If you are an artist based in New England and you’d like The Noise to review your latest releases, send a hard copy to T Max/ The Noise, 28 Goodhue St #406, Salem, MA.
- 1 WISHBONE ZOE
- 2 KARLO TAKKI
- 3 MOOSE & THE MUDBUGS
- 4 SIAMESE TRIPLETS
- 5 THE SUITCASE JUNKET
- 6 BENT KNEE
- 7 KEVIN WALL
- 8 ABBIE BARRETT & THE LAST DATE
- 9 JAMES MONTGOMERY
- 10 SLIPPERY DIXON
- 11 LISA MANNING
- 12 JIMMY BEZ BAND
- 13 WALTER NOONS
- 14 VIOLENT MAE
- 15 GREG ADAMS
- 16 RYAN CARRAHER
- 17 ILANA KATZ KATZ
- 18 BLACK KENNEDYS
- 19 DON WHITE
- 20 S.S. CRETINS
- 21 VARIOUS ARTISTS
- 22 Related
All of These Oddities
Wow… what I have been missing. Listening to All of These Oddities, Wishbone Zoe felt like an adventure of many colors and moods, with surprises awaiting you, one song after the other. Saera Kochanski has the waifish, pixie – like voice of a playfully fey being in a story book garden, at times light and whimsical, with other times the sounds feeling much like a virtual cabaret one might find “through the looking glass.” Surreal, but not excessively trippy, Saera’s lovely voice keeps the voyage on a very listener friendly keel. On the surface, if this were playing in the background, it could all be taken at face value and sound like a lighthearted summer “girl band” CD, which would be fine in and of itself, but there is so much more art and depth at play to it than that.
This music is decidedly, an experimental, artistic venture, keeping very much with keeping the playing in playing. I love this concept! Every now and then, it’s really good to break away from music that makes you ask, “why so serious?” Sure, Wishbone Zoe does hit upon the serious to a degree. They hit upon a lot of things on this CD. As I have said, Saera Kochanski has a lovely voice and she is unafraid to make lovely noise. Great instrumental talent all over the place here too. Guitar, banjo, harmonica, drums, bass, and I suspect, many unexpected improvisational instruments. (Remember when you were a child, and would find random objects and were able to make musical sounds with just about any of them?) Yes, that is the essence of this music, and how awesome is that? The inner musical child is still very much alive and well and soaring high within these songs, and it feels great to hear and feel that child- spirit running free and making noise, noise, glorious noise!
Clearly, I am smitten with Wishbone Zoe and this CD. Both are big winners for me, and the best of the best tracks for me, are “Idealism,” “Windy City,” “Hazel and Wine,” “Sacrificial Lamb,” and the beautiful, “Lullaby for Olga.” This music leaves a smile on my face, and a sigh within my heart. Many of us face the fact that our inner child has, within the world of adult realities, forgotten how to really come out and play. Wishbone Zoe is not afraid to connect with that aspect – fearlessly, beautifully, coloring outside the lines, and for me, therein lies the charm of their music. I feel happy to have crossed paths with All of These Oddities and will be listening for what Wishbone Zoe does next. (R.J. Ouellette)
Takki’s prison diary songs (for so we are told in the accompanying booklet) are revelatory in their variegation. “Truelove (Revisited)” is like a melding of shimmery Beatles-influenced guitar with ominous post-punk march rhythms. Takki’s vocalizations are within the spectrum of stylists such as Morrissey, et al. This particular song is a cut above most simply because over its basic incantatory chorus he positions a variety of sonic effects, which include keyboards and taxicab mike vocals. Other highlights include “Summertime in Prison,” which reminds me of a smacked-out Sly Stone on his last-gasp albums There’s a Riot Going On and Fresh. “Maximum Security” is an elliptical psyche-pop number which could have been written and recorded in 1966; the progressive ascending major and minor piano chords are hypnotic in their incantatory clarity. “My 500th Day” is another upbeat Beatlesque romp, replete with shiny Harrisonesque guitars