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TWINK
Dust Bunny
11 tracks
Last winter nearly killed all of us. That’s a fact. What did you do to wile away the hours? I mean, after masturbation and booze and sobbing? I tell you what our pal Twink here did. He made a disco record on toy pianos. Would he have done this if he had his wits about him? No, no one would. So we have twenty feet of snow to thank for the fragile insanity of Dust Bunny. I tell you one thing, it’s the goddamn Pet Sounds of toy piano records. There will never be a toy piano record as good as this, so if you are making one, just stop. Of course, it’s entirely up to you to decide whether you actually want to listen to the greatest toy piano record ever made, but at least now you know it exists. (Sleazegrinder)
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ANDY NEWTON
A Banner Day
14 tracks
Besides being really cute, Andy Newton is an exceptional song writer. I really like the mood of the first track, “In Due Time” – the arrangement and instrumentation is introspective and sweet: “I don’t know where I’m off to/ I don’t know what’s mine/ Still I’ll see everything through/ In due time. “Brush it Off Henry” is a dandy song of encouragement to a lovelorn friend: “Don’t be such a sad sack/ Why do you even want her back/ There ain’t nothing new today/ She was always walking away.” “Kelly Green” sounds like something Mick Jagger would’ve written or sung or both: “Girl run that stocking up your leg/ I said, Girl/ run that stocking up your leg.” “Like We Used To Do” has a dreamy, quiet quality, and the production is just so pretty, (with a little hint of Tom Rush’s “Child Song” in the chord progression.) There’s great piano and energy in “I Guess That Really Was the Last Time.” I think Bob Dylan might wish that he wrote it if he ever heard it, it is that good. And lookie there, the next song is a Dylan song, “If You Gotta Go, Go Now,” but I like Andy’s Dylanesque song better than the actual Dylan one! Gee willikers! “Those Fine and Good Blues,” is another winner. I can imagine Mick Jagger doing a cover of this one too. “River Rushing Through My Heart” has that garage band rock ’n’ roll sound reminiscent of the Standells’ “Dirty Water.” “When I Fall in Love Again” brings to mind Peter Noone and Herman’s Hermits, I don’t know why, I think because it’s plaintive and sincere and I believe it. “Providence Rain” starts like a distant cousin of “I am the Walrus” or a Beatles song that didn’t make it to the White Album. I think we will be hearing from this young man for many years to come, this is a fantastic debut album. It has been an honor to listen. Love the cover art by Rob Logan too! (Kimmy Sophia Brown)
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ABSINTHE ROSE
Black Earth
11 tracks
This is basically an anarcho/peace-punk record played acoustically, like if Crass didn’t pay the electrical bill (They never do! They’re anarchists!) so they had to play unplugged. If folk-punk wasn’t already invented, Absinthe Rose would’ve just invented it. This is their third record, and if you can get beyond the odd banjo freakout here and there, there’s a lot of good stuff in it – empowering lyrics, slur-along choruses, some tasty gypsy/spaghetti western flourishes, and plenty of room for dancing. I always thought this town needed it’s own crusty New Model Army. Turns out we’ve got one. The perfect soundtrack for your next squat party. I mean, good luck finding a squat in this greedy town, but if you do, this’ll rock it. (Sleazegrinder)
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ROSEMARY’S BABY BLUES
On Time and Feelin’ Fine
10 tracks
A well-produced rhythm & blues band with a stellar horn section and a repertoire consisting in the main of classic covers, the best of which are mentioned below. The band performs Delbert McClinton’s “Every Time I Roll the Dice” in a ballsy and brassy rendition faintly reminiscent of (and quoting) the Rolling Stones in their post-blues period. The icy-cold rhythmic cool of “Pass the Peas,” (by James Brown’s backup band The J.B.s) is ably preserved in the jaunty trumpet and tenor sax stylings of John Abrahamsen and Rosemary Casey; pianist Travis Colby’s Hammond B3 solo adds a sprightly touch, and Joe Peck’s bass playing is remarkable. The instrumental rendition of Muddy Water’s “Got My Mojo Working” is particularly strong due to Jake Jacobsen’s guitar and Larry Bassick’s sure-footed percussion. The Funky Delbert McClinton number “The Rub” is highly entertaining