CD OF THE MONTH

Hallelujah the Hills — Collective Psychosis Be Gone
Produced by Hallelujah the Hills

Cashing in on a good amount of hype in the Boston music scene for the last year or so, Hallelujah the Hills have finally dropped their debut album, Collective Psychosis Be Gone, on California-based Misra Records. Here’s the good news for those who’ve been waiting: the payoff is worth it. From complex arrangements to a brilliant mix of instrumentation to stellar production, this is the album to force-feed friends for months.
A lot of credit should be given to chief songwriter Ryan Walsh, who honed his skills for several years with Boston’s now defunct The Stairs. Not unlike the songwriting with his previous band, Walsh still weaves a barrage of creative ideas into epic song arrangements; the key difference, however, is that the pieces manage to fit together much more tightly this time around. Whether it’s lengthy, slow-tempo momentum builders like “Sleeper Agent (Just Waking Up)” or tight, poppy fuzzfests like the band’s self-titled “Theme Song,” every track plays like an epic story that has been intricately mapped.

Of course, this mood may be due in part to Walsh’s fellow band members and their accompanying instruments. In addition to Joseph Marrett (Ketman) on bass and Eric Meyer (Ho-Ag) on drums, second guitarist David Bentley contributes a healthy dose of cello, while Brian Rutledge adds trumpet and Matt Brown brings both Moog and melodica. Also included in the mix are a sprinkling of samples and a hefty amount of background vocals, landing the music of Hallelujah the Hills somewhere between the kitchen sink playfulness of Elephant 6 and the distortion-soaked psychedelia of early Mercury Rev.

Walsh’s nonsensical lyrics perfectly fit the anything-can-happen ambiance, introducing oddball phrases like “Let’s all plug in to the telepathic disco,” “Raise the flag of your sibling’s favorite daydream,” and, “Flags unfurl like they know why we’re sowing a certain kind of stars into the fabric.” While these may look strange on paper, they’re juxtaposed on Collective Psychosis Be Gone in such interesting ways and sung with so much passion and confidence that it’s hard not to shout along to choruses of “I’m a planet / I’m the moon / I’m barely in this room / Won’t somebody please shake me awake.”

Truth be told, the gap between the band’s two primary speeds — funeral-dirge slow and, to borrow a phrase from one of their own songs, “Breakneck Speed” — is wider than one might wish for. However, they manage to bridge this gap by building every song to an explosive conclusion, further cementing the epic format.

Just a few months before they disbanded, The Stairs began to amass a fair amount of critical praise. It’s nice to see that Walsh was able to carry over his strengths into a new project and surround himself once again with the right musicians to bring his unique vision to life. It’s hard not to feel alive with the sound of these Hills. (Misra Records)

www.hallelujahthehills.com

-Brett Cromwell

Caspian — The Four Trees
Produced by Caspian
Recorded and mixed by Ethan Dussault at New Alliance Studios in Cambridge, MA
Mastered by Nick Zampiello at New Alliance East Studios in Cambridge, MA

While Caspian showed substantial potential on their debut EP, You Are The Conductor, their first full-length, The Four Trees, somehow manages to eclipse that promise with even more epic explosiveness and superior sonic craftsmanship. And delay...lots of delay. The record is an elegantly composed instrumental assault on the senses, embodying everything that is moving and worthwhile about post-rock. While instrumental music in this genre can be easily construed as boring and well-worn, there are few places on this record that feel stale or indulgent; instead, Caspian manages to capture and distill the wide-eyed, glowy sound of ethereal bands like Sigur Ros and Godspeed You! Black Emperor and, for the most part, make it entirely their own.

The nine-minute opener, “Moksha,” begins the record with delicate, pitter-pattery electric piano and gentle acoustic strums, building slowly into an all-out thrashfest of distorted guitars, pounding drums, and of course, lots of delay-soaked guitars. The song slowly morphs into a jarring assault with such smooth precision that the listener doesn’t even realize how much the song has changed since the intro. A sparse, arpeggiated interlude ensues, and the song builds again into the glorious, fist-clenched climax hinted at in the beginning. Shimmering analog synth patches ride atop waves of stereo-delayed guitars as the song recedes back into an ocean of sparkly, reversed guitars. And that’s just the first track — definitely an ambitious call; after such a tremendous opener, one just wants to shut the record off and savor that singularly perfect musical eruption.

