Music: CD Reviews

Legal jump brings Criteria founder back to rock

Criteria: "When We Break"
(Saddle Creek)

Ah, the power of rock 'n' roll. As Obi-Wan told us about another Force, it surrounds us, penetrates us and binds the galaxy together. Criteria mastermind Stephen Pedersen woke up recently and decided that he didn't want to be a lawyer anymore. He spent time in the late '90s indiepunk powerhouse Cursive before heading off to Duke Law School in '98. He formed the White Octave in Durham, then went home to Omaha before starting Criteria as a solo project.

Now the project is a band, and that band can toddle from the sofa to the coffee table without falling over. So Pedersen figures it's time to go back to rock full time. Criteria's anthems stand in stark contrast to the music that Saddle Creek is most famous for, namely the Morrissey-plus-Dylanisms of Bright Eyes.

Criteria isn't, however, that far away from Cursive's sledgehammers. Criteria's rock is simpler and more straightforward, but it's mostly larger; Pedersen doesn't have Cursive singer Tim Kasher's lyrical chops, so he lets the colossal rock whomp do most of the selling. Mike Sweeny's drums are nearly Bonham-sized, while Aaron Druey's lead work puts a little flesh on Pedersen's howls. Highlights include the single "Prevent the World" and the muscular, loping "Salt in Game," which seems to reflect whole generations of high-strung nerd-punk. Nice job, lawyer boy.
— Joe Gross

Criteria plays Thursday, Aug. 25 at Emo's.

Jettie: "Heading For the Mornings"
(Astro Magnetics)

These Swedes trade in big strapping swaths of bliss: bliss by the pound, bliss in bulk, lots and lots of the stuff. From Johannes Persson's piano riffs -- alternately insistent and colorful -- and his rushing, pastoral guitar washes to Clas Bohman's soaring vocals, this is bliss in volume. As such, Jettie is a ballad band, first and foremost: sprawling, fleshed-out, wide-screen melancholia. "Inside Your Vaults," "The Coasters" and "Aimie Rain" all mope and croon. The rhythm section gets them where they need to go, which means staying out of the way and nudging things along. They also know their alternative-ish rock: late-model R.E.M.'s grandeur, Radiohead's avant-arena moves and maybe even Sigur Ros' abstract hum. But Jettie have a stronger pop sense than either of the last two and don't quite have the muscle of the former. They're even nice enough to sing in English and close with a nice, proggy 10-minute ballad called "At the Cross." More than anything else, Jettie have floated in for Coldplay fans who think Coldplay has gotten way, way too popular. And aren't Swedish enough.
— Jeff Salamon

Jettie plays an early show at Emo's on Aug. 31.

Various Artists: "Turn 1"
(Almost There)

Almost There has a good thing going. Last year, the local label released a Who tribute album that was warmly received, so they've decided to knock out one local compilation a year. "Turn 1" wanders all over the guitar, from hard rock (a glammy Rockland Eagles, a zippy Those Peabodys) to melodic poppy and melodic (Mandible and One Mississippi, who require this full disclosure: One Miss is Dr. C. Ron Byrd, former guitarist for Prescott Curlywolf and unofficial G.P. to the Austin music scene, including yours truly). Tia Carrera busts out some excellent psychedelic gush, Will Johnson mopes with an acoustic home recording, there's a fuzzy, five-year-old song from the Dismukes and some nice moments from Lil Cap'n Travis, Grand Champeen and others. All in all, it's a surprisingly strong overview of Austin indie rock.
— Joe Gross

The CD release party for "Turn 1" is on Saturday, Aug. 27 at Stubb's.

Houston Grand Opera: "Cold Sassy Tree"
(Troy)

Carlisle Floyd's "Cold Sassy Tree" was Austin Lyric Opera's one and only co-commission. Along with Houston Grand Opera -- whose April 2000 performances serve as the basis for this recording -- and three other American companies, Austin's still-fledgling group, then under the artistic direction of Joseph McClain, helped launch this sweet, sweeping small-town opera.

Floyd was already among the most successful American composers of operas; "Susannah" and "Of Mice and Men" are widely, if sporadically produced. "Cold Sassy Tree" fit neatly into Floyd's American themes, this time about an crotchety Georgia merchant who marries a woman half his age. Much of the show's charm -- the large, vibrant acting ensemble and painterly scenic treatment -- are absent here. The spoken-sung narration by Will Tweedy (frequent ALO contributor John McVeigh) and the idiomatic recitative do not translate well on recording.

What works beautifully are the orchestral and choral sections, given full force by conductor Patrick Summers, and the arias by that gem of a soprano, Patricia Racette, as the young Yankee woman, and bass-baritone Dean Peterson, who sings the opera's life-affirming anthem.
— Michael Barnes