The Grownup Noise - This Time With Feeling

The Grownup Noise - This Time With Feeling
2011, The Grownup Noise

The Grownup Noise has been a work in progress for several years now.  Percolating their Indie Power Folk sound in the musical cauldron of Boston, the band made a distinctive impression with their self-titled debut album in 2007.  Four years and five coast-to-coast tours later, The Grownup Noise continues to evolve their eclectic brand of avant-garde folk and pop, offering up a plethora of sounds and styles on their sophomore album, This Time With Feeling.  The four Berklee College of music grads who make up The Grownup Noise, Paul Hansen (vox/guitar/keys); Adam Sankowski (bass/keys/vox); Katie Franich (cello/keys/vox) and Aine Fujioka (drums/vox) continue to surprise with outlooks and arrangements that are atypical yet surprisingly gratifying.

This Time With Feeling opens with "The Strawmen", a socio-political commentary on a rudderless society with clueless or worse individuals in charge.  Delivered in a conversational melodic style reminiscent of Kevin Hearn (Barenaked Ladies); the stark chorus and streaming verses are a nice touch to open with.  "Anthem For Second Place" is mildly catchy but too mono-thematic to really maintain the listener's attention.  There's a lack of dynamics here that is disappointing.  "Flower" suffers from the same malady, although the instrumentation could be magical with a bit more range involved.  The lack of dynamic change gives this one a droning sound it doesn't deserve to bear.

"Carnival" documents the intriguing tug and weave of relationships, needs and preconceptions.  The Grownup Noise hit the ground running with a memorable melody that grows into an even better chorus.  While a bit obscure stylistically, the song weaves a straight ahead story-telling style into an enigmatic arrangement that will have you hitting repeat.  "Six Foot Solemn Oath" delivers a power-folk sound that's full and layered under a constant lyrical barrage.  Franich offers superb depth with her backing vocal here.  The band achieves a quasi-new wave feel on "The Artist Type", juxtaposing a sense of manic excess with an understated style that works better than you might expect.  The fact that the melody is virulently catchy helps the process along.

"So It Goes" offers some of the most impressive instrumentation on the album, giving a glimpse of the depth of musical talent in the band.  "Just So You Know" builds a solid hook into a great chorus that will set up shop in your noggin and stay awhile.  The Grownup Noise build a pretty shell of instrumentation that's peppy, while the lyrics convey a hopelessness that is simultaneously in conflict with and complementary to the arrangement.  "Attention" documents the fleeting nature of time and the freedom of youth.  It's a great, atypical number and is among the best work The Grownup Noise has done to date.  On "Gone Is A Four Letter Word", the band takes listeners through eight minutes of musical reflections on a relationship lost and hanging on to whatever scraps may present themselves.  Written in two distinctive song parts, the song just hangs on too long.  This Time With Feeling closes with the anti-climactic and mundane "Somehow We Escaped".  The song bookends the album well from a content perspective, but together with "Gone Is A Four Letter Word" forms a clumsy closing duo that seem inconsistent with the vibe The Grownup Noise has spent nearly forty-five minutes building.

This Time With Feeling represents a number of interesting choices by The Grownup Noise.  It appears to be an album about decline, whether in the wider world or in a particular relationship.  It's interesting because there are clear signs that the band has taken significant steps forward since the release of The Grownup Noise in 2007.  Nevertheless, there are also signs that the band is stuck in some of their own pre-conceptions about what their sound should be.  At times it almost appears that they are fighting against their own natural musical tendencies to create an intended sound rather than to simply create.  It is a mark of each respective member's inherent musical talents that This Time With Feeling turned out as good as it did; and it is quite good.  There's just a sense of conflict and uncertainty here that could become The Grownup Noise's Achilles heel, or be the catalyst that drives them on to greater things.  Here's hoping for the latter.

Rating: 3 Stars (Out of 5) 

Learn more about The Grownup Noise at www.thegrownupnoise.com or www.reverbnation.com/thegrownupnoise.  This Time With Feeling is available on CD from Amazon.com.  The album is available digitally via iTunes.

