Smells Like Pop

The editors at Smells Like Pop recently experienced the rare opportunity where we were all together at the same show. In this case, it was for Brian Jonestown Massacre at the Wonder Ballroom in Portland. And, instead of relying on one of us to do a write-up, we thought we’d all add a short review. Including our friend, Pete Champ!

Cory’s Review

The BJM show got almost no local press, which was surprising because of a) the band’s famed and filmed love-hate relationship with locals The Dandy Warhols, and b) they put on a kick-ass show. Anton Newcombe orchestrated from the side of the stage, his distinct vocals and guitar standing out somehow over the wall of sound emanating from four to five other guitars on stage at any one time. The result was loud, of course, but almost restrained, counter to the band’s reputation for chaos. Newcombe even thanked audience members individually (rather than kicking them in the head, for instance). The night was given to dispelling all such demons, graciously inviting Zia McCabe herself onto stage, for a distinctly Dandy-ish song. BJM put on a remarkable show, the guitar-work layered and even disciplined, avoiding the pitfall of the many-guitared jam band. Indeed, they didn’t let loose until the final song, a Beatles cover that seemed to have no end. Afterward, I wished it hadn’t.

Gene’s Review

It’s beyond cliché to reference the documented struggles of Anton Newcombe and his band, The Brian Jonestown Massacre. But it does seem to be fair to acknowledge when he – and they – get it right. Highlighting tracks from the band’s latest, Aufheben – which is arguably their most solid album from beginning to end, the BJM transcended that album’s strengths with an even stronger live performance.

BJM ranged through its material, playing some old favorites, as well as showcasing the strength of newer tunes like the catchy “I want to hold your other hand”, and the warm-fuzzy inspiring homage, “Blue Order/New Monday”. Zia McCabe (of Portland’s Dandy Warhols) even hopped on stage to contribute some booty shaking and tambourine support – a nod to the past, while perhaps sensing the forward momentum created by the strength of BJM’s  new material and focused performance.

Pete’s Review

Anton Newcombe is still chief engineer on the BJM express and everyone else is along for the ride. With each song you can pick a small piece from many bands. Now that the drama seems to be over you can focus on the music and relax. Being so prolific with their songs they almost blend together until they unleash a manic tamborine tune that reminds people why they like them.

David’s Review

The audience waiting for the show to start at the Wonder Ballroom skewed older and artier. The seeen-it-all-before crowd was cautiously waiting for something new to happen – again. When the Brian Jonestown Massacre took to the stage with little fanfare, I was secretly glad to see lead tamborurine player, Joel Gion at the center of a stage that also included five guitar players (including bass), a drummer and keyboardist – all looking like they were about to play a show at the ’60s-era Factory as opposed to Portland in 2012. The band sounded great – even better than on record. Songs that have seemed shambling and mishapen in the past, became beautifully orchestrated walls of blissful-noise pop. Songwriter/founder/cult leader Anton Newcombe has found a nice collaborator in Spacemen 3 bassist, Will Carruthers who seems to be keeping the band more centered – there were no interpersonal flare-ups this night. The band played many songs from their great new album, Aufheben as well as a cross-country tour of their previous twenty-plus back catalog of psychedelic inspired pop. If you have a chance to see BJM live, do it. Dig?

Smith Westerns | Dye it Blonde
Fat Possum | January 2011

The new offering from Smith Westerns continues the band’s musical explorations into late 60s garage rock and themes of teenage angst. These guys just got their driving permits and they’ve headed out for a ride on the sweet bubblegum highway. It’s delicious flavor, but by the end of the album you may yearn for something savory to contrast all the sweet.

Smith Westerns rolled onto the scene in 2009 with their remarkable self-titled debut album. The debut album showcases a band of amazing talent. It’s distinguished by the range of sounds that it explores (a psychedelic medley of 60s one-hit wonders and glam), gorgeous melodies, wall-of-sound harmonies, and decidedly punk beats. These guys raided their parents record collections and stumbled across some choice T-Rex, Ramones, David Bowie, and 60s garage-rock compilations.

However, where the debut album marked the arrival of a major new music act, the band’s newest offering, ‘Dye it Blonde,’ reveals only an incremental step forward. It’s a step forward for sure and it is a good album; this album simply lacks the levels and dynamism that defined the first album.

The new album offers a snapshot of a band that has a full spectrum of music ahead of it to explore… assuming they don’t break up the next time one of the guys in the band gets a girlfriend.

I don’t see how anyone can be surprised that this band’s sophomore outing doesn’t stack up to their first album? (especially considering that, at least until recently, these guys literally were high school sophomores). I see this album as a snapshot of where the band is at this moment (listening to a lot of MGMT apparently). These guys will likely try on new musical styles faster than they go through tennis shoes over the next few years. I fully expect that their next album will show that they’ve grown yet again.

‘Dye it Blonde’ offers a major jump in production polish over the debut album. The last album was legit low-fi. It sounded as if it was recorded on overdub-frayed magnetic tape, so many recording generations lost that the sound became nice and crunchy. The new album is carefully crafted low-fi. It’s saturated with reverb and sounds as if it’s been compressed through a really long bong. This intentional “low-fidelity” effect is a nod to the bands that have shaped this band’s creative career. Most notably garage grunge from the 60s and Mark Bolan. There’s also a big Beatles (Yellow Submarine era) influence here.

Although this new album does not approach the first album on a melodic or songwriting level, it is  gorgeous in harmony and melody. ‘End of the Night,’ for example, offers a stunning wall of sound. It shows us a glimpse of the deeper notes of which this band is capable.

I look forward to hearing lots more from these guys over the years. They’ve got a lot further to explore and the road ahead should now be all downhill considering that they’ve got their sophomore outing out of the way.

Smells Like: ★★★★★★★★★★