CD OF THE MONTH

The Dirty Projectors - Rise Above

Produced by Chris Taylor

Mastered by Paul Gold

It must have sucked to be Dave Longstreth's teacher in elementary school. Judging from the music he creates with The Dirty Projectors, Little Davey must have been incapable of drawing a straight line from Point A to Point B without diverting in 12 different directions along the way. Longstreth leans heavily on the formally artistic side of things here, creating music that constantly pushes structural boundaries. With his latest album, he manages to pull this off not only within the confines of traditional rock instrumentation, but also through a unique source of inspiration.

Rise Above is certainly intriguing in concept - a re-imagining of Black Flag's 1981 album Damaged completely from memory. Fans of the original album looking for some sort of tribute, however, will be sorely disappointed, as the only similarities between the two are the lyrics. Although the band flexes its rock muscles a few times here and there, The Dirty Projectors' take on these songs is challenging and doesn't lend itself well to passive listens.

Against a backdrop of strange time signatures and relentless tempo changes, Longstreth's voice alternates between a vibrating falsetto and a pained scream. Amber Coffman and Susanna Waiche's harmonies echo most of his words, coating the mix like honey. On certain tracks, like the epic "Thirsty and Miserable" and the bipolar "Room 13," things erupt into a cloud of blown out guitar. But, like most passages on the album, the mood is a fleeting one, quickly replaced with a soft bed of flute or creaky sample of strings.

The rhythm section remains surprisingly subdued given the complexity of the music. This is undoubtedly a conscious decision, as it's the plucked guitar and intertwined voices that truly shine here, bringing a beauty and complexity to the album's lyrics that even Henry Rollins couldn't have expected. The context behind "understand we're fighting a war we can't win" from "Police Story" was obviously different when it was written 25 years ago. It perfectly illustrates the power of even the simplest words.

Longstreth continues to create music that exists in its own genre, even when the source material isn't his own. Though it's more concise than his past releases - perhaps due to his decision to pare down the size of his group, or even his choice to use a revered punk album as his source - Rise Above still sounds like nothing else out there and packs more creativity than most albums released so far this year.

(Dead Oceans)

www.myspace.com/dirtyprojectors

-Brett Cromwell

Alec K. Redfearn and The Eyesores - The Blind Spot

Produced by Alec K. Redfearn and Bob Pemberton

Engineered by Rob Pemberton and John Jacobson

Mixed By Rob Pemberton

Mastered by Brad Blackwood at Euphonic Mastering

Providence's eccentric accordion player Alec K. Redfearn has been on the scene for years and years, always serving as sort of a fringe character in the so-called "punk cabaret" set that's cavorted across the Northeast with free reign in the wake of the Dresden Dolls' strange rise to fame. He's played so many artsy dress-up shows and gypsy-circus jigs with all the local players that he's been sort of stagnating in a kind of rundown showtunes-playing hobo persona, which is presumably one that's tough to shake.

That's why it's refreshing and reassuring that his latest release, The Blind Spot, turns inward from the showy frills and trills of that scene, giving us a careful song cycle that's more Terry Riley than Danny Elfman or Kurt Weill. The album leads off with a two-minute mouth harp solo called "The Perforated Veil" and it's a great induction into the world that Redfearn has built here. The harp is throaty, deep and rich and bounces from speaker to speaker amid clicks, ticks and jagged radio dial sweeps. Metallic and breathy at the same time, it begins to hint at both Redfearn's gallery of weary-eyed addicts and lost souls that inhabit this album and the focused sense of purpose with which he's approached its composition.

The songs on The Blind Spot weave through each other, sharing melodies and lyrics and getting us from one point to the other through dreamy logic. "Blue on White" and "Radiator Hymn" skip through deliberately paced, airy melodies that always manage to slither into new territory. Phrases repeat over gradual shifts in instrumentation, from lush string arrangements and bellowing accordion to washy, tick-tocking percussion. Redfearn and vocalist Ellen Santaniello combine for a fitting mixture of Old World religious searching and Lynchian groundlessness.

"River of Glass" devolves into a rush of static and blown out speaker cones while "The Flesh of the Drum" whispers a patient lullaby to depraved old ghost with "whitened lips" and "swollen tongue." The piece culminates with a Xenakis sort of drone of throbbing drum, shattered loops and squiggly tape manipulation. As imagistic a work of art this album is, it would be presumptious to ascribe any concrete narrative to the thing, but listeners who allow Redfearn's patience, care and faith to guide them for a bit with this record could find something eerily familiar in it.

