Christians & Lions — More Songs For Dreamsleepers & The Very Awake

Produced by Jack Younger and Christians & Lions

Can a band single-handedly infuse the soul back into indie-folk? The unwieldy question likely deserves a cumbersome answer. But, if a simple solution existed, there’s a good chance that two words would solve the puzzle: Christians & Lions. The Boston-based band infuses texture and depth into indie-folk with the sheer breadth of their debut effort, More Songs For Dreamsleepers & The Very Awake. Yep, they may well be the breath of fresh air for which we’ve been waiting.

What makes Dreamsleepers so unique is its propensity for taking a classic but sometimes tired folk sound at the core and reinvigorating it with an exceptional brand of youthful maturity. Instrumental textures, furnished dramatically by acoustic guitars and upright bass, combine with vocalist Ben Potrykus’ tranquil, yet poignant croon to create a vast musical and vocal landscape. It climbs mountains, wades in oceans, sleeps in fields of grain, and cruises down backwoods dirt roads in ten tracks time — and then begs you to repeat the journey.

Songs like “Sexton Under Glass,” one of Dreamsleepers‘ standout tracks, cover a dynamic amount of ground subtly — quietly epic and not overbearing. Its layered vocals and meticulous structure carry the kind of intimacy and precision that punctuate the entire record. Each track is sonically cohesive and intellectually stimulating, and offers a direct line of sight into the band’s nucleus. “Skinny Fists,” with its darker overtones, choir-like vocals, and distinctive horns, shows the band’s rhythmic versatility and veracity of mood. It nestles sweetly in with Dreamsleepers‘ lo-fi ambiance and rustic qualities.

The record’s pristine production gives Dreamsleepers a raw and natural feel. The tracks, which retain a lo-fi sound at heart, are not purposefully under or overproduced to systematically conjure a certain mood. Rather, the production allows the band to connect intensely to both each other and to listeners; the visceral emotions elicited on the record are solely in virtue of Christians and Lions’ own merits. It’s clear that Potrykus’ vocals are crisp and clean because of the sheer talent in his voice. The production also helps to underscore the quiet scope of rock, indie, and jazz elements that seep into the instrumentation.

Folk at the core without the pretense of the “indie” guise, Dreamsleepers is an interpersonal record with the ability to tickle the senses of the erudite and jaded, and expand the horizons of the young and tragically hip. Christians and Lions cut out a path for their beautiful voyages and travel with an unparalleled level of artistic sensibility. A little bit of avant-garde and a whole lot of sincerity, Christians and Lions refuse to be overlooked. And with every good reason. (ECA Records)

www.christiansandlions.net

-Meredith Turits

The Hunger Mountain Boys — Three

Recorded at Old-Fi Recording Studio in Monterey, MA

Produced by The Hunger Mountain Boys

Mixed by Will Curtiss and The Hunger Mountain Boys

Mastered by Will Curtiss

How else can one describe this Western Massachusetts trio other than “old-timey”? The Hunger Mountain Boys perfect the early country/bluegrass sound that Alison Krauss, Jerry Douglas, and the like reintroduced into popular culture with O Brother, Where Art Thou? in 2000. Their latest effort, entitled Three, was recorded live, a nod to the traditions of the era epitomized by the combination of string bass, acoustic guitar, mandolin, and an occasional fiddle. Teddy Weber and Kip Beacco handle the vocal duties with fluidity, harmonizing effortlessly with their deep-fried, lonesome howls and plaintive lyrics about courting women. That is not to underestimate their instrumental prowess, however, as all three (the trio is filled out by Matt Downing on string bass) display their proficiency in playing both supporting and lead roles. The album’s first track, “Hiccup Remedy Blues,” has a familiar, booming bass line that jumps up and down the neck in a bluesy rhythm. The most impressive display of musicianship occurs in the transition between the fourth and fifth tracks. The former, “Take Me Back To Your Sweet Little Nest,” has a distinct Southern drawl to it, as if Weber and Beacco have both had too much to drink and are relying on the supportive shoulders of their gals to show them the way home. Yet, just as the listener has reached for the ice cubes to pour a refreshing mint julip, the trio bursts back with “Hacksaw,” which has a mandolin introduction as sharp as its title suggests. Downing and Weber waste no time in joining the musical romp, leading the less-than-two-minute track through a melodic soundscape. The first half of the album features compositions written predominantly by the trio, while they rely on traditional ballads for the remainder, although one would never be able to distinguish between the two halves without peeking at the liner notes. The ninth track, “The Blues Is Back Again” progresses pleasantly through a slow (appropriately) blues rhythm, and the tenth track, “Steel Guitar Rag,” again gives evidence to the instrumental abilities of the group with a brief but invigorating steel guitar solo. Despite being thirteen tracks long, Three sadly features only four tracks over three minutes in length, the only true downfall to this masterful work for this trio that truly showcases its mountain roots. (Old-Fi Records)

