CD OF THE MONTH

Township- Coming Home

Engineered and Produced by Chris McLaughlin at Mad Oak Studios, Allston, MA

Mastered by Nick Zampiello at New Alliance East, Cambridge, MA

Township’s awe-inspiring rock histrionics are very present and accounted for on Coming Home, but Marc Pinansky and company find a different stride on this full-length excursion. Instead of throttling the ear with truncheons made of fine mahogany, Township beckons the listener to take a full-day journey. The initial track serves as a good-morning wakeup call. “Round The Dust” starts off with a sleepy synthesizer and ethereal guitar overture, which gradually gives way to Greg Beadle’s 8-hit quarter-note drum fill, signifying a commencement of rock that does not cease until the disc stops spinning.

The hits literally keep coming with “Highway,” which starts in the manner of any safe rock song — a driving double-time beat on the snare, soon joined by the vocal track in which Pinansky details his plans to “Drive my car right into a lake.” “Highway” is punctuated by one of Township’s signature choruses, where the band goes into a “Sugar Magnolia” take on another staple of classic rock — the badass woman.

The group takes a more introspective/romantic turn in the next track, an actual ballad (!) titled “Baby Rock Me.” We can be sure it’s a ballad as it features the master 1970s rock symbol of balladry — the Fender Rhodes. There’s even a nice mellotron string section in the end.

Coming Home is centered on a strong nucleus — the meat of the order features strong tunes “Millions of People,” “Sandy” and of course the savior in “Jesus.”

“Millions of People” is a favorite from the group’s live show, featuring the ultimate sing-along chorus not just in Township’s catalog, but perhaps the local rock scene. “Sandy” is the group’s callback to Thin Lizzy, in which Pinansky rambles and burbles on like Phil Lynott over a decidedly Lizzy-esque six-stringed attack and Beadle’s “come-on” drumbeat. Township moves this record along nicely, taking various pit stops in the stylistic lands of Santana, King Crimson and 10 Years After.

Coming Home is a round-trip ending on “With You All Along,” a perfect nine-minutes-and-change finale that ends somewhere on the dark side of the moon. But by then, you’ll just want to start over again. (self-released)

www.thefamilytownship.com

-C.D. Di Guardia

Burnt Fur-Unfurl

Produced and recorded by Scott Harrison at Furspace | Mastered by Nick Zampiello at New Alliance East, Cambridge, MA

Unfurl, the debut album by Burnt Fur, features an array of songs influenced by vintage new wave to 1980s video games. Using only an 8-track digital recorder, Burnt Fur sought to create a minimalistic “charred” sound in their approach to production despite many intricate layers in their music. Although the album may seem a bit excessive at times in its layers, Unfurl is consistent from start to finish, as it challenges its audience lyrically and musically.

The most impressive aspect of Burnt Fur’s music is their seemingly preternatural ability to use just the right amount of guitar in each song. Guitar tracks come in short punctuated bursts, blending into each song as though they are part of the entire picture rather than their own entities. Burnt Fur’s penchant for creatively using guitar is particularly evident on “D.S.T.,” with its contrasting sections ranging from eerie and ambient to resounding and pronounced.

Burnt Fur’s elaborately crafted songs have the distinct quality of sounding like a complete entity rather then a blend of tracks masquerading as individually-arranged puzzle pieces.

Unfurl is an excellently arranged album that is easier to appreciate with each listen. There are many understated aspects in the songs that may not be apparent upon first listen. (New Shiner)

www.burntfurmusic.com

-Wayne Raymondo

Black Fortress of Opium- Black Fortress of Opium

Engineered & Mixed by Martin Bisi at BC Studios, Brooklyn, NY | Mastered by Fred Kevorkiny at Absolute Audio, NYC

Typically a solo artist, Adja the Turkish Queen shines in her latest gig as the front woman for Black Fortress of Opium. Named after a real place in Turkey called Afyonkarahisar, the self-titled EP boldly arrives with both intensity and dark regality. Adja’s echoing vocals paint each track with visions of Middle-Eastern richness and awe, and the dark tonality is consistent throughout the entirety of the EP. Even through the darkness, however, the sound is able to transcend itself to take on a variety of emotions, from love and hate, to sadness and bliss.