Fortunately, Caspian’s 10 other songs are nearly as good. “Some Are White Light” features almost Irish-sounding tremolo picked guitar, buried under floods of reverb and complimented by just the right amount of feedback. The third track, “Sea Lawn,” is an understated, sparser piece, reminiscent of early Pink Floyd records like Meddle and Obscured By Clouds. The drums sound deliciously roomy, as engineer Ethan Dussault gives the mix some space to breathe — free from the clutter of seemingly hundreds of guitar tracks. Similarly, other tracks like “The Dropsonde,” “Our Breaths In Winter,” and “The Dove” keep the record from being too grating on the listener. Kudos as well to Nick Zampiello, whose mastering work on the record allows the dynamics to shine. One gets the impression that this record would be considerably worse had it been slammed in the mastering phase.

Another highlight of the record is the perplexing track, “Brombie,” which, midway through, features a rhythmic variation that sounds a lot like old school Metallica. Chugging guitars slice up the song’s landscape, adding some much needed rhythmic diversity to the album.

While the album may dwell a little too long in melodramatic quarter note rants, Caspian’s most poignant moments occur between the lines — within the surreal juxtapositions between all-out pounding and delicate, acoustic-laden introspection. All 11 tracks flow effortlessly together, like wave after wave of noise pounding the shore at varying intervals. Still, on The Four Trees, the band shows impressive restraint by giving weight to the moments of eerie calm that occur between thunderous flashes of storm. (Dopamine)

www.caspianmusic.net

-Adam Arrigo

Twink — Ice Cream Truckin’
Mastered by Jason Dragon

Ice Cream Truckin‘s one-sheet says to file the record under “cutetronica” or “toy pop,” but “smile-inducingly innovative” and “flat-out adorable” would be just as appropriate. Mike Langlie, alias Twink, has kept Boston beaming over the years with his collection of toy pianos and saccharine ditties, but this go-round he hands the reins over to a host of electronic musicians and producers to dip their fingers into the musical mold. The result is relentlessly satisfying — a Baskin-Robbins on tape, crammed with 19 different flavors whose samples are just as delicious on record as they are on a spoon.
The head bopping and hand clapping begin instantaneously with “Softee,” Twink’s interpretation of the Mister Softee theme song. Like an ice cream truck emerging from around the corner, the song’s lone, distant toy piano line slowly takes on a more promising shape as Twink adds multiple layers in his only full contribution to the album. Synthesized pings and droplets, convoluted bass lines, and marching drum patterns are quintessential Twink touches.

The ride truly begins on the second track, “Razzmatazz,” produced by Playsoundz, a.k.a. Blaik Ripton, as a Nintendo-circa-1993 electronic whirl launches the song into abstract toy piano breakdowns. Dance beats emerge in Milk Monster’s “Slush Bunny,” pulsing underneath a rather simplistic piano melody and occasionally inserting snare hits and wood block clunks to color the already vivid mix.

Ergo Phizmiz sends the album into a more bizarre direction on “Peanut Butter Crunch,” where various samples jar the song’s rhythm in the most entrancing of ways.
Theremin, vocal samples, kazoos, drum ‘n bass, and break beats characterize the next several numbers, with Evan Morris’ “Plastic Spoon” being the standout, thanks to a darkly atmospheric and diffracted tone. “Rocket Pop,” the handiwork of Mochipet, has an almost Autechre personality to it. MNK’s “Mint Chip” deviates most radically from Twink’s foundation, adding a moody, trance-like synth wash. “Strawberry Swirl,” by nonnon, plods along with an atonal bass beat, while the album wraps up on a thoroughly raucous note with, fittingly, “Ice Cream Headache,” featuring distorted guitar work from The Hidden’s Dan Brockman.

Ice Cream Truckin’ masterfully evades redundancy by incorporating a full spectrum of production flourishes and keeping each song’s sugar high generally below three minutes. With his most recent effort, Twink masterfully reinforces his status as one of the Northeast’s most patently original artists. (Mulatta Records)

www.twink.net

-Will Morgan

Ellis Ashbrook — Ellis Ashbrook
Produced by Xan Romanov
Recorded by Xan Romanov at Studio G, Cranston, RI
Mixed by Xan Romanov and Ellis Ashbrook aT Studio G and Soviet Sound, Boston, MA
Mastered by Paul Abbott at Zen Mastering, San Diego, CA

Ellis Ashbrook resides in a sort of musical limbo, trapped between two disparate genres without any clear idea of which way to go. The Boston-based quintet wavers between Les Claypool-steeped mayhem and Sublime-tinged funk for the duration of their self-titled album’s 10 tracks, and on occasion forces the two together. The end result is a sound that, to the band’s credit, is all their own, but makes for a distracted listen.