www.hungermountainboys.com

-Will Morgan

Big Digits — Smoke Machines in Lazervision

Produced, recorded and mixed by Big Digits at Compound440R, Somerville, MA

Smoke Machines in Lazervision: what does one make of an album title like that? Weird is certainly an understatement. Yet to call Big Digits’ first full-length album “weird” understates this bizarre, humorous whirlwind of sound. Better yet, don’t try and make sense of Smoke Machines in Lazervision; just listen, and incorporate each sound into your immediate environment.

Big Digits occasionally channel The Beastie Boys with their harsh vocals. The lyrics are often shouted — not sung. But just when one settles on an accurate comparison, Big Digits twist their sound and introduce something totally unique. Take the second track, “Why Did You Reject My Steve Perry Fan Fiction,” for example. From computer game-esque beats to a ‘70s disco breakdown, the song ensures that listeners literally have no clue what to expect. This is creative stuff — or indicative of one hell of an acid trip. But somehow, the music doesn’t feel intrusive or annoying; each cleverly picked sound just works. This music was meant to be enjoyed — not analyzed.

The final track, “Gigantic,” is the most accessible and tuneful. In fact, it holds great hit-single potential. The song’s apparent arc feels clean and one eagerly hits the repeat button to hear the piece again. As for “Music is Magic,” this electronic sound cacophony could easily be played in any reputable dance venue and clubbers would certainly leap up and respond. “Gigantic” is an outstanding track and maintains Big Digits’ quirky humor, creativity and “what?” factor conjured up by the rest of the album.

Smoke Machines in Lazervision‘s best moments include the lyrics “Make me White Russians / Make them with soymilk” from “Hey Birthday,” and the sample that sounds suspiciously like a ventilator on “Cops Hate Parties.” In a strange way, this upbeat, electronically-rooted album elevates one’s mood and provides many points for discussion. Yet remember to refrain from calling it “weird.” Think outside the box; a far more apt description would be “refreshingly unconventional.” And prepare to be swept up into Big Digits’ musical world — a sound perfect for a house party, or even just driving to work. (Bodies of Water/Arts and Crafts)

www.bigdigits.com

-Miriam Lamey

After The Sirens — What I Have to Give, Let It Be Enough

Engineered, produced and mixed by Ian Van Opijnen at Echo Room Studios in Uxbridge, MA

Mastered by John Scrip

Amongst the glut of indie-rock, After The Sirens has solid credibility as an act to watch. On the group’s first full-length album, Ryan Heidorn tries out his lungs in every way he can think of — maybe to show he has range, or maybe because the band hasn’t found the slot with the perfect fit yet. Either way, with tracks like “The Song That Holds Us Still,” After The Sirens may not make any seismic musical shifts, but they do have the kind of honesty and cohesion often lacking in the rock world. Epic bursts of noise on “Oh, For Eyes of Glass” protect Heidorn’s soft croon from becoming sickly, with an effect that begs for radio play.

Despite the first three tracks’ relative safety, After The Sirens makes it clear in “Curare on Your Lips” that they aren’t scared of what they so clearly enjoy. Digitalized vocals, spooky lyrics and a beat dug up from 1995 really showcase the band’s presence, not just Heidorn’s vocal pyrotechnics.

Whereas the music sends out feelers into all directions, the lyrics — although emotive — struggle to match its confidence. Christian poetry is a tough act to peddle on eleven straight tracks. Nowhere is this truer than on “The Lights at Nero’s Party.” The track has such blinding energy and fire, yet it gets squashed into a smoldering hiss by its nonsensical lyrics.

