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10-song CD

Cellist Kristen Miller could
easily floor audiences playing in name-brand cello bands like Rasputina
or Apocalyptica, but if she did, the world would miss beautiful, intimate
records lik
e Walk. With it, her third release, the Boston-area
string siren delivers a seamless blend of haunting, soul bearing, and
aphrodisiac. She offers a pair of eclectic covers early on—hook-laden,
want-steeped takes on What Time Is It, Mr. Fox’s “Deep Waters”
and Eurythmics’ “Sweet Dreams.” In the generous amount of original
material that comprises the disc’s remaining eight tracks, we experience
her full range, not only as a gifted player, but also as a lyricist,
singer, and arranger. The heart-rending poem “Lilacs” plays like
a gorgeous, tear-streaked letter read unabashedly to the ether, with
the Celtic-flavored “Dream On A Bus” hinting at her potential as
a story-song stylist to rival Rickie Lee Jones. With the instrumentals
“Standing,” “November,” and “Away” she reveals her flair
for the cinematic. Miller’s tight, would-be scores (and her brilliant,
original score to fellow fantastic femme Maya Deren’s experimental
1944 silent film
At Land) create such palpable moods and confidently
prove that there is nothing she takes on that she cannot master and
then tantalize us with. (Robert Newton)


Play Devil

-song CD

If what the Benedictions
play truly is devil music, then can someone please point me to the nearest
Satanic church so that I can fill out my membership application form?
This record is a winning mix of country, rockabilly, and folk all played
with a serious edge. They remind me somewhat of Death & Taxes, minus
the punk influences. Having three lead singers each with a distinct
voice helps keep things fresh, and the band knows that even in outsider
music like this, you still need to have good hooks. While the singers
are all strong, it’s the musicianship that truly stands out. The band
is extremely adept at setting a scene instrumentally, be it the rush
of an oncoming train or the desolation of a ghost town. At times, the
Benedictions make me want to dance, and times they make me want to mosey.
I can’t remember the last time a record moved me to undertake the
underrated pleasure of moseying, so these guys are definitely aces in
my book.
(Kevin Finn)

Lamptime Records
Time Move

16-song CD

This is the sort of
gruff-voiced roots-rock that I thought I had gotten my full ration of
a long time ago. But the canny production touches and the skillfully
low-key instrumental backing by crack studio outfit KMBG make this more
than merely a tolerable genre romp. The world-weary lyrics and delivery
are no jokes, and the project as a whole from time to time displays
a sort of grandeur that artists who seem to be trying far harder can’t
hope to match. In particular, “Lifeboat,” and the acoustic version
of “Down” are quite fine, and the live version of “Requiem Lover’s
Waltz” is spectacular. (Francis DiMenno)

Crazy 8 Records
The Devotions

15-song CD

This long awaited recording
proves the little proverb—no deadlines, just headlines! The
Devotions—John Felice, Scott Baerenwald, Rich Mirsky, and Diane Gately
were born at the Kendall Cafe, Cambridge in 1995. I have been a Real Kids/Felice
fan since Oedi sent me their Sponge 45 in 1976! When I belatedly came
to Boston in 2001 and I heard the current Kids lineup do “Looks Like
Goodbye,” it brought tears to my eyes just like “Common At Noon.”
That cliché “they don’t write ’em like they used to” just does
not apply to a songwriter with Felice’s honesty and power. It has been
almost ten years since I have heard Felice sing these lines: I’ve
seen the light go outta my eyes/ I’ve seen my dreams wither and die/
from the look in your eyes/ I looks like goodbye,” but the song has
not lost an ounce of its impact! Kelly Knapp of the Bristols and the Darlings
fame deserves kudos for her input. The Devotions deliver 15 mostly upbeat
power pop gems anchored by Baerenwald’s stellar bass playing. Congrats
to the Devotions and producer Steve Wynn for creating the purest, rawest,
most real music since
. (Nancy Neon)


Walk With

10-song CD

Ms. Berry’s voice
is heard to evincing effect on numbers such as the lovely “Walk With
Me” and the mesmeric “The One I’ve Waited For,” and fans of Van
Astral Weeks will find a great deal to like in these particular
compositions. Otherwise, overall this seems a largely anodyne collection
of sometimes overly solipsistic confessional songs and character pieces,
though never less than competently executed. Her compositions are often
jazzy and melodic in a restrained fashion, which is seldom the cause
of any undue offense, yet also all too seldom evocative of any particular
sense of wonder.
(Francis DiMenno)


