CD OF THE MONTH

Amoroso — Amoroso
Recorded by Seth Manchester
Mixed by Keith Souza and Seth Manchester
Mastered at Peerless Mastering by Jeff Lipton

The members of Amoroso are good at non-verbal communication. For instance, the band’s lack of a singer doesn’t prevent their music from being at once accessible and challenging. But more to the point, they’ve opted out of actually titling their new EP, and for their song titles have decided to eschew the alphabet entirely, listing instead the run times of each of the four tracks: “11:11,” “1:52,” “5:48” and “11:38,” respectively. Once again, no words, but their structural approach is clear. The record features two epics, divided by two tracks of more modest scope.

“11:11” takes its time getting started, with a slow build leading into a sparsely punctuated, lazily teetering riff. So when the song kicks into full gear you jump to attention: the band’s masterfully executed ebb-and-flow dynamics alternately lulling and smacking you into a deep, dark place. The track covers a remarkable amount of ground dynamically, but never fails to keep the listener enthralled, using all 11 minutes thoughtfully, ultimately providing interesting variations on the main melodic figure without once falling back on stock-riff wankery.

“1:52” provides a contemplative breather between the epic opener and the driving, intensely rhythmic third track. “5:42” features a choppier, but just as well-executed, soft-loud arrangement. Towards the end of the track, the guitar becomes a rhythm instrument, with ferocious, string-muted scraping that features the most tasteful and effective use of a flange pedal that this reviewer can remember encountering.

If one manages to listen through to the last track without being blown away by the air-proof tightness of Amoroso’s rhythm section, “11:38” will quickly correct that. Like its sister epic at the record’s beginning, the closing track is divided into several long sections at either end of the dynamic spectrum. But whereas the loud sections of the opener mainly play with variations on a theme, this track is all over the place. One particularly intense section is followed immediately by a dreamy, single-note guitar figure doubled on the xylophone, establishing a wonderful tension with furious 32nd-note snare hits. After the return of the same intense section later in the track, the drums and guitar fall away to reveal a rolling, watery bass figure — an unexpected right-angle turn that drops the listener off at an unforeseen, but appealing, locale before fading off into the distance. (Self-released)

www.myspace.com/amorosomusic

-Jon Carter

Grace Potter and the Nocturnals — This Is Somewhere
Produced by Mike Daly
Recorded at Glenwood Place Studios in Burbank, California
Engineered by Joe Chiccarelli
Mixed by Michael H. Brauer
Mastered by Chris Athens

Mix one part classic rock ‘n’ roll with two parts politically charged lyrics, throw in a touch of bittersweet nostalgia alongside riveting, heart-pumping anthems and enjoy. Marking the next phase of evolution for Grace Potter and the Nocturnals, This Is Somewhere encapsulates the triumph of their neoclassic rock, highlighting their natural sense of dynamics and exceptional flare for transcending genres. Fronted by charismatic songstress Grace Potter, this band far exceeds the incredible potential laid out by the earlier work of their third full-length release.

Opening with the rebellious “Ah Mary,” the album soars into a dynamic sequence of songs, hitting all the right atmospheric lifts and dips, including the soulful, thoughtfully crafted “Apologies.” Another standout is “Falling Or Flying” — the perfect blend of rich, heartfelt melodies layered over vintage rock rhythms. The pulsing “Mastermind” includes the lyrical recipe of “one part sugar, two parts feeling, three cups full of bottled lightning, four parts water, five parts believing” — once mixed all together, the resulting emotional charge will be sure to fire up your whole body. Such is the entire album, a creation of wisdom and soul beyond the band members’ twenty-something years, eventually culminating in the powerful “Big White Gate.”

