CD OF THE MONTH

XBXRX — Wars

Recorded by Eli Crews at New Improved Recording in Oakland, CA
Mixed by George Patterson

Though XBXRX have always kept their identities a closely guarded secret, it’s no shock that the Oakland quartet is still one of the top commanders steering the noise-punk movement on the West Coast. The group’s third full length, Wars, extinguishes any lingering doubts, with its pulverizing drum fervor, jangling guitar noise and shouted vocals.

Though some of the songs stretch past the three-minute mark, it’s certainly not a detachment from the dissonant thunder of their 2005 effort, Sixth in Sixes: their amps still rumble, their guitars chords are still scorched, drummer Weasel Walter is still a menace behind the drum kit with his rapid-fire, jazzed-out rigor. Vice Cooler’s signature screech is detuned a bit, but he still manages to go full throttle on songs such as “Here to Ruin the Party” and “In Veins.”

In turn, Wars is the group’s most cohesive endeavor, and goes to show that the boys are getting better at their game with each release. “Center Where Sight” immediately sets the album’s raucous tone with an unyielding barrage of blast-beaten tumult and angular guitar squawks. “Grounded in the present without a forward deck / Shut your eyes and every purpose dies / Before peace, wink / But when will they own it?” yaps Cooler during the song’s chorus. The rhythm section calls the shots on “Minds” and “Sheets and Organs.” Mustering together a lethal dose of drum pummel and bass fuzz, the pair manage to maintain the catharsis of the slowed tempos the same way Kira Roessler and Bill Stevenson did with Loose Nut-era Black Flag. The number of songs on the album might be shaved down to a dirty-sounding dozen on Wars, but XBXRX’s impact will be a hard hit to the gut. (Polyvinyl Records)

www.xbxrx.com

-Chris Sabbath

The Henry Clay People — Blacklist the Kid with the Red Moustache
Engineered and produced by Howard Bilerman and Colin Stewart at Jackpot! Recording Studios in Portland, OR and Hotel 2 Tango in Montreal, QC
Mixed by Howard Bilerman
Mastered by Harris Newman at Grey Market Mastering

Fans of the ’90s indie rock heyday will bow to this debut from L.A.’s The Henry Clay People. Like a Southern California daybreak, the songs on Blacklist the Kid with the Red Moustache are uplifting, carefree and crisp. Reminiscent of early Built to Spill, Pavement and Modest Mouse, the album greets the listener with catchy, jangly guitars, a thrusting upbeat tempo and discerning lyrics.

The album’s fist-raising pace is framed by the indie rock trinity: electric guitars, bass and drums. Like their aforementioned contemporaries, these boys write songs that give faith to the suburbs, reinvigorating a struggling genre that has been lacking in the ass-kicking department since Giant Drag kicked out its jams.

The harmonized vocals are fierce, chockfull of narratives and youthful verve. Although nearly indistinguishable at times, lyrical fragments emerge from the crushing guitars and relentless drums of the unremitting “Captain Kid”: “... It was an act of God / And you say that God must be / Must be so proud!” Blacklist the Kid with the Red Moustache is up front with nostalgia, ensemble lyrics and soaring guitars melting in fuzz while the hard-hitting drums pound out a rhythm that could chip commandments into stone. If only it were ‘94, these carefree anthems and angular reinventions of the three-minute pop song would be punctual: intelligent, experimental song craftsmanship, wry literate lyrics, and more hooks than a tackle box.

The right people have taken notice of this remarkably unsigned foursome. Mixed by Harris Newman (Wolf Parade) and produced by Howard Bilerman (Arcade Fire) and Colin Stewart (Destroyer), The Henry Clay People are poised to obliterate the spongy folk pop and uninspired rock pouring from suburban garages as of late. The baton is passed. (Self-released)

www.thehenryclaypeople.com

-Christopher Petro

Big Business — Here Come the Waterworks
No production information available

The bronze seal on the front of Big Business’ new CD has emblazoned along the top: “So The Best, Number Uno,” and the band has done its part to live up to the promise. Though Big Business is restrained by only having two members, their songs are well filled out, depending heavily on earthy drums and distorted bass guitar. The lead vocals, scratchy and thickly reverbed, are virtually unintelligible, but occasionally add an interesting melody.

