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Time & Pocket

12 tracks

If I didn’t listen
closely to the lyrics of the opening track, “Fifty Lines,” I might
think they were designed to sexually arouse the listener. In it, Heather
Maloney has an adorable way of suddenly jumping up an octave with a
twirling melody—like a short burst of playful aerial vocaltude. The
next song is “Time & Pocket Change,” no doubt the most fun tune
on the disc. It shows off Heather’s idea of quality of life—she
ultimately values her time over anything materialistic. The song
bounces like a happy old-fashioned anthem and provides an always-welcome
lift to the spirit. “Forgotten Things” is another keeper—random
memories and dusty feelings that take flight from the floor of Heather’s

you read last issue, you know how I flipped over Heather’s live show.
On disc her playful creativity extends to a few tasteful players that
flush her tunes out beautifully. Joe Boyle adds exquisite electric guitar
especially in “Impermanence” and “All of You at Once.” Norm
Demoura (producer of T&PC) is an all-around musical handyman
who also provides consistent flawless bass. The thing I appreciate most
about this disc is the way it makes me smile.
(T Max)



Paper Airplane

13 tracks

Rick Berlin doesn’t
make records. He makes movies. I called his last one a masterpiece,
and this pretty much dwarfs it. A true architect, his songs are full
of surprises, but he never kitchen-sinks you to death. You wonder how
he decided on some of these arrangements, and soon realize nothing else
would have worked as well. And while never overstated, it’s impossible
to have on as background music. And this is before even considering
the lyrics, which are heart-wrenching, sung from the pit of the soul,
and 100% schmaltz-free. Word limits prevent me from describing track-by-track
why each is suitable for framing, but there’s a chanty, a Tom Waits-ian
cabaret number that is made more theatrical by its very lack of theatrics,
even a flannel-shirted thing the yahoos will enjoy that sounds like
Molly Hatchett unplugged, but it’s not a joke. I can think of—maybe—a
dozen artists who can pack this much emotional wallop without over-reaching
at some point. In more than 30 years of seeing him play, in all kinds
of formats, I’ve never once felt he was selling the tortured artiste
(which he could pull off in his sleep and make fly), but the material,
and the integrity he accords it, speaks for itself.
(Joe Coughlin)


Pronounced Dee Hee

15 tracks

Well dang if this t’aint
a knee-slappin’, toe-tappin’ country album with all the fixin’s
including a modern rockabilly flavor. Good ol’ country music like
they used to do ’cept the Dixie Prix put their own unique spin with
the twisted and humorous lyrics. I only wish they included them with
their right fancy CD packaging or even on their website—if so I’d
quote some of the lyrics. Here’s the great thing about the Dixie Prix’s
recording: if you aren’t really listening to the words, you’re going
to hear a very talented band who know how to twang and strum and sing
like the best of old-time country, so for sure if this is the type of
music you like to swig, you’ll be happy as a hog in slop to hear this…
but listen to the words and your funny bone will be tickled as well!
The Dixie Prix won me over—especially with some fine tunes like “She
Took It All,” “We Go Together,” “My Daddy,” and “Jo-Jo Jambo’s
Banjo Band.” (Debbie Catalano)




False Beats and
True Hearts

9 tracks

Damon & Naomi have
been releasing compelling work ever since they split off from Galaxie
500 way-back-when, and connoisseurs can see where a good deal of G500’s
dazed ambiance came from in the first place. Kudos must also go to the
exemplary, ethereal guitar work of Michio Kurihara, who has augmented
the band’s mysterioso sound to greater heights. “Walking Backwards”
begins the disc with a Byrdsy bit of delirium ala “Going Back.”
Many remember McGuinn & Co. as seminal folk-rock and country-folk
artists, but they also pioneered what critics are pleased to call acid-folk,
and Damon & Naomi are improving on the tradition, particularly on
“What She Brings.” Much of this release consists in rather low-key
love songs with dazed affect and delicately melodic instrumentation.
The most outstanding track is the achingly poignant, melodically wrenching,
and brilliantly evocative “Shadow Boxing,” followed by the delicately
introspective “Embers,” and the spine-tingling “Helsinki.” A
must-have. (Francis DiMenno)



