CD Odyssey Disc 1767: Ages and Ages and a Rifflandia overview

Up next my first review of a band I’ve been enjoying for years but only now is revealed to you through the power of a random dice roll.

If you prefer live concert reviews, we have that for you today as well, as I quickly break down the many live performances I saw at the Rifflandia music festival on Sunday.

Strap in and here we go.

Disc 1767 is…Me You They We

Artist: Ages and Ages

Year of Release: 2019

What’s up with the Cover? This is not a skeleton sitting on a chair. This is a person dressed up as a skeleton, sitting on a chair.

I imagine this is a mortal that was trying to cross over into Hades, maybe to visit a girlfriend that recently suffered an untimely death. He successfully got across the River Styx with the help of his costume and a timely bribe of two coins.

Unfortunately, after a routine sniff from Cerberus at customs revealed the distinct smell of living human flesh he was pulled aside and is now in a waiting room while some agents go through his backpack. Within, they will discover both a sandwich and deodorant – two things no self-respecting skeleton requires.

If he’s lucky he’ll just get swiftly deported and put on a “did not die” list (the underworld’s version of “do not fly”).

How I Came To Know It: Sheila and I went to Portland in 2019 to see a couple of concerts (Mountain Goats and Iron Maiden). Portland has some first-rate record stores, and I always bring my wish list to see if I can find any rarities or hard to find items.

I found some of those, but also noticed this brand new – and heretofore unknown to me - Ages and Ages album. Liking their earlier stuff, I bought it and hoped for the best.

How It Stacks Up: I have four Ages and Ages albums. Of those four I rank “Me You They We” at third best.

Ratings: 3 stars

“Me You They We” is the most gentle and melodic Ages and Ages record. Previous efforts have the same tight harmonies and call and answer elements as earlier records, but on “Me You They We” they double down on both sweet and smooth.

The result is a record that leaves you in a light and carefree mood. It was so pleasant that despite catching lyrics that felt anxiety inducing, or at least thought provoking, I kept finding myself floating back into pleasant reverie. Best to not pay too close attention, and let the music soothe me like it seemed to want to.

This is in contrast to earlier Ages and Ages records where I was drawn in and left thinking heavy thoughts on many of the songs. The wiki page suggests a considerable amount of turnover (two original band members, but sixteen former ones), and this likely in part accounts for the different sound.

There are elements where it is a bit too dreamy, and all that vocal and creative activity from earlier records isn’t quite there. The songs are delightful to relax in, but sometimes they need a bit more bottom end and dynamics to hold your attention.

While this left me wishing for the more complex arrangements over their first two records (less so, their third) there were still moments that capture the old magic, and none more so than on “Unsung Songs” a beautiful bit of harmony that feels like a choir of angels singing you to your rest (in heaven, not Hades). “Unsung Songs” slowly evolves from pure vocals into an increasingly dense sounding rock song, before reverberating into the ether, and settling back into the celestial ease where it started. It is a rewarding journey.

The worst track is “Just My Luck” which is emotionally empty and has an annoying central sound of someone repeatedly hitting a bunch of high notes on a piano that sounds like a kid discovering a chord, but other than this one clanger, the record ranges between inoffensively pretty or downright joyful.

Ages and Ages haven’t released a record since this one, and five years is a long time to wait. Their website suggests there is no active tour, and maybe they just faded into the light after this record. Given how light, airy and calming it is, it is an easy fate to imagine for them.

Best tracks:  Way Back To, Needle and Thread, Unsung Songs, Nothing Serious

The Concert – Various Bands at Rifflandia 2024, Victoria BC

It is that time of the year again when we all engage in a little “September Forever” magic and talk Rifflandia. (all photos below are by Sheila).

We only went on Sunday this week, but we went early and saw a lot of bands – seven in total - although two of these were truncated because at a festival you sometimes need to make real time decisions about what stage you’re going to go to or stay at. As the kids would say…FOMO!

