The Everyday Visuals - Things Will Look Up

Recorded, engineered, and produced by The Everyday Visuals

except track 2 engineered and produced with Jon Wyman

Tracks 1-6 mixed by Jon Wyman

Tracks 7-12 mixed by The Everyday Visuals

Mastered at M Works in Cambridge, MA


While citing "similar artists" can be a journalistic pitfall, reviews of Things Will Look Up will undoubtedly be littered with mentions of Wilco, Sufjan Stevens, and Aimee Mann. These references are justified, however, because the band very much wears its influences on its sleeve. Luckily for the Visuals, the band has songwriting chops often comparable to those of their predecessors, and hooks that will be stuck in your head long after you press stop.

Take the first track, for instance; "Just Like Me" plays like a Wilco medley, blending the guitar dissonance and sonic asymmetry of Yankee Hotel Foxtrot's "I'm The Man Who Loves You" with the creeping feedback structure of "Misunderstood" off Being There - all under a vocal melody, which borrows a line directly from "I'm Always In Love" off Summerteeth. The Everyday Visuals nail this sound, however, on "Dance and Holler," which is actually strong enough of a song to grace Summerteeth.

Vocalist Christopher Pappas sounds nothing like Jeff Tweedy, though; his beautiful, quivering falsetto and melodic trills are often reminiscent of Sufjan Stevens - particularly in the perplexing third track, "Watertown Yard." This apocalyptic love song stands out on the record due to its abrupt shift in genre - spacey production and Notwisty programming (backwards guitar and all) create a reverberated audioscape that sounds vaguely '80s in the context of the record.

"I'll Take It All In Stride" sounds a lot like Aimee Mann/Jon Brion's cover of "One" off the Magnolia soundtrack, although the song has a surprising twist halfway through and some heart-achingly beautiful vocal melodies. "Driving" is reminiscent of Iron and Wine's open-D tuned "Naked As We Came," but its delicate delivery and understated Peter Buck-esque feedback lend it a disarming intimacy and genuineness, making it one of the best tracks on the record.

R.E.M. references aside, mid tempo rock is difficult music to make - and The Everyday Visuals are more talented at it than most of their peers. The band is at its strongest on tracks like "Why Would You Say These Things To Me?" and the infectiously poppy "Said and Done" - both of which feature memorable hooks that would fit perfectly on Matthew Sweet's Girlfriend.

While the record's influences produce more of a heterogeneous admixture than a homogenous one, even groundbreaking pop music is a sum of its parts or influences. Things Will Look Up doesn't break any new artistic ground, but it's damn good, and it has real songs. A wide array of instruments graces the record's sonic landscape, and the production is obnoxiously good; but most importantly, the songs are well written. It doesn't matter whom you hire to produce or promote your music if the songwriting isn't there. Luckily for The Everyday Visuals, that's the best thing they have going for them. (Fiberline)

www.theeverydayvisuals.com

-Adam Arrigo

Yoni Gordon and the Goods - A Stunning Tribute To Your Youth

Recorded at Moontower and all over MA by Scott Eisenberg, Brian Brown, and Rob Boyaval

Mixed by Mattias Murhagen at Limebeat Studio

Artwork by Martin Pavlinic

The title of this EP, A Stunning Tribute To Your Youth, sounds like the title of a Ted Leo record in some alternate dimension. Not surprisingly, Somerville-based Yoni Gordon plays poppy-punk (not to be confused with pop-punk) tunes with a similarly youthful and angsty tone as Leo's, and his EP is a genuinely enjoyable slab of fun pop songs.

Compiled from a project started in the summer of 2003, these six songs were originally intended for the band's long-lost second album. Recording was delayed, though, on account of a debilitating case of tendonitis in Yoni's left wrist. After a blogger got a hold of the mixes and gave Gordon and the Goods an inspiring review, they decided to release the EP while working on their forthcoming full-length, which is slated for a release this summer.