Now based in Waitsfield, Vermont, a.k.a. “Potterville,” the band manifests its incredible growth in the writing and singing of Grace Potter, who stretches herself to the emotional limit, digging into her creative potential. The result is this deeply resonant album that simultaneously pays homage to rock’s rich heritage while also revealing a uniquely adventurous flare. Like its distinctive cover art, which documents the commemoration of America’s Bicentennial with the mounting of the largest American flag ever made, This Is Somewhere insightfully documents the state of the nation: a giant, runaway flag. Or as Potter coyly puts it, “Ah Mary, she’ll bake you cookies then she’ll burn your town / Ashes, ashes, but she won’t fall down.” America’s still standing, and so are Grace Potter and the Nocturnals ... sounding better than ever. (Ragged Company Records / Hollywood Records)

www.gracepotter.com

-Jess Baggia

Tristan da Cunha — Instanter
Recorded by Chris Moylan at Magpie in Boston, MA and Seb Thomson at National Recording Studio in Washington, DC
Mixed by Chris Moylan
Mastered from tape by Jeff Lipton at Peerless in Boston, MA

There are some records that you should never listen to before you’ve had your morning coffee — records that pivot so quickly, rushing you down so many different roads, most of them bumpy, that your stomach won’t be able to handle breakfast afterwards. Tristan da Cunha’s Instanter is (you guessed it) definitely one of these records. That said, once you’re wide-awake enough to enjoy the scenery, you’ll be incredibly happy you got out of bed — especially if you’re into dissonant, angular non-sequiturs, and dizzying, polyrhythmic, instrumental interplay. Tristan da Cunha is tight, unafraid of gonzo complexity, and full of fun musical ideas.

At its best, Instanter manages to weave many of these seemingly unrelated ideas into surprisingly coherent songs given the breadth of their stylistic scope. Opening track “World of Rubber” incorporates somewhere between seven and 12 distinct sections in under five minutes — all of which seem to suggest entirely different good songs unto themselves, but that somehow combine, Voltron-style, into a daunting and awesome whole. It’s prog-rock on an amphetamine binge, catching up with the last 30 years of rock music all at once, without those obnoxiously well-trained vocalists or operatic pretensions, but with just as much musicality and ambition.

On the topic of vocals: Tristan’s singer is as ambitious and inventive as the rest of the band, though due perhaps to the deliciously rampant atonality in the guitar and bass, tuning issues do plague a few tracks. And while he manages to Malkmus his way through some of these awkward spots, he doesn’t always bring the conviction to pull it off. However, more often than not, his confident delivery manages to make the group sound like a wackier, even jitterier Dismemberment Plan.

All in all, Instanter is definitely worth guzzling Folgers for, though the record would lend itself better to a freak-out at high noon. (Self-released)

www.slendermusic.com/tristan

-Jon Carter

Polyethylene — What Goes On Inside Houses
Produced by Polyethylene
Recorded at Wonka Sound in Lowell, MA by Sir Bob Nash
Engineered by Sir Bob Nash and Kris Smith
Mixed at Q Division by Kris Smith
Mastered by Eric Masunaga

Accessible and yet delightfully unpredictable, Boston-based trio Polyethylene take their brand of indie-pop into the post-rock realm with their latest offering, What Goes On Inside Houses. With unexpected rhythmic twists and turns, the band maintains an ear for satisfying melodies and atmospheric vocals, thus establishing a tonal structure in the structureless world of erratic guitar riffs and ambient instrumentals. The result is a mind-bending journey.

Featuring moody strings layered over steadily marching drums, opener “Thurman Wood Warmed Nights” delivers much more than your basic female-fronted indie-rock. Furthermore, the adventurous “Given” exhibits the dynamic qualities of post-rock at its best: a coherent conflation of melodic and rhythmic fluctuations seamlessly flowing together measure by measure. The catchy, albeit melancholic hooks of “Monte” and “Relatively Minor” anchor the album, while their respective instrumentals lilt like those of Explosions In The Sky.

Finally, the more unusual, atmospheric songs, such as the ominous “Mana Mou Ta Kleftopoula,” succeed in balancing out the album, complete with heavy, pulsing guitars reminiscent of Mogwai, and accentuated by Greek lyrics. The title literally translates to “Mother of mine, the guerrilla soldiers.” The verses originate from a traditional Greek song often sung on Greek Independence day and are an excellent example of Polyethylene’s ability to construct cohesive songs out of opposing forces.

