By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
It was either philosopher-poet George Santayana or actor-celebrity sibling Don Swayze that once said, "Those who cannot remember the past are condemned to repeat it." It's also a popular quote amongst hack writers trying to drum up a quick intro to a "year-in-review" piece. With this in mind we peek over our shoulder at five of 2006's best local releases and look forward to five area music-makers and shakers who are guaranteed to shine in '07.*
* Not a legally binding guarantee.
Five to Remember
(in no particular order) American Werewolf Academy
Tell Them Right Now
Aside from an Adventure Club appearance and a handful of shows in late spring and early summer, 2006 was kind of a quiet year for American Werewolf Academy. We suppose that's what happens when you share a drummer with the Drams. But their sophomore album still makes it onto this year's list, albeit on a technicality of sorts. The band got the CDs back from the pressing plant in December 2005, but they didn't get copies out to most reviewers and critics till early '06, after all the "Best Of" and year-end lists had been tallied, announced and then promptly forgotten. We suppose that makes this the best record of 2006 to come out in 2005. But this is rock 'n' roll, not quarterly fiscal reports. AWA's sophomore release is an efficient assemblage of no-frills guitar-rock anthems that demand to be sung on high, be it from the backseat of your uncle's restored muscle car or while violently upchucking in the back alley of your favorite dive bar. Clocking in at well less than a half-hour, Tell Them Right Now begs to be played again and again, if only because you missed a few songs when you went to the bathroom.
Tres Monos in Love
Our local rock band amigos could learn a thing or three from Pikahsso, Tahiti and Picnic. Whereas our rock 'n' roll friends have a penchant for trash-talking, backbiting and rumor-mongering, PPT seem to only flatter and compliment each other whether they're onstage or off, figuratively or literally. While our rock 'n' roll friends spend years completing albums, cancel shows at the last minute and go into prolonged "hiatuses" because somebody might have given somebody else's sister genital warts, PPT is out keeping their profile large, shooting and editing their own videos, recording contest-winning theme songs for local sports franchises, performing nine times a week and updating their MySpace page every 14 minutes. And somewhere in there they managed to release one of the best hip-hop albums to come out of Dallas in, well, possibly ever. Having already established ties with carnival lounge punks Shanghai 5 and taking into consideration some upcoming gigs with the likes of local electro-smashers Faux Fox, it would appear as though some of our rock 'n' roll friends are hip to what some good old-fashioned musical togetherness can achieve. Here's hoping PPT never slows down and that subsequent releases are as satisfying as Tres Monos in Love, bringing the same mix of Shock-G silliness, P-funk bounce and fraternal verbal back-and-forth that would make forefathers such as De La Soul and the Pharcyde very, very proud.
The Theater Fire
Everybody Has a Dark Side
There's no excuse for you not having this record by now. You've been given a multitude of reasons from our colleagues, our contemporaries and our own damn selves, in better terms than could be rehashed here. Anything from this point forward would just be superfluous yammering poorly masked beneath hackneyed poetic drivel. So here we go: The Theater Fire's Everybody Has a Dark Side is a staggeringly beautiful indie western masterpiece that is at turns devastatingly sorrowful and tearfully jubilant. It's dusty and it's warm. It conjures spirits and calls up old demons. It fits like a pair of blue jeans made out of candied apples and feels like a marshmallow condom. I'm sorry. What were we talking about?
Baboon has been wildly splayed across the fickle spectrum of regional rock superstardom for nearly 15 years now and for very good reason. They totally slay. Always. And what kind of record does a band put out after a decade and a half of rigorous performing and hermitic studio tinkering, after countless explosions of inspiration and dormant lapses, after the temporary blindness caused by paparazzi flashbulbs has worn off and Ric Ocasek has left you in the gutter like a dirty prophylactic? Ah, yes. The long-awaited, eponymously titled LP that doesn't necessarily redefine the band so much as present a more focused and mature sound that has been slowly developing lo these many years. It's all we'd ever hoped for and more. And then even a little more on top of that. Baboonis a neat collection of next-to-perfect songs that know exactly when to go artsy with the dissonant ambiance and when to just shake a tambourine, never getting too wild or too reserved for any one taste.
The Paper Chase
Now You Are One of Us
Aside from being one of the year's most solid and impressive local releases, Now You Are One of Us also sets a new standard for oddly suggestive song titles. Thankfully today's parents are too busy making sure their kids aren't listening to half-naked Mickey Mouse Club alumni or thugged-out MCs rapping about crack deals to worry about li'l Jimmy's iPod regularly cranking out songs such as "All Manner of Pox or Canker," "Delivered in a Firm Unyielding Way Lingering for Just a Bit Too Long to Communicate the Message 'I Own You'" and, ironically enough, "The Kids Will Grow Up to Be Assholes." Angst-ridden teens will wallow contentedly in the album's inherent moroseness. Music theory students will marvel at the swirling compositions. The rest of us will appreciate the fact that John Congleton's voice and the band's song structuring have grown to become as engaging as they are unnerving.