Jersey Beat Music Fanzine
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THE SILVER LINING: Reviews by Paul Silver

BLUNT MECHANIC – World Record (Barsuk Records, www.barsuk.com)

Very lo-fi, but interesting indie-pop. The songs tend to be mid-tempo, maybe feeling like they drag a little bit, but they’re laden with hooks. The songs really are getting into my head after just one listen. On the second listen I was already humming along. Bouncy, and catchy are words that come to mind. Even so, some tracks are definitely morose-sounding, such as “Is Or Isn’t All the Same,” a track that can bring a tear to the eye. Thankfully, it’s immediately followed by the decidedly up-tempo “Our First Brains,” and if you don’t at least start tapping your feet at this one, you missed out on YOUR first brain. If I could change anything about this album, I would do two things: 1. I would dump the lo-fi. It’s so over, and so affected. Your songs would sound so much better without all of the distortion. 2. While some of the slower songs are appropriate as they are, some of them would be better of with a quickened pace. Overall, pretty good.

C.D. TRUTH – Completely Destroyed (F.I.M.P., www.cdtruth.com)

C.D. Truth have been around a long time, 19 years, and this is just their third full-length release in all that time. I can imagine the frustration of their fans, with the long wait between releases, because this is pretty decent stuff. It has equal measures of Dead Kennedys, Mission of Burma, and Alice Donut. There’s a definite early punk influence, loads of crunchy guitar, very tight musicianship, and a definite sense of fun and humor. “Body Bag is a very straight-forward punk tune, while many of the others have a more post-punk feel. Some of the songs have Akron-centric lyrics (the band hails from that former rubber capitol), like “Y-Bridge,” (“Spread your wings and start flying, make your mark on Elizabeth Park”). “Cleveland, You’re Still #2” is another Ohio song, with humorous and cynical lyrics. And my Internet research has revealed that CD Truth has even played at a Church of the Subgenius Devival, so hey, they’ve got to be pretty cool! The disc closes with a fitting tribute to Akron’s most famous citizens, Devo, and a cover of their first big “hit,” “Jocko Homo.” All in all, this is a pretty cool album.

THE FARMERS – Fulmination (www.thefarmersmusic.com)

If you’re into mid-tempo hick/redneck sounding roots rock, you’ll like this. Me? I find it to be pretty dull stuff. It actually sounds kind of affected, like they’re trying too hard to have that inbred backcountry sound. They’re from San Diego, and a lot of their songs seem to be about East County and it’s environs, such as on “Walkin’ Back to Lakeside,” Lakeside being an East County town. For those who don’t know, East County is the part of San Diego County that is more rural, mountainous, and very, very conservative. Roots rock can be lots of fun, raucous and snotty, but this stuff is just so middle-of-the-road, really dull stuff.

THE GILDED PALACE OF SIN – You Break Our Hearts, We’ll Tear Yours Out (Central Control, www.centralcontrol.co.uk)

Interesting stuff here. It has hints of folksiness, with banjo and acoustic guitar, with some country-like melodic lines. But then there’s also the growling guitar, glockenspiel, and Theremin mixed in. It’s sort of like experimental shoegazer music for the alt country set. And all of this from a UK band! Pete Phythian’s vocals kind of remind me of Jim Morrison; there’s a similarity in the vocal quality, and the kind of relaxed intensity in the style. The sound is very thick and orchestral, an amazing feat given that this just a trio, but I guess that’s something that studios are good for. There’s an ominous tone underlying the music, leaving you feeling like there’s danger just around the corner, that all hope is lost. Yet this is not dirge, even though the tempo is always slow to moderate. There’s a gritty intensity here. Pretty cool stuff, I like it.

GIRL LOVES DISTORTION – You Better Run, Your Highness (Etxe Records and Productions, www.etxerecords.com)

Mid-tempo indie-rock. That about sums it up. It’s decent stuff, but it’s not like any bands are going to start citing GLD as their influence. Distorted guitars, bass and drums play reasonably straightforward indie rock, with a bit of DC post-emo and more than a hint of shoegazer influence. “Cryptogram” is a really good example of this. The closer, “Ascend,” has an epic sounding quality to the chorus, but I’m not sure it really meshes well with the rest of the song. And there’s a bridge halfway through that’s equally interesting, but also seems to be quite out of place. Overall, like I said, this is decent, but isn’t going to change the world.

HEY YOUNG BELIEVER – Invisible By Day (www.heyyoungbeliever.com)

Sparkly, bubbly, old-school indie-pop! It’s been too long since I heard stuff like this. There’s electronics punctuating the tracks, adding to the glimmer with a hint of new wave influence. And piano adds an element of classic old pop tune. If I had to pick out one standout track, it would likely be “Grand Design,” the second cut. It just bounces and sparkles, reminding me of Washington D.C. greats, Tsunami. “Walking Over You” is another good one, with a jazzy feel, and those vocals do so remind me of Tsunami again. And if there’s one complaint I have about the album is that it’s just a little bit too long. Yeah, the songs are good, but too much of a good thing, you know? Always leave them wanting more, as the old saying goes.

KILL PARADISE – The Second Effect (Break Silence Recordings, www.shopsilence.com)

My god, what were these people thinking, sending this to Jersey Beat for a review?? I knew I was in for trouble when the press release blared that the band was “hand picked by MTV to have their music featured in new reality series,” and that the album was to be distributed exclusively through Hot Topic stores. This duo plays electro-pop with sugary lyrics and a distinct dance beat. It sounds like bubble-gum boy-band music for the junior high school set. Synth, drum machine and vocals are about all that’s here, so it sounds like a professional recording of real amateurs. Lyrics tend to be about sexy girls or about the pretty girl with the lousy boyfriend and how she deserves better (presumably the singer). Presumably elsewhere on the site are the “top 10” lists for 2009. Well, this disc would appear on my “bottom 10” list, it’s so bad.

MV & EE – Barn Nova (Ecstatic Peace, www.ecstaticpeace.com)

MV is Matt Valentine and EE is Erika Elder, and this disc is the two of them performing countrified musical doodlings with their friends. It’s very self-indulgent, and not even very good. MV’s vocals are out of tune, and it sounds like their jam sessions were fueled by illicit substances. Imagine a bunch of college buddies getting stoned and jamming, thinking they were making the greatest music in history, and then upon listening to the recordings the next day, their friends tell them it’s shit. That’s what this is, except in this case, no one wanted to tell them how unlistenable it is.