Rodent Popsicle Records

14-song CD

Bear with me. I started
listening to this and thought about how limited hardcore is. How the
hell do you advance it? It’s like a living museum.This album, for
instance, sounds like it could have been recorded fifteen years ago.
But maybe hardcore as a genre is not supposed to change drastically—otherwise
it ain’t hardcore. It’s like rockabilly: if you added a drum machine
or breakbeats, it ain’t gonna be rockabilly, it’s just gonna be
bad. And like rockabilly, if I listen to hardcore, it might as well
be the old school stuff. But I like to
see bands live, and I know I won’t be seeing
Charlie Feathers or Carl Perkins live anytime soon, but I could go see
(whenever they’re together) the Raging Teens or somebody, know what
I mean? Anyfuckingway, this Mouth Sewn Shut CD kicked my bloody ass
bloody! Fuck! It ain’t breaking any ground whatsoever, but they are
tight and the lyrics are damn good if you take the time to read them.
(Tony Mellor)


11-song CD

Ball and Pivot’s
online bio describes them as a “quintessential ’80s techno-rock-dance
band.” Their CD
PopGun is a collection of digitally remastered tracks
that were recorded in 1984-1988. The band, once made up of singer
Bruce Wilkinson, guitarist Tom Hauck, drummer Paul Caruso, and keyboardist
Tim Long, put forth an ear-pleasing collection akin to opening a time
capsule. The theatricality of dramatic glam-pop is evoked here,
as is the repetition found throughout arena-rock. The opener, “Nowhere
to Hide,” is an absolute testament to the ’80s and from there, the
only particularly tame song (if one could even call it that), is “In
The Heat of the Night.” The disc packs a significant and pleasantly
surprising punch. Don’t let the big hair fool you into thinking
otherwise. (Julia R. DeStefano)


The Rhythm
of the Slaughter

7-song CD

Age of End crafts their
tunes well. On
The Rhythm
of the Slaughter
, the music
is multi-layered and multi-textured. There’s a lot of enticing and
a lot of bludgeoning on this album— mostly bludgeoning—but though
you’re getting pummeled, you wanna come and get more. It’s old jail
barbed wire fences with dead meat caught in the snag—carcasses of
birds, small mammals, unsuspecting stoners, you know what I’m saying?
Still, I’ve heard it all before—basically when I’ve been force-fed
music from the national acts they’ve opened for, when I worked at
a chain CD store back in the day, bands that made the mall rats swoon
in self-mutilation six to seven years ago—Papa Roach, Sevendust, Puddle
of Mudd, etc., but maybe just a little harder. Reminds me of Slipknot
in places—I bet you’re getting the picture. But they do they a good
job on it—I look forward to the day I see their video on Fuse (well,
for me, more like Fuse On Demand when I’m at somebody’s house).
Slaughter in the suburbs. (Tony Mellor)

FamJam Records
Space &

11-song CD

Following up his last
quirky concept album,
Revolutions, which dealt with our culture’s perception
of revolutionary events, Cohen has teamed up with pop guru Tony Goddess
to produce a concept album based on Stephen Hawking’s
A Brief History of Time. Never would I have thought that Hawking’s
treatise on his view of life, the universe, and everything, could be
sent up in this way. Cohen uses his quirky sense of humor and
melody to turn science into delicious pop, reminiscent of
School House Rock, with a little John Holmes funk thrown in,
along with psychedelic ear candy that will leave you drooling for more.
It’s not everyday that such heady material could be this catchy.
If there is ever a
Zoo Revue
revival, Alan Cohen
should write and perform all the songs. I bopped along and learned
about quantum mechanics today. Can you say that? Didn’t
think so. Though I wished for a Hawking cameo, this disappointment was
momentary. (Joel Simches)


The Original
Soundtrack to Space Jam

7-song CD

Greetings, Zortar here,
alien from a planet unlike your joyous and happy one; mine is rife with
war, poverty, discrimination, and disease. How lucky you all are, indeed!
Talking about disease, I once again have the unpleasant task of inhabiting
the vessel known as Slimedog whose body seems to consist entirely of
Jagermeister and bacon fat.

