The Campaign for Real-Time - Let It Rise

Recorded at New Alliance in Boston and Cambridge, MA, Mad Oak Studios in Allston, MA, Blue Jay Studios in Carlisle, MA, and Translator Audio in Brooklyn, NY

The Campaign for Real-Time is beginning to seriously turn things up. A little over a year ago the band released its first album, Yes...I Mean No, which was met with wild success. But it turned out that this was simply a cover album - of future hits. Now, old fans and new listeners alike are given Let It Rise, the band's latest release, made up partly of new material and partly remixes of "old" Yes... tracks. The implications of time travel ethics aside, each of the ten tracks on Let It Rise is a winner - both remixes and new songs alike. Even most of the new songs will be familiar to anyone who has seen the band play live.

The record leads off with the powerful and compelling "Song for New Amsterdam," a four-minute rant from Lee Bronson, the closest thing to a frontman that this band (seemingly full of frontmen) has. The passionate song is an articulate look at New York City, analyzed as only Bronson can see it, replete with rhyme-equating ideas such as spiritual redemption and cell-phone reception. As brilliant as the first track is, the subsequent song, "Rachel Says," brings the same energy in a different configuration. Whereas Bronson's vocals and drummer Dick Dreyfus' pounding pulse captain the first track, the second track is fueled by the four-string electric whip-crack of Dr. Hemnsesphere, who, despite multiple name changes, remains easily one of the area's top bassists. "Rachel Says" is not all bass, though, as it presents a fine melding of vocals, as well. Rory Stark's raspy howl and Falconer Model 7's spot-on pitch combine for an addictive chorus that showcases not only the two vocalists' chemistry, but also the strong melodic undertones that permeate almost everything produced by The Campaign for Real-Time. The vibe continues with "Connect," a live show favorite that digs in hard and stays in the head.

The originals on Let It Rise are a nice update to the band's style since the recording of the original Yes...I Mean, No tracks - most of which receive their own face-lift on the new release. Local artists were invited to remix various songs, lending old favorites new flavor. Certainly, Sir's mix of "In Your Dreams" is an interesting take on the song. The arrangement concentrates heavily on the song's chorus, basically ignoring the verses of the original song. As a result, the desperate compassion found with
in the verses is unfound, leaving the song with a more sensual than sensitive feel.

Don Cheadle, hailed by the band as a future President of America, is given his due in the remix "D.C. 77," a banging remake which is neither more nor less than its original - just a different take from a slightly different band. "NFSPTVN" is a strong mix of "NFS," presumably mixed by MicL PTVN, who wears a white suit very similar to "new" Campaign for Real-Time keyboardist Felix Coyote.

The band has some new names, a new member, new mixes and newly composed songs, but The Campaign for Real-Time still delivers as can be expected from the recent Rumble Winners, whether or not one believes in time-travel. (Big Scary Monsters/Curve of the Earth)

www.c4rt.com

-C.D. Di Guardia

Winterpills - The Light Divides

Recorded and mixed by Dave Chalfant at Sackamusic in Conway, MA

Engineered by Dave Chalfant and Jose Ayerve

Produced by Dave Chalfant, Jose Ayerve and Winterpills

Mastered by Roger Seibel at SAE Mastering in Phoenix

Seldom do you encounter a song whose essence speaks to you so personally that it seems to unfold the same way you might dream, or perhaps with the same pace inherent in your own step. But even more exceptional is an entire record comprised only of tracks that breathe life into one another the way that the perfect song punctuates the soundtrack to your own life. Such is the album presented by Massachusetts four-piece Winterpills, whose sophomore effort, The Light Divides, has a near-human quality from start to finish. Its silhouette unfolds as the tracks progress, spurred to life by a bass line heartbeat and carved a soul by lyrical dimensions.

Like floating voices in empty church foyers, The Light Divides is characterized by the ubiquitous ambiance that resonates throughout the record's duration. A natural sound at the helm is anchored by rich bass and percussion. The deep tones provide a lush foundation for the tracks; the record evolves like a sort of musical collage, with layers and textures overlapping and adhering to each other. Instrumental showings, such as the keys on "Hide Me," provide a glimpse into Winterpills' capacity; piano melodies, besides guiding the track, act as a percussive bearing to balance the acoustic air. Sonically, the record explores copious moods. The songs jump from potent folk-ballads ("June Eyes") to up-tempo indie-based rock ("Broken Arm"). Be wary of labeling it, though - The Light Divides is too mature to be slapped with a stereotype and tossed aside.

