If you would like to write live reviews of your favorite New England-based acts and get them published in The Noise, contact T Max at tmax@thenoise-boston.com with LIVE REVIEWS in the subject box.
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Page Contents
TOKYO TRAMPS/
TRICK WALLACE TRIO/
THE REAL REAL BAYOU BOY/
DOUG MACDONALD BAND
The Midway Cafe, Jamaica Plain, MA
11/6/16
It’s an afternoon show today and why isn’t anyone here at The Midway yet? Ooops – I forgot to turn my clock back last night. At least I’m an hour early and not an hour late.
Before Doug MacDonald hits the stage he hands me his latest CD, Lightning Head, and I stuff it into my pocket for later listening. There’s no big soundcheck, Doug jumps right in with Patty Short on drums sticking to him like glue on “Drawbridge Troll” from the new CD.This is a unique two-piece band. Doug does the writing and can sing in the upper stratosphere when he gets going. He plays a red hollow body Gretsch and gets the most out of its big sound with a nice dose of reverb. He plays with elements of garage rock and a bit of Dick Dale guitar sensibilities. Doug and Patty are tight, they move from one song to the next as if they’re in the same mind. They play a lot of songs I’ve enjoyed from their past CDs including “Mr. Bones,” “Jack Joke Shop,” “Honk Your Horn,” and “No Fighting” which I’ve heard on WMBR recently. More and more people are realizing that there’s something special about this act.
The Real Real Bayou Boy lead by Greedy Geezer (on 12-string and voice) is the kind of band meant to be playing for a bar full of people out to hoop it up. Geezer’s got Lonesom Lil (Lillian Donnelly) on piano and singing, Uncle Joey Fingers on accordion, Andrew Crear on drums, and two of the Tokyo Tramps on percussion. They take an old Sam & Dave soul song, “I Thank You,” and make it into a hillbilly jambouree. They’re breaking in drummer Andrew Crear tonight and one song does get a little twisted with some people on the up beat while other are on the down – but it just adds to the thrills. They do the Stones’ “Play With Fire” and pour on some moonshine to fan the flames– reaching for that feeling of imperfect perfection. The band expands when Satoru takes off the washboard and straps on his Strat and Yukiko jumps on stage with her signature brown SG bass. They roll over “You Can’t Always Get What You Want” and we all get what we need.
The Trick Wallace Trio does seem to make some magic on stage – starting off –this trio is made up of five members. Before things get rolling Trick’s mic stand starts drooping, so he quips, “It’s heard me sing before.” Behind Trick are Spencer Hargis (bass), Paul Giovine (drums), James Bryan (guitar) and John Mulrooney (lap steel). They are a refined bunch of excellent players reminding me of the Chandler Travis Philharmonic or Men & Volts. Good musicianship, smooth grooves, and easy-going presentation. The highlight of their set is a soulful song, “I Need a Love” – so good I figure it must be an old Curtis Mayfield number, but Trick later tells me that he wrote it himself. Wow – nice writing and performance. They end with “Christmas in the Slammer” and I don’t know if it was intentional or not but the solo section had a real Eno-esque quality to it.
Tokyo Tramps are also breaking in a new drummer tonight. He, Teruki Kameyama, starts off by himself with Yukiko Fujii on bass and Satoru Nakagawa on guitar slowing adding to the picture. The first tunes are “Flowing Water” and “Jeffrey Jive” both songs from their two-song teaser… before their album If I Die Tomorrow is released. “Flowing Water” has a Hendrix feel to it with Satoru showing off his guitar skills.“Jeffrey Jive” actually rolls in and out of “All Along the Watch Tower” in case we didn’t catch the reference. Yukiko gets serious when she performs “Someday You Will Come Home” for her mother who has passed. They play it up for their audience with “Shake Your Money Maker” and a bit of “Yakkit Yak” with their fans filling in the response “Don’t talk back.” Too much fun at the Midway today.(T Max)
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ANTJE DUVEKOT/
CHUCK CANNON
Me & Thee Coffeehouse, Marblehead, MA
11/18/16
Host Tony Toledo starts off the night with a double intro going back and forth between the two artists. Antje Duvekot and Chuck Cannon would normally be playing separate sets tonight but Antje announces that they will be doing this in the round. Antje starts off with a very quiet performance – what I love about this is that it forces the audience to be in a perfectly still listening mode. Chuck does one of his about money not mattering anymore and I notice distinct extra reverb on his guitar and his low E string sounds like it’s down around C. Antje joins in on the chorus of “Everyone’s rich and nobody’s poor.” It becomes obvious that we’ve got a friendly duel of songwriting going on. Both artists are extremely talented writers. They just happen to have matching dark sunburst Gibson acoustic guitars, ’cept Antje’s is three-quarter size. She uses one effect on hers – tremolo – and it adds such a nice feel. Chuck tells the story of how Dolly Parton gave his house a call when she heard that Chuck’s dad was giving him grief about becoming a songwriter. Dolly recorded and released Chuck’s song “Why Can’t We Be” and it showed his dad just how wrong he was. Antje follows that with “Christian Boys” a politically motivated song she wrote 10 years ago for Trump (actually, she admits it was for George W. Bush, but it’s getting more mileage now). This friendly battle of songs keeps rolling into the night – it kind of like watching a home run derby. One after the other, each artist hits it out of the park.Chuck’s storytelling, which he didn’t plan to do tonight (my cohort Perry Persoff from WUMB made a request before the show started and it turned Chuck’s decision around), is the highlight of the night for me (thank you Perry!). Perry also provides me with these lines… “Chuck had become a fan of Antje Duvekot’s songwriting prior to the show – Antje had sent Chuck some of her CD’s. The smile on his face and the words he expresses show how impressed he is with her writing during the show.” And this home run derby of songwriting continues to go further into the night than any Me & Thee performance has ever gone… and the audience still wants more. Now listen to me very closely – thats right, put your ear up to the screen… if you enjoy intelligent melodic songwriting – please write “Antje Duvekot” and “Chuck Cannon” on your forehead backwards and look at yourself in the mirror everyday for a month to engrain their names into your mind. You WILL go see them perform the next time you see or hear either of their names again. Go ahead, write it.(T Max)
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OCCIDENTAL GYPSY
Me and Thee Coffeehouse, Marblehead, MA
(first set) 11/11/16
It was one year ago this week that Occidental Gypsy played Me & Thee and wowed me with their amazingly zapped up gypsy jazz. They bow to Django Reinhardt and play his style with speed and confidence not seen in many musicians. And it was also one year ago that Anthony Silva (you might know him as the one time afternoon voice of WBZ radio) returned to volunteer at this coffeehouse that he got going 46 years ago. He’s here tonight to introduce the band and refers to music being what people need after the presidential election. But he doesn’t take it any further than that… then zip… the five-piece acoustic act (two guitars, violin, bass and drums) jumps into “It Don’t Mean a Thing”… if it ain’t got that swing…Jeremy Frentz croons like a jazzed out Sinatra.Jeremy also takes the first of many nimble guitar solos – the others are taken by equally quick and maybe even more expressive Brett Feldman. These solos make me (an above average guitarist) feel like I’m a three-fingered beginner, but I can’t even say that since the true style that Django applied was with two fingers. But hold on here… Occidental Gypsy also has a quick fingered (classically trained from what I can see) fiddle player, Eli Bishop, who makes 32nd note runs look like child’s play.Laying down the outer frame for afore mentioned trio-extraordinaire are bassist Jeff Feldman (Brett’s brother) and drummer Erick Cifuentes, who both exhibit high-end smooth technical skills.
Two different kinds of song are in this group’s set. They thrive on their instrumental ability so we get high-end instruments, some original, some written by Django Reinhardt, all similar in style. The other variety of tune is displayed when Jeremy stands up to sing – and when I say sing, I mean croon, as he does in the old standard first recorded by Hoagy Carmichael in 1930 and brought to fruition in 1960 by Ray Charles… I’m talkin’ about “Georgia.” I love how Erick mixes the soup with the brushes on his snare. They cover Django’s “Minor Swing” and despite the title, Django’s version has more bounce more than swing.Occidental Gypsy makes the song really swing. It’s Jeremy’s birthday tonight and maybe I didn’t understand correctly, but they’re celebrating his bar mitzvah with the song “Paper Moon” with its refrain of “It wouldn’t be make believe if you believed in me.” Another Django cover is “Heavy Artillery,” which Brett informs us was written in a bomb shelter – I listened to the original and I believe Occidental Gypsy have picked up its pace. These guys are good. They end the first set of the night with an original, “Gypsy Blues,” about an evil woman who got to almost ever member of the band.You have to see/ hear these guys to believe this level of alacrity. Highly recommended to fans of Django Reinhardt… but even if you never heard of him, you’ll gasp in amazement at this musicianship. (T Max)
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If you would like to write live reviews of your favorite New England-based acts and get them published in The Noise, contact T Max at tmax@thenoise-boston.com with LIVE REVIEWS in the subject box.
Bocce and Bourbon: The Comfortable Songs of Chandler Travis and David Greenberger
19 tracks
Ugh, there’s so much explaining to do before you can even mention the music that it gives me a headache. I mean, you remember Duplex Planet, the ’zine where the guy used to interview the quirky residents of the old folks’ home? You remember the Incredible Casuals? Well that guy and that guy and probably everybody they’ve ever known all got together and made this record and it took thirty years or something. That’s the thumbnail version, at least. You need an instruction manual before you even put this on. Anyway, it’s a compilation, basically, but despite being the work of three bands, there’s a stylistic cohesion that keeps things flowing nicely. It’s psychedelic pop, Beatles-y in spots and sorta Steely Dan-esque in others, breezy and free-flowing and pretty and so… I dunno, uplifting that I don’t even mind the accordion that bleats all over everything. Highlights include the delicate sunshine-pop of “Make the Small Things Pretty,” the strutting downtown rocker “Come and Get Your Cat,” and the horn-driven cool of “I’ll Wait.” Also, if you made an indie flick and there was a scene where the beloved but hard-bitten protagonist dies, closer “You and Me Pushin’ Up Daisies” would be the whimsical soundtrack to his ascent into Heaven. I dig it all, really. It’s fucking joyous, man. (Sleazegrinder)
Editor’s note: Read another review by Francis DiMenno of this same CD at the end of this column.
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THE PEASANTS
Big Sunny Day!
12 tracks
You might remember them from 20 years ago with a different name, The VELCRO Peasants, but the band still plays their same unique pop/ punk/ metal/ garage/ stoner/ country/ spaghetti western brand of music. This is their first record in 10 years and Pete Cassani, who wrote all the songs and plays all the guitars, drummer Stephen Hart and bassist Paul Kochanski (The Drive/ The Swinging Steaks) sound as good as I remember them. The main ingredient on this CD is pounding drums, rock-solid bass, screaming guitars, and higher-decibel vocals with a lot of other stuff thrown in for good measure. Or in this case: Great measures. I like the punk breakneck speed of “You Make Me Feel Dirty” and “I’m Trapped.” I love the screaming guitar on “Merry Christmas, You’re Fired!” and the instrumental “Bullfighters and Gunslingers.” The bluesy “Southern Comfort” is red hot, the C&W “Don’t Make Me Wait” is a real tear-jerker, and the metal ballads “Mind” and “Boston Girl” really rock. How can you not like a band that writes the lyrics “Vincent Van Gogh I’m no fun; Can I join you in the san-it-ar-ium?” in the closer “Vincent Van Gogh”? Great music from these veterans. TURN THIS UP LOUD. (A.J. Wachtel)
Editor’s note: In the print issue there is a totally different review by Sleazegrinder of this same CD.
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TELAMOR
Olex Music
Straight Shots
12 tracks
Telamor is Tom Hauck. His name may not ring a bell but his Boston-rock legacy surely will. Tom was a founding member of the legendary pop/punk band, The Atlantics in the late ’70s, and of the local synth/pop hit-makers, Ball & Pivot in the ’80s.
Tom’s return to the studio finds him traveling in a completely different direction, but one that is at least as interesting as either of his former projects. In Telamor Tom’s vocals are an amalgam of the B-52’s Fred Schneider and Weird Al Yankovic. But wait… read on… that combination may sound like the musical equivalent of a dentist’s drill but, I assure you, strangely, it’s a combination that works.
Straight Shots is filled with great songs that are all over the musical board. The first three tracks are nods to the early ’80s Boston underground. Jangly guitars fill these blues-based rock tunes. Suddenly, four tracks in, “We Got What It Takes” is a hard right turn into white-boy hip hop. Tom raps over what sounds suspiciously like the hook from Billy Squier’s “The Stroke.”
Mid-album, Telamor knocks off a couple of odd-choice covers. First is The Velvet Underground’s “Pale Blue Eyes.” In Tom’s hands the classic Lou Reed ballad becomes a Johnny Cash tempo’d piano tune. Their traditional takes on Robert Johnson’s “Kind Hearted Woman” and “Crossroad Blues” take on a new patina when filtered through Tom’s nasal vocals and Telamor’s treble-y guitars.
Weird Al is in full force on the closing track, “Midnight at the Drive-Thru Window,” a fast-food hip-hop screed that brings to mind Al’s “Beat It” parody, “Eat It.” (George Dow)
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FIREKING
Double Trouble
22 tracks
Second (and third) album from Fireking is jam-packed with (ahem) fiery rock ’n’ roll, glammy power-pop, and the odd nod to late ’70s new wave. Listening to Fireking is like spending the afternoon with somebody who has a really bitchin’ record collection, a hodge-podge of chewy, radio-ready maybe-hits and candy-coated deep cuts. You can never quite put your finger on who Fireking actually sounds like, but certainly Mott the Hoople, The Cars, and Matthew Sweet are good starting points. Clearly these dudes are hardcore pop geeks. They’ve probably got full runs of Bomp! magazine in their rehearsal space, for chrissakes. They are fully and deeply dedicated to the hook, as evidenced by criminally catchy riff-poppers like “Contagious,” “Found My Way Home,” and the self-explanatory “Power Pop Chords.” I dig it. It’s bottled happiness. That being said, it’s super-long. I mean, it goes on forever. I don’t need 22 of anything. Has no one learned the lessons of Use Your Illusion? (Sleazegrinder)
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PULITZER PRIZE FIGHTER
The End of the World
5 tracks
I know nothing about the background of these guys, but the jazz influences and advanced technical skills make me think they went to Berklee. The first half of the EP relies too much on technique over emotion and comes off as pleasant, but bland rock for smart, sensitive guys. As the EP moves into its second half, though, the band starts to let its collective hair down a bit and rock out. These heavier, more passionate moments have a natural feel that suits the band well, and they allow the listener to make a strong emotional connection. It’s an avenue they should consider taking more often in the future. (Kevin Finn)
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I AM TOM CUMMINS
75 or Less Records
Holiday 3-Pak
3 tracks
A cruel person might suggest that “Squirrel Song,” with its ukulele accompaniment and spacy keyboards, is like something a mentally challenged person might conjure up—but I beg to differ; it takes a good deal of talent to come up with and put across this faux-naif approach. “Downy Woodpecker” is another supposedly poignant encomium to the natural world, replete with aah-ing chorus. “Resolve to Start Again” is a bit like a terminally depressed Mr. Rogers decrying the commercialism of the Christmas season. Short and sweet, but, all in all, a bit twee for my taste.(Francis DiMenno)
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DRUNKEN LOGIC
Long Day’s Journey To The Middle
11 tracks
If you are into The Dropkick Murphys, Flogging Molly and Street Dogs, this is the band for you. They play folk-punk and they do it well. All the members have beautiful tenors and the songs are all like Irish ballads if Green Day or The Who covered them. Check out “(The Good News Is) Nobody Gives A Damn,” “The Vagabond,” “Dry Run Road,” and “This Side Or The Other” and you’ll hear what I’m talking about. I laughed at the lyric: “And it hit me like a ton of bricks; and it hit me like an unexpected fist.” And the next line is about being in bed with the woman you love. How Punk is that for the words of a song? Keyboardist Jake Cassman writes the lyrics. The rest of the band (Austin Wells on guitar, Ryan Jordan on electric and acoustic guitars, Alex Trevino on bass, and Alex McGillivray on drums) writes the melodies. Boston folk/punk at it’s best. Listen up folks.(A.J. Wachtel)
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COTTAGING
Wharf Cat Records
The Amyl Banshee E.P.
6 tracks
Cottaging is a Providence-based noise rock no wave post everything dream of a band. There are so many points of reference on this record yet it doesn’t really sound like anyone else. Some songs sound like Mark E. Smith of The Fall fronting Mars or DNA. You could dance to this, yet it reminds me of Captain Beefheart. I played this record about 20 times over the course of a few snowbound March days. Every time I heard it there were new and marvelous layers unfolding like a Coltrane or Mike Mountain record. If you don’t like Cottaging, you don’t like rock ’n’ roll.(Eric Baylies)
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ANNE STOTT
Love Never Dies
11 tracks
Anne Stott has spirit, and her talent is a force with which to be reckoned. The things about her which impressed me the most were the feminine strength of her voice and the power which seems to drive it so effortlessly. Her sound is both ethereal and powerful, and in perfect balance.
An indie alternative rock performer and wr iter who calls Provincetown, MA, her home, Anne Stott has seemingly vast influences yet she is very much an original, having a style all her own. She defies comparisons and flies high above many eras in time, where one may be tempted to place her sound. She is something of an enigma, and evades categorization.
Stott wrote all tracks on this CD except for “And Then” which was co-written with Jon Evans. She is lead vocalist on all songs, and also plays guitar, piano, organ, and keys, with Jon Evans on bass, guitar, percussion, drums, and background vocals. All are done with smooth precision and style.
Among the winners for me are “We Are Here”—resoundingly beautiful, with intense delivery; “Hold Me”—slyly slinking, bluesy, and very catchy; “Mostly, I’m Not Around”— more strength and vulnerability, well blended with soulful angst. I must say that Anne Stott deserves a hats off and credit where it’s due. Credit is duly given. This woman is talented!(R.J. Ouellette)
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AJDA THE TURKISH QUEEN
Beautiful Boot Leg – Live at Rick Walker’s
15 tracks
As the album starts, I close my eyes to better focus on the music. What I experience as the tracks play is a transportation to Rick Walker’s, where I’m sitting at a table watching Ajda perform. The light is low, the audience quiet and focused, not wanting to miss a single note. The acoustics, the applause of the audience, her interactions with them—it’s all captured, allowing the listener to hear what a performance from The Turkish Queen sounds like. She plays both old and new songs, calling the crowd “her lovely guinea pigs.” Things like that you can only hear at a live show, that free energy and love for the fans.
The sound is raw and honest, with Ajda speaking to the enthusiastic crowd in between songs. I’m no audio engineer, but I would guess that little had to be done to the tracks after their recording. It’s real, emotional, and connects with those that love to spend an evening at a club, coffeehouse, or other venue.
The music switches off between the mandolin and electric guitar, the tempo is nice and easy, calming the mind after the most tumultuous day. It’s a solid introduction to what a show of hers sounds like, and is likely to make anyone listening check her calendar to see where Ajda is performing next. (Max Bowen)
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MITCH HAMPTON
Navona Records
Hard Listening
8 tracks
Glowing from the cover is a caramel colored ’70s goddess with an explosive Afro, pillowy leatherette headphones with eyes closed, lips, moist and glossy, fingers popping, all into her jam. Perfect! The title is Hard Listening. Bravo! Moreover, the cover model is Hampton’s answer to Dante’s Beatrice. She offers us “L’Invitation Au Voyage” (An Invitation To A Voyage) a la the French symbolist, Charles Baudelaire, promising “Luxe, calme, et voluptee” (luxury, peace, and pleasure). From the opening chords, it is so easy to envision oneself as George Sand (nom de plume of Amantine Lucile Aurore Dupin to Hampton’s Chopin) languoring beneath his grand piano, impaled to the floor as a chord cracks like thunder, shuddering with his resonance. The gamut of moods Hampton creates in the space of a single composition is astounding. Hampton’s influences are cited to be in a classical jazz vein like Bill Evans and Oscar Peterson. However there are also avant-garde stylings a la Copland as well as a measure of romanticism a la Chopin himself. When one mentions how his compositions echo those of Art Tatum, Hampton shares “That should not be surprising considering I was taught by Tatum’s teacher!” This is Hampton’s first solo piano recording. This should pique your interest to seek Mitch Swings (1998), a recording of his jazz trio. A modern day Beau Brummel with a full on ’70s fetish and a background in magic, today, Hampton does his conjuring via song. (Nancy Neon)
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WALTER NOONS
Real Records
Missing Pieces
10 tracks
Of the notable songs, opening track “This Is the City I live In” operates as a glorification and denigration of Boston. It’s a catchy tune which doesn’t really resolve itself. “(You’ve Got the) Power That Moves Me” is an ominous, bluesy tune reminiscent of The Doors out of Screamin’ Jay Hawkins. However, it goes on a bit too long to sustain the mood. “No One But You” suffers more than a bit from cliché lyrics and sentimentality, although the melody is nice enough. “I Love Amsterdam and Isabelle” is a catchy tune, but is lyrically a rather literal catalog. “It’s All Here in Boston” is a garage-rock encomium to the city, with some aggressive fuzztone and an ominous guitar lick. “Forever More” is a somewhat ponderous Gothic horror song, although I could see it becoming a cult classic. “My Saving Grace” is best-of-show; a psychedelic, sitar-inflected number worthy perhaps of release on a Pebbles compilation. The deliberately ominous and creepy “(Would You Be My) Valentine” sounds a bit like Bread as concocted by the Phantom of the Opera.When I first read it I really thought it was a copy and paste mistake. But again, it goes on a bit too long to sustain the mood. Overall, these are demo-quality recordings with some intriguing melodic ideas. Noons is a potentially talented songwriter who needs to eschew the obvious and well-worn. (Francis DiMenno)
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COMA COMA
75 or Less Records
The New American Dream
10 tracks
You remember when math and rock ’n’ roll were two entirely different things? Holy smokes do I miss those days. The New American Dream is the second album from Rhode Island Fugazi-heads Coma Coma. It’s like a greatest hits package of all the things I do not like: indie rock, whiny emo (first wave, but still), post-punk, math rock. Basically they sound like every opening band I’ve ever seen on a Monday night bill. The guitar has a psychedelic insistence that really starts to wear on you and the vocals sound like a guy who broke up with his girlfriend a couple days ago and won’t shut up about it. But that’s really my problem, not yours. If you like indie rock, I would say this album is above par. I’m not sure why, I just feel like if you like stuff like this, it’s a prime example. I mean I’m not gonna drive around in a Cadillac, but I still know it’s a Cadillac. Christ, will somebody in this town make a real rock record already? In summation: as Mudhoney once said, you got it, keep it outta my face. The end. (Sleazegrinder)
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JERRY VELONA
Love Radio
9 tracks
This album is rich and flavorful like a meaty stew with tastes that cross multiple palettes. “Our Own Devices” has a jazzed-up light rock sound that brings me back to my childhood as I listened to the radio on the long drives to Salem. “Just Don’t Feel Like Christmas” is more mellow, somber, and thoughtful, and it hits all the right emotional chords as he tells a tale of love lost around the holidays. “The Ghetto (Ain’t Going Back)” features the elegant vocal work of Debbie Pierre and J Ivy, who adds another layer of talent to this already impressive album. “Looking for Lewis and Clark” is a fine, intense rock homage to a Sid Griffin classic. Jerry’s vocal work is powerful, and the varied instrumentation creates a great tapestry to work on. All in all, a wide array of styles make the most out this album. (Max Bowen)
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OPPOSITION RISING
Aftermathematics/Get Off Your Ass, Get Off Your Knees
15 tracks
Catchy Boston hahdcore of the ancient variety. That is literally all you need to know about it, but if you want more: Discharge, spiky leather jackets, The Rat, dudes in $200 combat boots begging for change in Harvard Square in 1987, teenage girls with nose rings and pet rats, No Nukes, stage-diving, skulls painted on the back of denim vests, all-ages shows, cops hitting kids with billy clubs, underage drinking, the ghost of Ronald Reagan, SSD before they turned into AC/DC, puking in the alley behind the VFW hall, bullet belts, dreaming about the day you graduate from high school so you can get the fuck out of this dumb town forever. Okay? Bonus: I tried to read the tiny-type lyrics on the CD cover and I just went blind. Punk lives. (Sleazegrinder)
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SQUIRREL FLOWER
Early Winter Songs From Middle America
8 tracks
Squirrel Flower has a very talented local singer-songwriter in Ella Williams; and this is their second self-released CD of original music. In the letter accompanying the tunes, Ella writes that this project was inspired by her experiences going to Grinnell College in Iowa: “The starkness of the landscape, the endless sky, the fields of prairie grass and corn; it was NOTHING like Boston.” She is now taking a semester off to fully concentrate on her music. And I really dig what I hear. Ella has a wonderful voice, full of passion and emotion, that is nice to listen to. Her hauntingly beautiful vocals are perfectly suited for the folk ballads she’s composed. The harmonies she sings with herself on the opener, “What Was That,” and on “I Won’t Walk Inside” are super. I like her finger-picking acoustic guitar on both “I Don’t Use A Trashcan” and my favorite cut on the album, “Twisting Slowly.” Expect to see me in the audience at one of her next gigs at Club Passim, The Midway or The Menotomy. Good music from a young local artist. Check it out.(A.J. Wachtel)
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SUICIDE BILL & THE LIQUORS
75 or Less Records
Cricket Wisdom
12 tracks
Low-budget Big Star worship abounds here. The fact that this is their fifth album and it sounds like a clunky demo might be worrisome to some, but I think it works. They never land square on the beat, their timing is always slightly off, the solos have duff lines here and there, the vocals slip out of tune, and it always sounds like it’s all happening in a basement next to a leaky water heater. These guys are not swashbucklers, they’re bunglers, but endearing bunglers with decent record collections and open hearts who probably remember their friends’ birthdays. Most of the songs are about how girls don’t dig them, which is cool. A few of the songs – funny/sad power-popper “No Friends,” the Husker-y “Cool Fail” – would be hits if somebody, you know, more competent recorded them. Overall, I’d sayCricket Wisdom squeaks by on low-watt charm. It’s not as good as I’d like it to be, but what is these days?(Sleazegrinder)
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COLORWAY
Molehill Mountain Productions
The Black Sky Sequined
10 tracks
Opener “Gen Exit” is classic ’70s rock with elements of BTO, Deep Purple, and other arena-rock stalwarts. The ’70s-centric approach sets the stage for much of what is to follow. “Come Back July” has the casual feel of Wreckless Eric, but with a similar arena rock superstructure. “I Don’t Want to Go Home” reminds me a bit of the hippified excursions of Steve Miller, with a bit of Beatles tucked in. “The Cycle” offers a bit of a change-up, with harmony vocals and a new-agey chiming guitar as intro and a melancholic guitar line which is an intriguing bit of rock craftsmanship. The excellent, lively, “Everybody Wants Me to Love You” has a rhythm reminiscent of XTC’s “Crowded Room,” which devolves into a chugging rock song replete with clangorous guitar runs and a slap-happy hook in the refrain. “Telephone” is a jaunty number, with an impressively catchy rhythm line and horn section, and with extended guitar runs stretched out to epic length good enough to encourage nearly every budding young guitarist to go and do likewise. That Northampton-based guitarist and songwriter F. Alex Johnson, with bassist Dave Hayes and drummer J.J. O’Connell, manage to create as full a sound as they do as a trio, and to bring a kind of rugged enthusiasm to their approach, is a mark in their favor. (Francis DiMenno)
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JASON AUGUSTINE/ BAD BRAIDS
Pretty Purgatory
“Salvation”/ “Glory, Glory”
2 track 7” vinyl
With two tracks, one each, from very different artists, there’s not a lot to sink your teeth into for a review. Fortunately both tracks are engaging in their own right.
