Brian Eno and the words of Rick Holland - Drums Between The Bells

Brian Eno and the words of Rick Holland - Drums Between The Bells

2011, Warped Records

Brian Eno has long been acknowledged as one of the founding fathers of ambient music.  His roots lie in the glam rock era, starting with the band Roxy Music.  As a soloist, his progressive tendencies grew from art rock to the early experimental days of Electronica.  Along the way Eno collaborated with such icons as Robert Fripp and Genesis, creating a body of work that is impressive in both its scope and quality.  As a producer, Eno has worked with acts such as U2, Coldplay, Depeche Mode, Paul Simon, Slowdive and Grace Jones.  Eno first discovered Rick Holland during a collaborative effort of the Royal College, the Guildhall School of Music, the Royal Academy of Music, the National Youth Orchestra (UK) and the English National Ballet entitled the Map-Making Project.  Eno first collaborated with Holland in 2003, and the two have worked together on and off since that time.  In 2011, Eno made the jump to Warped Records with the release of Small Craft on a Milk Sea.  Drums Between The Bells, featuring the words of Rick Holland, follows quickly on its heels, dropping on July 5, 2011.

Drums Between The Bells is an aural treat, with Eno drawing stylistically from his vast body of work to create musical backdrops that are esoteric in beauty and vital in their energy.  The album ranges from dance-oriented Electronica to avant garde, with stops at seemingly pastoral, cinematic and meditative musical spaces along the way.  "Glitch", the lead single, is a modernist obsession that will play well as a low-key club number, full of recursive synth and percussion and the robotized spoken word craft of Grazyna Goworek.  "Pour It Out" is a thing of pure beauty, from the Eno's seamless composition to the smooth soliloquy of Laura Spagnuolo.  "Fierce Aisles Of Light" features Rick Holland himself in his sole appearance on the album, offering his poetry in unaffected voice alongside Nick Robertson and Anastasia Afonina, to the ebb and flow of gentle industrial sounds.  There is a hopeless feel of automation here that is perhaps as much of a statement as the words themselves.

"A Title" has a space-age, cinematic feel to it that wraps around the listener like a shawl on a chilly night.  The school-marm voice of Caroline Wildi (we love the name) is both soothing and stern.  Eno gets percussive on the stimulating "Sounds Alien", a lesson in the power of rhythm in music.  Eno uses his own voice to create a sort of digital-age Gregorian Chant to the power of money and stock markets on "Dow".  "Cloud 4" sounds like the music of a child's demented wind-up toy, an answer, perhaps, to Pink Floyd's "Goodbye Blue Skies".  Drums Between The Bells settles in the shades of night with "Breath Of Crows", a musical landscape in oils, that mimics lonely madness on the edge of the periphery of darkness.  Holland's words reveal an utter loneliness bordering on insanity, delivered against a wonderfully bleak backdrop of sound that includes the machination of wind chimes and the ghosts of voices that only arrive to waking souls in the deepest hours of darkness.

There really is no tying Brian Eno down.  There is no one genre or style that you can attribute to the man, although much of modern Electronic music owes a debt of gratitude to his creativity and progressive musical nature.   The music on Drums Between The Bells vacillates between artful and creative to downright masterpieces of sound and vision.  Eno wraps up Rick Holland's poetic muse in clothing so well-fit it becomes impossible to separate the two.  Holland's work itself tends toward the pessimistic and bleak as often as not, and may be a tough read, but his words come to life across the soundscapes that Eno has created.

Rating: 4 Stars (Out of 5)

Learn more about Brian Eno at www.brian-eno.net or www.warp.net/brian-eno.  Drums Between The Bells drops on July 5, 2011.  The album is available from Amazon.com as a CD, a Limited Edition CD, on Vinyl and as a Download.  