as well as impeccably performed – the muted trumpet solo is an especially nice touch. The smoldering harp playing of (the presumably pseudonymous) Bismo Beerbelly adds a smoky touch to the band’s cover of Big Joe Turner’s “Flip Flop and Fly,” and John Abrahamsen’s wild trumpet solo is perfectly executed; Jake Jacobsen’s juddering guitar solo made me laugh out loud in admiration. (How often does that happen? Practically never.) “Killin’ Time,” an instrumental original which seems very much influenced by James Brown; recorded live, it is an added treat which climaxes the album. The band’s choice of repertoire reveals outstanding good taste, and the instrumentals are top flight. I would be very surprised if this weren’t one of the best revivalist R&B bands out there. Recommended. (Francis DiMenno)
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TERRY KITCHEN
The Post-American Century
10 tracks
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NOMAD DREAMS
Nomad Dreams
11 tracks
Okay… now I’m going to be outed as a hypocrite for loving this album, after criticizing Found Audio’s album for its cliches… because Nomad Dreams employs plenty of cliches as well — but in my defense I’d argue that you can do cliches better than others, so we give you a slide. Nomad Dreams mixes regular cabaret and jazz pop, but they do it so deliciously that I cut them slack for lacking originality. This album is scrumptious! Their Russian singer Vlada has a voice of verve and sass, and even though I was listening while doing other work, lyric upon lyric kept jumping out at me. Unlike most jazzy acts, the lyrics are not poetic and instead punch you in the face with sly wit. Example: “I’m un-employyyyed / don’t-know-where-i’ll-sleep-tomorrow” and “don’t-ask-me-for-how-long… I lost count / when my insurance ran out”! This album is fun from start to finish. Imagine Julie Andrews singing “I wanted to be a painter / but they told me I’m color blind / i wanted to be a rabbi / but god said ‘you’re out of your mind.’” I’ve already listened to the CD three times and will listen again! (I’ll be listening to Found Audio’s album again, just for the great bits.) Simply delightful. (Shauna Erlbaum)
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TONI LYNN WASHINGTON
Regina Royale Records
I Wanna Dance
9 tracks
Toni Lynn has long been an iconic matriarch of the local R&B scene. She is in her late ’70s and was awarded a Boston Blues Festival Lifetime Achievement Award back in 1999. This new release showcases her powerful, warm and emotional vocals. She purrs. She growls. She gets the message across. Her backing band takes her from funk to bar-room to traditional blues in the blink of an eye – and they play tightly together on all the cuts. Bruce Bears on organ and piano and Mark Texeira on drums also play in Duke Robillard’s group. Veterans Jesse Williams on bass, Mike Williams on guitar, and Sax Gordon and Amadee Castenell on horns are a real pleasure to listen to. My favorite tracks on this great release are the opener, “I Feel Like A Million,” Sonny Boy Williamson’s “Checkin’ Up On My Baby,” and “Walkin’ and Talkin’ (And Crying My Blues Away).” All three you would expect to hear in a an exciting nightclub appearance. “Mellow Down Easy,” a Willie Dixon cover, “Somebody’s Been Sleeping” (with a red hot Sax Gordon solo) and Buddy Guy’s “Leave My (Man) Alone” are funky and fantastic. And “Give Me One Reason” by four time Grammy award winner Tracey Chapman and Toni’s own “I Can’t Get Over Losing You” are in the traditional blues vein. This is one of the best R&B releases I’ve heard this year. I really love in the credits it’s written “All songs ARRANGED by Toni Lynn Washington. She is the real deal and these words are justifiably true. A great release. Check it out. (A.J. Wachtel)
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DREAMCHILD
Absynthe Soundworks
Le Cabaret de L’Enfer
15 tracks
I fell in love with the cover of this CD. Brilliant red poppies adorn it, along with black and white images of a stylish steampunk couple raising glasses of absynthe. Intriguing! However, once it began to play, I asked myself, “What fresh hell is THIS?”
Silly question, since that answer is within the title. I wanted to like this CD, between its cover and the titles of the tracks such as, “Gaslights in Hell,” “Ophelia’s Melodious Lay,” and “Sin Eater.” I really tried, but when I heard their cover of Kate Bush’s “Wuthering Heights,” I was done. Cringe worthy, like coffin nails on a blackboard to my ears.
