The Spanish Channel - Brooklyn, Off Atlantic

The Spanish Channel - Brooklyn, Off Atlantic

2011, Dogburn Records

Brooklyn quartet The Spanish Channel plays a blend of melodic PowerPop with one foot planted squarely in the mid-1980's and a lot of modern alternative rock influences.  Jamie Garamella (lead vox/guitar); Lauren Stockner (lead guitar/vox); Tyler Phillips (bass/vox) and Bruce Hordon (drums/vox) have a talent for creating catchy rock songs with 4 part harmonies, big hooks and guitar solos right out of the classic rock era.  The Spanish Channel returns in 2011 with their sophomore album, Brooklyn, Off Atlantic, a collection of ten songs produced by Tim Mitchell (Sting, Robert Plant, Band Of Horses) and the band.   The new album continues on the course set on 2008's Upside Downer while showing some definite growth as a band.

Brooklyn, Off Atlantic opens with "People Pleaser", an infectious bit of guitar-driven rock n roll with a distinctive 1980's pop sensibility.  Entertaining and danceable, the melody in the chorus is very reminiscent of that in Weezer's Buddy Holly.  "Strapped For Cash" is the working Indie artist's lament, featuring a memorable chorus right out of the 1980's.  "Missed Opportunity" laments not taking offered chances and missing out on a girl that might have been perfect for him.  Featuring expansive guitar work from Stockner and spot-on vocals from Garamella, this is bound to be a fan favorite. 

"Everything's Gone" holds some sonic treats for listeners.  Stockner's extended guitar solo recalls some of the later work of David Gilmour and the band's four part harmonies are gorgeous.  "Trivia Night" is pure fun, a scheming number where winning has nothing to do with the board games played and everything to do with getting the girl.  The Spanish Channel engages in some humorous escapism on "Be A Dog", with Garamella digging into the song in believable fashion.  The band gets cynical and clinical on "Mergers & Acquisitions", trying to console a friend unlucky in love by pointing out that her intended is more like a corporation than a love connection.

Garamella changes speeds with the exquisitely voiced "October Moon", showing off a purse falsetto voice you wouldn't have guessed from the songs that precede it.  It's like a painting in song, full of vibrant images and tones.  "War Of The Worlds" is catchy rock n roll driven by a righteous hook.  What starts out as an open letter to Osama Bin Laden with comic overtones becomes a subtle indictment of both sides in the conflict, pointing out the futility of the fight and all the lost opportunities it has bequeathed us.  The Spanish Channel closes with the edgy rock n roll of "Cold Fusion", which is decent but seems a bit out of place here.

The Spanish Channel continues to come together on Brooklyn, Off Atlantic, showing continuing development of a sound that hasn't quite settled yet.  Jamie Garamella has a talent for writing lyrics that blend personal thoughts, clinical perspectives and humor in sometimes surprising ways, and doesn't waste the ability here.  The pacing of the album is great, but Brooklyn, Off Atlantic lacks that one big melody that really sucks you.  It's a very good album that never quite manages to blow you away.

Rating: 3 Stars (Out of 5)

Learn more about The Spanish Channel at www.thespanishchannel.net or www.myspace.com/thespanishchannel.  Brooklyn, Off Atlantic is available as a CD or Download through The Spanish Channel's webstore.  You can also order the CD through Amazon.com, or Downloads via iTunes.

Jed Davis - The Cutting Room Floor

Jed Davis - The Cutting Room Floor
2010, Eschatone Records

Longtime New York City singer/songwriter Jed Davis fled to Albany to write and record his most recent album, The Cutting Room Floor, which will finally see the light of day on September 21, 2010. Begun back in the dark days of 1999, The Cutting Room Floor was completed in 2006. Davis claims the album was doomed from the beginning, but some big names got involved and helped make it happen. T. Erdelyi (Tommy of the Ramones) helped produce some tracks, Brian Dewan (They Might Be Giants) pitched in for instrumental support and Tony Doogan (Belle And Sebastian) mixed all under the guiding hand of executive producer Dave Fridmann (Flaming Lips/MGMT).

Jed Davis shows the anger and vitality of Ben Folds on The Cutting Room Floor, but comes from a darker place. Where early Folds displayed the anger of the oppressed suburbanite, Davis borders on the sort of disaffected sociopathy of suburbia that is the sociological progeny of cynicism. The Cutting Room Floor opens with the title track, sounding like the opening number to an off-off-Broadway production about the angst and loneliness of living in the modern age. Disaffection and separation from those around you are the driving forces here, where hermitage is the ultimate end of interconnectedness. "Before I Was Born" starts out with the opening of Bill Withers' "Lean On Me" played on an out-of-tune piano before opening into a vibrant garage rock tune that bemoans genetic pre-destination. It's a great tune with real punker energy in the chorus and is incredibly catchy. "Enough" is a catchy reminiscence of youth centered on the eye opening experiences that peers provide, much to the chagrin of parents. If Davis finds a way to make a song any catchier the CDC would have to get involved.

"Let Go" is the anthem of the eternal skeptic. It's an interesting tune, but would have been better off if Davis has omitted the distortion effect in the vocal line. "Denny's 3 A.M." is nominally a celebration of Denny's status as an all-night hangout, but is really a celebration of the idle time of youth and the magic that can happen while the rest of the world sleeps. Energetic and eclectic, the song sounds like something that might happen at an after-hours jam session involving Weezer and They Might Be Giants. "Interesting Times" is an angry diatribe about suburban life and the transition from youth to adulthood. Hope is lost here, but the music is great. On "Native Son", Davis sticks his thumb in the eye of every hometown acquaintance who failed to notice him during high school but now acts like his best friend when he returns home. The appeal of this tune is universal, and the angry tone that Davis strikes is both convincing and amusing. Davis winds down with "Queens Is Where You Go When You're Dead", a well-written pop/rock tune that's not likely going to a big hit in Flushing. Davis gets in his last licks with an untitled track that features some 3:00 AM conversation and a version of "Denny's 3 A.M." with a host of guest vocalists.

