CD of the Month

Tulsa - I Was Submerged
Produced by Jack Younger at Basement 247 Studios in Allston, MA

 

 

 

 

Since the release of their debut, Hunting With Cats, in late 2006, Tulsa have built a solid following in Boston and popped up on impressive marquees like Spin.com, Pitchfork, and Rolling Stone. One listen to their new mini-album, I Was Submerged, and the hype makes sense. Trading in the upbeat psychedelic pop of their debut for darker tones and a hell of a lot more reverb, comparisons between I Was Submerged and the music of bands like My Morning Jacket and Band of Horses are unavoidable.

Of course, one could be in a lot worse company, and Carter Tanton’s earnestness to fully explore this niche of modern rock is commendable. In fact, despite a few obvious similarities to these bands, there are some key differences in Tulsa’s sound, beginning with Greg Hatem’s innovative drumming. Often buried in the mix, his pounding drums are a stark contrast to Tanton’s soaring vocals, sometimes filling every ounce of open space with thunderous herds of rhythm.

Opening song “Breathe Thin” rides a cloud of strummed guitars and echoing harmonies during the verses, but on the choruses, Hatem scatters his drums like Keith Moon, perfectly heightening the mood. In a closing instrumental passage, he rolls through like a storm cloud. When this music kicks, it kicks hard.

More rock than country, Tulsa plays the game of tension and release well, and they know the power of a good break or a well-placed guitar solo. Standout track “Mass” rocks two impressive solos, while “#2” swells and ebbs in waves of distortion, bringing to mind early ‘90s shoegazers Swervedriver.

Truth be told, there’s a lot more going on in Tulsa’s music than the “Byrds on steroids” pigeonhole in which they may find themselves. Closing track “There Goes a Man” even resembles the softer side of grunge bands like Soundgarden and Alice in Chains. Given the differences between this album and their debut, it’s hard to tell what direction Tanton may take the band next. Whatever the case, the two common threads are sure to be his distinct voice and his impressive songwriting. (Park the Van)
www.myspace.com/tulsamusic

-Brett Cromwell

 

The Shills - The Shills
Recorded by James Zaner, Dave Sicilian and Kyle Hurlbut at Blue Jay Recording in Carlisle, MA
Mixed by Will Sandalls
Mastered by Nick Zampiello at New Alliance East

 

 

 

The Shills’ eponymous record is filled with the instrumental artistry one rarely sees. The band locks in with unison sections rarely seen outside of emo or metal, but manages to channel this intensity and focus into genius pop hooks and rock melodies.

From the opening salvo of “Pigeonhole,” The Shills throw down a gauntlet that Ted Leo would be wary to pick up. With soaring vocal harmonies and a constant barrage of melodies interlocking with catchy guitar lines, The Shills set up this record to be an unstoppable celebration of the unexpected song turn.

They don’t disappoint with “Save a Little Breath,” which cements their astounding skill for vocal hooks and guitar parts that sound like the best of Jimmy Eat World minus the whine. The song’s bridge is the first time we get the impression that The Shills might be two parts modern rock/pop and one part old school Rush. While the vocals soar to Geddy Lee levels over crunching guitars, the rhythm section brings everything together and, suddenly, you’re trapped in the front seat of a speeding car as the world races by.

“Big Indifference” goes one step further, highlighting impressive bass work and sparse fills from the rest of the band. Again, the vocal harmonies call (and distant horn section) build a wailing wall of harmony that rest on top of the pounding rhythm section with amazing ease. It’s light but powerful, easy yet commanding.
Instrumental or melodic criticisms aren’t easy to come by on this record, though sometimes the lyrics devolve into the heavy-handed (“Slackjaw America”‘s attempts to call out the television-watching populous in a raucous punk-rock style just sounds forced and silly). But even in these less successful songs, the well-written hooks more than make up for questionable lyrical choices. Interesting additions of horns and baritone sax make certain tracks pop out that might otherwise blur together.

The Shills are at their best on the straightforward rocking “Starting Gun” or the opening “Pigeonhole,” but they are hard to throw off their game in any circumstance. Fans of Ted Leo, Jimmy Eat World and yes, even Rush, should take note of a new commanding voice of melody and instrumental rock. Album closer “It’s Not Your Thing,” deftly balances a pop-rock choruse against a prog bridge, and a modern pop breakdown. With their debut full-length, The Shills truly put forth a wonderful record that’s worth repeated listens. And they make it all sound so easy. (Self-released)
www.myspace.com/theshills

-John Drake

 

George Lewis, Jr. - Hold Me
Recorded by Michael Hutcherson and Frank Aveni
Mixed and Mastered by Michael Hutcherson and Gregg Moss at Blast Zone

