The Exploding Hearts — Shattered

Mastered by Pat Kearns

Released more than three years after the car accident that killed all the members of The Exploding Hearts except guitarist Terry Six, Shattered, a collection of alternate takes and previously unreleased material from the Guitar Romantic sessions, is both a requiem for the band and testament to its incredible potential.

It is amazing to hear a self-described bona fide power pop band nail its genre so well. Adeptly taking cues from The Clash, The New York Dolls, and The Romantics, each song on Shattered is a showcase for singer/guitarist Adam Cox’s instantly memorable hooks and guitarist Terry Six’s swaggering, melodic leads.

Production by Pat Kearns lends Shattered the cohesion of an album. The reprised cuts from Guitar Romantic generally have a looser, rougher feel, but fit well among unearthed gems like “Busy Signals” and the bratty “(Making) Teenage Faces.” In a slightly slower incarnation, “Modern Kicks” takes on glam affectations. “Walking Out On Love” is so driving, so irreverent, and so blissfully short that it sounds like a Ramones tribute.

If these songs are highlights among highlights, then Shattered‘s weaker points are areas of only slightly diminished luminosity. While a cover of FU2’s “Sniffin’ Glue” sounds fairly off the cuff, the attitude arguably comes with the territory. The casual listener might be hard pressed to decipher the differences between the two versions of “Shattered (You Left Me),” but it is such a good song that it is difficult to fault the album for including it twice.

In addition to its sixteen songs, Shattered includes a five-song video taken at The Exploding Hearts’ performance at Bottom of the Hill in San Francisco on July 17, 2003 — three days before the deaths of Adam Cox, Jeremy Gage and Matt Fitzgerald. Like the rest of Shattered, the fact that the footage shows the band at its most boisterous — brimming with youth and vitality — only underscores the tragedy of its imminent demise. (Dirtnap Records)

www.explodinghearts.com

-Andres Jauregui

Laura Gibson — If You Come to Greet Me

Engineered by Adam Selzer and Dylan Magierek at Type Foundry Studios

Mastered at Superdigital by Jeff Stuart Saltzman

Laura Gibson’s voice is haunting. Marrying the old-time elegance of Erin McKeown and the whiskey-swilling sarcasm of Lucinda Williams, Gibson’s voice enters the picture with a haunting line in her first song, “This Is Not The End.” She sings, “Forget about the end / Forget about what may have been.” With all the hard-headed determination of a stubborn lover, If You Come to Greet Me begins with this undeniable insistence. From there, Gibson spins into an emotional tirade with the song “Nightwatch” — “I would conjure up your words ... as if words could bring me back.” Somewhere, in the midst of her broken-hearted verse, Gibson manages to lose herself, to lose her audience, and then entice them back in.

By “Broken Bottle,” she is flirting with her critics and her insistent sadness. “Have you ever begged to ask a question of a song,” she sings, “or tried to know someone by following their words.”

It’s difficult to pin down the strongest moment, as each tune discloses a different dark room. The album is so full of longing, one feels inclined to console Gibson. The mood seems to rally toward the end of the CD with “Country Country,” a tongue-in-cheek tribute to an affair with rural life. Then, as abruptly as it offered hope, the long dirt road of Gibson’s heart-aching songs pulls her back to longing. She leaves off with “The Longest Day,” wherein she sings, “When did I become this serious and solemn one?”

Despite the dreariness, If You Come to Greet Me hardly comes off as a total downer. As Gibson’s songs would attest, even in the deepest love, there is room for lonely longing. (Hush Records)

www.lauragibson.net

-Kim Ruehl

The Blow — Paper Television

Engineered by The Blow and Calvin Johnson

Recorded at JB’s Falconcrest, Dub Narcotic Studios and Marriage Records

Produced by The Blow

The word “blow” is used to describe many things — from mind-altering experiences to mind-altering party substances, to its self-definition of a sudden shock, calamity or drastic action. Jona Bechtolt and Khaela Maricich couldn’t have picked a more suitable moniker for their DIY duo. Paper Television, their lip-smacking-good album, features a collection of ten impeccable electronic pop songs, all of which were written, performed and produced by the Portland twosome.

