CD OF THE MONTH

Lost In The Trees- Time Taunts Me
Recorded by Ari J. Picker
Mixed by Ian Schreier at Osceola Studios

It’s difficult to get past the fact that the cover of Lost In The Trees’ Time Taunts Me is, in a very real sense, the cover to Radiohead’s Kid A. This blunt approbation is further perplexing considering the music’s similarity to Radiohead. On first listen, the record could be easily dismissed as a heavily orchestrated derivative. But here we are at 10 AR (After Radiohead — whose ascension to rock divinity we’ll judge by the release of OK Computer), and Radiohead’s influence on alternative rock is nearly as ubiquitous as The Beatles’ influence on pop music itself.

After several listens to Time Taunts Me, it’s clear that Boston-based Lost In The Trees isn’t afraid of paying homage to its influences, both artistically and musically. However, the record is certainly not just another stale take on a groundbreaking band. In fact, Time Taunts Me is quite brilliant in its approach to compounding its influences into something entirely unique and exciting.

Stiff laptop beats are scattered amidst the record’s sonic landscape. In “Tall Trees,” a sparsely programmed beat throbs under a busy, dissonant string arrangement, fondly reminiscent of Clint Mansell and The Kronos Quartet. The song is masterfully arranged and nearly perfectly mixed. In an unexpected twist, the song ends with Ari Jacobson Picker’s (of The Never) delicate falsetto, accompanied only by strummed, acoustic chords and droning keyboard. The emergence of the simple from the complex wonderfully compliments straightforward, mournful lyrics such as “I haven’t seen you in so long.”

“I’ve Always Loved The Fall” follows with what starts out as a bittersweet, soundtrack-friendly instrumental, but then shifts into a creepy, church organ-heavy movement that wouldn’t be an out of place accompaniment for Robert Wiene’s 1920 silent film, The Cabinet Of Dr. Caligari. The same could be said for “For Elizabeth and John,” with its moody harpsichords. Unsurprisingly, Picker also composes film scores. “If You’re Afraid Of The Dark” is the most upbeat track, featuring heart-breaking vocal melodies, harmonized brilliantly by cellist Alexandra Spalding.

Taken as a whole, Time Taunts Me overflows with novel ideas about tone, song structure, and melodic progression. While the record could have easily been grating or overwhelming at a longer length, it clocks in at only 26 minutes, despite feeling as though it has covered more ground than most records twice its length. Ultimately, it’s one of those records that can be semi-accurately judged by its cover — it’s a more organic take on Kid A. But where the volcanic sun seems to have set on Radiohead’s cover — speaking to the claustrophobia of a cold digital age — Lost In The Trees’ sun is fully risen and shining. The scribbled figures celebrating below actually look “optimistic” in the non-ironic sense of the word. By deftly paying homage to his influences while injecting the perfect amount of ingenuity, Picker has created a record that is both inspired and brilliantly original. (Trekky Records)

www.lostinthetrees.com

-Adam Arrigo

The Self Righteous Brothers - The Self Righteous Brothers
Produced by Jesse Gallagher and The Self Righteous Brothers
Recorded at Verdant Studio, Athens, VT and Woolly Mammoth Studio, Boston, MA
Engineered by Justin Pizzoferrato
Mixed by Brian McTear
Mastered by Paul Hammond and Paul Sinclair at Fat City Studios, Blue Bell, PA

Not to perpetuate a cliché, but The Self Righteous Brothers have reason to be proud of their abilities — or so a WBCN Rumble appearance, tours with Apollo Sunshine and opening slots for the likes of Lake Trout and The Lot Six would seem to suggest. On this self-titled LP, the Boston trio flexes its musical muscle, following up the virtual left hook of The Squirrel of Life EP with this uppercut of jangly, lo-fi pop. And luckily for the Brothers, they have the right people in their corner, namely freelance engineer Justin Pizzoferrato.

The Self Righteous Brothers, right from the start, simply sounds like a Boston release — in all the right ways. Opener “Floyd” is two-parts Elevator Drops, one-part Age Rings, and one-part Mission of Burma. The paradoxical, but pleasing melodic discordancy continues into “LeeTorsee,” where chorused, yelping vocals add a chaotic touch to the smart snare hits, blustering guitar screeches, and New Orleans-style horns. And of course, it all ends with the sound of a few frogs croaking. The (slightly) more organized structure of this composition bleeds into the rest of the album, which finds its home in a pop-based arena. As a result, the elements become decidedly cleaner — and better.