Opener “Psychic Vampires” offers up all the elements that characterize Ellis Ashbrook — heavily flanged and reverbed vocals from John Barber, innocuous lyrics, a bouncy bass line, and several production tricks. After the verse/chorus progression runs its course, the band settles in for a brief jam that leads one to believe that the song will end in instrumental deconstruction. But the song suddenly kicks back in with a strong rhythm and proceeds to run through some aggressive guitar solos before giving the chorus one more whirl.

“Ethiopia” borders on the lyrically mundane, with a drawn-out chorus that finds Barber trying to inject some emotion into lines like, “Ethiopia is a place that I’ve heard about.” Some varied instrumentation provides a bit of relief, particularly on “By Fingetips.” On “Good Time Blues,” a subtle synth wash and some horns lend themselves very nicely to the band’s funkier side.

Things proceed at pace throughout the album, with solid musicianship striving to ground songwriting that relies too often on similar vocal hooks and oscillating rhythms. After a certain point, the simple but persistently conspicuous production becomes indulgent and the listener yearns for an acoustic number. The final track, “So The Shaking Keeps You Awake,” concludes, or so one thinks, after a normal duration, — but six minutes later, back comes a long outtake reel, supported by a dark, atmospheric breakdown. It’s as though the band couldn’t resist the chance to make the mix even more decadent. (Self-released)

www.ellisashbrook.com

-Will Morgan

The Luxury — This Is Why We Can’t Have Nice Things
Recorded, mixed, and mastered at Mad Science Studios, Allston, MA

The Luxury is lucky to have a frontman like Jason Dunn. It’s not everyday that a lead singer comes along who is 70 percent Michael Stipe, 30 percent David Pirner, and sounds like a developing American version of Liam Gallagher. In fact, Oasis is the most obvious influence on The Luxury’s debut record, This Is Why We Can’t Have Nice Things.

Not surprisingly, The Luxury originally began as an Oasis tribute band, and over the course of many drunken Gallagher-like antics, Dunn decided to start writing his own songs. This Is Why We Can’t Have Nice Things was recorded entirely in Dunn’s room without the use of any amplifiers. For a debut mixed in a bedroom, the effort sounds surprisingly professional (it doesn’t hurt that Dunn has a degree in audio production).
The most striking aspect of this album is its accessibility. Listeners will find that regardless of the situation, the music delivers on multiple levels. Whether you’ve had a horrible day dealing with the minutia of everyday life, are looking to rock out on the weekend or even drink a few beers on the porch on a sunny afternoon, the record, despite its discouraging title, provides a solid backbone to whatever mood a listener might be in.

On the first track, “Let Go,” the Oasis influence becomes immediately manifest. Riding straight-up, guitar-based rock, the song showcases simple yet catchy lyrical patterns. Dunn’s phrasing on the opener sounds very similar to that heard on “Let Forever Be,” a Chemical Brothers track originally written by Noel Gallagher. “Seven Stories” is a great follow-up, maintaining the high energy level. Dunn also shows some veteran production capabilities on this song. The layering of the back-up vocals, synthesizers, and searing lead guitar is perfectly woven in with Dunn’s dynamic vocal performance.
Guitarist Daanen Krouth shows his chops by shredding through several blues-based solos. On the epic “Rockets and Wrecking Balls” (the strongest song on the album), Krouth rips off licks that will give the listener a stiff upper lip. On “So Easy,” Krouth and Dunn perfectly display their guitar and vocal talents. Another easy sing-along, this mid-tempo, bluesy rock song features strong vocals, easy-going pop melodies, and a blistering guitar solo that really brings the song full circle. During the bittersweet chorus, Dunn’s voice resonates with a satisfying twang: “It’s so easy to bring you down / It’s so easy when you’re not around / To waste my time / To use my mind.”