(Cuneiform Records)

www.aleckredfearn.com

-Matt Parish

Tigercity - Pretend Not to Love

Produced by Al Carlson

Tigercity isn't afraid to admit that they're a pop band. The mission of Pretend Not to Love is clear: unapologetic delivery of perfect, smooth pop songs (with an emphasis on smooth). Their slick sound is full of remarkable rhythmic precision, with synth and percussion propelling each track forward. Love successfully meshes elements of '80s pop and yacht rock with funky '70s disco guitar licks, managing to bring the listener to a new plane of pop music experience - one that makes dumbed-down radio bands like Maroon 5 pale in comparison.

"Powerstripe" is quite possibly the smoothest opener to any album, ever. With shimmering synths and disco-EQ'd guitar, the track draws the listener into a world of infectious pop melodies and danceable grooves. Continuing to nod at their influences, lead singer Bill Gillam's flawless falsetto can't help but evoke the master of pop himself: Prince. It's pretty incredible just how on he is, too.

The impressive rhythmic opening of "Are You Sensation," punctuated by band founder Joel Ford's grooving bass line, is a perfect example of Tigercity's unique brand of confident pop rock. Impressive drum machine work abounds. Consequently, the groove is so infectious that the song could literally have its own dance (which would probably be similar to the electric slide). On this release, the group pays homage to a number of influences (Talking Heads, Steely Dan, Hall & Oates, and Chic, to name a few), yet manages to demonstrate a level of control and creativity that sets them apart from their influences.

As their mission statement on their MySpace page proudly proclaims, "Tigercity is a POP BAND." And though the statements seems to read on in jest ("We love POP MUSIC. This is why we are getting SMOOTHER AND SMOOTHER. Maybe, one day, our smoothness will allow us to live on AN ISLAND. Maybe we will call it TIGERCITY. It will be the smoothest of all islands...."), Tigercity's smoothness is no joke. This disclaimer answers a few questions fans of their debut might have upon hearing the new release. While their first EP showed promises of a future Talking Heads or Joy Division, Tigercity seem to have eschewed any heady, artsy aspirations in exchange for pure pop pleasure. A pretty accurate summation of the lyrical content on Love could be boiled down to: "I want to sleep with you." Still, given the record's unbelievably consistent quality and the perfect pop bliss it exudes, it's really difficult to hold anything against them. (Self-released)

www.myspace.com/tigercity

-Melina Moore

Whistle Jacket - Stop, Start, Skip & Jump

Mixed by Dan Mickus

Mastered by Matt Jugenheimer at Bank Row Recording in Greenfield, MA

Somewhere in between the contradictory abrasive melodiousness of the punk and surfer rock-influenced Pixies and the cheerful brand of pop-rock of Tilly and the Wall lies the strange but amiable sound of Whistle Jacket. On their third full-length release, Stop, Start, Skip, & Jump, Whistle Jacket manages to embody a rare kind of raw, carefree jocularity. The nine-track album clocks in at just under 25 minutes but the smile-inducing effect of its quirky, cheerful, simplicity can last all day.

The seventh track, "Hey Kid," is a perfect example of Whistle Jacket at their sweetest. Boasting innocent, almost saccharine lyrics about the age-old trial of asserting oneself in a world where so much importance is placed on fitting in. Though the listener might initially sneer the track's advice ("You're not like them / That's what your mother said / So, don't pretend / Just be yourself instead"), it's hard to be cynical while listening to Whistle Jacket, particularly on this track. The lazy, sweet guitar, the repetitive keyboard chords and the intentionally staticky background vocals have an undeniable charm and lines like "Hey kid, you're doing A-OK" can't help but put a little lightness in your step.

Though its quirkiness might make it a bit of an acquired taste, Stop, Start, Skip & Jump is a successful third release from these whimsical ambassadors of good cheer. If you're looking for a lift, pick up this album to listen to while you start your day; it'll be hard to leave for work without cracking a smile. (Self-released)

www.whistle-jacket.com

-Melina Moore

Travels - Travels

Recorded and Mixed by Travels

Mastered by Nick Zampiello at New Alliance East

Mona Elliott and Anar Badalov, the indie-duo from Somerville called Travels, didn't have to go far to prove that simple rhythms and airy vocals are still capable of taking listeners to a new place. Their self-titled debut effort is beautifully paradoxical: full-hearted yet half-hearted, a cautious joyride where songs teeter between folk-lullaby and melancholy alt-rock, vaguely reminiscent of a lower-fi Pinback. The album feels very much like its name - a wandering state in which both artist and listener drift, immersed in a limbo of sound.

