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State Line Records


8-song CD

I’ve always been
a sucker for people who can deftly match really depressing or introspective
lyrics with infectious and fist pump-inducing music. Few have done it
better over the years than Mark Lind, and aside from the classic Ducky
Boys record,
Three Chords
and the Truth
, this might be
his finest hour.
certainly contains his
most varied array of colors. There are the punk flourishes you’d expect,
but also tastes of Guns N’ Roses on “No One to Cry To” and ’60s
girl groups on “Sad Songs.” While Lind’s songwriting obviously
drives the engine, this is also the best collection of musicians he’s
ever played with. Holdover bassist Mike Savitkas continues to excel
at creating bass lines that stand out without ever being unnecessarily
showy, and new guitarist Steve Young ably fills Jeff Morris’ big shoes,
which is no small task. But the biggest difference is in the vocals,
as the immensely talented (and certain future star) Brittany Gray’s
warm and powerful voice adds a welcome counterpoint to Lind’s gravelly
one. Far From Finished’s Marc Cannata’s expertly placed background
vocals don’t hurt either. This is top-notch stuff. (Kevin


Juicy Juju Records
Love Electric
11-song CD

Is this music anything
more than ephemeral? On occasion. You definitely get a head bopping
vibe on these dance tracks, and the sporadic guitar solo spasms are
lagniappe. And “Chauffeur Blues” is a amazingly faithful Memphis
Minnie hommage. Overall, however, these jet-setting, cosmopolitan vaga-bonds
deliver an album full of zeitgeist fodder: anthems calculated to tease
your id and put a governor on your superego. Their formula for uniqueness
is simple: electro-pop plus sex, purveyed by winsome cuties who are
easy on the eyes and who seem to promise freedom from all traditional
restraints. I have no beef with that. Worldly love is spasm mad, and
pleasure is the king of all illusions. So question not the need. (And,
vive le difference!) Now, their brand of hard sell is called “propaganda”
when purveyed by people we don’t like, but it’s “self-empowerment”
when we happen to have a soft spot in our hearts for embattled underdogs.
It’s shtick, but so far at least, it’s bright and not yet banal.
Sometimes it’s even ineffably sweet, as on the pick hit “We’re
All Crazy.”
(Francis DiMenno)


Across Their
Universe: Lowbudget Records Does the Songs of the Beatles

Lowbudget Records
19-song CD

It was a different
scene when I released
Does the Beatles
in 1988. But
this next generation variation succeeds in achieving my two original
goals: to showcase the depth and diversity of the local scene to listeners
across the world, and to allow the included talent to twist and shout
a universally-known catalog into their own creations. And some of the
stars really shine: “Honey Pie” (Glenn Wiliams) with its vaudevillian
splendor, “Not A Second Time” (Mr. Curt Ensemble) with its avante
and dramatic delivery, “Don’t Let Me Down” (Bird Mancini) and
“Fixing A Hole” (Thea Hopkins) interpreted with great female vocals.
“Tell Me Why” (the Daly Brothers), done rockabilly. The hypnotic
“Long Long Long” (Pastiche). The sonic gloom of “Eleanor Rigby”
Bonnie Gordon). The bluesy version of “Birthday” (Bird Mancini)
that Lennon would have loved. “Let It Be” (Terry Kitchen) done with
a fabulous B-3 organ. “No Reply” with T Max doing Tom Waits doing
the Fab Four. And the ambitious “Day In the Life” (Low Budget Allstars)
with the ending suspended chord, too. Question for conceptualizer Tim
Casey: Does that song also include the silent dog whistle? (A.J.Wachtel—semi-retired
Mensch/former A & R god at Fast Track Records)



The Day Everything
Became Nothing

14-song CD

Lighter than air, inoffensive
and anodyne. If you use music as a soporific rather than a stimulant,
you might find a great deal to appreciate here. Okay, so their aura
of unassuming self-importance (how’s that for an oxymoron?) may possibly
strike some troubled souls as a bit… grating. “Getting Good,”
for instance, is a somewhat treacly communiqué—more of that wooly-minded
self-regard verging on smugness that I’m struggling to assimilate
as an acceptable songwriting strategy. On the other hand, the musicianship
is impeccable, and the band is fully capable of sophisticated uptempo
romps such as “”I Have No Idea.” Furthermore, the songs are frequently
graced by perfectly lovely harmony vocals and tasteful strings, as on
“Guilty.” There is some very nimble alpha wave songwriting here,
as on “I’m Sorry” and overall, their folksy sound is bright and
sparingly produced—almost limpid. They also have a real knack for
a melody, as on the irresistable “Hello.” This music casts a spell,
and if you are fully susceptible to their brand of entrancement, you
will cherish this collection. If not, their insistent sweetness might
very well leave a taste like unto ashes in the mouth. (Francis



