ANGELINE
Hi-n-Dry
Powered Pearls
12-song CD
Emily Grogan and Linda Viens share the songwriting duties and sing lovely harmonies in Angeline. Passion is the key to this vibrant band with a country twinge. The lyrics are easy to follow—and are consistently delivered straight from the heart. Cheryl Etu adds a wonderful glow to “The Clearing” and a child-like feel in “And it’s Hard” where her vibraphone plays a dominant roll in the mix. “Happy Again” contains a lovely violin solo by Meredith Cooper. Angeline isn’t what I’d call a funny band, but the ending of “Girl of Opportunity” cracks me up every time I hear bassist Asa Brebner sing “I’m just a girl.” Billy Beard’s drumming adds the right color throughout, never overpowering the sensitivity of the songs. Most bands would be happy with one good songwriter and half the passion found here. With songs like “Weathervane,” “The Hardest Thing,” and “Powdered Pearls,” Angeline shares the gentle power and living wisdom of the massive knarly tree that sits in a field in Dover that found its way to the cover of this CD. Angeline is a Boston treasure to behold. (T Max)
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THREE DAY THRESHOLD
Hi-n-Dry
Against the Grain
16-song CD
So, I was wondering what I wanted to review this month, and I started praying to the Lord, and I said, “God, please send me something that just plain kicks ass, nothing fucking twee or pretentious, something with a healthy dose of sturm und twang, perhaps reminiscent of Jason and the Scorchers when they were more country than rock, or a lighter-hearted version of the Gun Club’s first album, but that still recognizes the Scots-Irish roots of country/ bluegrass, and I’d like the playing to be fucking top-notch, but not so perfect that it sounds sterile, something that still feels like a shit-kickin’ porch hootenanny. I want the slow songs to make me cry and the fast ones to make me wish I owned cowboy boots to walk across a rough-floored saloon to buy the band a drink, I’d like it to have plenty of songs and I’d really like one of those songs to be called “Chicken Shack,” and if you could throw in a recipe for BBQ sandwiches, well, Lord, that’d just be real nice of you.” And, because I live a good life, God said okay. (Tim Emswiler)
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MOUTH SEWN SHUT
Rodent Popsicle Records
Doomed Future Today
14-song CD
Usually a band’s second record is a worthless piece of shit. That is not the case with Mouth Sewn Shut’s full-length sophomore effort Doomed Future Today. Boston’s reggae influenced brutal hardcore punk band is back with fury, groove, killer lyrics, and sick studio production. It isn’t overly produced, but is still full of great sounds and awesome performances.
The opener, “When Is It Going To End,” is a full-on, hard-hitting attack on corporate corruption and world pollution. The songwriting is reminiscent of two of the members’ other band, Toxic Narcotic. However by the third track “World War 3 Is Coming,” the band has settled into a reggae jam. The guitars still sound loud and heavy, but with a reverb to differentiate from the faster riffs. The vocals are screamed, and shouted to tell the story of a world going downhill in a wild gush of nihilism. The reggae parts are my personal favorite. It has a great pace from song to song, and the last track, “Bombs (Version)” is a surefire hit. (Duncan Wilder Johnson)
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TWINK
Mulatta Records
Ice Cream Truckin’
19-song CD
Lord, how I wanted to hate this. And at first, it was pretty easy. I mean, Mike Langlie (who is all of Twink) can sure as hell play the toy piano, but still–we’re talking toy piano here. But given a couple of listens, and a somewhat more open mind, there is an undeniable charm here, and a cleverness that goes far beyond gimmick. Langlie composed simple songs on the toy piano (all of which are named after ice cream truck treats), and then put then in the hands of various musicians and producers to have their way with. And I’ll be damned, it works. The best tracks are the ones in which the re-mixers go the furthest afield; in “Sugar Cone,” the toy piano can still be heard, but it is seamlessly integrated into the electronica around it, resulting in a head-bobbing tune that would even get my lame old ass out on the dance floor. I don’t know a thing about ecstasy, but if you do, give this a spin and get back to me. (Tim Emswiler)
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CASPIAN
Dopamine Records
The Four Trees
11-song CD
The debut full-length from Beverly’s Caspian surpasses expectations set by their previous release, the phenomenal 2005 six-song EP You Are The Conductor. These young post-rock upstarts take a genre that is quickly becoming rife with clichés and set a new standard that should have their contemporaries positively consumed with envy. Caspian maintains a focus and economy that lend a pop sensibility to their pieces, as well as rock the fuck out—putting the ROCK in post-rock, without losing the grandeur that defines much of the genre.