 

 

 

 

Who knew? Boston ex-pat George Lewis Jr., who pounded out an unpredictable reputation as the crazed frontman of the spazzed rock trio Mad Man Films, is full of suprises on this new solo record that dives head first into a dusty amalgam of ‘60s soul, jangley rock and dark alley film noir crooning. Album opener “Take Off” strolls across the room like a scratchy Motown single at first, but the John Lennon slapback on Lewis’ vocals and the fuzzed guitars bump the song into an ambiguous, hazy territory that could be high school prom and could be a hippy commune acid trip. Either way, a slow-brewing chord progression works behind the scenes on this one to get Lewis from easy-going loverman to desperate masochist. “Hold me like a woman who doesn’t need a man,” he pleads, before hitting the kind of soaring, painful note that echoes long after the song’s over. “Hold Me” uses the same tricks but adds big, choral harmonies, while “Choir Girls” takes a long lost T. Rex shuffle and throws a rowdy Cab Calloway sing-a-long chorus over it. Slower pieces like “Let Rrr Go” pit Lewis against a lone tightly-voiced guitar but follow the same rules — the verses shift into choruses without telling, and the choruses expand like a shot in a film that pulls away from our hero, farther and farther. “US Body” finishes the album off with a cathartic parade of lost and pointless souls and some crushing organs digging their way through a wilting, out-of-breath melody. Who knows what demons Lewis was able to exorcise while making this album, but it certainly feels like walking through a field littered with emotional wreckage.
Engineer Mike Hutcherson’s work on this album should not be overlooked in getting this whole thing to sound like it’s popping right out of faded old record sleeve.

-Matt Parish

 

The Peasantry - Don’t Harm Barbara Gordon
Produced, Recorded, and Mixed by Shane O’Connor & Kevin Ennis at the Milkhouse Recording Studio
Mastered by Alexander Hatziyannis at Old Folks Home Recording

 

 

 

For some reason it’s hard not to think about the Peasantry’s background when listening to and trying to assess their music. Is it because they all met at Berkeley? Not really. This is Boston, and just about any band you see in Allston has got a 50/50 chance of being in some way affiliated with that school. Is it because they’ve only been together for about a year? That’s getting warmer, since they sure sound tight enough to pass for seasoned road warriors. But it’s mainly because, aside from the crystalline production on Don’t Harm Barbara Gordon, the Peasantry don’t particularly flex their technical training in many immediately noticeable ways. Sure, they sound tight, and repeat listens to their debut EP will reveal some unexpectedly jazzy chord changes and surprisingly complex rhythmic phrases. But the Peasantry, to their credit, know that these hallmarks of formal training should always take a backseat to the song’s overall impact. Frankly, one expects more technical wankery from Berkeley kids, so it’s a bit surprising to encounter a band of music students that know better.

The Peasantry are more than a group of music students, though. They’re a solid pop band that knows how to craft exciting arrangements for ornate and catchy melodies. Opening track “Tie Off Before You Go Out” demonstrates this clearly, from its instantly memorable “El Scorcho”-eque opening guitar line and bluesy, tinkling piano riff to its choppy, driving choruses and synchronized end-hits. It’s a remarkable track that leaves an immediate impression, but it’s also the strongest track that Don’t Harm Barbara Gordon has to offer. Both the XTC-influenced “Cowboys and Indians” and the elaborately-structured closer “Merry England” hold their own, but the other three tracks reveal a talented band that’s still nailing down its sound. “The Ballad of Dean Jiggo” uncomfortably channels the melodic sensibility of the guy from Sublime. “Gee,” with its subdued, mid-range piano arpeggios, skirts unfortunately close to “adult contemporary” territory, and “Look at Her” simply doesn’t offer any of the hooks the band has elsewhere shown itself to be capable of conjuring. Each of these songs has its moments, but their inclusion ultimately makes for a debut EP that’s at once promising and frustratingly inconsistent. (Self-released)
www.myspace.com/thepeasantry

-Jon Carter

 

theGenetics - Urbanomics
Produced by theGenetics
Mixed by John Ellis at Prism Sound Studios, Acton, MA
Mastered by Tom Coyne at Sterling Sound, New York, NY

 

 

 

 

Twin brothers Christopher and Jonathan Reynolds, otherwise known as theGenetics, are multi-faceted musicians. This is unmistakable in their debut full-length, Urbanomics. A combination of hip-hop/rap, R&B, soul and funk, the effort is quite an undertaking, but the boys are convincing — even to those usually unappreciative of the aforementioned genres.