My tastes in music are typically very diverse and open, but when I listened to this, not only did the doors close, but they were also well bolted. I just couldn’t find any pleasure in this self proclaimed hell. No doubt there is a cult following for Dreamchild, but I’ll not be drinking the koolaid. Nor the absynthe, for that matter. It strongly disagreed with me. (R.J. Ouellette)
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JOHN SURETTE
Tomorrow The World (A Punk Rock Opera)
12 tracks
This album by John Surette of old school Boston punk legends Boys Life is impressive on many levels. Writing a concept album is a lot harder than it looks. Many of the songs break the conventions of punk rock and add elements of new wave, rockabilly, ragtime and prog. There are twists and turns in the songwriting that you never see coming yet feel natural. This record was produced by Surette and David Minehan. It sounds as polished as a Bob Ezrin recorded Kiss, Pink Floyd, or Kiss album. While no longer a teenager himself, John Surette seems to draw effortlessly from the well of teenage angst. This album should be re-released by the lingering ghosts of major labels. (Eric Baylies)
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TUMBLING BONES
Loving a Fool
13 tracks
“Broken Things” takes off as if on horseback, galloping along with a great rhythm section, with a wistful fiddle, and lovely harmonies reminiscent of Fleet Foxes. What’s wonderful about this album is the new compositions juxtaposed against the old gems that they excavated from hither and yon. “Bound to Ride” must be one of the ones T Bone Burnett missed when he was working on “Oh Brother, Where Art Thou?” – complete with a freight train fiddle alongside high and lonesome voices. “Loving a Fool” is a country waltz full of regret and sorrow over loving the wrong person. I’ve heard the 1956 “I Don’t Believe You’ve Met My Baby” covered by Dolly Parton, and also by Alison Krauss, but this version by these boys is an excellent presentation of the male perspective. “How They’re Rolling” is an enthralling ballad with wonderful blended voices, guitar and harmonica. “Shady Green Pastures” begs Elvis to join in this fine gospel tune, sung a capella in four-part harmony. “Red, Red Rose” is a dark ballad written in the vein of “Pretty Polly” which builds to a dramatic climax. “A Voice From on High” by Bill Monroe sounds as if it was recorded decades back. They learned “Just Because” from a Jorma Kaukonen record (which I have in my collection too!) but they make it their own. It’s a toe tapping, joyous song of warning. “Bright Morning Stars” is a traditional tune, sung in wailing soulful harmony. These guys are from Portland, Maine which is where I live. How have I missed them? I must show up for one of their concerts, they are a truly spectacular bluegrass band. (Kimmy Sophia Brown)
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BEES DELUXE
Boston Is Trying To Kill Live Music
A Can of Bees
7 tracks
The ambient and subtle low-key version of “Mercy Mercy Mercy” (also covered by Cannonball Adderly) establishes this band’s excellence from the get-go. The smoldering acid blues of “A Quitter Never Wins” is compelling and intense–even vaguely reminiscent in places of early Funkadelic. A band original, “Zoe’s Chromatic Blues” – the title is perfectly descriptive– isn’t very different from what you might hear on some eclectic soft jazz radio program. Pianist Bruce Mattson adds an admirable Hammond B3 solo to Carol Band’s subdued keyboards and composer Conrad Warre’s reflective guitar. “Roll Over Stockhausen” is a live jam with subtle, insinuating bass work by Alan Dorr, ably accompanied by some spectacular plashing percussive fills courtesy of Sebastian Kossak. the cover version of “Damn Your Eyes” is performed in a creditably minimalistic fashion which highly suits the material–again, with spectacular guitar work by Warre, as well as dead-on percussion by Patrick Sanders. Warre’s bizarre, Hendrixesque acid blues fills on a number like his “I’m a Corpse part 2″ are proof positive that the band isn’t afraid to mix the brazen with the sedate. This combo is pushing the boundaries and are, in that sense, a band apart. Recommended, particularly if you like something more than a little different in the realms of blues and jazz. (Francis DiMenno)
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DRAGONFUCKER
Eponymous Epic 6 tracks
