JD Eicher & The Goodnights - Into Place

JD Eicher & The Goodnights - Into Place
2013, Rock Ridge Music

You’re going to hear a lot of comparisons made in conversations about JD Eicher & The Goodnights.  Critics have tied the band to Coldplay, Keane, The Killers, Death Cab For Cutie and The Script.  These are great compliments in a game where name recognition is key, but none of these comparisons does the band justice.  JD Eicher is an original voice, both literally and figuratively. With a lyrical talent culled from the great tradition of American singer/songwriters, Eicher also brings the melodic sensibility of great British songwriters such as Paul McCartney and Elvis Costello.    JD Eicher & The Goodnights recently dropped their third album Into Place, the third part of a trilogy that began with The Shape Of Things and continued with Shifting.  Into Place is Eicher’s most accomplished writing to date.

Into Place launches with "Ode To The Underdog", a thematically and musically appealing lead track with a touch of identity crisis. The verses are edgy, the bridge is angst-filled, and the chorus is uplifting and bright. In spite of these apparent contradictions the piece works. By the time Eicher breaks into the 'D' section after the chorus you've bought in and willing to go along or the ride. "Give It Up" has the sort of simple, hook filled chorus of which hits are made. The positive vibe and message are without cliché, and Eicher sings it like the top notch front man he is. This has potential hit written all over it. "You've Got A Lot Of Growing Up To Do" finds Eicher calling out practically everyone, including himself, for misbehavior a great and small.   Once again the pop aesthetic is very much alive and well here, and Eicher sells the song like a pro. 

"People" is a contemplative look at expectations and people's tendency not to love up to them. This is a quiet moment of pragmatic melancholy that's beautiful in its simplicity. Jerry DePizzo of O.A.R.  sits in on "Lately Lady", while Joy Ike combines her rather in impressive voice with Eicher's in a rambunctious blues-influenced romp. "I'd Like To Get To Know You" is the sort of light hearted love song that occasionally takes of up the charts or gets selected for inclusion in a romantic comedy soundtrack. Things turn a little deeper on "The Last Love Song", a pensive love song that's more serious and serene, and full of the angst of an as yet unrequited love. 

"Edgar Green's Time Machine" is a brilliant story song with a gently rolling media that carries you along a tale of genius, madness and joy. "Aaron" is a brilliant story of man who can't escape his own demons, but who wrestles them over a piano after hours at a bar. This story/monologue is incredibly real, driven by an unforgettable honesty and a lyric fortitude that is surprising even for Eicher. "Oh My God" is a philosophical dissection of profundity and human imperfection set to a quiet but insistent piano-based arrangement. Eicher laments an inability to be perfect in light of basic human needs in a one-side recitative with the Almighty. "Into Place" is a song about growing up and finding yourself; the understanding of what's important that comes with finding your place in the world. There is a celebration in here that's complicated but full of joy. Eicher delivers are all of this In a four and a half minute performance to remember. The album closes with a brief reprisal of the final track that features just Eicher and his guitar. This ending seems appropriate for the story-based album, but is perhaps the only questionably conceived/executed moment on the album. The ending is simply too abrupt and too short to resonate, and does more to distract the listener from what came before than anything else. 

Into Place presents JD Eicher & The Goodnights as one of the finest new purveyors of the pop singer/songwriter tradition.  Make all the comparisons you want, but Eicher is an original.  Into Place will likely find itself crowd the top of many year-end lists, and is certainly worth of being a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more at www.jdeicherandthegoodnights.com. 

Zak Smith - Haunted Feet

Zak Smith - Haunted Feet
2010, Zak Smith

On one hand you could argue that there are few original voices in popular music anymore.  Everyone is influenced by one or more artists of the past, and with a mere 8 notes it is difficult to do something truly original.  Yet it is the blending of styles and sounds that marks originality; not the similarities but the choices of division.  In one of these finely honed musical crevices grew the art and creativity of Zak Smith.  Other writers have compared Smith to Elvis Costello, Leonard Cohen, Kings Of Leon and The Killers.  Fair comparisons all, but Smith's proclivities as a songwriter run a bit deeper.  Check out Smith's debut EP, Haunted Feet, and you'll understand.

