The White Ravens - Saddle Up The Whales

The White Ravens – Saddle Up The Whales
2012, The White Ravens

Brother and sister songwriting team Will and Amy Bennett began their band, The White Ravens, on Christmas Day, 2004.  Now 19 and 20, respectively, The Bennetts are carving out an interesting niche in the Indie rock scene in Michigan.  Terming their sound “indie pop geek cabaret rock”, The White Ravens are influenced by a cacophony of sounds from the worlds of rock, classical, Broadway, folk and modern Indie rock.  Will Bennett (keys, guitar) is the composer, and Amy Bennett (vocals, bass) is the lyricist.  It’s a dynamic combination that is responsible for a wonderful tuneful, effervescent pop/rock sound.  On their third album, Saddle Up The Whales, The White Ravens seem to have finally come into their own.

The opening track, “Saddle Up The Whales” is vibrant; joyous; a little bit messy and a whole lot of fun.  Rather than the cynicism so common in modern popular music, The White Ravens glory in a sort of youthful glee.  The result is a sound that is complex, but driven by a singular pop sensibility that gets under your skin and makes you want to get up and dance. “Rube Goldberg Machine” features the same sort of simple joy, wrapped up in an incredibly complex and varying arrangement.  Will Bennett shows his compositional skills run somewhere between those of the Beatles and Ben Folds, blending rock, pop and classical components into an amazingly cogent bit of writing.  Amy Bennett backs it all up with lyrics that are wonderfully twisted and full of the simply joy of making music.

“Informational Video” takes a disco beat and turns it into a complex, layered pop song.  You’ll want to dance and sing along.  “Conspiracy” is a paranoia-filled nightmare for the relationship-phobic in the crowd.  There is a distinct cabaret-pop feel to this tune, and Amy Bennett perfectly balances an edge of sultry songstress with quirk and humor.  The White Ravens offer up a change of pace with “Rain Song”.  Sounding at first like a ballad, “Rain Song” is quirky and pensive, but carries a melody that is beautiful and sweet.  Amy Bennett handles this juxtaposition with a surprising grace.  “Spaaace” is a catchy piano-driven rocker full of classical themes and a fearful penchant for space travel.  The song is infectiously off-kilter; the sort you return to again and again. 

“Mechanical Whales” starts out with a dark cloud hanging over it, brought on by the delicious minor key piano opening.  This turns into an art-rock extravaganza that is more about sound and structure than anything else.  The result is stark and full of a surprisingly twisted beauty.  “World’s Smallest Piece Of Pasta” has more of a chic-dance rock aesthetic.  The quirk factor here is quite high, and the song is an entertaining if surreal listen.  “Great Pacific Garbage Patch” commemorates the world’s eighth continent, a large collection of garbage afloat in the Pacific Ocean.  This tune has great comedic potential, but The White Ravens find a gentler path through the song.  “Arlene’s Grocery” is full of wonderfully zany lyrics.  The arrangement matches the feel but is complex and well-developed.  “We’re Glad You’re Here” is a Beatles-esque musical exploration full of layered sounds ala Phil Specter.  It’s a nice sonic segue way into the closing track, a boogie-woogie take on “Bye Bye Blackbird”.  Will Bennett gets to show off his piano prowess here in unvarnished terms, and Amy Bennett shows depth and grace in her handling of the vocal line. 

The White Ravens keep you on your toes and ultimately charm your socks off on Saddle Up The Whales.  The musical depth and breadth of what they are doing here before legal drinking age speaks to a pair of distinctive musical talents, and a special chemistry that simply doesn’t come along every day.  Saddle Up The Whales has a kitschy feel at times, but it’s all in good fun; a fun so infectious you can’t help but join in.

Rating: 4.5 Stars (Out of 5)

Learn more at www.thewhiteravens.com. 

Grand Army - Love Is Gonna Eat You

Grand Army - Love Is Gonna Eat You
2013, Grand Army

Boston-based electro-art rockers Grand Army are back in action with Love Is Gonna Eat You, the follow-up to their 2009 debut Toys For Chaos. Full of big, quirky pop hooks and unusual song construction, Love Is Gonna Eat You is equally exhilarating and frustrating. Grand Army finds some sublime moments along the way ("Our Time", "Make Music" and the wonderfully catchy "Lost Our Mind"), but there is an almost mindful effort to tease the music beyond what it wants to be at times. Grand Army shows distinct potential for crafting a high impact mix of rock and pop on Love Is Gonna Eat You, but seems to get distracted by their own musical architecture. Everything here is well produced and well played, and vocalist Alicia Racine is equally convincing as a wildcat rocker or sultry crooner.  There is a lot here to like, but still a sense that Grand Army is struggling to find a comfortable musical balance.