Each track is excellent in its own right. Bechtolt and Maricich have patented an original formula for creating light and tasty pop-laced treats, which involve coupling smart lyrics delivered with sly innocence with wisely chosen electronic beats and bass lines. While the content of their songs doesn’t stray far from the usual topics addressed in pop — relationships, love, feelings — the delivery used is gritty and original. For example, in “Eat Your Heart Up” the duo juxtaposes Maricich’s girlish vocals with ferocious lyrics, introducing a coarse element into the picture: “My heart is like a savage / Starving out and hiding low / It sees a chance and strikes and drags its kill / Back underground to gorge.”

Starting strong with the Peaches-inspired “Pile of Gold,” Paper Television introduces Bechtolt’s super-fast, minimalist drum-kit beats, accented on this track by well-chosen synthesized bass lines, rhythmic noises and Maricich’s insistent schoolgirl vocals (which sound downright filthy). “The Big U” features Pharrell-worthy beats and bass, whereas “The Long List Of Girls” combines marching-band snare drums with freakish dancehall vocal tricks. The album ends on a hauntingly subdued and sadly pessimistic note with “True Affection,” all in all making for a mind-blowing listen and a new favorite definition. (K Records)

www.theblow.us

-Veronica Young

Mark Martucci — A Progression of Stilts

Recorded, mixed and produced by Mark Martucci

It’s hard to believe Mark Martucci made this album on his own — he’s even responsible for the multicolored, Dr. Seuss-like album art! Martucci has a keen ability to blend textured, experimental pop melodies within lush acoustic guitar rhythms. Right out of the gate, A Progression of Stilts captures ones attention by working a harmonica and mandolin into “Until Tomorrow,” a chamber ballad with flute and strings. It’s further punctuated by playful boy/girl harmonies, singing, “The sun is up and the rain has gone away / Until tomorrow comes / Let’s run away / Let’s run away.”

Martucci’s debut is unique and richly layered; its near-perfect balancing of vocals and acoustic and electronic elements gives the album a very persuasive, listenable quality. Martucci’s songwriting is about getting the point across irrespective of song length — hello, 60-second songs. At his best and most upbeat, Martucci sets a rambling pace to an amiable acoustic guitar rhythm and his smooth, vapor-like vocals. A sweet, airy falsetto that nods to Elliott Smith is Martucci’s tone — further accented, these vocals are often harmonically doubled, or backed with a uniformly lovely female voice.

Martucci’s lyrics are sensitive and catchy. They seize the germinating sweetness of springtime, but have a mature overtone as found in the ballad “Don’t Go Away:” “You might think I’m no good / You might wonder if you should / All these memories block the door / Let’s move some boxes and make room for some more.”

Although having an 18-song debut may seem lofty, Martucci keeps his target centered and isn’t pompous or misdirected. The album is solid and stays on a cohesive, beautiful path that blankets the listener like a warm autumn sweater. (Seeds In An Apple Records)

www.markmartucci.com

-Christopher Petro

Sir Splendid — Lords & Peacocks

Recorded and produced by Marcus Barron

The raw, garage sounds of the ‘60s and ‘70s are the hip musical references that make for bands like The Raconteurs, The Strokes, The Greenhornes and Eagles of Death Metal. Add San Diego’s Sir Splendid to that list, and someone please fax a memo to Little Steven Van Zandt!

Though a bassist and second guitarist have since been added to the band’s lineup, the sounds heard on Lords & Peacocks are the product of just two individuals. Marcus Barron handles all the guitars, keyboards, recording and production tasks, in addition to providing the album’s often distortion-laden lead vocals. Paul Chandegra meanwhile takes care of drum duties.

While all indications are that Sir Splendid is Barron’s baby, Chandegra’s rhythmic contributions can’t be ignored. The danceable groove he establishes with Barron on “Automatic Sidewalk Action” sets the loose, fun tone for the rest of Lords & Peacocks and keeps Barron’s plea of “All good people gotta get along” sounding less like a sermon and more like the ideal that it is.

Barron’s tendency toward extended arrangements at times creates the illusion of a full, four-piece band jamming in the studio. A fully fleshed out song like “Mr. Sickmeantwister,” for example, has an extended instrumental passage that never overstays its welcome or pretends to be anything other than a fun-sounding opportunity for the band to rock out. And “Curbside Killer,” with its church organ and faux harpsichord outro, sounds like prog on paper, but comes out of the speakers sounding more like a rock band having a blast in the studio.

