener, “Jager Yoga,” is the strongest track, a fast paced electric stomper that implores the listener to “live your life John Waters’ way” and cautions you not to “mess my holiday.” The perfect warning from CCS — a band that is at its best when partying is their most serious priority. — Laura Witkowski

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Posted by: Anthony Morrow on July 28, 2008 at 11:05 am

The rumor mill is working overtime on Tarantino’s next flick. Some reports have an all-world cast jumping on board this “men on a mission” movie – Brad Pitt, Leonardo DiCaprio, Michael Madsen, Tim Roth, Adam Sandler, John Travolta, Bo Svenson and more. Quick overview: It’s WWII and a team of Jewish soldiers are facing the firing squad for their misdeeds. In exchange for their release, they agree to engage in a suicide mission into war torn France and kill as many Nazis as possible. Pitt is supposedly playing the leader of this mission, Aldo Raine and DiCaprio is the purported Nazi general Hans Landa.

Is this the real deal? Internet film geeks are split. You be the judge…


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Posted by: Ryan Allen on July 25, 2008 at 5:22 pm

The Displays, Ain’t Gonna Put Us Down (Self-Relesed, 2008)

MP3: Don’t Need You

You could knock Detroit’s kid rockers the Displays for being slightly derivative of D-town rock of the past — namely the Sights, the Dirtbombs, and all the jean-jacketed grease monkeys that came before them — but what is the fun in that? While some might choose to look at Ain’t Gonna Put Us Down as a trite tribute to an era of Detroit rock that simply ain’t as hot as it used to be, we choose to evaluate their bash n’ bang style of garage rock as the result of a couple of kids steered in the right direction. Trust us, the fact that these Read more

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