The EP sounds a lot like the title implies. These six songs perfectly encapsulate the angst and frustration of twenty-somethings working nine to five jobs, wondering where their days of youthful punk rocking went. In some ways, A Stunning Tribute To Your Youth sounds like the quintessential album you never made (or were never good enough to make) in high school or college. Capturing this kind of raw, yet playful tone is tough - and Gordon does it effortlessly and with disarming sincerity.

"The Fallout" is a perfect example of the EP's relationship to youth and nostalgia, with the chorus: "But if they put you in a box and they tell you not to move / Put you in a tunnel where there's no light going through / You hear the sound of your voice as it echoes in your ears / And you know until tomorrow it's the only sound you'll hear / You know it's nothing to complain about." The song features an infectious guitar riff and speedy rhythm section; the mix is good, and the recording has a live dynamic to it that suits Gordon's music very well. The highlight of the album occurs halfway into the same song where the band breaks the song down, exposing Gordon's excitable, nasal croon treated with a good amount of delay: "You're just another drunk kid with the vacant stare / You sleep till noon and get the bed head hair / You look for answers but they're not there" - and the discontent in his voice is nearly palpable.

"Gotta Get Out" follows suit with similar themes of redemption from drab routines. This song particularly showcases the Goods' tight and cohesive rhythm section, which plays with the marching resolve of the Pharmacists at their best. The track's upbeat folk structure gives the EP some tonal diversity, and features the always-fun clap track (although it also concludes with the end-of-the-song-clapping cliché).

"In A Jam" shows the band at it's most playful, with each of the musicians' personalities comes shining through. "Blow It Away" is the most rock-driven and also the most '90s-sounding song on the record, with an almost grungy edge.

Ultimately, A Stunning Tribute To Your Youth shows a good deal of potential, and Gordon definitely has the live act to follow. Judging by the talent and sincerity showcased on this EP - the songs of which are nearly four years old - Gordon's forthcoming full-length is definitely something to be excited about. If anything, it's the record to play while stuck on the Mass Pike at 8:30 a.m. on your way to a mundane cubicle job that's slowly chipping away at your youth. (Self-released)

-Adam Arrigo

The Biltmores - Same Story, Same Ending

Recorded in Chicago, Illinois at The Phantom Manor

Recorded, mixed, and produced by Mike Lust

Mastered by Carl Saff of Saff Mastering

The Biltmores are full of surprises on their first full-length. The Rhode Island quartet has been quickly gaining steam throughout New England, landing a not-to-be-ignored third place finish on WFNX's "Last Band Standing" competition at the end of 2006. And their local reputation has surely been sealed given their venue-bouncing abilities throughout Providence and much of the Ocean State. And why not? Considering the average age of this band (both singer/guitarist Dan Baxter and lead guitarist Jon Pitts proudly flaunt their 2006 graduation dates), their accomplishments in so little time warrant a certain level of attention.

As the first gentle acoustic guitar strums introduce "Buried Underground," the first track off of Same Story, Same Ending, one might begin to wonder - at least for the first minute and forty-four seconds - if The Biltmores is simply the nom de plume of a shy singer/songwriter. But the quartet cannot maintain its veiled identity for very long, as thick, clunky bass lines, insistent guitar chords and throaty bellowing quickly do away with conceptions of pre-teen audiences and instead demonstrate a quirky sensibility that has roots in the seemingly disparate worlds of Les Claypool and Modest Mouse, or even a spoken-word version of The Offspring.

The majority of the credit lies with the remarkably focused instrumentation of Baxter, his brother George (bass), Pitts, and Brendan Leonard (drums, mandolin). Rarely is layering used to such magnificent extents as on this full-length debut. The listener will have little trouble distinguishing the mandolin in "Weight of the World" or the ringing lead guitar line from the gritty rhythm part on "Salt." Baxter's vocals terrify in the most delightful of ways, and his lyrics are plaintive, yet brutally adamant.

