Cole Hermer and the Ravens - Cole Hermer and the Ravens EP (AKA Quoth The Raven)

Cole Hermer and the Ravens – Cole Hermer and the Ravens (AKA Quoth the Raven)
2013, Cole Hermer

Cole Hermer is an 18 year old senior in high school.  In spite of that he might be one of the most convincing young heavy rock vocalists you’ve heard in some time.  With influences ranging from Axl Rose, Kurt Cobain and Layne Staley to Neil Young and The Black Keys, Hermer is able to surprise you at almost every turn.  Hermer’s songwriting is surprisingly supple for his age, reflecting the disaffection of modern youth as well as the pure joy of rock and roll.   After a number of years with bands such as Ultimate Concussion and Anathemas Blessing, Cole Hermer steps out into the limelight with his debut EP as Cole Hermer and The Ravens; a self-titled set alternatively titled Quoth the Raven.

Hermer plays homage to 1980’s heavy rock with “California Breakdown”, instantly inspiring thoughts of bands such as Poison, Guns and Roses and Cinderella, ripping up thoroughly vibrant and powerful sound in the process.  If someone had put out a song like this twenty years ago and it would be a chart-hogging monster.  “Exploitable” is cut from similar cloth, but with a darker, alternative edge.  This is radio for radio right now, and Hermer’s retro metal vocal style just raises the intrigue.  “Friends” is a different breed of song altogether.  Here Hermer is showing a softer, more pop oriented side while lamenting the rejection of ‘let’s just be friends’. “Maybe” is a melancholy, acoustic-guitar driven ballad with a distinct navel-gaze mentality. It’s a solid piece of songwriting that’s good romantic movie soundtrack material.  Hermer gets back into upbeat territory with “Teenage Creed”, a driven mid-tempo rocker with attitude and a memorable chorus.  The pacing here is a bit uneven, but Hermer is on to something here; the song gains intrigue as it bulls to its conclusion.

Cole Hermer and the Ravens offer up an interesting musical study with their self-titled EP.  Hermer refuses to be pigeonholed as a hard rock/heavy metal vocalist in spite of his rough edged sound.  What’s most surprising is how capably he handles the softer material. Everything on the EP is well-written and well-performed, although the pacing at times is a bit off.  This is a great start.  Cole Hermer seems to have what it takes to be a big time front man.  I am not sure if the current trade winds of popular music are in his favor, but with the right break Cole Hermer and The Ravens could be huge.

Rating: 4 Stars (Out of 5)

Learn more at www.colehermer.ca.  

White Wives - Happeners

White Wives - Happeners

2011, Adeline Records/EastWest Records

White Wives are something of a Western Pennsylvania super group.  Anti-Flag's Chris Barker and Chris Head, Dandelion Snow's Roger Harvey and American Armada's Tyler Kweder craft a sound born of their distinct and varying influences that fails to sound quite like any of their day-to-day projects.  White Wives' debut album, Happeners, due June 28, 2011,  doesn't really sound like a side-project from any of the bands named above, mixing active guitars, an eccentric vocal style and solid energy.

Happeners opens with the first single, "Indian Summer, Indian Summer".  The song kicks off with a documentary-style clip commemorating the first nuclear bomb test in the U.S.  This sets the tone for a song about finding your way in the world, playing off teen angst against possibility over catchy riffs and a driven guitar sound.  "Sky Started Crying is catchy, building in intensity into each chorus, where White Wives show a pleasing mix of melodicism and hard rock drive.  "Hungry Ghosts" shows a Nirvana-style grunge sound that is tempered by the band's melodicism and buoyant sound.  "Hallelujah, I'm Morning" has an incipient energy that is undeniably, capturing the desire to fill music with the passion of a teenager.  This musical exploration of musical roots has an inspiring quality to it, an uplifting anthem to remind anyone who's ever strapped on a guitar or braved an open mic why they did it.

"Let It Go" strips things down just a bit, allowing a memorable melody and solid chorus to take over and carry the song.  There's a communal, feel-good vibe to the song that's undeniable, and White Wives proves that their stylistic range is a bit wider than you might, at first, expect.  White Wives then close up shop with the image-filled but ultimately lost "Like A Runaway Slave".  The song starts with promise, but fails to convert on that promise in the end, falling into a repetitive and vaguely shiny cadence that drives the chorus.

Happeners reflects White Wives as a major label act in Indie clothing.  There are some fine moments on the album, but there is also a distinct sense that the band is being guided toward a marketable sound rather than writing entirely to what they know.  At their best, White Wives craft a singular sound that is fresh and biting, if not entirely unique.  At the other end of the spectrum are the songs that sound just too much like too many other post-modern bands who can't figure out how to blend the whiny intellectualism of R.E.M. with the crisply driven Alt-rock style they aspire to. 

Rating: 3 Stars (Out of 5)

Learn more about White Wives at www.wearewhitewives.com.  Happeners hits the streets on June 28, 2011.  You can pre-order the album on CD or Vinyl from Amazon.com.  Digital pre-orders are available via iTunes.