The Royaltons - Secret Codes

The Royaltons - Secret Codes
2009, The Royaltons

Cleveland, Ohio’s The Royaltons came together in a most modern fashion. Vocalist Dale DeLong met multi-instrumentalist Will Hooper via Craigslist. Instant chemistry drew in bassist Tim Czaijka and drummer Steve Crobar, completing the lineup The Royaltons have today. With an energy level in live shows that have made them local favorites in Cleveland, The Royaltons take over the stage and command attention. The Royaltons released their debut CD, Secret Codes in 2009.

Secret Codes opens with the unpolished, down-tempo title track. Embellished with a deep 1960's garage aesthetic, "Secret Codes" is tangential and obtuse. "Evil Eye" stays with the 1960's garage sound but has more of a pop sensibility and a catchy arrangement that will get your toes tapping. "Like It Or Not" is full of nervous energy and angst and topped off with a memorable chorus. "Criminal" is the most radio-ready track on the disc; probably not a huge hit but good enough to exact moderate airplay and builds The Royaltons a real following. "More" is just Dale DeLong and guitar in a dynamic solo performance worth taking in. "Young Soul" is a plodding, brooding rocker with a solid melody line that's perhaps the most ambitious songwriting on the album. Secret Codes closes with "I Don't Need Your Light". The song starts well, but the chorus is emblematic of how a great riff and one great line can turn into a bland experience when both are taken for granted. The song ends up sounding whiney (in the vocal) and in spite of solid energy never really gets airborne.

The Royaltons show signs of real musical life on Secret Codes. Playing in the backwoods of garage rock and grunge but aiming for the melodic purity of bands like U2, The Royaltons are knocking on the door something unique. Secret Codes illustrates progress, but The Royaltons haven't quite put it all together yet. If and when they do, look out. For the time being, Secret Codes is solid progress.

Rating: 3 Stars (Out of 5)

Learn more about The Royaltons at www.myspace.com/theroyaltons.  Secret Codes is available as both CD and Download from CDBaby.com.  You can also find Secret Codes on CD from Amazon.com.

Review: Michael Bannerman – Losing Balance

Michael Bannerman – Losing Balance
2009, Michael Bannerman

Michael Bannerman spent nearly two decades as front man for CGMA Covenant Award Winners Lost Coin, touring North America in big tour buses and playing to large appreciate crowds. In 2009, Bannerman did one of the bravest things he could; he stepped out on his own. Bannerman returned to his roots, focusing the power of his songwriting on smaller audiences as he embarked on a solo career. Bannerman’s solo debut, Losing Balance, has drawn comparisons to Tom Petty for his earnest songwriting style. Bannerman is unique in temperament, enjoying the “paying dues” time he’s encountered as a new solo artist. That joy and passion shine through on Losing Balance.

Bannerman kicks off Losing Balance with the title track, a tasty Pop/Rock love song that you can't help but want to dance to. Bannerman keeps things simple and scores big time with a melody you'll be singing/humming to yourself for days. "Julia" is a song about an emotional black widow; a woman who consumes her partners lives until there's nothing left. Once again, the chorus will capture you and refuse to let you go. "Dangerously Beautiful" is written from the perspective of a man whose greatest distraction from love is his own ability to accept his deservedness. You'll likely recognize someone you know in this song, and the straight-forward rock arrangement is pleasing to the ear.

Bannerman's cover of Cyndi Lauper's "Time After Time" hits all of the right notes, physically and virtually. The song as presented is heartfelt and reverent of the original. Bannerman takes us on a good-natured tour of his life in "The Mini-Van Song", questioning how the sixteen year old he once was became the thirty-something he is now. Both tongue-in-cheek and heartfelt, "The Mini-Van Song" is a fun listen that will strike a chord with listeners in the same age-group. Bannerman's song isn't bitter at all, but thankful for where he's wound up. Nevertheless, he still questions how he got from there to here. Bannerman is a bit more tongue-in-cheek on "I Think I'm Going Crazy (Does This Make Me Normal?)", which borders on novelty.