Scott Alexander - Scott Alexander Makes A Big Deal Out Of It

Scott Alexander - Scott Alexander Makes A Big Deal Out Of It
2010, Yomyamyeemyaz Productions

Scott Alexander is at it again. The New York City singer/songwriter who’s at least as well known for his music as for his impromptu cookie handouts returns with Scott Alexander Makes A Big Deal Out Of It, furthering his eclectic and at times bombastic songwriting style. The album caps off a big twelve months for Alexander, which included the release of his EP, Scott Alexander Makes 7 or 8 Dollars and his national television debut on “The People’s Court”.

Alexander opens with "A Price", laying out the cost of individuality in a society that values it as long as you don't stand out. The sound here is very reminiscent of the solo work of Kevin Hearn (Barenaked Ladies). "Everything Is Complicated" features Jessica Teague on vocals, showing off a voice that's comely by any standard. The song sounds like something from an off-off-off-Broadway show; an odd amalgam of jazz and highly dramatic show tune that explores the dichotomies and disparities of everyday life in highly dramatic fashion. With "Special Effects", Alexander explores love and its effects in a folk/punk form reminiscent of the Violent Femmes. "Why Are You So Horny? and "Independence And Love" seem to find Alexander a bit off track in that land where irony and humor briefly diverge, but his cover of "Bad Reputation" (Joan Jett) is a humorous mix of Alexander's voice and saxophone (and nothing else) and is highly entertaining in the same way that the insecure protestations of a teen might be to an outside observer (think "Weird Al" Yankovic without a budget). The album closes with a studio version of "You Are Not A Market", previously released in an "Attic Version" on the recent Scott Alexander Makes 7 or 8 Dollars EP. Alexander includes that EP on the full length CD as a bonus for those who still like hard copies of their music.

Scott Alexander inhabits the strange twilight between serious social observer, novelty musician and brilliant self-marketer that includes people such as, well... Scott Alexander. There's really no one like him in popular music. I don't suspect that will change, but I also do not suspect Alexander will ever stop creating his curiously intriguing ditties that mix social confusion, angst, post-suburban anger and wit with a talent for writing lyrics that grab your attention in surprising ways. Sometimes he'll make you laugh; sometimes he'll remind you of the kid who got pushed into lockers in junior high, but either way you'll remember Scott Alexander.

That's half the battle.

Rating: 3.5 Stars (Out of 5)

Learn more about Scott Alexander at http://www.scottalexandermusic.com/ or www.myspace.com/scottalexandermusic. Scott Alexander Makes A Big Deal Out Of It is available from CDBaby. Digital versions are available from Amazon and iTunes.

Review: The Roans - Ebb [EP]

The Roans - Ebb [EP]
2010, The Roans

Singer/songwriter/producer/multi-instrumentalist Nate Gullickson moved from his home in Montana to Seattle in 2007 to find a music community more attuned his musical style. Gullickson's brand of ethereal and psychedelic folk/pop made Gullickson a lot friends in the music scene; friends who encouraged Gullickson to marry his instrumental creations to lyrics. Gullickson concentrated his efforts, and the resulting songs gave birth to The Roans. On April 15, 2010, The Roans will release their debut EP, Ebb, featuring four original compositions and a lot of ambient ear candy for listeners with the patience and appreciation for a different sound.

Ebb opens with "Fireside", a mellow musical hors d'oeuvre with a mellow, psychedelic feel. Gullickson has a pleasant voice that occasionally loses its footing on Mt. Pitch but conveys a bright and care free approach even as it circles lyrical dark waters. "You Tried (I Tried)" is full of mournful complacency. Gullickson explores the ending of a relationship in terms of acceptance that seems nearly listless. The authentic nature of the lyrics gains points, but there's little artistry in the story line, where everything is black and white and nothing's left to ponder. "Soft Forest" has a dreamy quality created by the blending of guitar and reverb. The Roans will remind those familiar with Kevin Hearn of the Barenaked Ladies keyboardist both vocally and in compositional style. The Roans really hit their stride here with a blending of ambient and psychedelic styles that overlays significant internal energy and struggle with an ethereal musical frosting that never really sits still. Ebb slinks back into the night with "Winter Sleep", blending lyric passages with a rhythmic intensity you might expect out of a twin bill of Dave Matthews and Rusted Root. "Winter Sleep" is a compelling listen; somnolence is overcome by the vibrant energy of life, which wells and sways until borders on controlled violence and ultimately chaos. Gullickson's voice doesn't always hold up well on the slower passages, but remains sonically pleasing even when he missteps.