Well, this task is
slightly more appealing as this band is very sprightly. My thought processors
are on full application to define them. I’ll call them hardcore/ progressive/
funk. Hardcore, only because most of the songs are very fast but the
playing and structures owe more to progressive rock; then there is also
an underlying funk happening. I would liken them to the Red Hot Chili
Peppers at their most frenetic, perhaps. I would definitely recommend
them, especially to fans of fast, fancy, funky music (though really
they’re just a good rock band). And I would give drummer Casey Kearin
a special gold star. I now leave you to your glorious planet.


Dogs on Television

10-song CD

I woke up this morning
with Dogs on Television’s “Lay It on the Line, Child” stuck in
my head, and I was pretty happy about it, so kudos to the band for that.
As a young man, I was beaten over the head repeatedly with blues-driven
rock to the point that even seeing the word “blues” in a press release
causes my body to twitch involuntarily in an unpleasant manner, yet
I still found this album to be quite refreshing. Therefore, if anyone
reading this is a connoisseur of blues-driven rock, then listening to
this record will probably make your body twitch involuntarily in a pleasant
manner. The band is very comfortable settling into a swampy groove,
but also quite adept at pushing the songs in directions that you don’t
expect. When they indulge in cacophony, they remind me of Wilco, which
is not what I would have expected. But I guess this album was very much
not what I expected. I like that. (Kevin Finn)


Two For The

9-song CD

Combining emo and
pop sensibilities, Pinsky has a fun, energetic collection of songs recorded
in their own homegrown studio in Portland, ME. The first half of this
release was recorded well over a year ago and features their original
lineup based around the joint songwriting efforts of guitarists Peter
Vachon and Jeffrey Roberts. Though the lineup has since changed,
the song template of bright pop with dual lead vocals and catchy hooks
is extremely radio ready and well performed. The last two songs on this
EP are well produced demos of songs which will hopefully point to the
direction of the next level of sophistication for this great band.
(Joel Simches)


Gibraltar Records
Surf Blue
12-song CD

What do you get when
you combine lush and welcoming arrangements with inimitable vocals?
Surf Blue.
It’s a showcase of Sadler’s talents. Tracks such as the opener,
“Late At Night,” “There’s A New Love,” and “In My Corner”
fittingly represent the summer season. With its images of the
sparkling ocean, sand, and sun galore, the atmospheric “Sunset on
the Beach Part 2” is a dazzler. When combined with Sadler’s
harmonizing, Dennis Brennan’s guest vocals become both haunting and
compelling, with lyrics like: “When you left me it was afternoon/
Late enough to really see the moon/ A summer day like this is magic
every time/ the ocean sparkling and sunshine/ I would think this must
be the special one/ She’s oh so good and oh so fine/ She’s bound
to go and blow my mind.” A beautiful effort without a doubt,
Sadler has put forth a cohesive, intricate, and expertly layered piece
of music that is positively dreamlike in every sense of the word. (Julia
R. DeStefano)

Labor Day Records
The Brightside
8-song CD

From the man from Maine
who brought us 6gig comes another polished emo-rock jewel. Packed with
mega hooks and walls of guitar, Walter Craven’s latest release from
his new band, Lost On Liftoff, is sure to please greasy faced teens
by the thousands–and some of us bigger kids too. Recorded and
mixed at the Halo, it sounds sonically amazing. Even the slick
cover art of Lost On Liftoff’s brand new baby
Brightside provides insight that these boys are not rookies.
All eight songs feature enough wailing melodic emotion and anticipation
to keep the likes of Dave Grohl happy. Walter Craven’s piercing yet
pleasing vocal reminds me of being pushed against the barriers at the
Warped Tour by screaming young girls. It’s got rock and it’s
got pop. It’s got fun to put in yer bun. With sheer oodles
of memorable lyrics and songs like “Promises You Can’t Keep” I’ll
be humming this infectious stew of hormone-driven madness for days.
They didn’t reinvent the wheel here, but not everyone wants a new
wheel. (Lance Woodward)


The Cartographer’s

10-song CD

Ms. Doyle’s range
of influences seem limited to a comparatively small circle of contemporary
artists, and her voice, though pleasant, unusual, and evocative, does
not display a range that is bound to invariably astonish the knowledgable.
She is young, which is a promising sign, because if she is already this
seasoned within her somewhat constrained folk-based palette, then perhaps
once she realizes there are a multiplicity of idioms and forms, even
within her chosen genre, she will eschew merely soothing and comfortable
mid-tempo balladry and essay to produce art that is astonishing, as
she does in part on “Roots/Wings.” I wish her well because she is
good; I hope that someday she will be great.
(Francis DiMenno)