Kingfin - Get Involved [EP]

Kingfin - Get Involved [EP]
2010, Kingfin

UK rockers Kingfin draw their influences from bands such as The Clash, Nirvana and The Ramones, but with healthy doses of Radiohead and Pink Floyd thrown in as well. The band, who take their name from a bad guy in the game Super Mario Galaxy is starting to garner global attention, with radio placements in Canada, the US and back at home based on their debut EP, Get Involved.

Get Involved opens with "Hollywould Smile", a diatribe against television shopping and the ease at which such TV networks talk people out of their money. There's a modicum of anger here and the arrangement is suggestive of punk origins but more refined. "Dirty Little Secret" takes to task someone for their role in infidelity as the third wheel. It's a wakeup call delivered over a simple arrangement heavy on drums and bass with guitar providing angry accents. "Living Hell" is a slinky, blues-influenced rocker that's a lot of fun to listen to. This song probably works best on stage, but it will get your toes tapping no matter the setting. Get Involved closes with "Sweet Sixteen", an angry monologue about a teen girl with an over-sized sense of entitlement.

Kingfin seems to have some of the punk anger but little of the lash. The four songs offered on Get Involved are enjoyable on their face, but the aural treat becomes plain with repeated exposure. Some of this is certainly presentation, and it seems likely that these songs would fare better on stage with the flow of live energy than in the studio. Get Involved is enough to get you in the door as a listener. What Kingfin does next will tell whether listeners stick around.

Rating: 3 Stars (Out of 5)

Learn more about Kingfin at www.myspace.com/kingfin01.  Get Involved is available digitally from Amazon.com or iTunes.

Kathryn Williams - Relations

Kathryn Williams - Relations
2010, One Little Indian

Not too long ago we received Kathryn Williams' The Quickening, a charming album that showed a deep sense of songwriting acumen and a highly focused performance style that digs deep into the moment of each song. On October 12, 2010, Williams returns with Relations, a collection of thirteen cover songs that finds Williams channeling her performing energies into the muse of others. In the process, Williams seems to get in touch with the inspiration of each songwriter and song while bending and blending each tune to make it uniquely here own.

Relations opens with "In A Broken Dream" (David Bently), with Williams delving into human emotions with a clinician’s eye. Her delivery is both feeling and clinical at the same time in a lyric, melancholy arrangement that captures and lulls the listener. "Birds" (Neil Young) is given a lovely reading here. Williams sticks with a simple arrangement of guitar with just a breath of strings now and again. It's a beautiful moment where the Young's poetry and the poetry on the instruments converge and intermingle as equals. Williams lights up the night with a cover of Big Star's "Thirteen", culling the innocence, angst and loneliness of a teenager in both Alex Chilton's lyrics and her own voice.

Williams takes Leonard Cohen's "Hallelujah" to another level, interpreting it as a reverent, secular prayer that's both carnal and at peace. Williams has already shown a talent for playing on dichotomies, and excels here in a remembrance of events both violent and tragic; human and divine. Williams throws listeners a delightful curve with Ralph Rainger's "A Guy What Takes His Time", teasing with gentle innuendo and the subtle delivery of an ingénue in a blues/folk arrangement that's absolutely memorable. Williams transforms Lou Reed's "Candy Says" into a dreamy art house ballad, surfing the musical seams of the song with a grace and strength that is impressive.

Stephen Malkmus' "Spit On A Stranger" is surprisingly charming and well-performed; you can almost hear Williams straining at the bit to break out and give this song a more solid airing out - the sort that can really only happen on stage. But the energy and the tension in this song are significant, making for an enjoyable listen. The most surprising, and gratifying performance on Relations is Williams' take on Nirvana's "All Apologies", a baroque lamentation on the pointlessness of life and human institutions that's even more stark and affecting that the original. While Nirvana's version was angry and wracked with social guilt, Williams makes it a sonic diagnostic with personal implications, both of the moment and outside of it. "Beautiful Cosmos" (Ivor Cutler) explores the atmosphere and comfort of knowing you are loved; a pleasant but somewhat awkward transition to the closing track, "These Days". Williams makes the most of the Jackson Browne tune in a love cover that amplifies out fear of change and our tendency to build shelves around our lives. Williams shows a British detachment and grace here that's both charming and distinctive.

Kathryn Williams makes friends on Relations with some under-represented nuggets from an impressive list of singers/songwriters. Perhaps the strongest quality Williams possesses with regard to covers is her ability to pay tribute to the original while crafting interpretations that are distinctly her own. Some of the songs here you might be hearing for the first time, and if so you'd never guess they didn't come from Williams' heart. For the songs you know, Kathryn Williams offers you an opportunity to re-imagine what you've heard and see it in a different light.

Rating: 3.5 Stars (Out of 5)

Learn more about Kathryn Williams at http://www.kathrynwilliams.net/ or www.myspace.com/kathrynwilliams.  Relations will be released in the US on October 12, 2010 on CD, but the album was originally released in 2004 in the UK.  You can pre-order the CD from  Amazon.com, but the import version is actually a dollar cheaper than the US pre-order.  Digital is available from both Amazon.com and iTunes.