10-song CD
Grooming Gestures

Founded in Framingham
in 2003, Loam is the moniker of singer/songwriter and multi-instrumentalist
Chris Rousseau who is, according to his MySpace: “putting the rock
back in indie rock.” To my surprise, this is a do-it-yourself
project, one in which he has composed an appealing confection in the
realm of Tom Petty & the Heartbreakers, R.E.M, Nirvana, and Nick
Cave, to name a few. His fourth release,
Grooming Gestures,
is on the
whole, entertaining, melodious, and sounds very much like a full band
effort. With influences that run the gamut of everything from
Weezer and Elvis Costello, to the Psychedelic Furs and Buffalo Tom,
Rousseau evidently has a keen musical sensibility. As is stated
in his one-sheet: “In an age where the term independent music
has become synonymous with deliberate inaccessibility and soporific
snooze, Loam has achieved something singular: a wide, energetic, accessible
sound that still retains its DIY spirit.” (Julia R. DeStefano)

Mr. Fibuli’s Records
of Tears

12-song CD

Well, many of us have
been waiting a long time for Chris Mascara to make his power move, and
this is it. Of course, being something of a mystic, he tells the truth,
but tells it slant, right from the get-go. “Dragonflies” is a seesawing
and powerful opening incantation. “Retarded” is a lovely, lost, mildly
unsettling song. “B261” is a rocking, Bowie-variety anthem about
Jackie Wilson, late of the Brunswick label, who tangled with mobsters
and lived to meet a truly ghastly denouement. The coldly, brilliantly
anthemic “Carry Me” is both majestic and inspired—the one song
I keep coming back to again and again. Other selections offer a variegated
soundscape. A few are more than mildly unsettling: the ghoulish “Lester”;
the eerie and astonishing “Listerine”; the spooky “Deep in Palm
Beach.” And at least two songs are full-blown disturbing: the angular
“Ainadamar” and the scathing and scarifying “High School.” Perhaps
not conciously, Chris Mascara’s compositional strategy seems to be
to utilize dissonance to selectively defamiliarize the ordinary: wrenching
it from its everyday context to make us question the foundations of
what we ordinarily take for granted. In that way he is powerfully in
the tradition of artists such as Captain Beefheart and Pere Ubu, but
is, nonetheless,
. This is a mixed bag
of a song collection, but the first nine songs are compelling enough
to hold us for a good long while. (Francis DiMenno)


The Hereness
and Nowness of Things

8-song CD

The latest from Esthema
is another great slab of east meets west, jazz meets world, art meets
earth. A follow-up to their critically acclaimed
From the Rest
, this new album
picks up on the framework previously laid down, while refining and blurring
the lines of influence. The band has obviously evolved to become
more that a sum of their parts. This new release is a much more
cohesive singular idea. This thread of continuity gives this album
a natural flow lacking in their previous release. The compositions
are more of a collaboration of all members than just one, which provides
a fluid counterpoint, spotlighting the talents of everyone in the band
so eloquently. I could not recommend this more highly to lovers
of world and jazz music. (Joel Simches)


Curve of the Earth
Bacchus King
9-song CD

These are the albums
that try men’s souls. The bummer soldier and the sinner patriot will
shirk from the service of criticism, but he that stands up now, deserves
the love and thanks of bro and ho. Nouveau early ’70s screamo HM,
like hell, is not easily described; yet we have this consolation with
us, that the harder the riffage, as on the rage-clotted extravaganza
“Can’t Get There From Here,” then the more glorious by contrast
the tunage on slower lopes like “God Only Knows (What I Do),” as
well as on epic workouts like “Medicine Man.” What we account too
quickly as merely cheap and derivative, we disrespect too readily: it
is a deviation from FORM only that gives every commonplace thing its value.
Heaven knows how to put a proper price upon these songs; and it would
be strange indeed if so celestial a band that also ROCKS should not
be highly rated. The scene, with acolytes to enforce its tyranny, has
declared that it has a right (not only to DIS) but “to RANK such bands
in ALL CASES WHATSOEVER” and if being ranked in that manner, is not
bogus, then is there not such a thing as bogusness upon earth. Even
MY critique is impious… but I love the band that can smile amid rubble,
that can project strength from frustration, and wax bold by refracting
the borrowed past and forging some manner of new sound for the future.
(Francis DiMenno)