PATRICK & EUGENE – Altogether Now (Birds Bees Flowers Trees) (Tummy Touch Records, www.tummytouchmusicgroup.com)

So, this started out as a quaint, mildly charming album of vaudevillian-like music. This British duo use banjos, ukuleles, various percussion instruments, happy-happy-joy-joy vocals, and an old-time sensibility in creating their unique music. And then they toss in a track that really got me, “Llama.” The topic of the song? “What’s your favorite ungulate?” as the lyrics query. The song sounds like it could have come from “Sesame Street” almost, with its list of various animals. Except that children’s TV show would never sing about ungulates! Then it hit me what this duo reminds me of – a blend between the old-time jazzy feel of Leon Redbone and the dry wit of Flanders and Swann, another musically comedic duo from Great Britain from many years ago. Another apt description would be what the press kit says about them. “Try to imagine Noel Coward on stage with the Duke Ellington Band at the Monterrey Pop Festival and you’re getting close.” I am sure that most Jersey Beat punk/indie rock fans would not be impressed by this, but I sure do like it. You should try it, especially for the unique cover of Kylie Minogue’s “Can’t Get You Out of My Head.” The disc keeps getting better and better, too, and toward the end of the album, “Take a Step Back” seems to be the standout track. This is serious fun!

THE SHOW – Here’s to Your Jigsaw (www.theshowofficial.com)

Umm, hard to pin down what to call this. Sometimes it’s poppy, sometimes it’s almost like listening to Bruce Springsteen, sometimes it’s garagey, and sometimes it’s a little shoegazey. Two of the band members take turns on lead vocals, and I’m not sure which is which, but one is fine, the other is a little annoying. One sounds normal, the other sounds like he’s being strangled. Sorry, but it really annoys me – it’s particularly annoying on the album closer, “Semihopeful.” The songs are pretty uniformly mid-tempo or ballad, there’s nothing really energetic here. It just really was kind of annoying overall, so I would skip this if I were you.

SYSTEMS OFFICER – Underslept (www.temporaryresidence.com)

Systems Officer is the solo project of Armistead Burwell Smith IV, member of San Diego bands PINBACK and THREE MILE PILOT. Busy guy. The album is very thickly orchestrated, epic indie-rock, with sort of an alternative Brit-rock feel. It seems to be pretty commercial sounding, like it would be at home on your typical “alternative” radio station, but there’s something about it I like. The arrangements are rich, interesting and soothing, and there’s really nice layering to the sounds. Everything is kind of understated, mid-tempo, which normally would put me to sleep (I like variety). But, again, there’s something here that just gets to me. Systems Officer seems to be to “alternative” rock what Orb and the like are to electronica dance music -- let’s call it perfect “chill-out” music for the indie-rock set.

TERMINAL LOVERS – As Eyes Burn Clean (www.publicguilt.com)

Metal-tinged, jazz-influenced psychedelic rock music. It started OK, with “Press the Bank,” an instrumental, spacey, free-jazz rock sort of track. But “Iron Gate” turns this into a wank-fest, clocking in at nearly 10 minutes long. And the vocals start about halfway through. From there out, this album reminds me of the worst of the 60s and 70s acid rock, very self-indulgent, with no respect for the listener. You have to be on drugs to get into this, with long-form jams and all. It’s everything that the punk revolution was trying to smash, and it’s so sad to see it making a comeback with younger bands.

YOU SCREAM I SCREAM – Bug in a Light (www.youscreamiscream.com)

Here’s a band that obviously doesn’t take itself too seriously. The songs are lightly humorous, and the musicianship is aces. Fun instrumentation like toy piano and baritone sax adds to the effect, such as in the song, “Dog,” an ode to man’s best friend. “High Maintenance” has an epic feel to it, with some keyboards and glockenspiel, and lyrics about how the singer needs this “high maintenance” person like he needs a hole in the head. In a way, YSIS reminds me a bit of Ween, in that they’re doing songs in a variety of styles, always sounding like they’re playing them with a smirk or a sly grin. “Gefilta Fish” is sung in Hebrew, for cryin’ out loud, and even has some Hebrew rappin’ on it! Interesting stuff.


FARMER DAVE SCHER – Flash Forward To The Good Times (www.kemado.com)

This disc starts out strongly, with “Bab’lone Nights,” a retro power-pop tune, replete with great hooks and punctuated with piano. “You Pick Me Up” is a really cool track, with a dub sound (reggae beat with reverb aplenty), but there’s punches from a string quartet or something. It’s kind of schizo that way, but it works. The schizo nature continues, with tracks featuring a surf-pop sound, 70s bubblegum pop, 60s love-and-peace folk-rock, and everything in-between. Yet, it always has an underlying signature feel to it, so you know it doesn’t just sound like a retread of the past. While it doesn’t break new ground or anything, it’s a pretty darn decent listen, and has enough quirkiness to it to keep it interesting.

LISA GERMANO – Magic Neighbor (www.younggodrecords.com)

This may not appeal to many of the punk-minded Jersey Beat readers, but I love it. It’s stunning in its quiet simplicity. Breathy female vocals, strings, acoustic guitar, piano, and glockenspiel blend together to provide a gorgeous tapestry. Some of the songs offer up some dissonance, some toss in interesting sound effects, but it’s all just awe inspiring. It’s amazing what you can create with such minimalism, without all the “Sturm und Drang” of loud punk-inspired indie or emo music. This is the proof.

HYPERSTORY – Hyperstory (Pureland Records, www.hyperstory.com)

Hyperstory is LA-based C. Scott Blevins, with help on this disc from the likes of vocalist Julian Cassia, Joey Waronker (Beck), Deron Johnson (Seal, Miles Davis), and Chris Chaney (Jane’s Addiction). The result is smooth, easy, breezy pop music. There’s plenty of interesting instrumentation here, giving some of the tracks an epic feel. “A Happening” has a really cool choral backdrop to it. “Something Good” sometimes sounds a little too slick and commercial, but other times has an almost Stereolab feel, particularly in the vocal harmonies in the chorus. “Will It Ever Change” uses a trumpet section to give it a cool, jazzy epic feel, which I really like. “Ascension” has a bit of a funky feel, and almost sounds like it could be a theme song for a black exploitation crime film of the 70s. It’s kind of interesting, because a lot of these tracks use some innovative instrumentation and nice touches to make it sound very compelling, yet some of these tracks are on that edge between indie and commercial, which makes me a little uneasy sometimes, like I’m not sure what Hyperstory is trying to be. Overall, though, I think I can say I like this.