Haunted Feet opens with "Under Your Possession", a catchy and affable blues/rock/Americana blend that grows a bit more infectious every time you hear it.  Smith's pleasantly raspy voice perhaps doesn't have a great deal of range, but Smith makes the most of what he has, pouring his personality into each vocal performance.  "Suffer Like A Ghost" is a solid pop/rock number full of layered sounds.  The unpolished sound here seems more an artistic choice than a liability.  "The Ones That Got Away Will Bury Me" is an intriguing number based on a somewhat morbid concept.  Smith sounds like a cross Tom Petty and Marc Cohn here.  "The House You Haunt" features an understated approach and a catchy, compact rock n roll number.  Smith's personality oozes out of this song in omnipresent waves.  The EP closes with "Faith But Waiting", a catchy number with great sonic atmosphere.  The keys/guitar mix here is righteous, fleshing out the songs hooks in lifelike fashion.

Zak Smith is the guy you don't see coming.  The music on Haunted Feet will seem nice and appealing to you the first time you hear it.  You might even be forgiven if you don't back to Smith right away; but the more you listen something interesting happens.  Zak Smith sucks you in to his songs slowly, over time.  Haunted Feet is a slow burn, but one well worth waiting for.

Rating: 4 Stars (Out of 5)

Learn more about Zak Smith at www.zaksmithband.com or www.facebook.com/zaksmithband.  Haunted Feet is available digitally from Amazon.com and iTunes.

Escape Directors - Ladders

Escape Directors - Ladders
2010, Escape Directors

Wayne, New Jersey quartet Escape Directors walk the fine line between the Indie feel of Death Cab For Cutie and the more polished sound of bands such as The Killers, The Fray and even Radiohead. Taking a less in your face approach than most pop/rock outfits, Escape Directors will sneak up on you with songs that insinuate themselves into your mind and then won’t let you go. This tendency is very much in evidence on Escape Director’s debut album, Ladders.

Ladders opens with "Car Crash" a well-written song of regret that's delivered in a low-key fashion but with a lot of power. The song is incredibly tuneful, and Escape Directors come across sounding like a slightly more muscular version of Toad The Wet Sprocket. "Heart Defeats The Home" is an unglamorous look at adultery. Escape Directors craft strings around the base arrangement to build tension and bring resolution, while Steve Carter's vocals and the band's harmonies tell a story of love, betrayal and regret. "Fall Together" is a solid pop/rock effort with a melody that practically sings itself to you; the sort of song you'll be inclined to hit repeat on many times over.

Bravado rules the day on "When You're Gone", where the narrator tries to convince the one who cut him loose that he'll be alright. As the song progresses you realize that he's actually speaking years after the event when she has very much moved on, and it's clear he never has. "Chicago" is a song of unintended consequences and the beginning of a life on the run. It’s a fun listen with a dark underbelly that will draw you in. The centerpiece of the album, however, may just be "Mrs. Davenport", an incredibly catchy kiss-off song. Written in a compact and subdued arrangement, "Mrs. Davenport" is graced with a melody that screams for your attention. It's a brilliant bit of songwriting with a quiet pop flavor you can't ignore. "Margaret Marion" is a love ballad to someone who has passed on sonically inspired by Radiohead. The theme continues into "Take Me Back Home", where the narrator looks forward to a time when he will be reunited with his love in the afterlife. It's a beautiful sentiment wrapped up in a gorgeous arrangement consisting of acoustic guitar, piano and cello.

Escape Directors might not grab your attention. They're not a flashy bunch, but the songwriting is quietly amazing. Crafting melodies in the irresistible tradition of British rock n roll, Escape Directors have created a first class pop/rock album in Ladders. The comparisons to Toad The Wet Sprocket and Radiohead are spot-on, as Escape Directors build song after song out of distinctive melodies and energetic but understated arrangements that get under your skin and whisper quietly into your mind. Don't miss this one.

Rating: 4 Stars (Out of 5)

Learn more about Escape Directors at http://www.escapedirectors.com/ or www.myspace.com/escapedirectors.  Ladders is available as both CD and Download from Amazon.com.  The album is also available from iTunes.

