Rock and Roll will never be declared a dead artistic expression as long as bands like SF's Calling All Monsters arrive, adept in subverting, contorting, and shaping the mediums' language to a seemingly new, revitalizing call to arms. Calling All Monsters shows a clear love of the loud rock guitar, joining influences such as the pop rhythmic strum of England's The Wedding Present to the Archers of Loaf's lo-fi spiked aggression, all the while maintaining their own sound in an endearing, unpredictable manner. "The Traps That Work Best" is a perfect example of the band's slanted, enchanted guitar pop underscored with a tight rhythmic tension where guitarist/vocalist Matthew Troy's (ex-Track Star) voice can be heard wistful, gainfully competing with clashing instruments led by a melodic rhythm section emphasized by bassist John Nespeco's endlessly alluring choices outside the expected realm of the four string. It is however, guitarist Bill Chartier's intuitive creativity alternating between sparse prickly notes, feedback, and a fierce jagged chording that gives Calling All Monster's its signature as one of the more exciting bands in recent years to emerge from the American Underground. While "The Traps That Work Best" may be the debut album for Calling All Monsters, Matthew Troy, the bands lead singer and songwriter, certainly isn't new to San Francisco's indie music scene. For over 10 years, Matthew co-fronted and wrote songs for the popular indie trio Track Star, whose celebrated releases, "Communication Breaks" (Die Young Stay Pretty/Sub Pop) and "Lion Destroyed The Whole World", (Better Looking) endeared the band to thousands of fans and have made them favorite sons of San Francisco. The sounds are familiar, much like that of an old story you love to tell and your friends enjoy hearing. There is always some new detail or nuance that surfaces within the story that keeps it fresh. And Calling All Monsters delivers, whether you are home or not.
item # 22983