Jason Augustine’s “Salvation” is a spare folk dirge with acoustic guitar, pedal steel, and drums. His high, quavering vocals suggest a thousand timeless murder ballads. But that familiarity brings comfort and immediate connection which makes the track linger in your consciousness much longer than its three-and-a-half minute duration.
Bad Braids’ “Glory, Glory” is a six-plus minute oddity. It begins as an acoustic funeral march—Megan Biscieglia’s vocals moaning for relief. Somewhere around the three-minute mark the song shifts and becomes an equally engaging acoustic blues tune. (George Dow)
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BLUE MOON HAREM
Finland
11 tracks
Blue Moon Harem plays the type of rootsy, country-tinged rock that in this marketplace really needs to exhibit something singular to stand out. Unfortunately, the band comes up a little short in that department, as aside from the pretty “I See Red,” none of the songs really do much to hold the listener’s attention. To the band’s credit, they do try to mix things up by adding a little hard rock here, a trace of bro-country there. But rather than coming off as a show of versatility, it gives the album a bit of a schizophrenic feel that makes it seem overly long. (Kevin Finn)
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CHANDLER TRAVIS AND DAVID GREENBERGER
Iddy Biddy Records
Bocce and Bourbon: The Comfortable Songs of Chandler Travis and David Greenberger
19 tracks
David Greenberger (Duplex Planet) provides all the lyrics for this compilation, which features eight mostly excellent unreleased songs scattered throughout. This collection features Chandler Travis solo and with various aggregations of bands he is or was involved with. These include The Incredible Casuals with the punk-rocking “She Laughed,” the meticulously melodic slow-burning “Take Me With You,” and the stuttering, tensely angular, and irresistible “Typos.” The Chandler Travis Philharmonic is also represented, notably by the bluesy, inimitable “Baby Come Get Your Cat”; the wondrous, insanely catchy Dixieland apocalypse New Orleans stride piano-driven “Graciously”; and the reverential, upbeat, lyrically Randy Newman-esque, movie soundtrack-ready “This Is Home.” “Calling Me Back Home” is from Chandler Travis’s 2009 release After She Left and deserves mention as an world-weary classic full of glorious thrumming. Heavy metal and psychedelia fans will find much to like in The Catbirds’ “The Crutch of Music.” “Make the Small Things Pretty” is a lovely gem from the Chandler Travis Three-O’s 2012 release This Is What Bears Look Like Underwater. Best of show is the spare, but melodically effervescent and touching “(You and Me) Pushin’ Up Daisies”, from the 1998 Chandler Travis solo release Ivan In Paris, which is a stone cold classic. Of the new songs, “Air, Running Backwards” has a glorious Beach Boys feel with the inimitable Chandler Travis touches—this smooth song halts and judders amid Sam Woods’ shrewdly metronomic drumming. “All In a Day” is a comfortable, if not downright mellow jazz-inflected ballad which owes a lot of its appeal to Mike Peipman’s lonesome trumpet and Fred Boak’s meticulous vocal phrasing. “I Bit the Hand That Fed Myself,” is a strident rocker that sounds a bit like early XTC or Gang of Four; a stylistic mix credited to Chandler Travis with Rabbit Rabbit. “By the Way” is a sparkling and pneumatic tune with a glorious melody and beautiful string accompaniment by John Clark with Dinty Child, withegregiously lovely keyboards by Berke McKelvey.
“I’ll Wait” is a Kinks-like melody with laconic vocals, also by Child. “When the Roses Shine in Picardy” is a French folk-inflected tune with a tasteful woodwind arrangement by Keith Spring. “The Strongman of North America” sounds a bit like late-period XTC with a similarly high-quality combination of melody and percussion; it features a masterful march rhythm by Rikki Bates and string bass by John Clark. “Waters of the World” is a musically liquescent Chandler Travis solo effort. There are so many talented sidemen who enhance this project that I wish I could mention them all. This is not exactly the long-awaited greatest hits compilation I’ve been hankering after, but is highly recommended all the same. (Francis DiMenno)
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Page Contents
VARIOUS ARTISTS
Lowbudget Records
You Can’t Always Want What You Get
A Lowbudget Tribute to The Stones
two discs – 34 tracks
There are almost two and a half hours of good music and interesting covers on this epic tribute to the greatest rock ’n’ roll band in the world. A collection of songs from the early to middle Stones career that also includes classics and many B-side tunes. You can hear “Gimme Shelter,” “Jumping Jack Flash,” “Honky-Tonk Woman,” “Satisfaction,” “19th Nervous Breakdown,” “Angie,” and “It’s Only Rock and Roll” as well as lesser known Jagger/ Richards compositions “Hand of Fate,” “We Love You,” “Loving Cup,” “Child of the Moon,” “Coming Down Again,” “I Got the Blues,” “I Am Waiting,” and “Moonlight Mile.” And it’s fabulous. The cover art is a take on the Exile on Main Street album with human freaks shown in black and white photos, and producer Tim Casey made the sound clean and clear with perfect separation. You can hear everything. There is so much good music on these two discs I don’t have the space to tell you about every cut but here are some of my favorites: Paul McDonough’s goth/ punk version of “As Tears Go By” with the loud guitars, the rocking piano in The Abzurdists’ “Honky Tonk Woman,” Adventure Set’s dreamy punk cover of “2000 Light Years From Home,” Louder Than Milk’s rocking “Rip This Joint,” Hummingbird Syndicate’s psychedelic groove on “Child of the Moon,” Bird Mancini’s psychedelic “Jumping Jack Flash,” the jazzy, swinging “Respectable” from Electric Standard, The Rolling Bones’ “It’s Only Rock and Roll” done less like Chuck Berry and more like Lou Reed, The Junk Dealers’ grungy “Heartbreaker,” and The Trap Dorz’ psychedelic punk version of “19th Nervous Breakdown.” I really dig the opening cut on disc two: David Greenberger’s “Everything Spoken Between Songs in the Order That They Appear on All The Widely Released Official Live Albums By The Rolling Stones.” This is genius. And pretty funny. David just speaks all the onstage banter from each of their many live recordings in his lone, emotionless voice.
In 1994, I came out with Boston Gets Stoned on Mickey O’s BoTown Records. I got my friend the legendary producer Jimmy Miller, who produced all of the original music for The Rolling Stones from Beggar’s Banquet to Goat’s Head Soup, to do the final mixing and mastering for this earlier local compilation. Twenty four years later it’s time for my original idea to be revisited and to have another great Stones tribute from another rocking generation of local musicians. Fun facts: Bird Mancini is the only band to appear on both releases and Mr. Curt appeared on my first compilation 1988’s Boston Does The Beatles with his band Mr. Curt’s Camaraderie doing a punk version of The Fab Four’s “It’s Only Love.” Three songs from my decades old release, “Sway,” “Dead Flowers,” and “Street Fighting Man” are redone very differently on Lowbudget Records’ project as a sign of the times. This great double disc closes the circle for me and opens the door for all of you. Very cool and enjoyable to hear another generation’s take on The Rolling Stones. Check it out and turn the volume up to TEN. (A.J. Wachtel)
FIL PACINO
Death By Lions Records
Death By Lions
12 tracks
The first track of this 2013 entry recalls the MOR bands of yore; specifically, Dire Straits, The Police, and even Jules & the Polar Bears, albeit with the production values of the present day. Overall, this CD is a slick and enjoyable romp through tunes you might find on the playlist of a not particularly progressive college radio station. “Sleepless” makes a stab at profound beauty, but instead comes across as mildly synthetic. Excellent as some of the songs are – notably “Wander” – the whole project bears a faint whiff of self-satisfaction at having painlessly mastered so many mainstream tropes: the “mysterious” song (“Without Knowing”); the attention-grabbing crypto-hoedown (“Farewells”); the tuffcore manifesto (“Death By Lions”); plus a thousand-mile-stare quasi-raga, and a delicate “look at the beauty of nature” dreamscape. Death by Lions is better than I’m making it out to be; I’m just jaded – because I’ve simply heard it all before. (Francis DiMenno)
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WISHBONE ZOE
Fossil’s Dream
12 tracks
This is my second Wishbone Zoe CD. I loved the last one that I reviewed by them, “All Of These Oddities,” so much, that it was with some trepidation that I approached this one, simply because I admit that I am cynical and the odds of hearing two CDs in a row that I liked this much were not high at all. Happily, I can say that I was wrong in this assumption. Both Wishbone Zoe, and this CD, “Fossil’s Dream,” stand as proof to me that the brilliant lightning flash of originality really can, and does strike in the same place twice sometimes.
I am fascinated and enchanted by Saera Kochanski’s voice, innovative style, writing, and all that she and her band have done so far. I admit that it will not be to everyone’s taste. You are either going to “click” with this music, or you are not. I just don’t see being on the fence about it. And that’s okay. It’s artsy and earthy at the same time. Brainy and playful, all at once. The element of surrealism in any form of art, can often feel like a threatening thing to let yourself go with, but Wishbone Zoe, manages to keep it all friendly and fun. Avant Garde art, completely void of any airs of pretentiousness. To my mind, that is akin to finding a Unicorn in this world, which interestingly enough, is exactly what you will find on the cover of the CD. A toy one, too! It’s an experience that I find joyful and light.
The one problem in trying to explain what their music actually sounds like, is that I just don’t really feel that there is anything else quite like it with respect to comparisons. People typically hear music described, and question, “But what does it sound like???” I can only say that it is more about what it feels like. Experimental, trippy, benevolent, trance/house/ambient/punky, it gives access to both childhood revisited and even reinvented, evoking an inviting place for your mind and spirit to mesh with. Mischievous, but innocent as well.
“Fossil’s Dream,” really does sound like a literal “play session.” Both musically, and quite literally, as in a session of playing. I can’t really say that any particular track is a favorite for me but then, I’m not really sure that they were meant to be. I love all of it. I really liked the random additions of the recorded voices of children here and there. “Gumbo Jumbo,” is a funky and fun track. “Mellow-Tron,” has a distinctly tropical, and yes, mellow flavor to it. “Pulmona Lisa”is definitely a shining light where Saera K’s great vocals plus the amazing instrumentals are a total win. Really, I love them all. Can I state emphatically, that you will? Of course not. Maybe you will, maybe you won’t. But I really hope that you will at least try this one out. I just believe that even if it’s not somewhere you would typically go, that you may very well ending up enjoying it. Have fun. Sometimes we forget that, but no worries, thankfully, Wishbone Zoe is there to help! (R.J. Ouellette)
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KISS CONCERT
Humour
5 tracks
Worcester band Kiss Concert are a fairly serious band, so I’m not sure why they named this record Humour. The funniest thing about them is probably the band name, which might get them some attention. They can be catchy in the way that Motorhead were catchy, but way less metal. They seem to have verses that are influenced by television and choruses influenced by the Bay City Rollers or Mudhoney. So, yeah, there are many layers here, and they are as unexpected as they are great. “Fear And Loathing In The WWE” starts sounding like “Bad Leroy Brown” before the piano falls down the stairs, out the window,into the earth, and straight into hell, except there is no piano, and this song will lift your spirit into heaven, if that’s the kind of stuff you are into. Humour contains some great stuff. (Eric Baylies)
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TOM GUERRA
Casa Del Sol Records
Trampling Out The Vintage
10 tracks
This is a guitar album with a tight band and good songs, and these cuts showcase Connecticut native Guerra’s creative and very talented playing. The music is old school rock ’n’ roll with ballads and rockers but even the slower melodies have a musical heaviness to them. Check out “Hard To Love,” “Grow On Your Own,” and the more rocking “Super Moon” to hear what I mean. Tom is a real guitar whiz and all the songs have the same formula; power chords, strong rhythm and great riffs form the basis of the presentation. Sorta like Deep Purple/ Tommy Bolin meets Leslie West. Growling guitar with a clear and ringing tone is the focus, and heaviness and great licks provide the sound and fury. Listen to his cover of the Mama Cass ’60s pop song written by Barry Mann and Cynthia Weil, “Make Your Own Kind Of Music,” or Dylan’s “Pay In Blood.” “The Brill Building” song is still poppy but now with louder power chords driving it, and Bob’s tune sounds more like a Stones song and Guerra plays it in open G tuning; which adds much more power to the take. All the other songs are written by Guerra. My two favorite compositions, the opener “All Purpose Song,” and “Tell The World” are radio friendly rockers that just jump out of the speakers. Great feel. Screaming guitar. On his second solo effort ex- Mambo Sons front man Guerra pummels the guitars and sings, Kenny Aaronson plays bass, Morgan Fisher is on piano/ organ, Mike Kosacek pounds, and Matt Zeiner commandeers the Hammond organ and piano parts. These cats can play! (A.J. Wachtel)
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THE 7CS
Long Odds and Loose Ends
8 tracks
Every once in a while I run up against a release that is difficult to review. Not because the music isn’t good but instead because it is difficult to neatly categorize. If say The 7Cs play FM radio rock ’n’ roll, what does that mean? Does “FM radio” even exist anymore. I’m not convinced that it does. The trouble for me as a reviewer is that’s exactly what I hear when I play Long Odds and Loose Ends – FM radio rock ’n’ roll.
The 7Cs’ brand of rock ’n’ roll is timeless thought. If they released this album in the ’70s or ’80s I would have compared them to Kiss or Aerosmith. If they came along in the ’90s I could have said they sound like Nada Surf or the Screaming Trees. Maybe in the early aughts I probably would have tossed The Strokes as a reference. Their sound has enough breadth to at one moment evoke The Kinks (“One Big House”) and in the next borrow from The New York Dolls (“Monkey Bar Lover”).
With all that said, don’t let the limitations of my skills as a reviewer stand in the way of this record. How can you go wrong with music that has kinship with each of those artists? Long Odds and Loose Endsis a fantastic rock album. This style of rock has been popular since the late ’60s and will never go out of style. And with that being the case, I recommend that you check them out. (George Dow)
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JEFF AND JANE
The Middle
11 tracks
Living proof that the old adage “the family that plays together stays together” is a truism, husband and wife artists Jeff and Jane Hudson started out in late ’70s punk/ new wave band The Rentals, and today this electronic duo combines synth pop with guitar driven post-punk, and produces a Devo inspired almost European industrial sound. And it’s a good mix. Jane is a great poet with a good ear for melody and Jeff provides the rhythms. The music is driven by a drum machine surrounded by melodic riffs and artsy arrangements. There’s a lot going on in these songs and in a sense it’s almost like Jeff is taming about two hundred tracks. Check out the uptempo opening cut “The Middle,” Jane’s sultry vocals in “Innocent,” and the electronic funk of my favorite song “Gertrude Stein,” with it’s cool clavinet. I also dig the Devo-ish “Los Alamos,” and the punk “Friday.” Jeff’s good guitar work in all the songs sounds like it was done in one or two takes which also gives a punk feel to the release. Listen to the spacey and cold mechanics of the closing cut “Sleet Blues” to hear what I mean. In the middle of a tune, all of a sudden you’ll hear something unexpected and you’ll grin and think “that’s cool.” I like this latest release, The Middle, from this synthwave couple and so will you. (A.J. Wachtel)
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BELLEROPHON
Teosinte
5 tracks
Bellerophon is the solo project of Mauricio Ossa of Chile, now living in Providence, RI. It sounds like a full band, but Mauricio plays all the instruments, and there are a lot of things going on in these songs. The record is kind of a throwback synth pop album that could have come out 30 years ago, yet sounds as fresh as can be. Although it doesn’t sound like Stereolab, it reminds me of them in the way that it has poppy vocals over what could be Neu! or Faust underneath. It somehow reminds me of both New Order and Billy Idol at the same time, maybe its the handclaps or it could be the attitude. Come to think of it, this Teosinte reminds me of myself, a little short, but wicked nice! (Eric Baylies)
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JAY PSAROS
PB and Jay Records
Jay Psaros
10 tracks
The opening tune “Young Man” calls to mind your standard-issue sensitive singer-songwriter product with shades of “The Boxer” and the first Paul Simon record, and with superadded steel guitars. Nice, delicate; subtly produced; but nothing spectacular, and maybe that’s the problem. What do we ultimately get from listening to this CD? We get a mildly funky Caribbean vibe with the perfectly bland “Downtime”; we get more touchy-feely balladry with “Whiskey in the Rain”; we get a wistful lullaby of ‘what is the world coming to’ in “Modern Times”: and we get a soothing but faintly ludicrous country song called “Barroom Singer”; we get a super-mellow but admittedly lovely vocal duet with heartrending violin called “Sapa Valley Love Song,” which is best of show. This is followed by a couple more Simon-esque toe-tappers, plus a perfectly unassuming jazzy number (“Time to Go Home”) which makes Michael Franks look like a meat-eater; and then there’s the dreamy but mostly perfectly underwhelming “Underneath the Moon,” replete with a short section of grandiose strings. Folks as dote on a mellow setting in their tuneage will likely find this most satisfactory as their relaxation therapy. (Francis DiMenno)
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TOWN MEETING
If I Die
11 tracks
There’s a lot to like on this debut folk/ rock/ Americana release but the first thing that you notice and love is the gorgeous harmonies ever present on all the songs. These beautiful voices give the whole production a very comfortable country feel and sound. They are provided by brothers Luke (guitar), Russell (cajon, drums) and Brendan Condon (harp), whose instinctive singing and vocal arrangements are the driving force behind this Ayer, Massachusetts band. Dean Adrien (Orphan) plays guitar and Tim Cackett mans the bass and mandolin, and their music sounds like it would fit in everywhere from a coffeehouse to an arena. Sorta like if Crosby, Stills & Nash played the same set in your living room before their gig at the Garden. And they are interesting because while their music has many obvious influences their taste spans the whole spectrum of the genres. Take Americana ballads for instance: “If This Were A Movie,” and “Leave The Light On” are country-ish, “Phoenix,” “Verge” with the Dylan harp and “Wash My Hands” are more folk influenced and “Orange And Red,” “Digging,” and “Missionary Street” have a bit of country blues in them. Sorta like The Ozark Mountain Daredevils meet Nickel Creek meet The Lumineers. They remind me a bit of the ’80’s band Scruffy The Cat in terms of that group’s super-catchy songs, interesting instrument usage, and with an easily identifiable Americana/ garage punk sound. My favorite track is the opening cut “If I Die” with it’s great harmonies and super-solid delivery. Great music. A great listen. (A.J. Wachtel)
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LEAP OF FAITH ORCHESTRA
The Expanding Universe
2 tracks
Do not be deceived by two songs. This CD is 90 minutes of pure improvised bliss. Free jazz, noise, rock, it’s all here, but mostly free jazz. This might be among the “free-est recordings I have ever heard, right up with Arthur Doyle, Albert Ayer, or Henry Cow. There are so many musicians, and so many instruments, that it is difficult to keep track of what’s going on. This is a fantastic, amazing record. I suggest you check out some of their other recordings online. The Expanding Universe is not easy listening, but the patient listener will be rewarded. (Eric Baylies)
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POWERANIMAL
A.D.
6 tracks
For openers, we hear a take on that old warhorse “Gloria” with a tune called “Complete Frustration,” and this more-or-less sets the tone for the rest of this collection: it’s blisteringly raw garage punk (and thrash) with some endearing touches – a groovy bass solo here; a yelping vocal there; an overall attitude of not giving a shit. But the drumming is rudimentary; the vocals are shouted and snarled rather than sung; and none of the minimally produced tracks make a lasting impression except the somewhat ambitious “Blind Eye.” (Francis DiMenno)
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DUKE ROBILLARD
Blues – Full Circle
13 tracks
It’s pretty much a guarantee that after your first listen to this remarkable release you will be sure that these players are in the best bar band around today. And you wouldn’t be wrong. Duke on guitar and vocals, Bruce Bears on keys, Brad Hallen on upright and electric bass and Mark Teixeira on drums are as tight as they come. Guests Sax Gordon Beadle, vocalist Sugar Ray Norcia and legendary Thunderbirds guitarist Jimmy Vaugan add their tremendous talents to the mix and bring the overall audio electricity up a notch. Hear Sax Gordon wail along with Sugar Ray’s passionate vocals on Jimmy Lewis’ “Last Night.” And check out Stevie Ray’s older brother Jimmy and Duke challenge each other on their co-written “Shufflin and Scufflin.” In case you’re interested, the last guitar solo is done by Jimmy. What a powerhouse band. The right chemistry is there and they are the perfect performers to provide the fantastic feel behind every note played. Listen to Duke’s ever-present beautiful guitar tone communicating every creative and inspiring solo he emotes. Robillard wrote most of the songs recently, but the last three on the CD, “You Used to Be Sugar,” “Work Waitin’ On,” and “Come With Me Baby,” he composed about 35 years ago and were never recorded before. I really dig “Blues For Eddie Jones,” which was Guitar Slim’s real name, a solid Chicago trad blues tune, and the boogie-woogie piano opening by Bruce Bears along with the great vocals by Kelly Hunt on “The Mood Room.” As a blues rhythm section, Brad and Mark are the best in the business. Just listen to the solidarity and power in their playing. The great bar band r&b sound of “Fool About My Money” and “No More Tears” reinforces my original premise and showcases what these cats are all about. Great band. Great release. End of story. (A.J. Wachtel)
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JAKE DURKIN
Jake Durkin
# 12 tracks
So, here I am, listening to Jake Durkin’s self-titled CD, and I have to say that this is the type of scenario that presents me with a dilemma, which as both a listener and a reviewer, I have come to dread. Not an unusual one really, as given my personal tastes in music, I run across this often. The crux of it is that the artist is obviously technically speaking, really talented, but I am simply not feeling the music that they are playing. I am hearing it just fine, but unless I can feel what someone is singing, it leaves me feeling that the heart and soul of it is missing.