Sugarpop Records
The One
12-song CD

With an opening line
of “Don’t you tell me what to do” listeners are fore-warned; they
are about to embark on a mysterious journey through the unexpected,
the unknown. Once a Navy air traffic controller, Dave Munro (upon
returning home) enlisted his closest musical companions and began writing
and recording hoping to attract attention within the local scene.
The debut, produced by Bleu and engineered by Ducky Carlisle, is a pleasing
blend of folk and rock, one that has already gained recognition: an
MTV nomination for the “2009 Best Breakout Boston Artist” award,
as well as significant radio airplay. Munro’s voice is similar
to that of Paul Simon as well as Jason Mraz, while guitar styles are
reminiscent of Simon and Garfunkel. Elements of indie pop and
classic rock also present themselves throughout; think Tom Petty &
the Heartbreakers, Paul McCartney, and the All-American Rejects.
One thing is clear: Munro seeks to make his voice heard, to tell his
tale, and successfully does so through a heartfelt first effort.
(Julia R. DeStefano)



12-song CD

Upon listening to
his latest effort, one thing is for certain: singer, songwriter, and
guitarist, Kevin MacDonald has a unique voice. This, combined
with appealing arrangements and clever, quirky lyricism make the disc
entertaining. An instrumental composition, “First Impression,”
serves as a beautiful opener, while the rest of the album presents the
listener with a keen blend of mainstream, pop-oriented sounds.
Temporarily Unavailable, though ear pleasing on the whole, is not
a particularly groundbreaking effort. However, MacDonald remains
true to himself and his influences throughout, which is essentially,
always a good thing. (Julia R. DeStefano)


KT Records
Boston Underground
22-song CD

SuperPower kicks off
this four-band split, and having not previously heard his post-Tree
output, I am glad to see that Dave Tree has not lost any of his edge.
In fact, SuperPower’s brand of metallic hardcore might be even more
in-your-face than his more renowned former band. They are easily the
most fully-formed group on here; in fact, they are the only ones who
sound remotely professional. I wish their portion of the disc had been
a little longer.

I’d like to congratulate
Allston Pants for being the first band that ever caused me to have an
actual nightmare. It wasn’t one of those cool nightmares where you’re
on the run from the C.I.A. or Darth Vader and sure, you’re scared,
but you wake up kind of exhilarated. No, this was the type that causes
you to wake up pissed off because you ruined what precious little sleep
you can fit into your busy schedule because you have some awful music
sabotaging your subconscious. The vocals are comically bad and diversely
so. You get to hear high-pitched screaming, Cookie Monster barking and
generic hardcore/street punk grunting all in one place. Every song is
sung like the fate of the world depends on it, except instead of singing
about Darfur or an unjust legal system, Allston Pants is railing against
Horror Business and the Suicide Girls. Oh, and while I know this recording
was done totally DIY, that’s no excuse for the volume level dramatically
shifting within individual songs. That said, the drummer’s pretty

No Shit sounds like
Minor Threat or Bad Brains compared to Allston Pants, meaning they’re
pretty average. They sing about trivial things as well (like skateboarding
and winter) but at least they exhibit more of a positive energy while
doing it. I find my head nodding to some of the grooves, but I also
completely space out and don’t always notice when the tracks change.