Rolling Stone named After The Sirens the Best Local Band in Massachusetts, following a 2004 Battle of the Bands. This album goes a long way to back that up; however, the band’s overall effect would be more powerful if they could just dilute the sentiment and let the music speak louder. (Blue Duck Records)

www.afterthesirens.com

-Victoria Hutcheson

Banana Hands — Bon Voyage

Produced, recorded and mixed by Mike Samos at the Sven Larson Studio, Hyde Park, MA

Banana Hands begins their latest release, Bon Voyage, by saying just that. “Bon Voyage” is the first track of eleven free-form two-man jams between guitarist Jay O’Malley and drummer Ryan Lavery. Actually, they don’t really say anything — Banana Hands is an entirely wordless entity; Lavery and O’Malley do all of their talkin’ — whether it be to the audience or each other — through their own medium of artfully bent noise.

Listening to Banana Hands is like watching two similar animals interact from a great distance: the language is not totally understood, but there are definite signs of communication and storytelling. The tenth track, “Everything We Do Is Inspired By Dave,” is a veritable battle scene, where tribal drums pound in the fore as a guitar string battle rages off on a hill on the horizon. Through almost every track, the guitar wanders and wavers around the sonic stage and the drums do the same. But then the two will all of a sudden lock up for a series of hits or even, on occasion, what could be considered a “chorus” in the world of Banana Hands.

This moment occurs for the first time at around 1:14 on the third track, titled “You Learn to Respect Women When You Run a Whorehouse in New Orleans,” where they go from worlds apart to creating their own world in an instant. It is probably in this track that Banana Hands comes into hazy view like a magic eye picture. Things fall into place and Lavery and O’Malley actually start making sonic sense. Then Lavery throws one of those sizzle-fills into the mix and the duo travels back off into Banana Hands Land. Every time they do this, however, they bring back with them a few more minds. (Self-Released)

www.bananahands.net

-C.D. Di Guardia

Jordan Carp — The Dark Architecture

Produced by JP Bowerstock

The Dark Architecture, Jordan Carp’s third studio album, sounds like standard ambient, alternative rock-pop and sits neatly on the shelf between albums by John Mayer and Damien Rice. Like his peers, Carp’s work is clean and well-balanced. In fact, it was even produced by JP Bowerstock, who has worked with The Strokes and Ryan Adams. Despite its impressive sonic qualities, The Dark Architecture ultimately falls short of achieving the substance at which it vaguely hints.

Carp’s Peter Gabriel-eqsue vocals are slightly grating and, occasionally, rough, but he generates some lovely melodies. The fourth track, “Walking at Night,” creeps into one’s head only to become stuck for days, or even weeks. While this promotes musician recognition, it doesn’t mean the song is great. In fact, “Walking at Night,” like most of the album’s tracks, compartmentalizes each instrument, chorus and verse to the extent that it’s hard to resist shaking the CD in the hopes that it will stop sounding so perfect.

The Dark Architecture doesn’t become “messy” until the eighth track, “Distant Satellite.” This composition would come across as a trite love song if it weren’t for its manifest sincerity. For the first time on the album, you feel Carp’s earnestness, his longing and that he truly “would fly across the universe tonight” for the song’s intended recipient. Track nine, “Fallen,” evokes a similar tone of honesty. A haunting piano also adds an interesting, aching quality to the piece. Unfortunately, most of the album fails to transmit this strength and lack of inhibition.

Ultimately, The Dark Architecture is a great album to which one can easily fall asleep, read, or generally use as background entertainment. To his credit, Carp has created pretty, atmospheric music that probably holds a wide appeal. However, The Dark Architecture is unsurprising, and Carp would do well to escape bland singer/songwriter comparisons before it’s too late. (Self-Released)

www.jordancarp.com

-Miriam Lamey

Ketman — Esperanto

Recorded on 4-track cassette

Mastered by Nick Zampiello at New Alliance Studios in Cambridge, MA

Contrary to popular belief, Ketman is not a band. Rather, they are wizards who wield their instruments like magic wands. The latest result of their magic is a self-produced three-inch disc titled Esperanto, apparently named after the constructed language that William Shatner spoke for an entire movie back in 1965.

Trying to decipher lead singer Eric Penna’s lyrics through the fuzz of the band’s electronic baubles is similar to decoding Shatner’s stilted delivery in Incubus. Thankfully, an enclosed lyric sheet proves the wizards are up to no good, penning songs about torture, slavery, and even Faust. But it’s not all doom and gloom for these musical Merlins, as their sound doesn’t always invoke such dark topics. For example, “Moomat Ahiko,” while starting on a somber note, soon suffuses into a hectic revelry of campy guitar distortion.