“Graduated Cylinder” boasts a relentlessly pleasing, riff-heavy foundation, coming abruptly to an end at the transition into “DiDjeridon’t,” a sitar space odyssey. One can’t help but smile at the ironic changeover, and the fact that both compositions succeed. Moments of Morphine then jump in on “Electric Boogaloo” thanks to an omnipresent sax lead.

“When I Want To” shows off The Self Righteous Brothers’ real songwriting genius, as they nurse a slow-burner into a final 30-second burst of pop energy. The album’s last four tracks are pure perfection. Somehow The Self Righteous Brothers manage to make head-bopping ditties and synth-heavy mash-ups meld into one beautiful collage, crowning this effort as worthy of its self-described greatness. (Black & Greene Records)

www.theselfrighteousbrothers.com

-Will Morgan

Get Him Eat Him - Arms Down
Recorded by Joel Hamilton, Jason Caddell, Charles Bissell, Chris Brown, Matt LeMay, and Raf Spielman
Mixed by Chad Clark, TJ Lipple, and Matt LeMay
Mastered by TJ Lipple at Silver Sonya in Washington, D.C.

Get Him Eat Him’s trick seems to lie in the simplicity of their approach, prompting reluctant comparisons to some sort of rollicking, feel-good, Weezer-Appleseed Cast hybrid. The band also takes cues from quirky indie-pop bands like Enon. “Exposure,” for instance, rocks out a jaunty melody, revealing a band that seems to actually enjoy what they do — none of the morose, Guffman-like pity that runs rife amongst so many other bands in the same pop subgenre. GHEH, as musicians, are clearly having a great time on Arms Down, and it has given them something to be proud of. The opening track, “2x2,” is infectiously catchy, layered with a great horn arrangement that at times seems too robust for vocalist Matt LeMay’s mild vocals. LeMay does a stand-up job, though, on “Leaders In Doubt” and other vocally driven tracks where his breathiness works to punctuate the music in a kind of half-smug staccato.

GHEH are clearly accomplished instrumentalists, maneuvering their way around their music with a deftness that eludes a large number of their contemporaries. Though at times the lyrics don’t stand out as particularly poignant, the radiant melodies and clean tones keep the listener from getting bogged down over seemingly arbitrary word choices. No matter — they score big brownie points with their unabashed love for Casiotone — an elusive victory that every other indie-rock band wishes they could pull off.

Thanks to this impressive feat, as well as Arms Down‘s thorough consistency, the album stands as a pristine production that can’t help but remind listeners why they once attempted to form a band in high school — and what could have happened if they actually followed through with the dream of assembling transcendent pop songs that somehow manage to be more than the sum of their parts. (Absolutely Kosher)

www.gethimeathim.com

-Alexis Ong

The Gulf - Chinatown
Recorded at Oberweggie's, Boston, MA
Produced by Adam Garland, Dave Barbaree and The Gulf
Engineered and mixed by Adam Garland
Mastered by Jeff Lipton, Peerless Mastering, Boston

The Gulf recorded its full-length debut in a run-down schoolhouse in Boston’s Chinatown district, changing the locks on a former storage room and converting it to a makeshift studio. Listening to the music on Chinatown, the offspring of this nine-month squatting experiment, one can almost picture the six talented band members making the most of the unlimited recording time in their clandestine studio, bouncing ideas off one another and exploring every musical whim.

Band co-founders Adam Garland and Adam Brock have lived in various parts of the country over the years, and they’ve obviously soaked up the local culture during their stays. Channeling tones from the West Texas desert to the Spanish countryside, with stops at Bourbon Street and even Coney Island along the way, The Gulf create soundscapes as vast as their name implies.

Take “Codeine,” for instance: a Morricone-style trumpet solo drifts into druggy verses, painted with a spacey slide guitar and a jazzy beat, followed by a sloppy barroom sing-along chorus. A few minutes later, a trippy break with the lyrics, “Like a kid in a playpen / No conversations / But I’ve made so many friends,” is dramatically underscored with a full-band barrage of carnival music.

