Obtainium

Quirky, weird, and wonderful. The songs are memorable and filled with unique instrumentation. It's catchy, but just experimental enough to pique the interests of more adventurous ears.

If you are considering this album, do yourself a favor and check out their first album from 1997 also: Fantastic Spikes Through Balloon. That earlier band is almost gone now, except the frontman and this album is not quite as noisy and strange as their wonderful first effort. Still, this is pretty good, just more produced and mainstreamish.

Following up their major label debut (on Capitol) must have been a daunting task--I think it's one of the catchiest, creative and direct discs I've ever heard. So, welcome back Skeleton Key to the recording world (5 years after the last one?). This set is a bit less raucous than Fantastic Spikes, nore traditionally arranged (one can almost hear the dance-like "Sawdust" in rotation on MTV--OK, I'm fantasizing), but veddy veddy good nonetheless. Memories of the glorious cacophony still exist in the jangling "Roost in Peace" (think of Roy Rogers on the trail) and the three minutes and fourteen seconds of assembly-line crunch and squeal that is "The Barker of the Dupes" (to which Sandy says, "I don't think I could listen to that too much"). Add to that melody lines that sound like question marks, yet driven home like exclamation points, and Erik Sanko's clarion call of a voice to boot. Again, all of a compact package of energy, that manages to sound sometimes playful and angry at the same time. The disc wraps up with another sandpapery lullaby (much like their "Needle Never Ends"), "Say Goodnight". Sleep well, kiddies...Buy this, folks! It's gooood!

This CD is refreshingly different. Poppy, rocky, and peppered with background clanks and clicks, OBTAINIUM is a well executed alternative record that doesn't try too hard to be cool, it just is. Several musical influences are put to use as the songscape bounces from guitar driven rock to banjo rockabilly throughout the eleven quick tracks. A fast, punchy album that has the quirkiness of a MIKE PATTON project but without the wierdness. SKELETON KEY creates a unique and original sound heavy with bass and smooth hooky singing with nice guitar work rounding the package off. A nice recording to have in an alternative collection that caters to the truly alternative. After a few listens becomes a tad listless and plain.

I saw these guys recently in Tampa for the first time, and was not at all prepared for the spectacular spectacle that ensued.Simply put: do not miss these guys live.I always just innocently assumed that it was the drummer who came up with all the odd clinks, clanks and whatnot that make up the brilliant percussion on all of Skeleton Key's songs. Instead, they actually have a guy that plays his very own "junk kit," composed of upturned buckets, pipes, stacks of broken cymbols, an empty propane tank, and what appeared to be miscellanious auto parts. This guy really steals the show as he does a frenzied dance, almost as if in a trance, reproducing faithfully all of his studio work. This is not to knock the rest of the band, who also put on a great show, but I have to say that the junk guy truly shines onstage.

I'm mainly writing this because I've noticed a number of false statements/ general confusion that's been put up here about this album. After the recording of 1997's 'Fantastic Spikes through balloon' the band toured. During that tour- drummer Stephen Calhoon was asked by the band to step down and he was replaced with Colin Brooks (Who plays on Obtainium). Things weren't working out with Capital records and the band asked to be dropped. Capital thought they might be able to weasel some money out of Skeleton Key's new record label- So they brought out the lawyers and made everyone's life difficult. After the dust settled- Skeleton Key signed to Ipecac. Guitarist Chris Maxwell was never fond of touring and had been working as a studio musician doing music for commercials & such. He's listed as a contributor on the album and was later replaced (after the recording of the album..) by Craig LeBlang. -Who still plays with Skeleton key to this day. Junk percussionist Rick Lee is also listed as a contributor and plays on this album. (p.s. Is that Rick singing 'Dingbat revolution' or is it Chris? anyone know..? LOL.)Or in short- The entire band (Erik Sanko, Rick Lee, Chris Maxwell and (then current) drummer Colin Brooks) are all on here. In reality, this is kind of a transitional album.Capital almost killed this band & after the dust all settled the new line up solidified- they recorded 2005's 'The Lyons Quintette' EP' (Which is nearly impossible to find now, I'm told. But if you can find it- pick it up! It's got a slightly more progressive rock/ King Crimson vibe to it. And, a much more 'live' feel to it. Great stuff! Highly recommended.) You can download 'Live at the Metro' from amazon and a new album is coming out this year. (The album is being self released. I believe it's going to be available through itunes & amazon etc. check out kickstart dot com or skeleton dot org for details.)(and for those wondering..) This information comes from an interview with Erik that was taken around the time Obtainium was released. You can find a link to the interview on their website.

The principle gutairist, songwriter, whoever it is, can write a decent song in his sleep, but he is lacking the unique interplay that made this band's sound so special on balloon. Many songs on this album come of as something that Failure could have wrote, not that that is inherently bad, but it just sort of tarnishes the sacredness that made the first album some sort of underground phenom... Alas, welcome to the followups of so many powerhouse albums.