The Lions - New Rise Of The Footsoldier

The Lions - New Rise Of The Footsoldier
2010, The Lions

Calgary rockers The Lions return with their sophomore album, New Rise Of The Footsoldier, the follow-up to 2008’s Sounds Familiar. Keeping the 1960’s vibe of their first effort, The Lions have updated their sound to blend in elements of grunge and alternative rock. The result is an intriguing step forward for the band that might still be a work in process but looks (and sounds) quite promising.

New Rise Of The Footsoldier opens with the ethereal instrumental "Ghost Dancer", an ambient mood setter in the style of Pink Floyd. "No Other Way" is more of a straight-ahead rocker; catchy with an urgent feel, combining a 1960's sound with the energy and feel of The Tragically Hip. The Lions dip back into mood music for "Incalescence" before falling into the restless energy of "Roam", a dark diatribe from a man who simply cannot settle down. "New Rise Of The Footsoldier" is a mid-tempo song that's nonetheless driven by an almost refined savagery. Rapid fire lyrics give the song an almost hip-hop feel while maintaining the dark rock-n-roll sound that seems to fill the album.

The Lions take on a bluesy rock style in "The Jam" before launching into the "You're A Whiner!” a nearly seven minute long tune that turns monotonous in the end. There's decent energy particularly in the low end of the arrangement, but the song just goes on too long without any significant dynamic variation. "Invincible" takes on a grunge mystique but with some pop aesthetic worked into the mix. It's the most intriguing song on the album, and is most representative of the transformation The Lions have undergone on New Rise Of The Footsoldier. The Lions wrap things up with "Remember", a somewhat mellower track about moving on into the future rather than living in the past.

The Lions have brought a heavier, darker feel to New Rise Of The Footsoldier. The same melodic tendencies the band has shown in the past are there, but the intensity and melancholy have trebled. Even sinking into such depths, there is generally very solid energy throughout the album. New Rise Of The Footsoldier explores alternative rock and hints of grunge shrouded in the depths of human misfortune but with eyes clear and strong upon a brighter day ahead.

Rating: 3.5 Stars (Out of 5)

Learn more about The Lions at http://www.thelions.ca/, which will redirect you to their MySpace page.  New Rise Of The Footsoldier is available digitally through Amazon.com and iTunes.

The Sleep-Ins - Songs About Girls & Outerspace

The Sleep-Ins - Songs About Girls & Outer Space
2010, Ingot Rock

Sydney, Australia’s The Sleep-Ins have been through a lot of turmoil as a band. Three drummers and three guitarists have come and gone over multiple recording sessions and gigs. The Sleep-Ins have developed a reputation for catchy, quirky rock n roll. With members from Australia, the UK and the US, The Sleep-Ins are truly an international act. The Sleep-Ins documented their sound on their full-length debut for Ingot Records, the soon to be released Songs About Girls & Outer Space.

Songs About Girls & Outer Space is an absolute fuzz-fest, running the gamut from the garage electrics of the 1970's to the grunge sound of Nirvana with side trips into psychedelia and shoegaze rock along the path. The Sleep-Ins open with "Silver State", cutting their fuzzy guitar sound with a simplistic but catchy keyboard riff. "Silver State" is mildly catchy, almost counter-intuitively. Imagine Ween and Weezer meeting over drinks. "Angelina" is fuzz-rock with a catchy feel but the sound gets very muddled in the middle and stamps the life out of the song. "Chrome Skull & Matching Codpiece" could be a sonic tribute to Nirvana and the Seattle sound they inspired, full of anger, vitriol and grunge guitar sound.

"Running Out Here" maintains the Nirvana influence but adds a spacey, psychedelic twist to the sound. There's not a lot of stress on melody here; the songwriting is more observational than linear, creating the impression that some may even be somewhat random. "Tonya, Extraplanetary Spaceship Girl" plays like Ween covering a Clash tune. This time around The Sleep-Ins are catchy with a whiff of pop craftsmanship, but it's messy, bewildered pop. Chad Corley spends much of the song warbling just past the outer edge of his vocal range. "Desertsong" is a two minute psychedelic turn that's mellow and surreal; showing The Sleep-Ins' penchant for dark arrangements and dissonance. From here The Sleep-Ins fade into messy and unfocused territory with the upbeat Astro-Not and the sound-over-substance style of "Bug On My Face".

Songs About Girls & Outer Space could be taken as a fine example of how chemical intervention can influence the creative process. This perception may not be entirely without merit, but underestimates the distinctly dark (and occasionally pop-oriented) vision of The Sleep-Ins. This is not an album for everyone, but if you're looking for music that sales past the edge of prim pop without wandering into the forests of heavy metal or the urban jungle of modern rock, then The Sleep-Ins fit the bill nicely. The songwriting is somewhat unfocused, but The Sleep-Ins create a sonic impression with their music that's not without merits of its own.