I Lost My Heart
in the Battle

7 tracks

The only crime with
this CD is that the girl on the cover with roller skates is NOT NAKED!
This album is chock full of cute power pop, infectious lyrics, clever
hooks, and a relentless knack for melody. This EP is a feast for the
eardrums and a sonic joyride for the brain. The songwriting is
top notch and peppered with all kinds of cool production. You
could call this folk with a modern rock attitude, but you would sell
the experience short. It would be like calling a fine gourmet
meal with a vintage wine good eats with something to wash it down. I
could listen to this forever and still find something fresh about it.
This album is a cerebral pop feast! Make more music soon. Somebody
spank me! (Joel Simches)



Figtone Music

Last Planet on
the Left


Like good wine, Dig
has mellowed with age: his great voice is a little deeper now and maybe
wiser and a little more authoritative, but just as expressive as always;
he does weary, bitter, and affectionate especially well. This CD is
alt/country with a bit of rock and reggae mixed in and all tunes are
written by Dig Fig himself. The opening cut, “High Heeled Shoes,”
with its cool harp and fiddle, has a real barnyard feel. “Someday”
and the title song, “Last Planet on the Left,” with their great
lap steel, takes it back home to Nashville. The ska in “Boom-Ba-Da-Da-Da
Boom” is an uptempo delight, and the country blues piano in “Why
Work?” is pure bar room. “She Should Have Known” and “The Reverend’s
Daughter” are C&W weepers and “Crossed the Line” is great
country/rock and may be the hit of the CD. The last cut, “Four Horsemen”
is almost spiritual in its mood and delivery. This Dave Minehan-engineered
project sounds better and better song after song. Mellencamp meets Buffet.
(A.J. Wachtel)



Jealous Hands

12 tracks

This is sort of an
acoustic-based reprieve of stress. I suppose it’s fitting that it
was submitted in a new modern form, that of the digital submission.
The fringes of the format are balanced with the old-style quality of
the music and production. Far from being like many bands that pick up
acoustic instruments because they think it’s hip, Tallahassee is full
aware that “acoustic with some electric” is the sound for their
unique vision. The disc (whoops, no disc…
album) bears repeated listening. I can’t think of any preparatory
listening that would get one primed for this, maybe Bela Fleck’s
Tales From the Acoustic Planet
, and that’s instrumental. If, however,
you know and like that album, this one works nicely next to it. A bit
folk, country, Appalachian, and just damn good sounding. Then
again, it’s subjective. You may be into metal grind core about squirrel
enemas. I just say this is some great music and that the band is really,
really good. (Mike Loce)




12 tracks

Wow! Wish I had a better
word but 12-year-old Quinn Sullivan has accomplished a sound and guitar
skill at his young age that some people are still trying to develop.
He’s already achieved national media attention (Oprah, Ellen, Jimmy
Kimmel, etc.) and has shared the stage with the likes of B.B. King and
Buddy Guy (who plays on the track “Buddy’s Blues”). I feel like
I don’t have enough room to heap the praise I want to on this incredible
musician! He plays his guitar with the soul of someone who’s lived
three or four times his age, yet you hear his vocals and a few tracks
that sound like his age demographic and you’re reminded he is a kid—and
that’s what really makes this the perfect balance of attracting both
his age demographic and adults. Brilliant. Kudos as well to Boston native
Tom Hambridge who produced and played drums/ percussion on Cyclone.
True blues, upbeat catchy pop, and rock grooves. Love it! Quinn, you
make Massachusetts proud—keep it up! Faves: “Ten Years Down the
Road,” “Cyclone,” and “Peace & Harmony.”
(Debbie Catalano)



Live @ the Raven
with John Barber

8 tracks

I’ve learned there
is nothing typical when it comes to Shane Hall. He has the rare
ability to mix genres like folk, jazz, blues, rock ’n’ roll, hip
hop, and even doses of spoken word poetry into seamless coherent and
highly enjoyable pieces of music. His backing band, the Ticklebomb
Orchestra has a revolving lineup—for this recording John Barber from
Ellis Ashbrook is sitting in. When you mix these two forces of
nature, you’re left with a CD that is filled with a very positive
energy, which flows freely through the speakers instantly making you
want to dance. The music is very upbeat. His cover of “Stepping
Stone” is one of my favorite covers of this song. The keys are
on fire through out this whole disc, but when paired with John’s wailing
guitar rifts on songs like the deep blues tune “Don’t Use Me (I’m
Clean)” they are perfect examples of a band doing what they love to
do. Also for a CD recorded at the Raven, the production quality is amazing,
easily rivaling that of a major label release. The only disappointing
aspect of this disc is that you can’t actually see the amount of heart
and soul they give to the crowd during a performance.
(Melvin O)



