CD OF THE MONTH

Mike Viola - Lurch

Produced by Mike Viola and Ducky Carlisle at Ice Station Zebra, Medford, MA / Engineered by Ducky Carlisle at Ice Station Zebra, Medford, MA / Mastered by Roger Seibel at SAE Mastering, Phoenix, AZ

Mike Viola, of Boston’s powerpop favorites The Candy Butchers, has crafted a near-perfect powerpop record this side of his Liverpudlian idols. And though Lurch is lyrically a departure from 2004’s ultra-catchy yet heartbreakingly personal Hang On Mike, Viola’s penchant for oddly familiar yet completely original melodies are more than intact.

The opener, “Maybe, Maybe Not,” is a quirky start to the album with a tinkling harpsichord arpeggio combined with stop/start dynamics and a thickly harmonized call-and-response vocal.

Next up is “Girly Worm,” whose tack piano hook is a sugary nod to The Addams Family theme and “Killer Queen.” With cleverly nonsensical lyrics, (“It’s a picture perfect day for bananafish,”) the breezy tune is one of many highlights on Lurch.
“All Bent Out of Shape,” seemingly a thinly veiled song about exercise (“Circle around the block / It’s gonna burn off”) is a worthy adversary to anything from Rubber Soul with its toe-tapping electric folk arrangement with a great ending and stabbing staccato guitars. “Strawberry Blonde” sounds like The Beach Boys’ 1970 classic “This Whole World,” with its similar melody, mid-verse key changes, and even the “Oom Bop Didit” harmony refrain on the chorus. “Strawberry Blonde,” thankfully, will refuse to leave your ears. It’s easily one of the catchiest songs in Viola’s canon.

The songs here are some of Viola’s best ever showcases for his trademark scratchy and enduring voice. Producer Ducky Carlisle certainly knows how to churn out breathtaking harmonies in the forefront of a mix, especially on the more introspective tunes like the harpsichord-laden “Snowman In Tompkins Park.”
It’s obvious Viola has grown up and expanded his arrangements beyond the densely-layered guitar work of his previous albums, opting for more ornate parts, unpredictable bits of keyboard work and even vintage synths (as such on the otherwise delicate “Dangerously Close”).

The production is immaculately clean and crisp. From the sparklingly over-compressed guitars to those gorgeous harmonies, Carlisle is a master of retaining large arrangements, keeping them completely dry of reverb yet maintaining a perfectly audible fit for every instrument in the mix.

Lurch is an astoundingly consistent record that hits a home run with every track. And with what may be his most optimistic lyrics, it’s obvious Viola had fun making the record. And he should have, he’s a true pop songsmith in the highest regard. (Good Morning Monkey Records)

www.mikeviola.com

- Brian E. King

Mike and Ruthy - The Honeymoon Agenda

Produced and Engineered by Jose Ayerve at Humble Abode in West Hurley, NY / Mastered by Scott Petito at NRS in Saugerties, NY

With a strong mix of classic and original folk-acoustic songs, Mike and Ruthy deliver a deliciously smooth sound that tells the tale of love and hope. The NY state duo has created an album that gorgeously celebrates both the beauty of the present and the excitement of the future. As newlyweds, the chemistry between Mike Merenda and Ruthy Ungar is undeniable.

Both musicians hail from the folk band The Mammals, who have made a name for themselves with traditional Appalachian fiddle-banjo stylings with contemporary rhythms and lyrics. The Honeymoon Agenda, however, contrasts that sound with an exploration of the softer, more angelic sounds of folk. Sometimes, though, you get a hint of their old sound, like in “Beg and Borrow,” as the banjo, lap steel, and upright bass fuse with simplified lyrics to create a memorable, foot-stomping folk tune.

