Clang & Clatter

The Mars Volta and At the Drive-In guitarist Omar Rodriguez-Lopez told NME that the newly reformed At the Drive-In will not record new music together and that the decision to reunite the band was partly financial:

We’re not getting any younger and there’s been an offer of money every year. You can’t avoid that. You’d be a fool and a politician to pretend that wasn’t part of it.

He also apparently told Kerrang! magazine the same thing:

Will there be a new album? No, no, no. At The Drive-In is more of a nostalgia thing – it’s songs we wrote when we were all in our 20s and we’re doing a couple of shows.

Well I guess that clears things up a bit.

It’s Friday. IckMusic. Friday Five. You know the drill.

At the Drive-In - “Skips on the Record” (Acrobat Tenement, 1996)
At the Drive-In. Love the attitude. Hate the out-of-tune guitars on their debut. And you can’t blame it on the usual culprit Omar Rodríguez-López since he was playing bass at the time.

I Mother Earth - “Three Days Old” (Scenery and Fish, 1996)
iTunes is at it again. This week it’s a another selection from I Mother Earth’s second release. This particular tune has too many thematic shifts for me to really get into. Your mileage may vary.

Switchfoot - “Twenty-four” (The Best Yet, 2008)
Switchfoot is one of those CCM bands that I really used to like (around the New Way to be Human era) but is becoming much harder to stomach of late since becoming so popular. I purchased this “best of” collection for my pre-teen son who began to listen to some of their songs a couple of years ago. “Twenty-four” comes from the fourth release The Beautiful Letdown, which was the last major release from the band that I purchased, and is the band’s typical radio-friendly ballad, not that that’s a bad thing. Had I known at the time that The Best Yet was the usual last-ditch effort to cash in on the band by the record company after Switchfoot ended contract relations with Columbia/Sony, I would have refused to buy it.

King’s X - “Prisoner” (King’s X, 1992)
One of my all-time favorite King’s X tunes from their often-overlooked—though at one point most popular and best-selling—self-titled fourth release. This was the last album on which the band would work with manager/producer Sam Taylor, citing the usual creative differences reason. Seeing as the band’s next release was the stripped-down, grunge-ish Dogman, and hindsight being what it is, it’s not hard to believe that now. King’s X retains that classic King’s X sound from the first three albums, but introduces a bit of a darker side, both sonically and lyrically. Guitarist Ty Tabor’s playing is excellent throughout the entire album as it is here on “Prisoner,” making the album worth checking out if for that reason alone.

Toad the Wet Sprocket - “Scenes from a Vinyl Recliner” (Bread and Circus, 1989)
I first heard this song on a live bootleg of a Glen Phillips solo concert, and I much prefer that stripped-down acoustic version to the one on the TTWS debut album. That being said, I love the song, and in typical Glen Phillips fashion, the lyrics and song title become deep and weighty as you dig into them, with the allusions to the “circus” portion of the album title (itself a phrase that has come to mean to placate the masses) and the hint of comfortably and safely watching the misfortunes of others from the outside. Deep.

Hey, no Rush or Geoff Tate this time. I guess that’s something.