The album's first few tracks hint dangerously at a formulaic tendency - that of beginning each track as if it will progress along comfortably until the chorus induces a spastic reversal in course. However, a full listen to Same Story, Same Ending reveals a certain entropy to the whole work - a slow decay towards lo-fi riffs and darker waters. The listener learns by default not to expect anything from The Biltmores other than astonishing instrumental precision and a knack for sonic twists. What other grungy indie outfit can pull off an instrumental track two thirds of the way through the album without alienating their own carefully constructed personality? (Self-released)

www.thebiltmores.com

-Will Morgan

Mittens - Fools On A Holiday

Produced and recorded by Pete Weiss at Verdant Studio, Vermont

Mastered by Nick Zampiello at New Alliance East

Thanks to the indispensable work of Tipper Gore, some records come with an obnoxious black and white warning sticker cautioning parents of potentially "offensive material." Jamaica Plain trio Mittens won't be sporting that kind of dress on their full-length, Fools on a Holiday. From its sound to its lyrics, the album is so incredibly bright, it's almost alarming.

Through and through, Fools is a jovial pop record. It throws into the oven elements of indie, folk, classic rock, and '60s pop; think The Beatles and Beach Boys meet Pavement and Of Montreal on a crisp beach in Maui. Baked at a delicate temperature, the mix tastes fairly harmless, albeit pretty delicious.

Each track has a simple but solid song structure accented by playful instrumentation. Tracks like "50/50" reflect a common construction; its acoustic hum romances clean electric guitars, nestling into bouncy bass lines to make the track light and airy. In fact, these classy walking bass lines are one of the record's instrumental highlights. Mittens throws in nice little unexpected percussion touches like synth and bells in tracks such as "Baby Don't Know." Intelligent piano lines on "Half A Dozen" give the record more depth. The instrumentation is predictable, but the nuances give it a bit more character.

The vocals are mature and enjoyable, and sound strong with their several-track overlay, although they are not totally pleasing in "Looks Like You Could Use A Little Love." Additionally, the James Brown existential crisis that occurs on the record's final track, "Street Sweeper (Live)," may actually pass the tolerable happiness threshold.

Despite these shortcomings, the mix is stunning and lush. It adds a personality to the record, and helps convey the warm chemistry that is - very apparently - the soul of the band.

Fools On A Holiday is clearly not for the cynics, but is a red carpet for those who simply want to kick back and lay in the sun. Mittens' enchanting pop isn't moving mountains, but it just might traverse decades. (Self-Released)

www.mittensmusic.com

-Meredith Turits

The Pandas - Solutions

Recorded at the Tremolo Lounge in West Boylston, MA

Mastered at Peerless Mastering in Newton, MA

The Pandas' new release, Solutions, comes slowly into focus at the onset of the first track. "Apertura" doesn't really "start" as much as it dawns on the record, gradually making its way over the horizon, spreading light across the sky. Things come into being; a clean guitar tone followed closely by a bell carries the piece through various iterations in rhythm and sound; record player static gives way to oddly synthesized rhythms that eventually include an acoustic bass drum. The acoustic drums are the precursor into the next movement, which features a full acoustic drum kit, an organic-sounding reed and, as the listener comes to realize, the same exact guitar/bell combination that began the entire experience.

The Pandas work their magic in just this sort of natural progression, pulling the listener's ears in different directions through various sleights-of-sound until every element ultimately fits together. Many of the pictures painted by this four-piece are largely abstract in nature, with no literal meaning outside of the musical sounds that color each track. The sonic paint sometimes defies the frame, as sounds come in from all sides of the stereo spectrum - some near and some far - but all find their way into their rightful places in the stereo image.