Rating: 3

Learn more at www.facebook.com/grandarmymusic or www.reverbnation.com/grandarmy. 

The Early Strike – Ten Outta Ten

The Early Strike – Ten Outta Ten
2010, TRB Entertainment

Southern California pop/punk quarter The Early Strike have created a lot of buzz the last few years with appearances on the VANS Warped tour and sold out shows throughout the south and southwest.  Today, The Early Strike drops their sophomore album, Ten Outta Ten into the teeming mass of American pop culture.  Working with producer David J. Holman (No Doubt, Bush), The Early Strike have captured the youthful energy and dynamic sound of their live show on Ten Outta Ten, along with dynamic dual-vocals of guitarist Ryan Shaw and bassist Brit Joyce. 

Ten Outta Ten opens with “Real Man Show”, a marginally catchy pop/punk number that shows off the dual vocal approach in grand style.  Shaw sounds like your standard issue alt-rock hero on the mic, whereas Brit Joyce has a slightly brassy and untrained but ultimately enjoyable.  “Reality Check” is something of a social rock reveille; a call to arms for the truth.  The Early Strike shows a distinctive pop sensibility that’s infectious and fun.  “Party Up” is catchy, a double edged message about living the wild life.  “Shut Up!” is pure relationship dysfunction captured in song.

The Early Strike drop a positive social message in the midst of “A’s And B’s”; a catchy number about not giving in to peer pressure and standing up for yourself.  It’s a well-written tune that’s as catchy as anything and highly enjoyable.  This one has real chart potential.  “I Am Gay” could be interpreted as a declaration, or simply a joyous realization of an unexpected attraction.  Either way this song will get inside your head.  This is another number that could find The Early Strike climbing the charts.

It might have been a good choice for The Early Strike to pare down Ten Outta Ten to an EP entitled Six Outta Six.  The last four songs, and the faux-commercial “A Kind Word” don’t measure up to the first six tracks, sounding more like decent but unmotivated filler tracks than the pure pop/punk joy The Early Strike achieve on the first half of Ten Outta Ten.  The Early Strike is a band who is going places; it wouldn’t be surprising to hear The Early Strike crossing over into the pop radio realm in 2011 and climbing the billboard charts. 

Rating: 3 Stars (Out of 5)

Learn more about The Early Strike at http://www.theearlystrike.com/ or www.myspace.com/theearlystrike.  Ten Outta Ten is available digitally from Amazon.com and iTunes.

Cut Throat Kids - Cut Throat Kids [EP]

Cut Throat Kids - Cut Throat Kids [EP]
2010, Cut Throat Kids

Toronto punk/pop quartet Cut Throat Kids are quickly gaining a reputation for high energy shows with a sheen of professionalism that belies their collective youth. Vocalist Tyler Tasson has the sort of unaffected voice that makes you like her instantly as she tackles fun, high-energy songs with aplomb. In concert with Calvin Castellino (drums); Nick Chang-Fong (bass) and Jeff Raposo (guitar); Tasson dips and dives through five dynamic songs on Cut Throat Kids self-titled EP.

Cut Throat Kids opens with "Already Gone", a song about getting out before things fall apart. Driven by an insatiable pop sensibility, "Already Gone" never rests, and Tasson voices it like a personal mantra. This is a song you just have to dance to, even if you don't like to dance. "This House" is a song about sx as a means of attention rather than love. Tasson uses brief and subtle word association style lyrics in the chorus to gloss over the intimacy in favor of the issue of attention. All of this is done at a frenetic pace that will inspire the requisite dancing and toe-tapping. Cut Throat Kids slow things down a bit with "Bring It Down", a song about hidden liaisons and one person's desire for there to be more. There's a slow build of angst here that's parallel to a growing discomfort with the hidden nature of the relationship exposed. "Feed Me" turns the metronome back up in an emotionally laden exposition of a relationship where trust has been destroyed by lies. The energy here is solid, but the song doesn't quite connect on the level that previous tracks have. Cut Throat Kids closes with "The Last One", an exploration of relationship angst that grows from comparing yourself to your partner's ex(es). Tasson sings with an intensity and commitment here that speaks of the inherent insecurity that drives the song, and the arrangement is sufficiently catchy to indicate real potential as a single.