Penna’s vocals employ the same spontaneity as his guitar does. First, using a straight-up rebel yell, the singer detonates flares of high-pitched squeals between his chords, making his voice seem susceptible to the electricity running through his instrument. Bassist Joe Marrett keeps the sound closer to a bass-n-drum lineup than to a traditional punk three-piece. Drummer Mora Precarious is anything but her surname, providing a stable backbone for Penna and Marret’s eclectic cacophony.

Ketman’s potion works best on “A Live Gallop,” when halfway through the track the sound grows sparse and listeners are treated to spellbinding peals from a xylophone and other percussive instruments. The track pounds to a breathtaking finish with Precarious’ thundering bass drum and a gypsy band piece.

It never feels like Ketman is trying too hard on this record, or attempting to be what they’re not; instead, the wizards battle through their songs like horsemen in the apocalypse, eager to land several heads on their spikes before the night is over. (Lifted and Gifted Productions)

www.ketman.net

-Len Sousa

State Radio — Us Against The Crown

Mastered by John Mailloux at Bongo Beach Productions in Fall River, MA

The debut album from Dispatch’s Chad Stokes and his new band, State Radio, stands out first and foremost for its extensive production — an amount of studio polish unknown to the grassroot acoustics of Stokes’ former trio. Full-bodied electric guitars, layered vocals, and various background effects (“People To People” features an almost unintelligible Bobby Kennedy sample between the first and second verses) instantly push State Radio in a more pop-oriented, albeit not unpleasant direction. For any of the 110,000 attendees at Dispatch’s final show at Boston’s Hatch Shell, hearing Stokes’ voice in a new context takes a good amount of getting used to. If Stokes had his way, he would most likely want to avoid the comparisons to his past recordings, but such is the celebrity of Dispatch amongst Boston’s collegiate faithful. Nevertheless, while Us Against The Crown boasts many of the elements that made Dispatch a household name in the independent circle, it does make small strides in distinguishing itself. The first track, “People To People,” immediately surprises with its strong reggae tendencies, complete with an overly present snare drum and vocal styling eerily similar to genre darling Matisyahu or even Michael Franti, who State Radio recently supported on a nationwide tour. The political leanings of Dispatch return in nostalgic waves here, although the group never ventured this far into reggae waters. The following track, “Mr. Larkin,” features heavy production, but cozies up to the listener with a strong vocal hook in the chorus as Stokes cries “So Mr. Larkin / See I got to hold this job,” in a lament over the strains of maintaining a steady income. Throughout the album, Stokes relies on his admittedly powerful vocal ability, speak-singing his lyrics and consistently jumping octaves to makes his plight known. The sixth track, “Riddle In Londontown,” falls somewhat flat with a fast-paced verse that does little to excite the listener with its monotone progression. In actuality, the more successful tracks are those that rely simply on conscious lyrics and acoustic guitar flourishes, such as “Man In The Hall.”
The remainder of the album pushes along through appealing, but unremarkable compositions. “The Diner Song” includes the vocal harmonies reminiscent of Dispatch’s finer moments. Stokes may have more trouble than his counterparts in ridding himself of the Dispatch connotation considering he served as the spokesman for the group, but with a little more compositional ingenuity State Radio could very well develop a reputation all its own. (Ruff Shod Records)

www.stateradio.com

-Will Morgan

Mark Joyce — The Secret Life of tinyHUGE

Mixed by Matt Azevedo at M Works in Cambridge, MA

Produced by Mark Joyce

Tiny ... and huge at the same time — a few genres thrown in together — this mish-mash seems to be the nature of Mark Joyce’s alter ego/good-time rockin’ band. Having released an album roughly every year for seven years, either as tinyHUGE or under his own name, Joyce adds a fairly straight-ahead and satisfying blues-rock disc to his catalogue.

For the first half of the CD, Joyce and friends revel in blues and jazz-rock that swings from Cream-esque sounds to old-time rock ‘n’ roll to a bluesier version of Brian Setzer. The exception to this progression is the first track, which has some additional vocal distortion and touches more on psychedelic blues-rock. Of these first selections, the song “Loretta” stands out in a jazzy, almost standard-ish way while retaining the album’s blues-rock style courtesy of a fast and crafty guitar solo. Joyce also references a Bob Marley line from “Stir It Up” during the song.