The Pandas also paint from a large pallet of sound: Guitars, drums, synth pads and lead all figure into the mix, as do samples of both speech and sound. Tracks either are centered on a buried rhythm in a sample, or use these rhythms as springboards. "Songs About Songs" features an absolutely terrifying female voiceover that threatens some sort of odd possession, until the beat kicks in and the witch retreats back into the synthesized woods.

These components may all sound like the recipe for a heady mess of psychedelic art-rock that bears no meaning sans heavy drugs. Luckily enough, Solutions is its own drug; it's like a cloud with a tasty nucleus that you don't have to go fumbling about to find. Most of the tracks have strong and defined rhythms - not artsy percussion, but actual rhythms that one could easily nod to, groove on and get well into. (Self-Released)

www.myspace.com/pandassadnap

-C.D. Di Guardia

Clawjob - Space Crackers

Recorded and mixed by Clawjob at April Fog in Cambridge, Mass.

Mastered by Colin Sapp at Specialized Mastering in Framingham, Mass.

There's a distinct possibility that Clawjob 's Space Crackers has a mind of its own. After listening to the hour-long epic presented by the Boston band (whom you may recognize as ex-Clickers), chances are you wouldn't be surprised if the CD jacket started screaming, came to life, or spontaneously combusted. But that's half the fun of this totally outrageous and awesomely ambitious effort from Mike Gintz and Nick Burgess (among a cast of other guests).

Simply put, Space Crackers is weird. Really, really weird. A concept record, it narrates a harrowing tale full of love, heartbreak, and the obliteration of humankind, which happens all in space?

Everything from the storyline to the art to the incredibly evolved lyrics is executed with a kind of careful precision that doesn't skip a beat. Sonically, its sprawl covers all types of rock, and even throws a bit of grind in the mix for good measure. Its sound, as well as its countless contributors (many of whom have come out to play from their own local projects, such as Paper Thin Stages and Harry and the Potters), fit perfectly with the ever-unfolding concept. Likewise, the vocals are on-point. The instrumentation is kind of sparse at times, but keeping in form, moves to reflect what's happening in context of the record.

Space Crackers is, in a twisted sort of way, catchy and delightful. Percussion, brass, synths, guitars, whistling, laser noises - the record has it all. And with the extraordinary amount of planning and thought that must have gone into this project, one can't help but smile. (Self-released)

www.clawjob.com

-Meredith Turits

Eldridge Rodriguez - This Conspiracy Against Us

Recorded by Greg Lyon at Microcosm Soundworks, Allston, MA, and Ray Jeffery at Ray of Hope Studios, Boston, MA

Mastered by Eric Baird

Solo projects can, at times, end very poorly. The solo artist can go off on a totally unexpected artistic tangent and end up flat on his or her artistic face, forever saddled with the albatross of "They really should stick with the band." Other solo records, however, provide valuable insight into the artist's sensibilities, valuable to both new ears and those familiar with his or her work as part of the band.

Luckily for everyone involved, Eldridge Rodriguez's This Conspiracy Against Us falls well into the latter category. E.R. steps down from his usual spot as part of The Beatings' trinity of vocalists and into his own with style, providing fans of the group with a fascinating and valuable piece of insight into what his part sounds like.

That said, the album can also be appreciated out of this context as well. Rodriguez has a singular vocal style that colors the majority of this record. His voice sounds strong and caustic, yet somehow vulnerable. This exposed rawness is not hidden; rather, it is celebrated throughout the fourteen tracks on this highly personal release.

