» Full Dark, No Stars - Stephen King's new novella questions mankind's ability to trust others.
[02.21.2011 by Bridget Doyle]


 » The Top 30 Albums of 2010 - Fashionably, fabulously late, our favorite music (and believe me, there was a LOT) of 2010, the year that some have called the best year for music ever. And only some of those fools work here. Plenty of usual suspects, lots of ties and a few surprises that I won't spoil, including our unexpected #1.
[12.24.2010 by The LAS Staff]


 » Live: Surfer Blood/The Drums at Lincoln Hall, Chicago, IL - Remember when Weezer used to put together records that you could sing along to and rock out to? That's what Surfer Blood's show was like!
[11.04.2010 by Cory Tendering]

Music Reviews

Screaming Females - Castle Talk
»Screaming Females
Castle Talk
Don Giovanni
Trent Reznor & Atticus Ross - The Social Network [Original Soundtrack]
»Trent Reznor & Atticus Ross
The Social Network [Original Soundtrack]
The Null Corporation
Deerhunter - Halcyon Digest
Halcyon Digest
No Age - Everything in Between
»No Age
Everything in Between
Sub Pop
Robyn - Body Talk Pt. 1/ Body Talk Pt. 2
Body Talk Pt. 1/ Body Talk Pt. 2
The Walkmen - Lisbon
»The Walkmen
Fat Possum
Eyeball Records

Rating: 4/10 ?

January 30, 2005
What is worse in 21st Century indie rock than emocore?

Twenty-First Century emocore unplugged.

Emo-folk is like acoustic ass in an acoustic urn.

New York City folk act The Feverfew, essentially the solo folk project of former Sleep Station member Bethany Spiers, enters the indie-rock scene with Apparitions like a person who enters a Manhattan socialite engagement with pot in the 1980s.

Eyeball Records and Spiers are obviously not subscribers to the Indie-Rock Times: indie-folk is so not-cool these days. Even Chris Carrabba knew that when he sold himself out to arena rock!

Hayden records with a full band these days, Jen Wood contributes vocals to electronic duo The Postal Service, Sean Tillman (Sean Na-Na/Har Mar Superstar) is now the worst hip-hop artist in the history of humankind and indie-folk loverboy Conor Oberst has written music that has more in common with Radiohead than Ryan Adams.

In short, nobody worth mentioning is still doing the indie-folk routine. And for good reason: it's a bore.

I don't mean to endorse fitting in for the sake of fitting in, even in New York; however, if you're going to wear biker shorts in the year 2005, you had better look good doing it.

But The Feverfew don't.

Apparitions is one good folk song ("Goodbye, Blue Monday") followed by seven potentially great rock songs and one filler instrumental performed acoustically. Just as most unremarkable folk goes, it's cheerless, tame, soothing, inoffensive and miserable, about as memorable as the last light beer I tasted.

And Spiers has the perfect voice for it.

What Spiers lacks is the character and emotion of other adored indie-folk artists. She can't convince listeners of her pain like Hayden does; she lacks the attitude of Ani DiFranco; her voice doesn't chill others like Julie Doiron.

But, in an effort to pay one compliment to The Feverfew, I offer this comment: Spiers sure can drop down a slant rhyme (notably, home/alone, rush/bus and up/truck).

If I could warp myself back a decade in time to the years of 1993, 1994 and 1995 when Mazzy Star gave us a break from grunge with So Tonight That I Might See, The Jesus and Mary Chain shocked its noisy, fuzzy rock followers with the acoustic-based masterpiece, Stoned and Dethroned, Hayden dropped his folk-rock stunner, Everything I Long For, and The Red House Painters were all the rage, I wouldn't in light of the recent direction indie-rock has taken.

I'd advise The Feverfew to do the same.

And subscribe to the Indie Rock Times. I ran into fellow failed folkster Kyle Fischer handing them out one a New York street corner last week.

Reviewed by Brian Sutherland
The last we heard, Brian Sutherland lived in Chicago. He\'s a friend of Sarah Peters. That is about all we know about him.

See other reviews by Brian Sutherland



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