CD OF THE MONTH

Magic People — Oh Decay

Recorded and mixed by Darron Burke at Makeshift Studio

Additional mixing by Kevin Micka and Farhad Ebrahimi

Mastered by Scott Craggs

It’s downright unnerving to dance like a fool while filled with an overwhelming sense of dread. This is but one reason why Magic People’s Oh Decay is bound to be one of the more terrifying records you will hear this year. For another, keyboard players Dave Utzinger and Al Deaderick could write a sweet ass score to a horror film. Deep, drony synths lurk in the background, setting the tonal foundation of just about every track, complimented by sci-fi eeriness and the occasional Hitchcockian stab. Vocalist John Manson eschews typical conventions (such as singing a single melody) in favor of delivering cryptic proclamations in a style reminiscent of Mark E. Smith, or maybe a more sinister Jonathan Richman. On track two, “To the Moon,” he suggests a couple headed into a future so bleak that has one has no choice but to embrace it. “I will play my fiddle like Nero, into the gloom,” he sings. Meanwhile, the rhythm section beats out dances for twisted little puppets in a spook house. This is not comforting music.

Take mid-album cut “Laundry Night” as an example of how this band transforms mundane activities, like a laundry date — described here with a disquieting mixture of inane and disarmingly surreal details — into a profoundly upsetting experience. Bleaching stains from clothes becomes an erasure of past indiscretions, allowing the narrator and his confidante (which is you, dear listener) to attain dubiously deserved peace of mind: “Ankle deep in blood, and blissfully we beam.” A warbly, high-pitched, slowly modulating four-note synth motif resonates above all the bizarre activity, making it impossible to shake the sense of looming disaster. If this were a movie you’d probably be ready to cover your eyes and if this were a dream you’d probably try to run away, only to find yourself treading in place. But since this is Magic People, you shimmy into the scene, unable to look away, compelled by the frantic drumbeat that has been there from the very beginning of the track to immerse yourself in whatever depravity you can get a glimpse of. (Mister Records)

www.myspace.com/magicpeople

-Jon Carter

Quiet Life/Widower Split 7-inch

quiet life recorded and mixed by tim easton

widower tracks recorded and mixed by kevin large

mastered by scott amore at

innerspacesoundlabs

This new split pairs two rootsy groups from two sides of the country — Quiet Life from New Haven, Conn. and Widower from Seattle, Wa. Each get a song on both sides. Quiet Life’s “Downtown” kicks things off with a faux honky-tonk swing, vocalist Sean Spellman doing his best Gordon Gano impression right down to the little quivering insecurities in between lines. Spellman shoots for the freewheelin’ stature of distant outlaw country ancestors, bouncing from bar to bar and woman to woman throughout the song, but the soft edges of his thin-ribbed voice, at least for now, are still working against him. Quiet Life fare better on their b-side, the sparse rainy day reminiscence of “Louie & Kevin,” which finds Spellman and a guitar tipping a hat to thoughts of old pals while a gentle slide guitar croons in the distance.

Kevin Large, the songwriter and singer behind Widower, outdoes the Connecticut boys on this record with a patient, understated approach. Both of his songs, “Certainly Tonight in the Bright Blue Moonlight” and “The Antidote,” lurch forward and back like a creaky porch swing. Dusty banjos and pedal steel peacefully inhabit the songs and vocalist Catherine Boutwell makes perfect additions in the harmonies of Large’s woeful choruses. (Safety Meeting Records)

www.myspace.com/quietlife

-Matt Parish

Pretty & Nice —Pink & Blue

Produced by J Mendicino & Pretty & Nice

Recorded & mixed by J Mendicino at Charles Eller Studios

Mastered at New Alliance East by Nick Zampiello

Does anyone remember the Test Icicles? They were one of NME’s electro-dance-punk darlings from a couple of years back, with a record that almost lived up to their hype. But they were ultimately a one trick pony and it’s tough to remember even one of their hooks.

Pink & Blue, Pretty & Nice’s first full-length, hits a spot that the Icicles’ record (whatever it was called) only tickled, while simultaneously delivering on more fronts than that forgotten British act even attempted. These guys not only slay the dance punk thing — with guitars more angular than a cubist painting and sweet digital beats complimenting their actual drummer — but they even know how to write other kinds of songs as well, with appealing melodies and tight, fat-free arrangements. For instance, the band is good enough at snotty pop songs to successfully ape the Buzzcocks on tracks like “Lazy Lazy Bumblebee” and “Georgia Belle.” As if to drive the likeness home, both tracks are sung in inexplicably thick British accents.