Then there are the vocals, which nearly have a living, breathing sprit of their own. The sound and composition of the vocal lines reflect the record's lavish scope of influences. Dual vocalists Philip Price and Flora Reed use their honed brand of minimalism to make an epic sound, a la Elliott Smith, pulling out dimensions of vibrancy. The pair - dare it be said - often evokes sentiment of a more modern Beatles (minus any of the early-era kitsch), as on "Shameful." Reed's voice raises spirits in the soul and goose bumps on the skin. Her sound has the classic roots of vocalists like Joni Mitchell and smooth soul of 27's Maria Christopher - completely unobtrusive and totally feminine. Lyrically, the record relies on precise simplicity. The words are sometimes unintelligible over the mix, but it almost doesn't matter. Sonically, the vocals jive so perfectly with the natural resonance of the music that the record becomes an hour-long lullaby, cohesive throughout.

Poignant and delicate from song structure to album artwork, the romantic luster of The Light Divides is practically inescapable. The sheer strength of its ambiance pulls at your heartstrings continuously with scarcely an inaccessible moment on the record. With its rigorous scale of classic influences fusing with modern melodies, The Light Divides transcends comparison. Hear it flourish with your own ears. (Signature Sounds/Soft Alarm)

www.winterpills.com

-Meredith Turits

Cassavettes - It's Gonna Change

Produced by Jabe Beyer & Cassavettes

Engineered by Jabe Beyer at Hi-N-Dry in Cambridge, MA

Mixed by Jabe Beyer at Hi-N-Dry and The Dollhouse in Allston, MA

Mastered by Ian Kennedy at New Alliance East in Cambridge, MA

Certainly the title of Cassavettes' first full-length album could refer to any number of things, not the least of which might be the Boston music scene itself. Cassavettes' sound resides outside the clichés of Boston's mainstream rock genre, and while they might find a home amongst the folkies, their mix of country, folk, and rock doesn't really fit there, either. Perhaps it all comes from the band's Texas roots; their country leanings seem to carry a Southern authenticity that is often lacking in Northeastern country acts. But in the same way that Texas isn't really part of the South, Cassavettes isn't really country. The same could be said about any of the styles one can pick out in their sound. It's as if they've distilled the geographic qualities of Texas - on the border, but not across it, familiar, yet close to foreign - into a musical quality.

The album opens with the haunting "The Nadir." This track clearly demonstrates the Neil Young influence that Cassavettes readily admit - not by mirroring Young's signature vocal style, but by focusing on the laid-back rock/country musical and the storyteller lyrical style. It is this storyteller quality, in fact, which is as much a defining quality of the Cassavettes as their genre-bending. The proceeding three songs, "Debts," "On Our Own," and "Trouble From the Start," all follow this lyrical formula with great results.

"Seasons" breaks into more abstract ground lyrically, aiming more to capture a feeling than tell a story. The song also showcases a memorable a cappella moment by the band. A jazzy intro sets "Lightning In a Bottle" apart from the rest of the album, before the same almost-country sound that is Cassavettes' signature settles in for the majority of the song, with occasional reappearances from the jazzy guitar riff. This moment effectively demonstrates an important Cassavettes quality: their songs encompass a degree of variety that keeps things interesting, even as they show an impressive consistency. Even the rowdy "Shine a Light" still fits the mold.

If you like the first cut, then it actually isn't going to change - all of It's Gonna Change will satisfy. And it is not a stretch to predict that many will like that first taste and come back for more. (self-released)

www.cassavettesmusic.com

-Brian McGrath

Letia Larok - Letia Larok....As Is

Recorded and produced by Smoke House Productions

Boston hip-hop artist Letia Larok's album Letia Larok....As Is is a pleasant surprise. Larok was dubbed "Best Female Rap Artist of the Year" at the 2006 Urban Music Awards, as well as "Best Female Artist of the Year" at the Mass Industry Committee 2006 Hip-Hop awards.

As Is is an 18-track self-released album. In both her personal presentation and her music, Larok doesn't buy into the negative and gratuitously sexual images often portrayed by female rappers (usually in an effort to compete in a largely male-dominated genre).