Travels opens with the warm and welcoming "Golden Sun," a song that blends mild acoustic rhythms with just enough guitar distortion to separate the band from others clumped in the indie lo-fi genre. The song is a fresh start: quite literally the sunrise of the album, creating a sound so pleasant it seems to breath in the scent of just-cut grass on a Sunday afternoon.

"Golden Sun" is perhaps the only song on the album that is entirely warm. The rest of the album maintains the rhythmic, even catchy quality of its opening and is nicely enhanced by sprinklings of airy whisps of Elliot's voice. Yet, the songs seem to be hiding something. Badalov's unrefined vocals lightly conceal an undercurrent of tension, both musically and lyrically. On the second track, entitled "The Smell of Kerosene," the duo coos, "It's the sweater you always wore since you were 13 / How does it feel to throw it away / Smile like a kid and finally mean it?" While each song may consistently evoke a feeling between wake and sleep (particularly true with track four, "People Sleep"), the album certainly does not lack structure. Though the listener may need to pay close attention, the shifts are there. The album climaxes around track seven, "Love I Could Not Afford": the background becomes distinctly charged and a tad harsh, picking up tempo with electronic drum beats and electric guitar. Following this is "Friends in Quotes," perhaps the gem of Travels, as it feels more finished than the rest, marking a point in which the structure of the album has congealed.

In the last few songs, the tempo slows again and the listener is ready to retire, yet with a bit of uneasiness. "Olivia Hurt," the final track, does not completely retrace its steps to the beginning; it is a far cry from the jovial tone of "Golden Sun." There is harshness in Badalov's voice - a certain weariness. But it works. Rather than coming off as contrived, Travels ends their journey open-endedly with the sound of everyday troubles - a lullaby that is soothing because it is universal. (Self-released)

www.myspace.com/travels

-Taylor Bratches

Aeroplane, 1929 - The Holy Ghost

Recorded at the Goldman Residence

Mixed by Jacob Eli Goldman & Aeroplane, 1929

Aeroplane, 1929's name is one of conscious nostalgia, but their EP The Holy Ghost toys with the listener's ears, constantly shifting in style and tone. The group's subtle use of traditional country instrumentation (heavily leaning on acoustic and slide guitar work over train beat drums and steady, thick bass) with indie-pop touches (glockenspiel here, horns there) results in a wonderful take on the acoustic indie-rock alt-country genre, defying easy classification.

"Locomotives" opens the EP, evoking Iron and Wine before gradually growing into a rollicking Neutral Milk Hotel frenzy. Things are held up a bit with the traditionally countrified, Webb Brothers-esque ballad "Penelope." But the album unexpectedly swerves into Koufax sort of pop territory with "Flag & Crucifix," showing the band at its shiniest. And the titular "The Holy Ghost" walks the line between rambling alt-country and sunny pop melodies.

Even further from expectations, "Scarlet Fever" sounds like the singer from Hot Hot Heat fronting a jaunting country-rock band. The band hits its stride on this track, with clear production and yearning melodies. "Hounds at Heels" delves into a slightly noisier tone and results in a Crazy Horse intro and outro to an otherwise revved up Neil Young-style tune.

From the simple opening tones to the surprising Brian Wilson harmonies on the final track, The Holy Ghost takes you on a breakneck six-song journey with seasoned musicians and a diverse set of musical influences. The glut of potential hinted at throughout these songs makes one wonder what a full-length would sound like. Well played and well produced, this record is definitely one to pick up. (Topshelf Records)

www.aeroplane1929.com

-John Drake

7L and Esoteric - Ego Clapper

Recorded by Esoteric at the Pterolab in Boston, MA

Ego Clapper opens with some grim news: nefarious aliens and vicious monsters are attacking the city! Luckily enough, DJ 7L and MC Esoteric are here to defend the nation, or at least the Boston Garden. This highly anticipated sequel to A New Dope opens not with a time of galactic civil war, but stop-motion monsters assaulting the listener through old-timey radio broadcasts. The program is punctuated by 7L and Esoteric's signature sound: strong yet impossibly weird beats, Boston-centric samples and enough pop culture references to make the creators of Family Guy blush with pride. Appearances are made by everyone from Donny Darko to Johnny Most. A young Luke Skywalker even gets dragged in, bemoaning his lack of commlink reception.