and punk rock keyboard stylings vaguely reminiscent of The Stranglers. “Foot That Walketh” is a stark and lovely jazz-inflected piano piece. “Kiss the Pain” is a somewhat severe, yet gently surging incantatory number with a lightly swirling piano break and a doomy, tolling coda. “Day of the Dead” is a lively, bouncing rocker reminiscent of ’80s-era pop purveyors such as Yo La Tengo or Green on Red. The introspective opener to “When Pigs Fly” quickly evolves into a grandiose bit of acid-funk noodling worthy of early Funkadelic. “Etude 43C (Snow Falling on Razor Wire)” is a new-agey piano composition with a gentle rippling effect in its inexorable rises and falls. On his best songs, Takki has skillfully juxtaposed dark lyrical content with contrasting lighter musical motifs. There’s no denying he is a skillful and sometimes daring composer, and, as a result, Bad Behavior is a genuine work of art. (Francis DiMenno)
MOOSE & THE MUDBUGS
Live at The Knights of Pythias
Both bands have the same members but they play different styles of music.This special night was planned to celebrate vocalist/ kazoo/ harmonica/ assorted percussionist Moose Savage’s fiftieth birthday party in this unique venue; located on the North Shore, in Lynn. The Mudbugs play garage punk, sorta like The Dogmatics meet Lyres, and The Triplets are more gloomy and stark; with psychedelia mixed in. In both bands Moose Savage is a beast. The guests on some of the eighteen Mudbugs songs include Willie Loco Alexander, who plays organ on “20 Ashford” and uses a tambourine and sings back-up on the stellar cover of Van Morrison’s “Gloria.” Ken Field from Birdsongs of the Mesozoic and The Revolutionary Snake Ensemble blows sax on “Festival Time” and Erik Lindgren from Arf! Arf! Records and Birdsongs adds his keyboard talent to “20 Ashford” too. The other members of both bands are Ken Kaiser on guitar and vocals, Carl Square on bass and vocals and drummer extraordinaire Paul Dionne. Moose wrote most of the music and I love the intros to many of the songs. Savage is a funny, funny man. Having the same people play in two bands is light-hearted in itself to start off with. This humor also transposes to his lyrics. For instance, in “Talk” he smirks “I talk with my mouth. It’s part of my head.” Now that’s funny. I really dig the cover of “I Am The Walrus” done punk among the fifteen Triplets tunes captured live. Listen to Moose ably reach those high “ahs” which isn’t an easy feat in any octave. Other cool things to listen for: the neat kazoo opening on “Festival,” the hot harp on “Land Full of People” and “Yellow Lines.” And the stark gloomy psychedelic feel of “Greenery,” and “Combat.” Great turn of the century punk with some nice twists. Check it out! (A.J. Wachtel)
THE SUITCASE JUNKET
Making What I Want Music
This CD is one of those surprises, of the good variety, with which you happily and unexpectedly collide now and then in life. The Suitcase Junket is a one man band, said one man, being Matt Lorenz, who sings, plays guitar, violins, sax, drums, and as far as I can tell, all else that you hear on this CD (with the exclusion of his dog, “Scribner,” who makes her musical debut here.) His various influences definitely show themselves at times, but more as very sheer tints as opposed to any solid shades coloring his style. He is an remarkable talent and makes whatever he is playing, uniquely his own. There is a quirkiness to his sound which appeals to me immensely, but this quirkiness coexists nicely with an easy, appealing, earthiness.
There are undeniable elements of garage rock in the bare bones essence of this music, Lorenz’s guitar having a rough and tough, blurry, gritty rattle at times, which thumbs its nose at any high airs of studio induced veneers. His voice is weathered and worn in all the best ways, inducing a really nice easiness to his songs. I was quite taken with this CD, which left me with the unmistakable glow that one feels after having had the pleasure of a fulfilling, happy listening experience.