Blip Blip Bleep - Like Track Stars

Blip Blip Bleep - Like Track Stars
2010, Blip Blip Bleep

Blip Blip Bleep is Brooklyn producer Sean Han, with the artful assistance of Jojo Schwartz (drums) and Alexa Danner (vox/keyboards). Dancing on the delicate line between 1980's British New Wave and electro-dance styles, Blip Blip Bleep keeps growing their legend with each release. Out this week, Like Track Stars is Blip Blip Bleep's debut full-length album after two prior EPs. Like Track Stars starts out as a catchy affair, mining the undulations of electronic sound with a distinct pop sensibility and urgency before fading into a bland musical facade.

Like Track Stars opens with "Rock (Intro)", a musically intriguing but lyrically banal entr'acte that makes up for its repetitive nature with variegated rhythms and a musical wall-of-sound construction that engages listeners beyond the vocal line. "Freak You Out" is highly danceable electro-rock. While lyrically simplistic, this seems the most likely pop/dance hit on the album. "Already Pretty" raises the level of complexity of Han's songwriting a notch. The song has a driven feel and moves more to an alt-rock style/feel. The vocal harmonies here are very enjoyable, and the chorus is a solid attention grabber.

Blip Blip Bleep shows off its upbeat, high-energy dance music style on "Don't Forget" with a sound that fills your ears, making it easy to overlook the unsophisticated lyrical style of the band. Of course, they then turn around and serve up "Like Track Stars", a song about the urgency and freedom of youth or young adulthood, seen with the perspective and understanding of time. It's a poignant tune, perhaps a bit too busy with the electronics but well-wrought nevertheless. "Broken String" gets down to the 1980's Brit-pop style that seems to drive Blip Blip Bleep in a decent but too-busy tune. At this point it appears as if the band had run out of its best material but needed more material to fill out the album. "A Letter To Elise", "Rewrite The Scenes" and "Rock (Reprise)" simply don't live up to the energy or intensity of the rest of the album. Blip Blip Bleep then fills out the space with remixes of "Freak You Out" and "Rock", but both seem more like gimmicks to break into the club scene than artistic interpretations of the original versions.

Like Track Stars starts out fairly well but stumbles on the back stretch and limps home. This is one of those occasions when an album would better serve a band as an EP. That doesn't take anything away from Blip Blip Bleep. When they are on, Blip Blip Bleep is a very entertaining band with a sound that adeptly blends the sonic tempura of electronic music with the energy and urgency of rock music; they just reach a bit too far on Like Track Stars, filling in space with material that seems unworthy of its brethren. It's a solid 4 stars over the first six songs, but a bare 2 stars over the final five.

Rating: 3 Stars (Out of 5)

Learn more about Blip Blip Bleep at http://www.blipblipbleep.com/ or www.myspace.com/blipblipbleep. Like Track Stars is available digitally from Amazon and iTunes.

Review: Throwing Seven - Hope Forgets To Breathe

Throwing Seven - Hope Forgets To Breathe
2010, Planet LA Records

Los Angeles stalwarts Throwing Seven push their melodic power rock to the masses with the release of their debut album, Hope Forgets To Breathe. Regulars in clubs across Southern California, Throwing Seven create a sonically dense three-guitar sound and wrap it around emotionally impactful lyrics. Lead by the monomonous lead singer Jude, Throwing Seven looks to take things to the next level with Hope Forgets To Breathe, after spending the past couple of years playing major festivals including the Vans Warped Tour.

Hope Forgets To Breathe opens with "Push", a stripped down and tightly controlled Modern Rock anthem built around a compact arrangement, rapid-fire drumming and the needful vocals of Jude. "Push" has radio hit stamped all over it; the sort of song that can catch fire at the right time and get a lot of spins quickly. The bass player puts a funk stamp all over Push and carries it over into "Four For Free". "Four For Free" sounds a bit more typical of a modern rock band, but Throwing Seven sticks with the compact style, letting their musicality take precedence over volume or speed. "When The Lights Go Out" finds Throwing Seven retreating into more stereotypical sounds for their genre. The energy and originality of "Push" and, to a lesser degree, "Four For Free" falls by the way side. "Black Maria" restores the energy in a virulently angry track that's worth hearing.