There is a unique sense of symmetry found within Black Fortress of Opium, as it begins with the same eclectic intrigue that it ends with. Producer Martin Bisi is partly responsible for creating the beauty of such sound, and is most known for his previous work with artists the Dresden Dolls, Iggy Pop, Sonic Youth and Brian Eno.

A particularly surprising element that Black Fortress of Opium offers is the unexpected mix of blues and Americana, which is found right between some of the deeper, lengthier songs. The track “Model Cafe” encompasses this perfectly; it is, however, also representative of a strange derivation from the dominant feelings of haunting, other-worldliness and mystique that the album as a whole tries to suggests.

Certainly worth mentioning is the wide array of instruments featured throughout the album that contribute to the cross-cultural sound, like the mandolin, banjo, flute, percussion, electric sitar, theremin and even field recordings. Black Fortress of Opium truly makes you believe that you just may be listening to something highly monumental. (Self-released)

www.myspace.com/blackfortressofopium

-Jillian Horn

Hungrytown-Hungrytown

Recorded at Song Catcher Recording, West Townshend, VT and on location in West Hurley, NY and Afton, VA | Mastering by Bob Katz at Digital Domain, Altamonte Springs, FL

Hungrytown is made up of husband-wife duo Rebecca Hall and Kevin Anderson who live in a remote cottage somewhere in Vermont, and that is irresistibly adorable. Having toured the world together, playing shows throughout the States and Europe, Hungrytown’s latest self-titled record is a wide-ranging collection of songs that spans the genres of bluegrass, country and Celtic.

Hall wrote a majority of the tracks on Hungrytown, while Anderson is the multi-instrumentalist who arranged the tracks, perfectly capturing the mood of Halls’ haunting vocal. Also appearing on the record is venerable bluegrass band, the Virginia Ramblers.

On Hungrytown, Hall’s knack for penning tracks that sound like they withstood the test of time and belong in public domain music records, really shines through. On the track “Troubles Change Direction,” a folk ballad that, by all rights, depression-era grandparents should have been listening to while sitting in their rocking chair, around an old-timey radio, really shines through and cements Halls’ talents and shows why she has been dubbed “a new folk classicist” by The Boston Herald, covered by Nashville music legend David Olney and won songwriting contests.

Everything about this hushed music screams, “Listen!,” even if Hungrytown’s voices never go beyond a whisper. (Listen Here Records)

www.hungrytown.net

-Nick Stefanovich

Fear Nuttin Band-Yardcore

Produced by Terry Date | Recorded at Studio X, Seattle, WA

Fear Nuttin Band’s Yardcore draws its influence from metal, reggae, and hip-hop. And while the band’s attempt at blending the genres deserves commendation, the album ultimately falls short, as it is essentially a collection of nu-metal riffs over conventional reggae rhythms. That is not to say there are no bright spots on Yardcore — despite being somewhat predicable, the drumming is tight and some songs offer a break from the monotony of the predominantly nu-metal sound.

“Rule the World” sounds as though it would fit in any current nu-metal band’s catalogue. The deep guitars drown out the bass; a recurring problem throughout Yardcore’s heavier tracks. The reggae vocal styling of both Prowla and Roosta break up the drudgery of each track with their energetic performances.

On the other hand, “Can’t Get Me Weed” is a pretty entertaining track as it ditches (for the most part) the overbearing heavy guitar sound for a more funky and rhythmic sound. Brian Daigle also offers up a smooth bass line that, despite being overshadowed by the excessively pronounced guitar tracks, provides a substantial rhythmic foundation that flows nicely throughout the duration of the song.

Yardcore is a nu-metal album that does not expand on the genre. The elements of Fear Nuttin Band’s sound, drawn from reggae and hip-hop, seem tacked on rather than innovative. If anything, Yardcore makes for some excellent party music. (Bodog Entertainment)

www.fearnuttinband.com

-Wayne Raymondo

Lo Fine-Not For Us Two

Engineered by Mark Alan Miller at Slaughterhouse Studio in Hadley, MA | Mastered by “J.J.” Golden

There is an unwavering sense of familiarity and calmness that allows listeners to completely trust the songs from Lo Fine. Not For Us Two is the highly anticipated follow-up to the bands’ first EP, which arrived long ago in 2002. The pace is slow and the lyrics are comforting, as singer Kevin O’Rourke pleasantly tells the tales of love, life and hope.