To mix it up a little, I’m going to review these bands in the order I liked their performances, not in the order they played. Note that there were another eight bands that are not included here. I don’t review them because I didn’t watch them. I only regretted my decision of who to watch once – more on that below.

#1 L7

#1 and then some, L7 were the main reason I went to Rifflandia and I was not disappointed. Unbelievable punk rock energy from these badass ladies of rock and roll. They snarled their way through a 40-minute set that in any just world would have been twice that long. I felt immediately immersed in the rebellious energy, and the feeling remained – along with a bit of ringing in my ears – long after they stopped playing. L7 – you make my…hit list.

#2 Janky Bungag

Janky is an alt country singer from Vancouver and the main reason I wanted to get to the festival early (he was one of the first acts). He was worth the early arrival. Personable, believable and a great songwriter. He was also funny, as he sang song after song about loveable lowlifes. The only tour shirt I bought other than L7 and the only regret was he wasn’t also selling CDs.

#3 The Beaches

This was my fifth time seeing the Beaches, making them second only to Frank Turner. There is a reason the Beaches are a must-see event. Not only do they write great rock and roll songs, they are amazing live. Full of energy (despite just flying in from PEI), plenty of power and no small amount of mischief. Lead singer/bassist Jordan Miller oozes charisma, but frankly the whole band does, and I once again enjoyed the spectacle of one of Canada’s great live experiences.

#4 La Force

La Force is a woman who sings alt pop tunes with a voice of liquid gold. I didn’t find these songs catchy so much as immersive, but it was easy to fall into her sound. I don’t think I will go out of my way to buy a La Force record, but she was solid.

#5 Wooden Horsemen

Blues bar rock with a trumpet. Every rock band could add a trumpet in my opinion, and the Wooden Horsemen brought that trumpet to bear with zest. These songs weren’t exactly innovative, but they did get my feet tapping. Again, won’t buy the record, but had a good time all the same. Kudos the woman playing tambourine and singing back up who put her all into the performance. Also, did I mention the trumpet?

#6 K-OS

I admit I left this show halfway through to go take in the Beaches. I’d seen K-OS about twenty years ago when he was first making it big and I’d liked him then. His show has changed a lot. Much less innovative DJ action, and more of a mélange of crowd engagement activity. His rap is still great (including some freestyling I believe) but I needed a lot more of that, and a lot less exhortations for me to sing along to samples of old rock songs. Bonus points for the B-Boy dude whose only job appeared to be walking around looking cool and breaking out dance moves. He did a fine job of both.

#7 Crash Test Dummies

The Crash Test Dummies hadn’t been to Victoria in 30 years. The last time they were here they played on the lawn of the legislature at a free show that was worth exactly what it cost. One of the worst five shows I have ever seen. This time they were better, but it was a low bar to clear, and they didn’t clear it by much. The set list was uninspired and other than “Superman’s Song” largely forgettable. At one point they danced around in a way that felt like a Sharon, Lois and Bram show, but with less energy. I regret not leaving and going to see the Cro-Mags.

Apart from that one bummer show experience, this was one of the best lineups of  any Rifflandia in recent memory, and well worth the price of admission and $14 cans of cider.

CD Odyssey Disc 1129: L7

I usually sleep in a bit when I have a Friday off, but I got up early today because I have a busy day of chores and wanderin’. Instead of getting that early start I fell into the Internet looking up football schedules, hockey news and whether a Muncie 4-speed is a good match for a 383 Stroker. Answer: it depends on what you’re using your car for.

Anyway, let’s get to the crunch and growl of a different kind.

Disc 1129 is… Smell the Magic

Artist: L7

Year of Release: 1991

What’s up with the Cover? Some badass rock n’ rollers that I wouldn’t want to meet in a back alley. Or would I? It’s complicated.

How I Came To Know It: This is from the grunge/folk wars of the early nineties with my friend and roommate Greg. This was one of several great albums he introduced me to.