Many songs follow a similar structure, subtly shifting direction mid-song, incorporating extensive instrumental breaks, and building up plenty of tension and release. As dizzy as the trip sounds, the impressive songwriting keeps things grounded and firmly on track, even though many tunes play out like five-minute song-suites with multiple movements.

Stealing the spotlight are the more traditional instruments — mainly Brian McGrath’s trumpet, Adam Brock’s piano, and Dave Barbaree’s slide guitar. Perhaps it’s the use of these instruments, or perhaps the complex, yet seamless song arrangements mentioned above — regardless, there’s an inherent sophistication in The Gulf’s songs that gives them a timeless quality rarely found in today’s hipster elite. This element makes the music a hell of a lot more listener-friendly than one would expect given its eclectic genes.

If your Calexico CDs and Meddle-era Floyd vinyl are getting stale, then try an interesting combination of the two with Chinatown. (Ultracold Records)

www.thegulfmusic.com

-Brett Cromwell

Crystal Understanding - Hold the Gem
Recorded, engineered, mixed and mastered by Michael Potvin at PTVN's Studio in Cambridge, MA

Some old cartoon meant to turn kids onto classical music explains how Prokofiev’s “Peter and the Wolf” is arranged — how each instrument is meant to play the part of a character such as the bird, the cat and so on. Aaron Bennett and Sonya Sheats of Crystal Understanding (as well as full-on production artist Michael Potvin) must have seen this cartoon and taken subsequent notes — Hold the Gem is as colorfully arranged and richly orchestrated as Prokofiev himself may have been if he had access to Potvin’s technology and wizardry.

Hold the Gem doesn’t play from the speakers/headphones so much as it blankets the brain in sweet sounds and soft textures. Bennett and Sheats serve as vocal guides in this soft-focus cartoon world of bells, bleeps, and blips. Sheats adds a human element to the record with the clearness of her soft-yet-direct vocals and earnestly stated sentiment in tracks like “Premature Baby.” This track showcases reassuring lines like, “If you cry, baby, we’ll know that you’re alive.” Hold the Gem is full of this sort of mechanized sentiment — more human than machine, but colored by a distinctly robotic nature, reflected in the album’s grid-y production. The duo is also prone to quizzical nonsense that quickly turns personal, as in “In the Cave.” Bennett and Sheats never sound lost in the machines — rather, the band basks in the creative possibilities of technology. The strongest aspects of Hold The Gem are its many faces; tracks like “Yellow” showcase a frenetic pace, while “World With No Windows” sports an eerily calm build at the track’s core. Crystal Understanding delivers quicker and with more personable service than that of their Postal Service-influenced peers with a record that is uniquely beautiful in its mechanization, as well as its stark humanity. (Self-released)

www.crystalunderstanding.com

-C.D. Di Guardia

Jason Spooner - The Flame You Follow
Produced by Jason Spooner
Recorded and mixed by Jon Wyman
Mastered by Adam Ayan at Gateway Mastering

The term “eclectic” doesn’t really do justice to Jason Spooner’s The Flame You Follow. The genre-spanning follow-up to 2002’s Lost Houses is more than a loose collection of songs; it’s an exploration of a theme. Over the course of the album, through imagery, texture, and story, light does battle with darkness, culminating in the final track, the bittersweet “Hover.”

Jason Spooner is nothing if not an ambitious songwriter. Along with drummer Reed Chambers and bassist Andy Rice of The Jason Spooner Trio, the Portland singer/songwriter navigates between folk, jazz, pop, funk, and R&B — sometimes, in the course of a single song. His soulful vocals tackle lyrics about death, danger, and the desire to escape, but despite the meatiness of the themes, the songs refuse to wallow in melodrama. For instance, the folk ballad “All That We Know,” which recounts the story of a robbery attempt that ends in tragedy, is bolstered by a fast-paced, rollicking rhythm.

A host of guest performers lend their talents to the CD. It’s fun to hear Ryan Zoidus (of Rustic Overtones fame) wield his saxophone in the funky “Simple Life.” The groovy swirl of harmonizing vocals, courtesy of singer/songwriter Kim Taylor, is the highlight of “Slippery People.” However, some of Spooner’s best songs are the simple ones. In the folk-poppy “Mirror This Morning,” everyday themes — love, loss, and coffeemakers — lilt over an effortless melody, capturing the details so well that no grand gestures seem necessary.