All this and the single-worthy, riff-driven “Dumb Angel” make for a consistently pleasing, never embarrassing, fuzzy retro affair throughout Lords & Peacocks‘ 51:34 minutes of play time. (Rabbit Fighter Records)

www.sirsplendid.com

-Michael Fortes

Evolution Rainbow — The Former Gender

Engineered by Agness Twin

The Former Gender is the debut five-song EP from San Francisco’s electro-goth dynamic duo Evolution Rainbow. Guitarist/vocalist Vinsantos and bassist/programmer Marc Kate (formerly of I Am Spoonbender) share a campy, cultish sensibility and have created the aural equivalent of a John Waters short film. Very much part of the San Francisco queer scene, the two take inspiration from it with song titles such as the comically ridiculous “L.E.Z.B.O.T.” and the harmonically buzzed “Big Bad Daddy” (literally buzzed — the chorus arrangement sounds like it contains a released swarm of bees). Over-the-top Tennessee Williams melodrama informs “Please Notice Me,” while a cover of “Bloody Hammer” by ex-13th Floor Elevators resident eccentric Roky Erickson reaches soap-operatic heights of dramatic absurdity.

Kate and Vinsantos seem very much like grown-up club kids, demonstrating a complex mix of musical influences complemented with a striking visual and theatrical sense. The album art is particularly of interest, incorporating an imaginative take on the iconic cover for Pink Floyd’s Dark Side of the Moon. The strongest song is the manifesto statement “Evolution Is a Rainbow.” It has a dirty, catchy groove that sticks in the mind, frosted with diffuse musing about fishnet stockings and nightclubbing, and the church organ is an especially nice touch. Vinsantos’ voice is memorable, groaning and emotive. Kate, who also DJs under the name Silence Fiction, wheedles some impressive sounds from his hardware. As a pair, they balance each other, forming something on the order of a darker, drag-inflected Pet Shop Boys. With all of the clearly alternative sources here, there is still a pop influence that comes through, with almost girl-group sounding harmonies and palpable energy. (Self-released)

www.evolutionrainbow.com

-Susan Brooks

Christopher Willits — Surf Boundaries

Produced by Christopher Willits

Mastered by Tony Gillis at Classic Sound, NYC

If citations were given out for Truth in Album Art, Maiko Kuzinishi would be walking around with a ribbon for her pastel-colored cover of Christopher Willits’ debut solo album, Surf Boundaries. The cover, like the music, combines multiple digital layers of lovely colors, images and textures with a light, understated quality — hectic in places, but somehow still placid. Willits’ music shares commonalities with artists as diverse as M83, Múm, and Sufjan Stevens — more than one reviewer has compared it to a Venn diagram of musical genres, laying in the union of ambient, laptop electronica, chamber-pop, post-rock and shoegaze sets. (In fact, Willits is part of Overlap.org, a creative collective that uses a Venn diagram as its logo.)

The basis of most of these songs is Willits’ digitally fragmented and re-assembled guitar, accompanied by keyboards and other loops and instrumentation. After the brief, horn-inflected “Clouds Form” introduction, “Colors Shifting” skitters and drones on a cut-up patchwork of these sounds. In places the album is so sumptuously gorgeous as to be almost decadent, particularly on several swelling, pop-oriented songs that feature jazzy drumming by Gabriel Coan and multipart vocal harmonies by Willits and Latrice Barnett. There are also a handful of lovely ambient instrumentals of increasing minimalism and subtlety — one of which (“Love Wind”) is noised up by shoegaze veteran Brad Laner of Medicine and The Electric Company. “Yellow Spring” brings jazzy post-rock stylings and a bass line reminiscent of Tortoise together with layered vocals. While there’s definitely some lush and complex layering of sound, the songs are laid out directly and organically, putting the focus on the sonic textures and atmospheres in Willits’ contemplative, flowing odes to air, water and color. (Ghostly International)

www.christopherwillits.com

-Mike Baehr

Ghost to Falco — Like This Forever

Recorded by Ryan Warner, Jevon Cutler and Jason Powers at Type Foundry; Jacob Hall and Steven Wray Lobdell at Audible Alchemy

