Track Listing

1. Coughing Up Blood
2. Old Time Tickin' Away
3. Angels on a Passing Train
4. Wild West Love Song [A]
5. Blue But Cool
6. Jesus in the Temple [D]
7. Santos de Madera [G]
8. Songbirdz [F#]
9. Angels of Destruction!
10. Can't Take It with You... [G]
11. Wilderness [BB]

Product Details

• Amazon Sales Rank: #119033 in Music
• Released on: 2008-01-08
• Number of discs: 1
• Dimensions: .22 pounds

Amazon.com
If Marah were ever to rewrite its resume, it should begin with three words: "soul," "chaos," and, most notably, "reinvention." Led by ex-Philadelphia siblings Dave and Serge Bielanko, the band has never shied away from tinkering with either its sound or lineup. While the results aren’t always a hit (see 2002’s debacle Float Away with the Friday Night Gods), Marah manages to stay buckled into the rock & roll driver’s seat--these days riding the restive streets of Brooklyn--on album number six, which features habitual rockers like "Coughing Up Blood" and the playful title track. On board now is the first female, keyboardist Christine Smith. As much a constituent as a guest, Smith adds subtle layers of piano to the formidable "Wild West Love Song" and the bluesy, Zeppelin-like "Jesus in the Temple." But even more newsworthy, her jazzy stylings have rubbed off on the Bielankos. Check out "Santos De Madera," a breezy pop song, the ballad "Blue But Cool," and the 10-minute "Wilderness," Marah’s very own "Day In The Life." --Scott Holter

Review
MARAH
Angels of Destruction!
(Yep Roc)

A rock tour becomes a pilgrimage passin through this wilderness, searchin for our home or possibly vice versa on Marah s latest album, Angels of Destruction! Both a beefy, bluesy, rock-and-soul bar band and a hand-clapping, guitar-strumming folk-rock band are at the core of Marah, which formed in Philadelphia in the early 1990s and resettled in Brooklyn. Although Marah got started in the heyday of grunge, the band s two songwriters, singers and guitarists, the brothers Dave and Serge Bielanko, reach back to the same roots as Bruce Springsteen does. At times Marah can sound like Elvis Costello leading the E Street Band.

Like their predecessors the Bielanko brothers have far more to say than most bar bands. They pour out words and ideas, and it has taken them some time to keep their verbiage from crowding the songs. On Angels of Destruction! they have found the balance. The words are aligned within melodies and hooks, whether it s the folk-rock tango of Angels on a Passing Train or the driven eighth-note pounding of Old Time Tickin Away.

Angels of Destruction! worries about apocalypse and redemption. It also tells tales from the band s perpetual travels particularly in Spain, where it has a strong following and from its New York City home, where We come up from the subway/Like we re freed out of Hell. Any hint of pretension dissolves in Marah s music, as the Bielanko brothers raspy, growly vocals ride roadhouse grooves. In Rolling Stonesy stomps and skiffle bounces, easygoing vaudeville shuffles and driving rockabilly boogies the songs make allegorical visions sound like barroom banter. JON PARELES, NEW YORK TIMES, JANUARY 6, 2008 --New York Times

Review
Despite being billed as a post-rehab collection about redemption, there is a thread of glorious, edge-of-the-world chaos running through Marah's sixth album. The Brooklyn-via-Philadelphia band has developed a reputation as a stellar live act, but its records are often hit-and-miss affairs. With this new collection, however, Marah manages to convey the manic energy that makes it such a great performer, and the result is its best album yet. Opener "Coughing Up Blood" sets the mood: The instruments whirl and collide while frontman David Bielanko sings about loss and joy. "Angels on a Passing Train" spins a yarn about being filled with rage while managing to sound upbeat and excited. The rest of the record is full of propulsive, twangy rockers that sound like early Bruce Springsteen or an unbuttoned, pumped-full-of-happy-pills Wilco. Sobering up and getting straight never sounded like so much fun. Clover Hope --Billboard Magazine

Customer Reviews

can't take it with you...
4.5 Stars

Marah's last album, If You Didn't Laugh You'd Cry, was the one that pulled me in. It sounded like a raw nerve all bundled up in a comforting (yet trashy) rootsy earnestness. The poetic descriptions of people and places felt familiar yet surreal, and at their best the stories unfolded like mini-novels with attention to detail and character development (take the cascading "The Dishwasher's Dream" as the perfect example). Yet above all else the sounds were appealing and accessible, the songs tight and melodic. Next to the emo-lite and pallid second-hand-post-punk-bin rip-offs that graced the airwaves when IYDLYC was released in 2005, the thing sounded like it had descended from rock n roll heaven straight into my hands. I could hardly get it out of my CD player for weeks after I bought it, and it remains one of the most listened-to albums in my collection to this day. Of course I went out and bought a few of their other albums right afterwards, and while each pulled its own weight none quite compared to IYDLYC.

