Culturespill » Jack White

So Far: Best Albums of 2008

11th August

Now that we’re nearing the final third of the year [insert “how time flies” cliche here], the minds of all music dorks worth their weight in vinyl will gradually turn to the usual “best of” lists. We thought we’d put together a preliminary list of possibilities that may or may not make the final cut in December, but that’s the point: we, too, have already forgotten the names of those albums that came out in February and earned the fleeting rapture of our “this is the greatest album since OK Computer!” accolades, only to be tucked into the CD shelf and disregarded in favor of more recent thrills. So we’ve revisited that shelf of too-easily forgotten glories to take a second glance at CDs which, given the pace of things these days, will already be SO “last season” come Thanksgiving. But even if that sorry fate awaits these albums, at least they will have gotten their due here, in our not-so-middle-of-the-year list of 2008’s “Best Albums” contenders–in no particular order, by the way–what’s the difference between the fifth best and the 6th best album of the year? That’s right–nothing. So what’s the point? Check it out:

The Gossip: Live in Liverpool
000000727744.jpgNot since albums like Get Yer Ya-Yas Out or Lou Reed’s Rock ‘N Roll Animal have live albums been as much of an event as The Gossip’s Live in Liverpool. For starters–the title. Come on, what rock band today DOESN’T want to put out alive album called “Live in fucking Liverpool?” OK, maybe that would have been an even better title, but try this one out: Rick Rubin thought so much of this band’s power as a live unit that he declared their show the best he’d seen “in five years.” Coming from the mouth of Rick Rubin, that’s basically akin to comparing this band to Jesus. And rightfully so: now that even The White Stripes have gone all “art rock-y” on us with the truly icky Icky Thump, and The Black Keys suffered more than a modest share of polish at the otherwise skilled hands of Danger Mouse, The Gossip proudly (and loudly) pick up the slack behind the Mama Cass of Punk (Beth Ditto) with her rockin’ posse in tow. Just the first slap or two of Hannah Blilie’s drums on downright anthems like “Standing in the Way of Control” or the magnificently powerful “Your Mangled Heart” are enough to infect you with an unshakable love of l0-fi fury. There’s a reason why Rick Rubin decided on a live album as The Gossip’s first upon signing with Sony subsidiary label, Music with a Twist: they may be the best live band on the planet right now.

The Heavy: Great Vengeance and Furious Fire
0000131552_175.jpgThe world hasn’t heard music with this much groove since RHCP lured George Clinton into a studio to lay down some tracks with them on their underappreciated Freaky Styley album 23 years ago–you know, back before the Peppers became “arteests.” As the funktastic “That Kind of Man” explodes with a relentlessly massive sound that brings to mind some dude straight out of the late 1970s with a mile-high afro and an early boombox half his size clutched to one ear as he struts right by you up the block, it becomes clear that The Heavy aren’t taking shit from anybody. That’s probably why they include “big bad wolves just doing what they do” among their band members on MySpace. There really isn’t a more accurate description of their sound than that. These boys (and one girl–clutching an axe with a murderous stare on their myspace page, no less) are here for the long haul. The Heavy’s sound is Tom Waits backed by The Stooges, Muddy Waters back from the Dead to make an album with Danger Mouse (because Danger Mouse SO needs another project on his hands.) These guys are bringing taste back in a big damned hurry, and judging from the friends they keep on MySpace, it’s hard to conceive of a more fitting band to do it–The Sonics, Howlin’ Wolf, Slim Harpo, Tom Waits, and even Waits’s great label Anti. These people know a good groove when they hear one, and they’re threatening to bring plenty more of their own for good measure. Check ‘em out.

MGMT: Oracular Spectacular
51peen1ptyl_aa240_.jpgLike, DUH. If, halfway through the first rack of Oracular, it already feels like you’ve taken one too many sips of hallucinogenic mushroom tea while stepping inside another episode of VH1’s “Where Are They Now,” especially the part where the featured “artists” do lots of drugs, get fat and completely forgotten by the world, and then try to not be forgotten anymore by making really terrible music in their middle age for a “comeback” tour attended by thirteen-and-a-half people worldwide, that’s as it should be: You’re listening to MGMT, a duo of self-described “mystic paganists” devoted to “opening the third eye of the world.” The album’s first track, “Time to Pretend,” which was featured in the that movie 21 about some MIT kids who took Vegas to the cleaners by learning to count cards, takes aim at every one of those VH1 cliches with the sharp arrow of the band’s notorious sarcasm. Drenched in addictive hooks that marry Prince and The Flaming Lips in a union of space-funk and soul that somehow captures exactly the sound the band describes on their MySpace page– “surf jungle country”–Oracular delivers a sound that’s as fresh in 2008 as Beck’s was in 1994, leaping onto the scene with the same “we don’t care” abandon that “Loser” brought to the biz back then. And people are “getting into it”–lots of them. It’s no accident that the album vaguely echoes The Flaming Lips. Oracular IS produced, after all, by David Fridmann, the captain at the console for many a Flaming Lips album. Roll Yoshimi Battles the Pink Robots with some speed-laced nicotine and you’ve got the addictive mindfuck that is Oracular Spectacular.