Most of the variety on Here Come the Waterworks can be credited to Coady Willis’ drumming, which flies from subdued tom beats to crashing cymbals and snare and back again. Jared Warren’s bass progressions rarely diverge far from repeating the same note with slight accents, and his vocal melodies on “Another Fourth of July... Ruined” are taken almost unchanged from the first track on the album.

Big Business’ strength is in their song structure. “Just As the Day Was Dawning” opens the album with a vengeance, building to a powerful climax after two minutes, then picking up steam again with a reprised hook as soon as it begins to settle. The CD closes with the very different “Beautiful Day in the Pacific Northwest,” an instrumental track with a much more progressive feel that derives its strength not from melody (the bass simply repeats the same eight notes throughout), but from the consistent flow pulling it along. In between are a great variety of dynamics, from the nine-minute “I’ll Give You Something to Cry About” to the anthemic “Hands Up.”

Here Come the Waterworks isn’t an album likely to turn many heads, but should be a satisfying listen for any fan of the heavy metal genre. There’s enough variety to warrant repeated listening, while its simple lines and melodies make it a great CD to play in the background when some raw energy is all that is needed. (Hydra Head Records)

www.bigbigbusiness.com

-Bonwell Parker

The Union Trade — Now the Swell
Recorded and mixed by Eli Crews and Chris Cline at New Improved Recording, except for “Violent and Beautiful” recorded by The Union Trade
Mastered by Chris Cline
Produced by The Union Trade

“Shoegazing” has always had a double connotation. It’s not clear whether the genre’s typically shy performers are hiding behind the wall-of-sound catharsis erupting from their amplifiers or just overly involved with the myriad guitar pedals scattered at their feet. Regardless, San Francisco’s The Union Trade deliver on both fronts with their debut EP, Now the Swell, combining instrumental wizardry and production tweaks to propel their moody message.
Opener “Strings Break” starts out with a chiming guitar echo that recalls the plaintive jangle of early Sarah Records bands like The Sweetest Ache and St. Christopher. Even the lyrics embody the haute melancholia popularized by the Bristol indie label, telling of a girl that likes the sound of the singer’s guitar strings breaking.
“Hopeless” manages to evoke despair in its lament over unrequited love, though the line, “I just want this / I don’t know why / I just want this / For the longest time,” certainly isn’t the most charismatic way to win someone over.
The band’s real strength lies in their temperamental, crescendo-building layers of guitar work. This feat is exemplified best on the justly titled “Violent and Beautiful,” which stirs up a Mogwai-like hornets nest of febrile energy atop haunting piano and strings. “Green Fields” closes the EP in a similar vein with gloomy ruminations giving way to piercing howls and more strings that alternately crash and subside like waves — a strong first swell in what will hopefully be a set. (Tricycle Records)

www.theuniontrade.com

-Andrew Kersey

The Death of a Party — The Rise and Fall of Scarlet City
Recorded and mixed by Ricardo Esway
Mastered by Miles Bosien at The Headless Buddha Mastering Lab

The Death of a Party is an ironic moniker considering that the band was formed at an Oakland house party four years ago. Their debut album, The Rise and Fall of Scarlet City, exudes the party atmosphere with post-punk dance riffs while showing off intelligent lyrics and darker themes.

The Death of a Party has an interesting amalgam of sounds — at times bordering on the ¡Forward, Russia! school of abrasive London punk, while at others channeling a melancholic Bright Eyes vibe. Self-described as indie and gothic, the songs on The Rise and Fall of Scarlet City have ominous piano/organ orchestrations and dark imagery. Album opener “Coronation Under Scarlet Seas” starts the disc off with a dance aesthetic. Singer Gareth Philip Nicholas’ vocals are as frenetic as the guitar scratching that blends them in with the accompanying music. “The Gentle Art of Making Enemies” is more gothic, utilizing stylish organ washes to create a portentous atmosphere that contrasts with the song’s more chipper counterparts. Despite the name, “The Fucking Ocean” is a bit of a departure, with a softer piano lead and overall slower tempo.