The problem of course with setting the bar so high is this: from then on, everything you do will be held to a higher standard. I've found that true in many areas of life and all the more so here.

Angels is one of the few new releases I have ever bought with no real attention to the press the album was getting. Usually I'm a wary consumer, I want to know what others think before I invest. Call me flawed, fallible (who isn't?) but there's only so much to go around. I mean money, time, love, etc. If you don't see it now eventually you will.

I don't regret the decision. And if this were anybody else's album, if it didn't have such an incredibly tough act to follow, this would get 5 stars easily. But it's Marah, and IYDLYC got deep under my skin. So of course I wanted at the very least IYDLYC Part II or (could it be?) Marah kicking it up even one notch further. This album didn't feel that way. This is the band settling back into maturity (a loaded term I know) and discovering its status as a career band. And that's not a bad thing! What they've created is an album that I'd describe as something of a "grower" rather than as the sonic equivalent of ripping a band-aid off your arm (that is actually the best way to describe IYDLYC - if that sounds appealing - and it should! - go grab that one already!).

Angels is denser, more layered than its predecessor. It boasts a fuller sound (I heard horns and an accordian zoom by as I listened through) and sharper production values. It maintains most of the roughness of its predecessor but just rounds some of the edges off. It also adds in some interesting sonic detours like what sounds to be Russian folk (??) in places. That part works. I suppose the area that could use a bit of work here is the songwriting - the lyrics have become more impressionistic and in some cases a bit oblique, and the songs more monolithic in sound. There are no heart-rendingly wistful ballads the likes of "Walt Whitman Bridge" here, nothing quite so stark and moving. The stories the band spins are not as clear-cut and memorable as they have been in the past. The vocals are also drowned out a bit by the volume of instruments brought into play here. Again not a bad thing per se, but it did detract slightly from the whole experience.

I almost feel a bit ashamed at the above paragraph though because in many ways Angels is still an embarassment of riches. "Angles On A Passing Train," "Angels Of Destruction" (note a theme here?) and "Santos De Madera" all fit nicely with the band's prior work, and "Wilderness" points in new directions with a bit of a jammy-almost-proggy feel. "Can't Take It With You" reminds me a bit of the wistfulness they have been capable of conjuring in their previous work, as does "Songbirdz" to a significant degree. I found myself singing along to "Blue But Cool" almost right away, mumbling lyrics I did not yet know. That's a good sign if there ever was one.

There's nothing wrong with a grower, and in fact sometimes it's the albums that take a bit longer for me to bond with that stay with me more permanently. In other words it's a relationship that takes work but proves worthwhile. That is what I fully suspect will happen here. I suppose I just miss some of the immediacy which I was so used to with this band.

One final note - unfortunately in these times, you don't get rich making music like this. Marah is committed to creating timeless American music and deserves your support. Whichever album of theirs you start with (except Float Away with the Friday Night Gods - a sharp detour from all that was/is good about this band, one that was fortunately never repeated!) I hope you'll give them a listen and believe.

Sweetness.
I've been listening to Marah since they released "Let's Cut The Crap and Hook Up Later on Tonight" and Angels is just another one of their absolutely wonderful albums. How this band hasn't attracted more attention is beyond me.

My favorite Marah albums: Angels of Destruction, Let's Cut The Crap and Hook Up Later on Tonight, Kids In Philly and If You Didn't Laugh, You'd Cry.

Everyone of the above albums should be in everyone's music library.

Compulsively listenable
I purchased this CD without having ever heard a note from the band - in fact, I had never even heard of them - based solely upon the fact Nick Hornby ('High Fidelity' / 'About A Boy' / 'Fever Pitch') sang their praises. I've used this approach before with - to say the least - varied results; I still do not see the transcendence of The Monks.

I did a quick Wikipedia check while waiting for the album...it didn't encourage me. The group has experienced continuous personnel changes around a core of two and also seemed to have carried out stylistic shifts. In short, I was prepared for disappointment. Instead, I was more than pleasantly surprised as I listened to a selection of varied music that reminded me of Williamsburg/Brooklyn performers like Tris McCall (from Jersey to be sure, but still of the oevre) and The Consultants; Todd Rungren/Runt; 80s Springsteen, The Hooters and - perhaps the biggest surprise for me - Dylan when performing with the Grateful Dead.

And, this is not to say that this diversity, this richness of style and poetmtial is bad. To say the band's material is bad because it was varied is like saying 'The Beatles - Live at the BBC' indicates they were weak or poor performers becas7ue they could and did perform literally everything!

But, it was the lyricism that got me more than any melody. The folks who run this entity know who rhwy are and what they want to say. And, they do it with equal measures of heart-on-the-sleeve and weary cynicism.

The next step for me...buying IYDLYC.