The Flame You Follow has its quirks as well. The genre-hopping might be jarring to those who define their musical tastes according to style; fans of raw, unfiltered passion best look elsewhere. But, all in all, Spooner is a thought-provoking songwriter and, if only for that reason alone, his sophomore effort is worth a whirl. (Self-released)

www.jasonspooner.com

-Rosaleen Torrey

Scuba - Scuba
Recorded and mixed by David and Dennis Grabowski
Produced by Scuba and Dennis Grabowski
Mastered by Mike Quinn at Moontower in Cambridge, MA

To convince someone to leave their house and come to a rock show is to convince them that they should turn off their TV, put on their shoes and forgo the option of a relaxing night to see live music. Listening to Scuba’s self-titled release is a lot like a conflicted decision between a comfortable night in and going out to try something new. As Scuba pounds through 10 tracks the band seems ready to explode with energy and bare its teeth, but inexplicably holds back. One waits for them to do something unexpected, but Scuba chooses to relax in their comfortable, early ‘90s indie-rock armchair, cozying up for a night of TGIF instead of a real rock experience.

The band’s problems seem to stem from unfocused production. In “Gary Powers Spy Plane,” questionably tuned guitars accompany vocals hidden under layers of reverb and distortion. It sounds as if Grabowski’s vocals are the real spy in the band, refusing to be identified. When he unleashes the chorus, a wailing “Come on!,” he almost pushes to catharsis, but the band sounds hesitant and reserved, again falling into an indie-rock catnap.

Scuba does manage to cut through the muddy and reserved production at choice moments on the disc, though. “Into the Water, Down to the Bottom” clears away some of the production brush to show that, at their core, Scuba can write smart, noisy rock. Evoking a dumbed down Tom Petty, the track’s messiness is a benefit instead of a hindrance. Scuba drifts through the track with quiet determination that pays off in its conciseness.

Similarly, “King of Infinite Space” shows the band at its best. Jason Keisch’s drums shine through on this track, driving it through the Hold Steady-esque verse and “Machine Head” chorus, ultimately ending the record on a stronger note than it starts on.

Scuba is most effective when it spreads the melody around the band, adding a slightly more melodic line to Tom Becker’s bass or Steve Calnan’s guitar work. Since the vocal melodies are so buried under effects, it’s much less interesting to dig through layers of power chords and pedaled bass notes. The whole record sounds as though it’s submerged, and although the band seems comfortable in this environment, a listener might choose to come up for air. (Midriff Records)

www.scuba-band.com

-John Drake

Stephen Kellogg & the Sixers - Glassjaw Boxer
Produced by Mike Daly

Northampton (by way of Pennsylvania) singer/songwriter Stephen Kellogg plays like a product of his influences — Springsteen, Croce, and the like. And for his Everfine Records debut, Kellogg spares no reference to these slingers of hard-time lyrics and guitar-based hooks. Regrettably, he seems to be riding in their wake rather than expanding upon their legacy.

Kellogg is something of a grassroots phenom (much like labelmates O.A.R.), having now released seven albums and performed with nearly every contemporary in the pop and singer/songwriter genres. In fact, such is his work ethic that Glassjaw Boxer stands as the first non-O.A.R. release from Everfine — and it shows in the crisp production. Yet, despite his longevity and obvious appeal, Kellogg displays limited compositional diversity and relies too heavily on well-worn lyrics to hit home with his new record.

An epic piano progression worthy of Meatloaf opens “Sweet Sophia,” in which Kellogg offers a feigned country twang as he croons, “Sweet Sophia / Burned all the pages and rewrote the book / With your heart-shaped lips and my breath that you took.” The song’s standard pop construction, however, becomes the mold for the remainder of the album. Subsequent tracks channel The Boss, Bob Seger, and Tom Petty with driving Americana tones. Yet, production mires the third song, “A Cabin In The Woods,” with trite, double-tracked vocals during the bridge to further the introspective, soul-searching tone.