Ebb is both a cornerstone and a jumping off point. Nate Gullickson explores the shallow mountain pools near the peak that beget streams, quickly moving into vibrant waters that appear placid on the surface but run deep and wide. "Winter Sleep" suggests that even as Gullickson was finding the sound on Ebb he was already beginning to envision something more; something listeners will be certain to hear when The Roans venture forth with their next project, whatever that may be. For now, Ebb is a tricky introduction that is both more and less than it seems. The Roans rely heavily on ambience and rhythm to drive compositions that are atypical in scope but sonically satisfying. The energy and angst you hear bubbling beneath the surface is an artist Becoming.

Rating: 3 Stars (Out of 5)

You can learn more about The Roans at www.myspace.com/theroans. Ebb [EP] is due for release on April 15, 2010. Keep checking The Roans MySpace page for availability.

Review: Barenaked Ladies – All In Good Time

Barenaked Ladies – All In Good Time
2010, Raisin Records/EMI

When the Barenaked Ladies lost co-front man Steve Page last year some fans questioned whether the band could carry on. The four remaining members Ed Robertson (vocals, guitar); Kevin Hearn (keys, vocals, guitar, etc.); Jim Creeggan (bass, vocals) and Tyler Stewart (drums, vocals) decided to continue as a quartet. While their early shows as a foursome did show some growing pains as the band learned different vocal parts than they had sung for, in some cases, the last two decades, it was clear that the change energized the band. On March 23, 2010 (Canada) and March 30, 2010 (USA), Barenaked Ladies will release their first album with the new lineup, All In Good Time. Longtime fans may have their worries, but this is Barenaked Ladies’ best work to date.

All In Good Time opens with the album’s first single “You Run Away”, a song that seems clearly written about the frustration felt by Robertson at the departure of Steve Page. While the band has been very professional about Page’s departure, the emotions expressed here are very clear even if Page is never mentioned. The melody is a thing of beauty; simple but lasting. “Summertime” carries echoes of some of Paul McCartney’s work with Wings while introducing some particular muscular guitar in counterpoint to the easy-listening arrangement. It’s a surprising turn for the band but a very enjoyable one. Kevin Hearn takes the mic for “Another Heartbreak”, a mid-tempo tune that fits Hearn’s tendency toward writing upbeat sounding songs with melancholic lyrics. It’s one of the better songs Hearn has contributed as a songwriter to the band thus far. Barenaked Ladies pull another sonic surprise on “Four Seconds”, a rapid-fire lyrical experience with a distinctly European flavor. Don’t be surprised if “Four Seconds” ends up as a single with a wildly successful dance club mix down the line.

Jim Creeggan brings a quirky ballad in “On The Lookout”, a 1970’s AM Radio-style tune with modern flourishes. Creeggan’s voice has been vastly under-represented on past albums and it’s good to hear his distinctive sound here. Robertson is up next with “Ordinary”, a gorgeous folk-rocker with some country attitude in its origins. For whatever else they may have lost in the past year, the vocal mix here sounds as good as ever. “I Have Learned” finds Robertson amidst an angry, muscular rocker that’s very atypical of the band’s past work. Fans will speculate if “I Have Learned” reflects on the band’s last year, and it’s quite possible, but it’s a nice change of pace from a band that’s garnered a reputation for a lighter sound. “Every Subway Car” is a love song that seems to be colored in the dark textures of urban decay. The song is positively upbeat while taking a slightly darker perspective of the world than fans may be used to.

