Now It’s Overhead

May 052004
Authors: Jake Mountjoy KCSU Volunteer

From the legendary record label that brought you bands like

Cursive, Bright Eyes and Azure Ray comes a new anticipated release.

Out of Omaha, Neb., Saddle Creek Records gave birth to Now It’s

Overhead’s new full-length this year.

The new album, “Fall Back Open,” starts off with an

echo-sounding guitar and a soft but steady beat. The best part of

Now It’s Overhead is LeMaster’s versatile voice. His pitch flows up

and down very restlessly but is never too drastic. Right when I

heard LeMaster sing his first note, I knew this record was going to

be worth my time.

Musically the band sounds very space-like and shady. Every song

has a diverse drumbeat and unified guitar patterns. Now It’s

Overhead has many different effects, which create an album that

never gets repetitive. Although some people may categorize the

band’s music as more gloomy sounding, I think it’s far past


Another appeal to this album are the guest vocals of Michael

Stipe from the popular band R.E.M. Conor Oberst from Bright Eyes

also provides his exclusive voice on the record. Now It’s Overhead

is part of an amazing family of musicians.

“Fall Back Open” won me over because every song is different.

The band has created an all-around sound that contains essential

unity for music today. If you are a fan of Bright Eyes, Death Cab

For Cutie or Pedro The Lion, this record is calling out your


This Moment in Black History


By John Holland, Assistant Music Director

Garage rock is arguably on its downswing, with people growing

tired of the sounds of the Hives and the White Stripes. It’s not

going away, it’s just slowly working it’s way out of the mainstream

culture to make room for other genres to spring up. This Moment in

Black History is almost too garage rock for garage rock. The

group’s record label describes the band as “basement hardcore,” but

labels tend to get confusing.

Basically, This Moment is a band out of Cleveland that doesn’t

try to overwhelm you with its musicianship while at the same time

not making you think, “I could do that.” Catchy? At times. Heavy?

Always. It’s noisy, gritty and at times abrasive. I know, it sounds

like the formula for the perfect garage record. It was even

produced by Jim Diamond, the master behind the White Stripes and

the Von Bondies. Don’t be fooled by the reputation that may precede

this album. “Midwesterncuttalistick” is not what you might



“The difference between you and me is that I’m not on fire”

By: Nate Harper, Metal Director

While “sophomore jinx” may not apply – as it is Mclusky’s third

album – “The difference between you and me is that I’m not on fire”

is under similar scrutiny by fans of the Welsh trio. With the

group’s first album, 2000’s

“mypainandsadnessismoresadandpainfulthanyours,” the band reached

out for something that it eventually found on its inventive,

critically-acclaimed follow-up, “Do Dallas.” Not content to rehash

the disparate vocals and at-times blasting guitars of “Do Dallas,”

Mclusky’s members make an attempt to advance themselves as both

musicians and songwriters.

The resulting album sounds like a fun-loving teenager who tried

to grow up too quickly. The uneven mix of straight pop and indie

oddities makes for a less cohesive, and at times uneven, collection

of 13 songs over the album’s 41 minutes, although almost eight of

those are tied up on the moody final track “Support Systems.”

There are fewer two-minute noise fests on “The difference” and

more slow work. Frontman Andy Falkous’ attempts at introspection

sometimes seem forced, but the high points that are present,

particularly “You should be ashamed seamus” and “1956 and all

that,” are enjoyable. The record does improve on subsequent

listens, but for fans looking for another “Do Dallas,” proceed with


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