Mastered by Timothy Stollenwerk at Stereophonic Mastering

If the rock and indie camps have been increasingly segregated as of late, then this album could be the much needed catalyst to bring the two back together. Ghost to Falco singer/songwriter Eric Crespo seems comfortable in the role of composer of introspective lyrics, but also knows that heavy, cathartic rock ‘n’ roll is an important part of the emotional dynamic. Crespo’s rock is Neil Young circa After The Gold Rush, with huge choruses and guitar chords that transition into textured and delicate sections with layers of organ, xylophone, brass and wind instruments. It’s a recipe that is continuously intriguing throughout.

The first songs on the album, “Light in the Wind” and “Maupin,” gently ease the listener into Crespo’s world, giving a false sense that it will be a quiet, introverted album in the vein of Pinback or The Shins. Subtly, cymbal crashes build into a fit of noise joined by staccato acoustic guitar and human wailing that sounds like a painful exorcism. The song ends with Crespo’s bitter, scorned singing, “If there’s an escape then it begins with beliefs,” and a frustrated punk beat over open chords.

The strongest track is “The End,” which begins with a riff constructed of what sounds like a guitar being played backwards and punctuated with a stirring Young-esque harmonica lead. The drums are hard-hitting and aggressive and the cooing background vocals of the chorus make the lyrics, “When light will you come here,” all the more haunting and beautiful. The ghostly chorus appears louder over military drums on the next track, “Feared and Known.” The seventeen guest musicians that appear throughout add much depth and spontaneity to Crespo’s powerful folk-influenced compositions. (Self-released)

www.ghosttofalco.com

-Jake Rose

A.G. — Get Dirty Radio

No production information provided

Right on the heels of second generation hip-hoppers, Andre the Giant — most commonly known as A.G. — has been steady-rolling since hooking up with Lord Finesse, Showbiz, and Diggin’ in the Crates (D.I.T.C.) in the early ‘90s. Though creating standards is an easy trick for A.G., neither his duo with Showbiz nor his crew involvement with D.I.T.C. ever really received the mainstream recognition they deserved. This album also seems destined to be remembered as another strong release full of quality produced tracks, but overlooked for not providing the strong concept or theme the lay consumer wants.

In a sense, Get Dirty Radio is a bold experiment, integrating styles from across the country with beats from East and West Coast producers. Conceptually, it compliments A.G.’s flow perfectly and makes for a great concoction, but could confuse those listeners who can’t get past the bi-coastal beef. While listening to the album, one gets the impression that A.G. really doesn’t care what’s going on in the industry and stays true to his own artistic visions, as when he spits on “I Wanna,” the second track off the album: “I got a pocket full of money / And I’m lookin’ all bummy / Who wouldn’t want me if I want her?”

A.G. has little concern for the mainstream since the mainstream never concerned itself with him — and this album proves it. A.G. has already gained his status in the hip-hop game and now works towards breaking new ground in the underground. It will be unfortunate if his music only reaches the hip-hop heads, as A.G. has always kept his vision constant and done it his way. (Look Records)

www.lookrecords.com/ag.html

-Grant Inaba

Birds & Batteries — Nature vs. Nature

Recorded by Michael Sempert

Mastered by Tom Carr at The Annex in Menlo Park, CA

Nature vs. Nature is mainly the project of Mike Sempert, recorded in Massachusetts and brought to San Francisco, where it has come to life. Billed as a country/electronic hybrid, the music has a gritty sound that could pass as either alt-country garage rock or fuzzy-synth psychedelia. No song remains completely in either category.

Admirably, much of the album settles in that space between organic warmth and synthetic cool and feels right at home. At times the extremes go too far, though. In “TV Commercials,” for instance, the assorted rhythms become entirely too distracting, and “Smoking the Filter” abruptly changes tone in the middle.

“Summersalts” is the most successful song, gracefully weaving between vocals and binary and acoustic instruments, with lyrical strong points to boot, such as “Wintersalts are not at all like summersalts.” “Fire Escapism” has a similarly winning arrangement. It is generally the mellow songs that flourish in this particular hybrid mold.

