Showing posts with label The Regrets. Show all posts
Showing posts with label The Regrets. Show all posts

Wednesday, October 03, 2012

The Regrets ‎– New Directions: Results Beat Boasts (1997)


After the breakup of beloved Kansas indie-rock band Vitreous Humor, three-quarters of the band almost immediately began playing under the name The Regrets, but their approach was markedly different to their previous band. With the loss of one guitar in the mix, The Regrets didn't have a wall of distortion to hide behind, and the resulting songs were equally tense.
crank! a record company

The breakup of cumbrous Kansas indie band Vitreous Humor, blamed on typical inter-member turmoil, felt abrupt. They planned and played a well-attended farewell show, true, but business seemed unfinished. They burned out with a thin catalog of a couple 7"s, a self-titled EP called The Vitreous Humor Self Titled EP, and, later, a posthumous collection called Posthumous. But like a late caboose, the Regrets dashed by. VH's original, three-piece lineup was a unit once more, within what seemed like minutes after the crash of their previous band. And whether intended or not, the Regrets showed a continuation of VH's work, but decidedly not as top-heavy. While a final lineup of four members created VH's wave of knock-around distortion pedal songwriting, maybe the Regrets' three-piece, mottled, semi-relaxed rawness was the direction VH would've gone. I’m absolutely sure that has nothing to do with title of the Regrets' only work, New Directions: Results Beat Boasts, released on the Crank! label in 1997. The homely production is a handsome pair with the (probably) budget-rate instruments and amps used to shape the album, while the swishy playing style and yelped, weird poetry are well in line with the family seal. Depending on your angle of view, it could be an updated Firehose, a librarian's Dead Milkmen, or a dilapidated R.E.M. (an improvement). New Directions finished Vitreous Humor's work, although I'm not sure any cut off the album beats the Regrets' satellite track, "Good Things Come To Those In Small Packages," which was featured as a bonus on VH's Posthumous. It's nearly a suggestion from the band (or label), that the two groups are, or should've been, one.
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New Directions: Results Beat Boasts is the sole release from The Regrets, a three-piece comprised of members of Vitreous Humor. It’s a mid-'90s, mildly punkish, indie-rock record with clean, jangly bass and guitar tones and minimalist arrangements and instrumentation — most of the focus is on Danny Pound's acerbic, half-sung, half-shouted lyrics. Guitars are strummed relentlessly, with rubbery bass lines and busy but clean beats forming the unwavering backdrop for Pound's wordy and occasionally darkly funny observations.
New Directions definitely features hints of early Modest Mouse and Silkworm, but its barebones construction and Pound's opening line on "India Ink" speak volumes: "Oh, here comes another misuse of my talent." That isn"t to say this record is a waste of time or that it offers nothing. It was recorded in three days with three players; nothing is doubled; little to no effects are utilized; hooks are used and reused. The Regrets were pulling no punches about what they were doing. They wanted to make a statement, and they wanted to do it in little time with an overriding and straightforward tone, and that's what they did.
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The tongue-in-cheek title of the Regrets' first and only album also serves as its manifesto. The band, made up of three-quarters of Vitreous Humor, decided to attempt something completely different, and they succeeded - at least to a degree. The wailing wall of guitars that characterized much of their previous band's output largely disappeared, replaced by clean guitars and a less tense, more funky rhythm section. What remains is this group's ability to write catchy rock songs that aren't sickly sweet or pop pandering. Singer/lyricist Danny Pound's lyrics are often darkly humorous but seem more personal in his work with the Regrets. From the intense "Play With Yourself Until You Faint" to the simply tense "Ode to Barton Fink," the Regrets burned bright and beautiful for a very brief time.
Josh Modell
allmusic.com

The Regrets ‎– New Directions: Results Beat Boasts (1997) 320kbps

Tuesday, September 18, 2012

Vitreous Humor ‎– Posthumous (1998)


The aptly titled posthumous release from indie-rock pioneers Vitreous Humor. A flagship band that still has it's hand in influencing new waves of rockers. If you haven't heard "Why Are You So Mean To Me?" yet, put on your seatbelt. This is the hit rock song that got away (even though Nada Surf made a fine attempt at turning it into a hit with their own personal version). Also, you've got to hear gems like "Sharin' Stone" and "Science Has No Soul". This band DEFINITELY knew how to write a song!
crank! a record company

For a posthumous odds-and-ends collection, Vitreous Humor's Posthumous is remarkably incomplete. It fails to include any of the three songs from the band's debut single, Harbor, as well as other studio recordings. But that's really the only complaint one could make about Posthumous — that there's not enough of it. While not particularly cohesive, almost all of the songs are striking. Particular mention should go to opening track "My Midget," a slow-burning, time-changing rocker, as well as the excellent "Science Has No Soul," which showcases lyricist Danny Pound's dark sense of humor. Also included is a bonus track by the Regrets ("Good Things Come to Those in Small Packages"), the band formed in the wake of Vitreous Humor, which had already broken up by the time Posthumous was released.
Josh Modell
allmusic.com

It's ironic that the best release of their careers comes after their band breaks up. Such is the case with Topeka's Vitreous Humor, a band that's been together since the late '80s but has never released a full-length, until now. Posthumous is a collection of unreleased tracks that blend pop, grunge and rock into a slacker's sonic paradise. Imagine a weary, Midwestern version of Nirvana that never sold out. Every hook-filled track has at least one ass-kick guitar break or Feelies-style rhythm-guitar line. Danny Pound's quiet, intense vocals are the perfect match for an in-your-face guitar that slowly creeps up on you like an old, angry friend. Songs like "Sharin' Stone," "Why Are You So Mean to Me?" and "Fashion Anyway" are just plain fun pop songs that try to do little more than soothe your (leftover) teen angst.
It's a swan song that rocks.
Tim McMahan