Rating: 3 Stars (Out of 5)

Learn more about The Sleep-Ins at www.myspace.com/sleepins or http://www.sleep-ins.ingotrock.com/.  Songs About Girls & Outer Space is a pending release from Ingot Records, and can be pre-ordered on the Ingot Records website.

The Everyday Motive - Seven Song EP

The Everyday Motive - Seven Song EP
2010, The Everyday Motive

Milwaukee quartet The Everyday Motive spent a whole lot of time listening to alternative music during the 1990’s, a fact that is apparent when listening to their Seven Song EP. Influenced by bands such as the Foo Fighters, Weezer, Nirvana, Green Day and Stone Temple Pilots, the band also features high pop aesthetics woven into each song.

Everyday Motive’s Seven Song EP opens with "Anything Done Differently", an appealing modern rock tune with stripped-down sound. Solid vocals and a big pop hook help to create a high-energy, danceable rock tune. The song explores each of our own worst enemies while staying positive. "Lock It Up" is highly melodic and catchy; a bit of the low-key side for commercial radio but which might just turn into a hit single anyway. "From What I Can Remember" is pure pop/rock gold with a chorus that is likely to take over your skull and set up checkpoints. The angular style of the song mixed with The Everyday Motive's sense of dynamics and harmony vocals make this a potential breakout hit. "You're No Good" finds The Everyday Motive sounding more than a bit like Cowboy Mouth with a slightly heavier rock sound. It's a strong tune that's perfect for modern rock formats. The Everyday Motive closes with "Waste Away", a somewhat cookie-cutter tune that retains optimum sound.

The Everyday Motive has the potential to be huge. Breaks aside, The Everyday Motive appear to be in a good position to maintain and sustain a career of making music. Their Seven Song EP is an apt introduction, certain to inspire people to want to learn more about the band. Make sure you check out The Everyday Motive. You won't be sorry you did.

Rating: 3.5 Stars (Out of 5)

Learn more about The Everyday Motive at www.myspace.com/everydaymotive. Seven Song EP is available as either a CD or Download from CDBaby.com.

Review: Jeff Litman - Postscript

Jeff Litman - Postscript
2009, Born Enormous Music

New York City singer/songwriter Jeff Litman was born in Minneapolis, and was devouring hard rock and metal songbooks by the age of ten. Litman went from Bon Jovi and Motley Crue to Metallica, Guns N Roses and Nirvana before becoming ensnared in the melodic Pop of acts such as Elvis Costello, The Beach Boys and The Beatles. Litman's next step was into classical music, entering a doctoral program before realizing that his true love lay in Rock and Pop. Litman began writing almost immediately for his debut album. The result, Postscript, promises Indie-Pop with big hooks, infectious melodies and a classic sense that universal themes of love and heartbreak always bring. Postscript is a breakup album, and Litman's refreshing honesty places the listener not so much in the role of observer but directly into reverie.

Postscript is a story within an album, following the rise and fall of a relationship, including the aftermath. It is written at a distance from the events that perhaps allow more perspective, but the raw emotional content is very real, if tempered by time. Postscript opens with Anna, a catchy song about unrequited love that will definitely get your toes tapping. A Beatles influence is very clear here and the backing vocals are superb. This is a complete song; a classic. Complicate digs into the emotional consequences of a breakup. It's a sunny tune full of regret and melancholy. Wife is a song that could put Litman on the Popular Music map; a marriage proposal in song. The gorgeous arrangement, including strings centers on acoustic guitar and Litman's voice. Don't be surprised if Wife gets licensed and recorded by other artists down the line. Either way the song is destined to become a wedding song of choice and is also likely to be co-opted for individual proposals over time.

From that emotional high Litman dips down to the emotional low of Everything You're Not; an upbeat, Beatles-inspired song of hopeful spite. Litman then shifts gears into full-on Rock N Roll in Detroit Layover. If you've ever been stuck someplace out of your control and just wanted to get home then this song will speak to you. It's very upbeat and danceable and has a classic sound that will appeal across genre lines. Postscript is one of those albums where it becomes difficult to pick a favorite song, but one of the contenders has to be Maine. Litman sings a duet with Kelly Jones on another song about going home. This is one of those songs that simply sounds perfect in presentation, and Jones has an amazing voice that complements Litman's perfectly.

Knock Me Down will get you up and moving. This active-rock song is presented in a brilliant arrangement with amazing vocal harmonies and a melody that won't quit on you. Postscript is another candidate for favorite song; it's a theatrical tune about the end and aftermath of a relationship. Postscript is stark and melancholy without being whiny, and is one of the better Pop songs written/released in 2009. Open Arms represents the bargaining phase of grief. He's willing to take her back temporarily for the joy of it even it means she'll rip his world apart all over again. Litman never begs during Open Arms but that's only a semantic justification. Open Arms shows a tremendous balance of lyrics, melody and arrangement in a wonderful pop tune that isn't far behind Postscript. Let You Go chronicles the Acceptance phase of loss with a song that sounds like it was heavily influenced by Elvis Costello. Litman closes out with It Wasn't Me. This epilogue is stark and honest and unfettered by sorrow. Litman sees everything from the distance and perspective of time with his healing mostly done; it's a fitting close.