OK, to amend an earlier statement: it’s unclear how far fake British accents fly with the Brits. Also, while the lo-fi tinniness of Pink & Blue certainly has its appeal, there are a surprising number of smart studio flourishes here — from the finger snaps and hand claps in “Bumblebee” to the tinkling piano underneath the Man Man-ish singalong of album closer “Sea Legs” — but these guys will need to acquire slicker production before NME hails them the next gods of dance punk. Suffice it to say that if energetic post-punk quirk-pop is your thing, the strengths underlying every track on this debut make Pretty & Nice one of the most promising acts in our beloved Northeast. (Self-released)

www.prettyandnice.com

-Jon Carter

Via Audio —Say Something

Produced by Jim Eno

Mastered by Jeff Lipton at Peerless Mastering

According to Via Audio, “when it’s good, it’s good.” As it turns out, Say Something is really good. The steady stream of cool, collected pop songs hints at a more indie-inspired version of The Cardigans, with well-constructed, subtle harmonies rising over the solid mix of guitar and keyboard melody lines. Opening with the tastefully catchy, “Developing Active People,” Via Audio capitalizes on their perfect use of male/female dual vocals, lacing soft harmonic layers into the core melodic structure. Furthermore, the lyrics are a satisfying combination of playful observation and profundity, noting, “And if you park your car / Close to the curb / No one will have to swerve.” The following track, “Modern Day Saint,” demonstrates the band’s funky, albeit composed, rhythm section and features an excellent pop chorus with just a dash of obscure indie-rock flavor thrown into the mix. The up-tempo “Presents” stands out with its excellent harmonies, but does not overshadow the melodic intricacies of the solo vocal tracks, such as the “We Can Be Good.”

Over the course of circulating vocalists and genre mixing, Via Audio maintains a definitive self-awareness and unique sound — quite the accomplishment for their debut album. Demonstrating an excellent grasp of a variety of music styles, Via Audio finds the balance between inventiveness and focus, keeping each track structured and concise while varying it stylistically. Although not entirely boundary breaking for the pop genre, the album’s overall stylistic variety highlights just how good pop can be when done right. (SideCho Records)

www.viaaudio.net

-Jess Baggia

Paper Thin Stages — Magnum Puce EP

Recorded by Paper Thin Stages at the Hot Box in Brighton, MA

Every artist progresses at some point in their musical career, remodeling their work in the name of growth, and Paper Thin Stages, if anyone, have earned the right to experiment, having mastered their long-practiced style of complex indie math rock. Their new EP, Magnum Puce, strays almost completely from the band’s trademark post-punk roots, wandering through a tribal, pop-noise desert in search of something — perhaps self-discovery — that reveals itself more with each repeated listen.

The first track, “No Listeners,” strangely piques the listener’s curiosity, opening with drawn-out vocals and sustained guitar notes. Despite a guise of simplicity or minimalism, the polyrhythmic beat hints at the band’s musical expertise, fleshed out in earlier works like their brilliant 2006 release, Progress Towards Ranks. Yet, the song goes on for a little too long, never resolving itself and ending with quick, repeated, breath-like vocals that resemble something off of Black Dice’s Creature Comforts. While the album opener seems purposely asymmetrical, the songs that follow also embody the established experimental sound without being harsh or alienating. The undecipherable vocals move from being heavy and mournful to resembling chant-like mantras that are both hypnotic and catchy, though best suited for the passive listener. Once in a while this ambience is interrupted by the haphazard use of a drum-machine or effect, causing the work to feel a tad like an appropriation of Liars’ 2006 release Drum’s Not Dead. The final song, “Scattered Eyes,” marks a high point of the album, being at once the most poppy and most dreamily apathetic, thus relaying a paradox that somehow makes sense. While the band finds moments of luminosity scattered among the album’s conflicted aesthetic landscape, overall attempts at improvisation feel a little too abstract at points. Yet all is not in vain — the EP is both enjoyable and visceral, and suggests that the next release could be a very impressive happy-medium between full-fledged experimentalism and the structured songwriting the band has exhibited in the past. (Sort Of Records)

www.paperthinstages.com

-Taylor Bratches

The Indefinite Article — Things You Don’t Know EP

Produced by Phil Gorey, Evan Anderson, and The Indefinite Article

Recorded at Mad Oak Studio in Allston, MA

Engineered by Ben Grotto

It’s been awhile since Limp Bizkit last played over the speakers at Hot Topic and the average listener these days may be hesitant to embrace any artist categorized in the rap-rock genre these days. Boston’s The Indefinite Article makes a convincing case, though. They may even sway skeptics with their new EP, Things You Don’t Know.