The duo pulls no punches; their lyrics run from silly to straight-up aggressive passages in which the MC keeps a Mac-10 in his dresser. "Warlords" is one of the group's fiercest tracks, with guest vocalists Celph Titled, Trademarc and Karma creating a multi-pronged attack.

7L's arrangements are flawless and Esoteric keeps up with the flavor of each track. "Watch the Pro" is one such cut, where tense strings build up over a beat, while the vocals grow more frenzied with each passing verse. The song ends in a well-executed breakdown where the entire piece fractures off into well-segmented sound. 7L and Esoteric are able to create these chaotic arrangements that speedily rotate around a strong center. The thought and care that goes into each arrangement is nothing short of awe-inspiring. The record has a particularly high replay value, thanks to all the detailed references and production tweaks. Best enjoyed through headphones, 7L & Esoteric prove once again that it's worth the wait. (Fly Casual)

www.7l-esoteric.com

-C.D. Di Guardia

Carry The Zero - Hey Hey Hey

Produced, recorded and mixed by Roger Lavllee at Tremolo Lounge in West Boylston, MA

Voted "Best Alternative Act" by readers of Worcester Magazine, Carry The Zero pinpoints its distinctive voice with the release of Hey Hey Hey. Capitalizing on the unique dynamic of their three-piece line-up, the band creates energetic classic rock with a retro flair. Comprised of Eddie "Keys" Paquette, Bill Gaudette, and Matt Erhartic, the band demonstrates a willingness to explore without the detrimental effects of unfocused experimentation.

Opening with the paradoxically named "Title Track," CTZ launches into a tremendous buildup, followed by the wails of wrenching guitars rising over thundering toms. Giving way to an infectious chorus, the equally memorable verses prepare the ear for the tightly crafted songwriting to come. From the catchy "Rev Em' Up" to the country roots inspired "Start A Fire" - which dabbles in gospel territory while maintaining a classic indie-rock twang - the men of Carry the Zero have learned how to rock with a tighter, more cohesive sound than ever before.

They have also included a cover of "Midnight Confessions" by the Grass Roots, politically charged anthems like "Hell Like A Hurricane," and the Shelia Divine-esque confessional "Bandages & Bulletwounds." Their blend of melody and rhythm forms the perfect framework for Erhartic's rock-star vocals. It all comes together in an excellent conflation of intensity and accuracy, successfully navigating the pitfalls of overindulgent, directionless rock epics. Ultimately, Hey Hey Hey plays like an updated version of classic rock with its vintage swagger and nod to the good old days. (Self-released)

www.myspace.com/ctzrock

-Jess Baggia

Baker - Bike Ride

Recorded by Justin Pizzoferrato at Verdant Studios in Athens, VT

Mixed by Brian McTear at Miner Street Recordings in Philadelphia, PA

Mastered by Paul Hammond and Paul Sinclair at Fat City Studios in Blue Bell, PA

Anyone who feels they have Baker written off as a cutesy, shallow band is in for an awakening of sorts. The allure is readily apparent a scant 40 seconds into the first song, "Gotta Get Out of This City." Baker kicks in and delivers with a juggernaut of a record with Bike Ride, their newest release.

The band has an odd, slightly whimsical feel, which at times sounds like industrial machinery, and at others like a garden full of flowers growing at high speed. The flowers come in the form of the band's superior melodic feel; Baker has an uncanny knack for hook and harmony. This, coupled with the band's unrelenting knack for rhythm and bubbly personality, creates a record that relies more on charms than muscle.

Songs such as "Autumn," "Lighthouse" and "All the Time" lead the way on this record with a sort of triumphant strut, captained by Steve Lord's swaggering beats or Nicole Boudreau's slinky keyboard work. "Autumn" is more upbeat than the seasonal title may infer, suggesting maybe it's okay to stay upbeat even when the leaves are turning and the jackets come out of the closet. "Lighthouse" is perhaps one of the more fanciful trips of whimsy on the record with its arpeggiated glockenspiel and guitar chords that revolve around a central rhythmic structure. For all its off-kilter sentiment, this track is one of the most oddly moving on the record, from the odd synth opening to the guitar heroics of the final solo.