There are albums you see coming from a mile away; the artist reputation, the cover art, the buzz all combine to create an understanding of what you're getting into. But every once in a while an album takes you by surprise. Jeff Litman's Postscript is in this latter category. Postscript is a brilliant display of songwriting and performance. The songs are subtle, nuanced and intelligently written and the album is an absolute pleasure from beginning to end. There isn't a poor song on the album, and Litman delivers each with an aplomb that grows from the intersection of artfulness and grace. Postscript is brilliant; a Wildy's World Certified Desert Island Disc. Make the time.

Rating: 5 Stars (Out of 5)

You can learn more about Jeff Litman at http://www.jefflitmanmusic.com/ or www.myspace.com/jefflitman. You can purchase Postscript as either a CD or download from CDBaby.com.

Review: Ten Year Vamp - Don't Act Like You Know Me

Ten Year Vamp - Don't Act Like You Know Me
2009, Ten Year Vamp, LLC.

Albany, New York doesn't get the respect is deserves as a music scene (or for much else, for that matter). Most of the great acts that start there end up moving on to either Boston or New York where they become known, but Ten Year Vamp is poised to Albany back in the limelight in a big way. What can you say about a band that pumps out high-octane Rock N Roll while changing the way the music business is run? When Ten Year Vamp set out to make their latest record they decided to make it a communal process. Seeking funding from their fans, the band accepted 60 contributions from fans ranging from $25 to $2,000, then put 80 songs up on their website to let those same fans select which twelve would end up on the album. Fans even had a say in the album artwork, and all contributors will receive a share of the album sales. The resulting album, Don't Act Like You Know Me, shapes up to be one of the most dynamic rock albums of the year.

Ten Year Vamp opens with Never Know, an intensive and active Rock song that's perfect for Modern Rock Radio as well as Pop/Rock/hybrid formats. Never Know has serious commercial punch, and a hook that sinks into listener's brains and won't let go. Add in the gorgeous and powerful voice of Debbie Gabrione and suddenly you're talking about the sort of song that can't miss with the right push. Stay is an invitation not to be turned down wrapped up in a sexy, playful rock tune that's hungrier than it might sound at first listen. Say You Made Love To Me continues the trend of female-dominant sexuality in song. This isn't the sort of wanton sexuality that's generally marketed to the masses, but a healthy, choice-based female sexuality that's about satisfying needs than subjecting oneself to another's fantasies to fit in. Gabrione calls things as she sees them and isn't afraid to say what she wants. All of this celebration of feminine sexuality culminates in Pleasures (That I Call Mine); one of the most outspoken and healthy musical expressions I've heard in a long time. The fact that these songs rock like nobody's business just adds to the pulse-pounding drama and intrigue that Ten Year Vamp and Debbie Gabrione in particular, are bound to incur.

Faked It is a "When Harry Met Sally" moment set to pounding guitars in a powerful, fast-paced rock arrangement that's unforgettable. I Don't Need goes on to look at the relationship traps that women fall into, with the protagonist trying to find her own voice or power in a relationship. This song is more powerful in message, perhaps, than many of the songs here, but musically lags a bit behind the more dynamic material that came before it. One Night Ticket incorporates some New Wave/Electronic instrumentation into the rock setting while exploring the eternal question, "What if..." about the one that got away. Ten Year Vamp rocks prodigiously through Another Try and Oh So Nice And Slowly on the way to Call It, the closest thing to a pure love song on the album. This is certain mix tape material in a true power ballad that's pragmatic rather than syrupy and cliché. Rockstar reflects the realization that many who find stardom quickly come to; that the simple fact of being a star isn't all it's cracked up to be. It reflects a mature worldview that should fare the band well as they make the transition to rock stars themselves. Ten Year Vamp goes anything but quietly, signing off with Goodbye, perhaps one of the most empowering kiss off songs in the history of Rock N Roll.

It's really no wonder that Albany's Metroland Magazine's reader’s poll has named Ten Year Vamp best local rock band for five years running. With exposure on CNBC, Forbes, Yahoo!, and AOL Finance for their business model, and an incredibly dynamic new album, it's hard to see how Ten Year Vamp fails to explode on the national scene. Debbie Gabrione is the sort of front woman they make movies about, and the rest of the band (Mark Rose - guitar; Tim Keenan - bass; Andrew Foster - lead guitar; Gregory Nash - drums, and Bill Ketzer - keys, percussion) is incredibly tight. With a sound already refined and highly marketable, Ten Year Vamp just needs that one big break to fall in place. It will happen sooner or letter; music this good just doesn't stay hidden. Don't Act Like You Know Me is brilliant; a Wildy's World Certified Desert Island Disc. Don't miss it.