The energetic introductory track, “Controversial,” incorporates many elements, including snapping, taut guitar notes and digital effects (such as dabs of percussive samplings here and there). Amidst this is their flow, which is surprisingly natural given the Berklee grads’ uber-technical songwriting and production. The listener gets the sense that these guys realized they had something real from the get-go, and since have spent a lot of effort cultivating their talent, making sure the industry-standard ducks are in order to allow their voices to be clearly heard. The package may be tightly wrapped, but authenticity was in no way sacrificed.

The next few songs are very slow and quite lengthy, which, though good, unfortunately slow the momentum garnered from the first track. But one thing is for sure: a benefit of sharing the same womb is that vocal harmonies are effortless. The soulful R&B ballads that make up roughly half the album showcase the way in which their vocals mold naturally to one another. On the opposite end, later tracks “H20” and “OnWORDS” are model examples of top-notch hip hop/rap. The lyrics, though walking a line between accessibility and corniness, retain depth. There is a sense of lyrical complexity — nowhere near whiz poets like Aesop Rock or Nas — but definitely on a plane above the average mainstream rap artist. In the final track, a sax-piano combination that was only hinted at earlier reaches its apex, but the song’s end — a free-flowing sax/synth/guitar jam — runs too long.
Yet overall, you want to leave Urbanomics in the CD player. Not to mention it’s pretty amazing that this is self-produced and -released, as the production is major label quality. As are theGenetics. (Self-released)
www.thegenetics.com

-Taylor Bratches

 

The Weigh Down - Welcome To The Family Zoo
Recorded by Mitch Rakin at Tone Float Studios, NYC

 

 

 

 

 

If variety is the spice of life, The Weigh Down’s Welcome to the Family Zoo is an eclectic rack to choose from. From the opening Louisiana-blues drums shuffle of “Where the Lifeless Go” to the dreamy “A New Plan for Old Siam” to the up-tempo groove of “Wooden Monsters,” Connecticut-based The Weigh Down crafts a sound that is all their own across the boundaries of expectations. With a fine toothed comb applied across every song, these meticulously designed tunes hold water in every direction.

The segue between “Where the Lifeless Go” and “Take it Slow” is a wonderful example of the attention to detail on “Welcome to the Family Zoo.” One might have to stop and check that their CD player has actually advanced a track, as the transition is seamless to the point of sounding like two movements of the same symphony. With the consistent but casual vocals layered over amazing guitar melodies, Brian Wilson’s Smile is the first thing that pops to mind. Experimental tunes like “A New Plan For Old Siam”, which deviate from typical orchestration in favor of shaker, toms and distorted Rhodes, still pack the same punch due to how well they’re constructed and executed.

The rhythm section holds down with a declarative jazziness, laying down both subtle jazzy backgrounds (a la Ben Folds Five) and more declarative rave-ups like “Who and the Fox”, standing out in either situation as the clear foundation of the band. As the record evolves from the opening tunes, we’re presented with more energetic shout-a-longs interspersed into the dreamy vocal qualities.

It would be a mistake to discuss The Weigh Down without pointing out the amazingly subtle but clear keyboard work. With amazing Rhodes patches at the foundation of almost every song and the occasional organ throw-down, The Weigh Down have managed to accomplish the throwback sound that The Anniversary and Koufax strived for without devolving into homage-fests. While they call out tones of Wilson, The Beatles and even The Allman Brothers (especially on “Bend Any Way You Can”), “Family Zoo” never sounds old, always maintaining its freshness and modernity while it evokes classics. Just don’t mistake inspiration and motivation for copy-catting: The Weigh Down have a sound all their own.

The Weigh Down have produced a beautiful and polished record of engaging and charismatic songs that everyone should give a spin. For once, there are no negative comments to make about a record that is consistent, thoughtful, energetic and timeless. Buy this now. (Safety Meeting Records)
www.safetymeeting.net

-John Drake

 

28 Degrees Taurus - How Do You Like Your Love?
Recorded and mixed at Odyssey Studios, Chill House and Tremolo Lounge by 28 Degrees Taurus, Kurt Schneider and Roger Lavalee
Mastered at Tremolo Lounge by Roger Lavalee and Jinsen

 

 

 

Ever look up from your drink and the room is just a big swirl of lights and strangers and bits of conversation bouncing back and forth between fuzzy lights and you just wonder, “How did I get here?”