The biggest strength found on Not For Us Two is the sense of beautiful meditation within the lyrics, with O’Rourke’s poetic words leaving permanent imprints on the souls of all who come in contact. The unshakable state of melancholy is present in even the most upbeat sounds. Thankfully, just as the gentle lull of Lo Fine begins to sleepily fade, a track like “Cemetery Road” comes along with a slightly more upbeat melody to bring listeners back from despondency.

Some album highlights include the track “Remotely Together”, where O’Rourke is able to insert some welcoming sarcasm and states “Wise men don’t poke pins, They wait and deflate them a little,” amidst his contemplations on lost love and hope to last eternally. “#37” is as equally charming as it is sappy, with O’Rourke crooning about the many different ways to call hope-soaked words such as “beautiful,” “beginning,” or “pure.”

Singer/songwriter O’Rourke receives assistance on Not For Us Two from a handful of talented musicians, who add to the simplified sound with guitar, bass, drums and pedal steel. Overall, Not For Us Two is a positive, enjoyable follow-up album for Lo Fine, which exudes the relaxation suited perfectly for any sunny day. (Pigeon Records)

www.lofine.com

-Jillian Horn

Red Abbott-Having Fun Without You

Recorded at “Home” | Mastered by Bert Brown

Red Abbott’s first album, Having Fun Without You, is electronic balladry that successfully integrates many styles of the genre, utilizing guitars as their primary instrument and finding small seams to slip in mandolin, flute and Chip Means’ funky synth beats. Led by singer and songwriter JA Madera, Red Abbott’s experimental indie music is reminiscent of Depeche Mode and of Montreal, building up each track in the same method as Postal Service. Emerging from their respective homes of Portland, New York and Providence, this cross-country trio adequately displays their musical talent by recording their songs from separate locations over the Internet (while getting featured in Popular Mechanics magazine)- making this debut album all the more impressive.

Having Fun Without You is full of consistently lively tracks through most of the album, with songs such as the dance-inspiring “Arson,” “NC,” and the albums finale, “Cotton Escalator.” The track “Sip of Water” demonstrates the bands youthful, comedic side, while “Dutchess County” tops the list for its versatility and Gorillaz influence. The album, however, takes a slight detour at track ten, “New England,” demonstrating the serious, somber side of the band as JA Madera brings out his emotions, singing in a slow, morose tone “She came to New England/Leaving her name/and a face to forget.” Accompanied with a flute and solemn chord progressions, this is the closest Red Abbott allows their listeners to their heart. However, the very next track, “Bag of Change,” quickly resorts back to a more amusing, anecdotal style, with the upbeat refrain repeating “Doo dee dee doo/Its so unbelievable — look at this material,” referencing buying slippers at Payless and shawls at Marshall’s. The band immediately salvages their claim to youth and humor, bringing themselves, and their listeners, back down to earth.

As Red Abbott learns to harness and refine their talent and enjoyment for music, prepare to see more of these guys in the not-so-distant future. (Broken Treehouse Music)

www.redabbott.com

-Tyler Hoffman

Polydream-Send Me to the Sun

Produced by Polydream and Paul Marino | Recorded and mixed by Lucas Etten

Following up their debut EP A Rigid Shard of Balance: 1 Polydream has moved on to full lengths with Send Me to the Sun, an album rooted firmly in the sensibilities straightforward MOR rock. The elements are all familiar; the layered acoustics, the occasional symphonic accompaniment, watery chorus effects, and a melodramatic singer nearly turning each song into a Creed-like sermon. On non-grandiose numbers such as “Dreaming Of”, the band recalls Oasis and Blur, while Snow Patrol-esque minor chord arpeggios and Edge-like riffings appear throughout.

The production is radio-slick with up-front drums and a few well-placed and smartly emphasized guitar solos in the heading for texture rather than power. As is the usual with this production style, the bass is barely negligible in the mix. The vocals take a strong turn toward the melodramatic, vocalist Jonathan Knudson being well able to hit the high notes and coo lowly in decidedly Bono-like fashion.

