American Don

Don Caballero | Format: Audio CD

Product Details

• Audio CD (October 3, 2000)
• Original Release Date: October 3, 2000
• Number of Discs: 1
• Label: Touch & Go Records
• ASIN: B00004WIOI
• In-Print Editions: Vinyl  |  MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (21 customer reviews)
• Amazon Best Sellers Rank: #130,669 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

The music on American Don unfurls slowly, revealing intricate designs on its petals of sound. It's a bit of a change from the Pittsburgh-based band's earlier albums, which worked in the same vein but with less delicacy. Now Don Caballero's sound boasts a dynamic similar to King Crimson's work from the late '70s and early '80s; guitarist Ian William's four- to eight-note patterns are a direct ode to guru Robert Fripp. The similarities to the famous prog-rock band end there. Don Caballero's quirkiness shows through in the band's tongue-in-cheek song titles ("The Peter Criss Jazz," "You Drink a Lot of Coffee for a Teenager") and drummer Damon Che's aerobic, acrobatic skin pounding. The final product is a lush set of swirl that ebbs, flows, and spins in place à la Philip Glass. The slightly jazzy but mostly trance-like collection overcomes its limitations and is highly recommended. --Jason Josephes

Customer Reviews

Most Helpful Customer Reviews

3 of 3 people found the following review helpful:

5.0 out of 5 stars Reveiw by Manny Theiner from INPGH 11/00, December 11, 2000

By 

nathan (Chicago,IL USA) - See all my reviews

This review is from: American Don (Audio CD)

The fourth Don Caballero record is another clear indicator of the amazing twists and turns the saga of this Pittsburgh-to-Chicago outfit has taken. Despite slimming down to a three piece, the band sounds that much more coherant. "American Don" hits with harder impact than their previous "What Burns Never Returns", which was mired somewhat in the cyclical amorphisms of guitarist Ian Williams' other band, Storm & Stress. Without a hint of distortion, Don Cab is back to the practice of interlocking cascading guitar riffs and bass chunks with the Herculean, gymnastic drumming of Damon Che. There are liberal instrumental references to King Crimson and perhaps even the hypnotic guitar layerings of West African music. One complex, intensive section leads seamlessly into the next, and the next, which is as it should be in the progressive order. One wonders how Williams will be able to reproduce the effect of as many as four simulentaneos guitar lines (such as on "Haven't Lived Afro Pop") with a mere loop pedal, but that's a dillema saved for the live arena. As proved by "American Don" and its crystal-clear Steve Albini production values, Don Caballero is definitely still the ultimate rock musician's band, and a whole legion of perfidious formalists stuck in various stylistic dead ends, whether mainstream or under ground, could learn a lot by listening to this album.

3 of 3 people found the following review helpful:

4.0 out of 5 stars Thank you sir may I have another!!!, October 6, 2000

By 

the blob (Undefined- see Heisenberg's Uncertainty Principle) - See all my reviews

This review is from: American Don (Audio CD)

For those who have in the past had their ears spanked by the music of Don Caballero, expect more of the same fantastically bizarre, complex, extended compostions. Yes, in many ways, it's more of the same, and yet the band continues to push into new territory. Let me explain... For those who arent familiar with the sound, D.C. is basically about spectacularly odd grooves, built on the constantly shifting, yet rock solid drumming of Damon Che, and layered upon by the ever fluctuating arpeggiations, interlocking trade off patterns and geometric experimentations of the guitars. Past albums have been pretty scary sounding, D.C.2 was perhaps the most mathematic and heavy, What Burns Never Returns was less about distortion and more groove oriented, and now with American Don, we're treated to a greater degree of tonal dynamics. At several points, the music could even be described as "pretty," providing greater contrast when they turn on a dime and abraise your conciouness with their trademark sound. I also noticed they've added a certain bit of electronics in certain parts, they seem to sample a line, then layer it back into the mix at a faster pace. It's a cool, unobtrusive way to introduce some new technology instead of going off the deep end like some artists are prone to do... I gave this album only four stars (and not five) for two reasons: First, theres only one guitar player on this album, and i think a little of the dynamic interplay you get with two different guitarists is missing. Oddly, this makes the music a little TOO consistent in spots, which is a strange complaint, but when these guys are in the "pre ordained chaos" mode, its a beautiful thing! Second, I guess i'm still kinda stuck on their heavier stuff, and i wish theyd get some of their old aggression back. It was sooo coool... But anyway, the music is fantastic, and i still recommend it!

5 of 6 people found the following review helpful:

5.0 out of 5 stars the heaviest don cab album yet, September 26, 2001

By 

"curlywombat" (Pearl River, NY United States) - See all my reviews

This review is from: American Don (Audio CD)

thats what the band had said just prior to this albums release, and though there is not more than 4 seconds of distortion in the entire album, it is intense, furious, and confusing. many of these indie rock fools do not , CAN not understand this, as this is much more in the jazz-rock fusion vein than the typical breadwinner meets jesus lizard formula they relied on for some of their previous works. obviously, if your idea of avant-garde is the the power chord minimalism of shellac, youre not going to understand this. what really irks me is some of these morons claim the drumming is not up to par. are we listening to the same album? damon che's drumming is the most ferocious its ever been, had i not seen them live i wouldve found it hard to believe its just 1 man behind the set. f**king incredible, from the intricate waves of guitar noodling to the fury of an octupus on steroids manning the percussion rig, to the booming low end, this is beautiful, incredible musicianship that will be recognized years after theyre all dead.