How It Stacks Up:  I have four L7 albums and I like them all. “Smell the Magic” is tied with “Bricks are Heavy” for #1 – it is a tossup between  the crisp brilliance of “Bricks are Heavy” and the muddy power of “Smell the Magic”. However, I’m not here to equivocate so I’ll put “Smell the Magic” in at #2 in a photo finish. This isn’t because “Brick are Heavy” is better, it only because I loved it first.

1. Bricks are Heavy: 4 stars (reviewed at Disc 133)
2. Smell the Magic: 4 stars (reviewed right here)
3. Hungry for Stink: 3 stars (reviewed at Disc 344)
4. Self-Titled:  3 stars (reviewed at Disc 744)

Ratings: 4 stars

Sometimes the world can be an angry and dangerous place and in those moments it needs angry and dangerous music to match: enter L7’s “Smell the Magic”. There are no apologies here and no relief from the onslaught of furious guitar riffs and grimy power. L7 are here to do it to you in your ear-holes.

This album isn’t here to teach you anything, but it is here to give voice and power to anyone who needs to shout a little. The songs are simple but well-constructed, with the snarl of punk but the precision of metal. On top of it all rides Donita Sparks’ growl, spitting into the microphone with the fury of both.

The album begins with one of my all-time favourite L7 songs, “Shove” a song about frustration on many fronts including paying the bills, and dealing with landlords, parents and sexist assholes. L7’s response to the myriad annoyances and frustrations of daily life? “Step out of my way/or I’m gonna shove” sung with a ferocity that puts some weight behind that shove. The guitar riff climbs around in this song with a restless energy that makes it clear that the shove could come at any minute from any direction, so keep your distance. Only you don’t. Instead you feel empowered to shove your own problems out of the way. L7 isn’t mad at you, they’re mad for you.

The next song, “Fast and Frightening” is a character study of the baddest girl in school. There are so many shocking descriptors of her character, including:

“Her glance hits me like lightning
I heard that girl is fast and frightening
Dirty hair and a laugh that's mean
Her neighbors call her an evil machine”

Note that after some internal debate I’ve quoted the least offensive verse of this song by far. If you have the intestinal fortitude for it, feel free to look up or listen to the rest.

Musically, “Fast and Frightening” mixes Motorhead style punk/metal with handclaps right out of a sixties pop song. This adds a clever undercurrent of musical history into a modern song of rebellion. This is a classic biker movie brought to a modern audience through music.

“Smell the Magic” is full of these damaged characters. On “Deathwish” women party ‘til they puke and hitchhike home and on “’Till the Wheels Fall Off” people who are bad for each other vow to stick together and ride their lives into the ground. L7 doesn’t extoll these choices, and they don’t damn them. They present the lives of the angry and the broken without a filter, and let you decide how you feel about that.

The final song on the album is a bit more melodic than what comes before. “American Society” has the crispness that is more at home on “Bricks are Heavy” along with more political message, albeit delivered from a personal perspective. Everything on “Smell the Magic” feels personal and immanent, which is how rock and roll should feel. The chunky groove on the song is so powerful when I played it I played it twice – once as I walked in the door after work and the next morning at the bus stop. I felt like quite the rebel, even though I was standing there in a suit preparing to go sit at a desk all day.

As I noted earlier, the production on “Smell the Magic” bugs me a little. It is muddy and the mix is very low – a common malaise for CDs released around this time. On the other hand that mud gives the album a bit more grit that it might otherwise lose with too much sharpness. As for the volume, I just turned it up - and so should you.

Best tracks: Shove, Fast and Frightening, Deathwish, ‘Til the Wheels Fall Off, American Society

CD Odyssey Disc 744: L7

Before I begin I want to give a big shout out and thank you to my friend Randall, who recently gave me a thoughtful introduction to his favourite band, “My Morning Jacket.”