Jed Davis might not be for everyone, but it'd be hard to not find something to like on The Cutting Room Floor. The reference to things that have been left behind may be appropriate considering the time it's taken this album to come to light. But Davis proves that just because something is initially rejected or put away doesn't mean it has no value. One could argue that The Cutting Room Floor will become known as Davis' best and most vibrant work to date.

Rating: 4 Stars (Out of 5)

Learn more about Jed Davis at http://www.jeddavis.com/ or www.myspace.com/jeddavis.  The Cutting Room Floor is available from Amazon.com as a CD, LP (Vinyl) or Download.  The Cutting Room Floor is also available from iTunes.

The Sleep-Ins - Songs About Girls & Outerspace

The Sleep-Ins - Songs About Girls & Outer Space
2010, Ingot Rock

Sydney, Australia’s The Sleep-Ins have been through a lot of turmoil as a band. Three drummers and three guitarists have come and gone over multiple recording sessions and gigs. The Sleep-Ins have developed a reputation for catchy, quirky rock n roll. With members from Australia, the UK and the US, The Sleep-Ins are truly an international act. The Sleep-Ins documented their sound on their full-length debut for Ingot Records, the soon to be released Songs About Girls & Outer Space.

Songs About Girls & Outer Space is an absolute fuzz-fest, running the gamut from the garage electrics of the 1970's to the grunge sound of Nirvana with side trips into psychedelia and shoegaze rock along the path. The Sleep-Ins open with "Silver State", cutting their fuzzy guitar sound with a simplistic but catchy keyboard riff. "Silver State" is mildly catchy, almost counter-intuitively. Imagine Ween and Weezer meeting over drinks. "Angelina" is fuzz-rock with a catchy feel but the sound gets very muddled in the middle and stamps the life out of the song. "Chrome Skull & Matching Codpiece" could be a sonic tribute to Nirvana and the Seattle sound they inspired, full of anger, vitriol and grunge guitar sound.

"Running Out Here" maintains the Nirvana influence but adds a spacey, psychedelic twist to the sound. There's not a lot of stress on melody here; the songwriting is more observational than linear, creating the impression that some may even be somewhat random. "Tonya, Extraplanetary Spaceship Girl" plays like Ween covering a Clash tune. This time around The Sleep-Ins are catchy with a whiff of pop craftsmanship, but it's messy, bewildered pop. Chad Corley spends much of the song warbling just past the outer edge of his vocal range. "Desertsong" is a two minute psychedelic turn that's mellow and surreal; showing The Sleep-Ins' penchant for dark arrangements and dissonance. From here The Sleep-Ins fade into messy and unfocused territory with the upbeat Astro-Not and the sound-over-substance style of "Bug On My Face".

Songs About Girls & Outer Space could be taken as a fine example of how chemical intervention can influence the creative process. This perception may not be entirely without merit, but underestimates the distinctly dark (and occasionally pop-oriented) vision of The Sleep-Ins. This is not an album for everyone, but if you're looking for music that sales past the edge of prim pop without wandering into the forests of heavy metal or the urban jungle of modern rock, then The Sleep-Ins fit the bill nicely. The songwriting is somewhat unfocused, but The Sleep-Ins create a sonic impression with their music that's not without merits of its own.

Rating: 3 Stars (Out of 5)

Learn more about The Sleep-Ins at www.myspace.com/sleepins or http://www.sleep-ins.ingotrock.com/.  Songs About Girls & Outer Space is a pending release from Ingot Records, and can be pre-ordered on the Ingot Records website.

Ross Riskin - Keep Moving

Ross Riskin - Keep Moving
2010, Ross Riskin

Ross Riskin is a 19-year old singer/songwriter from Orange, Connecticut with perfectionist tendencies and an ear for melody. Influenced by artists ranging from Third Eye Blind, Weezer and Death Cab For Cutie to Radiohead and Coldplay, Riskin's style is a melting pot of late 90's and early-oughts alternative rock as interpreted through a singer-songwriter motif. Riskin recently released his sophomore EP, Keep Moving, and is currently burning up the I-95 corridor promoting the EP and spreading his sound.

Keep Moving is a thematically complicated but musically simple breakup album. Riskin features a pleasantly imperfect voice in a nearly talk-sing style in unadorned arrangements throughout the album. Riskin starts off with a musical treatise on grief, with a musical prologue "In The Future" featuring the moment of separation and followed quickly by denial; "Get You Back" and justification "Something Better Than Me". Riskin promises his return on "With The Sound", although it’s unclear if his intended is listening; there's still a disconnect running through the narrative here that suggests that the narrator isn't dealing with the reality of moment.

"In Motion" is a declarative of the tendency to over-compensate after a loss, moving too fast or too far in order to simply not think "I'm in motion / I can't stop now / I don't know how to slow my speed down". The song is lyrically awkward but honest, showing more heart than art. "For You And Me" keeps things simple, and is the best pure songwriting on the album. Up until now Riskin has written in a young voice, whether intentional or not. Here there is an economy and sharpness to his songwriting that is a significant advance. "The Ghost" makes use of significant reverb to color the song in haunting ambience, but Riskin reverts to his young writing voice in a bout of over-simplification that simply goes on too long.