MISSION OF BURMA – The Sound The Speed The Light (Matador)

I lived out in the Boston area for a couple of years a long time ago, but it was too late to catch any live Burma shows – they had already called it quits by the time I got there. But that didn’t stop me from hearing the stories about this great band, and it could hardly prevent me from being exposed to their all too small catalog of recordings. I was hooked, and avidly sought out as many recordings as I could. Fast forward to 2002, and Mission of Burma has reunited. This is their latest post-revival effort. And a solid effort it is, though not ground breakingly innovative, the way they were back in the early 80s. To be honest, while many of the tracks sound similar to classic Burma, some of this sounds a more like the stuff Roger Miller was doing in the interim, with his band No Man, than it does the early Burma stuff. But that’s not a bad thing, and not really surprising. The album is bursting with power, pounding bass lines, burning guitar lines, thunderous drumming and tough vocals. The disc starts out with “1,2,3 Partyy!” which is the most punk, most non-Burma-like track they’ve ever done. It’s a lot of fun, as the title would imply. We’re then treated to a succession of more “traditional” Burma/Miller fare. It’s amazing, but this stuff sounds so familiar, yet still sounds so fresh. If you’ve listened to Burma/Miller before, you’ll know what I’m talking about (and if you haven’t, shame on you!). I must admit, though, that I was only vaguely aware of the reunion, and hadn’t really listened to any of the “new” Burma material over the past few years, nor caught them live. But listening to this reminds me of how much I’ve missed this band, and I will definitely finally try to catch them live when they do their mini-tour in November to promote this album.

OS MUTANTES - Haih or Amortecedor (www.anti.com)

OK, so Os Mutantes have been hailed as one of the most influential bands of all times. Unfortunately, I’ve never heard of them before, but maybe that’s because this is their first release in 35 years, following a reunion in 2006. It also may be because they’re from Brazil, and the US music market is difficult to break into by foreign artists, especially those not from Western Europe who are also singing in English. That said, this is outstanding stuff! It’s quirky and diverse. It’s psychedelic, and it’s very Brazilian. I just wish I could understand Portuguese, because the lyrics are all in that beautiful language. Some of these tracks would feel right at home on a Broadway stage. One of the weirdest, coolest tracks on the disc has to be the final one, “Hymns of the World Pt. 2,” which is a blending of the Russian, US and Brazilian national anthems. This is not indie pop or punk rock, but this IS highly recommended.

JOSH OTTUM – Like The Season
(www.cheaplullaby.com)

Josh Ottum serves up some interesting, bouncy, light pop music with an instrumentation sometimes reminding me of Chicago, the 70s band. There’s a jazzy feel to these tracks, with intricate guitar work and brass aplenty. The vocals sound like kind of a cross between what you would hear from They Might Be Giants and The Fire Show, with a very relaxed, easy feel to them. There’s also loads of 70s sounding synthesizer – maybe a little too much. This is an album that seems to walk a fine line between 70s retro and modern, trying really hard not to be too much one or the other. Sometimes this works really well, and sometimes, like on “Break My Bones,” the 70s element comes across a little too strongly. I was not a fan of much of the 70s era pop music, and that aspect doesn’t really do it for me. But overall, this is an interesting, inventive disc.

THE WINGDALE COMMUNITY SINGERS – Spirit Duplicator (scarletshamerecords.com)

This is a project from novelist Rick Moody, vocalist Hannah Marcus, musical genius David Grubbs (noted for his involvement in Gastr Del Sol, Squirrelbait, and others), along with Nina Katchadourian. It’s a modern take on musical Americana. There’s loads of acoustic guitar and harmonized vocals, and sounds folksy without being too folksy. Think of a poppier Cordelia’s Dad, perhaps. That said, “On the Carousel” is an a capella track with beautiful four part harmonies in the Appalachian tradition, though it’s clear that these vocalists, talented as they are, are not mountain-folk. Their voices are just too modern sounding to make that really work as well as Cordelia’s Dad does. Overall, it’s a nice diversion, but not revelatory.


CUB COUNTRY – Stretch That Skull Cover and Smile (Future Farmer Records, www.futurefarmer.com)

This is yet another Alt/country album, and the first in five years for Cub Country. Cub Country started in 1999 as a side project for Jeremy Chatelain, who was then bassist for Jets to Brazil. But you would never know it from the type of music here, as it could hardly be any different. There’s plenty of twang and folksiness, yet there’s also the breeziness of indie-pop, as especially evidenced on “Red Carpet,” the third track on the disc. Some of the tracks are a little heavier on the twang than I like. When they stick to the blending of indie-pop and folk, it works better. That said, “After the Song’s Been Sung” is a nice, bluesy track that just rocks. And many of the other tracks do have that nice balance. The closer, “The Stars Drip Down,” is an especially pretty track, very quiet, with piano, vocals, and bowed bass. Overall, this is a good effort.


AULD LANG SYNE – Midnight Folly (www.viperbiterecords.com)

This band is from western New York State, but you wouldn’t know it to listen to the music. Alt/country has sort of been exploding lately, and Auld Lang Syne is another example of a band playing this genre. I’ve never been a fan of country, and when the alt/country genre came onto the scene, I was not impressed. Too much twang and not enough alt was my main complaint. But there’s been a number of smaller bands popping up lately that combine solid indie sensibilities, some great songwriting and some soulful, folksy twang, and this has me changing my mind. Jersey Beat readers have seen me extolling the virtues of bands such as Old Californio, Winfred E. Eye, and Hoots and Hellmouth, so let’s add Auld Lang Syne to the list. The disc opens with “Long Ago,” a track that’s reminiscent of a cross between Social Distortion and Johnny Cash. I really like the melodic lines, the energy, and the deep gravely vocals are especially effective. Overall, though, there’s more of a quiet, epic, yet intimate feel to most of the tracks. “Greasy Horse” is a good example of this. There’s less country twang and more straight-on indie, but the track is still folksy, especially with the flutes toward the end, giving it a sort of Central American Indian folk feel. “My First Soul” has a breezy guitar line that I really like and Dylan-esque harmonica. A nice listen here.



CELLARSCAPE – Animation, Suspension (www.sbrecords.co.uk)

This is the acoustic-based project from the UK’s Paul Terry, and it’s primarily a solo effort, with Terry providing the lead vocals, most of the backing vocals, guitars, drums, etc. I dunno, maybe it’s the interplay between band members in real time that generates energy and excitement on a recording, maybe not. But too many multi-tracked studio solo efforts just don’t have that spark, and that’s certainly the case here. The songs are nice enough, I guess, but the execution seems too sterile and mechanical. You have basic guitar (acoustic and electric), drums, and vocals, with a sort of indie-ish feel. But it just kind of is there, you know? And there’s not a whole lot of variety in the music. This one just didn’t do anything for me.


