Art Of Dying - Vices And Virtues

Art Of Dying – Vices And Virtues
2011, Intoxication Records

Vancouver rockers Art Of Dying released their debut album, Vices And Virtues, this week on Disturbed’s Intoxication Records (Reprise).  The high energy rockers enter the realm of mainstream, radio-ready hard rock with a bang and a whisper on one of the most highly polished rock albums of the year, so far.  Playing in the realm of modern rock with a retro nod to 1980’s hair bands, Art Of Dying has the sound and intensity to appeal to rock fans of different generations, offering enough substance in their songwriting to last longer than a four-minute blip on modern rock radio, but enough pop sensibility in their sound to keep the phone lines lighting up with requests.  “Die Trying” is a catchy instant radio hit built on dark, minor key vocal harmonies and an edgy sound.  “Get Through This” is built on a killer hook and serious pop sensibilities, and has an anthemic quality for a troubled world that could really catch on.  While the lyrics here are a bit simplistic at times, the universality of the song will have a lot of appeal. 

“Sorry” offers serious vocal harmonies that work their way up into the arena-rock vocal triads of 1980’s stalwarts such as Styx and Journey at times.  This may be the biggest potential hit on the album, and don’t be surprised if it becomes a staple this summer.  “I Will Be There” is a loving ballad seemingly from parent to child, and shows real heart that will appeal well to adult-contemporary radio.  It’s a classic power ballad with a surprisingly heartfelt twist.  “Best I Can” also gets Art Of Dying points for balladry, while “Straight Across My Mind” gets things moving in the active rock realm again.     While there is definitely some filler here designed to flesh Vices And Virtues out into a full-length album, there is more than enough solid material to make the effort worthwhile.  In an era when many albums are built around one solid, marketable song, it’s refreshing to find a hard rock band who writes with a depth and breadth well beyond the norm.  One might walk away with the impression that Art Of Dying is a good band on the cusp of being a great one.  That’s okay.  Vices And Virtues is good enough that a lot of people will want to see what Art Of Dying does next.

Rating: 3.5 Stars (Out of 5)

 Learn more about Art Of Dying at http://www.artofdyingmusic.com/ or www.myspace.com/artofdying.  Vices And Virtues is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Maddam Ink - Inklination

Maddam Ink - Inklination
2010, Allure Media

Maddam Ink is an Allentown, Pennsylvania rock quartet that’s been kicking around The Queen City since 2004. With their roots planted firmly in classic hard rock music, Maddam Ink greets the day with an eclectic and satisfying mix of classic and modern alternative rock sounds. This blend comes blasting out of your speakers on their debut album, Inklination.

Inklination falls somewhere between pop/metal and grunge with a mix of sharply written and slickly produced songs. This blend works well at times and falls short at others, but the overall impression left by Maddam Ink is of a competent heavy rock band with decent pop credentials and the ability to fill up a space with sound. "Carry Me Home" is highly enjoyable heavy rock that's a bit reminiscent of Pearl Jam and is the most likely single on the album. "Believe" is perhaps the best songwriting on the disc; he's caught her cheating but he's caught in his need for her. It's an exploration of conflicting emotions and the webs that bind people together sometimes against better judgment. "Touch" is essentially a musical request, nay demand, for felatio, while "Innocence is an angry admonition of a woman who has used her seductive power to rob the story-teller of his naiveté.

"Speak" finds Maddam Ink entering the power ballad market with a disaffected song about love gone sour. The mix of acoustic and electric sounds helps freshen up a genre and sound that can be very stale at times, and Maddam Ink injects some serious vocal harmonies into the mix. "Coletrane" finds Maddam Ink driving back into their heavy rock sound once again with a vengeance in a song about the conflict of wanting someone but knowing you aren't right for them. "Save The World" is a more typical power ballad with a distinct pop sensibility that makes it a candidate for pop radio. Maddam Ink closes with the big sound of "Special", a crunchy guitar-driven tune ruminating on a relationship on the sour. It's a big bang of a close for a dynamic and enjoyable rock album.