Burst & Bloom
Narrow Gauge
Quad Trains

12-song CD

This native Texan has
been trans-planted to New England, namely Portland, Maine, and how lucky
are we in New England to have Welsey and his band take such an authentic
twang to the East Coast. I rather just call it twang than country even
though they define themselves as such because for me this is a layer
of twang styles that slowly and perfectly roll into one. Sure it’s
country but it’s more like old-school country tangled up with roots
rock and slow rockabilly—is there such a thing? Probably not, so let’s
say that it’s genuine essence of rockabilly only really, really laid
back! Does all this matter? No. What matters is that Welsey Allen Hartley
& His Traveling Trees have given us their songs—purely original,
recorded well, highly enjoyable. Along with the talented singer/ songwriter/
leader Hartley, I must credit Leslie Deane on bass, Jon Donnell on drums,
Derek Reynolds also on bass, and Gregg Hoover on lap steel. What a gem!
I can’t even highlight any one track—they’re all good in my book.
(Debbie Catalano)


Grazz with
Jazz on Top

10-song CD

Folk, rock, and pretty
much everything else, Julie Kinscheck’s debut album brings a little
something for everyone to the party. With some toe-tapping rock tunes,
more mellow folk beats, and Kinscheck’s signature scat singing throughout,
this CD is a great way to wind down after that lousy workday, or start
a day that you know is going to suck. One of my personal faves is “The
Coffee Song,” and I’m sure I’m not the only one on his third dose
of the day. There’s a lot of passion and soul in these tunes, and
on a couple I got a little choked up, as if Julie’s emotions were
going out of the CD and right into me. Or maybe it’s just the coffee
talking. Some of the songs have a message of faith to them, something
which Julie said is the rock on which she’s built her life. But this
isn’t the type of CD that tries to ram religion down your throat.
She’s just trying to pass on some lessons that have helped her through
some tough times. So snag some grace, sprinkle on a little jazz, grab
your java, and enjoy. (Max Bowen)

Burst & Bloom Records
The Silence
of Our Predicament

12-song CD

Haunting indie folk
that doesn’t let up ’til it surrounds your soul like smoke in a
pre-2001 bar. That said, you can’t listen to this half-assed; it requires
your full attention, or you completely miss it. You can’t let its
spooky subdued vibes echo out as audio wallpaper—you miss all the
glory! Some printed lyrics would have rocked, though- sometimes my attention
shifts more toward the music when I feel I may be missing some important
lyrics. I thought the use of all the relatively oddball instruments
throughout the album had the potential to be some lame gimmick, but
none of these instruments sound exploited; they rightfully serve the
song. I get pretty wary these days of the use of ukelele, but on this
album, the two tracks that feature said instrument don’t wield a cute
twee torch to those acts you’d see at, like, the Lizard Lounge during
the week—and that’s a good thing. Special props to guest vocalist
Isis, who lends a Moe Tucker quality to “Recipe.” I dig it.
(Tony Mellor)

Plimro Records
In the Mountain’s

12-song CD

Mr. Hill is what we
might call a country-style shouter, with a limited vocal range but a
great deal of feeling to partially make up for it. He has a generous
world view and writerly sense of observation, and the musical backdrop
is always tasteful and restrained without coming across as fussy or
mechanical. Of the dozen tracks featured here, the only one that seems
somewhat perfunctory is the bluesy “Baby Wears a Pistol.” (Francis


Loaded Dice

12-song CD

Veteran thunder rocker
Arlo West has long impressed me with his loud, aggressive, take-no-prisoners
guitar playing and Loaded Dice with its blistering leads reinforces
his powerful and 100 percent testosterone style: sorta like if Billy
Gibbons or Stevie Ray fronted Moving Targets but with more of a Tex-Mex
feel and a bit of Southern rock thrown in. It’s also got that punk
attitude in the songs’ lyrics and occasionally in their arrangements.
Every song this three-piece plays is cut from the same cloth: bragging
and boastful lyrics with some of the
really good melodies; “Big Bad Wolf,” “Twisted,”
“Gritty Mountain,” and “American Dream” tell good stories punctuated
by great guitar work and the vocals are also all believable and communicate
well. The only thing better than listening loudly to this CD, I would
imagine, would be to catch these renegades live and onstage deep in
rural Maine where they are now based. Each performance, I am sure, is
elevated into an event—but Maine may not be big enough to capture
the energy of this band. Play this CD loud.
(A.J. Wachtel)