It’s the same with 28 Degrees Taurus. Jinsen Liu’s washed out guitar lines are more like echoes of vague ideas than riffs and they cascade through every song like neverending, slow motion confetti. Hooks appear like 3-D Magic Eye pictures, you just have to relax and look between the gaps in the watery tremolo and casual vocal pauses to find them. Vocalist and bassist Karina Dacosta sings in a dilated pupil sort of Kim Gordon murmur that matches the far-away roar of the rest of the band. In fact, most of the songs sound like the band is just dropping the needle in the middle of a Sonic Youth jam and not bothering to drop any landmarks or road signs, which is great. This band is literally all about the disorienting joy of cerebral detachment and making whatever connections they can in the middle of chemical hazes — “I wanna party / I wanna drink / I wanna feel like this forever,” Dacosta sings in “Single Suicide Mode.” Later, in “Love Is Underwater,” Liu shines his guitar through carnival mirror effects for long stretches of limbless wandering through the abyss over steady caravans of drumming. It’s an effective kind of numbness and it pervades the whole album, enough so that Dacosta can lightly recall “I overheard a massacre” with a believable off-handedness. From deep inside the world of this delicate, vertiginous snow globe of an album, it’s doubtful she could have done anything about it. (Self-released)
www.myspace.com/28degreestaurus

-Matt Parish

 

The Nightbirds - The Nightbirds EP
Produced, recorded, engineered by Rick Gravelin and the Nightbirds

 

 

 

 

The Nightbirds’ debut EP presents lonely, windswept indie rock, yet maintains a lively edge, never devolving into anything too dreary. With Brenden Shinosky’s breathy vocals over subdued, well-blended guitars, Burlington-based The Nightbirds have generated an accessible, relaxing work. But The Nightbirds isn’t all sleepily beautiful tunes and lanquid melodies. Kicking off with “White Light,” the band delves into a sound not unlike that of early Black Rebel Motorcycle Club. The rapid electric and acoustic riffs with almost ghostly lead vocals give the music a sexy, dusky feel. The Nightbirds maintain a great contrast between the wavering, light melodies and syrupy guitars on the following track, “Nightmares,” evoking vibes of looming danger and impending doom. Yet Shinosky’s lyrics are occasionally hard to take seriously, especially when he sings, “There’s vomit in the kitchen sink / A trail of blood / A loaded gun.” His voice just seems too pretty for such ostentatious, angsty lyrics. Even though the lyrics on “Ghost” come across, also, as a bit moody and dramatic, the track manages to avoid this cognitive dissonance. For instance, even though Shinosky’s vocals don’t precisely match the disturbing lyrics, the music retains a youthful honesty and freshness that makes it all the more endearing. And The Nightbirds even manages a flip around to close on a perkier note with the upbeat “City of Lights.” Feathery acoustic guitar, light bass and a quick-stepping pace brighten up this EP, and The Nightbirds take their well-deserved bows on a relatively high note. (Self-released)
www.myspace.com/nightbirds

-Miriam Lamey

 

Zox - Line In The Sand
Produced by John Goodmanson

 

 

 

 

 

This Providence-based foursome has been described as “violin-laced reggae rock,” but the band’s latest release, Line In The Sand, takes their sound further from Rusted Root and more toward The Faint. The synth-heavy, ‘80s-inspired instrumentation is professional and the production is high quality, but the sonic wall created by the interplay of guitar, bass, and electric violin occasionally grows so strong that several songs are nearly indistinguishable. Fortunately, the album is interspersed with some standout tracks capable of keeping the listener’s interest.
Two of the more generic songs — “Another Attack” and “Toward Los Angeles” — are catchy and danceable despite their similarity. “Another Attack” moves from snaking guitar lines to a treble-heavy interlude, fading out in volatile electro-yelps. As with most tracks on the record, the lyrics are mostly forgettable, but the song has a syncopated movement that’ll put your head and hips in motion. The catchy, fast-paced “Toward Los Angeles” pairs thumping drums with bright tambourine, interspersing wildly wavering strings with crunchy guitar lines and a dramatic chorus.

“The Wait (Part II)” pares down the band’s multi-layered sound to focus on gentle waves of guitar joined by strings that emphasize heartfelt, sung-spoken lyrics. One of the sleeker songs on the album, it’s appealing largely because it breaks down the full force of the band’s noise into its individual instrumental components, showcasing the band’s musical prowess.