Riskin turns to hope on "Could You Be Mine", a song less of destiny than opportunity that is a mix of love and mild obsession. The song sounds well-intentioned, but there's a thread of inevitability that runs through Keep Moving that seems manufactured. "Shine" is a more mature outlook on a relationship that is as doomed as it was in the opening song; it's a negotiation with fate and human emotion that Riskin isn't about to win that expresses distinct hope but is colored in the same reverb of "The Ghost". Riskin closes with "In The Past", finally putting everything behind him, but still trying to justify the path he's walked.

Ross Riskin delivers a series of tunes as personal as journey entries done up in minimal instrumentation on "Keep Moving". The song is full of human emotion, frailty and self-delusion, but it's an honest sort of self-delusion that we all engage in from time-to-time. Riskin sticks to bare-bones instrumentation, letting the lyrics speak for themselves in a brave and measured relaying of the sort of mistakes we all make while learning the ropes of relationships. Musically, Riskin may benefit from collaboration, as several of the songs here would flourish with a slightly broader musical canvas, but the stark arrangements on Keep Moving work well in their own right and in their context. This album will leave you curious about what else Riskin has to offer.

Rating: 3 Stars (Out of 5)

Learn more about Ross Riskin at http://www.rossriskin.com/ or www.myspace.com/rossriskin. Keep Moving is available as a digital EP from Amazon and iTunes.

The Everyday Motive - Seven Song EP

The Everyday Motive - Seven Song EP
2010, The Everyday Motive

Milwaukee quartet The Everyday Motive spent a whole lot of time listening to alternative music during the 1990’s, a fact that is apparent when listening to their Seven Song EP. Influenced by bands such as the Foo Fighters, Weezer, Nirvana, Green Day and Stone Temple Pilots, the band also features high pop aesthetics woven into each song.

Everyday Motive’s Seven Song EP opens with "Anything Done Differently", an appealing modern rock tune with stripped-down sound. Solid vocals and a big pop hook help to create a high-energy, danceable rock tune. The song explores each of our own worst enemies while staying positive. "Lock It Up" is highly melodic and catchy; a bit of the low-key side for commercial radio but which might just turn into a hit single anyway. "From What I Can Remember" is pure pop/rock gold with a chorus that is likely to take over your skull and set up checkpoints. The angular style of the song mixed with The Everyday Motive's sense of dynamics and harmony vocals make this a potential breakout hit. "You're No Good" finds The Everyday Motive sounding more than a bit like Cowboy Mouth with a slightly heavier rock sound. It's a strong tune that's perfect for modern rock formats. The Everyday Motive closes with "Waste Away", a somewhat cookie-cutter tune that retains optimum sound.

The Everyday Motive has the potential to be huge. Breaks aside, The Everyday Motive appear to be in a good position to maintain and sustain a career of making music. Their Seven Song EP is an apt introduction, certain to inspire people to want to learn more about the band. Make sure you check out The Everyday Motive. You won't be sorry you did.

Rating: 3.5 Stars (Out of 5)

Learn more about The Everyday Motive at www.myspace.com/everydaymotive. Seven Song EP is available as either a CD or Download from CDBaby.com.

Review: Butch Walker And The Black Widows - I Liked It Better When You Had No Heart

Butch Walker And The Black Widows - I Liked It Better When You Had No Heart
2010, One Haven Music

Butch Walker has had his share of success over the years, as guitarist for GangStar and particularly the Marvelous 3, Walker has known success as a performer. As a songwriter and producer for artists such as Weezer and Pink, Walker's songs have gone on to even greater success. More recently, Walker became a father, turned 40 and lost his home and recording masters. At this crossroads, Walker's songwriting has suddenly taken a more philosophical turn. Butch Walker's latest album, I Liked It Better When You Had No Heart offers up some of his most mature and prescient songwriting to date. While the title perhaps anticipates the response of some longtime fans to Walker's transition into the next stage of his life as a musician, anyone who has followed him any length of time knows that Walker's worldview isn't so much changed as broadened.

Walker's opens with the enigmatic "Trash Day", a scene in music as it were, taking in vignettes of everyday life in song. It's a unique and brave opening, working as much on its audacity as its veracity and pure musicality. "Pretty Melody" is a post-modern love story in song; a "how we got here" tune that is memorable both in lyrics and melody. Walker shows how he can pick moments of beauty out of thin air on "Don't You Think Someone Should Take You Home". The sentiment is pretty straight forward in the context of the song, and the arrangement is as close to "perfect" as you'll find. "Canadian Ten" is a melancholy look at a lost night that seems to glorify the fact that he can't remember what happened. The tone of the song reflects more of a lonely emptiness in the fact however, and the melody is reminiscent of some of Paul McCartney's more esoteric material.

Walker gets symphonic in scope on "Temporary Title", a wonderfully dense mix of voices and instrumentation with a dashing melody and vital pop feel. "She Likes Hair Bands" is one of those songs that are great for late in the set when the alcohol is flowing freely and everyone is ready to sing along. The cadence of the chorus is unforgettable. "House Of Cards" displays a distinctive post-Beatles pop sensibility and is one of the catchiest tunes on the disc (this is not said lightly). Walker saves the best two tunes for last. "Days/Months/Years" is a delightful old school rock n roll tune about trying to get over a relationship in truly dysfunctional fashion. It's sort of a "Weird Al" meets George Thorogood moment that's unforgettable. Walker says goodnight we "Be Good Until Then", a tune you can imagine he wrote for his newborn child. Some may take issue with some of the particular statements in the song given the intended audience, but the songwriting is absolutely amazing. Wonderfully direct and apropos based on his life experience, Butch Walker thoroughly outdoes himself with "Be Good Until Then". This is a classic.

