A Rush To Judgement

 

I have long been a proponent of physical media, especially CDs.  Physical formats play into the relationship between fan and artist in a way that downloads never can.  Downloads are ether.  Holding the work of an artist in your hands is an entitlement and a connection, one that is harder to break, especially with the passage of time and the accumulation of a catalog.  You can debate the virtues of your favorite format (records, CDs, cassettes, 8-tracks), but that physical connection is real (and if you have figured out to get your favorite artist to sign the cover of your download, please let me know how.)

I am all-in on physical media.  Of course, record companies have to try to ruin that through greed.

When CDs replaced LPs, the standard list price for a record album was $8.98.  Think 1987-ish here in the United States.  Record companies set the base list price for the new CD technology at $12.98 for disc, in spite of CD’s costing less than half of the price it cost to produce an LP (vinyls, for you young’uns). So, the record companies basically said, CDs are going to cost us 60% less than LPs, so we’re going to charge you 40% more.  But the CD was new, shiny, would last forever (according to the marketing of the time,) and provide better sound quality (eventually.)

A few years back, record companies decided to try to kill CDs.  They told us LPs were warmer sounding (clicks and pops are not warmer), and by the way, they now cost $25-$30 a pop.  Everyone said the CD was dead – many small artists don’t even press to CD anymore.  Yet, CD is still the most popular physical format out there, and has been growing now for the last several years.  Why?  Sound quality. Permanence (relatively).  The disappearance of songs from streaming platforms.

So now that CDs are making a comeback, I’ve seen outlets pushing prices to $20-$25 per unit.  Yet it still costs $1-$2 to produce a CD en masse.  I know there are costs of recording, etc., but in many cases, we’re talking about repackaged releases from years ago that have already paid for their initial costs many times over.

Today I received an email from the UDiscover regarding a re-release of Rush’s Grace Under Pressure (see it here.)  The new edition has 4 CDs and a blue ray, a book, and reproduced ‘collectables’ from the band, all for $300.  The LP version is $375.  Rush took a lot of heat (rightly so) for the ticket prices on their recent comeback tour, but this just furthers the narrative of a band that has lost touch with where they started.  It’s sad to see, but it is representative of what the music industry does to music, and artists.

There is no real object lesson here, other than to understand that if you’re willing to throw your money around, there will always be a business executive who is happy to take it from you.

And you can find copies of Grace Under Pressure at your local thrift store for a couple of bucks.

 

Fear, Comfort and Dirty Smile(s)

It’s a scary world; A world full of people who are willing to castigate you for what you believe, or worse.  It doesn’t really matter what side of the political, religious or philosophical spectrum you’re on.  We in the United States live in a country started on the basis of freedom.  Puritans left Holland/England seeking freedom to believe in and worship God in the fashion they wished rather than in the manner prescribed by King James.  The founders of the United States wrote the Declaration of Independence, the United States Constitution and the U.S. Bill of Rights to specifically codify U.S. objections to rule by kings, tyrants and despots. 

Now we live in a nation where our leaders act counter to the interests of the people.  Special interests and corporations write our laws.  If you speak out against the way things are; against the government, you need to be concerned about who will start going through your email.  If you have religious beliefs, you need to be concerned about who might want to kill you.  It’s a scary world.

So reminiscence and memory become an escape, and music is one of the keenest reminders.  It’s one of the reasons that cover bands are so popular on Friday and Saturday nights.  It’s the comfort of music you know from a band that delivers it in relatively faithful versions.  The next step beyond that is a band that writes original music that is wholly from another era.  That brings us today’s band, Dirty Smile. 

Dirty Smile is a Buffalo, NY band comprised of Megan Brown, Erik Eimiller, Jesse Raderman, Mike Suda and Gus Walters.  The band is as tight as a wire and plays a delicious blend of pop, rock and soul.  Elements of Fleetwood Mac and the early, Led Zeppelin-like sound of Rush abound on the band’s debut EP, Love Songs for the Damned: Volume I.  Megan Brown is an absolute revelation on the mic, belting out vocals reminiscent of Grace Slick and occasionally even Geddy Lee.  Her voice is beautiful and electric with a rough edge and smooth side: the complete package.  The rest of the band matches her step for step with a dynamic sound with deep 1970s and 1980s roots. 

“Don’t Lie To Me” is the lead track, and could fit in on the regular play list of any AOR station in the country.  The song also has a freshness that makes it ear candy for today, and it wouldn’t be surprising to hear this on pop radio or on a movie soundtrack somewhere.  The other big standout track here is “Mona Lisa”, which is really performed in two parts.  The backside of “The Vow” is an acapella take by Brown on the Nat King Cole classic, and becomes a transition into Dirty Smile’s original song of the same name.  Brown shines on both, showing a supple, classic vocal style on the former, while diving into a soulful pop/rock sound on the latter.  Other songs of note include “Siren” and “Insanely Ever After”.