The second half gets started with “Mona Lisa Smiled,” a slow and steady atmospheric number with effects, guitar distortion, and organ. The next song, “Last Train Out,” makes a strong case for the album’s standout track. It’s a sunny, mid-tempo pop ballad that listens like a slightly toned-down Lynyrd Skynyrd tune. “Set Yourself Free,” the following song, is a feel-good declaration in which Joyce quotes a bit of Shakespeare. On “All We Have Is Now,” a more introspective piece of music than the others, the sound is part ‘60s classic rock, part ‘70s R&B along the lines of the bittersweet earnestness of Earth, Wind & Fire.

Overall, The Secret Life of tinyHUGE is both on the small side with short, snappy songs all around three minutes and the larger with several jaunts into spacious classic rock territory. A fun and varied listen. (Gr8Trax Music Media)

www.myspace.com/markjoyce

-Andrew Palmacci

Tony Macsata — Beyond

Produced by Aaron Katz

Recorded at Dizzyland Studios, Rochester, NH

Mastered by Alan Veniscofsky

Tony Macsata’s Beyond is a minimalist’s dream. Guitar, bass and drums (and a brief smattering of keyboard) comprise the album’s entire ensemble, and the record itself needs only five concise tracks to convey its message. This is either a function of Macsata’s talent for managing his songs and keeping them in constant motion, or a result of studio time being damned expensive. Either way, after listening to Beyond, you feel like you have gotten everything you wanted from Tony Macsata.

Then again, this could also be a result of a producer’s input, which in this case happens to come from Aaron Katz, songwriter, percussionist, and vocalist for Percy Hill. Katz also lends his percussion talents to Macsata’s album, though its style is quite a bit different from his work with Percy Hill. The album also features Patrick Dole on bass and Julie Macsata on background vocals.

Though the album’s strength is in its simplicity, it also can be one of its faults. For example, the album’s opener, “West Again,” begins with a basic four-chord verse progression that you feel like you’ve heard before. But the tune thankfully drops into a chorus that slides through brilliant harmonies by Tony and Julie. Julie’s voice adds a great deal of power to Tony’s lyrics whenever she appears on the album.

The highlight of the album is the halfway-point song, “Soul Set.” Tony has the chance to display a greater portion of his vocal range, and Dole’s bass line pumps energy through a very groove-oriented verse and chorus. The record also ends on a high note with “One World.” The song’s acoustic foundation is in the vein of Jack Johnson, as is its ecologically friendly message; the album closes with Tony and Julie repeating the lyric “And we have just one world.”

The record, though short, establishes Tony Macsata as an exceptional singer-songwriter and should spark a great deal of interest in him from the Connecticut local music scene. (Self-Released)

www.tonymacsata.com

-Keith McBride

Melissa Mulligan — Sparrow

Produced and mastered by Vic Steffens at Horizon Music Group

Sparrow is a fitting demonstration of Connecticut-based Melissa Mulligan’s brand of pop/rock. She has some clear country influences as well, but one shouldn’t do her the disservice of comparing her to the modern, mass-produced country stars; Mulligan overpowers these artists with intelligent and original songwriting. She resembles Bonnie Raitt at times, minus the startling lead guitar chops. However, unlike Raitt, Mulligan’s voice is youthful and bright. Raitt brilliantly bridges pop, rock and country, and since Mulligan treads the same path, the comparisons are inevitable.

Mulligan’s lyrics on the opening track, “Objectify Me” are either snidely critical of women as sex symbols or exceedingly flirtatious. The song is playfully simple, as she sings, “Objectify me, I wanna be your trophy, daddy / Objectify me, I wanna be your mindless plaything.” But, if you look past these superficial points of the song, it rocks.

“Taste” is a throwback to radio-friendly rock songs like “Jessie’s Girl,” and has an equally addictive melody. It’s only fitting that a voice like Mulligan’s frequently has a tight melody through which to showcase itself. In contrast, the closing song, “Laughing (I Dare You),“ has a darker melody in a minor key, which does not fit well with Mulligan’s vocal temperament.

The only other shortcoming of the album (not counting the directionless guitar solos) is its short length. Ms. Mulligan’s debut EP leaves the listener wanting more. But maybe that was her intent from the start. (Self-Released)

www.melissamulligan.com

-Keith McBride

Fluttr Effect — Marking Time

Produced by Fluttr Effect

Mixed by Assen Stoyanov, J Marchionna, Peter Moore and Troy Kidwell

Mastered by Gavin Lurssen

Recorded at Mad Oak Recording Studios in Allston, Ma, and DecibelDawg Studios in Watertown, Ma.