"All the Time" clocks in at a perfect 3:00, and is perhaps the most representative of the band's characteristically poppy sound. Boudreau's Wurlitzer sneaks the track through a crack in the door before busting the whole thing open for the entire band. Gentle electric piano chords find themselves punctuated by a rhythmic "bam-bam" attack, ushering in a slide into the chorus. The records greatest asset is its dynamic unpredictability. But while the members of Baker seem to have many tricks up their sleeves, it's the group's collective songwriting talent that remains impressively intact.

(Top Shelf Records)

www.myspace.com/bakeronmyspace

-C.D. Di Guardia

Ezra Furman And The Harpoons - Banging Down The Doors

Recorded and mixed at Engine Studios in Chicago, IL

Ezra Furman and the Harpoons' new album Banging Down The Doors is going to end up on movie soundtracks. From the first word out of Furman's mouth, it's clear that climactic, underdog triumph is packed through and through. "Hello," he says, with what seems like every ounce of defiance and command he can muster from such an innately cheerful voice. Furhman's rise to prominence plays like a starry-eyed teen movie, a little "That Thing You Do," a little "Dead Poets Society" and a little "Real Genius," with all the leads played by the Violent Femmes.

The opening track, "Mother's Day," is a perfect opener to an album constantly obsessed with the anxiety of growing up. Replete with vocal character, Furman shouts and spits with tenacity about "a whore [he] knew in Chicago." The coming-of-age image is complete when he proclaims, "We've come a long way, in a sense / We've lost a lot of innocence" over well-placed rising background vocals.

However, tracks like "God is a Middle-Aged-Woman" and "Hotel Room in Casablanca" prove that the band is capable of an admirable, soulful depth that delves well beyond any version of teen angst.

In "I Wanna Be Ignored," Furman pleads, "I want you to just enjoy the music and not think about what the lyrics mean." This comes right after the song, "I Wanna Be A Sheep," an anthem of love-induced resignation that could have been penned by Jonathon Richmond. The irony here is that the album is all about Furman's refreshingly unique persona and his intelligent, playful lyricism. As much as hepleads that the listener should ignore his message, the lyrics are actually the centerpiece of the record. "This is only our first album," he says in an interlude later in the record. "I want you to love me!"

The Harpoons are walking in well-worn shoes, musically, but provide a sufficiently sparse backing band for Furman's charisma to breathe. Admittedly an ensemble of college students, the band shows considerable restraint. While there are a couple dips in the program ("The Little Red-Haired Girl," for instance), Furman's personality shines through with enjoyable unpredictability. Particularly rewarding with repeated listens, Banging Down The Doors shows a talented, albeit anxious, artist at the beginning of a hopefully long and crazy career. (Minty Fresh)

www.myspace.com/ezrafurman

-Skyler Smith

Vagiant - Public Display Of Infection

Recorded, mixed, and mastered at Galaxy Park Studios in Allston by Richard Marr

Vagiant's debut release, Public Display Of Infection, is beaming with punk-rock attitude and catchy buzzing guitar hooks. As the album begins with "Cocktease," we're introduced to the aggressive and edgy vocals of frontwoman Hellion, whose vocals are remiscent of Courtney Love. The band sports the same kind of "fuck you" attitude that Love displayed her entire career. Refreshing in its vintage, no-bullshit tone, the record bears a "don't worry, just party" attitude best exemplified by epic sing-alongs like "Fuck The Kells" and "Angel Of The Morning."

Compositionally, Vagiant relies heavily on basic three-chord jams with lyrics about how little of a shit the band could really give about anything outside of drinking, sex, and a mangled sense of honor. The most exciting aspect of Vagiant's sound is their deliberateness and sense of clarity. They know what they want and they aren't afraid to blurt it out loud and clear. Take "Seven," for example. With sincere conviction, Hellion belts out: "I'm gonna protect you 'til I die / I won't let nobody hurt you again / I'll fuck up your next girlfriend if she breaks your heart." As a closer, Vagiant offers a reprise of "Fuck The Kells" with some amazing guitar shredding, which actually spices up the song quite nicely.