"Saturday Night Soldier" finds Throwing Seven opening up with a more metal-oriented sound without giving up their compact, New Wave sound. The guitar sound is bigger, the drums faster and meaner, but Jude retains his Pop-metal credentials on a serious face-melting tune. "Let It Bleed" finds Throwing Seven amping up the energy in a serious guitar rock anthem worth paying attention to. Throwing Seven turns down the amps on the opening of "Lotus", building through the first verse into a full-bore rocker full of layered guitar and a highly variable rhythm section.

Throwing Seven creates exciting Rock N Roll on the surprising Hope Forgets To Breathe, building in enough rock credentials to survive in a market like LA but with enough musical heart to export their sound outside The City of Angels. Throwing Seven isn't the sort of album that truly breaks a band; it's more the one before that sets the band up to the breaking point. What Throwing Sevens do next is ultimately up to their creative process.

Rating: 3.5 Stars (Out of 5)

You can learn more about Throwing Seven at www.myspace.com/throwingseven or http://www.throwingseven.com/. You can download Hope Forgets To Breathe through iTunes. Hard copy CDs are available directly from the band at live shows. If you can't make it to a show but want the CD, message the band through MySpace. I'm sure they'll be happy to help you out.

Review: Crash Kings - Crash Kings

Crash Kings - Crash Kings
2009, Universal Motown

Brothers Tony and Mike Beliveau were brothers long before they were band mates, but as two-thirds of the Crash Kings, the brothers Beliveau have shown the sort of chemistry filial connections can bring to a rock band. Add in the stellar drum work of Jason Morris, and you have a recipe for success. The Los Angeles trio released their debut album in May of 2009. The self-titled debut disc perhaps hasn’t garnered the attention it deserves to date, but it’s not for lack of talent or musicality.

Crash Kings open with "Mountain Man"; a tune somewhat reminiscent of early Led Zeppelin for its stark rawness. Vocalist Tony Beliveau has all the makings of a big time glam-rock front man and a voice that jumps out of the speakers and grabs your attention. "1985" will have you dancing like its 1985. The arrangement here is somewhat sparse, but there's no question about the intensity or control involved. "It's Only Wednesday" is a piano-driven rocker delivered in an open arrangement that allows Beliveau to reign supreme over the top. The further you get into this album the more hooked you'll be. There's something indescribably catchy about Crash Kings the vibe they create on their self-titled debut.

"Come Away" finds Crash Kings settling into a mellower Brit-sound that will be familiar to fans of bands like The Killers and Oasis. Beliveau shows his lyrical side on songs such as Come Away and Non Believer before launching into the blistering pace of "14 Arms". Crash Kings let their glam hang out on this one even while sticking with the quasi-acoustic sound that holds sway here. Beliveau stomps and prowls like Freddie Mercury and blows the roof off. "Raincoat" embarks on a story driven by nervous energy as expressed in the uneven pace of the bass line and the percussive, Ben Folds-style piano line. "Raincoat" is the most sonically satisfying song on the album. "Saving Grace" is the sort of Glam/Brit-Pop anthem that launches national adulation and worldwide tours. Progressive and Pop elements help this song to enter the ever declining arc of the parabola extending toward Pop perfection. Crash Kings close out with "My Love", a theatrical love song that will remind listeners of a cross between Queen and The Beatles, and perhaps even a bit like Michigan rockers Woodward.

Rock N Roll is dead. Yeah, right. Crash Kings are at the forefront of a new generation of rockers with retro influences who are creating vibrant, challenging music. It's difficult to imagine a band like Crash Kings not making it big, although on a major label even the brightest talent can be snuffed out and relegated to the bar circuit by one inept executive who doesn't get it. Regardless of what sort of push they get, expect Crash Kings to be on a lot of critics "best of" lists. Crash Kings will hook you on the first listen and still be with you far down the road.

