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Fans of LA Tool and Die might already recognize the A-side, “My Brother-in-law Won’t Go To Your Show,” as the anthem against those sneering, aging college rock fans from the late 1980s and early ‘90s who refuse to try anything new, desperately hanging on to the days when Pavement was still a band and Stephen Malkmus hadn’t put his own
face on an album cover (for shame!). But this version has a very slight difference from the The Last Thorn of Summer track, with this 7-inch song being radio friendly (“13 friggin’ years ago”). But the vintage indie rock references are still there, with the Built to Spill, Silver Jews and Polvo name-checks echoing the time that indie rock forgot, or at
least the time that indie rockers think time forgot. Which is why we all need reminding so often. But, LA Tool and Die laments, there’s plenty more out there to be had, even from the remnants of those past bands (“Doug Martsch still plays a damn fine show”) with minimal instrumentation (strumming electric guitar, old-school keyboards and
a bit of drumming), the lyrics are in the spotlight, with singer Lee Grutman’s voice deriding his ex-college DJ brother-in-law for refusing to be introduced to any new music, scoffing that “He’s just too old /To go to your show / Ya, he’s too old / For rock ‘n’ roll / But he is too young / Too young to die.”
The B-side, “1983 (The Year Cory Hart Exploded In My Pants)” opens with eerily-familiar Top-40 synths, falling somewhere between Spring Break 1998 and Van Halen’s 1982 Arena Tour. Strangely enough, it’s not a bad place to be, with the catchy Springsteen-esque lyrics, “Little one in the dark / You hold me close you’re driving me crazy” repeated over and over with a typical ‘80s electric guitar (probably shaped like a V and lipstick red) shredding in the background. You can almost smell the Aqua Net. And yet, for all its ‘80s music references and the indie-ironic title, the song still comes across as sincere and heartfelt as any Morrissey track.
--performermag.com, Vinyl of the Month
I've been intending to write a substantial review of the new record from LA Tool & Die, The Last Thorn of the Summer, for a while. I still intend to get to it, but I can no longer put off sharing one of the tracks. "My Brother In Law" is an ode to those folks we all know who are stuck on the music of their youth. They ignore the novel and innovative in favor of the comfortable and familiar; it's the sort of mindset that has fueled the classic rock radio industry for decades.
In "My Brother In Law" the culprit should be apparent. It features a former college radio DJ who is hung up on the music of his heyday, even ignoring the continued output of his former favorites. It's the closest thing to a novelty song on the record, but how can I not share something that references David Berman, Doug Martsch, and The Unicorns?
--Cable & Tweed
L.A. Tool & Die isn't trying to be like anyone else. They use a mellow approach – simplistic lyrics and rhythms – to draw the listener in. The quintet's album uses organ and piano, in addition to the standard setup, to give more depth to their sound and the female vocals add nice harmonies – see "Well--A--Day." Elements of '80s pop, classical elements and humor combine with indie rock to create a unique, refreshing sound.
--Creative Loafing
With an eccentric band name, lyrics like, "Mountain lions and grizzly bears / May rip our flesh off, but we don't care / Cause we're in love," and an album rife with synth keys, Charlotte's L.A. Tool and Die could be accused of not taking itself too seriously.
While that accusation might be true, the songs that work the best on The Last Thorn of Summer. L.A. Tool and Die's second album, are the staid, sober ones. Tracks like "Waltz," "Brother Rest" and the standout "Well--A--Day" operate in an understated, muted tone that better fit guitarist/vocalist Lee Grutman's resonant voice -- a voice that fluctuates from "Nashville Skyline"--era Dylan to in--shower crooning (especially on the oddly--intoned "Good Things for You"). Underused background vocalist Emily Green provides a sweet addition to "Well--A--Day,"...
--SE Performer Magazine
LA TOOL & DIE Smart and silly synth--pop from Charlotte. Titles such as 'Jesus Saved Me at the Record Show' and 'Eaten by the Monster of Love' are as catchy as their '80s--inspired hooks.
--StarNewsOnline.com
L.A. Tool and Die is a band that is doing it for the right reason which is simply...to have a good time. The fresh, sincere, upbeat tunes on Fashion for the Evildoer are pimming over with good vibes. The band's general direction may best be summed up by their appropriate cover of the Sparks tune "Eaten By The Monster of Love." L.A. Tool and Die is a lighthearted pop band with no interest in providing difficult or complex music. Instead, the band members provide music that is simple and direct. As a result, the album is an easy spin. The lyrics and the playing are obviously genuine and heartfelt. This, the fourtieth release (!) from Charlotte's AAJ Records, is a keeper. Cool cuts include "Jesus Saved Me at the Record Show," "Lucky For Me," and "Game Over." (Rating: 4+++)
--Baby Sue, June 2004
Fashion for the Evildoer walks a fine line between being refreshingly different and obnoxiously rebellious.