Content-wise, As Is is reminiscent of Mary J Blige's What's the 411 and Lauryn Hill's The Miseducation of Lauryn Hill. The album has the street credibility that instantly earmarks Larok as a rapper. Her voice - a combination of Eve, Keisha Coles, and Mary J Blige - supports smooth R&B choruses while forcefully delivering well-written, socially conscious rap lyrics. The album is cohesive and easy to listen to straight through. Tracks such as "Voices," "Misunderstood," and "Build With You" stand out as potential radio singles. These three songs portray struggle and miscommunication over smooth up-tempo beats. Larok's music tells the story of a young woman determined to find her way through the music industry - and through life in total.

On "Let It Go," Larok successfully collaborates with Afaya and DJ Lady Lee. Working with reggae artists is often tricky for rappers, but the three execute the partnership smoothly. The final product is a track that club DJs will love to remix and club-goers will love to grind to.

The album's only weakness is the low-quality mastering. As Is hints at the power of Larok's voice, but is unable to capture the true nature of her talent. Nonetheless, the beats are euphoniously contagious and lend her a platform to perform hype live performances.

On the track "Triple Threat," Larok boldly proclaims herself as "young, gifted, and black" - a title she wears well. She writes. She sings. She raps. Indeed, Letia Larok's album is a triple threat "As Is."

www.myspace.com/letialarok

-Jamara Wakefield

Dennis Crommett - The Evening Sorrow

Produced by Dennis Crommett, with engineering and co-production by Bruce Tull and Jose Ayerve

Recorded in Holyoke, MA

Mixed by Pete Weiss at Verdant Studios in Athens, VT

Mastered at The Basement by Dan Richardson in Northampton, MA

Dennis Crommett wastes little time impressing, beginning The Evening Sorrow with an immediately astounding acoustic guitar hook and doubled vocals. His voice is gentle and sincere, as if he were singing more for his own good than to win over new fans. There are obvious and not undeserved comparisons to Earlimart (their quieter moments), Jose Gonzalez, and even a less reserved Elliott Smith. The second track, "Larkspur," includes a quietly mixed string section that only makes itself apparent at the end of the track, yet accentuates the soft qualities of the composition. Crommett never rushes to the point, opting instead to build lush but never overbearing melodies that wash over the listener in sleepy waves. Likewise, his voice never rises above an honest whisper and the acoustic guitar plays more of a supportive than commnding role. Both elements, however, are perfectly mixed. "Thank God It's The Morning Of" is a testament to these characteristics, while the next track, "Oranges and Reds," boasts a pedal steel so sublimely hidden that the listener feels compelled to close his or her eyes and be led blindly through blissful sonic terrain. Crommett also deserves credit for his compositional diversity, as each song features a unique quality that cries out for headphones and a quiet room. As if his vocal and instrumental abilities weren't enough to set him apart, few albums allow the listener to take notice of the lyrics so effortlessly as The Evening Sorrow; his are profound and easily accessible. Despite its mournful title, Crommett's most recent effort is a masterful and poignant record. (Pigeon Records)

www.denniscrommett.com

-Will Morgan

Spouse - Relocation Tactics

Recorded by Jose Ayerve

Additional recording and mixing by Mark Alan Miller and Adam Lasus

Mastered by Rick Fisher

Spouse, a Northampton collective that has been churning out EPs and full-lengths since the late 1990s, is the primary outlet of songwriter Jose Ayerve, who also multi-tasks as co-head of Pigeon Records (along with fellow Spouse bandmate Dan Pollard), road manager and bass player for The Pernice Brothers, and producer/engineer on albums for bands like Winterpills and New Radiant Storm King.

Judging from the quality of the music on Relocation Tactics, Spouse is undoubtedly Ayerve's most cherished project at the moment. Self-labeled as an "experimental rock band," Spouse certainly meets this definition, but in a compositional sense rather than an instrumental one. This isn't an album full of strange instruments like flugelhorns and singing saws, but rather one of unique structural forms using a guitar/bass/drums foundation.

If Franz Ferdinand had been raised on Sebadoh and Pavement instead of Pulp and Suede, they might have sounded like Spouse. Cushioning a core of relentless melodies with soft layers of fuzz, the music on Relocation Tactics plays like a shuffle of early '90s indie rock, when shuffle meant hitting the "random" function on the 5-disc CD changer. Ayerve's smoky voice is everywhere, gliding from sexy and assured to desperate and pleading, as the mood requires, and often melding with one of the album's many female guest vocalists.