The most impressive aspects prevalent throughout the album are the alliterative qualities and visual imagery inherent in their lyrics. This tendency is best illustrated in the song “Scarlet City Millionaire’s Club:” “I said New York, Paris and Rome / The world’s in my pocket, the world is my throne /The wealth in my blood, the gold in my touch / The Scarlet City Millionaire’s Club.”

The Rise and Fall of Scarlet City is a great window into a young band with remarkable musical maturity. (Double Negative Records)

www.thedeathofaparty.com

-Jen Tartaglione

Clockwerk — Due Yesterday
Produced and engineered by Smoke, Pegee 13, Pale Soul, Simple, Sapient and Prawgress1

The Northwest has always been a breeding ground for intelligent rap crews such as Oldominion and Sandpeople. Enter Clockwerk — comprised of two members from both crews — and their new 18-song album, Due Yesterday. A full-on angry assault against the current state of the U.S. government, Due Yesterday is an excellent example of what happens when talent, passion and awareness are combined.

Gold and iAMe refuse to skirt around the many issues plaguing the everyday life of Americans, and have made an incredibly political album as a vehicle to express their sentiments. For example, “The Price is Right” is a straight-up attack on the Patriot Act and how the American public is paying the ultimate price by giving up its freedom. “Could Get Better” features a brilliantly sampled folk song placed underneath a catchy beat, and “Amazing” gleams with a slow-building, funky punch. While there are quite a few catchy choruses on Due Yesterday, the focus is on the message and the lyrics. Continuing the album’s political tone, “World War Now” speaks of Americans’ lack of freedoms and the government’s empirical intentions.

Not all of the songs are top notch, but for the most part the album is a great listen. For those that love hip-hop and have been searching for some with substance, Due Yesterday is the perfect solution. (Superhappywax)

www.superhappywax.com

-Casey P. O’Neill

No Go Know — No Go Know
Recorded by No Go Know

The assured eponymous debut by Portland trio No Go Know has a restless spirit, manifesting itself in exploratory musical passages, supple rhythms and a disregard for traditional pop song formats. Most of the eight tracks on the album break the four-minute mark, enabling the band, like Built to Spill or Sonic Youth, to stretch itself and head off in unexpected directions.

Sometimes the band indulges in Crazy Horse-like guitar squall, as on the opening song, “Doing the Best I Can,” and the almost epic, nearly ten-minute closer, “Inside Wait,” which also has its moments of psych-rock freak out. No Go Know has an intuitive understanding of dynamics, often starting a song on a more relaxed level before kicking it up a notch and letting the music become big, dense and swirling. Though the band excels at longer, louder songs, No Go Know are also capable of downshifting to quieter moods. “How I Once Stopped” has a lonely, desert-highway-at-night vibe and “We Discovered Water” has a melodic chorus and a more traditional indie-rock groove.
If there’s a fault, it’s that not as much attention seems to be given over to the lyrics or the vocals. The former are somewhat bland and even feel like an afterthought at times, while the latter, though serviceable, are never as distinctive as the music. Occasionally, the songs settle too neatly into a quiet/loud pattern, as on “At Home in the Fire,” and become predictable.

At its best, the album has a quiet tension, an expansive scope, and a subtle interplay between the three musicians. It is a promising first effort — one that finds the band well on its way to forging its own musical identity. (Self-released)

www.nogoknow.com

-Lukas Sherman

And a Few to Break — Procession
Engineered by Aaron Prellwitz
Recorded at Tiny Telephone Studios

Procession is a sincere and spirited debut from San Francisco’s And a Few to Break. Clean production, nuanced material and powerful performances are present, portraying a dedicated and passionate group of young musicians. While their talent is undeniable, the album is just as listenable for the handiwork of engineer Aaron Prellwitz, who has previously provided his services for artists like Neil Young and Hella. The sharp and thorough nature of this recording makes Procession a viable entry into the post-indie rock canon that is now forming.