75 or Less Records

Sleeping Dogs Lie

12 tracks

I generally like receiving
albums from 75 or Less Records, as the label has been responsible for
some of the better local music I’ve heard over the past year or two.
This record, though, is a bit hit or miss, as it starts out strongly
before giving in to musical schizophrenia. The first handful of tracks
showcase an alluring dusky Americana feel, and are pushed along nicely
by the sandpaper-and-honey harmonies of Mike O’Donnell and Christy
Amlicke, as well as the yearning violin of Meghan O’Connor. These
songs are rugged, yet melodic, with echoes of Dylan and classic country.
The problem, though, is that about halfway in, O’Donnell starts doing
a really bad impression of Jack White’s vocal tics. What works for
White simply sounds unimaginative here. There’s enough here to be
intrigued about the Skinny Millionaires’ future. I just hope they
stick to their considerable strengths. (Kevin Finn)



To Telescope

10 tracks

Twelve years in the
making, Peter Buzzelle’s debut album, To Telescope, is finally
beginning to see the light of day… and what a fine day it is.
A deeply personal endeavor with origins in his life, the album’s opener,
“The Devil Took Our Souls,” greets listeners with the lines: “Me
and Johnny were at the bar again and I’m wearing a halo of sin.
We’re drunk and high. It’s time to take us home again.”
It’s a debauched fairytale of love, one that enthralls and finds one
begging for more. “Enter into my world. Share my trials
and triumphs, all while immersing yourself in appealing melodies,”
the disc beckons its intrigued audience forth and does not disappoint.
Each song is a story and one can easily envision Buzzelle, guitar in
hand, sharing these deeply personal anecdotes over an open campfire
or perhaps during an open mic night. It is through tales of nostalgia
and longing that his sincerity particularly comes forth, nearly melting
hearts. “We’re Better Together” is a proclamation of love
that would be found amid diary entries, one in which he lays everything
out on the table: “This is gonna sound crazy, but it’s true.
I love you more than anything in this world. I don’t know what
to do. I can’t get over you.” Genuine and appealing,
newcomer Buzzelle’s music is highly enjoyable. (Julia R. DeStefano)



Static Motor Recordings

Careers in Science

8 tracks

The CriticTron 3000
says “They Might Be Giants crossed with REM,” which actually is
not the worst strategy or sound. There’s an awful lot to like in these
pleasurably jangly songs. Mostly this is a fun romp. “Sex and Work”
is not only ingenious, but infectiously catchy. And tunes like “Sargasso
in Space” and “UFO” are practically anthemic. Actually, even songs
like the countryish “Homecoming” and the light-hearted “In the
Cooler” (dig that middle-eight!) might well have the sort of staying
power denied to more ponderous, self-serious local entries, in just
the same way that currently I would rather listen to airy L.A. pop like
the Turtles than to the querulous and far doomier Doors, or to the Rezillos
and the Revillos than to, say, Public Image Limited. Highly recommended.
(Francis DiMenno)



Easy Pop in a Hard

11 tracks

A record collector
was perusing through boxes in this middle-age lady’s attic. It was
her late husband’s collection—he worked for record labels back in
the day—went to all the shows, partied backstage and all that. Meanwhile,
she’s doing the housewife thing. Music was always in the air for her
too, in the form of the am radio playing nonstop in the kitchen. She
wasn’t happy, but the ghosts in the house loved her—as long as they
lived in the radio, riding the airwaves that traveled to her ears, she’d
temporarily escape and she’d be fine. In the ’80s, the radio and
its residents got boxed and sent upstairs. Then in the 21st century,
our crate-digging hero met the ’70s am radio ghosts, and his mission
was clear. There he is on this CD’s cover, a Captain without his Tennille.
An affable guy with easy pop tunes who’ll play anywhere that will
take him—I think every music scene has this guy—and he’s got three
guilty-pleasure songs and a lot of filler.    (Tony Mellor)