He enters into a slow-tempo stage for much of the remaining eight compositions, where the pleasant addition of lap steel and backing female vocals are lost in the winding, five-minute-plus meanderings of Kellogg’s own wanderlust. His lyrics are both too personal and vague to establish a connection with the listener, such as when he asks “Wailing walls / How could you give up on me?”

“4th of July” and “Father’s Day” are obvious indications of the American Dream tone first exploited by Springsteen, but offer no strong hooks and rarely stray outside Kellogg’s own memories. And throughout, the verse-chorus pop progressions become grating. Kellogg could benefit from cashing in his storyteller chips for some more adventurous and exploratory compositions. (Everfine Records)

www.stephenkellogg.com

-Will Morgan

Cat & Mouse Records Compilation 2007
No Production information available

Rising over suspenseful, rumbling piano chords, the enigmatic voice of Anna’s Ghost vocalist Gabrielle Raymond intrigues the ear, successfully hooking the listener into Cat & Mouse Records’ latest artist compilation release. The Portland-based record company has put together 14 original tracks that acknowledge artists from within the Maine community. Overall, the compilation rings true to Portland’s acoustically infused musical scene with a distinct flourish of folk; even the more up-tempo and experimental tracks are unable to hide their roots, revealing a conflation of patented singer/songwriter angst and country-inspired guitar twinges.

An optimal opening track, “Businessman” by Anna’s Ghost is definitely the standout. Aided by Raymond’s surprisingly masculine voice, the rolling melody leans towards unpredictability. Other notable tracks include raspy-voiced Frank Hopkins’ “Make Love ‘Til Doomsday” and Steven Bacon’s simple, yet effective, “Hard Year.” Unfortunately, Dead End Armory and Line of Force fall flat with a lulling lack of variety. Although generally too formulaic (with a tendency toward rambling instrumentals), the compilation does boast some exceptional vocals: strikingly unique and quite enough to pique your interest. For those dedicated to Maine’s community of musical artists, Cat & Mouse Records succeeds in building a buzz; however, it ultimately misses the mark. There may always be formulas involved in song-craft that err on the side of mellow, but that is no excuse for a lackluster folk release. (Cat and Mouse Records)

www.catandmouserecords.com

-Jess Baggia

Larissa Maestro - Maybe Later
Recorded at Blue Jay Studios in Carlisle, MA
Mastered By Matt Azevedo at M Works in Cambridge, MA

It can be assumed from Larissa Maestro’s last name that her command of music and art is an inherent talent, as a natural love for words and music pervade her debut album, Maybe Later.

As a Filipino-American, Maestro’s creative influences stretch beyond the close-knit, upstate New York community where she was raised, reflecting her sense of global awareness and cultured upbringing. Drawing from poetic influences such as Gabriel Garcia Marquez and musical talent like Shania Twain, Ryan Adams, and Aimee Mann, Maestro embodies an amalgam of creative forces.

Traces of country, classical, pop, and rock flow with consistent ease through each of her tracks. Tackling vocals, acoustic and electric guitar and cello, Maestro makes each song her own blend of dainty refinement. Lyrics such as “Been spending the day chasing your face in the snow / I’m just as crazy as the weather,” or “Fold me up like an empty paper bag / Fold me up like an old forgotten rag / That silence you give somehow means that you’re strong / But you’re wrong,” allude to a past love gone stale. Instead of angsty vocals accompanied by even angrier bass lines, Maestro takes a more steadfast approach and channels her emotion into lyrical beauty that parallels her band’s effective accompaniment.

Consistently placed metaphors demonstrate Maestro’s poetic abilities. Her guitar twang, meshed with bursts of poppy vocals, reveals her to be more than just a girl with a Gibson. There is a deliberation in every word and note, evoking a deep appreciation for the soulful foundations of the art behind her craft. (Little Thrill Records)

www.larissamaestro.com

-Katherine Bruce

Vio/Miré - March 2007
Recorded by Vio/Miré at The Purple House in Northampton, MA

Experimental folk can be a tired genre, and it seems like Western Mass. has a glut of it as of late. Take an acoustic guitar, pluck some strings, whisper something slow, add some ambient noise, and there you have it: experimental folk. As comically blunt as this characterization may seem, to distill the genre so easily would be unfair, especially in the case of Vio/Miré.