Cut Throat Kids are a high energy band with punk vitality, the effervescence of youth, and a professional mien that seems to be well beyond their years. There's nothing affected here, just honest, energetic rock n roll. Even where Cut Throat Kids explore the greyer areas of human interaction and emotion, the arrangements are bright and driven. This is a band that's going places, and their self-titled debut EP is worth making room in your collection for.

Rating: 3 Stars (Out of 5)

Learn more about Cut Throat Kids at www.myspace.com/wearecutthroatkids.  Cut Throat Kids is available from Amazon.com as either a CD or Download.  You can also find the album in both formats on CDBaby.com. 

Review: When Planets Align - Radio Silence EP

When Planets Align - Radio Silence EP
2009, Planet LA Records

When Planets Align released their debut EP, Radio Silence in 2009 even as they were continuing to evolve as a band. The trio and occasional quartet from Los Angeles has a band member who went to high school with Gwen Stefani. Mark Equinox, Johnny Heaven, Pinkstar and Big Bang Dave hit all the high profile SoCal venues in 2009 and planning to hit the festival circuit in 2010 as they prepare an as-yet unnamed full-length album for release.

Radio Silence opens with “Life's Too Short”, starting with a promising guitar riff that turns into a tepid rock song. Vocalist Pinkstar sounds more than a bit like Geddy Lee on this tune. “Radio Silence” is a bland rock track; innocuous in a formulaic arrangement. When Planets Align picks up the pace on the campy “Hey Gwen!” a mid-tempo dance track that sounds awkwardly put together. “General Santa Anna” mixes Spanish guitar with an almost J-pop angularity for an intriguing listen that's long on pop hooks. When Planets Align pack it in with “California Bride”, a gently subversive Pop number that's musically intriguing but lyrically awkward.

Radio Silence is a somewhat confounding EP. When Planets Align manage to create interesting, even compelling arrangements for their off-beat Pop/Rock tunes, but from a lyrical perspective the EP struggles to connect with listeners. Pinkstar is decent enough on vocals, but Mark Equinox has only a nodding relationship with the melody line he sings. Radio Silence works on some of the micro levels, but on the macro level becomes a bit of a wash.

Rating: 2.5 Stars (Out of 5)

You can learn more about When Planets Align at http://www.planetsalignmusic.com/ or www.myspace.com/whenplanetsalign. You can download the Radio Silence EP from either Amazon.com or iTunes. Hard copies of the EP exist. You'll have to contact the band through their MySpace page for more information.

Review: Red Abbey - On My Way

Red Abbey - On My Way
2009, Red Abbey/BMI

New York City's Red Abbey is made up of Thien-nga Palmer and Trey Ordaz, two multi-cultural multi-instrumentalists who came together after jamming at a party a number of years back. Ordaz has a degree from the Berklee College of Music, and Palmer is classically trained in violin performance, but the eclectic duo make hey with a blend of funk and rock n roll blended around a dynamic stage performance and the electric voice of Thien-nga Palmer. Red Abbey's debut EP, On My Way, features a hungry sound that is full of attitude, sensuality and sx appeal. Produced by Dan McLoughlin (The Pushstars), On My Way puts Red Abbey firmly on the map.

On My Way opens with the empowering "Me"; an unwavering declaration of self that makes some of the best work of violin in a rock song in quite some time. Palmer is part Gwen Stefani and part Kate Bush on a devilishly powerful introduction to the world. "Broken Heart" is a tremendous piece of Pop/Rock songwriting. The chorus is a bit generic, but the verse is powerful and highly memorable. "Red Petals" is an artful monologue on love lost, delivered from the moment of greatest need. The vulnerability in this song is nearly feral in its intensity. Red Abbey unloads a boat load of Funk & Soul on "This Thing", a kiss off song meant to put an end to a bad relationship cycle. It's a tremendous song full of attitude and strength; a must-hear. On My Way closes out with the funky "What Can I Say", a quasi-philosophical song about life circumstances and how they can change without notice. The protagonist here accepts change and rolls with the punches. The song is the weakest one on the EP, yet is a solid tune.