Chasing 61 Ghosts

11 tracks

Promising as this CD
starts to be, in the end I’m left in abject misery. What at first
I thought might be roots rock with a lilt of country became too-sedate
feelings from which I may never be free. If laid-back country is a style
that makes you smile, this disc may be actually quite worth your while.
The first couple of songs are good and I feel I can get behind them,
but after that I’m waiting for the end just biding my time. So, no,
this CD is not for me and my reasons are stated as you can plainly see.
But you, dear reader, must make up your own mind. I’ll be blowing
out mine. (Slimedog)



Abaton Book Company

of the Guitar

10 tracks

M.S. Dagley is Mark
Dagley, founder/guitarist of ’70s Boston band the Girls, who had a
single on Pere Ubu’s Hearthan label. Thirty-plus years later, he’s
doing something quite different. These days, he resides in New Jersey,
is heavily involved, if not the founder of intriguingly named label
Abaton Book Company, and he made this CD of solo acoustic guitar and
sometimes banjo. I do not have a hell of a lot to say about this album—it
isn’t shite, like other CDs I need to review, it’s just…
there, mostly. Some tracks have enough dissonant chords and grating
string noise to not be background music—like something to read a book
to, but it does sink into the wallpaper a bit. “Pretty Flower of the
Valley” is quite nice, a reverbed-out C drone, “Dance of the Broken
Thumb” starts off nicely, and there’s a definite mood throughout
the whole thing, but if I wanted to listen to this sort of thing, I’d
sooner buy back the John Fahey albums I sold and listen to them.
(Tony Mellor)



Hard River to Row

14 tracks

Greetings, Zortar here,
alien from another planet inhabiting the body from another cesspool
known as Slimedog in the more disreputable parts of town. Oh, how I
wished I inhabited the lithe, lovely body of, say Jennifer Love Hewitt,
but such is the roll of dice in this gamble we call life.

I do have something that will generate some relief in my sad fate. The
Deltas Generators perform blues/classic rhythm and blues inspired material.
They remind me a bit of the Fabulous Thunderbirds and I take that as
a good thing. The singer, Craig Rawding, reminds me a bit of Kim Wilson
and I take that as a good thing, also mad props to Charlie O’Neal
for his excellent slide guitar. This isn’t the more laid-back blues,
this is more the juke joint jumping, everybody drinking, everybody dancing
kind of stuff. I would love to see this band play live on my planet.
So I recommend this band, muchly, and as far as Slimedog is concerned
I recommend he get deloused.



It Only Hurts When
We Breathe

10 tracks

Wow—what impeccable
production on Cancer Killing Gemini’s debut CD! The sound is crisp,
full, ultra-pro; but this all pretty much doesn’t mean anything if
the music isn’t up to par. Trust me, it is. There are a variety of
words used to describe the band’s music on their site—pop, industrial,
electronica, post-grunge, rock—which I’d say is accurate but I rather
not define CKG by a genre. Though out the gate with their strong opening
track, “Christcontrol” there is a distinct NIN influence. I’d
say the rest of the tracks reflect a blendification of the aforementioned
styles. The result is a sound that sounds radio-ready and polished but
edgy; pop but far from cookie-cutter typical. Because I’m a NIN fan,
I was instantly won over by “Christcontrol” (the song is definitely
original-sounding—it just has the NIN inspiration) but once the CD
went along, I found myself really enjoying all the tunes. Lead vocalist/songwriter/mastermind
of Cancer Killing Gemini, Eric Michael Cohn, did a great job balancing
catchy, smooth pop with raw, rattling industrialized rock.
(Debbie Catalano)



On Baker Road

9 tracks

If I had judged this
CD by my initial listening, I never would have listened to it again.
I hated it. I found it depressing. The songs seemed out of place
lacking a flow. The weird thing was, some of the songs stuck with
me. The music on this CD is actually great in the right context.
The problem isn’t the music but the order that the CD is tracked.
I am grateful for technology, because I went to work on rearranging
the tracks in an order that made more sense to me. I now have an album
that I love. For those that are wondering, the music is very college
rock. If you’re a fan of bands like the Romantics and the Neighborhoods,
then I recommend checking these guys out. Just don’t discount
it, if you don’t like the first listen.
(Melvin O)