Fluttr Effect’s second full-length, Marking Time, gives a lot of meaning to what has been described as the band’s “think rock” sound. Fluttr Effect draws influence from performers as diverse as Tori Amos and King Crimson and their sound ranges from traditional Gypsy folk music to Norwegian death metal with some ‘80s synth-pop mixed in. This band has at least somewhat of a unique style coming out of Allston, Mass.

Front woman Kara Trott expresses real rock energy with an experimental attitude on the new CD, but the resemblance of her voice to No Doubt’s Gwen Stefani is far too comparable to match the unique sound of the music accompanying her vocals. Joining Trott is Troy Kidwell (guitar/backup vocals), Valerie Thompson (electric cello/backup vocals), Vessela Stoyanova (keyboard), and J Marchionna (drums/engineer).

Marking Time starts off sounding like a mix between the aforementioned Stefani and Lords of Acid. Trott strives to mimic popular singers such as Davey Havoc and Amy Lee, but fails to bring the same pop touch to the songs.

The first half of “Hollywood Is...,” the album’s fourth track, features strong musicianship, but again the vocals and lyrics do not coincide well with the nature of the song at all. Midway through the track, a hardcore riff breaks out, followed by incongruous group vocals.

“...Porn” boasts a keyboard element that makes the listener feel as if he or she is floating in a dream-like state. Like the previous tracks, the vocals have a hard time matching up with the music, making the song hard to enjoy. However, the track ends with an interesting dialogue between lovers.

“February 1st 1896,” has an old-fashion feel, employing instrumentation that causes you to feel as though you are traveling throughout European cities. The contrast between the song’s modern production and historic appeal brings to mind the term “rock opera.” Trott’s vocals fit much better with this kind of song, proving that while it’s great to try different genres of music out for size, there’s also something to be said for cohesion. (Trojan Horse Productions)

www.fluttreffect.com

-Kristine Catalogna

Merrie Amsterburg — Clementine & Other Stories

Recorded at Q Division and 2A+B Studios

Produced by Merrie Amsterburg

Mastered at M-Works, Cambridge, MA

Amsterburg acknowledges her blurring of different musical forms and states her openness to people labeling her music in various genres. Her sound, however, certainly falls more towards the folk and pop genres than others and she has been compared to artists such as Beth Orton and Tori Amos. Her latest album, Clementine & Other Stories, showcases an interesting array of world beats and impressively developed lyricism.

The first track, “Down in the Valley,” evokes a strong sense of heartache. The second track, “Black Is the Color of My True Love’s Hair” basks in its repetition and evokes a tone that is more contemporary than the remaining tracks on the album.

Clementine & Other Stories, Amsterburg’s third full-length CD, attempts to bring out her darker side, and indeed succeeds. Channeled through Amsterburg’s tonal palette, the classic children’s song “Clementine” takes on a darker backstory.

The instruments used on these tracks are acoustic and electric guitar, baritone guitar, mandolin, bouzouki, keyboards, banjo, bass, trumpet and drum loops. The songs tell stories of soldiers, slaves, immigrants, natives, and workers. “Wayfaring Stranger” is one of the record’s highlights. The song builds gradually with emotional textures and precise instrumentation and concludes beautifully. (Q Division)

www.merrieamsterburg.com

-Kristine Catalogna

Ray Mason Band — Don’t Mess With Our Routine

Recorded and mastered at Brown Bag Studios in New Ipswich, NH

Produced by Frank Padellaro

The title track of Ray Mason Band’s eighth album is a needless plea. Whatever the formula is that has produced decades of light and loose, Chevrolet and apple pie Americana, it’s clear that it needs no messing with. Mason and his ancient Silvertone guitar pour heart and soul into every track, starting with the bold sing-along strut of “Don’t Turn Me Down” and picking up pop and country blues like sanguine hitchhikers along the way. The band’s classic style of everyday-emotion lyrics manages to feel familiar but fresh, giving a welcome rootsy respite from the hard-nosed hippery of the moment.

“I’m Not That Kind of Guy” sounds like Kermit the Frog singing a Magic Numbers song — and it works. “Monkey In a Convent” has such a gutsy guitar and tambourine chorus that the track becomes far greater than the sum of its parts. That’s the brilliance of the band in a nutshell. Mason often has a little Barenaked Ladies about him, but with Frank Marsh on drums and Stephen Desaulniers on bass, the band ends up with an altogether thicker, richer sound with the kind of calming, tasteful twang that never becomes boring.