--Tastes Like Chicken, June 2004
What's innovative about L.A. Tool and Die is that they seamlessly combine classical music influence with traditional twee pop motifs. I don't think I've heard a band that sounds quite like them. Lyrically, they're probably one of the cutest, most sugary all--male bands that you'll ever hear. Perfect if you want some more sugar in your musical diet.
--MundaneSounds.com, June 15, 2004
What you can expect from dyed--in--the--wool pop purists L.A. Tool and Die is absolute pilliance. These six lads from Charlotte, NC whimsically serve up a buffet of catchy tunes designed to make you forget about the fact that rock n' roll is taken all too seriously in current times. The opening track, "Jesus Saved Me at the Record Show" is a spoof on aspiring rockers who believe in some sort of divine manifestation the instant that they decide to form a band of supposedly loyal scenesters. The taunting lyrics mock those who attend shows with an agenda that involves more than simply enjoying themselves: "Twee kittens, punkers, and Emo, too/I saved Elf Power and I'll save you." LA Tool and Die realize that making music is not about whether or not you're hip, and they urge the kids when Lee sings "Just get on stage and go make some noise." One of the most pleasing elements of this record is Duncan's bassoon; it is shockingly not used as a gimmick. The bassoon on this record is understated yet adds to an overall richer texture.
The only factor that makes me hesitate to give this record a perfect rating is the song "Flat on My Back." It is out of place, but perhaps that is L.A. Tool and Die's intention. While the rest of the album conjures happiness – even on the sappy lost love ode "Lucky For Me" – this song is too much of a pity party for itself. The real problem is in the first verse: "I got nauseous and I coughed up a lung." You don't have to be a five--star Scrabble player to know that a person cannot be "nauseous;" things like Rosie O'Donnell in a thong and cheese that has been left on the kitchen counter for a week are nauseous because they invoke nausea. At any rate, when you misuse a word in Scrabble, you just lose a turn and move onto the next player. That next player in this case is the song "1983," and this song is the true gem of the album. The song is frighteningly reminiscent of Elvis Costello's earlier work, though it is not Punch the Clock (released in 1983) that I think of, but his second album, This Year's Model. Lee's voice is certainly close to that of an "Angry Young Man," but the interesting fact about "1983" is that the song's lyrics are comprised of only six lines: "Little one in the dark/You hold me close/You're Driving Me Crazy/And I want you now/In my arms again/Every minute of every hour." While the lyrics are not as pooding as Mr. Costello's blurtings, the keyboard usage makes it hard to control your feet while singing along to Lee's heartpeaking words.
The farewell song on the album, appropriately titled "Game Over," is another synth--heavy homage to the cultural lifestyle of the 1980's. The keyboard is the only instrument featured on this song, which is ideal for providing a simple melody that is just cheesy enough, considering the song is about an unhealthy obsession with the video arcade. The closing lines of the song couldn't be more fitting, not only for the song but for the album as a whole: "Oh Ms. Pac--Man/A quarter more and we can score/And I'll be with you/Til the end."
--Left Off The Dial, August, 2004
Their cheery, unfailingly upbeat approach to music is charming.
--Indieville October 2004
Sure, there are plenty of whiny bands singing their love for video games, but not with the dedication that L.A. Tool & Die show on “Game Over.” If you’re looking for something with the goofball lyrics of Bloodhound Gang, but less dick and fart jokes and more harpsichord, these guys whimpering about Corey Hart and starting a bunny family is what you need.
--Bettawreckonize August 2004
Catchy, rollicking, peppy goofiness.
--Impact Press July 2004
Fashion for the Evildoer is in fact a strong outing at times. The lyrics fit the music, well. "Jesus Saved Me at the Record Show" is both self--hating and introspective. While the song initially sounds silly, it eventually reveals itself as a statement of sorts. "Jesus saved me at the record show/ Told me indie rock is the way to go" clearly makes light of scenester epiphanies. One of the strongest tracks on the record.
--Big Yawn August 2004
L.A. Tool and Die have got their hearts in all the right places. Energetic and fun stuff.
--Shmat Records July 2004
AND OUR VERY FAVORITE REVIEWS OF ALL TIME!!
Attention pretentious hacks: all of the classical training in the world won't save you from an abysmal lack of inspiration and vision. Too bad your bassoon instructor didn't have a thesaurus lying around at your overpriced lessons. At least then you might have a shot at a better vocabulary than a fourth--grader with a learning disability. Hacks.
--Casey Clague, Skratch Online Magazine
California tools try to recreate "Gimme Indie Rock" with quirky, disastrous results. Namechecks of '90s favorites are held in check because the titular character won't go to see the band in question. Maybe this person has, I dunno, taste, or his time is worth more than your band can supply? "1983" offers up predictable Rentals-style synth crud and sappy sentiment. A single that makes this band's carbon footprint unnecessarily large.
--Doug Masurock, Dusted Magazine
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