Overall, it’s obvious that Dunn knows how to write a rock song, and knows how to layer his work. (Self-released)

www.theluxuryband.com

-Michael Aceto

Will Stratton — What The Night Said
Produced by Kieran Kelly and Will Stratton
Engineered by Kieran Kelly and Michael Trepagnier
Mixed by Kieran and mastered by Alan Douches

Relentlessly glowing from start to finish, Will Stratton’s What The Night Said is a wholly organic soundscape. The record is masterfully crafted with plush textures woven like a patchwork quilt of different sonic fabrics.

From its commencement, Night is wildly symphonic. Its first track, “Katydid,” romances acoustic guitar ambiance with vibrant piano lines to establish Stratton as more than a predictable acoustic folk artist. Accordingly, the record has few “typical” tracks in which Stratton appears with only his guitar, but even those few songs are far from sterile or predictable. Doubled vocals on tracks like “Stay Awake” add layers to the flowing pieces. Stratton also makes it a point to interlace a host of different instruments throughout the record; “So Ashamed” builds a precise banjo and string presence into the instrumentation. Percussion makes a notable showing on the record’s most upbeat track, “Night Will Come.” The song isn’t quite classifiable as a rock song, but it does allow the record to explore another dimension as snare sounds and bass lines mesh with Stratton’s lead. Even Stratton’s guitar, which anchors every track, explores a dynamic range of acoustic tones, from the twangy “Fireflies” to the more muted undercurrents of “Sonnet.” In “Lost The Fear,” single acoustic strings shimmer and twinkle with a tender glow.

Stratton’s voice drapes each song in a veil of scarlet satin. With the most lavish tones, his notes are warm, cradling the listener with whispered narratives. From its song structures to its lyrics, Night basks in its literary nature, recalling fond memories of nighttime drives and visions of headlights on country roads. Stratton’s Robert Frost allusion on “Night Will Come” only strengthens the record’s storytelling prowess.
Night is like a great romance — a complete picture of voice, tone, personality, musicianship, intimacy, and a lush fullness with which one irresistibly and almost instantaneously falls in love. (Stunning Models on Display)

www.myspace.com/willstratton

-Meredith Turits

Lady of Spain — Yonaki
Recorded by Mike Quinn at Moontower Studios in Cambridge, MA
Additional Recording by Charles Morton at Underwire in Brookline, MA
Mixed by Mike Quinn at Moontower Studios
Mastered by Jeff Lipton at Peerless Mastering in Boston, MA

Blame what you will — affordable recording technology, maybe the internet — but more and more people are self-producing music these days. And, sure enough, people are actually getting good at it.

Enter Lady of Spain, made up of members from Guilford and Shore Leave, ready to make things interesting, as well as possibly trigger nervous breakdowns in some of their less-prepared listeners. It’s hard not to get a little nervous at the sound of Anna Cimini’s voice — a soft and low irony that is both pretty and threatening at once. Cimini does not sound like one to be trifled with; whether it’s the quietly accusing tone of “Lorelei” or the more whimsical, yet off-kilter “Special Guide,“ Cimini’s vocal presence is as magnetic as it is attention-grabbing.

Yonaki comprises a viciously understated 11 tracks that take a few seconds to set in. The sound is effortless; the band can obviously play well, but the performers seem past this idea of musical showboating and more into the idea of basking in the cohesive sound that ties this entire record together. The clouds are dense and torrid, but the record is colored by an indelible sense of presence. If a warehouse holding ten bands-worth of practice space could write its own record, the sound would be that of Lady of Spain.

It’s difficult to really settle into this record — multiple vocals and escalating intensity make it slightly inaccessible upon first listen; however, the record’s strength sinks in subtly, until Lady of Spain has made their comfortable collaboration a pleasing spot for all involved. (Self-released)

www.ladyofspain.net

-C.D. Di Guardia

Reports — Mosquito Nets
Recorded by Farhad Ebrahimi at April Fog and by Reports at Concord Ballet
Mixed at April Fog by Farhad Ebrahimi and Reports
Mastered by Matt Azevedo at MWorks in Cambridge, MA

Mosquito Nets is warm from the inside out. With its blend of different, bright tones and an eclectic breadth of influences, there’s something about the disc that makes it extremely listenable. While not the most innovative and original collection of rock songs, the more times the listener presses play, the more open the tracks become, and the more one wants to get up and move. The songs are short and sweet, direct and to the point.

