chris calarco

Bon Jovi’s These Days

These Days, while still carrying the mainstream heart of JBJ, is a different animal. The band’s first album following a less then amicable breakup with original bassist, Alex Jon Such, the disenchantment runs deep. The band was grieving the loss on one of their oldest friends and sounded willing to express this despair musically. No longer burdened with the expectations of being the planet’s biggest band, Bon Jovi made their best album.

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Ken Will Morton : Contenders

Ken Will Morton is a singer songwriter from Georgia. To stand out in that crowded field one has to have the humility to sit back and let the song take center stage. Morton successfully walks the fine line between playing the music and letting the music play him on his latest disc, Contenders.

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The War On Drugs: Bunk Bar, Portland, OR 10/25/11

Akin to Spiritualized filtered through urban Philadelphia, The War on Drugs is often cited as Springsteen influenced. Undoubtedly, a mournful Nebraska-era sensibility drives the melodic reverie but this is only the Boss after a codeine laced blunt. By creating atmospheres within and around their melodies, The War on Drugs expanded the walls of Bunk Bar. It’s easy to feel the rock n roll brawn underneath the smoke but it is these lush textures that guide a head into the cosmos. 

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David Vandervelde: Doug Fir Lounge, Portland, OR 10/22/11

Playing a short set in front of the sparse audience did not appear to negatively impact his passion, punch or power. Rummaging through both new and old songs Vandervelde and his band reverted back to the chunky hybrid of T Rex and A.M. – era Wilco to produce a potent rock n’ roll.

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Yellow Dubmarine: Abbey Dub

It is highly unlikely the Fab Four considered the possibility of infusing Abbey Road with the rhythms of Jamaica when they recorded the landmark album at the end of their career in 1969. It takes a lot of gusto for a young band of white musicians from the east coast of America, named Yellow Dubmarine no less, to attempt a full-fledged reggae reinterpretation of an album long considered one of the greatest records of all time and a pinnacle of the LP format.

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JEFF the Brotherhood: We Are The Champions

JEFF The Brotherhood is Jake and Jamin Orrall of Nashville, Tennessee, owners of Infinity Cat Recordings. The bare bones duo, just guitar and drums, played 230 shows last year and were hailed by Spin magazine as one of the “must see” acts at this year’s South by Southwest.  Their new album, We are the Champions, is eleven tracks and a short 35-minute. It’s packed with jagged scuzzed-out guitar riffs that hop between Weezer style chunky rhythms, sharp, classic rock swagger, and blasts of powerful punk power.

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Natural Child: 1971

Natural Child come from Nashville and call themselves “the greatest rock n’ roll band in the world”. Known as much for this bold sense of humor and hard partying ways as much as their rocking live show, the band recently released a 1971 on Infinity Cat Recordings. The sound is raw, loose, and limber, vacillating between the Stones-y demarcation points of bluesy R&B and rollicking acoustic numbers. This ramshackle construction seems to be part of the band’s allure. At any moment self-destruction sounds possible.

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The Disco Biscuits: Otherwise Law Abiding Citizens

here is a constant dynamism at work on Otherwise Law Abiding Citizens. The band will circle back inside a drum break and build up yet again, deconstructing a jam just to hit you harder when the kick drum dive bombs into your chest. As a whole, this body of songs shines with impeccable, dynamic and grounded production, all accomplished at a full-throttle pace. If you’ve ever felt a Biscuit peak hit and responded by thrusting your fist victoriously in the air, this album is for you.

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Jesse Sykes & The Sweet Hereafter: Marble Son

Throughout this gorgeous collection of music Sykes’ voice crisscrosses the paper-thin rift between deep pain and true bliss, enabling songs to drift into the ether in between. Slower moments build with a creepy, meandering flow before bursts of swirling psychedelic rock attack that would make Comets on Fire proud. This is heavy.

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Washed Out: Within & Without

In 2008 Ernest Green’s moniker, Washed Out, became a touchstone for the influential “chillwave” micro-genre, known for its tendency to morph lush and hazy atmospherics with 80’s synth pads, mournful vocals, and a hearty dose of modern R&B bump.  With his new offering, Within and Without, Green proves himself capable of moving forward while the expected hype surrounds the release.

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