Try: Looney Tunes, The Middle East, Oona’s, CD Spins, Tape Complex,
The Kirkland, The Sound Museum, Q Division, Woolly Mammoth, Newbury
Comics, Abbey Lounge, O’Brien’s, Ritual Arts, Nuggets, The Milky Way,
The Midway, The Paradise, PA’s, Skybar, TT’s, The Attic, All Asia,
Toad, Great Scott, Dodge Street Grill, Planet Records, Cambridge Music,
JamSpot, Herrells, JP Licks, Mr. Music, In Your Ear, Guitar Center,
Guitar Rock City, Hubba Hubba, WBCN, The Garment District, Eastern
Trading Co.,Twisted Village, Jack’s Drum Shop, Rounder Records, Camp
Street, The New England Institute of Art, Boston College, The Museum
School, Mass College of Art, Berklee School of Music, Rockin’ Bob’s
Guitars, Degeneration Records, Prolitariate, Daddy’s Junky Music,
Aboveground Records, Amazing Express, Stingray Body Art, Buckeroo’s
Mercantile, After Midnight Productions, B-Sides, Bukowski’s,
Ralphs, Lucky Dog Music Hall, Rolling Thunder Skateboards, Jellys CDs,
The Center for Arts in Natick, Natick Guitar Center, Tammany Haland,
Java Joes.
If your establishment would like to carry The Noise, call 617-524-4735 or email
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THEA HOPKINS
Museum of Fine Arts, Boston, MA 5/3/12
A fine gig tonight at a great packed venue for long-time folk talent Thea Hopkins. She’s opening for the legendary Ramblin’ Jack Elliot, he of the more talk/less music mentality (that’s what octogenarians are apt to do—whoa!). Immediately Thea and her tremendous sidekick, Andy Hollinger (guitar/ mandolin), set the audience upright with a short collection of great folk-rockin’ material. Her voice is crisp and clear with gorgeous sustained tones vested with both blues and country inflections. She graces us with an uptempo version of Linda and Teddy Thompson’s tune, “Do Your Best for Rock ’n’ Roll,” that gets the crowd boppin’, but it’s her original material that is the focal point. “Down By the Water,” “Hold On,” “Rows and Rows of Stars,” and “Lilac Sky,” the title tune from her upcoming new album, are standouts. Thea also proudly tells us that she has just won an American Songwriter contest and will be receiving a new Gibson guitar. Bravo and fait accompli. (Harry C. Tuniese)
TIM GEARAN
CD Release Party,
Atwood’s Tavern, Cambridge, MA 5/10/12
Atwood’s is quickly becoming the hub of the Americana and roots scene in the Greater Boston area. Tonight people have traveled near and far to see Boston’s own iconic singer/songwriter and his band. The room is packed to the gills with fans friends and celebrities like Will Dailey, Christian McNeil, Steve Morse, Jesse Dee, Ed Valauskas, and Andrea Gillis from the local scene all paying tribute to the man. It’s all Tim Gearan tonight. And he deserves it. The man is a workhorse. He plays four to five nights a week in town and tonight is working on his second set of his second show today. His voice reminds me of a soulful Bob Dylan meeting a bluesy Randy Newman. The crowd in front of the stage is thick as Jello. There is more talent on stage tonight than some clubs see in a year. (Kier Byrnes)
ANDREA GILLIS BAND,
THE BANDIT KINGS
The Dog Bar, Gloucester, MA 4/20/12
The double shot female vocals of the Bandit Kings commence soon after I find a seat near the stage. The band mixes up a good selection of covers (the Pretenders seem to be their favorite) and their own catchy songs. “Find,” “Motorcycle,” “Shirt Off My Back,” and “Epic Hello” have all stuck in my head since the first time I heard them. Ann Marie has a great physical presence; her moves force you to watch her. Renee on keyboard adds the perfect vocal support—and sometimes it’s not clear who’s supporting who, as both these women have great pipes—and unison between the two is one the band’s signature sounds. Dan King is playing the rounded sound of a Washburn semi-hollow body tonight (instead of the Fender Telecaster I usually see him with)—he knows the right moments to pour on the heavy vibrato. Dennis Mongale is steady on the drums and adds to the songwriting with “Breath.” Joe Cardoza on bass knows when to lay back and when pump up the low end. They complete the set with the gals fevered up and letting loose with “Jerker.”
Andrea Gillis’s super-talented band from Boston is up next and the folks of Gloucester don’t hold back their appreciation by dancing through the whole set. The band includes Charles Hanson (lead guitar), Melissa Gibbs (rhythm guitar), Bruce Coporal (drums) and Mark Panaski (bass). The family tree that those members branch from is impressive. They start with “Bring It on Home to Me” with bluesy guitar solos and Andrea getting all soulful at the end… then they’re right into a bebopper called “Tough Love.” The gals from Bandit Kings get on stage and add their background harmonies. Then there’s that big round bass riff driving “We Could Make Each Other Happy.” They go from country twang to ’60s soul, from straight rock ’n’ roll to Donna Summer’s “Hot Stuff” disco AND the old gospel tune “Hold On (Keep Your Hand on the Wheel),” and it all makes perfect sense with Andrea’s raspy vocals holding the common denominator. These musicians build a set the way a volcano cooks up before it explodes. The lava leaves the room full of sweat. (T Max)
THE GROWNUP NOISE,
BOW THAYER & THE PERFECT TRAINWRECK,
GARVY J, MOTHERBOAR
T.T. the Bear’s, Cambridge, MA 4/20/12
Rock ’n’ Roll Rumble Finals
I walk up Brookline Street to see a long line of people waiting to get into T.T.’s, which is testament to how many people are drawn to the annual Rock ’n’ Roll Rumble (or, North by Northeast, as I’ve been calling it over the past couple of weeks as I struggle to explain to my coworkers why I’ve been so tired without using the term “nine-night party”). Luckily I’m on the list and I jump the line to get inside the club, which is by far the most packed I’ve ever seen it.
Motherboar has just started playing so I squeeze into the crowd, which I instantly regret as I fall victim to the beer showers which are apparently Motherboar’s signature move. The entire set is brutal, relentless, and testosterone-ridden. I have a feeling there are going to be a lot of headbanging-induced post-metal-show sore necks tomorrow. My favorite song of the set is “Camel Puncher,” which is precisely the ratio of straight-up metal to melody that makes me want to break things (not recommended).
Motherboar is the front-runner of my Rumble trifecta (along with Garvy J and Parlour Bells), and by the end of their set, I’m pretty convinced they’re going to win, based on how thoroughly melted everyone’s faces appear to be. On my way to get a drink post-face-melt, I run into pretty much everyone who ever posted on the Noiseboard, as well as an ex-boyfriend or three. The Rumble really does bring everyone together, and that’s what I love about springtime at T.T.’s. It’s like a damn rock ’n’ roll reunion up in here.
Garvy J starts playing, and their dreamy atmospheric pop-rock grooviness juxtaposed with the sheer brutality of Motherboar throws me for a loop at first. I must admit I am also slightly disoriented by all of the leather, but once I adjust to the drastic mood shift, I like what I’m hearing. It isn’t long before I find myself swaying along in a dreamlike state of arena rock bliss. These guys have a following, for sure—I see lots of people dancing up front who know every word.
Next up is Bow Thayer & the Perfect Trainwreck, who play bluegrassy country rock, complete with banjos! The set is actually my least favorite of the evening, even though the musicianship is top notch (that drummer!) and the crowd seems really into what they’re hearing. The songs just seem to blur together, although that could also be the PBRs. It feels like just a few minutes have gone by when the Grownup Noise takes the stage in the Rumble’s traditional guest spot. They have a cellist! And that voice! They are so smooth and sweetly mellow! It’s definitely a shame that they had to drop out of the prelims.
Shortly after, it is announced that Bow Thayer has taken the 2012 Rumble, and out of the corner of my eye I see champagne spraying everywhere while I’m tweeting the news. Accolades to Anngelle for organizing such an amazing scenebuilding event that exposed us all to so many bands we normally wouldn’t have seen—the Rumble is the only time you’ll see such varied types of music represented back to back. As I wait in line at the Hi-Fi afterwards with half the people that were just at T.T.’s, I find myself thinking that I can’t wait ’til it’s Rumble season again. Cheers, Boston. That was rad. (Emily Diggins)
GYPSY CARAVAN
Belfast Free Range Festival, Belfast, ME 4/28/12
We arrive at the whimsically named, Belfast Free Range Festival, in time to hear the first scheduled act, Gypsy Caravan. The little fishing village is milling with folks of all ages as we hurry to the Aarhus Art Gallery, one of eight venues where thirty-five bands will perform in a staggered schedule today.
Gypsy Caravan is from mid-coast Maine. They perform manouche-style gypsy jazz, and also play in the tradition of modern jazz guitarists Robin Nolan, Frank Vignola, John Jorgenson and Bireli Lagrene. They are seasoned musicians—Dave Clarke is the lead guitarist, and composer of many of their tunes. His dad, Dan Clarke, plays rhythm guitar and Ezra Rugg is on the standup bass. Wayne Delano plays at least two different saxophones. The venue is filled to capacity with a small crowd standing at the back of the gallery. Many seem to be genuine jazz aficionados as there are numerous bursts of wild applause for the intricate, improvisational sax solos and all round unified musicality of the group. I was expecting more of a Django Reinhardt type set but they seem to reach into more of a modal sound that tend toward the abstract. They are excellent musicians, though, and in fine form, playing high tone music without smoke or alcohol in the surroundings, jumping right in with intensity and feeling before lunch! (Kimmy Sophia Brown)
ENGINE JUDY,
HIRAM BULL,
MICHAEL BLOOM,
DAN McGINN
Private Party, Revere, MA 5/5/12
Initially assembled late in 2010, Engine Judy came together as a full-fledged band some three months ago. The band already has a slew of songs, of which, on this evening, we are treated to six. The full band is Tim Sprague on guitar, vocals and trumpet; Judith Ann Sprague on vocals; Phillipe Doucet on guitar, Maureen Relling-Booth on bass and vocals, and David Zimmerman on drums. The concert takes place on a dead-end street in a big backyard with a maypole newly wrapped in multicolored ribbons rising out of the tidy lawn from nearly dead center. The warm-up number, “Keep Away,” is a standard blues shuffle. (I mention to Michael Bloom that it would do nicely for a Viagra ad. Then I admit that this was a very cheap shot indeed.) The second number, “Cadillac,” reveals a semi-psychedelic undertow in the interaction between rhythm guitar and bass, with (infernal cliche) hot guitar licks interspersed along the top. It concludes with an incantatory, mildly doomy Doors-like vibe. (Michael Bloom observes that it would be even more amusing if it were sung in Swedish and called “Volvo.”) “The Gathering” is a jazz-inflected, bass-heavy lament with muted trumpet solos. Next is “Long Ride,” an incantatory rock number with harmony vocals and tribal percussion. The sound in the outdoor venue is murky and diffused as the sun is not long from setting and the super moon is about to rise in the serially gathering fog—conditions which add an appropriate, almost suffocating sense of something ominous to come. The highlight of the evening is “I’m in Love With You,” which I peg as psychedelic garage punk from the opening bars. True to form, the song features circular bass riffs with fuzz guitar overlay, but with highly enunciated vocals rather than the incoherent babble one might expect from frantic Tejano-style psychedelia. Tim calls their final number a “fake jazz tune,” but the actual title is “Rocks They Crumble.” As the song begins, a red-haired woman with fingernails painted green begins to smile and nod. The tune features a trumpet riff on top of a springy guitar rhythm and torchy vocals. Overall, what Engine Judy lacks in heedless stripling energy they more than make up for with subtlety and feel.
Hiram Bull, not seen on a stage of any kind for nearly ten years, shambles up and performs, a capella, in his wavering hillbilly tenor, a simple song: “We’re Just Like Everybody Else.” Before the feeble and scattered applause dies down, he then introduces Michael Bloom, who follows up with a lovely ballad sung over a regrettably
under-miked acoustic guitar rhythm. A real surprise is the performance of an impromptu pickup band lead by Dan McGinn, aka Black Dog Brother, who performs two guitar numbers with an undefinably choppy rhythm sung with manic brio and admirably underscored by galumphing percussion.
Earlier, some people had been petting their dog, a strangely complacent pit-bull and black lab mix “with a touch of greyhound.” I asked why the dog was so calm. “She’s a rock ’n’ roll dog,” was the reply. (A very handy dog to have around.) (Francis DiMenno)
THE REACTIVE,
THE BEACHCOMBOVERS,
UNRULY
Club Bohemia/Cantab Lounge, Cambridge, MA 5/5/12
Too much! It’s like a hit-jukebox tonight at the Cantab. It’s also local legendary videographer Artie Freedman’s birthday. There’s dancin’ (whoa!), pop hits galore, fashionable people, and even exotic bellydancers! And it washes over me like a bountiful shot of tequila on a wonderful Cinco de Mayo evening. Aye-yi-yi-yi!
We arrive as Unruly, a three-piece female power trio, finish up with Zeppelin and Hendrix tunes.
Next up is Tommy White’s group, the Beachcombovers, a fun-filled tribute to surf music and instrumental beat combos (a la Dick Dale, Link Wray and the Surfaris). With their natty attire and well-chosen covers, they bring big smiles to the entire crowd, especially when three exotic dancers make an appearance. Both sultry and swirly, they weave through the room waving scarves and balancing swords on their torsos. Good fun stuff.
Lastly, the debut of the Reactive, featuring ex-members of the Varmints (vocals/guitar Fred Victor and drummer Dan McCarthy) and long-ago Rumble champs, Pastiche (Ron Marinick on keys), and charming pop-rock stylist, Julie Sweeney (guitar/vocals). Very fine presentation and quite loud and strong—our ears are still hummin’. Great crowd response (real dancin’—whoa!!) and Mickey Bliss is even singin’ into his PA mic at the soundboard on some tunes! A good looking band with wonderful balance—front man charisma, cute side gal, and solid rhythm grunts groovin’ non-stop equals irresistible! Excellent selection of great tunes by the Stones, Rascals, Kinks (the masters!), with a few cool originals thrown in for good measure! A group to keep your eyes and ears and pulse reactin’—shake some action, indeed! (Harry C. Tuniese)
DUKE LEVINE BAND
Atwood’s Tavern, Cambridge, MA 3/20/12
A bunch of friends and I hold a running club Tuesday nights at Atwood’s. We meet each Tuesday around 7:15 and set off for a run, returning to Atwood’s afterwards for cold beers and some tasty grub. Tonight we get a special treat. Duke Levine, one of (if not the) best guitarists in Boston has set up camp on stage and we have front row seats to an amazing display of guitar virtuosity. Unlike when Duke plays sideman to Jimmy Ryan, Dennis Brennan or the J. Geils Band where Duke rips into a lighting fast mind blowing solo, Duke’s solo stuff is more reserved. It’s still amazingly technical, but it’s a lot more smooth and mellow. There are a lot of ballads (a few too many some would say) but the crowd that is fortunate enough to see someone this talented in such an informal setting, doesn’t complain. Boston rock icon Peter Wolf jumps up on stage and does a few songs to close out the night and to top off what’s an amazing set. (Kier Byrnes)
THE SKINNY MILLIONAIRES,
THE McGUNKS,
THE OLD EDISON
Providence Social Club, Providence, RI 5/8/12
Every year I pick a show to go to on my birthday, this year I chose this one. Supersuckers headline, and I figured since I’ve seen most of these acts it should be a slam dunk. The club never really fills up tonight, but it is very barren as the Old Edison takes the stage. This is the first time I’ve seen them fully mic’d. To be honest, I prefer them unmic’d buried in the crowd, with everybody singing along. That isn’t happening, the music is still great, but I don’t feel the same connection that I’ve grown accustomed to when seeing them in Boston.
The McGunks are fresh off their Motif’s Punk Act of the Year win and they’re looking to prove why they’re money. The club is now a little fuller, the stage has a few more faces but still it’s kind of a sad draw. We get the “all business” McGunks tonight. I prefer the drunken falling down shit show, but I’ll take what I’m given. Bob McGunk barely stops to talk between the songs. This banter is my favorite part of their shows usually. He does ask for everyone to tip the bartender so she could buy pants that fit. Overall, the McGunks set is a win, and they’re pretty money in my book.
I’m excited that part of the Denver Boot is playing with the Skinny Millionaires tonight. The excitement ends as the music starts. I’m not impressed at all. Yes, the energy is amazing. The singer is all over the stage—jumping off the drums, jumping in the air, swinging his guitar around—but all the energy in the world doesn’t make up for the blatant Violent Femmes rip off. The nasal vocals grind on my last nerve very quickly. I really can’t tell you what he is singing about, because where I’m standing the crowd noise is drowning him out. I don’t smoke but opt to go and catch some of the second hand just to escape for a bit. This by far wasn’t my best birthday show, but they can’t all be winners. (Melvin O)
BILL STAINES & BOB FRANKE
Me & Thee, Marblehead, MA 5/4/12
My favorite host at the Me & Thee coffeehouse, Phillip Murphy, gets the show rolling with his snappy fire exit information executed in a humorous rap style which includes a costume and personality change—he becomes his evil twin brother who wears a Yankees baseball cap. After the intro, Bill Staines and Bob Franke take the stage looking like two old gunslingers—with six-strings instead of six-shooters. Bill sports a cowboy hat, trimmed white beard and brown Beatle boots while Bob Franke wears a loose fitting brown suit. These guys comfortably start swapping songs back and forth with no set list. Comfortable is a key word here.
The songs are true old-school folk songs that fit right in with the best traditional folk songs available. And the coffeehouse is filled with long-time fans who readily join in on the choruses. Even Bill’s rendition of Pearl Jam’s “If I Come to Need an Angel” gets equipped with a folk melody to make it suitable to sing at his daughter’s wedding.
The between-song banter is wonderful with these two. When Bob twists around to switch to his 12-string he groans, and Bill says it’s the same sound he makes when he puts on his socks. Bill threatens his out-of-tune guitar with, “Remember the wood stove,” then follows up with, “It smartens it up all the time.” When Bill raises his capo one fret right before the start of a song, Bob quips, “A good friend warns you.” Later Bill preceeds one of his songs with, “Flying is the second best feeling—landing is the first.”
Of the standout songs, I’ve noted Bob’s “Not Today”—an a cappella tune about an alcoholic staying away from a drink. Then there’s Bill’s theme song for keeping kids off drugs (“Tomorrow”). And the smugly humorous song about Bob’s dog Snowy, “Good Dog,” is my favorite. The night continues the series of well-written songs and high quality performances that I’ve come to expect out of all the shows at Me & Thee. (T Max)
DOLLAR GENERAL
Club Passim, Cambridge, MA 5/4/12
Michael Chorney, an arranger-producer-guitarist from Lincoln, Vermont, was also the musical director/accompanist for Anais Mitchell’s Hadestown album & tour, creating a sympathetic backdrop of Americana/jazz/folk/pop/blues/minstrel music that broadened the arrangements and presentation. At several performances, his musical ensemble often opened the show with his mild-mannered and uniquely involved material. He has now taken the next step and formed his own folk-jazz quartet to showcase this splendid mellifluous vision.