Despite the band's rough edges, the record's production is actually on the slick side. Vagiant's sound would be much better paired with a gritty low-fi recording - similar to the way The Exploding Hearts recorded Guitar Romantic. Aside from this aesthetic issue, though, Vagiant have something special going. With their tenacious and scrappy attitude, Vagiant will continue to cast their perverted punk-rock net throughout the Northeast. (Self-released)

www.myspace.com/vagiantboston

-Michael Aceto

Eli "Paperboy" Reed and the True Loves - The Satisfier Single

Recorded at Q Division Studios in Somerville, MA

Eli "Paperboy" Reed has been hailed as everything from the Brookline reincarnation of James Brown to the local Elvis Presley. These are tight-fitting yet large pants to fill and in between a hectic year of performing and touring, Reed has somehow found time to release some new music for the Boston people to enjoy while he's off doing festivals and whatever else it is that a local wunderkind must do to stay afloat.

Reed's new release gains points in some areas and loses a few in others. Some of the dirtiness of his earlier releases has been polished away in favor of a cleaner, more palatable sound. Consequently, the recordings lack some of the charming lo-fi qualities of his previous works. That said, Reed has not changed his own performance one bit - both songs on this single are full of the requisite amount of soul-screams and unlikely notes that he somehow always manages to hit without fail. Also in full swing are the True Loves, with multiple guitars, a full-on horn section and the occasional organ. The Loves stay true with some nice Tower of Power-style arrangements in the watershed last stand of "It's Easier," where Reed wails a world of heartache. This is our first look at a more mature Reed, who is becoming more of a Paper-"Man" than the fresh-faced young Paperboy.

The boy's still in there, however, as evidenced by Reed's good-lovin' "The Satisfier," a hep jump-around of a track that features his signature chicken-lickin' guitar work and swaggering pomp of an awkward kid convinced he's the best lover around that marks many works of soul and rhythm. Reed's soul is still intact, though, even if it's been tidied up and matured a bit. Hopefully, Reed finds the magical formula that will allow him to mature as an artist but still retain that throwback appeal that has been making his audiences and listeners feel part of something special. (Q Division Records)

www.elipaperboyreed.com

-C.D. Di Guardia

I - Get to Know Your Own Fluids

Produced, recorded, and mastered by Aliehn at Sling Slang

Once interstellar space travel is perfected to the point where it is used for commercial enterprise, maybe we'll get to visit whatever distant planet this bizarre record was beamed over from. The eerie and otherworldly sounds that permeate this record start at the onset and do not cease until the disc has stopped spinning. The big question is this: is I's sound palatable upon the currently accessible planet? The answer is sort of unclear.

The record seems as thought out and planned as an actual space shuttle launch, with not a mechanism out of place and a carefully monitered atmosphere. It's hard, however, not to find a small bit of contrivance amongst the weird intervals and the reverb-soaked vocals.

I sounds like some weird mix between Radiohead, the Killers and Queensryche, if they formed into a super-band that existed in the dystopian future. Sometimes machinelike, sometimes sad and nomadic, I functions on its own plane of popular music. The sounds are proggy and melodic. Each member of the band possesses a strong ability on his instrument. But while the performances are flawless, there seems to be a flavor of artifice that lightly cheapens each song.

The band makes heavy use of odd intervals like flat nines and sharp sixes. Whereas many bands can use these sounds in chords and sound fine, I uses them extensively in their melodic content, sliding the leads around uncomfortably over a flimsy set of stage props in the form of hand-drums and tribal female "Nyaaah-nyeeeahh" vocals.

I's sound and production is spot on, and the band proves itself more than capable of acting as vehicle for a really new and exciting musical message. When the band figures out just what that message is, they'll be golden. (Sling Slang Records)

www.myspace.com/thebanditheband

-C.D. Di Guardia

The David Zoffer Differential - Release

Produced by David Zoffer

Recorded, edited, and mixed by Monte McGuire

Mastered by Johnathan Wyner

Dave Zoffer's embrace of varying musical styles is boundless. Jazz, fusion, reggae, rock, latin, funk and progressive pop are found all over his latest full-length, Release. Zoffer has performed and recorded with legends of differing backgrounds such as Wynton Marsalis, Harry Connick Jr and Bruce Hornsby, and their influence on Zoffer provides clues to the sound of this album.

The opening track, "Safety Prayer," embodies this amalgam of style, merging jazz and fusion sensibilities with catchy pop melodies. The song succeeds at keeping the listener on his toes with the odd 7/8 time signature but also provides a fairly infectious chorus hook.

The album's most soulful track is "Dreamin' All The Time." Rajdulari, who shares vocal duties with Zoffer throughout the record, delivers a smooth yet poignant performance as he mourns, "I'm afraid to start singing the blues today / 'Cause I might not be able to stop by tonight."