The EP is extremely catchy, quite entertaining, and has the power and danceability of a big-band ensemble. This is clear from the beginning; the first track, “Going To,” starts out with coo-like singing before jumping into a driving beat and infectious melody that features MC Father Abraham’s vocals augmented by electric guitar riffs and piano. The following song, “Boston MCs,” is just as strong as the track preceding it, opening with harder guitar wails and energetic drumbeats before smoothly switching time signatures towards the end.

The band, unfortunately, places a mediocre cover of EMF’s single “Unbelievable” smack in the middle of the album, nearly dragging the whole EP down with it. Whether this was a choice based on humor or not, it unnecessarily takes up a considerable amount of space in the five-song EP. Yet the final track saves them, (not including the two closing radio edits of “Going To” and “Boston MC’s”), capping off the EP nicely by displaying the band’s versatility: Abraham’s vocals turn into something resembling the fast, quirky flow of Subtle’s MC Doseone. The band’s ability to effectively infuse rap-rock with jazz and a hint of punk, as well as a few other unexpected but rich, well-placed spices like the organ and low, bluesy backup vocals, is quite a feat. There may be a lot going on musically, yet the verse-chorus-verse songs are able to retain their centers, not only through straightforward writing but through Father Abraham’s consistent and articulate vocals, which act as the glue that holds the EP together. Overall, The Indefinite Article is convincing, and even if you will never love rap-rock, there’s much more going on here than one would expect of the genre. (Self-released)

www.indef-art.com

-Taylor Bratches

Cheater Pint —Dark Side Of The Pint

Kinger Recordings

Produced by Ed Valauskas

There’s nothing quite like a pint of crisp cold beer on a brisk fall day at the local watering hole. Evoking similar feelings of satisfaction is Cheater Pint’s Dark Side Of The Pint, an album that has more similarities to The Breeders than Pink Floyd.

Cheater Pint falls into the category of bona fide garage rock, with some impressive hints of pop melodies sprinkled throughout the album. They are the type of band that punk rockers, pop lovers, and bar band aficionados will enjoy equally. Lead singer and guitarist Lauran O’Neal is voracious yet euphoric, and it’s obvious she has true talent as a frontwoman, sounding similar in attitude to Courtney Love or Brody Dalle. The best part about O’Neal is that she can write a power-pop melody, but also has no problem saying, “fuck you” with conviction. Additionally, Dark Side sports catchy rhythms and elating pop tones reminiscent of The Sinking Ships, but Cheater Pint seem to be a bit rougher around the edges, with the raw, beer guzzling attitude of a band that’s played the Abbey Lounge multiple times.

Several songs stand out on Dark Side including the hit single “Control Freak,” an immensely catchy song with a fierce rhythm, jovial handclaps, and searing guitar riffs.

The catchiest track on the album, “Ma I’m Try’n,” features an up-tempo, singalong chorus, but the drums steal the show with their dynamic variations in the verse and undeniable tightness. Kudos should also go to Ed Valuauskas of Q Division, whose crisp, punchy production delivers just the right amount of shine and grit. Dark Side Of The Pint is glazed with crunch and bite — the real roots of this feel-good rock group. (Self-released)

www.cheaterpint.com

-Michael Aceto

Shepherdess — Shepherdess

Engineered and recorded by Andy Hong at Kimchee Studios

Mastered by Jeff Lipton at Peerless Mastering

Produced by Hilken & Shepherdess

Shepherdess’s eponymous LP starts off with a lo-fi and perfectly plodding early-’90s tune, “Who Wants To Be?” Walking a line between a polished pop song and a loose, up-tempo rock throwdown, it establishes a dichotomy that runs through the entire record. Shepherdess seems to be torn between throwback indie-pop (as on the amazing “Upside”), noisier fuzzed out rave-ups (such as “Green Seat”) and band-unison numbers such as the proggy second half of “Don’t Know How to Say This.” Amazingly, Shepherdess is able to pull this all off to wonderful effect and create a masterfully unified disc across these different styles. The resulting sound is Pinkerton-era Weezer crossed with the fuzz of Pavement fronted by a less mopey female duo.

The three aforementioned songs are all wonderful, but “Not Gonna Be There Now” stands out for its quieter sections and its subtle string work. Its simple palm muted verses suggest Bush’s “Glycerine” (in the best way possible). Arguably the most complete song on the record, the song showcases the band’s artistic and dynamic range — from quiet emotion to rabid bursts of energy.

Shepherdess makes simple songs spectacular. Through sheer will and attitude (and, it should be noted, smart musical choices), they manage to keep the listener interested with a consistent tone and clever songwriting.