Send Me to the Sun is by-the-numbers, though a few oddities do crop up, such as the Pink Floyd-esque children’s choir part in “Catch Me If You Can” and the random fade out to female a capella vocals in “Dreaming Of”. Though Polydream could certainly become a sensation on mainstream and AOR radio with the proper label and publicity push, little is offered creatively that hasn’t been done before to the umpteenth time already. (Self-Released)

www.polydreammusic.com

-Anthony Saggese

Putnam Smith-This Blue

Recorded and mixed by Dan Mazal | Mastered by Toby Mountain, Northeastern Digital

Putnam Smith’s sophomore effort, This Blue, is more of a journey than a destination. The multi-instrumentalist, Smith, seamlessly employs the use of strong guitar, soft mandolin, melodic piano, his grandfather’s banjo and his raw voice to create a truly beautiful and heartfelt album. Though Smith’s musical compilations are self-reflective, and even ominous at times, the hope that resonates in his lyrics outweighs the folky, melancholic chord progressions, leaving the listener satisfied and content.

Writing songs since he was seven years old, Smith has polished his intimate songs into simple, accessible tracks. As with many folk singers, Smith wears his heart on his sleeve, opening up to his listeners on a personal level left untouched by many artists. The extended and repeated lyrics of “I will open/I will open/I will open up to you,” from the track “Hummingbird Song” serves to represent the central theme of the album. This Blue is a well-rounded album, from the addition of vocals by Sarah Jessop in “Sunday Blues,” the captivating dynamics of “Tin Cup,” and Katherine Gill’s violin in one of the album’s best songs, “Virtue of Solitude.” “Settle down with me” would have been a fitting final song as it is indicative of Smith’s everlasting struggle between freedom, journeying, rambling, and settling down, though “Through my teeth” ends the album well, leaving the listener with closure.

The lyrics in This Blue make this one of those rare albums that stays with you longafter the final track has come to an end, demanding time to absorb Smith’s latest success. Smith’s raw voice, attitude, and emotion are vaguely reminiscent of Glen Hansard of The Frames and the recent indie film success Once. Though separated by genre, the two resemble one another on their ability to evoke emotion through simplicity. (Itchy Sabot Records)

www.putnamsmith.com

-Tyler Hoffman

Chris Evil and the Taints-Wanna Kill Kill Kill

No Production Information Available

Chris Evil and the Taints is the band you want playing at your next basement party. Combining a post-punk sound, with a garage band’s mentality and throwing in a touch of Muddy Waters into the swirling mix of hard-driven low-fi guitars, the trio’s album Wanna Kill Kill Kill, is smooth like the after taste of Beefeater gin and will leave you hung-over the next morning.

While it may sound like the trio recorded the album in a bathroom, the songs themselves are slightly more refined, relying on distorted guitar riffs and a frenetic rhythm section, but the sound works for this band.

The playing isn’t clean or technical — the album consists of rough-edged three chord progressions — but the intentions are clear and every song on the album works. Like the singing in the song “1-2-3-4-Q-Tonight,” Chris Evil and the Taints don’t leave anything to the imagination: they just want to “fuck you tonight.”

Only a single song, “Mistress Alcohol,” tops the three-minute mark, while Evil does his best to channel a perverted mix of Glen Danzig and Type O Negative’s Peter Steele on the track, and the title, it is worth noting, could be right off of Bloody Kisses. Throw in raunchy, rough edged chord changes and you’ve got one of the strongest tunes on the album. While “Mistress Alcohol” won’t make you want to groove like “Fuckhead” or “Drunk Tonight,” it is a short break — with an emphasis on short — from Evil’s aggressive guitar sound and harsh lyrics. The enthusiasm Chris Even and the Taints bring to their sound makes Wanna Kill Kill Kill work. (Blood Moon Records)

www.myspace.com/chrisevilandthetaints

-Brian Kraemer

Il Papas-Il Papas

Recorded by Mike Harris, Seth Torres, and David Rosenberger | Mixing & Mastering by Matt Lange at WERS Studios, Boston, MA