The only caveat tonight is there is no available album for a CD release party—just a petite sampler EP. Michael explains he’s been so fussy with final mixes that the project just couldn’t be rushed to accommodate the gig. But folks, from the material presented, this will be a masterful collection from some extraordinarily talented performers. His group, Dollar General, featuring Asa Brosius on pedal steel and Dobro, Rob Morse on acoustic bass, and Gaza Carr on drums, is so effectively tuned into his music, it takes my breath away. I hear traces of John Martyn, Tim Buckley, Peter Blegvad, Fred Frith, and Michael Hedges. With Mr. Chorney’s laid-back vocal fluency and dextrous use of both acoustic and prepared guitar (he’s developed a system of manipulating the strings with metal strips that can alter the tone from that of an African kora to Javanese Gamelan), this is special and great stuff, indeed! Check ’em out whenever they make a return visit to Boston—positively recommended! (Harry C. Tuniese)
METEORA
Belfast Free Range Festival, Belfast, ME 4/28/12
We stay in the Aarhus Gallery because one of my favorite Maine folk trios, Meteora, is up next. The gallery is packed to the door. They welcome us warmly. As an aside, Will Brown and Kat Logan both contributed to the 2009 Grammy nominated folk album, Singing Through the Hard Times—A Tribute to Utah Phillips. Jim Loney is from an R&B and delta blues background and has an elegant tenor voice. He did me in with a solo of “O Come Emmanuel” at a Christmas concert back in December.
Meteora’s three-part harmony gives me goosebumps. Will cradles his teardrop shaped 12-string guitar like a baby and his voice is rich and sweet. If I had to classify Kat’s voice it would be in the Judy Collins camp. She has a tonal quality that brings to mind cool water from a pristine forest. We hear an array of musical flavors from blues and bluegrass, Celtic and English folksongs, a few originals and even a couple of Latino tunes. Folk singer Ann Dodson is present and joins them on stage for a few songs. I would happily drive two hours to hear them again. Their set is over too soon. The audience is blissed out. Me too. (Kimmy Sophia Brown)
HOOKERCLOPS,
LITTLE WAR TWINS,
FAUX OX,
GOODNIGHT MOON
Church, Boston, MA 5/2/12
I’m late. Traffic’s brutal. Kenmore Square is packed with rowdy Sox fans heading to Fenway. I deftly maneuver my way through the crowd as the cry of ticket-scalpers rings out in the cool night air. I finally make it to Church with just enough time to catch the tail-end of Goodnight Moon’s set. A buncha young’uns, these guys—black X’s sharpied on each of their wrists. Their music smacks of pop-punk—sentimental and bubblegummy, with a dash of distorted grit and oomph. Not too shabby.
After them comes power-trio Faux Ox. There’s no bassist—just two guitars and a drummer, but their sound isn’t lacking in low-end bombast. Not in the least. Their tunes, for the most part, radiate drone-heavy drop-D riffing through cranked amps. The lead-guitarist shoegazes his way through exotic Eastern-tinged melodies drenched in a variety of spacy effects. The drummer blasts tom-heavy battle-drum rhythms while the singer chomps on his guitar and sings in a twisted Cramps-like staccato style. Think “Kashmir” meets White Stripes. Dark and dreary, this post-punk outfit is right up my alley.
Third on the bill are Little War Twins, who provide a nice change of pace, substituting thunderous volume with subtlety, positivity, and intricacy. Their manic pixie dream girl vocalist, in her summer-dress and pink bandana, strums gently on her acoustic guitar and sings flower-power songs with her smoky voice. To her right, a lead-guitarist lookin’ like Duane Allman reborn, finger-picks delicately at his Strat, emitting a mind-boggling array of tonal colors—from eerie UFO sounds to whammy-barred chimes to sparkling glissandi. To her left, a stunning violinist warbles like a songbird on her violin, ebbing and flowing between climactic peaks of fierce fiddle-sawing and startling pizzicato breakdowns. The drummer’s less-is-more style and outside-the-box approach—using the stands themselves for percussion, scraping drumsticks across the cymbal-edges to make a theramin-like squeal, etc.—gives the lushly-layered songs just what they need.
Rowdy rock ’n’ rollers HookerClops close out the night. A tough slot, closing on a Wednesday night, but these guys do it with such unrestrained intensity and boundless aplomb that you’d think it was a Friday night at the Rat. Their music is juiced-up on distorted guitar machismo, punk-rock swagger, and cheap beer. The lead-singer (lookin’ a like a punk-rock Colonel Sanders with his white suit) strums a cherry-red Bo Diddley guitar, while the bassist (with his philosopher’s beard) cavorts across the stage and the mustachioed lead-guitarist wrenches twangy leads from his hollow-body. Propelling it all is the wild drummer’s boisterous backbeats and frenetic fills. They plow through a barrage of brief but driving tunes full of delightfully absurdist lyrics and rallying-cry choruses. (Will Barry)
ATLANTIC THRILLS,
THE ROACHES,
GANGBANG GORDON
PA’s Lounge, Somerville, MA 4/29/12
Gangbang Gordon is easily one of the most bizarre rock acts I have come across in the past few years. GG is a one man band: vocals, guitar, drum machine. Tonight, his appearance is as equally striking as his outsider, noisy-garage driven music. He hops on stage wearing a poorly supported, blonde hair wig and an old, beat up Corona hat. GG’s set is roughly ten minutes long and consists of him jumping into the small crowd with little to no preservation for himself or the attendees; at one point he even knocks me on the head with his guitar. Towards the end of the performance, the audience stares blankly, unsure whether it is the end or if there is more to come. GG assures us, “NO ENCORE!” Of course, it is good to note that this is in fact his debut performance, so for that I will say, congratulations, young man!
The next band, the Roaches, continue the garage rock tradition that Gangbang Gordon begins. This time, however, it is from the total opposite side of the spectrum. Being Berklee College of Music students, the Roaches are excellent musicians and deliver a knock out set. Like GG, they are highly energetic, but they play much faster and with extreme precision. I note an undeniable Oblivians influence. Like Oblivians, they take the blues and pump it up with fierce, loud punk rock. They have a tight sound, the guitars are thick, the drums are pounded with incredible force, and the vocals are shouted. The Roaches hit me like a tornado and their half hour set never runs its course. I have been meaning to see them for over a year now, so this is a real treat. I recommend the band to anyone in interested in perhaps more sophisticated garage rock.
The headliners tonight are the Atlantic Thrills, a local favorite of mine hailing from Providence, Rhode Island. When you see the Thrills it is always a party! They conclude our evening of fun filled garage rock. The group is not as musically inclined as the Roaches, but much more experienced than Gangbang Gordon, so it is the perfect middle ground: loose rock ’n’ roll meets admirable musical chops. The band is always excited to play and the crowd eats it up. When I look around I notice that there is only a handful of people in attendance, but honestly it makes no difference. The crowd, for the most part, is either wildly dancing or moshing, or both. It turns into one of the most enjoyable rock experiences of my life. Their finale is an unexpected and amazing cover of the ’60s, Peruvian garage band, Los Saicos’s “Demolicion,” which sends me into a frenzy. (Chris DeCarlo)
WE OWN LAND,
WHITE DYNOMITE
Majestic Liner Yacht, Newport, RI and Atlantic Ocean 5/12/12
I’ve been on a few booze cruises on the ferry in New Bedford in my life, but the cover bands were always an afterthought. On this yacht, or ferry, or spaceship, or whatever I’m on, I’m finally going to hear something good. Allow me to correct myself. With White Dynomite, I’m going to see something great. With the bassist of Roadsaw, you know these guys are not messing around, white suits or not. Heavy rock, not metal tinged with classic and southern rock influences like Black Oak Arkansas, Dust, Kyuss, Monster Magnet, and Glucifer. The boat was rocking and people were getting hammered, some of them in the bands, so I was a bit concerned for the safety of the passengers, but I think we all made it back safe. It was different, for me at least, to see some great bands on a big as boat cruising under the stars and the Newport Bridge. I caught a little of White Dynomite at the Pour Farm Tavern in New Beige a couple of weeks ago, but this is the first whole set I’ve seen. Damn, Gina, these guys are great.
We Own Land is a little less Cactus and a lot more Motorhead. These Newport natives do not fit the image many have of their town as they tried to take down the ship to the bottom of the sea. With energetic drumming, a dynamic frontman and relentless solos, We Own Land are bringing back punk influenced hard rock to Newport, and its about time. This three hour cruise was over way too soon, but at least I am with the movie star and Mary Ann. I guess that makes me the Professor. (Eric Baylies)
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THE MICHAEL J. EPSTEIN MEMORIAL LIBRARY
Faith In Free
3 tracks
It’s fitting that this EP is one song broken into three movements because its wide breadth and artistic imagery evoke classical music as much as pop. In less capable or more austere hands, this could be a disaster, but Epstein and crew pull it off without a hitch. The first movement, featuring an array of instruments and voices, has a spooky, haunting vibe, and its use of repetition puts the listener in a pleasantly hypnotic state. The second movement is a gypsy waltz that recalls DeVotchKa or Firewater, and its shifting tempos amplify its tensions. The third movement, which lyrically recalls the first, goes down the smoothest, with the lyric “I’m not afraid of the dark” bringing the song’s soothing nature to the forefront. There’s a lot packed into this piece, requiring the listener to spend some time with it to fully discover its charms. It’s time well worth spending. (Kevin Finn)
RICK BERLIN w/ THE NICKEL & DIME BAND
Whitehaus Family Records
Always on Insane
14 tracks
Not all the melodies here are certified knockouts bound to set you to rocking back on your heels, but a jolly manifesto like the cover of “(I’m a) Slut” is an ingenious opening salvo, and a tuneful number like “Hilary (Galway Girl)” shows to gratifying effect lead vocalist/writer Rick Berlin’s patented sense of high style. The Nickel & Dime Band is a talented crew who contribute a hyper-competent garage rock template, as well as a user-friendly vibe replete with a soulful but restrained horn section. Throughout Berlin’s latest batch of introspective song scenarios, you can hear resonances of the Rolling Stones, the Who, and the Buzzcocks. More pleasing still are the vocal nuances Berlin brings to many of these tunes, notably the delightfully wacky “Karaoke.” “7 Foot Woman” is a similarly amusing novelty; “I Love You in the Rain” is a quieter ’70s-era jazz pop confection driven by piano and saxophone and a bravura vocal performance, and “As Long As it Takes” is a nuanced love song with a delicate bone-china melody. “Summer Roof” has touches of ska and Northern soul and is perhaps the most appealing song on the collection. Unfortunately, there are more than a few misfires. The genre-clowning “Kitchy” seems more self-indulgent than whimsical and strikes me as a poor man’s Springsteen circa “Candy’s Room”–a song which seems epic to some, but comes a cross as merely schmaltzy to the less susceptible. I have a similar problem with songs like “Salut” and, especially, “I’m Jes’ Sayin’,” which features somewhat ludicrous vocals over a low-key arrangement. “Party Comin’ Up the Stairs” is an overlong and somewhat muddled mess—Gary “U.S.” Bonds it’s not. The Berlin oldie, “Beer Belly,” seems like a misguided attempt at musical slapstick ala Lou Reed’s “Disco Mystic.” And, as an ostensibly inspirational song, the album closer, “All in This Together” comes across as less than subtle, verging on strident. Some artists latch onto a style and hone it until it can no longer be improved, and eventually reach a point of diminishing returns and commence to spinning their wheels, Other, arguably superior artists, continue to attempt stylistic progressions and constant innovations. Throughout his long and storied career, Berlin has shown both these qualities; his best compositions here fall squarely in the latter camp. (Francis DiMenno)
SANS NOMENCLATURE
Tea & Kittens
4 tracks
Sans Nomenclature’s 4-track, Tea & Kittens, sounds a bit like an early Mistfits record, if Glenn Danzig had been traded out for Government Issue’s John Stabb. The band disguises their peppy tempos and classic influences beneath a veneer of crunchy distortion in much the same way the aforementioned Misfits did. What’s unfortunate is that Sans Nomenclature suffers from the same muddy production that plagued the Misfits, rendering this EP good for little more than getting a taste of a band that may have a very bright future. I, for one, hope that their next release enables them to showcase the quality music that they are capable of. (George Dow)
THE BENEDICTIONS
American Wasteland
10 tracks
From a repetitive opening three-chord rock track that sounds like a bunch of your pals chanting drunkenly over and over, to the second three-chord track that sounds like a bunch of your pals chanting drunkenly over and over…there’s a bit of charisma, kitsch, and panache here. For a band comparison, I would have to say I hear a 2012 Rolling Stones, though not getting to the chorus. It’s the sound of safety, something none of us really need in this vile world of 2012. In music we want danger, not security. We want risk, not safety; we want entropy, not stability. I can see the fun in blasting out a bunch of rock and stroll songs, perhaps if anything else for party’s sake, but it doesn’t move the soul. Then again, my soul is under question and akin to many of the Boston harbor tunnels in terms of construction and leakage. So take it with a grain of salt, rock on, and more power to you. (Mike Loce)
THE LIGHTS OUT
On Fire
8 tracks
With their latest release, the Lights Out continue to do what they do best. And what, you may ask, does this band do best? They play their ’roid-raging brand of rock and they play it loud. It’s the type of rock that’s souped-up on muscular basslines, steady backbeats, and chunky blues-rock guitar riffs. It’s driven by charismatic vocals that range from guttural growls to fierce falsettos and bolstered with richly-layered spot-on vocal harmonies. Though this album lives on a steady diet of red meat, non-light beer, and unfiltered cigarettes, it’s not mindless or shallow jock-rock by any means. It’s got depth and soul to match it’s gusto. “One Way To Die,” in particular, stands out. With it’s pulpy hard-boiled lyrics, minor-key twinges of Americana, epic build-ups and breakdowns, this tune sounds like it could be the title track of some long-lost Bond flick. While these guys may cut their teeth in the local club circuit, their style is clearly meant for the arena. Keep it comin’, boys. (Will Barry)
NELSON BRAGG
We Get What We Want
11 tracks
“Dedicated to Brian Wilson… Thanks for the road trip,” singer, songwriter, percussionist, and all-around artist, Nelson Bragg, writes in the liner notes of We Get What We Want. An individual best described as a melodic power-pop aficionado who has succeeded in crafting a dazzling sophomore record, Bragg has been a key fixture in Brian Wilson’s Band since 2003 and is now one of the musicians backing the Beach Boys. It is particularly admirable to see Bragg take elements of his influences and inspirations, molding them to create something unique and pleasing to listeners of all generations. For instance, the album’s opener, “You Could Believe,” keeps listeners on their toes as it shifts from a cappella harmonies evoking the treasured, multi-layered harmonies of the Beach Boys to a full-on sound reminiscent of the Byrds and the Beatles. The ethereal “Steel Derrick 1979” is also worth noting, with its utilization of an acoustic guitar, beautiful guest vocals supplied by Evie Sands, and the trumpet work of Probyn Gregory, one of Bragg’s bandmates from Brian Wilson’s Band. The record closes with “Everything I Want To Be,” a warm and welcoming tune that is, essentially, a celebration of friendship. It evokes summer nights spent around a campfire with compatriots, sharing anecdotes through spoken word and song. Bragg’s vocal is especially intimate here, its accessibility blending nicely with the track’s theme. We Get What We Want appears to be Bragg’s psychedelic love letter to the ’60s, so inspired is he by this timeless era. (Julia R. DeStefano)
BEN TAYLOR
Sun Pedal Recordings
Listening
11 tracks
This is a solid CD packed with great songs that touch on folk, pop, reggae and Americana and are all sung by Ben’s supremely soulful voice. Singer/songwriter Taylor sounds most like his father, James, withhis wit, skill as a songwriter, and by his expressive vocal delivery. But the music mix from song to song encompasses solo acoustic melodies to multi-layered vocal tracks which include backing vocalist sister Sally, and with fresh beats. This is where the main differences lie; the songs are up-to-date and current and have an urgency and intimacy that separate them from being classic rock or anything else. The songs I really enjoy are “Oh Brother,” “Dirty,” and “You Could Be Mine”; there is a lot to like on this project. “Giulia” and “Worlds Are Made Of Paper” are uptempo/folk/pop tunes that showcase Taylor’s talents tremendously, too. I also dig the funky folk of “Vespa’s Song,” the reggae influences of “America,” and the haunting Americana closing ballad, “Next Time Around.” His father’s folk is most evident in the opener, “Listening,” “Not Alone,” and “Burning Bridges.” Listen long and listen good: this is a great CD that makes me hungry for more. (A.J. Wachtel)
THE PANDEMICS
Lonely Like the Sun
11 tracks
For those who want their rock without any modifiers like indie, punk, classic, etc., I give to you the Pandemics, who play what just might be the most straightforward rock you’re likely to hear these days. But please don’t mistake straightforward for boring or thoughtless. This is intelligent, well-played and well-recorded music. The songs have a lot of punch to them, but not at the expense of hooks, and the musicians are given enough room to show their skills without being given enough room to show off. Most importantly, it got my wife humming along, and she probably has higher standards than anyone reading this right now. If there is a drawback, it’s that the tempo stays mostly the same throughout, which can lead to occasional bouts of monotony, but is this really the type of band that you want toning things down and doing a ballad? I didn’t think so. (Kevin Finn)
THE STRANGE AVENUES
Bacchanalia
6 tracks
Part chain-smokin’ guitar-slingin’ hard-rock, part busted-knuckle punk, part raunchy gutbucket blues—Christ, I’ve never heard an identity crisis sound this damn good. They’ve got a dark brackish guitar-heavy sound that’s dragged along kicking and screaming by the driving drumbeats and skulking basslines. The two vocalists duke it out song to song, one with his husky smoke-dried baritone, the other with his glass-eating punk-rock shriek. Hell, even the guitars have five-o’clock shadow. The tracks are, for the most part, high-energy hook-laden song-explosions fulla Fender-bending guitar solos and smeared with punk-rock sneer, but it’s those WTF moments I get listening to tracks like “Queen of Hearts,” a slow-burning drop-D blues that’s darker than a Mississippi Delta barroom at midnight—it’s those moments that really get me. I’m not sure if I should give these guys a round of applause or a chest-bump. (Will Barry)
PETER BALDRACHI
Prodigal Son Records
Tomorrow Never Knows
11 tracks
Okay, where has Peter Baldrachi been hiding that I haven’t heard of him? I’m sure he hasn’t been hiding, I just missed him somewhere in this sphere of Boston music but I’m glad to have found him now! Due to circumstances unfortunately beyond my control, I got quite behind in my CD reviews and since this was submitted, I believe he has released another, but this still very much deserves a review. Tomorrow Never Knows features a refreshing blast of commercial pop rock tunes; Peter’s music is upbeat with a perfect blend of a Brit-pop / American alt rock feel with decided dashes of twang. I absolutely adore it. Accessible, catchy, and happy—we all need music with a goodtime spirit and Peter’s got it—not to mention that the production is outstanding. It’s a very rare and special thing to love every track of a CD but I can honestly say with Tomorrow Never Knows that I did. Can’t wait to hear the next! (Debbie Catalano)
GOLDEN BLOOM/
THE MICHAEL J. EPSTEIN MEMORIAL LIBRARY
Swap Meet
4 tracks
Epstein et al. perform two by Golden Bloom, and vice versa. Fun ensues, and both ensembles are covered with glory. Golden Bloom’s rendition of the heroic and anthemic “Amylee” is brilliantly understated and polishes that gem-like song to a high gleam, while their rendition of the sardonic “Civil Engineering” is creditably lighthearted and upbeat. Better still, TMJEML’s version of “Theme from an Adventure at Sea” is comically atmospheric in an ineffably appealing fashion reminiscent of the best of post-punk era keyboard synth. Best of all, their version of Golden Horde’s “You Go On (and On)” is an unexpectedly touching melodic lament. Both bands acquit themselves spectacularly here. A stellar release. (Francis DiMenno)
MARK CUTLER
75orLess Records
Sweet Pain
13 tracks
I can see this dude playing at some little roadside bar, and I can see myself hanging around for his set, especially if he plays “Heart of Stone,” which just won’t get out of my head (and I’m okay with that). This is folky, rootsy rock ’n’ roll with a very lived-in feel, and while the songs could benefit from more variation in tempo, there’s enough song-to-song variation in mood and structure to keep the listener engaged. The record’s biggest strength is Cutler’s charismatic voice, which falls somewhere between Petty and Dylan; it might not technically be the strongest, but it’s quite adept at conveying emotion. This is a solid effort. (Kevin Finn)
BILLY SHAKE
Crashing Down
11 tracks
It’s interesting how Billy Shake blends Americana rock with garage and hard rock elements. In tracks like “Down The Road,” heavy guitar riffs complement the jangly rhythms. It’s a standard roots vibe flavored with a hard edge. Lead vocalist George Simpson’s vocals fit the genre—they’re a bit flat but the Bob Dylan/Mark Knopfler-ish vocal style is spiced with shades of David Bowie, creating an original voice for George and the band. Am I over the moon with Crashing Down? Not exactly and I can’t pinpoint why—it’s done well and the musicianship is top-notch—especially the guitar-playing! Not sure whom I should credit the outstanding guitaring to as both Chris Bernard and Ken Sparrow are listed as guitarists on the CD (on their site Dan DelSignore is listed as a guitarist) but I’d say that’s the standout of this entire CD. Also a big plus for the band is the fact that Brian Maes co-wrote a couple of the tracks—nice to have his touch on those. Overall it’s a very good job. (Debbie Catalano)