MIKE HALE - Lives Like Mine (www.suburbanhomerecords.com)

This is very slow, quiet, understated acoustic music. And maybe it’s too slow, quiet and understated. It nearly put me to sleep. The songs have so little variety, there’s no interesting textures, no changes in tempo, they all just sound the same. A good singer/song writer should have some variety – some fast songs, some slow. And they should use key changes. But not here – everything is just flat. Sorry, I like acoustic singer/song writer stuff, but this is just too dull.




TED RUSSELL KAMP – Poor Man’s Paradise (PoMo Records, www.tedrussellkamp.com)

This is another in the current explosion of alt-country music – country music with a rock base. It’s very country, very bluesy, and just a bit of rock. When it works well, like on “Ballad of That Guy,” it’s really good stuff, with loads of soul and plenty of fun twang. But too often if seems to try too hard, and comes off sounding too close to the southern rock of the 70s, like on “Dixie.” “Never Gonna Do You Wrong” is another really cool track, with a bit of 60s R&B feel to it, thanks to the horn section and back-up vocalists – think Blues Brothers style music. Another mixed bag here, with a few hits, but several misses.


EMPTY SET – As Neat As a New Pin (www.toughloverecords.com)

This is really nice, quiet folk-pop, with most tracks featuring ukulele and piano, but with other tracks including violin and guitar. Glockenspiel adds to the nature of these tracks; this is delicate, beautiful stuff. Some of the tracks glide, some bounce, but they’re all divine. Recommended.




ELIZABETH AND THE CATAPAULT – Taller Children (Verve Forecast, www.verveforecast.com)

The first half of this disc contains some pretty nice pop music, with a brightness in its eyes and a bounce in its step. It blends classic pop sounds with jazzy touches, folk-like acoustic sounds, and orchestral flairs. Most of the songs have a nice thick instrumentation that works really nicely. “Race You” is a really fun track that best embodies the spirit of these tracks. But then halfway through, Elizabeth and the Catapault goes a bit off track, as with “Hit the Wall,” which adds a disco beat and string section, and just seems to go on forever. Ugh. Things then slow down and gets lots of reverb in “Right Next to You,” and it just comes across as wanky 70s era ballad pop. After these couple of songs, things start to tentatively get back on track with Leonard Cohen’s “Everybody Knows,” a track that starts out with hints of blues and work songs. But then it gets a little too overblown with strings again. “Complimentary Me” really gets things going again, with its alt-country feel and uber-bounce. But then the last two tracks fizzle out a bit, losing the bounce again. A mixed bag, but some of the tracks are really good.


THE DANCE PARTY – Tigers (www.myspace.com/thedanceparty)

If you’re a fan of 80s music (the popular music, not the punk or post-punk stuff), you’ll love The Dance Party. This 5-song CD EP jumps into the 80s sound with both feet from the first track. This is not an updating of the sound, this is music that could have easily been on the top 40 back in the day. There’s plenty of new-wave inspired synthesizer, and all of the sort of hooks and attitude you remember from the days of Def Leppard, Tears For Fears and a host of 80s bands. Me? I liked a lot of the music of the 80s, but I preferred the punk, hardcore, early emo and post-punk stuff that was going on. I even liked a lot of the new wave. But much of the “pop” music of the 80s was pretty insipid, and this fits right into that category. Unless you miss the early days of MTV, you can skip this.


LEMONHEADS – Varshons
(www.theendrecords.com)

OK, so this is an album of covers by others. Sometimes it can work really well, and other times it can be a disaster. In this case, it falls somewhere in between. The covers are certainly new interpretations of the originals, not just copies. There’s a definite folk-country-rock feel to many of these versions of the songs, which are by such varied artists as Wire, GG Allin, Leonard Cohen, Christina Aguilera and Gram Parsons. The normally unlistenable GG Allin is transformed into a straight-ahead country tune. The song about a man who gets tired of his girlfriend, kills her and goes on the run is classic GG Allin, and sounds completely at home as a country song that could make it on the Grand Ol’ Opry. Sam Gopal’s “Yesterlove” is an interesting track, featuring Indian tabla, as does the original. The track that doesn’t seem to fit with the rest is Arling & Cameron’s “Dirty Robot,” with guest vocals by none other than super model Kate Moss. The synthesizers make this sound too much like the original and too unlike the Lemonheads. And who would have ever thought that anything performed by Christina Aguilera would work as a quiet, understated ballad? Well, that’s how it’s presented here. An interesting interpretation of these songs, I guess. And I know that Evan Dando has made a career on dropping covers here and there into the Lemonheads’ repertoire. But I think the only real stand-out has to be the GG Allin cover.

PRONTO – The Cheetah (Contraphonic, www.contraphonic.com)

Pronto is the side project of Wilco keyboardist Mikael Jorgenson. But don’t let that fool you; Pronto is nothing like Wilco. Pronto is best described as the easy listening band for the rock and roll generation of this decade, much like Tortoise was for the 90s. This is laid-back, relaxed, subdued instrumentals, some with a jazzy feel, some a bit more ambient. It’s a great chill-out album, but an alternative to the fully electronic, dancey chill-out stuff, with more pop sensibility for the fan of indie rock that wants something to chill to. Some of likened this to elevator music, but that’s being a bit harsh. Elevator music tends to take existing tunes and turn them into something sappy. Pronto provides relaxing mood music, but it’s not sappy, by any stretch of the imagination.



THE NATIONAL RIFLE – Man Full of Trouble (www.thenationalrifle.com)

This is a band that’s hard to classify. Their songs have a lot of variety, and none of them fall into any neat category. This is a good thing, in my opinion. The 5 song CD-EP starts out with, “It’s Just Whiskey, Mama,” which reminds me of a less polished version of Jawbox. “Love Crack” is kind of lack a more lively, manic, early period Elvis Costello, with a harder edge to it. Next up is “I Think I Have a Tumor,” an oddly named track, is very bluesy and soulful. “Bad News From the District” also has a bluesy, R&B feel to it, with an almost “classic rock” edge. And the closer, “Big Units,” has a sort of reggae-rock feel, and on the chorus goes back to the disc opening, raw Jawbox sort of feel. I really like this disc. National Rifle are not out to sound like everyone else out there. The uniqueness, the quality, and the sounds make for a good listen.





TIME AND DISTANCE – Gravity ( www.notalonerecords.com)

This is straight-ahead “alternative” power-pop, much as you might hear on any of a million “alternative” radio stations across the country. Do these stations even pretend to be “alternative” anymore? In other words, this is the modern day equivalent of popular rock music. It sounds like everything else out there. There’s nothing new or unique about it. It bores me to tears.