Music is a funny business. Some musicians find a way to hit once and spend their whole lives trying to claw back to that moment of glory. Guys like Butch Walker never fully embrace the glory, but continue to find themselves dancing on the edges of its spotlight. In Walker's case it's because an amazing talent as a songwriter. Walker has always had the ability to craft amazing pop songs, but as he begins to seriously mature as a songwriter; those raw talents he's brandished all these years are blossoming into something approaching genius. I Liked It Better When You Had No Heart may be a tongue in cheek title, but there's no joking about how good Butch Walker's latest work is.

Rating: 4.5 Stars (Out of 5)

You can learn more about Butch Walker at http://www.butchwalker.com/ or www.myspace.com/butchwalker. You can purchase I Liked It Better When You Had No Heart as either a CD or Download from Amazon.com.

Review: Man Called Noon - Broke And Beaten Down

Man Called Noon - Broke And Beaten Down
2009, Man Called Noon

Herndon, Virginia's Anthony Giamichael takes to the stage under the name Man Called Noon. He has been compared stylistically to folks such as Springsteen, Tom Petty, Weezer, BoDeans and Soul Asylum, although Man Called Noon is rawer than any of them. Striving to tell stories as well as creating intriguing melodies and arrangements, Man Called Noon comes across as a highly personal and emotive singer on his debut album, Broke And Beaten Down.

Man Called Noon opens with Burn And Grow, a catchy, Lo-Fi anthem about wanting more for yourself out of life. An affable melody with buzzing guitars and a compact, Brit-Rock feel set a great pace here. Dance Off is a strong arrangement that's catchy, but gets dragged down by an uncommitted sounding vocal line. Living My Obsession is catchy and danceable; a song about a serial killer that may border on creepy for some listeners. The vocals are a bit off from the song itself, but the disjointed feel this creates works very well with the subject matter in question. Dying For My Passion is something of a sequel, with the brother of a victim of the serial killer in Living My Obsession seeking and getting revenge. The song starts out highly promising, with just Giamichael and acoustic guitar on opening, but breaks down into a repetitious fugue at the end.

Man Called Noon sounded seriously like Everclear on Cotton. The vocal line is a bit whiney, but works otherwise with the album. The best songwriting and performance on the CD is Broken Man. Broken Man has a raw, fun feel. The Rum-pot Folk/Pop arrangement carries a Blues sensibility. Man Called Noon winds down with The Lonesome Gods and settles on Another Ghost; a simplistic and repetitive tidbit that serves as a buffer for the untitled hidden track.

Man Called Noon succeeds because Anthony Giamichael is fearless as a songwriter. He’s unafraid to tackle unusual subjects or perspectives in his songs. This sort of risk taking can lead to stupendous failure, and sometimes, raving success. I’m not sure if Giamichael has honed his craft as a songwriter enough yet to capture that big moment, but he’s on the right path. Broke And Beaten Down shows flashes of brilliance, a lot of solid songwriting and a dog or two, but on balance it’s a great start that should lead to bigger and better things down the road. Giamichael’s voice is enigmatic and may rub some the wrong way, but in much the same fashion that Neil Young and Bob Dylan have over the years (I wouldn’t say it’s held either of them back). Man Called Moon might just have quite the future in front of them.

Rating: 3.5 Stars (Out of 5)

You can learn more about Man Called Noon at www.myspace.com/mancallednoon. Broke And Beaten Down is available via CDBaby or as a download from iTunes.

Review: Research Turtles - Research Turtles

Research Turtles - Research Turtles
2009, Judson Norman

Research Turtles combines Southern Rock and British Polyphonia on their self-titled debut album, released in August of 2009. Brothers Jud (vox/bass) and Joe Norman (guitar/vox) decided to put together a van after Jud returned home from Louisiana State University. They grabbed the best local musicians they knew, Logan Fontenot (lead guitar) and Blake Thibodeaux (drums/percussion), and set out to realize their musical vision. All four members hail from Lake Charles, Louisiana, and graduated from high school within a few years of each other. Research Turtles have become favorites in New Orleans and have opened for Toad The Wet Sprocket. Research Turtles was produced by Justin Tocket (Marc Broussard, Sons Of William).

Research Turtles open with the crunchy guitars and smooth rock chorus of Let's Get Carried Away, a mildly catchy song with commercial potential (most likely in an Adult Alternative format, if they still exist as such). Damn is a verbally expansive love song that alternates descriptive, intelligent verses with a chorus mired in an emotional short-circuit of words. The song is an entertaining listen and sounds ripe for a teen comedy soundtrack with its Weezer-esque theme. Mission finds Research Turtles mining a Ramones-style post-punk anthem style with a pure pop chorus that seems a bit out of context but works all the same. Hints of The Refreshments can be heard in Cement Floor, one of the better songwriting efforts on the album. This song will get you moving even given its quasi-reserved tone.

As a former guitar dabbler myself, I know how irresistible a good riff can be. You just have to use it somewhere, even if it doesn't quite work in the context. So it is with The Riff Song, built around an iconic guitar riff that stands out on its own and outshines the song crafted around it. The ideas crafted around the riff in question just don't feel authentic for the band, like they were trying to write something to fit the riff rather than write something from the heart. Tomorrow is Research Turtles at their most accessible. The chorus alone will make this a likely concert favorite, and it displays the band's ability to write honest music with a real Pop feel. Into A Hole has a 1950's feel to it with its mild R&B underpinnings and sing-song chorus. Color this one another potential concert favorite. 925 is the most driven song on the album, built on another delicious guitar riff that this time has found a good home in a strong and interesting Rock N Roll song. Research Turtles close things out with Break My Fall, perhaps the best all around song on the disc. The sound here is a little light for Modern Rock Radio, but this song, beefed up a bit could be a major player on Modern Rock Radio (think early Pearl Jam as sung by Hanson in their early days).