Kevin Hearn’s “Jerome” sounds like an ode to the Old West; a down-tempo paean to the ghosts that still walk the streets. “How Long” is a high-powered rock tune that displays some seriously melodic muscle. Robertson takes vocals on “Golden Boy”, perhaps the clearest song reference to Page on the album. The song echoes sentiments raised in “You Run Away” as well as some of the comments Page has made in the press since departing the band. The song is very solid, with the sort of upbeat chorus you’d expect from Barenaked Ladies, but includes uncharacteristic anger delivered in gentle but pointed tones. Creeggan takes the mic one last time for “I Saw It”, a gentle breakup ballad that is a nice counter to the preceding track while perhaps staying on subject. “The Love We’re In” is a brief and rueful observation on a relationship that isn’t working. Ed Robertson takes vocals for the last time on the album in a song that sounds like it’s incomplete, although that plays entirely to the subject of the song. Kevin Hearn says goodnight on behalf of Barenaked Ladies with “Watching The Northern Lights”, a peaceful rumination that reflects, after all of the struggle of the past year, Barenaked Ladies have landed in a good place.

You never know what a major personnel change will do to a band. Some come out as good as ever, while some bands flounder until either the original line-up reunites or the band hangs it up. Barenaked Ladies seem to be trying for the much rarer distinction of actually getting better. All In Good Time lacks the narcissistic anger and dysfunction that Page’s songwriting brought, but that well is filled by real emotion generated through the trials and tribulations of the past year. Musically, All In Good Time is Barenaked Ladies’ finest work yet. This is an album you’ll live with for a while. All In Good Time is a new cornerstone for the band, and a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Barenaked Ladies at http://www.barenakedladies.com/ or www.myspace.com/barenakedladies. All In Good Time drops March 23, 2010 in Canada and March 30, 2010 in the US and the UK. All In Good Time can be pre-ordered from Amazon.com in either the standard edition or special edition (with t-shirt and bonus tracks). Digital versions are available through Amazon.com and iTunes.

Review: Kevin Barker - You & Me

Kevin Barker - You & Me
2009, Gnomosong

Kevin Barker may be new to many, but he's been deep in the Indie music scene for some time now. A guitarist with the band Vetiver, Barker has also played/toured with Joanna Newsom, Devendra Barnhart, Antony And The Johnsons, The Espers and Vashti Bunyan. The Washington, D.C. native has been immersed in the Indie scene since his teens, and has covered all aspects of the music business (from playing to promotions to owning his own record label). Barker is also a filmmaker educated at Columbia University in New York City. Barker broke out on his own in January of 2010 with his debut solo album, You & Me. On his own, but not alone, Barker called on some of his close friends to make You & Me happen. Contributors include Pat Sansone (Wilco); Joanna Newsom, Jonathan Wilson (Elvis Costello, Jenny Lewis); Eric Johnson (Shins, Fruit Bats) and Otto Hauser (Vetiver, Espers).

Barker opens with Little Picture Of You, an eccentric little Pop tune with a down-home feel that's relaxing for a change. You could almost picture Barker playing this sitting around on the back porch with some friends on a Saturday night. The guitar play does seem a little out of synch at times but it seems this is stylistic rather than inconsistent. Barker adopts a classic singer/songwriter style for You & Me, and the approach fares him moderately well. The song comes across bland, and Barker's energy level does little to break out of that shell. Mountain & Bear suffers from similar issues. Barker picks things up just a tad for Amber, getting more of a classic Americana/Country feel to the song. The energy level is still just a few notches above torpor, but Barker's voice and tuneful melodies will inspire you to keep listening and see if he can break through.

Listeners are at least partially rewarded on Walking Along. Barker shows a bit more commitment to this song, and the arrangement itself is charged with a bit more energy than the tracks that came before. Barker reminds me of Barenaked Ladies' Kevin Hearn because of the quirky nature of his songwriting, although Hearn, even at his quietest moments is always a ball of energy musically. My Lady finds Barker truly rounding into his own. The energy here is real, running through ever line and note of the song. It's also among the best songwriting on the album, as Barker's heartfelt lyrics ring true. Barker closes quickly on Bless You On Your Way, a gorgeously constructed and orchestrated tune full of symbolism and nuance.

