Jon Pousette-Dart - Anti-Gravity

Jon Pousette-Dart - Anti-Gravity
2011, Little Big Deal Music

The Pousette-Dart Band was one of the seminal soft-rock bands of the 1970s, transforming the folk tendencies of the 1960's into a palatable form of rock n roll.  Jon Pousette-Dart spent much of the 1970's as one of the big names in popular music, touring with acts such as Yes, Peter Frampton and James Taylor.  The 1980's saw Pousette-Dart making a comfortable living doing session work and writing jingles, but the limelight beckoned again in the 1990's.  By 2002, Pousette-Dart was on his own; crafting his incredibly catchy melodies into a roots-influenced brand of folk/rock that seems the logical outgrowth of his earlier work.  Pousette-Dark continues creating little bits of musical magic on his latest album, Anti-Gravity.

Pousette-Dart opens with the refined Americana-rock of "Anti-Gravity", an upbeat love song built on catchy hook and strong chorus.  The song manages to capture emotion in musical amber, preserving it to bloom again for the listener's benefit.  "Me And The Rain" is based in a resigned melancholy and sort of optimistic fatalism that begs salvation from the mundane.  The song is beautifully crafted, with the vocal harmonies adding great atmosphere.  Pousette-Dart shows a definite talent for lyrical turns, with lines such as "Calling all dreamers to live in the light / I'm making my peace with the night."  On "Better Everyday", Pousette-Dart offers up a sing-along chorus in a tune about making your way one step at a time. 

"Great Wide Open" ruminates on mortality and the opportunities that remain, delving into a brand of beautiful fatalism speckled with hope.  "Words" is pure fun, a catchy number that's perhaps a bit outside of fans' expectations but no less welcome for the fact.  "Who I Am" is a stunning duet with Jaime Kyle about the tragedy of Alzheimer's.  Sweet and heartfelt, the song details the small victories of knowing and being known.  If you've been there with a loved one this song will hit home hard.  "Heaven Is Here" is crafted from the best pure melody on the album, and looks for Heaven here on earth.  It's a great folk/rock number that's catchy and upbeat.  Anti-Gravity bows with "How Could I Walk Away", a song of love and devotion that avoids saccharine or cliché turns.  The song is nothing less than brilliant in both its composition and its sense of heart.

Jon Pousette-Dart continues to break new ground with "Anti-Gravity", which may be his best collective work to date.  Working with collaborators such as Jim Chapdelaine, Gary Nicholson, and Angelo and Jaime Kyle, Pousette-Dart continues to craft searching songs of love and redemption in a comfortable musical style that moves you and sinks into you at the same time.  "Anti-Gravity" is an honest and mature effort from artist who has paid his dues and can now simply sit back and write and play from his muse.  It's an effort worth becoming familiar with.

Rating: 4 Stars (Out of 5)

Learn more about Jon Pousette-Dart at www.pousette-dart.com.  Anti-Gravity is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Dexter Freebish – Shine On

Dexter Freebish – Shine On
2010, Copper Moon Records

Dexter Freebish rocketed into the national consciousness in 1999, winning the John Lennon Songwriting Contest with a number entitled “Leaving Town”.  The win led to a recording contract with Capitol Records and a top-40 single from their debut album Life Of Saturdays.  The relationship with Capital Records didn’t last long due to creative differences, but going independent never stopped the Austin’s quartet’s flirtations with success.  Two additional albums have seen Dexter Freebish land multiple songs on MTV’s The Real World, as well as placement in several video games and the movie Superman Returns, as well as racking up a second John Lennon Songwriting Competition Award in 2004.  After a six year hiatus, Dexter Freebish returned in October of 2010 with Shine On, their best work to date.

Shine On opens with “Wide Awake”, a highly catchy piece of pure pop music with a chorus that will ring in your ears.  This is the sort of tune that will have people running to Google to find out who sings it.  “Save The Last Dance” is in the same vein; highly danceable pop/rock with great harmonies.  The energy here is amazing.  “Do You Want To” shows off distinctive harmonies ala Yes or 1980’s Asia in a tune vaguely reminiscent of classic Rolling Stones.  “Made Some Friends Along The Way” shows a solid U2 influence in a soul searching tune full of big airs in a wide open arrangement.  “When The Sun Shines” maintains Dexter Freebish’s big pop momentum before moving into the album’s apex, “Shine On”.  “Shine On” could be either a love song or a song about making dreams come true; either interpretation works, but ultimately it’s a great pop song.  “Beautiful Girl” is a low key pop love song whose greatest weapon is the subtlety and touch in the songwriting. 

Dexter Freebish returns in fine style with “Shine On”; their most well rounded and complete work to date.  You don’t win the John Lennon songwriting contest twice for no reason, but Dexter Freebish continues their tradition of writing stand out songs.  Even if the industry at large and pop radio don’t pay attention, this turns out to be one of the more satisfying pop/rock albums of the past year.

Rating: 4 Stars (Out of 5)

Learn more about Dexter Freebish at www.dexterfreebish.com or www.myspace.com/dexterfreebish.  Shine On is available digitally from Amazon.com and iTunes.

And I Was Like, What? - We Have Nothing

And I Was Like, What? - We Have Nothing
2010, And I Was Like, What?

Portland, Oregon rockers And I Was Like, What? mix a tough-guy aesthetic with heartfelt and thoughtful lyrics on their debut EP We Have Nothing. Having found a way to stand out in a crowded and talented northwest music scene, And I Was Like, What? turn their eyes to the nation at large with more than a hope and a prayer.