I really did enjoy every track on this CD, but would have to call, “Dying Star,” “On Our Own,” and “Never Leave, Let Me Be,” my favorites. It was a genuine pleasure to give this a listen. Great talent. Plain? Yes, but in spite of that, it defies the word, “simple.” The word, “unique,” definitely comes to mind. I love this man’s music and I highly recommend checking out Dying Star. Outstanding! (R.J. Ouellette)
Rich with lyricism and mystery, Say So is Bent Knee at their best, affirming them as one of Boston’s most audacious and imaginative musical collectives of this or any other era. Any singer would be hard-pressed to match the lyrical & commanding touch with which Courtney Swain’s clarion voice and adroit keyboard wizardry leads a handful of these compelling tracks with a uniqueness that is sophisticated and fascinating. The group’s bassist/vocalist Jessica Kion and drummer Gavin Wallace-Ainsworth push the limits on what is expected of a rhythm section. The colorful texturists, Chris Baum on violin and Ben Levin on guitar weave sinewy, sumptuous lines in and around the tunes, looping and layering with artful abandon. Their onstage sound mixer/ producer Vince Welch stands quietly in the background with a hovering eye, shaping and guiding their sound with his MIDI controller like an indispensable Brian Eno.
The past eight years have seen the band create a distinctive and original repertoire of inventive and exciting original music, which has finally reached fruition. I am stunned by their oddity, twisted familiarity, sincerity, and unbridled uniqueness. It is musical art on the edge, tethered sufficiently to be accepted by all adventurous fans of progressive categories – a recording with production that doesn’t sit back but leans forward in exacting scrutiny and urges the listener to pay attention. It is music that is challenging, approachable, enjoyable and always intriguing, which lets the music sweep the listener away emotionally. Each track is a gem. Easily, at this early date, my candidate for album of the year – phenomenal! (Harry C. Tuniese)
This is a songwriters’ album. No fancy production typically used to distract you from weak songwriting. Here the “song” rules. Track one “Power of Love” would make John Lennon smirk in appreciation of Kevin’s worldly reflected sentiment…“When the power of love overcomes our love of the power… the world will know peace.” Nothing is forced – the song’s peaceful groove gently finds its way into my memory cells. “Barrel of a Gun” is the heaviest of the subjects tackled here with the confessions of a criminal. But if not taken literally, it may just be about what people go through with the pains of life. A synthesizer wash opens “Graduation Day.” Lyrically it’s full of fatherly advice gently handed down to help create a wonderful life. This song must have been a graduation present. Pretty cool way for a dad to share his experience in a creative beautiful way. It really says something about the man behind the song. Kevin Wall is thoughtful and wears a peaceful helping attitude. With a piano backing, “One True Friend” shows heartfelt appreciation of friendship. Simple and solid. “Raw Emotion” is addressed to a lost friend who taught the singer how to be a man. Sounds like a thank you to a father, older brother, or best male friend. “Things That I Could Tell You” rocks while dad simply shares his experiences to help the next generation not fall into the same mistakes in growing up. “A Hold on You” is more advice given (to a daughter?) – full of care and respect with simple guitar, piano, bass and drums accompaniment. Double electric guitar leads in “Fell From the Sky” follow a serious awakening of how things can just come to you by surprise. “Graduation Day v.2” is another similar take to track three on what appears to be the key song on Chapter2. The disc closes with “Capturing the Sparks,” a final reminder of how important it is to be aware of love that ignites the sparks of life. Overall Chapter2 creates a mesmerizing effect with a kind of serious masculine serenity. Recommended – especially for parents of teenagers, and the teenagers themselves. (T Max)
ABBIE BARRETT & THE LAST DATE
Beige Bomber Records