Bridges and Powerlines: Ghost Types
bridgesnl0.jpgThough the brand of power-pop these guys peddle reveals a compelling brew of influences, the results are no less their own. Tunes like “Uncalibrated” or “Middle Child” are so bright you feel like you’ve just stared directly into the sun after sleeping in a hole in the ground for a week in winter (no wonder they used to call themselves “Sunspots”.) The music explodes in your ear with the relentless burst of a synthesizer that laces the song’s manic drums and guitar with an enthusiasm as focused as it is unhinged. No band has sounded this damned happy to be making music since The Thrills put out their debut “we are California” LP, So Much For the City. Equal parts Acrade Fire’s “Keep the Car Running” and Wilco’s “I’m Always in Love” with a tinge of Wolf Parade, most of the material on Bridges and Powerlines’ new album, Ghost Types, betrays the “love of the three-minute pop song” they say brought them together. With harmonies as soaring as the hooks and a psychedelic disposition that so perfectly suits the vaguely snotty abandon of taut rockers like “Half A Cent,” the band rarely lingers long in the unmapped musical terrain they explore. They prefer instead to wet their feet in the pond of your mind and run, leaving you to wonder whether what you just heard was of this world or the glittering residue of some wild and half-remembered dream. In the end, though, it really doesn’t matter–just as long as there’s more where that came from.

Sleepercar: West Texas
sleepercar-west_texas.jpgWhat an extraordinary exhibition of influence these songs offer: the echo of a latter day Lloyd Cole album drives a spike through the broken heart of “Heavy Weights,” the vaguely new wave “Sound the Alarm”–perhaps the album’s finest track–almost prepares you for Hall & Oates to take the mike and belt one out about a woman who only comes out at night as Mark Knopfler straps on a guitar and awaits his part. And if none of the material here really approximates Jim Ward’s vision of a rootsy American rock album as closely as he may have desired–Ward still sounds very much like the lead vocalist of Sparta throughout West Texas, the debut album from this dainty little side project–it’s in his aspiration for a sound so alien to the music he’s known for that brings him–and his listeners–to some unexpected creative landscape where willows drip with a melting and late-season snow as an iron and sweeping sky rushes the day to dusk. You lift the collar of your coat to combat a dank chill in the air–one of the last of the season–and you grin and walk right through it as the year closes in on so many warmer days. Only “Wednesday Nights” and “Fences Down” really hit the alt-country mark Ward seems to set his sights on here, songs that could quite easily pass themselves off as Yankee Hotel Foxtrot outtakes. But, again, it’s in the album’s misfires that something genuinely fascinating occurs. Don’t miss this record; it’s as close to a guaranteed pleasure as we may have heard all year.

Raconteurs: Consolers of the Lonely
raconteurs_consolers_of_the_lonely_cover.jpg“Needless to say, I was more than skeptical of the newest Raconteurs project. I accept and love that Jack White is a man of many escapades, including plastic camera and speaker manufacture, collaboration with the Gods (Loretta Lynn and Bob Dylan), cell phone protestation, and home movies of snoring band mates (sorry Meg). With the exception of the premier Raconteurs album, he hits all these ventures out of the park. Therefore, I gave him an open, yet highly analytical second chance. Consolers of the Lonely, HOT DAMN! I’m sorry my lord for ever doubting your ability. I grabble at your feet in repentance! The Kinks got busy with Icky Thump and conceived Consolers of the Lonely, plain and simple. This album delivers Jack White’s signature raw energy viciously burned with blistering horns and riffs to rival Zeppelin. The band let the album speak for itself, doing zero promotion and allowing the content to leak on iTunes and the like. Bravo boys. White and company have created radio-soluble tunes capable of pushing facileness overboard. So long Linkin Park and Flobots! This album is a must for summer and pairs perfectly with open-windowed driving.” — Sara Mrozinski