J. TILLMAN – Year in the Kingdom (Western Vinyl, westernvinyl.com)

This is really nice singer-songwriter stuff that kind of reminds me of a great from back in the 80s, Michael Johnson. This is quiet, delicate acoustic stuff, with guitar and vocals predominating, but with touches of other instrumentation, such as keyboards, hammered dulcimer, strings, etc. that are really nice touches and aren’t overblown. This is the perfect soundtrack for a rainy day, and it’s recommended for all those who like the acoustic singer/songwriter thing.




SCOTT WARREN – Quick Fix Bandage (scott-warren.com)

This is a fusion of three genres, indie, country and singer/songwriter. It has the basic guitar, bass and drums elements of indie pop, the soulful feel of country, and the understated, quiet nature of singer/songwriter material. Many of the tracks seem to be a little too heavy on the country side for my tastes, but when the indie side shines through, the results range from good to spectacular. “I Got Your Back” is a good track, with a nice, easy indie feel. “Both of Us Know” is even better, with a country-tinged feel to a shoegazing sort of indie tune. It shimmers, yet it has a twang, an interesting combination. Overall a pretty decent listen.




YESMISTERBLOODVESSEL – Racing the Relapse
(www.yesmisterbloodvessel.com)

When I first read the press kit description of the band, as a “cross between hard rock / industrial and pop; Nine Inch Nails meets Depeche Mode meets The Beatles meets Nirvana meets Filter,” I was scared. I thought to myself, this is going to be unlistenable crap. But I was wrong. The description is fairly apt. This is pretty cool stuff, fairly unique in its sound. Some of the tracks are truly astounding, such as the instrumental, “Aries and Leo,” with a slightly heavy, yet almost ambient sound. The angular piano lines are really awesome, keeping things off kilter. Other tracks are melodic power-pop with cool arrangements, and are definitely rock-based, but I wouldn’t really ever call them “hard.” I really like the retro harmonies of “You Will Never Know.” All the songs on this disc are pretty cool, pretty unique, and enjoyable.




BRIAN BOND – Fire and Gold (www.myspace.com/brianbond)

This is quiet neo-folk music. It’s got calming vocals, acoustic guitar, and yet also has some electronics on it. It has all of the qualities of traditional singer-songwriter fare, but with a dash of Pink Floyd, a teaspoonful of chill-out electronica, and just a hint of Current 93 apocalyptic folk. To add another comparison most Jersey Beat readers will never have heard of, Brian Bond also sometimes reminds me of Michael Johnson, one of the great folk-ish singer songwriters from back in the 80s. Like Brian, he had a very easy style, layering other instrumental arrangements over his acoustic guitar. I remember Johnson’s calming music helping me get through some rough patches back in the day, and I can easily see this doing the same. It’s just very beautiful.

THE BROOMSTARS – The Silvermine Sessions (www.broomstars.com)

This is competent, if generally forgettable, electro-pop music from Asheville, NC. One exception on this five-song CD EP is track 4, “Nobody Knows,” which is pretty good. We’ve got guitar, bass drums, electric piano, and synth, plus some nice harmonized vocals on all of the tracks, but it generally doesn’t have a sense of excitement. It’s just kind of there, you know? A few of the tracks seem to drag a little bit, too, such as the opener, “Flew Away,” and “Moonage Daydream,” the third track on the disc. What makes “Nobody Knows” stand out a bit from the rest are the dynamics (some quiet parts, some raucous parts), and some great hooks.

CHAIRLIFT – Does You Inspire You (Columbia)

Their PR machine calls this “dream-pop,” but to me it sounds more like an easy listening version of 1980s new wave ballads. Its got the same crooning female vocals, the same funky bass lines, and the same sparkly electronics. That said, there is a decent track here in “Bruises,” the track that’s been getting some airplay on alternative radio stations around the country. It still has that 80s new wave ballad feel to it, but it has quite a lot of bounce, and I really like the hooks. But then there are really cheesy songs, like “Le Flying Saucer Hat.” And there’s a little bit of variety here, too. “Make Your Mind Up” has a little bit of a Caribbean feel to it, while “ Don’t Give a Damn” is distinctly country & western in nature. “Chameleon Closet” is a short instrumental that’s quite ambient and eerie, and it leads right into the closer, “Ceiling Wax.” Overall, this isn’t worth your time, unless you really want some new 80s style music.


DETOURNEMENT – Screaming Response (www.chunksaah.com &
www.piratespressrecords.com)

This is classic hardcore punk! Fast, loud, furious, and politically motvated. The average track length is 1:30 or so, and there’s only 8 tracks on the disc, unfortunately. But this is great hardcore, some of the best I’ve heard in years! Too much “punk” today is really power-pop, geared toward alternative rock fans. This is the real deal, folks. Recommended.




GOES CUBE – Another Day Has Passed (www.theendrecords.com)

Goes Cube offers up intense, heavy music, with pounding bass, crashing drums, violent guitar work, and plenty of screamo vocals. But that doesn’t mean they are devoid of melody or anything like that. “Saab Sonnet” is a very melodic track, with hooks and everything, yet it’s still a very intense track. “The Only Daughter” is also very cool. It’s still heavy and screamy, but there’s a cool, simple melodic line in the chorus. “Goes Cube Song 57” is pretty cool. It has some nice melodic lines, plus has some angularity reminding me of NOMEANSNO. Usually, the heavy screamo stuff can be great in small doses, but too much at once is just too much. Goes Cube offer enough variety to keep it interesting, not just on the tracks I’ve mentioned, but on several others, too.


THE GREAT UNWASHED – EP (www.myspace.com/thegreatunclean)

This is manic post-punk in the vein of greats like Husker Du and Mission of Burma. There’s also a power-pop post-emo feel to it, sort of reminding me of DC bands like Grey Matter or 3, especially on the fourth track, “I am a Spec of Dust.” Track 3, “All Night Breathing,” also reminds me a bit of a great Chicago area pop-punk band of the past, the Smoking Popes, with its lo-fi production, simple repeating lines, and powerful, relaxed vocals. Overall, this four-song EP provides some enjoyable listening.


HOOTS AND HELLMOUTH – The Holy Open Secret (Mad Dragon Records, www.maddragonrecords.com)

I haven’t got a clue why Hoots and Hellmouth sent this to Jersey Beat for a review, but I sure am glad they did. They don’t play punk, they don’t play indie-pop, and they aren’t even an “alternative” band trying for some mainstream attention. They’re a country/folk/bluegrass band, playing some great foot-stompin’ old timey music. Acoustic guitars, mandolin, upright bass, and harmonized vocals mix together on this disc with a joyfulness and energy sorely lacking in a lot of today’s recorded output. Some of the tracks, like “Watch Your Mouth,” have a soulful gospel feel, too. A few of the tracks, such as “Ne’er Do Well” and “Three Penny Charm,” have hints of pop to them, but without losing that Americana charm. “Ne’er Do Well” is an especially pretty tune, with guitar work that glides through the air, and some piano and glockenspiel embellishments mid-way through the track are a nice touch. “The Family Band” is a fun track, with a jazzy, Leon Redbone sort of feel. Great stuff!