With the strong presence of vibrant bass constructions and dirty guitars, there’s definitely a bit of a classic punk feel to flavor the mix of rock, indie, and pop throughout the record. Thoughts of Elvis Costello surface within the clap-along savvy of “Radio.” A tinge of folk even creeps into a few songs, and it’s evident that Reports have no intention of hiding their vast scope of influences.

The record’s two strongest tracks are “Move & Glow (Part 1)” with its dizzying aura, slightly reminiscent of Hum, and the more dance-worthy “Move & Glow (Part 2).” Both tracks progress exceptionally well, and offer a break from the pace of the rest of the record.

While Reports’ sound translates into a recorded context fairly well, the tracks beg to be heard live with the full complements of the stage. The muffled, fuzzy vocals evoke the dynamics of a live show, but at times provide a strange contrast to the instrumentation, which is produced with a slightly crisper edge.

Regardless, Mosquito Nets is amiable and well done, with few holes and a lot of heart. Its wall of sound is welcoming, and only develops as one’s ears latch on to its effervescent tones. (Paper Cities)

www.papercities.org

-Meredith Turits

Michael Merenda — Quiver
Produced by Jose Ayerve
Recorded by Jose Ayerve at Humble Abode Music, Studio B
Mixed by Jose Ayerve at the Mobile Womb in Cummington, MA
Mastered by Scott Petito at NRS in Catskill, NY

The soft-spoken singer/songwriter Michael Merenda is a man of wit and peace. He is a proclaimed “wordsmith,” and on his newest album, Quiver, Merenda weaves some very poignant stanzas.

Lightly strummed acoustic guitars, carefully plucked banjos, shimmering organs, and humming harmonicas complement his rhythmical musings. On the opener, “Crutch,” Merenda shows excellent command over his words, poetically repeating himself when he sings: “I’m caught in the middle of a deep and dark / Hypocrisy / Hypocrisy / Hypocrisy / Hypocrisy.” Despite some menacing underpinnings, Merenda isn’t really protesting anything in particular, but rather making a passive social commentary about solace, lost love, and depression.

“When I See Your Face” is a particularly hopeful follow-up to “Crutch,” and is the brightest song on the record. The acoustic phrasings are pleasing, and Merenda’s voice is so disarming, it seems like he doesn’t have an ounce of malice within himself. He whispers in near falsetto “When I see your face / I can hardly breath / And I know the mistletoe just grew a few more leaves ... I will be there with a wheelchair / When your race is run.” As contrived and trite as this metaphor may sound, Merenda is actually a genuine enough vocalist to pull off mincing lyrics.

From a textural perspective, “Like A Mellow Man” is very well balanced and is probably the catchiest song on Quiver. A folksy strumming pattern, infectious banjo licks, and smooth humming patterns make for a great ditty. Ruth Ungar’s backing vocals are beautifully woven throughout, and her presence adds enough depth to make “Like A Mellow Man” stand out as an exceptional song.

There are a few scattered songs throughout Quiver where Merenda’s whispering vocal style becomes a little too flowery. Often compared to Nick Drake and M. Ward, Merenda is much gentler than Ward, but not as polished as Drake. At times his voice is aching with passion, while at others it is nothing more than a whimper.

As the record gently progresses, the songs tend to glide into one another, making for a pleasant listen. It is not until “Shake This Mess Around” that an entire band accompanies Merenda. The result is quite good, as the simple percussion provides some much-needed variation to the album. (Self-released)

www.myspace.com/michaelmerenda

-Michael Aceto

Knocks From the Underground: The Best of Underplayed Boston
Mastered by Nick Zampiello at New Alliance East in Cambridge, MA

Knocks From the Underground: The Best of Underplayed Boston includes an interesting range of local artists, spanning recently split groups Read Yellow and Faces on Film to The Campaign For Real-Time and Blanks. The band selection is certainly impressive, and the 16-track compilation of previously unreleased material contains some true musical gems.

Mad Man Films’ “Betsy” kicks off the compilation; the song’s slightly theatrical but upbeat sound really draws in listeners. Here, Mad Man Films combine smooth riffs with atmospheric background guitars. “Betsy” comes across as a tight, attention-grabbing track. Helms’ contribution, “Satin Rules II,” heads in a different musical direction by introducing a dreamier mood and traditional Helms stream-of-consciousness lyricism. Reminiscent of Broken Social Scene’s tone, the fast-paced drums, edgy guitar riffs, and dark, understated vocals create a uniquely bittersweet ambiance. The track is complex, passionate and utterly brilliant.