Don’t expect formulas, because you won’t find any on What Goes On Inside Houses. You will, however, experience the best of Polyethylene’s innovative and disarming indie-pop as it meanders into unexpected places with its rhythmic variations. Appealing and well crafted, this one will keep you on your toes. (Optimistic Records)

www.polyethylenemusic.com

-Jess Baggia

Hands and Knees — Hands and Knees
Recorded by Scott Hoffman at Ghost Town Recording
Mastered by Jed Smith at Wood Bee Music

On their self-titled release, Hands and Knees sound like the type of band that could make you stop what you’re doing and walk up to the front of the stage to see who is making that wonderful racket. Without any overt attention-seeking moments, the control and focus on their self-titled record float between internal monologues and cathartic declarations, emanating from atop a hillside of simple and smart instrumentation.

“A Simple Other” is a bombastic opener, filled with jangly guitars and a huge chorus, like a lo-fi and happier Arcade Fire. The vocal interplay between Joseph O’Brien and Carina Kelly is mesmerizing. “Dumb and Pretty” showcases O’Brien’s penchant for simple and evocative melodies and lyrics while “The Charlie Rose” sounds like a slightly more driven Neutral Milk Hotel, liberating O’Brien’s voice and showing that he has a powerful upper register when he chooses to unleash it. Hands and Knees consistently releases self-contained and relaxed pop songs with ease. “Are We Full of It?” finds the band aping Wilco circa Yankee Hotel Foxtrot.

While the song still delivers as a piece of pop, it highlights Hands and Knees’ one limitation: they aren’t the most virtuosic instrumentalists. This is problematic on a record where the rawness of the engineering is at odds with the prettiness of the songs. Hands and Knees smartly keep all songs on Hands and Knees concise — even the most reductionist parts support the wonderful, melody-driven structure — almost to a fault.

Any feelings of instrumental inadequacy are quickly forgotten when bopping along to the girl group beat of “Into the Cold Lake,” with a celebratory sing-a-long delivery. Hands and Knees are consistent in their capacity for tuneful music, and never deviate from that mindset.

All in all, the band delivers a focused and energized disc that grows more intriguing with repeat listens. From the happy pop of “The Charlie Rose” to the brooding “Pablo Swim,” Hands and Knees makes you put your drink down and turn around. (Banazan Records)

www.myspace.com/handsandknees

-John Drake

The Information — Natural Language
No production information available

Unrelenting is the best word to describe The Information’s Natural Language. This memory stick release, made up of a five-song flash drive and/or an 8-track cassette with a download code, is an inventive way to get these five songs out to iPods everywhere.

Huge right out of the gate, “Alchemy in the Age of Science” is a bombastic explosion of driving rock. Just when it seems like Max Faesen’s delivery couldn’t be more impassioned or frenetic, Ashley Moody enters to up the ante with background howls in response.

“Shout and Repeat” opens with engaging keyboard work that morphs into a pumping and danceable sass-filled anthem, balancing a jagged guitar riff in the verse with a dense and pounding chorus. Brad Kayal and Patrick Dole hold the band together as their understated drumming and bass work in seamless conjunction to stake out the borders against which the rest of the band members strain.

“Coming Back From the Dead” is a less cohesive track, but features some of The Information’s most interesting melodies and guitar work, calling attention to one of this release’s only shortcomings. Natural Language may suffer from the medium in which it was released. While the ingenuity of the mp3 release and the awesome 8-track cassette tie-in calls your attention to an EP you might otherwise miss, the compression of the tracks necessary to fit on the flash-memory (and the compression inherent in the mp3 format) leads to a muddier and less lively sound. This is especially apparent in the vocal melody of the chorus for “Coming Back from the Dead,” which gets lost in the deluge of mid-range guitar. The tracks can sound harsh and muddy at points, a frustration when their tunefulness and melody are so undeniable.

The rest of the record neatly avoids this trap. “Armed Resistance” sounds like a lost Bloc Party track with a Futureheads guitar part layered on top, until it explodes into the most impenetrable, intense and driving pop chorus on this too-short record. Standout playing from Zack Wells and Deb Grant on guitar fades into a wonderful and simple outro.