Rating: 4.5 Stars (Out of 5)

You can learn more about the Crash Kings at http://www.crashkingsmusic.com/ or www.myspace.com/crashkings. You can purchase Crash Kings as either a CD or Download from Amazon.com.

Review: The Burning Hotels - Novels

The Burning Hotels - Novels
2010, Miss Press Records

Fort Worth, Texas quartet The Burning Hotels bring a delightful mix of melodic Post-Punk New Wave rock on their first full-length album, Novels, due in April of 2010. Shades of U2 can be heard at times rising out of the rich musical tapestry constructed by The Burning Hotels with the help of mixer Mark Needham (The Killers, Bloc Party).

Novels opens with the dense, compact Rock N Roll of Austin's Birthday. Tight musicianship and strong production values produce a British New Wave feel. It's an intriguing open to an album that both excites and disappoints in equal measure. Boy Or A Girl keeps the same vibe with a quirky sensibility added in, but by the time The River arrived I'd already begun to suspect that the sound and dynamic of Novels was a bit too static. On Time, The Burning Hotels pulled out of the rut, firing up a sound reminiscent of U2. The energy level rises noticeably on this song as does the tune's virulence, although lyrically The Burning Hotels don't seem ready to play on the same fields as U2.

Silhouette is pure melancholic Pop Noir; a highly enjoyable venture that doesn't so much reflect a change in approach for the band but better framing of their strengths. The Burning Hotels find a niche here where their low-key approach works well. Tempo and construction vary widely on Silhouette, and the band appears willing to take a few more risks. To Whom It May Concern lives on the strength of a strong chorus. The dynamic is still a bit too narrow here, but The Burning Hotels at least appear to be trying to stretch the boundaries a bit. Where's My Girl is pure New Wave Pop with a bit of commercial edge to it; the sort of tune that will play well live. The Burning Hotels close with their most vibrant track, One To Five. One To Five is very catchy; a great ending that will entice listeners back with a great last impression.

The Burning Hotels exploit a heavily layered wall-of-sound feel on what is essentially retro New Wave rock on Novels. The effect is wonderful when it works (and when The Burning Hotels decide to take chances), but can also be stifling when the band allows themselves to get stuck in a rut. This is more an issue for production than for the band themselves, as it is often difficult to hear these sorts of critical points from inside the creation process. It's the producer's responsibility to shape the overall recording to avoid both the appearance and reality of complacency of a band. The Burning Hotels manage to shake things up periodically on Novels, but not before becoming a bit too settled in established rolls. Novels shows some real potential; if The Burning Hotels keep pushing they're going to break through some walls and create some really vibrant music.

Rating: 3 Stars (Out of 5)

You can learn more about The Burning Hotels at www.myspace.com/theburninghotels. Novels drops sometime in April, 2010, but you can check out the first single, Austin’s Birthday, available as either a CD or Download from CDBaby.com.

Review: Saints Of Valory - Saints Of Valory

Saints Of Valory - Saints Of Valory
2009, Saints Of Valory

Saints Of Valory formed in Atlanta, Georgia in late 2008, but Godfrey Thompson and Gavin Jasper were both established professional musicians before the band came along, allowing the band to transition quickly from inception to gigging to recording and releasing an album. With roots in classical and film scoring, Jazz, Latin and Rock N Roll, Saints Of Valory were bound to create some interesting and unusual sounds. That's why it's no surprise that the band's debut, self-titled EP is so compellingly good.

Saints Of Valory opens with Love Junkie (Drama Queen), an off, off-kilter heavy rocker with distinct Pop sensibilities. This is dark and elusive Rock N Roll that remains accessibly by planting itself firmly in your forebrain and refusing to vacate the premises. Mary-Go-Round has a compelling, edgy sound that's part Brit-Rock and part Arena Rock. Vocalist Gavin Jasper is enigmatic but perfect for this setting. Crash Monday straddles thin buffer between Classic Rock, Modern Rock and Pop with a danceable mix that's fresh and exciting. This is the best tune on the album, and don't be surprised if sooner or later it turns into a big commercial hit for somebody. Saints Of Valory closes out with two live in studio tracks. The first, Nowhere To Land, makes me think of what U2 might sound like if they came along twenty years later, while Stay Wild is a classic big Rock anthem. The wide open arrangement and instantly likeable melody would sound perfect in a stadium filled with 80,000 screaming fans.