The record is arguably more rewarding if listened to in one sitting (the louder the better), unfolding like a journey in your mind, from the lilting-to-crushing “Moksha” to the beautiful and plaintive “Our Breath in Winter.” The songs individually pack a serious punch, as witnessed on the stunning and intricate yet ultimately brutal attack of “Book IX” or the live favorites “Crawlspace” and “Brombie.” Rarely can a band cover so much emotional territory considering Caspian does this without a vocalist or lyrics is yet further testimony to their prowess as song crafters. The Four Trees should go down as both a classic and a new paradigm for local music. (Chris Pearson)
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CHRIS TRAPPER
Starlit Records
Hey, You
15-song CD
Chris Trapper’s third solo disc is the first one to offer up the rock/pop that made his previous band The Pushstars giants in the ’90s Boston scene. The opening track, “Feelings Without Weight,” a stampeding alt-country rocker, is the best uptempo work he’s ever done. Trapper attends to many of his usual themes: thumbing his nose at adversity, personal freedom, and distracting Maria with elegant poetry in order to get into her pants. The production throughout the disc is better than any Pushstars or CT solo effort—it has clarity with balls. Much of that testicularity comes from the bass finally sitting clearly in the mix. The song pacing is brilliant. Tempos and genres change at the right spots and six potential singles are wisely spaced throughout the disc. The songwriting kicks ass and is the most sophisticated work Trapper’s done. There’s an outstanding ensemble of guest performers: The Pushstars (the rhythm section for most of the disc), Great Big Sea, Afro Cubanists Sonado, Martin Sexton, and Duke Levine. (Dan Leary)
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THE ART OF ALL
Wonderdrug
Morgan
9-song CD
At first it seems as though this release is shot-through with an updated version of that early U2 feel—you know what I mean: portentious, reverberating guitars, and vaguely keening, wailing ambiance. Nevertheless, The Art of All manages to put an original spin on this sub-genre by a carefully calculated use of texture, rhythmic dynamism, and guitar stylings. Occasionally, as on “So Much More,” they rise above mere atmosphere and put together a wide-ranging composition that reminds me of some of the best work of a band like Anastasia Screamed. “Patiently Waiting” also offers a stirring blend of ambiance and emotionally charged songwriting. (Francis DiMenno)
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MIDNIGHT CREEPS
Red Car Records
Give the Night a Black Eye
11-song CD
The Midnight Creeps are the type of glammy, sleazy, punk-inspired band that sounds and looks like they should be from the Sunset Strip instead of New England, and they pull the whole thing off reasonably well. The songs feature a nice blend of hooks and aggressiveness, and a little more is revealed upon each listen. There’s also a decent amount of variety from song to song, which can’t be said about a lot of their peers. That said, they’re also not quite as good as they seem to think they are, whether it’s in regard to Hurricane Jenny’s overcooked guttural vocals or to the hypocrisy of the band’s press release slagging on bands that are no more meticulously stylized than they are. Often, The Midnight Creeps seem to suffer from having attitude simply for the sake of having attitude, which is too bad because the songs are often good enough to stand on their own. (Kevin Finn)
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LARISSA MAESTRO
Littlethrill Records
Maybe Late
10-song CD
Larissa Maestro bills herself as a “singer-songwriter-cellist.” She has a crystal clear voice that evokes Tracy Bonham, Aimee Mann, and just a little bit of fellow Berklee alum Paula Cole. But this isn’t a solo effort; Larissa has a full band with guitar (both electric and acoustic), bass, and drums, not to mention several other occasional musicians. I love the cello and it finally comes out in the somewhat haunting fourth track, “Invisible Girl.” I wish she’d use it on more songs. Like much singer-songwriter fare does, this CD left me in an introspective melancholy mood, which, I suppose, is a testament to the power of these finely crafted and well-produced songs. (Robin Umbley)