Grizzly Adamsapple

The Feast of the

10 tracks

Once upon a time, there
was a band called Hondo. This band of musical travelers was all about
indeterminate ages and indeterminate places, among others of the ancient
forest. They held certain aspects of their life sacred, as most forest
dwellers do. They told of worlds and lore regarding dragons, dwarves,
centaurs, and other mystical creatures. Now, I’m all for the progressive
rock with mystical imagery and energy as much as the next ogre. I’d
be lying if I didn’t say that some of the compositions and production
on this album didn’t take me back to the heyday of the ’70s, where
Rush, Yes, and any other number of bands capitalized on this sound.
Analog synth textures are effective and the guitar has a great Nigel
Tufnel Stonehenge feel to it at points. The problem is that the “album”
is too damn long. After track seven, you’re getting jackoff filler,
which may dissolve the magic of the moment, if you catch my drift.
(Mike Loce)



Trespass Music

Come & Gone

10 tracks

Jody Blackwell makes
the type of pleasant to listen to music that serves well as background
music for reading the Sunday paper in a coffeehouse, but for the most
part, it could use an espresso or two. Blackwell has a pretty voice
and a welcome attention to detail when it comes to her smart, compassionate
lyrics. She’s also put together an excellent band, highlighted by
Duke Levine on guitar and Joe McMahon on bass. Repeated listening does
uncover a few neat tricks, and over time the melodies kind of sort of
work their way into your head. But there’s nothing that truly grabs
your attention. Before you know it, you’ve finished the paper without
even realizing Blackwell’s music stopped playing an hour ago.
(Kevin Finn)



Rejected Records


7 tracks

Take a pedestrian suburban
band with trite clichés strung together as something resembling lyrics
and add a cello and one would think that this band just reinvented the
wheel. The only difference is that the wheel is useful and eventually
goes somewhere. This band doesn’t. Sheez Late sounds like
a boring suburban band looking to do something to pass the time between
softball practice and dinner consisting of mac and cheese with cut-up
hotdogs for added pizzazz. I’ve had more interesting root canals.
At least the nitrous oxide was entertaining. This CD is as forgettable
as something I just forgot while I was writing this.
(Joel Simches)



The Blackout EP

4 tracks

There are definitely
times when I feel like there’s nothing new under the sun, but then
a band like Full Body Anchor comes along and I get excited about rock
’n’ roll again. The songs beg you to turn your stereo up to eleven,
but they never suffer from lack of subtlety or grace, which is a combination
that is truly not easy to pull off. It’s Eric Edmonston’s spine-rattling
boombox of a voice that first grabs you, but it’s the interplay between
Amy Griffin and Kristin Edmonston’s guitars that makes the songs soar.
On more than one occasion, I’ve found myself pumping my fist along
to “Taste of Leather” or “Fire in the Hole” only to realize
that I’m sitting in my cube supposedly doing accounting, and apparently,
that’s not a normal thing for an accountant to do. Any band that can
inspire a CPA to rock out a little bit is truly a force to be reckoned
(Kevin Finn)



Paler Faces/Vitamin

3 tracks

Who would have thought
a local band from the ’80s would come out of the woodwork with a new
single nearly thirty years later? It’s hard to simply label
this music as “retro” because so many Boston bands have taken up
this musical gauntlet. The roster of bands who have embraced this
style in the last several years are a who’s who of the Boston scene
and could certainly be cited as an influence on this band, if not for
the fact that for that two week period in Boston music history where
the guitar wasn’t the supreme ruling instrument, Adventure Set pretty
much invented bands like Logan 5, Freezepop, Technoir, Provocateur,
Lifestyle, and many others. This new single sounds surprisingly
fresh and innovative when you consider the members of this band could
have easily fathered everyone in the aforementioned Boston synthpop
(Joel Simches)



Sool Recordings

In Memphis

4 tracks

Says it’s recorded
live “including the guitar solos” (even though additional recording
IS used), but it’s live-in-the-studio. Which is fine, but I’m curious
as to (1) What’s with the bearded guy in the blond wig and white dress?
(2) Why cover “Ode to Billy Joe” and not employ the lyrics, without
which the song is even more useless? (3) Were there no studios available
locally? Seems like quite a long schlep to do something so relentlessly
innocuous. It’s not like the spirit of Elvis came floating outta the
speakers or anything. Four instros, two of them based around 12-bar
riffs, one that reminded me of “The Stripper” for a few seconds,
and one with vibraphone and genuine atmosphere (George Hall’s “Exit
Sandman”), which is the sole keeper here, not unlike an even-spookier
“Harlem Nocturne,” as my fellow geezers might note. Great playing,
I’m just not sure to what end. The upshot is, they only made 300.
(Joe Coughlin)