But it's the music, and the wealth of ideas explored here, that truly impress. Consistently revolving between head-bobbing upbeat numbers and slower, more lackadaisical fare, Spouse uses the traditional verse/chorus/verse structure as a springboard, injecting the songs with snippets of variation - an instrumental break here, a tempo change there. Synths plays prominently in opener "Coaster," only to disappear until 10 tracks later in the new wave solo of "Hangover Cure for Humanity."

Despite the carefully inserted diversions, every song here has a well-established path and nothing feels forced. Songs say what they need to say and end succinctly. Even when there is breathing room, such as the instrumental breaks in the title song and "Thunder Royale," the space seems like a natural part of the story. Most of Ayerve's collaborators on Relocation Tactics have been working with him for years, and it shows.

With 15 tracks in 47 minutes, Relocation Tactics strongly argues the power of the three-minute pop song. And damn if Spouse doesn't save the best for last - "Tonight" is as good a pop song as any you're likely to hear this year. (Pigeon Records)

www.spousemusic.com

-Brett Cromwell

In First Person - Lost Between Hands Held Tight

Recorded, mixed and mastered by Steve Roche at Permanent Hearing Damage in Philadelphia, PA

As beautiful as it is crushing, Lost Between Hands Held Tight is the record every band has been dying to make - and In First Person has sealed the deal. Fast out of the gate, Hands is an all-out hardcore assault filled with metallic brutality and sonic urgency. The trio, whose members reside in different places throughout the Northeast, is built from the ashes of influential hardcore acts such as You and I and The Assistant. In First Person has unmistakably polished its seemingly veteran cohesion; Hands plays with the might of a full-size symphonic orchestra. The entire record stays awesomely harrowing throughout, with each intricate line and deliberate note entangled in an emotional web. Because of layered male versus female howls and poignant lyrical imagery, comparisons gravitate towards kindred spirits like Circle Takes The Square; however, In First Person's utter abrasiveness moves the band away from the current face of screamo.

Equally as monumental as the actual music itself is the intimacy of the artwork and liner notes. A booklet of essays, commentary, and lyrics authored by each band member accompanies Hands, and the artwork - like the record - is conceptually centered on the distrust we have in one another. It solidifies the fluidity of the record, while ascribing meaning to the entire project. With hand-screened, cut, glued, and stained packaging on every copy of both the CD and vinyl, the record is truly as personal as it gets - literally going from the creator's hands to yours. Rarely does a record give you a glimpse into the soul of the band. And, as a result, Hands is comprehensive - from its complex perspective to its composition to its physical form.

If Hands and its label, Paramnesia (a promising new label), are any indication of what's to come for In First Person and the future of hard, fast music, you better bank on it that things are looking up. Play this often; play this loud. (Paramnesia)

www.myspace.com/infirstperson

-Meredith Turits

Melvern Taylor - Fabuloso

Engineered by Sir Bob Nash

Recorded at Wonka Sound Studios, Lowell, MA

Mastered by Dave Locke

Melvern Taylor cuts right to the chase in the very first seconds of "Angel on My Shoulder," the first track on his most recent release, titled Fabuloso. He steps right out the front door and greets the listener with a story. Before thirty seconds have passed, he is into the viciously hooky chorus of this first song, bemoaning the fact that "It's a bad day for the angel on my shoulder," because, as he puts it, "The competition is winning me over." The sentiment is understandable and the melody is unforgettable. This combination ends up being Melvern Taylor's "thing," for the lack of a better word.

Some may take a look at Taylor - his dark suit, the plastic-rimmed glasses and gentle smile - and think they have him pinned for one of the countless Elvis (Costello) impersonators. Taylor's penchant for quaint melody and slightly self-depreciating lyrics paint him as a softy - a man who feels as much as he thinks. Taylor's victory here is the fact that he can communicate this characteristic through his music; Taylor is a capable writer and performer. He follows up the first track with a vocal change-up of sorts - the super-high falsetto that tests the limits without ever sounding too taxing upon the singer's vocal cords. Taylor brings the melody up in the chorus to the point where you can tell where he wants to go; the only question is if he gets there. Taylor gets there in style: the pay-off lyric - "I don't care if you break my stupid heart" - is delivered precisely where the melody leads it - at the top of Taylor's impressive vocal range.