Research Turtles is an intriguing album from a band that seems to still be honing their sound, but there's enough raw material here to keep them very much on the radar. There's a penchant for harder rock that clashes with a desire to play to the easy listening rock sounds of Adult Contemporary formats. Refining that mix will be more difficult than picking one direction and sticking with it, but Research Turtles don't present as a band interested in going the easy route. The songwriting is generally very solid and the musicianship is excellent. Vocalist Jud Norman isn't a stereo-typical front man as he doesn't have that big rock voice, but his vocals are passable, and once Research Turtles really gel in their sound this band could be a little bit dangerous.

Rating: 3 Stars (Out of 5)

You can learn more about Research Turtles at www.myspace.com/researchturtles. You can purchase Research Turtles as either a CD or Download from CDBaby.com.

Review: Sherwood - Qu

Sherwood - Qu
2009, MySpace Records

San Luis Obispo, California quintet Sherwood is a band with an exciting sound and a tendency to get thrown out of shopping malls. The story stems from the days when the band would try to hawk their music in shopping centers, being thrown out of 40 malls, per the band's count. Suffice it to say their profile has risen over the past few years. Sherwood was the first band signed by Tom Anderson to his fledgling MySpace Records. Sherwood's last album, A Different Light (2007) reached #12 on the Billboard Heatseekers cart and made #38 on the Independent Chart. On October 13, 2009, MySpace records releases Sherwood's third album, Qu. With precise songwriting, great hooks and a sound that goes down like sugar water, this might just be the breakout album Sherwood has been waiting for.

Qu finds Sherwood opening with pure vocal harmony on Shelter, a sonically pleasing and brief prologue before Sherwood launches into the highly pop-oriented Acoustic Rock number Hit The Bottom. Big harmonies, a melody worth its weight in gold and hooks you won't believe, Sherwood blasts out of the gate with a guaranteed winner. If this doesn't conquer radio, expect it at least to be a marketer's dream, showing up on television and perhaps even in movies. Not Gonna Love keeps the momentum going with an infectious chorus and a positive message about standing up for yourself and what you believe in. Vocalist Nate Henry has a wonderfully smooth sound that fits perfectly into these Acoustic Pop arrangements. Maybe This Time maintains the same big pop sound in a quasi-acoustic setting.

Make It Through opens with a brief vocal fugue full of harmonies reminiscent of the glory days of the Wilson Brothers in the Beach Boys. This may well be the biggest potential hit on the disc, possessing a rhythm, melody and sound that make it pure pop candy for the ears. Worn shows a more melancholy side to Sherwood; a sparse, guitar-fed song with serious folk in its ancestry. The duet between Nate Henry and Molly Jenson is striking, enough so that people will be scrambling to find out just who Molly Jenson is. What Are You Waiting For has a Weezer-esque energy and angst, all done up in the grace yet energetic pop aesthetic that seems to be one of Sherwood's stronger traits as a band. Free takes on a 1980's feel; a frenetic rocker with a big, simple chorus you'll hum the first time you hear it. Free is a bit more driven than much of the material on Qu, but serves to an ever greater range than initially imagined for Sherwood. Qu closes with No Better, a song about divorce from the very adult perspective of the child involved. No Better puts into context the emotions and contradictions encountered with divorce by the children affected by it as well as anything I've read or heard.

You can't always be sure which is which, but in the commercial realm there are bands who succeed by trying to sound commercial and those who succeed by being irresolutely themselves and having a strong ear for pop music that they strike gold. Sherwood is the latter. This is a band with a serious ear for melody, a real talent for writing lyrics that mean something, and a knack for landing that big hook when they need it. There's a lot more musical meat and potatoes here than in your typical pop outfit; Sherwood has the chops to play with the big boys. I suspect Qu will afford them that opportunity. Very well done.

Rating: 4.5 Stars (Out of 5)

You can learn more about Sherwood at www.myspace.com/sherwood, where you can pre-order both digital and CD copies of Qu in advance of its release on October 13, 2009.

Review: Meeting Of Important People - Meeting Of Important People

Meeting Of Important People - Meeting Of Important People
2009, Meeting Of Important People

Pittsburgh's Meeting Of Important People attack a melody line with the eclectic Pop veracity of bands like Weezer or Better Than Ezra. The electric/acoustic Power-Pop trio has a knack for comfortable pop arrangements, clever turns of phrase and choruses you could launch ad campaigns on. Their debut album, Meeting Of Important People was released in July, 2008, and suggests great things to come.

Meeting Of Important People opens Brittany Lane Don't Care, a catchy tune with hooks perfect for College or Pop Radio. The chorus is likely to become lodged in your brain; you've been warned. Hanky Church is built around verses with a metronomic sing-song quality. This is one of those songs that will recur to you over time even if you haven't heard it in a while. Perhaps it's the Beatles-inspired chorus or a melody that's almost universal, but either way it's two in a row you're stuck with once you've heard them. One O'Clock is a song about biding your time; whether you're a student waiting for the year to end or working your way through the week waiting for the weekend to start there is something here to identify with. Dead Man is a bouncy bit of fluff that's a lot of fun to listen/dance to. The tuneful melody blows up into a frenetic acoustic-punk chorus you won't soon forget. Down In The Hollow is a gentle acoustic tune with a great melody and a quirky, eccentric feel. There's an almost dream-like quality to the tune that makes for a great listen. The album closes out with four demo recordings: Brittany Lane Don't Care and One O'Clock, classified as Laptop Demos. Rest-Stop and Stop Seeming Like A Good Idea aren't on the album proper, and Rest-Stop may be the best tune presented here. These treats may be little teasers for what is to come.