I’m glad this 2014 entry finally made it into our in-box. It is an entertaining and interesting ride right from the get-go. The opening track, “Here to Stay,” is a punkish new-wavy number which I suspect is the ace up their sleeve. It comes across like some dream mix of The Runaways and the Go Gos, but it’s also some lively and crisp rock ’n’ roll. I love the percolating rhythm and the brazen guitar, and Barrett’s vocals are velvety and evocative. “Perfect Math” is a dreamy, ambient instrumental with choppy vocals which sporadically turns into a vocal declamatory. This reminds me strangely of an experimental take on early girl-group pop mixed with art rock, e.g. “Sally Go Round the Roses.” “Soldier” continues the experimentation with heavily processed vocals over a swoony instrumental which explodes into an inexorable percussive beat overlaid by vocals both angelic and anguished, and a trippy guitar break. The excellent “Lake House Moon” bursts into a mind-manifesting refrain with a tunefulness which is hypnotic and irresistible, as well as beautifully executed. “Kingdoms and Castles” is a more whimsical piece which gently ripples like waves in a tidal pool, with fanciful vocals and instrumentals. “Dreams We Bleed” is another nearly hallucinogenic composition with languorous instrumentals overlaid by stately, highly melodic vocals. Overall, The Triples is an idiosyncratic and innovative collection; fans of groups like The Raincoats and Throwing Muses would find a great deal to like in these melodically intriguing songs. (Francis DiMenno)
Live at The Larcom – Thursday, May 21, 2015
This release is a red hot recording of a great artist on fire. Nine live cuts of funky Detroit blues done by New England’s legendary James Montgomery to benefit Veteran’s causes throughout the area. From the opening original “Good Question” (Grace Kelly/George McCann/James Montgomery) to the closing cover “C’est La Vie,” a Chuck Berry B-side that Montgomery changes from a guitar song to a harp driven rocker, this band keeps the momentum of the set rising; and you can hear the passion in the playing and you can feel the excitement in the air. Three of the nine cuts are over eleven minutes long too !!! MC’d by WUMB’s “Spinning the Blues” Saturday night show d.j. Holly Harris the packed house in the audience, including Sen. Scott Brown (retired U.S.Army Colonel) who joins the group onstage with his guitar, is so loud and boisterous the people sound like they are really having a blast. And check out his band: David Hull (Joe Perry Project, Aerosmith, Farrenheit) on four strings and vocals, Cliff Goodwin (Christine Ohlman & Rebel Montez) on six, Jeff Thompson pounding and Andrew Clark on tenor sax and John McGovern blowing trumpet. A powerful performance. These experienced cats know exactly what works and specifically where they are taking you for sure. I really dig in the middle of a song how James will bring the band to a stop and then re-start them a measure or two later and continue the melody for greater impact. And it works well. “Good Time Charlie,” Al Green’s “Sweet 16,” Willie Dixon’s “Same Thing,” Sonny Boy Williamson’s “Help Me,” Bo Diddley’s “Who Do You Love?” and James and David’s “Intoxicated,” get the fire started and by the time they do the ’60s pop gem “Land of a 1000 Dances,” the crowd is screaming along with every word and having a terrific time. This is a monster party album with hot music from a cool band and it is a perfect example of what experiencing their live show is like. What you hear is what you get. Live at The Larcom – Thursday, May 21, 2015 is the best live CD of the year. (A.J. Wachtel)
Live At Dollhouse
Slippery Dixon are a new band from Amherst w Jeff Gallagher of Alto Jeffro ,Jonathan Hanson of Be The Seen, and Shane Bruno of Wandering Oak. This short collection of twisted pop gems is an outstanding introduction to the latest western Mass.noise super group. There are traces of Jonathan Richman, Picniclunch, Jandek, and the Velvet Underground, but the sound they create is their own kind of awesome. Slippery Dixon, it’s worth the trip. (Eric Baylies)
Lisa’s Songs for Kids
Lisa Manning has to be one of the most eccentric performers on Massachusetts’ North Shore. She plays her guitar in a classical finger-picking style and has a unique approach to her child-like vocal melodies that come from another century. On Lisa’s Songs for Kids she gives some sound advice, starting with the much needed “What If I Had Something That Really Made Me Happy.” It’s about the joys of finding something simple to make you happy instead of being focused on the next popular expensive toy. “Summer Rain” pleads with a boring day to go away. “If You Tell Me a Riddle” is a fun little song about connecting sounds to complete words. A short ditty based around a tongue twister is “Twiddle Dee.” “Sky” seems to be about someone named Sheila who is entering the world. “I Am Here” is for kids to follow instructions of moving their body around – creating a fun little dance. Sparkling, falling snowflakes are observed in “Snow Dance” with an abrupt ending – maybe representing the splat of a snowflake on the ground. “Ten Marbles” is a bit confusing – I think it’s a bunch of arithmetic problems based on different colored marbles. I believe I failed the test. Out in the barn there’s a party with lots of animals dancing in “The Waddle.” “Noisy Lisa” has our songstress bothering a lot of folks by clumping around until she gets alone and realizes she can be quiet.