The Boxing Lesson: Wild Streaks and Windy Days
imagephp5.jpg As if any further proof was needed, Wild Streaks and Windy Days confirms once again that to label a band is to kill a band. It is too easy to dismiss The Boxing Lesson as a post-punk new wave act and move blithely on to your next victim. But as Whoopsy Magazine puts it, “there’s a lot more going on here . . . catchy backing vocals, surreal lyrics, and a modern pop sensibility stand out the most.” But The Boxing Lesson aren’t just another upstart “indie” band pushing the praise of rags called “Whoopsy.” The Onion calls them “a hard-charging trio,” and The Austin Chronicle praises them for “opening a Pandora’s box of psychedelia.” The Boxing Lesson take us somewhere genuinely new with Wild Streaks and Windy Days; and if they have to fumble through a jewel chest of prior eras to get there, they never look back so long as to undermine a vision of their own. Oh, and check out our recent interview with the band!

Josh Rouse: Country Mouse, City House
joshrouse.jpg If much of Rouse’s music is no heavier than a breeze at the beach in spring–particularly on the supine Subtitlio he recorded after splitting with his wife and defecting to Spain (as good a reason as any to be “supine”)–it is no less substantive because of it. And anyway, just when you think you’ve got this cool cat cornered, an album like 2005’s Nashville thunders with a vaguely unsettled dirge like “Why Won’t You Tell me What,” a spare and thumping chant that delivers the kind of bluesy acrimony you’d expect of a middle-aged loungesinger at some watering hole up the block, positioning his 14th cigarette in an ashtray on the lid of a beaten piano that’s knifed with the names of a thousand long-gone couples. Amid the apparent serenity of Rouse’s more recent material–breezy tunes like “Quiet Town” or the flawless “Hollywood Bass Player” from 2007’s Country Mouse album–it’s this defiant strand of discontent that completes the complex character his songs reveal, a ballsy volatility that so many songwriters might be wise to consider.

Young Knives: Superabundance
3305744m.jpgWhen Franz Ferdinand followed up their brilliant, eponymous debut with that frenzied and self-conscious clunker of a second album, You Could Have it So Much Better (how right they were), it seemed that we had another one-trick pony on our hands, that what glories they had brought us in 2004 were not the kind of thing that comes around every year–or every ten, for that matter. As much as I hate to describe one band by discussing another–comparisons do a lot more to confine bands than they do to illuminate them–Young Knives, a geek-rock outfit out of England that look and sound every bit as “Young” as their band name suggests, are both picking up the torch that Franz left behind and taking it to the places we expected them to go. If Ray Davies is correct in his theory that a band’s third album is really the one that shows you whether or not the kids are for real, then Superabundance, the third Young Knives album (if we’re counting their 2002 EP–and why not?), documents the arrival of a potentially great band. Geek or no geek, though, give the “Terra Firma” video a little look if you doubt for a second the comparisons to Franz. The song is an incorrigible fit of post-punk revival sweetness that drives relentlessly through an adrenaline-overdrive of manic guitars laced over a backbone of disco that puts a lot into perspective: Why, for instance, a previous label of theirs was called “Shifty Disco,” or why an acoustic take on “Turn Tail,” one of several singles the album has spawned, was recorded directly to vinyl all in one take at London’s Westbourne Studios–something that hasn’t been done commercially since people like The Partridge Family could actually make a living in music. In other words, it’s been a long, long time.

Everlast: Love, War, and the Ghost of Whitey Ford
coverletters.jpgOK, so maybe this album hasn’t been released yet. But dammit, it should have been! And anyway, it’s gonna be good! At least we can now hear Everlast’s mash-up cover of Johnny Cash’s legendary “Folsom Prison Blues,” which is slated to appear on this long-delayed new album. The album’s currently on deck for a September 24 release–which means absolutely nothing, of course, because the album has been on deck for a release for months to no avail, pissing Everlast off to no end and infecting his fans with a brutal case of rumor-mill blues. And that’s no fun at all–just ask AC/DC fans. While the “Letters Home From The Garden of Stone” single is strong, making waves on iTunes for months now, Everlast’s cover of “Folsom Prison” is little short of brilliant. Check it out here.