Maddam Ink brings the rock n roll on Inklination, a solid and entertaining rock album that features some of the grunge-edge of 1990's Seattle bands but includes some of the big rock glam of the 1980's. Maddam Ink makes a couple of attempts to appease programmer's commercial instincts, but most sticks to what they do best. If your tastes run to the heavier side of rock n roll but no quite into Screamo territory then Maddam Ink will be right up your alley.

Rating: 3.5 Stars (Out of 5)

Learn more about Maddam Ink at http://www.maddamink.com/ or www.myspace.com/maddamink.  Inklination is available as both CD and Download from Amazon.com, and can also be acquired digitally via iTunes.

Review: Capital Sons - Dirty Neon

Capital Sons - Dirty Neon
2009, Capital Sons

Minneapolis quartet Capital Sons have been opening ears with their honest blend of heartland rock and Grunge. Karl Obermeyer (vox/guitar); Jesse Thomas (drums); Cy Dodson (guitar/keys) and Keefe Russell (bass/vocals) get into a heavier sound without the pretenses and pre-conditions that seem to follow Modern Rock. Capital Sons’ debut album, Dirty Neon, is refreshingly light on pose and heavy on performance.

Dirty Neon opens with the edgy guitar rocker Noose, kicking off the album in fine style with a Pop/Alt/Grunge style that's instantly accessible. Vocalist Karl Obermeyer has a great front-man sound but seems willing to let the songs speak for themselves rather than creating a spectacle around the songs. About A Girl is a strong, upbeat rock song that's charming and allows Obermeyer to open up his voice and belt. High-Heeled Boots finds Obermeyer channeling David Coverdale in a song about shopping at the Friday Night Meat Market. The song is worthwhile for both the energy and performance.

A Pop sensibility emerges on Oblivious that's neither expected nor surprising, while Capital Sons stridently refuse to give up the Grunge Rock feel they bring to Dirty Neon. Strong harmony vocals and a hook filled chorus combine with Obermeyer's voice to create a radio-ready rocker with some kick. Capital Sons strum their big guitars and start a party on Waiting For You, an irrepressible rocker with a chorus that just won't quit. It's Tom Petty meets Pearl Jam while jamming with Blues Traveler and everyone's feeling good. Capital Sons bid adieu with the pensive Hotel Room, an examination of a failing (or failed) relationship. The sense of melancholy contained therein dovetails with the maudlin Americana arrangement. Obermeyer ends the song on a powerful run that takes the song from pleasant to dynamic.

Capital Sons offer up an intriguing set on Dirty Neon, bringing grunge and Americana together in a way that's delightful. Dirty Neon is one of those debuts that leaves you waiting impatiently for whatever Capital Sons releases next. Make sure you check out Capital Sons if they come to your town, and make some time for Dirty Neon. It might not be this album that's the catalyst, but I have no doubt that within a few years Capital Sons will be a well-known commodity.

Rating: 3.5 Stars (Out of 5)

You can learn more about Capital Sons at http://www.capitalsons.com/ or www.myspace.com/capitalsons. You can purchase Dirty Neon as either a CD or Download from CDBaby.com.

Review: Courage Pills - Ancient Headache

Courage Pills - Ancient Headache
2009, Courage Pills

West Chester, Pennsylvania’s The Courage Pills garnered critical praise from us for their 2008 self-titled debut EP last year, and have been haunting clubs on the Philadelphia scene for a good three years now. Not ones to rest on their laurels, the band returned in late 2009 with their sophomore album, Ancient Headache. With a Post-Punk pastiche that has both singer-songwriter and Pop veins running through it, Ancient Headache finds the Courage Pills stepping forward into a brave new world and developing their sound.

Ancient Headache opens with Swan Song, a rough-around-the-scenes acoustic/electric alt-Rocker that is surprisingly catchy. Swan Song is a great opener. Memory is a bit off the beaten track but is built around a wonderful hook in the chorus. The song is catchy enough to stay with you and novel enough to real get in your brain and haunt you for days. The Courage Pills kick over a healthy dose of Post-Punk rock on Cemetary Song; another surprisingly catchy tune that might make you want to dance just a little bit. Open Our Eyes finds the Courage Pills hitting a bit of Pop/Rock gold. The chorus is infectious, the song danceable and the musicianship is top-notch.