More Ways
Than One

9-song CD

Until I reached the
halfway point of the Gravel Project’s 9-songer, my notes included
words like “easy-listening blues,” “bored,” “too clean”;
however, despite the negative connotation of those words, I found the
musicianship top-notch and the vocals warm and full. It’s just I like
my blues a little down and dirty and not so crisp and polished—then
it becomes adult contemporary jazz to me. Fortunately, somewhere along
the way the band snapped out of what I felt was wedding-band-like jazzy
blues–nice, entertaining, but not exciting—and transformed into
a band with an interesting and cool vibe. I’d say right around track
five, “Mindstream” (yes midstream through the disc), this beautiful
and mysterious instrumental interlude just opened the doors to a terrific
remaining CD. The snappy “Lust,” the bright reggae-ish islandly
number “Feeling Good,” and gorgeously stripped-down blues number
“My Baby” completely redeemed the band in this reviewer’s eyes.
I’ll backspace a bit and say the jazz twist on Lennon/McCartney’s
“I’ll Cry Instead” earns the Gravel Project cool points for sure!
(Debbie Catalano)

In the Fall
7-song CD

Formed by Tommy McKnight
and James Chiarelli to fuel a constant thirst for rock ’n’ roll
and whiskey, both of which are, according to their one-sheet, “easily
accessible and should be enjoyed responsibly or irresponsibly,” Dagger
or a Dram’s second effort is about as mainstream as it gets.
Heavy hitting and alternative, “Cross the Line” could very well
be heard on WFNX, along with “Wrecking Ball” and “Horseshoes and
Hand Grenades.” The remaining tracks, including the remixed
“Cross the Line (In a Box),” are a bit repetitive. Though
an enjoyable listen, there is nothing particularly unique about the
approach. (Julia R. DeStefano)

Sool Recordings
A Touch of

5-song CD

Lucifer is not a friend
of Sool. Far from being any sort of intelligence leviathan, when it
comes to innovation and experimentation The Evil One is a sucking black
hole of information death. Therefore, He is bound to loathe this scavenger’s
buffet of cultural bricolage, which ably lassos scattered hegemonies,
paradigms lost, and salvation through multiplicity. Most of all, He
is doubtless peeved because His myopic dynasty is even now being superseded
by Sool’s rebellion against all organized powers. It’s really not
fair. He has had 5000 years to set chaos free, and yet Sool has overturned
His sinister dynasty with five lousy songs—from the detourned soul
of the YouTube hit “I Know You Can Hear Me,” to the bizarro-world
hair band balladry of “Katherine”; from the humorously banal funk
fusion spoof “Pot of Mussels” to the goofball cut-up scatting funk-psyche
of “A Product of Mine.” And the Sparks-like celestial notes struck
on “Sun Hay!” must surely cause the Lord of Hell to reach for His
infernal prescription-strength ibuprofen.
(Francis DiMenno)

Entertainment Experiment
Metal With
Kung-Fu Action!

5-song CD

Maine is meant to
breed metal. If I was forced to live in nice-but-boring Vacationland,
I’d be in a metal band too. A good friend of mine did. But anyway—Spawn
of Man—these guys are doing the right thing. They’re having fun
and throwing you a good ole
, and dammit, you gotta
give them the horns right back! Shit makes me wanna go to Salem and
buy a cloak! (I bet if these dudes rocked cloaks, they would have to
hit a Target right after Halloween when the costumes are half off—poor
Mainers…) Rock at will! (Tony Mellor)

Shall We?
5-song CD

Citywide Max is back
with another review for your reading pleasure. And pleasure is the name
of the game with this band. The latest offering from the Grownup Noise,
Shall We?
gives fans another look at their foot-moving, head-nodding mix of rock
tunes. The five-song EP flows well, moving from a fast, steady beat
that’s gets us off our asses, to more chill melodies that gives us
a chance to sit back and relax before things pick up again. This is
one busy EP, making the most of its 22-minute length. The mix of Katie
Franich’s soothing voice and cello playing, Aine Fujioka’s skillful
drum work, plus the unforgettable contribution of Adam Sankowski on
bass and vocals and Todd Marsten on the keys, means there’s a lot
happening here. Those lucky enough to have seen this quintet live know
what I’m talking about. Vocalist Paul Hansen steps up to the mic to
complete the equation. He’s got a commanding tone that’s relaxing
at the same time, the kind that cuts through all the noise we experience
in our day without adding to it. This is one EP worth experiencing.
(Max Bowen)