“Same Shoes” by Tiny Whales shakes up the compilation’s pace. The Pet Shop Boys-inspired, indie-disco piece is truly exciting and professional. Strangely, two Hooray For Earth tracks, “You Need A Love” and “Just Ask,” follow Tiny Whales, creating a transition that is a bit abrupt. “You Need A Love” presents distorted, jarring guitars that are matched with jumpy, one-note vocals. The punkier second track plays well with thrashing drums and harsh vocals.

Movers And Shakers’ “The Further You Go” is a solid track, but perhaps not indicative of the band’s true musical capabilities. The song presents garage band-like vocals and a simple song structure, and maintain the CD’s underground vibe. The Main Drag brilliantly completes Knocks From the Underground with their brooding track, “Goodnight Technologist.” Reminiscent of The Postal Service, the song blends airy vocals with emotive strings and an aggressively edited beat that falls into a desperate breakdown.

Knocks From the Underground also contains two “hidden” tracks by Mad Man Films, giving the CD a funky, cyclical feel. Overall, the compilation showcases some unique song composition that reminds listeners that Boston bands are deserving of attention. (Endless Recordings)

www.endlessrecordings.com

-Miriam Lamey

Girls, Guns and Glory — Pretty Little Wrecking Ball
Recorded by Rob Loyot at Noise in the Attic Studio in Scituate, MA
Mastered by Jeff Lipton at Peerless Mastering in Boston, MA

While Bang Camaro tried to corner the market on “bands named after stuff that guys like,” Ward Hayden has found three more in Girls, Guns and Glory. Though the name smells of sweat and fire, the sound is something not usually heard in a Boston band — bluegrass. Hayden and company serve up a heapin’ helpin’ with Pretty Little Wrecking Ball, a trip through the city in a gasoline-scented pick-up truck with a charmingly dodgy transmission.

Pretty Little Wrecking Ball has an interesting tone; whether it’s the group’s self-professed feel for toe-tapping sorrow or a hint of something real and organic, the record progresses past the novelty of a Boston-based country act and gets down into the dirt and nitty gritty of actual music.

The group is most effective when cranking things up, as they do in “Oh My,” the high point of the record. Everything hits perfectly in this driving number; the crunchy vocals are brilliantly cranked and glowy, the end result being an endorsement not just for the band’s production, but also for their ability to stretch out — on record — and express something.

While they succeed at higher energy levels, Girls, Guns and Glory are also fully capable in first gear, as in the sepia-toned “Wait a Minute,” a woeful swinger that tells a story through both lyrics and tone. If the band stalls out anywhere, it’s at the medium range — they sound slightly uncomfortable, unsure whether to slow down or speed up. The end does offer more Glory than anything else for Girls, Guns and Glory. (Self-released)

www.girlsgunsandglory.com

-C.D. Di Guardia

Yoni Gordon and the Goods — Buried in the Basement
Recorded by Kris Smith at Q Division Studios in Somerville, MA
Additional recording by Richard Marr at Galaxy Park
Mixed by Richard Marr
Mastered by Eric Masunaga at Modulus

Yoni Gordon is Boston’s own guitar-toting version of the Energizer Bunny on a live-wire power trip. He burns through each song with reckless abandon, hitting the ground running in the first track of Buried in the Basement, and keeps going, barely looking back to make sure anyone’s keeping up. Gordon’s jumpy melodies and chicken-straw guitar playing bounce over the entirety of this lengthy album’s 13 tracks, taking no prisoners on this steam train of a record.

Yoni Gordon blows the doors off of the local shops with poppy home-punk on “The Runaway” and the fast-moving giddyup of “I Dreamed I Saw Billy Bragg Last Night.”
Buried in the Basement is an interesting study in the assembly of a record — an exercise in looking at both a forest and its trees. There are many bright spots — the title track is Gordon at his finest — but there are a few dips in the program where things get a bit self-indulgent. While none of Basement‘s tracks drag down the album’s overall quality, the record could benefit from a few well-placed cuts, specifically on “Tenderness on the Radio Tonight” or the needless, penultimate “Sing Like a Ghost,” which sounds like the scene in Beetlejuice where the family ineffectively tries to scare away the living.