Red Abbey is distinctive. Their stripped-down sound is refreshing, and Thien-nga Palmer's voice is sultry and electric, encompassing a harsh beauty that will keep you on the edge of your seat. Trey Ordaz makes everything work behind the scenes, offering up tight musicianship and co-songwriting that gives Palmer the best settings in which to shine (a sort of Jesse Harris to Palmer's post-punk Norah Jones). On My Way is the sort of debut EP that gets the attention of record execs, radio programmers and new fans. Take some time to check it out Red Abbey while they're still approachable. This duo could rise fast.

Rating: 4 Stars (Out of 5)

You can learn more about Red Abbey at http://www.redabbeyband.com/ or www.myspace.com/redabbeyband. No online purchase points are yet available for On My Way, but if you contact Red Abbey through their MySpace account I'm sure they'll be happy to help you out.

Review: Jag Star - Static Bliss

Jag Star - Static Bliss
2009, Lewpis Music

In today's music world, a decent Pop single is hard to come by. There are so many label-clone artists out there because commercial radio only plays fifteen songs at any one given time and they all sound more-or-less alike. A true single-worthy track is a big deal and can shake up playlists; having two tracks that are truly radio worthy is a rarer feat than it was twenty years ago. Artists who can capture three or more slices of pop perfection on one album are rare indeed. What a revelation it is, then, to discover Knoxville, Tennessee's Jag Star. I'm not follower of MTV "programming", and so had missed Jag Star's coronation on The Hills, Laguna Beach, The Real World and Newport Harbor. Not that Jag Star is a flash in the pan; with the release of Static Bliss, their fifth full length album over the past decade, Jag Star continues their tradition of capturing perfect sides of Pop music and offering them up in tight Pop/Rock arrangements wrapped around the gorgeous voice of singer/songwriter Sarah Lewis.

Sarah Lewis is an award winning songwriter several times over, winning the USA Songwriting Competition, iTunes Next Big Hit and London's WE ARE LISTENING songwriting award, while placing in the John Lennon Songwriting Competition and landing a Top 10 in Dick Clark's New Music Award. Not one to put all of her eggs in one basket, Lewis is also a cover girl; she's the Face of Wet N Wild Cosmetic in national print campaigns. But singing and writing songs seems to be Lewis' greatest gift, and the rest of Jag Star build winning Pop/Rock arrangements around her on Static Bliss under the steady hand of producer Travis Wyrick (P.O.D., Pillar, Disciple, 10 Years).

Jag Star opens with Talk To Me, a delicious Pop nugget that's intelligent enough to garner fans who think about music but catchy enough to have a serious half-life on the Pop charts. Lewis' voice has a light Pop feel, but there's enough Gwen Stefani-style tough girl in that voice to captivate listeners. Pressure is a bit derivative, perhaps paying (unwitting) homage to Billy Joel's song of the same name with a derivative keyboard riff. The song is incredibly catchy, particularly the bouncing chorus. Jag Star is 2-for-2 so far on songs with real Commercial Pop punch. Can't Make You Happy is a strong tune as well; the chorus doesn't really capture but then Jag Star pulls one of those choruses that thoroughly haunts your brain, making it an indispensable part of the album (although a long shot as a single).

Sofie is a song that could only be written from a mother to a daughter. There's not a mother out there who won't identify with this song. As always, Lewis creates a memorable melody and infuses it with real life. The arrangement is solid, and the musicianship is tight. Rewind is an interesting tune; my least favorite on the album, and yet it might be the song with the strong Pop radio potential. From a sonic perspective the song is striking and memorable. From a writing perspective it's not Lewis' best but it's solid. Shine is pure Pop/Stadium anthem. This is the sort of tune that an entire audience gets on its feet for and sings along to the chorus. It's a hard one to resist. Don't Go Away and Why Do I Miss You are decent enough, but both seem a bit less than the material they're surrounded with (or follow). Jag Star closes out with At The End, an Electro Pop offering that does them no justice.