Tree Frog

6-song CD

Tree Frog Avengers
have a sound that defies description. They combine elements of
emo, post angst pop, alternative dance, punk-pop, and psychedelic art
prog to the point where they are their own musical style. If the
second tune, Joan of Arc, doesn’t make you an instant fan of their
music, there is something wrong with your mind. All the cool shit
indie rock has fed us over the last 20 years is crystallized in this
three-minute pop epic! If you like your indie rock fun and unpredictable,
this band needs to be on your playlist! Go see this band now!
(Joel Simches)


Days Gone

6-song CD

Ah, yes, Mr. Slimedog
here inhabiting his own Jagermeister, bacon fat diseased body, The Snipes
are a local band produced by Lenny Lashley of Darkbuster fame. He’s
a great songwriter who with his song, “Lonely Days and Whiskey Nights”
has written one of the best songs in Boston music history. I can hardly
listen to that one with a dry eye. And he does fine with these Snipes
so—“Bombs Away!”—a tune by them. This is pretty explosive punk
detonating through every fiber of your skull and body, resonating into
the general vicinity, destroying all pretenses in its way.

This band is kick-ass
punk rock with little diversions to ska within their songs just so you
can cool down. I don’t much like the ska anymore but thank God they
don’t have any high school trombone players with them. This isn’t
all slash and burn as their rhythm section is tighter than a nun’s
vagina, and when there is war there is nothing but to burn again and
take no prisoners.

I say they must be
one helluva live band and I say this is one mighty fine CD and I say
this is a mighty, spiffy, nifty chunk of noise that will melt your speakers
into smithereens and scatter the debris into your neighbor’s Chihuahua’s
bunghole watching him scream running down the street. Yip, Yip, Yip.
Take my word. You’ll be happy for it.

6-song CD

Despite a background
in performance art and experimental music, this collection of songs
rarely strays from the middle of the road, both musically and dynamically.
Gret McGilvary has a sweet voice and is complemented well by guitarist/vocalist
Bruce Malley, but the music is performed as if trying out for an off-off-off
Broadway production next to a convalescent ward. Despite an impressive
list of influences (Porcupine Tree, PJ Harvey, Pink Floyd and Mogwai),
Calamus wind up taxiing endlessly on a tarmac without ever leaving the
ground, nor are they ever cleared for takeoff. This EP never quite
gets interesting or memorable or even seems to try as much and that
makes me a little sad inside… right here.
(Joel Simches)

(James Keyes/ Loose
Salute/ Bob Jordan/ the New Highway Hymnal)


Ah, yes, Mrs. Slimedog
here, legal alien from this planet inhabiting the delicious, delightful,
and delectable body of myself, thank you, not like that nasty space
alien, Zortar, who goes around molesting poor slobs like Slimey. And
I take a great prize in knowing that I’m the best, most knowledgeable
writer of the
Noise. M. Tax told me so!

So this CD is a preview
of a show that went on in Worcester in June but you didn’t miss nothing
‘cause these guys are yucky! Maybe James Keyes is okay, Slimedog says
he sounds like Tom Waits at his most bluesy (I hope he didn’t make
that name up) but Loose Salute with its peppy pop just makes me poop.
I did like the psychedelic Hawaiian music in the beginning and end,
though. And Bob Jordan’s song “Nothing” did exactly that for me
with his folk rock hippie musings. The New Highway Hymnal end it with
what Slimedog calls a boogie blues beat that just sound like “Spirit
in the Sky” done by people on angel dust. What this record has to
do with worms and whores is beyond me.

Now I have to put my
cat Seymour, he’s a darling, into his new little jet airplane that
I bought that I pull with a string. He looks so cute with his aviator
hat on. Tah, tah. (Mrs. Slimedog)

Stop This
4-song CD

Not to be confused
with the ’90s indie rock band from New York, signed to Geffen, this
Cell is from Boston and sounds very much like a Trent Reznor lawsuit
in the making. If
hadn’t come out five
years ago, or the
sixteen years ago, I
would call this EP an homage to Pretty Hate Machine. But Reznor
beat these guys to it at least twice. Not a bad EP by any stretch,
but this band should seriously hire an attorney and change their name
and maybe come up with a more original musical concept. (Joel

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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