Allston rock ‘n’ roll quintet, Il Papas are not exactly reinventing the wheel with their latest self-titled EP and that is not necessarily a bad thing. Il Papas seem to be solely interested in one thing and that is to rock as hard as they possibly can. Listeners surely will not experience any sort of musical epiphany while listening to Il Papas but at the same time, there are a few surprises that one may not expect from a typical collection of modern rock songs. New singer Owen McGreehan’s gravelly, melodic style blends exceptionally well with Il Papas raw, aggressive musical backdrop, although it is quite difficult to avoid comparisons of McGreehan’s voice with Nickelback’s Chad Kroeger. Guitarists Thom Pope and Brian Cherchiglia serve up some interesting riffs, particularly on “It’s Like Sitting Drunk (With a Gun)” which features a groovy, reggae-like verse contrasted with a pounding chorus punctuated by the thunderous drumming of Evan Berg and bassist Matt Boyles flowing bassline. “It’s Like Sitting Drunk (With a Gun)” is perhaps the most defining song on Il Papas, as it seems to encompass everything the band seeks to achieve with their straight-ahead rock ‘n’ roll sound; loud, hard, rock music with a few unique twists throughout to keep listeners on their toes. “Even Some Rain” is a bit tamer compared to the rest of the EP and is probably the weakest track, as it evokes the sound of some rather dreadful alt-rock acts such as Shinedown or Seether. However, unlike the aforementioned bands’ songs, “Even Some Rain” has some fantastic blues guitar riffs as well as a ripping guitar solo. Ultimately, Il Papas offers a few surprises and expands on an otherwise tired modern-rock genre that is currently flooding the airwaves. (Self-released)

www.myspace.com/ilpapas

-Wayne Raymondo

Aloud-Fan the Fury

Produced by Chuck Brady | Recorded at The Fireplace, NYC | Mastered by Jeff Lipton at Peerless Mastering, Boston, MA | Assistant Engineer: Maria Rice

On their sophomore album, Fan the Fury, Aloud has managed to make a synchronized duality of fast and driving, and slow and inviting. Both sides are happily welcome. Although no one element takes the limelight, the even distribution of instrumentation, vocals, and production coexist in a nice little cocoon. It all grows in a tight parcel where nothing lingers and everything is clean, and once it’s ready, it’s instant gratification.

The third track, “The Last Time,” would certainly succeed on the charts. Sporting an uplifting pop/rock edge, the melodic and up-tempo tune sounds a bit like an oldie, but with sparkling production. Sounding happy and confident, lead singers, Jen de la Osa and Harry Berguiristain croon away in a smooth cadence, and strike a cool balance between modern Beach Boys and a louder Ben Kweller.

Another strong song, called “When the Ants Attack the Queen,” sounds like an amped-up, friendlier version of the Foo Fighters. There’s a positive amount of variety here, while the band uses vocals as a tool, along with strong instrumentation by Ray Fontaine and Ross Lohr. Just as they sing, “There’s no I in team,” the mantra rings true in the sense of the entire group as a whole, letting each element shine on it’s own. There’s a lack of struggle here, and it’s apparent.

The album begins and ends on the same note — the first track called “Witness,” the last called “Justice and Forgiveness,” and a compelling refrain that says, “I just want a witness, justice and forgiveness.” There’s no witness needed to tell that Fan the Fury rocks — plain and simple. (Lemon Merchant Records)

www.allthingsalound.com

-Andrea Mooney

Matt Shwachman-Uncharted Territory

Executive producer: Andrew Gallagher | Pre-production by Aaron Katz | Mastered by Mathew Azevedo at M Works, Cambridge, MA

Matt Shwachman’s website says to think of his music as “Dave Matthews meets Bob Marley,” but he sounds a bit more like Train and Five For Fighting meeting, while waving across the street to Jason Mraz. The site also says that the he’s radio-friendly, which makes the last description all the more accurate.

He, along with Chris Corbett, Keith Petit, and Nick Jarvis make for a beachy acoustic feel on their newest album, Uncharted Territory. And as it might fit perfectly in a bonfire atmosphere, Shwachman says, “It’s a personal account touching on love, relationships, transformation, existentialism and spirituality.” It all rings true, and Shwachman has a journalistic trait to his writing that makes it an intimate space in which to breath.