NEW PILOT
Looser
8 tracks
This versatile collection features a blues-based shuffle boogie, (“Little Bird”), a rock song with touches of reggae (“Stuttering”), and some well-wrought Americana (“The Waiting Is Over”). “When I Go to See You” is a memorably heartfelt ballad, and the raga-rock of “A Queen’s Gambit Declined” is commendably ambitious. All of these songs have an appealing, laid-back ambiance; all are competently arranged and meticulously executed, and yet there seems little that is original or remarkable in the band’s approach, and so the overall result is one of pleasantly executed craftsmanship—no small thing, but not yet the stuff of which legends are made. (Francis DiMenno)
FRAN REAGAN
Heard, Not Seen
10 tracks
This CD clocks in at about 57 minutes, which is at least an hour longer than it needs to be. While listening to it, my cat actually jumped on the CD player and turned it off. When I turned it back on, he then tried to change it to the radio. Smart dude. To be fair, Reagan has a very lovely baritone, both warm and friendly, but the problem is the material. The music is often extremely overdramatic despite its mellow vibe, and the lyrics often aim for a sense of inspiration that is beyond Reagan’s grasp. At times, the music feels like it should be playing over the closing credits of a Disney movie. Other times, it feels like it should be playing over the boring parts of fantasy movies where the characters are hanging out discussing love instead of killing orcs and shit. That said, I’m probably not the target audience here. All listening to this CD made me want to do is turn on Seinfeld re-runs and listen to punk rock records, so that I could reconnect with my sarcastic, bleak self. (Kevin Finn)
BLISS
Seconds in a Minute
12 tracks
Never have there been statements truer or more applicable to a band than the old adages, “Find your bliss” and “Follow your bliss.” Three Durham, New Hampshire-based women, Kristan Bishop, Cathy O’Brien, and Karen Larson, are doing just that through a combination of originals and covers using acoustic guitars, a violin, a keyboard, and beautiful soul-stirring harmonies. The result is a blend of the folk, rock, and pop genres in the realm of Emily Grogan and Linda Viens’ Angeline. However, while the innovative qualities embodied within Angeline serve to captivate and hold listeners’ attention, the Bliss ladies become repetitive. For instance, the disc opens with “Shine On,” which would be a lovely tune except for the fact that it sounds similar to several other tracks, namely, “Seconds in a Minute,” “Better Days,” and “Love, Love.” Despite this, the girls’ cover of Green Day’s “Good Riddance (Time of Your Life)” is worth noting with its harmonies that are both gorgeous and haunting, and clean guitar work. Overall, Seconds in a Minute comes across as one long song as opposed to a twelve-track album. Variation in instrumentation and in vocal dynamics would result in something that leaves more of an impression on listeners. (Julia R. DeStefano)
A BIT MUCH Labor Day 2011
2 tracks
I like the band’s name and their sense of humor (i.e., “a bit Much is rock ’n’ roll’s mid-life crisis”). I’m not sure, however, whether their ’80s vibe is intentional—in particular the guitar riffs. The classic rock thing they have going on jumbles up amongst a non-descript vibe. In other words, they’re a bit all over the place but I get the feeling they relish in this. The first tune is eight-and-a-half minutes—too long for my taste. Track two is another eight-minute song and a schizophrenic mash of sounds. But I think I hear some strings mixed in—a nice touch amongst the chaos. If anything, they possess self-awareness and a spirit of enjoyment. (Debbie Catalano)
THE FEW
Live at WMFO
3 tracks
Up until recently I had never heard of this rock band the Few, which is weird because I usually know my rock around Boston. This live set at WMFO studios begins with the thunderous rocking track “Got to Try.” It is a solid start and reminds me of the Stooges. Perhaps not as gritty or as vile, but it certainly has a similar style and attitude. You can tell from this first track that the Few are ready to rock. It is a bit too crisp and clean for my tastes, but I think most will find it pleasing to their ears. It is definitely a song one can bang their head to. “Got to Try” is filled with sing-along harmonies, steady drum beats, and brief guitar solos. The next track, “Nowhere to Run,” keeps up the same ode to classic rock sound as its predecessor. This song, however, is a bit slower, but nonetheless maintains the same energy. The final song, “Push,” is perhaps the band’s catchiest on this release. With this track we hear Jaime MacKenzie on lead vocals; you can tell her singing truly reflects the attitude and lyrics she is delivering in the song. She’s got some powerful pipes and I hear a little bit of Robert Plant in her voice. Overall, this brand of rock is not exactly what I am looking for in music as it is a bit too conventional for my standards, but at the same time the band clearly has some strong songs under their belt and with this in studio performance they prove to be the rocking force they claim to be. (Chris DeCarlo)
AYLA BROWN
Ambient Entertainment
Ayla Brown
9 tracks
The first thing I notice is the stunning vocals: this young lady sure can sing. Check out “Beat By A Girl” and you’ll see what I mean. The second thing I notice is that Ayla can go from straight-ahead Americana to Americana with a hard rock edge quite smoothly, which isn’t necessarily easy. And I can hear the folk influences too. Listen to the closer, “Can’t Make Up My Mind,” with its nice piano opening and it almost sounds like a Carole King melody. I really dig “Goodbye for Good” and “Don’t Mess This Up” for their country rock ’n’ roll feel and I love Brown’s steely vocal delivery in “Playin’ With Fire,” where she sings, “Don’t mess with me!” I also like the pedal steel present in many of the songs that give the whole thing a real Nashville sound. She writes most of the music, and her tight band never gets in the way of her vocal delivery either; which definitely adds to the overall audial appeal. This is good stuff so check it out now. (A.J. Wachtel)
THE NEW LOWS
Rock and Roll Limbo
13 tracks
A little bit punk. A little bit bar-band. A little bit honky-tonk. Sound confusing? Well, it is. And that’s not all either. The New Lows mix in classic ’80s and indie rock influences to boot.
Rock and Roll Limbo is a good record but very difficult to pin down, bouncing from one genre to another, each track utterly disregarding the previous. The genre-jumping is manageable, mostly because the New Lows play each with skill. The exception comes about halfway through, with “I’m Only Sayin,” an embarrassing attempt at white-boy rap. My personal favorite is the straightforward guitar rock of “Lost In The Maze”
Aside from the hip-hop misstep, the New Lows deliver an entertaining debut. (George Dow)
PLUMERAI
Your Guilty Prize
9 tracks
It is difficult to pinpoint the exact feelings experienced when listening to Plumerai’s fourth studio release, something best described as a melancholic, supernatural trip blending folk, rock, punk, and industrial genres. Frontwoman Elizabeth Ezell is the embodiment of intriguing sultriness; her heartbreaking breathy voice comparable to the likes of PJ Harvey and Carina Round, and is capable of leaving a lasting impression upon listeners. The result is a sophisticated emotional record full of depth and indicative of the band’s collective growth. Take the foreboding tone of the opener, “Strike,” and compare it with its polar opposite, “Spinning Landscape,” a song that appears to effortlessly float through the air and utilizes elements that make it dizzying to the ear, exactly as its title would suggest. “Empty Graves” also takes on this kind of ethereal quality and is reminiscent of the Cure’s vast catalogue. Overall, the effort is bold in its production, taking risks so as to keep listeners guessing, which makes the work commendable in its own right. However, I cannot shake the feeling that I have heard something very similar to this before. Think the sweeping and pop-oriented dreamlike state that Mazzy Star’s work manages to evoke. If you put both bands side by side, Plumerai tends to assume the role of little sister and suddenly, their work no longer appears so innovative. But it is enjoyable, nevertheless. (Julia R. DeStefano)
PACO
You Are My Life
16 tracks plus 1 music video
Paco (Frank Stewart) is a throwback to old-school big band vocalists. He sites his musical heroes as Josh Groban, Andrea Bocelli, Michael Crawford, and Ronan Tynan, but he also mentions Paul Anka, Neil Sadaka, and Barry Manilow for artists that I’m more familiar with. This musical project is based on love of family and friends and Paco’s heart leads the way. The show rolls out with the old standard, “You’re Nobody Till Somebody Loves You” that starts like a piano bar performance and ends with the whole orchestra joining in with Paco’s exuberant vocal crescendo—complete with the trumpets squealing. He picks great classics (“Georgia On My Mind,” “How Can You Mend A Broken Heart,” “All of Me”) and becomes the lovable manly ringleader. It appears like Paco would like to make his fans an extension of his family. He’s got the love vibe is leading the way. ( T Max)
SHARKS COME CRUISIN
Hardtack EP
4 tracks
These are a couple of age-old songs of the high seas that are given the punk-rock treatment. The time-worn waterlogged melodies are retrofitted with cranked-up electric guitars, a drum kit, screamed gang vocals, and, of course, the lead singer’s gravelly voice. It makes me timbers shiver, or whatever. There’s a nice array of traditional instrumentation mixed in, including banjo and fiddle, which help to preserve the traditional nature of these chanteys. All in all, it’s a good balance between old-world and new-world. The punk aspects give these tunes a shot in the arm without overpowering their humbler roots. Of course, for this band, there’s no escaping comparisons to the Dropkick Murphys, but let’s face it, this is a comparison they’ve certainly earned. (Will Barry)
DIDN’T PLANET
We’re Goin’ Nowhere
14 tracks
On the first track I thought they were doing a tribute to the Fat Albert theme song… how many people know about Fat Albert these days? Hmm, maybe a lot, maybe we’re all just older and don’t talk about it as much. Maybe that was the idea, keying in on a tune that we over-35 folk would say, “Hey man, it’s our chance to be retro and nostalgic and pretend we loved the good old days!” Frank Zappa was right; nostalgia is consuming itself in ever-shrinking cycles, faster and faster. I liked the mood. The second tune was a good Green Day-on-beta-blocker composition, with tight production, snappy chord hooks, and vocal assuredness. The thing that separates this album from any other fare of the same genre is a sense of definite humor in the segue and sequence of songs: vocal bits of randomness such as answering machine messages, unedited studio chatter and vocal commentary about the topics at hand hold the story together—the story of being in a band. (Mike Loce)
TED HU
The Path to War
12 tracks
These heartfelt keyboard–based art songs are often filled with attempts at epic grandeur. But “The Engineer” hovers uncomfortably close to Queen-style excess, and purists might furthermore argue that certain of the vocal stylings are overly dramatic, as on “Man” and “Anchored.” Such genuine passion can often verge into the realm of the overwrought. However, more restrained and intricately structured numbers such as “Orange Revolution” showcase Hu’s keyboard artistry to better effect, and there are some stunningly lovely and artistic instrumental passages here, as on “American Perfume” and the tuneful “American Lullaby.” (Francis DiMenno)
DAVID ARVEDON & THE PSYCHOPATHS
Oink Records
Lieutenant Salt’s Solitary Brains Organization Orchestra
12 tracks
I guess if you’re into Weird Al Yankovic’s hokey musical parodies, this album might be up your alley. But chances are, it still isn’t. Chances are you’ll find this watered-down parody of the classic-rock style with it’s poorly-sung lyrics, ham-fisted Beatles references, and grade-school humor just as unbearable as I do. I could go on, but I’d rather beat a dead horse. Literally. (Will Barry)
ONSLO
Understanding, Inc.
A Taste of Purple
7 tracks
For their sixth CD, Onslo drop a 10-minute, bite-sized bomb of post-hardcore, prog-rock goodness while channeling equal parts King Crimson and Mars Volta. Most of the seven tracks clock in at two minutes or less, an amazing feat given the denseness of their songs.
Onslo sticks to the formula that they’ve established over their previous EPs by jamming multi-part suites, time changes and instrumentals, and other bursts of genius into some of the shortest songs ever. The denseness factor is incredible.
At little more than ten minutes total runtime the one drawback is that A Taste of Purple is only enough to give listeners a taste of Onslo.
Download available on bandcamp. (George Dow)
VARIOUS ARTISTS
Kinder Angst
14 tracks
Finally! A “kids” rock album that parents can really dig!
Though it has been blessed by an appearance by the (god)mother of punk, Debbie “Blondie” Harry, much of this raucous rock collection sounds more like Avril Lavigne and her once-removed generation of disgruntled descendants. From the aggressive, alphabetic tour of the neighborhood near the legendary CBGB (“Alphabet City”), to a creepy Screamin’ Jay Hawkins-y take on hide-and-seek (“Peek-A-Boo”), to an alternative aggro-imagination that poses Cinderella as the vindictive victor (“Let’s Play Pretend”), this album takes childhood’s most precious gems and chips away at them. Though some songs may work well as group rave-ups, Momma Harry’s ska-tinged suggestion to “Do It Yourself” offers a welcome respite from the frenetic pace and push of the rest of the album. Though faster, the upwardly-moving hoe-down, “Jump Jump,” is a country-fried bouncer that may require a helmet but is fun anyway, as is the Japanimated pop-popper-babbler “Bubble.” Other clever offerings include the goth-y glower of “Sourpuss” and the gloomy emo-ter “Today.” Far more knowing than many of its nu-hip childen’s fare (including those by co-creator Rachelle Garniez’s Boston-based buddy, Dan Zanes), Kinder Angst (birthed by Friggs fronter Palmyra Delran) encourages listeners to look at the source of their issues, as in the revealing (and somewhat finger-pointing) “A.D.D.” When the trouble reaches a peak, a young Sid Vicious gets a “Big Time Out.” In the end, however, the album leaves listeners with a friendly reminder to “Be Kind to Your Parents.” After all, it notes, you might be them someday (perish the thought!). (Matthew Robinson)
THIS SCARLET MOURNING
Spinning
8 tracks
This is an orgy of effects-swollen guitars, oscillating, flanging, phasing, you name it, coupled with an almost telepathic mind-meld between the melodic string-popping mantras of the bass and the thunderous rhythms of the drums. On top of this carries the vibrato-heavy female vocalist, Rachel Drucker, with her ominous lyrical meanderings. There’s a touch of metal to the guitars and a post-grunge approach with the anthemic walls of distorted guitar djenting coming in on the choruses, but there’s absolutely no mistaking their obvious shoegaze style—each track a nebulous sculpture of guitar sounds, trance-inducing rhythms, and goth-tinged vocals that is given some semblance of form from the unsubtle, explosive refrains. This band will tug at your psyche, that’s for sure. And then, when those choruses hit, they’ll blow your mind. (Will Barry)
OLD NEW ENGLAND WEATHER
Knew Myths
9 tracks
Never judge a CD by its piece-mealed cover or even its description—something I was reminded of with Old New England Weather’s submission. I understand that, at the time it was submitted, they were in the process of putting together the actual CD, so this package included all the pieces and, in their materials, an invented genre of their music (love that!) “vanilla prog” and “headphones folk.” I’m not a prog-rock lover so I wasn’t sure what to expect and unfortunately got stuck on the word “prog” before listening, but I dug it—much more than I expected to; and I personally think headphones folk was the closer of the two made-up genres. This CD has an old-time folksy vibe that seamlessly melts into modern folk. It’s a bit drifty at times… kind of like lazily floating out on a river raft, while other times it diverts a bit into psychedelia. Nice use of the whistling banjo saw, trumpet, and trombone. Old New England Weather feels more like old-time New Orleans and a West Coast hippy state had a summer storm, but hey New England weather is unpredictable, isn’t it? (Debbie Catalano)
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Holy shit, when did these people get all this personality? A year or two ago, caught up in the hype of the time, I tuned into a live broadcast of theirs and was promptly put to sleep. It’s hard to believe this is the same band. In fact, it’s hard to believe this is the same band doing all six of these insidiously unique and seductive songs. Rarely is something so tauntingly understated and boiling with genius at once. There are ideas here so impossibly simple, you can only smack yourself and ask, “Now why, in all this time, hasn’t anyone else thought of that?” The band has taken un-cluttering to a whole new science. As a result, the music flexes and breathes like it was sitting in your lap, then sticks its tongue right in your ear. But for all its prettiness and anti-bombast, it never comes close to fading into background. Rather, you could put this on at some huge, loud-ass party, and people would actually shut the fuck up. This is the kind of impossibly pleasant shock I look forward to all year, and the reason it’s still worth sifting through mountains of petrified shit over and over and over. Simply, one of the coolest damn things in ages, and I’m grateful. (Joe Coughlin)
THE EXPLOSION Virgin
Black Tape 12 songs
I think, at this point, you’re just supposed to bow down in supplication and shield your eyes from the blinding white light of celebrity and fortune pouring out of The Explosion. What other bands in town are on Virgin-fucking-records and touring with Social-fucking-Distortion, right? These yobbos are swimming in teenage punkette pussy now, baby, you can believe that. They are living the private tour bus dream, eating mile-long deli trays and drinking corporate-sponsorship booze. So, do they deserve it? I mean, anymore than you and your retro-Pacman death-disco hippyfolk garage-duo? Well, yeah, sure. I dunno how they sounded when they were slugging it out in the basements and church halls and trenches of Boston punk, but on this, their major-label debut, they do a bang-up job of aping the early Manic Street Preachers’ perfect prescription of grit, glitter, and hard rock soul, only without the Manic’s messy tendencies towards blood and artifice. Instead, they throw in an extra dose of chart-pleasing pop hooks and a few rabble-rousing street rock choruses. And, apparently, that’s all you need to “make it” in nu-punk these days. I’d tell you what the standout tracks are, but when you buy this, (hopefully at the Virgin Megastore, so that the circle of consumer hell can remain unbroken), odds are there will be a sticker on the front telling you which songs are the hits. They’ll be the same ones you heard on the radio, so you really don’t need my help there. The rest of the songs are pretty good too, just not as good. Tesco Vee is NEVER gonna come back and save punk rock from itself, is he? (Sleazegrinder)
LOCKGROOVE Shark Attack! Music
Calm Right Down 12 songs
I like this a lot. In fact, I think I love this, and that has nothing to do with the fact that the title is something my therapist would say to me. This is music that doesn’t sound like anyone else. Sure, I can detect some influences, like My Bloody Valentine and Jesus and Mary Chain, but they are so subtly interwoven that I could be dead wrong about their very existence. Sometimes the music kicks right along, and sometimes it chills quite nicely, and other times it drifts seamlessly into limitless vistas of barely structured sound that nonetheless make perfect sense. Sometimes trippy and sometimes drony, but always with the overall sense that it’s all been planned beforehand, and you know that the trip will end in a minute or so and land you safely in an actual song. “Execution Style” is a highlight, a potent hybrid that crosses Magical Mystery Tour-era Beatles with early ’80s Echo and the Bunnymen and maybe a dash of Fugazi or Neurosis. Can’t imagine it, can you? Well, neither could I have, until I heard the song. Get this and be reminded of just how drug-like music can be, in the best possible way. (Tim Emswiler)
THE ELECTROLUX COMBO
Beat Party! 14 songs
Not sure if someone who grew up actually ENVYING the happy-go-lucky, existentialism-pondering, bongo-playing, beret-sporting, work-avoiding, deodorant-abhorring, turtleneck-sweater-wearing, poetry-spouting, action-painting beatniks who got to groove ’til dawn in their sweat-walled basement tea pads to this kind of honker-and-shouter derived jazzy instrumental R&B; ’til hours wee ought HIMSELF to be revisiting this turf some 40-odd years after the fact. But Qué será será. It’s Kismet. And good taste is timeless. Ya really want the skinny? If this sort of circa-1961-ambiant instrumental floats your boat, Big Chief Hug ‘Em and Kiss ‘Em , then ya just gotta have this, whether you be hipster- manqué or the sort of superkool chianti-chugging finger-poppin’ kat who calls the English teacher Daddio. Okay, it’s not perfect. What is? Round about “Breakin’ Up” my foot stops tappin’ for a spell. And on some of the tracks the sax-playing isn’t quite as nimble as you’d like. But what choice do you have? Look, if you were to go to every Goodwill, garage sale, miser’s attic, and boutique vinyl store in the metro area you might squander endless time and money just to snap up one or two choiceys in this genre. Uncool. Why bother—when it’s all here? electroluxcombo.com. (Francis DiMenno)
THE HUMANOIDS Imperial Phonograph Recordings
If Not Us, Who? If Not Now, When 5 songs
JOE TURNER Camera Obscura
Between Two Seconds 11 songs
Ex-Abunai! drummer Joe Turner has made an extraordinary CD of shimmering, psychedelic dream-pop. His arrangements are complex and reward repeated listens. The instrumentation is a shifting tapestry of guitars, synths, cello, horns, flute and zither. Bill Doss of Olivia Tremor Control does guest vocals on one song while Joe handles all the instruments and vocals on three songs. Joel Simches of The Noise played keyboards and helped Joe record and mix.