Melvern Taylor isn't all high-pitched Frankie Valli-style vocals, though. He is also a thoughtful and engaging teller of musical tales; it seems like he always knows where things are going, but he's along for the ride anyways. "Nothing Good," is a gentle swayer that showcases Taylor's tiny melodies and big voice; all we need to do is give our ears over to Mr. Taylor and the result is truly Fabuloso. (Platform One Entertainment)

www.melverntaylor.com

-C.D. Di Guardia

Minky Starshine and the New Cardinals - Hooray for L.A.

Produced and Engineered by Ken Stringfelow, Rob Loyot, Chris Cugini, Minky, and Sean McLaughlin

Mastered by Jeff Lipton at Peerless Mastering in Newton, MA

Recorded mainly at Noise in the Attic, MA and UFO Sound Lab, RI; two tracks recorded at Appleman, MA

While most bands resist easy classification these days, Provdence's Minky Starshine and the New Cardinals deliver unadulterated, good ol' American power-pop on Hooray for L.A. Replete with saccharine harmonies, glossy guitars, and plenty of "Ooh ooh ooh ooh" choruses, Minky & Co. play it unabashedly straight through a whopping 15 powdery tracks. Occasionally, the band dips into balladry ("I Want You," "Highway Superstar"), and they adorn a few songs with rootsy trimmings like lap-steel and dobro (well-played, it should be noted, by Adam Ollendorff), but mostly the band maintains a vise-grip on buoyant, mid-tempo, traditional pop-rock. It's a throwback to '80s rock radio that straddles the line between homage and send-up, but it's rendered with enough conviction and skill to be worth a listen for anyone looking for a dose of straightforward pop-rock.

From its frontman's silly stage name to its dedication to such a G-rated genre, it's tough at first to pinpoint this group's true intentions. Is Minky Starshine (real name Rob Anastasi) sincerely looking to be a part of a power-pop underground, or is he just having fun with a kitschy, pseudo-serious style? The sheer length and relative consistency of Hooray for L.A lean towards the former, and the record's highlights, "Rescue Me" and "Smile," seem to confirm it. Buoyed by strong hooks and tasty background vocals, these are skillfully delivered rock confections that suggest that Minky & Co. have a serious knack for this inherently unserious, yet fun genre.

www.minkystarshine.net

-Al Moore

Lourdes Pita - Seize The Dream

Produced by Lourdes Pita and Linda Chase

Recorded at Power House Studios, Lunenberg, MA

Mixed by Jamie Locke

It is a true gift to be able to write songs that are bright and stick in your listeners' heads in the most pleasant way. Lourdes Pita has that gift. It is a bit of a challenge to label this Massachusetts-based songstress (not that one should put labels on things). She is described as folk-pop, for she has too much of a pop sound to be called folk, but too much of a folk attitude to be called pop.

Pita's philosophy to "seize the dream" is found throughout her third album. As a songwriter, her lyrics are simple and easy to understand, with beautiful music to back them up. The range of subjects is fairly diverse, jumping from friendship to love to the future. Pita even tackles some darker themes, like the "Obstacles" in life, or the often-neglected subject of the "Work Day."

Her most incredible strength, however, is her knack for creating melodies and simple harmonies that are impossible to resist. This effort appears to be a more folk-based collection of songs than her previous works; however, Pita also showcases skilled musicianship on the electric guitar. One song in particular, "Fantasy" might be the catchiest on the album, with a U2-esque reverb adding color to an irresistible chorus. Pita adds variety with a little blues in "Future, With You," and some rapping in "Work Day." Unfortunately, she tends to fall into the trap of repeating the chorus one time too many.

All in all, Seize The Dream is a wonderful collection of songs from a consistently talented singer-songwriter. (Self-released)

www.lourdespita.com

-Wren Leader

Roh Delikat - Sunny

Engineered by Scott Craggs

Emerging from an overcast day full of uncertainty, the first rays of Roh Delikat's Sunny take shape slowly. The eight minute-long album opener doesn't really break through for a minute or so. But slowly, the guitar begins to soak in and Kristina Johnson's voice begins to sound off as if called in from a great distance. Johnson's voice is a bright bell above the murky guitar and punchy drums - but all of these elements fall away for a break in the second half of the track, leaving Johnson alone with her words. The instruments seem to reassess themselves and come pounding back in, cymbals crashing and chords rumbling. An exceptionally long-running first track, "Monsoon" ends up being worth it and serves as a foreword of sorts for Sunny: the rough and the delicate are hewn together by the three members of the band and displayed for all to see over eight tracks.