In conjunction with his environment Providence, Rhode Island native Brendan Glasson created March 2007, an album filled with enough experimental texture to make it unique within folk music, but enough candor to give it substance. In the same way Animal Collective weaves avant-garde noise with eloquent melodies, Vio/Miré also encompasses a similar style.

The opening song, “Não, Não, Esperarei Para Você,” sets a brooding frame around March 2007. Ambient piano noise layered with an elegant cello sets an almost confusing introduction. The second song, “Thank God,” literally evokes those words, as the album rapidly gains a more elated tone. Glasson creates a comfortable ascension, and through the next few songs establishes an intimacy with listeners. One of the catchiest songs, “Wood Splitting,” features Glasson’s melancholy lyrics spread over serene guitars and a slow, steady beat.

Vio/Miré’s honesty and balanced use of ambient noise lends a natural quality to March 2007. The earthy acoustic textures of “Bones” and “Appleseeds” complement some of the more depressing songs like the graceful closer, “Tot Siens.”

Ultimately, March 2007 is a simple, quiet, and playful album. With tracks such as “Purple House, November,” and “Savannah, Early January,” Glasson makes it easy for listeners to associate place and time with his songs. (Leisure Class Records)

www.myspace.com/viomire

-Michael Aceto

Lindsay Vandemark - Yo Comprendo
Engineered and recorded by Djim Reynolds at The Estate in Leominster, MA
Mixed by Adam Weiss

They say that you should write what you know. Lindsay Vandemark’s Yo Comprendo shows that she understands how to write thoughtful piano music with whisper-soft lyrics. One might argue that, though, with a record so consistently focused on a singular style, it isn’t clear if Vandemark knows how to do anything else.

This isn’t to say that Yo Comprendo should be dismissed. What Vandemark sets out to do, she does quite well. This is a straightforward piano album that grows more and more interesting as it moves forward.

As one listens, it is hard to ignore the power of the declarative simplicity on every track. Songs like “Cherry Blossoms” suggest a female Jeff Mangum singing over a Joni Mitchell piano track. Tender and thoughtful, leaving just enough space between musical ideas for a listener to consider what’s happening, Vandemark knows how to exploit simple song structures for her benefit, resulting in music that is deceptively easy to swallow. But the simplicity of Yo Comprendo is both its greatest strength and its biggest challenge. While Vandemark commands attention with her reserved vocals on each track, the record begins to blur together in its uniformity.

While much of Yo Comprendo feels the same, there is a narrow range established throughout the record. “We Were Kids” paints a romantic portrait of childhood exploration, rounding out Vandemark’s most direct and detailed lyrics with subtle, understated cello accompaniment and vocal counterpoint. “Parachutes” floats on the other side of the spectrum, laying out phrases that loosely connect to one another before drifting apart into a repeating chorus of “I am calming you down / Don’t go getting any ideas.” Upon repeat listens, this line seems like a mission statement for Vandemark: she will soothe you with her music, and you should refrain from thinking too hard about it. Though lacking variety, Yo Comprendo is a focused and consistent study in the interaction between piano and voice, music and lyrics. She is, at her best, a less feisty Feist, or a less powerful Cat Power. Yo Comprendo is a competent and poised record, and is definitely worth checking out. (Self-released)

www.lindsayvandemark.com

-John Drake

The Mystery Tramps - Cure for the Common Misconception
Recorded, Produced and Mixed by Stephen George
Recorded at Powerhouse Studio in Lunenberg, MA and Maison de Frique
Mastered by Chris Gehringer at Sterling Sound in New York City, NY

A few years ago, The Mystery Tramps arrived with their mix of 1970s classic rock pedigree and 1990s birth certificates. Their initial EP release, Nowhere’s End, was a success for all its youthful drumstick clatter and simple, ending-on-the-tonic melodies. Many have been waiting with bated breath to see what they’d do next, and the answer is the multi-pronged attack of Cure for the Common Misconception, the product of a few months in the studio with producer Stephen George, who has also worked on records by Ric Ocasek and R. Kelly.