Also, part of the problem for me, is that this CD is a bit too mainstream for my taste, but even aside from that, I really just need more focus placed upon feeling and character in music. What I want to hear has a lot less to do with perfecting something technically, and a lot more to do with raw emotions and something within it which leaves some unique mark of originality. It’s not enough for me to hear it. I really need to feel it, and I find that this is lacking for me here. This may very well have to do with my own personal preferences, which embrace a certain personal trademark quirkiness within the music that I usually gravitate towards. I love quirkiness, I love imperfections, I love character, I love depth, ( sometimes).
All of this, only adds to the experience, and/ or character that is so crucial for me in the music that I cherish the most.
Really, the bottom line is that I am simply not feeling this, and while I will never say, “never,” this is most likely not going to work for me. I may very well be the minority here. We can definitely agree to disagree. I get that others may very well love this music, but it’s just not to my taste. I took my time, I kept an open mind, I listened objectively, but I’m afraid that if I am forced to say, “Yay,” or “Nay,” I am going with the latter. Just not my thing, but by all means, do as I did. Keep an open mind. Decide for yourself. (R.J. Ouellette)
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WOLFMAN & THE BRIMSTONE BOYS
Back Alley Abortion
6 tracks
Wolfman & The Brimstone Boys are a Providence horror themed punk rock band from Providence. They are a sort of old school throwback to shock rock punks the Dictators Mentors, and G.G. Allin, but with better songs that you can hum along to as you get destroyed in the pit. As you can guess by the album title, they are not exactly politically correct and make no apologies for that. This album was recorded live and the sound quality is pretty good. If they polished this up a slight bit they would have the Misfits and Rob Zombie opening for them, instead of the other way around. I think they are content at doing what they do, when they want to do it, smashing down walls and not having anyone tell them what to do. On Back Alley Abortion Wolfman & The Brimstone Boys take no prisoners, so watch out, punk. (Eric Baylies)
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THE 7CS
Long Odds & Loose Ends
8 tracks
This is mostly predictable meat and potatoes rock ’n’ roll, with curiously subdued production values. The keyboards help give them a certain sound which they can call their own, but they utterly fail to conceal the unfortunate mediocrity of the standard fare on offer here. “Living By Candlelight” is a refreshing singalong ala The Kinks; “Wicked Wicked Ways” is initially promising as a rock pronunciato but then devolves into bad bar blues; “The Problem and the Cure” is a curiously off-kilter song, and not in a good way; “Rock n Roll Y’Own” is just plain ludicrous. I’ll have to pass on this one. (Francis DiMenno)
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LOS GREYS
Family Acid Baptism
8 tracks
Los Greys are from Allston, Rock City. This is the ultimate headphone album. This is a great record to run around in the bullpen at Fenway Park blind folded, you know, so you can trip balls and stuff. If Tangerine Dream collaborated with Leonard Cohen and everyone took five million hits of acid it would not sound as good as this, though that might sound pretty good. I’ve been through the desert on a horse with no name and I had this on in my headphones. The batteries died and the acid leaked into my brain, and it sounded better and better. Los Greys are one of the better bands to emerge out of Boston in the past 50 years. (Eric Baylies)
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JAWZWA
Jawzwa
10 tracks
Jawzwa is a solo artist that sounds like a full band. He plays every instrument in the world, and if it doesn’t exist he will build it. This record is poppy and weird and wonderful. Jandek and Beck comparisons are fair, but this Boston dude sounds like no one you’ve heard. Jawzwa is the next big thing in the Boston underground. This self-titled CD is great but he’s also on point live, too, so check him out, Beantown! (Terry Boulder)
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Recently discovered Jay Psaros. Saw The Mavericks at Cohassett Music Circus in June with some friends and Jay was the opening act. Loved his music. Purchased his CD and play it all the time. Yes, his voice and guitar style is easy/plesant to listen to ( like James Taylor ). Inspiration comes in many forms, including others music. It’s when an artist can take from others and make it “their own”. Jay Psaros has done that.
By golly, Goli has finally released their second album, seven years after their wonderful debut. That’s a lot of time to reflect and ponder the next step. Not that they’ve been idle – constant gigs, busking, session work, graduate studies at New England Conservatory, time spent with family and friends – which adds up to a lot of living to invest in their new material. And eureka, this disc is even more stunning than could be expected. Their playing is tighter and more disciplined (more academic?!) as Vessela Stoyanova’s magical marimba technique spins out an array of tones and colors against Valerie Thompson’s deep rich cello accompaniment and wry vocals. This disc really plays up the disjointed mind games that she delves in – incisive, contradictory, fluid, flummoxed tunes that have swagger, sway, and sumptuous melodies. Yes indeed, she still has that wacky adult wit, singing about her personal hang-ups, romantic failures, facing the void, and other self-deprecating adventures. Major kudos to producer Peter Moore for seeing a bigger picture and bringing in other instrumentalists and singers to enhance their chamber-style vibrancy. Some fab songs here: “Greatest Mistake,” “You,” “Alone,” “Nihilist Love Song,” “So Perfect,” “Mystery to Me” (“Love and death are accidents waiting to prove true/ And if I die before I love – now what’s this gonna do…/ Will you remember my body kindly?”), and “Four Chord” – holy smokes, a rocker! As they have entered a second stage of development, there is no lack of musical confidence in their approach. Charming and irresistible, Valerie and Vessela-as-Goli are the new Dynamic Duo and a must-see! (Harry C. Tuniese)
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OCTOBER ACCORD
Cheapshot of the Year
5 tracks
What are we gonna sit here in 2015 and argue about what punk is? There’s no point, global warming is gonna kill us all in three or four years so worrying about whether this “pop-punk” band from southern Massachusetts ever heard, like, Discharge or Deep Wound or Bloody Mess and the Skabs or whatever you consider real punk is pretty moot at this late hour. I mean realistically you’d have to have some fucking hole in your head to consider any moment of this record punk, but again, let’s just move on while there’s still time. Although maybe punk means something different if you’re, say, 19 years old in 2015. You’d probably think Jello Biafra was just some old crank. Actually, I thought that in 1986, nevermind. So, anyway, this record. It’s an EP. If you like hooded sweatshirts in pastel colors and wandering around the mall, you’ll like it. If it is acceptable to you that you can buy Star Wars Lego toys at Newbury Comics then sure, gobble up all the October Accord you can. Do you remember Alice Cooper’s Teenage Lament ’74? “What a drag it is, these gold lame jeans/ Is this the coolest way to get through your teens?” Well, this is October Accord’s Teenage Lament ’15. Of course I hate it, I’m 46. But maybe you’re not. Well, statistically, given this zine’s readership, you’re probably at least that, but who knows. If you are under 22 years old, and white, and suburban, and middle-class, and if you’ve never heard of Bloody Mess, Discharge, or Deep Wound but you love Blink 182 and whatever Paramore is (they reference it in their bio), there’s a solid chance you’ll love this record. You’ll still die in a coastal flood in three years, but at least you’ll be hip to October Accord. (Sleazegrinder)
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THE BROOKLYNS
Sideways Town
12 tracks
There’s a lot going on in this band. Two lead singers, one male the other female. Two great guitarists that aren’t afraid to play, and a tight and powerful rhythm section. Tom Leger and Maureen Kavanaugh share lead vocals. Tommy and Sean Murray duel on guitars, with Jeff Murray on bass and Reebo Tibbs on drums powering the band. In a strange irony, Sean and Jeff Murray are cousins not brothers. Mo plays guitar also. Tom sings the metal rockers and his significant other sings the mellow rockers and ballads. There’s a bit of country, a bit of metal, and a bit of rock ’n’ roll in their sound. They’ve got Americana ballads: the opener “Take Back,” “For The Last Time,” and “Heart Alone” – country blues: “Strange Days” – mellow rock ’n’ roll: “Roll It” – and metal: “Boone’s Farm,” “Suitcase,” “It’s A Love,” “Lie With You,” “Separate,” and the closer “So Long.”This is a groove band too. The two guitarists play well together and set the mood in the beginning of all the songs and then it’s time to fasten your seat belts when Tommy or Mo start to sing. Mr. Leger was in The Fighting Cocks and Unattached many moons ago too, so you know he’s got the moves. Great stuff from a wild band. (A.J. Wachtel)
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LOS GOUTOS
Rained Out at the Ruth Gordon Ampitheatre: Los Goutos Live
9 tracks
At its best, this CD recording has a great deal of the good-timey ambiance and vim of the Rounder-and-friends 1975 album Have Moicy!And if you loved that you’ll certainly like this – many of the songs have a charming, joking feel which is practically infectious. All the more impressive is that it is a live recording, warts and all, with room for improvisations like the crooning at the end of the chummy Stewart/Gleason tune “Appropriating the Blues.” Bruce Bartone’s Santana-like dervish guitar melds gloriously with Chris Gleason’s mandolin on the fiddle-slathered showpiece “Tequila Set the House Afire,” showing that the band has a knack for the dramatic, and for consequential guitar solos. The amusing “El Chupacabra” is a folksy narrative sung by the legendary monster himself, with lots of hooting and shouting – and surely a good time was had by all, particularly Jakub Trasak, who delivers a pristine bluegrass fiddle solo. Mike Eigen contributes his introspective clarinet to his own mournful and haunting composition, “Persephone,” which is performed as a juddering dirge, with lots of artsy fiddle. The wanton, jaunty and amusing “Calamine Lotion” is a plaintive song with amusing lyrics replete with hot fiddle playing and persnickety but pastoral mandolin. Chris Gleason’s elegiac “Killing Me Kindly” reminds me of Byrdsy country rock, albeit with ensemble instrumentation, including Stewart’s accordion, a thrilling fiddle run, and Bartone’s liquescent guitar. The accordion also comes into prominent play on Eigen’s “Steal It, Pawn It, Buy Another,” a Latin-flavored delicacy replete with plaintive vocals and eccentric, halting percussion. Stewart’s “Missed Opportunities” is another country-folk tune with an easygoing pace and feel. “Broken” is a jittery, neurotic Warren Zevon-like chantey and a heartfelt manifesto sung and performed with a manic vivacity by composer Paul Stewart. This six-piece ensemble is undeniably talented and deserves to become cult favorites among the folksy set.(Francis DiMenno)
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DR. DK
Krankshaft (and other stuff)
9 tracks
“The Monster Song” starts things off and it looks like I’ve found Kraftwork in a Halloween disguise. As I dance on, the costume comes off but the mechanical beats and synth bass lines continue their staccato rhythms. The voice is what keeps your guessing… in “Puppy” it’s deep, dark and foreign. In “Remain” it’s almost priestly – reminding me a bit of another local musical physician—Dr. X. “Krankshaft” drives a persistent beat and synth bass with the title repetitively spoken for the chorus. “Black Rose (instrumental version)” adds a simple grand piano line to the thumps creating a beat-driven trance.The mellow voice in “Remember” sounds like it could be Brian Eno fronting A Flock of Seagulls. Plucked synth cello strings form a nice rhythmic base for a violin melody in “Noctum,” where a subtle wall of strings quietly lay a sustained base that floats below the solo. “Turn (instrumental version)” closes the album with a insistent bass drum beat that would keep dancers moving at a disco. Again a sweet reverby violin supplies the lead line, dancing around like a classical musician breaking a sweat. If you’re a fan of Kraftwork, or just need some music to keep your blood circulating and hips gyrating, Dr. DK can write your prescription.(T Max)
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VAT
When It All Turns Black
10 tracks
Boston’s Vat surprised me with this self described “sludge rock” record. With titles like “Torture Chamber,” Cult of the Dark,” “Carry the Cross,” and “Scorpio Woman,” I expected more of a straight up metal band. What I got instead was kind of a 21st century Venom album with guitar leads straight out of Guided By Voices or Helios Creed. I would call Vat thinking man’s metal, like Voi Vod, but I don’t want to limit their potential audience. Someone finally combined the musical equivalent of chocolate and peanut butter (Black Sabbath and Black Flag) and made hard rock sonic Reese’s Peanut Butter Cups. This album is so good it melts your ears, not in your hands. Death to false chocolate! (Eric Baylies)
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THE SECULAR VOICES OF HEAVEN’S HORIZON
The Future of Christmas
12 tracks
I was given this CD because I’m known for liking things off the beaten path, and I flat-out loved these goofball smartasses, who have written 12 new Christmas songs that mock the kitchen sink, yet, remarkably, these songs are potential future classics, up there with “Grandma Got Run Over By A Reindeer” or “Rudolph The Red Nosed Reindeer.” I kid you not. The lyrics aren’t just clever; the songs are irresistibly catchy, with great hooks and vocal melodies. Much of it is beautiful and melancholic. My only gripe would be the sloppiness of the vocals – I can’t always tell what the singers are singing – but their tag claims they were called “the alcoholic Manhattan Transfer” by Rolling Stone (which I’m going to guess is baloney), so the shabbiness seems deliberate. Clever move: the CD includes a lyric sheet as well as the 12 tracks as instrumentals, so you and your friends can use them for caroling if you choose! Warning: if you’re politically correct, avoid this group at all costs. The songs are quite smart, but perhaps too fearless, from “Asian Snow Man” (about what kids make with the yellow snow!), to “Christmas Is Illegal!” (where they make a compelling argument that you can’t have any religious holidays due to the separation of church and state). I find most parody acts to be unfortunately juvenile, but this act does it with aplomb, from the Neville Brothers (?) send up “One More Sip” (about needing to be intoxicated to visit the relatives) (which also may feature the world’s first glass-of-brandy solo, if you can believe it), to the Andrew Lloyd Weber (?) piss-take, “A Diamond Someday” (about a dumb orphan who gets a lump of coal and mistakenly thinks it will become a diamond someday!) (“This song is about the limits of optimism” reads the liner notes. Hilarious.) There’s not a drop of filler on this record. “Clean Your Chimney!” is Bing Crosby-esque and tells kids to get in there with a scrub brush and soap (!), while “No One Got Christ SHIT For Christmas” reminds all the selfish children (and adults) that it’s HIS birthday, and does it to a Springsteen (?)/ 1980s sound. (The liner notes call it their “punk rock” song.) It’s quite impressive how even their cheapest shots pay off, like in “It’s A St-St-Stuttering Christmas”: “Everyone st-st-stutters at Christmas/ m-m-mostly c-cuz it’s c-c-cold/ and even S-Santa st-stutters/ when he bellows ‘HO-HO-HO’!” I can’t recommend this record enough. The album was recorded in New Hampshire, but it’s unclear exactly where they are based. I pray (despite my atheism) they play Boston this holiday season! (Shauna Erlbaum)
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MARTY NESTOR & THE BLACKJACKS
Live At The Bull Run
10 tracks
This Pepperell, MA, singer/songwriter is a country folkie with an acoustic guitar, great voice and tunes, and a solid backing band. I always love live releases cause they really show a band’s heart and soul and not just the studio hijinks. Even I can sound like Paul McCartney in a studio with a good engineer, ya know? Marty strums and fingerpicks and his vocals sound a bit like Tom Waits meets Dylan meets Billy Joel. Tom Waits because he has a good, very passionate and raspy voice, Dylan because his compositions are influenced by the master, and Billy Joel because his expressive vocals really tell a good story. Nestor countrifies two covers, “Dead Flowers” by The Stones, and “Mystery Train” by Junior Parker, and I really dig Marty’s own country blues ballads “Little Lady Lowdown,” “The Rain Came,” and “Saint of The Highway.” Marty, who sings lead vocals, plays acoustic guitar and harmonica, is backed by Carl Johnson with nice twangy lead guitar licks, Jeff Root on bass, and Lloyd Iisley pounding. Carl and Jeff also add their backing vocals to the mix. The crowd seems to really dig their performance and so do I. (A.J. Wachtel)
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41 PROSPECT
Steps That Remain
6 tracks
“A New Game” begins muffled and vague, replete with all sorts of sonic tricks and gew-gaws – distorted, watery guitar; squeaky, cascading background noises; nonsensical guitar runs. Interesting, if not particularly impressive. Their cover of the Weakerthans’ “Reconstruction Site,” is a loping recitative with philosophical and sentimental lyrics. The cover of Jenny Lewis’ “Acid Tongue,” with vocals by Heidi, is lovely and melancholy. “Will You Wait for Me in Baltimore” is a woozy love song with a sweet guitar solo grounding it, somehow, to some earthly plane. “Slow Learner,” the best of show, is a genuine surprise – a salsa-tinged number with a strong guitar line by Ken Klucznik, which is well-grounded by Mike Stefanowicz’s deterministic and well-nigh perfect bass part. “Long Way From Mexico” lays on the studio effects at the outset, then devolves into an easygoing ballad that, for all its affectless vocals, wouldn’t be out of place on a soft-rock radio program. It’s difficult to judge on the basis of four originals, but this seems like a young band that wears its influences on its sleeve, has yet to find a consistent voice, but may someday evolve into a praiseworthy unit. (Francis DiMenno)
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GUERRILLA TOSS
DFA
Flood Dosed
3 tracks
I fell in love with Guerrilla Toss after hearing a live performance somewhere that I can no longer remember. Their disco punk sound was equal parts totally modern and craftily nostalgic. Unfortunately they were never able to translate the joyousness of the disco side of their formula onto record. In the studio they favored dissonant free-jazz electro-noise.
I am happy to report that Guerrilla Toss discovered how to capture their live sound on record with the release of Flood Dosed. The 17-minute EP captures everything there is to love about this band.
If you crossed Devo with the Psychedelic Furs and brought in Sleigh Bells’ Alexis Krauss on vocals you would find an approximation of Guerrilla Toss.
“Realistic Rabbit” layers eighties-style synths on top of driving drums, popping bass, and crazy sax.
“Ritual in Light” sounds like a noisy B-52s track crossbred with Morphine and run through an electro-jazz blender.
“Polly’s Crystal” stretches out into a 7-minute alterna-psych atmospheric journey that would make Echo and the Bunnymen and the Cure proud.
Bring on the full-length. 17 minutes is not enough! (George Dow)
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ANDREW MARTIN
Roadstar Records
EP 1
5 tracks
Not a style of music that I typically gravitate toward. Classified as rock, it sounds more like ambient, easy listening. The production is great. Andrew Martin is talented – adeptly playing guitar, bass, piano, synth, and percussion.
That’s why I really wanted to like this CD, however, I just couldn’t connect with it. Moreover, all five songs sounded so much alike, that they seemingly blurred into one long song. Nothing struck me. If music had colors, this would sound “beige” to my ears. Hopefully, he will in time, find a niche that allows his skills to truly shine through. This just didn’t do that. (R.J. Ouellette)
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FERAL JENNY
Bedrooms
6 tracks
Boston’s Feral Jenny is the dreamchild of guitar player and singer Jenny Mudarri. The album is a bit brief but packs a wallop in a very catchy garage kind of way. It reminds me of two acts from 30 years ago or so, What Now, and the Three O’Clock, but with kind of a Robin Lane & the Chartbusters swagger to it. This started as a solo project but has turned into a full band, and I’m really looking forward to hearing these songs live. (Eric Baylies)
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ROBERT BUSHINSKY
Life In A Cold Frame
9 tracks
This album definitely has a unique sound. Throughout the nine tracks, I hear quite a range of influences. It has an ’80s synth feel, with its dancey drums and synths, and then the vocals have a Les Claypool/ B-52s sound to them. I really like Masashi Nakamura’s guitar work – the leads don’t just follow Wayne William’s bass lines or Bushinsky’s keyboard, they add a great element to the album. The musicianship all around is very good. The only thing that loses me a little bit is the vocals. They aren’t bad, but a little too reminiscent of Les Claypool and B-52s style of monotone talking/ singing.Nevertheless, this is a good album with cool ideas. If you are a fan of anything synth-y or slightly progressive, then definitely check it out! (Tom Barvick)
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ILANA KATZ KATZ
I’ve Got Something To Tell You
13 tracks
This is a really cool release. A blues and Appalachian old time fiddle CD. Sorta like going to a hoe-down in the South side of Chicago. Influenced by early fiddle laced records of Big Bill Broozy, Katz’ music is a nice mix of country blues and traditional blues. Sorta like if Papa John Creach fronted a killer blues ensemble and they played at the Grand Ole Opry. Check out her stunning band – Ronnie Earl on guitar, Diane Blue on vocals, Marylou Ferrante on vocals, guitar and banjo, Dotty Moore on fiddle, and Jesse Williams on bass. There are no drums. You might have seen Ilana playing in subway stations around Boston. Her chops are imaginative and she plays with a lot of emotion and passion. No joke, she really fiddles around! And nobody plays like Ronnie Earl. My favorite cuts are the country blues “Marilyn’s Blues,” “Cruel Willie’s Blues” with Marylou Ferrante on guitar, “PB Cracker Blues (For Ronnie Earl),” two melodies she wrote herself, and the more traditional “She’s Long She’s Tall (She Weeps Like A Willow Tree”) by John Lee Hooker, “Take A Little Walk With Me” by Robert Lockwood with Diane Blue wailing on vocals, and a song she wrote, “Runnin’ In Peace” about her experience being next door to the Marathon bombing. Ronnie also covers this great song on his Good News CD. The two Memphis Millie tracks, “Ain’t Nothin’ In Ramblin’ ” and “Frisco Town” are also killer. I really love this blues and old time fiddle release and you will too. (A.J. Wachtel)
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DEVIL ON HORSEBACK
Rule the Deep
4 tracks
It feels a lot like the mid-eighties when I listen to Devil on Horseback’s Rule the Deep EP, I fondly reminisce about those years when heavy metal was transitioning from the classic Black Sabbath/Iron Maiden power metal formula to the chunky, chugging riffs of Metallica and Megadeth. It was a beautiful chapter in the history of metal and it is refreshing to hear it revisited by Devil on Horseback.