Hand clapping and strut come in toward the end of the record, and songs like “Start” suggest that Shepherdess could have equal success if they dialed up their poppiness a few notches and wrote/produced tracks for Avril and other pseudo-pop-rock phenomena. For now, it’s wonderful that Shepherdess has avoided the Linda Perry route, but the inherent power of their pop potential is not to be missed.

By the time the record gets to “Faith,” the listener is confronted with the lyric “Why do we still live here? / I fucking hate this town / And all our friends live in New York.” Though jauntily delivered, Shepherdess directly confronts the challenge facing so many Northeast bands: stay in your hometown and struggle to thrive or move to New York and jump on the bandwagon there. In any case, it’s exciting to hear a band playing together as such a complete unit. These songs are wonderful to listen to on repeat, and sound like they would be even more enjoyable live. (Kimchee)

www.shepherdessband.com

-John Drake

Freezepop — Future Future Future Perfect

Produced and mixed by the duke of pannekoeken

Mastered by Dave Locke at JP Masters

The charm of video game music is what makes a Mario-themed ringtone in mono dredge up the fondest of memories from childhood (or, perhaps, of one’s current life). Sometimes, when a band strikes while the iron’s hot, the sweet bleeps and pops of a digital swoon make for a fantastic dance soundtrack, brimming with charming kitsch. And sometimes, the kitsch melts into a mess of repetitive automation that spills out all over the floor.

Allston synth-poppers Freezepop have nestled into a cozy home among the gamer nerd world, with spots on Guitar Hero I & II, and Dance Dance Revolution, to name a few. Though they’ve hit a fitting niche in one respect, their September 2007 effort, Future Future Future Perfect, often misses the mark. The record takes the video game savvy and makes the mistake of bringing it outside of the video game world. The result? A mixed affair that doesn’t add up to the sum of its parts, but also doesn’t take itself too seriously.

As a whole, tracks aren’t distinctive. Vocalist Liz Enthusiasm slips into lines whose sparing tonal range and gimmicky “rokk” lyrics, such as “Let’s get this party going, yo,” lead Future to feel campy but unimaginative. It’s clear that there’s a dynamic prowess hiding behind Enthusiasm’s vocals, but the record is too robotic to showcase them. The most appealing track is “Thought Balloon,” with its simplistic, airy tone, with precious pop melodies reminiscent of the best of Postal Service.

Looking into “instrumental” profiles of the individual tracks provides a lift to Freezepop’s sonic profile. Synths and programming are written and recorded cleanly. Interesting sequencing and manipulation of standard time signatures are prevalent all over the record, which makes for a fun listen. Though Freezepop produces few standout tracks as a whole — “Frontload” being an exception with its excellent sinister contrast to the rest of the record — sections of songs standout instead. The interlude in “He Says She Says” is a dynamic example of engaging composition that piques interest like its intricacies were intended to demand. (Cordless Recordings)

www.freezepop.com

-Meredith Turits

Tim Gearan —Moving Day

Recorded, Mixed and Produced by Jabe Beyer at The Dollhouse in Somerville, MA

Mastered by Ian Kennedy at New Alliance

Moving Day is a mature and focused work through and through. Gearan’s guttural voice bears a captivating, rustic quality — similar to the smoky style of M. Ward — yet evokes the warmth and wisdom of a time-tested songwriter.

Gearan starts Moving Day with “What Went Wrong,” a song driven by an incessant percussive loop (wine glasses?) and a quick, choppy acoustic rhythm. His voice resonates smoothly through the musical proceedings, providing a narrative centerpiece. The song actually sounds a lot like the theme to The Sopranos.

The album’s folky acoustic ballads are complemented by subtle banjos, violins, and some bluesy, Southern swing, perfected on “One Last Try.” Gearan dwells on particular phrases, such as “little heart sing” and “high and strong,” emphasizing how effective simple phrases can be when complimented by the right musical atmosphere. Soothing female vocals serve as the perfect counterpoint to Gearan’s crackling voice. The ballad “Sometimes” features a satisfying electric twang, while Gearan hums about the hope and aspirations of future love while reminiscing the pain of past heartaches.

Gearan’s southern blues influences are obvious on Moving Day, especially the old-time feel of Robert Johnson or the careful lenses of Randy Newman. Gearan has lived throughout the US, but is a well-known Monday night staple at Toad in Cambridge.