Courage Pills get a bit darker and less accessible on Broke and Dumptruck. The energy level of the band remains high, but the distinctive Pop sense that runs through the first four songs on Ancient Headache takes a breather mid-album, returning on the wonderfully earthy Way Down. This is the sort of song where you just close your eyes and surrender yourself to the gentle swaying rhythm. The melody is brilliant even if the lyrics might be a bit disturbing for some at times. Ancient Headache closes out with the dark and moody Get Out And Play, a mildly catchy yet disaffected tune that seems like it would be a hoot done live. There's a lot of room for instrumental mischief in this tune, some of which is realized on the album, but the jam possibilities are endless on-stage.

Ancient Headache is intriguing; the Courage Pills takes risks and move forward from their 2008 self-titled EP. Most of the material on Ancient Headache ranges from interesting to compelling, and a real Pop sensibility wends its way through the album. There are a couple of rough spots, but it all works out in the end.

Rating: 4 Stars (Out of 5)

You can learn more about The Courage Pills at http://www.thecouragepills.com/ or www.myspace.com/thecouragepills. You can purchase Ancient Headache on CD from CDBaby.com, or you can download the album from iTunes.

Review: Conil - Strange Part Of The Country

Conil - Strange Part Of The Country
2009, Great Hare Records

If you can't get a famous producer to listen to your demo, submit under a false name that sounds like somebody famous. Dishonest, yes, but it worked for London's Conil, who got Tchad Blake (Tom Waits, Pearl Jam) to listen to his demo by submitting it under the name Phil Coltrane. With the help of double bass player Danny Thompson (Tim Buckley, John Martyn), Conil has created a stirring album in Strange Part Of The Country, due out in February 2010. Already notes as one of the finest voices in England, Conil brings the presence of a lonely troubadour and a voice that is compelling in its singularity on Strange Part Of The Country.

Strange Part Of The Country opens with the title track, a rootsy bit of musical melancholy that pulls the listener in like a subtly insistent rip tide. Conil continues down the solitary track on Years Between, sounding like a cross between Bob Dylan and Hawksley Workman with a dash of Nick Cave thrown in. Conil creates an interesting dichotomy, blending his gentle melancholia with melodies that soar even when weighted with the world. Bonediggers has a serene air about it that evaporates in the middle but reasserts itself in the end. There is a distinct Zen feel to the song, with a possible moral of accepting yourself for whom and not what you are. Time Settles follows a similar formula and sounds a bit in a rut.

Conil climbs out of the crevice with Dog Meat Stew. Repetition still holds sway, particularly in the choruses, but on the whole Dog Meat Stew is an eclectic and interesting listen. Conil gets his edge on with Grapevine, the most vibrant and quietly angry rock song on the album. Things turn decidedly more serene thereafter, however. Distances From Here is somnolent and dreamy, and History Of The Best Of Us is a mildly morose paean to love or something like it. Conil rounds the bend and heads home with After The Hole; a six minute monstrosity that wears monotony and low affect like lucky charms. Conil does break out with some of his trademark soaring melody components, but much of the song is mired in a recursive reflection that's more desolate than anything else. It's interesting at first, but becomes difficult in its relentless pursuit of negative dynamics.

Strange Part Of The Country both engages and pushes away listeners at times, creating an internal tug of war that will be fun for some listeners and a turn off for others. The album itself is a bit uneven, and I am not sure that the folks who tagged Conil with the honor of having one of Britain's finest voices were listening to the same material I was; nevertheless, Conil is engaging with a sound that draws you in even if it isn't necessarily the prettiest one in sphere. His songwriting is a plus, although his plumbing of the emotional depths is a bit too weighty for my taste at times. Regardless, Conil is a talented performer who will connect with audiences on one level of another, as per their tastes. I don't imagine this is the last we'll hear from Conil.