It is perhaps the extensive inclusion of a variety of instruments that is most appreciated on this album, which features everything from the glockenspiel and fiddle to the guitar, SK5, and drums. Worth mentioning is the brief instrumental piece “Diamond Ring Rag,” which pleasantly resides between softer songs presenting themes of a personal, passionate devotion between Mike and Ruthy.
The Honeymoon Agenda consistently showcases the duo’s talents as lyricists, and offers a non-stop journey into the highest highs of love. The majority of the tracks are not for the pessimist, as the emotionally charged phrases can sometimes push the boundaries of subtle sweetness and sappiness, as evident within “I’ll Be Your Mirror” and “For This Love.” Classic favorites by Lou Reed, Bob Dylan, and Etta James complete this EP as a wholesome, impressive debut for the twosome, and safely rebuke all notions that new love can ever fade. (Humble Abode Music)

www.mikeandruthy.com

- Jillian Horn

The Mystix - Blue Morning

Produced by Bobby Keyes and Jo Lily / Recorded at B.K. Studios, Saugus, MA / Mastered by Bob Ludwig, Gateway Mastering

Boston-based band the Mystix has produced some good Southern fried soul music with new release Blue Morning. Made up of Mass. and New York musicians, the group makes roots music with an ecstatic and loving sound. Singer and guitarist Jo Lily’s hoarse field calls practically beg to be heard in open air. He growls, purrs and shouts with a sound that isn‘t quite country, isn’t quite New Orleans blues, but draws on both, with a rich helping of gospel thrown in.

The sound of warbling slide guitar in “Yolanda” and the groovy “Another Kind of Love” get the album started right. There are also covers of Jimmy Reed’s “I’m a Love You” and the Traveling Wilburys’ “Rattled,” both well-done, though not as memorable as the energetic originals by Lily and Bobby Keyes. Clumsy fade-outs mar a few tracks just when things seem to be getting good, but by the end the songs are given the chance to say all that they need to.

Bobby Keyes on electric guitar takes some adventurous solos and really grabs at the best parts of the blues. There are tunes (the lonesome country ballad “Which Side of Heartache” being one) that could fare better if it was just Keyes and Lily at work, without backup vocals or the rhythm section. That said, Marty Ballou on bass and Marty Richards and Dennis McDermott on drums do a fine job of laying roots and groove. Without them, this album would lose a healthy dose of honky-tonk bounce.

This is fun music that’ll have you wishing for summer, a cheap radio, and a station that puts this kind of tasty stuff on the air. (Mystix Eyes Records)

www.themystix.com

- Warren Allen

Gladiola - There Is No Road
Produced by David Mineham and Gladiola / Recorded and Mixed by David Mineham at Woolly Mammoth Sound, Boston & Waltham, MA / Mastered by Dave Locke at JP Masters

There is certainly no lack of determined enthusiasm on There Is No Road. Gladiola is a mesh of influences that include The Replacements, Guided By Voices and Sleater-Kinney. Ambitious and well produced, the album offers some high-quality indie rock songs that showcase a band with a dedicated and impressive pop sensibility.

The opening track “Lost and Found” has a beautiful early Liz Phair sound (circa Exile In Guyville), with a fulfilling sonic contour from beginning to end. Arrhythmic piano arpeggios, a fuzz-distorted Pavement-esque guitar riff and solid percussion lead-in to singer Jessica Madden-Fuoco’s wonderful vocal introduction. Though the vocal execution is spotty at the higher points of her range, the song is an encouraging example of Gladiola’s potential.

From this point, however, the album struggles to find its footing. The opening line to “The Story Is Your Name” starts “A rollercoaster rides up beside the road / like someone’s signature in red, green and gold.” Whatever these lyrics mean, the main problem here is the awkward blending of Jessica and Bill Madden-Fuoco’s vocals. It works when they sing in harmony (“Headphones”), but the uneasy, unison melding of voices on many tracks would work much better with only one singer (usually Jessica’s).

Other songs, like “New Bombs” and “Half-Life,” highlight Gladiola’s capacity for excellent song craft, employing creative arrangements and exuding powerful vocal sincerity. It seems, though, that in between each one of these great songs there are dips in this rollercoaster that drag the positive thrust of the album. (Self-released)

www.gladiola.net

- Mike Oliveri

Seth Adam - Where You Come From

Engineered, mixed, mastered, and produced by Vic Steffens at Horizon Music Group, West Haven, CT

Formerly of the Connecticut band Green Inside, Seth Adam has is now on his own with a backing band of fearless musicians. His first full-length studio album, Where You Come From, offers harmless soft-rock melodies like “Century” and “I Think I Like It Better,” but it just doesn’t stick.