Static Bliss is superb over the first seven tracks, offering up no less than four solid potential hits. The songwriting of Sarah Lewis is a factor, as is her voice; but the musicianship of the rest of the band is an integral in creating the musical web that surrounds Lewis. Jag Star is quite obviously here to stay. It would be easy to pronounce Jag Star the next big thing, but this album ends up feeling a bit rushed at the end (like perhaps the last three tracks were thrown on just to complete the album rather than waiting to write material that fits in with the album as a whole. Nevertheless, Static Bliss is not an album to pass by. If Pop/Rock is your mien; if you always wanted a band with the Pop power of The Go-Go's and the toughness of No Doubt, then listening to Static Bliss will feel like coming home.

Rating: 3 Stars (Out Of 5)

You can learn more about Jagstar at http://www.jagstar.com/ or www.myspace.com/jagstar. Static Bliss is available on CD through CDBaby.com. Downloads can be acquired from Amazon.com and iTunes.

Review: Evolove - 2012: Countdown To The End

Evolove - 2012: Countdown To The End
2009, Evolove/ASCAP

Los Angeles’ Evolove is an alt-rock band powered by the big voice of Lucy Levinsohn, with Billy Berman on bass, Jon Ruiz on guitar and Jae Wong on drums. Starting out as Waiting For Wyatt in 2007, Evolove has peppered the West Coast with shows ever since, building a steady following with the Hot Topic crowd. Evolove is more than just a look or a sound however; they’re an alt-rock band with real edge that maintains a pop sensibility that infuses their songs with life. Evolove’s debut album, 2012: Countdown To The End, is available now.

One of the first things you're likely to notice about Evolove (aside from their palindrome of a band name) is that lead vocalist Lucy Levinsohn sounds very similar to Gwen Stefani. That will color some folks' perceptions of the band, but with or without the comparison, Evolove has a great sound. Picking up on the mania surrounding the Aztec-prophesied end of the world, Evolove dives in with Let Me In, an exhortation for connection over pain. Toyshop Girl is a brief look at the life of one working class girl from a third-person perspective; questioning why she's so unhappy with her life. There isn't really a narrative here, just a brief sketch of an individual in song whom we never really get to know, understand or sympathize with. Lie To Me is a dysfunctional relationship song asking for lies rather than unpleasant truths. It's not a bad song, and Levinsohn's voice is at its best, but the best part is the contrast of an overtly simple Pop/Rock arrangement against the somewhat twisted desires of the narrator. On The Floor is a Dance/Party song that makes great use of the intersection of Modern Rock and Pop. This is one of those songs I like nearly in spite of myself; I don't want to like it because it's a bit juvenile but it's so catchy I can't help it. Evolove wraps up with the title track, providing musically graphic descriptions of the end of the world. The song is decent enough, but gets a bit bogged down in an attempt at philosophy that just doesn't fly as well as it might.

Evolove digs in to some meaty music on 2012: Countdown To The End, building tension and angst in behind Levinsohn's eerily recognizable voice. The band may get tagged with the moniker of being a No Doubt clone, but that's not really fair. While Lucy Levinsohn does sound a lot like Stefani, this really isn't No Doubt's Vibe. Evolove is a bit heavier and several shades darker than No Doubt ever was, and while they write and perform interesting material, the overall accessibility just isn't on a par with Stefani and crew. Nevertheless, 2012: Countdown To The End is an interesting first step, and we'll be curious to see what comes next. Check out Evolove; they're definitely worth spending a little time on.

Rating: 3 Stars (Out of 5)

You can learn more about Evolove at http://www.evolovetheband.com/ or www.myspace.com/evolovetheband. You can purchase 2012: Countdown To The End on Evolove’s MySpace page using SnoCap.

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: The New Up - Better Off

The New Up - Better Off
2009, Evil Cherise Publishing

Occasionally a band comes along where no one can agree who they sound alike. The New Up has been compared to such divergent acts as Radiohead, Journey, Lake Trout, The Talking heads and TV On The Radio. These comparisons aren't entirely off the mark, but none of really strike a careful listener as accurate, either. The San Francisco quintet with roots far to the east (Chicago, Illinois and Charlottesville, Virginia) have managed to craft a sound that sounds a little bit like a whole lot of people and a lot like no one else, which is as close to original as it's possible to get in a medium based on eight notes. The New Up's latest EP, Better Off, will be released on August 18, 2009, and is a follow-up to last year's Broken Machine. Where Broken Machine was a musical elucidation of the problems of the world, Better Off is the beginning of transcendence, suggesting changes that might happen on the personal level that will turn things around. Producer Jamieson Durr (Franz Ferdinand, The Killers, Handsome Boy Modeling School) brings out the best side of The New Up on Better Off, juxtaposing their Pop tendencies with their harder side in a mix that crosses genres with electrifying results.