Rating: 3 Stars (Out of 5)

You can learn more about Conil at http://www.conilmusic.com/ or www.myspace.com/conilmusic. You can purchase Strange Part Of The Country as either a CD or Download from Amazon.com. Downloads may also be obtained via iTunes.

Review: God's Guns – Invasion 89

God's Guns – Invasion 89
God’s Guns

Ted Nott (vocals/bass) and Daniel Villarreal Carrillo (drums) travel under the name God's Guns, mixing elements of Rock, Jazz, Funk and Classical music into a dynamic and wide-ranging musical melting pot on their debut album, Invasion '89. The Chicago duo claim influences as diverse as Fela Kuti, Janes Addiction, Nine Inch Nails, The Mars Volta and Miles Davis. Wrap it all up in a grunge-flavored sensibility and you have a sound that's not quite like anything else currently out there.

God's Guns open with Ruby Ridge, a piece of Funk-driven rock with minimalist instrumentation (bass, drums & vocals). It's organic dance rock if you can imagine Pearl Jam playing with P-Funk's bassist sitting in. God's Guns shows a progressive leaning toward the end of the song that bears out later on. Invasion 89 features highly complex rhythms drawn from Jazz and Afrobeat styles, but musically it's all over the map.) God's Guns get expansive on Gutters Eye Blue, a melodramatic piece built around an almost derelict depression. Drum and bass fill the core here, with the vocal and violin dueling in a form of raw, forlorn grace.

God's Guns discuss the fall of New Orleans on Skeletons Of Louisiana Streets. The song is done beat poet style with sparse musical accompaniment, and focus on the moral and social degradation of the city rather than on a specific event such as Hurricane Katrina. Fires In The Fall finds the band in an introspective ode to a friend who has passed on. Driven by acoustic guitar and a dramatic vocal line reminiscent of some of Eddie Vedder's better stuff. Same Sinatra, More Insane features a searingly dramatic vocal line, but the song itself gets a bit messy. Petroleum gets messy but in true Progressive Rock circular style and ends up sounding more Psychedelic than anything. Puppet Show is a deep mess, running all over the map. It sounds as if God's Guns is more concerned with construction than progression here.

God's Guns turn out a solid if uneven effort in Invasion 89. The drums and bass setup with occasional violin or guitar is interesting, but wears as the album progresses. It seems as if may have worn on God's Guns as well, as the second half of the album is nowhere near the quality of the first half (with the exception of Fires in The Fall). When God's Guns are on their game they are an engaging band with a unique sound. These guys are definitely worth checking out, although individual songs may be hit or miss.

Rating: 3 Stars (Out of 5)

You can learn more about God’s Guns at www.myspace.com/godsguns or http://www.godsguns.com/. You can purchase a copy of Invasion 89 through CDBaby.

Review: Riverdies – Down Yard

Riverdies – Down Yard

2009, Riverdies

Riverdies is a Rio de Janeiro-based rock band with big dreams, big melodies and a wide variety of musical influences. Together since 2000, Riverdies has built a strong following in their native Brazil and is looking to spread their music beyond its borders. Featuring Alex Melch on vocal and guitar; Fil Buchaul and Leo Graterol on guitar, Gui Farizeli on bass/vox and Victor vonDraxeler on drums, Riverdies rocks with the best of them. Their latest album, Down Yard, just might have what it takes to make some noise in North America and beyond.

The slow burn intensity of Pearl Jam crossed with the harder edge of Soundgarden or Alice In Chains is an apt way to describe Riverdies; bringing back the days of Grunge with a melodic vengeance. Down Yard opens with I Wonder, a big angry rocker that only deviates from the Seattle sound by incorporating a classic rock guitar solo. Riverdies steps back a bit further, walking the line between 1980's Pop/Metal and Grunge on Background. Vocalist Alex Melch is an affable and competent front man with an ideal voice for this material, although he never seems to really push the limit vocally. Riverdies slows things down a bit on Morning Dies, something of a melancholy power ballad. The musicianship here is particularly notable with distortion stripped away; the layering of guitars creates a smooth sound with a lot of vitality and movement underneath.