Focusing on the feet of many different kinds of people leads to “I Like Rhythm.” By the last verse of “Seven Guests” you figure out that Lisa is singing about the days of the week. Lisa’s Songs for Kids wraps up with “A Strange, Strange Place” – a quiz of a song, giving you clues to different countries of the world. It turns into a song about loving the differences between all races. A nice way to end an album specifically made for kids. (T Max)
JIMMY BEZ BAND
Lies of A Sinner
Jimmy Bez is a teenager who can really play the guitar. Originally in 21st Century Fugitives he formed his current band in 2015 and this trio can really rock. The formula for these four originals and a blistering cover of Freddie King’s “Have You Ever Loved A Women,” is the same on all the cuts. A lot of impressive notes played with an ominous, squeaky clean intensity that will make your ears bleed. The title and opening track “Lies Of A Sinner” is the hit. Starting out with an impressive guitar run and sung with a youthful, good voice, this song is real radio-friendly and could be a hit. Backed by a solid rhythm section of Johnny Bass on bass of course, and Josh Hunt pounding, “I Don’t Belong,” “Don’t Let Me Die,” and “Keep Me Back” are sometimes hard rocking, frequently funky with a hint of the blues, but always powerful, interesting and screaming. Produced and engineered by Doug Batchelder at The Den Studios in North Reading, all the tunes on Lies of A Sinner sound great and jump out of the speakers when played. Jimmy Bez has been compared to a young Bonamassa with Eric Clapton and Mike Bloomfield mixed in and you’ll get no disagreement from me. (A.J. Wachtel)
A Murmuration of Starlings
Mr. Noons has an eccentric, somewhat creaky voice reminiscent of Harry Chapin, with a similar heartfelt feel and preference for autobiographical subject matter. His admirers will find much to like in this latest collection. The excellent, lengthy opening track “My Souvenirs” is a self-excoriating recitative with a balmy, soothing melodic like on keyboard and a contrastingly halting, almost childlike guitar accompaniment. The eerie “Madame Blue” sounds like a cross between famously ominous James Bond theme music, a bongo-happy beatnik romp, and a garage punk manifesto. “It’s Part of Your Own Desire” is a cascading garage punk number with nasty circular riffing and dazzling guitar runs–the vocals, however, seem a bit sluggishly monotone; otherwise, this might have been a modern-day classic. “You Saved My Heart” is a folksy Hibernian sing-song replete with harmonica and mandolin. “Most of All” is another soothing autobiographical story-song with twee harmonica and ethereal organ accompaniment. “In a Little While (I’ll Be There Beside You)” is a bass and keyboard-driven bit of exotica accompanied by bongo. “When the Spirit Moves You” has something of a Spanish feel, and Noons gives forth with what sounds vaguely like an Elvis impression, followed up by a clangorous quasi-surf music guitar instrumental. “The Heartbeat of Love” has a sitar-like accompaniment and a quasi-mystical lyric message. I’m of two minds about A Murmuration of Starlings; it is often musically engaging, but Noons comes across in his singing as more of a bardic stylist, when what is perhaps called for is a more accomplished vocalist. (Francis DiMenno)
Roxbury, Connecticut’s Violent Mae is a duo consisting of vocalist/ guitar player Becky Kessler and multi instrumentalist Floyd Kellog. This album hits on all cylinders. The songwriting, production, and playing are exactly what they need to be. Clean vocals with dirty guitar remind me of Garbage, Florence & The Machine, Radiohead, and Boston’s own late, great, Opium Den. Violent Mae are trippy enough to play a psyche fest, but poppy enough to be the last good band in the world with a hit single. They seem to play Boston a bit, so I initially thought they were from Roxbury, Mass. Wherever you can find them, please enjoy a night with the Roxbury (band). (Eric Baylies)
All or Nothing
Formerly of New York, recently of Boston, and now residing in Nashville, the sounds of singer-songwriter Greg Adams’ debut EP are as varied as his recent addresses. The opening track, “Pony Up,” has a strong country sound to it, while “Before You Leave,” leans toward a folk style. Greg’s still in the early years of his career, so perhaps this an experiment of sorts to find a style that he connects with.