A gifted songwriter and performer, Gearan has crafted a classic sounding album full of moments of understated beauty. In particular, the title track stands out as a prime example of how the meaning between words — and the moments between notes — hit hardest and with the most poignancy when left to linger in sparseness. Gearan spends the song playing with phrases beginning with “Something ‘bout”: “Something ‘bout a real long drive / North on 95 / Something ‘bout coming around / To what you’ve found.” Of course he never tells the listener “what it is.” Rather, his words circle around the most ineffable of emotions, brushing up against them, but letting the sparsely performed instruments communicate their introspective beauty. (Guernica Records)

www.timgearan.com

-Michael Aceto

The Big Big Bucks — Rabbit Rabbit EP

Recorded by Ian, Tuck, Chris and Joey at Basement 247 Studios. Produced by Jack Younger and The Big Big Bucks. Mastered by Nick Zampiello at New Alliance

Allston’s Big Big Bucks are exactly what the image of an Allston, Mass. basement project conjures up: straight up gritty vocals over driving dirty rock instrumentals — the kind that make you want to sneak into their practice space, watch them mess around and possibly dance.

In true form, the Bucks’ Rabbit Rabbit EP is a perfect mirror to their Allston band persona. The release is rife with the same forceful, passionate garage rock that’s well written enough to be more than a Thursday night jam sesh, but loose enough to be pure fun. In five tracks the band manages to vary tempos and composition enough to make the release consistently engaging. And while the Bucks’ aren’t pioneering new territory, at 17.5 minutes, Rabbit is the perfect length for their solid, coarse rock assault.

“Arsenal Compliments Wardrobe” has a Vaux-esque tone with its authentic and dark croon. While the pall reaches every track on the EP in some form because of their raw sound, the mood provides an interesting contrast to a song like “We’re Well Trained/We Shoot From The Hip,” which is a little more airy and dance worthy. The guitars in “Formal Affair/Casual Dress” are spot-on, weaving modestly through snappy snare hits. The record’s instrumental highlight is Ian Gustafson’s keys, which are a delightful presence that take on numerous textures throughout the tracks. Especially stellar are the organ tones on “Free World Travel.”

Everything down to the packaging, with its abstract art and wax envelope seal, seems to be crafted with an equal balance of artistic freedom and calculated thought. It creates the perfect atmosphere for a band that’s one part skilled musicians, one part young, spirited rock. Among what else is being served up, the Bucks’ effort goes down smooth and with a kick. (Self-released)

www.thebigbigbucks.com

-Meredith Turits

Otis Grove —Crank It Up

Recorded by Gary Henry and Colby Dix at Northern Track Studio in West Dover, VT

Mixed by Andy Carballeira at Driftwood Audio in Lexington, MA

Mastered by Matt Azevedo at M-Works in Cambridge, MA

When Sam Gilman hit the first thundering note on the Hammond B-3 organ, the attendees of the Hooker St. Hoedown in Lower Allston on October 13 witnessed a sudden exodus of frightened street rats. Gilman was soon joined by his counterparts on drums and guitar, creating a monstrous funk groove that probably would have sent Godzilla running had he been in the neighborhood. The live sonic power and energy of this instrumental jazz/funk trio, known as Otis Grove, gracefully translates onto their eight-track studio effort, Crank It Up.

While drummer Blake Goedde and guitarist Tyler Wayne Drabick undoubtedly demonstrate great musical skill, each track on this CD is consistently driven by the powerful B-3 playing of Sam Gilman who spits out lyrical leads and funky bass lines simultaneously. Much credit goes out to the record’s engineers who made the organ sound so rich and authentic throughout. With Otis Grove’s organ/guitar/drums instrumentation, one cannot help compare the trio to contemporaries such as Soulive and Medeski, Martin, and Wood. While OG composes highly catchy jazz-influenced hooks, tracks such as “Pure Luck” and “Check It” recall Soulive’s 2002 release, Turn It Out.

The hip-hop influence in OG’s music is unmistakable. However, the trio covers a great deal of musical ground throughout the album. The lead hook on “Buckfush,” for example, offers a harder rock groove while an up-tempo drum ‘n’ bass rout is explored on “Chimichanga.”

While the band stays true to its roots compositionally, Otis Grove could benefit from slightly more ambitious songwriting. With a solid foundation and tight live dynamic to build upon, the band has an immense amount of potential. If only they’d take a few more risks. (Melting Zinc Records)

www.otisgrove.net

-Sam Merrick

Miss Fairchild —Ooh La La, Sha Sha

Mixed by Don Deligo at Velvet Elk Studio

Mastered by Jamie Howarth

Miss Fairchild’s new album, Ooh La La, Sha Sha, takes its title from the lyrics of the first track, “Poppa Music.” Materializing as scat sung nonsense words, the vocal phrase comes and goes quickly and passively. That Miss Fairchild would name their funky labor of love as such is unfortunately symbolic. Everyone has probably heard a similar phrase before (acapella, Pepe Le Pew or any other stereotypically French cartoon character); it’s sort of fun to say, sort of fun to hear, but it doesn’t mean anything (except maybe in the way “hakuna matata” means something). Most tragic for Miss Fairchild is that it’s easy to forget.