"I Didn't Come For The Dance" is a wonderfully coherent take on someone feeds off of conflict in their own relationships. The Latin guitar in the verse and big rock chorus make this a highly listenable treat that will get stuck in your noggin. Bannerman's cover of Curtis Mayfield's "People Get Ready" (first recorded by The Impressions) is inspired, offered in a blues-flavored rock arrangement that flows like water. On "The Things You Leave Behind", Bannerman plays with the theme that the impacts we leave behind matter more than the things we amass in our lives. The uplifting message is delivered in a buoyant rock arrangement that is its perfect complement.

Bannerman writes a love song to a parent on "One Last Time". The song sounds like it might be a goodbye to a parent, but the lyrics will get you. The emotional impact might be lessened a bit by the upbeat arrangement (the song is more one of celebration than of mourning), but if you listen close you can't help but be affected. Lightening things up a bit is "Superhero", an ode to childhood dreams that perhaps haven't quite been snuffed out by adulthood. "October Sky" follows up on "One Last Time", painting a U2-themed picture at the death of a parent without ever being explicit about it. "October Sky" underlines the redemptive power of life even in the face of such deep, personal loss. Cello and piano highlight the insecurity of anyone who's ever sung for a listening on "Is There Anybody Listening?" Bannerman manages to keep things simple while trolling the lyrical depths for gems ("It's not that I'm afraid to be alone / it's just that I'm alone and I'm afraid / and I sure could use a friend").

Losing Balance progresses out like a one-man play set to music. Michael Bannerman uses his writer's pen to expertly compartmentalize moments and emotions from his life; parsing out grief, loss, love and healing in small doses as the story calls for. Bannerman mixes serious thoughts with a healthy sense of humor and a touch for winning Rock and Pop hooks, turning Losing Balance into a listening experience you'll want to repeat. The flow and cohesion of the album are rare in a day and age where many artists manufacture single songs like processed cheese, and Bannerman's pleasant, efficient vocal style delivers each song without pretense or affect. Losing Balance certainly hasn't received the attention it deserved, as Michael Bannerman quietly put out one of the better all around efforts during 2009.

Rating: 4.5 Stars (Out of 5)

You can learn more about Michael Bannerman at http://www.michaelbannerman.com/ or www.myspace.com/michaelbannermanmusic. Losing Balance is available as either a CD or Download from CDBaby.com.

Review: Justyna Kelley - Over The Moon

Justyna Kelley - Over The Moon
2010, Iconique Music Group

Justyna Kelley grew up in Nashville, in a household where jam sessions were as much a part of family play time as anything else. Kelley appears to have been groomed for a career in music, but it's her passion for music that makes her special. Kelley's debut album, Over The Moon, features the sort of Country/Pop/Adult Contemporary crossover appeal you'd expect from Carrie Underwood, Shania Twain or Faith Hill. Produced by David Kershenbaum (Joe Jackson, Tracy Chapman), Kevin Killen (U2, Peter Gabriel, Shawn Colvin) and Guy Eckstine (Herbie Hancock, Wayne Shorter, Jeff Lorber), Over The Moon features ten songs worth of smooth radio-friendly country/pop and rock.

Over The Moon opens with "Once In A While", a musical monologue from one who feels forgotten in a relationship. "Once In A While" is a classic modern country ballad; Kelley delivers the song with a grace and dignity that will surprise you. It's a great opening song that is likely to have mild radio success but will fit nicely into the wonderful world of licensing. "The One I Love" is a happy mid-tempo country/pop gem. This song could be a hit on either side of the Country/Pop divide, with a chorus that will get stuck in your brain and refuse to leave. Kelley has a cultured country alto voice that is appealing; just a hint of sultry attitude hidden behind a wall of sweetness that suggests "girl next door" qualities. "Pushover" finds Kelley drifting more into the realm of Rock N Roll in a kiss off song to a friend who isn't really. It's a song of strength, of standing up for yourself. Kelley's delivery is solid, but perhaps a bit short on the anger that runs through the song.