Rating: 5 Stars (Out of 5)

You can learn more about Ten Year Vamp at http://www.tenyearvamp.com/ or www.myspace.com/10yearvamp. You can purchase Don’t Act Like You Know Me as either a CD or download through CDBaby.com. You may also download the album from iTunes.

Review: I Am The Icarus - I Am The Icarus EP

I Am The Icarus - I Am The Icarus EP
2009, I Am The Icarus

San Diego's Daniel Godfrey is I Am The Icarus, and Indie/Alt-Rock band in the same lineage as Silverchair and The Smashing Pumpkins. Mixing strong melodies, lush layered guitar sounds and high production values, I Am The Icarus has a sound certain to garner some attention. The band's self-titled debut EP was release in 2008. Produced by FAR/Deftones alumni Shaun Lopez (who also played guitar on the album) and with drumming from FAR's Chris Robyn, I Am The Icarus takes off on a strong note.

I Am The Icarus opens with Destination, a mellow, down-tempo rocker with a gothic/lyric sensibility and a radio-friendly sound. I Am The Icarus does a 180 with Faster, an urgent edge rocker that abandons the melodic basis of Destination for a Nine Inch Nails-lite aesthetic. Miss Blue has a very generic alt-rock feel that fits in well on commercial radio but isn't like to be remembered once it falls out of rotation. The same can be said for The Secret To Living Is Dying Well. Behold! The King Of Gloom is much darker and less cynically commercial, drawing on a Kurt Cobain style angst and a run-on lyrical style to create a memorable moment.

I Am The Icarus is a decent effort musically, but just sounds too much like too many other bands to really stand out from the pack. After listening to the EP a half dozen times there isn't a particular track that really stands out in memory, due in part to the highly homogenous sound of the album. Godfrey is a decent singer and creates a layered sound that is pleasant to hear but just doesn't find the spark that ignites a passion in listeners here.

Rating: 2.5 Stars (Out of 5)

You can learn more about I Am The Icarus at www.myspace.com/iamtheicarus. I Am The Icarus is available digitally through Amazon.com and iTunes as well as several other outlets.

Review: The Bludlows – Americaville

The Bludlows – Americaville
2009, The Bludlows

The Bludlows rose to pre-eminence in the Boston Rock N Roll scene with their mix of Rock, Punk and even Americana. With influences including The Rolling Stones, Tool, Pavement, Nirvana, Bob Dylan and Captain Beefheart, it is safe to expect the unexpected. The Bludlows’ latest CD, Americaville, finds the band testing out all sorts of musical waters.

Americaville opens with the frenetic guitars of the title track; you'll be looking for a pit from the opening chords. The bass is the star of this song, driving the action with a vibrant and inventive bass line that varies the sound. The song is loosely political, lamenting the decline of America both internally and in the eyes of the world. ATG is Post-Punk Americana that sounds like a cross between 54-40 and the Tragically Hip. The song takes a shot at the greed of corporate executives in a veiled and mildly humorous fashion. On Layin' Down, The Bludlows hit the Tragically Hip sound-alike button once again in one of the more enjoyable tracks on the disc. Blockade is very catchy, built on a guitar riff that runs 8 bars and acts almost as a counter-melody. The Bludlows close out Americaville with Point Of Reference, a seven minute-plus musical odyssey that borders on the psychedelic Noize popular in the late-1960's.

Americaville plays like a soundtrack to a world in decline, joining together post-Punk sensibilities with sonic dissonance and the occasional big hook that binds it all together. The Bludlows come across as a sonically talented but stylistically ambivalent band that play what they want, caution be damned. Americaville is an interesting listen that suggests there are more involved and divergent tunes yet to be born in the heart of Boston. Check them out and stick around for the ride. It could be interesting.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Bludlows at their homepage or on MySpace. You can purchase Americaville as either a CD or download at CDBaby.

Review: John Brodeur - Get Through

John Brodeur - Get Through
2009, Mr. Duck Records

John Brodeur has been a fixture of the Albany, NY rock and pop scene since before his 2000 debut album, Tiger Pop, started getting serious notice from outlets such as Performing Songwriter, PopMatters.com and Indie-Music.com. While based these days in New York City, Brodeur has a laid-back writing approach wrapped around edgy melodies and deeply ensconced pop sensibility. Brodeur's latest album, Get Through, started out as a band project with his previous cohorts, The Suggestions. That band essentially fell away in the process of writing and Brodeur soldiered on with the help of Pete Donnelly (The Figgs, Candy Butchers) and Ryan Barnum (Strange Faces). The end result is Brodeur's most well-rounded effort to date.

Get Through opens with Make A Change, a positive song about taking the reins of your life and making things happen. Make A Change is upbeat without being over-the-top and has a great pop hook buried in the middle. I'm Bad is a big, fuzzy rock song built on a great melody, pleasing melodies and the self-story of a bad boyfriend. Wit and a self-deprecating charm are the heart and soul of I'm Bad, which has some real potential as a single. Brodeur slows things down a bit with Flame, a moody and almost mournful look at a friend who's out of control. Shades of Elvis Costello can be heard here.