I had never heard of this band from South Boston until my friend took me to some dingy basement show (I love these kinds of shows) but it was all metal bands, and I find most metal to be too conformist and by-the-book. (I do like generic doom metal, though, because it’s so heavy and low.) Before this band played a note, it was clear they were a different beast. Their name alone! (That’s how you do it, bands. Your name should sell your “product.”) This demo doesn’t have the best production, but it doesn’t really matter, as the material transcends it. Think maybe Uriah Heep meets Iron Maiden? They’re also probably Tenacious D fans, but Dragonfucker play it pretty straight, which is good, because I don’t really like corny parody bands. These five good looking longhaired guys are surprisingly skilled musicians for their young ages (they all look 19) and tighter than a chinese lady’s purse. Great song titles too, like “Castles of Leather” or “Irony Is A Dangerous Game,” and inspired lyrics that dangerously veer too-close to the aforementioned silliness but succeed thanks to some cleverness. “Castles of leather/ tethered together/ …with barbed wire!/ rivers of iron/ roar like a lion/ …made of fire!” I could just read the lyric sheet for hours! (Is it too much to ask all the musicians out there to try a little bit harder?) The singer is serviceable but not distinctive enough; however, that could change with more practice. (He was much better in a live setting.) It’s 2015, metal bands! Stop aping 1985! Come up with something new! Granted, Dragonfucker are not reinventing the wheel – their genre should be called post-gallop! – but they also aren’t just imitating their heroes, either. They do some acrobatic metal moves I’ve never heard before. (Shauna Erlbaum)
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21st CENTURY FUGITIVES
Losing Time
5 tracks
John Lucas singing, Gavin Burke on drums, songwriters Jimmy Bez on guitar and Jaden Mendola on bass, are all 16 years old and go to two different area high schools. They met in a town sponsored music class in Wakefield when they were 12 years old, and have been playing together ever since. Their sound is classic metal rock a la Led Zep meets The Foo Fighters, and the first two cuts, “Losing Time” and “Caught Cheatin’” are radio friendly rockers with cool power chords, vocals, and a good rhythm section that moves the songs along nicely. “Blame It on The Universe” is a bit goth, “You” with its great bass intro, and “Basic Facts” all have loud guitar, pounding drums, and screaming vocals. This young band shares the intense attitude of The Dropkick Murphys in their music too. Very Boston. Very Cool. Very Good. Keep an eye and ear out for this clamorous quartet as they grow. (A.J. Wachtel)
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BILL
The Bill Album
13 tracks
This is some record. Bill the band have been around since the late ’80s and on some level, it’s always been a bit of a goof. And it still is, but this record jams. Bill Gage is the best grunter since Tom Warrior, and he growls and spits through thirteen tough-as-nails hard rockers here that sound basically like Jim Carroll’s Catholic Boy if Jim recorded directly after getting his wisdom teeth pulled. Bill’s mush-mouth is definitely the highlight, but the back-alley guitars move things along nicely too. As far as gimmicks go, The Bill Album goes pretty far. (Sleazegrinder)
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WATERMELON
Ate Me
9 tracks
This spazzy young band hails from Connecticut. They cover both Janes Addiction and Thinking Fellers Union Local 282, so that’s cool, but what about their originals? Watermelon writes some pretty good stuff too. They have odd passages like the residents and jagged rhythms like Sacharine Trust and Arab On Radar. Some of the songs are more rock ’n’ rolly but most of it takes a sort of free jazz approach to rock. This is a great big slab of awesomeness. (Eric Baylies)
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BUCKY FEREKE & THE PONY EXPRESS
Crumble Crumble Crumble Records
Wild River
12 tracks
Bucky Fereke’s self-produced production values are casual, and the vocals aren’t always front and center, necessitating a lyric sheet–attached. The excellent opening track, “Nothing,” is redolent of the band Green on Red with some superadded Neil Young touches (that whining harp, mostly). Frontman Bucky Fereke (he pretty much does it all, except for the often out-of-sync percussion) has a plaintive and high lonesome voice capable of descending to a near-baritone (as on the folksy but lumbering title track, reminiscent of Jackson Browne in a Jimmy Buffet mood). “Dearly Departed” is a shimmering country and western harmony vocal confection–one halfway expects to hear some yodeling. “Kings” has a halting and juddering instrumental backing which is certainly unique on the annals of country-folk–it’s like listening to Mungo Jerry in a hall of mirrors. “Welsome Home” is a curious combination