Their dual guitar attack brings to mind the classic K. K. Downing/Glenn Tipton Judas Priest combo. Stacking lead guitars slightly out of phase always brings a smile. The rhythm section plays in a deep, dark pocket in a style reminiscent of nineties metal bands – bringing the retro sound forward into the 21st century. Singer Eric Waxwood casts away the gravely shouts favored by today’s popular metal in favor of a high and mighty vocal style which is a breath of fresh air for ears that have been pummeled with Cookie Monster growls for far too long. (George Dow)
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THE HAMMOND GROUP
Futuresize
10 tracks
We don’t really live in a world that can accommodate The Hammond Group, so the choices are either create one or just reject Futursize completely. Here’s what you need to know to make an informed choice: they play fun, goofy surf/ garage rock/ power pop with songs about how Somerville girls are hotter than Cambridge girls and hassles at the 1369 coffee shop. Basically, The Hammond Group wants you to get tipsy and have a good night out and dance to wobbly rock ’n’ roll that went out of fashion in 1982. But can you live up to that? Can you stay up past midnight and slither around Central Square? Would you actually pay to stand in a room as disgusting as the Cantab basement or the Midway? Do you even know how to dance to surf rock? I know, probably not, but honestly, I think it’s worth a shot. Seems like the world would be better with them in it. (Sleazegrinder)
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INFUSION EVOLUTION
Niveo Records
Infusion Evolution
5 tracks
Wow! This is refreshing. A Cranston, RI, band that plays an Afro-Cuban Flamenco style. “Quero Cantar” gets us tapping with its friendly harmonious refrain, “I just want to sing a song for you.” Cool speedy hand claps at one point add a nice little bridge. Next is a catchy insistent guitar riff in “Zapateo,” my favorite song on this EP. Percussion and bass joins in, making everything bounce. The message is all about moving forward – “Here we are/ We’re movin’ to another day/ Forget about yesterday/ This is the day/ There are no more clichés.” It feels like a party with all the musicians celebrating. When the trumpets come in I just want to do a Mexican hat dance. Track 3, “Toma Mi Mano,” is totally in Spanish – and it jumps with a lot of percussion. “Balle En La Calle” is a little more suave in its presentation with crowd sounds from a party. I love the trumpet again – I can imagine being at a post-bullfight party – though the lyrics are more about a desire to dance with that special someone. “Waiting” incorporates a little call and response gang vocals. Again, the music is all about getting those hips rotating.More cool hand clap percussion, a trumpet solo, and a nifty Spanish-type guitar solo. I wish The Noise received more CDs like this one. This collection of songs can shoot adrenaline into anyone’s party. (T Max)
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WAYLON SPEED
Crow on Ten Records
Kin
11 tracks
This Vermont-based band plays Southern rock. Their cool sound is sorta like Jackson Browne meets Alabama meets Skynyrd and they’ve got all the bases of their contemporary outlaw country/gritty Southern rock sound covered. Vocals with attitude, high octane songs, and subtle blues/indie rock/metal and punk influences. This is a good band that are all on the same page and that makes the difference. Listen to “On A Wire,” “Tally-Ho,” “Shakin’,” “In Your Mind,” and “Days Remain the Same.”All are first rate tunes with a powerful chugging beat that gets to me immediately. Even the ballads, “Until It All Ends” and the closer “Demons,” are sweet and ominously powerful. Noah Crowther on bass/vocals, Kelly Ravine and the Rev. Chad Hammaker on guitars and vocals, and brother Justin Crowther pounding and playing harmonica jell well together. Perfectl music for racing down the highway at full volume. Check them out. (A.J. Wachtel)
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BURKE’S LAW
Burke’s Law
12 tracks
Murky hard rock, mostly. Staccato lyrics. Lots of flash guitar on opening track, “Electric Chair.” “Crawl Back Home” does have a smoking guitar riff going for it, and the churning “Red Spell” does show off another, more introspective prog side to the band. “My One and Only” is a faltering, Springsteen-like outing, but “Take My Soul” is a largely successful stab at working up a smoky blues ambiance. “Black Dragon” is a real anthemic rave-up, and best of show–seemingly fueled by nitroglycerine and testosterone in equal parts, replete with a psychedelic middle eight. “Not Today” is an epic concoction full of world-weariness and ennui–existential metal?–and betrays a spark of divine madness, alternatingly halting and aggressive. The concise “Payin’ My Dues” is another staccato pronunciato with plenty of the old hard rock attitude and aggression. “Cruel World” rounds off the proceedings with some warhorse old style bluesy heavy metal, replete with a sputtery guitar-driven middle eight and a spattery and utterly bewildering coda. People have been grooving to this sort of thing since the long-gone days of Blue Cheer and the MC5, to say nothing of Black Sabbath and Deep Purple. This is a thoroughly competent outing in its genre, but the (deliberately?) bare-bones production values give the variegated songs an unwanted sonic sameness.(Francis DiMenno)
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NEW YORK ELECTRIC PIANO
Buffalo Puppy Records
Black Hole In One
9 tracks
Remember punk/prog rock ’80s band Vasco Da Gama? Now vocalist/keyboardist Pat Daugherty plays jazz with hip hop and rock influences. This is his sixth studio album since the Vasco days and his first in four years And get this: the odd tracks are all instrumentals and the even cuts have Pat’s effects-laden vocals. How’s that for a cool album layout? Three odd track instrumentals “Reboot,” “Wait For It” and “Tribute,” a toms driven melody that really swings, could all be on the soundtrack of the movie Shaft. It’s mood music at its best. The closing cut, “Save the Date,” is guilty of unique syncopation and changing tempos, to say the least. On the even numbered songs it is very noticeable that Pat sings and plays his keyboards together to produce the melodies’ full effect. Sometimes his somber and electric notes and chords scream, “Listen to me!,” as an audio foil to his vocals. Pretty cool. And it works well. The music moves you always. Sorta like Herbie Hancock with a real edge. Pretty cool. (A.J. Wachtel)
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PAVLOV’S DOGS
Demo
4 tracks
Pavlov’s Dogs hail from North Adams, MA. This album is way too short but gives you a good idea where what these guys are up to. Some of the songs swing in a garage rock Lyres kind of feel, others are a bit more psyche like Iron Butterfly or Ultimate Spinach, but there’s always a kind of punk rock danger waiting in the wings. The songs are very fun and tuneful. These guys are very young but already seem to possess an encyclopedic knowledge of rock ’n’ roll. Hail, Hail, Pavlov’s Dogs! (Eric Baylies)
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ANTHONY GERACI & THE BOSTON BLUES ALL-STARS
Delta Groove Music Records
Fifty Shades of Blue
13 tracks
There is a ton of great music on this release. Geraci has played and recorded with Muddy Waters, Big Joe Turner, J.B. Hutto, Otis Rush, Hubert Sumlin, Jimmy Rogers, Big Walter Horton, and Big Mama Thornton. He also was an original member of both Sugar Ray & the Bluetones and Ronnie Earl & the Broadcasters. Pretty impressive? Wait, it gets even better. This band features some of the top blues musicians in the Boston area: Sugar Ray Norcia, Darrell Nulisch, Michelle “Evil Gal” Willson, Michael “Mudcat” Ward, Marty Richards (The J. Geils Band), and Neil Gouvin. All the compositions are by Anthony and every measure in every song sounds spontaneous and first rate. I really dig the title cut with Sugar Ray and Michelle sharing stellar vocals and Monster Mike’s screaming leads, “If You Want To Go To Heaven” with “Evil Gal’s” passionate vocals, “Diamond’s And Pearl’s” with Toni Lynn Washington’s teasing voice, the instrumental “In The Quicksand,” sounding like a ’50s Ray Charles cut, and the closing instrumental, “Blues For David Maxwell,” which really showcases Geraci’s impressive talent. He is as good playing rhythm as he is at pounding out leads. And I enjoy that a lot. Darrell’s harp on “The Blues Never Sleeps” and Sugar Ray’s torrid playing on “Your Turn To Cry” are great performances too. How many bands today have two red hot and blue harpists in their fold? How many groups today have two incredible female vocalists contributing? Enough said. A monumental and important bit of local history here, folks. Music that everybody needs to hear.(A.J. Wachtel)
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ERIC HOURDE
The Album
11 tracks
Every time I see a CD with a vaguely punk rock-looking guy with an acoustic guitar I see visions of Billy Bragg and Joe Strummer. I get excited. Most times I end up disappointed. Eric Hourde continues the disappointment streak.
The Album starts strong with a nineties-style, full-band, hardcore anthem – “Artist’s Punk Rock Anthem.” Hard, fast, and reminiscent of Gorilla Biscuits.
Next up, “This Time,” an acoustic electric jam that gets my Billy Bragg antenna humming. Eric plows through with anthemic Dropkick Murphy’s pub-core vocals and Rancid-ish guitar accompaniment – an altogether respectable entry.
Beyond the first two tracks things fall apart entirely. Maybe I’m just getting old but “Me and Your Mom” truly offends. An acoustic story song told to a young boy. The narrator sarcastically describes taking the boy’s mom out for the night, sleeping with her, then waking up the next morning and awkwardly meeting the boy in the living room. The chorus of, “I fucked your mom,” was stomach-turning indeed.
I don’t even know what to make of the rest of the album. I spent my fair share of time in modern Christen churches listening to creepy Christen rock. The rest of the record dives headlong down this strange rabbit hole. I just don’t get it – from “I fucked you mom,” to flutes and bunny rabbits without as much as a palate cleanser. Bards and lutes would not be misplaced on the half dozen strange, nearly unlistenable ballads the close out The Album. (George Dow)
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Comments
Thank you, The Noise-Boston for being there for all of us who drag equipment to dark and often dirty venues, battling the varying New England weather, sometimes in front of four people including a bartender, to play for little or no money and even less recognition.
And thanks for including a review of 41prospect’s steps that remain in the December issue of The Noise-Boston.
Watch for the band’s next CD, due to hit the streets sometime before spring, 2041.
Paul Ofria
41prospect
Paul,
Good to hear from you and best of luck with 41prospect. Let me know if the band is ever playing on Massachusetts’ North Shore.
T Max
Thanks for the kind words and supporting independent music!!
– BURKE’S LAW
It’s a real honor to be in the Noise again after a 30 year hiatus. (the high ate us) And to be reviewed by the legendary A.J. Wachtel only makes it sweeter. Thanks to Rita & Lolita for mentioning my 2 young sons last month, already getting a heavy dose of Mission of Burma in their diet. Vasco Da Gama’s compilation of 2 CDs and unreleased trax is now on iTunes: my brother Tommy D went on to record and mix Tupac’s Makavelli and Korn. Lou Cataldo is still an in demand N.E. drummer and Laurie Geltman and Dan Kellar went on an collaborative spree. Thanx to the Noise for writing about music that matters! Party On! https://www.youtube.com/watch?v=o8-7Mk0TCmE
Hello Noise Mag – thx alot for taking the time to review our 5-song CD.
Happy Holidaze!
Best regards,
Infusion Evolution
Infusion Evolution – Stay in touch. I really enjoy the variety of music in New Englnad and you are doing something I don’t get to hear a lot of.
T Max, publisher
DROPKICK MURPHYS
Born & Bred Records
Going Out in Style: Fenway Park Bonus Edition
31 tracks
At this point in time, it’s somewhat difficult to write a Dropkick Murphys review, as it can be tough to separate Dropkick Murphys the band from Dropkick Murphys the product. It’s even harder if you’ve been with them from the Do or Die era and watched the music and the crowd change over time. It’s pretty easy to be jaded, but it would also ignore the fact that the records they’ve made since ascending to the throne of Boston ambassadors/mascots have generally been pretty good. In fact, their last record, The Meanest of Times, stood up quite nicely to anything they did in the pre-“Tessie” era. Going Out in Style isn’t as strong as that record, but it’s still a pretty decent effort. The 1-2 punch of “Hang’em High” and the title track provides quite a kick, the latter of which contains enough Boston landmark/celebrity namedropping to show that the band is in on the joke. While things generally suffer a bit when they slow down the tempo, the more laid back “Broken Hymns” is surprisingly pretty. In addition, it’s amazing that drummer Matt Kelly doesn’t get mentioned more often as being one of punk rock’s best. There is no way these songs carry their sense of martial swing without him. The record has its share of filler, and we definitely don’t need their take on “The Irish Rover” since the Pogues already did it and did it better.
The bonus edition also contains a live recording from the band’s two-night stint at Fenway Park. Some fans will be disappointed at the strong emphasis on Going Out in Style, but that makes sense given that this is the band’s third full-length live release and a lot of the older numbers have appeared on the previous two. From a technical standpoint, this is about as good as I’ve ever heard a live recording sound. Everything comes through crystal clear, and the vocals and instruments are mixed at appropriate levels. In general, the songs contain more energy than their recorded counterparts, but the melodies get flattened out a bit. While the performance is more than competent, the song selection highlights the band’s increasingly obvious attempts at pandering to the crowd. The inclusion of “Tessie” was probably unavoidable, but it’s still hard not to associate that song with the last exodus of the studded leather jacket/liberty spikes crowd. “I’m Shipping Up to Boston” and “Kiss Me I’m Shitfaced” (even with its knowing wink) are grating at this point as well. The high point of the set is Kay Hanley reprising her role on the bawdy rocker “The Dirty Glass.” It’s probably the band’s most enjoyable song, and really, is there anything that Kay Hanley doesn’t make better? (Kevin Finn)
ANDREA GILLIS BAND
Hey Gillis
10 tracks
Andrea Gillis is another of that rare breed of singer who can sing the back of a milk carton and make your soul ache. This new release features a roster of Boston rock royalty: Melissa Gibbs, Charles Hansen, Michelle Paulhus, and Bruce Corporal, with guest appearances by Steve Mayone, John Powhida, Mark Pinansky, and Sarah Grant. This new album absolutely sizzles and spits out a vengeance that grabs you by the collar and makes you pay attention. Loads of influences here: classic Motown, mariachi, soul, R&B, and a load of badass rock ’n’ roll. Highlights include a rousing studio version of a personal longtime live fave, “Taxi”; “More Often Than Not,” written by Scott Janovitz, featuring some great vocal harmonies; and a rousing rendition of the gospel classic “Keep Your Hand on the Plow.” If you haven’t checked out Andrea Gillis’ music yet, you’ve probably been living under a rock for the last decade or so. If you haven’t been living under a rock, you should check out this powerhouse singer/songwriter. I can’t think of anyone who could possibly not be moved or impressed with the music on this CD. (Joel Simches)
THE ’MERICANS
So Late It Hurts
10 tracks
This reviewer recently read that So Late it Hurts was named one of the best albums of 2011, and the band, Best Act of 2009. It is not difficult to see why, especially when one recognizes Providence’s Chris Daltry’s involvement as singer-songwriter. Daltry began crafting what can only be described as “slow core” music in the early ’90s when he led Purple Ivy Shadows. The passage of time has resulted in the perfecting of his signature sound, something dark, but not oppressively so, brimming with majestic soundscapes and smooth psychedelic elements. When blended together, the result is the band’s third effort of beauty, something that aches with an intimate, relatable sorrow and conveyed through Daltry’s warm vocals. The opener, “When a Peaceful Bird Can’t Hear Her Own Song” is, exactly as the title suggests, melancholic but deeply introspective, while “Language of America,” “Our Strength in Numbers,” and “No One Up There Is Listening” call to mind Wilco, Galaxie 500, and Buffalo Tom. Perhaps the record’s closer, ”Sky Full,” truly paints a picture of the ’Mericans’ latest: “Lift me up. I want outta here. Lift me up. I wanna taste the sky.” In a word: exquisite. (Julia R. DeStefano)
PLANETOID
The Abraxis Tactics: Phase 4: The Tatterdemalion
4 tracks
After a year since Planetoid started releasing the Abraxis Tactics, the fourth and last part has arrived. The first thing I notice is the cover art, until this point I didn’t realize that all four phases fit together like a puzzle. The front covers make up a manila file folder, while the inside lyric sheets look like small notes from an X-file operative keeping tabs on these alien visitors.
Musically, this band just keeps getting better. The title track “The Tatterdemalion” is quickly becoming my favorite all-time Planetoid track. It shows how versatile this band is: it is a good old blues tune, with a twist. Planetoid are outcasts, doomed to travel throughout the universe overtaking galaxies, never getting a minute of rest. Planetoid doesn’t fit into a specific genre; this disc is a great example of that. They mix stoner desert groove, metal, blues, psychedelic, and good old-fashioned rock ’n’ roll into one big ball, creating something I don’t seem to get tired of listening to. If you haven’t checked them out yet, they get my highest recommendation. (Melvin O)
ABSINTHE ROSE
Screech Owl Records
Absinthe Rose EP
5 tracks
While Absinthe Rose would describe themselves as folk-punk, they could just as easily be associated with the gothic Americana of O’Death and the Builders and the Butchers. It’s fantastic to be able to add a female-led band to the canon of this sub-genre that’s been bubbling in the indie underground for a decade now. Kimberly Rose delivers her vocals in a style all her own, but certainly influenced by PJ Harvey and Sharon Van Etten. Mixing acoustic and electric tracks, cow-poke folk and punky moan, this EP delivers an all-too-short snapshot of an indie band on the rise. (George Dow)
THE WHISKEY BOYS
My Girl’s Across the Ocean
3 tracks
Ah, youth. The Whiskey Boys are a couple Berklee lads hailing from Connecticut who now make Boston their base of operation. Building on Beantown’s penchant and support of all things folk and acoustic, the Boys’ bluegrass fiddle/acoustic guitar/banjo twang and vocal harmonies waft through the air like a steady stream of corn mash smoke from a frothing still in the woods. This is a noble little EP, and at the end of three nicely built songs, you want … just a bit more. “Pass me that bottle once more, grandpa!” (Mike Loce)
GARAGE SALE PICASSO & MARIA MONK
75 or Less Records
Garage Sale Picasso & Maria Monk
8 tracks
The members of Garage Sale Picasso are clearly children of the 120 Minutes generation as their songs split the difference between the old R.E.M-style jangle pop of the ’80s and the more lush style of ’90s bands like, well, Lush. There isn’t much of an edge to the mostly mid-tempo songs, but the band has a melodic intelligence that seeps out with repeated listens. The most noticeable strength is the guitar work of Keith Menard and Jason Macierowski. I have the feeling these guys could absolutely shred if they wanted to, but they have the taste to never show off at the expense of the song.
Maria Monk also would have fit in on 120 Minutes, but they would fall in line more with the heavier guitar-driven pop of that era. Think Sebadoh or later Husker Du. These guys make indie rock for those who believe it should be loud, messy, and yearning. It’s a nice change from all those wimpy dudes with acoustic guitars who hole themselves up in a long cabin and make what basically sounds like Starbucks soundtrack music. At times, the band is a little too melodramatic, but for the most part, Maria Monk is a welcome kick in the pants. (Kevin Finn)
DOUG RATNER & THE WATCHMEN
Lessons Well Learned
5 tracks
Doug Ratner is far from your typical singer songwriter. His music has teeth and those teeth bite hard. His band the Watchmen are the perfect complement to Ratner’s energetic rock. His sound is an Americana Elvis Costello, circa 1979, albeit with slightly longer and more fleshed-out arrangements. “In the Backseat” is straight-up English punk pop, with a political subtext. I could do without such an obvious Pink Floyd cover such as “Money,” but it seems to spit out more bile than the polished 1973 version and seems to have more of the sarcastic bite of Waters’ original demo. Midway through this EP, Ratner does get a little introspective, in a Martin Sexton sort of way. And the last two songs sound like vintage Rockpile, with Ratner borrowing equally from both Edmunds and Lowe. Everything I’ve heard from this band continues to impress. Keep it coming! (Joel Simches)
SHAUN ENGLAND
Lay Me Down b/w Down the Line
2 tracks
All of Shaun England’s press mentions Leonard Cohen. It’s odd that there’s no mention of Lou Reed, with whom Shaun shares distinct vocal similarities.
These two tracks highlight an introspective songwriting style accompanied by acoustic guitar and harmonica. One would expect to hear the tunes drifting from a front porch somewhere in the Deep South. The dusty road and heat of the summer live within the guitar strums and harmonica’s vibrato.
This single is an all-too-short taste of an artist that surely has hundreds more songs like these tucked in battered notebooks, just itching to tell their stories. (George Dow)
SEED
Taking Root
9 tracks
This is a great example of “don’t judge a book by its cover.” The first track of this disc sounds like another awful Kenny G. album. I sat through all five minutes of painstakingly slow elevator jazz. The second song was only slightly better, it had a flamenco feel that just felt flat. I was just about ready to dismiss this altogether, writing it off as having tried but failed. Then the third track comes on, changing my opinion completely. I’m not sure why they led the album with the two slowest songs, but the rest of the disc is awesome. They leave behind the slow jazz, finding funky jazz grooves that border on old-school ska. These grooves are solid, the horns sound great, the guitar is full-bodied. If you skip the first two tracks, this disc will have you shaking your ass around the house in no time. (Melvin O)
THE DOCTORS FOX
Handful of Laughs
11 tracks
Listening to this album is a lot like turning the dial on a radio from the low-end stations and slowly working my way up to the top. Wait, scratch that. Listening to this is a lot like listening to a bunch of radios tuned to different stations all playing at the same time. No wait, maybe it’s a bit of both. I don’t know. Decent metaphors are tough when it comes to a band like this: one that not only combines such a chaotic array of diverse musical styles, but one that does it so goddamn well. They’re all over the place. One moment, the music has a reggae feel, but with gypsy-style fiddle thrown in the mix. Then, before I can get my bearings, I’m hearing a samba tune decked out with disco flair. Next thing I know, they’re knee-deep in doo-wop, country-western, and more. You name it, this band plays it. Seamlessly, too. The fiddle’s fluid leads, the singer’s husky vocals, and the band’s jaunting pop-rock warmth provide just enough familiarity to keep the album grounded amidst all the genre changeovers. (Will Barry)
SPECIAL GUESTS
Canned Peaches Records
10 tracks
On the back of this CD lists 21 names as band members and a wide variety of instruments including the usual acoustic and electric guitars, bass, and drums. Others are harmonica, percussion, synthesizer, B-3, banjo, horns, and a penny whistle. A penny whistle! Al Pechulis writes or co-writes almost all of the music and the songs range from acoustic blues to folk ballads to acoustic Island-flavored pop—and all of it very personable, very mellow, and very good. I like Zoe Alpert’s sweet vocals on “Remember” and “Lovin’ Arms” and Al’s strong delivery on ballads “Hold Me Close Tonight,” written by T. Perriera alone, and “Long Time Miles.” “Apathy” gets into a nice groove and “Yes I Know” and “Neato Keen” are perfect songs for the beach. A good listen. Check it out. (A.J. Wachtel)
KIRSTEN OPSTAD
Fear of Swimming
11 tracks
On her debut full-length album, Kirsten Opstad sings songs about casual sex, broken relationships and the tribulations of early adulthood in an upbeat folk-pop style and a Laurie Berkner-like vocal. Yes, Laurie Berkner—most of the songs on this record sound as though they would make great bumper music any Saturday morning on PBS Kids.
Scratch the surface though and Fear of Swimming is a collection of dark yet positive reflections on the trials of life. The incongruity of Kirsten’s vocals and her songs’ subject matter is the secret sauce that makes this record so thoroughly enjoyable.