Each song flows into the next seamlessly and there’s not a weak song on the album. “Waking Dream,” an instrumental, creates suspense with a hopeful bass figure and fuzzy, monotone guitar. Ajda Snyder’s flute floats in as if on a breeze and then Joe’s authoritative drumming amps up the five minute track. This is like the path through the forest and with “When Will You Wake Up?” you’ve reached the clearing and found the perfect pop song. A kiss off to an ex, the lyrics go “Good to know you haven’t changed/good to see you still play games.” Another song contemplates life in the city while the upbeat “Hills of Pennsylvania” describes a drive in the country: “Truck stops/and signs that talk to God.” On “Dollar Star” Joe’s overdubbed vocals remind me of Crosby Stills & Nash’s angelic harmonies. And on “When the Day Crowd Leaves,” sustained guitar notes unwind in the slow, epic manner of a Pink Floyd song. Joe’s wistful vocals add a moody quality to the track while heavy drums with crashing cymbals build excitement. “Perfect the First Time” closes out the CD with an epiphany of wah guitar, melodic bass and intense drums. “Make it perfect the first time,” Joe sings. I’d say he came pretty close. (Laura Markley)
TAXPAYER Ernest Jenning Record Co.
I’ll Do My Best to Stay Healthy 7 songs
I’m writing this mere hours after watching the Sox win the AL pennant in the heart of the deathstar that is Yankee-land, so bear with me, I’m a little frazzled after watching every single inning of the entire series. Anyway, this disc is really pretty much what I hear in my head when I think of the phrase “indie rock,” and not quite in the way I meant that phrase back when The Replacements and Hüsker Dü were my indie rock bands of choice. But I digress. THE SOX WON! HOLY SHIT! Okay, back to business. This is well played, well produced, and at times well conceived, and “Conversation, Please” kicks things up several notches with a guitar riff so sweet that I have walked around all day with it repeating endlessly in my mind. DAVID ORTIZ IS GOD! Sorry, but I’m sure you understand. I hear these guys are in The Rumble this year, and if they can demonstrate the energy and songcraft of “Conversation, Please” combined with the smart construction of “Sterile Agendas,” they could have a shot. It might also help if they covered “Tessie.” That’s just how those judges think. (Tim Emswiler)
MOLLYCODDLE AAD
Beautiful Californian Failure 13 songs
I admire the gracious unobtrusiveness of the elegiac “Won’t Let You Down,” and if the non-derivative originals were as appealing in their own right I might be better disposed to be muster enthusiasm for this collection. People belabor Sir Paul for his soppiness, but at least Macca, even at his drooliest, tried to be INTERESTING. Lennon had his marshmallow heart as well, though he usually had the dignity to keep it concealed and mix it up on both sides with a little bile. Not so Mr. Eric Schmider, who makes a notorious McCartney acolyte like the critically neglected and cruelly underrated Emmitt Rhodes sound like a dyspeptic crank. Unlike Rhodes, however, who seemed in a most remarkable way to penetrate to the essential melodic core of what made McCartney’s ditties so appealing, Mr. Schmider merely limns the surface. No room here for a course in aesthetics, but readers of Scott McCloud are hip to what I’m laying down. As is, I find it neither memorable nor offensive. Just flat. Pale. Horizonless. Unremarkable. Overall, a nondescript dozefest. As such, assessing this CD isn’t a job so much for a critic as for a forensic pathologist. (Francis DiMenno)
BLACKLISTED Band in Boston 4 songs
Check it out: Johnny X and Mick Keddy from Boston sickcore legends Psycho have joined up with that hot chick that used to be in The Flux (Bridget Murphy) and here they are, playing punchy, old-skull punk n’ roll. Keddy does a dead-on Jello, Bridget coos like that freaky girl in Jucifer, Johnny X’s guitar squeals like it’s being stabbed in the guts, and Dennis Maffeo’s drums well, I never notice what’s going on with drums, to be honest. Collectively, they sound like the Heartbreakers on the nights when Johnny didn’t show up and Waldo would just sing and play and shoot the dope for him, and everybody would be too wrecked to know the difference until somebody dug up the bootleg cassette two years later. You know, loose and lippy, loud and proud. Of the four tracks here, the best one is the minute long “Candlelight,” because it sounds like The Tubes trying to play Iron Maiden, and that kind of inspired nonsense doesn’t happen everyday. The other songs are snotty, sloppy, and short, which is entirely the idea. File under “Will play for beer, or at least the empties,” if you’re into filing things. (Sleazegrinder)
MOREX OPTIMO Broken Hill Music
Beast of Reflection 12 songs
Foxes and Crows are agents; they observe changes in the world and perform their own changes on the world. But Cheese is passive. Extreme Behaviorists would beg to differ, though they wouldn’t have any problem distinguishing Morex Optimo from cheese; this project by Western Mass. native Heather Wagner is a wild and brainy rush and provides a refreshing change of pace from the quotidian. Listen: feel yourself beginning to take a psychic holiday from the get-go; “Burkino Faso, Kung Fu” sets the tone—it’s like a cross between XTC inventive dissonance and B-52s style crazed tomfoolery. The vocalizations are inspired and some truly intricate jazz-level guitar bass and percussion parts render this musical project a decided cut above. Fans of Beefheart and Baby Ray will find a good deal to like here. The sweeping “Kosmonaut” has the sort of epic sound some would call ponderous but devotees of Savage Republic and the like will lap it up. This is possibly too esoteric for some benighted tastes, but who cares about THOSE shitheads? As per Harvey Pekar, average is the new dumb. And the undumb and discerning will vastly appreciate these musical stylings, which are themselves a type of ingenious calculus of contrariwise. (Francis DiMenno)
COUNTERPART Papp Smear Records
Me vs. the World 7 songs
Now here’s a 21 year old guy from Manchester, New Hampshire, whose favorite music came out when he was about 10… Nirvana, Weezer, etc. I liked that style the first time around, but something gets lost after 10 years. Chris Papp is the one-man band known as Counterpart, and instead of a bio or description on the project, he sent a paper with four smug-looking photos of his face (ah, we all could do no wrong at 21) and HIS review of his own album which he thought would appear in The Noise. A piece of this: “With his infectious hooks, hard rockin’ guitar style, and introspective lyrics, Counterpart is the cherry on top of the alternative pop/ rock/ shit pile.” Now I don’t know about you, but if I saw a cherry on top of a shit pile, I’d pass it by. Some introspective lyrics from “Desend”: “Now that I’m grown up and everything’s messed up, the brighter side, it gets harder to find.” Wow. The deadpan vocal needs work, so as what is basically a bedroom-level quality demo, I suggest Counterpart keep on rockin’, refine your music and keep looking for the brighter side. (Mike Loce)
BROKEN TOYS Trashtone
A Fistful of Caulk 10 songs
I’ve got some friends from Noo Yawk who’re in an industrial robo-porn band called Hate in the Box, which even they’ll admit is a stupid name. Thing is, they used to be called Broken Toys, which makes much more sense, since they dress like broken dolls and play toy instruments, but they had to change it because, as they once told me, “Some fucking punk band in Springfield, Mass. or some fucking where already had the name.” And this, ladies and gentlemen, is that fucking band. Only they’re from Methuen. I have no idea if that’s any sexier than Springfield. Anyway, I’ve digressed. A Fistful of Caulk was recorded by Coke Dealer, it’s got a porn star (Cailey Taylor) on the cover, there’s a line in the song “Kicked in the Head” that goes “Drive me around like a stolen car/hypnotized by a Wonder Bra”, and they claim to have once played the “Ass Factory.” These are all signs of sleazy rock ‘n’ roll band in full, glorious, kill-for-thrills mode. So why does this record sound more like the Best Kissers in the World or the Goops, then, say, the Dead Boys, or the KariNations, or Crystal Pistol? I don’t know, Jack, I didn’t write the songs. I’m just reporting the facts. As human beings, the Broken Toys are shameless drunken wrecks, but their music is poppy and playful. Non-alcoholic, even. Listen, I’m not saying that there’s anything wrong with being pleasant or listenable, but if you’re gonna puke in your own lap or piss the bed, you should at least SOUND like you meant it. (Sleazegrinder)
GRUBSTAKE Nine Mile Records
Dynamite and Other Inventions 16 songs
I really wanted to like this, especially when I noticed the participation of local legend Chris Brokaw (Come), but alas, the dominant emotion with which this disc leaves me is one of disinterest. While the press kit throws out the phrase “swamp rock” to describe some of these songs, I found them rather devoid of either swampiness or rock-ness, while other songs tread the territory of blues without getting really Muddy. But I should also add that I generally prefer my music with a large measure of dirt and hacksaws and general ass-kick-ness, and this just carries an atmosphere of laid-back-ness that fails to speed up my slowly slowing heart. However, complete redemption is found in the instrumental “Percy Wentworth Stomp,” which features Caged Heat’s Chilly Kurtz unleashing a truly ripping harmonica solo, achieving tones that are so downright nasty they make James Cotton sound like he’s playing “Camptown Races.”
Having said all that, I should also mention that the production sparkles, the musicianship is flawless, and the songwriting is solid. Not my cup of tea, but it could be yours, if you would just mellow the fuck out and, um, maybe drink a Mike’s Hard Lemonade instead of Jack Daniel’s. (Tim Emswiler)
WINDMILL Big Spoon Records
Every Last Windmill Shall Fall 13 songs
There’s genius here. As he proved on his previous EP, Kent Randell has an uncanny knack for utilizing sonic textures to produce both aesthetic and profoundly emotional responses. “Mark” works as opening salvo because it’s picture-perfect garage-punk: open and raw and resonant all at the same time. Randell has the inspiration thing licked, though he needs to work on pacing and craft; some of the songs on side one, like “Long Road Home,” “Kansas,” “Candle,” and “For Iris” don’t quite work, except as a part of a suite. The dynamic rhythm-propelled softcore-psyche jangle of “Kansas” might have been a better second song. Ideally, “Tornados” would have been next—its stark magnificence leaves one tingling and numb. In fact, all of side two works: the keening “Orwell,” the loping “All the Birds,” the poignant “5th of July,” the haunting “Nostalgia,” the unnervingly hypnotic “Octillion”—all are brilliant and some deeply insinuate themselves into that same area of the brain which causes one to stand stark still with shock in the presence of sublimity. Despite the presence of uncompromising mood-pieces on “side one,” “side two” is brilliantly conceived, and the entire CD has a peculiar rhythm all its own. (Francis DiMenno)
REBUILTHANGARTHEORY Plays-Rite Records
With Hurricane Blows 14 songs
Other than the clunky name, there’s not much to dislike about this band. This album is a compilation of songs mostly recorded in the mid-90s, but it sounds like it came from even earlier than that. Rick Prior’s detached cool recalls Lou Barlow. In fact, Rebuilthangartheory often sounds like early Dinosaur Jr. without the guitar pyro. Other times, they sound like Pavement without all the wackiness. The lack of those qualities keeps Rebuilthangartheory from reaching the heights of the aforementioned bands, but there’s no shame in that. The disc’s lo-fi production suits the band very well. I really dig the interplay between the lead guitar and the ultra melodic bass, and you can easily surmise that these tunes sound fantastic live. While fourteen songs may be a little much for one sitting, this is a very pleasant introduction for those like me who had never heard of this band. (Kevin Finn)
SUSPECT DEVICE
A Moment’s Notice 12 songs
Local yokel pub-punks Suspect Device score high marks on authenticity with this collection of ragged, raucous rock ‘n’ roll tunes about growing up tough on the streets of Boston. I grew up tough on the streets of Boston myself (okay, the slightly-less-tough streets of Cambridge), so I can relate. Originality? Well, not so much, but let us chalk it up to traditionalism. Suspect Device like their Clash city rockers, their Social D greaser ballads, and their US Bombs shout-alongs, and they play ’em all with power and grace. Their penchant for big pop hooks in all the right places certainly doesn’t hurt their cause, either. Case in point: the glorious stomper “Knocked Down,” a boisterous, insanely catchy ode to getting punched in the face that sounds like “Walk Among Us” era Misfits, minus the cool ghoul bullshit. It’s some seriously rousing rock ‘n’ roll, punk-o. Elsewhere and otherwise, there’s plenty of heartfelt gruff-stuff to sweat out a hard day’s night on the docks to, so if your taste in punk is provincial (i.e. Dropkicks, Street Dogs, Lost City Angels), then grab a pint of green beer and a baseball bat with a nail through it and this record, and go live a fuckin’ little. (Sleazegrinder)
FAT DAY Load
Unf! Unf! 23 songs
Think! To think. What to think. Know what to think. Don’t know what to think. I don’t know what to think. How’s that? FAT DAY. Description: am self-described “Chimp Rock.” Lyrics am Dada, Ubu, Devo, Situationist Comedy, and Doo-Doo. Music am varied from track to track (!Think .) I am think maybe of Minutemen as a runaway juggernaut the size of the world flattening two billion buck-naked acolytes. (!Think to .) Am hard to describe other than a mix of (!Think to what ) trad sqronk scree guitar, (!Think to what know .), acid horns, (!Think to what know don’t .) vengeful rant, (!Think to what know don’t I .), stumbo bass-drum and heavy guitar riffage (“Fawn”), grinding guitar (“Adoration of the Crapass” am beautiful), restful patches (“Processional”) and electronic noodle soup (me love “Chick Tract”), and brilliant indignant thrash (“Enterasys”). No song am over 1:55. Mean length of songs: 46 seconds. I am listen to this ten times in three hours. And I. I don’t. I don’t know. I don’t know what. I don’t know what to. I don’t know what to think! But I am know this!! Any band am list Sparks as Number One Band In Heaven am FUCKING ALL RIGHT. (Francis DiMenno)
ZO TOBI Zo Tobi Records
From The Layers That Surround You 10 songs
Zo Tobi is an acoustic guitarist and environmentalist who hears his own drummer. This is a good thing in his case, because on the bio sheet, and as a spoken word bit on the CD, the first thing he says is, “The guitar was a drum before it was a guitar.” He hails from Lyndeborough, New Hampshire, attends Clark in Worcester, and looks like he’s been gigging at various musical/ activist venues around New England. Not your standard Lizard Lounge or Burren gigs, or anything even listed in the Downtown Boston zone, though he’d definitely do well at places like these—a good singing voice, usually odd metered compositions with environ/ political lyrics, and an acoustic guitar in various open tunings. He’s got a lot of energy behind his delivery, though the sometimes sprawling acoustic song/ strumming voyages can feel like he’s not fully letting you into his world. His guitar technique is solid and built well, I’d recommend any folk or acoustic based artists around Boston to get this album and hear what’s going on with Zo Tobi. zotobi.com. (Mike Loce)
VICTORY AT SEA
Gern Blandsen Records
Memories Fade 11 songs
What with weepy violins and a screamin’ chanteuse, tracks like “Little Town” and “Love Is Ageless” sounds like nothing so much as a hysterical gypsy orgy. And even though the whole CD reeks of crypto-sophistication, there’s also hints of a Stairway-to Heaven faux-eldritch vibe on a track like “Logan Way.” Ordinarily I dote on this kinda stuff, but this outing comes across as tinny and overwrought and unconvincing; a track like “All Night Superstar,” whether intentionally or not, evokes bad show tunes as written by a brain-cramped Kurt Weill. I won’t say it comes off as contrived, exactly, or calculating, since I have no insight into the motivations of the musicians, but I will say that to me it smells more spectacular than beautiful; more declamatory than subtle; more stiff than supple. Maybe I’m annoyed because the vocals are mixed so high that they overpower the sometimes poignant instrumentals, particularly on “Animals and the Weather.” Or maybe I’m just tired to death of evocations of bottomless gloom that sound less earned than perfunctory. (Francis DiMenno)
BROOKFIELD Brookfield Records
Maybe this Time 10 songs
I had a feeling that this record was going to be a little too ‘AAF for my tastes, and I was right, as it too often veers into the white boy funkiness of 311 or the generic hard rock of Staind. But in the interest of fairness, the disc does have some strong points that make it more palatable than those aforementioned bands. Granted, that’s not saying very much, but I really don’t mean it as a backhanded complement. Most notably, Brookfield understands that a little subtlety goes a long way. Mikey J can actually sing a bit and doesn’t feel the need to use gratuitous volume to overcompensate for lack of range. His bandmates are guilty of a little too much noodling in places, but give them credit for exploring shifts in dynamics that mostly avoid slipping into the soft verse-loud chorus cliché. I don’t see Brookfield and I finding long-term happiness together, but I’ve had worse first dates. (Kevin Finn)
I HATE KATE Dynomite Pop Records
I Hate Kate 8 songs
I Hate Kate is a new four piece outfit from Boston. Their sound is mature and smooth but not without it’s rocking moments. In particular, the lead guitar playing has a certain almost dangerous sounding edge to it, which makes a fascinating counterpoint to the subdued vocals. Now that I’ve mentioned the vocals, I’ve gotta say that this is the one area of this disc that I have a problem with. And it’s not all bad; sometimes it’s slightly reminiscent of The Shoes’ homemade recordings. But for the most part it sounds more like they’re trying to hide the thin, reedy voice so you won’t notice. Which is too bad, because some of my favorite singers have thin, reedy voices (Dylan, Neil Young, etc.).