I didn’t love “My Morning Jacket”, but they do have some pretty cool songs. My favourites include “The Bear,” “Golden” and “Librarian.” Overall MMJ reminded me of Band of Horses when I was enjoying them and later Radiohead when I wasn’t.

My next review is for a band very unlike either of those bands.

Disc 744 is….L7 (Self-titled)

Artist: L7

Year of Release: 1988

What’s up with the Cover?  A very grainy photo of the band. I think this cover is designed to capture the raw and visceral quality of L7’s music, but for me it just captures the fact that they probably couldn’t afford better cover art at this stage of their careers.

How I Came To Know It: I had discovered L7 through the two albums that followed this one, and this was just me drilling back through their collection.

How It Stacks Up:  I have the first four L7 albums. I’m thinking about getting 1997’s “The Beauty Process” but haven’t made up my mind. Of the four I have, I’d put this one last, just a hair behind “Hungry for Stink.”

Ratings: 3 stars

L7’s self-titled debut is their most raw and rough-edged, which is saying something about a band that is pretty raw and rough-edged at the best of times. It is a perfect intersection of metal and punk. Coming out in 1988, this album is an early entry into the world of grunge, and should get more credit than it does.

The punk elements are clear on this record, which has 11 songs but clocks in at under 32 minutes of playing time. Six of those minutes are taken up by “Uncle Bob” (who, we are advised, is a drunken slob) leaving 25 minutes for everything else. It is enough time to put across a basic idea, both musically and lyrically, thrash the hell out of that idea and then wrap it up in 2-3 minutes and move on.

These songs have maybe two chords, but never get boring (they don’t give you time to get bored). If they want to signal a new section for the song then they change the rhythm up a bit and just power through.

It is that power that brings the metal to the equation. The dual guitars of Donita Sparks and Suzi Gardner grind out a relentless thrash that makes you want to let your hair fall into your eyes and nod your head up and down in the homage known to every metal fan: the mosh. I can’t tell you who is the lead guitar player, but they are mostly just crunching out rhythm anyway.

I listened to about half this album waiting outside a senior’s centre for Sheila’s Weight Watcher’s meeting to wrap up so we could go for dinner. The quiet dignity of the senior’s centre tried valiantly to impose itself, but L7 was having none of it. This music is a tonic against getting old before your time.

The topics of this album are very limited, mostly referencing drinking, fighting and fucking in no particular order. There isn’t much plot development either. A scene is set with someone doing one of the aforementioned three activities, they do it with gusto, and then you are on to the next song.

Donita Sparks’ raspy voice and punk vocal delivery match the topics perfectly, and make you feel like you are right there. She spits out the lyrics, angry at the world and proud of it. Here is a sample from “I Drink” which showcases the type of high-brow prose Sparks occupies herself with:

“I drink, I get drunk I fall on my face

All my friends tell me I’m a basket case

I got so drunk, I don’t remember what happened

But everybody said I had a real good time.”

Later, Sparks manages to recall that she drank White Russians, and puked outside while someone tried to kiss her. No doubt this song would expound even further on a quality evening out, but at 2:55 playing time there really isn’t any time for it.

“Let’s Rock Tonight” and “Cool Out” have the slightly (and I mean slightly) smoothed out sound that later albums like “Smell the Magic” and “Bricks are Heavy” would be known for, but make no mistake – L7’s debut is about visceral take-no-prisoners rock. This isn’t music to sip wine to and discuss poetry, it is music to drink, get drunk and fall on your face to. Or maybe just have a laugh at such youthful notions while hanging out on a park bench outside the senior’s centre. I’m not ready for my room inside just yet.

Best tracks: Cat-O’-Nine-Tails, Let’s Rock Tonight, Uncle Bob, Runnin’ from the Law, I Drink

CD Odyssey Disc 344: L7

Sometimes in life, you just need a little angry music. At those times, this next band may be for you. I wasn't feeling particularly angry of late, but I still appreciate the music when it is done well.