The real anthem of the album is “I Miss My Loneliness.” If The Clash had grown up in the good ol’ U.S.A. instead of England, then “Rock the Casbah” would actually have been this track. It’s baffling that Ray Mason has been touring like a madman for 20-odd years and has opened for acts like The Band and The Bottle Rockets, yet hasn’t reached the big-time status his band deserves. But the sense that it’s about the music and not the fame is all part of Ray Mason’s luminous charm. (Hi-n-Dry)

www.raymason.com

-Victoria Hutcheson

Ricky Valente — Loveless Letters

Produced by Ricky Valente

Recorded in the Farmhouse at Longview Farms, North Brookfield, MA

Mixed by Scott Riebling and Carl Nappa

Mastered by Fred Kevorkian at Kevorkian Mastering, NYC

From the elaborate packaging to the near flawless production, almost everything about Ricky Valente’s seven-song EP, Loveless Letters, screams “big budget,” despite the fact that the 25-year-old rocker produced it himself. Valente has been kicking it in London and New York for the past four years, but returned home to Rhode Island not long ago to pour his musical growth and experience into this new album.

The results aren’t perfect, but Valente should be damn proud of himself nonetheless. There’s some great music on Loveless Letters, as well as some powerful songwriting — but best of all, it’s got a ton of guitar licks that are begging for reverence at the Air Guitar Championships. Opener “The Borderline” spares no expense in bringing the rawk. After a shy two-minute opening that recalls Jeff Buckley — though not quite as hair-raisingly emotional — Valente unleashes two minutes of pure rock fury, culminating in a solo that rivals anything Josh Homme has cooked up in the California desert.

The two parts of “A Shadow On The Wall” follow a similar path. Again resembling Homme’s Queens, part one trudges through the desert before getting whipped up by a sandstorm in part two, ending with another smoking solo. Unfortunately, Valente sets the bar high and has a hard time keeping up the momentum of the album’s first third over the next few songs. It isn’t for lack of trying, though — “...By the Sea” resembles the minor hit “Sometimes” by New Jersey Buckley-imitators Ours while “Chasing After You” rocks like a zany hybrid of GnR, Zappa and Lenny Kravitz.

Things wrap up nicely with the title track, an epic rocker that showcases the disc’s most impressive strengths: Valente’s wide vocal range, the soft verse/anthemic chorus dynamic, riffs that were made for a stadium, and a blistering solo slicing through the dramatic fadeout. Still at a relatively embryonic stage in his career, Valente has a solid future ahead of him if Loveless Letters is any sign of what’s to come. (Self-Released)

www.myspace.com/rickyvalente

-Brett Cromwell

The Shrinking Islands — In the Black Carpet

Engineered and produced by Ramsey Tantawi and The Shrinking Islands at WMBR, Cambridge, MA

Sick of being drowned by all the new wave synth throwbacks murdering the airwaves? The Shrinking Islands are, and they’re here to offer a refreshing change of pace — catchy pop music influenced by ‘80s bands who didn’t use synthesizers! It’s true, folks — R.E.M. must have come to this Cambridge duo in some sort of fever dream, and thin-haired hipsters will find themselves fishing through their dusty LPs for a copy of Murmur as soon as this disc finishes.

Guitar-and-drum duos are popping up everywhere these days, but the beautiful simplicity of the music on The Islands’ debut EP, In the Black Carpet, is harder to find. Like the line drawings that pepper its artwork, the eight tracks on this disc are minimal in construction, but still succeed in invoking powerful pictures. Blame it on vocalist/guitarist Kyle Bittinger’s soft bed of unmistakable ‘80s jangle, or perhaps on the way drummer Andy Tefft snares all over it.

More likely, however, it’s the way these two work together, grabbing the listener by the lapels with sunshiny melodies before revealing there’s actually a story to be told here. Yep, In the Black Carpet is ... gulp! ... a concept album, its lyrics piecing together the tale of a jaded spy pulled into his last assignment. Thanks to the abstract imagery in lines like “The streetlights line the clouds” and “We’re getting swallowed in grace,” this storyline doesn’t exactly hit you over the head. And that’s a good thing, because the real star of this show is the music.

The line “green miles on parade” from standout track “State Fair” may look odd on paper, but when Bittinger breathes in and Stipes it over an unforgettable acoustic riff, it’s pop perfection. Not long after, he and Tefft show just what an acoustic duo is capable of, tearing through the last instrumental third of “State Fair” like there’s more up their sleeves than they’re showing here. Though a little less explosive, the instrumental passage of the title track is just as powerful.