Colin & the Cancer
wrap things up, and I wish they weren’t buried at the end of the record.
They’re definitely a young band and the songwriting and singing need
some work, but there are some worthwhile things happening here, particularly
with Ethan and Cuban’s guitar work. They don’t mind branching out
and playing guitar hero a little bit. While steeped in straight-ahead
hardcore, there are also just enough little nuances to each song that
keep them interesting upon repeated listening. This band hasn’t arrived
yet, but at least they’re visible out on the horizon.
(Kevin Finn)


Global Warming

14-song CD


Can you say Mighty
Mighty Bosstones? Okay, let’s get that out of the way. Obviously,
this band’s been influenced by them but they’re a ska/punk band
from Boston, what do you want? So these lads got the ska beat alternating
with the punk beat and two trumpets chirping away like a goddamn mariachi
band just strolled into a punk show at the local VFW. But they pull
it off, keeping the energy up with good tunes and musicianship all around.
I particularly like Andy Misberger on the bass but they all do well.
I like the first and last songs the best and is that a theremin I keep
hearing on some tracks making that “flying saucers are landing”
noise? So I recommend them if ska/punk is the type of dish you would
order; well, get this to go. Bet they’re hell of a live band, also.


Vagabond Entertainment
With These

12-song CD

There’s not a thing
I don’t like about this album: the nifty surf green color, the elegant
cardboard jacket, the properly licensed blues cover tunes. Get ready
folks, here’s a Japanese trio that’s ready to blast out authentic
American-sounding blues rock tunes. That may sound novel. It is, in
such a way that it’s hard to not cross over the PC line and remark,
whatever the American can do, the Japanese can do as well, and usually,
better. The sound of this band is extremely enjoyable and has to be
heard to be understood. Rich male and female vocals blended just so,
and great playing delineated through really cool writing and arrangements.
They’re taking a basically boring and worn out form of American music,
adding their know-how and talent and giving it back. Did I offend anyone?
How can you talk about music without referring to cross-pollination?
How can you not like the blues? How long is this review? Done.
(Mike Loce)


Asian Red

8-song CD


Formerly a cover band,
Grab Brothers have released a full length of original music. Far
from derivative, this album offers up a fresh slice of Americana, owing
a lot to the sound of seventies bands like Pink Floyd and the Eagles,
while also delving deep into independent influences like Wilco, Grant
Lee Buffalo, Chris Smither, and the Blood Oranges. The result
is an easy blend of folk, country and classic rock. This album really
succeeds on the easy, laid back flow of melodic ideas, but stumbles
occasionally when it makes an overt attempt to be tough and rock out,
as in their second track, “Holly Would,” which attempts the typical
“rocket in my pocket” type of classic rock innuendo this album could
easily live well without. Despite the copious amount of session
player contributions, this CD stands as a cohesive band album and an
album that bears repeated listening for those who want a little flavor
in their classic rock without sounding trite or cliché.
(Joel Simches)


For All the Boys &
12-song CD



Sidewalk Driver is
one of the very few Boston bands that has caught my attention lately.
Granted, I hadn’t heard of them before their CD landed on my doorstep,
but now that I’m listening to their music, I wonder why I didn’t
hear of them sooner. What I’m trying to say is that I think this album
is pretty darn good—I dig its pop-indie-rock vibe and the sickeningly
catchy choruses of songs like “Dancing With Her Friends” and “Fremont,
NE.” You just can’t go wrong with a healthy combination of poppy
guitar lines, syrupy vocals, and fuzzy guitar riffs, and so it is that
Sidewalk Driver’s new album is so, so right. (Emsterly)



10-song CD



You know what I love
about a band that decides to do a concept album? I love that this is
ambitious—you can’t be lazy when you need to construct a series
of songs that tell a story, and in the case of Johnny Stranger, they
do it very well. It may be a concept album but the songs are all distinct
and if one didn’t know they’re supposed to string together to tell
a story, one could easily listen to each of these songs as separate
entities—so the fact that this works just as well as individual songs
as it does as a whole story is a reflection of an enterprising, energetic
band. This is a sci-fi story about “an intergalactic space traveler
and his desperate quest to save his beloved starlet.” An attempt to
check out the lyrics on their site failed but I can say musically, it’s
at times dramatic and theatrical, at others, catchy, alt rock, laced
with great grooves and some cool sci-fi vibes. Super excellent.
(Debbie Catalano)


Beneath the
Burning Sky

15-song CD

I find the sound of
this CD matches my mood perfectly. That is, when I’m in the mood to
be aggressive and melodic, but singable and structured. What I like
is the punk rock type melodisicm. At times I also am reminded of running
a loud lawnmower over a basketball court, in a nice powerful way. I
find it easier to describe images in my mind. This band is tight and
hard (opposite of loose and soft?) and they know what they’re good
at. I like that. Some moments remind me of good Babes in Toyland tunes,
with attention paid to the construction and the production of the song.
Crankable tracks, nicely balanced with just enough mellow songs, a couple
of them. Jessica Sun Lee is the mastermind behind this well rehearsed
entourage, and I admire her tenacity… you can hear it through all
the ones and zeros. Only one question to Jessica: why BMI and not ASCAP?
(Mike Loce)