Production note: Nature vs. Nature is one for the headphones. Intricately placed ditties and clatters rise to the surface when the volume is turned up. Be forewarned though that what begins as a quiet dirge could — and will — unpredictably blast an inner ear at any second.

If a choice had to be made — and a choice would make it a more solid, interconnected achievement — this record indicates that Birds & Batteries would choose to head West on the dusty country dirt roads. It’s nothing to be ashamed of, the twang and the landscape. It would not deny them their Rhodes or their drum machines. And when it comes down to it, the allure of the pedal steel is mesmerizing, just begging to be followed down the river. (Self-released)

www.birdsandbatteries.com

-Ali Marcus

Boyskout — Another Life

Recorded and mixed by Danny Newenhouse and Dave Schiffman at Center of the Mile and Hyde Street Studios

Mastered by Damien Rasmussen

Produced by Dave Schiffman

This quintet, hailing from the Bay Area, knows how to write a hook! Another Life opens up with “Spotlight” — a catchy little retro tune that has the vibe of experimental rock, with the vocal toning of a ‘50s pop song (think Blondie meets The Raveonettes). Drop in a bit of garage rock amp squeal and voila — a Boyskout tune.

Another Life does lack variation, however, and most of the songs on the album tend to sound the same. Arguably, one cannot really cut Boyskout down for that since 90-percent of the bands out there suffer from the same problem, and though the songs do tend to sound alike, they’re all still damn catchy! Don’t fix it if it ain’t broke. Either way, the band puts in enough subtle differences in mood, pitch and rhythm to give the listener enough variety to remain interested.

The greatest standout of the album is actually the vocals on each of its 12 tracks. Lead vocalist Leslie Satterfield has a light and airy voice that possesses the ability to make lyrics haunting. A prime example of this signature tonality is on “Everybody Knew” — the thin, floating harmony of its lead and backup vocals creates a feeling of fragility, which perfectly accompanies the lyrical content of the song. Satterfield sings, “And I don’t want to do or say the wrong thing / But the one thing yes dear I’ll say to you / I know a girl who can’t treat me the way you used to / Yes I know a girl who makes love sweet love like you used to.” The song sounds buoyant but still addresses the struggles of the heart and the dilemmas that come with having one — the major theme of the album. (Three Ring Records)

www.boyskout.com

-Krystal Iaeger

Feral Children — Eternity Emergency

Recorded at Park Studio

Mastered by Matt Brown

Produced by Jeremy Koepping

It’s hard to pinpoint what makes retro music so appealing. It’s definitely more unrefined than what might be called modern music and it is certainly a difficult sub-genre to fake. The vast majority that attempts to ride the retro coattails inevitably is exposed. Yet, Feral Children, for all of their quasi-British Invasion glory, are not faking it.

It’s certainly a dubious indicator when a Seattle-based band of kids sits on the same shelf as English bands like The Clash and Sex Pistols, whose peak passed before these guys were probably even born. The important thing to realize, however, is that they are sitting on that shelf. Even as a debut 20-minute EP, Eternity Emergency is the real deal.

There is really only one hook in the five-song collection, that being the hypnotic synthesizer line of “Seahorse Scores,” but all the compositions share a genuine, pure energy. Feral Children are far from polished, and only time will tell if they sharpen their skills or retain their rough edge, but the songs have purpose.

Feral Children have uploaded samples of their music onto their MySpace page, which is probably a smart move for a band with only an EP to push, as they could post nearly the entire album on the site if they so desired. It’s a good starting point, though, and rest assured that the EP is very consistent, without a weak song in the diminutive pack. For those who thirst for more, never fear: their plans are leading them into the studio for a full-length follow-up album soon. (Buffalo Shoe Records)

www.feralchildrenmusic.com

-Bonwell Parker

Robb Benson — A Collection of Songs I Forgot to Tell You About

Recorded, produced and mixed by Robb Benson

Mastered by Eric Eagle at Bailie Farms

A Collection of Songs I Forgot to Tell You About is an assembly of unreleased tracks by singer/songwriter Robb Benson. The album consists of 11 never-before-mentioned songs, recorded by Benson over the past four years. Boasting a career that began with Nevada Bachelors in the late ‘90s and includes the more recent Dear John Letters and his current band Dept. of Energy, Benson is a singer/songwriter with an indie-inspired pop/rock feel. These recordings all sound different and vary in style and approach, but Benson’s vocals hold them together to form an interesting snapshot of his work. The songs move from the Flaming Lips-enthused intro “French Pub” to the poppy R&B leanings of “Crazy About You Love,” the latter sounding like a song Benson would write for one of those sculpted female pop singers just looking for a solid tune to manipulate.