The sweet but not saccharine single “Goodnight” features upbeat guitar riffs and a wistful chorus. The lyrics, “You have to leave the ground to learn to fly,” offer advice that Zox should think about heeding. If the band moved out of their poppy, radio-friendly comfort zone and tried some more instrumental experimentation, they might be able to fly a little bit higher — and create music that’s challenging instead of just radio-friendly. (SideOneDummy)
www.zoxband.com

-Kerry Skemp

 

Trey Hughes - Poplar Street Demos
Self-produced

 

 

 

 

 

Trey Hughes’ Poplar Street Demos is the quintessential journey into the snowy and cold Northeast. It’s an EP that makes you want to settle into a rustic cabin and sip cider with friends, while a wintry storm outside prepares you for seasonal hibernation. Everything about Poplar Street Demos sounds homemade — the lo-fi production, Hughes’ wistful, often pitchy gutturals, and his imprecise acoustic guitar playing are properly imperfect. All of these apparent insufficiencies add to the sincerity of Poplar Street Demos, making it one of the most earnest works of the year. In fact, Hughes’ style is reminiscent of an early Daniel Johnston, Sam Beam, or even a more benign Nick Drake.

“On The River Last Night,” one of his most upbeat songs, Hughes’ voice cracks and seems like he’s about to cry when he sings “I’d like to live in the woods / The big city too / I’d like to make enough money / To travel with you / Is there a chance that we’ll ever live in the same place again?” He again emphasizes his call on “When Your Plane Lands:” “And there’s a chance when your plane lands / You’ll turn around and wonder where I am / I’m far away but waving my friend.”

On its own accord, Poplar Street Demos works well enough for Hughes to take out the word “Demos” and leave the album as simply Poplar Street. The lo-fi demo quality is as important to the record’s identity as is his acoustic guitar work. (Peapod Recordings)
www.peapodrecordings.com

-Michael Aceto

 

Phil DaRosa - “Better Days”
Produced, mixed and mastered by KaeoFLUX and Phil DaRosa
Recorded and Engineered by Phil DaRosa at Tight Records Studio, Holyoke, MA

 

 

 

In the footsteps of solo artists James Taylor, Ben Harper and John Butler, Northampton-based singer/songwriter Phil DaRosa brings to the forefront an album saturated in the melodic keys of jazz, the rhythm lines of ska and the rough and scratchy voice of grunge rock. The combination of these three plus Phil’s own hip-swaying, foot-tapping sounds makes for a definitively genre-straddling affair: not quite alternative rock or progressive but still truly unique.

The first track on the album, “Wouldn’t I Like” opens with an atmospheric swell of drums, cymbals, and guitar. Each track functions pretty independently — from the bouncy “Hard to Tell,” complete with the sweet pitch of the electric guitar dancing along to the consistent beat of the bass and drums, to the raw melancholy and sultry acoustics of “Armor.” “So the Story Goes” reflects the influence of Santana’s Spanish guitar playing mixed with the dub rhythms of bands like Police and Sublime. All 14 tracks illustrate the album’s optimistic title through lyrics that paint a picture of hope and better days. Whether its better days for relationships, friendships or the world, Phil’s poetic tales overwhelm the soul with optimism. “Izms“ professes some of Phil’s politics and prayers for the world, singing, “Until the color of a man’s skin is of no more significance than the color of his eyes,” he declares we are all “Fighting battles of our own.” Overall this debut album proves there still exists a few fruitful attempts at something new and refreshing. (Tight Records)
www.phildarosa.com

-Melissa Gittelman

 

Blue Tree - Fault Lines
Produced and Recorded by Brian Brown

 

 

 

 

 

No one will ever accuse Lawson Hancock and Blue Tree of not pushing their limits as artists in their latest album, Fault Lines. It’s as if they got together and said, “We need to give our fans something new, and we’re not going to settle for anything cliché or uninteresting."

Love lost, tangled relationships and hope all carry through this album that is filled with well thought out metaphors and a roller coaster of emotions. The breadth in Fault Lines range from upbeat songs like “MacArthur Station” - where a short love affair is described as a “one hit wonder” - to haunting ballads such as “Who Sent You,” a song that gives the listener a sense of wonder and hope in the midst of desperation. The beautiful cello/horn intro to “Faded Rear View” gives us a refreshing reminder that each song on this album not only has a unique intro, but also a truly unique feel.

When the album starts out, it does taste a bit like another Coldplay knock-off, but Fault Lines is ultimately a much more personal story of Lawson Hancock and his introspective journey through life. Blue Tree takes the delicate aspect of the singer/songwriter and backs it up with the ambience and experimental nature of today’s alternative sound.

With a sound like that of Radiohead, Nick Drake and The Beatles all meeting for lunch in an outer space train station, Blue Tree is tastefully experimental, while using raw talent to craft thoughtful songs that everyone can enjoy. (Self-released)
www.bluetreemusic.com

-Dave Boodakian

 

Luke Temple - Snowbeast
Produced by Luke Temple

 

 

 

 

 

Massachussetts native Luke Temple, now a Brooklyn resident, wears many hats on his latest Mill Pond Records release, Snowbeast. This is probably because Luke Temple is more of a collaborative project than a singular, singer/songwriting entity. The songs on Snowbeast are the result of many musicians and varied instrumentation employed throughout the album, each song existing as its own miniature universe, but Temple does manage to piece together a sound of his own. It is a crossbreed of folk and analog synth electronica that gives birth to this cohesive collection of vibrant songs.

