Nostalgia In Stereo review by Davenport Cabinet

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  • Released: Oct 14, 2008
  • Sound: 7
  • Lyrics: 7
  • Overall Impression: 7
  • Reviewer's score: 7 Good
  • Users' score: 8.4 (17 votes)
Davenport Cabinet: Nostalgia In Stereo

Sound — 7
Davenport Cabinet certainly fuses classic-influenced rock with the noodly, forward-thinking prog of guitarist Travis Stever's main band, the classification defying entity known as Coheed and Cambria. Hell, opening track Square One contains the type of riffs that were popular in the 1970s, on American AOR (album oriented rock) radio. The song and album are rooted in the past but Davenport Cabinet cuts its own path and forges its own way with the appropriately named Nostalgia in Stereo. It's impressive to note that Stever, who originally used the moniker "English Panther" for his side project, is able to cull such influence from the past; whether he is doing it on unconsciously or acting with pre-meditation is the question that doesn't necessarily demand an answer. While the title track and Thieves aren't as expansive or self-indulgent as Coheed compositions tend to be, there's a similar level of artistic guitar work on Nostalgia in Stereo (see Wrecking Ball or Rusty Knives for evidence) that many of today's younger band's simply don't have the moxie to pull off. There's a lot going on within each song, so drag out the headphones or ear buds for your iPod when listening to the album, so you can capture the essence. Also, do yourself a favor and listen to the record from start to finish if you want to experience the album they way music fans did in the era before CDs.

Lyrics — 7
Stever changed the band name to Davenport Cabinet, which references a pair of magicians named the Davenport Brothers who employed a trick where they would tie themselves up in a large cabinet filled with instruments and once the door was closed, the instruments would begin to play, leaving the audience to believe the Bros. Davenport were playing inside the box. When the cabinet was opened, their hands were still bound, with people assuming that spirits guided the instruments to make a beautiful noise. Stever also maintains that the room in his upstate New York house where he writes music for both his bands often emits noises when no one is occupying it, causing him to believe the room is his own Davenport Cabinet. While the album doesn't heavily explore such a concept in the lyrics, it's still worth nothing. Vocally, there are male and female voices and on the wah-wah flecked Milk Foot, there's a nasally, Black Sabbath-era Ozzy Osbourne timber to the vox. Once again, with Davenport Cabinet, Stever demonstrates that what's old is new again.

Overall Impression — 7
The overall oddness factor and the quirkiness that is omnipresent in Coheed and Cambria is on hiatus with Davenport Cabinet. Stever is able to establish and assert his own musical identity. It's about as far from the mainstream as Jupiter is from Earth, but it's still hanging out on the fringe and amongst the niche. It's also completely guitar-oriented, so much so that it'll have guitar store clerks scribbling tablature.

16 comments sorted by best / new / date

    Saw him play some of this during Coheed and Cambria's Neverender tour. I thought it sounded pretty cool.
    I'll definitely get this one pretty soon. I hope it's as good as The English Panther.
    This is better than English Panther ^ A lot more electric guitar work, and some pretty decent rock tunes. Brilliant album.
    yeah, this album is ****ing sweet. It was great to hear him do some acoustic versions during the neverender tour
    It's really a great piece of work. As much as I love Travis and Davenport, I still prefer Claudio's side project over this one. That being said, I enjoy them both immensely.
    anything the guys from coheed do is amazing Claudio's side project sounds more mellow though but i'm still gonna grab this album
    Haven't listened to all the CD. Some of the songs are pretty sweet though. Travis' voice is kinda iffy to me, but it's appropriate during some songs (especially Coheed covers of "I Shall Be Released" and "The Trooper").
    is the picture for the article on the homepage a picture of him? i looks an awful lot like johnny depp
    I dont care for his voice, but i have barely listened. gonna grab this and listen some more, if i dont like it, oh well, one more cd in my collection and i supported the great travis stever.
    I got an autographed copy, and it is an amazing album, but I'm bound to say that :/
    I play this album about 5 times a day. Its epic. Not as good as Coheed and Cambria, but better than prizefighter inferno imho. A few bits seem a bit out of time (Square nothing, 3rd part start), but its something I can play around other people without them wondering why I'm listening to a guy talking about cutting the throats of babies (Co&Ca IKSOSE3). 8.5/10
    "Coheed and Cambria founding" He didn't found Coheed and Cambria...Claudio did, but Travis is a guitarist for Coheed
    oh and innominata The Prize Fighter Inferno is fricken iz Coheed...tha cutting throats part, it refers 2 tha story [Amory Wars}
    Co-Ca_Ibanez11 wrote: "Coheed and Cambria founding" He didn't found Coheed and Cambria...Claudio did, but Travis is a guitarist for Coheed
    A little background... In March 1995, Claudio Sanchez and Travis Stever's band Toxic Parents split and, together with Nate Kelley, formed the band Beautiful Loser. The band featured Stever on vocals and guitar, Sanchez on guitar, Kelley on drums and Jon Carleo on bass. The group was short-lived, breaking up by June 1995 after an argument over gas money. Stever left the band, and the resulting trio was named Shabtie, a word taken from African tribe chants that means "naked prey" in the film The Naked Prey. The band spent nearly a year experimenting with a multitude of different musical styles, including punk rock, indie rock, acoustic rock, funk, and heavy metal. When Carleo left the band in August 1996, Kelley recruited Michael Todd to take his place. Todd, who was primarily a guitarist, picked up the bass specifically for Shabtie. As Shabtie, the band wrote dozens of songs and released their first studio demo Plan to Take Over the World in 1999. The band also released The Penelope EP in 1999, shortly after which Stever rejoined the band.