The duel lyrics between Zoffer and Rajdulari create an interesting, conversational effect through the record. At their most theatrical, the vocalists dually consider why they have fallen out of love with each other in the reggae-infused rock track, "Sure Feels Like We Have." While ostentatious, the moment is not without its tenderness.

While the record's inventive arrangements and quirky content are often refreshing, the lyrics often feel wordy and forced. Without ample breathing room, it's hard to appreciate the accomplished musicianship often obscured beneath the service of long-winded lyrical passages. Nonetheless, Zoffer's Release is an interesting study in genre fusing and is certainly worthwhile at the very least for its meticulous attention to detail.(Zofco Records)

www.davidzoffer.com

-Michael Oliveri

Gilded Splinters - January

Produced by JP Bowerstock

Engineered by Mark Dann

Mastered by Mark Dann

The Gilded Splinters' debut release resounds with contemporary Americana sounds, tinged with classic rock stylings. Its catchy hooks laced with glimmering production by JP Bowersock (The Strokes, Ryan Adams) make the record easily digestible and definitively inoffensive. Comparisons to alternative pop act Train (remember that irritating Drops of Jupiter song from the '90s?) are, unfortunately, inevitable, as January possesses a similar sense of smoothed over pop grit and a vocalist with a nearly identical affect. Frontman Josh Buckley gives the occasional Mick Jagger growl during his musings over tortured women and grief-stricken lives to give the songs their strongest feelings of authenticity.

Each track employs swooping melodies accompanied by tinny guitar twang and straight-ahead pop rock drum beats. Like many acts in this radio-friendly genre, Buckley's vocals maintain a palatable composure while hinting at deep, emotional strife below the surface. But just a hint. In general, Buckley sticks to a safer sound that remains family-friendly enough for Grammy performances and teen soap operas.

The standout single, "Lisa Jack," serves as a solid album opener with its raw, electric blues shuffle. The piano work on "Show Me the Green" flirts with rockabilly antics, but seems unconfident, straying too far from the band's comfortable alt-country niche.

After the first four tracks, however, the album starts to fade into the same repetitive song structuring and predictable changes. The Gilded Splinters' songwriting is competent and shows fleeting moments of potential; overall, however, the band doesn't take nearly enough risks to hold the listener's attention for 50 minutes. Seven out of the 10 songs here clock in at over four and half minutes and all seven of those could be tightened up considerably. (Self-released)

www.thegildedsplinters.com

Nathalie Levey

A Wish for Fire - Skeleton Key

Recorded at New Alliance Studios, Cambridge, MA

Recorded and Mixed by Ethan Dussault

Mastered by Michael Sepavich

As far as gothic hard rock albums go, A Wish for Fire's most recent EP, Skeleton Key, is an extremely solid effort. The five songs are cohesive, melodramatic, and prove to be well-written compositions. Like most of Skeleton Key, the opener "To A Fault," is an ecstatic song featuring powerful drumming, agitated guitars and disenchanted dudes. Songs like "If Only" and "Not Today" evoke similar emotions and structural elements with racing drum beats and chunky metal riffage. The distressed and yearning quality of singer and guitarist Owen Beane becomes most apparent on the lone ballad "All At Once." Featuring just Beane on vocals and piano, it's easy to imagine a dark figure leaning over a piano in an empty medieval castle pouring his heart out over this solemn and mysterious song.

The only downside of the record is the slightly muddy production. The vocals mixed dryly and in so far in front of the music that it takes' Beane's passionate crooning too far out of the element that the band works so hard to build. This is particularly true on "Not Today," one of the most solid songs on the record.

The overall feel of Skeleton Key is similar to that of any H.I.M. record, with the same kind of ominous and manic metal bite. With an aggressive yet melodic tone, it's easy to see A Wish for Fire being an effective and compelling live band. Their songs have a clear structure and feature definitive rising action and build-ups while deftly eschewing predictability. (Self-released)

www.awishforfire.com

-Mike Aceto

Cahill - At the Seams

Recorded and produced by Dennis Carroll at 6Media AV in Haverhill, MA

Pop rock band Cahill's At the Seams begins with "Genuine." A jaunty Moog line comprises the main melodic hook - simple, but catchy. The chorus resolves nicely, albeit a little predictably. It's the pre-chorus, though, that makes the song memorable, with clean, layered guitars and open hi-hat beats. The whole thing sounds a lot like '90s popsters Nine Days or Toad the Wet Sprocket. A solid choice for an opener, the song is generally more upbeat than the nine songs that follow.