Lead vocalist ES Pitcher is a front woman in the tradition of Blondie or Gwen Stefani; a big Rock N Roll voice with lots of layers and a very sensuous side that can draw you in before she belts you away. Pitcher also contributes on guitar. The band is rounded out by Noah Reid (guitar, vocals); Hawk West (flute, automation); Dain Dizazzo (bass) and Drew Bertrand (drums, percussion). Better Off opens with Dear Life, a vibrant guitar rocker that shows off Pitcher's pipes in grand fashion. Dear Life is good enough and hard enough to crawl all over Modern Rock radio playlists, but has enough Pop sensibility to cross over. Better Off slows things down a bit in a post-Grunge tune that rocks and grinds its way to self-realization. B!tch has a new wave sheen to it that fits somewhere between The Replacements and No Doubt; the melody line is straightforward but the arrangement builds in a lot of sonic dissonance that keeps listeners on their toes. Not to mention there's a guitar solo here that would sound right at home on a Scorpions album. F.Y.R.U.F.N. is an acronym we can't fully publish, but let's just saw I'm glad I'm not Roger. The song is dark and vaguely disturbed in sonic aspect. Wait (For Danny G.) is a sprawling memoriam in song that just doesn't fit with the rest of the material here, but is included for obvious reasons.

The New Up is on to something out there in San Francisco. The market for bands like The New Up is a narrow one, and many great bands go unheard by anyone who doesn't happen across their MySpace page, but The New Up just might have the right zeitgeist to make it. Better Off makes a distinct impression, with a sound that's derivative yet original, and a vocalist in ES Pitcher who can break down walls with her sound and presence. Don't be surprised if The New Up is a name you hear a lot more of in the future.

Rating: 4 Stars (Out of 5)

You can learn more about The New Up at http://www.thenewup.com/ or www.myspace.com/thenewup. Better Off will hit shelves on August 18, 2009. Keep checking The New Up’s web site for updated release information.

Review: Fugitive Kind - You're Being Watched

Fugitive Kind - You're Being Watched
2009, Fugitive Kind

Fugitive Kind lead singer Lydia Marsala sounds like the mid-point of a triangle between Milla Jovovich, Chrissie Hynde and Johnette Napolitano. Her voice is alternately deep and sultry or high and heavily soaring. No matter what range she's in she's distinctive, and she is the perfect balance for the heavy guitar rock that supports her on You're Being Watched. Comparisons to Queens Of The Stone Age, Muse, and Live should be expected, but there is a pulsing mix of energy that develops between Marsala's vocals and the instrumentation that is more than just friction.

You're Being Watched opens with a funky guitar rocker called Little Piece. Marsala throws herself into the vocal line like it’s her life's only purpose; the band answers in kind in a performance full of anxious, nervous energy. This is perhaps the catchiest opening track I've heard yet this year; a great rock song that would get airplay on chutzpah alone. It's been a while since a female rock vocalist could push this much personality through a song (think Gwen Stefani before she went Hip-Hop/Pop). Over-Thinking It has a big, Modern-Rock sound and a vocal style that has a shade of Tanya Donnelly to it. Don't Waste My Time, my second favorite song on the CD, is a great Modern Rock anthem with an almost punk/dance vibe going on. Break Now is my favorite, and the by far the heaviest song on the disc. This song should be a Modern Rock hit. Wait has an interesting heavy ethereal rock sound that is a great change of pace, and Good-Bye Song is a nice closing song, bringing out all of the best qualities in Marsala's voice.