There are several really strong songs here: not so much hooky as interesting, the melodies drawing you in and making you want to get inside the songs. Which is another reason it’s too bad the vocals are so hard to hear. I’d like to know what he’s singing, I want to know what’s going on. But, putting that aside, I like this disc a lot. I’m humming along with “Mr. Airplane” and “Doesn’t Matter,” and I’m even playing a bit of air guitar. (It’s possible that my co-workers are thinking about calling the local mental hospital, but I don’t care.)
It’s not a party album, but it’s a good album. It sounds a bit like Sunday morning to me, sipping my espresso while I read the newspaper. I’m not sure how to classify it; it doesn’t really fit into any of the usual genre sub-categories—just good songs, written and played by real people. There ought to be more of this in the world. (Brian Mosher)
TONS OF CHILL
It’s On 7 songs (plus radio edits)
Don’t believe the hype (of the press sheet), which tries to sell this as Beck, Beasties, and Chili Peppers, although fans of any of ’em would probably lick this right off the floor. The closest thing I’m hearing is actually local band Stymie, which is way better anyway. This is a little more slick, a little less melting-pot, and doesn’t gimme the full-on brain-boner of the other guys, but still wields the undeniable vibe that these people are all having a serious ball on the same page, which obviously counts for much when you’re pushin’ the party vibe. This makes me wanna mispronounce words like “FUN-kay” and “BOO-tay,” and I mean that as a compliment. Even the raps, which usually have me changin’ channels, are fun in the context. Spotless production, ace playing, grooves as deep as J-Lo’s asscrack, and you’re gonna need hooks to hang some of these hooks on. Never forced or condescending, it’s one of those welcome instances where a hundred bands try the same thing, and this is the one that comes out sounding like they really mean it. A good night out if you’re staying in. (Joe Coughlin)
VINTAGE RADIO Canadian American Records
Invite Me In 10 songs
This is the type of record that causes you to lose faith in indie rock. Maybe that’s a bit harsh. Maybe it’s because I’m smack in the middle of reading Our Band Could Be Your Life, and even the bands in there that I don’t like impress the hell out of me with their ambition. Nothing on this album suggests to me that Vintage Radio has that kind of drive, and there’s nothing here that suggests to me that people will be speaking about this band in reverential tones ten years from now. How best to describe what I hear? The Replacements without the hooks? Buffalo Tom without the heart? It’s hard to say exactly, for while I would not classify this disc is horrible, I also can’t remember a thing about it ten minutes after it leaves my stereo. (Kevin Finn)
I caught up with perennial Boston Music Awards winner Will Dailey at an unadvertised gig at Toad in Cambridge. Fresh off a tour of France, Will and his trio debuted songs from his forthcoming CD, National Throat, all of which illustrated his skill in taking varied musical genres and uniting them under the banner of honest, emotive songwriting. From the psychedelic “Castle of Pretending” to “Once in a Century Storm,” which is one part Cole Porter and one part romantic anthem, to the rousing, corrosive blues of “Don’t Take Your Eyes Off of Me” and his stellar, falsetto-drenched cover of Prince’s “I Would Die 4 U,” Will’s voice as a writer, his expansive range, vocally and on guitar, and his band’s exceptional musicianship are an indication that one of the city’s best musicians is still evolving.
When I received the CD (sadly sans the Prince cover), I was able to immerse myself in a thoughtfully layered CD that calls to mind a modern Led Zeppelin III in the way that the songs, often quite distinct in instrumentation and theme, are held together by a singular voice and a consummate songwriter.
Noise:National Throat is an intriguing title. What is the story behind it?
Will Dailey: I was reading a book on music and found the John Phillip Souza quote: “Then what of the national throat? Will it not weaken?” where he was decrying the gramophone entering the home in 1906. He was concerned pianos might disappear from our living rooms and that we would be taken over by machines. While the disappearance of the family instrument is an interesting discussion, what struck me the most was that even in 1906, musicians, and those within the music business, were commiserating over what was going to happen to music and the business of music and how that was going to lead to ruin. This was before the Stones, Beatles, and Dylan. Yes, pianos have left the living room and our schools. We can argue for days about what has happened with music and what is happening. The truth is: artists will make art, regardless of what technology is coming or going. We can argue again about the receding sales, the shit sound of MP3s, and the loss of artist development, or we can get busy listening, playing, writing, and recording. I argue the National Throat is strong and will always be strong because musicians make music because they have to. I saw the quote and immediately knew my album title.
Noise: You have stuck to your guns artistically and continued to be prolific, even with a new child (congrats!); what keeps you hungry?
Will: I don’t remember a life when I wasn’t doing this. I’ve never felt a hunger. A hunger implies that it can be satiated. It is just a way of going through life—a way of being that suits me. It takes life to make art. Happiness, sadness, laughter, and delirium are all ingredients. Whatever I can get myself into is only going to fuel the pursuit. A child has made it more valuable and enriching. I find I’m more purposeful in my choices with my career. There is also more sleep now on the road, which is bizarre.
Noise: This album is a testimony to the friends and fans you’ve made in your time in the music scene; what does Pledge Music (where donations fund art and artists can offer different produces and services, like CDs and signed lyrics for various prices) represent to artists and you, as an opportunity or a different artistic model?
Will: I was told it was a bad idea to get off a label, but in the end I had to get off a major label so I could be successful. I began by writing my fans to tell them what was up and what the first step would be. Pledge provided me a platform and followed along on every step after that. It takes money to make a recording and put on shows, and I couldn’t have made this album without everyone involved. It was the best experience I had recording because I wasn’t in that vacuum. Every person who pledged was along for the ride with me.
Noise: You take a lot of pride in being a Boston-based artist; what challenges does the city offer a musician?
Will: I love being from here. (While) it is incumbent upon musicians now to move to Brooklyn, Nashville, or LA, what we don’t count are the corpses of dreams down there that get buried in the success stories. You cannot find in LA what happens at the Lizard Lounge, Toad, Atwoods or the [Rock ’n’ Roll] Rumble. However, in Boston you can’t find the path to a career as easily. You can toil a lot longer here because a chance at the plate where the measure of your abilities is brought to task has never been presented. The best a Boston artist can do is tour. You’ll find out quickly that if you can connect on a larger scale and if you have the stomach for the path, that is this life choice.
Noise: To the new record: the album’s opener, “Sunken Ship,” has been getting a lot of attention lately; it’s a finalist in the International Songwriting Competition (one of 190 out of 20,000). It has a bit of a reggae-inflected, Caribbean vibe, which is new stylistic territory for you.
Will: I love hearing that. When we are recording, those kind of characteristics are the last thing we are thinking of. I showed the song to the band around 1AM and we set up some mics in the live room and that is what came out of the three of us playing through it. No words were spoken and it is one take with Dave Brophy (drums) and Kimon Kirk (bass). I wrote the lyrics while walking my dog. I spoke them into my phone.
Noise: In the song, who is it that thinks he’s “the captain of a sunken ship/sunken in the shallow waters/still thinking you’re still sailing”?
Will: It is tribute to how I felt sitting on the deck of a major label. It came out that way because, as I said before, you know when it makes sense with the content and melody. I could play that song right now as a punk tune for you, but it wouldn’t make sense or drive home the essence. I have no map for getting there, but I feel like I know when the song has arrived. It’s pretty exciting with the way the song is being received because it kicks off the story of getting to this album, making this album, and where I’m going from here on out.
Noise: The album covers so much ground, from melodic rock to blues tunes like “Don’t Take Your Eyes Off of Me”; how do you approach a song in a genre that some would argue is fully explored and still make it your own?
Will: The same way I approach the others: get excellent musicians, capture performances, and be void of rules while knowing all the rules at the same time. I recorded that song for fun as a possible bonus track, but we ended up liking it too much. It’s really just a mantra, but we did it in a take and covered it in dirt. I’m also not a blues artist or guitarist, so hopefully that keeps it fresh. The last thing a guy like me needs to do is the blues. But what started out as a little ditty to a friend turned into a perfect centerpiece for an album about being an artist no matter what the cost and doing it no matter what happens to the world around you.
Noise: It seems the last two songs on the album are (potentially) for your audience; how does the current disposable climate of art stand in contrast to what you’re trying to share and create with yours, or what does your audience mean to you?
Will: It all goes back to the National Throat. I don’t need to worry about the current climate. I need to worry about the song, the recording and the show. I need to pay attention to the fans I have and not the fans I don’t. The fans I have made this album. They are also the reason other people will hear this album. I never know what fans are going to like the most. Fortunately, some ears like the more aggressive tunes, some who like the more introspective ones and some are excited by the different aspects of my writing. It’s made for an enduring career and in the end hopefully I will gain more fans with that approach because I can’t do it without them.
Noise: The album’s closer “We Will Always Be a Band” seems to be both about weathering doubt, and hoping for success—about how art is the work you need to do. How do you feel about still working towards trying to break?
Will: That song is full of truths and delusions at the same time. There is something delusional about being in a band-—yet at the same time, anyone who has been in one, even for a night, has felt that euphoric surge. The feeling endures throughout lifetimes and becomes tales. I feel like the guy in the song is shaming the choices of one who rejected him and, underneath, is afraid of where that euphoric path has taken him. The only choice left is to play it again, louder and insist that you will break. Maybe that break is crashing—hardly able to keep the lights on. Maybe it’s the act of doing it that is the success story.
Will Dailey releases his new CD at the Somerville Theater in Davis Square,on Saturday, June 7th.
PETER PRESCOTT IS UP TO IT AGAIN: MINIBEAST by Eric Baylies
I suppose that for people of a certain age Chuck Berry invented rock ’n’ roll and the Beatles and Rolling Stones improved upon it. If you are just a little bit younger you may be of the opinion that Mission of Burma perfected it in Boston almost 35 years ago. When Mission of Burma broke up for about twenty years or so, Peter Prescott did not sit around and twiddle his thumbs. He created two more great Boston bands in the Volcano Suns, Kustomized, and Peer Group. Mission of Burma are now about a decade into their reunion and Peter has stepped up and started yet another fantastic band in Minibeast. ImagineThe Shiningsoundtracked as performed by Neu! or Can and you have some idea of what the band sounds like. Down the road from Boston in Providence a generation or so after Mission of Burma first began Rick Pelletier was making robotic punk rock with Six Finger Satellite. Their first full-length was produced by Bob Weston of Shellac, later to be the extra sound manipulator of Mission of Burma. After a few line-up changes and several albums for Sub Pop records the band broke up. Pelletier kept busy in various projects including La Machine. Prescott has recruited Pelletier along with guitar player Gillian Chadwick and Alec K. Redfearn, longtime leader of Providence avant everything group The Eyesores. It was absolutely a dream come true for me to finally interview Peter Prescott, one of my earliest and certainly biggest musical influences.
Noise: How did this band come about?
Peter: I started making this music with an eight-track hard drive recorder with absolutely no preordained direction when I first moved to Providence. I just kept adding and subtracting until I liked a song and then I would move on. I started with the bass and drums upfront. At a certain point I had an album.
Noise: So how did the other three members end up joining?
Peter: I moved to Providence two years ago with my girlfriend. I did the record with no intention of playing it live. The first people I got together to play with here were Alec K. Redfearn on bass guitar, Gillian Chadwick on guitar, and Rick Pelletier on drums. I play the guitar, second drum kit, andsamples. They were curious enough to go with it and translate the stuff I made into flesh and blood.
Noise: Now that the band has played together for a little while, do you still write all the music, or does it come together more organically? Does everyone still play outside of the band?
Peter: I expect it to get more collaborative. We all have other on-going bands, including Burma, Ex Reverie with Alec and Gillian, the Eyesores with Alec, and La Machine with Rick.
Noise: Does Minibeast have any recordings available for public consumption? Will you be touring?
Peter: I released it at the end of last year on vinyl. You can also stream it and buy it on Spotify and iTunes. As far as touring, we are just starting to play. When we have recorded the band version, we will tour.
Noise: The songs that I have heard online feature background conversation and non-singing-type vocals. Are these samples from movies or do you sing them?
Peter: Sometimes I am singing. Usually it’s samples from instructional, children’s, and documentary records, stuff like that.
Noise: Where did the name Minibeast come from? Did the cartoon mascot come first?
Peter: The name was something small and kind of shadowy. I threw the name at a friend of mine, Matt Albanese of Evil Design (amazing stuff) and he made the cartoon.
Noise: Tell me a little about how this all came to be. Was this a cerebral reaction to Mission of Burma and pulling in another direction? What were some of your influences when you were conjuring up this material? What do you think of the young house party scene in Boston with bands like Guerilla Toss, Cult & Leper, the Needy Visions, Mike Mountain, and Cave Bears and the Providence warehouse scene with artists like Lightning Bolt and Russian Tsarlag?
Peter: Because the band formed around my recordings and my recordings were made by a sort of automatic songwriting, there were no influences on the band. That said, after the fact when we started translating the pieces to a four-piece “rock” format, everybody’s playing style came into play. So the influences were in the playing and not the writing itself. Actually, over the past 20 years though I still like and listen to a lot of punk and post-punk, my preferred listening tends to soundtracks, exotica, odd jazz, and Krautrock. These are the influences on the band, in a sense, so it is an action, not a reaction to anything, except maybe modern indie stuff, much of which I find a little boring and predictable. As far as the basement stuff, I have flat out not heard too much, but damn, I love the idea of it. I try to go out and see stuff when I can and Burma tours expose me to stuff. At my age I would not waste time mimicking other bands I have been in, or liked, for that matter. I want to do original music and I feel with this band, that I am, and I can.
Noise: What do the band members do outside the group?
Peter: We do voiceovers, other bands, make unique headgear, do construction, fix instruments, and build things.
Noise: Now that the band is a solid four-piece, is it set in stone or will you consider adding other musicians?
Peter: Nothing with Minibeast is set in stone and we welcome interest from people who might offer sonic seasoning as a one-off.
Noise: What do you want people to get out of your shows? Do you have any local shows coming up?
Peter: We would like people to dance or at least throw themselves around in a rhythmic way. We are opening for Mission of Burma (yeah I know a couple of them) on February 6 at Spaceland in Connecticut and on February 9 at a benefit being held at the Regent Theatre in Arlington.
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This is a pretty cool CD in a number of ways.The gritty blues ring out true. Bobby Leger’s worn matured voice adds a believable factor and gives the lyrics a true blues feel.The inspiration for the blues on Imaginary Dream is Mary Lou Lord, who made her slice of fame by connecting with another famous artist. Bobby has piggybacked onto the story: the late-in-life artist finds love, loses love, dreams about love. The songs are basic blues with a trumpet, organ, piano, and background vocals adding to the basic guitar, bass and drums. “Hideout” begs for soulful female voices to sing the background. “Will You Miss Me When I Go” hoists a red flag for radio airplay with its B.B. King feel. “Light the Light” has Bobby in his upper vocal register sounding a bit like AC/DC. “Evil Hearted Girl” draws a little from “You’ve Got to Change Your Evil Ways” but Bobby’s song is stronger in the finger pointing. He gets his hope up in the Stones-ish “She’s Coming Back Home to Me” and his emotions peak in the instrumental “Movin’.” But he lands in a good place to close the disc with the sweet sounding track “Dreams Are Hard to Find,” though the sentiment is still sad.Imaginary Dream and its heavy love lost theme holds together well as a whole and could easily transform into a rock opera if Bobby desired it.
Jimmy Tournas’s cover photo hits the mark in creating the imaginary dream: Bobby is playing guitar in a field of giant mushrooms with a couple of Through the Looking Glass characters hanging around and a sort of Emerald City looming in the background.Excellent job on many levels.(T Max)
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BOBBY LEGER
Imaginary Dream
10 tracks
The cool cuts on this North Shore guitar ace’s new release were all written over the years by Leger and Charlie Flannery and can be generally divided into two categories: Memphis r&b with great horns and keyboards and powerful ballads featuring his rugged, weary and passionate vocals. The name of the game on this CD are good songs, scorching and stinging guitar leads and a band that plays really well together. For top notch bar room r & b check out: the opener “Hard Times,” “Hideout,” “That Letter,” the rocking tunes “She’s Coming Back Home” and “Light the Light” and the uptempo and radio friendly “Waiting For The One.” For straight – ahead blues listen to “Will You Miss Me When I Go.” The ballads include: “Evil Hearted Girl” and the closing cut “Dreams Are Heard To Find.” My favorite melody is the instrumental “Movin’ ” because it really showcases his screaming licks. Bobby plays guitar and sings, Ron Chane is on bass, Alizon Lissance (The Love Dogs) sings backup and tinkles the ivories, Jeff Casper pounds and Leger’s son Sebastian blows the horn. Donald Crockett Perry is heard on the conga drums and the album credits list Mary Lou Lord as the inspiration.