At its best, Miss Fairchild evokes something between Sly and the Family Stone and Prince circa 1980’s Dirty Mind. In “Number One,” an organic sounding bass slaps powerfully as the whole track melds into a danceable, fun-loving party cut — easily the best on the album. “Cheatin’ Man” begins by showcasing the most consistently successful element on Ooh La La, Sha Sha: full, harmonized choral vocals and carefully placed horns. It goes on to include some scratching and other old school hip-hop accoutrements — and it all works to their advantage.

However, other unexpected additions do not work. Several songs feature spoken word, but none as thoroughly as “Saint Valentine,” where the delivery is slow, smooth, and uncomfortable. “Wife Material” seems out of place, and it is hard to take “Day Off” seriously as the lyrics are softly sung: “My favorite thing to do on my day off is clean my living room.”

Songs like “Poppa Music” and “New Thang” both feature some playful melodies and dance-worthy grooves. The band just fails at breathing any new life into a genre that can be so formulaic and musically limiting without a certain level of innovation. In the end, most of the songs end up on the forgettable end of the spectrum. (Self-released)

www.missfairchild.com

-Skyler Smith

Hawkins Rise — What We’re Like & Who We’ve Turned Out to Be

Produced by Hawkins Rise

Recorded by Randy Hunicke at NewCastle Sound

Mixed by Chris Lannon at Power House Studios

Mastered by Dana White at Specialized Mastering

Providence-based Hawkins Rise’s first full-length album is appropriately titled. After seven years of playing together and writing music, it seems they’ve finally figured it all out on What We’re Like & Who We’ve Turned Out to Be. Incidentally, band founders Dan Simpson and Joe Magnati have had time to watch each other discover who they’d turn out to be; the two had known each other since high school when they began to play together in 1999, after recruiting bassist “Tofer” Simpson and drummer Joe Grasso.

The culmination of seven years of work, What We’re Like & Who We’ve Turned Out to Be does not disappoint. The 14 tracks showcase the band’s maturity and versatility; the album is extremely cohesive without being boring or repetitive. The appeal of Hawkins Rise is so classic that it’s difficult to compare them to any one group. Their album recalls a number of artists without sounding weak or contrived. For example, the opening of the fourth track, “Complimentary,” a song about falling into poisonous old habits with an ex-lover, is extremely reminiscent of On A Wire-era Get Up Kids.

It also comes as no surprise that both Dan Simpson and Joe Magnati cite Wilco and Jeff Tweedy respectively as personal inspiration. “Thru 2 You,” in all it’s lighthearted rock simplicity, is certainly reminiscent of Wilco’s more subdued tracks. The pure, direct desires expressed in the lyrics, “I want to be high / Like a king in the sky” and “I want a rock band / a rock and roll band” can’t help but lift the listener’s spirits and might call to mind the simple joy and nostalgia of Wilco tracks like “Heavy Metal Drummer.”

Hawkins Rise is definitely worth a listen; anyone who takes the time to figure out what they’re like will surely come to appreciate who they’ve turned out to be. (Self-released)

www.hawkinsrise.com

-Melina Moore

Dropkick Murphys — The Meanest of Times

mastered by nick zampiello at new alliance east

Like it or not, Dropkick Murphys have become the unofficial musical spirit of Boston, supplying the score to the Sox trip to the World Series this year, videogames featuring Manny Ramirez and the soundtrack to The Departed. There are constant Boston-centric themes that permeate The Meanest of Times. Anyone who listens to this record will be able to pick out these themes easily: The Murphys are from Boston. They are Catholic. They have friends who have died. They like to drink. Life is hard. And they simultaneously celebrate and damn each of these facts throughout the run of the program.

As usual, vocal responsibilities fall to Al Barr (aka “guy with raspy voice”) and Ken Casey (aka “guy with raspier voice”). The usual Dropkick Murphys gang chorus is present in almost every song, giving an opportunity for all to hoist their glasses and shout along with the chorus. The main draw of the Murphys is not just their created sense of local identity, but also the chance to feel like part of a unified experience. In this, Times is a success — it brings the hard living to life for even the most coddled listener through the band’s sensibilities: gritty playing, gritty vocals mixed with the hyper-catchy micro-melodies of Irish folk music. This record seems to eulogize Massachusetts and her various locations: Quincy, Florian Hall, even the public transportation system, which makes a cameo in “Loyal to No One.” The Dropkicks’ talent seems to lie not in their ability to drink or scrap or give the appearance of scrappy drinkers, but their storytelling skills. Songs like “Loyal to No One” and “Famous for Nothing” tell well articulated tales and are more enjoyable than the caustic sentiments of tracks like “Shattered” — the requisite “what’s wrong with people” song. The Dropkick Murphys are at their finest when letting some sentimentality shine through, as they do in “God Willing.”