The White Stripes: The Elephant in the Room

2nd July

elephant.jpg

Browse any number of music forums and message boards around the web sometime and search for threads related to The White Stripes. Invariably you will find a growing chorus of fans who fell in love with the post-punk sublimity of De Stijl and, to a lesser extent, the breakthrough White Blood Cells, only to be almost entirely alienated by the rotten egg they laid in 2003 with the muddled catastrophe of Elephant. Now with Icky Thump living up only to the first word of its title with the occasional exception (the title track among them), it seems as if the momentary streak of brilliance they offered on Get Behind Me Satan–a wild and stunningly successful departure from the tired recipe of previous albums–was merely a passing tease.

It’s surely no surprise that their major-label debut–Icky Thump–interrupted what Satan foreshadowed: a stretching of the band’s creative boundaries that left them to explore as broad a range of possibilities as ever before. In keeping with the kind of anxieties that accompany major-label debuts by established bands (as in Death Cab’s pitiful Plans, their first LP for Atlantic), Icky Thump sounded like the timid product of sessions in which the band tried their damnedest to sound like the band their label wanted–and so the album went in two different directions at once, with one foot on the beaten path of all the band had done before and the other in the more eccentric arrangements Jack White showcased on Get Behind Me Satan.

Satan qualifies as a rock ‘n roll landmark and is at once the band’s most daring and accessible piece of work–and if you think that’s an easy balance to strike, you try it, tough guy. But of all the band’s 6 albums, one stands alone as the turning point that we didn’t have the hindsight to see for what it was at the time: 2003’s Elephant, a total crapper of an album from start to finish that rivals only the more recent Icky Thump in indulgence and unlistenability.

After firmly establishing themselves as the undisputed rock ‘n roll resurrection by 2003, The White Stripes answered their growing frenzy of devotees with one dud of an album. A band that, just a year prior, was universally hailed as a much-welcome throwback to a sound long dead, the stripped down guitar/drums duo from Detroit seemed about as interested in fanning the flames of their growing fame as a 25-year-old Neil Young. “That album put me in the middle of the road, so I headed for the ditch,” Young, who followed up 1972’s monumental Harvest with the deliberately inaccessible Time Fades Away in 1973, explained years later. Young has since called it his worst album and, to this day, has refused to release it on CD (it remains a vinyl-only collector’s gem.) It seems that the White Stripes are up to much of the same thing on the careless, uninspired and puerile albums Elephant and Icky Thump.


The White Stripes: “Blue Orchid,” Get Behind Me Satan (2005)

What were addictive and delightfully anachronistic rockers on De Stijl and White Blood Cells have given way to a drab collections of clunkers that sound more like sloppy, half-baked demos and outtakes. Taut, muscular collections doused in blues and grit such as De Stijl demonstrated a mammoth potential, rekindling the hopes of long-time subscribers to the “rock is dead” mantra. The orgasmic cacophony that emerged from Meg White’s sizzling drums and Jack White’s guitar and uncanny wail produced a sound that resounded with improbable richness and fervor. It was hardly unfamiliar but still, somehow, distinctive. From gorgeous rock ballads like “Same Boy You’ve Always Known” to raucous jams like “Fell In Love With A Girl” or the brain-searing “Let’s Build A Home,” Meg and Jack White, knowingly or not, had taken the fate of rock ‘n roll into their hands.

Beginning with an unlikely bass line complimented by Meg’s angry, thumping drums, Elephant serves as a mighty tease. Just as it seems that The Stripes had at last discovered a sound of even deeper texture and richness without compromising their essential minimalism, the album unfolds into so much noise and nonsense. Song after song rings hollow, as Jack’s lazy guitar simply mimes old motions while the downright irreverent snap of Meg’s drumming is conspicuously dormant. A shrieking, murky chorus ruins the aimless “There’s Just No Home For You Here,” while “I Just Don’t Know What To Do With Myself” sounds, at best, like an anemic stepchild to superior ballads from past albums, such as “Union Forever” and “The Same Boy You’ve Always Known.”

Perhaps Elephant‘s most egregious moment comes on the pseudo-poetic “In The Cold Cold Night,” on which Meg White sounds entirely foolish, lending a self-conscious and timid croon to lines so juvenile as to be the stuff of bad teen angst poetry:

I saw you standing on the corner,On the edge of a burning light,

I saw you standing on the corner,

Come to me again in the cold cold night…

“I don’t care what other people say, I’m gonna love you anyway,” she continues to the plucking of a guitar lick that sounds like a ragged attempt at nailing down a Harry Mancini riff.