Musically, the influences of AAFTB are not hard to trace. Most apparent is a reverence for the trail blazed by ‘90s indie-rock phenomenon At The Drive-In circa In Casino Out and Vaya. Brady McCartney’s vocals, while emphatically melodic at times, trace the manic primal scream emitted once by a youthful Cedric Bixler. The positive spirit of D.C. hardcore acts is also felt in full on these songs, as the band fixes on the nearly overindulgent motif of introspection.

Although the five-piece, dual-guitar format is used to its fullest dynamic, AAFTB also include a few asides and interludes on the album. “Widowed Sound” features a delightful nylon classical guitar piece, padded with ethereal noise and noodlings that highlight the band’s ability to create a textured palate of sound. This gift is also evident in “Those Who Tell the Truth,” where lush and dreamy soundscapes are punctuated by neo-hardcore riffing. That track effectively transitions into the quasi-prog “Line of Fire,” a frenetically syncopated and chaotic tune that comes across as a shouting match with all five parties involved.

It’s clear that And a Few to Break is out to make a name for itself, as well as a statement, in the procession of urgent deluges on this album. (Relatively Conscious Records)

www.chamberpunk.com

-Geoff Shiner

Bear on Bear — Bear on Bear EP
Recorded by Cian Riordan at Par la Mer Studio in Santa Cruz, CA

The Santa Cruz-based quartet Bear on Bear captures a rare yet paradoxical element on its first EP: songs that have a back porch feel, but are also danceable and pop-oriented. With only five tracks, this release is a solid achievement musically and covers quite a bit of ground in a short amount of time. Not only are loud, energy-driven songs interspersed with mellower ones, but also tunes like “Orange Blossoms” flip the switch from hard rock to indie pop in the bat of an eye. “Better Than Nothing” echoes with a touch of a surf reverb, but also breaks out a strong rhythm section and the bouncy jazz tonality of The Minutemen.

Bear on Bear’s lyrics appear to be autobiographical vignettes, central to each song’s purpose, on the topics of girls, parties and emotional confusion. However, judging by the way Dylan Travis delivers these lyrics, one could say he is less interested in what he sings than how he sings it. The lyrics become the vehicle for his doleful moan that at times can be a tad too sensitive for the upbeat melodies. For fans of The Smiths though, this will be an attractive attribute.

All in all, Bear on Bear is off to a strong start. This collection of songs has what a good live show should consist of: slower, soulful tunes for the more contemplative listener and danceable hits that will make people want to get the party going. It is this diversity in sound that keeps the band’s EP interesting, a trait that Bear on Bear will hopefully develop and continue. (Self-released)

www.bearonbearmusic.com

-Meredith Jones

Joy Wants Eternity — You Who Pretend To Sleep
Produced by Andy Boyd and Alex Cassatt
Mixed by Andy Boyd and Zack Reinig

No, it’s not the name of a Christian rock festival. Joy Wants Eternity is a Seattle five-piece that is the result of an open call in a local paper to players of “all instruments for experimenting with walls of noise.” And what a noise they bring. The band has honed its sound masterfully on this promising debut album, benefiting from the here-it-comes quiet/loud switch-off made popular by the likes of Godspeed You! Black Emperor, Mogwai, et al.

Opener “Existences Rust” is a thrilling thunder roll of sonic booms and ferociously distorted guitar. “From Embrace to Embrace” recalls Slowdive’s landmark Souvlaki Space Station in its hurtling-through-the-cosmos vortex of reverb. Later, “Death Is a Door That Opens” brings to life what the acoustics in the ensuing foyer must sound like, complete with wind-tunnel noises and an apt sense of recognizable dislocation. “What Lies Behind” displays an Eno-like simplicity of sustained keyboard notes offset by a jarring, mechanized whistle.

One by one, the songs become part of a pattern of pensive build-up and frenetic release, which is utterly captivating and manages not to come off as overwrought or bombastic. In a genre full of bloated, self-indulgent “soundscapes” that often continue on well past the point of interest, what really distinguishes Joy Wants Eternity is the band’s rare sense for when to end a song. The listener is left wanting more as the music moves continually from cacophonous crest to hushed valley — usually all in under four minutes. A remarkably soft blizzard. (Beep Repaired)

www.joywantseternity.com

-Andrew Kersey

Trigger Renegade — Destroy Your Mind
Engineered by Chris Rakestraw and Tyler Meahl
Mastered by Jeff King at Threshold Sound
Produced by Christopher Naab

Destroy Your Mind has all the essential qualities of an ‘80s-era metal album. Every instrument and track is saturated with reverb; the drum kit boasts a double kick and a cowbell; the guitars trade off leads and swinging riffs; the lyrics convey that “All we want is drugs and sex” sentiment; and the vocals are punctuated with falsetto screams. The album’s cover art depicts a man’s head being blown off, with the blood forming Trigger Renegade’s hieroglyphic-inspired “TR” logo.

