Camra
Normally Open
[Stained Death Music]

by Mark Wong

This has to be one of the surprise releases of the year. Some seven years after we last heard from them, Camra return to the fray with a ten song-strong album, Normally Open, as if not a single day has passed since the release of 'Who Wants To Know' on the BigO Singles Club No. 4.

This continuity isn't an illusion: the band, whose lineup has remained unchanged, had been recording the album since 1998.

As it turns out - depending on how one sees it - this is both Camra's strength and weakness. At its best, Normally Open is a beneficiary of time, which has not only sharpened the band's songcraft but also allowed for some very fine recording and production work, capturing perfectly a languid yet lush shoegazer feel. This has resulted in a sonic stew of simmering songs that conjure hallucinatory visions, slow(ly) burning themselves into your brain.

At its worst, however, Normally Open sounds exactly like what it is: an album released at least seven years too late; somewhat mired in mid-90's Britain, it sounds a tad dated.

Normally Open seems to traverse The Verve's entire career, from muddy A Storm in Heaven dreamscapes (turn up the vocal/guitar reverbs, love) to the sweet, draped stringscrapes of Urban Hymns (the epic nine-minute 'My Reflections', for instance, has a wry refrain which foreshadows its symphonic ending: "feel so highly-strung today/don't wanna make it go away").

Any diversions (no matter how slight) are still decidedly Anglophilic: 'All Our Remedies' is a speedier and punchier sibling of Oasis' 'Cast No Shadow, which sees vocalist Marvin swaggering as though cheek by jowl with the Gallaghers in a packed tavern. Elsewhere, such as on 'Reasons', we get hijacked by sitars and tablas; while I wouldn't go so far as to call this Indian mysticism-by-way-of-Kula Shaker, one can't help but make the connection. Call this Southern Soul, if you will (the thirteenth word of the album is "transcendence": go figure).

The final twist, however, is that as alluded earlier, Normally Open grows on you - if you give it time; it's as if each time you play it, it reveals a little more of its soul to you. Camra have whipped out an accomplished album, if at times stymied by its particularities. This is a band to watch out for - although, hopefully, not just once every seven years.

Parking Lot Pimp
Welcome to My Frequency
[EMI]

by The Toneknobber

The moment you slip the album into your computer, it will launch itself on a player run from the CD itself. Pretty nifty innit? Yeah... if you're 80 and have no clue. Before you know it, the opening title track eases in with backward tape loops before charging on with raps, smooth vocal melodies and ska-style guitar riffs before making a grand entrance into the rocking chorus and solo guitar line. But before I get all excited and start taking my clothes off, let's do a quick lesson in history.

They have been compared to Pharrell William's branchild, N.E.R.D, and not forgiven by the masses for their dark past as Urban X'change, but they have released this album, respecting the immortalised words of House Of Pain:   "Put On Your Shit Kickers & Kick Some Shit." Nuff said. Once stripped of hard exteriors, the Pimps actually dangle a tasty treat to a drone of shoddy over-sauced local bites.

But to the trained ear (and passing friend) this album will bear trademark of being overly balanced, and in some circles, it will even appear foreign. It's true. Though recorded in Singapore by the boys at ChynaHouse Recordings under the joystick of self-confessed nutcase "you freakin' psycho" Terry Lee, their frankenstein creation was mastered in LA at Marcussen Mastering ala Electrico's 2004 release So Much More Inside. All thanks to EMI Music's bottomless pit of wealth of course. Speaking of which, did you know that the initials in EMI stands for Electronic and Musical Industries? I'm sorry. I drifted.

Likewise, you might find yourself drifting midway through the album when slower numbers like 'Life's Thinking About You' and 'A Letter From Dreamland' seep in. And then you find yourself blasted to life with the tongue-in-cheek, 'Light Switch', an ode to one of Terry's former girlfriends (you didn't hear it from me but it’s apparently Channel News Asia newscaster, Cheryl Fox!), and, 'A Battle For What', which features veteran and possibly defunct (where do they go when they die anyway? Perth?) Singapore indie band Sherene's Closet's Gerald Stahlmann.

Then there's the radio-friendly single, 'Blow', that shows how a simple Oriental-sounding melody line can be turned into an instant groover. For a countlessly reproduced sound, put an ignition on 'Test Drive' and let us know if you detect The Killers and Franz Ferdinand in it. If yes, slam your hands on the buzzer and let Vanna to escort you to the bonus round. But alas, this is a journey of sorts. And as you come to the end, you will realise that the album is energy packed from the start, encompassing a host of genres from funk, 80s metal, rock, reggae, hip-hop and many more. This is one crazy horse you never want to stop riding.

ShameJoannShame
Gossips
[self-released]

by Lumpy

With song titles like 'Jagermeister' and 'Speedos 'r' us', one would be hard pressed to believe ShameJoannShame's music to be of the serious, morose and melancholic sort ala Explosions in the Sky, Godspeed! You Black Emperor , Mogwai and the plethora of other post rock bands on the indie circuit. Placing an emphasis instead on unleashing the repressed dancer in you, as someone who likes my post rock just the way it already is... I had my doubts as to whether they could pull off a credible outing on this EP.

If you're expecting fat progressive house beats or disco diva stylistics, expect none of it here. Mates of State would be a fair yardstick, as already mentioned on their website, and dance indie instrumental is what I would personally call it.