Adam’s voice has a soft listenable quality that makes similar artists so radio-friendly — a combination of the Old 97’s and Counting Crows but a touch more nasal. Normally the songs themselves could use just a bit more oomph. “Charlie and Mildred’s Dream” is the first song that finally veers away from the guitar-happy blandness. Instead, we have a mournfully slow number that highlights the hardships that all couples face immortalized in song. However, unlike Tommy and Gina who were halfway there and Jack and Diane whose lives went on long after the thrill of living was gone, Charlie and Mildred just seem to flounder without really doing or explaining anything. Given the title, “Misery” is an surprisingly upbeat, bluesy number with throaty backing vocals that help make it stand out amongst the rest. However, the switch back to three-chord, no-exertion-needed guitars comes right on its heels.

“Alright, Alright” begins with the decisive drumming that arena-rock fist pumping is made for. However, besides picking up that same beat every once in a while throughout the song, it backs away from making a statement with a typically predictable chorus. With a few other slower numbers the album comes to a hesitant end, almost politely asking the listener, “Should we stop playing yet?” (Horizon Music Group)

www.SethAdam.com

- Leyla Hamedi

Anarchy Club - A Single Drop of Red

Produced by Adam von Buhler and Keith Smith at the AnarCave, Boston, MA / Engineered by Adam von Buhler / Mastered by Adam von Buhler

Anarchy Club’s second record, A Single Drop of Red, is another homemade collaboration between the Boston-based duo of vocalist/guitarist Keith Smith and multi-instrumentalist Adam von Buhler. Keeping with their tradition, A Single Drop of Red, released late last year, is a mash up of Rob Zombie-like vocals intertwined with the guitar stylings of Avenged Sevenfold. But unlike the two aforementioned bands, Anarchy Club’s effort is tough to separate from the hordes of bands playing this type of music. “Collide,” the second track on the album is the only exception. It’s easy to see why the song was a top pick for the Guitar Hero series. With chugging guitars and drums pushing it along, the song breaks down to a melodic bridge, pleasantly welcome, before wiping the slate clean with a minimalist shredding.
Where Anarchy Club excels in their production. Both Smith and von Buhler, through years spent in the musical trenches, have finely honed their soundboard skills to produce a great offering for the genre. Although not anything new or groundbreaking, their effort is a testament that the duo can make a solid record.
A Single Drop of Red also contains five remixes of various fan favorites like “Behind the Mask,” and “Enemy Ace.” If you’re an Anarchy Club fan already this is exactly what you need to tide you over until their next full length. If not, move along. (Self-released)

www.anarchyclub.net

- Dana Forsythe

Justin Levinson - Bury Your Love

Produced by Eric Masse, Adam Popick, Bob Levinson, and Justin Levinson / Recorded by Chuck Eller, Eric Masse, Adam Popick, and Cliff Warner / Mixed by Adam Popick, Matt Beaudoin and Matt Tahaney / Recording/Mixing locations include Outtake Studios, Q Division, The Egmont, Red Dog Studios, and Chuck Eller Studios.

Baring a voice that has the same sensitive quiver as Connor Oberst as well as sharing the Bright Eyes’ front man’s penchant for Dylan-esque wordplay aimed towards the emo generation, Levinson writes songs that are fairly hooky and is certainly adept at aping his influences, but offers little to separate him from the pack.

Musically, Levinson transparently displays a wide array of influences. “Heavy Weight” sounds like a countrified mix between John Lennon and Coldplay, featuring guitars and piano that crash together in unison. “Home” is a country shuffle, built around two chords and a few twangy guitar lines, the chorus’s harmonies recalling later-period Eagles. Though Levinson professes his biggest influence to be John Lennon, “Daisy May” looks to the bouncy pop schmaltz of Paul McCartney’s early solo work, while the folksy “When It Rains On Your Parade” has a harmonica part that sounds straight from an early Bob Dylan record.