Security suggests a sound that could take Brodeur a long way. There's a Classic Rock element here in the harmonies, and the Costello-esque songwriting is evident, but Brodeur just shines through his songs, even on CD. Security is a musical rocket that soars, and Brodeur just has a Je-ne-sais-quoi that makes you want to hit repeat again and again. Silence, Please takes on a relationship doomed by the emotional instability of both participants; each living in fear of upsetting the other and dooming themselves to eternal misery instead of setting each other free. Listeners may hear echoes of Ben Folds here with the strong piano presence in the arrangement and the neurotic, self-destructive relationship archetype, but Brodeur's creation is wonderfully unique and his own.

Fight dances around the roots of the Grunge sound propagated by Nirvana and deals with addiction in very blunt terms. Meltdown is a straight-up down-tempo rock tune that begs to be let loose into the Americana/Country arrangement it wants to be become. Hints of this appear, particularly in the guitar part, but Brodeur keeps things on the guitar side of the scale with passages and phrasing that almost suggest late-stage Beatles compositions. Love And Misery is a great rock tune, complete with compelling harmonies and a melody line that just won't quit. Of all the songs on Get Through, Love And Misery is the one I would pick for a lead single, and with the right break you'd be hearing it coast to coast all summer long. Get Through recalls Folds again, in a surreal and melancholic song about surviving. The album closes out with Home. Home is a dedication of sorts; with home not being a physical place but the person to whom he has cleaved. The arrangement is the most bare on the album (Brodeur and guitar) and is quite engaging. The song itself has a slightly neurotic sense driven by the narrator but is a great listen.
John Brodeur is one of those artists that you might not get on the first listen, but the more you listen the more drawn in you become. He's kind of like that kid from high school who seems a bit odd or stand-offish when you first meet him but then it quickly becomes apparent he's the most interesting kid in the class. Get Through is a wonderfully varied collection of songs that range through Rock, Grunge and Alternative styles without ever losing a distinctive pop appeal. Brodeur writes intelligently, conveying thoughts and stories in a personal style that make the listener feel a part of the show. He might take a listen or two to dig into, because his style isn't exactly the flavor of the month, but careful listening brings great rewards. Brodeur is capable of writing big Pop/Rock songs (see Love And Misery), but is more likely to be the sort of artist who builds a stellar catalog for a not-so-small and appreciative fan base over time. For now, Get Through is brilliant.

Rating: 4.5 Stars (Out of 5)

You can learn more about John Brodeur at www.johnbrodeur.com or www.myspace.com/johnbrodeur. You can purchase a copy of Get Through at www.cdbaby.com/cd/brodeur2, or you can download it from iTunes. Be on the lookout also for the debut from John Brodeur's new band, Maggie Mayday, due out in the Fall of 2009.

Review: Falling Blind - Falling Blind

Falling Blind – Falling Blind
2008, Trip Six Records

Seattle’s Falling Blind claims heavy influences by both Incubus and Nirvana, and lays those influences out for all to hear on their debut EP, Falling Blind. With roots in Redding, California, this West Coast band has garnered a lot of industry attention already. They are touring the West Coast this Spring with their eyes on a wider audience in the future.

Falling Blind opens with Spoonfed Morality, a big guitar rock song with interesting arythmic sounds. Just A Distraction is up next, a classic sounding Pop/Metal ballad with some real kick in the bridge. Vocalist Clayton Marquiss is at his most soulful here. Where I Stand is your prototypical driving rock song with big guitars and heavy rhythms, whereas Modest Opinion marks a band that’s doing more than just cranking out tunes. Modest Opinion opens with one of the filthiest guitar licks you’re likely to hear and slams through a tight, compact rock arrangement that is a pleasure to listen to. This is an Indie classic. Dirty brings back the arrhythmic guitar style of Mike Davidson in a song with great movement running through the music. Falling Blind closes out with Is There A Reason, a classic, 1980’s Hair Metal sounding rocker.

Falling Blind is sure to find fans across the hard rock spectrum. For how much they stress influences like Nirvana and Incubus, Falling Blind ends up sounding wholly like themselves and no one else. Guitarist Davidson is a special find, with a style that could become distinctive and even signature over time. This is an excellent start.

Rating: 4 Stars (Out of 5)

You can learn more about Falling Blind at www.myspace.com/fallingblind. You can purchase a copy of Falling Blind at www.cdbaby.com/cd/fallingblind.

Review: EB11 - One Decision

EB11 – One Decision
2006, EB11

Tenerife, Spain’s EB11 has a second home based in Miami, Florida. This two-hemisphere quartet lists references including Three Days Grace, Metallica, Dream Theater, Green Day, Nirvana, Three Doors Down and Pink Floyd. Their sound is straight up modern rock. Their 2006 EP, One Decision fits right into the Modern Rock mold.