Saints Of Valory are the real deal, a big-time rock band that's comfortable in its own skin and not trying to be anything other than what they are. If you get a chance to see Saints Of Valory live I highly recommend you make the effort. In the mean time, this is an essential debut album. It's perhaps not quite Desert Island material, but I wouldn't be surprised if Saints Of Valory turn out their share of Desert Island discs in their time.

Rating: 4.5 Stars (Out of 5)

You can learn more about Saints Of Valory at www.myspace.com/saintsofvalory. No online outlets were noted for the Saints Of Valory EP. You can stream the songs on the band’s MySpace page.

Review: Ketch Harbour Wolves - Dead Calm Horizon

Ketch Harbour Wolves - Dead Calm Horizon
2008, Ketch Harbour Wolves

Toronto's Ketch Harbour Wolves are the darlings of that city's Indie Rock Scene, showcasing at NXNE for the past 3 years as well as at 2009's Canadian Music Week. Taking their name from Ketch Harbour, Nova Scotia, where the seeds of the band were born, Ketch Harbour Wolves wow crowds with strongly emotional songs set in powerfully layered arrangements. The Tragically Hip meets Interpol might be one sonic image to help you understand their sound, but ultimately Ketch Harbour Wolves manage only a passing resemblance to either band on their way to a sound that's distinctly original. Ketch Harbour Wolves released their sophomore EP, Dead Calm Horizon, in 2008, earning praise as one of the 10 hottest bands in Canada from one reviewer.

Dead Calm Horizon opens with Words, an ambient and richly layered acoustic composition featuring significant vocal harmony work in the song structure. The driving nature of the song manages to not be at odds with its more lyric sound, drawing in listeners into a quiet vortex of sound and emotion you won't want to escape from. Leaves is more straightforward, layering cello, guitar and piano into a traditional yet lush Rock arrangement with a philosophical bent. So Long To The Ground is a bit obscure for meaning, but is an amazing composition that will stick with you in spite of not standing out specifically for melody. This is one of those songs that have a certain je ne sais quoi that taunts the listener without ever truly revealing itself. Midnight Dark Water is an upbeat and poppy exploration of the psyche of a man who guides ships through storms with his hands firmly on the wheel. The subject and arrangement are so completely at odds that the combination works in a burst of sheer and joyful surprise. Dead Calm Horizon closes out with Letters, a request and nearly a secular prayer.

Ketch Harbour Wolves are distinctive and original without completing blowing the mold on their sound. The arrangements here are highly pleasant to listen to, even if the lyrics are occasionally a bit out of left field. A rainy afternoon spent with Ketch Harbour Wolves' Dead Calm Horizon would be well spent.

Rating: 3.5 Stars (Out of 5)

You can learn more about Ketch Harbour Wolves at http://www.ketchharbourwolves.com/ or www.myspace.com/ketchharbourwolves. You can purchase a copy of Dead Calm Horizon at www.cdbaby.com/cd/khwolves2, or you can 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: Woodward - Switch Hit Resistor/Footski/Love Heart

Woodward – Switch Hit Resistor/Footski/Love Heart
2009, Woodward

In April of last year we reviewed Woodward’s full-length debut, …But Your Kids Are Gonna Love It, with raving words and manic glee. The album came in at #3 on Wildy’s World’s Top 40 Albums for 2008. In May of 2009, the band will release three new singles through iTunes and other download services. Switch Hit Resistor, Footski and Love Heart represent a growth in sound and style for Woodward, beginning with the retro/modern classic rock sound Detroit’s Fab Four propagated on their debut, Woodward has taken a more linear, melodic approach to songwriting this time around. The result is consistent in style, but perhaps just a bit more refined than in the past. Where modal triad harmonies in the classic, arena rock style were the rule before, now they are a bit more complex and developed in conjunction with an expressive harmony line. It’s almost as if Woodward took their old sound and blended in just a touch of 1980’s New Wave aesthetic to find a sound that is viably modern while staying true enough to their roots to please long time fans.