What ultimately deflates Bury Your Love is the deficiencies in both production and songwriting. The upbeat numbers, though certainly hooky and expertly crafted, are too glossy and AOR-ready to make much of a visceral impact. The downbeat folk songs have a stripped down, intimate feel, but given that the genre’s strength is purely in the words, it hurts that the lyrics are cliché-ridden and lacking any personality trait that might separate Levinson from the next kid with a guitar in a coffee shop. While the man is certainly well educated in how to put a song together, one hopes that he’ll be able to do more than offer an approximation of his influences. (Outtake Records)

www.justinlevinson.com

- Anthony Saggese

Charo Sofia - Montréal

Recorded and mixed by Alexander Hatziyannis / Mastered by Matthew Azevedo

Charo Sofia’s Montréal is a pairing of contemporary folk, ‘90s alternative rock, and indie sentiment. The six song EP features only Sofia and her guitar encompassing a wide range of emotion and an insistent display of stripped-down singer/songwriter know-how.

The first half of Montréal showcases Sofia’s deep vocals, which are throaty and edgy but still smooth. On the CD’s first track, “Perfect,” Sofia smoothly delivers her slick rhyme schemes and tricky syllable placement over a typical alt-rock acoustic groove. The next two songs stay true to this fashion, with Sofia weaving her firm and frank vocals over tried and true acoustic rock grooves embellishing subtle minor progressions and angsty palm-muted strumming swells. On the second half of the CD, Sofia parts with the initial simplicity of the CD by adding more guitar and more vocals, weaving increasingly intricate arrangements for each and creating for the first time a kind of working relationship between the two. On the CD’s title track, a finely-honed dual guitar pattern keeps the song rolling along before Sofia’s rich, haunting harmonies enter into the chorus, begging the listener with an instrumentally-driven urgency, “Don’t fall to pieces tonight.”

The final track, “Broken Stage Mic,” is a rather disjointed track that jumps back and forth between a low-pitched, aggressive thumping of sentiment and the fairly nondescript strumming that typifies the first half of the album. Between aggressive assumptions and another meditation on falling apart, Sofia slips in a few quick guitar solos, more fills than anything else, that serve as subtle reminders of craft. Were there more such moments, Montréal could easily move from being a cross section of folk and alt-rock to a more personal reinterpretation of those more expressive mediums. (Self-released)

www.charosofia.com

- Sarah McFadden

The Shondes - The Red Sea

Recorded, Produced & Mixed by Tony Maimone / Recorded at Studio G Brooklyn, NY / Mastered by Alan Silverman, ARFI Mastering

The Shondes debut, The Red Sea, is littered with fragmented hooks and amorphous melodies that, although initially engaging, ultimately collapse under the weight of their own ambition. Initially, it’s a good listen — with huge breakdowns, fluid orchestral arrangements and a front-woman to fear and fall in love with, but it sounds more like a first draft than a finished product. The Shondes demonstrate the ability to write a great punk record, but at times they seem to lose sight of their goals, and song directions despite the unique twists their songs often take, especially with the painfully addictive chorus of “Will You Love Me Tomorrow’s” to “Let’s Go’s” shrill violin crescendos, the album regrettably coheres into one uninterrupted song.

“Don’t Look Down,” the first track, opens with a rock swagger worthy of Television and a gritty guitar. Louisa Solomon’s vocals are a bit to digest at first, but as the first key change hits and the power chords enter, her vocals push the songs to their conclusion and establish Solomon as the album’s focal point. As the songs progress, Solomon throws herself into the lyrics like waves against a wall, her voice quivering at the end of each word, choking the last shreds of meaning from every syllable she utters. And right as she sounds like she’s about to break, the band reinvents the song, drops the riff and ups the violin, a move that renews Solomon’s vigor and re-engages the hooks.