Fugitive Kind is a great rock band musically, filling tight arrangements with layers of sound that are interesting, rhythmic and, if not original, at least well done enough to make them worth listening to. Lydia Marsala's voice woven into the instrumental net built on You're Being Watched elevates them to something special. Marsala has a great voice, but there's something about the mix here that pushes everything up a notch. The album itself is a bit uneven in its flow at times, but well done throughout. In the old days of LPs you could have done a heavy and soft side with this material. For now, You're Being Watched is a great start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Fugitive Kind at www.myspace.com/fugitivekind or http://www.fugitivekind.com/. You can purchase a copy of You’re Being Watched at www.cdbaby.com/cd/fugitivekind2, or you can download it from iTunes.

Review: Under Your Bed - Under Your Bed

Under Your Bed – Under Your Bed
2008, Under Your Bed

Philadelphia, Pennsylvania’s Under Your Bed was born in a coffee-house open mic night in 2005, when guitarist Jim Marchione saw vocalist Elissa Sapp perform with “an acoustic guitar that was bigger than she was”. The voice and charisma that poured out of that tiny little vocalist impressed Marchione, and the seeds for Under Your Bed were born. Adding Brayne Jennings (bass), Zach Brown (drums) and Jon Rossi (rhythm guitar) over a period of time helped to flesh out both the sound and the creative process of Under Your Bed. The culmination (thus far), is the CD Under Your Bed (self-titled), released in 2008. Compared to bands like No Doubt, David Bowie and Stone Temple Pilots, Under Your Bed also works in a little bit of old school punk attitude and energy.

Under Your Bed opens with Unmanageable, with lead vocalist Elissa Sapp sounding like a cross between Gwen Stefani (in her No Doubt days) and Courtney Love. Unmanageable is a perfect introduction to Sapp and the rest of Under Your Bed. The song is anthemic for a lost generation and completely in the spirit of the classic punk bands of the 1970’s without sounding dated. Sapp revs up the adrenaline with Leave The Lights On, a great Rock N Roll come on song. Shut Your Trap shows the band in full frenzy with Sapp like a tigress on the prowl. This is a classic song and likely to be a concert favorite. My favorite song on the disc is Inertia, which is built around one of the nastiest guitar licks you’ll find. Full of great hooks and a sing-a-long chorus, Inertia would have real commercial potential. Be sure to check out Piss On My Parade and S.F.I. (So F### It) for your fill of classic punk attitude.

Under Your Bed could be many things to many people. They are a punk band, an alt-rock band. A melodic hard rock band or Modern Rock band. Vocalist Sapp is a charismatic front woman with a voice that grabs your attention, but Jim Marchione really drives the sound here; an excellent guitar player with some highly creative tendencies in song construction. Under Your Bed is a fun listen and mostly hits the right notes on their debut, Under Your Bed. It’s definitely worth checking out.

Rating: 3.5 Stars (Out of 5)

You can learn more about Under Your Bed at www.underyourbedmusic.com or www.myspace.com/underyourbedcpr. You can purchase a copy of Under Your Bed at www.cdbaby.com/cd/underyourbed.

Review: Faces Of March - Confessions

Faces Of March - Confessions
2008, Kurfew Records

Miami, Florida seems to have sparked the creative side of Faces Of March. The modern rock quartet originated from a chance meeting of Vocalist Gia and drummer Eli while checking out a bulletin board in a local music store. Joe (guitar) and Marcelo (bass) were soon brought into the mix and a sort of musical alchemy erupted. Faces Of March brings a devastatingly pure modern rock sound blended with electronic elements, courtesy of Producer Paul Trust (Endo, Crease, Diecast). Faces of March's debut album, Confessions, is boldly confessional, sonically fresh and full of the raw magnetism of vocalist Gia. Add in the wall of sound production and clean musical lines and you have the recipe for a monster hit.

Confessions opens with Not Enough, a highly commercial heavy rocker with orchestral augmentation. This is the most radio-ready song on the album, and the least compelling. Faces Of March establish a strong sound that's part Evanescence, part Nickelback and part singer-songwriter confessional. Not Enough is a great pop/rock radio song, but lacks the sort of energy that lies underneath a lot of Faces of March's material. Drowning is a slower tune but gives a stronger sense of emotion -- a compelling desperation that is palpable. Broken allows vocalist Gia to show some more of the color of her voice. It's still very highly produced pop music disguised as heavy rock, but some more personality emerges here.

