CITIZINE REVIEWS
Alt-Country to Alt-Rock
Reviews of Amplified Heat, Neko Case,
Year Future, NOFX, Since By Man, and
Me First And The Gimme Gimmes.

By Steven Ivy

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Amplified Heat
In For Sin
(Arclight, 2004)

In Austin, blues-rock bands are a dime a dozen. Amplified Heat (3 brothers, Ortiz) is a more energetic version of what you would expect to hear in any number of the clubs that litter the downtown area.

Unfortunately, energy is not quite enough in this case.
While Amplified Heat consistently put on excellent live shows, their music does not hold up well without a slight Lone Star-inflicted buzz in a cigarette smoke filled club. In For Sin is a good record for fans of the traditional heavy blues-rock sound. The Ortiz brothers are obviously highly talented musicians who seem to know the genre inside and out. But for those who are looking for a bit more originality or experimentation, In For Sin will most likely disappoint.

Neko Case
The Tigers Have Spoken
(Anti / Epitaph, 2004)

Neko Case will always be referred to as “alt-country.” The “alt” serves as a safety net for those of you who may be a little squeamish around the “c” word. But make no mistake, Neko Case plays country music. She is also quite possibly its savior. The Tigers Have Spoken was recorded live in Chicago and Toronto while Neko was touring with The Sadies as her backing band. The set list includes a few new songs, a few old songs, and a few covers.

The sum of this collection is by far the best introduction that any would-be Neko fan could have. It is a bit more upbeat than her previous albums as a whole, but The Tigers Have Spoken perfectly illustrates where Neko came from as well as where she is going with the dreaded “c” word. All of her backing musicians are top-notch, but it is definitely Neko’s hauntingly soaring voice that carries every song beyond the usually stale borders of country music. Stand-out tracks include her incredible version of “The Train From Kansas City” by the Shangri-Las and the hard-to-find Neko gem “Favorite.” My advice for all of you, even the ones who treat the word “country” like a racial slur, is just get this CD and let Neko take care of the rest.

Me First And The Gimme Gimmes
Ruin Jonny’s Bar Mitzvah
(Fat Wreck Chords, 2004)

If you didn’t already know, Me First And The Gimme Gimmes is a punk rock cover band that covers anything but punk rock songs. The culprits include Fat Mike (NOFX), Joey Cape (Lagwagon), Jake Jackson (Foo Fighters), and Spike (Swinging Utters). In 1997, their first album Have A Ball was a must-have for my friends and me. Their sloppy punk rock renditions of Neil Diamond, Billy Joel, and Elton John songs were always a hit at every party.

Seven years and four albums later, Me First And The Gimme Gimmes bring us Ruin Jonny’s Bar Mitzvah which was apparently recorded at an actual bar mitzvah. Quite an amusing concept, but the fun ends there. It could be the poor choice of tunes (Blondie, Led Zeppelin, The Carpenters) or, most likely, it could be that this punk rock cover band idea has become a bit redundant. At any rate, Ruin Jonny’s Bar Mitzvah wears out its welcome very early on. I did find myself skipping to each track just to hear how each of these old hits was treated. But after a minute or less of each track -- skip. This is truly a forgettable album. In fact, I can’t even remember which one I’m reviewing now.

Year Future
The Hidden Hand
(GSL, 2004)

Year Future, featuring ex-members of The VSS, The Pattern, etc. First words uttered after listening to this three-track teaser: “Fuckin’ A!” Year Future play slightly psychedelic post-punk with lots of guitar reverb, busy drumming, and shouted vocals. The Hidden Hand is a primer for their upcoming full-length.

Each of the three songs is boiling over with a technical fury and energy that could easily impress even the most jaded of rock fans. The instruments and vocals act as characters in three tightly crafted post-punk dramas. You can pick out a distinct personality in all of them.

Even the drums have a way of avoiding the stereotypical rhythms that end up in most of the offerings in this genre. Lyrically, the songs seem to have a political slant, but always avoid being obvious or preachy. Overall, Year Future present a package that could only be appropriately celebrated with an expletive like the one above. Keep an eye out. This band is going places.

NOFX
The Greatest Songs Ever Written
(Epitaph, 2004)

The Greatest Songs Ever Written is supposedly a collection of the best songs from the entire NOFX catalogue. And some of them are. But, and I think other NOFX fans will agree, leaving out classics like “Moron Brothers,” “Showerdays,” and “Please Play This Song On The Radio” seems to make the obvious statement that NOFX need a little help with direction.

This is abundantly apparent after listening to their last few “could have been great, but” albums. I mean, come on! “What’s The Matter With Kids Today” and “Thank God It’s Monday” are cute and all, but by no means two of their best. The same goes for a number of other “okay” tracks that were included in place of great ones

If any of the NOFX camp read this, please allow me to compile an actual greatest songs CD (free of charge) and we can just forget this whole mess ever happened. I still love you. I’m just not sure that I’m “in love” with you anymore.

Since By Man
We Sing The Body Electric
(Revelation, 2003)

Even though there appears to be an over-abundance of screamy technical hardcore bands nowadays, Since By Man definitely have a firm grasp on what really makes the genre tick. Printed on the top of the disc are the words “Play It Fucking Loud.” But, you really have no choice. Even at low volumes, We Sing The Body Electric bursts and crashes through the speakers with confidence and purpose.

While nothing on the record strikes me as incredibly original (it’s quite obvious that they are influenced by Refused, Botch, Converge, etc.), it really never gets boring. As musicians, Since By Man have it together. Fans of intricate guitar work, solidly chaotic rhythms and urgently screamed / sung vocals should agree that performance alone drives this album from start to finish.

Two factors that make this album all the more enjoyable for me: 1) Since By Man avoid the sensitive or poppish elements that many of the more recent “hardcore” bands have embraced. 2) We Sing The Body Electric does not overstay its welcome. The band quite adequately makes its mark in less than 40 minutes. I have always believed, when it comes to hardcore of any kind, efficiency is the key.

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