Johnson's voice could be viewed as the delikat side of Roh Delikat; her decidedly feminine vocals are bright and clear as a bell. Not content to just be a talented singer, Johnson injects her vocals with personality and purpose. Her vocal performance is, overall, amazing. She has the capability to sound like a superhero at times and a doll wandering around inside a dark closet at others. There is a little Radiohead in her performance, both in the Thom Yorke-like vocals as well as the strong/dirty guitar work.

The vocals rise over a solid foundation of noisy guitar, pounding percussion, and other various elements of sound - this is the roh. There is a lot of distortion, bass, drums and synth going on in this layer of the Sunny stratosphere. Scott Craggs' drums hold the affair together - this task is important, for the record has more hook than it lets on and the drums act as one of the few solid reference points in otherwise spacey-sounding instrumental tracks. Johnson's guitar adds the dirt and bassist Sam Gutterman keeps the light on in the sub-basement of the Roh Delikat sound. This record is indeed a whole house worthy of checking out. From the scary basements to the dark closets to the Sunny skylights in the attic, Roh Delikat's new record has been worth the wait. (Self-released)

www.rohdelikat.com

-C.D. Di Guardia

The Steamy Bohemians - Technicolor Radio

Produced by Scott Dakota and Lainey Schulbaum

Recorded at What If It All Works Out Studios

Mastered by Jeff Lipton at Peerless Mastering in Newton, MA

Technicolor Radio begins with a flourish. Spectacularly cheesy trumpets and canned strings sound off, resulting in a regal fanfare. At some point in this overture, angelic voices begin to sing on high. The fanfare continues and the angels get closer, gradually alighting in the foreground. Then suddenly, they belch and start searching their robe pockets for a lighter. The cherubs are Nicole Luparelli and Lainey Schulbaum, more familiarly known as The Steamy Bohemians.

Luparelli and Schulbaum have charmed, offended, shocked and aroused live audiences; their challenge has always been bringing this spontaneous live energy into a recorded format without sounding canned or planned. The chemistry between the two dolled-up artists is easy and natural, and they harmonize like a sexier, foulmouthed, female version of Simon and Garfunkel, while tossing in little ad lib asides.

The thing about Technicolor Radio is that The Steamy Bohemians aren't all sex and silliness - both women are talented musical performers. The duo has enough of a musical handle on things to mimic and lampoon overdone formulas, as they do in the '80s style ballad "Is That Okay?" The song takes a turn from the sappy "I want to get to know you" sentiment to the criminally actionable "You've got a pretty voice, so I tapped your phone" (both actual lyrics). The group's caricature of the genre presents sufficient performance value, but it is in their original songwriting that The Steamy Bohemians really shine as performers. Steamy originals, such as the semi-incestuous "Second Cousin," lace this record with personality. The magnum opus of the collection is the humorously melodramatic "Ballad of the Bastard." The record closes with four tracks worth of Steamy outtakes, in which the women screw up lyrics, laugh in the middle of songs, create odd chicken sound effects and even light a mysterious substance on fire. This behavior just helps to make things funnier. Technicolor Radio is not for those who desire serious and earnest music, but for those who want a little fun in the back of The Steamy Bohemians' classy ride. (I'm a Kitty! Records)

www.steamybohemians.com

-C.D. Di Guardia

The Scallions - Agony Through Ceremony

All songs written, performed, recorded, produced, and directed by The Scallions

Recorded and mixed at 6 Feet Under and Ridgewood Studios

Engineered and mixed by Mike Franklin

Agony Through Ceremony starts in a rather aggressive way, with assertive, heated vocals, but a simplistic verse/chorus progression. In contrast, however, the second track, "Her Rise and Fall," has a very appealing, pop-oriented feel, with well-mixed vocals and a smart hook. Likewise, "Plastragraphic" is a soft, melodic track with a surprisingly calming guitar intro that displays The Scallions' musicianship. The track has an almost medieval quality that relaxes the listener and instructs him or her to not expect anything from the duo (who are also brothers, Mike and Shawn Franklin).