Meeting Of Important People is young, and it shows at times on their self-titled debut, but Meeting Of Important People is a strong debut album and a great introduction to the band. There's a distinct sense of melody in the lads from Pittsburgh and the musicianship to back it up. The lyrics are sharp, intelligent, and occasionally humorous and a perfect fit for the quirky compositions the band comes up with. I suggest you get to know Meeting Of Important People. They're likely to be around for a while.

Rating: 3.5 Stars (Out of 5)

You can learn more about Meeting Of Important People at www.myspace.com/meetingofimportantpeople. You can purchase a digital copy of Meeting Of Important People on iTunes.

Review: The Velmas - Station

The Velmas - Station
2006, City Canyon Records

Albany, NY power trio The Velmas know how to Rock N Roll. Todd “Figaro” Minnick (bass), Mike “Harvey” Grosshandler (guitar) and Michael “Bruce” Bruce (drums) share songwriting duties, blend Rock, Punk, Classic/Southern Rock, Country, Reggae and Grunge into a dynamic sound that’s won rave reviews from critics and fans alike. The Velmas have been the alt-rock darlings of the Albany scene for a few years now and have played all over the Northeast US. Their most recent album, Station, achieved national distribution and the band has slowly been building a presence outside of their home market. Let’s check out Station.

The album opens with the smooth Modern Rock sounds of One More Day, gaining some pop sensibility as The Velmas transition into This Time. Regardless of the pop orientation, the first few songs on Station sound a bit too calculated to hit the Modern Rock market. The Velmas have everything gel on Tell Her I Love Her, a Weezer-esque pop/rock tune about unrequited love. Tell Her I Love Her has strong commercial potential and is the sort of song that can vault an unknown band into national prominence on short notice; it's just a question of getting it heard in the right venue. Midnight sounds like something that could have come right off the Rent soundtrack, and is probably a favorite at club shows where midnight is half time. Where'd She Go might be the best tune on the disc; it's just flat out, great Rock N Roll. Be sure also to check out Silenced, Forever With Me (Emily's Song) and Past Tense on the way to The Velmas' cover of Lionel Richie's Hello. Say what you want, but it's a good, Daughtry style cover of the song.

The Velmas play in a small pond right now (Albany, NY) but show the sort of talent and panache it takes to make it in a bigger market. Station is a strong effort that's worth checking out. It finds The Velmas playing with mixes of Pop, Rock and Post-Punk that work more often than not. My suspicion is that if they keep playing in that realm sooner or later they might just strike gold.

Rating: 3 Stars (Out of 5)

You can learn more about The Velmas at http://www.thevelmas.com/ or www.myspace.com/thevelmas. You can purchase a copy of Station at www.cdbaby.com/cd/thevelmasccr, or you can download the album from iTunes.

Review: The Motion Sick - The Truth Will Catch You, Just Wait...

The Motion Sick - The Truth Will Catch You, Just Wait...
2008, Naked Ear Records

Boston quartet The Motion Sick bring a prose-based lyrical style wed to archetypal melodies and harmonies that embed themselves in your aural tract for a good, long stay. The sophomore album, The Truth Will Catch You, Just Wait... takes inspiration from the television series Twin Peaks and its endless cycle of delaying the inevitable. With wit and a visceral go-for-the-throat tenacity in their lyrics, The Motion Sick are often compared to Kurt Vonnegut, but Mark Twain might be a better comparison; The Motion Sick have a bit of the Nick Cave relentless intensity about them as well.

The Truth Will Catch You, Just Wait… opens with Jean-Paul, a messy little alt-rocker full of a minimalist rock rhythm section overlaid with jangly guitar in the chorus. The song has a moderately driving, relentless quality to it that builds through each verse into the chorus. 30 Lives is a true Silly Little Love Song in the Beatles fashion. Even the melody evokes that era of uncomplicated Rock N Roll love songs. This song will haunt your brain for days after you hear it, and is cute as a devotional. Walk On Water is virally catchy. Your feet will tap, your head will bounce – it will just happen, you won’t be able to help yourself. This is another song that will run through your head of its own volition once you’ve heard it. We see a softer side to The Motion Sick on Losing Altitude; more of a typical shoe gazer than anything else. The song is pleasant but gets a little stuck on the premise, repeating “I’m losing” until you want to forward to the next track.

The Owls Are Not What They Seem is surreal, both musically and lyrically. The arrangement is built in minor keys in the verse resolving into a dark yet peppy chorus. Think Weezer or some of Barenaked Ladies darker material here. Tiny Dog (Nobody Cries) is a song full of angst that is balanced by a swaying quality that generally goes with “feel good” tunes. The juxtaposition is almost comical, and lead singer Mike Epstein seriously reminds me here of Roger Clyne (The Refreshments, Roger Clyne And The Peacemakers). Some Lonely Day is an intriguing mid-tempo rocker with some wonderful internal instrumentation going on (particularly the frenetic bass line). The album closes out with Love Will Tear Us Apart and a dance mix of 30 Lives.

The Motion Sick are post-modern rock, pulling in elements of Alternative and some of the post-grunge neo-garage sound of the early-to-mid 1990’s and a quirky perspective that fits in with the Weezers and BNLs. The Truth Will Catch You, Just Wait… is a good, honest effort that deserves your attention. The material here won’t grab you and shake your foundations, but like still waters there’s a lot going on underneath for those who will listen.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Motion Sick at http://www.themotionsick.com/ or www.myspace.com/themotionsick. You can purchase a copy of The Truth Will Catch You, Just Wait… at www.cdbaby.com/cd/motionsick2.