The songs on This Conspiracy Against Us share a common feel: They possess a quiet form of noise that permeates each of Rodriguez's compositions. The first track, "You and Me," comes forth like a preface to the entire record; the song starts small with a baritone vocal track that blossoms into Rodriguez's signature howl. The record passes like an arc as the performer discloses more and more of himself with each passing song until the fourteenth and final track, "Break What We Can't Take," in which E.R. beseeches his companion to "leave this all behind before we get old," prior to making the suggestion in the song's title. Rodriguez seems perfectly willing to do so, and it is this sentiment that carries This Conspiracy Against Us. (Midriff Records)

www.myspace.com/eldridgerodriguez

-C.D. Di Guardia

The Mitchells - Slow Gears

Recorded by John Truscinski, Jonathan Hebert, and Mark Alan Miller

Mixed by Mark Alan Miller at Slaughterhouse Studios in Hadley, MA

Mastered by Jeff Lipton at Peerless Mastering in Newton, MA

In one sense, the release of The Mitchells' third full-length, Slow Gears, cements what many have known for quite some time - the group has remarkable staying power. And that power derives almost directly from their ability to deliver refreshingly consistent material - a trait they've honed for 12 straight years.

Formed in 1994, The Mitchells have put up with their fair share of independent artist woes, namely the burden of nine-to-fives, geography and, most recently, departing members. Mitchells founder and guitarist Kayvan Darouian packed his bags for The Big Apple not long ago, leaving vocalist/guitarist Caleb Wetmore, drummer Mike MacLean and bassist Jon Herbert to replicate their carefully constructed sound as a three-piece.

While the lush sounds pulsing from The Mitchells' latest release certainly point to Darouian's influence, the guys have had to jump a great many hurdles in maintaining their level of composition and popularity around their hometown of Northampton, Mass.

On the first track, "Still Might Happen," Wetmore's slightly monotone delivery perfectly mimics the minor chord tendencies of his guitar, as though both were competing to see which could sound more distraught. Coupled with Herbert's droning bass and MacLean's sedate drumming, the group sounds highly reminiscent of Boston's The Beatings, albeit with less piss-and-vinegar aplomb. The dual guitars are wonderfully placed front and center in the mix.

The third track, "Modern Travel," takes a few leaps of faith from the group's sturdy guitar foundation, but succeeds with a meaty bass line and crisp attack across the drum kit. Drunken guitar wails accompany Wetmore's gritty sing-speak style. And the compositional diversity only increases, as "R.I.," a reluctant slow-burner, gives way to a complete change of pace in the form of "For Your Winter Semi Formal" and "Lit Doorbells," both of which boast peppy guitar licks, highlighted by an outtake-style riff at the very end of the latter.

The last third of the album winds down slowly from the many pinnacles offered during the heart of the work, ultimately returning to where it began. (Pigeon Records/Small Batch Records)

www.themitchellsrock.com

-Will Morgan

Justin Levinson - 1175 Boylston

No production information available

Having been compared to an early Ben Folds with a little twist of Elliot Smith thrown in, Levinson adds maturity to the obviously buoyant and bubbly pop rock style. Levinson displays strong and surprisingly deep lyrical talent, covering issues as diverse as love and the war in Iraq.

With his own fervent vocal talent grounded in a strong piano-based sound, Levinson fits nicely within the genre of power pop. Almost tongue-and-cheek in nature, his sugary sweet vocals are perfectly accented with equally saccharine harmonies that ultimately show off a humorous, yet emotional mood grounded in an impressive concoction of pop bliss.

Notable songs like opener "Sunny Day" set the tone for the entire album with its at times catchy and always vivacious vocals and harmonies. Taking simple pop and intertwining it with his own ear for tasteful lyrics and harmonies separates this album from other, more banal offerings within the genre. With Levinson's obvious sense of humor and sincerity mixed with his own natural talent for songwriting, <I>1175 Boylston<I> proves to be an impressive debut and strong indication of good things yet to come. (Self-released)

www.justinlevinson.com

-Megan Ferringer

The Charms - Strange Magic

Produced by Jim Diamond at Ghetto Recorders in Detroit, MI

Mastered by Jeff Lipton at Peerless Mastering in Newton, MA

Having recently signed with Wicked Cool Records, the brainchild of The Sopranos and E Street Band member Steven Van Zandt, Boston's The Charms released Strange Magic, their fourth album of stiletto-styled garage rock backed by mainstream guitar licks. Led by female rocker Ellie Vee, The Charms have the punk panache to blend old school arrangements with straight-ahead, no-nonsense rhythms. Vee, who looks like a cross between Gwen Stefani and a clean Courtney Love, boasts swagger than the two combined, bearing the pipes of a young Axl Rose without stretching things too far into Bikini Kill territory.