Disc 344 is...Hungry for Stink

Artist: L7

Year of Release: 1994

What’s Up With The Cover?: If this passenger started the journey with the driver, I wonder whether they arrived in the bloody bunny mask or put it on later? How about the knife? After the bloody bunny mask, the knife might've felt pretty logical, I suppose. If this passenger was a hitchhiker then it is a good reminder not to pick them up.

How I Came To Know It: As I noted way back when I reviewed "Bricks Are Heavy" at Disc 133, L7 was a band my old room-mate was into in the early nineties. "Hungry For Stink" was just me digging deeper into their catalogue after I was hooked.

How It Stacks Up: I had originally thought L7 only had four albums, but I'm since informed they have six. I only have their first four, and of those I'd put "Hungry For Stink" third best. It is OK, but not on par with classics "Smell The Magic" and the aforementioned "Bricks Are Heavy."

Rating: 3 stars.

L7 is an angry, all-woman rock/punk band that enjoyed a period of significant but brief popularity in the early nineties. They are talented, attractive and more than a little scary.

Because of the time period, and their musical style, they are often considered part of the grunge movement, but I hesitate to use era-specific genre labels on A Creative Maelstrom. Instead, you'll note that I resorted to three different tags (punk, rock and metal) to capture just what they sound like.

"Hungry For Stink" is their fourth album, coming immediately after "Bricks Are Heavy." I am impressed just how much different "Hungry For Stink" is, given the preceding album's popularity. It is so easy for a band to fall into a golden rut once they've found a winning formula, but L7 avoided this fate, at least on this record.

The essentials are still there. The guitars feature that heavily distorted 'chukka chukka chukka' sound that was fairly common to punk/rock crossovers and stoner metal of the time. L7 plays the style well, and I love the way the low notes of the guitar and bass hit me deep in the gut.

Add to this the vocals of Donita Sparks, which are so raw and angry they instantly give the stoner guitar licks their punk edge. Sparks sings with such disdain and ragged vibrato that she sounds like she's shouting at you even when she isn't under full power. More amazing, she makes being shouted at an enjoyable experience.

The band uses punk arrangements, but eschews the punk sensibility of deliberately sounding muddy. Instead, they play tight and crisp; something I wish punk would do more often (yeah - I said that). I give full credit to Jennifer Finch on bass, holding everything together down in the basement and contributing some strong writing to the record as well.

That said, "Hungry For Stink" is less polished than "Bricks Are Heavy" from a production standpoint, but I suspect is a deliberate decision. The album in many ways sounds more like the band's early work, with a reduced focus on hooks.

This is particularly evident on "Baggage," a song that flips the whole dismissive expression 'she has baggage' on it's head. L7 doesn't just have baggage, they know exactly why, and they aren't afraid to tell you about it, leaving no room for misinterpretation. This is a band in touch with their feelings (including the negative ones) and they won't countenance you being out of touch with them.

"The Bomb" explores the throw-away and artificial nature of modern mass culture. This is a very common punk theme, and in truth, L7 covers the topic better on 1990's "Smell The Magic" with the song "American Society." That said, "The Bomb" is pretty good, and plenty angry enough.

The lyrics on "Hungry For Stink" aren't great, but that isn't what this album is about. It is about laying down a heavy, deep-in-the-craw groove and building from there. The lyrics are like the music in that respect, simple, visceral and in your face.

One of my favourite moments on this record is right near the end. "Shirley" is a song in honour of Shirley Muldowney, a famous woman drag racer who used to be at the top of the sport in the late seventies and early eighties.

Like any ten year old from a small town in BC, I was enthralled with drag racing and Nascar and 'remembering that rumblin' sound' just like Steve Earle's big block Dodge in "Copperhead Road." I haven't cared a great deal about motor sports in decades, other than a continuing fascination with owning an early seventies Dodge Charger (it will happen, my friends).