Technically, the album is hit or miss. The guitar solos are decent, with McCoy Gurmin and Ian Alden playing off each other well. Blake Meahl’s vocals stay true to the music, though he occasionally tries to extend the notes beyond his vocal reach. As can be expected on any guitar-reliant rock album, the bass and drums tend to get buried. While this propensity proves to be a blessing on some of the faster songs that struggle to keep a steady beat, it also shrouds the rhythm section’s finer subtleties, throwing it all into the background.

Straight-up metal tracks like “Damage” and “Straight Shooter” are the high points of the album, and where Trigger Renegade seems the most comfortable. The dark title track is a great, epic piece, with soaring solos and great harmonizing guitar riffs. However, the album’s requisite ballad (“Anthem for the Dead”) comes across as forced — further supporting the idea that this band is best suited for hard-rocking fare.
Ultimately, Trigger Renegade does provide some original touches, but Destroy Your Mind best serves as a sort of tribute to all things metal from that era — both good and bad. (Black Top Fade Records)

www.triggerrenegade.com

-Bonwell Parker

The Rebelz — Operation Dark City
Produced predominantly by Matt MacLeod
Recorded, engineered, mixed and mastered by Stephen “Da Brayne” Sherrard at DBAR Productions

Hailing from Seattle — a region of America where gray skies and rainy days are more motif than ecological make-up — The Rebelz are a counter-culture hip-hop duo. Their latest release, Operation Dark City, is more or less a concept album. Drawing from both Public Enemy’s It Takes A Nation of Millions and Orson Welles’ War of the Worlds, The Rebelz create a world “...trapped in the grip of a corrupt and oppressive regime ... known as Dark City.”

Whether or not Operation Dark City is an allusion to the social climate in Seattle itself or just another hackneyed movie reference, The Rebelz genuinely wield the mic as a megaphone to lead the aimless masses. The album is concocted like a cross between an underground pirate radio broadcast and raw hip-hop emcee ciphering.

Often opting for semblances of spontaneity, the skit-laden format of Operation Dark City‘s track layout borders on the gimmicky. For those able to hack their way through the charades, the flow of JBC & Icee doesn’t quite hold up to the standards set by today’s modern emcees. “Chart Topperz” features the two disguised as atypical bling rappers. What was supposed to be a pot shot at the ballerina rap game, however, merely comes off more like imitation than mockery. Icee goes so far as to rhyme in reverse, but only with the aid of the studio engineer.

Even with cameos from Wu subordinate Cappadonn and Traedonya of the pastured X-Clan, there are no memorable lines or sentiments on Operation Dark City, though it is a valiant amateur effort. (Red Pill Records)

www.therebelz.com

-Franklin Grimes

The Brides of Obscurity — Extended Play
Produced and engineered by Gary Reynolds and The Brides of Obscurity at Electrokitty Recording and London Bridge Studios in Seattle, WA
Additional production and engineering by Masa Fukudome and Johnny Sangster
Mixed by Gary Reynolds at Electrokitty Recording
Mastered by Mark Guenther at Seattle Disc Mastering

Sounding like an American version of Oasis — only without the snotty attitude and over-the-top production — Seattle’s The Brides of Obscurity are amongst the latest Northwest acts to continue the long crawl out of the shadow of grunge. The band’s second release, the sardonically titled Extended Play, contains only five short selections. But what the disc lacks in length, it makes up for in strong pop songwriting; free of filler, any of these songs could easily be considered single-worthy.