Leger’s style can be briefly summarized as Jimi meets Jimmy (Hendrix and Page) and this Joe Canatelli and Leger produced album is a great listen. Turn this music up LOUD. (A.J. Wachtel)
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BILTMORE
Biltmore Music
Revolutions and Romantics
11 tracks
Swirly ecstasy rock from Providence, RI; the incipient classic “Never Let You Go” comes roaring out of the starting gate, and the parade of dark sunshine pop, swoony and delirious, proceeds unremittingly. There are some very nice tunes amid the electric rainbow glitter, including the broken and stuttery chantey “Neon.” The catchy “Dirty Pillow” is full of dynamic touches, replete with a sock-o-delic guitar solo; the inimitably springy “Going Out” reveals an introspective side of the band reminiscent of early-’80s neo-psychedelia; the beautiful “Stars in the Attic” is a touching lullaby which resolves into grandiose jangle. This is a high-quality production worthy of repeated listens; the best songs constitute a musical feast. Highly recommended. (Francis DiMenno)
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COMANCHERO
Thrown
10 tracks
Admittedly, Comanchero is one of my favorite local bands, so I may have a bit of a bias as I review their eighth release Thrown. That being said the collection of songs featured in Throwndoes not disappoint, holding true to Comanchero’s trademarked blend of American themed jam music, yet at the same time, each songs venturing out on its own undiscovered territory. As a long time fan, I was alarmed at first listen by what seemed to be a heavy reliance on synths and keyboard, but after a few listens, it becomes something my ears can’t live without (much similar to the reaction I had the first time I listened to Morphine’s Like Swimming album). In “Citgo” Caribbean rhythms meld with traditional country and bluegrass. “Ghost Creator” dances with reggae. “Watching Rome Burn” is classic barroom Honky-tonk mixed with New Orleans funk and multi part harmonies. As one would expect from these veteran musicians, Comanchero’s performances are exceptional. Jim Levin and Greg Moon bring so much to the collective on percussion and drums, leading the charge on these experimental rhythms. Andrew Kramer and Sam Margolis take the reins driving some infectious melodies. They also work on the back end as engineers, recording much of Thrown in their own home studios. Bob Moon tops off this release with some tasty licks, even taking a stab at singing lead on “Make Me Whole,” a folky pop song, reminiscent of a modern Donovan. (Kier Byrnes)
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SAM BAYER
The Great Indoors
11 tracks
I met Sam Bayer at Giuseppe’s Singer/ Songwriter Shuffle and immediately took to his smart city/folk approach to performance and songwriting. He’s got kind of a high-end attack with a direct shot at the cerebellum, causing you to think sometimes and laugh at others. When his CD arrived in my mailbox, I wondered how well this approach would work in the recording studio. He gets right to the point on The Great Indoors with a cool acoustic rhythm and the declaration “I Ain’t In It For the Money” (’cause there ain’t money in it) in his edgy voice that doesn’t leave you guessing the lyric. He almost over-pronounces to make his point clear. And he gives us a lot to take in. He’s full of an abundance of clever lyrics. In “Crimes Against the Blues” he admits he hasn’t suffered much in life but does it all with phrases that bring the blues to mind. To spice up the ending there’s sort of a talking drum solo. “I Wanna Be Your Henchman” shows Sam’s admiration of the colorful life of crime and those who choose the excitement of the dark side. “Wagon” is a sad love song to alcohol, or to a woman who has the same effect on him. “The Handyman’s Waltz,” with its catchy chorus of “Three parts McGiver, one part Magoo/ The world is my toolbox it’s true/ I’ve managed to solve all the problems I’ve found/ with whatever’s been lying around” is dedicated to his dad… which reminds me of my dad who gave me his old Chevy Malibu that was being held together with duct tape. Sam has written “I Wanna Write Me a Bad Song” but I don’t think he’s capable of it. He jams this one full of typical ways you can ruin a song but he’s so aware of what it takes to fail that he’ll always end up on the right side of tastes. “Not Quite the Truth” is a tale of a compulsive liar who tries to explain his way out of every untruth he congers up. It’s wrapped up in an acoustic blues progression. The title track “The Great Indoors” bounces along like a Jimmy Buffet vacation tune. In it Sam bathes in the joy of his control of the situation – “I am the king of my thermostat/ halogen sun at my fingertips/ rubber duckies sail in my bathtub seas/ and beach blanket laid out beneath my electric breeze” verses the reality of actually being in nature – “There are signs that warn of bears if we go off the path… There are tiny little creature at the edge of the wood, that would eat you if they could.” He ends The Great Indoors with another track about songwriting, “The Songs That Write Me.” He describes the talent of his younger self – “A knack for staying in time and a taste for internal rhyme and a hook as he approaches the chorus.” And Sam Bayer still has it. He’s an intelligent songwriter with a great feel for the flow of music. Pick up The Great Indoors if you’re looking for something that’s three steps up from the ordinary. (T Max)
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FEROCIOUS FUCKING TEETH
Ferocious Fucking Teeth
Safety Meeting Records
11 tracks
Ferocious Fucking Teeth are based in New London, CT. They traveled to Chicago to record this album with Steve Albini. This record explodes out of the speakers from the the first second to the last note. The first track “One Bright Light” reminds me of Ministry but the rest of the record is more in the vein of Today Is The Day, Tar, and Unsane. The song “Fred” is just over a minute long and sounds a bit like Kyuss. Ferocious Fucking Teeth takes these influences, or maybe accidents of history, and creates a sound that is 99 percent there own. Steve Albini has recorded some amazing music in his life, but this album has to rank up there as one of the very best, and that is really saying something. (Eric Baylies)
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IKAGILA
The Velvet Drapery
5 tracks
What is an Ikagila? Is it a Finnish furniture store or a Swedish fish? Damned if I know. This is a heavy instrumental album with little singing and longcomplex songs and arrangements. Is Ikagila Berklee kids with a Rush cover band on the side? Their Bandcamp makes them a bit of a mystery, I guess they prefer to let the music do the talking. The Velvet Drapery is fairly heavy on the Tool influence, with a bit of that kind of Mars Volta Latin percussion thrown in. I don’t know how only two guys can get this many sounds. The must do a million overdubs, so I don’t know how they will pull this off live, but I’d like to see then try it. It’s heavy but not quite heavy metal. (Terry Boulder)
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SILVERTEETH
Silverteeth
3 tracks
Silverteeth are a Newport, Rhode Island duo that seem to have a time machine in their studio. They effortlessly move back and forth between current sounds and classic ’80s sounds and ’60s melodies. They cross that (Clairborne Pell) bridge between Modern English, Icicle Works, and REM with the Mamas & The Papas and Byrds. This way too short EP is by turns beautiful, rocking, and magnificent. These songs are both familiar and alien. In the changing musical landscape that we exist in, the question is, what is this? Is this college rock or commercial? The lines have been blurred. I don’t know how this will be marketed, but this should rise to the very top of wherever the powers that be decide to lump them in with. I’m reluctant to say that Silverteeth is one of the best albums of the the year when it is so very brief, but I am excited to hear more, much more. (Eric Baylies)
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ZEN TARR
Zen Tarr
11 tracks
A highly ambient album, reputedly improvised in the studio, and mostly driven by synthesizer electronics, albeit with superadded violin, guitar, bass and percussion. I will resist the impulse to say that much of it seems Eno-esque. The most accessible tracks are the reverb-laden “Gunk Loops”; the heartrending “Reprieve”, and the dreamy soundscape “Half a Sliff,” with Richard Carr’s emotive violin at the forefront. Lovers of this type of avant-garde ambience will be well pleased by this effort. (Francis DiMenno)
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EVOCATION
Skin Drone
9 tracks
The team of Otto Kinzel and Erik Martin have crafted a crushing, deliciously intense assortment of devastation. This one that takes me back to hitting Soundchasers for the latest albums from Cryptopsy, Necrosis, and Nile. It’s the sound of nostalgia – hitting my first show to see Eternal Suffering at the Lions Club and spending the next day wondering what that damn ringing sound was. Good times.
This metal/industrial duo hit hard and fast with the opening of each track and keeps the pressure constant with a steady, slamming beat. Guitar and drums are like endless cannon salvos, one atop another.
The lyrics from Martin are shredding and vicious, the kind of verbal assault you’re glad to hear. Vocal effects in songs like “God Complex” create ghostly wails and echoes, a nice touch and strong enhancement to the album. The opening of “Death Sentence,” with Martin saying “I want your blood, then I want your soul, and I want them both, right, fucking, now!” sets the tone for nine tracks of wonderful brutality.
Skin Drone is old-school in the lyrics and instrumentation, and incorporates the tech to create some killer effects. It’s the sound that defined my teens and 20s, and hearing this makes me want to see if the bands I grew up hearing have put out anything new. I hope these guys remain for years to come so that the next generation remembers what this genre really sounds like. (Max Bowen)
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MANDOMANIA
Mandomania
11 tracks
Do you consider guitars a nuisance? This recording features only mandolins, drums and various ambient noises. It’s completely free of guitars or bass guitars, which is remarkable, as guitars have become synonymous with the vast majority of modern-day rock ’n’ roll. That being said, this album does indeed rock, even if it is sans-guitar. What it lacks in guitar, as the album/ band title suggests, it makes up for in creative arrangements of all things mandolin: octave mandolins, electric five-string mandolins, mandocello, mandola and of course, the traditional plain old mandolin. The city’s finest mandolinists do a bang up job showcasing their talents, proving the mandolin is a bit more versatile than one would think. Matt Glover shows off his fretwork with Bach’s “Musique Concrete” and Aaron Goff and Jimmy Ryan battle it out over eight strings in Goff’s original composition, “Allegheny Ridge.” The album from start to finish is a keeper; it’s a good example of out of the box thinking in musical composition. It’s become one of my go to CDs whenever I have a long drive to the mountains or am trying to impress fellow audiophiles at a dinner party. (Kier Byrnes)
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TSUNAMI OF SOUND
Permanent Wave
14 tracks
This all instrumental album is chock full of interesting surf riffs and passionate playing. The songs are all aggressive. They are all ominous. And they are all performed with the necessary nervousness and jittery-ness required for authenticity. Annette Funicello and Frankie Avalon would have loved this release. “Boogie Boardwalk” could have been in Beach Blanket Bingo, and “Pearl Harbor” should have been in Gidget Goes Hawaiian. The rest of the music sounds like a soundtrack for a ’60s fictional feature film. Riding on the crest of this wave are Dave Esposito on guitars and reverb, Jamie Huggins on bass, Bob Damiano on guitars and keys and drumming dervish Rick Sanger. Esposito, Huggins and Sanger composed some of the music together. Damiano solely wrote others and they do three very interesting covers. The 1963 Rocking Rebels hit “Wild Weekend” is wild, the Herb Alpert hit “Spanish Flea” is estupendo and they even eclectically tackle “The Cantina Band” from the 20th Century Fox film Star Wars; written by ex-Boston Symphony Orchestra bandleader John Williams. All the music sounds vaguely familiar and that’s a good sign that the band is playing up to expectations. Performing good surf music that keeps your attention all the time on every song is a tough nut to crack but these cats really rise to the occasion. Check out: “Pull Toy,” “If Pete Could Surf,” “Blue Fonda,” “Linda’s Bench” and “Mr. Moto” for foot tapping nostalgia. While listening to this, I’m thinking the only thing missing is the sun and the cute chicks in bikinis. (A.J. Wachtel)
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JEFF & JANE HUDSON
The Middle
11 tracks
Well, one of our all-time favorite Boston bands, The Rentals, echo back to reality with their prime motivating force, techno wizards Jeff and Jane Hudson releasing The Middle, a CD which includes two re-worked Rentals classics, “Elephants” and “Gertrude Stein.” Opening with the title track, “The Middle” we encounter a forest of cosmic sounds, Jeff Hudson giving an hypnotic reading that climbs a spiral audio ladder gathered from some hidden place of inner space. “Innocent” follows – a haunting melody Jane sings as if locked in some glass prism, the synth-bassline directs as it also drives the dance beat. This music would be perfect to blend into the deep house nights at Club Bohemia in Cambridge, and would merge the underground rock with the dance music which currently play to two separate audiences. The emphatic piano stakes the claim of the song’s title.
With a thump-a-thump bassline Jane indulges Captain (Star Trek Next Generation) Jean Luc Picard’s favorite line with “Make It So,” bringing back thoughts of Boston’s November Group and its explorations of these continuous vibrations and themes. “Friday 1” is simply amazing, 3-D depth with persistence of aural vision. The guitars annunciate as the keyboards set the pace, drums rollicking along as if a human got inside the computer beat
The three minutes and fifty-three seconds of track 6– “Up Til Now” – groove along with the proficiency we’ve come to expect from the sound research that this collaborative engage in. The vocal reads/sings the lyric in an authoritative manner, commanding to keep up with the soldier like instrumentation. With Greg Hawks going ukulele and Lord Manuel Smith exercising his creativity in an alternate reality, Jeff and Jane have the genre cornered throughout this New England region. This is synth rock meets Metropolis, touches of techno, machine shop, industrial, electronica all swirling and cascading as in the delightful “Forever.”
“Los Alamos” goes back to the themes from the duo’s Manhattan Project in the ’80s, Jeff asking the favor, the music on a sideways roller coaster, an eerie piece but one of the best on a consistently solid outing. “Victory” and “Sleet Blues” close out this imaginative disc, dissimilar and making for an interesting conclusion. “Sleet Blues” winding and turning, bordering more on synth jazz than blues, but enough elements of the latter to qualify a spot in the title.(Joe Viglione)
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THE INVISIBLE HOURS
Wake the Ghosts of Night
11 tracks
The Invisible Hours hail from Providence. What we have here is a nice collection of rock songs with some subtle psyche influences, more shoegazey in a ’90s kind of way. The music is very British without the accents. This is excellent driving music, when driving your yellow submarine or your beautiful balloon, but beware, you might get lost. Very moody and atmospheric,Wake the Ghosts of Night is aptly titled and a long dark journey into the light. (Eric Baylies)
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THE GUILLOTEENAGERS
Cheeseballs to the Wall
8 tracks
The Guilloteenagers (Gheee-OH-teenagers) CD Cheese Balls to the Wall had Club Bohemia resplendent in… cheeseballs, of course, for the record release party for this excellent and consistent disc. “The Guilloteenagers Are Back” blasts open the disc with early Alice Cooper meeting iconic Boston punk band Unnatural Axe and it doesn’t let up. “50 Seconds” takes the Black Sabbath “Paranoid” riff and brings it to the Ramones, smack dab in their face. The onslaught continues with a chant over power chords on the two minute, seventeen second suspended anthem “Let’s Get Greasy,” a middle finger response to Prince’s “Let’s Go Crazy,” Hannah Montana’s “Let’s Get Crazy” and Slade’s “Mama, We’re All Crazee Now.” Beer is a main theme here, and why not when cheese balls are bouncing all over the placeBefore Greg Walsh formed the band Pop Gun his song “Packie Run” was a staple on Boston Radio. “Part Deux,” track 4 from the Guilloteenagers at 2:04 is the logical continuance of bad-boy behavior.And when you hear the energetic “Even Though I Drink a Lot” it sounds like the Real Kids on methamphetamine. All the songs on this eight-song disc are under two and a half minutes save the last two, “Ride On King Jesus, Ride On” and “Michelob” (but, of course!) which clock in at 4:01 and 3:33 respectively.(Joe Viglione)
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THE DRUNK NUNS
Ocelot Records
…And Friends
16 tracks
Opener “Better Luck Next Time” is frenetic ala the Buzzcocks, and earthy ala the Clash (or maybe even the Dictators). We then proceed with some yob-rock (“Gotta Believe Me”); some more fine, sputtery, relentless punk rock taken at a hyper-accelerated pace (“The Diplomat”); and from here on we are treated to a full panoply of quick-stepping (if not quick-witted), foot-stomping hook-laden punk rocking racket. Highlights include: the irresistible “Last Laugh”: the almost pretty intro to “Dependence Day”: the downright anthemic “Just Another Scene”; the blowsy fake-reggae intro to “Out of Focus”; the rambunctious chugging of “Truth in the Stereo”; the fiery “Gallows”; and the grinding “Better Than Nothing.” The Drunk Nuns manage to accomplish a great deal while employing a genre-limited palette; all in all, it’s a worthwhile listen. (Francis DiMenno)
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HOT SAUCE
Funk the Beach
6 tracks
“Baby Please (Don’t Go)” is smooth and beautifully produced r & b that one would find populating the Top 40 in the 1960s, respectful of its roots and bringing that classic sound into 2016. Recorded in November of 2014 at Big T Productions in Quincy, Jeff Shwom’s vocal is an everyman pleading, not Arthur Conley or James Brown shouting please… please… please, not Levon Helm re-working Marvin Gaye’s “Baby, Don’t You Do It” (which Levon truncated to “Don’t Do It,” ) Hot Sauce brew their blues sauce for a newer generation. The same formula works with “French Perfume Blues,” where vocalist Shwom takes it from an American perspective on Bryan Ferry’s first solo work on cover songs from his early Roxy Music days. Not spoken word, but not wailing in pain, more like just devastated by love and stuck in the mood that makes for that bluesy feeling. “Shake It Up!” may be the title of a Cars song and album, but this is more like J. Geils with Cory Magno’s squawking guitar and the general mayhem of the band condensed into a fun stomp. In 1973 the final studio album from Rod Stewart & the Faces Ooh La La, landed in the stores the year that Ian Lloyd and Stories’ Blue-eyed-Soul reigned supreme on the charts with “Brother Louie.” In 2016, 43 years later, Hot Sauce give us a similar title – “Oo La La” – drenched in a laid-back style trumpeter Hugh Masekela keeps alive, perhaps if Masekela’s usual tempo was slowed down with backing from Janis Joplin’s Kozmic Blues Band. At 3:25 it is short and sweet and despite the ’70s motif noted above, it also harkens back to the ’60s. The instrumental “Tribute to Mr. McGriff” grooves like the Hot Sauce Thursday night colleagues at Cambridge’s Cantab Lounge, Chicken Slacks Soul Revue. It’s a good showcase for the double trouble of Fabricio Bezerra’s saxophone and CD co-producer Cory Magno’s guitar. The closing track, “Jimmy Lou,” drives well thanks to the magnificent Lee Lundy’s bass and Osi Brathwaite’s drums. Lundy is a staple in multiple bands at the Cantab and is quickly becoming a legend on the local scene.(Joe Viglione)
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ANDY CALIFORNA!
The Amazing Andy Califonia! Live!
Macchio Records
7 tracks
Andy California! has lived in Boston a long time, though I don’t know if he is even from California. I do know that he played in Tunnel of Love and has transformed into a gritty, old timey blues artist. No drums and bass, just electric guitar and vocals that ring through the mud of the Mississippi. This is the last of a dying breed, American folk blues from the heart. The Amazing Andy Califonia! Live! keeps it real and is fun in a jump blues kind of way. (Eric Baylies)
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THE DAYBREAKERS
Hard to Explain
11 tracks
This is hooky folk-rock brimming over with genuine fellow-feeling, as on the opening title track. The band’s forays into rock are perfectly competent in a Creedence Clearwater Revival sort of way (particularly on “Bad Habits and the Blues,” and the choogling “It Ain’t Easy”). “First Train Home” is a pretty standard blues number with a funky guitar line; “Ways to Go” is a Band-like country ballad with elements of gospel; “Suite Mary Lou (Part Two)” is a lively CCR-style rocker; “Beg and Plead” is a ’70s-rock pastiche; “It’s Alright” is a rockabilly-inflected number. In hearkening back to an earlier era of songsmithing, the band might be righteously placed to exploit the nostalgia market, and perhaps even bring pleasure to those who might have missed out on the era and the genre the first time around. (Francis DiMenno)
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MYSTICS ANONYMOUS
She Wanted the Future
5 tracks
The fourth E.P., She Wanted the Future, from Mystics Anonymous of Northampton, Massachusetts, is a journey through a variety of popular genres that today’s audiences are attracted to, all wrapped into one visionary sound that is highly enjoyable. With the vocals/ bass guitar of Jeff Steblea along with his comrades, Brian Marchese, Matt Silberstein, and Andrew Goulet, this unique package should have a solid place in whatever your favorite listening device is.
The opening title track, “She Wanted the Future,” is so catchy it sticks in your head – inspired by Blink-182’s “All the Small Things.” The strong lyrics in “Imperfections” reflect the band’s perspective on current politics and the atmosphere of violence. “(I Want to Be A) Mathematical Rarity” is equally appealing with a tip of the hat to Tom Petty & the Heartbreakers and Barenaked Ladies, then ends with an echoing ’60s psychedelic guitar. “Maudlin, You Liar” is more ’60s retro musical styling using Mitch Mitchell’s “Manic Depression” beat, a dash of Jefferson Airplane/ Jorma Kaukonen guitar playing and Steblea’s vocals channeling Mr. Mojo Rising himself throughout the track. She Wanted the Future closes out with cosmic sounds in “St. Elmo’s Fire,” which has nothing to do with the John Parr track from the 1984 film – it’s a cover of Brian Eno’s tune of the same name and it’s got everything.And so does this disc. It’s a keeper.(Ed Wrobleski)
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TELELECTRIX
Move EP
4 songs
Telelectrix has Steven Borek from a great Boston band The Luxury, so I was excited to check this out. This album is called Move and you will once you hear it. This is an album for the future when we can all dance in outer space. This could be the album Madonna worked on if she were famous about five years early and worked with OMD or New Order instead of playing with jellybeans in the studio. Somebody better get the key to the mops, there’s about to be blood on the dance floor. Move is a great album for fans of Giorgio Moroder type dance music. (Eric Baylies)
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TSUNAMI OF SOUND
Wet Sounds
6 tracks
David Esposito (guitars), Rick Sanger (drums), Jamie Huggins (bass) and Bob Damiano (guitar/ keyboards) team up for the latest Tsunami of Sound release. The band is in classic form, tearing through surf rock tune after surf rock tune. The band alludes to the great sounds of Dick Dale, The Ventures and Link Ray, yet at the same time bringing their own reverb-drenched signature sound to the mix. The production on the album is solid, produced and arranged by Tsunami’s own multi talented Bob Damiano. Next time the surf is up, my advice is to be a big Kahuna and strap Wet Sounds to the roof of your woody and go on a surfin’ safari. Or better yet, just play Wet Sounds on your audio device. (Kier Byrnes)
This Boston/LA combo delivers a delightfully chirpy-cheepy bit of countrified bubblegum on their debut single. Both sides infuse the warm melodies of the Beach Boys with chewy hooks of the Brill building. Sure it’s retro, and like all sunshine pop, there’s an underlying hint of Laurel Canyon-esque death-cult dread billowing through the grooves, but that only sweetens the deal, really. For the most part, it’s all popsicles on a bright summery day. As you might have gathered from their name, the Syndicate is more of a liquid gang than a band so who knows what they might do next, but if you’ve wondered what it might be like to breathe in the dry Californian air in 1968, this single might be your best bet.(Sleazegrinder)
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TELAMOR
Olex Records
Stoned!