"Over The Moon" is full of the starlight and effervescence of new love. Kelley's smooth delivery can't diminish the utter joy this song conveys, and the sweet sound of her upper range perhaps makes the song even more endearing. This one could be a bonafide pop and country hit. "Shoulda Known" is the sort of generic Pop/Country that seems to do well on commercial radio but is quickly forgotten; a decent enough song but just not something that will stick with you. Kelley puts her pop shoes on for "Have You Seen Him?” combining elements of 1980's pop, rock and country for a solid tune with commercial legs. Kelley shines on the Diane Warren-penned "Life's Like That", navigating the soaring chorus with essential grace. Kelley says goodnight with "Emily", obsessing over her man's ex-girlfriend and whether she might still be on his mind. The song is an awkward closer, at best. I suspect it was included to show a different side of Justyna Kelley, but in the end it may have been more of a disservice to Kelley than anything else.

Justyna Kelley has a gorgeous voice, and reflects a poise and comfort on this recording that suggests a highly professional performer. Over The Moon suggests that no matter how pretty her voice may be, Kelley's isn't a powerful sound. This limits the range of material available to her, certainly, but not all of the material on Over The Moon was well chosen for her voice. Kelley can certainly deliver solid Pop tunes with appeal, and working in the circles she's in she's nearly guaranteed at least a modicum of success. Over The Moon has some strong moments, but never truly soars.

Rating: 3 Stars (Out of 5)

You can learn more about Justyna Kelley at http://www.justynakelley.com/ or www.myspace.com/justynakelley. No full album is availble yet, but you can download individual tracks from Justyna Kelley on 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: JD Eicher & The Goodnights - The Shape Of Things

JD Eicher & The Goodnights - The Shape Of Things
2009, JD Eicher Music

Hailing from Pittsburgh, PA and northeastern Ohio, JD Eicher & The Goodnights carry a rust belt Pop sensibility and a melodic touch that smacks of U2 or Coldplay. Together since 2006, JD Eicher & The Goodnights play like a band that's been together for decades, and the catalyst is 20-year old singer/songwriter JD Eicher, who writes and performs with an aplomb that far outstrips his scant two decades. The Shape Of Things, JD Eicher & The Goodnights' debut album, captures both the ingrained maturity and youthful energy of a band too good to be so young and too young to know better.

The Shape Of Things opens with the title track, subtitled Intro; a guitar and violin led romp that is bound to garner some Dave Matthews comparisons from those who aren't listening fully. The song is about perseverance and faith and not giving up on your dreams. Acoustic guitar and violin team to provide the vital rhythm of the song in contrast to Eicher's affectedly lyric vocal line. This Is Something could be the rebirth of an individual following a breakup. It's a hopeful song full of a blooming strength. There's anger and pain here but they fade even as the song progresses. Broken Wave brings delicious funk to a song where the narrator stands up for himself in a relationship that isn't balanced. It's a powerful song, evoking not so much anger as a new-found strength.

Not A Love Song is sweet and sentimental, driven by a gorgeous counter-melody from the violin. The song so thoroughly evades cliche that it nearly comes full circle in one of the more emotionally honest songs I've heard in the new year. Wanderer points out how the wisdom can sometimes overcome the hive mind in a touching tribute to individuality not in and of itself, but in pursuit of true freedom. Catching Stone is unusual; an apology for the over-reactions and hyper-sensitivities that sometimes arise in relationships. It's a powerful song with a tremendous chorus that will get stuck in your grill. Level Out is a personal favorite, utilizing a mildly percussive guitar as a plaintive counterpart to a soaring melody about hope. Eicher does a tremendous job of story-telling here in vignettes, and vocally it's the high point of the album as well. Wooden Shelves shows a similar propensity for story-telling and is nearly as good.