“The Theft” finds Faesen and Moody trading vocals over a massive and stabbing instrumental that neatly walks the line between density and confusion. One awfully sour guitar note in the middle disappoints on an otherwise tight and hand-clappable chorus. (Primary Voltage Records)

www.theinformation.net

-John Drake

Destroy Babylon — sEParation
Engineered by Tim Shea
Produced by Destroy Babylon

Fast on the heels of their thought-provoking 2006 release, Oligopuzzled, Destroy Babylon, a reggae-punk hybrid born in 2001, has released an equally provocative follow-up EP, sEParation. With a sound that embraces the defiant punk vocals and lyrics that challenge both the decisions of our current government administration and the dangerous apathy of the listener, Destroy Babylon continues to defy strict genre categories with this new release.

“Dubblespeak” makes for an infectious first track, from the slow-grooving reggae splendor and drum fills of the intro to the harder, punk-influenced guitar riffs of the chorus. On an album that makes no apologies for its stark political commentary, this track also sees the group at one of its most lyrically poignant moments. In a refrain that is both catchy and bold, Destroy Babylon tackles the issue of separation of church and state, criticizing the self-righteous hypocrisy of America’s leaders with the lines, “With God on our side / There is no flaw / Preaching peace while / Practicing war.”

“Choice Hops” departs from the comfortable mix of reggae and rock seen on the other tracks, and for a little over a minute, Destroy Babylon gives the listener a glimpse of their punk rock influences, complete with a wailing guitar solo and emphatically shouted lyrics. Short, energetic and pointed, this track is reminiscent of The Clash, or perhaps a less lyrically complex Bad Religion.

However, “Apathy Keeps Me Going” is the standout track of this new release. Lyrically, it addresses the danger of a nation that exhibits political apathy, pleading with listeners to “Liberate [their] conscience / From the guilt of apathy.” With an unsettling and somewhat melancholy guitar lead-in, Marc Beaudette’s energetic and purposeful drumbeats propel the track forward. Driving horn lines punctuate the band’s request for political awakening and Chris Moran’s moving bass line adds a sense of urgency, as if echoing the track’s main question, “Does no one move without a movement?”

Overall, sEParation is a successful follow-up. Edgy, spirited and at times surprisingly catchy, the record asks bold questions, ultimately leaving the listener to find the answers. (Self-released)

www.myspace.com/destroyreggae

-Melina Moore

Yes No Yes — Yes No Yes
Produced, engineered, and mixed by Mike Irwin at Machine Gun Studio in Jamaica Plain, MA

Yes No Yes stands out from the typical experimental band because they focus on rhythm first and ambient noise second. While some experimental artists simply want to throw a bunch of sounds into a blender and call it a song, Yes No Yes’s new EP features fascinating progressions of linear song structures. As a whole, the six brief songs represent an organized and rhythmically solid introduction to the sound of Yes No Yes.

The first song, “Modern Day Knight,” is founded on an eerie electronic beat and spiced with meandering vocals and violins. The song picks up when the beat box transfers to a real drum set and the catchy clean tones transform into feedback-drenched guitar strums. “Intersection” sets a fairly depressing mood and features confusing ambient fuzz throughout the entire song, similar to the experimental techniques employed by Amps For Christ. The buried vocals are oddly reminiscent of Trent Reznor in their breathy, apocalyptic sprawl, yet the vocals’ aesthetic guise is strongly rooted in work by lo-fi artists like The Microphones.

Overall, Yes No Yes presents a refreshing look at experimental music, as it “experiments” without sacrificing the attention of the listener. Although at times it can be brash, Yes No Yes never overdo it. They understand when to become loud and clamorous and when to recess so the songs don’t become irritating, resulting in a cohesive collection of layered sounds and progressive rhythms. (Self-released)

www.yesnoyes.us

-Mike Aceto

Steven Bacon — Sparrow
Recorded by Raven Tree Records

In his third release, Sparrow, award-winning singer/songwriter Steven Bacon flirts with British-style pop melodies, forays into funk and loops with abandon. The alt-folk artist is equally likely to plunge into the just-plain-folk side of his repertoire; in fact, the lyrics of the rousing hillbilly ballad “Upswing Again” could have been written generations ago. Bacon croons, “Holdin’ my head up high / The sun is sittin’ on a brand new sky / Water flowin’ where the river run dry / Hell, I don’t know, no reason why.”