Her lyrics are heartfelt and honest and her songwriting skills are fantastic—skills she’s surely honed with her other career as an improve/sketch actor at the North End’s Improv Asylum. Its 11 tracks mix solo acoustic and full-band electric nicely, resulting in a fully formed and well executed debut. (George Dow)
18 WHEELS OF JUSTICE
Execution
11 tracks
18 Wheels of Justice deliver a brutal and intelligent strain of thrash. Relentless in its execution and bolstered by thought-provoking lyrics, the songs confront everything that is wrong with America and humanity in general, urging the listener to question all that is dictated to our society by those who are deemed our superiors. Vocalist Adam Sloan incites revolution with a virtual arsenal of voices—he is tenacious to the end, only taking a breather for one track two-thirds into the album. While the album is three tracks too long in my opinion, it’s not due to slacking or petering out, which may be the problem. While the aforementioned instrumental breaks the mood for a bit, the relief is akin to walking the corridors between classes. Stylistically, the album could use more of a lunchtime recess to bring contrast and add weight to the messages of the surrounding songs, but this quibble is minor. I think fans of thrash ought to be eating this up—there’s nothing hackneyed or uninspired here. Just pure drive and conviction. (Tony Mellor)
PULL TROUBLE FROM THE FIRE
6 tracks
The old adage, “a picture is worth a thousand words,” has never been truer. In this reviewer’s mind, it would not be fitting to review Pull Trouble From the Fire’s debut without first acknowledging album artwork that is all at once trippy, intriguing, and unsettling. The black-and-white sketch of a man with a shopping cart by his side and his hand plunged deep into an eyeball only serves to solidify the band’s self-described “swampy, psychedelic indie-rock” style. With their ambient sound and experimental nature, Pull Trouble From the Fire is undoubtedly original. However, the songs appear to be more of an exercise in the creative process itself rather than fully realized, cohesive products. The integration of a wide variety of elements, though interesting, are not always complementary to each other. At the same time, this debut is difficult to critique. Something tells this reviewer that Pull Trouble From the Fire pride themselves on being original and mind-blowing in their approach. (Julia R. DeStefano)
BY THE THROAT
Riders of Boards
4 tracks
By the Throat (BTT) traffic in a style of skate-punk hardcore that never goes out of style. It sounds as fun today as it did in 1984. Singer Niff’s vocals lie somewhere between NoFX’s Fat Mike and MDC’s Dave Dicta—good pedigree by any measure. Guitars crunch in the style of early Token Entry. Too bad Riders of Boards falls flat lyrically. Skateboard lyrics are inherently limiting but I suspect they can do better than “If I get air I gotta method.” Tighten up those lyrics and BTT have a winning formula they can ride for years to come. (George Dow)
PLUMERAI
Marco Polo
4 tracks
This band is beauty personified. Their music is ethereal and swirly, much like Cocteau Twins and Bel Canto. Eliza Brown’s voice captivates and entrances. The guitars are swirly and chimey while the rhythm section chugs along quite contently. As much as this should sound like a 4AD wet dream, I find the mix and the overall production to be so “demo-like” and unfinished. There is truly a wasted potential here, given the dreamy quality the songs possess and the music so desperately needs. It seems like serving a fine aged cognac to a roomful of dignitaries in a Dixie cup. This band has been around for a few years and has seen many lineup changes. I do feel this combination of musicians is indeed the strongest they’ve had and I hope they continue to make music as impressive as this in their current configuration. (Joel Simches)
THE FURIOUSITY
All the Rage
7 tracks
Upon receiving this CD, I was immediately curious as to whether this band’s goofy name is a winking nod to generic punk band names or an unknowing caricature. After having listened to the album, I’m still not entirely sure, but I definitely think there is potential here. The songs have the trashy hard-rock feel of a fiercer version of the Donnas or the Runaways. They are melodic and reasonably catchy, and the band proves to be quite nimble. The major downside is that they only seem to know one speed, which isn’t much of a problem over the course of an EP, but could be a hindrance going forward. Also, singer Ashley’s voice is an acquired taste. The full-throttle urgency of her vocals indicates that she’s studied at the heels of Corin Tucker, Kathleen Hanna, and the rest of the original riot grrls (an awesome place to study, by the way, if my assumption is in fact true), but she hasn’t yet mastered those singers’ abilities to use their voices to maximum effect. Her singing can feel a bit like a bludgeoning. Criticism aside, I’d still be interested in seeing where the Furiousity goes from here. (Kevin Finn)
POLLUTED REMAINS
Reconstruction
5 tracks
I generally dislike girl-fronted metal and/or punk bands, because they tend to lose their individuality. Polluted Remains offers a decent dose of punk with a hard metal edge, but Kellee’s vocals are so strong she is never overpowered by the music. The majority of the disc is fast-paced and in your face. “Movin’ On” is a classic metal ballad showing that the band can slow it down, and still kick some ass. (Melvin O)
CROTCHTHROTTLE
75 or Less Records
Everything Odder Than Everything Else
14 tracks
Cold and industrial, this batch of ambient music has a post-apocalyptic vibe with all of its futuristic loops and ominous mechanical sounds. It doesn’t grab your attention right off the bat, but instead slinks below the radar, like some guerrilla warrior in fatigues, blending into the background, ready to pounce at a moment’s notice—just like ambient music should. It slices at your psyche with a surgical precision so stealthy and subtle you don’t even realize it’s happening. The tunes are, for the most part, extended electro-instrumentals. There is, however, a track with a cool piece of spoken-word sci-fi beat poetry. There’s also a woozy “Fitter Happier”-type track thrown in the mix as well. The arrangements are driven by distortion-drenched basslines growling out eerie mantras while assembly-line rhythms clank and whir. Real freaky stuff. I’m actually a little surprised at just how much I am enjoying this. (Will Barry)
HYDROELECTRIC
Catseyesoup Records
Space Dirt
9 tracks
If you’re either old enough to remember Heavy Metal as a cartoon, or young enough to appreciate really great sounding rock music, this band should take a spin under your laser. I tend to say “well-crafted” a lot to describe music I enjoy, but goddammit, it’s what works, and I use it again on this stuff. You’ve got a new band, circa 2008, but each quartet member is coming from many veteran rock influences and has learned how to find their place in the overall mix of HydroElectric. J Mascis even plays guest lead guitar on a track! Not only that, they’re writing some kick ass songs, arranging them with poise and understanding of the rock idiom they’re fitting into. To compare to other bands would be pointless; futile at best. Just find this band around, listen to what they’re doing, see them live if you can, and crank it LOUD when you drive… or when IT drives YOU. (Mike Loce)
KIMON KIRK
Dos Kay Music
Songs for Society
9 tracks
The easygoing, brightly melodic music on this full-length debut by ex-Session Americana bassist Kirk has a long pedigree in the American songbook, stretching back as far as Bob Wills and extending all the way up to Creedence Clearwater Revival, culminating in the soft-rock stylings of Paul Simon and James Taylor. What seems to be a drawback here is the mooring of the first two songs, “Awkward Conversation” and “Cowboy Coffee,” to a strictly utilitarian rock idiom. Maybe the drums are simply mixed too high, but the percussion strikes me as mostly workmanlike, and obliviously lacking in nuance, and the songs suffer by being subsumed beneath the weight of this rhythmic impetus–the melodies seem almost dulled. All the same, those first two songs are pleasing, and the third song, “Put Me Out of Your Misery,” has a gratifyingly epic heft. “Not Where I’m At,” a ballad co-written with Aimee Mann, has a liltingly elegiac quality; ditto the introspective “Damndest Thing.” “Can of Corn,” a craftsmanlike offering, is reminiscent of some of the bravura of a band like Dan Hicks and His Hot Licks. On “The Road to No Regret,” Kirk sounds like he is singing above his range, and the wistful melody is thereby somewhat marred. The pick hit is the jazzy, almost criminally catchy closing track, “Meet Me At No Special Place,” which almost makes me feel as though I’m slurping a fruity umbrella drink in some fern bar somewhere, and maybe that’s not where you’re at—but then again, not everything has to be beer and Skittles. (Francis DiMenno)
OPPOSITION RISING
Opposition Records
Aftermathmatics
10 tracks
Opposition Rising’s (O.P.) debut, Aftermathmatics pummels listeners with agro-hardcore in the style of Agnostic Front and Biohazard. Their politically charged lyrics rail against everything from the rich, to the government, to big banks—or in the case of “F.T.W.” (ed. – Fuck the World) they rail against, well… everything. O.P. vary their sledgehammer delivery occasionally with aggressive ska interludes which sound like a deadly serious version of the Voodoo Glow Skulls. The ska interludes are an important component of their sound—without them I would expect to be left exhausted and twitching from the sheer speed and brutality of O.P.’s hardcore crunch.
While O.P. does sell their music and merch through a variety of DIY outlets, they also commit to make their music available to all for free. You can stream or download Aftermathmatics at O.P.’s Bandcamp page. (George Dow)
THE SEDGWICKS
Parking Lot Extortion
4 tracks
It may be unfair and even a tad snarky to characterize the opening track of this debut offering as Sophomore Rock, but ever since at least Steely Dan and maybe even going back to “It’s a Happenin’ Thing” by the Peanut Butter Conspiracy, rock has been, um, enlivened by the presence of ironic, prematurely world-weary peddlers of poker-faced whimsy. Admittedly, “Beautifully Insane” is a bit more in the conventional mode of twee proto-glam rock ala Marc Bolan, crossed with a soupcon of late ’80s-style stumbo rock with superadded screamy guitar solo. “Cliff” sounds a bit like something David Bowie might have left in the can circa “The Man Who Sold the World,” though there is evident wit and craft here, particularly in the blocky and chunky middle eight, replete with an echo-laden harmony vocal chorus. Catchy as hell, too. The pick hit is “Lucky You,” which sounds a bit like a revved-up Syd Barrett solo outing—the same fractured, half-sure lunges into chopped-up and loosely strung together vocal melodies—but in this case also jazzed up with backing instrumentals somewhat reminiscent of the Byrds—a fusion also successfully exploited by the Paisley Underground stalwarts in the Three O’Clock. Overall, this is more intriguing than otherwise, and I’d be interested in hearing more. (Francis DiMenno)
MICHAEL MALONEY
First Step
11 tracks
I feel like a total jerk sometimes when I find myself forced to critically beat down certain CDs that are mailed to me. This album, for example. When I made track-by-track notes, the following phrases came up: “Hallmark rock,” “soundtrack to my teeth getting cleaned,” “crowd-pleaser at the nursing home,” “poetry to woo a 6th grader,” “was this guy a music director at a parish who decided to make hackneyed secular music instead?” etc. Then I read the news clipping that accompanied the CD… turns out this guy actually plays gigs at churches and nursing homes, as well as teaches music to high schoolers! Oof. This guy is providing a musical service to his community, and here I am criticizing him for some of the most banal lyrics ever, predictable featherweight song structures, and his oh-so-polite voice. I’m a bully. I’m the bad guy, saying that this guy’s album makes any Jack Johnson album sound like the Beatles’ Revolver in comparison. Why don’t I just rob some old ladies after Bingo while I’m at it? (Tony Mellor)
STARNES AND SHAH
Red Brick Tide
12 tracks
Poet, rock ’n’ roller, and storyteller Dania Abu Shaheen and songstress Zilpha Starnes are at it again, once more putting forth an effort that is both introspective and influential. It is through a seemingly effortless manner that the girls’ vocals come together beautifully, each bringing her own life experiences and strengths to the table. The interplay of exquisite, often choral harmonies results in a magical listening experience. Musical fusion is the most fitting way to describe it. Through such songs as the opener “Cardinal Marks,” “Estimate and Then,” and “All That Love,” the girls have never been more reminiscent of Ryan Adams and the Cardinals and Hazeldine. Long-term fans will be delighted in the re-working of Pink White Blue Green’s “Saturn Starter Home.” As before, the girls’ lyrics are brilliantly witty, dripping with sensuality: “I know fire and I know hell and yeah, I’ve been there before… I’ll let you fix my flat tire. I’ll let you stoke my little fire. I got a box of matches, and I don’t care what catches.” The arrangement, complete with powerful riffs and strategically placed electronic elements is, when compared with the original, indicative of Starnes and Shah’s evolvement. Even “Half Hitch,” another track from their earlier record, is given a complete facelift with much added emphasis on Starnes’ vocal, “Oooh baby,” which just makes the song. Red Brick Tide is an exceptional effort, a fitting example of something unpredictable yet with the cohesion, driving melodies, and thoughtful lyrics that serve to hook listeners. Starnes and Shah have, indeed, “been livin’ right.” (Julia R. DeStefano)
GREEDY CHERRY
Greedy Cherry EP
5 tracks
Five songs, five different genres. Still, I’m not impressed. Their music, no matter what style this band seems to choose, is entirely unoriginal and unforgivably middle-of-the-road. In short: It’s crap. Shite, mierda, merde, scheiße. There, that’s crap in five different languages. Impressed? I didn’t think so. Listening to this is like watching some mediocre comedian do mediocre impressions. In one fell swoop, this EP manages to desecrate Herbie Hancock, lobotomize Antonio Carlos Jobim, piss on the grave of Bob Marley, neuter the Beatles, and cheapen the centuries-old English ballad tradition. (Alright, I’ll admit that is kinda impressive, but that’s beside the point.) Greedy Cherry, please, in the name of all that is holy and musical, stop the madness. I can’t take anymore. (Will Barry)
AND A BONUS BOOK REVIEW
GHOSTS IN THE MACHINE
A Review of Hidden Wheel A novel by Michael T. Fournier
(Trade paperback; Three Rooms Press, 2011.)
By Francis DiMenno
This is an intriguing fiction by the author of the 33 1/3 series monograph on the Minutemen’s Double Nickels on the Dime. It is a short novel which is, in essence, a mock biography of two artists. Of course, nearly all fiction is a form of mock biography. But, ultimately, a novel is also a machine for explicating a philosophy. Hidden Wheel might be of particular interest to fans of Philip K. Dick, and/or Don DeLillo (not that the two are mutually exclusive). Devotees of Dick’s dark, dystopic works such as The Man in the High Castle and A Scanner Darkly would be likely to relish the author’s narrative strategy, a series of brief, skillfully arranged, quasi-documentary chapters in which the story of an eclectic arts scene is reassembled from the point of view of a chronicler writing centuries hence. Admirers of DeLillo novels such as Great Jones Street would likely find an affinity in the subject matter of Hidden Wheel, with its wide range of arts world characters, each one concisely sketched.
Protagonists include the dipsomaniacal Max, a half-reformed graffiti artist turned gallery pro, and Rhonda, a semi-reclusive chess prodigy with a sideline as a dominatrix-for-hire who spends her life assembling fewer than a dozen enormous, autobiographical canvases. The side cast includes a tax-dodging old-money gallery owner and “micro visionary” named Ben Wilfork; a scene-making editor of an arts magazine who calls herself Lara Fox-Turner; Bernie, a drummer reduced to taking some very odd jobs in order to buy a new kit; and Amy, a fading bass player still trading on her one-time affiliation with a widely revered (and wildly reviled) novelty act called Dead Trend.
The broad theme of the novel seems to be the evanescence of artistic endeavor in a digital age–and the central narrative revolves around the respective fates of Max, the prolific and obsessively self-promoting minimalist, vs. Rhonda, the prodigy-genius whose lifespan-encompassing works take place on a far greater canvas. Max, the artist who floods the market with lazy, derivative work, considers himself a trendsetter to the very end. Rhonda, the capital-A Artist, is an ideological purist who is imperious and cold. The methodology of the novel partially mirrors its theme: the story is told with an ingenious collage of narrative techniques which in part replicate the subject matter.
Yet for all of its narrative inventiveness, this is also a novel which is grounded in the real world. Particularly interesting is its exposure of all manners of scams: self-promotion in the digital age; the marginally scrupulous business practices of arts promoters; the inside machinations of the media and its star-making machinery; and the venal strategies employed by corporate majordomos to promote dubiously “hip” brand extensions. But this is also a philosophic novel which gives the reader insights into the nature of the creative impulse; as such, it ought to be required reading for that class of artisans who also consider themselves cognoscenti, members of a select tribe known to marketers as “influentials.” This novel would also be of interest to those who want to know more about how such people operate and what really makes them tick. Hidden Wheel is not so much a hipster manifesto as a dissection of hip–we might even be talking about a new genre here, “meta-hip.” Three Rooms Press is an eclectic publishing house which has made a shrewd investment in what may well become an influential and pioneering literary work.
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 353
Gloucester, MA 01931
617-331-9637 tmaxnoise@aol.com
The Summer Peace issue is done and after I finish distributing it, I get time off before the September issue. This year Im actually going to go someplace. A friend is renting an apartment in Paris and Ive been invited to stay there for a short time. I took French in high school so Im all set if I need to find a libraryou est la bibliotheque? But I may need to know more than that to get around. Please share any tips that you think might enhance my stay in the city of lights.
GIGS FOR DREAMERS WANTED
Before I hop the big pond Ive got some shows lined up to perform End War Now with Shawn Marquis and Michael Bloom (the basic band of Dreamers Wanted).
On Friday, July 6 at the Baseball Tavern, The Liz Borden Band asked Dreamers Wanted to join them on stage to sing the song that Young, Dylan, and Springsteen have already covered (click on the third song at myspace.com/dreamerswanted). Besides The Liz Borden Band, Muck & the Mires (straight from their European tour) and The Illegals are on the bill.
Then on Friday, July 13, Brian OConnell invited Dreamers Wanted to be a part of Assembling Peace Van alternative, fun and energizing anti-war event/party/mixer/concert (to benefit the Greater Boston Stop the Wars Coalition) at Spontaneous Celebrations (45 Danforth St., Jamaica Plain). The party is hoppin with Jimmy Ryan, The Gary Backstrom Band (ex-Jiggle the Handle), The Grass Gyspys, Andrew Alexander, Nicolas Despo and more. Everything gets started at 7:00.
NOISEBOARD & READERS REPO
Check out the new layout of the Noise Board. Weve separated the music forum so you can go there and talk about music without someone interrupting you with his or her sock fetish. Its a much friendlier place now.
Dont forget that you can respond to any of the reviews on our website using Readers Respo. It never seemed fair to me that reviewers get the last word about the CDs and live shows that they write about. This function allows you to respond with your opinion.
T Max (publisher/editor)
74 Jamaica St.
Jamaica Plain, MA 02130
Any lover of folk music has probably also cultivated an appreciation for traditional Irish tunes such as “The Irish Rover,” which opens this compilation. It is clear from the vocal gusto with which Byrnes attacks these numbers that he is a long-time aficionado of the form. “Star of the County Down” is notable for its traditional Irish percussion. “Jar of Porter” is a well-known Irish drinking song, here accompanied by a clarion mandolin and busy percussion. “Johnny MacEldoo” is a rapid-fire patter song – a novelty style of singing briefly popularized in the late 1940s by comedians such as Danny Kaye. “The Jolly Tinker” is a spirited and good-natured romp reminiscent of Steeleye Span. “The Moonshiner” is a traditional song also known in the American Folk tradition as “Whiskey Rye Whiskey,” among other titles. This rendition is performed in a suitably hillbilly-like quavery tenor, thus underlining the linkage. “Cruskeen Lan” is a rather sad lament, underscored by some more of that thundering Irish percussion. And what collection of Irish songs would be complete without (a rather subdued but altogether satisfying) rendition of “Danny Boy,” replete with fiddle and guitar flourishes? Byrnes does a creditable job with a varied range of traditional material; he approaches the songs with reverence, but also, more importantly, with care and love. Recommended. ( Note: If you buy the album online, you also receive the following bonus tracks by Three Day Threshold:“A Toast to My Father”; “Leaving of Liverpool”; “Kelly, I’m Coming Over “; “Pub with no Beer”; “Haul Away Joe”; “Drunken Sailor”; “Whiskey, You’re the Devil,” and “Back Home in Derry”). (Francis DiMenno.)
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STEPH BARRAK
Never Again
4 tracks
“Now, more than ever, it feels critical that we find ways to stay connected to our humanity, whether through art, family, friends, love, community, work, or whatever else opens your heart and gives you peace. For me, that connection often comes in the form of creating and celebrating music. Today, I hope to offer you a small piece of that with these new songs.”
A few years ago I was captivated by a new voice on the local acoustic scene – Steph Barrak. Her 2013 debut album, Words to Break Your Heart, hit me immediately with its sensitivity and youthful intentions. Under the guidance of her top-notch producer, Mike Davidson, the songs bloomed beyond their emotional intimacy and a string of live shows followed. Then, poof, she disappeared.
Suddenly, four years later comes Never Again, a four-song EP that shows her evolution as a singer and lyricist. She still deals with relationships and identity, seeking to explore both hope and resignation. She has also added a stronger instrumental base to her music, which supports her maturity. Under Davidson’s steady hand, pop influences still abound. The opening track, “So Familiar”, shimmers with harmonies, synths, and a hook drum beat that shifts the feeling in mid-song. “Never Again” is a tough kiss-off with a crunchy little guitar solo. “Bad Habits” features Lance Riley’s textural slide guitar amidst the EP’s central context, “Can’t find a reason to push you away/ So I’ll pull you in closer, pretend that I’ll stay/ And it’s such a bad habit, I’m trying to quit/ But they don’t make a patch or a pamphlet for this.” The final track, “Like You Predicted,” feels like an acoustic-soul break-up tune – it’s just missing some horn punctuation to add the tension, “Just like you predicted/ Most days are good days/But somehow I miss you more and more.” Once again, I am deeply impressed by Ms. Barrak and will continue to support her efforts. (Harry C. Tuniese)
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GOVERNOR
A Commonwealth Songbook
8 tracks
Wow, I really love this offering by Governor! I have to admit that I was a bit surprised and perplexed by the packaging of this CD. An interesting concept. This packaging is a limited edition – 100 copies. The disc is accompanied by a 24 page book, which includes lyrics, photography, and good old fashioned liner notes. How’s that for presentation? It’s a great touch. I’d love to see this kind of innovative packaging done more often. But enough about the very cool packaging. I suppose I was concerned that if anyone put this much effort into the exterior, that it might be trying to compensate for something that was lacking in the actual content. My concerns were completely unwarranted.
I was even more impressed by the music of Governor, than I was the unique presentation. As soon as this music, which is sort of alt/ indie/ stoner rock, kicked in, I knew this was going to work magic for me, and it didn’t let me down. The music hits hard. It’s stealthy, and wastes no time in coming in for the kill right from the start. Track 1, “Roxbury Girls,” pans in with with a nice edgy rock sound. A slick and cutting sound, as sharp as a well honed razorblade. “Behind the Wheel,” is in contrast, much lighter sounding, which they do equally well. There’s a late 90s, early 2000 vibe to this music.
The dark strains of track 6, “First Scolder,” were killer! I played this track four or five times consecutively. This is definitely my cup of black tea. Dark and hypnotic, just the way I like it! Track 7, “Nickel Chaser,” was another one I played more than a few times in a row. I just couldn’t get enough of this addictive stuff, and I confess to listening to it much louder than is recommended. It’s heady and trippy, with touches of artfully distorted, staticky, crackly guitar work, If I had to compare it to something else, saying that it is something akin to the sounds and vibes of Filter’s “Hey Man, Nice Shot,” is about right, maybe just a whisper of Alice in Chains, too. There’s a lot more to it though.
They switch things up a good deal with, “There are no Skinheads on the MBTA,” which in spite of the title, is a softer, more lilting , dreamy sound, as odd as that might seem. It just works, and it works well.
The entire album takes a tour of the Boston area, comparing the way it was and the way it is now. Everything changes, and it’s rather a testimony to Thomas Wolfe’s saying, “You Can’t Go Home Again.” And alas, no, you can’t. Nothing is ever the same, and yet so much really doesn’t change. The accompanying book’s photos, well shot by John Savoia, seem to capture the energy of the songs, serving as “illustrations,” of what is being conveyed musically. I loved this concept.
As for the band. Again, just, wow… Brian George fronts on vocals, guitar, and keys. There is something about his voice that really pulled me in, and during the headier stuff, he emanates something of a mesmerizing presence and sound. Love it! Marcos Nava, on Bass and vocals plays a nicely grounding bass, deeply consistent and resonant, while not overpowering everything else that is going on. Nice work. Sean Joncas, on drums is a solid, and also provides, the trippy, self described “guitar noise,” which works so well for me in their music, in addition to vocals. Ryan Dougherty, and I am quoting the book’s liner note credits, “guitar… absolutely no vocals.” As to who is doing what, on which guitars, I have no idea. All I know is that it sounds awesome.
It all sounds fantastic, and it’s worth noting that these guys managed to pull off these great quality recordings, not in a recording studio, but in the band members’ basements and bedrooms, which only makes it all that much more impressive to me. I really have to say that as a reviewer, it’s at times like this, when something like Governor’s A Commonwealth Songbook comes along, that I am nicely surprised, and happily reminded of the magic that music can work. Listening to this CD more times than I can count, I can say in all sincerity, it was a genuine pleasure. I am grateful to have had the opportunity, and am highly recommending this one – just in case you couldn’t tell. (R.J. Ouellette)
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TWO VIEW REVIEW
SARAH & THE WILD VERSATILE
Fall Into Grace
10 tracks
The album kicks off with the excellent, incantatory “Should’ve Known,” with strong and intense vocals by Sarah Seminski and powerful drumming by Derek Hayden. Melodic values are also to the fore on this well-thought-out, thoroughly professional arrangement. The second song, and title track, starts out as 60s psyche-pop and devolves into a touching and highly evocative Gospel-tinged tune, replete with rousing keyboards by Derek Dupuis and a spacy, chundering guitar attack by Eric Reardon. The textures are outstanding throughout and Ms. Seminski pulls out all the stops on this sanctified number. Other highlights include the slow-burning blues “Let You Go,” reminiscent in its grandeur of Otis Redding and his Stax/Volt backing musicians, with horn arrangements by Scott Aruda and suitably subdued bass by Steve Burke. “Kristine” starts out as a powerful new wave rocker with a galloping drum/keyboard impetus reminiscent of “Thank You For Sending Me an Angel” by the Talking Heads, while, as ever, Seminski’s vocals soar above the rhythm in melismatic croons and earthy growls. There’s even a thoroughly rocking guitar solo by Steve Burke. “Hands to the Sky” switches things up with a jazzy background over which Seminski contributes some sassy quasi-scat singing. The final song, “There Must Be a Rainbow Somewhere,” is a meditative ballad with new agey electric piano and violin touches by Vlad Stoicescu. This is a record by a phenomenally talented assemblage in which the instrumental work is exemplary and the vocal versatility – beyond exemplary. Highly recommended. (Francis DiMenno.)