Review: Puppetbox - Puppetbox

Puppetbox – Puppetbox
2007, Puppetbox Records

Puppetbox is the sort of band that makes you sit up and pay attention. Whether it’s the mix of electronic and organic (though still electric) instrumentation, the kazoos or the threat of total domination of the masses, there’s something special about this Brooklyn quartet. Ultimately it might be the fact that rather than writing for a market or niche, Puppetbox makes music that they would love to listen to. On their debut album, Puppetbox, Katie Johnston (vocals, accordion, guitar, kazoo); John Payne (guitar, vocals); Chris Tempas (synth, programming, vocals) and Mark Annotto (drums), let loose a storm of electronic/pop/rock/geek/buzzy sounds that will make you want to dance, swing, sway and otherwise have a good old time.

Puppetbox opens with Done By Numbers, a fairly straight-forward rock song with new-wave accents. Things get a little more interesting on the angry and intense Wifey. The chorus is highly memorable and has real commercial potential. Things get downright lethal on Kill You Dead, a highly commercial rocker with a serious new wave edge. Blue Or Black is a left turn from Puppetbox, introducing Katie Johnston as a lead vocalist and going for a more melancholy, quiet sound. Fire In My Loins is a mid-tempo rocker that doesn’t carry the energy the title might imply. Kimberly is another mid-tempo rocker with better results, although the energy level is still a bit flat here. The live track, Green Means Go, gives the distinct impression that as a live band Puppetbox comes across as a dynamic punk/new wave hybrid that plays well together.

Puppetbox seems to have good chemistry live, and it carries over onto the album at times, but there are also stretches that are flat. Puppetbox is a 50/50 affair, with about half of the material sounding like it had real energy invested in it and living up to the dynamic promise of the band, with the other half sounding like it might have been recorded in a low energy phase for the band. I suspect the energy level will be higher live, but it would be nice to hear more of those dynamics poured into the CD.

Rating: 3 Stars (Out of 5)

You can learn more about Puppetbox at http://www.thepuppetbox.com. You can purchase a copy of Puppetbox at www.cdbaby.com/cd/puppetbox2.

Review: The Perms - Keeps You Up When You're Down

The Perms – Keeps You Up When You’re Down
2009, Hugtight Records

The Perms are a Winnipeg, Manitoba, Canada alt-rock band with a distinct pop sensibility that endears them to fans. Like alt-rock gamers Weezer, or Canada’s own Sloan, The Perms suck you into their songs with bright, garish melodies and big hooks while feeding you lyrics with more than just a little intellectual bite. The perms 5th release, Keeps You Up When You’re Down hit shelves in early 2009. Pay attention now, this is a good one.

Keeps You Up When You're Down opens with Give Me All Your Lovin', a kinetic rock song with an arena-rock worthy chorus. The Perms manage a real rock song with distinct pop hooks and a strong commercial sense. As You were keeps that energy going in a slightly more laid back setting. The Perms pull out the big harmonies and classic hooks here and throughout the rest of the album for a sound that is retro yet modern. Running Away hits the Pop meter hard, coming across as one of the most highly commercial tracks on the disc. Lead vocalist Shane Smith has a comfortable voice that is a pleasure to hear; nearly familiar but not something you can name. This is the sort of music that makes you want to go to a show. The harmonies border on Beach Boys territory at times and the melodies make you want to sing along.

World To Me is an upbeat love song perfect for any modern rock mix tape. The sheen on this song is so bright, the melody so peppy and the hooks so big I can't see how this song doesn't get licensed many times over. This is a great "summer song" candidate; if it were twenty years ago World To Me would be a major pop/rock radio hit. Nightshift opens sounding a bit like Max Webster covering Footloose; a vibrant rock song with great drive. This is another potential hit for The Perms, but my favorite song on the disc is Things Left Unsaid. Other highlights include Who Are You Fooling, The Mess, Big Mistake and Salvation.

The Perms have a distinct pop sensibility and an ability to write highly consumable and memorable Pop/Rock gems. The use of complex harmonies and a strong team writing effort make Keeps You Up When You're Down one of the more memorable albums of the young year.

Rating: 4.5 Stars (Out of 5)

You can learn more about The Perms at http://www.theperms.com/ or www.myspace.com/theperms. You can purchase a copy of Keeps You Up When You’re Down at www.cdbaby.com/cd/perms5, or you can download the album through iTunes.

Review: James Grande - Start The Show

James Grande - Start The Show
2009, James Grande

Narragansett, Rhode Island’s James Grande has a lot to say. Mixing the hooky musical panache of Weezer and the smooth vocal approach of Dave Matthews, Grande has been generating some buzz in New England. His self-produced, self-released debut album, Start The Show is sure to garner Grande some attention in a widening arc.

Grande's The American Rockstar is a tongue-cheek glamorization of the life of a popular music flavor of the month. To Honor plays like a tribute to the people who fight wars while a left-hand jab at the reasons for those same wars. Its a bit obscure in point of view but well written for all of that. Together And Alone is a modern love song for the disaffected, dealing with some of the classical themes of love from a professorial perspective. Over And Over is bound to be included on mix-tape and dedication lists as a sweet love song that goes a little bit deeper than your usual sugary ballad. Burn This Bridge is the most memorable song on the disc; an invitation to recovery from sorrow or a precipice before the fall, depending on how you hear it. Hello, Goodbye closes out the album on a poignant note and in a minimalist arrangement that leaves a strong impression.