Nevertheless, the vocal and instrumental talents of this collaboration, currently signed to, of all labels, Chuck D's Slam Jamz, shine throughout the entirety of the album. The sixth track, entitled "2," has a strange, synthesized saxophone part that adds a spacey, obscure sound to the group's otherwise straightforward characteristics, resembling Boston's The Elevator Drops with their distant, reverbed vocals. Despite the fairly consistent path that The Scallions follow throughout Agony Through Ceremony, the duo still continues to surprise with pleasant subtleties. Their use of synthesizers colors the album's sound favorably, creating a combination of strong alternative rock and understated electronica. (Slam Jamz)

www.thescallions.com

-Will Morgan

The Vinyl Skyway - From Telegraph Hill

No production information available

Sometimes a band's name manages to capture and distill the essence of the band into an easily understood idea, and The Vinyl Skyway has just such a name. On their new release, From Telegraph Hill, The Vinyl Skyway have composed a collection of songs that seem to reside somewhere in the ether above us. Floating, gliding, and lush, their sound truly symbolizes what a vinyl skyway would sound like if it were to exist.

Drifting towards the realm of dream pop, The Vinyl Skyway has taken up residency in a soundscape that has been touched upon by such iconic bands as The Beatles and Pink Floyd, though their more permanent neighbors in this ethereal sphere might be bands such as Lush and the Cocteau Twins. Their sound is at times dreamy, haunting, and joyful, and always carefully crafted. From richly layered textures to luxuriant harmonies and all the way up to the hooky melodies, the songs on From Telegraph Hill are captivating on multiple levels.

Opening with a sustained organ chord and floating guitar line, "Hangin' On" introduces the album by ushering the listener directly into the heart of The Vinyl Skyway's aerial home. The strumming of acoustic guitar kicks in to keep the listener somewhat grounded, but the lofty vocal lines prevent things from becoming mundane or rootsy. The subsequent tracks follow a similar formula, despite subtle instrumental changes, such the grooving drumbeat in "Don't You Like It?," the melancholy piano line in "Kitchen," or the distorted guitar chords in "D.I.A. Reprise."

Even as the ingredients of their music coalesce largely from the fringe, the end result is a sound that has all the keys to pop success - memorable melodies, pleasing harmonies, and accessible lyrics all presented in easily digestible portions, including three fun little instrumentals, each running less than a minute. The Vinyl Skyway seems to have captured a feeling that can satisfy both the indie and pop realms, which isn't an easy task. (TVS Records)

www.vinylskyway.com

-Brian McGrath

Tim Emmerick & Cold Front County - North

Produced by Emmerick, Jonathan Baird, Matt Amaroso

Tim Emmerick's North is sharply divided between southern-tinged, gritty rock and acoustic folk ballads. Such a partition can sink a record, but in Emmerick's case, the mixture ultimately enlivens his debut. Like most unsigned talent with limited studio resources, Emmerick sounds sincere and committed on North, but also somewhat uneven and unpolished. You get the feeling that he is a strong live performer, and his voice is clear and assured through each of the disc's 11 tracks. However, North is hamstrung by production issues: the album's rock songs feature strong guitar soloing, but it's pushed to the back of the mix, blurring the guitar sonically. There's a nice meandering fiddle section on "Chapter and Verse," but it's mixed so prominently that it drowns out the equally lovely pedal-steel accompaniment, and so on.

Fortunately, the record's positives outweigh the record's sonic negatives. Ironically, most of North's real energy comes from its slower ballads and acoustic tracks, where the sound is uncluttered, allowing Emmerick's strong singing voice to take center stage. Of these, "Intentions Fade (for Levon)," with its descending chorus, rootsy orchestration, and skillful playing, is a highlight, as is "Storm," which showcases Emmerick's charismatic voice.

Emmerick wisely closes the record with its best track, "Mercy." A stormy, mid-tempo blues song that features some juicy dobro and lap-steel guitars, "Mercy" recalls the best of southern blues-rock while creating an attractive frame for Emmerick's vocals. After a complete listen to North, it is obvious that Emmerick is a committed performer and a solid live act, and that's about all you can ask of a self-released debut.

Bonus points for his simple, earth-friendly, and understated album packaging and artwork. (Self-released)

www.timemmerick.com

-Al Moore

Josh Brooks - The White House Sessions

Recorded live and mastered by Chris Clark at Big Orange Studios in Addison, VT

Josh Brooks is that rare exception that proves the rule. From somewhere like the desolate locale of a tiny white house with an overgrown lawn, Brooks' White House Sessions arrives - a self-produced EP released as a primer for an official release. In fact, fans who purchase this CDR version will be helping pay for the finalized version and will be able to exchange it for a copy of the final album upon release.

