Thursday 17 Apr

Odyssey of the mind

Jacob Fred Jazz Odyssey 

with Culture Cinematic and ADDverse Effects

9 p.m. Friday

Twisted Root Gallery

3012 N. Walker Ave.



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Frndz with benefits

Boyfrndz with Bored Wax and The Hitt Boyz

9 p.m. Sunday

Blue Note Lounge

2408 N. Robinson Ave.



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Saddle up

Horse Thief with Deerpeople and Pageantry

8:30 p.m. Friday

ACM@UCO Performance Lab

329 E. Sheridan Ave.



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High heaven

Glow God with Weed, Feral Future and Power Pyramid

7 p.m. Friday

Capitol House


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Darkened tones

Chevelle with Nothing More and Middle Class Rut

6:30 p.m. Monday

Diamond Ballroom

8001 S. Eastern Ave.



04/09/2014 | Comments 0
Home · Articles · CDs · Rock · Mansions — Dig Up the Dead

Mansions — Dig Up the Dead

Band doesn’t focus on its strengths

Stephen Carradini April 6th, 2011

Artists can do whatever they want. But that doesn’t mean they always do what’s best for them.


Mansions’ main man Christopher Browder decided to make a rock album called “Dig Up the Dead.” The best thing Browder could have done was make an acoustic album of the same songs called “Dig Up the Dead.”

I’m not just being petulant. His last release, “Best of the Bees,” was a collection of cast-off tracks that ostensibly weren’t fully developed. Most of them were stark acoustic pieces, no more than mere sketches. Some had electronics work in them, but mostly it was a spare affair.

It was an outstanding release, because Browder’s voice is the rare instrument that is instantly memorable and yet amorphous. His incredibly evocative voice can call up despair, elation, resignation, indignation and more, while remaining within his distinct tone. Pair that with his incisive lyrics, and you’ve got a combo that can’t be beat.

So why does he go and cover both of those things with electric guitar and drums on “Dig Up the Dead”? I don’t know. But I don’t like it near as much as I did that last thing he did, and I know it’s because I can’t hear what he’s saying or how he’s saying it.

The only times that Browder lets his voice dominate the sound are the title track, “Seven Years” and “You Got Cool.” It is unsurprising that these are the memorable tracks. The rest of the tunes aren’t bad; they’re just faceless. There’s nothing in them that sets them apart from other morose rockers.

Browder’s already got all he needs to be amazing; he just hasn’t embraced it here. I hope he comes around and lets his voice do the talking next time. Or throws us another B-sides disc. —Stephen Carradini

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