Unfortunately enough, the opening track, as much as I tried to like it on first listen, didn't sound as nice as the packaging looked. It was a quite a disappointment and let down. The keyboard riffs were cheesy sounding and the timing was less than impeccable, an important aspect in any kind of instrumental. ShameJoannShame's songs, I realised are like chapters in book, there are many phases or movements in a song, each one constituting a different chapter but yet coming together to form a tapestry of the song. On the opening track however, the 2nd phase of the song reminded me of a song from an old disney movie, The Little Mermaid, 'Under the Sea'. Moving along the 2nd track wasn’t anything to rant about either; it was a much better dissertation than the first, but nothing spectacular.

It wasn't until track 3, under the pretext of a title like 'Let Him Guide Your Fingers: Shred Muthafucker!' that ShameJoannShame's strengths shine through, presumably after having warmed up on the 2 previous duds. This I feel should be the direction ShameJoannShame should be taking, although the title could use a little more thought. Ironically enough, it sounds nothing like the first 2 songs and in no way sounds like anything I would take my dancing shoes out for. In fact it would be more appropriate to fit it into your conventional impression of post rock more than anything else. An impending mood of ominousity surrounds its textures and this is where their story telling capabilities are more apparent, I particularly like the 3rd movement, or 2nd depending on how you want to divide the chapters because after traversing the deep and dark terrain that the band provided at the beginning of the song, a sense of hope prevails in its melodies and overall, in my opinion the EP's most harmonic and best sounding song.

If 'Let Him Guide Your Fingers' was anything to go by, it certainly was the turning point in this EP because tracks 4 and 5, I have to admit, put up pretty commendable efforts towards the bands supposed dance indie leanings. They sound like they know what they are doing, more assured and comfortable in their own skin, as opposed to sounding like they were playing to prove a point.

The last song, 'I Heard You Sing an S Club 7 Song', is an appropriate way to end the EP, again it must be noted, none of the cheesy wannabe synth riffs here, as on any of their better sounding songs, but a rather more elegant voicing. Special mention must be accorded to the use of drum loops in the 2nd part of the song, lending a totally different mood and texture, but making the song that much more interesting.

On the whole, the EP manages to get past the flop that was the opening track and becomes a rather satisfactory record that grows slowly on you and one that holds lots of promise for future albums, as seen in tracks 3 and 6, but definitely not in 1. An interesting foray into new genres that speaks well of the local scenes musical progress from chunky punk riffs and emo screaming to more sophisticated instrumentals.

PINE*am
Pull the Rabbit Ears
[Eenie Meenie Records]

by Eugene T

Albeit being notoriously known for creating music that has mass appeal, especially to the younger crowd, PINE*am insists that they mean serious business here. A Stratocaster, bass guitar, Roland MC-505 Keyboard and a Macintosh were all the instruments they required to work the magic for Pull the Rabbit Ears. Unlike their self-titled debut EP in 2000, production and layering of the tracks were done solely on exchange of demo recordings via electronic mails. This is an incredible feat worth some mentioning here.

If you are expecting anything from this album, please don't or you'll be disappointed. Pull the Rabbit Ears is not an album for serious music listeners. Despite all the hype over the past few months before its release, Pull the Rabbit Ears isn't able to keep up with the level of energy and enthusiasm that the band's first self-titled album had. Although tracks like 'Mackerel Sky' and 'Cactus' are decent attempts by them to explore beyond familiar sounds, the monotony of the rest of the tracks in the album could easily bore you to tears. Just like other bands, it's no surprise that PINE*am were equally determined to break free from their musical stereotypes. Unfortunately, their music sounded much more contrived in this album.

Having mentioned that, Pull the Rabbit Ears is a must-have for people who have been missing too much of the electroclash era. One would begin to notice the striking similarity between 'Do I Know You' and Felix The Housecat's 'Rocket Ride'. Other noticeable influences borrowed from bands like Fischerspooner and Ladytron are evident in 'Red Car' and 'Gymnopedie0.1'.

PINE*am should seriously re-consider their choice of producing music via electronic mails if they were to bring their music up a notch or they risk becoming mediocre.

Well, school's out! How timely to grab this record for the kids.

Queens of the Stone Age
Lullabies to Paralyze
[Interscope Records]

by P2

A cryptically thought inducing album, Queens Of The Stone Age have released their latest album, Lullabies To Paralyze, minus the expertise of Dave Grohl. Not that it matters as such, as they've substantiated their reign as stoner-metal rockers for good.

Although you might question their credibility as a stoner-metal band after listening to their first song, 'This Lullaby', 'Medication' would most definitely erase all doubts for sure. Drug-Induced you may call it. I would think of it as a beginning to an enlightened path through this album.

Personally, the whole album seems like a spaced out dream where time has no name. Some of the songs, like 'Skin On Skin', have such an addictive effect; you have to listen to it over an over again – just to feel it. Such an Intense song it is, immensely absorbing rhythm with possibly the most blistering "Wah" solo you'll ever hear. True, not as fast as Kerry King of Slayer. But it's so intense...as intense as the lady in red you just had to take a second look at. Josh Homme's vocals, my oh my I think they might just give Tool a run for their money. 'Someone's In The Wolf' is a perfect example. Elaborating anymore than that might just ruin the fluency of Josh's fluid voice.

But for more tongue-in-cheek, surfer-like music, listen to 'Little Sister'. It's one of those tracks that would make you shake your head, yes like the good ol' 70s.

You know, I really wish I could explain each and every song to the greatest of details. But I might as well write a thesis then. A semi-known (locally especially), coming up with an album that seems like the amount of effort to make it would be equivalent to that of building a pyramid in Cairo.

It may seem like a drag at some sporadic parts like 'The Blood Is Love' and 'You Got A Killer Scene There Man'. But other than that, I entice you to introduce yourselves to this highly original band. Music that's true, full of meaning and spirit. Queens Of The Stone Age, underground or not, I rate them as a band that ought to make the headlines with their new album.