The White Stripes: “Well it’s True That We Love One Another,” Elephant (2003)

As with most rock ‘n roll mishaps, though, a few gems emerge from the rubble of an unfortunate album. The explosive “Seven Nation Army” resounds with such energy and purpose as to seem like the work of another band altogether. The mean-eyed “The Hardest Button to Button” would crack an indulgent smile from the mouth of any AC/DC die-hard, and a flicker of soul ignites the piano-drenched “I Want To Be The Boy”–a sound the band would extend to such astonishing effect on Get Behind Me Satan.

Overall, however, the once formidable White Stripes seem to have morphed into a joke that few others are cool enough to get. “Just say Jack do you adore me,” Meg slurs on the silly, throwaway tune recorded with punk-rocker Holly Golightly, “It’s True That We Love One Another.” “Well I really would Holly but love really bores me” Jack answers. Judging from the remarkably listless Elephant, one wonders whether the music, too, bores poor Jack.

Icky Thump and Elephant are the modern-day equivalents of Goat’s Head Soup and It’s Only Rock ‘N Roll, two underwhelming albums the Stones slapped together in the stunned aftermath of Exile on Main Street, that enduring masterpiece they released in 1972. Only fleeting glimpses of The Stones’ genius emerged from that point on–a tight tune somewhere on Tattoo You or a surprising sign of grit on more recent rock-outs like “Gunface” or “Dangerous Beauty.” If it’s true that history repeats itself, it’s a safe bet to expect only fleeting glimpses of brilliance from The Stripes going forward, yet another now-legendary rock band we once so trustingly relied on for an escape from the mindless doldrums of FM radio.


The Rolling Stones: “Gunface,” Bridges to Babylon (1997)

Raconteurs: Consolers of the Lonely

19th May

by Sara Mrozinski

Raconteurs

In 2006 Jack White broke my heart. He released an unsatisfying album with a newly formed side-project of friends and crowned the endeavor “what he has always wanted to do”. It seemed nothing but an abandonment of Meg and a half-hearted attempt at proof of self worth. Jack said himself that he would be nothing musically without Meg, that it was her childlike hammering that made each bluesy chord of his cohesive. So then, why Jack do you wish to dilute your talent with superfluous accompaniments and banal verses? The single “Steady As She Goes” was mildly catchy at most while the album as a whole fell short of the Whitelicious masterpiece we were accustomed to. It pretty much sucked. Just when all hope was surely lost, Icky Thump was born and life was good again.

Needless to say, I was more than skeptical of the newest Raconteurs project. I accept and love that Jack White is a man of many escapades, including plastic camera and speaker manufacture, collaboration with the Gods (Loretta Lynn and Bob Dylan), cell phone protestation, and home movies of snoring band mates (sorry Meg). With the exception of the premier Raconteurs album, he hits all these ventures out of the park. Therefore, I gave him an open, yet highly analytical second chance.


Raconteurs: “Salute Your Solution”

Consolers of the Lonely, HOT DAMN! I’m sorry my lord for ever doubting your ability. I grabble at your feet in repentance! The Kinks got busy with Icky Thump and conceived Consolers of the Lonely, plain and simple. This album delivers Jack White’s signature raw energy viciously burned with blistering horns and riffs to rival Zeppelin. The band let the album speak for itself, doing zero promotion and allowing the content to leak on iTunes and the like. Bravo boys. White and company have created radio-soluble tunes capable of pushing facileness overboard. So long Linkin Park and Flobots! This album is a must for summer and pairs perfectly with open-windowed driving. After all of Jack White’s eccentric pursuits, he again proves his tireless ability to win my applause.

Rock on Raconteurs!

Culturespill’s Plea to Electric Six: Ease the Seat Back!

29th March

E6

 

In light of troubling news that Electric Six has has hit the studio to record their fifth album in as many years, we at Culturespill thought we’d pose a question their most recent album begs us to ask: what’s the rush, dude? The uncharacteristically boring I Shall Exterminate Everything Around Me That Restricts Me From Becoming the Master, out last year from Metropolis Records, made an even more convincing case than its timid predecessor (Switzerland, 2006) for the need to, as Dick Valentine might put it, “ease the seat back.”

It would seem that Valentine, the band’s brainchild, agrees. “Our feet hurt. We need to soak our feet in salt water,” he confessed on the band’s website earlier this year, “We have to address our pediatric issues first and then we’ll worry about the release date of our next record on Metropolis Records. We have begun recording though. It has already begun.” OK–funny funny ha-ha. But as reviews of their latest–and easily their most forgettable–album indicate, a nice warm epsom bath and a cool year off might not be such a bad idea.