Though most of the tracks on Snowbeast are united by synthesizer and banjo, the album’s strongest thread is undoubtedly Temple’s voice. This is especially apparent on the up-tempo introductory track, “Saturday People.” It begins as a janglier, off-kilter version of Beirut. Think Beirut covering Sgt. Pepper’s, while playing for woodland elves. The chorus is a blend of bells, banjo, snare drum, and Temple’s soprano howling whimsical lyrics. And then the song changes. The ending takes a mid-tempo, Saturday afternoon approach: shakers scattered amidst a consistent jam of electronic beats and digital effects, with light, jazzy hi hat capping off the track.

The scope of Temple’s songwriting ability is showcased a few tracks later with “People Do,” a song shaved down to its essentials when compared with “Saturday People.” It is a simple folk song, just as good as Bright Eyes or M. Ward, centered around slow acoustic strumming and some vocal overlap - very mild and enjoyable. By this point it can be said that Temple’s vocal range isn’t huge but his voice is uniquely beautiful, and works well as the focal point in an array of backgrounds.

One thing is for sure: Temple knows how to use a synth. His Yamaha SK30 seems fitting, given the versatility of the instrument (it covers many functions - a kind of poly-mono-string-organ synth). Organs quiver in the shadows throughout the album amidst thick electronic texturing, as in “Family Vacation.” And not only is this album well written and dynamic, it was recorded on an eight-track in a bedroom, fooling this reviewer. Well done, Temple, well done. (Mill Pond Records)
www.myspace.com/luketemple

-Taylor Bratches

S Joe Hazelwood - S Joe Hazelwood
No Production Information Available

 

 

 

 

 

With a soft voice, some relaxing fingerpicking and a flute, S Joe Hazelwood has created a dark children’s album, but it’s unclear whether or not that was the band’s intent.

With more of an emphasis on being creative than creating music, this album falls short of brilliant, beginning with the shaky male voice present in every track. Christopher Alspach has put himself clearly on the side of a beginner experimenting with vibrato, resulting in an unnatural sounding quiver. Regina Peterson, the female voice on the track shows promise but seems to mimic Alspach’s style and is mostly a background contribution. A strong point to this album is the quality guitar playing and nice additions by strings and flute. S Joe Hazelwood creates an appealing instrumental element, but spoils it by confusing the listener with disjointed lyrics and mediocre vocals.

The theme of this album is puzzling, and while “dark children’s album” might merely scratch the surface, lyrics like “Break his yoke from your neck,” the opening line to “Esav” might leave some listeners confused and disconnected due to too much lyrical ambiguity. Even the song title “Esav” seems too obscure, given the track’s straightforward instrumental approach.

A consistent animal theme pervades the album, but never seems to amount to much. More like a lost camper in the woods than a journey through the animal kingdom, S Joe Hazelwood’s self-titled release is an honest effort often lacking in real substance. (Self-released)
www.saintjoehazelwood.com

-Dave Boodakian

Eugene - Avalon Recordings
Mixed and mastered by Paul Opalach at Long Hill Recording Studios in Shelton, CT

 

 

 

 

 

If Eugene’s Avalon Recordings were a painting, it would have two or three colors at most. Where some might use a broad palette, the Connecticut native picks his few favorites and does everything possible with them. If he were to, say, use only red and orange, he’d have no problem painting a cold winter scene. His innovations lie in the creativity to use only a simple set of tools, yet proceed to present them in an unseen formation. While another artists might get sick of one hue and turn to another, Eugene’s craftsmanship would continue to concoct the two until another unused shade appeared.

These 12 tracks are produced with clarity, allowing Eugene’s voice to trump all other facets. Undoubtedly lyric driven, Eugene’s music uses the background sounds of both electric and acoustic guitars (and occasionally a light piano presence) as a well for the words to spring from. The distinctive harmonica functions as a back-up vocalist in “On Top of The World” - a delicate and breathy track reminiscent of the late Elliott Smith. The majority of the album focuses more on rhythm than melody, with light, up-tempo beats and a steady lyrical foundation. Later in the album, “And You Listen to Me” showcases the flute, electric guitar, and a bit of resentment. He sings, “I thought you swore you were in love / I guess that was as worthless as my words / I dealt with this the only way I saw fit.” He may deal with his love life in a less-than-stellar manner, but he certainly handles songwriting in a delicate, artful way.