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TIGER SAW
Tract Records
Tigers on Fire
11-song CD
This record is all kinds of awesome, and I really do mean all kinds. There’s some soul, some samba, some pop and all sorts of varied instrumentation. Listening to the album reminds me of this little kid and his dad who used to live next door to me. They would always end up playing seemingly random games; for instance, I once saw them playing a game involving a tennis racket, a soccer ball and a hockey net. Yet, somehow it worked, which is how I feel about Tiger Saw. It’s like someone just dumped a bunch of random instruments and records on the floor and said, “Go nuts!” The great thing, though, is it all seems natural, and the revolving collective of musicians really can play all these different styles. This is by no means a jack-of-all-trades, master-of-none situation, and I doubt anyone can to listen to songs like “Kick and Snare” and not get really happy. This is a winner. (Kevin Finn)
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PETER BALDRACHI
Fortunate Son Records
Solid Ground
10-song CD
Feel-good late-’70s early-’80s power pop chock-full of hooky riffage and blame-free attitude. Call me a sap, but this sort of music puts a big grin on my face. From the Beatles-Cheap Trick inflections of “Solid Ground” to the “Prettiest Girl”-like “A Better Place” to the Stones-Deep Purple-Eagles perplex of “Breakdown” the best umbers are a retro feast of well-crafted pop-rock tunes. Of the more original numbers, “You’re Gonna Miss Me Someday” is a hoarsely insinuating ballad and “Wait In Vain” is an optimistic power-pop love-letter. The release loses steam about midway through but is still a worthy addition to the canon of Boston rock ’n’ roll. (Francis DiMenno)
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BRYAN McPHERSON
Indecent Music
Fourteen Stories
14-song CD
The sense of urgency that Bryan put into his songs is striking. Here’s a young guy with obviously a lot to say, and in Fourteen Stories he tell tales of despair, struggle, and life at its depths. On a close listen, there’s almost a Lou Reed type vocal cynicism in some slower tunes, which is cool. Simple chord structures, repeating themes, and the music actually just serves as a vehicle for the stories in the lyric. You don’t always need Electric Light Orchestra to tell honest songs. Maybe this isn’t the type of disc to throw on at a party, as it might act as an anti-convulsive and force people to stop partying and start listening. But it is great for those nights when the moon is low, the sounds of the city offer only dire self-reflection, and the optimism to be found in life grays with each passing moment. (Mike Loce)
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CIRCUS OF THE SHATTERED MONKEY
Le Cirque: The Soundtrack
20-song CD
Greetings, Zortar here invading the useless vessel known as Slimedog to his species and what a vile and disgusting vessel he is, I may add. This CD is a strange item for even a strange alien as myself. It’s a combination compilation/ soundtrack that features various bands and styles under the guidance of producer Richard Van Vleet. Many of the songs are in the folk or country style, which I welcome as much as you might welcome unsightly genital warts. So I will dwell on the positive—the bon bons that are tasty in this chocolate box. The spoken word “Desolation Circus” by William James Austin is interesting as modern day beatnik poetry. Ben Blanchard’s “Blue Yonder” is nicely moody. “Piggy” by the Nugget Brothers is demented country, very original. “All Is Well” by Sean Altrui is good, gloomy goth, and the live comedy/spoken word by Duncan Wilder Johnson is very funny.