Besides "Genuine," there are three songs that need to be heard on Seams: "Out of State," "Stare," and the terrifically spacey closer, "Until Then." While the record is consistently strong throughout, an EP of these four songs would have been really convincing. "Out of State" is an acoustic-based, radio-friendly pop song. With inspirational lyrics and traditional emo changes and harmonies, the song will certainly find an audience. "Stare" is the longest cut on the record, but by far the most chill, along the lines of acoustic balladeers like Jack Johnson. Sparkling guitar arpeggios puncture the sonic fabric of the strong, hooky chorus. The song features a highly emotive guitar solo, smoothly EQ'd organ, and perhaps the most heartfelt lyrics on the record. While the song could be trimmed down a bit in length, it is the record's central pop thesis.

While At the Seams doesn't break any new stylistic ground, it does present 10 well-written pop songs and is perfect for scoring that rainy Sunday afternoon at the local coffee shop. (Self-released)

www.cahillmusic.com

-Hugh McIntyre

Dan Blakeslee - Lincoln Street Roughs

Produced and mixed by Dan Blakeslee and Ron Harrity

Engineered by Ron Harrity

Mastered by Scott Elson at Acadia

Dan Blakeslee's Lincoln Street Roughs sounds like it was co-written by Win Butler on a troubadour run through the Dust Bowl, hitching rides with the lyricist from the Moody Blues. Accompanied by a solid backing group, Blakeslee presents a convincing set of stinging folk ballads. His vocal delivery wavers between the sublime ("Your Spanish Scarf") and the over-wrought ("Fever Lift"), while the instrumentation establishes a muted and cushioned bed to lie upon.

The album is competently done with a few production and instrumentation surprises, but sticks largely to a Damien Rice mid-tempo format, featuring the mournful cello and jangly guitar so inherent to the genre.

Blakeslee is best off on "Dear Ladies of the Night," where he sings like a slightly more feral Jeff Buckley over a distant trumpet. With his emotions more exposed, Blakeslee ditches his intimacy for rawness. When the song's monk-like harmonies come in over quiet claves, a really interesting piece of music unfolds. He follows with the engaging "He Cannot Take Me," which plays like an electronic remake of an ancient blues number (apparently, the devil is still on the prowl for the souls of struggling songwriters). The production stands out on this track particularly, containing entirely different tones than the rest of the record.

Perhaps because Blakeslee's songs are so similar, the five minute length of nearly every song feels a little gratuitous. While they are consistently well performed throughout, a listener may be led to wonder why he's listening to what sounds like a 15 second fade-out dragged on for a minute. When Blakeslee jazzes things up on shorter tracks like "The Carriage House," he stands on much firmer ground.

(Peapod Recordings)

www.danblakeslee.com

-John Drake

Audrey Ryan - Dishes and Pills

Recorded at The Loft and Club Awesome by Stephen Brodsky and Audrey Ryan

Mixed by Andrew Schneider at Translator Audio

Mastered by Nick Zampiello

Audrey Ryan's Dishes and Pills is one finely crafted soundscape. Imagined with surprising clarity, the album effectively conjures the likes of Sufjan Stevens and Aimee Mann. Above all else, Ryan manages to infuse her own unique personality into each track.

The titular track does so with sections of sparse, merry-go-round keys and bittersweet vocals separated by a rolling bass and drum heavy chorus. It is at first charming and intriguing in its simplicity, then ironic. Over her sparest instrumentation, she declares "I don't want to be you, anymore than you want to be me," as if she's addressing her stylistic predecessors directly. The album is full of these pleasant contradictions. "Later Alligator," a song about the disposability of high school memories, seems to reminisce about deciding not to reminisce. "People" is an unabashedly pretty song about depression and anxiety.

The finely crafted singer/songwriter foundation of Dishes and Pills is complimented - and often defined - by complex experimental production. Electronica elements, accordion and horns have rarely melded into such a charming finish. "Panda Song" sounds like Ryan might have stolen the remnants of a discarded Flaming Lips track and made it her own. "Primadonna" finds an energy level higher than that of all 11 preceding tracks, only to be outdone by its own remix at the album's finale.

Along the way, Ryan's stylings call to mind an eclectic host of influences, respectfully exalting every one while leaving enough room in every song to express her own considerable artistic self. (Folkwit Records)

www.audreyryan.org

-Skyler Smith