Osiris Entertainment
Still Green—Music
From the Motion Picture

14-song CD

This soundtrack features
some great indie artists and bands from L.A., Miami, Brooklyn, Hartford,
San Diego, Charleston, and Boston. Much of this music is moody
songwriter and emo pop, which perfectly illustrates the story of a group
of high school graduates who rent a beach house for the summer before
going their separate ways. The highlights of this disc are, without
question, the bands from Boston. Orange Island present an epic
angst fest in their anthemic “Pyretic Eyes.”

Also featured is central
Mass. hip hop artist Future Joyner, another brooding classic from the
Curtain Society, the deliciously jangly title track by Steve Mayone,
and the introspective “Fears” by Jediah. Hopefully people
will seek out this fine independent film and revel in the depth of the
relationships explored, and lovingly illustrated in song.
(Joel Simches)

Untimely Records

12- song CD

Ah, yes, Mrs. Slimedog
here, the jet setting, trendsetting, cosmopolitan, (why yes, thank you,
I’d like one very much), all-knowing top writer of the
And modest to kick! But let’s not waste any more mimes.

Now, on the little
yellow stickee that was attached to this CD, the band refers to themselves
as “loser rock.” Puh-leeze boys, have you ever met Slimedog? I believe
they have his picture next to the term on wikipedia.

So this is indie music
(bellybutton) with grungy guitars where they don’t wash their strings
or something to get that grimy sound. Now, Slimedog was hoping their
name was referring to Jimmy Destri, a keyboard player from Blondie,
a New York band I’ve never heard of. And their version of “Schools
Out” has different words and music than the song by ’60s female
folk singer Alice Cooper.

The songs are fast,
breezy and catchy at times, but I can’t recommend them as much as
I can Andrea Bocelli’s
, and I could be wrong
but I believe he’s from Stoughton. (Mrs. Slimedog)


Crooked Measures

11-song CD



Greetings, Zortar here,
alien from another planet inhabiting the antag-onistic, assholish, almond
shaped, Airedale fucking waste of human debris known as Slimedog. Glad
to be manning my ice cream truck through the easy to drive streets of
Boston as children run up with joy on their faces only to have it turn
to dismay when they learn I have no crack for sale.

Which brings us to
Myra’s lovely album of lilting falsetto vocals over pleasant acoustic
guitar strumming and subtle drums—she looks like a sweet young girl
but I disapprove of the guy on the cover trying to look up her skirt
while pretending to fix something underneath the kitchen sink!

She mentions influences
such as Joni Mitchell and Sarah McLachlan so if you care for them you
might like her as well as she does a fine job. But for me I would rather
drive my ice cream truck off the Tobin Bridge to avoid hearing another
second of this. (Slimedog)


Roots Run

10-song CD



I felt the desire come
through in the Willows’ style and music but unfortunately this recording
was so one-dimensional, it didn’t do the band justice—especially
for a genre that should be big, fat, and full.
Run Deep
did not reach the
depth their music demands—and deserves. They have the talent, the
good intentions, and good tunes, but the recording lacked a major element:
dimension. Allow me to clarify something, however: the recording was
not lacking for quality. It’s clear, warm, and mixed well… it’s
just flat-sounding. I appreciate their passion and the Americana/roots
pop vibe so this is really an example of constructive criticism: next
time you go into the studio see if you can get your songs recorded and
produced so it’s less comparable to a flat, dry desert and more like
a full, stormy ocean… if that makes any sense. Fave tune: “Keep
Moving.” (Debbie Catalano)



9-song CD



With the moniker of
this band, one may think of a little Jim Morrisonian reference. Remember?
At that point though, the Doors comparison ends. What we got here is
a mixed up mass of sludge, refined with some Cobain-esque howls in some
of the lighter moments. True to the disc title, there is quite a bit
of formidable alternative-thrash guitar riffery. There’s also an equal
amount of boring back and forth hashy slamming going on. Don’t get
me wrong; I love hashy slamming, but it tires after a bit. I recommend
that this album be listened to while driving to endanger or shooting
some concoction of chemicals found in the basement storage closet. It’s
a good overall sound to be angry to. File under: aggressive rock type
3B. I wish I had a lyric sheet so I could read what the vocalist/guitarist
(Matt Rappucci) is screaming about. Chris Wolz and Mark Zolla fill out
the bass and drums, respectively. (Mike Loce)