Given its short run time of 25 minutes, In the Black Carpet actually has a number of these moments, and it’s refreshing to hear musicians in this genre that aren’t afraid to let the beauty of the music take center stage for longer than a solo. Apparently what The Shrinking Islands lack in numbers, they make up for in talent. Mitch Easter would be proud. (Sort Of Records)

www.shrinkingislands.com

-Brett Cromwell

The Vital Might — Obsidian

Produced by The Vital Might and Taylor Barefoot

Mixed at Taylor Barefoot Studios, Brighton, MA

Mastered by Nick Zampiello at New Alliance Studio, Cambridge, MA

For those who are interested (and didn’t know already), obsidian is a glass-like material produced by volcanoes when lava cools too quickly for crystals to grow. Due to this lack of crystals, obsidian edges are incredibly sharp — five times sharper than a steel surgical scalpel, to be exact.

While the talent of Boston’s The Vital Might — bassist Ben Didsbury, drummer Evan Kraker, and guitarist Andy Milk — may not exactly translate in the O.R., their debut album certainly houses its fair share of musical precision. Given that they’re primarily a prog-metal band, this result should actually be expected, for what is prog but a chance to mix abrupt tempo changes, multiple stop/starts, jazzy interludes, spacey atmospherics, and plenty of cymbals into a gumbo of “epic” song structures?

Those classic prog elements are all here, but they’re also juxtaposed with a sense of more mainstream rock. After all, it’s rare to find lines like “Her palm to my pocket / She slips paper into denim folds / Nine digits now I own” in a prog-rock song. Apparently these guys aren’t afraid to inject some boobs and beer into a genre more well known for classical ed than sex ed. And though this creative approach works in heavier songs such as “Bird of Black Fire” and “Measure,” softer tunes like “Mist of Crystals” and “Don’t Mind Me” tend to slow down the album’s momentum.

To the band’s credit, The Vital Might illustrate the one characteristic inherent in almost every progressive rock/metal band — ambition. There’s a lot of ground covered in the 13 tracks here, and though it can be a bit exhaustive, most songs reach above the five-minute mark but are rarely boring. Besides, saying the music here is overambitious is like saying Didsbury, Kraker, and Milk are overtalented — it’s expected given the genre. (Let’s Get Awesome Music)

www.thevitalmight.com

-Brett Cromwell

The Larkin Brigade — Paddy Keys for Mayor

Recorded, mixed and mastered by Mike Caglianone at 7A West, Charlestown, MA

People ‘round these parts love green things. They love leprechauns and the Celtics and Guinness. They especially love brothers with the surname Kennedy. They really love things that remind them of these things. This accepted, Boston residents should begin mailing their wallets to The Larkin Brigade without delay. Doubters should be sent to the pub with a copy of Paddy Keys for Mayor and given some time to think it over.

Two of the main influences called to the witness stand by The Larkin Brigade are Ben Folds and a general sense of All Things Musically Irish. While Patrick Kennedy’s piano is the lead instrument on the record, the Celtic flavor overtakes any Ben Folds influence outside of Kennedy’s rhythmic piano playing in tracks such as “Planxty John L.” Kennedy (or, as he is known in some circles, “Paddy Keys”) shares the forefront of the sound with fiddle player Joe “Heavyset Joe” Wyatt, backed by bassist Paulie Thunder (Paul Kennedy) and drummer Diesel Dennis (Dennis Doherty).

The Larkin Brigade simply saunters into the pub and takes over. Paddy spins the stool twice and jumps on the piano and Diesel Dennis starts thumping on the bar and Heavyset Joe probably works his way back behind the bar while Paulie Thunder teaches the words to all the patrons. Before you know it, The Larkin Brigade is in full swing. The pipers even stop by for a while, working a keening wail over Keys’ piano melodies in tracks like “Sean South from Garryowen.” This is, after all, a “concept” record based upon a theme, even if that theme is the piano player’s play for mayor.

While those not in the know mess around with scally-cap twisting acts such as Dropkick Murphys, the real kids will be passing out dark pints amongst themselves and rocking out to The Larkin Brigade and their brand of honky-tonk piano pub sing-along. (Squealing Records)

www.thelarkinbrigade.com

-C.D. Di Guardia