(Slimedog)
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MOSS MOUNTAIN PROJECT
Moss Mountain Music
Catfish Grouper Snapper
10-song CD
Catfish Grouper Snapper, Moss Mountain Project’s long awaited debut album, has finally graced the public with its uniqueness and artistry. Besides being a solid studio album, these fellows have created an interesting sound. Imagine Nick Cave singing songs written by John Lennon while incorporating a country feel. This three-piece (each member plays multiple instruments) really displays their respective musical talent and knack for writing pop songs. I am most impressed by the use of vocal harmonies. The drummer and bass player meld flawlessly as they lay down solid rhythm tracks. At times the band strays against the grain and my own personal taste, particularly when they include the brief moment where a guest musician freestyles. Also, they lack that certain edge that I expect from a rock ’n’ roll band. This may reflect upon their live performance unless they are able to redeem themselves by improvising. If you’re into heavy metal, punk, or anything noisy, this is not for you. This is suited more for fans of early Widespread Panic and Tom Waits. (Leonid)
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MATT RICHARDS
The Collection 2001-2006
20 songs
Matt’s a very talented singer and multi-style songwriter who can also cover tunes wonderfully. He offers us this home-produced two-disc sampler of 20 songs. Here’s my run-through: 1. Instrumental… like Rush, “Tom Sawyer” sound. 2. Major riffer; good, Velvet Revolverish/Kings X, piano/vocals. 3. Vocal… mellow acoustic with peppy uptake. 4. Instrumental acoustic strummer in triplet time. 5. “No Quarter”..good loyalty to original, vocal effects. 6. Weak piano love song. 7. Instrumental thematic rock groove. 8. Vocal continuation of 7… same key. 9. “The Boxer”… good job. 10. Snappy funk groove with fuzztone lead guitar. 11. “Imagine”… great, authentic. 12. Nice waltz about a best friend. 13. Instrumental slinky nighttime city vibe, raging guitar riff. 14. Instrumental… exotic scalar riffing. 15. “I Want You”…excellent! Arrangement perfect. 16. Reminds me of “Iris”. 17. Instrumental manic rock riffery with off-time beats. 18. “Little Wing”…a noble shot at the Jimi version. 19. Instrumental up-tempo city energy with main guitar melody line. 20. Melancholy piano outro tune. (Mike Loce)
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BILLY SHARFF
No Return From Snockville
19-song CD
There are some beautiful ballads here, particularly the agonized hard-luck tale “Four Years” and the fiddle-backed, searing but winsome “Jenny.” For the most part, Mr. Sharff accompanies himself, and the results are variable; though a skilled instrumentalist whose capability for creating soundscapes is unquestionable, the performances sometimes come across as exercises in abstract perfection. I tend to prefer his songwriting to his forays into ambiance. This is perhaps because the songs are often well-written and full of keen insights, as on the morbid “Song to Sing When Feeling Blue,” the gritty low-down blues of “Lines and Rocks,” the aptly titled “Strangest Kind of Blues,” and the exuberant pick hit “You’d Look Good With a Pipe.” On these in particular, he seldom puts a foot wrong or strikes a false note. The elegiac tone of the final track, “The End of the Road,” perhaps exemplifies best the insinuating nature of his most resonant numbers. If “Snockville” is a reference to the legendary Michael Hurley, the comparison is apt. Sharff is also an artist well worth watching. (Francis DiMenno)
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WHITE MICE
Load Records
Blasstphlegmeice
13-song CD
Hello, Slimedog’s cat here. Slimedog thought I should review this because I like mice. Hmm, what a droll and fanciful person he is. This is another Providence band that makes one wonder if perhaps rat poison is contaminating the water there and I mean that in a positive way. These three blind mice named Mouseferatu, Euronymouse, and Anonymouse play drums, bass, and oscillators (no guitars) and dress up like “gored up lab rats” for shows. That’s the good news, the bad is it’s pretty hard to listen to this for any length of time. Death metal bass and drums with highly processed screams and growls abound. It’s perfect for the soundtrack of your next horror movie or for your next disembowelment but not too useful otherwise. I am, though, looking forward to seeing them live. Slimedog said he’s going to give me some acid and sneak me into the next show. I can hardly wait! (Slimedog)