Love Songs for the Damned: Volume I was mixed and mastered by Canadian Indie legend Ron Hawkins (Lowest of the Low, Do Good Assassins), and the finished product is edgy, but ultimately as smooth as a baby’s bottom.  It’s a terrific introduction for a rust belt band with dreams and aspirations, as well as a sound that should carry them far beyond their great lakes home.

Learn more at www.dirtysmileband.com.  

Check out the official video for the band's song "Siren" below!

Aaron Comess - Blues For Use

2014, Innsbruck Records

The Band
Aaron Comess came to fame playing drums for the Spin Doctors.  While that wild ride continues, Comess has also made a name for himself from his solo work, which blends rock, pop, jazz and world sounds into his own distinctive sound.  Comess’ most recent work is in collaboration with Teddy Kumpel and Richard Hammond.

The Album
Aaron Comess released his third solo album in May, entitled Blues For Use, consisting of 12 instrumental tracks.

The Buzz
Comess, Kumpel and Hammond are consummate professionals, and the music on Blues For Use is demonstrative of that fact.  The album waxes and wanes from aggressive to pensive.  Comess’ talents as a composer are often overlooked, but he drives the creative process here. 

Spotlights
“Hard Ball” focuses on the rhythm section in a percussive arrangement that sounds like an early outtake from Rush crossed with Pink Floyd.  “Guilty Until Proven Innocent” works a long, slow build into a plaintive yet ear-pleasing chorus.  The tight instrumental interplay is key here, with a subtle guitar lead that fluctuates in intensity.  Comess and company engage in a brilliant piece of non-visual art in “Sunrise”.  It’s a lazy, rolling number; the melody is a dog lying in the summer sun, occasionally rolling over to scratch its back in the dirt.  “Bajelirious” plays like an alternate James Bond theme.  The band is at their best here, with all cylinders pumping. 

Footlights
There’s little negative to say about the album.  There are slower moments, but they are part of the ebb and flow of the album.  There is definite inspiration here, but it is sometimes of the quieter, pensive kind.  Subtlety abounds.

The Rating:  4 Stars (Out of 5)

The Songs
Surprise, Pt. 1

Hard Ball

Guilty Until Proven Innocent

Sunrise

Gorilla

Bajelirious

Clear

Casa Colonial

Blues For Use

Moonrise

Finally
Surprise, Pt. 2

Where to Go
www.aaroncomess.com

SoundCloud

Alex Hirsch - Naturally...

Alex Hirsch - Naturally...
1997/2006/2010, Key Wins Productions

 You might say that Alex Hirsch was born with a silver spoon in his mouth, but all of the silver in the world can’t make up for talent.  Hirsch has proven his talent over the years, collaborating with folks such as Elliot Randall, Ice-T, Bionik, Too Short and Griffen.  Alex Hirsch is the son of actor Judd Hirsch (Taxi, Dear John, NUMB3RS) and has certainly benefited accordingly, but Alex’s approach to music has always had a DIY slant.  A few years back Hirsch borrowed money from family members and started his own record label, Key Wins Productions, focusing on releasing albums made with real instruments by real people.  Hirsch’s latest album, Naturally…, is steeped in highly original songwriting that blends progressive and classic rock styles with doses of 1960’s psychedelia and jazz. 

Naturally… opens with “Martian Advance”, featuring churning guitars and an exotic progressive rock sound ala The Rheostatics.  Lyrically the song is more of a riff than a complete idea, but the grand crests and theatric turns play like a film score element.  “Naturally” is ethereal rock with a lot of open space in the arrangement all done up in reverb.  It’s a love song full of sadness and memory; Hirsch’s lyrics are intelligent if a bit off the map for your typical love song.  You might be forgiven for thinking this is geek rock with a refined touch, as Hirsch mixes a distinctive breed of intelligentsia with a charismatically finessed low-fi sound.  Hirsch takes on pure jazz form with “Structure”, offering wicked guitar and bass solos and filling in on piano is subtle but tangible fashion.  Rush fans may be reminded of the sort of structure and style displayed on their Gangster of the Boats Trilogy.

“I Speak The Truth” is an odd bit of atypical blues featuring simply Hirsch and his guitar.  Sparsely arranged and intriguing, the song is like eavesdropping on someone’s internal dialogue.  “Nova” is a dreamy ode detailing the moment of falling in love in graphic detail, reveling in the wake of the emotional explosion.  “Christine” revisits a chance meeting at the wrong time, where possibility and romance churn against limited time and circumstance in a mix of hope and frustration.  The chorus on this song is hauntingly familiar.  “One Confession” is an angry emotional jam with minimal lyrics.  Dark and vibrant, the song is full of anger and seeks an answer in no uncertain terms.  “5755” is dreamy 1960’s folk/pop ala Crosby, Stills and Nash written with a 1970’s singer/songwriter pastiche.  Well constructed, this tune is simply a pleasure to listen to. 