Just a few short years ago, we didn’t hesitate for a second before calling E6 the best band currently walking the face of the Earth. There was a ferocious abandon about the band’s debut, Fire–how its stinging combo-pack of punk, disco, arena rock and grade-school sex puns so wholly dismantled the cliches of ’70s rock excess that you loathed yourself for ever pondering that Styx album in your iPod. Even the deeply flawed follow-up, Senor Smoke, which was released in England long before it hit American stores due to distribution snags, evinced a sporadic brilliance that kindled widely-held hopes that the band would find a way back to the addictive blaze and boom of their debut.

It was hardly surprising that E6 had trouble finding Senor a distributor in America, where people no longer distinguish between music and bull piss because FM radio continues to force-feed them overproduced treacle that is about as memorable as a slice of processed cheese. It was equally unsurprising that such tepid reviews welcomed the album upon its release, as Fire was so brilliant, fearless and new that Senor Smoke sounded worse than it actually was.

Most rags in England, where the band scored dance-floor hits with “Gay Bar” and “Fire in the Disco,” trashed the album unmercifully because Valentine danced on Freddy Mercury’s grave during a video for a lame cover of “Radio Ga Ga.” Whatever. The song sucked then and it sucks now, and if E6 intended to prove this with their cover, they succeeded brilliantly. And anyway, Valentine concedes that he only included the cover on Senor Smoke to appease the demands of tasteless roadies who heard the band perform it one time. Like the band itself, it was probably meant as an absurd joke that went horribly wrong.

E6 Video: “Danger! High Voltage”

But that’s exactly the point: there was a time when the bad joke that is Electric Six sounded so right. “Devil Nights,” “Rock N’ Roll Evacuation,” “Dance Epidemic” and “Boy or Girl” were unmistakable E6 gems worth the price of the album alone. And then there’s the hideous “dance moves” Valentine employs on stage—especially those sloppy, half-naked push-ups he performs about 7 beers into every setlist. “I do sit-ups, too,” Valentine told Crave in an interview last year, “but nobody wants to talk about those.” Damn right, Dick. I’m sorry, but there’s something about a guy named Dick doing naked calisthenics for public audiences that’s deeply unsettling. But that’s the whole point with these guys; trauma is their currency. Well, it was.

If Senor Smoke as a whole was a damned mess—and it was—the band did have their excuses: record company strife, the loss of E6’s original lineup, and external pressures such as (“Oh, man! Radio Ga Ga! You gotta put that one on there, dude!”) that all came together at the same time to condemn the album to hopeless oblivion. It’s a testament to Valentine’s fortitude that he even scraped enough tunes together to put out a product that at least resembled an E6 LP.

When Switzerland was recorded so quickly on the heels of Senor Smoke–the chaos that distracted those sessions replaced by a combination of urgency and liberty that might have been the stuff of the next great E6 LP–the watery turd they served up as a finished product gave fans as much pause as it should have given the band. Then came that Exterminate Everything blah blah blah stuff, and suddenly each successive E6 album began to feel like the continuation of some agonizingly prolonged gesture of farewell.

Those who, like yours truly, cling to the band for echoes of the Fire-era E6 in pursuit of further elaboration on Valentine’s three favorite subjects–fire, nuclear war, and gay bars–are treated instead to an evolving aesthetic that’s shocking in its self-importance, given the band’s devotion to self-deprecating absurdity. “When you have a couple hits, people automatically assume that just because you have one song, you can’t write any other sort of song,” Valentine whined in another interview last fall, “Like clearly, based on hearing ‘Danger! High Voltage,’ this band is not capable of doing anything but ‘High Voltage.’ Like right out of the gate. ‘Based on this one song, this band will never, ever have another song besides this song.'” Boo-hoo.

There comes a time when every self-confessed “bar-band”–as Valentine himself describes his crew–must decide whether they will continue to be who they are or become “artists.” As so many bands who’ve gone the “artist” route in the past have proven–The Red Hot Chili Peppers come to mind–it might make you more popular at the local wheat-grass bar, but it isn’t worth a drink of water on the dance floor.

Few acts are capable of delivering the narcotic and unthinking thrill of rock and roll with more abandon or abundance than E6. There is nothing shallow about looking to them for something other than the sober lectures of a Billy Brag album. Sometimes it’s OK for a band to have fun and for fans to go looking for it; but with each increasing album and interview, it sounds like the same guys who waged “nuclear war on the dance floor” in 2003 are more likely to wage war on their fans in 2008.