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SARAH & THE WILD VERSATILE
Fall Into Grace
10 tracks
This is a rock solid alt rock band that includes: Sarah Seminski on vocals extraordinaire, Eric Reardon on guitar, Steve Burke playing bass, Derek Dupuis on keys/vocals, and Derek Hayden pounding. Scott Aruda on trumpet and flugelhorn and Dana Colley blowing sax add their talents to the mix. All the songs are written by the first three artists and the first thing you notice about their music is the stunning vocals and nice harmonies. Sarah screams. Sarah seduces. She soars. She roars! Check out the opener “Should’ve Known” with its great hook and her operatic and powerful vocals. The title track “Fall Into Grace,” “Sunday Morning,” “Kristine,” “Pleather Jacket Mambo,” ” Hands to the Sky,” and the closer “There Must Be a Rainbow Somewhere” all have a unique alt rock sound with nice guitar work, cool arrangements and a tight presentation. I really like the r&b influenced ballads “Let You Go” and “Dear Lee.” This woman can sing. (A.J. Wachtel)
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HOWIE NEWMAN
Chin Music
When You’re Happy
10 tracks
“My Baby Can’t Parallel Park” is a gleeful, humorous song in a musical mode which might be characterized as Hippie Folk – think of Have Moicy! by the Unholy Modal Rounders, or of Jesse Winchester in one of his lighter moods, or of Pure Prairie league with just a little of the smoothness of James Taylor. The title track is an appealing bit of 1920s hokum whimsy; the song “Where Is Everybody?” is a witty compilation of the excuses which promoters make when turnout at a concert event is low, and “That Old Car” is a jaunty Western Swing styled number. There are also some more sentimental tunes such as the fiddle-driven “Our Kids Aren’t Kids Anymore”; the humble and melodically appealing “Low Tech,” and the upbeat love song “Reality Check.” This is a pleasurable romp sure to appeal to people who appreciate folk songs with a bit of gentle humor. (Francis DiMenno.)
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LILY BLACK
Lily Black EP
6 tracks
I got this EP on a USB drive that also functions as a wristband. Though I don’t think I’ll ever wear what is essentially a high tech, black, rubber bracelet; in the age of the death of the compact disc, this band gets points off the bat for creativity. The EP kicks right in to full gear with “A Room for You.” The band has got a lot of energy, bonus points there as well. The songs are well recorded and composed. The vocal harmonies are tight and in every way this seems like a real polished band ready for some big shows. Singer Lilly Senna remind me of a cross between Letters to Cleo’s Kay Hanley and Noelle LeBlanc of Damone, another couple of my local favorite female fronted, punk-pop bands. And like those two bands, I don’t think I’d pass up an opportunity to see Lily Black live. (Kier Byrnes)
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ANEURYSM
Stop This Ride
4 tracks
Aneurysm is a noisy five-piece punk rock band from Boston. This brief mind explosion recalls such glorious bands as Mudhoney and Royal Trux. There are obvious echoes of Nirvana, and they even cover “Violet” by Kurt Cobain’s widow’s band Hole. These guys have been around a little while and are really hitting their stride. They play all over New England, so do yourself a solid and go see this amazing band at the height of their superpowers. (Eric Baylies)
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JEFF HUDSON
Super Frosty
10 tracks
New wave electro synth artist Jeff Hudson’s celebration of the recently passed marijuana laws in Massachusetts and other states is eccentric, electronic and elegant in it’s conception, its celebration and it’s cadences. “What’s You Wanna Do?,” “Roll One Up,” “Planet Kush,” “Chill Man,” “Bloom Days,” ” and “Super Frosty” are all fast and smokin‘. “Hey” and “That’s Right” creep up on you and all the tunes go from foot tappin’ to spacey in a beat. In fact, most of this CD is instrumental but when there are vocals they sound like they are instruments too. The words are used sparingly for greater effect and it works. Pretty wild. Pretty creative. Pretty good. Funky big beats and a thumping synthesizer with processed vocals. I won’t sound like a dope to say this is great music to listen to while stoned. (A.J. Wachtel)
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ANTHEM NOISE
White Whale
8 tracks
Trained at the New England Conservatory of Music in 2004, singer John Russell and composer Jordan Montgomery weave a dreamy, trippy aural mix consisting of violin, keyboards and avant garde complementary drumming. The almost four-minute “Social Anxiety” features those beats with a layer of grunge keys embracing the unreal quality of the vocal that embraces these movements. The instrumental “Anthem” continues the melodrama with a similar edgy intro, this a segue that would shake up a house mix or two. Shuffling percussion perfectly placed so that “Locked In,” track three, can build on the theme. Robotic trance pop with swirling textures make it radio friendly and a standout. “Help Myself” and “There is Nothing Wrong” come in at nine minutes together, twenty-two minutes and forty seconds up to this point on the CD, more than a single side of an LP. “Help Myself’s” drone and the cosmic effervescence of “There is Nothing Wrong” are like diving slowly in a pool of water somewhere above the earth. The next three songs are another eleven minutes and twenty two seconds, “Apnea” glides along a dreamscape while the title “Flounder” is the closest thing you are going to get to the album title of White Whale. It would work nicely for Captain Ahab sailing the dark seas. “Out of Darkness” (featuring Conor Ebbs) with Stephanie Skor’s violin locking in with Russell’s vocal is more like into the Celtic dark – a nice concoction of world and other-worldly sounds. (Joe Viglione)
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WHOREPAINT
Ultrasound
8 tracks
Providence power trio Whorepaint is back and this time they are screaming for vengeance. Singer Reba Mitchell sings sweet like Maria Callas before losing her mind and going bananas over a wall of noise akin to The Swans. Long one of my favorite Rhode Island bands, Whorepaint wansta destroy you, and I have little doubt they will. (Eric Baylies)
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KATIE MCNALLY TRIO
The Boston States
10 tracks
Katie’s roots are from Cape Breton Island, Nova Scotia, Canada, and she has lived in this area and played fiddle on the scene since graduating from Tufts in 2012. For many moons, Boston was the American home for expatriate Cape Breton Islanders far from the rich Scottish culture of their home and its Canadian dance halls. The title of this all-instrumental release, The Boston States, is the name their culture gives this city. McNally remembers the rich, traditional sound, but with locals Neal Pearlman on piano and Shauncey Ali on violin, the trio pushes the genre’s boundaries to include boogie woogie, Latin, jazz and bluegrass too. The music is a combination of originals and traditional songs and most of the tracks are two-song medleys bursting with tight Scottish Highlands jig music like, “Scotty Fitzgerald’s”/ “Hills of Glenanchy,” “Down the Burn”/ “Davie Lad,” “The Fir Tree”/ “Batmoreel,” “Johnny Ray Stewart”/ “Kenny Gillies of Portnalong, Skye,” “The Martlet”/ “Father John Angus Rankin,” ” Donald John the Tailor”/ “One More Week,”The McNallys of Francis Hill”/ “The Millers of Newbury,” and “The Polliwog”/ “The Claw.” I love the way this talented trio seamlessly shuffles from one song to the next; sometimes with just the briefest change in tempo. The fiddle and the violin have beautiful tones and the threesome play so well off each other that their great arrangements get the most out of the small group’s members. The fiddle and the violin present the message and the piano holds it together to communicate it to your ears. Fun fact: the fiddle and the violin are the same instrument but the difference is in their playing. The violin is basically thought of as a classical instrument while the fiddle is more of a folk instrument. Not as a rule, but in this case on this music, the fiddle is primarily Scottish and Cape Breton; and Cape Breton is Scottish in origin. The island’s isolation has made the style more rough and tumble in it’s feel. The bowing is really rhythmic and the music is mostly made for dancing. Whereas in Scotland the music evolved past being dance music to become more courtly, or military music. So the traditional songs included in this CD are often the same but they sound different. Produced by renowned Cape Breton fiddler Wendy MacIsaak I dig the music and can’t wait to see them live. (A.J. Wachtel)
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BLUE CAT GROOVE
Blue Cat Groove Music
Unconditional
10 tracks
Not a few of the songs on this release put me in mind of the 70s-era LA school of rhythm and blues minded combos, what with its glossy production values, well-blocked-out arrangements and up-front vocals; Kimberly Hodgens Smith is a fairly powerful vocalist who manages to dominate the melodic line, leaving the rhythmic backing to the powerhouse drumming of Vinnie Depolo and bassist Jeff Oosterman, with guitarist Samuel Bowen applying power chords (as on the Pretenders-like “Attraction”) and guitar picking (as on “Common Ground”). Bowen has a remarkable aptitude for applying textures which make a song move with almost percussive force, as on the ZZ Top-like “By and By Blues.” The somewhat daring cover of the Beatles’ “Oh! Darlin’” is a blues-paced and almost sedate number, until it explodes into its raucous verse. The final song and title track is another Pretenders-like song; a power ballad which is immensely appealing. All in all, I would say that the production on this album gives an accurate rendition of what the this band is capable of. (Francis DiMenno.)
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RUSSIAN TSARLAG
Gagged In Boonesville
9 tracks
Carlos Gonzales aka Russian Tsarlag of Providence has done it again! He has sailed solo around his brain and brought back this slab of sonic architecture that would make Lamont Young or John Cage proud, while adding singer songwriter elements that evoke Coil or Nick Cave’s Birthday Party days. This is a concept album about an apartment building whose residents go insane from looking at a poster of Medusa, but the songs flow like hit singles! Well, kinda, but this is a masterpiece on any level. (Eric Baylies)
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GUN MOTHER
These Golden Threads
9 tracks
It’s difficult to know where to begin in describing this album. It is powerfully emotional. Gun Mother could be called the newest musical incarnation of Reverend Glasseye, a Boston based band with an avid cult following. Gun Mother, is Adam Glasseye, on guitar and vocals and Georgia Young, also singing and playing guitar. They harmonize and interact with each other, beautifully. Trying to categorize this genre is not exactly an easy feat, as they seem to defy any clearly defined labels. Artsy, dark, alt/folk, perhaps? Perhaps…
The tracks are musically, and lyrically, full bodied. Strains of piano/ keys, violins and banjo, bass and horns, and hauntingly melodic strings waft in and out, well timed, and perfectly complimenting each other. Truly well orchestrated. The music is rich, mournful, and solemn. At certain times, almost dirge like. Just when you think you have it pegged as folk, another song will reveal tinges of Celtic, Spanish, and/or even Western influences, ultimately, encompassing all of these, and more.
The real stars of this show for me, were “Hispid Hare,” in which the emotional angst in Adam Glasseye’s voice is almost too painful, but beautifully so. It speaks of emotional conflict and guilt, felt to the very soul. Incredibly powerful and moving. If you really listen, you can feel the screams of the “moon hare.” There is a dark night of the soul in this song. One of my favorites was definitely,“Lucky Lee,” much faster paced, with a decidedly Celtic flavor. While still dark, there is a defiantly celebratory feel to this song, which I really liked.
“All in Hell” is another powerful piece. I could hear the sounds that were so prevalent in Bob Dylan’s, “Hurricane” album in this one. Very much so, and I really liked it. I also loved the track, “Queen Bee.” The music just swells and flows along with the lyrics with such grace. Just beautiful, with something sounding very much like castanets, intoning just a hint of a Spanish sounding song, only to elude this, as the song progresses and unfolds. I just have to listen in awe, as I marvel at the whole song. Wow…
As you have likely gathered by now, this is no light ride. Gun Mother means to tell some very serious stories on “These Golden Threads,” and that is exactly what they have accomplished. I am at a loss as to what it can be compared to, as I really don’t think that it does quite compare to anything else beyond what I have tried to say. This is music of considerable substance and depth, played at its best, and I admittedly had to cast aside some initial trepidations of my own about this. I’m really glad that I did. If you are not down with that, you might want to pass on this, although given the quality deliverance here, you really might want to reconsider your stance. If you are onboard with that, then I am most definitely recommending this! (R.J. Ouellette)
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CONTAINER
LP
7 tracks
Container is the solo noise dance music project of Providence’s own Ren Schofield. Ren has been doing noise music for over 15 years now and is still a young man. He has branched out in the past few years with his project Container. Can you get the club kids to dance over fuzzed out noisy beats? I guess the answer is yes. After decades of playing to five noise kids in basements, Ren seems to be hitting the big time. I hate to use the word techno and turn off people before they give this a fair chance. This is like a remix album of itself. If you like the trance inducing qualities of artists like Kraftwerk, Giorgio Moroder, Chic, and Can, then give this a chance. You’ll be dancing with tears in your eyes! (Eric Baylies)
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RYAN SWEEZEY
Starting Over
7 tracks
The pure pop “Bartender” is the same theme as Richard Berry’s quintessential masterpiece, “Louie, Louie.” People may think the girlfriend is Louie when songwriter Berry was actually telling the bartender he was overjoyed to be going back to the island – that “Me see Jamaica moon above/it won’t be long before me see me love.” Sweezey, as many a man with a glass in hand, is more concerned she’s not coming back…and unlike the Marvelette’s begging the postman if there’s any communique…or acknowledgment, Ryan wants the guy behind the bar to go fetch her. Interesting since the Kingsmen’s 1963 hit and Marvellette’s 1961 smash were fifty seven and fifty nine years ago, but music is all so circular. The single, “Alright (for a Little While,) goes Dan Fogelberg-touches-of-country with solid production and plenty of verve…with a terrific chorus. Love it! Unlike Santana’s mega album Supernatural, which shifted from genre to genre in a way which jolted at first spin, Sweezey moves gently from pop to country pop to blues in the first three tracks. The live performances of songs on YouTube are engaging, but the studio work is superb. “Late is the Hour,” track 3, shows the complementary vocal and guitar skills: Sweezey is quite gifted! Soulful at one moment, Little Joe Cook falsetto the next tucked inside a composition that is well structured with much commercial potential.
“Sing a Song With You” borrows from the Beatles harmonies in “From Me to You,” but turns the corner quickly to a folk/country flavor. “One of Two,” featuring a duet with Heather Woods – the rootsy vocalist from Boston with her own EP out, Let Me In. The pairing generate a mellow, introspective piece that Elton John would find nice to add to Blue Moves Two – if he ever went in that direction. Nice stuff. “Storytellers” and “Edge of the World” round out this E.E.P. (extra extra play,) the former an Americana essay on those who keep the attention of a world that craves entertainment – the latter song, a cosmic acoustic with dangling sounds that pretty it up like subtle starbursts to weave some magic under the songwriter/singer’s appealing vocal. The ballad gains steam and is a strong finish to a well-planned and accomplished collection of solid material. (Joe Viglione)
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DIETRICH STRAUSE
How Cruel That Hunger Binds
11 tracks
Dietrich is a Boston based indie roots americana folkie guitarist with a long history of collaborating with national artists touring the U.S. including Anais Mitchell and 2017 Grammy Award winner Sarah Jarosz. He is also a good songwriter and vocalist: his delivery reminding me a bit of Dylan meets Frankie Avalon; sorta like a ’60’s pop star crooning ballads. Check out “Home From The Heartland,” “Boy Born To Die,” “Spring Has Sprung,” and “So Long So Far” to hear what I mean. Some of the tracks sound like a New Orleans brass band covering folk. Listen to “Lying In Your Arms” and”Pennsylvania;” uptempo american ballads with horns. What’s not to like? Hickman plays bass, vibes and bass clarinet and sings, Dominic Billet plays drums, Alec Spiegelman plays woodwinds and nylon string guitar, Lyle Brewer is on electric guitar, Amy Correia and Mark Erelli on vocals and the album’s engineer, Sam Kassirer plays piano and organ. My fave cuts are “The Dove” and “Rainy Days;” poetic, dreamy folk pop ballads with really nice melodies. The closing cut, “The World Once Turning,” is another slow, powerful ballad that almost sounds like a sea- shanty. I like it. (A.J. Wachtel)
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HEADROOM
With Jon
3 tracks
Headroom hail from the magical land of New Haven. This short but amazing album veers between noise rock and psyche. The track “Bluish Green” starts all pretty, like a Space Needle or Spacemen 3 tune, before the Television like guitars take you away to another acid soaked dimension of space and time. “Sozo Dojo” is an amazing 12 minute odyssey of sonic bliss. I’m not sure how much of this is improv or rehearsed, but this record is a revelation. (Eric Baylies)
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THE SUITCASE JUNKET
Signature Sounds Records
Pile Driver
12 tracks
Matt Lorenz is The Suitcase Junket and he is a very interesting and talented individual. The Suitcase Junket is a one-man band and in the studio with him on this release is a suitcase he uses for a bass drum, a high hat, a box of bones, a gas can, cook pot, circular saw, a nasty old guitar, his voice and a few amps. And if I didn’t tell you about this odd assortment of instruments you would never have guessed that on your own. Then include his Indian inspired harmonic throat singing technique which allows him to sing two tones at once and you get a very cool and ultra unique CD. In all the songs, Lorenz and his gritty, distorted guitar, first set up the vibe in his own compositions that are street variations of punk, Americana and folk influenced music. “Busted Gut” and “Swamp Chicken” with their twang, the rocking “Beta Star” with sister Kate on harmonies, and “Seed Your Dreams,” “Jackie,” “Evangeline,” “What Was I Gonna Say?,” “Red Flannel Rose,” and “Ten Rivers” are all catchy melodies with well-written images that he labels “Swamp Yankee” music – and we’ll go along with that description. It is engineered and mixed by Justin Pizzoferrato and mastered by Carl Saff at Sonelab in Easthampton, MA.Lorenz is a solo performer who sounds like a four-piece band. No shit ! A real needle in a haystack. Great stuff. (A.J. Wachtel)
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DAEMON CHILI
Mercy of the Sea
10 tracks
Hailing from the Lowell, MA area, Daemon Chili is a tightly knit, well polished band whose sounds are firmly rooted in the country rock / blues rock genre. The material on “Mercy of the Sea,” all original, and well written by frontman, Michael Dion. The theme of the CD’s title, runs through a lot of the songs and presents something of an oxymoron to my mind, in that when I think of all things nautical, seldom does a country vibe come to mind, but never the less it is here to a good extent, and Daemon Chili makes the unexpected fusion of the two work, and it somehow feels right at home in this, all while taking on somewhat different sounds throughout while doing so.
Once the CD began to play, from the first track, I couldn’t help but hear a sound that is influenced by Robbie Robertson and The Band, with a healthy dose of The Charlie Daniels Band added. There are a lot of talented musicians lending their skills to this effort. Eleven are listed in the credits, five major players, with six additional players, and it sounds like a whole lot more than that to my ear. One tight band that doesn’t skimp on anything, in any way. Any music section that can be filled, has been filled more than amply. While I have never attended a live show of theirs, I can’t help but think that it would make for one great time. It’s“good time music” for sure. It strikes you that everyone playing is having a great time doing it, and that kind of vibe is just always going to shine through when you hear the music.
Daemon Chili’s sound is contagiously upbeat with a “take no prisoners,” tour de force style that just kicks it where it counts. Only the most jaded music fan will find a way to not appreciate at least some of the tracks laid down on this CD. High points among these tracks for me, were “Mercy of the Sea,” “Blues for Jimmy,” good old school bar music, complete with a honkytonk piano to get you up and moving if you need some inspiration, “Devil Woman,” heavily boozy blues at its best, “Seven Deadly Sins,” no holds barred in the rockin’ out on this one, which is a live recording, and the kicking “Wicked Blues,” also a live recording. It all serves as a great substitute for one hell of a night (or day) out if you are stuck inside. Just BYOB, or whatever, if you’re so inclined.
And the well deserved and stellar credits go to all of the following : Michael Dion – lead vocals, rhythm gGuitar, harmonica, Steve Benson – pedal guitar / steel guitar, mandolin, Jay Moretti – lead guitar, Jay Breen – drums, Jay Samiago – bass. “Additional Personnel,” Jes Sheldon – supporting vocals, Max Chase – organ, Nick Heys – Piano, Seth Bailin – Tenor Sax, Mike Kaskiewicz – Trombone, and Alex Allman – baritone sax. These people really know what they are doing and they give it one hundred percent. Epic. Mercy of the Sea is genuine feel good music, and the ocean’s waves never rocked quite like this. (R.J. Ouellette)
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ANTHEM NOISE
White Whale
8 tracks
Trained at the New England Conservatory of Music in 2004, singer John Russell and composer Jordan Montgomery weave a dreamy, trippy aural mix consisting of violin, keyboards and avant garde complementary drumming. The almost four minute “Social Anxiety” features those beats with a layer of grunge keys punctuating the unreal quality of the vocal that embraces these movements. The instrumental “Anthem” continues the melodrama with a similar edgy intro, this a segue that would shake up a house mix or two. Give a tip of the had to producer Andy Edelstein for making it so. Shuffling percussion perfectly placed so that “Locked In,” track three, can build on the theme. Robotic trance pop with swirling textures make “Locked In” radio friendly and a standout. “Help Myself” and “There is Nothing Wrong” come in at nine minutes together, twenty-two minutes and forty seconds up to this point on the CD, more than a single side of an lp. “Help Myself’s” drone and the cosmic effervescence of “There is Nothing Wrong” are like diving slowly in a pool of water somewhere above the earth. The next three songs are another eleven minutes and twenty two seconds, “Apnea” glides along a dreamscape while the title “Flounder” is the closest thing you are going to get to the album title of White Whale. It would work nicely for Captain Ahab sailing the dark seas. “Out of Darkness” (featuring Conor Ebbs) with Stephanie Skor’s violin melting between Russell’s vocal is more like into the Celtic dark – a nice concoction of world and other-worldly sounds. Credit also drummer Josh Weinberg, a staple on the local scene whose fine work is a plus here. (Joe Viglione)
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DAN CLOUTIER
Birch Beer Records
TheBattle of Greenland
9 tracks
Dan Cloutier is an accomplished singer/songwriter hailing from Upton, MA. One could say that his music falls within the realms of ambient/alt folk/soft alt rock. He has recorded thee albums prior to the release of “The Battle of Greenland.” This is the first album that he has released in five years, having taken that time out, to fully involve himself in addressing his son’s life or death battle with cancer, and it reflects the incredibly difficult and painful journey that he and his family have traversed during within this interim.
These songs sing of grief, fear, pain, hope, and thankfully, their triumph as a family, over this arduous battle. The album recounts the emotions lived through during these experiences, ultimately serving as a heartfelt catharsis through the words and music. It can all be felt within these songs. The bad, the sad, the better, and the best. Truly heart wrenching at times. Often, the experiences are expressed through metaphors – at other times, more literally so. As a writer myself, I feel that he is sharply skilled as both a writer and a story teller. One hopes never to connect with the dark muse whose inspiration is so painfully heard here, as he recounts these experiences.
Listening to the music, I preferred the tracks which focused on the determined “war spirit,” one must assume when battling such a formidable opponent. Track 3, “The Battle of Greenland,” is one such example, as it begins softly, and gradually works its way up to a powerful, and drum driven battle song, played with the brave spirit of a Viking rushing full on into that battle. I loved the powerful determination that I could feel equaling, or even outweighing the fear. Track 5, “The Morning When We Run,” with its touchingly hopeful strains, visualizing a happy outcome to be had, was also a higher point for me. Track 6, the only song on the CD, that was not written by Dan Cloutier, is another one I really liked. This song, is one that I know to be based upon an old Appalachian song, “Old Bangum,” whose origins are very old Celtic. Cloutier has replaced the traditional “Wild Boar,” of the original song, with a “White Wolf,” (which I could only imagine might be a metaphor for white blood cells?) Again, very powerful.