Collection begins to steer into a more acoustic direction midway through, highlighting the indie rock simplicity of “It’s the Same Thing,” which features wife Darla Rae Barry Benson on backing vocals. “Night Shift Superstar” is another standout track in its arrangement of backing strings, which enter during the chorus and produce a huge sound to accompany Benson’s voice.

The album interestingly conveys an encompassing, panoramic picture of Benson’s work, which taken as a whole is quite impressive. The songs that he has collected do feel a bit thrown together, diluting any actual album concept, rather emphasizing each song’s stand-alone merits. Benson has played with all the right people, and shows on this Collection that there’s even more to the picture than that. (Roam Records)

www.roamrecords.com

-Matthew Johnson

The Black Watch — Tatterdemalion

Produced and engineered by Tim Boland

Recorded at Echo Park Music and Sound

Mastered by Mark Chalecki at Capitol

The Black Watch — sound familiar? This band has been rocking for almost 17 years, releasing a whopping eight albums along the way. The project is the creation of John Andrew Fredrick, an obviously prolific songwriter, and the band includes Tim Boland on guitar/vocals, Scott Taylor on bass/guitar/vocals and Gary Sullivan on drums/guitar/vocals.

The latest from the band, Tatterdemalion, is a mix of rock, pop and British shoegaze. “Tatterdemalion” is a term for someone dressed in rags or tattered clothing, which makes sense because this album drips with a weary, downtrodden rock aesthetic while maintaining a songwriter’s direction. Songs like the title track “Tatterdemalion” and “The Angels Just Might Be On Her Side” have an upbeat, energetic vibe to them — they feel like a lost English rock album. The title track breaks through with driving drums and those distorted, blown-out guitar riffs left behind by bands like The Stone Roses and Swervedriver while speaking of dreams and the heart. The double click of the snare on “The Angels Just Might Be On Her Side” is reminiscent of those classic college rock bands like Pavement, Husker Du, and others who hold the power to make a crowd jump up and down.

Unfortunately, the album really takes a turn around the ninth track, “Her Jet Black Hair.” What is previously sweet, infectious pop rock turns into an acoustic Matthew Sweet B-side. The vocals suddenly clean up and become totally direct and up front, the polar opposite of their character during the entire first half of the album. If nothing else, this album would make for an amazing A-side vinyl release. (Stonegarden Records)

www.theblackwatchmusic.com

-Matthew Johnson

Argo — Attack of the Firebots

Mixed by Kevin Suggs

Mastered at RFI Mastering by Rick Fisher

Produced by Kevin Suggs and Argo

Like the spacemen shown on the cover of Argo’s second full-length album, the listener is rocketed into another world when listening to Attack of the Firebots — except spacemen and aircraft landings are replaced with carefully constructed pop melodies and sensitive vocal harmonies.

If there’s one thing that Argo knows, it’s how to build a song. In the album’s opener, “Firebots,” Argo starts off with a simple pop melody and then transitions into a chorus that rises until it is almost orchestral, a commendable feat considering the band only consists of sparse keyboard elements and the traditional set up of guitar, bass and drums. Like the band’s name, taken from the ‘70s cartoon Star Blazers, the guitar melodies in Argo’s songs are hauntingly childlike — they are as memorable as songs learned in childhood that are easily recalled much later in life.

The keyboards used on the album are impressive, not for what they do but for what they don’t do. In these songs, the noticeable keyboard parts mostly stand in where a guitar would play during the bridge, but aren’t thrown in just to make the song sound different. Argo clearly doesn’t use a keyboard just to use one; they use it because it’s appropriate for the song.