You Are is a delightfully upbeat song about doubt and wonder. Eicher is seeking answers and understanding from a world he's only begun to comprehend. The chorus is highly memorable; one that stays with you. Rain fits in with the general theme of finding your place and role in the world, using raindrops and their intentions as an initial parallel. The message, essentially, is that everyone has questions, but don't sit around wondering, get out and find out by doing and trying things. It's a vibrant bit of folk rock that's highly enjoyable. Calm represents a hopeful offer that is forsaken and leads to the closing track, Stopping Grounds. Stopping Grounds is all about making a stand for yourself; finding a place of strength to stand up to the world and say "no more". It is a song of quiet strength and really is a trip full circle from where Eicher started out, like a metaphorical trip of self discovery that winds up right where you started, but knowing that that, in fact, is the answer.

The Shape Of Things is one of the most gloriously subtle Pop albums of the past year, combining strong melodies full of beauty with story telling peppered with insight and a sort of awkward grace. JD Eicher And The Goodnights deserve every bit of attention they get for The Shape Of Things, and much more that won't come in a fractured and factionalized music business. The hints of awkwardness make this album distinctly human and wholly personal, like a late night phone call from an old friend full of the insecurities and vulnerabilities you only whisper to someone who knows your heart. JD Eicher treats all who will listen like his closest friend, and he connects. The Shape Of Things is unique and timeless; a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about JD Eicher And The Goodnights at http://www.jdeicherandthegoodnights.com/. You can purchase The Shape Of Things on CD from JD Eicher And The Goodnights' Web Store, or you can download the album from iTunes.

Review: David MacKenzie & Josh Johnston - Notes Home

David MacKenzie & Josh Johnston - Notes Home
2008, Shandon Records (Ireland)

Dublin is home to David MacKenzie and Josh Johnston, but much of their writing gets done on holiday in Italy and France. Hence the title of their sophomore album, Notes Home. MacKenzie & Johnston were accomplished musicians before coming together. David MacKenzie began his professional career with the BBC Northern Ireland Radio Orchestra. He has played with various ensembles throughout Europe and has recorded with Elmer Bernstein, John Barry, U2, Shania Twain and The Corrs. Josh Johnston has recorded or performed with Roesy, Kila, Declan O'Rourke, Karl Scully and Ronan Swift, and counts The Beatles, Billy Joel, Elton John, Alan Parsons, Ben Folds and Moxy Fruvous among his influences. MacKenzie and Johnston's debut album, A Minor Happiness was a straight-forward duet of violin and piano mix originals and covers, but for Notes Homes, the duo tackles the musical world of Stephane Grappelli and Joe Venuti with thirteen original tunes that transcend the spirit of the two jazz masters.

Notes Home opens with The Latecomer, a vibrant and mildly rambunctious work that dances on the edges of Bee-Bop and Rockabilly. MacKenzie & Johnston dance around each other like a pair of prize-fighters, and when they meet musical sparks fly. Cap Mortola is a lilting tune, perfect for dancing. Things take a dark and sentimental turn on Silk, a light samba perfect for the parlor or piazza. Place Carnot perfectly present and past, with guitar and violin in perfect sync throughout. MacKenzie And Johnston take things down a notch with La Nabonnaise, one of the simpler and most stoically pretty songs on Notes Home.

Minor Happiness was not my favorite tune on the first listen through, but I have to admit it grows on you. The song is pure joy in melancholy blue with a melody that sticks with you and an arrangement that's a hair's-breadth from perfect. Broadband Blues takes another tack, with a light and airy theme that plays like a fragrant summer's evening breeze. The low point of the album, a misnomer, is Waiting. This is simple dinner jazz, perfectly executed; a musical resting place before the final stretch. Wistful Thinking leads into the highlight of the album. Point Neuf is a deliciously dizzy waltz, with the violin dancing like a dervish. Don't be surprised if Point Neuf causes you to push the replay button many times over. MacKenzie and Johnston close out with the highly danceable Sliding Scale. The piano is bedrock here, with the violin providing the fireworks.