Vocally, Greg has a strong presence. Rather than sounding like an experienced bard that has “been there done that,” he gives the impression of a storyteller eager to begin his journey and see what this world has to offer. Much of his songs have to do with relationships, but they touch on some new tales, such as meeting the right person when you least expect it, or finding that old flame still wants a connection after you called it quits. All or Nothing is a strong introduction, and speaks to the potential of what’s to come. (Max Bowen)
The title, Vocturnal, is an apt one for Ryan Carraher’s debut album. It’s smooth, slick, ambient jazz. The type of chill out music one might find soothing to kick back to at the end of a hectic day while surrendering to the evening. Nothing abrasive or harsh here. It’s all about the soft and polished sound of a good, relaxing mind massage. The songs flow nicely into a solid stream of laid back music, only occasionally breaking the that relaxing tempo here and there.
Mr. Carraher plays a really nice, sharp, improvisational guitar, and is clearly at ease and within his element. Unobtrusively, he keeps with flow of the music and the ease of the sounds being laid down along with fellow musicians, Steve Wilkinson on drums, Evan Waaramaa on keyboard, Brandon Wilkins on alto sax, and Greg Toro on bass. They all blend perfectly together to create something that I can only call “silky” music.
Hard to believe that this is a debut album, as his skills do convey those of a well seasoned professional with a good sense of balance and composition and the CD sounds very well produced indeed. So, my take on Vocturnal, is that as noted, it is likely best saved for unwinding at night, shoes off, feet up, your drink of choice in hand, and your mind ready to turn off and tune in to some serious chilling. “Silky” chilling. This music was made for that. (R.J. Ouellette)
ILANA KATZ KATZ
Regina Royale Records
Ilana plays blues and roots fiddle sorta like Appalachian music with a twist of Chicago in it. This follow up to her 2014 debut “I’ve Got Something To Tell You” is great listening on a few different levels for me. First, this woman is a good musician and can really play. And on all the cuts you either hear her and guitarist extraordinaire Barry Levenson (once in Canned Heat) playing together or off each other, or her and fiddler Cedric Watson playing hide and seek with each other. Check out “Tanya” and “You Crush My Soul” to hear what I mean. And it really works well. Second, hearing the different perspective coming from her very nice female renditions of classics like “Baby Please Don’t Go,” Big Bill Broonzy’s “Sweet To Mama,” and “Kansas City, ” that were originally sung by men, is always captivating. I really dig Katz’ own “Reuben’s Train,” “Blues For Bobby Radcliff,” and “Demon Blues” to hear the artists play together and “Forevermore” and “Cruel Willie Blues #2” to hear Ilana scat a bit. As you can see, there are a lot of things I like about this release including the final cut, the traditional “Jack of Diamonds,” which is solo Ilana on voice and fiddle. Interesting fact: Ilana, Diane Blues and Toni Lynn Washington are the only artists recording on Regina Royale Records. Impressive line up huh? Great stuff – check out Movin’ On. (A.J. Wachtel)
The Black Kennedys are a very young band from New Bedford. This Whaling City quartet is a punk rock band with some surprising twists and turns. The song “The Other Side Of Town” has a sludge guitar that would make the Melvins proud. With lyrics like “put my hoodie down, because my skin is brown, my hands up, don’t shoot please, I can’t breathe” the Black Kennedys go way beyond most bands their age. Imagine Gil Scott Heron fronting Faith No More to get an idea where these guys are coming from. They are not just raging against the machine, so to speak, their is real melody on this album, too. Just fast forward to the song “Look Away” and be the first on your block to request it on the radio. I have a feeling you will be hearing that song on the radio for years to come. So many bands like Helmet and Parliament, how come no one can blend them together? All your prayers have been answered, the Black Kennedys’Marcus’s Mixtape is here. (Eric Baylies)