The 10-track record seems indicative of a long time spent in the studio — in terms of both style and quality. There are some straight-up rock songs and some more dance-friendly tunes such as the bottom-heavy “Rhyme and Punishment” or the minor-key, skank-reliant “Too Late.” The group plays with such exuberance one gets the impression that they are playing music that they truly love. While the music isn’t incredibly novel, The Mystery Tramps are able to place their own indelible stamp on the sound. Originally rough around the edges, albeit charming in approach, the band has matured musically, as is evidenced by the solid sound of the rhythm section, with bassist Andrew Leader and drummer Martin DiLiegro locking down the rhythm. As expected, guitarist Adam Amoroso continues his barn-burning guitar work, ripping out leads in boomer “This One’s On Us,” which also features a visceral vocal performance by the ever-shaggy Eric Grava. The band also includes an updated version of “A World Like This,” a song off their first record. But whereas the original version sounded like it wanted to be patted on the head and reassured, the new cut makes it apparent that they don’t expect that treatment; rather they offer a smirking high-five to the entire world — a high-five that the world had damned well better return, because the Mystery Tramps are more than ready to take over. (Queue Records)

www.themysterytramps.com

-C.D. Di Guardia

Mark Erelli - Innocent When You Dream
Engineered and produced by Mark Erelli
Mastered by Thomas Eaton at Thomas Eaton Recording in Newburyport, MA

Close your eyes to the dulcet tones of Mark Erelli’s Innocent When You Dream to fully experience this gem of an acoustic release. A lullaby album originally intended for family and friends with small children, this tender collection features two Erelli originals, as well as renditions of songs by Tom Waits, Wilco, Shawn Colvin, and Townes Van Zandt. Opening with a beautiful a capella version of the Waits classic, the title track sets a dreamy tone for the rest of the album. Erelli’s gentle vocal inflections and starkly beautiful fingerpicking especially capture the mood in his interpretation of James Taylor’s “Close Your Eyes.” In addition, “Alright For Now” delivers Tom Petty’s sentimental lullaby with haunting harmonies that feature the vocals of Jeffrey Foucault; the result is a spine-chilling take on the original.

Erelli’s two original compositions enhance the overall collection of songs with a personal touch. “Tired Eyes” stands firm among the other classic love songs with its gentle, satisfying melody that is easy on the ear. The instrumental track “Little Torch” is especially touching, delivering a rocking lullaby with ease.

Although not originally intended for release, Innocent When You Dream offers the gift of acoustic lullabies and love songs that do not seek to rock your world; instead, they seek merely to rock you to sleep. And that they do. With hushed tones and excellent musicality, Erelli’s solo performances will surely appeal to any fan of stripped-down, genuinely heart-felt folk music. (Hillbilly Pilgrims Productions/Signature Sounds)

www.markerelli.com

-Jess Baggia

Slaine - The White Man Is the Devil Volume 2: Citizen Caine
Recorded at The Armory in Worcester, MA and Lethal

Dose Recording studios in Los Angeles, CA
Mixed and directed by Edu Leedz
Mastered by Matty Trump

There’s a drug epidemic in Boston, and MC Slaine wants you to know about it. Enter into the brain of the self-proclaimed cocaine addict with his latest release, The White Man Is the Devil Volume 2: Citizen Caine, for the convoluted, controversial journey of a man who raps about what he knows. Hailed as Boston’s next hip-hop sensation, the Special Teamz member and La Coka Nostra founder attacks the mic with a refined lyricism that sets him apart from the multitude of wordsmiths struggling to be heard in hip-hop’s stale mire of rehashed ideas. The album’s dramatic, drug-infested introduction blends seamlessly into the gritty vocals and eerie strings of “Cocaine & Blue Eyes,” establishing the album’s overall tone — addled with drugs, money, and sex. Is it really a surprise that Slaine has all three words tattooed on his arm? Tracks like “Problemz,” “Jewelz,” and “Bad Man” boast mainstream potential with well-crafted lyrics and beats to match, while “Citizen Caine” takes on the narrating persona of cocaine itself, with a penetrating, candid testimonial of drug abuse. Overall, his cleverly honed rhymes, further accentuated by Edu Leedz’ excellent production, exhibit a promising and successful future for this young rapper. And yet, Slaine still struggles to pinpoint his individual voice over the course of this 21-track album, occasionally coming across as a weak Eminem imitation, and relying on simplistic hooks reminiscent of 50 Cent. His preoccupation with what is ‘real’ strays into the realm of self-indulgent drug glorification, ultimately overshadowing his identity and potential as an MC. Unfortunately for Slaine, The White Man delivers, but cocaine steals the limelight. (CommonWealth Records)

www.myspace.com/slainehiphop

-Jess Baggia

Auto Interiors - Let's Agree To Deceive Our Best Friends
Recorded at New Alliance in Cambridge, MA
Produced by Coke Dealer and Auto Interiors
Engineered by Marc Schleicher and Nick Zampiello
Mastered by Nick Zampiello