The final song, “Day of Resurrection,” concludes the album, singing longingly, hopefully, for a fresh and new beginning. One which can’t come soon enough. Dreams of cold, white air on the ocean, recharging and cleansing. Renewing, and resurrecting. I have thus far, written exclusively of what this CD is about. It would have been impossible to do it justice without having done so and aside from that, it can not really be separated from the experiences which inspired its creation. The music itself is beautifully played and sung, the production quality is excellent. Dan Cloutier has a nice singing voice, through which he clearly conveys feeling. He also plays both electric and acoustic guitars, upright piano, and the “phone bells,” which while so small, are so significant to the stories in these songs. Kim Jennings, on additional vocals, synth, electric piano, and melodica. Jon Glancy , on drums ( kudos to those incredible “battle drum” beats), Eric Salt, on Baritone guitar. Richard Barraza is credited as “Contra Code Man,” and I confess to having no idea what that means. What I do know, is that it all comes together beautifully, and seemingly without effort upon the parts of those involved, even though I know that this couldn’t have been the case.
This is not something that you would catch me listening to on a regular basis. It’s not that kind of music. But, “The Battle of Greenland,” could easily serve as a great source of inspiration and hope to those fighting their own battles. Ultimately, it was built upon hope, blood, sweat, tears, and fears. Ultimately, happily… the fears did not win this battle. I’m so very happy that in the end of this story, the good guys won. (R.J. Ouellette)
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Welcome The Noise’s new intern, Kathyrn Leeber, who aggressively sought out these local digital products to review.
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PULITZER PRIZE FIGHTER
Everything That Makes You Feel Tired
5 tracks
Filled with simple, yet consistent and melodic instruments, Pulitzer Prize Fighter combines softer vocals with powerful guitars and drums. Lead singer Colin McDonald has the kind of voice that sticks in your head, in a positive way. His capabilities shine though in the opening song “Sugar.” Even though it is a simple song, lyrically, the instrumental adds a great support to McDonald, as do the supporting vocalists. “Wicked” has a similar sound, but is more pop-oriented in sound and in lyrics. “Dance With U” is a sweet and upbeat song that displays more of their self-described R&B sound. “Marsellus Wallace’s Wife” starts off sounding heavier than the other tracks, but once McDonald starts singing, the tempo evens out and the guitars and drums blend with the vocals more so than overpowering McDonald. It is evident the group has found their sound and is sticking to it. With layered vocals, the harmonies add a great contrast to the powerful drums and funky guitars. “Ricky Williams Post-Suspension” closes out the EP and utilizes cymbals, which had not been heard until this song. It adds a nice touch, especially when the drums quiet down. There are a few instrumental solos, as well as pauses where the vocals are the sole focus. This band does a great job of really using all of their sounds and making sure the listener can hear each and every component of every song.(Kathryn Leeber)
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FIRST FROST
First Frost
3 tracks
Even with just three songs, the debut EP from First Frost packs an emotional punch. Slow guitar work and minimal drumming in “No Sleep” continue to build until the instruments become the focus of the song. Near the end of the song, the rock elements become much clearer, even utilizing electronic sounds. “Why Shouldn’t I” sounds more pop-based, at least vocally, but the instruments continue to blend well and softly support the vocalist. “Wild in the Wake” is entirely instrumental. While it is enjoyable, it sounds too similar to the instrumental components of the other two tracks. With only three songs, an instrumental track was a bold choice, but adding vocals might have been a stronger idea. The group tries to combine various elements of genres such as rock, pop, and possibly jazz, and they do a decent job, but it is not very memorable. (Kathryn Leeber)
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ARLENS
Negatives
8 tracks
The first full-length album from this four-piece group is quite impressive. Drawing inspiration from various sounds, the tone is powerful, yet has a calming feel. Mainly rock, the album relies heavily on drums and electric guitars, but there is also a melodic aspect. The consistent sounds of the guitars accounts for this sound that creates a calming effect. It is interesting that even with just these instruments and possibly some effects to them, there is such a wide range of sounds that this band creates. The vocals are not the strongest, but the effort and risks lead singer Paul Kenney takes are commendable. He pushes himself to stretch his range and tone, allowing the songs to each take a different direction. It is this aspect that gives the album its originality despite the instrumentals in the background sounding a bit commonplace. “Time” starts off with a strong bass line that adds drums and guitar to build the song and continue the pace when the vocals come in. The instrumental components feel as though they are overpowering the vocals at times. “Mistakes” really portrays the melodic component of the group, as it begins with a softer instrumental solo and the lyrics are powerful, but stay in line with the overall tone. All in all, it is not a bad debut record. The vocals could use a bit of improvement, but the sound fits the indie-rock style of the band. (Kathryn Leeber)
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LENDERSON
Lenderson
3 tracks
Despite only being three songs in length, the debut EP from the rock duo covers a lot of ground. “Blastoff/Exploder” kicks things off with an instrumental track, utilizing electric guitars with plenty of effects, as well as smooth drums to add a mellow beat. Even without any vocals, the song has variation in its sound with a few, quick guitar solos and changes in the drumming pattern. “Cutglove” starts immediately with lead singer Jesse Brotter’s vocals that seem a little too calm compared to the instrumentals. The drumming is strong and, at times, feels a little more intense than the vocals and the rest of the song. The strongest parts of the song are when the guitar and drums are relaxed and allow Brotter’s vocal abilities to shine through. The song gets progressively better as the sound smooths out and finds a rhythm. It becomes more instrumental, much like the first track, which works well for the group. The final song, “Lender” is another instrumental track that utilizes more electronic elements, while still sticking to the sound of mostly electric guitar supported by melodic drumming. It is much shorter than the other two tracks, but it closes out the EP rather nicely. I did not like how abruptly it ends, I feel that with such a strong instrumental presence throughout the EP, the group could have found a way to slowly move into a much calmer ending. Even with such a short EP, Lenderson does a great job of covering many sounds, all while staying in the traditional rock environment. (Kathryn Leeber)
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HORSE MODE
Defenestrater
3 tracks
This short EP starts off with funky guitar work backed by intricate drumming. The vocals take a back seat to the instrumental breakdown, but the singer’s voice is soft and smooth enough to balance out with the fast guitar work, especially in “Highly Respected and Esteemed Acquaintances.” There really is not much singing in this song, but the guitars support the song very well, until the end. The ending is very repetitive, but is too basic too be enjoyable. As the ending slows down, the speed picks back up in the next song, “Dummy,” only to slow down again. This is a softer son, instrumentally, but this time the vocals are more prominent. The singing is definitely rock-based with short sentences backed by instrumental solos. The vocals in this song are not that great, as the singer is more so softly yelling the words. “Rogue Genie” closes out the EP. The backing vocals provide a more melodic sound, while the lead singer continues with the soft shouting. The guitars continue to stand out, as does the drumming, especially half-way through when the whole song calms down a bit. Similar to the first song, there is a repetitive instrumental solo, but it again is not unique enough to actually sound good. It sounds like a typical rock song solo with nothing to differentiate the band from the next group. It does pick back up and the singing continues as it did in the beginning. Overall, the EP is short but does not have enough variation in sound to make it stand out. Perhaps with more songs and attempts at incorporating different styles, Horse Mode could distinguish themselves as a strong, modern rock group.(Kathryn Leeber)
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PLASTIC ANGELS
Kings of the World
4 tracks
Plastic Angels is comprised of singer Bethany Lawson and her husband, guitarist Jeff Lawson, who join to create an alternative pop/rock sound. Everything about their latest EP is quite impressive. The vocals sound as though Bethany has been singing for years, as she has incredible control of her voice and maintains a softness within her range to contrast the guitar and drums nicely. “Forever Lied” opens the EP and has a consistent guitar as a backing track which does a great job of supporting the vocals. This is one of the stronger song on the short EP. The title track, “Kings of the World” has more of the rock element due to the style of guitar and consistent drumming. Overall, the song is a bit too repetitive without much variation in style. The other tracks do a better job at this. “Drown” features some excellent vocals and the drums stand out the most. Again, it feels a bit too repetitive, but overall it is a powerful song with some instrumental solos. Rounding out the EP is the emotional “Holding Me,” which feels a bit darker than the rest of the more upbeat songs. With slow drums and somber guitar to start the song, it definitely packs a punch. The instruments pick up for the chorus and then return to a slower rhythm. This is another strong song on the short EP. Ultimately, the style and sound are fairly unique and with incredibly strong vocals, Kings of the World is a great start for this group. (Kathryn Leeber)
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HANNAH CHRISTIANSON
Grow the World You’re Dreaming Of
12 tracks
The album begins with a simple piano, followed by Hannah Christianson’s smooth vocals. Her voice is deeper than I imagined, given the mystical and almost child-like album artwork. There is a great contrast of slow instrumentals and more powerful ones, especially in “New Day” where the drums do not come in until the first minute or so, and even then they are subtle enough to pair nicely with the piano. “Break the Frame” is empowering and heavily influenced by pop aspects. Christianson sings with hope and confidence in the chorus, “I want to break the frame, break the frame, break the frame. / ‘Cause I am not the same, not the same, not the same, / as I was before.” “Atoms” is a very simple song, yet it is one of the best on the album. Christianson gave the song its own introduction in the instrumental track before it. Again supported by minimal drumming and piano, Christianson’s voice shines through as the main focus and her style of singing makes this track so wonderful. The whole album has a hopeful and positive feel, even with sad tunes in the case of some of the songs. Given the album name, the powerful feeling and inspiring lyrics fit perfectly. For such a simple album, it has a wealth of power and emotion that is difficult to come by. Christianson noted the album was created and recorded over three years, and it is clear that she put all of her time and effort to create such a moving record.(Kathryn Leeber)
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BIRD.BIRD
Yellow Egg
9 tracks
This light-hearted indie pop record from Bird.Bird is quite strong even with simplistic lyrics and minimal instruments. With light backing guitar, “Return to Mine” is a sweet love song that helps jumpstart the album. “A Little Thing That Matters” features quirky piano work and layered vocals to create a folk sound. Song writer and vocalist Cooper Evans explains in a note to the listener that the record is split into three parts; three songs meant for commercials, three of some older songs he wrote, and three he, himself really enjoyed. The shift in sound is definitely evident as some sound much more emotional than the fun, upbeat songs. “I Stayed Up” is much slower and contains more emotion in the vocals and lyrics. This is one of the stronger songs off the record, as it features backing vocals from Sarah Krier that add a nice harmonic touch. Some songs feel a little forced, such as “Flow,” which has some electronic components that do not really fit with the song, although the chorus is very pop-oriented and the electronic sounds mesh well at that moment. The remaining songs continue the trend of eccentric pop songs with overwhelming instrumentals, at times, to pair with the unique vocals. Rounding out the record, “This Question” starts out a bit softer and picks up at the chorus, but there is a strong balance of piano and guitar playing and Evans’ vocals. For a pretty “all over the place” album, the group does a decent job of finding some semblance of balance and try to find an overall style and sound. (Kathryn Leeber)
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CARDINALS
Aftertaste
5 tracks
This acoustic EP from Boston-based pop-punk duo is incredibly powerful, despite being backed by an acoustic guitar and minimal drumming courtesy of a cajon, both of which are played by CJ Rarela. Lead singer Emily Ronna demonstrates excellent control of her voice, as well as utilizing her range to add some variation within each song. “When I’m Gone” is definitely more of a pop song lyrically, but the drumming adds a bit of a punk element. The bridge is not as powerful as it potentially could be, but as the instruments quiet down, it allows for Ronna to sing a powerful part of the song. “Remission” is another break-up song with the same overall tone as the first. “Of Montreal” starts off slow with minimal guitar from Rarela, backing Ronna’s voice. Some of the lyrics are a bit cliché, but the vocals remain steady for the most part, even with parts of the track featuring a higher reaching range. The next song, “In the Dust” is faster than the others, with more forceful vocals to match the emotion of the lyrics. The EP ends with “Human,” a much softer and sadder song than the rest of the tracks. The guitars are minimal but provide just the right amount of influence on the song. In some of the other songs, the instruments feel as though they overpower Ronna’s voice, but not in this song. Overall, the sound could generally be a bit cleaner and more put together, instrumentally. There is no doubt the vocals and lyrics are perfect for this genre, but the instrumental aspect just does not sound as solid as it could. (Kathryn Leeber)
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JENNA LOTTI
Bad Habits
5 tracks
Joining some country and rock elements, Jenna Lotti creates a distinct sound powered by drums and guitars. At times, the instruments feel overpowering, but Lotti’s vocals have great range and stay consistent to even out the sound. “My Oh My” feels a bit too generic in terms of the instruments and rhythm, but Lotti’s vocals are definitely the highlight. The soulful sound in her voice pairs incredibly well with the heavier sounding instruments. There is definitely a pop-element throughout her songs, and is perhaps most prominent in “Drive.” This is a slower track compared with the rest of the songs and it allows Lotti to show off her voice a bit more. The lyrics are repetitive, but they are still strong. “Simple Man” starts off very slow with a simple guitar and drum line. The soulful nature of Lotti’s voice is most evident here as she shows her range. The tempo picks pack up with the final track “Passenger’s Seat.” Again, the country and pop-rock aspects are prominent, especially during the chorus. This song wraps up the EP in an energetic way. There is a consistent flow to the EP, but overall it feels flat. With more variety and experimentation in the instruments, the sound would be more unique. While Lotti does manage to establish a distinct sound for herself with soulful and pop elements, it is ultimately not enough. (Kathryn Leeber)
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HELLO, ATLANTIC
Home
5 tracks
In typical pop punk fashion, Hello, Atlantic utilize heavy drumming and electric guitar to support the strained vocals. “Alcohol” is a strong opener with impressive vocals and drums, especially for a debut EP. There is a short guitar solo near the end that provides some relief from the repetitive nature of the rest of the track. “Call My Bluff” is a bit more melodic with seemingly more singing rather than near-yelling, but it is still a rather dull track. The drums really stand out in this song, especially towards the end when they get a bit more powerful. The next track features some screams which had not really been present in the beginning of the EP. It does not really fit with their sound, but it seems to work in “Tequila Mockingbird.” The verses have the singer singing much faster than he normally does, which makes the song feel unique. “Over Again” features guest vocals from Josh Herzer, the lead singer of another local pop punk/ rock band Lions, Lions. It’s another typical pop punk song, but it starkly contrasts the last track, “Beaches.” This song is acoustic and much slower. The vocals really stand out and allow for a much more emotional song. Being part of a genre with such a precise and recognizable sound, it’s difficult to stand out and make something a bit different. While I respect the attempt, Hello, Atlantic, does nothing to separate themselves from the other up and coming pop punk bands. (Kathryn Leeber)
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SOFT CACTUS
Plum
4 tracks
This melodic EP features stellar vocals from lead singer Melissa Mills. Her soulful voice compliments the soft guitars provided by Joseph Dunajski in “Fade.” The track picks up when the drums come in only to slow back down with a simple percussion beat. For such a simple song, the power and emotion Mills adds with her voice is what truly makes it enjoyable. “Tongue Tied” has a more prominent beat, but still maintains the steady and relaxing rhythm. She sings a lovely verse after the chorus, “He was caught in her eyes/ And he, he saw the light that she hides/ And loved them despite.” The rest of the song feels a bit rushed. The title track “Plum” mirrors “Fade” to start the song, as it contains a calm instrumental introduction. Lyrically, the track is fairly boring with only a few verse surrounding a repeating chorus. The song does tell a tragic story, but the instrumental work does not match the emotion very well. The last song, “Peripherals” is, conversely, very strong. The guitar rhythm has some effects that allow it to stand out and support Mills’ voice is a powerful way. With only four tracks, this EP is surprisingly strong and gives the band a signature sound that is hard to mimic. (Kathryn Leeber)
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PLEASE RESPOND
Toughen Up
6 tracks
With a unique style of acoustic rock, Please Respond elegantly combines soft vocals with a guitar and emotional lyrics. Singer and guitarist Nick Acquadro has a powerful voice that gives w way to a distinct way of singing in which he sings faster and some parts and slower at others. With just a guitar, Acquadro takes the risk of sounding dull and boring, but it pays off. His style of playing pairs so well with his lyrics and vocals. The simple acoustic nature of the EP somehow works due to the intricate strumming patterns he creates. “To the Moon” feels a little flat in the beginning, but the chorus finds Acquadro changing the pattern a bit and fluctuates his voice to vary the sound. In the first half of the EP, the songs do sound a bit too similar, but that is to be expected with such minimal tools. The heartbreaking and relatable lyrics support “Heaven” in which he sings, “If I had not asked, would I not have known? / Would we have sat on my kitchen floor all night?” “Sober” is the longest song on the EP and perhaps the simplest, but the vocals, again, are truly what makes the track so strong. This is quite an impressive collection of songs from Please Respond, especially given the fact that it is solely Acquadro’s voice and his acoustic guitar. (Kathryn Leeber)
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FOSSY JAW
Fossy Jaw
8 tracks
Fossy Jaw takes sounds from all different genres to create a funky sound with calm vocals provided by Abi Flynn. The relaxed vibe of “Don’t Mind” starts the album with an upbeat tempo backed by the creative drumming and sharp bass line courtesy of Caleb Auwerda. The bass also compliments Chris Miles on the guitar. There is a short instrumental outro at the end of the track that puts the talents of Auwerda and drummer Mason Ostrowski on display. “Big Open” features a medley of complex sounds in support of soft vocals from Flynn. The juxtaposition of sounds is quite prominent and establishes a very unique style for the group. The album has many instrumental pauses that contain the funky style through a use of varied drum sounds and a noticeable bass line, giving the album a jazz and rock sound. Flynn’s vocals suit this almost acoustic, blues sound that the group is aiming for, as she has a soulful voice and draws out some of the lyrics to flow with the mellow tones. Nothing is really linear in this record, the drums can be all over the place at times, yet somehow Fossy Jaw pulls it off, due in large part to Flynn’s vocals bringing all the sounds together. “Killed Rosa” is a solid example of a track in which the instruments continue to vary throughout, but Flynn’s voice and lyrics feel as though they join the variety of sounds. (Kathryn Leeber)
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NOAH DANIEL WOOD
Shy Guy
10 tracks
The mellow tone throughout the album stays consistent, as does Noah Daniel Wood’s voice. Supported by a subtle guitar and some keys, “Shy Guy” displays the soft nature of his vocals with repetitive lyrics. Wood is a seasoned musician, having released a few EP’s as well as a full-length. “Ever Mine” continues with the calming vibe, but adds some drums from Bryan Fennelly. The style of the album is a bit boring, as most of the songs have a similar sound, given the style of Wood’s voice. “I Won’t Let You” is a bit more pop-oriented than the previous songs and it has more instrumental and electronic elements. One of the more soulful songs is “Killer” which features a smooth drum beat and relaxed vocals. All in all, the album is definitely polished and it is clear that Wood knows how to adequately compile instruments to establish his sound, but his voice is almost too relaxed that it feels dull. “Eulogy” has some jazz components with a noticeable harmonica. This adds a nice touch, but feels a bit out of place. There is not much variation in sounds, depite trying to utilize various instruments, which makes it forgettable. Bringing in all sorts of musical influences can be challenging and while Wood does this at times, it still feels dull. (Kathryn Leeber)
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FLAMINGO CLUB
Flamingo Club – EP
11 tracks (6 tracks with 5 instrumental versions)
The EP starts off with an instrumental track titled “Preface” which features haunting sounds that flow right into the next track “My Darling,” which starts off soft and picks up the tempo. With intricate drumming patterns and quirky vocals, the sound is definitely strong and unique. The verses of this track sound more jazz-like due to the melodic drumming, but the electric guitars pick up during the chorus giving it more of a pop-rock sound. “Park Drive” is a bit heavier with lead singer Gabriel Carvalho nearly yelling at some points. He especially strains his voice during the chorus and powered by the drums and heavy guitar work, the sound is very powerful, but almost feels like too much at times. While songs like “Headache” feel more like pop rock songs, they still have components of the indie rock style, especially with the guitars and their funky sounds.The band channels lots of classic rock elements and their sound definitely has a retro vibe to it, especially in the song “Sadie Hawkins,” referencing the name of the dance. What is really interesting is that the band provides separate instrumental tracks for each of the five main tracks, so the listener can hear the tracks without the vocals. This is a unique aspect that allows listeners to connect even more with the group, since they can really hear all of the parts, almost individually. (Kathryn Leeber)
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WE CAN ALL BE SORRY
Down the Hall
5 tracks
In a typical alternative rock collection, We Can All Be Sorry blends electric guitar with funky drums. “Itch” contains a few short instrumental pauses, as well as times where the vocals are the most prominent. Alec and Jack Pombriant share the vocal responsibilities and it sounds like each one sings the lead on a particular song. “Vision Quest” sounds similar to “Itch,” but the other is singing on this track, giving it a different tone overall, as this vocalist is a bit softer. The overall tone of the EP is very mellow and suave, but it stays consistent throughout. “To the Rest” features a bit heavier sound with more prominent drumming, courtesy of Stephen Biedrzycki. With a different drum pattern, the sound wavers a bit with “Sleep Song,” which finally gives some variation to this EP.The softer vocals return but feel a bit edgier during the chorus as the overall sound gets heavier and the vocals increase in strength. Things slow down significantly in “For Now” which closes out the EP. There is another instrumental breakdown towards the middle of the song and afterwards, the sound continues to increase with heavier drumming and a more prominent guitar sound. There is nothing too complex about this EP, but it does a decent job of providing some alternative rock tracks with a hippie vibe. (Kathryn Leeber).
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FIELD NURSE
Summer Spacecraft Motorhome
5 tracks
Relying heavily on the instruments, Field Nurse creates a sound of distinguished alternative rock musicians. With two guitarists, who both sing, there is a heavy presence of guitars. Lead singer John Kinnecome has his vocals supported by Amy Griffin in some songs, and their voices blend beautifully in “Almost Late.” This track and the title track sound very similar, but “Change of Plan” changes up the sound with a more prominent drum beat. The vocals are a bit more melodic and the overall tone feels more emotional, even with the classic rock elements. The end of the track has an instrumental breakdown with a guitar solo. Field Nurse does a great job of making the instruments really stand out and the vocals are almost secondary. “Hero Junction” is a solid example of this, as is it basically an instrumental track with some funky vocals in the background. The EP is definitely strong and enjoyable if this is the kind of music you like, but overall it feels very basic and does not utilize many new sounds or styles. Field Nurse could be even stronger with more variation in their style and possibly incorporating other instrumental or electronic elements. (Kathryn Leeber)
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FALL RISK/ PEACH FUZZ
Fall Risk Peach Fuzz Split
4 tracks
In a split EP between Fall Risk and Peach Fuzz, each band released two tracks. Fall Risk has an aggressive rock sound with forced yelling vocals split between two singers in “You Will Be Missed.” The back and forth alternating vocals are quite unique but the group pulls it off. The next track, “I Don’t Care” is just as punk rock with possibly even more yelling. It is a bit off-putting at times, but they do a decent job of sticking to their sound and making it work. Peach Fuzz is not as punk, especially with the female lead singer’s soft voice. Their sound is more alternative rock with the prominent electric guitars and melodic drumming. Compared the Fall Risk, they are much more relaxed which gives the split an interesting vibe. “Snacking” starts off slowly, but definitely picks up in an even flow to end on a fast, aggressive note. Similarly, “Snaked” builds up the same way with prominent vocals that give way to the instrumental parts. With great vocals all around, as well as interesting combinations of instruments, this split EP has something for everyone and does an excellent job at it. (Kathryn Leeber)
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LYNN BAILEY WITTY
Among the Stars
9 tracks
With a classical voice and range, Lynn Bailey Witty gives a twist to pop music in Among the Stars. “Refund on My Heart” kicks off the album, but the lyrics are quite dull and repetitive. With a simple drum beat and piano, Witty’s vocals are excellent. Most of the songs are very upbeat and lighthearted, but at times they feel a bit juvenile, as is the case with “Love is Our Only Hope.” Perhaps it is the simple composition of the instruments, but there is not much complexity in the songs. On one hand, the simplistic nature of the songs is enjoyable and much more relaxed, but it also feels a bit flat. Some songs are more complex and have somewhat of a country vibe, like “This Song’s For You.” Still, the lyrics are not that intricate, but Witty’s voice makes up for that with her style of singing. The title track is also more upbeat and is one of the more enjoyable songs on the record, but the lyrics are still just too repetitive. With such a strong voice and relaxing beats, this album is definitely pleasing, but feels a bit too relaxed and nothing really sticks out. For some mellow tunes, however, Among the Stars is just the album. (Kathryn Leeber)
I’m tired and it’s raining—not exactly a brilliant combination. My day sucked from the get go, having woken up painfully early for work and having fight slower-than-death traffic in the rain. I find a surprisingly close parking spot, start walking, and evade raindrops as I prepare to meet up with Casey Desmond. If you aren’t familiar with Casey, she’s a young and talented singer-songwriter who’s made quite a name for herself in not a long period of time. Casey is funky, laid back, and from well known stock. She traces her lineage back to The Bentmen and the Sound Museum family. At a mere 20 years old, she has already recorded and released two discs with Taylor Barefoot as her co-producer. She was in the ’BCN Rumble last year and she tours all over the country. Casey has a tireless work ethic and is able to support herself through her musical efforts. I’m amazed and excited to see such a bright spark; it’s not common for someone to be so focused at such a tender age. This focus bodes well for her future and her talent for writing beautiful and interesting pop songs adds immeasurably to this mix. Casey’s passion is music and it shows in her enthusiasm, drive, and motivation.