David MacKenzie & Josh Johnston make all the right moves on Notes Home. Fans of Django Reinhart, skeptical of all of the artists out there who "sound like" Reinhardt, will be pleasantly surprised by the chemistry and musicianship on Notes Home. MacKenzie & Johnston don't try to be Reinhardt and Venuti; instead they pay tribute to their legacy, staying close enough to the masters to be in the ballpark but original enough to bring that classic sound forward into the 21st century as vibrant as it ever was. Make sure you get your Notes Home.

Rating: 4 Stars (Out of 5)

You can learn more about David MacKenzie and Josh Johnston at www.myspace.com/davidandjosh or http://www.davidandjosh.com/, where you can purchase a copy of Notes Home.

Review: Graylit - The World’s Out Late

Graylit - The World’s Out Late
2009, Graylit

Graylit is an alt-rock quartet based in Nashville, Tennessee who met as college students in Florida. The band; Chris Yount, Mike Williamson, Lee Card and Jefferson Yount, all work 9-5 jobs while they keep plugging away at the music. Graylit is a perfectionist band, never really finishing a song, but taking it as far as they can before they have to lay it down. Graylit’s debut EP, The World’s Out Late, gives a first taste of the sound the band has been working so hard for.

The World’s Out Late opens with Prelude, a brief instrumental prologue that leads into Polite. Polite is majestic Power Pop ala U2 jamming with Coldplay. The radio potential on this track is off the charts, and Jefferson Yount and Mike Williamson have voices that simply melt into your ears. All The Lights is very much in the same vein, with a soaring chorus and serious commercial punch. Weather Report takes all of these qualities and magnifies them, creating almost a caricature of the sound heard on the first two songs. The arrangement is too lush and pretty, burying what ends up being a somewhat mediocre song in layers of sound. Unfortunately Stay, From The First Train and Tangled are much of the same school.

Graylit shows some real potential on The World’s Out Late. The first two tracks in particular establish them as a band that could go big places, but the sound here is too consistent, with over-production that serves to bury the lesser material in so many layers that they may sound more impressive than they really are the first time around. A willingness to expand the sound, or at least vary it some over the course of an album will keep things fresher for the listener and help to expand the musical horizons for Graylit. The World’s Out Late definitely has some strong points, but unless Graylit takes a few risks the sound will be too stagnant to hold listeners' attention for long.

Rating: 2.5 Stars (Out of 5)

You can learn more about Graylit at www.myspace.com/graylit or http://www.graylit.com/, where you can purchase The World’s Out Late in their storefront. Be warned, the website can be a bit confusing to navigate as it’s not necessarily set up to be user friendly.

Review: Twin Atlantic - Vivarium

Twin Atlantic - Vivarium
2009, Red Bull Records

Scottish rockers Twin Atlantic exploded onto the American Scene this month with the release of Vivarium. With great press in the UK, a UK tour supporting Taking Back Sunday and performances with Smashing Pumpkins, Circa Survive and The Subways, Twin Atlantic have already proved they can play with the big boys. Vivarium marks Twin Atlantic's first foray across the Atlantic and the band will be touring the United States this fall.

Twin Atlantic opens Vivarium with Lightspeed, a distortion-filled rocker that's perfect for Modern Rock Radio. This has hit written all over it, with an anthem-like feel. It's just too bad this album didn't arrive running up to the summer as this would be a perfect summer song. Old Grey Face (And The Way Of The Magenta) retains a distinctive pop sensibility while rocking out in perfect radio fashion. Sam McTrusty's voice is a strong rock voice, made that much more interesting for US audiences by the distinctive Scottish bur. Old Grey Face devolves into guitar chaos in the breakdown, suddenly right itself and returning to form before abruptly transitioning into You're Turning Into John Wayne. Twin Atlantic explores the dichotomy of Europe's fascination/hatred of America. On one hand, some in Europe decry American Culture while adopting American music, culture and styles and even purchasing many products from here. The narrator here wants to find out what it means to be American to learn what's true. It's a well-written, intelligent song that also rocks.