Start The Show is a strong effort from James Grande. Aside from the last song there aren't any real wow moments on the disc, but every song is consistently well-written and performed. Grande comes across as a little young in the lyrical aspect, but this will grow as he does and isn't really a big deficit. The songs are well crafted and accessible without really grabbing hold of the listener. Start The Show is a pleasant listen.

Rating: 3 Stars (Out of 5)

You can learn more about James Grande at www.myspace.com/jamesgrande. You can purchase a copy of Start The Show at www.cdbaby.com/cd/grandejames.

Review: The Apostrophe S - No Nature In Space (demo)

The Apostrophe S – No Nature In Space (Demo)
2008, Prisms And Chisels Inc.

Bethlehem, Pennsylvania’s mix a post-punk approach with a new wave melodic sound and just a touch of psychedelia to create a sound that sounds a bit like a lot of people and exactly like no one I know. Influences include Modest Mouse, The Flaming Lips, Weezer, The Pixies and The Cars. No Nature In Space is the band’s first full-length demo, mixing high energy with Lo-Fi antics. Let’s check it out.

Garage rock. Lo-Fi. Call it what you want, but there's a certain attraction to the raw form of Rock N Roll that is practiced by bands everywhere on their way to finding a sound. Some bands manage to stay within that sound and carve out their own niche, or a hybrid between Garage and something else. The rest of the bands that stay in the garage range never quite find the right mix of sound and style to declare themselves. The Apostrophe S is a band that is searching for that sound and style. There is an almost ambivalent feel that comes from their demo, No Nature In Space, as if there are strong desires for different directions in the band. The first breakthrough comes on Skeletons, the 6th track. Skeletons mixes a reggae sound with that lo-fi mystique behind one of the better vocal performances on the album. There is life and energy to the song that has been somewhat muted on the first five tracks. Ode To The Sea goes for a minimalist ballad that relies on subtle progressions and an almost ethereal air that reminds me a bit of The Rheostatics. Other songs of interest are Until I Find You, 423 and Untitled.
Assuming the mix of songs is somewhat progressive for time, it sounds like The Apostrophe S is searching successfully for their sound. I am not sure that they've found it yet, but it sounds like they've got a couple of possible directions that at least sound promising. Right now this is a good bar band, but perhaps not one you'd invite to a party, as there is a bit of a melancholy feel to a lot of their songs.

Rating: 2.5 Stars (Out of 5)

You can learn more about The Apostrophe S at www.myspace.com/diamondvan.

Review: Coal Mine Canaries - Greatest Hits, Vol. 3

Coal Mine Canaries - Greatest Hits, Vol. 3
2008, Wayward Canadian Music

Coal Mine Canaries' EP, Greatest Hits, Volume 3 is a tongue-in-cheek collection of musical wisecracks that is a fun, if light listen from the Toronto quartet. Cheater is an angry and energetic get lost song that gets high marks for its vibrant sound. Don't Cry Angel is a straight up rock rune and the closest thing to a single here. The Canada Song is an off bit of Canadian name-dropping set to a quasi-punk arrangement. The most interesting track here is a distorted guitar version of The Wedding March. This is a cute rendition but its been done by wedding bands for as long as there's been rock bands at wedding receptions, and the arrangement here doesn't offer anything new to the listener. Coal Mine Canaries bring a fairly generic alt/punk sound to Greatest Hits, Volume 3, although they do sound like they'd be fun live.

Rating: 2.5 Stars (Out of 5)

You can learn more about Coal Mine Canaries at www.myspace.com/coalminecanaries or http://www.coalminecanaries.com/.

Review: Article 66 - Article 66

Article 66 – Article 66
2008, A66 Music/Pinnibus Headdibus Records

Miami’s Article 66 are unique on many levels. Formed by a group of law students, the band creates raw, emotionally charged songs that can’t be ignored. Add in the fact that Article 66 comingles rock and rap in a way that almost no one else does well, and you have something worth checking out. Article 66 released their debut album, Article 66, on June 6, 2008 (6/6). The band has been through a number of personnel changes but continues to thrive. Tony “T-Bone” Tomas plays guitar and provides the rock vocals on the album, while DJ Jam is Emcee, providing sublime rhymes against the backdrop of heavy guitar, drum and bass. Listen up!

Article 66 mixes elements of Rap, 80’s hard rock and modern rock into a wonderfully geeky combination that’s part hip-hop and part head-banger love fest. Juxtaposing rap rhymes and rhythms with heavy guitar (sometimes bordering on thrash), Article 66 creates a rap/rock hybrid few bands have explored. Lyrically they can run from serious to funny to bizarre (sometimes in the same song). The end result is a generally entertaining mish-mash of sounds and styles. I would advise checking out the song Misread, which is incredibly commercial and listenable. Astronomy Teacher is Hot For Teacher for the Big Bang Theory generation. It sounds sort of like Weezer on anti-depressants. The American Nightmare is a catchy rap/rock mix that’s right in Article 66’s musical wheelhouse. Hershey Squirt recalls the sort of lyrical content you might expect from early Ween, although with less subtlety (if possible).

Article 66 is an interesting listen. There’s no doubt about it, you’ll either love them or hate them depending on your personal musical proclivities. If you enjoy bands like Weezer, Ween or Devo then Article 66 will definitely appeal to you. For rap fans this is entertaining light fare, but Article 66 gets major points for melding two styles in a way that hasn’t been done well often, and getting it right (most of the time). It’s a decent listen for the adventurous of ear.

Rating: 3 Stars (Out of 5)

You can learn more about Article 66 at http://www.article66.com/. You can purchase a copy of Article 66 at www.cdbaby.com/cd/article66.