Noise: Tell me how you got started in music.
Casey: I was in high school bands— I started real young. I began writing lots of folk songs and just acoustic guitar stuff. My parents were very supportive; I was doing the café thing because I was too young to play in clubs and bars. They really liked what was going on and they started to push me, and thought that I should do it full time. They wanted to make sure that it was okay with me.
Noise: That’s rare. Most parents want to at least make sure that you go college and are able to get a day job. Who manages your career?
Casey: My parents are actually my managers. They know tons because of being in the Boston rock scene for so long.
Noise: Tell me about your latest release No Disguise.
Casey: One of my favorite things about being a musician is the recording process. It is so much fun to me. My guitar player, Taylor Barefoot, is also my engineer and my co-producer.He is amazing.
Noise: What is your plan of attack now that No Disguise has been released?
Casey: I took a break from college and this is my full time job. I don’t do anything else but this. I usually get up and go to the office and do promotion. I go on tour and play colleges and clubs all over the place. It’s so great and such a blast.
Noise: That’s quite a luxury. Most local bands or artists aren’t lucky enough or maybe dedicated enough to do that.
Casey: Well, if they don’t mind living life with not a lot of money. I miss school, but I’m going to do one or the other. I will do this as long as I can and hopefully I’ll be able to finance my art career and then go back to school.
Noise: What’s your writing process like?
Casey: I write on acoustic guitar and piano. Sometimes I use the computer and write some synthy MIDI things and then just build on that. I’ve written three songs off of my two albums with Taylor [Barefoot], sort of spur of the moment—I love that stuff. I also wrote a song off of my first record with Will Ackerman.
Noise: How different is your writing approach now compared with how you wrote when you were younger?
Casey: There were always instruments around when I was younger so that I could mess around and be creative.
Noise: Does the melody come to you first?
Casey: At the moment I write the melody first and then write the words on top of the melody. I also write poetry and then set that to music. It’s all over the place. I don’t always have a specific way of writing. It’s more what comes to me in a given situation.
Noise: I want to go back to what you said in the beginning about writing folk songs growing up. Is that what you were inspired by or just what came to you?
Casey: I guess I was being stereotypical with the description of folk. I played acoustic guitar and I wasn’t really playing piano yet—at least not live. So, because I was doing everything solo acoustic, people always described me as folky. I would play all of the cafes and outside of the hippie shows, so they just started calling me folk. It’s the same exact music I play now, just played on an acoustic guitar.
Noise: I was noticing on the song “No Disguise” I can definitely hear the folk influence on the verse and then it progresses into more of a rock type of song during the choruses.
Casey: That song was one of the songs that Taylor and I came up with spontaneously in the studio. It came to us very quickly; it’s so great when that happens.
Noise: Where do you get inspiration from now—do you write every day?
Casey: I try to write every day—it comes in spurts. I’ve found that whenever there are emotional things going on in my life, that’s the toughest time for me to write. I tend to write after things have happened and I have all of these parts and things just come pouring out of me. It’s actually one of my favorite times in my life, because I feel so energetic and I have so much to say.
Noise: I want to go back to an earlier question. What was your recording process like on this record?
Casey: Some of it was demos that I made on my computer and then we would build on top of that. Or some of the songs I wrote on piano or guitar and I would come in and record them very simply and we would build around them musically. Mostly everything was done at Taylor’s place [Barefoot Studio].
Noise: What is your ultimate goal with your career?
Casey: Well, I love the rock star lifestyle of touring; it’s a lot of work but a lot of fun. I would also love to do soundtracks or commercials. This is what I want to do for a career and have fun.
Noise: Who are you influenced by musically?
Casey: This may come as a shock, but I’m a huge Nick Cave fan. He’s my favorite person in the world, his Birthday Party stuff into his solo stuff. I’m just starting to get into Grinderman.
Noise: I haven’t picked that up yet, is it any good?
Casey: I actually just got it, so I don’t really have an opinion yet. I’ve been a big fan of Ani DiFranco, from 11 years old on. I don’t really think I sound anything like her, but sometimes when I hear myself play, my picking patterns mimic hers a bit. I don’t limit myself to one style of music to listen to but I listen to a lot of trip hop. Most people don’t hear that at all.
Noise: I’m surprised; I wouldn’t have ever expected that.
Casey: I’d love to do a trip hop side project.
Noise: In your spare time? You mentioned earlier that you played in bands in high school, what style did you focus on then?
Casey: In high school I had a band called Adore. We were a really big Smashing Pumpkins style of band, obviously.
Noise: Really? And you were called Adore, picture it?
Casey: [laughs] Yeah, I know. You couldn’t imagine how many people would be like, Adore? You mean like one you walk through?
Noise: That is so lame. [laughs]
Casey: I’m also a big fan of the band Garbage. I did the rock stuff and then I did the acoustic stuff, so I basically combined the two to come up with what I am doing now.
Noise: What are you up to now with the record just being released—are you starting to tour?
Casey: Yeah, we played in Delaware and we just played the Paradise. My main focus is getting the record out to radio and doing promotion. We will be on tour for the next year though. We will be back in Boston too, because it’s my home and it’s where I love to play. It’s such a great experience to be on the road and seeing other places. Also, I love to see how people will respond to me. For some reason I’ve done really well in Cincinnati. People there totally love indie rock and just crave live music. People get drunk and dance. It’s really great. The people who like you will buy you drinks and dinner. It’s crazy.
Noise: I never knew that it was such a rock ’n’ roll town.
Casey: My favorite place to play is California, just because it’s California. When I go on the road, it’s just such a different thing. My band is my family all crammed in a van we have such a great time. Still, there is nothing better then coming home to play. I’m really proud of being from Boston.
SEVEN MAINE ACTS TO TAKE NOTE OF
By A.J. Wachtel
All the participants in the New England music scene are on the same team. We just play a lot of different genres at a lot of variable venues throughout five separate states. Each of these assorted areas have their own special sound and unique characteristics. Check out what the JUKE ROCKETS BAND, BUCK CURRAN (from ARBOREA), THE MALLETT BROTHERS BAND, BLACK CAT ROAD, DOMINIC AND THE LUCID, ISAIAH BENNETT and THE PAT FOLEY BAND all say about Maine’s happening entertainment environment.
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Page Contents
JUKE ROCKETS BAND
(high energy blues)
Carlene Thornton — vocals
Steve Mellor — bass
Bill Batty Jr. — drums
Ron Casillo — guitar
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Noise: Where is your band located?
Casillo: Mid Coast Maine.
Noise: What’s good and bad about your local scene?
Casillo: All good…
Noise: Describe your band’s sound and how you fit into the scene?
Casillo: Chicago blues – high octane blues!
Noise: What’s your best song?
Casillo: Difficult question – they are all great!
Noise: What national act’s influence is most evident in your sound?
Casillo: We feel we are unique. Janis, Chicago and delta blues, Eric, BB, Tedeschi
Noise: What are your plans for the future?
Casillo: To keep on moving forward to bigger and better events and opportunities.
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BUCK CURRAN (from ARBOREA)
(psych folk)
Buck Curran — guitar
Shanti Curran — vocals
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Noise: Where is your band located?
B. Curran: Bergamo, Italy/ Lewiston, Maine.
Noise: What’s good and bad about your local scene?
Curran: The scene in Maine is quite small (compared to places like Portland, Oregon, Boston, or New York City. so it’s imperative to tour throughout the US, UK, and Europe to develop a career in music.
Noise: Describe your band’s sound and how you fit into the scene?
Curran: The music can be best described as alternative folk or psych folk. Maine is home to quite an eclectic body of artists… so the sound of my music, as well as Arborea’s output reflects diversity and originality.
Noise: What’s your best song?
Curran: I’d say “New Moontide” and “Sea of Polaris” from my debut solo album Immortal Light, while perhaps not my best songs, they are definitely the best representation of my artistic voice.
Noise: What national act’s influence is most evident in your sound?
Curran: Arborea is an established national/ international act, so the influence of being in Arborea for over a decade has definitely shaped my musical voice. I also draw inspiration from American artists like Robbie Basho, Jimi Hendrix, John Coltrane, Ornette Coleman. My music is based on tonal colors, improvisation, and modal playing. The lyric side of my music stems from poetry… similar to how Robbie Basho, The Doors, and Hendrix combined poetry and musical landscapes to create their music.
Noise: What are your plans for the future?
Curran: I have two albums that came out in July… my debut solo album Immortal Light and a Robbie Basho tribute album Basket Full of Dragons (with an international lineup) so I will be busy touring in the U.S. and Europe throughout 2016 and beyond, in support of these albums.
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THE MALLETT BROTHERS BAND
(Americana/rock)
Luke Mallet — guitar/ vocals
Will Mallet — guitar/ vocals
Adam Cogswell — drums
Nick Leen — bass,
Wally — dobro and electric guitar
Andrew Martelle — fiddle/ mandolin
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Noise: Where is your band located?
L. Mallet: We are based out of Portland Maine, but spend at least half of the year out on the road. Our regular tour stops include places like Colorado, Texas, and everywhere in between.
Noise: What’s good and bad about your local scene?
Mallet: Maine as a whole, especially Portland, is a wonderful scene to get started in. It’s an open and friendly community of artists here, and the city has a genuine small town vibe. We’re fiercely proud of where we come from as Mainers, and we find loyalty to that from fans all across the country.
Noise: Describe your band’s sound and how you fit into the scene?
Mallet: Our sound has lots of elements, and our individual influences are all over the map. There is no sound specific to our scene, but there are amazing musicians from hip hop to metal to rockabilly and everything in between. There’s also a long history here of road songs, working songs, and songs about the land from people like Dick Curless and our own father, David Mallett.
Noise: What’s your best song?
Mallet: “Low Down,” the title track off of our second record, seems to persevere as a crowd favorite. Picking a favorite for me would be like picking a favorite child.
Noise: What national act’s influence is most evident in your sound?
Mallet: I think that changes from song to song, or writer to writer. In heavy van rotation lately is the latest Hardworking Americans, Sturgill, Stapleton, the New Basement Tapes, etc.
Noise: What are your plans for the future?
Mallett: Stay the course. Keep touring, releasing new music, and having copious amounts of fun. This month we plan on gigging from Maine to Colorado and back. See the website for details!
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DOMINIC & THE LUCID
(alt/rock)
Dominic Lavoie — guitar/ vocals
Nate Cyr — bass/ keys/ vocals
Charles C. Gagne III — drums/ vocals
Scott Mohler — guitars/ keys/ vocals
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Noise: Where is your band located?
Mohler: Portland, Maine.
Noise: What’s good and bad about your local scene?
Mohler: There is far more good than bad about our scene. At the risk of sounding extremely corny, it really is one big family for the most part. I think the only real downside to our scene is that with it being a fairly small city, bands very easily can get the “big fish in a small pond” mentality and that can lead to some swollen egos. But this city will also humble you very quickly.
Noise: Describe your band’s sound and how you fit into the scene?
Mohler: Our sound is best describe as psychedelic rock I would say. We all come from different musical backgrounds but have found common ground in The vintage sounds of ELO, The Beatles, The Kinks as well as more contemporary bands like Dr. Dog, The Shins, and The Flaming Lips.
Noise: What’s your best song?
Mohler: Our best song?! My favorite one to play is “Dog” because no matter how the night is going I always know it will sound good and strong. As far as what our best written song is, I wouldn’t know. Hopefully the best one hasn’t been written yet.
Noise: What national act’s influence is most evident in your sound?
Mohler: I would say Blitzen Trapper, Dr. Dog or My Morning Jacket would be the best off the cuff answer here.
Noise: What are your plans for the future?
Mohler: To hopefully keep getting better and to continue evolving. as far as more tangible things I think we hope to keep making records and to continue our creative relationship. Hopefully we will spread to some newer markets and gain some traction in other parts of New England that we’ve neglected for the past few years.
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BLACK CAT ROAD
(roots)
Steve Bailey — guitar/ vocals
Jessica Hines — washboard/ vocals
Kate Seavey — bass/ vocals
Don Reed — keys/ percussion
Chris Hartogh — drums
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Noise: Where is your band located?
Hines: Steve and Jess live in Peru, Maine, Don and Kate are out of Denmark, Maine and Chris is out of good old Portland, Maine, or P-Town, as we affectionately coin it.
Noise: What’s good and bad about your local scene?
Hines: The camaraderie among musicians is solid here and the support from our fans is truly astounding. A challenge may be that there are many talented artists in the state and a finite amount of venues and most of those venues require long winter driving, where part of the fun includes dodging moose, deer and other various wildlife. The density of the media coverage could also be stronger.
Noise: Describe your band’s sound and how you fit into the scene?
Hines: We’ve got a rocky, bluesy roots sound that is unique to our band. Our sound has been described as organic. We liked that.
Noise: What’s your best song?
Hines: Honestly, we have soft spots for each of our original tunes. Like choosing a favorite kid, I’m afraid of singling one out for fear of hurting the others’ feelings. But if we are really honest, our favorite is usually the most recently written. Right now, the newbie is “Damned”.
Noise: What national act’s influence is most evident in your sound?
Hines: We are influenced by what we love. We love all the old blues, Shovels & Rope, Morphine, Howe Gelb, Sister Rosetta Tharpe, ? and the Mysterians, Gary Clark Jr., Deep Purple, ZZ Top, Lynyrd Skynyrd, Lester Butler, and Prince.
Noise: What are your plans for the future?
Hines: Explore more music, write more songs, finish up and release our current CD, play more festivals, and tour the East Coast.
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ISAIAH BENNETT
(acoustic folk)
Isaiah Bennett — guitar/ vocals
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Noise: Where are you located?
Bennett: I mainly am a solo artist based in Portland, ME but my band name is Isaiah Bennett.
Noise: What’s good and bad about your local scene?
Bennett: The Portland music scene is so diverse and supportive of all of it’s bands and artists. There is a lot of camaraderie and intermingling of bands which makes it feel like family. Some of the bad things about the scene is that there are so many bands and venues that fans sometimes will forget where and when you’re playing even if you’ve promoted the gig well.
Noise: Describe your band’s sound and how you fit into the scene?
Bennett: My band’s sound is acoustic pop with a little bit of funk in the mix.
Noise: What’s your best song?
Bennett: My best song is probably “Horizons.”
Noise: What national act’s influence is most evident in your sound?
Bennett: Some of the biggest influences in my sound are Amos Lee, Van Morrison, Ray Lamontagne, The Beatles, etc.
Noise: What are your plans for the future?
Bennett: My plan is to play bigger and better venues and travel the world sharing with people my art and songs. Just to have more influence so that I feel these songs have wings and touch more people’s lives.
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THE PAT FOLEY BAND
(alt/ country/ folk/ rock)
Pat Foley — vocals/ guitars/ keys/ harmonica
Shawn St. Pierre — bass/ vocals
Brian “Hoagie” Lassonde — drums
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Noise: Where is your band located?
Foley: Pat Foley and his band are located out of the southern Maine area.
Noise: What’s good and bad about your local scene?
Foley: The local scene has an eclectic blend of artists but not a lot of rooms that support original music.
Noise: Describe your band’s sound and how you fit into the scene?
Foley: Pat Foley solo is a whole different show than the Pat Foley Band. Pat Foley solo is an energetic acoustic show. I use a loop pedal and also do a lot of percussion on the guitar. I am very energetic onstage and never sit on a bar stool. My shows are a blend of originals and my own versions of six hundred songs by memory (No iPad clipped to my mic stand). When I play with the Pat Foley Band we are a powerhouse three piece with more of a bluesy/ rock/ jam band feel. We have over thirty originals and also play an eclectic blend of covers that we put our own twist on. I think we fit into the jam band/ listening and dance rooms. We can almost play any kind of crowd.
Noise: Describe your band’s sound and how you fit into the scene?
Foley: Our best song is one of our originals titled “Gone.” People also dig a little caribbean song on the new CD titled Down in Belize also. “Drift Away” has a Stephen Stills bluesy/ rock edge to it that people like too.
Noise: What national act’s influence is most evident in your sound?
Foley: I would say our sound is influenced by Grateful Dead/ Allman Bros./ John Mellancamp/ Eagles/ CSN.
Noise: What are your plans for the future?
Foley: Our future plans are to get our CD One Day At A Time to take off. We’ve sold over 1400 copies since it’s release last June. We would like to get our music to a semi-national level. Playing festivals and touring small theaters throughout New England and further. Music is my life and it’s all I’ve done for twenty five years. I perform twenty to twenty five nights a month and don’t see that stopping. We will start recording a new CD in the fall of 2016 and we’re looking forward to that.
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Check our Muddy Ruckus from Portland, I live in Boston but I go check them out every time they come visit.
great read about the Maine music scene i have a band RC BUDAKA that has been around 3 years .Its always a challenge to find great places to play. i think that is the hardest part for any band things are great from may to oct and then the winter comes and alot of times thats when you hit a road block.over all though it is a great place for bands you just have to dig deep.
Historically, and in the big picture that is the New England music scene, Brad Hallen is probably the best unknown four stringer around. Over the years he has had great success in a number of different genres and his inspirational bass playing is the stuff of legends. Check out Brad digging deep into his past to answer my questions.
Noise: In your 35 years of recording credits and personal history there appears to be a gradual musical evolution in your bands. From 1980 to the mid ’90’s you were in rock groups and appeared on albums and onstage with punk icon Willie ‘Loco’ Alexander, Elliot Easton, Rick Ocasek and Ben Orr from new wave icons The Cars, Industrial Metal headbangers Ministry, Aimee Mann from ‘Til ‘Tuesday, Pastiche (and winning the WBCN Rock ‘n Roll Rumble in 1980), The Joneses, (who did a killer cover of ‘Soul Survivor’ on 1994’s ‘Boston Gets Stoned’ compilation release under the band pseudonym Torn and Frayed), The Nervous Eaters,The Outlets, Primary Colors, Adventure Set,The Soul Band, Dennis Brennan, and Susan Tedeschi. Also Jane Wiedlin (The Go Go’s) and Iggy Pop on a national level. From then until the present your music resume shows your presence in releases from Peter Malick, Roomful of Blues, Grammy Award winner Tom Hambridge, Johnny Winter, ‘Monster’ Mike Welch and for the past 6 years with blues legend Duke Robillard. You have just released a jazz CD with your own band The Evenfall Quartet. What do you attribute your music production in specific genres to specific periods in your life? Why did you start out in rock, move to blues and have now just released your first jazz CD?
Brad Hallen: I feel very fortunate to have had the opportunity to work with so many great artists over the years. I think it’s just been a natural evolution to grow as a musician. I have always loved all kinds of music. If you see what’s currently on rotation at my house as far as what I am listening to you would see it’s not genre specific. It wasn’t a conscious decision to start out on rock. That’s where I was at at the time. I also didn’t have the discipline it takes to study and play jazz when I was younger. As far as blues goes that’s the foundation of all roots music isn’t it? The Evenfall Quartet and playing more jazz now is just part of the natural progression of learning.
Noise: What other styles of music are you interested in and play?
Brad: As far as other styles of music. I love latin, cuban, salsa. I love reggae. Artists like Willie Colon, Hector Lavoe, of course Bob Marley, and all the other rock steady artists. Classical music. I try to listen to all types of music. I try and stay somewhat current with what’s happening on the rock scene today. Bands like The Arcs and The Black Keys. But I mostly play and am interested in roots music and have been spending most of my time playing upright and working on my jazz playing.
Noise: Different genres require different instruments. What is the difference when you play an upright as opposed to when you perform on an electric bass?
Brad: As far as acoustic bass and electric bass, I love them both and more than genre specific. I would say whatever serves the song best is what makes me decide which one to use. Of course when it comes to playing jazz I would always want to play acoustic bass. The two instruments function differently in the ensemble. For example the note travels a lot quicker on electric bass.
Noise: What’s the difference between rock, blues and jazz audiences?
Brad: People have different ways of showing their appreciation. Whether it’s going nuts, dancing or being quiet and applauding after solos. As long as people continue to support live music. Show up to our gigs and also purchase the music that is being made by all the great musicians so we can keep doing it
Noise: What are some of the strangest places you’ve ever played while on tour?
Brad: Strange places hmmmm – well how about Cantones? The Rat, Space, The Channel, Tennis Up, Streets, Bunrattys!It’s all the same whether you are doing a gig in Moscow, Istanbul, Paris, London or one of those fine establishments I just mentioned in Boston. Did a gig in Transylvania last year about a half hour up the road from Vlad the Impailer’s castle!
Noise: Care to share quick stories about something you remember about playing with Willie Alexander, Iggy Pop and Duke Robillard?
Brad: Stories ok. Willie produced Pastiche’s first single in 1980.”Talk Show” backed with “Terminal Barbershop/Boston Lullabye.” We recorded it at Downtown Recorders and it was such a great experience. I loved the Boom Boom Band and to be working with Willie was so cool. Such a sweet guy and so musical. As a result of our connection made there I was asked to play on his beautiful composition “Gin” and another single called “Carols Talking!!” Recording with Iggy Pop and him talking to me about his golf game. I have to say working with Duke has been a real treat. The man is an encyclopedia of information about American music. I have learned so much from him. Thanks Duke.
Noise: What’s the craziest thing you’ve ever seen happen on the Boston music scene?
Brad: What’s the craziest thing I’ve ever seen on the Boston music scene? Everything! C’mon AJ, we can’t talk about that. There was a lot of fun happening back in the late ’70s early ’80s. I’ll leave it at that.
Noise: What recording are you proudest to have been a part of and why?
Brad: As I said earlier, I have been so fortunate to have worked with so many talented people. Of course I am proud of The Evenfall Quartet record on Blue Duchess Records. It’s new! You can buy it on CD Baby and learn more about us by going to my website bradhallen.com. I love some of the records I have made with Duke. We have a new one coming out in September called Blues Full Circle on the Stony plain label, I loved Independently Blue which features Mike Welch, andLow Down and Tore Up. I am really proud of The Otis Clay/Billy Price record called This Times For Real which just won a BMA for soul album of the year in 2015! I am very proud of The Soul Band’s record Certified. That was a great group and a great record. The first Roomful record I did That’s Right was nominated for a Grammy I think in 2003. That’s a few.
Noise: What local bands do you like on the scene today and what groups do you think should have made it big in the past but didn’t?
Brad: I really like Matt Stubbs’ new band The Antiguas. They are killer. They have a steady Monday night at The Plough and Stars in Cambridge and everyone who is reading this should go see them. Great players and great songs. Dennis Brennan who has a pretty steady gig at The Lizard Lounge on Wednesday with great players. Dennis is criminally unknown on a national level. He is as good as it gets as a songwriter and performer.
I can’t express in words how much I have learned from him. He has a new record coming out soon. Bands that should have made it from the past? The Nervous Eaters. Steve Cataldo is another artist who I learned a lot from. They are a great band. The Joneses!! I always loved The Neighborhoods.
Noise: Any advice to musicians trying to get their music heard in these tough economic times?
Brad: I don’t know what kind of advice I have for people getting their music heard these days. The music industry as we knew it is at best different. I will say this: play music because you love it. Because in the end that’s all that really matters.
December 2016