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THE MORNING LINE
Stay My Satellite
10-song CD
With the exception of a little lull in the early part of this record, The Morning Line has put together a pretty solid piece of work: equal parts dirt road alt-country and Costello-ish indie pop. Things do get a little too mid-tempo early on, but the mood is salvaged by the buoyant trumpet that ends “Spellbound,” which in turn leads nicely into “Grand Ave,” a bit of a curveball that owes a heavy debt to Elliot Smith. It’s a direction I wish the band had taken more often as it’s the record’s strongest track. Frontman Stephen Smith has an agreeable voice, exhibiting both worn-in and boyish qualities, and the playing is tasteful throughout. Overall, this record has some flaws and is hardly groundbreaking, but it’s still enjoyable and worth an occasional spin. (Kevin Finn)
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KARL SHARICZ
Fat Apple Music
Rough Draft
9-song CD
Having recently put out his first release at 58, Somerville-born singer/songwriter Karl Sharicz is somewhat of a later bloomer. But his debut offering, Rough Draft, peels away the layers to reveal a much younger artist at heart. “Photograph of You” sets a precedent for much of what’s to follow: mellow, mid tempo feel good alt-rock that conjures memories of local heroes Buffalo Tom and other like-minded artists of the alternative era. Lyrically, Sharicz seems stuck in the reflective, post relationship mode, which begins to tire toward the end. But while Rough Draft may be, well, just that, Sharicz’s songs have a shoddy, stripped down charm to them that evens the record out in spite of its lack of innovation. In the end, it’s somewhat of a shoulder shrug sort of a record, but not bad by any stretch. (Ryan Bray)
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SLIM & THE TANK
The Race to Erase Outer Space
18-song CD
Slim & the Tank are a four-piece hard rock outfit from Allston whose debut CD is pretty much ready for airplay on a station like WAAF. Mikey Hennessy’s vocals are rich yet appropriately grating and, although it probably never occurred to him, he sounds like a mix of Metallica’s James Hetfield and The Guess Who’s Burton Cummings. Mike Stacci’s guitars are at once chunky, edgy, artful, and expressive. Because my copy is a homemade version of the upcoming, and presumably professionally manufactured, CD to be released in July, I have no song titles or other details except that my CD player reads 18 tracks, one of which is 31 seconds of waves crashing on a beach. At any rate, this CD is well written, performed, and produced. But with 18 tracks, The Race to Erase Outer Space is not for those with short attention spans. (Robin Umbley)
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DOCTOR X
Music For Dreams
6-song CD
Greetings, Zortar here. Music For Dreams is a bonus ambient disc that came with Doctor X’s CD, Crash Dot Burn, I reviewed last month. It was inspired by Brian Eno, whom (next to Rex Trailer) I consider to be your foremost human. I am intrigued by what is called experimental music on your planet, on mine it would be called easy listening pop. It’s so hard to review ambient music, to say it’s boring is to say that’s the point. This works quite well for me. I just imagine I’m in a giant vat of milk-derived substances with my head on fire while vultures pluck my eyes out. It brings peaceful visions like this to me. It’s also great for dancing. (Slimedog)
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27
Relapse Records
A Million Years
2-song 7” vinyl