Upon closer speculation, Argo’s lyrics seem to take a backseat to the rest of the music. Yet the lyrics on Attack of the Firebots are almost irrelevant given that the vocal harmonies force the listener to focus more on tonal quality than word meaning. Here is where Argo truly succeeds: they demand a thorough listen and never fall into the category of background noise. Any album that can command that level of attention without being loud or obnoxious deserves more than a second or third listen. (Fish the Cat Records)

www.argotheband.com

-Meredith Jones

The Strays — Le Futur Noir

Mixed and recorded by Mark Rains at Hollywood Sound Recorders

Mastered by Rodney Mills at Rodney Mills Masterhouse

Produced by Dave Cobb

It’s apparent that The Strays know the meaning of “variety is the spice of life.” They can and do get away with combining as many musical stylings as possible into this 14-song CD. They also bring their previous backgrounds to the table, which are just as assorted. When a British lead singer, Californian guitarist and Greek bassist get together in a band and choose to reside in Los Angeles, this album is pretty much what can be expected.

Le Futur Noir borrows from just about every genre imaginable, making it delightfully difficult to pin down. With punk and typical rock sounds at its roots, it also visits pop while making a short stop over at reggae. If it’s hard to imagine reggae-influenced punk, just remember what The Clash did. The best example of The Strays flaunting their red, green and yellow is the song “Future Primitives.” The chorus goes deeply reggae: “Fight the police / You can’t catch me / Running through the city on these burned out streets.”

Now, on the pop side of things — when thinking about punk bands that mix pop into their lineup, the sort of bands with teenage girl appeal come to mind. Not so with The Strays. They’re pop because they have not one, but two “angry at a girl that I broke up with” songs: “Let Down Girls” and “Peach Acid.” They also bring the pop on “This Is Forever,” a song with a fantastic intro that admittedly stands as one of the better tunes on the CD — a guilty pleasure, of sorts.

Vocalist Toby Marriot’s gravelly voice and thematic lyrics are what assures listeners that The Strays are punks at heart. (TVT Records)

www.thestrays.net

-Allison Foley

Rob Crow — Living Well

Recorded by Rob Crow

Mastered by John Golden

The cover of Rob Crow’s third solo album, Living Well, shows Crow in front of a house, presumably his own, with pumpkins and tombstones behind him. This seemingly ordinary image of Crow was selected for a reason — to represent the meaning behind this album and the hidden purpose behind every facet of it. This solo offering was inspired by the birth of his son and is centered on his family — from the lyrics of each song to the artwork chosen for the album.

Crow, frontman for indie rock band Pinback, keeps each song simple and short, blending heartfelt lyrics with soothing, dreamlike vocals. Songs like “Bam Bam,” “I Hate You, Rob Crow” and “Taste” first project an awkward and random meaning, yet upon listening to them one gets lost in Crow’s voice. Each song smoothly transitions into the next until the listener can’t help but be caught up in Crow’s journey of marriage, happiness and fatherhood.

In “I Hate You, Rob Crow,” the lyrics are simple but enchanting: “Hoping you’ll listen / Cursing him softly / What’s in a name.” Crow not only keeps his lyrics clean and simple, but also repeats key phrases. “What’s in a name” is repeated to the point of eeriness. And that seems to be the trend in all of Crow’s songs.

After listening to the album, one can’t help but feel hopeful about one’s own life, as well as Crow’s. His relaxed lyrics, comforting vocals and love for his family are contagious. Yet, the album seems almost cut short, despite having 14 tracks. Perhaps this sensation results from the fact that a majority of the tracks are very short, or because in life, there are always things that are absent and unsaid. (Temporary Residence)

www.temporaryresidence.com

-Allison Bloch

Kelly and David — As The Twilight Auguries

Recorded, engineered and produced by David Jones and Kelly Marie Martin at The Browns

Mixed by Adam Wade at Garden Variety Studios

For the musically-inclined teenage set, a good night might hold a punk band at the Odd Fellows lodge or an open mic at the independently owned coffee shop.

Kelly and David are the kind of Americana outfit one might have had the good fortune to stumble upon during those angst-addled years most requisite of engaging philosophy and provocative music.

Long-time collaborators and veterans of more than a few side projects, including film scores and sound installations, these two have learned the devilishly subtle art of listening to each other. The airy effortlessness and instinctual familiarity of their compositions, as evidenced by the facility with which they harmonize, impels each of the eleven songs on this disc; a brother and sister could not be more locked-in to one another’s sensibilities.