Riverdies takes off the gloves with Build A New Life, a big dynamic rocker with guitar work reminiscent of Tommy Shaw & Ted Nugent in their Damn Yankees days. Melch finally makes the leap and goes to the wall on a demanding vocal line that stretches his limits. Fate is a sleepy tune that works well in contrast to Build A New Life. There's a lot of interesting stuff going on in the multiple guitar parts here, although it does get a little overcrowded at times. Riverdies says goodnight with Cliff, perhaps the most interesting and unusual track on Down Yard. Cliff takes a complex melody and builds it into a shifting musical framework is too involved to be improv but a little too wild to be set in stone. Cliff would allow for a lot of room to play, particularly in a live setting.

Down Yard is an impressive if somewhat dated offering from Riverdies. The primary style here is the Seattle Grunge sound although it's been tempered by touches of 1980's Rock and lyric, singer-songwriter styles. Riverdies is dynamic and different enough to get attention. Their melancholic presentation usually works in Rock N Roll, and the songwriting is strong enough not to get stuck in a rut thus far. Take a chance and check out Riverdies; they just might surprise you.

Rating: 3 Stars (Out of 5)

You can learn more about Riverdies at www.myspace.com/riverdies or http://www.riverdies.com/. No online outlet could be found for Down Yard, but if you contact the band through their MySpace page I’m sure they’ll

Review: Chris Nunez - Chris Nunez EP

Chris Nunez - Chris Nunez [EP]
2009, PremUnite Records

Chris Nunez is a rising rock star, a former Marine, an Iraq war vet and has designs on being a strong voice for his generation. Playing rock music with an edge akin to Rage Against The Machine and a message that conveys in peace, love and understanding, Nunez isn't so much a voice in protest of the way things are but an advocate for where we should be as a society. Hard Rock, Reggae, Jazz and Blues all find their way into the five original songs presented on his debut EP, Chris Nunez. The socially minded Jersey shore rocker, who is of Colombian-American heritage, never lets up in his relentless drive for social change. Nunez embodies the work and social ethics of a young Springsteen with the steely guitar sound of Lenny Kravitz.

Nunez opens with a classic grunge-style tune in Dr. John Brown; sounding like a cross between early Soundgarden and Pearl Jam. The song is about oppression, society and what it takes to rise above it all. Gasoline Dream is a moderately catchy tune that tries to balance commercial appeal with a distinctive rock edge. Nunez plays around with some jazz elements on Club Zion, particularly in the reprise. Plenty But Few and Our Generation were okay, but didn’t leave a distinct, lasting impression

Chris Nunez is a very talented axe man, and there are indications of real songwriting talent here, but a collaborator might add the appropriate level of creative conflict to really bring out the best in Nunez. The songs on the Chris Nunez EP are very listenable but don’t dig in to find that special oomph that real makes a listener keep coming back. A decent effort.

Rating: 3 Stars (Out of 5)

You can learn more about Chris Nunez at http://www.premuniterecords/. You can purchase a copy of Chris Nunez at CDBaby.com.

Review: Strangers Pass - Strangers Pass [EP]

Strangers Pass - Strangers Pass [EP]
2009, Strangers Pass

Strangers Pass is a power-trio that derives its sound from a wealth of influences. Singer/guitarist Robert Sadowski credits Hendrix, David Gilmour, Jimmy Page, Tommy Iommi and Brian May, whereas Bass man Bob Mikkelsen grew up on a hybrid diet of The Beatles, Pink Floyd, Metallica, Rush and Yes. Drummer Frank Gattuso leaned toward John Bonham and Bill Ward, but also had a strong affection for James Brown skins masters Clyde Stubblefied and Jabo Starks. Strangers Pass came together at an impromptu jam session in August of 2008 that was meant to be for fun but turned out to be for good. 2009 sees the release of their debut, self-titled EP. The styles and sounds that influenced each band member combine here to create a hard nosed Rock N Roll album with subtle influences and pensive interchanges.

