platters (2007-51)

It Was a Very Good Year

We round up the best local CDsâ"and one vinyl singleâ"from 2007

1220 Miss Legendary On this five-song EP, the boys in 1220 come off with all the cocksure strut and swagger of an L.A. sleaze-rock outfit circa 1982; think early L.A. Guns, or Live Like a #$% Suicide-era Guns â‘nâ’ Roses. Pretty keen stuff, when you consider that some of the boys still canâ’t buy a legal beer at one of their own shows. There may be bands in town with more chops and bigger hooks, but 1220 have it hands down when it comes to playing unadulterated rock â‘nâ’ roll. (Mike Gibson)

Double Muslims â“Errors of Menaceâ” (Laboratory Standard) The three jazzy art-rock songs on this 7-inch single (â“Errors of Menace/Stupor Creekâ” b/w â“Twice, But Onceâ”) are dense and focusedâ"Eric Leeâ’s staccato, single-note guitar lines mix dissonance and melody, with Jason Boardman providing tight, restrained drum beats and Marcelle Good covering the lower end with cello. Cerebral, heartfelt, and haunting. (Matthew Everett)

Generation of Vipers Dead Circle (Red Witch) The second album from reclusive post-metal heads Generation of Vipers is meaner than the bandâ’s 2006 debut, Grace, and even heavier; the passages of atmospheric, post-Neurosis menace have given way to an avalanche of rolling, crushing riffs. (M.E.)

Knoxville Jazz For Justice Knoxville Jazz For Justice (Altru Music) The most worldly of any record to come out of Knoxville, Jazz for Justice features South African reedman Zim Ngqawana, as well as locals Mitch Rutman, Carlos Fernandez, the Knoxville Jazz Orchestra, Rusty Holloway, Keith Brown, Vance Thompson, and Mark Boling. Thereâ’s plenty of sedate exotica, but there are also extremely cerebral compositions, such as Donald Brownâ’s â“Peace for Zim,â” an 11-minute epic that keeps the listener guessing, and never disappoints. (Kevin Crowe)

R.B. Morris Empire Itâ’s only a teaser for a full-length album to come, but Morrisâ’s five-song EP is a stunning piece of work all by itself. The title cut, a fractured acoustic ballad in memory of 9/11, is already an audience favorite, and the rest of the tracks are every bit as strong. (M.G.)

Psychic Baos Trouts (Whisk-Hutzel) It begins with a single note stretched out for nearly a minute; as a whole, itâ’s a slice of free-form cosmic lo-fi electronica, coupled with some of the loud hell-raising that weâ’ve come to expect from the boozy confines of the Whisk-Hutzel lab. â“Stamped in My Mind,â” a raucous offering of noise and screams, is the closest thing to classic Will Fist that we get on Trouts, but itâ’s still spacier, more electronic than the banshee moans that usually find their way into Fistâ’s dirty blues. (K.C.)

Sadville Make Ready the Cross (Inkblot) Woefully brutal, Sadvilleâ’s first LP, Make Ready the Cross, hit like a sledgehammer back in January. After signing with Brooklynâ’s Inkblot Records, they recorded seven sludge masterpieces, many of which had been polished at live shows and house parties over the last four years. These songs are fast and, at times, mordantly beautiful, with Travis Flattâ’s growls spiked on top. â“The Forbidden Dance of Decay,â” a manic grind that focuses on the horrors of both love and lycanthropy, has the sheer barbarism that weâ’ve come to expect from Sadville. The title track is just as fierce, with its propulsive chugs courtesy of guitarists Lucas Flatt and Blan Williamsâ"theyâ’re loud, hard and, more often than not, fueled by the promise of sweet catharsis that never seems to come. (K.C.)

Whitechapel The Somatic Defilement (Siege of Amida/Candlelight) Whitechapel finally dropped its debut this summer, and the wait was worth itâ"The Somatic Defilement is half an hour of ripping, grinding, three-guitar death metal, both gruesome and jaw-droppingly proficient. The band ruled Knoxvilleâ’s all-ages venues in 2006, and now the rest of the world is starting to noticeâ"tours of the U.S. and Europe and the success of The Somatic Defilement have landed them a deal with Metal Blade. (M.E.)

Columns

All content © 2007 Metropulse .

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