4 tracks
This is subtitled, “Four Iconic Rollings Stones Tracks Re-Imagined.” Tom Hauck, the solo mastermind behind this project, brings an interesting twist to these well-worn Stones tracks. “Sympathy for the Devil” features an ominous electronic drone vibe like the gates of some North African hell yawning wide open. “Satisfaction” is a low-key take, as though Buddy Holly’s hiccuping vocals were combined with Bryan Ferry’s vocal stylings. There’s also a faintly mechanistic approach to the track not wholly unlike Devo’s celebrated cover. “Happy” is presented with a soulful and more melodic approach which is by far the most radical, and memorable, departure from the original. “Undercover of the Night” is taken as a ballad rather than an anthem and has its own mysterious vibe. Overall, this project is an intriguing set of interpretations; but one which reveals more about Telamor than The Rolling Stones. (Francis DiMenno)
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SAX GORDON
Continental Blue Heaven Records
Showtime
10 tracks
This is a horn album. There are trumpets, trombones, and saxophones EVERYWHERE! From the opening uptempo shuffle and title track “Showtime” to the closing traditional blues “Nobody’s Fault But Mine,” there are tooters all over the place. And that’s an understatement. I really like Sax Gordon compositions “The Way It Is,” “I Got It,” and “Don’t Mess With Me”because they showcase his amazing skills the best. He flutters and honks all up and down the scale with a power you can FEEL as he blows. Then, when you least expect it, he jumps an octave, and the sound and fury comes at you with an even GREATER force – then he returns and continues his audio muscle flexing with a more potent and energetic thrust. It must be heard to be believed. The momentum of the songs never waver. Close your eyes, play this CD on volume 10, and it may be the closest you have go to feel like you are there with him live. On horns you have Sax Gordon blowing tenor sax, Scott Aruda on trumpet, Jeff Galindo sliding the trombone, and Tino Barker and Jeremy Valadez on bari saxes. The rest of the band includes Matt Stubbs and J.R. Watson on guitars, Matt and Jesse Williams on bass and Chris Rivilli and Chris Peet pounding. This is wailing, screaming, and honking horns at their best. I love it ! (A.J. Wachtel)
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T MAX
Dove Records
The Portal’s Rhyme: Undoing The Secret Of Time
6 tracks
Love T’s music! This CD is no exception. Only six tracks, but he fits a lot of diverse coolness into it.
The music is still T, only better. The same sound fans love, only a fuller, matured feel. Familiar songs sound richer and new songs, surprising. “The Magician” is reminiscent of early Bowie. There are background noises sounding a lot like… sea gulls in spaceships. Completely unexpected!
T’s gritty cover of The Beatles’ “I’m a Loser” lends a heartfelt vibe to it that I’d never sensed before, making me feel that this is the way this song should be sung, given its lyrics. There’s a Tom Waits sound to it which works remarkably well.
“Danny Boy” is quite simply, beautiful. T’s voice fits this beloved classic so well. A sentimental song and his voice works magic with it.
“Rhythmatic Addicts” is at the opposite end of the spectrum. A fun, sexy, song (love the line,”My baby rubs gasoline down the nape of her neck.”). Again, that awesome Tom Waits’ grit. Nice sax and slick keys compliment it perfectly.
“Sometimes Smart Phone” just didn’t work for me. What really did work for me, is “Turn To A Song.” Blues tinged, with a killer bass. Meant to make people feel good, this song delivers. I’m loving the quality of T’s voice on this gem of a CD. It’s a winner and he knocks it out of the park. (R.J. Ouellette)
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DESIGNER
Bufu Records
Kalvin & Kline
4 tracks
Boston’s Designer is relentless pounding spaz rock. They have more structure than US Maple but retain a certain restless energy that jumps out of the speakers.This album is noisy psyche that you could probably slam dance to, but it is a little complex for a pit, like The Daughters meet The Doors. The singer is either very happy or in a great amount of pain all the time, I’m not really sure. Is it noise? Is it jazz? Is this even music? Yes, yes, and yes. This is easily one of the best records I’ve heard this year, from Boston or anywhere. This album is cuter than a bag of dead kittens. (Eric Baylies)
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THE UNDAUNTED PROFESSOR HARP
They Call Me The Professor
10 tracks
I really like the way the Professor plays a lot of fluttering notes. It’s really cool how when you least expect it he’s fluttering away on a note when he solos. And his vocals are believable too. His voice sounds like it drips with experience and he’s not just singing the words. This combination forms his music’s formidable foundation and his great band supplies the rest. Marty Ballou and John Packer play bass, Tom Ferraro is on guitar with Glen Hardy on piano. Mark Texeira from Duke Robillard’s band and Mike LaBelle are drumming and Doug James is blowing sax. They’re a great band playing great music. From the Memphis shuffles “They Call Me The Professor,” “That’s What You Do To Me,” and “Fighting The Battle” to the cameo of Brookline native and Muddy Waters band vet Steady Rollin’ Bob Margolin on “My Life: An Exercise In Blue,” this band plays with passion and pleasure. I also really dig the jazzy “It Just Comes Natural” with the Chuck Berry leads. And check out the slow blues closing cut “Eine Fur Herr Schmidt,” the Professor’s tribute to his mentor George Harmonica Smith. On this cut he plays a chromatic harp. Another treat is his remake of the ’60s instrumental the Rocking Rebel’s classic “Wild Weekend,” where he changes everything and makes it a harp song. It’s first rate red hot and blue music. (A.J. Wachtel)
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DEREK ASTLES
Blue FX Records
Chili-House Pay Phone
12 tracks
Derek Astles’ mildly strangulated voice, like Bob Dylan’s, takes a little getting used to – he’s a stylist, not a full-bore singer – but his very best songs are haunting and memorable and brave, and well worth hearing. While I find a lack of sonic variety in the lone man with a guitar approach, he does manage to accomplish a lot with a little. Among the best of his songs is a plaintive ballad (“Message to Rita”), a lovely guitar pastoral number (“At Her Mercy”), a folksy disaster song (“Coming Home”), a rousing working-man song (“Shit, Shovels, and Whiskey”), a wonderful jaunty and ominous, clever and unusual folk blues with a Flamenco twist (“Neil Young Knew Charlie Manson”), a true, plaintive and bitter talking blues brilliantly reminiscent of Michael Hurley and best of show (“Find a Fat Girl, Knock Her Up, and Call Her Mama”), and a wondrously lyrical traveling ballad (“Frozen’). At its best, this collection is captivating. Recommended. (Francis DiMenno)
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CHANTICLEAR
Old Glories and War Stories
11 tracks
I was pretty excited that there was a song called “Cock Rocket” on this record. Figured maybe I had some kinda sleazy, GN’R sorta situation on my hands. This is not the case. Old Glories and War Stories is a years-in-the making pop-punk record that sometimes veers into Social Distortion-y hard-luck hard-rock territory and sometimes into Midwestern ’80s slacker-rock. Somehow Chanticlear make all those side-winding sub-genres sound like the same thing. And that’s fine, it’s not like I’m expecting dungeon synth or anything. If you like barely-together garage-rackets and warbling vocals (lots of people do, put down your knives already), then this is the Lawrence, MA-based low-watt punk rock band for you. But also if you write a song called “Cock Rocket,” it would be nice if you sounded like a band that would have a song called “Cock Rocket.” GG Allin did it and I’m pretty sure he was brain-damaged, so it can’t be that hard. (Sleazegrinder)
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TOMO FUJITA
Pure
9 tracks
This cat can play! Tomo teaches at Berklee and this completely instrumental release showcases his incredible abilities that guitarists and music lovers alike will appreciate. He is a groove guitarist who plays lovely jazz chords in the middle of his lead solos, and I really dig his power and finesse. Beautiful tone, imaginative chops, and when he picks up or slows down all of a sudden in the middle of a solo you just can’t stop listening or anticipate what he’s gonna do next. Fujita composed all the music and he plays guitar with Will Lee on bass and Steve Gadd, Steve Jordan, and session legend Bernard Purdie, the world’s most recorded drummer, supplying the backbeat. My favorite cuts are “Boy Back Home” and “Tiny Tapper” with the remarkable drum breakdown where the guitar, bass, and keys pick up the slack, and the bluesy “Through the Pain.” Listening to this remarkable guitar playing is very enjoyable. It’s cool how you hear distinctly jazzy chords out of nowhere in all the songs, and he uses the entire neck of his guitar with nicely thought out high end solos moving down the fretboard and ending on the low end. The only vocals on this CD are the “one two” count offs at the beginning of a few songs. Very very cool! (A.J. Wachtel)
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LAZERTUTH
Mayner Manep
13 tracks
If you think this album title is a tongue twister, you should see the song titles! Keyboard wizard and singer Ethan Weiss has assembled a talented crew of New Bedford and Fall River musicians behind him. If you ever wondered what would happen if New Bedford and Fall River had a baby (it would be an ugly baby), here is your answer. Why would you wonder that, anyway? Do something constructive with your life and listen to Lazertuth. This is a deep space trip with some aggressive rock leanings. Think Don Cabelero meets Amon Duul and Tangerine Dream. This is like Emerson, Lake, and Palmer without the boring parts. This is a jewel of a punk prog album. (Eric Baylies)
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ANDY LAMPERT
10 Songs of Pain
15 tracks
This Rhode Island artist’s music is like The Who meets Deep Purple meets Pink Floyd meets T. Rex.Metal arena rock ballads with loud guitars and vocals and pounding drums. From the opening crescendo of power chords in “Denial,” “Salem,” and “Even I Can Dream” to the English rock ’n’ roll feel of “Warsaw” and “I Want To Go,” every song is loud and filled with attitude. Lampert wrote all the music and I really like “I Don’t Like Her.” Andy on guitars/ bass/ keys and all vocals, Joe Auger did all the keyboard programming, percussion and harp, and Mike Rovin is on drums. This is heavy metal rock ’n’ roll the way it was meant to be played. Great stuff.(A.J. Wachtel)
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PAUL TAIT
Everything Is Subject to Change
10 tracks
A grab-bag of hard-rocking tracks in a variety of modes. “Some Days” will remind you of “Woman From Tokyo”; “Losing My Mind” will remind you of The Rolling Stones back when they were jealous of Marc Bolan; the liquescent “Don’t Stop Being a Rocker” has a diddly guitar filigree evocative of early ’60s rock. “No Soliciting” is a soulful toe-tapper; “Heart Condition” is a flat-out rocker a la The New York Dolls; “Searching the Skies” boasts a telegraphic guitar figure, and the tune evolves into a plaintive love song. “Self Awareness” is a song of thwarted love; a heavy metal grinder in a truncated march rhythm. “World of Pain” is a heavily percussive and polyrhyhmic piece of harrowingly melodramatic agitprop. You have to admire the ingenuity of Tait’s songwriting – particularly his mastery of various tropes from the history of rock ’n’ roll –but, ultimately, there’s little here that’s so original that it will truly open your eyes.(Francis DiMenno)
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BARRETT ANDERSON
The Long Fall
11 tracks
Barrett is a great guitarist and I enjoy listening to everything he plays on all the cuts throughout the whole song. The music is a mix of guitar groove melodies and more uptempo Memphis r&b tunes; and for a three-piece group they sure do make a lot of good sounds. Anderson wrote most of the music and backing him on vocals and guitar is legendary B-3 organist Ron Levy and veteran drummer Per Hanson, whose impeccable beat-keeping cements the song as Barrett and Ron play off each other. The drums push the song but the tunes are taken to another level whenever Levy comes in. Listen to the opener “Not our Baby,” “Tomorrow Morning,” “Emma Lee,” and “Peace I Need” to hear what I mean. I like the slide guitar tunes “Mile Wide Wind” and “Grinnin’ In Your Face” by Son House. Sorta like Rory Gallagher meets Bo Diddley. The great lead guitar work influences of Rory via Barrett and the rhythmic swirls of Bo from the rhythm section. My favorite cuts: “Atwoods,” a traditional blues song about the Cambridge club, with Barrett’s stunning guitar work, “Good Man/Gotta Move” with Per’s non-solo as “Good Man” progresses into “Gotta Move”; and “Grin & Bare It,” the instrumental, for its great groove and fantastic force. Check it out.(A.J. Wachtel)
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I AM BECOME DEATH
I Am Become Death
6 tracks
There’s a lot to like about this CD. It starts out as a Daughters sounding metal core type thing and you say, Oh, I know what this is going to be. Before you know it, the train takes twists and turns and flies off the tracks. This album is super heavy but swings in a way the old Killing Joke albums did. Take a little Dillinger Escape Plan and add a dash of the Jesus Lizard and you get an idea of how unrelenting and great this record is. Not only do they have one of the best band names in Boston, they are one of the heaviest and best groups as well. (Eric Baylies)
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KEVIN CONNOLLY
Weathervane Records
Ice Fishing
14 tracks
Kevin has been on the local scene making music since the ’80s with his band The Great Divide, and this is his 10th CD. His first in five years. He plays the guitar and does all the vocals and his older brother Jim provides upright bass, banjo, piano, backing vocals, percussion, and melodica. This is basically a labor of love between two brothers on different coasts and it took three years of trading files to complete. Legendary local production ace Ducky Carlisle plays drums and produces the material. The voice is very personal and you get the feeling that Connolly is singing just to you, which is what you expect from such a personal project. The songs are all ballads at different tempos and every song has either country, folk, or rock influences. I like the uptempo opener “Bus Station” with the neat mid-song bass riff, the almost twangy “Up On Willoughby,” and the folkie “Blow Them Away,” about his daughter’s coming of age. I also digthe country-rock “Here Comes Whitey” about you know who. The nice country/folk ballad “Interstate” and the pop/rock ballad “Just About To Fall” are both sweetly special too. There are nice harmonies on “Bus Station,” “Hot In Arizona,” and “Busy Thinking Bout Love.” Cool music for the heart and soul from a vet.(A.J. Wachtel)
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OPPOSITION RISING
Riot Starter EP
5 tracks
Hey, remember when Boston hardcore was basically a psycho-circus of blood-soaked, male-dominated ultra-violence? These dudes do. They play classic Boston thrash n’ mosh, catchy and fast and testosterone-packed, perfect for beating some dude with a baseball bat or half a hockey stick because he’s from out of town or whatever it was all those dudes were angry about in the ’90s. Five songs in less than ten minutes, the highlight being the berserk “Stop Saying Stupid Shit Online” which, ironically, is what I’m probably doing right now. Also my copy is pink, which is probably the punkest thing about this whole affair.(Sleazegrinder)
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THE CHARLIE KEATING BAND
Slide on Over
13 tracks
This is a boogie band… and these cats can play. The music is jump blues/ boogie woogie/ shuffles and slow traditional blues. All the uptempo songs start with a blistering groove Charlie sets with or without his slide. Lenny Turnquist on bass and Uncle Dom Micarelli on drums keep the groove going as Keating sings and plays guitar. The opening instrumental “Elmo’s Boogie” showcases his stunning Johnny Winter influenced slide guitar chops and it rocks. Another Keating original,”Eric’s Boogie,” is also a screaming instrumental that follows along the same hard-pounding path. Elmore James’ “Shake Your Money Maker,” the traditional “Rollin’ And Tumbin’ ,” and Memphis Slim’s “Everyday I Have The Blues” all have the same good-time, great bar-band sound. The blues tunes are tense and passionate rather than introspective and calm. Even Charlie’s slower blues songs “You Don’t Have To Cry,” “Goodbye Baby,” and “Dog Biscuit” simply shout and scream. Check it out.(A.J. Wachtel)
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CAROLYN WATERS
A Touch of Blues
5 tracks
This is a very good and unique blues release. Carolyn’s beautiful and powerful voice is the main focus, and these five cuts are all duos. Carolyn’s voice combines with Tokyo Tramps’ Satoru Nakagawa on guitar and backing vocals. His licks are red hot, clean and creative. One cut, “Blues Medley” starts with Jimmy Reed’s “Bright Lights Big City” and visits “Baby What You Want Me To Do,” “Kansas City,” and “Sweet Home Chicago” before going back to and ending with the Reed classic. And it’s all her wonderful voice, without a guitar, and Peter Tillotson on bass. I love his mid-song solo, too. B.B.’s “Rock Me Baby,” John Lee Hooker’s “Black Night Is Falling,” and her own closing cut,”I Really Like The Way You,” are very creative and bluesy. She’s got a great voice and there’s a lot of cool guitar guitar here. And it works! (A.J. Wachtel)
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Comments
Found Hummingbird Syndicate through this blog! Love the 60’s vibe with the harmonies and if I’m not mistaken they are using a rickenbacker guitar on their song “waterfall away”. Love it!
Yes, those old Rickenbackers were a fave of John Lennon.
I greatly appreciate the review of “Slide On Over”! I do believe your words nailed the focus and energy of the music we play. Thank you!
Lenny,
Glad you are happy with your review in the Noise of THE CHARLIE KEATING BAND’s latest CD.