Burst & Bloom
Tiny Fires
7-song CD

Magical, elegant,
dreamy… Tiny Fires’ self-titled CD is a beautiful collection of
sound and music. I specifically use the word “sound” because they
incorporate the joy of sound into their music. For example, they include
“stomping” or tap dancing as part of what makes up their music but
add that to gorgeous, lilting vocal harmonies and such wonderful instruments
as calliope keyboards, toy piano, kalimba, glockenspiel, and castanets,
along with guitar, bass, piano. This is an example of being creative
with the artistry of music. Some highlights include the beatniky, dare
I say slightly Lou Reed-ish (but much prettier) “Wild at Heart,”
the truly lovely “Beacon,” “Magpies” a lingering and captivating
song, and the slightly garagey, organic number that is “(Stronger
Than) Wedding Rings”—which, wow, I feel I haven’t adequately given
this song the description it surely deserves. All are really delights
to the ear and the soul. I’d also like to add that I love the CD artwork.
It captures the essence of this unique collection. (Debbie Catalano)

A Gentleman’s

16-song CD




This album left me
speechless. I’m talking to the point where I was just going to let
the band’s own words speak for themselves by simply typing out a paragraph’s
worth of their not-as-deep-as-they’re-meant-to-be lines. You know,
gems like “When hatred consumes us, our children exhume us.” Or
“Masculinity lacks virility.” Or perhaps “As Shaky hands trace
ancient maps to learn her curves.” But that would be kind of a cheap
gimmick. Instead, I’ll say its overly dramatic vocals, Shakespeare
references and mentions of powerful rings make me think of a trip to
the renaissance faire, only lamer. That said, it would make an excellent
soundtrack to a LARP outing. I’ve never said that about an album before,
so I guess I can at least give the band points for being unique. Oh,
and props to them for making it 79-minutes long. Sure, that adds to
the interminableness, but at least they didn’t let any precious digital
space go to waste. (Kevin Finn)


Yeah! Lou

1-song CD



This song is catchy
as all hell! It’s jangly, hip, and silly in all the many good
ways that pop music should be. There are great harmonies and a
shitload of hooks in such a short song!! This is possibly the
best song that Guided By Voices never recorded! (Joel

6-song CD

This new release is
a great blend of instrumental imagery and clever wordplay. Musically
there are some great shifts in mood and tempo, with each song taking
you on a journey through the New Hampshire countryside. While
other bands of this ilk could be simply content to just be a jammy,
stoner thing, Graph seems to play with the mental intellect with each
musical interlude punctuating the mood evoked by the lyric. Fans
of Wilco, Animal Collective, and Andrew Bird will easily enjoy this.
The rest of us can twist up a number, dim the lights, and revel in the
sonic wizardry contained within. (Joel Simches)

Reluctant Records
Punk Rock

4-song CD

I’m driving fast
down Route 3 to the energy of these old rockin’ fogies. Just happens
that the first song, and the CD concept, is in tribute of my personal
favorite car, a Dodge Charger. Don’t ask what year, you know it only
can be ’68 through ’70. The fact that I drive an ’02 Solara is
not an issue here. What’s good is how a 4-song disc can keep you consistently
energized as it loops. The recording sound needs work, however. Kinda
thin. Fatten up the mix and rock on.
(Mike Loce)


The 7Cs
6-song CD

Another great, no
nonsense, power rock band from Metro West. The 7Cs rock the three-chord
verse and chorus, much like Jonathan Richman, early Van Morrison, and
the Stones. While neither polished nor gritty, the band just plays
rockin’ good tunes without pretense or drama. They stick to
the basics and do it well. If you like your rock power trio to be raw
and basic, this EP is totally up your alley. Make more music soon!
(Joel Simches)


If you’re sending a CD in to
the Noise make sure to use our new address.
And everyone else should
update our contact info too. Thanks.

T Max/ the Noise
24 Beverly Drive
Georgetown, MA 01833

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