The fifth track, “Side of the Road,” has a happily melodic refrain, which just might be one of the reasons it appeared on teen show One Tree Hill. The lyrics are articulate and clear, and there’s no room for confusion. The percussion is soft and merely pads the vocals in most songs, while the production melds each element together, rather than highlighting distinct facets. Vocals really make the whole thing happen, while the happy commotion behind them sometimes seems to fade. Outside of lyrics, the instrumentation mostly consists of smooth cushions that sit with the rest of the spacious sound. Guitar work is sometimes small and detailed, and at other times general, and blasé. It’s fairly simple, and aches for a bit more complication, but at least it complements the ambiance that they create. (MWS Recording)

www.mattshwachman.com

-Andrea Mooney

Paper Thin Stages-Flying Hearse

Improvisations recorded live 10/13 and 10/14, 2007 at the HoxBot, Brighton, MA | Mixed and mastered by JPP and NMM

Paper Thin Stages have a healthy bond with adrenaline. So much of their latest album, Flying Hearse, happens simultaneously. While one voice echoes, a guitar somewhere is getting started and a beat goes off on a tangent. And without two or three things working at the same time, the other wouldn’t exist. They’re like a fusion of day and night happening at the exact same time.

The most noticeable aspect is the pace. It’s uncomfortable because it’s going in two or three or seven different directions. Then light, tenuous appearances of sound distortion and voices enter, and it all comes together. The rhythm is internal, and it flows regardless of how the body’s blood pumps, mind races, or feet move. It’s easy to just pick a beat and follow it, and the rest of it just cozies on up to a singular, frenzied motion.

The production here is like a mirror at a carnival. One presents the mirror with natural qualities, and symmetry. The result is a Picasso-like painting. Paper Thin Stages, comprised of Ed Hadley on percussion and bass, John Perotti on pedals and vocals and Nate McDermott on guitar and vocals, starts out with an innocent, untouched melody, and ultimately presents an album with sound so sweetly distorted that it’s hard not to raise a glass to spontaneity.

Their longest track, “Flying Hearse,” is like a runner’s high for the musician. What once would concern itself with time, distance and speed, now sprints and saunters, but never hits the wall. Striking percussion takes over the piece and mellows only with the continuous pulsating tone in the foreground — or is that the background — that’s decorated with an electronic frizzle of noise. (Sort of Records)

www.paperthinstages.com

-Andrea Mooney

Bayard Russell-Bayard Russell

Recorded and Mixed by Bayard Russell | Mastered by Mike Prochilo

As the cover photo of Bayard Russell’s self-titled debut album illustrates, Russell is a DIY kind of musician. Performing all the songs himself, Russell’s lo-fi instrumentations and heartfelt lyrics are something that could only come from someone solitarily recording in a bedroom.

Playing shows and living in New York after doing the education thing at Dartmouth, Russell obviously got something worthwhile out of his stint in the Ivy League — the ability to write some fantastic indie pop. Sticking with a mostly acoustic sound, Russell’s hushed vocals and guitar strum are similar to everything Elliott Smith was doing early on in his career. Russell throws in layered vocals, laptop loops and nifty synths to achieve his goal.

Songs like “Living At My Mom’s” and “Crazy For You” are delivered in such a charming way, it’s a wonder how a talent for such charismatic wordplay could ever feel this heartbreak in the first place. With “Living At My Mom’s,” Russell delivers a dream pop-esque vocal that tells of what the hell he has been up to since things went wrong. With a simple instrumentation and twinkling keyboard line and catchy vocal delivery, the song is a standout on the record. The song “Crazy For You” is guaranteed to put a smile on even the most sullen individual. It is filled with all those promises a person in love tells another; house with a yard, getting a job selling ice cream, you know, the usual.

Should stardom befall on Russell, and there’s no reason to see why it won’t, this debut is a glaring reason for him to keep the music coming from his bedroom, as well as his heart. (Self-released)

www.myspace.com/bayardrussell

-Nick Stefanovich

Michael James Anderson-Wake Up For the Shake Down

Produced by Scott Genereau and George Engel

Michael James Anderson’s Wake Up For the Shake Down is the artist’s first solo record. After performing with Manchester, Conn. metal band Flu for the last ten years. Showing that behind every metal growler there is the ability to write their own “Every Rose has Its Thorn,” Anderson’s debut solo record is a collection of acoustic based songs that have balladeer Anderson singing in a hushed vocal style.