But sadly, those moments of brilliance aren’t quite enough. It’s after the album’s halfway point where the choruses begin to recycle typical power-chord formations, and their previous lack of structure actually becomes formulaic. For the most part, their mid-song breakdowns redeem any previous monotony, like on the aforementioned “Let’s Go,” but getting to those points of raw inspiration proves tough. Solomon’s vocals lose their novelty and begin to drag toward the sixth track, as if even she were getting bored with the song.

At times, there’s just too much going on. The Shondes could benefit from a little more self-editing and a tighter focus on things like the refreshing sound of delay-drenched guitars on “I Watched the Temple Fall” rather than the tired power chords of every other song on The Red Sea. (Self-released)

www.shondes.com

- Nick Curran

The Wings of Fire Orchestra - Bullfighter Ballet

Produced by Stefan Colson and Jaime Garamella / Engineered by Stefan Colson, Jamie Garamella, Erik Mattox, and Ted Paduck / Mixed by Stefan Colson, Jamie Garamella, Ted Paduck, and Jeff Pflaumbaum.

Comprised of nearly thirty musicians, students and alumni from Berklee and arranged by composer Jeff Pflaumbaum, The Wings of Fire Orchestra debuts with Bullfighter Ballet, an ambitious concept album based on rhythmically complicated big band jazz, soul band funk, and a decidedly Broadway story telling sensibility. With the exception of a few genre exercises, the majority of songs here are all based on the almighty groove, punctuated by a five-piece horn section, soul group backing vocals, and squealing saxophones.

Weaved throughout Bullfighter Ballet are short snippets of dialogue, telling the story of an unfortunate football player whose big dreams come crashing to a halt when he ends up stuck in his hometown and working 9-5 in Factoryland, a place so heinous as to deserve two 10+ minute jam pieces devoted to it. The presentation of the story is light-hearted and a bit hammy, while the music is appropriately festive in suiting the tone. The breath of the featured horn section ranges from traditional bullfighting music to big band swing. As with many orchestras and big bands, the overall effect is caused by the group’s ability to function as an ensemble, living and dying by the groove and the wall of sound placed on top of it. Individual players, of course, are designated spotlights, but impressions are fleeting thanks to the busy nature of the orchestra itself. Pflaumbuam’s lead vocals, though technically proficient, are similar to what you’d expect from the lead of an Andrew Lloyd Webber production. Bland.

Bullfighter Ballet falters as it deviates from the core sound as the diversions don’t so much deepen and enrich the overall work, but stick out sorely. “We’re Toro Bravo” cribs its riff from the Blue Oyster Cult’s “Don’t Fear the Reaper” rather shamelessly, while bits of reverb- heavy piano balladry and pseudo country blues are strewn about.

Perhaps most disappointing is that Bullfighter Ballet doesn’t make good on its promise to “usher in a new age of conceptual rock and roll.” This is hardly rock and roll and hardly anything new - acting more as a collage of genres long ago established rather than anything that adds to, deepens, or improves the styles it appropriates. (Self-released)

www.myspace.com/wingsoffireorchestra

- Anthony Saggese

Rogue Heroes - The King is Dead

Produced by Tom Jewett / Recorded and Mixed at The Milkhouse Recording Studio, Allston, MA / Engineering by Kevin Ennis / Mastering by Nick Zampiello

Allston’s The Rogue Heroes are one of a select few punk bands that have willingly ventured into new territory, seamlessly blending influences ranging from 50s rockabilly to funk and of course, 70s punk a la early Clash.

Backed by the exceptional rhythm section of Kevin McDevitt and Johnny Boy Clancy, Thomas T. Bomber leads the assault with his clever guitar play and a gravely yet soothing voice which evokes a mix of both Mike Palm of Agent Orange and Mike Ness of Social Distortion. The opening track, “The King is Dead” is a straight-ahead rocker with some cleverly placed harmonies and vocal effects. “Head in the Oven” is by far the most unique track on the album that features a funky beat reminiscent of Stevie Wonder. “Real Good Old Boys Don’t Die” is a romping, sing-along in which the Rogue Heroes pay tribute to the memories of old friends; it’s easy to picture a room full of punks shouting in unison with the booming chorus.