There may not be a plethora of instruments or an overwhelming amount of sound manipulation, but purity looks good on Eugene’s canvas. (Self-released)
www.myspace.com/eugenemichael

-Andrea Mooney

The Black Tie Affair - Burning Down The Library
Produced and recorded by Jon Wyman
Mastered by Adam Ayan at Gateway Mastering.

 

 

 

 

Burning Down The Library, the debut album from Boston’s The Black Tie Affair, plays out a rich arrangement of indie rock style and sensibility. Each finely crafted track weaves a wide range of pop and rock techniques underneath the introspective reflections of singer and guitarist John Paul.

The six tracks all stick together with intricate sonic layering and clean, crisp execution. The album’s opener, “Breathe Slow,” begins with fluid, multi-tiered guitars before assuming a tighter, sparser rhythmic attack under Paul’s vocals. Paul reflects on youth and growth, and as the rhythm section brings the song into double time, he gently reminds the listener to “Breathe slow / There’s a lot of air in this city that needs to make its way out.”

The record goes on to ply rich layers of sound into an ideal backdrop for thoughtful storytelling and confession. Paul’s upper register is well suited to float above the highly textured instrumental arrangements. Measured tom rolls and fuzzed-out, arpeggiated flourishes rise and fall behind the vocals to create dramatic transitions and hooky phrases. As on the tracks “Close Enough” and “Spanish Courage,” Craig Medina’s bass lays a steady foundation for the waves of sound that cut across the mix with drawling distortion and lively solo breaks.

For all the elaborate interplay of the album’s instrumental arrangements, Burning Down The Library boils down to thoughtful and inventive songwriting and performance. The record is all at once fresh and familiar — an impressive reworking of indie rock essentials into a distinct, yet highly relatable experience. (Self-released)
www.myspace.com/theblacktieaffairmusic

- Sarah McFadden

 

lowercase p - When Your Fingers Find The Shapes
Recorded at Ill Salt by Lowercase P
Mixed and edited by Brian Redmond and Gabriel Cruser
Mastered by Brian Redmond at the Fuzzbox

 

 

 

 

Chaos. Beauty. Loss of bodily control. The music of psychedelic electro-dance jazz trio, known as lowercase p, evokes all of the above. Using their sharply crafted compositions as vehicles for vast improvisation and musical experimentation, When Your Fingers Find The Shapes, illustrates how this Lowell, Mass.-based trio has found the perfect balance between “the loose” and “the structured.” While the influences of bands such as Medeski, Martin, and Wood, Aphex Twin, and Om Trio are unmistakable, lowercase p has their own tightly focused agenda. This is a band that has done its homework. Phil Reese on keyboards, Brandon Downs on bass, and Gabriel Cruser on drums merge elements of trance, prog-rock, dub, Latin, and funk into a psychedelic groovescape.

Raw, funky beats and head-bouncing bass lines drive each song with rhythmic precision. However, the trio’s expansive sound can be accredited much to the keyboard work of Reese who, from track to track, demonstrates complete command over his instrument. “3one8” is a perfect example of Reese’s musical multi-tasking, where the eerie B-3 sound vibes atop a frenetic synthesizer melody.

The album’s second track, “Scully,” features a quirky synth lead supported by a funky backbeat and its airy choruses make for effective transitions in and out of the improvisational sections. “Metro” is divided between the beautiful trumpet leads by special guest Scott Kaufman and dark, atmospheric four-on-the-floor dance grooves. All in all, each track off of When Your Fingers Find The Shapes presents a different, unique glimpse into lowercase p’s sonic game-plan. It’s a physically and mentally stimulating experience. (Self-released)
www.lowercasep.com

-Sam Merrick

The Motion Sick - The Truth Will Catch You, Just Wait
Mastered by Jeff Lipton at Peerless Mastering in Newton, MA

 

 

 

 

The Motion Sick exhibit the ability to change gears; The Truth... is not all quirk. The band is also able to take things to a less whimsical place as they do in “The Owls Are Not What They Seem” — a slightly bizarre, yet catchy track towards the second half of the program.

The Motion Sick are capable of producing good-’til-the-last-drop music, and this record shows a band in its prime, power-up, leveled-up and ready to beat the most imposing videogames available. Aliens and vampires beware. (Self-released)
www.themotionsick.com

-C.D. Di Guardia

 

The Doom Buggies - The Doom Buggies
Recorded at Verdant Studios by Pete Weiss
Mastered by Jeff Lipton at Peerless Mastering in Newton, MA

 

 

 

Eventually, a band will start to take on the essence of their normal environment. Country bands come from the country, garage bands come from the garage. The Doom Buggies sound like they spend their waking moments in the dingy bars of the area — the ones that smell like a mix of burned-in cigarette smoke and damp cardboard. While the term “pub band” is hurled around like a foul epithet, The Doom Buggies seem to embrace the title in their latest eponymous album.