Switch Hit Resistor is perhaps the closest to the old material, although the synth lends that New Wave feel to the song. Footski sounds a bit like Elvis Costello recording with Queen, and sounds like a potential summer hit. This is the sort of song you hear driving in your car and crank the volume up as loud as it will go. The pop sensibilities that Woodward showed on their debut have not deserted the lads. Love Heart is a bit more introspective that anything you might have heard from Woodward before; I wasn’t sure about this one on first listen, but as I’ve listened to it more and more I really like it. Love Heart is subtly and intelligently written and has a chorus that just won’t get out of your head.

So times are changing. Woodward shows distinct growth on their new singles without sacrificing the essential character or sound that has enchanted fans to date. If anything, the artistic and sonic growth is going to make Woodward a lot of new friends. Woodward stands for the type of Rock N Roll that has been missing from the popular scene since Grunge exploded out of Seattle almost twenty years ago. Bands like The Killers and The Fray have tried to resurrect melodic, retro/modern classic rock with varying degrees of success, but no one in the mainstream has done it as well or as emphatically as Woodward. Make sure you check out their new singles, Switch Hit Resistor, Footski and Love Heart when they become available later this month.

Rating: 5 Stars (Out of 5)

You can learn more about Woodward at http://www.woodwardtheband.com/ or http://www.myspace.com/. The singles Switch Hit Resistor, Footski and Love Heart will be available some time in May on iTunes and several other online vendors.

Review: Zac Mac Band - Under The Radar

Zac Mac Band – Under The Radar [EP]
2009, Night Train Records

The Zac Mac Band has taken Boston, and now they’re ready to take on the world. Lead singer, songwriter, pianist and sometime guitar player Zac McIntyre was a finalist in 2008’s Great American Song Contest, and towers above the competition (he’s 6’10”). Inspired by bands such as Led Zeppelin, Coldplay, Chris Cornell, Collective Soul, The Killers and Snow Patrol. McIntyre writes intelligent and catchy mellow rock songs that get stuck in your head. The Hope, Maine native is a veteran of bands such as North Of Nowhere, The High End and Johnny Rainfield, but appears to have found a sound and style with the Zac Mac Band that is his own. ZMB’s latest release, Under The Radar, hit stores in March of 2009.

McIntyre has a very enjoyable voice. The songs on Under The Radar have a much laid back, nearly repressed mellow sound (think Barenaked Ladies’ Maybe You Should Drive album for comparison). McIntyre writes serious songs, but is not afraid to weave humor into the fabric of a song where appropriate. MySpace Heartbreak hits both serious and ironic notes in a New Wave/Pop tune about Post-relationship neurosis in a digital age. Highest Level is a treat for the ears; a modern mellow rock tune with a chorus worthy of Alan Parsons. Loaded Gun I didn’t connect with as well. Considering the subject matter the song is remarkably passive; the narrative and affect just don’t match at all. There is some Roy Orison inspired guitar work here and the song comes off sounding a bit like a John Mayer tune. 15 Songs On The Radio, on the other hand, is an inspired bit of writing. McIntyre takes us inside his head and the struggle to keep striving for your dreams when the possibilities are so limited (“So many other bands / they’ve got the same plans / and there’s only 15 songs on the radio.”) Anyone who has ever tried to make it in the music industry, or even stood in front of a mirror, air guitar in hand and wished will appreciate the sentiments here. Roll Me Over closes out the set in a somewhat generic Alt/Pop tune ala Dog’s Eye View or Matchbox 20.

The Zac Mac Band has a future. Under The Radar is a bit uneven but shows flashes of brilliance (MySpace Heartbreak, 15 Songs On The Radio). Don’t be surprised if these guys are household names down the line. For now, Under The Radar is a great way to get to know Zac Mac Band. Check it out!

Rating: 3 Stars (Out of 5)

You can learn more about the Zac Mac Band at http://www.zacmacband.com/ or www.myspace.com/zacmacband. You can purchase a copy of Under The Radar at www.cdbaby.com/cd/zacmacband.