The instruments blend together well on The King is Dead, sounding like one cohesive entity creating an excellent backdrop for Bomber’s unique voice. Overall, this album is chock-full of heavy riffs and excellent vocal melodies accompanied by exceptional harmonizing and a tight rhythm section; it’s also quite refreshing to hear a punk band trying to expand on the sound of their genre, something that so few of their peers attempt these days. (Rogue Empire, Inc.)

www.myspace.com/rogueheroes

- Wayne Raymondo

One Hand Free - Quadraphonic

Produced by One Hand Free / Mixed by Joel Hamilton at Studio G, Brooklyn, NY / Mastered by Jay Frigoletto at Mastersuite, Brookline, NH

Listening to One Hand Free’s new album uadraphonic is akin to taking a nostalgic tour of the big names of ‘70s American rock. The band pays open homage to their influences (Aerosmith, Steely Dan, Deep Purple and so on) by offering up eight tracks of déjà vu inducing, straightforward rock and roll.

One Hand Free has potential for a solid album, but this is effort is somewhat unforgettable. Andrew Blowen’s vibrato-laced vocals are clear and strong, Josh DiJoseph’s guitar solos are tight and to the point, never devolving into the lengthy jam-band ego- fests they could so easily become. Geoff Taylor’s thrumming bass and Kelly Bower’s quick hits keep everything in perfect time. The band as a whole is well planned, together and aurally comfortable. Unfortunately, on Quadraphonic this unity serves only to make the songs more formulaic. Songs like “Majestic”, are so familiar sounding that they feel like cover tunes. Quadraphonic gives the impression of listening to a really good bar band. It’s pleasant background music, but leaves no lasting impression.

Though the album has its highlights, “Dig” listens like an open love letter to Lynrd Skynrd. Powered by driving guitars and crashing cymbals it pulses with an anthemic hugeness that effortlessly sets it apart from the other songs. Conversely, “Stumble” the final track, is a low and easy ballad. Filled with DiJoseph’s stretched and fading chords, it culminates in a strange and delicate finale that is without question the most original and beautiful aspect of the entire album.

One Hand Free has the chops to create something truly new and interesting but first they have to break free of the derivative trap that makes Quadraphonic such a predictable record. Hopefully, their next record will bring them closer to the complicated sound of which they are so obviously capable. (self-released)

www.onehandfree.com

- Rae Jacobson

Gone By Daylight - Sold My Soul

Recorded at Big Blue Meenie Recording Studio’s Jersey City, NJ / Engineered by Kevin Neaton / Mixed by Tim Gilles / Mastered by Brad Blackwood of Euphonics Masters Memphis, TN.

On their EP Sold My Soul, Western Massachusetts’ Gone By Daylight delivers big riffs and attitude that is pure rock ‘n’ roll. The band is obviously not interested in lumping themselves in to any bracket of rock, which is a relief in an era of post-rock, dance-rock and anything else-rock.

From the album opener “By Your Side,” the influences are clear with crisp production allowing lead vocalist Eric Paquette and company to become genuine arena rockers, with their big hooks and anthemic tunes. Though they have potential to rock some serious face, Gone By Daylight’s sound is more akin to Third Eye Blind, who took an intricately catchy rock sound and made it easily accessible to the masses. Like them, Gone By Daylight successfully mix guitar licks and solos aplenty, but keeping it melodic and always catchy. Most importantly, they don’t come off as cheesy.

Tracks like “The Way It Feels” with its acoustic guitar opening and closing track “Big Riff” are all massive in the production, and Gone By Daylight is able to pull it off. As Paquette nearly delves into a cliché in singing about “selling his soul for rock and roll” on “Big Riff,” he manages to genuinely pull it off with a some real conviction. Some bands don’t rely on gimmicks for popularity. This is one of them. (self-released)

www.myspace.com/gonebydaylight

- Nick Stefanovich