The sounds come straight out of your favorite dive bar, circa the late ‘90s. The Doom Buggies have a straight-up melodic punk sound, replete with repeated backing vocals, small-amp guitar tone, and enough “bar” references to make anyone thirsty. The band speeds like a steam-engine through the record, putting their heads down and bashing through walls until there may be nothing left. The music doesn’t really “go somewhere,” per se; but it definitely “comes from” somewhere. The thematic elements of the arrangements — the dirty guitar, the short solos, the upbeat drums — all point to small stages with iron-wrought railings and ornery bartenders who scowl at every leap in volume.

Like a recent edition of Saturday Night Live, however, The Doom Buggies seem to be running on fumes every once in a while. They follow up the strong, riff-driven “Galaxy Girl” with the lackluster and unfortunately titled “Real Good Time,” an iteration of the classic “hook up at the bar” song that has been sung hundreds of times by hundreds of bands. The Doom Buggies cruise their best at high intensities and need to retain a certain level of swagger to stay effective.
(Self-released)
www.myspace.com/thedoombuggies

-C.D. Di Guardia

Johnny Irion - Ex Temore
Recorded and Mixed by Ryan Pickett at Pic's Gym
Mastered by Brent Lambert at The Kitchen

 

 

 

 

This record was made for the morning. The gentle hum of finger-picked guitar, lulling harmonica and the endearing vocal sincerity of Johnny Irion combine to exude a feeling that the sun is rising. Add the lush harmonies that beam through the album, with chilling performances by The Hedgspeth Family (“Short Leash” and “Brush Yer Teeth Blues #56”) and you have a pervasive vocal texture on Ex Tempore that massages and elevates the orchestration beneath.

Songs on Irion’s latest release often touch on themes of vulnerability, but do so in a way that is cathartic for the listener. In “Good Cry,” Irion coos, “I get a good cry every morning / It’s a good way, and a good excuse, to let it all out.” And in a more external commentary he acknowledges that “We are all fragile humans / And we all could be swept away.” Thoroughly honest and unabashed in his lyrical delivery, Irion is a beacon of humble idealism in a musical landscape littered with many oblivious and self-centered songwriters.

Irion’s warm tenor, though, could not be so easily appreciated if not for the tasteful support from the rhythm section. Irion has an appealing Lennon-esque piano style, and perfectly executed solos (flute on “Take Care”, harmonica on “Brush Yer Teeth”) fly above many songs, punctuating their intriguing progressions.

The only time the rhythm section lets the listener down is when it refrains from playing. More specifically, this occurs when Irion employs a plastic- sounding drum machine during the chorus of “Roman Candle” instead of using the organic percussion that drives the rest of the song. Though this is a baffling arranging choice, it is quickly forgotten when reflecting on all of the light that Irion creates throughout Ex Tempore. (RCAM Records)
www.myspace.com/johnnyirion

-Michael Oliveri

Therefore I Am - Escape
Produced & Mixed by Michael Poorman

 

 

 

 

 

For their sophomore album release, Therefore I Am attempts to sand down the edges of their screamo arena rock while capturing the same unabashed gusto found at their live shows. Charged by flurries of searing-sonic guitar and polished song hooks, Escape gallops along the madcap course of an unbridled stallion.

The album’s groove recalls the frenetic fireworks of post-hardcore darlings At the Drive-In through its glossy convergence of yowled vocals and epic metallic riffs. Its opening track, “The Publicist” — an ode to the woes of dead-end relationships — is a good launching pad into the band’s post-punk cavalcade of suburban angst. “45 Miles” surges ahead with the ballad-stricken wails and interlaces with a catchy, cosmic rock groove.

Some portions of Escape fall prey to redundant refrains that do
little in distinguishing one song from the next. Often the band’s lyrical content reads like the pages of an adolescent’s diary set to music, wallowing through the misery of passages such as, “This is the end / And I can’t pretend that I’m okay / I’m not okay / I can’t even remember when you slithered away and left me with this emptiness.”

The extra punches of bombastic momentum keep the flow moving.
But while the production work on Escape secures a rich balance between raucous vocal swells and heavy instrumental rumblings, its musical offerings fail to breach any innovational techniques, confining itself to generic territory. (Self-released)
www.thereforeiamrock.com

-Nathalie Levey