You haven’t heard the likes of Let’s Agree To Deceive Our Best Friends since the ‘90s. Yet Auto Interiors’ old-school approach to the classic, four-piece rock band sound is, for the most part, inspired rather than stale. Like the winner of your high school’s battle of the bands, this Cambridge quartet sounds too good for an auditorium, but so down-to-earth you feel like you’re watching them from the front row. Their sophomore album, following their more exploratory No Frill Halo Flight, firmly grips and rips the rock-’em-sock-’em sound that made the ‘90s the era of Third Eye Blind and Weezer. Auto Interiors’ matter-of-fact bass lines and crunchy power chords may ring deceptively of pop-punkers such as Saves the Day, but while the tunes are catchy, there’s no bubblegum pop to be had here. Larry Mansdorf’s guitar chords bend warmly under the distortion petal, and Eric Waxwood’s vocals are refreshingly honest under their glossy finish. Tracks soar when Mansdorf is given ample room to riff; twangy guitar solos, such as those in “Envy,” anchor the songs solidly under Waxwood’s meandering lyrics. Though Auto Interiors’ straight-shooting rock has its own appeal, the band shows potential for greater creativity when it explores an acoustic sound on “Land Mines” and “Radar On” -they even dabble with a metal timbre in “Another Way to Say ‘I’m Not Sorry.’” True to their name, Auto Interiors are an ideal soundtrack for a long car ride. Stay tuned to see if their power-rock jams blossom into something a little more thoughtful on the next album. (RYKODISC)

www.myspace.com/autointeriors

-Chelsea Rudman

B for Brontosaurus —
A Thousand Times Yes
Recorded by Kyle Bittinger and Ramsey Tantawi at the Concord School of Ballet in Somerville, MA and WMBR in Cambridge, MA

There’s something to be said for “cute.” However, if done poorly, it can be extremely annoying. B for Brontosaurus treads close to the barrier between “cute” and “cutesy,” but stays on the good side with their charming A Thousand Times Yes. How cute? They include “Make Your Own Action Bronto” cutout cards for the kids, complete with “ask for a parent’s help” instructions. The record itself is full of round corners, colorful stories, and sunny vocals.

Guitarist Ben Morse is possibly the front point of this musical triangle, and his lively vocal presence paints story time pictures of ghosts, giants, and of course, dinosaurs.His bass and vocal counterpoint is the similarly spunky Joanna Solins, whose musical moods range schizophrenically from quiet and restrained to frazzled and loud. Solins is a model for how this entire band operates: timid, yet not at all self-conscious. The entire affair is thumped and bumped along by drummer Abe Lateiner, who plays unconventional beats for many of the songs, like the slow-build pop of “(Let Me) Fill Yer Life (With Music)” or the total garage-door slam of “Robots.”

For all its crayon-outside-the-lines aesthetics, A Thousand Times Yes is a well-put-together record with several high spots. B for Brontosaurus are at their best when screaming wildly, but they also color a few interesting, sit-on-the-floor stories in tracks such as “The Ghost” or the follow-up jaunt of “A Millin Yrs.” The record hits the right chords in tracks such as “Soda Pop Rock,” which features a stand-out vocal performance by Solins, beginning with the sweet sentiment of “I miss you darling, and I want to chew on you,” until reaching its sexually frustrated peak with lines like “Youhave nice clothes, but why don’t you take them off?” Audacious lyrics such as “When I said ‘chew’ I meant, ‘fuck’” are good examples of the pleasingly unpredictable nature of the band’s songwriting ethos. While B for Brontosaurus seems blissfully immature, one gets the impression that it’s really just a coolly calculated façade — which comes with a knowing wink and a cardboard cutout dinosaur. (Self-released)

www.bforbrontosaurus.com

-C.D. Di Guardia