However, when I put on "Hungry For Stink" the last couple days, there was Shirley Muldowney, reborn in my memory after so many years forgotten. As a kid, I thought nothing of Shirley Muldowney's exceptional contribution as a woman, breaking new ground in a section of sports so dominated by men; I just liked watching her race. Of course, looking back it was a big deal. L7, a band that personifies female empowerment, brought her back to me. Best line in the song:

"How many times must you be told
There's nowhere that we don't go.
'What's a beautiful girl doing in a place like this?'
Winning."

Overall, this album wins as well. The songs aren't incredible innovative, but they are heavy, headbanging anthems that take no prisoners.

Best tracks: Andres, Baggage, The Bomb, Stuck Here Again, Shirley, Talk Box

CD Odyssey Disc 133: L7

Before I get on this review, I just want to give a big thank you to Joel and Sherylyn who recently gave me the benefit of their CD lore (and CDs along with). I'm looking forward to hearing this new music with the same enthusiasm Francis Drake once looked out upon the Pacific Ocean - except without all the piracy and what-not.

Now, on to the latest entry in the CD Odyssey.

Disc 133 is...Bricks Are Heavy
Artist: L7

Year of Release: 1992

What’s Up With The Cover?: I'm not sure. I think this is time lapsed photography of a couple people dressed in early nineties attire, swinging lit torches about. It's cool anyway - they even put flames around Tipper Gore's Parental Advisory Label, so it fits in thematically.

How I Came To Know It: Another album I owe to my friend and former room-mate Greg. I always loved this album, and it was one of the first I went out and bought when I could no longer play his.

How It Stacks Up: L7 weren't together that long, and they only made four albums. Of the four, two are really good and of those two, I'd say "Bricks Are Heavy" is the best. So how does it stack up? Number One!

Rating: 4 stars.

L7 were an early nineties all-girl band that I really dug in the day, and still play quite often today. They are a heavy, no nonsense group that will assault your senses. I'm pretty sure the Runaways and the Go Gos wouldn't want to run into these gals in a dark alley - L7 would kick their ass. Well, most of them anyway. Joan Jett could hold her own, of course, and Jane Wiedlin no doubt fights dirty. You'll always be my favourite Go Go, Jane...

As you can see from the tags I put on this entry, I had a hard time figuring out just what kind of music L7 makes. It is definitely rock n' roll. It has elements of punk, but also metal. In the day they were lumped in with grunge because they came out in the early nineties, played alternative music, and had a pulse (see Phair, Liz).

Songs cover a wide range of topics. "Wargasm" a bitterly angry anti-war song, and "Pretend We're Dead" calls out the unexamined life. There are more than a few tracks with varying messages of 'I hate you' and the gals even take time out to list the ways you can make their "Shitlist" (Hint: there are many).

This album is a tight little collection of only eleven songs, the longest clocking in at only 4:21. If you read this blog, you know I am a fan of brevity on an album, and they deliver. There aren't any bad tracks, per se, although some are better than others. Every track is as heavy as...well, as heavy as a brick. A few ("One More Thing", "Diet Pill") are as heavy as a bag of bricks.

On the other hand, it has been pointed out by the very person who introduced me to this band (Greg) that a lot of their songs sound basically the same. This occasionally manifests (hilariously) with a chorus of 'when we pretend that we're dead' from those who recognize when an L7 song comes on - regardless of the song.

While I partially subscribe to this theory (and have even sung a little 'pretend that we're dead' along with the boys) the realization doesn't bother me. I liken it to ACDC; all their songs may sound the same - but they also all sound pretty good.

This record doesn't have a ton of range, but it sounds consistently good, and it makes you want to mosh until you throw your neck out. Also, the gals in L7 are pretty hot in an "I'm scared of them but kind of like it" way.

Best tracks: Wargasm, Pretend We're Dead, Diet Pill, One More Thing, Shitlist