Self-described “baroque blues,” As The Twilight Auguries shares an affectation for Southern allegory, tall-tales and stories of the workingman. In “The Ballad of John Ashley,” David sings of the Devil: “He took me to the bottom / He told me that he’d teach me to climb / In his chains I have found delight.”

“Woods and Wolves” describes a standoff between a wolf and a coyote, while the hero of “Salud Zamudio” is a John Henry-like migrant laborer in the citrus groves of Southern California.

There is a smart, cinematic quality to the arrangements here, and standout instrumental performances (most notably the flute of Cymra Haskell and the accordion of Otono Lujan) are not lost in the final mix. The exceptional album art is courtesy of Louisville illustrator Kathleen Lolley, whose work has graced a My Morning Jacket record and a tee shirt for the Coachella Music Festival.

Independently owned coffee shops might be fast disappearing but well-wrought folk music is still standing thanks to Kelly and David. (Self-released)

www.myspace.com/kellyndavid

-Henry Baker

Pelusa — Every Indication

Recorded at Jack Straw Productions

Mixed, produced and engineered by Moe Provencher and Mike McDermott

Mastered by Barry Corliss at Master Works

If Tom Waits and Johnny Cash got together to drink whiskey and talk about Neko Case, they may wind up devising a group of songs similar to what Pelusa has cooked up on this latest effort, Every Indication. The album isn’t exactly wrought with innovation or anything that’s never been done before, but this Seattle-based roots band makes up for it in other ways.

In fact, in one listen it may be hard to believe this group didn’t rise out of the swamps of East Texas or the hills of North Georgia. With lines like, “Jesus says he’ll love me just the way I am / But I’ll cross my fingers just in case,” Pelusa embodies the smirking, up-to-no-good spirit that trails great outlaw country crooners like Cash and Waits.

The best moments on the album come from vocalist Moe Provencher, whose voice is longingly missed when she moves over to let the man take the lead. Her male counterpart, Mike McDermott, does a fine job grumbling through his smoky, throaty vocal solos, but his voice is better suited to accompany Provencher.

There are plenty of strong, memorable tunes on Every Indication — “89 Bottles,” “Diggings” and “The Grind” — but the strongest moment on the album is on Provencher’s self-deprecating “The Way I Am.” It’s a shame this song comes out of the bag so quickly, as everything that follows winds up feeling in need of tightening.

If Every Indication is any indication, Pelusa is one of the more promising Americana groups to come out of Seattle these days. They may not have a slew of quotable lines or sing-along choruses, but Provencher and McDermott each have a fierce command of their instruments and the craft of songwriting. (Self-released)

www.pelusaband.com

-Kim Ruehl

Paper or Plastic — Best of Luck to Cody James!

Recorded and mixed by David Pollock at The A Room

Mastered by Rick McMillen

The CD opens with a bang, as if a red curtain has been pulled up to reveal a stage of four boys playing their instruments with huge smiles. The first track, “West Virginia,” sets the tone for the six songs that follow. The simple and forceful rhythms of Joey Harmon’s drums and Ian Millhollen’s bass allow David Pollock to dance around on the keys and refurbish the upbeat piano rock track reminiscent of the ‘70s.

“Neckties” is much more swanky, revealing the musicians’ coyness and diversity. The drums, bass and piano play with a deliberate jolt, complimented by Pollock’s solid vocals. Ty Whittier’s electric guitar smoothly enters the song, linking the forced pause in the background. The chorus is still catchy and could be considered an indirect and contemporary pop/rock descendant of Elton John’s faster songs and Elvis Costello’s harmony.

Throughout the album, each of the band members has a chance to solo. The instruments combine naturally and fluidly to build up and then decelerate, creating a dynamic combination of showtunes and rock. The fourth song, “Gay Bar,” goes back to that pure excitement that makes the whole CD a mixture of enthusiasm, fun, confidence and some attitude. It is a polished excitement, though, in which a solid jazz background and hard work serve as the framework.

Best of Luck to Cody James! is a mature approach for an 18 and under band. The group is headed in a different direction than what the mainstream says is popular right now, and they are going strong. (Pacific Records)

www.paper-or-plastic.com

-Jessica Martinez