In fact, anyone who enjoyed The Brides’ first release, Instant Happiness, will likely experience said feeling when discovering that Extended Play is, in effect, a continuation of the first album — or an extension if you will: more Lennon-esque vocals and sweet pop harmonies, more of that inviting retro electric piano, and more carefully crafted pop songs in the spirit of the 1960s. The Brides’ concise verse-chorus-verse rock ‘n’ roll is given the occasional zinger with lines like, “Once in a while is never gonna last forever / But you know that it’s just as well” on the track “Don’t Get Me Wrong.” The cleverly disguised “Positively Me” is a pop song of the “I love you” variety, where “baby,” “you,” and “I” are actually all referring to the same person. Self-love perhaps, but if you could write pop songs as catchy as The Brides’ Gary Reynolds, you’d probably be writing love songs to yourself, too. (Electrokitty Records)

www.bridesofobscurity.com

-Michael Fortes

Jared Mees — If You Want to Swim with the Sharks
Recorded at Forbesound Studios in San Pedro, CA
Engineered, mixed and mastered by Bill Forbes
Produced by Jared Mees and Bill Forbes

If You Want to Swim with Sharks is Jared Mees’ thoughtful debut album on the label that he co-founded, Tender Loving Empire. Relating stories of mindless jobs, train-wreck love affairs, and the constant struggle to not give into pessimism, the Portland-based songwriter gives a very honest account of the middle-ground morass that only time seems to fix. Surely many twenty-somethings can relate.

With a voice similar to Stephen Malkmus’ lackadaisical lull, Mees brings the same wry wit and slacker folk charm to his songwriting. Throughout most of the album, the songs simply feature Mees and an acoustic guitar, with the occasional backing vocals of his wife, Brianne Mees. However, the lyrics and guitar melodies are enveloping and the album never feels lacking.

On the first song, “Suicide Squeeze,” Mees sings: “You’re in the suicide, suicide, suicide squeeze / You’re drunk and you’re speaking that drunk Christianese / You’re breaking down now with the greatest of ease / And you’re falling and licking your own bloody knees.” On “Working and Drinking,” Mees tells of only being capable of dreaming while asleep. His lyrics illustrate the mundane existence of ping-ponging between a boring job and the escape of drinking: “I’m the man of my dreams when I’m dreaming / At least that’s how it seems to be seeming / During those six short hours between working and drinking.”

If You Want to Swim with the Sharks is all about being stuck in the middle, being a minnow swimming with the sharks; but Mees’ first effort is anything but middle of the road. (Tender Loving Empire)

www.tenderlovingempire.com

-Kristen Schaer

Eleni Mandell — Miracle of Five
Produced by Andy Kaulkin
Mixed by Rob Schnapf

California singer/songwriter Eleni Mandell’s latest effort, Miracle of Five, embodies the same smooth, jazzy vibe as Norah Jones, but takes it even further. Mandell sings about sunsets and cities that crumble, dear friends and sleeping lovers, and that time of evening when sleepy towns begin to snooze. She moves poetically through this 12-song set, expressing lyrically all things that equate with love in the modern day. On “Moonlight, Lamp Low,” she sings, “Windows are shining / The sun goes down fighting / And the houses on the hill are getting undressed ... True love like sugar in my coffee.”
One of her more touching tunes, “Girls” brings to mind the image of a carefree summer day, swinging on the porch and singing about falling in love. “Do you still think about girls from last week?” she asks her sleeping lover. In the next verse, she’s vying for his attention, crooning, “I am the dice you roll in the alley / I am the pennies that come in handy.” On “Make-Out King,” Mandell laments about falling for a man with a bad reputation: “I can’t be seen kissing the make-out king ... Dancing like he might tip over ... Looking for love around every corner.”

Suddenly, even the inconsequential matters, and each thought and obsession becomes a purposeful lesson; Mandell achieves the rare triumph of metamorphosing everyday occurrences into magical moments. While her arrangements stick to the simple toe-tapper, backed mostly by guitar and piano with the occasional horn or string solo, there are small effects dubbed in here and there. These serve their purpose then disappear, much like the miracles about which she sings. (Zedtone Records)

www.elenimandell.com

-Kim Ruehl

Jon Crocker — 7 Days, 6 Nights
Produced, recorded and mixed by Jon Crocker

Hailing from Portland, fuzz-folk singer Jon Crocker — not to be confused with aging rocker Joe Cocker — is a multifaceted musician, credited with over 15 instruments on this album. The liner notes read, “This album is my attempt to capture, in song, the feel of each day of the week. To me, each day has its own character, and each song is how that character sounds to me (the songs aren’t about the days, themselves).”