Ahh—the joy of vinyl, and clear vinyl at that. It is the kind crackle and pop of the needle as it slithers through the grooves of our mind’s eye, the sound that is independent music. 27 takes that sound and makes it a piece of art to cherish for the ages. “A Million Years” is a brooding rocker, reminiscent of the trippier side of PJ Harvey with a vocal performance by Maria Christopher that delivers chills, haunted by a slide dobro part and even a spooky mellotron flute! The B side, “Bitter Blue,” is a bittersweet love letter of longing, sweetly punctuated by a wistful violin performance. Truly the loveliest pair of songs to grace this turntable in a great long while. (Joel Simches)
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BREAKHEART RESERVATION
4-song CD
Two words come to mind right off the bat: radio friendly. This four-song offering, a precursor to their upcoming full-length An Episode of Colors Fading, keeps a very modern feel by not being modern. In an age where mainstream rock is rummaging through and recapturing the ’80s sounds of yesteryear, Salem boys Breakheart Reservation fall right in line. “Sound Color Perception” sounds like a harder outtake from the Killers’ Hot Fuss record, while the atmospheric keyboards and the baritone whisper of “Christine” has an overindulgent, grandiose rock feel. But there’s really nothing here worth celebrating that can’t be heard on the radio or on that Simple Minds record you likely chucked away years ago. And still it’s only four songs, which is barely enough to effectively measure any band. I guess it’s just up to the full length to determine if the band has the chops to move beyond the tired sounds presented here. (Ryan Bray)
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THE HERO CYCLE
Hidden Shoul
Lakes and Ponds
5-song CD
Lakes and Ponds, the latest offering from Burlington, Vermont indie rockers the Hero Cycle, is a disc that leaves very little up to imagination. From the raining cymbals and lingering guitar lines that greet the listener on album opener, “Breathing In,” to the rollicking drum work and slightly dissonant, introspective vocals on subsequent tracks such as “Lover’s Crime” and “You vs. Them,” the band find themselves firing on all cylinders, channeling the melodic eccentricities of Sonic Youth and Built to Spill as well as the synthesized gloom art of Joy Division in seemingly equal doses. And while the Heroes clearly lean on their influences, it still makes for a good listen, and fans who appreciate ambiance and atmosphere in their music will find plenty reason to nod along. (Ryan Bray)
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THE APPRECIATION POST
Yuh!
Brighter Sides
5-song CD
Wow! The latest slab from this power-pop dynamo hits and hits hard. Darker and heavier than I have come to expect from these guys, the elements are still there: gritty guitars, swirling analogue synth lines, and clever lyrical hooks and harmonies. Think of these guys as Weezer meets The Pixies, or for the local connection, how about The Cautions on steroids!! “Staying In’s Alright” is probably the coolest song they’ve ever made. This past year of touring for them has made them lean and tight. These five songs show an impressive leap forward. This album rocks harder than a Scotsman with a scorching case of herpes. (Joel Simches)
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THREE DAY THRESHOLD
Mudbat
4-song CD
The Broken 4 Track Sessions
4-song CD
Three Day Threshold seems to have a new recording out every week. Their output has certainly been prolific, and everything Kier Byrnes and Co. puts out have held to a standard of quality few bands can sustain. Even though these two CDs were done informally, the songs are well done with a low key, DIY demo quality. Mudbat sounds like a fun night of drinking at the studio with a portable multitrack. The opening track almost sounds like Ween covering a TDT tune, complete with warbled effected vocal and cheesy drum machine. I think this may be the first time a drum machine was used on a bluegrass tune. This drum machine seems to be here to stay. Their cover of Muddy Waters is dark and pensive. Their acoustic version of Black River Gold has some great violin playing, the entire track sounding like a late afternoon back porch jam.