What makes The Charms so damn charming, though, is how unafraid they are to be poppy, reaping inspiration from '50s rock standards and penning modern equivalents. Songs like "American Way" and "So Romantic" evoke power pop damnation without being cursed into predictability. "Here's To You" provides the best vocal melody and chorus on the album ("Here's to you / A toast to you / And your Sunday blues / So drink up, drink up"). "Cold War" has the group reaching for Joan Jett, while "Broken Heart" sounds like it could have been originally released on a Shirelles album. To be fair, "My Friends" is on the weak side with a dizzying refrain, but most unexpected is "Star Rider," a fuzzy, swinger tune one might expect Vee to sing piano-side at a lounge.

In all, The Charms take the listener on a trip few bands would have the raw nerve or talent to do. If more garage rock could be written with this kind of intelligence and grassroots aesthetic behind it, we'd have more cars sleeping outside in favor of instruments, amps and bulldozing vocals. (Wicked Cool Records)

www.thecharms.net

-Len Sousa

Katrina Abramo - Katrina Abramo

Recorded and mixed by Frank Hopkins at Sweet Dream Recording in Portland, ME

Katrina Abramo is the kind of coffeehouse chanteuse you enjoy over a mellow espresso or foamy latte and, more often than not, find yourself stopping a conversation to listen to. Her delivery is solid, drifting between her gentle guitar strums rather than overpowering them. The opening track, "Barely Here," is a wallflower's tale that packs more punch in its melody than in its lyrics, a balance where Abramo is ultimately at her best.

Many of the songs on this self-titled release echo Aimee Mann, but without her trained hand for writing lyrics. Where Abramo nears Mann's ability is in her understated melodies. Songs like "Bed Full Of Sand" and "Catch A Star" offer her musings on loneliness and estrangement with Suzanne Vega quirkiness. "Things That I Like" is a country-style ballad, complete with fiddle and lap steel, while "What I've Been Missing" doesn't quite hit the mark. The closing track, "Song For A Sad Girl," isn't the melodramatic twine the title suggests, but rather a melancholy tribute with the desolate refrain "All I ever saw was good in you." In Abramo's very capable hands, the song is a fitting close to an elegant album.

Abramo is a beautiful singer with the vocal presence of a performer twice her age (she's in her very early 20s). Given this promising debut, there's probably still a full-fledged sound lurking around the bend for Abramo; in the meantime, this early effort is well worth stopping a conversation to hear. (Cat and Mouse)

www.katrinaabramo.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," Torrey 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

Pazelee - Tracks From The House

No production information available

You might as well cop Pazelee's Tracks From The House in preparation for next Valentines Day. This album will be appreciated by seasoned lovers and is a godsend for awkward ones who can't quite express themselves without assistance. It combines a techno funk sound over old-school love lyrics. The album is fun and not overbearing - reminiscent of Montell Jordan's debut, This Is How We Do It.

Tracks from the House opens with "Just Keep it Real," featuring a chorus that finds Pazelee crooning, "I don't need no fantasy girl / My only one request / Just keep it real with me / Like the Queen of a King / You can have anything." While the chorus is on the long side, the listener is pleasantly distracted by the pop beat that flows nicely behind it.

Pazelee's lyrics are chivalrous and gentle, with a Musiq Soulchild-like groove. The intro to "You're The Only One" is unexpected, reminiscent of The Isley Brothers. The track adds some much needed variety to what otherwise could have been a typical R&B album.