Strangers Pass opens with Alone, an aggressive rocker that sounds a bit like what Black Sabbath might have sounded in their early, garage days. Strangers Pass does an about face on 400 Monroe, a moody and introspective rocker ala Pearl Jam. Snake Charmer is another dark and pensive rocker that calls out a manipulator. See Them All sticks to the dark musical aspect that runs through the EP, rebounding for an almost hopeful, ambient chorus before ricocheting back into darkness. Through The Maze finds Strangers Pass ending in a melodic and unthreatening fashion, with an upbeat yet mellow performance that sounds more commercial alt-pop than anything else on the EP.

Strangers Pass does an imitation of the month of March on their self-titled EP: In like a lion, out like a lamb, although Through The Maze does show some verve in the chorus. When I read the bio on Strangers Pass and saw the range of influences I was very excited. Here is an opportunity to take some grand musical traits and construct something new and original. In fact, the opposite has happened. Strangers Pass have taken the core elements and wiped away the things that don't match, much like finding the universal elements on a musical Venn Diagram. The result is essentially a mellow grunge album that sounds something like Pearl Jam, Soundgarden, Temple Of The Dog, etc. It's a good listen, but not necessarily what you'd expect.

Rating: 3 Stars (Out of 5)

You can learn more about Strangers Pass at www.myspace.com/strangerspass.

Review: Melting Point - Get On The Bus

Melting Point - Get On The Bus
2009, Banana Man Records

Berkeley, California has been the home bass and hiding place of Melting Point since 2005. While in relative seclusion the band has been cooking up a mix of classic sounds and downtown rounds to try to add something new to the rock n roll stew. The result is their debut CD, Get On The Bus, a mix of Garage and Noise with a Seattle poise and a lot of testosterone thrown in.

Melting Point gets right to the cusp on Get On The Bus but never quite gets gaseous. A steady mix of Garage, Noize and Psychedelia is punctuated with the occasional Reggae jam or Grunge outpouring as a means to purvey the testosterone-laden lyrics Melting Point thrives on. More American Pie than American Idol, the quartet runs through thirteen decent to good tracks with no real, "Hey, who is THAT?" moment. The closest thing on the disc is Rainbow Tincan, which sounds a bit like heavier Jethro Tull. It's the most coherent and directional songwriting on the album and you could actually here this one getting played on the radio. The other material is interesting, from the Pearl Jam/Soundgarden hybrid Ishmael to the pure teenage male chutzpah of Core and Get On The Bus. Melting Point is great party music, particularly if its a frat party, but Get On The Bus is too steeped in its influences to really get original. There’s a definite demographic for Get On The Bus, but its not a large slice of the commercial pie.

Rating: 3 Stars (Out of 5)

You can learn more about Melting Point at www.myspace.com/meltingpointband or http://www.meltingpointband.com/, where you can purchase a copy of Get On The Bus.

Review: The Courage Pills - The Courage Pills

The Courage Pills – The Courage Pills
2008, The Courage Pills

West Chester, Pennsylvania natives The Courage Pills have the right idea. Formed just two years ago, they already haunt the clubs and venues of Philadelphia with a sound that is steeped in punk rock energy and a pop-hook driven musicality that’s bound to make the most cynical critic look up and take notice. The Courage Pills are no slouches as musicians either, with lead guitarist Michael Schramm featured in the March 2007 issue of Guitar Player magazine. Despite the recent loss of their original drummer, The Courage Pills continue to weave great pop/post-punk tunes in the same vein as Graham Parker’s former backup band, The Figgs. The Courage Pills sent along a seven-song demo entitled The Courage Pills. Let’s take a look.

The Courage Pills open with Way Down, an Americana flavored tune with an underlying punk sensitivity. The song is incredibly catchy with a bit of a garage sound to it (as if it were a live recording, which it may be). Open Our Eyes is a live recording, and is another incredibly catchy creature. The Courage Pills ride a big guitar sound and an almost Jim Morrison style vocal here to a bit of pop/punk nirvana. The melody will not escape you, recurring in your brain until you want to stomp on it. It’s infectious and a lot of fun. Cut Back The Lawn heads for Americana territory again with a surprisingly smooth sound offset by electronic voice box supporting organic vocals. The arrangement here is wonderfully smooth and high brow and shows The Courage Pills broadening their range of sound.

