Halogen Sons (2002)

Episode 9 / Two Bits + Shirtless on Main Street / No Myth/No Less / Rinsewater / Fiona / Bullfights on Acid / Constellations / Stick Figures / Fred ‘n’ Ethyl / Henrietta Universe / Roman Holiday / Chloroform / Shitstorm

If you’re not yet familiar with Hubcap, there’s no reason to be ashamed of, I hadn’t even heard of the name when this CD suddenly landed in my lap. When I played it the first time I wasn’t even that impressed: well-performed rock ‘n’ roll with a twang, but nuthin’ fancy, you know. However, there was this little voice that told me to give it another try and before I knew it, I was playing it several times in a row, listening with full concentration, as the songs slowly gave some of their secrets away and turned from vaguely familiar into something to be cherished. Halogen Sons is a grower and I presume it’s because of Hubcap’s refusal to lay all of their cards on the table at once. It takes you nine songs into the album to discover the rhythm section is capable of both swinging and funking, it takes several hour-long listens to realize that the band runs up and down the gamut, from straightforward, bouncy alt country, to muscular riff-rock to introspective balladry and something you might define as psychedelic blues. Hailing from Ithaca, NY (hometown of the great Johnny Dowd as well), the band formed in 1999 and took its time to deliver a full-fledged debut album that evokes classic alt country bands such as Uncle Tupelo and The Jayhawks, but fits in among more traditional rock bands such as The Tragically Hip or R.E.M. as well, while maintaining a dark edge that sets them apart from the pack if necessary. In fact, I’d rather not call this ‘alt country’, as the package contains more pure rock ‘n’ roll than that tag suggests. Roots-rock is more appropriate, as they sound like a pale-faced, Northern version of Los Lobos with an adolescence that was spent listening to edgy alternative rock. The sneaky misleading already starts with “Episode 9”: while it starts off in a gently swaying rhythm with Steve Gollnick’s half-cracked voice that’s reminiscent of both Gordon Downie’s and Jay Farrar’s, the band suddenly kicks into this huge-ass chorus with fat, blistering chords and an overall wall of sound, with thundering drums, pumping bass and jarring guitar bits. Well, it’s not noise or anything, but it’s one of those big explosions, you know, the kind that makes you lower the car window and honk the horn just because it’s fun. That’s what I call “off to a great start,” and in the next short hour or so the band leads you through a multi-coloured trip that’s the sonic equivalent of a day at the fair. “Two Bits + Shirtless on Main St.” with its enchantingly sweet melody has a nice merger of acoustic and electric guitars, with lap steel thrown in to add some twang. Also “Stick Figures” and “Henrietta Universe” are the kind of stuff that gives alt country a good name: smart lyrics, good vocals, great melodies that incline towards Wilco anno Being There (the former), R.E.M. on a roots-trip (the latter) or Philly’s Marah (both). The lighter side of the band is kept in balance by a prominent amount of barbs: “No Myth/No Less” explores swampy territory, takes its time to develop and explores a dark groove before blossoming into another downpour of abundant melancholia, while “Roman Holiday” basically does the same, but even better – ever wondered what can be done with a simple, repeated line such as “It’s not the same”? While those are ingredients you’ll find on quite a lot of roots albums out there, it takes only a few listens to “Rinsewater” and “Fred ‘n’ Ethyl” to recognize this is something different: the former merges the grit of classic Crazy Horse with the grand statements of the Tragically Hip, using the loudest chords on the album, while “Fred” is, uh …. psychedelic funk-pop? Yeah, but of the kind that actually works and it it’s a nice showcase for the rhythm section of Ryan Cady (drums) and Walt Lorenzut (bass): they’re more than just two wallflowers raised on Dylan and the Dead. Throw in a tight acceleration and sparkly sound effects and you got yourself another winner that should be on each respectable radio station’s play-list. But oh well, things don’t work that well, do they? Certainly not when the band offers more proof of their dark impulses throughout the album. “Fiona” is a wonderful understated ballad that seems to walk the no man’s land between Steve Earle and Mark Lanegan, while the darker side of the latter resurfaces in the bluesy psychedelica of “Bullfights on Acid “ (complete with reference to Morphine’s “All Wrong,” I think) and extended album closer “Shitstorm” that recalls the moodier parts of the Tarbox Ramblers’ latest album. That seems like a long summation, but I can’t help it, there’s so much to be found on this album. Granted, it’s not faultless: some of the songs are perhaps a bit too stretched out (the ballad “Constellations” in particular), making it a bit too demanding for people with a short attention span, but hey, if you’ve already made it this far into the review, you won’t have a hard time with Halogen Sons. It may not be waiting for you in your familiar record store, but most of those also order these days. I read on the band’s site that a second album is in the works, so why wouldn’t you try to be prepared for that when it comes around? Hubcap’s worth the effort. Seriously.