Bacon’s vocals are understated, perhaps for the better — all the more to showcase the intensity of his lyrics. After a thorough listen, it’s hard not to come to the conclusion that Bacon is as much a poet as he is a musician. He has a knack for subtle alliteration, concrete metaphors, and allusive imagery. The phoenix, the empty tomb and the sparrow are the sorts of archetypes Bacon gathers from the past to reuse for his own purposes. The extended metaphor even makes an appearance in “Sweet Melody,” where “major” and “minor” chords work out their differences in both the lyrics and the music.

The final track, “Desperate,” a song about homeless youth, gives Bacon a chance to showcase not only his talent, but also his passion. The bursting chorus, with its layered vocals and rhythms, makes it hard to believe that this recording is the work of one man.

It’s surprising that Bacon’s CD was composed as part of February Album Writing Month, with all 10 songs being written in a single month. It makes one wonder what Bacon could come up with in two. (Self-released)

www.stevenbacon.com

-Rosaleen Torrey

Kid:Nap:Kin — Touring The Riot Scene
Recorded by Mike Poorman at Strangeway Studios in Burlington, VT
Mastered by Kim Dumas at West West Side Mastering
Produced by Mike Poorman and Kid:Nap:Kin

As the title suggests, Kid:Nap:Kin’s debut EP is meant to function as an excursion through the world of rioting. With a steady rise of energy on the EP, as well as YouTube videos featuring random war footage of cars and buildings blowing up, it’s evident that the three members of Kid:Nap:Kin are interested in dynamic explosiveness — and this interest translates effectively to their music.

Touring The Riot Scene features enough yelling and screaming to actually emulate a real riot. Singer and guitarist Dan Ellis has an obvious passion for his music and his vocal style fervently defines the sound of Kid:Nap:Kin. Ellis tosses his vocals around like an abused rag doll; one minute he lightly hums over a smooth, clean chord, and the next, he is screaming bloody murder along with backup vocalist and drummer Patrick Hanlin.

Sometimes gentle, Touring The Riot Scene contains transient moments of soothing melodies (“Lovely Day for a Parade”), but these moments are interrupted with bloodcurdling screams. Ellis’s voice is strong at some points, yet sloppy at others. During the beginning of “Exposition,” Ellis elegantly weaves his way through a pleasant and jazzy rhythm. Then, out of nowhere, the band launches into a boisterous cadence, and it seems like a crazed circus clown has taken over vocal duties. While not for everyone, the music is performed with virtuosity and talent.
It’s obvious that Kid:Nap:Kin have a unique style. Combining elements of blues-based rock, nu metal, and progressive rock, this EP offers an energetic, albeit volatile, listening experience. It’s unclear exactly what their message is or where they are headed, but one thing is certain: Kid:Nap:Kin will not go quietly. (Sidehatch)

www.myspace.com/kidnapkin

-Mike Aceto

Electric Laser People — Straight Talk on Raising Kids
Recorded by Electric Laser People
Mastered by Carl Rowatti at Trutone Mastering, New York City, NY

Nowadays, people expect to hear rock music down near Central Square in Cambridge due to the presence of MIT graduates Electric Laser People. Formerly known as The Product™, this band delivers the goods with its latest 13-track release — from the mob mentality of “It Ain’t Over” to the comically slick “Disco 3000,” set in a future where scientists, with nothing important left to do, attempt to make the entire human race beautiful.