“Jail” is a jazzified rock composition with theatrical elements.  There’s a diffuse sense of humor running through this song that’s mildly entertaining as well.  “Girlfriend” is full of reverence; intelligent and off-beat.  Hirsch moons in a stream-of-conscious vamp in a blend of spacey rock, jazz and singer-songwriter styling.  The solo version of “Christine” sounds to be recorded live in the studio and is a bit more affecting than the standard version.  Hirsch manages to capture a live energy in this recording that casts the song in a better light.  “The Day” is a diffuse, open arrangement; a memorialization in song dotted with Branford Marsalis-style saxophone fills and runs.  “Time And Space” plays like two songs.  The first half is a long instrumental jam.  Once the vocals kick in Hirsch creates vocal triads that sound a great deal like early 1980’s Asia.  “Time And Space” has a finding-our-way feel to it that’s communicated in both the lyrics and arrangement, in what may be the most dynamic and original songwriting in a highly original collection of songs.  Natually… closes with “Lennon”, a tribute to the ex-Beatle that’s both musically and emotionally committed.  It’s a well-written and well-executed closer.

Alex Hirsch hits all of the right notes on Naturally…, following his muse wherever it leads.  Influences run through the album in veins, playing off of Hirsch’s natural musical proclivities and creating dynamic musical moments, helped along by highly intelligent lyrics and an intense creativity that seemingly never rests.  Naturally… is an exciting listen; you never know what’s around the next musical turn, or what else Hirsch might have up his sleeve.  Naturally… is an album that will keep you coming back.

Rating: 4 Stars (Out of 5)

You can learn more about Alex Hirsch at www.alexhirsch.com or www.myspace.com/alexhirschmusic.  Naturally... is available from Amazon.com as a CD or Download.  The album is also available digitally from iTunes.

Review: Electric Sorcery - Electric Sorcery II

Electric Sorcery - Electric Sorcery II
2009, Lyndonunderground

Vermont’s Electric Sorcery return with their second full-length album of 2009; Electric Sorcery II picks up where the band left off on Electric Sorcery.

Electric Sorcery II opens with Three Eyes, a guitar-driven classic rocker with a Reggae undertow. The guitar work is impressive although I am sure some might argue it’s overdone. The existing vocal lines are understated and work hard to balance energy and quietude. Horpus Richter gives it all over for five-plus minutes of instrumental bliss driven by a sound vaguely reminiscent of early Rush. Electric Sorcery winds up the trip-index on Deeper, mixing in elements of Jazz & Soul to a mellow-pop/Dance arrangement. The Urge goes extended jam before turning into a funky, Red Hot Chili Peppers style tune. It's an entertaining listen, although borders on formulaic for the genre. The Urge gets tedious however, again featuring extensive guitar soloing in its eight-and-a-half minutes. Electric Sorcery takes a turn for 1970's AM rock on Little Warrior. The song borders on charming, but the vocal line contains significant pitch issues that detract from the song. Electric Sorcery traipses through Year Of The Eel and Apparition before closing out with Inkriminated, failing to break new ground along the way.

Electric Sorcery II is a mix of extensive noodling with a bit of musical construction and form thrown in almost as an afterthought. Electric Sorcery is collectively a talented bunch of musicians, but there's no driving or cohesive force present on Electric Sorcery II. Electric Sorcery has their moments on Electric Sorcery II, but it's not quite as there as on last year's debut.

Rating: 2.5 Stars (Out of 5)

You can learn more about Electric Sorcery at www.myspace.com/electricsorcery. Electric Sorcery II will be released on January 9, 2010. Keep checking the band's MySpace page for availability.

Review: Eldorado - Golden

Eldorado - Golden
2009, Dejame Decirte

When we undertook reviewing En Busca De Eldorado last year we'd never heard of Eldorado before. Working primarily in Spain, El Dorado is something of a mystery West of the Atlantic and East of the Pacific, but that's not going to last. El Dorado is firmly rooted in a classic rock sound of the 1970's and 1980's, but with fresh songwriting and an approach welcome in commercial circles in 2009. The band's passion and sound drew in producer Richard Chycki (Aerosmith, Rush, Mick Jagger) for En Busca De Eldorado, and he returns to the production chair for Eldorado's sophomore album, Golden.

Golden opens with La Casa De Las 7 Chimeneas, an upbeat rock tune that reminds me a bit of the 1990's rock band The Men. Eldorado then launches into a bit of insanity in the form of a driven Rock N Roller with a classic bent. The song is a fun listen but you better be holding on. Atlantico is a sneaky song that sounds simple and straightforward the firs time through; but the more you listen the more the song opens up and reveals a deeper complexity that sucks you in. While not the best songwriting on the disc, I Don't Need No Doctor is a good, old-fashioned tail-kicker that's certain to get packed houses to their feet. El Desertor comes in a close second for best writing on the disc with it's laid-back Pop/Rock, but gets knocked out of the box by La Gran Evasion. If there's any one song on the disc that could make a real run at Modern and Classic Rock charts it's this one. Tarot TV is an odd musical diversion featuring the most wicked guitar work on the disc and leads into the closing number, Meteoro. Meteoro is a decent enough tune, but was perhaps not the best choice as a closing number. The song is almost anti-climactic after all that's come before.