The Meanest of Times may not bring the Celtics to the championship and Barr/Casey probably won’t be elected as governor of the state anytime soon, but there are worse musical spokesmen out there. (Born & Bred)

www.dropkickmurphys.com

-C.D. Di Guardia

Andrea Paquin — Listen

Produced by Christopher Pappas

Recorded and Mixed by Kyle Fredrickson

Masterd by Chris Zembower at M Works

Delicate acoustic harmonies and lighthearted romanticism define the sound of Andrea Paquin’s latest release. On Listen, the folk singer glides through an array of intimate, poppy anthems with breezy sensibility. Taking influences from alternative artists Indigo Girls and Kate Bush, Paquin’s simple folk arrangements would be at home with the Lilith Fair generation of musicians.

From the album’s onset, Paquin tugs at the heartstrings of her listeners and the rich, cozy humility of her voice goes down like red wine over good conversation. Opening the album, the soft-spoken ambiance of “I’m Not Going Back” brings about nostalgia of peering out the kitchen window on a blustery evening. On the up-tempo “Letting You Go,” soft murmurs of accordion mingle with gritty banjo into an Appalachian bluegrass swing. Though most of Listen is laced with sweet-tempered warmth, edgier timbres come through in the electric guitar swells of “Leader” and lyrical sarcasm of “Money”: “Let me be the one to shelf / The weight of money that we don’t have / You can keep it all and go to hell.” The dreary protest march of “Freedom” provides haunting counter harmonies on violin and Santana-style guitar licks.

The pop candor of Listen maintains strong personality and soul, making it a worthwhile album for any nu-folk music listener. (Magpie)

www.myspace.com/andreapaquin

-Nathalie Levey

Eldridge Rodriguez — ...And the Thunder Chief

Recorded on 8 track reel to reel by Greg Lyon and Eldridge Rodriguez at Microcosm Soundworks, Boston MA

Mixed By E.R.

Mastered by Eric Baird

Produced by E.R.

“Thirty thieves and the thunder chief” is one of rock ‘n’ roll’s most beloved misheard lyrics, second possibly only to “‘Excuse me, while I kiss this guy.” When you have a performer with the pedigree of Eldridge Rodriguez, one expects some form of reference. Otherwise one of the thunder chiefs of local indie rock jewel The Beatings, Rodriguez has taken to releasing solo material as of late. As a songwriter and performer, Rodriguez leaves no stone unturned and no pain unexplored. His voice is harsh with force yet quivers with a rough-hewn form of vulnerability normally seen in exquisitely talented artists and local crazy streetfolk.

This gives rise to this question: what is Rodriguez? The five tracks on ...And the Thunder Chief are like a crazy night’s journey with the most dangerous-looking guy at the bar — the one who chooses you because he feels that, for some odd reason, you just might understand each other. The record opens with a blast of brilliant pipe organ, which lends a regal feel to opening track “Burn, MF.” The organ gives way to and eventually backs up a simpler acoustic guitar, with Rodriguez’s signature doomy and gloomy sentiments of “Our days are numbered.”

...And the Thunder Chief really does play like a journey through Rodriguez’s psyche, courtesy of his shaky vocal delivery. He is able to capture desolation, desperation and, on occasion, a tiny ray of hope. The instrumentation is dreamy, Carter Burwell sort of stuff, replete with distant booms coupled with bright rays of synthesizer.

Rodriguez goes through his own motions on this deceptively short album. Through the course of the five tracks, he goes from the barroom philosophy of “Burn MF” to the traveling “Don’t Breathe” and “Get Homeless.” After arriving at his evil lair, Rodriguez finds himself in self-doubt in the penultimate “Lord Help Me Kill My Fellow Man,” before arriving at the total breakdown of “Thunder Chief,” a deconstructive track in which Rodriguez finally comes apart at his sonic seams. ...And the Thunder Chief is a revealing trip through a dark psyche, worthy of multiple listens. (Midriff Records)

www.midriffrecords.com

-C.D. Di Guardia

Justin Shorey — Justin Shorey

Recorded and mixed by joe bondi at Bed in the Wall studios in Arlington, MA

Mastered by Dana J. White at Specialized Mastering

A generous helping of strident craftsmanship, the self-titled release from singer/songwriter Justin Shorey conjures up images of dusky dirt roads and woodsy campfires. This eclectic collection of coffeehouse ballads captures the restless calm of American folk veterans Bob Dylan and Woody Guthrie. Shorey’s sharp lyricism keeps his material fresh, though, with verses such as: “Don’t bring up Bush or Uncle Sammy / Tell me why you did time in the slammy / Get high or low drive with Orphan Annie / Buy a house with the Mickey Mouse operation.”