The Broken 4 Track Sessions is certainly a fun jam session. Kicking of with a Guthrie-esque rendition of a little ditty called “Jack Hammer Hand Job Girl” (!), this EP is certainly a lot more raw and a lot of fun. It is this very informality that makes these songs more fun, more intimate, and more poignant, especially the closing track, “I’m Alone on This One.” I think this is my new favourite TDT song. (Joel Simches)
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WICKED AUTOMATIC
Brave New Story
5-song CD
It’s hard to think of “heavy” and “poppy” in the context of the same band, especially this one. The guitars are like cinder blocks propping up a high and clear Matthew Sweet/Alex Chilton melodic vocal style, seasoned with Beatlesque harmonies, handclaps and tambourines. The drummer even gets a few double kick licks and there is COWBELL! Later tunes seem to channel bits of REM, the Plimsouls and Smithereens. The band has a lot of drive and energy and are not afraid to have great hooks and melody. This is a fun and rocking good record. (Joel Simches)
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THE TASTE OF SILVER
Hold True Recordings
Narcimalion
2-song CD
Maybe the other eleven tracks on the full length are better. If these two are representative of this Arlington outfit, I hope they have day jobs. The best thing here is the record label’s sticker, a cool chain-saw wielding knight! The music? It is as listenable as the aforementioned power tool. “Escape Velocity” features bludgeoning screams morphing into low growls like someone is being dismembered. “Return to Stone” starts promising with soft brooding wind and Black Sabbath textures but, after 90 seconds, it degenerates into the same maelstrom of madness and undecipherable “singing.” A minute later, there’s a brief respite, as if the chain saw guy stops to sip some lemonade. (Tony G)
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KEN CORMIER
Ken Cormier
7-song CD
This could also qualify as a songwriter album, except that it has all the trappings of a very cool band project. What does that mean? There are a great deal of fun musical bits and pieces which seem to punctuate the lyrics, and loads of tasty musical interludes with no words at all. Most songwriters focus so much on their thoughts and words and offer so little in the arrangement, and usually as an afterthought. Ken Cormier has obviously listened to Brian Wilson and Paul McCartney as well as Elliot Smith and Conor Oberst. The arrangement and production values make this demo a fun listen. There is a great deal of ear candy and musical homages to every great pop record ever made between 1967 and 1972. These songs make my ears giggle. (Joel Simches)
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KILL CONRAD
32 Short Films About Nothing in Particular
5-song CD
Formed over a year ago, Kill Conrad packs the high energy punch of every punk/pop band you could ever have heard. Their sound is a little too squeaky clean to appeal to real fans of punk and hardcore, but their songs are catchy and well played. There’s no filler and their influences are keenly felt but not worn so much on their sleeve that any of their songs sound like everything you’ve heard before. The best song on this ep for me is “Eagle Means Hatred.” Clocking in at an epic 3:17, there is as much hope as there is bile and anger in the lyrics, giving us more than the basic formula of fuck-the-man-and- everything-sucks. I hope they make more soon! (Joel Simches)
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JAMIE TREADWELL
Things I’ve Been Missing
6-song CD
Jamie is a singer-songwriter with a countryish bent, a nice guy with a pink and purple diagonally striped tie. He does all vocals, background vocals, piano, and even finger snaps on track five. “Disorient Me” is his catchiest and his voice soars over guitar strumming. It’s upbeat, has a nice piano interlude, and should have been picked for the opening credits of Friends. The production on these half dozen ditties is superb, clear, and polished. “Harder Than They Can” is just a tad sad with prominent piano that, at times, reminds one of Bruce Hornsby… now there’s an odd reference for the pages of The Noise! (Tony G)
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LEON RICH
Two Tone Recording
Groovy Time
4-song CD
If Steve Miller got really drunk on Jaeger and cut some vocals with a Harpers Ferry jam/funk band, it would sound a great deal like this record. Actually that might be better. Leon’s vocals have a lot of character, but stray into unlistenable intonation territory several times in each song. The keyboard sounds could have come from an Atari video game, and the guitars could have used a little less “producing.” Tom Scholtz this guy is certainly not. And the solos are, well, let’s just not go there. It sounds like the band has a lot of fun playing together and the grooves are certainly groovy. I just wish they had written some good songs to go with them. (Joel Simches)