Note: They’re embarking on a short tour through Belgium and Holland the coming weeks (July 1st-11th), so if you’re in the neighborhood, why not check them out and buy me a beer? I’m the one waving the white flag on the first row, so you can’t miss me.

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Between the Rails (2004)

Birthday Song / Perfect / Motionsick / Barstools and Landmines / KSW / Stuart Sutcliffe / Wish / TV @ a Loss / Engine / Pretend / Untitled

Spearheaded by singer-songwriter Steve Gollnick, Ithaca's favourite roots-rock outfit recently released their second album and boy, was it worth the wait. I was already impressed when they sent me their debut Halogen Sons earlier this year; a feeling that was only strengthened by their excellent performances in Belgium in July. Initially, I was a bit confused that the band's set seemed to focus more on new material (which I hadn't heard yet at the time) than on familiar stuff, but why not - why can't a band play what they want, especially if they're visiting unfamiliar territory? Anyway, I didn't hear any discernible stylistic clash between the "old" and "new" songs, as the set consisted of smart combinations of energetic roots-pop, traditional-oriented Americana and the occasional ballad or cover. However, Between the Rails certainly isn't Halogen Sons, Pt. 2. Whereas the latter was a laboured-over album (in a good way), with a very detailed production, dense sound and rock-groove, the newborn initially seems less self-aware, simpler, quieter and gentler. Even though Gollnick was convinced the second album was gonna be an electric rock 'n 'roll album, it's much more acoustic-oriented and digestible than its predecessor - less striking at first, but probably even more rewarding in the long end. I've been playing these songs since summer and when I finally sat down to review it after I got my 'real' copy, it still struck me as fresh as before. Recorded by the band and producer Billy Coté on the huge top floor of the house where a few members actually live, Between the Rails boasts a pristine sound that's ideally suited for Gollnick's mature and diverse batch of songs. Kicking off with the hesitant melancholy of "Birthday Song," Hubcap doesn't always choose the easiest or most predictable option, but the song's so good you'll be hooked after the first verse. With the addition of pedal steel and guitarist Peter Glanville's subtly shading parts (and that solo! MAN!), "Birthday Song" manages to become a striking opener many bands would sell their souls for. Even though Between the Rails starts (and also ends) in the wasteland near Son Volt's moody alt-country, it becomes clear soon these fellers have the hearts of rockers, as "Perfect" is a big pop song, starting off calmly, but incorporating a huge-ass chorus and an extended coda that allows them to rock out. The remainder of the album keeps this alternation of lighter/slower and darker/energetic material up and the band excel on all levels. "Barstools and Landmines," for instance, is the prettiest lullaby I've heard this year, a gently bouncing track, again featuring pedal steel and angelic backing vocals by Ithaca's Mary Lorson, while "KSW" ("Kindasortawrong") is a flat-out fantastic mini-course in song-writing, driven by wonderful mandolin-parts, uplifting upright bass and a melody I'd be hummin' for years, even if I'd lose the album tomorrow. It wouldn't be a Hubcap-album if it also didn't have its darker moments (like "Bullfights on Acid" on Halogen Sons) and in this case, that honour goes to "Stuart Sutcliffe," a menacing, brooding journey through swampland, featuring dissonant, howling guitar parts, a dragging groove and Gollnick's deadpan megaphone-vocals. As slow and extended, but an entirely different matter, is "TV @ a Loss," which has become the album's apex to me, an emotional beast of a song that never fails to make me feel weak. "I'm okay now, back in your arms again" is all that it takes apparently (it's this album's "It's not the same"). Thanks for making me feel like a wuss, guys. Anyway, how about some rock? "Wish" gives you rock. "Wish" evokes the classic Crazy Horse-sound, warm and muddy, with swell guitar parts and is the classic rock song that lurks inside this album. There's also "Motionsick" and "Pretend," songs that combine the best from roots-pop and guitar-rock and do so with class, style and have these little moments that make 'em so memorable (whether it's the pretty backing vocals on the former or the nervous stop & start-dynamics of the latter). Finally, there's the rootsy power-pop of "Engine," this album's "Henrietta Universe," a song that sticks with you like an annoying cough in winter. But it's much more fun. While most bands try to cash-in on the sound of their debut and release an attempt to recreate that particular ambiance, Hubcap have done it the reverse way. They followed-up the thick sonic palette of Halogen Sons with an album that sounds more spontaneous and mature at the same time, which seems to become a rare feat these days. It's no secret anymore - I mean, Ithaca and Hubcap are starting to spread all over this website - but let me repeat it once again: I like this band a LOT. Buy their albums, and do it several times, if possible.

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