Golden opens up a can on listeners and they'll be coming back for more. This is a band ready to break and break big; all it takes is the right marriage of opportunity and luck. Everything else is in place here. Vocalist Jesus Trujillo is an ideal front man, and Eldorado is as tight as a band can be. They'll be touring Spain in support of Eldorado this Fall and Winter, with a sojourn to the United States in the spring. Catch them when they come to town!

Rating: 4 Stars (Out of 5)

You can learn more about Eldorado at http://www.eldoradorockband.com/ or www.myspace.com/eldoradorockband. You can purchase Golden through Eldorado’s website.

Review: Recent Hours - The Definition Of Replacement

Recent Hours - The Definition Of Replacement
2009, Recent Hours

Recent Hours have been stalwarts of the Philadelphia Rock scene since their inception in 2006, continually pushing at the bounds of their self-styled "Euphoric Metal" with hard work, inspiration and a lightness of being that often evades the Metal Community. Recent Hours' debut CD, The Definition Of Replacement, shows musical growth even within the bounds of one album. Recent Hours are band going someplace quickly.

The Definition Of Replacement opens with a searing guitar riff that lights a fire under Head Gnomes. Dusty offers up a haunted, harrowing lead vocal line that takes off and soars in a memorable if atypically melodic chorus. Very early on Recent Hours will catch the ears of fellow musicians, as there is a great deal going on beneath the vocal line, from some really stellar work by drummer Andrei to an impressive presence by guitarists Mike and Andy. Take The Lead drives a hard melodic edge ahead of some tremendous guitar work. The song has an Emo feel in the verses but revs up to full capacity for the chorus. Drop It Proper kicks off with another vicious guitar riff and evolves into a mellow minimalist arrangement that feeds into a dynamic chorus. Halo has a dynamic and highly rhythmic arrangement but lyrically falls flat and seems to be missing some of the vocal intensity found on earlier tracks.

Insect Carci follows a similar path, although there is more vocal intensity here. Recent Hours seems to struggle to match the level of their musicianship with like quality lyric content. The Sweetness slows things down a bit (at first), before ripping into a slow and tortured guitar-driven chorus where the drum work is the definitive star. The Definition Of Replacement closes out with The Offer, perhaps the hardest and heaviest tune on the disc.

The more I listen to Recent Hours the more I wish they were an instrumental band. The vocalist is decent, but lyrically the band just leaves a lot to be desired. With better material to sing Dusty would be a formidable front man, but musically this band is insanely good. I'd love to hear what they could do with a more imaginative lyricist. Dreams of a post-Rush, post-Dream Theater super-band abound on The Definition Of Replacement.

Rating: 3 Stars (Out of 5)

You can learn more about Recent Hours at http://www.recenthours.com/ or www.myspace.com/recenthours, where you can purchase a copy of The Definition Of Replacement.

Review: Clandestine – The Invalid

Clandestine – The Invalid
2009, Clandestine

Clandestine has been making waves in Los Angeles’ underground music scene, mixing Progressive Metal with lush electronic sounds and the dynamic voice of June Park (vox, programming). The band is rounded out by Dan Durakovich (guitars, programming), Mark Valencia (bass) and Apex Theory alum Sammy J. Watson on drums. August 18, 2009 sees the release of Clandestine’s second album, The Invalid. Mixed by Sylvia Massey (Tool, The Apex Theory, System Of A Down), Clandestine is poised to make the jump to the big time.

Clandestine sets forth with Fearless, a vibrant and heavy modern rocker featuring the fabulous vocals of June Park and the intriguing guitar work of Dan Durakovich Fearless is ready for Modern Rock radio and may have some crossover potential particularly if it were placed on the soundtrack of a psych thriller or horror film. Disappear finds Clandestine venturing into some seriously progressive territory, showing the sort of creative construction and funky time signature work that made bands like Rush. Drummer Sammy J. Watson sounds like he might have spent some time studying Neil Peart, if nothing else. Silent Sin heads more for a middle-of-the-road pop sound likely designed to increase Clandestine's marketability across demographics, walking a similar path to Evanescence (although I have to admit that I think I might choose Park over Amy Lee).

Clandestine bounces back a bit hardcore on Philistine, ripping up vocals chord, tearing off the roof; generally melting face. Philistine questions existence, purpose and generally the meaning of life in urgent overtones with some of the hottest guitar work of 2009. Fracture has an urgent feel, threatening to fly off the rails at several turns winding around a melodic core like the winds of a musical hurricane. Dead To The World is an exquisite piece of Prog-Metal; Park is in perfect voice, and the arrangement soars over funky signature changes, arrhythmic progressions and a searing mix of guitar and synth to create a sound that's at times, other-worldly. The Invalid is a song about the right to die from the perspective of someone who has no control over their life. The song is angry and violent in tenor and thought provoking in content. It's a bit more cerebral than your typical Prog-Metal piece without sacrificing a bit of quality in the music. Be sure also to check out Comatose.