Cemetery Song has a manic, almost new-wave sound to it. This is perhaps the song with the greatest commercial potential on the demo; although the vocal/guitar mix is very muddy and should be clarified (vocals and guitar are at the exact same level, meaning the vocals become lost at times). Cemetery Song carries the same sense of pop hook wonderment mixed with the frenetic punk energy that underlies much of what The Courage Pills play, and is thoroughly infectious. Dumptruck is a little more driven, sounding a bit like early Figgs material. Swan Song is a glorious romp with big guitars and an almost Pearl Jam style pomposity. For alt-rock fans, Rabbiteater is the song you come to the Courage Pills for. Easily their most complex composition from the material here, Rabbiteater shows a band jumping to the next level artistically. This particular recording is rough, but shows the distinct potential of the band as a future entity.

The Courage Pills are a young band at a crossroads. The first real personnel change is just behind them, and they show the restless tendencies of a band just starting to take wings and find its true voice. It’s generally within the next year that they’ll either explode into the band they’ll become or implode into a mass of good intentions and lost potential. If I were a betting man I’d pick the former. The Courage Pills mix pop and punk in a style reminiscent of Ben Folds, and there is a real hunger for great Rock N Roll out there right now. The Courage Pills could be part of the answer.

Rating: 4.5 Stars (Out of 5)

You can learn more about The Courage Pills at www.myspace.com/thecouragepills or http://www.thecouragepills.com/. It does not appear that The Courage Pills have any CDs or MP3s for sale online at this time. You can stream six of the songs discussed in this review on their MySpace page, although Rabbiteater is curiously not available. Perhaps if you message them through the MySpace account they’ll sell you a copy of The Courage Pills.

Review: The Wildcat - The Wildcat

The Wildcat – The Wildcat
2008, The Wildcat

The Wildcat are a Hollywood, California alt-rock trio that’s part garage and part Americana. Joshua Gollish (guitar/vox), Robin Everhart (bass) and Ric Rocc (drums) give it all they’ve got on their third release, and full length debut, The Wildcat. The Wildcat rocks it old school, from the foot-tapping, hook filled guitar rock songs to the vinyl-lp replica looking CD.

The Wildcat opens with Nothing's Fresh, a deliciously bright rock tune with big guitar sounds and a real pop bent. This is rock and pop at its most streamlined and enjoyable. Lead vocalist Joshua Gollish reminds me distinctly of John Thomas Griffin of Cowboy Mouth, and at times channels a bit of Eddie Vedder to boot. The Wildcat is definitely more in the Cowboy Mouth territory, while Can't Sleep and Where The Wind Blows have that Seattle influence that is distinctly Vedder. The Girl is an incredible messy blues tune with lots of slide guitar and dirty licks. Shimmy Interlude is a fun little musical sidebar, and All That Remains hearkens back to a 1960's musical ethic. Other highlights include Shimmy Rock and Some Friends (which has a guitar lick that sounds like it was partially borrowed from The Eagles' Life In The Fast Lane).

The Wildcat is a rough work that runs all over the map. It's a very enjoyable listen, but there's little cohesion or consistency throughout the album. This means that while it's a great listen it's not likely to find a lot of commercial oomph. The Wildcat (the band) comes across as your quintessential bar band. These are guys whom you'd be very happy to be entertained by on any given weekend night, and they're good enough to be more than just a bar band, but until a real musical direction or cohesion comes into play it's probably what they'll be (and there's no shame in that - The Black Crowes have been a bar band all of their careers - a very good and successful one).

Rating: 3 Stars (Out of 5)

You can learn more about The Wildcat at www.myspace.com/thedeniercri. You can purchase a copy of The Wildcat at www.cdbaby.com/cd/wildcat.