His jangly guitar recalls the chipper edge of Pete Seeger and has the aerial swing of a brisk Indian summer day. The somber hook of “Oldest Man Alive” provides an unexpected tinge of grunge dissonance. “Shake the Treetops” surges ahead with a hypnotic shuffle layered with dead-on vocal warmth. With gentle delivery, Shorey’s elevated tenor shines through his shrewd commentary on the subjects of politics, love, religion, and human frailty. The purposefully pitchy, spoken-sung style of certain tracks, such as “Talkin’ T-Mobile” and “Forsaken Soldier,” shows evidence of Dylan’s influence on the singer/songwriter’s ethos. All the while, Shorey demonstrates a flair for creating blithe, flirty melodies that evoke joy and thought. (Self-released)

www.justinshorey.com

-Nathalie Levey

The Bean Pickers Union — Potlach

Mastered by Michael Quinn at Moontower Studio

Gazing upon the distressed, ipsum-colored photograph of a withered barn on the cover of Potlach, we can already feel the lament in the roots/Americana songwriting of The Bean Pickers Union frontman Chuck Melchin. Highlighted in the opening track, “Photograph,” the song tells the tale of a town whose river has run dry, livestock has passed on, and fields of grain have dried and blown away. “This broken land, it used to be a town,” is the simple yet poignant chorus lamenting that which was once prosperous.

Driven by a Neil Young-influenced aesthetic of simple, powerful songs with lyrics of social and political import, Melchin sings in a husky baritone while his bandmates support his songs with tact and vigor. “Warrior,” which showcases a persistent, driving snare rhythm, and the subtle mandolin work on “Promise” are wonderful examples of The Bean Pickers’ fleshed out instrumentation. But even better is the rollicking, rockabilly electric guitar work of special guest Bob Metzger (known for work with Leonard Cohen) on “I’m So Sorry,” one of the album’s highlights.

Despite a pervading theme of melancholy, songs like “Home” and “Waltz No. 1” are sweet, positive and romantic. “Waltz No. 1” feels a tad underdeveloped, though, especially considering its short length. It would be wonderful to hear the guitar theme expanded into a full band instrumental.

Staying true to their roots, the members of The Bean Pickers Union have crafted a thoroughly enjoyable, expertly performed album of songs. While Melchin could stand to take more risks as a songwriter, the album succeeds most in being consistent. (Miles of Music)

www.myspace.com/beanpickersunion

-Michael Oliveri

Sparrow — View

Produced by Sparrow

Engineered and mixed by John Marcato

Mastered by Nick Zampiello at New Alliance East

Imagine walking into a subterranean lounge where candles light your way as you descend a narrow, uneven stairwell. With each step, you become increasingly enveloped in smooth, funky sounds that are dark, sexy, and a bit ethereal. Such is the sound and mood on Sparrow’s EP, View, where the female-fronted band offers songs that bring to mind the sound of Zero 7 tunes mixed with Sophie Barker and Sia Furler.

Vocalist, songwriter and keyboardist on the album, Christine De Michele wears a number of hats, and she wears them well. She does not do it alone, though, as driving drums and swirling, echoing guitars offer great counterpoints.

The opening track, “Fable,” begins slowly with smoky keyboards and minimal instrumentation. Christine sings, “You don’t need a book to be sure of the story you’re telling / What do they know, do they know, about your fable?” A certain mystique resonates from within the song and, like many of the songs on the album, begs the listener for repeated listens.

What is additionally impressive is that these songs do not stay mired in slow rhythms that might tire a listener after a few tracks. “Entre,” the second song, consists of a lively upbeat minor groove highlighted by the hollow-body electric guitar work of Max Cantlin and the ripping hi-hat pattern of drummer John Marcato. Moreover, “What Quiet Looks Like,” incorporates a slick samba rhythm that keeps the audience moving through the close of the album.

Small issues on the album include some indecipherable lyrics, as well as a meandering vocal and guitar pass on “Hungry” that slows the song’s momentum before the final chorus. However, this does little to change the endearing, overall effect of View, as Christine and her mates throw us happily into the sultry world of Sparrow with their slinky grooves and sensual, yet eerily affecting vocals. (Self-released)

www.myspace.com/christe-nedemichele

-Michael Oliveri