Gordon’s performance on Basement is strong and accessible — his vocal style is clearly enunciated, showcasing his cleverly playful lyrics. His rubbery tone is apt and versatile, and he hits high notes with little effort. At times, however, the vocals come off as overstated in spots where Gordon’s tone becomes agitated. Instead, Gordon finds his sonic sweet spot on the aforementioned title track, one of the more rapturous and high-toned, almost-too-fast-but-not songs.

This long-winded record concludes with the ironically-titled “Leave Them Wanting More,” a quizzical ending note. While there is plenty of valuable stuff down there, Yoni Gordon’s Buried in the Basement could use some tidying up to really show off the shiny valuables. (Self-released)

www.yonigordon.com

-C.D. Di Guardia

Stand Up Get Down — We Have Something to Celebrate
Recorded and mixed by Jacob Eli Goldman at the Principal’s Office in New Haven, CT
Mastered at Cloud Cuckooland in Northampton by Jim Weeks

The members of Stand Up Get Down are musically wise beyond their years, but the Northampton quartet has some songwriting maturity to tackle if a music career is in the agenda.

The lyrics are simply the best part of this band. Subtly hinting at life’s everyday elements, such as love, insecurity and the future, singer Chris Dunne’s words and melodies decorate the band’s sound nicely. However, their debut full-length, We Have Something to Celebrate, is nothing unique when taken as whole. A full listen to the album reveals that Stand Up is a solid live band and isn’t lacking in talent, but the effort fails to really grab the listener.

The first track on the album is an instrumental song, which doesn’t particularly draw the listener into the world of Stand Up Get Down, as it’s the outlier on the record. The track is fairly aimless, and generally weaker than the rest of the album. It does, however, precede a solid second track, “Giants.” The song’s arpeggiated guitars, kick-drum-matching bass riffs and frantic, stream-of-consciousness lyrics hint at Minus the Bear and American Football.

From there, the album becomes stagnant. Each song seemingly builds on the one before it, often sounding extremely similar to its precursor. One exception is the ninth track, “Retreat,” which is as engaging as “Giants,” and is a breath of fresh air after the monotony of the previous six songs. A running bass line, sporadic beat changes, Cake-esque pre-choruses, and the story of a dad talking to his son about life make the track stand out among its peers.

Stand Up Get Down have replete talent, but they could certainly branch out a bit, as their lack of versatility is their biggest weakness. The band does, however, hint at a good amount of potential. For a debut record, there’s a lot to like; hopefully the band will expand on this promise in future releases. (Topshelf Records)

www.myspace.com/standupgetdown

-Mitch Holt

The Indefinite Article — The Grand Applause
Produced by Phil Gorey
Engineered by Ben Grotto
Recorded at Studio Metronome in Brookline, NH
Mixed by Pete Peloquin at Studio Metronome
Mastered by Mark Donahue at Soundmirror in Jamaica Plain, MA

Boston-based hip-rock outfit The Indefinite Article showcases a loud, genre-straddling sound on their freshman release, The Grand Applause. The album is replete with well-conceived songwriting, tight, funky rhythms and energetic vocals. Most impressive, however, is the band’s ability to successfully weave hip-hop elements through sounds as wide-ranging as thrash-metal and classical piano compositions.

The album’s opening track, “Out of Control,” kicks off with guitarist Evan Anderson channeling Kirk Hammett-esque guitar runs, which accompany Father Abraham on vocals as he speed-rhythms his way through the tune in a style reminiscent of scene predecessors like Rage Against the Machine. Right as Abraham and Anderson bring the song to a boiling point, pianist Rick Umlah throws the listener an unexpected curveball as he overlaps the existing melody with the theme from The Nutcracker.
On first listen, The Indefinite Article’s hyper-stimulated sound may be a bit tough for some audiences. The band challenges their listeners to move past traditional comfort zones and embrace a sound with no scene to call its own. And if one can get past Father Abraham’s stage name, the guy can actually rap with dynamic delivery and often stunning precision. For anyone sick of the carefully sanitized beats of top 40 radio, The Grand Applause is sure to be met with enthusiastic sighs of relief across the board. (Self-released)

www.indef-art.com

-Andrew Bruss