of heavy metal and pure country – a coming-home song for a jailbird? Whatever. It’s a disturbing and memorable song, kind of like Husker Du in a country mode. “Sleep In” is another heavy number, somewhat murky and confused, but undeniably unique. (One has to wonder, however, what sort of mad mood the composer was in, to combine Spencer Davis Group with musique concrete?) “Give Me Back My Heart” is another example of Fereke’s inimitable brand of bizarro country songcraft. “Since My Baby left Town” is an uptempo but plaintive Cowpunk number: fans of the Holy Modal Rounders and Michael Hurley will find much to like here. “Lonesome (When You Go)”–not the Bob Dylan number–is a tinkling, tintinnabulating lament instrumentally somewhat in the mode of Johnny Cash and Hank Williams Sr. Overall, this is country rock with a twist–very much in the tradition of, but sounding not an awful lot like, Poco and Pure Prairie League. (Francis DiMenno)
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FOUND AUDIO
Locomotive Earth
12 tracks
Your intrepid reviewer (me) has informed The Noise‘s editor to send them (me) only CDs that are very creative and innovative-in-some-way, as that is my cup of soup (I don’t like tea), but that memo continues to appear lost or ignored. So here goes! I really don’t want to hurt the feelings of musicians (even though most could use a lot more Tough Love), but they have to choose between being lied to or being hurt (and growing as human beings). The press release for this record states it “aimed to embrace experimentation”, but that’s almost perfectly untrue. Hell, the opening riff is literally the most common cliche in rock music: a straight 4/4 beat of chugging guitar chords. This was trite by 1962! All of it sounds terribly uninspired. We’ve heard all these cliches thousands of times before. (The “experimentation” seems to be the occasional sound effect.) The CD is deliberately-ordinary country-roots rock, but it seems like they didn’t try too hard in the writing department (hence the cornucopia of cliches). Waitaminute! WHO is this on track 4? It begins with a very unusual and delightfully crafty structure and sounds! LOVE it! But then diverts back to ordinary, sigh. This is a band that really does need some tough love, to make them rethink their laziness. I hear what COULD be a really great rootsy band, but the singer needs to try harder as does the songwriter. The album SOUNDS great. But I’m really hard on musicians, because I expect more out of them. Helpful Tip: if you write a chord progression and it doesn’t blow your mind every time you strum it, then throw it out and try again. Track 5 (the titles are too dull to cite) begins like a David Lynch soundtrack! I’m loving it… and then the parade of country cliches comes in and ruins the party. Ah! There it is again: the REAL Found Audio! The bridge (?) of track 5 takes the country music cliche of the thump-thump-thump-thump upright bass etc but uses non-cliche chords and melodies over it! There you go! Because you can use some of the cliches of a genre you love, while still surprising us. EX: that thump-thump-thump-thump bass not only is a rhythmic cliche of country, it’s a melodic cliche, and that instrument‘s cliche (as opposed to playing country bass with a Moog doing the same notes and rhythm). See? All three elements — melody, timbre, and rhythm — are the exact cliche! A cliche jackpot! You can change two of the three elements and it’s still country music. Wow: some of the artsy bits are phenomenal. They need to learn to fuse that sense of adventure with The Song, so it’s one long breath of fresh air, versus artsy-intro-then-ordinary-song-then-artsy-outro. Track 7 is mostly really good throughout! If these guys tried harder, they could be an amazing post-REM. Let’s hope I kicked their butts enough to motivate them! My editor’s going to kill me for going over my word count, but I think there’s a real breakthrough here! Right before your eyes! Track 8 also shows them fusing it all into their own sound. Guys! You would be HUGE if you just committed to making all your songs more “experimental.” The good parts are fantastic! Commit! (Shauna Erlbaum)
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JAY WILLIE BLUES BAND
Zoho Records
Johnny’s Juke Joint
12 tracks
Generally speaking they sure know how to rock ’n’ roll down in Connecticut. More specifically, the Jay Willie Blues Band has cornered the market on the way his major influence, Johnny Winter, sounded. What better way to create an almost identical intonation than to have Bobby T. Torello, Johnny’s drummer during the ’80s, and Jason Ricci, who played on Winter’s 2014 Grammy award winning releaseStep Back in the band?