On The Invalid, Clandestine takes the unique sound of Evanescence and crosses it with the inventive progressive rock/metal styles of Rush to create one of the more unusual and welcome releases of 2009. June Park offers up a powerful voice that can croon a lyric line or scream like a banshee, whatever the moment calls for. Clandestine is incredibly talented musically, and the writing's not so bad either. There's too much power and too much talent here for Clandestine to stay hidden from public view. Clandestine just might be one of the next heavy hitters in the world of Rock.

Rating: 4 Stars (Out of 5)

You can learn more about Clandestine at www.myspace.com/clandestineband. The Invalid hits the streets on August 18, 2009. Expect wide availability. Keep checking the band’s site for more information.

Review: The Comforts - Come On In!

The Comforts - Come On In!
2009, The Comforts

Cincinnati, Ohio’s The Comforts don’t play the typical Rock N Roll game; it’s not sex, drugs, and party-party-party for this quintet, but good, old fashioned Rock music with broad appeal that saves the day. You can find them anywhere from a biker bar to church festivals, with smiles from both crowds. The Comforts’ debut album, Come On In!, reflects this aesthetic, with influences ranging from 1950’s pop to 1970’s Rock/Metal bands like Rush.

Come On In! opens with Better Reasons, a relatively straight forward Pop/Rocker with it's lineage in 1960's girl groups and pop idols like Brenda Lee. The mix on this song is a bit muddy, with the vocals sounding very restricted in the presented mix. Never Look Back runs on a guitar riff that might have been inspired by Alex Liefson. The song itself is a pleasant listen and a call for community. The vocals are shared here between Paul Lake and Frances Lynn Merke; both are competent in their parts but don’t set the world on fire. Love Around You takes on folks who have real-world responsibilities but continue to act like they are young and unfettered. The arrangement here is messy, particularly around the vocal harmonies; a case where the message is great but the delivery is unfortunately less than spectacular. Small Town Girl hearkens back to the early days of Rock N Roll and is my personal favorite from the EP. Circles Never End has an urgent, even pushy feel to it that's just a might infectious. The arrangement will get stuck in your head, although the melody line is a bit non-descript. Come On In! closes out with You're That Girl, a messy but fun romp

The Comforts stick to the sound they know best on Come On In! The EP didn't blow me away, but had a couple of good moments. I don't know what the long term prospects are for The Comforts, but it will be interesting to see where they go next.

Rating: 2.5 Stars (Out of 5)

You can learn more about The Comforts at www.myspace.com/thecomfortsrock. You can purchase a copy of Come On In! on CD or as a download at www.cdbaby.com/cd/comforts.

Review: Mile Marker Zero - Mile Marker Zero

Mile Marker Zero - Mile Marker Zero
2009, Mile Marker Zero

New Haven, Connecticut's Mile Marker Zero have been building to this moment since they formed in 2003. June 16, 2009 saw the release of a CD also entitled Mile Marker Zero. It's a mix of favorite tracks from their first 3 releases as well as newly written material. The new CD finds Mile Marker Zero riding a crest of creative depth and popularity that has been a slow-but-steady build over the last six years. Mile Marker Zero trolls the depths of Progressive Rock and Metal; everything from Rush and Dream Theater to Tool, Metallica and even Porcupine Tree. Vocalist Dave Alley is the ideal hard rock front man, able to shred the vocals when appropriate and sing almost lyrically at the other end of the spectrum. This is the album the makes Mile Marker Zero a name you'll remember.

Mile Marker Zero opens with the heavy, rhythmic guitar riff that announces A Thousand Nights. The song is constructed of free-wheeling verses that explode into a soaring chorus full of layered guitars and strong harmonies. Guitarist John Tuohy gives this song its heavy edge, while keyboardist Mark Focarile provides a swirling steadiness that holds the song on check. The rhythm section of Tim Rykoski (bass) and Doug Alley (drums) provides a solid and energetic base for the rest of the band to play off, both here and throughout the album. Laceration recalls some of the heavier rock that piggy-backed on Seattle's Grunge movement. The bass line to this song is killer, and Alley gives a vocal performance that's dynamic and alive. Alley reminded me a bit of the Tragically Hip's Gordon Downey on A Kiss To Fix. The sound here is a bit darker than on the first two tunes and perhaps a bit less accessible to the casual fan, but it's an intriguing piece of writing.