MAGIK MARKERS – Balf Quarry (www.dragcity.com)

This kind of reminds me of a slightly less noisy Lydia Lunch, from back in the 80s. Deadpan female vocals and sonic mayhem were key ingredients of her style, and both are present here. At least on some of the tracks. The sonic mayhem gives way on others to something quieter, but no less unnerving, such as on “State Numbers,” which features spooky atmospheric sounds and piano. But while Lunch actually sang in tune, the vocals here are unnerving for another reason – they’re not on pitch. And the piano used seems to be in need of a good tuning, too. Maybe that was intentional, but it’s pretty annoying. “The ricecar of Dr. Clara Haber” is just noise instrumentals, and is maybe even more annoying. I don’t know, it sounds to me like this band is supposed to be a joke on the listener, but maybe they’re serious about it. If so, it’s kind of sad. Sorry to be so brutal, but this really sounds like that high school band that got together and practiced a few songs once, and then tried to do a show in someone’s basement.


RIK MERCALDI (www.rikmercaldi.com)

This an acoustic solo effort from this long-time NYC area musician. This is somewhat of a departure for him, as he usually plays stuff that’s louder and electric. This stuff has a definite folk/alt-country feel to it, featuring, besides acoustic guitar and vocals, mandolin, harmonica, and steel lap guitar (plus electric piano on some tracks, and even sitar on the intro and final tracks). “Homoe Away from Home,” the eighth track on the disc, even features trumpet and brushed snare drum to give it an easy jazzy feel. It’s nice stuff, very much in the singer-songwriter vein, though most Jersey Beat readers probably won’t go for it.

MONEY/PAPER/HEARTS (www.myspace.com/moneypaperhearts)

Cool, crunchy post-punk, with a math-ish feel to it. Angular guitars jut out, with Midwest-style vocals, reminiscent of Pegboy and Bhopal Stiffs, especially on the track, “Hey Camera.” Overall, there’s more of a feeling, though, of bands like Jawbox, Crunchy and melodic are keywords here. It’s pretty decent stuff, though it doesn’t break any new ground. You’ll like it, I’m sure.

THE ORANGES BAND – Are Invisible (www.theorangesband.com)

The former Lookout! Records band from Baltimore is finally back, after four years since their last release, when Lookout! stopped releasing new titles. And what we now get is very engaging indie-pop. It’s laden with hooks, very melodic, and has interesting lines. For the most part, this is really catchy power-pop, but there’s also variety on the album, as if the band is experimenting a little bit with different sounds. The opener, “Ottobar Afterhours,” chugs along nicely in a standard indie manner. “One More Dog” sounds sort of like a Smiths tune, if just a bit. I really love “I Wouldn’t Worry About It.” There’s a melancholy feeling to it, especially in the chorus, “I wouldn’t worry about it / because not everyone’s listening.” And “Do You Remember Memory Lane” could be the best track on the disc, with it’s garage surf feel to it. “When Your Mask is Your Revealing Feature” has a hint of funk and reggae mixed in with the pop, sort of what the Police were doing, and it adds interesting variety. The disc ends with a couple of more relaxing tracks, “Absolutely Instru(Mental),” an long-form instrumental, and Toulouse-Lautrec,” a breezy pop tune. Probably not the strongest of endings, given how punchy the earlier tracks are, but this is a good album. Recommended.

PLAYER/KOMMANDER – On the Eve of Absolute Get Down (Mighty Loud/Fontana, www.playerkommander.com)

This is hard-rock “alternative” music. If that’s not enough to turn you off, it’s a “concept” album. Now that you’re sound asleep, sweet dreams, and hopefully you didn’t forget to take this disc out of your CD player before you fell asleep, or they might be nightmares. This sounds like one of those bands that’s trying really hard to have a good, mainstream commercial sound, but what they produce is so off the mark, and won’t even appeal to indie fans. There’s lots of white-boy funky undertones here, which is another big turn-off. Skip it.


PUSH-PULL – Between Noise and the Indians (www.joyfulnoiserecordings.com)

This band hails from Bloomington, Indiana, of all places, but this never sounds like a Midwestern band. Instead. it sounds like Canada crossed with East Bay punk. The thumping bass and exaggerated, silly vocals sometimes remind me a bit of NOMEANSNO, one of my favorite Canadian punk bands of all time. The music is kind of heavy, but remains firmly planted in pop-punk territory. The band is tight, the music is catchy, the guitars buzz, and the whole thing is really good. Sometimes, the silliness in the vocals reminds me a bit of an obscure band from DC from back in the 80s, 9353. If you like buzz-saw guitars, poppy, yet crunchy music, you will definitely like this.


R00K – Sera (www.r00kmusic.com)

This is an album of electro-pop, with the emphasis on pop. This is very poppy, and not in a pop-punk or indie-pop sense. It’s more like pop music you would find on very commercial radio. It’s the sort of thing that Madonna or Beyonce or someone like that would do, if they were a little more inventive, and a little more personal and profound in their lyrics. But the lyrical content and bits of originality can’t save this disc from the fact that it is pretty commercial sounding pop music. They even use that annoying vocal processing so popular with the top-40 acts where the pitch suddenly changes instead of gliding from note to note, like unprocessed vocals. Even though the band claims to be “alternative,” this album uses some of the “top session musicians” in the San Francisco Bay area, musicians who have worked with the likes of Mick Jagger, Stevie Wonder, Tracey Chapman, and Sinead O’Conner. That should give you a good idea of how “alternative” this is. It actually gets annoying to listen to this.

 

SHARON VAN ETTEN – Because I Was In Love
(www.languageofstone.com)

Sharon Van Etten is a Brooklym-based singer/songwriter who offers up a melancholy album of quiet, acoustic songs, featuring guitar, multi-tracked, ethereal vocals, and the occasional organ and percussion. The songs are very simple and calming, and Van Etten’s vocals are almost angelic. This is a beautiful album, but I think there’s not quite enough variety to hold my interest for the entire length of it. If there was more texture to some of the songs, maybe that would improve things, but maybe the arrangements are a little too simple, too sparse.