You & Me is a solid effort, with Kevin Barker comporting himself very well. The album has its ups and downs, but Bless You On Your Way would make almost anything worth listening to. Barker has a sublime sense of melody and a quirky, not-according-to-Hoyle songwriting style that catches your attention, but at times the energy level that comes through on You & Me kills the individual songs before they even get started. When Barker is on his game, the results are wonderful. As it is, You & Me is solid, off-the-beaten path singer/songwriter fare that will at least have some nuggets worth checking out for most listeners.

Rating: 3 Stars (Out of 5)

You can learn more about Kevin Barker at www.myspace.com/krkbarker. You can purchase You & Me as either a CD or Download from Amazon.com.

Review: Ah Holly Fam'ly - Reservoir

Ah Holly Fam'ly - Reservoir
2009, Lucky Madison Records

As societies age and people become more and more removed from the yesterdays they long for there is always a long to return to our roots. This explains the rise of Americana and more recently, the neo-Folk movement that returns to Appalachian Folk and Celtic styles that informed the early development of much of American Popular music. In the rural land of Idaho a spark was born; a marital and musical collaboration between Becky Dawson and Jeremy Faulkner gave birth to Ah Holly Fam'ly (which is based out of Portland, Oregon these days). Fitting in somewhere between The Be Good Tanyas and Mammoth Life, Ah Holly Fam'ly juxtaposes familiarity and comfort with alienation on their debut CD, Reservoir, due October 13, 2009.

Reservoir opens with Young Veins, a song longing for the days of youth. There is a jaunty spirit of reverie to the song that is undercut with regret. This is a very well-written and fitting opening track. Year Of The Viking has a lush feel with intricate instrumentation and a surreal atmosphere. It's the sort of musical wash that you might hear in a gothic horror tale. Rainstick reminds me heavily of Kevin Hearn's (Barenaked Ladies) first solo album Mothball Mint. It's ethereal pop that more or less meanders along like a stream without a strong feel for beginning, middle or end; as if you are simply hearing part of the stream as a representative of the whole.

Stranger Maker is a determinedly lethargic waltz about inevitability. The arrangement is slightly disturbing and doesn't settle for the usual logical ending; stopping abruptly when it’s said what there is to say. Ah Holly Fam'ly moves from this stark presentation to the lyric and melodious Lucky Peak. Once again seriously reminiscent of Kevin Hearn, Ah Holly Fam'ly spends nearly five minutes rambling and meandering without ever seeming to seriously crest or trough in their intentions or energies. Salt Of The Century pulls in some vaguely Klezmer instrumentation on the introduction and resolves into a mellow waltz where the energy and action are in the harmony vocals. The song itself drones somewhat, with lead vocalist Jeremy Faulkner offering his typical low key vocal. The album closes out with Gliders, a brief but lovely madrigal that serves as an epilogue to a journey that has been confusing but not without lovely soundscapes.

Ah Holly Fam'ly isn't a comfortable listen. There's a bleak feel that runs through much of the music on Reservoir, where even the happier, more harmonious arrangements carry a deep-seated sonic discomfort. This artful representation of an artist-as-representative-of-society not at comfort with him/herself is academically brilliant even if it does cause a fair amount of sonic and cognitive dissonance along the way. Reservoir is a challenge that I think is mostly successful. A better job could have been made of the mixing of the album; Faulkner's vocals are so fragile that they at times become lost in even moderately loud acoustic flourishes, but the vocal harmonies and musicianship build around his voice to create a unique sound and musical approach. Spend some real time with Reservoir. You may flat out dislike it the first time you listen to it; I did. But it will grow on you.

Rating: 3.5 Stars (Out of 5)

You can learn more about Ah Holly Fam’ly at http://www.ahholly.com/ or www.myspace.com/ahhollyfamly. Reservoir drops on October 13, 2009. Keep checking the band’s website for updated release information.

Review: Ben Cooley Hall - Owning Up To A Life

Ben Cooley Hall – Owning Up To A Life
2009, Caunounicus Records

Ben Cooley Hall walks you through his own personal journey on Owning Up To A Life, his debut solo album released in April, 2009. The Providence, Rhode Island singer-songwriter grew up in Boston, studying violin and voice from a young age. As co-founder of Boston’s The Mary Reillys, Hall released on well-received EP and recorded an as-yet-unreleased LP. With that band of hiatus, Hall began writing and playing out some of his own material. The end result is Owning Up To A Life.