Caribbean War Syndrome seems to take relationships and war overlay one on the other in terms of the tactics, advances and retreats of the relationship. The song is well written and takes on some progressive tendencies in the instrumentation. What Is Light? Where Is After? has a big crunchy guitar sound that may tend to fare it well on commercial radio. It's not my favorite song on the disc but I can see how it may have some real commercial punch. Audience And Audio is very catchy and shows tendencies to work down a progressive path, launching into extended instrumental interludes full of guitar, distortion and atypical elements for modern rock. Twin Atlantic closes with Better Weather, an introspective, wider-ranging rock tune that shows some of the grandiosity of U2.

Vivarium is a strong if somewhat mixed introduction to Twin Atlantic. Most of it played very well. The band ranges from pure Modern Rock to an almost Rush-like progressive sense with the pop grandeur of U2 thrown in on occasion. Not everything here works, but enough of it does to turn Vivarium into a potential big seller this fall. Either way, I suspect this won't be Twin Atlantic's last tour on this side of the Atlantic.

Rating: 3.5 Stars (Out of 5)

You can learn more about Twin Atlantic at www.myspace.com/twinatlantic or http://www.twinatlantic.com/. Vivarium is available for download via iTunes. Official US release date is September 29, 2009, although no online outlets are not as of publication. You can always buy the UK import from CDUniverse.com if you can’t wait.

Review: Opera Glasses - Wearing Masks

Opera Glasses - Wearing Masks
2007, Opera Glasses

Damiano Rossetti is the singer, songwriter, guitarist and spiritual leader of Opera Glasses, an Italian quartet carrying an obsession for darkwave music in general and The Cure in particular. Enchanted with the juxtaposition of melancholic lyrics and peppy, pop arrangements, Opera Glasses tries to create a similar vibe in their music. Opera Glasses' debut album, Wearing Masks, finds the band creating their own brand of magically upbeat musical pathos.

Wearing Masks opens with Turn Around, a song that sounds kind of like U2 trying to cover The Cure. Rossetti has this big musical wail of a voice that mostly works (although it does sound like he plays on the edges of the key he's in at times. Rossetti has a straight forward delivery full of a theatrical sense worthy of Bono and sings his heart out on every song. Hysterical Easter incorporates splashes of musical dissonance amidst the upbeat arrangement to create a sonic and cognitive tension that is palpable. The song is highly listenable and of a quality that hard core Smiths and Cure fans will appreciate. Strike Me sounds like it is the long lost child of The Cure's Show Me, with a distinct similarity in the opening chord progression. This bit of tribute is almost too over the top in a song that's so strikingly similar in style. Strike Me is, however, a strong pop song and may be the best on the disc. I'd put this up for airplay any day and I expect it would be quite successful with the right break.

Sweet Cure gets a little too bogged down in its own melancholy/depression, particularly at the end of the song. Pink Pig is refreshing after Sweet Cure, nailing The Cure's aesthetic perfectly. Opera Glasses leaves us with Remember Something, which delves into the more electronic aspects of 1980's Darkwave (then New Wave) Pop. Melancholia seeps into the musical arrangement, but a bright synth keeps the light on in a musical moment that is utterly memorable.

Opera Glasses aren't a Cure cover band, but it's almost as if they are; a tribute band more likely. For all intents and purposes Rossetti and crew channel the energy and style of the Cure circa 1988. Cure fans will love Opera Glasses (unless they hate them for being too like The Cure; always a possibility). Either way, it's good music, with a depressive vibrancy that's hard to achieve. Take a moment and check out Opera Glasses when you have the chance.

Rating: 3 Stars (Out of 5)

You can learn more about Opera Glasses at http://www.operaglasses.it/ or www.myspace.com/theoperaglasses. You can purchase Wearing Masks as a download through iTunes.