One Decision opens with Myself Again, an energetic rocker about running away from change. She is a radio-ready wall-of-sound rocker with real commercial potential. The best track on One Decision is Be The One. EB11 comes off sounding a lot like Better Than Ezra in a catchy song full of great hooks and transitions. One Decision closes out with the martial rhythms of Going On. This one is a little more typical of the Modern Rock genre but still quite catchy.

EB11 gets better as One Decision progresses, and the EP is definitely worth checking out.

Rating: 3.5 Stars (Out of 5)

You can learn more about EB11 at www.myspace.com/eb11music or http://www.eb11music.com/. You can download One Decision from iTunes, Napster or Rhapsody.

Review: Oxcart - The Equation

Oxcart – The Equation
2008, Oxcartmusic

Oxcart comes blasting out of Portland, Oregon with their 2nd studio album, The Equation. Released in 2008, The Equation inherits its characteristic style from influences such as Nirvana, Queens Of The Stone Age, Pink Floyd and The Flaming Lips, with just a pinch of Spacehog thrown in. Recorded in the studio of Windham Hill violinist Billy Oskay, The Equation was recorded and produced almost entirely on vintage analog recording equipment, helping Oxcart capture a more organic sound than is possible on purely digital recordings.

Equation leads off the set; a rough and ready alternative guitar rocker with dark undertones. Office is a jazz/acid-rock fusion piece reminiscent of classic Pink Floyd. Gambler, Pt. 1 has a very heavy guitar rock sound, whereas Gambler, Pt. 2 has a sparse electronic sound that reminded me oh James Young/Jan Hammer’s Prisoner Of War. Explosions is a unique and disturbed composition that holds the interest. Genesis is a Floydian transition with some spoken word accoutrements. Teatherball is a punk rock anthem made for pogo dancing a pit jumping. What becomes clear, and quickly, is that Oxcart has an identity crisis.

Oxcart has so many directions musically that they seem to have a hard time developing any sort of coherent, consistent sound. It’s obvious that their influences and musical tastes are very divergent, but rather than trying to meld something new out of these sounds Oxcart tries to cover all the bases. In a single-based retail download environment this may be a way to maximize sales, and it may appeal to the band, but it’s not going to find wide commercial appeal. It’s obvious that there are some very talented musicians here, and the diversity of sound is great, but even Oxcart sounds like they occasionally get a little overwhelmed with all of the changes. Consequently The Equation is a musical Tautology. It is what it is, but the various parts never quite meld together to make something greater.

Rating: 2.5 Stars (Out of 5)

You can learn more about Oxcart at http://www.oxcartmusic.net/ or www.myspace.com/oxcart. You can purchase a copy of The Equation at www.cdbaby.com/cd/oxcart2.

Review: Wish You Well - Well, Weird & Warped

Wish You Well – Well, Weird & Warped
2008, Wish You Well

From Cornwall, Southwest, England comes Wish You Well, an eclectic band featuring the omnipresent Aidan on guitar. Dave Wells (drums); Rachael Allen (bass); Dexter Wyatt (bass) and Joe Kingston (bass) round out the core of a rotating mass of musicians that make up Wish You Well. Wish You Well has made a name for themselves over the past few years playing large festivals all over England. Aidan has gained notoriety as one of the top unsigned guitarists on the scene, and Wish You Well continues to grow in sales and name recognition. Their latest recording, Well, Weird & Warped, is a fiercely independent record, striving to distance Wish You Well from artistic comparisons.

Well, Weird & Warped is a hard to classify entry into the Rock N Roll library, offering a mix of Grunge and Garage with the occasional Jam Band spirit. It’s a very Lo-Fi recording, so much so that it’s not something you would expect to see marketed. The guitar work is interesting and varied, but Aidan and crew obviously write for themselves. I’ve not seen the live shows that are spoken of so well in music circles, but I thought this recording lacked the discipline and production to make it really viable. Wish You Well has some good moments, notably the opening track, One Off Special. This track finds Wish You Well sounding like a weird conglomeration of Nirvana and 60’s band The Knickerbockers.

On the other end of the spectrum, In The Garden Of Maiden Bower, this sounds like the musical version of naval contemplation; noodling or jamming without real energy or spirit. In between are songs such as B Movie, Office Food Fight, Ice Man and Get Out, Be Safe, Be Seen. All of these tracks have some potential, but miss out on fulfilling it from the aforementioned lack of discipline and production values. As presented, Well, Weird & Warped is very much a niche recording. There are folks who enjoy this sort of Lo-fi material. Some will call it experimental rock, but there’s really nothing experimental about it. Aidan and Wish You Well have found and established their sound, but choose to present it in a fashion that obscures what is here to be heard. It’s the musical equivalent of having a great candidate show up for a job interview in cut off jeans and a ripped t-shirt. It will appeal to some, but the employer probably won't hear it.

Rating: 1.5 Stars (Out of 5)

You can learn more about Wish You Well at www.myspace.com/wishyouwellband. You can purchase a copy of Well, Weird & Warped through Corporation Records.