Passive shows a softer side to the band, a contemplative ballad for the first two minutes that slowly crescendos into a mournful power ballad. Crimson Red finds Mile Marker Zero in full-on Prog mode in the most dynamic song on the CD. The song examines war from a personal perspective, detailing the costs in human terms. The guitar work here in particular is notable, with Tuohy giving a performance that would make Malmsteen blush with pride. Maree is a more traditional power ballad, sure to make it to the mix-tape crowd, whereas In Loving Memory Of... is more of an epic ballad, with the sort of soaring grandeur that you used to find from groups like Styx in their heyday. Peril Aerial is a true epic, coming in at over 10 minutes and featuring some of the most inventive Prog work this side of King Crimson. Reaping Ride throws all caution to the wind; the guitar opening has the melodic metal sound practically patented by James "JY" Young of Styx but in a heavier setting than that band usually managed. The song itself is urgently driven in content but plays on the edge between classic and modern rock. Musically this is the most fun composition on the disc. Mile Marker Zero closes out with Hush, an acoustic composition that's quite beautiful and quite out of character with the rest of the album sonically. What is not out of character is the compositional depth, drawing on classical themes to construct a composition that could be played as easily in a concert hall as in a stadium. Hush is a true gift to fans, letting them see the depth of the talent Mile Marker Zero possesses both individually and as a group.

This sort of Prog Rock isn't going to find a lot of room on the radio dial, but there's a very hungry community of fans out there who love it, and if you're part of that community, then Mile Marker Zero is just what you've been waiting for. Fire up that CD, Maestro, I want to listen again.

Rating: 4.5 Stars (Out of 5)

You can learn more about Mile Marker Zero at www.myspace.com/mmz or http://www.milemarkerzero.com where you can purchase a copy of Mile Marker Zero.

Review: The Crazy Ivans - Go Back To Russia, Sucka

The Crazy Ivans – Go Back To Russia, Sucka
2009, The Crazy Ivans

Dallas, Texas is ground zero for The Crazy Ivans, a sextet with big dreams and even bigger questions about just who they are. Biographical information about the band is next to impossible to find, but we do know that the band grew out of the streets and clubs of Dallas in June, 2008. Named for a submarine maneuver used during the 20th century to help a submarine crew to see behind the submarine using sonar, The Crazy Ivans look back in mixing sounds ranging from classic, arena rock to punk, and look forward with an edge that is truly post-modern. Their debut EP, Go Back To Russia, Sucka, was released this year. Let’s check it out.

Go Back To Russia, Sucka opens with Frequency, a bit of hyperactive Grunge/Punk. Lead vocalist Kristen Lueken sounds a bit like Rush’s Geddy Lee here. The song is really a fun listen and is a great way to kick off the EP. Still Waters surprises with some arena rock style harmonies blended into what is just a great rock tune. Can’t Go Home takes things down a bit as a mid-tempo bad girl song. The energy just didn’t make it to the CD on this one, leaving it with a ho-hum feel that doesn’t match the “I’m going to be a bad girl” message. Wail Of The Banshee is everything you might expect for the title, and Lueken gets to belt for all she’s worth here. This is a bit rougher than the first few songs, and that sound carries over into the last track, Six Feet Above The Sheets. It’s here that you realize what a treat The Crazy Ivans must be to see live.

The Crazy Ivans get in some good shots on their first recording project together. Go Back To Russia, Sucka introduces us to a band that has an idea of where their sound is going but hasn’t really refined that sound yet. The result is an intriguing and somewhat varied EP that’s highly listenable and entertaining. Get your moshing shoes, your punker tee and your best snarl ready, The Crazy Ivans will make you dance.

Rating: 3 Stars (Out of 5)

You can learn more about The Crazy Ivans at http://www.thecrazyivans.com/ or www.myspace.com/yecrazyivans. You can purchase a copy of Go Back To Russia, Sucka at www.cdbaby.com/cd/crazyivans.

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: Electric Sorcery - Electric Sorcery

Electric Sorcery – Electric Sorcery
2009, Electric Sorcery

Electric Sorcery grows from the fertile musical stomping grounds of Northern Vermont. They are something of a local super group, collectively being veterans of Vermont acts such as Viscus, Cobalt Blue, The Myra Flynn Trio, Hoochie Lumbardo and Money Jungle. Derek Campbell (guitar, vox, harmonica, fife, theremin); Micah Carboneau (drums, vox) and Nathanael Reynolds (bass) deliver an eclectic and psychedelic rock mix on their debut album, Electric Sorcery.

Electric Sorcery opens with Mother Sea, a funky bit of early 1970's hard rock. Electric Sorcery plays on the same psychedelic plain as Jethro Tull, Deep Purple or Jimi Hendrix, although perhaps with not quite so much imagination. Law & Order is a frenetic rocker with a quasi-rap vocal that sounds a bit like Rush on Roll The Bones. A Switch In 9 Saves Time has manic guitar work and an infectious energy but never quite evolves into more than a showpiece. No Angel is an electric funk mind bomb, ala Hendrix, with subtle guitar work, some funky bass and an eclectic rhythm track. My favorite track on the CD, Life Goes On, is built on some dirty guitar work and a driven vocal that's part Red Hot Chili Peppers. Other highlights are Son Shadow and The Nubians.

Electric Sorcery plays on the same plane as Tull, Deep Purple and Hendrix, although perhaps not on the same stage (metaphorically). What Electric Sorcery does offer is an update of classic psychedelic sound with the heart of an original and the hip nature of an upstart. Electric Sorcery is a fun listen.