T Max
Little of the intensity of earlier ensembles such as Limbo Race or Dr. Black’s Combo is diminished on this recent outing–there is still the heartfelt emotion and earnestness which has always marked the best songs of Randy Black. The best of show is the underproduced but undeniably catchy hiccoughing toe-tapper “Can’t Get Over.” Other highlights include the jangly confessional “Monkey”; the oddball country ballad, ready-made “Green Dress”; the grandly monumental duet with Linda Viens, “Imposter”; and the irresistible forward momentum of “Days Gone Blue” with excellent drum and bass accompaniment by Larry Dersch and Matt Gruenberg. At its best, this collection evokes Springsteen, the Replacements, and Yo La Tengo, and would probably have a great appeal to folks who are into those artists. (Francis DiMenno)
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SARAH RABDAU & SELF-EMPLOYED ASSASSINS
Free as Thieves
11 tracks
With this very solid effort, Sarah Rabdau manages to pull off the harder-than-it-looks trick of making music that is catchy yet weird, arty yet accessible. These keyboard-driven songs sound like how someone from the 1980s would envision the not-too-distant future. Songs like “Summer of Love” are full of hooks and sound like they could be on the radio, if it weren’t for the underlying menace bubbling beneath the surface. It’s Rabdau’s warm, clear voice that first grabs the listener’s attention, but it’s the sharp rhythmic sense of the Self-Employed Assassins that keeps the momentum going. There are a few instances in which the music is either a little too theatrical or goes down a little too easily, but fans of Kate Bush, Fiona Apple, and the like will find this record hard to resist. (Kevin Finn)
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GENE DANTE & THE FUTURE STARLETS
“We Are All Whores”
single track
The Romantic Lead Sampler
8 tracks
These cats were finalists in the 2009 Rock ’n’ Roll Rumble, and their song ”We Are All Whores,” produced by John Eye from One of Us, is the first of a series of six singles to be released every other month through 2014. It has strong, passionate vocals that I like right off the bat. This is metal arena rock done well.The Romantic Leadis an eight song sampler that really showcases Dante’s versatile and strong voice. He’s mellow in the opener, “A Madness to His Method” before rocking in “The Love Letter is Dead” and “Like a Satellite.”But most of this music is ballads in various tempos—all with loud guitars and great vocals, such as “The Starlet Hits the Wall,” with its Talking Heads powerchord guitar opening, “Brian, My Darling” with its nice organ part, “OK Sunshine,” “Photosynthetic,” and the closer, “To a God Unknown.”Play this music loud!(A.J. Wachtel)
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CHARLIE CHESTERMAN
Solid Gold Electric Chestnut Dispenser
20 tracks
This odds and ends collection from the late beloved roots rocker will certainly do nothing to tarnish his legacy. Chesterman was an amiable frontman and one with a keen, distinguished sense of melody. The songs are generally mid-tempo numbers that mix in elements of country, rockabilly, power pop, and straight-ahead rock. They are comfortable songs, and I mean that as a compliment. They feel very homey, and only occasionally does the lack of variation in tempo make things seem staid. Chesterman hardly has Freddie Mercury’s range as a singer, but his voice is expressive and inviting. The final song, a revved-up little nugget called “I Hate Everything” brings things to a rousing close, although the joy that Chesterman brings to the proceedings makes you realize that he can’t possibly mean it. (Kevin Finn)
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SCOTT DAMGAARD
Through a Stained Glass Eye
13 tracks
“The circus is in town and I’m just another clown,” the underrated Scott Damgaard sings on “Just Another Clown,” the third track off of his fourth full-length studio album.With his self-proclaimed objective of turning out “rock ’n’ roll with heart and soul,”Through a Stained Glass Eyefinds the thirty-year music veteran exploring a wealth of genres.The result is something fresh and chock-full of rock, pop, soul, funk, country and blues—commendable in its own right, albeit slightly disjointed.Damgaard’s strength lies in his ability to craft songs that evoke the Brit-rock of The Beatles (“She’s Letting Go”) and the psychedelia of Jerry Garcia/The Grateful Dead and The Chris Robinson Brotherhood (“Galaxies Away”).Even the tongue-in-cheek “Prince 4 a Day,” in which Damgaard imagines what it might be like to spend a day in the rocker’s shoes, is driven by a heavy bass and drum groove—fitting when you consider the tracks that came before.Disconnect occurs when, on the latter-half of the record, Damgaard delves into the country realm.What began as a powerpop/rock effort suddenly turns Nashville, and cohesion is lost.No longer does the record feel like a unit but instead, a hodgepodge of songs displaying Damgaard’s creative capabilities.Fortunately,Through a Stained Glass Eye’s strengths outnumber its weaknesses, making for an overall entertaining piece of music.(Julia R. DeStefano)
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KERRI POWERS
Kerri Powers
10 songs
The tone is set on the intoxicating blues refrain “Tallulah Send a Car for Me.” Ms. Powers has a powerful country-blues voice with an inimitable timbre, and her compositions display both a groundedness and a refreshing lack of pretension. The brilliant “Old Shirt” is a pedal-steel augmented ballad of remembrance and regret, which is lovely and evocative. The excellent “Train in the Night” is an ineffably sad lament featuring a lilting vocal catch by Ms. Powers that will break your heart. “Buttercup” varies the sound—it is a mean old hoodoo blues; “Ghost” has a similar mysterious hoodoo ambiance, and Ms. Powers does remarkably expressive things with her voice. The halting, ominous “A Little Light” varies the pace with a tolling guitar sound and dreamy pedal steel accompaniment. Judging on the basis of the best of these songs, Ms. Powers is a major talent. This debut is a keeper. (Francis DiMenno)
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MICHELLE WILLSON
Evil Gal Records
Live at Scullers – Fortune Cookie
11 tracks
I was at this show and reviewed it forThe Noisea few months back and now I am thrilled to hear it in my living room. Michelle has a passionate, emotional, and big voice; and her set on this live CD is a mixture of Dinah Washington, Ruth Brown, Abbey Lincoln, Etta James, and even a bit of early Ray Charles. Her jump blues/swing sound is unique on the scene and her band, including Zac Casher on drums, bassist Sven Larson, guitarist Mike Mele, Shinichi Otsu on piano, and Scott Shetler on reeds is just plain incredible. Listen to them play Dinah’s “Relax Max,” “Stranger on the Earth,” and “New New Blowtop Blues.” Hear the horn in “Fat Daddy.” Listen to the great piano in my favorite cut on the disc “Hallelujah, I Love Him So,” a very early Ray Charles cover. Listen to how the vocals and the horn play with each other on the title cut “Fortune Cookie,” a song written by the two provocateurs themselves, Willson and Shetler. A lot of the songs have short intros by Willson as she explains their importance to her to the packed house. Check out “Racehorse,” as the band plays a few measures of western TV shows’ theme songs, includingGunsmokeandBonanza. Great stuff.(A.J. Wachtel)
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GADI CAPLAN
Look Back Step Forward
10 tracks
There’s no denying this guy Caplan has talent with his enviable guitar chops and wide-ranging compositional skills, running the gamut from true-blue jazz tunes to exotically-tingedarabesquesand tender guitar finger-pickers. No denying he has an ear for talent as well with this fatally capable cavalcade of classically andjazzically-trained supporting musicians. Nor is there any denying the—for better or worse—indelible Berklee kid brand that marks this album: the luxoriously-timed track lengths, the Satriani school of guitar pedagogy, and the kitchen-sink approach to instrumentation. There are moments of real ingenuity here, like the head-rush of a tune “Within the Clouds,” which starts out as a nebulous guitar-linedrubatothat, with its drum-thunder crescendos, builds into a bass-thumping Beatles-esquemaharishifreak-out that then rockets into the stratosphere and beyond. Then again, there aremuzak-al moments as well where I need a sharp pinch to remind myself that no, I’m not stuck in an elevator and no, I haven’t been put on hold. (Will Barry)
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PETTY MORALS
The Lemonade EP
4 tracks
One of my friends once accused me of hating fun, yet I really love Petty Morals. Seeing as how Petty Morals’ dance-pop-punk cocktail is, undoubtedly, a blast, I am now confident that I do indeed love fun and can credit this band for disproving a harmful rumor about me. Enough about me, though. The four songs onThe Lemonade EPare a pleasant mixture of tart and sweet and are pretty much guaranteed to make you move. While it is probably impossible to capture the frenetic energy of the band’s live shows, this recording comes very close. “Radio Action” reappears in a glossier form than the version onThe Cotton Candy Demo, and it’s still their best song. But “Keep It Down” is a close second as it overflows with the type of sexy metaphors that would make Prince blush if Prince were actually a real human being and not some sort of magical elf. (Kevin Finn)
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ERIC SALT & THE ELECTRIC CITY
Please Say Yes
11 songs
This is a deceptive album. At first, you think that it’s going to be soft rock by the numbers, filled with the requisite production effects (ably supplied by Ed Valauskas): melodic fillups, breathy vocalizing, hook-filled repeated phrasings, pleasing affect, jolly jelly-crammed vocal Easter eggs, life-affirming lyrics, patented sentimentality, double-tracked vocals, solid-right-down-to-the-ground drumming, shouty declamatory sentiments, progressive bass loping–and all this on the first two songs! It is with the third song that you suspect that there is more here than meets the ear. “Only Lovin’ You” is kind of like U2 filtered through the early drum and bass experiments of XTC, with a little OMD thrown in. Multitracked dueling instrumental lines and huge slabs of echo make this one an interesting oddball experiment. “Last Man Standing” is a simple rave-up with a horn section; “Cold Wind Blow” is an introspective ballad in the mode of the early Bee Gees; “Movie Screen” is a bit of Bowie-esque theatre-rock; “Stay on the Line” is early ’80s McCartney-esque pop. “Pied Piper” is a conventional flat-out boogie with a psychedelic acid-pop fillup, which is refreshingly bizarre. The memorable “Please Say Yes” is best of show; an incipient classic; brilliantly anthemic, irresistibly catchy, heartening pure pop – one of the best songs I’ve heard in months. Say what you will, but at least this ensemble is trying something novel–to apply production values to goose seemingly ordinary genre workups into something which sounds extraordinary. Surprisingly, they are successful more often than not. Final verdict: three parts brilliant and one part sheer fudge. But even the fudge is interesting. (Francis DiMenno)
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THE UNGRADED
Squid Ink Records
Making the Grade
8 tracks
The Ungraded’s latest effort runs the gamut from garage rock to punk to memorable pop hooks, so there’s something to please most music lovers’ palettes. “Join Together” is a catchy opener that highlights frontman Dean Calamari’s energetic and somewhat growly vocals and has one my favorite lyrics of the CD: “When you’re coming down and you hit the ground, then you realize you can fly.” “Kid Sid” is a retro-punk/’80s mashup more along the harder lines of much of the rest of this CD. Then there are songs such as “Say You Want It,” which contains fairly complex music and is one of their softest, most melodic songs with good backing vocals. Their next song, “Watcha Gonna Do,” dives right back to their roots of harder-edged rock. The album smartly closes with “Train Song,” their most thoughtful song, both musically and lyrically. This song strikes the perfect balance between gritty, down and dirty rock with hints of mellow melodic sounds. This was a good choice to end their CD because it sums up the band’s versatility, which I believe will continue to evolve. I’d give this a B-plus with expectations that their next effort will be an A. (Valerie Kahn-Dorato)
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MY OWN WORST ENEMY
“Paul Revere”/”Angel of the Underground”
45 rpm vinyl
Ten year veterans of the Boston underground, My Own Worst Enemy, serve up a schizophrenic single that showcasespolar sides of the two guitars/drums/no bass/no last namestrio’s impressive range.“Paul Revere” creates a perfect (if unlikely) fusion of Mission of Burma and Jonathan Richman, with Steve’s declamatory vocal and AJ’s martial beat celebrating the midnight ride of you-know-who, only this time the guy’s looking for an ice cold beer as he whizzes by familiar Boston landmarks (what, no Stop ‘n’ Shop?).MOWE frequently draws comparison to the Replacements, but this track suggests their true lineage belongs at least in partto ’80s indie-wiseacres like Boston’s own Big Dipper.The flipside reverently salutes Beantown busker Mary Lou Lord with a pretty alt-Americana ballad sung by Sue, whose sweet, mellifluous, slightly husky voice could land her a career in Nashville any time she tires of Boston winters.(Jim Testa)
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JUKE JOINT 5
Black Rose Records
Rock This House
5 tracks
A highly enjoyable and evocative revival of ’40s and ’50s-era honkers and shouters, these electric blues are refreshing and effective updates on the old style proto-and paleo-rock ’n’ roll. Opening jump blues “I’m So Mad” is by far the strongest track, with an inimitable bluesy vocal turn by the talented Gretchen Bostrom. Steve Coveney’s guitar and Dick Laurie’s tenor sax breaks on the cover of Bo Diddley’s “Roadrunner” are particularly apt. “Ready for My Closeup,” featuring persnickety bass work by Jason Adams, slows the frenetic pace. “Big Jack’s Kitchen” is an old-fashioned sax-driven blues shuffle. Their version of “Rock This House” picks up the pace and closes the EP on a lively note. The band and the EP both are aptly named; their music truly does evoke a Delta Mississippi Juke Joint or roadhouse in which the celebrants dance and stomp and rock on until the hours wee. (Francis DiMenno)
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JAMES KEYES
The Middle
12 tracks
James Keyes brings a wealth of styles and instrumentation to this amazing folk album. It’s got a great production quality and the result is an album—Keyes’ third—that I feel really echoes what a live performance would sound like, drawing the listener into the experience. What’s significant is that Keyes’ prior two albums were both sparse acoustic pieces, but this time he brings the full band into the mix. Everything feels natural, passionate, and seasoned. Duncan Arsenault (drums), Jeff Burch (bass), JP Beausoleil (trumpet), Klem Klimek (saxophone), and Josh Kane (trombone) hold pace with the vocalist, crafting a rich environment that is constantly changing, song to song. Along with his skills on the mic, Keyes plays guitar, piano, organ, and harp.
“Little Things” has a big band feel to it, while “Taking My Time” and “Little Bird” are straight-up Americana goodness. Keyes has a commanding voice, resounding throughout this album and right into the ears. Listening to songs like “Roll with the Punches,” I get the image of a club of clapping hands and stomping feet, with Keyes jumping into the crowd to share his music with everyone there. “Mile of Blue” is a mellow, instrumental bridge placed at the mid-point of “The Middle.” I think the title of this album is very appropriate, as the music doesn’t stand firmly in one genre—it spans a range, showcasing an artist that has a lot to say, and innumerable ways to say it. (Max Bowen)
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THE JON NELSON BAND
12 tracks
Jon plays Jewish rock music and he plays it very well. I didn’t know what to expect. Was I reviewing a Klezmer band? Not at all. Jon composes all the music and lyrics, but many of his songs are credited: “Text adapted by Psalm 150; text adapted from Liturgy,” and the like. His melodies are poppy with folk, blues, and even an almost George Harrison Indian influence in the guitar opening of “L’Dor Vador,” itself a song with a bluesy feel. The opening cut, “Funk 150,” with text “adapted from Psalm 150,” is a funky tune just as the title states. I really dig the pop “Have You Heard?” and the jangly folk/pop of “Wedding Song,” sounding a bit like a Pete Seeger song. One cool tune, “Bo’i Kallah,” an uptempo folk/pop song, is partially sung in Hebrew and the text is “adapted from Shlomo Alkabetz from the 16th century”! Interesting, unexpected, and done very well, making it worth a listen or two, even if you don’t have a clue what a yarmulke is.(A.J. Wachtel)
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BOMBSQUAD LARRY
God’s Country High
5 tracks
Bombsquad Larry plays the kind of barroom classic rock that will only appeal to listeners who don’t need their music to bring anything particularly new to the table. If you’re looking for an innovative new sound, then this isn’t the record for you. If you’re looking for something that would fit in with the better parts of WZLX’s catalog, then look no further. This is guitar rock at its most straightforward, and when one of those guitarists is Pete Cassani, that’s not necessarily a bad thing. The band has a tight, professional sound, fitting for the veteran status of its members, and the music has an infectious energy to it. The only major misstep is “Get Out of My Way!”, which lyrically might as well be Sammy Hagar’s “I Can’t Drive 55.” I didn’t realize the world was in the need of more mildly-rebellious driving songs. I’d prefer to see the band further explore the sound of “It’s You,” which introduces an introspective, western-tinged sound. (Kevin Finn)
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STRAW WINGS
Deface the Machine
6 tracks
There was a time during the late-’90s when Straw Wings could have ruled the FM airwaves in Boston. You remember, right? Back in the day when bands like Godsmack, Sevendust, and Disturbed were household names, and their brethren headlined national arena tours and giant festivals.
Well, it appears that with the release of their 6-track EP,Deface the Machine, Straw Wings may try to singlehandedly resurrect the heyday of groove-heavy melodic metal. Given that the genre is no longer choked with a glut of also-rans, and based on sheer quality of their effort, they may just have a shot at waking that sleeping giant.(George Dow)
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FIERCE BAD RABBIT
The Maestro and The Elephant
15 tracks
Lead vocalist Chris Anderson, from Ft. Collins, Colorado, now pitches his tent in Boston. His band’s music has bits of Arcade Fire, Delta Spirit, The Shins, The Nationals, and Wilco in them and I also hear New Wave and ’60s pop. In the opening cut, “Wild Flowers,” his pleading and plaintive vocals make the song special. “Shine a Light” reminds me of Jackson Browne, maybe if he was less Tex-Mex and more introspective. I dig “Matter Of Time,” where the opening and catchy beat pulls you along with it. I also like the harmonies. “Carry On” is an uptempo ballad that is radio friendly and I hear New Wave and its quirky beats throughout “In and Out of Mind” and “Apple in Your Hand.” The title song has a killer piano opening and I really dig the arena rock of “Time Machine” with its synthesizers. This is full of good vocals and nice harmonies and, overall, is a very interesting and enjoyable sound. Check it out.(A.J. Wachtel)
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KURT VON STETTON
Static Motor Recordings
Broken, But Not Undone
12 tracks
Cross Pavement and Sonic Youth with a dash of Sebadoh and out pops Kurt Von Stetton. Is there an indie-rock mash-up that can top that blender-load of awesomeness? I’m hard pressed to think of one. The biggest question that arises out of Von Stetton’s eighth record in fifteen years is: How did this guy fly under my radar for so long?
Jangly, fuzzed out guitars and subtly distorted vocals abound. Lyrics are drawled in an offhanded slacker mode, which belies the obvious care with which they were composed. Those tracks that aren’t electrified ear candy reveal a homespun feel reminiscent of Beck’s lower-fi recordings.
Dissonant guitar scrawls are always backed by bubblegum melodies that envelop the art-noise in a candy coated pop-prock shell. OnBroken, But Not Undone, Von Stetton distills the very best of an entire mid-’90s, indie-rock movement into a 12-track, pink vinyl record.(George Dow)
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ICHABOD
Rootsucker Records
Dreamscapes from Dead Space
8 tracks
Ichabod has always pushed themselves beyond most bands. Unfortunately, great risks don’t guarantee great results, as illustrated byDreamscapes from Dead Space. This prog-rock/metal outing hits the mark as often as it misses. Riddled with mediocre lyrics, vocals, and arrangements, this release has no distinct voice—literally and metaphorically. Never seeming to move beyond his influences, John Fadden’s vocals would work great for a grunge cover band. Musically, the group borrows heavily from Tool in both tone and composition. The adventurous “Epiphany” is a shining example, including a spoken word section reminiscent of Henry Rollins in Undertow’s “Bottom.” Sadly, unimaginative riffs sprinkle otherwise solid compositions. That being said, one cannot ignore the previously mentioned “Epiphany,” “Baba Yaga,” and “Return of the Hag,” which refreshingly combines a Hendrix-y guitar wah-wah à la “Voodoo Chile” with Jethro Tull-ish flute in a nod to prog-rock’s greatest. “All Your Love,” although not the strongest track, gets an honorable mention for its unexpected backing female vocal tracks. (Marc Friedman)
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WILDCAT O’HALLORAN
Party Up In Heaven
11 tracks
Wildcat is from Western Mass., but from the sound of his new release, he is certainly turbulent everywhere he goes.
First off, he reminds me a bit of Elvin Bishop in the way that he is an excellent guitarist and he is also a showman; his tunes all have a lesson and he enjoys giving it to the audience. In this sense, he is also more rhythm and blues then just blues, and the nine original songs and two covers here prove to me that these cats must be one helluva bar band. I love the rocking title cut with the cool harp. I like the funky guitar on the final track, “N.Y., I’m Home,” written by NYC songstress and the voice of Mass. company Dunkin’ Donuts (!!!) Cassandra Kubinski. “Probably Dead” is also a favorite of mine, with its funny and casual lyrics, and a great uptempo R&B barroom feel to it. “Gypsy Deadend Track” has a slower tempo but also has great guitar and a hot harp. After hearing this new release, I just want to see Wildcat O’Halloran and his band live. This is not your father’s blues, for sure. Good stuff!(A.J. Wachtel)
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