One’s enjoyment of this hour-long collection of live tracks and spoken-word pieces, mostly original, will depend, I suspect, upon one’s liking for Don White himself, and for his musical stylings which run the gamut from barrelhouse blues, Country-rock of the caliber of Dan Hicks & His Hot Licks, and myriad and sundry other genre conventions, including The Sensitive Acoustic Ballad (“More Alive”), The Sassy Acoustic Duet (“Good Thing She Can’t Read My Mind”), The Stately Piano Ballad (“Last Dance”), The Socially Significant Talking Blues (“Union Song”) and The Doleful Lament (“Away From the Sun”). These are mixed together with practiced, anodyne Cosby-esque slice-of-life stand up routines: “How to Get Your Kids to Move Out,” “Junior High School,” and “Crying Woman’s Channel.” This is undeniably some good, wholesome middlebrow entertainment, but More Alive leaves me feeling somewhat less than totally impressed. (Francis DiMenno)
Bigger Than Jesus
S.S. Cretins are from Portland, Maine. I stumbled across this CD and hurt my little foot. I don’t know anything about the band except that they put out this terrific album. The song “Freakout” reminds me a little of “Drug Farm” by Monster Magnet, but it is its own little animal. S.S. Cretins have garage like moments like Lyres or The Count Five, and other times go into more psychedelic territory like Iron Butterfly, all great stuff to be compared to. Put some mushrooms on your linguica pizza, put out the lights, and put S.S. Cretins’ Bigger Than Jesus on your turntable. (Eric Baylies)
Obscure Me Records
This Connecticut bands compilation has four different groups doing two cuts apiece. The music runs the gamut from surf inspired power pop to metal to shoe-gazing noise rock and all with a punk attitude. Dr. Martino is a high-energy garage rock trio with Amy Shaw, Simone Puleo and drummer Mike Kaminsky, and they are influenced by ’60s pop and surf and metal. Their cuts “Clean Plate Club” and “Anna Mae” are loud and a bit menacing. I like Amy’s vocals with an attitude and I dig Simone’s growling guitars. Good rock and roll. Spectral Fangs is a three piece power pop band with dreamy drifts, reverb and screaming guitars. I hear ’60s soul, ’70s punk and ’90s indie pop. Sorta like Dinosaur Jr, meets The db’s meets The Soft Boys meets Metallica. Their songs “Stoned And Atoned” and “Catnip” are both great arena rockers. They are powerful and sound like anthems most headbangers would really groove to. Ghost of Chance (without an A) are a noise rock band out of New Haven. Catchy pop hooks with psychedelic guitars, subtle time changes and sonic experimentation make these cats different and unique. Their sound is influenced by John Cale and 13th Floor Elevators and their music is the brainchild of vocalist Jayson Munro and guitarist George Moore. David Corsak on bass and Mark Niciu join the fold and complete the line-up. Their tunes “Can Opener” and “It’s A Drain” are sorta like pop rock ballads done real well with a punk feel. I really dig Jayson’s passionate vocals and the harmonies on the second song. Terrible Roars, led by multi-instrumentalist Ross Page, is low-fi sorta like Emo from the ’90s. “Calling Out” and “June Gloom” are both very interesting melodies and remind me of indy pop; sorta ominous without the loud guitars. “June Gloom” starts with a real cool drum beat and just builds up steam as it continues. Good song. Great music from Connecticut. Not a bad song on Calligrams. (A.J. Wachtel)
If you are an artist based in New England and you’d like The Noise to review your latest releases, send a hard copy to T Max/ The Noise, 28 Goodhue St #406, Salem, MA.
It would seem as though I am made some positive headway with my latest release