The album’s seven songs (one for each day) have a symmetrical structure, built around an upbeat opener and typically closing with a mellower instrumental (the “nocturne”). As on any lo-fi album, the instruments are baked under a layer of noise, with lyrics pointedly rising above a strummy, whitewashed background. Tragically, with so many instruments in low fidelity, the result is a fairly murky sound quality. Acoustic guitars, noodling keyboards, and an occasional beat from a wood block manage to rise from the 8-track production.

7 Days, 6 Nights regularly nods to low-fidelity indie-pop masters Guided by Voices. The comparison is most evident on “Thursday + Nocturne,” where a dirty electric guitar cuts a rolling melody through a muddy background, further punctuated by some of Crocker’s better delivered vocals.

Crocker isn’t a poet, but what he lacks in lyrical depth he makes up for in optimism. As found in the uplifting “Saturday + Nocturne,” Crocker impassively sings, “This is the start of something beautiful / This is the end of the past / Make a parade to commemorate this day / Pray to God that it might last.”

Though 7 Days, 6 Nights is an ambitious album, the formulaic structure and generally emotionless lyrics prevent any song from rising above average or being truly memorable. (Grey Dawn Records)

www.greydawnrecords.com

-Christopher Petro

True North — Pluck
No production information available

Salem, Oregon’s True North play tunes so smooth they bring to mind bluegrass-pop artists like Alison Krauss and Union Station, as well as old country legends like Hank Williams, Sr. Employing all the musical specifics of the bluegrass genre, True North embarks on instrumental solos with earnestness and humility.

One of the strongest songs on the album, “Til I Have You,” is a heartfelt love song, stating simply, “I got nothing to my name but a strong desire.” Vocalist Kristen Grainger sings with such poise and clarity that her vocals hold their own strong place among the supporting instruments. Tim Darby and Dale Adkins roll into their deliberate guitar solos with absolute ease, while bassist Suzanne Pearce keeps the beat pumping sweetly in the background.

From there, True North moves into great original bluegrass tunes like “Sweet Desiree” before veering into another direction with “Limbo” halfway through the disc. Here, the bass line drives the tune and the harmonies that pepper the chorus are followed appropriately by the sweet longing of a brief guitar solo. The song ends with a line that most country songwriters would kill to have written: “She’s in limbo between a stone and a state of grace.”

Grainger’s lyrics are introspective, capturing bits of small town life in vignettes that are purposeful and infectious. True North is able to veer from its bluegrass influences to embrace country-pop balladry with open arms. What many groups lose in the fire of lightning-fast solos, True North exemplifies with style and artistry. (Self-released)

www.truenorthbluegrass.com

-Kim Ruehl

Dakota Slim — Hitherto the Aminals
Recorded by MRL Dennis at The Record Ranch

Dakota Slim’s third full-length, Hitherto the Aminals, is a sympathetic commentary about ignorance and neglect towards our woodland friends. A young San Francisco-based songwriter, Dakota Slim, a.k.a. Travis Keats Ross, uses animals as a starting point for his meditation on human morality. It’s a fascinating listen, as his music releases a stream of guilt, childhood memories, nostalgia, shame and hope, all at once.
A looped wolf howl begins “The Autumn Court,” which layers spooky guitar lines and violent percussion with Ross repeating, “Killing me in open air / Killing me is no fair.” Most of these fifteen songs clock in at under three minutes, showing Ross‘ restraint and respect for the sometimes rambling art of folk songwriting.

The album’s soundscapes meld the organic and the electronic, utilizing technologies and musical ideas ranging from musique concrete to current hip-hop. It’s the clear goal of Ross, as well as his excellent producer, MRL Dennis, that lyrics and melodies stand out over the impressive cornucopia of sounds. The result is that the human quality of the music, especially Ross’ voice, is more apparent here than on any of his previous releases.