Midway through the record, Pazelee speeds up the tempo with "Rollin," featuring Markdamus. The track has a West Coast funk sound laced with moments of pure R&B.

Tracks From The House showcases Pazelee's keen ability to talk truthfully about love, as in the achingly self-aware "You Gotta Move On." He also knows how to speed things up to make your head nod in tracks like "Number One." Pazelee's formula for excellence lies in "laying it all on the line" and being true to oneself. If Pazelee has the live show to support this promising record, his star will rise quickly. (PopHouse Entertainment)

www.pophouseentertainment.com

-Jamara Wakefield

Lorntell - Lorntell

Recorded at Room Studio, Waltham, MA

Mastered by Park Slope CD, Brooklyn, NY

Lorntell's self-titled debut is a collection of colorfully-rendered urban tales set to pop-rock music with power-pop aspirations, akin to the Gin Blossoms or Weezer in the album's more distorted-guitar moments.

The disc starts with a Boston-tinged tune, "Red Line," that features an opening drum solo followed by some notable guitar heroics. Lyrically, the song draws a quick sketch of the local nightlife amid concert venues. It laments the less-than-monetarily-satisfying nature of such a life, though admits, "It's a living." Next is "Sometimes," a song that heads toward power-pop territory and centers around the alternating phrases, "Sometimes it's all we got" and "Sometimes it's not enough," which are placed next to each other at the song's conclusion. "Running Low Again," one of the album's stronger tracks, makes use of some well-placed and well-sung harmonies. Here, as well, there is some satisfying solo guitar work with a good amount of distortion. "Once Upon a Time," another standout song that involves strong group harmonization, has an energetic pace led by guitarist Edward Taylor. This track in particular sounds a little like the Gin Blosssoms in the bittersweet, but feel-good quality of the music. The number captures a scene of late-night driving, coming back to the phrase, "It's just another Saturday night," when "All the trouble we could take / Every beautiful mistake" keeps the singer "coming back for more." "Killing Time," a slower-paced, bluesy song is followed by "Nothing Left to Do," which leaves plenty of space for screaming guitars. The last tune on the album, "Spiral," showcases some beautiful vocal harmony and a refrain that predicts it "Won't be long till she won't need us at all."

All in all, the album is a solid debut for Lorntell, combining alt-rock guitars with well-worded glimpses of local late-night scenes in songs that showcase good backing vocals and harmonies. (Red Room Records)

www.lorntell.com

-Andrew Palmacci

Mountain Mirrors - Mountain Mirrors

Produced by Mountain Mirrors

Mastered by Dave Locke at JP Masters, Seattle, WA

Imagine you are sitting by a warm fire on a cold and grey Sunday afternoon. You sip your tea and contemplate the week ahead of you. Like all Sundays, there is a sense of foreboding, but it doesn't scare you. It's comforting and relaxing. With the first strums of guitar, feelings of both light and dark wash over you. Low acoustic chords, precise drums and full-bodied vocals paint burning pictures in the listener's mind. Mountain Mirrors is a masterpiece of gloomy, yet hopeful music that calms you as you are transported to a different world.

Jeff Sanders is the mastermind behind Mountain Mirrors' sound, combining the worlds of dark folk, metal and progressive rock. With his second album, he continues to give the music world a breath of fresh, haunting air, taking elements from Pink Floyd, Nick Drake, and Opeth. The album features a wide variety of instrumentation ranging from cellos to pianos to prog keyboard effects. For the wall of sound that Sanders creates, the music is still minimalistic, with simple, yet captivating melodies.

Sanders' voice is bold and exciting, and his lyrics complement the music perfectly. In "Calm Before The Storm," he portrays a calm, yet terrifying apocalypse.

Mountain Mirrors has a truly diverse and highly original sound. The album ends with "Praying Mantis," a reflective instrumental piece that evokes a sense of trepidation, bringing the album to a slow, haunting climax. (Self-released)

www.mountainmirrors.com

-Wren Leader