It’s hard to know whether or not the songs on Wake Up For the Shake Down should be taken seriously. After all, Anderson does NOT wish to thank the television series

“Prison Break” in his liner notes. But the songs on his solo debut require listeners to take notice and listen to every guitar strum and calmed vocal. On the track “The Sound of a Beating Heart,” the snappy guitar plucking and Anderson’s soft vocal make the track one of the album’s highlights.

With 12 songs of Anderson wearing his heart on his sleeve, the soft side of the Flu frontman has been shown. Take that, Bret Michaels! (Skinny Pond Records)

www.myspace.com/mikeandersonct

-Nick Stefanovich

Mars-EP

Recorded and Mixed by Jack Younger at Basement 247 Studios, Allston, MA | Mastered by Nick Zampiello at New Alliance East, Cambridge, MA.

There are all kinds of questions about the planet Mars. Was there life somewhere on the planet? Is there water? Is there still life there, and, if so, are they planning any sort of takeover? But most importantly — was there really not a band already named for the red planet? This idea actually echoes throughout the run of their five-song EP. Everything sounds somewhat familiar; like a band in the latter part of this decade trying to sound like a band in the late 1970’s that was in turn trying to sound like a band in the early 1960’s. The band makes collect calls to many decades and sounds — from the garage, the basement and the dancehall. The result is something that is not wholly unpleasant, yet largely unoriginal.

The echoes are all over the place, down to an almost carbon copy of the Caesar’s “Jerk It Out,” down to the resonant transistor organ sound and the title, “Shakin’ Out.”

While “Shakin’ Out” readily accounts for the “Oh no, they didn’t” moment on the EP’s final track, “Treat Me Right” is the “I’m glad they did” moment, with an honest vocal, strong melody and catchy “That Thing You Do” phrasing. While some might argue the old double-hit snare has been around since man first learned to drum, the group shines strongly on this particular track. This isn’t exactly a surprise; the fifth track of the five-track record better kick, and this one is well chosen.

Mars has the inexplicable talent of crafting fabulous endings to some otherwise uneventful songs. Tracks such as “(I Can Be) Persuaded” and “All the Old Favorites” end in style, via catchy refrains and thoughtful arrangements. In the end, the Mars’ EP is like eating dinner at Taco Bell. It’s filling and gratifying in a somewhat guilty way, but one has to wonder what the entrees are like down the street at the “authentic” Mexican restaurant. That said, there are franchise opportunities for Mars, given they are able to perform as themselves and not just a tapestry of others’ styles. (self-released)

www.myspace.com/marsrockband

-C.D. Di Guardia

500 Plastic Dragons-500 Plastic Dragons

(No production information)

500 Plastic Dragons seamlessly blend a diverse array of influences, ranging from The Pixies and The Ramones to Johnny Cash and John Denver, to create a uniquely airy sound that is all their own. Their latest EP features a collection of well-crafted songs with quirky lyrics and cleverly focused arrangements.

One of the more striking aspects of 500 Plastic Dragons’ sound is that no instrument stands out or detracts from songs as a single entity; each aspect of 500 Plastic Dragons’ songs are masterfully melded together and all have splashes of electric guitar that are the musical equivalent of a skilled painter using just the right amount of a vibrant color to emphasize the beauty of their work as a whole.

“Dumpster Baby” is without a doubt the strongest track on 500 Plastic Dragons, as it features a flowing bass line that seems to carry the song from the introduction to the end, as well as a soothing vocal melody with subtle backing vocals. “Cause I’m Still In Love” is an exceptionally poignant track; with lines such as “Trying to recreate you has become my new favorite hobby,” while haunting choruses with well-placed harmonies convey the song’s feeling of loss.

The atmospheric quality of 500 Plastic Dragons’ music makes their self-titled EP a particularly enjoyable listen. 500 Plastic Dragon’s definitely wear their influences on their sleeve, but they have a very distinct style and knack for arranging songs that are wholly impressive, with every instrument blending together seamlessly. (self-released)

www.myspace.com/500plasticdragons

-Wayne Raymondo