Brooks is a gifted songwriter with an old soul perspective one can't help but listen to over and over again. Although based in Vermont, he sounds like the sort you might find strumming away in a Southern hole in the wall on a Wednesday night - the unexpected highlight of a long week. But the singer proudly shows that states don't make the songwriter. In "I'm Going To Texas," he playfully sings, "Never been to Amarillo; never been to Abilene / Never seen much more of Austin than what fits my TV screen ... I'm going to Texas / Oh Lord, before I die."

While songs like "Baby, Let's Drop It" tread familiar ground, the sincere timbre and drifting cadence Brook delivers makes the song distinctly original. "'Til The End Of Time" comes close to overt sentimentality, while "Alive" is an aptly-named number with a driving rhythm that accentuates the lyrics, describing a cross-country trip. If Brooks is guilty of any mishandling, it might be name-dropping Johnny Cash a bit too often, but who can really blame him for paying tribute to the late legend?

For all its small town, homegrown atmosphere, it's surprising that rural New England hasn't produced a greater country scene. It may be inclement weather that makes the Northeast more inclined to folk or rock music, but who's to say the next big Nashville won't be somewhere in the snowy avenues of Vermont? And if so, Josh Brooks might just be its Johnny Cash. (self-released)

www.myspace.com/joshbrooksvt

-Len Sousa

Promised Eden - Guilt

Mixed and mastered by Matt Cole at C2 Studios

Produced by Patrick Keating and Keith Brindle

Recorded at Sharp Studios in Southbridge, MA

Guilt is certainly a familiar feeling after listening to this offering from Promised Eden. A loosely tied together concept album about typical hard rock motifs such as a "Fall From Grace" and that uncanny ability to "Bleed And Die," there's little more to this album than sounding like a clever tribute act.

With nearly a dozen tracks, Guilt is a twisting foray into the mid-90s rock wilderness with only a scant few interesting brambles by the mulberry bushes. "Free At Last" has an Alice In Chains flair that takes the album up a step, while successive songs like the title track and "Breathe" manage to take two steps back down. "Let It Slide" (no slide guitar?) is Godsmacked worse than any other track on the album and makes listeners feel like reaching for any apple that might release them from this promised Eden they've wandered into.

Of course, things wouldn't be complete without a hidden acoustic instrumental track. Interestingly enough, it's probably the best tune on the album, with more sophisticated chord progressions than any of the others. The song might benefit, however, from vocals and lyrics.

At best, Promised Eden is adequate. At worst, they're derivative. After the third track, songs start to sound redundant. With such a fruitful theme like the fall from the Garden of Eden, and with so many bands having tackled heavy metal since Metallica made it to the Top 10, more is to be expected. (Self-released)

www.promisededen.com

-Len Sousa

Reuben Torrey - Poorboy Legacy

Produced and engineered by Reuben Torrey

Additional engineering by Thomas Torrey

A Connecticut native now living in Maine who sings the blues - there's something uniquely out of place about Robin Torrey. His self-released Poorboy Legacy starts with a solid 12-bar blues but soon moves on to bluesy acoustic folk - something like a cross between Tim Buckley and Eric Clapton during the latter's MTV Unplugged performance. But while Torrey, like Clapton, lacks the strong vocals of a classic blues performer, he makes up for it with an understated delivery.

Avoiding the trap of sounding like another white boy mishandling the blues, Torrey manages to make his New England riverside songs his own while covering familiar blues themes. In "Man On The Millionth Mile" the singer clatters, "You ain't no gamblin' girl, you ain't no cheatin' child / You are the lady who still loves me, I am the man on the millionth mile." Dylan he ain't, but he has got to start somewhere and at least it's not in hokey territory. "Wilderness Song" shows Torrey at his best with a tune reminiscent of an earlier style but still clearly his own. Another dozen songs like this one and he's got something.

Torrey's voice routinely brushes the high-and-lonesome while his guitar chords remain firmly planted in the Mississippi mud. In the midst of these blues tracks, Torrey covers an Irish folk melody ("Shane") without making it sound unrelated. Another Irish cover, "The Parting Glass," is given the blues treatment but sounds out of sync with the rest of the album, making it the weakest of the six tracks.

On the whole, Torrey has some room to improve lyrically, but with the blues you've got to be hitting your last drink of a very long night before you can shaft things up too badly (it's the genius of the genre). So if he keeps improving on this New England brand of white boy blues, he could be well on his way to recording a great full-length. (Self-released)

www.reubentorrey.com

-Len Sousa