Of course, beauty is not a pre-requisite for the lads (and now, lass) of Electric Laser People, considering they are rather taken with first base regardless of looks (“The Makeout Song”), as well as subsequent bases; “TYCO,” an MIT acronym for “Take Your Clothes Off,” features lead vocalist Dan Paluska‘s lust-filled wails. “The Makeout Song” would be an excellent ice-breaker at any party, complete with Paluska’s amusing lyrics insisting that not only does he want to make out with you, but he also wants to do everything that rhymes with it, including but not limited to “get steak take-out,” have an “acne breakout,” and “filet lake trout.”

A man of boundless energy, Paluska stretches out his voice, filling each song to the brim with his eccentric personality and a range of old-school rap, garage-rock scat and disco voiceovers. He even emulates the emphatic vocals of Dave Macini (circa Lot Six) in “Yer So Confident.” Overall, Straight Talk on Raising Kids is an infectious record — from the power-soaked “Machine” to the directive “Move Right, Move Left,” Electric Laser People definitely know how to rock. (Self-released)

www.electriclaserpeople.com

-C.D. Di Guardia

The Eclectic Collective — The Flux
Produced by Michael Poorman and The Eclectic Collective
Recorded at Strangeways Recording in Burlington, VT
Mastered by Kim Rosen at West west Side Mastering

The Eclectic Collective continues their passage through a multitude of musical genres with their appropriately titled new album, The Flux. It may only be their second release, but fear not — there is nothing sophomoric about the culturally bold and sophisticated fusion of this 10-piece hip-hop/soul/funk/indie-rock group. Furthermore, the members of The Eclectic Collective attribute their album’s diversity to the cultural blending of each member’s individual ethnicity and self-awareness. Imagine a mix of 311 and Herbie Hancock; and yet, spouting a few similar sounding musicians hardly encapsulates the entirety of The Eclectic Collective’s intricate hierarchy of cultural awareness and diversity.

Drummer Sheel Dave comments on The Flux, saying it “has given us the opportunity to experience different worlds and bring [our] ‘sides’ together while writing and performing and living everyday life.” Lyrically, The Eclectic Collective demonstrates their socially conscious sensibilities with songs such as “Changes,” further adding to a truly unique blend of music: “I walk around here looking for answers / Cursed with a life similar to cancer / While ladies move their bodies like belly dancers / What they know about soul? / Making the dumb feel bold, hot feel cold / In the intelligent effortless, more or less / Don’t deny and lie, look into these eyes.”

If The Eclectic Collective’s purpose is to experiment without locking themselves into one particular genre, they definitely accomplish their goal. And yet, The Flux pushes the band into the rock realm, succeeding in the enhancement of their individual breed of music with a more cohesive sound. (Self-released)

www.theeclecticcollective.com

-Katherine Bruce

Palace In Thunderland — Into The Maelstrom
Recorded and mixed at Woolly Mammoth Sound
Engineered, mixed and mastered by Justin Pizzoferrato

Palace In Thunderland are rock ‘n’ roll destroyers. They seek to punish, plunder and pillage everything in their path. They will not take prisoners. Their newest EP, Into The Maelstrom, is a grinding collection of metal, complete with driving power chord riffs, harmonized lead hooks and a listless vocalist aiming to line up his minions for battle.

PIT describe themselves as “a group of guys that know how to write a good hook and skullfuck it straight into the listener’s cerebellum where it can fester into a permanent psychedelic infection.” Truth be told, metal fans will enjoy the aggressive attitude and raw energy on Into The Maelstrom.

PIT don’t play a particularly fast style of metal. Much like Black Sabbath, King Crimson or even Alice in Chains, PIT achieve their heaviness through slow and churning riffage. On opener “Heir To The King Of Everything,” listeners are immediately lambasted with a searing, harmonized lead guitar lick and driven deep into a whirlwind of fuzz. In fact, the fuzzy rhythm guitars seem to take precedent in all of the songs, acting as the backbone of the band’s sound.

Despite the EP only having four songs, it’s around 28 minutes in length — thanks in part to epic songwriting. “Sonic Throne” showcases some serious shredding and features bass and drum solos late in the song. In addition to killer riffage, “Bastard of Puppets” features pleasingly over-the-top lyrics that perfectly fit PIT: “Tighten up your threads / Watch you start to choke / You look around your life / There’s no remains of me ... the hand of destiny.”