Rating: 3 Stars (Out of 5)

You can learn more about Electric Sorcery at www.myspace.com/electricsorcery. Electric Sorcery is currently only available locally in Vermont, but if you contact the band through their MySpace page, I’m sure you can work something out.

Review: Fractal - Sequitur

Fractal - Sequitur
2009, Fractal

Fractal is an original Progressive Rock quartet based out of San Jose and the San Francisco Bay area of California, beginning as a trio in 2000 and expanding to their current lineup in 2004. Their second album, Sequitur, moves mostly away from the improvisational approach of its predecessor, Continuum, while containing some of the most stylish and artful Progressive Rock of the decade. Fans of King Crimson, Yes, Rush, Radiohead, Pink Floyd and even Dream Theater take note; Fractal may just be the second coming of Prog.

Sequitur opens with Ellipsis, a busy instrumental that reminds me of some of Rush's later instrumental work (perhaps a wayward cousin of the Where's My Thing trilogy). Aftermath is the band's response to the events of September 11, 2001 and the loss of personal and cultural innocence. At over nine minutes, Aftermath covers a lot of musical ground, churning through musical mourning, anger and fluctuations of fear before a soaring guitar solo lifts your hopes heavenward. Mantra: Eternal Spring Of Life was perhaps not intentionally written as an epilogue to Aftermath, but does seem to capture the resilience of human spirit springing back to health even after the tragedy and burgeoning recovery of Aftermath. Soft, legato guitar solos capture the fragile first steps of confidence inside the tougher shell formed by guitar, bass and drums.

Coriolis is one of only two pure improvisations on Sequitur, taking on an ethereal, Pete Namlook/Fax type feel, particularly when the keyboards are in full force. Coriolis is somber and serious and other-worldly. Fractal slips into an almost Radiohead-like transcendentalism on A Fraction Of One, imbuing a quiet sense of urgency on an almost supernatural soundscape. Pataphysics, the other improv on Sequitur is an angry and impetulant rage on musical canvas that neither progresses nor devolves, but simply sits as a sonic mass to be passed through on the way to Mauve and The Great Pain. Influenced by a Jimi Hendrix blues feel and Fripp/Belew guitar stylings, Fractal takes us on a 13/8 time odyssey of sound that is closer to improv than pure composition. The Monkey's Paw is a jumbled mass of musical styles that persists in its chaotic state rather than evolving into something new. Imagine if Rush jammed with Gibby Haynes and you might have an idea of how this one will go, except that it's a lot more pure Prog than you might expect.

The epic Churn opens with a classical style overture that leads into the three movements or parts. Part I is eerily reminiscent of classic Yes, with Steve Howe-style guitar chops highlighting a highly rhythmic piece. Part II goes more for a Floydian disposition with an incredibly funky bass line adding musical commentary to randomly dubbed voiceovers; all played against a varying sonic landscape of dark intent. Part III brings a sonic resolution of acoustic guitar and keys that plays like an outro to one of the classic Styx albums of the 1970's. Closing things out is Bellerophon, a bit of musical sleight of hand that is like aural vertigo compared to the rest of the album. Bellerophon is an electronic composition that the band describes as a non-sequitur.

Sequitur is far and away the most exciting and original pure Prog album of the decade. There is a vibrancy and sense of creativity running through the work of Fractal that you have to go back to the early days of Prog to duplicate. It's easy to picture Fractal sharing a stage with groups like Yes, Rush or King Crimson in their heyday. If you have an ear for Progressive Rock then this album is definitely for you. if you're not familiar with Prog but love classical music, musical with unusual time structures or even some of the more experimental electronica then you would do well to give Sequitur a listen. Fractal got it right.

Rating: 4.5 Stars (Out of 5)

You can learn more about Fractal at http://www.fractal-continuum.com/ or www.myspace.com/fractalcontinuum. You can purchase a copy of Sequitur at www.cdbaby.com/cd/fractal3.

Review: El Dorado - En Busca De Eldorado

Eldorado – En Busca De Eldorado

2008, Eldorado

Madrid has a secret, and it’s one that won’t keep. Madrid might just be home to the best new classic metal band around. Fans of Rainbow, Deep Purple and even Whitesnake will want to take note, Eldorado is the real deal. Combining a killer rhythm section with soaring guitar riffs, big choruses and a charismatic lead vocalist in Jesus Trujillo, Eldorado has found a winning Rock N Roll formula. Their debut album, En Busca De Eldorado, was produced by Richard Chycki whose worked with such august artists as Rush, Seal, Aerosmith, Sum 41, Kid Rock, Def Leppard, Pink and Dolores O’Riordan.