OLD CALIFORNIO – Westering Again (www.oldcalifornio.com)

Old Californio, based in Pasadena, California, is a country-tinged rock band. But don’t let that fool you. I am not normally a fan of country music or country rock but this is something different. Sure, there’s plenty of twang, but there’s also plenty of 60s and 70s influenced rock and folk-rock. “From the Mouths of Babes” sounds like it could have been from Bob Dylan, down to the characteristic vocals and the accordian and mandolin. “Warmth of the Sun sounds almost Beatles-like. “Are You Coming Home” just glides along in a brilliant, sparkly way. The piano contributes a lot to that feeling. But the stand-out track on the disc has to be “Riparian High,” the second track. It features trumpets in the mix along with the acoustic guitars and mandolin, giving it a slightly jazz, yet ethnic feel, very cool. It’s almost like the prog-rock from the first Ambrosia album of yore. Now, this won’t be everyone’s cup of tea, and that’s especially true for Jersey Beat readers. But it’s really well executed, enjoyable music.

ORION – 10011011 (Pop Up Records, www.popuprecords.com)

Orion is a trio from the nation’s heartland of Kansas, who credit Weezer, Helmet and Failure as their influences. And if you like that sort of commercial alternative sound, that’s exactly what you’ll find here on this 4-song CD-EP. This breaks no new ground, and pretty much sounds like almost anything you can listen to on your local “alternative” radio station. Sure, they’re competent musicians, the tunes are decent enough for what they are, but that doesn’t do it for me. I need something unique and/or edgy to get me going. And this just doesn’t deliver. And, anyway, I can see Weezer as a possible influence, but Helmet? No, Helmet has (or at least had, in their earlier days, when I used to follow them) a much heavier, harder, edgier sound. Orion has much more of a laid back, easy going sound. OK, Orion has some interesting hooks here and there, but it’s not enough. Please, do something edgier, riskier, more original, I’m tired of bands who play it safe by playing to the masses.

PEELANDER-Z – P-Pop-High School (Eat Rice Records, www.peelander-z.com)

If you’re not familiar with Peelander-Z, be prepared! They are from New York City and – oh wait, no, they are from the Z area of the planet Peelander, or so they say. They dress up in costumes reminiscent of the Power Rangers and play power-pop-punk tunes that are bouncy and fun. They’re silly, too, taking on Japanese manga or cartoon character personas. They are Peelander-Yellow, Peelander-Red, and Peelander-Green (who replaced Peelander-Blue on drums just before this album was recorded). They’ve got a video posted on YouTube, linked from their website, for the song “Ninja-High Schoool” which features a Power Rangers style battle with a giant monster in a downtown district full of high rise buildings, many of which end up smashed. And with song titles like “Let’s Go! Karaoke Party!” “Pillow Pillow,” “Panda III,” and “Super Health” how can you go wrong? What a trip!



SATELLITE TRAGEDY – New Beautiful ( www.popuprecords.com)

Well, this is primarily “alternative” rock music, such as you might find on your commercial radio stations; but on some of the tracks, it has a little bit of an edge to it. “In My Head Again” is a mid-tempo track that starts out nice and calm and quiet, with guitar, tinkley keyboards, and almost whispered vocals. A little more than halfway through the track, though, it bursts out with wall-o-guitar sounds, and reminds me of some of the more interesting 80s post-new wave bands. “Ethanol” alternates between a heavy chorus and quieter verses, with a little bit of a punkish edge to it. Good track, but I could have done without the guitar solo at the end of the track. “Out of My Mind” is a heavy, angular, angry track that was way too short at one minute, and probably the best track on the disc. I would have liked more like this. For the most part, though, things stay a little too close to safe for my taste.

WINFRED E. EYE – Til I Prune (www.antennafarmrecords.com)

This is really nice, beautiful stuff. It’s quiet, country-folk / Americana influenced music, with a hint of a psychedelic edge in some of the tracks. The music sounds so delicate and personal, it’s hard not to be moved by it, even if you’re the most dedicated headbanger. It evokes emotions of loneliness, hard times, back road travels, and dreams gone wrong. In other words, the perfect soundtrack for these times. I know this is not what most Jersey Beat readers listen to, but I recommend you give it a try. It’s just so touching, sad and beautiful.

Building a Better Robot, An Indie-Electronic Music Compilation (Electronic Eel Records, www.electroniceel.com)

OK, first thing to note is that this comp is available as a mp3 download from www.electroniceel.com/buildingabetterrobot. The label encourages people to go to their website and help themselves. The big question is, is it worth your time and disc space to do so? The fourteen track album features indie electronic music from around the world, including the US, Italy, Sweden, Britain, Germany and Colombia. And the disc is as diverse musically as it is geographically. It ranges from ambient to dance-trance, there are tracks that are all instrumental (most) and some with vocals, some with guitars and drums, and some with all electronics. Obfusc, from New York, opens the disc with a hybrid indie pop ambient piece. Detektivbryan from Sweden offers up a purely electronic piece that evokes wind-up music boxes and children’s nurseries. Sintemu, from Italy, provides a dance track with heavy beats and primitive sounding electronics. One thing I noticed listening to this is that the common thread among most of the tracks seems to be a retro 80s feel. Iqtu, from Colorado has a cool track with some really interesting, out of the ordinary sound effects. The Sweeps, from Germany have probably the most conventional offering here, a very 80s piece with full electronics and silky female vocals. Homesic from the UK provide a really cool track that has an ethnic feel to it, courtesy of marimba effects, with an outdoor atmosphere coming from the simulated bird sounds. Axiotronic’s contribution, from Pennsylvania, is almost Christmas carol like in quality. Other tracks include drum & bass type stuff, deep ambient, and trip-hop. Overall, if you like electronica, I think you’ll at least find a few tracks here to enjoy. So, to answer the question, yes, I think it’s worth the time and disc space, so go ahead and download away. It’s not the greatest all time electronica, but it’s good, interesting, and entertaining music.