Owning Up To A Life is a concept album; in this case a series of reflects on events or people past. Hall’s voice isn’t iconic, but has a shy/geeky/shoe gaze quality to it that is endearing; like this kid from school you knew for years who never spoke loud or often who all of a sudden one day you realize has a lot to say. Three Dream Excerpts on the album serve almost as the passages of a narrator, filling in the gaps between songs. Sunny Day has a highly memorable melody and is a bit quirky. It reminds me of some of Kevin Hearn’s (Barenaked Ladies) more pop yet off-the-wall material. Come To Care is awkwardly sweet with a lot of charm. My favorite song on the album is the Americana-based Untrue, which is not only the best songwriting here but also the most emotionally relevant song on the disc. Lot More Caring has potential but comes off a bit flat on CD. The rest of the material here is pleasant but doesn’t leave a strong impression.

Ben Cooley Hall shows the seeds of being a decent songwriter. His style is eclectic enough to not have a distinct commercial flavor, but his brand of repressed, quirky pop is a definite niche with a following. Owning Up To A Life has a couple of memorable moments, and is a decent listen. Check it out.

Rating: 3 Stars (Out of 5)

You can learn more about Ben Cooley Hall at http://www.bencooleyhall.com/ or www.myspace.com/bencooleyhall. You can purchase a copy of Owning Up To A Life at www.cdbaby.com/cd/bch.

Review: Alan Cohen Experience - Alan Cohen Experience

Alan Cohen Experience – Alan Cohen Experience
2008, Alan Cohen Experience

Alan Cohen is a concept guy. The Boston-based singer/songwriter/bandleader turns out new music like breathing. Cohen and his Orchestra of Personality comprise The Alan Cohen Experience, name coined by a drummer Cohen once knew. The name is apt, Cohen is a musical experience. His latest album, a 6-track EP entitled, aptly, Alan Cohen Experience, was released in November of 2008. Produced by Roger Greenwalt (The Pierces, Ben Kweller, Nils Lofgren), Cohen comes out of the deeply conceptual into the wonderfully strange.

Alan Cohen Experience opens with Elephant, a bizarre ditty that sounds like something Saturday Night Live's Dieter might have played on his fictional television show Sprockets; "All's quiet on the waterfront, it's just me and my ellee-phant." The music is minimalist Euro new wave circa 1985, with riffing guitar and a hip 1985 dance beat. Up Next is Roy's Rock, a classic rock mover with funk in its ancestry. Lyrically the song is fluff, but it's a fun listen that will be sure to get your feet moving. Communist Park reminds me of what might have happened if the early incarnation of They Might Be Giants wrote lyrics for and sang with Ben Folds. The tune is catchy; the arrangement based on pop piano and horns, the lyrical content is strange.

Saturday Morning is a dreamy musical landscape that's more a descriptive musical image than a story or idea. It's sweet in its own way with a lovely melody and perfect harmonies. Bonita is a "love song for no one"; it's a bit cliché and silly but quite enjoyable. The song is accompanied by gorgeous orchestration and shows the depth of songwriting talent chief songwriter Cohen possesses. Space Watch takes some lyrical license in a song that is both odd and richly rewarding.

The more I listen to Alan Cohen Experience the more they remind me of another band known for richly psychedelic songs. Canada's Rheostatics made a long career out of the same sort of material for nearly twenty years, although they had a slightly harder edge at times. Fans of The Rheostatics of Kevin Hearn (Barenaked Ladies) will get the Alan Cohen Experience. Musically the band/orchestra is top notch. The songwriting is clean, crisp and rich in orchestration and musical development. Lyrically they'll leave some folks behind, but not too many. Alan Cohen Experience is a worthwhile listen; one of those you might not listen to regularly over the long haul, but will call to you from time to time to pull it out and give it another spin.

Rating: 4 Stars (Out of 5)

You can learn more about the Alan Cohen Experience at www.myspace.com/alancohenexperience or http://www.alancohenexperience.com/, where you can purchase a copy of Alan Cohen Experience.