Something Hot Communications

“Lonely Hearts”/
“Tired Girl”

2 tracks

Good God, I feel old
hearing this. I saw one of the Atlantics’ last shows at an all-ages
club when “Lonely Hearts” was the big hit. Suffice it to say this
song has aged better than I have and for those whose two lonely remaining
brain cells can’t recall how great the Atlantics were, their stuff
is being reissued on digital compact disc, soon to be included in some
kind of Time-Life infomercial!! For those who never checked them out
the first time, this single is a good initiation. Maybe someone could
start an Atlantics tribute band! (Joel Simches)



A Hundred Drunken Monkeys

3 tracks

There is nothing new in this reggae
release but it is certainly enjoyable. All three songs: “Rasta,”
“Cool Ridim,” and “Sounds of the Time” are Bob Marley-influenced,
slower and more introspective examples of calypso cadences with sax
on the second song and nice guitar work on the best track, “Sounds
of the Time.” This Worcester band also shows rock, punk, and jazz
influences in their music: rock’s steady driving beat, punk’s attitude
and an almost jazz minimalist arrangement for the sax. Not bad. The
only thing missing is the hot sun, a spliff and a Red Stripe beer.
(A.J. Wachtel)



Electric Scenes

6 tracks

This EP is a unique
blending of classic ’90s indie rock with the soaring arty pop of bands
like Radiohead, 10cc, and Television. Dwight Hutchenson’s vocal drawl
sounds like a cross between Thom York and Grant Lee, soaring over a
friendly melodic jangle. These songs are finely crafted little
masterpieces with just the right splash of quirk and swagger.
The only drawback to this EP is its criminally short length, an issue
that can easily be remedied by the repeat button on your player. (Joel



Devil Won’t Make
Your Band Good

6 tracks

This CD is true roots
folk with a healthy dose of country mixed in. The whole disc is
very reminiscent of the Violent Femmes during their Hallowed Ground
days, minus all of the religious overtones. Musically these songs
are very simplistic helpings. This is definitely a case where the lyrics
are the strongest part. The songs cover some deep concepts; “Thanksgiving”
is one that still gets me. It was written about the struggle Shane
Hall, a friend of the band had when a terminal illness was taking his
mother’s life. Having lost my fair share of friends and family
over the years, these words touched me deeply: “
would you do/ If the greatest person you know becomes the greatest person
you knew/ You can sing for her/ And she can sing through you.”
The Devil Won’t Make Your Band Good
is an easy listen, the songs
are pretty uptempo, but be forewarned some of these songs bite deep
(Melvin O)


THE 3:27s


5 tracks

If Simon and Garfunkel
got really baked at a Phish show and had a three-way with Sting, their
bastard spawn would form a band that sounds exactly like this. Innocuous
pop music infused with reggae “attitude” never sounded so “white.”
Think Pat Boone singing Bob Marley with the Osmonds as the backing band.
There is nothing terrible here. It just lacks soul and attitude.
A trip to Walmart for a pair of cheap Chinese sneakers would be more
cutting edge than the five songs presented here. This EP makes me want
to beat up a Mormon. (Joel Simches)



Riverman Music

If It Rains

6 tracks

Ah, yes, Mrs. Slimedog
and her scintillating companion, Seymour the cat, racing dwon the water
currents in Maine in our tiny kayak. Hang on Seymour, let that little
fishy go! I am the best, most knowledgeable writer of the Noise,
and expert on the whole twenty years of rock music.

This record is really rockin’ well, that’s if you’re in a rocking
chair. Its dull, slow tempos make time race by like watching paint dry.
For those whose heart is palpitating from too many James Taylor records
this will soothe you down. Slimedog says this is singer-songwriter pluck
your gee-tar, plink your piano stuff but boy, he could not be so far
from left. Listening to this CD was almost as exciting as riding the
rapids in our kayak and was only surpassed by actually writing this
(Mrs. Slimedog)

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
PO Box 155
Georgetown, MA 01833

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