The Nurse Who Loved Me: A Tribute to Failure (Pop Up Records, www.popuprecords.com)

Failure was an “alternative” band of the 1990s, which means they played primarily grunge music. They never achieved the success of many of their peers of the time, such as Nirvana, Soundgarden, etc. But they, apparently, have been well respected within the musical community, at least enough for some bands to decide to do a tribute album of covers of some of their songs. They were not your typical grunge band, because, mixed in with the grunge was a bit of space-rock, ambience, texturing and effects. And that’s exactly what you get here on this sixteen track disc. Now, I must preface this with the fact that I was never very familiar with Failure. Some of the tracks here are fairly predictable grunge, but some of them are revelations. EMOTRON’s rendition of “Undone” is a surpise here. Not a hint of grunge in sight, just lots of spacey electronica, and pretty cool to boot. SATELLITE TRAGEDY’s version of “Frogs” is also pretty cool, with a lot more spaciness than grunge. THE COMPANY WE KEEP & RILIAN offers up “Pitiful,” which is loaded with ambience and a heavy beat mixed with the grungy guitar works. The song has a pretty damn cool melodic line, too. It’s interesting how a lot of these tracks could be equally at home in a rock club as well as a dance club, and this is one of them. Some of the tracks are just boring, alterna-rock, like PARAMORE’s cover of “Stuck on You.” It just sounds so out of place here, showing way less creativity than the bulk of the tracks. But for the most part, this is an interesting treat. If you are a fan of grunge and a fan of ambient/space-rock type music, I recommend this. And I think I may check out some of the originals now, to see how faithful to the originals these are.



BORIS SMILE – Beartooth EP
(www.myspace.com/ countyourluckystarsrecords)


This is really nice, quiet, intimate sounding indie music. It has loads of acoustic instruments, and a sort of easy, relaxed vocals that sort of makes it sound like you’re listening to the band just relaxing and playing in your living room. It has a sort of somber, rainy day feel to the music, very appropriate for the rainy day today while I’m listening to it. The lyrics can be quite moving, such as on “Hour of the Wolf,” which includes a chorus of Everybody loves you / Everybody loves you / Everybody loves you but yourself. Strings and horns are included in the arrangements, enhancing the mood, but it avoids sounding too sappy. Very nice, pretty stuff.

GREENLIGHT CARAVAN – Mother Earth Revival
(www.smashinggrassrecords. www.greenlightcaravan.com)

This band, hailing from Lafayette, Louisiana, have their feet firmly planted in the past. Think 70s era funky, jazzy rock and you’ll start get the idea. There’s Latin sounds, organ, funky bass lines, and jazzy horns galore throughout this album. While the second track on the disc, “Room 909,” is a pretty decent one, the jazziest of the bunch, most of the tracks just seem a little lackluster, lacking the sort of energy and excitement one would expect from a band playing this music. I mean, if you’re trying to play a particular style from the past, you better well be so in love with it that it shows in your playing. And it just doesn’t here. A few tracks, such as “All These Midnight Colors” deviate a little bit from the formula, but only in that it’s more rootsy bluesy rock, rather than funky or Latin. But it’s still not getting me going. Overall, kind of a snore.

THE MATTHEW SHOW – February (www.wampus.com)

This starts out as “art rock” a la Pink Floyd, but with less psychedelia and more indie indluence. There’s loads of “interview” style talking on various topics interspersed between and within tracks, which, at first, was kind of cool. But it’s overused and turned into an annoyance. “The Impotent Rage” is out of place here, as a sort of raucous country tune. “The Last Words of Sigmund Freud” is another one that’s a little different, sort of a rock band version of a Viennese waltz, complete with violin. It was interesting, but not different enough to make me want to listen over and over. The whole disc is a little too much the same thing, over and over, too laid back, too quiet, too slow, except for that country track. This one didn’t do anything for me.

GIRL LOVES DISTORTION – Earth Beings on Exhibit
(www.etxerecords.com)

Individually, the songs on this album from this Washington, DC based band are pretty good. Edgy indie-rock is what comes to mind. The song “Psychic Raygun” is a standout track, with a throbbing, repeating line in the bass and raspy, puling guitars, sort of reminding me of another great DC band, Lungfish. “Luminance (We Don’t Dance)” is another, with a funky bass beat, 80s retro vocals, and a post-punk edge. But, taken as a whole, the album leaves me a bit cold. There’s no variety from song to song. The tempo is the same throughout the album, and there’s just a general feeling of lack of energy or enthusiasm, especially in the vocals. The end result is that this sounds too middle of the road, too safe. This would have been better as an EP.


MINIATURE TIGERS – Tell It to the Volcano (www.modernart.com)

This is pretty cool, different pop music. There’s cool, unique hooks, interesting harmonies, stop/start lines, and interesting, quirky lyrics. This all starts out with the opener, “Cannibal Queen.” It starts out with a rapidly thumping bass line, and a chorus that declares, “Coming for your heart like a cannibal / Oh she let’s me right in and I’m fed ‘til I’m full. / If something goes wrong I’m accountable. / Life without her is no life at all. / I la la la la la la la la love you Cannibal Queen.” Cheesy, but cute. “Dino Damage” is a very cool track, with interesting interplay between the vocals and a stringed instrument that sounds like a cross between a guitar and a violin. The title track is another cool one, with a very South Pacific feel. It’s about the downside of love, when it’s not returned. In this case, the extreme reaction is “Oom I’d like to chuck ya,” down the volcano. Hmmm…. “Haunted Pyramid” is yet another cool one, with sort of a 20s song feel to it, with the clarinet and piano, along with the lo-fi vocals in the chorus. Oh, so nice. There’s much to like here, and nothing to dislike. It’s fun, unique, quirky pop music that’s different enough to set it apart from the crowd.

SOS – Adult Situations (www.sosnyc.com)

SOS offer up their fifth release, featuring heavy, energetic, melodic rock ‘n’ roll music. It’s not quite punk or even post-punk, but it certainly isn’t your average “alternative” commercial radio friendly stuff, either. Instead, it’s pure, in-your-face, hard and heavy music. There have many notable “heavy” bands over the years, most notably the Melvins and Steelpole Bathtub. But where much of the heavy music of the past has tended toward the slow, grinding sort of stuff, SOS mix in speed and energy with the heaviness. SOS also tosses some angular lines into the mix, with the result hinting at a bit of NOMEANSNO influence. The one drawback is that the album is a little too long. Too much of this style can get a little grating. But in smaller doses, this is great stuff. Put it into your iPod and set it to shuffle and you’re set to go!

POINT JUNCTURE, WA – Heart to Elk (www.mtfujirecords.com)

Wow, this is just gorgeous! Think about Stereolab, but with a much more chill feel. This in indie-pop with a jazzy edge, but it’s infinitely laid back. It’s kind of like a blending of the driving indie-pop of Stereolab with the jazzy chill of Tortoise. Besides the standard guitar/bass/drums, there’s horns, keyboards and vibraphone, and breathy, understated vocals. The execution is perfect, everything in place, but without sounding too contrived. Some of the tracks are quiet, some are a little more driving, but all are relaxed and laid back. “Melon Bird” is just one example of a track with a nice driving beat, through the bass and drums, but with such a cool, easy feel to it that it just glides along. It’s impossible to pick out any stand-out tracks, because they’re all so good. Recommended.



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