Eldorado mixes heavy blues, rock and classic 1970’s metal sounds into a musical patois that is both comfortably familiar and at the same time new and edgy. En Busca De Eldorado is eight tracks deep, with seven in Spanish and one in English. Even if you don’t speak Spanish, the musical language here is universal. En Busca De Eldorado opens with Abril, which has a real Def Leppard feel to the verse. Crushingly melodic guitars drive this song home while Trujillo goes soul-metal in a performance that is highly memorable. Guitarist Nano makes the point that he’s a force to be reckoned here with some incredibly hot soloing. Whereas Abril has a brooding core, El Final springs out of the gates with a lively beat and takes to the open road. Eldorado is a well-oiled machine here, rocking for all they’re worth. The harmonies on the chorus will hearken back to a time when most hard rock acts could really sing.

Un Mal Presentimiento sounds like something you might have seen on MTV in the hair band days of the mid-1980’s. Eldorado doesn’t skimp on the quality here, building a layered sound that is both melodic and edgy. Dejame Decirte sounds like a big rock ballad, fairly typical for the genre, but Trujillo’s vocals keep it more than interesting. En Busca De Eldorado goes for the big, soaring guitar sounds you might expect from Ronnie James Dio, although the song itself is a bit more polished and commercial than Dio might end up with. My favorite song here is El Jugador. Eldorado reaches down and grabs hold of an infectious blues core on El Jugador and refuses to let go. The result is a song that just won’t get out of your head. Mistreated is the only English Language song on the album, dealing even more keenly in a blues-heavy hard rock sound. You can tell the band is having fun on this one, waltzing into Prog territory with the song structure and even stepping on the toes of Led Zeppelin in a musical dance you won’t want to miss. The album closes with Identidad, the most ambitious rocker on the album; sure to be a concert favorite.

Eldorado is one of the most resilient and hardest rocking classic hard rock bands on the scene today. The fact that most audiences in the new world have never seen them aside, Eldorado is a band to watch. With a growing Latin American population and the addition of a few more English language songs, Eldorado may be on the precipice of jumping of the EU and taking over the rest of the Western Hemisphere. En Busca De Eldorado is amazing.

Rating: 4.5 Stars (Out of 5)

You can learn more about Eldorado at www.myspace.com/enbuscadeeldorado or http://www.enbuscadeeldorado.com/. You can purchase a copy of En Busca De Eldorado at www.cdbaby.com/cd/eldoradomusic.

Review: Jackdawg - Jackdawg

Jackdawg - Jackdawg
2009, Sonic Past Music

The long awaited and much discussed CD Jackdawg is due for release on March 17, 2009. This near-legendary album was recorded in 1990 and features John McFee and Keith Knudsen of the Doobie Brothers along with Creedence Clearwater Revival's Stu Cook. The band was an outgrowth of Southern Pacific and was recorded at McFee's Lizard Rock Studio in Solvage, Ca. The Jackdawg recordings stayed hidden in a vault until after Knudsen's death in 2005. The eponymous album includes thirteen original tracks plus covers of Roky Erickson's Cold Night For Alligators and Van Morrison's Wild Night.

Jackdawg opens with Bayou Rebel, an ode of sorts to Creedence Clearwater Revival. Bayou Rebel sounds like something that might have come out of CCR in their heyday but updated for the early 1990's when it was originally recorded. When The Sun Don't Shine is a tasty bit of modern rock with southern rock ancestors. The guitar work here is excellent, and the melody is quite memorable. The Men Who Would Be King was inspired by The Beatles, hinted at the by the harmonies at the end of each refrain and the occasional musical reference.

Hunger is a big stadium rocker that sounds like top-40 gold circa 1985. Ghost Dance has no pretensions about it, sounding more like something you'd expect to hear out of Lou Gramm than a conjunction of ex-Doobie and CCR guys. It's quite good, just a bit of a sonic surprise you might not have expected. Jackdawg returns to familiar territory with the old school R&B rocker Take It Off. Kisses In The Rain is another one of those songs that would have been a huge hit in a different era. This one sounds like a cross between Don Henley, The Beach Boys and Huey Lewis' backup band, The News.

Other highlights here include I Couldn't Help Myself, the big guitar rocker Quicksand, the Hagar-era Van Halen sounding Lookin' For Trouble, Young Ones, and The Girl From Oz. The Girl From Oz was inspired by the lead singer from The Divinyls, and sounds like someone took a variance on the bass line from Styx' Too Much Time On My Hands; added some Alex Liefson (Rush) style guitar work and a big 1980's rock chorus to create the perfect pop/rock song. The covers of Cold Night For Alligators and Wild Night are quite well done. They fit with the character of the rest of the album, but don't quite blend in the way the rest of the tracks do.
Jackdawg is a brilliant album. It's too bad this has been hidden away for almost two decades. If released back in 1990 it might have been a major hit for Cook, McFee and Knudsen. Today it will be appreciated by those in the know, but probably doesn't have the commercial reach it might once have had. Expect to hear a handful of tracks from this one show up on soundtracks, commercials or wherever else the marketing folks can find a spot. The music is excellent, and worthy of the resumes Jackdawg brought into the project.

Rating: 4.5 Stars (Out of 5)

You can learn more about Jackdawg at http://www.jackdawg.net/. You can order a copy of Jackdawg at Amazon.com.