Take the advice of PIT and prepare for the skullfucking. Into The Maelstrom is about to give it to you. (Gallipoli Records)

www.palaceinthunderland.com

-Mike Aceto

Frank Smith — Heavy Handed Peace and Love
Recorded at Mad Oak, Q Division and 202 Lions studios
Engineered by Scott Toomey, Rob Lorr, Joe Tooley & Jon Lammi
Mastered by Nick Zampiello at New Alliance East

Situated between the leisurely realms of alt-rock, Americana and country, you’ll find the rhythmic sounds of Frank Smith. The group’s fourth release, Heavy Handed Peace and Love, is an exercise in the art of simplicity, with American deadpan lyrics and sounds that inspire the listener to take a closer look. Perhaps Frank Smith’s most effective tool is their unusual use of sound and instrumentation — imagine banjos and slide guitars in the place of distortion and reverb, and you’ll have a taste of the band’s deft ability to successfully divert from the norm.

The album opens with the self-deprecating tune “Liar and a Thief.” The song’s scratchy intro culminates into an unexpected and twangy turn. Frontman Aaron Sinclair (formerly the drummer for Lot Six) showcases a voice that is both soothing and provocative — a feat that leaves the listener on edge in the best of ways. The harmonica and Bob Dylan-esque nature of the song allude to the folk artists of the past, while the electronic undertones acknowledge the group’s modernity.

A slide guitar immediately sets the tone for the country-influenced third track, “Put Some Curtains Up.” The Texas two-step rhythm and mesmerizing lyrics will have even the most adamant of country music haters tapping their toes. And then, the album quickly takes a turn. Rather than dive further into the country genre, the next track, “Home is Where You Leave It,” jumps back in the direction of alt-rock.

If this album does one thing most effectively, it showcases how masterfully the group glides between genres. Making the listener ache for the next song to begin while wishing the current song would never end, Frank Smith’s Heavy Handed Peace and Love delivers a piece of greatness. (Ye Olde Records)

www.franksmithmusic.com

-Chris McGrady

The Vershok — Valhalla
Produced by The Vershok and Mike Quinn
Engineered, mixed, mastered and recorded by Mike Quinn at the Moontower in Cambridge, MA

A primal scream, backed by the sharp, up-tempo snap of drums, may not be the tool most bands use to draw in a listener, but The Vershok are not most bands. In the case of their newest release, Valhalla, the opening scream is less representative of the music itself than it is of the record’s constant shock to the system. Valhalla definitely contains the group’s trademark musical elements: powerful, gritty vocals over piercing guitars and upbeat drums are incorporated with a soulful quality to the music, much like the psychedelic rock of the ‘60s and ‘70s.

“Valhalla,” the standout opening track, embodies every positive quality of the EP. After the aforementioned scream and a series of short, controlled outbursts, the song breaks into a long stream of aggressive, blues-inspired guitar. Just when the listener is finally hypnotized by the steady, intense rhythm, the bottom drops out of the song temporarily, only to pick up right where it left off. “Valhalla” is a great example of the group’s ability to lull the listener into a comfort zone, and then smash that zone baseball bat-style. “Loki’s Sons,” the comparatively drawn-out bookend to the album, is another notable track and shares many of the same fine qualities of “Valhalla.” Living up to its namesake, the Norse god of mischief, “Loki’s Sons” has the near inability to remain at one tempo, which, luckily, makes it more engaging than distracting.

Unfortunately, the surprises of the record cease on the track “Sisters in Calm.” The entire song remains upbeat and changes very little in speed or style. The heavy emotion heard in the other tracks is noticeably absent and sorely missed as the efforts to separate the chorus from the rest of the song are attempted through the use of more drums and louder yelling. The whole track blurs together and fails to leave a lasting impression.
If The Vershok’s previous releases strongly hint at the group’s influences, Valhalla marks their point of departure. It showcases the group’s versatility and evolution, as well as their successful melding of different influences and genres, and ability to create a sound that is both surprising and raw. (Self-released)

www.thevershok.com

-Elisabeth Gorra