Too Late is the moment you're waiting for. The tune opens as a piano ballad with Gia on vocals. The tough but tender presentation here comes across as startlingly real in spite of the slick production values evident through the album. Gia has a pouty, sultry voice that could work as easily on jazz or pop as it does in the heavy rock arena. One could imagine her becoming a star as a solo artist as easily as with fronting a band. Who's To Blame is one of the more imaginative arrangements on the album, particularly with the layered vocals and big wall of sound guitar.

What's most interesting is that Faces Of March really shines when they strip down to an acoustic sound. This seems generally to only happen for the first verse or so of any given song (if at all), but there are indications that Faces Of March aren't just bangers. These folks can play, and you can almost hear some progressive rock roots in there at times. Nothing sounds like something that could have come out of the late 1970's, infusing electronic orchestral sounds over acoustic guitar to support Gia. This is by far my favorite song on the disc, and is good enough to be commercial (rather than being commercial enough to do well). Be sure to check out Alone and Wanna Be as well, they're both great tracks.

What to say? Faces Of March is radio-ready. They are more than competent. Their songs will get airplay and if things fall the right way they might just make it big. Producer Paul Trust has tamed this wild young band into a commercial sound that should move Faces Of March's career forward nicely, but a part of me wants to hear that inherent musical wildness come to the fore once in a while. This is a band that has an itch to break down that barrier and infuse elements of progressive rock and perhaps even some punk. You can hear it, tightly contained, in the songs that they play. I am sure it comes out on stage, but it would be awesome if it came out in the writing. I think that's where the real magic is for Faces of Match. In the meantime, Confessions is a strong debut. Perhaps it will make enough of a mark for Faces Of March to be able to branch out and allow some of that deeper personality to shine through.

Rating: 4 Stars (Out of 5)

You can learn more about Faces Of March at www.myspace.com/facesofmarch or http://www.facesofmarch.com/, where you can purchase a copy of Confessions.

Review: The Roundabouts - ...Nothing To See But The Sun

The Roundabouts - …Nothing To See But The Sun
2008, The Roundabouts

Toronto alt-rock duo The Roundabouts have a bit of a musical pedigree. Adriana Sgro (vox/keys) and Mike Steiner (guitars) were co-founders of Waiting For Lucy, who released the moderately successful Pictura on EMI Records. After the breakup of Waiting For Lucy, Sgro and Steiner continued to play and write together, and before long had enough material to think about recording again. Taking their name from a song on Pictura (a Roundabout is more commonly known in the US as a traffic circle), Sgro and Steiner were ready to go. The end result is …Nothing To See But The Sun, a wonderfully broad rock record with strong pop sensibility, great hooks, and the arching vocals of Adriana Sgro. It’s a treat!

Nothing To See But The Sun opens with the wonderfully poppy That’s No Lie; sounding like something The Cranberries might have written. Adriana Sgro is a much more laid back vocalist than Dolores O’Riordan and has a much more pleasant sound. Say I continues with a strongly pop oriented sound with a little more of a rock background. Every Now And Then is a gorgeous love song that has real commercial potential. Waiting In The Wings highlights another comparison often made about The Roundabouts. It has a No Doubt feel to it. While The Roundabouts do manage to sound both like Cranberries and No Doubt at times, the reminiscence is passing. The listener ultimately realizes that The Roundabouts are their own creation, borrowing from the pop lexicon of sounds as all bands do, but interpreting sounds into their own original brand.

Be sure to check out the repressed energy of My State Of Mind’s opening bars before it breaks out into pure neurotic epiphanies of sound. Also be sure to check out Perfect, my personal favorite track here. The Roundabouts extend their rock edge forward on Perfect in a blow off the roof performance that could make significant impact on radio if released as a single. Other notable tracks are Be Brave (She’s Not Here), The Game and the acoustic take on Every Now And Then.

Toronto has always been a seething cauldron for all that’s wonderful and all that’s awful about Rock and Roll. The Roundabouts come in on the upside with Nothing To See But The Sun. Outstanding writing and performance from Adriana Sgro and Mike Steiner, plus strong support from Dale Harrison (The Headstones) and Stan Miczek (Kim Mitchell, Sass Jordan, Honeymoon Suite) make for an outstanding debut for The Roundabouts.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Roundabouts at http://www.theroundabouts.com/, where you can purchase a copy of …Nothing To See But The Sun.