Joining Jay Willie, Bobby, and Jason in the group are Bob Callahan on guitar and vocals, Steve Clarke playing four strings, Ted Yakush on sax, and Malorie Leogrande with her five octave vocal range and Jay’s brother Tod singing.
This release has a bunch of covers and a few originals and the one thing they all have in common is the cuts rock righteously. Jay’s slide guitar on the Winter cover “I Love Everybody” from his Second Winter album is just killer. Malorie’s great female vocals on the song change the perspective of the original, and I love how the band keeps playing as the song fades into the outro! Johnny Winter did this a lot on his records and it’s an inside way Jay pays tribute to the master. Curtis Mayfield and The Impressions’ “People Get Ready” is a very soulful and rocking cover. An instrumental that Johnny, Jon Paris and Bobby T used to open with, back in the day, “Succotash,” sounds a lot like Johnny’s laying down the licks himself. The nice stomping shuffle, “Nobody But You” with a great Yakush sax part also is very good. “Me And The Devil” a trad blues Robert Johnson melody, Jimmy Reed’s “You Got Me Dizzy,” Buddy Guy and Jr. Wells’ “I Got A Stomach Ache” and Jay Willie’s own “Upside of The Ground” showcase the band’s tightness and ability to get and stay in a groove. PLAY THIS CD LOUD! (A.J. Wachtel)
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CONOR MULROY
The Last Circus Act
8 tracks
If you want to sit down and hear some really pretty music, set yourself down and listen to this album by Conor Mulroy. The compositions are all his but they have an old feel, some remind me of songs by Townes Van Zandt – they’re full of feeling and observations of the heart. Lindsay Paige Garfield offers a perfect feminine edge on harmonies, with Michael Feingold, Patrick Warren, Dave Easley and Tom Arey adding their excellence on strings, keyboards and percussion. “Brown’s Island” is a notably lovely instrumental piece. “Norwegian Eyes” makes me think of the Moody Blues. “The Last Circus Act” is the most unique track, it feels other-worldly and mysterious. Nice album. (Kimmy Sophia Brown)
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THE WIG PEOPLE
Littleguy Records
Black and Grey: A Film By Marc Stuart Tourigny
6 tracks
For the record, the full title is “Black and Grey: I Will Be Your Light Single Featuring Music From the Wig People: A Film By Marc Stuart Tourigny.” The single is easily the best of show; a singularly bent bit of ecstasy-rock somewhat akin to latterday OMD or maybe a deracinated Yo la Tengo. It is a heartening bit of emotion-laden songcraft which fades to silence amid the epic tom toms of John Lynch. Next, lead guitarist Jonny Rely provides a solo instrumental guitar track stark in its beauty and simplicity titled “Flight of the Wig People”. Then there’s a couple of warhorse classical pieces and a negligible demo. The final track is “The Blue Light,” a band effort somewhat reminiscent of U2 and PiL, performed in a clamorous fashion by the band Menfolk. Overall, this is at the very least an interesting curio. (Francis DiMenno)
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BRIAN CARPENTER & THE CONFESSIONS
Accurate Records
“The Far End Of The World”
11 tracks
This debut release took four years to make. It is an interesting and unique mix of haunting ballads, sea shanties, reverb drenched guitar and free jazz. Brian sings like Frank Zappa and writes all the songs, but it’s the well crafted arrangements and vivid lyric and audio imagery that makes this a good endeavor. The opener, “Savior of Love,” “Beautiful Jane,” “The Far End of The World,” “This Lonely Road,” and “Up Come Old Lazarus” are moody, haunting ballads. “Lost at Sea” sounds like an old marine tune, and “Where The River Bends,” which incorporates whistling, has a C&W influence and is pretty cool. Brian’s past gigs include Beat Circus and Ghost Train Orchestra and I love the electronic swirls and quirks he uses for his free jazz inspired tunes “Resurrection,” “It Hurts to Love You Sometimes,” with the neat violin part, and the final cut, “Sailor’s Song.” Contributing artists include David Michael Curry from The Thalia Zedek Band and Carla Kihlstedt from Tin Hat and Rabbit Rabbit, who sings and performs on strings and the traditional Swedish nyckelharpa. Introspective music played out loud. Finest Kind. (A.J. Wachtel)
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