Ross focuses on his ambivalent stance towards “Man” on the album’s concise closing song. “Man is the worst creature in the world / Goddamn this man can never get filled,” is his lament, which is both easy and uncomfortable to relate to. Though his statement may seem arrogant at first, Ross stays vulnerable by concluding, “I say I hate them but I love them anyway / It’s no definite / Good is a choice that you make.” This moral ends the dark fables, and Dakota Slim proves that beautiful art is in fact mankind’s most endearing quality. (Self-released)

www.dakotaslim.com

-Jake Rose

Axton Kincaid — Songs From the Pine Room
Recorded by Bart Thurber
Mastered by Myles Boisen at House of Faith in Oakland, CA

Regardless of genre, dance numbers attract crowds. Sadly, typical crowds will dance, dance, dance and then move on to the next dance. San Francisco five-piece Axton Kincaid, however, has the chops, and thus the rare chance, to hold such a crowd’s attention in between jigs.

The dance of all dances, “Who’s Gonna Pour My Whiskey When You’re Gone?” has gained the band much acclaim around the Bay. Other fantastic foot-stompers and arm-flailers are “Pine Room,” with a well-placed drum solo, and “You’d Be Mine,” a delicious ode to regret. A closer listen to Songs From the Pine Room, however, reveals a big secret: Though the dance numbers are fun, the other tracks on the album are actually much better songs. Starting with “Red Lights,” “Eulogy Song” and especially “When You Go Away,” a greater depth surfaces in the stories yet untold. The rhythmic mania relaxes, and gorgeous vocals from Kate Howser and Jen Daunt are able to really shine. The frankness of lines like “It would be easier if I didn’t love you anymore” and “I go to hell when you go away” comes across unfiltered.

Several tracks like “Irene Goodnight” and “I Still Miss Someone,” named after folk and country standards, leave the intended reference unclear. In what could be a significant association between the band and its audience, the meaning is unfortunately lost. Meanwhile, the band’s cover of The Stone Roses’ “I Wanna Be Adored” suggests a less expected kind of influence.

Axton Kincaid has an honest and versatile sound — let’s hope they can make it out of the dance hall and into our living rooms. (Self-released)

www.axtonkincaid.com

-Ali Marcus

The Retrofits — Away From Here
Produced by The Retrofits
Recorded and engineered by David Friedlander at Kung Fu Bakery Studios in Portland, OR
Mixed by Dave Friedlander and Nick Moon at Crossroads Studios in Vancouver, WA
Mastered by Bernie Grundman at Bernie Grundman Mastering in Hollywood, CA

Founded by Jake Oken-Berg, who in 2002 ran for Mayor of Portland at the age of 19 (and received 27% of the vote), and George McClearly, who was one of the nation’s leading high school runners, The Retrofits arrive both politically and physically fit. Adding to the band’s Type A personality are three more over-achievers: Darin Wirth (bass), Brud Giles (drums), and multi-instrumentalist Jason Barlow. 2010 is Portland’s next mayoral race, but Oken-Berg shouldn’t be looking for work by then; The Retrofits’ debut album, Away From Here, will surely take this band wherever it wants to go.
Acoustic instrumentation and poignant vocalization support the main planks in The Retrofits’ musical platform. Their sound is refined by emotionally elevating musical topographies that unite trickling piano, ascending violin, air-filled acoustic and electric guitars with captivating melodies. This 12-song CD boasts an indie-pop sound that could have been spawned in the same ocean as The Fray. But from the blissful, piano-pop overtones of the title track to the jazz-infused passages of “Love Letter,” the entire album has enough surprises to keep it from being compartmentalized. “One True Thing,” for example, is reminiscent of Coldplay ... for about 15 seconds, until the vocals on the track kick in and a sort of global warming occurs. The result is a sound that no one can touch — purely The Retrofits’ own.

The campaign trails of touring may lead The Retrofits away from here, but taking with them their jazz ensemble instrumentation and indie-pop attitude, these five running mates are sure to secure the vote wherever they go. (Half Mile Records)

www.theretrofits.com

-Fran Gray