We Have Nothing opens with "Secular Eyes", a song about losing your love to a religious conversion. The song is more lost than angry; catchy and very memorable in spite of its somewhat gloomy start. "Birthday Suite" blends classical construction with a catchy, Yes-inspired sound that you might call Prog Lite. Whatever you call it, And I Was Like, What? certainly seems to have found something. "Concerning Distance" comments with almost clinical precision on the things that went wrong in a relationship. Shawn Callahan has the ability to offer such an unemotional vocal style and yet imbue it was a sense of urgency that is more than it seems. "F#" bemoans the expenditure of emotion. The dark monologue is written in the wake of a relationship gone bad and has a sour grapes feel to it but is wrapped up in a highly ear-friendly arrangement that seems likely to garner And I Was Like, What? some real attention. We Have Nothing closes with "8:55 AM", a meandering and heavy baroque-rock exposition that seems to get a bit lost while clocking in at seven-and-a-half minutes. It's an intriguing closer, but seems to overstay its welcome.

And I Was Like, What? offers up an intriguing breakup EP in We Have Nothing, exploring the underside of the emotional effects of such a downfall. And I Was Like, What? makes full use of the both rock and orchestral instrumentation to layer sounds and build in appropriate levels of theatricality and texture into the songs, but does occasionally get a bit too impressed with their own musical ideas. We Have Nothing is a solid effort, worthy of consideration.

Rating: 3 Stars (Out of 5)

Learn more about And I Was Like, What? on Facebook.   We would suggest avoiding the MySpace page for the time being as our anti-virus programs tell us there are potentially malicious downloads there.  No online purchase points appeared available at press time.  Please contact And I Was Like, What? for more information.

All Over Everywhere - Inner Firmaments Decay

All Over Everywhere - Inner Firmaments Decay
2010, Emkog

College Park, Maryland is the home to the baroque folk/prog collective known as All Over Everywhere. Formed from a meeting of Trinna Kesner and Dan Britton in 2007 at an Espers show, All Over Everywhere blends Kesner's folk/classical tendencies with Britton's more progressive rock onus. Throw in serious doses of abject melancholy and you get a stark sound that is magisterial and meek all at once. All Over Everywhere recently released their debut album, Inner Firmaments Decay, featuring Kesner and Britton and a collection of contributions from both the classical and rock circles the two songwriters surround themselves with.

Inner Firmaments Decay, as the title may suggest, follows a dark path right from the outset. "The Art Of The Earth" is lush and full of layered sounds. Megan Wheatley's voice is clear and strong, but is buried beneath the wash of instrumental sounds more often than not. While her tone is not that of a trained singer, Wheatley is competent enough to hold her own, but not in the face of heavy handed production that leaves her buried beneath waves of synthetic sound. "Endless Night" opens on a riff that brings to mind Anderson, Bruford, Wakeman & Howe. From this vibrant opening the song seems to lapse into a dirge-like form, only to pick up momentum in the form of wave-like hemiolae that carry the song to its conclusion. "The Shroud" overpowers Wheatley, who nearly disappears in the chorus.

"Honestly" presents a slightly different musical flavor; not so much a shift in style as of production. Wheatley is still forced to fight production decisions, but the arrangement is more sparse, allowing Wheatley a bit more vocal exposure. "After All The Years" becomes a mess; Wheatley and the Theremin are in sync with one another but not with the whole of the arrangement on the chorus. "On A Dark Street" displays a bit brighter aspect to All Over Everywhere even if the song can't escape the band's abiding melancholy. It's a ballad about words unspoken, opportunities missed and dreams misshapen. Things fall apart quickly on "Until The Sun Begins To Fall", a temperamental musical child that ends in a question mark. The closing track, "Gratitude" is billed as the one uplifting track on the disc, and may be but sounds to be strongly in the dirge-like vein that pervades Inner Firmaments Decay until the final three minutes when both Wheatley and the arrangement arise from their doldrums and sound vaguely majestic.

Sadly, it's too little too late for most listeners, who will have checked out long ago. There's nothing inherently wrong with the songs on Inner Firmaments Decay, but the overall mood and problems with production can make it a strenuous listen. There is potential here, but it's not far off to say that the listener never really hears the echoes of what might be on Inner Firmaments Decay. There's no point in being a vocalist if you can't be heard.

Rating: 2 Stars (Out of 5)

Learn more about All Over Everywhere at www.myspace.com/allovereverywherecp.  Inner Firmaments Decay is available from Amazon.com as a CD or Download.  You can also find it on iTunes.

Syzygy - Realms Of Eternity

Syzygy - Realms Of Eternity
2009, FHL Records

Cleveland, Ohio rockers Syzygy have been developing their sound and identity for a number of years, first under the name Abraxas and later as Witsend. As the band developed and personnel changed, it became clear that the name Witsend would be more trouble than it was worth, and the band chose the moniker Syzygy. An alignment of the Earth, Moon and Sun, Syzygy often represents a coming together, and the name has never been apropos. Syzygy has found a sound that is both classic and fresh, relevant and magical. On Syzygy’s latest album, Realms Of Eternity, the band tackles the spiritual world and the afterlife. The themes on Realms Of Eternity are Judeo-Christian in nature, but Realms Of Eternity seems more of a metaphysical album than a religious one. Either way, it’s some of the most intriguing progressive rock of last few years.

Imagine 1970's Prog rockers Yes with Dennis DeYoung sitting in for Rick Wakeman on keys. Further imagine that this new band also engages in the occasional Jethro Tull-styled diversion, and you'll have a pretty good idea of the sound and range that Syzygy displays on Realms Of Eternity. Opening with "Darkfield", Syzygy gives us a moody and pensive tune that moves quickly to big dynamics, detailing the fall of Eden in song as the beginning of the conflict between God and Satan. Syzygy paints this story against a grand musical canvas, cast highs and lows; darks and lights as they balance the beauty of Paradise with the tension of the eternal struggle over its former inhabitants. "Vanitas" is an instrumental rock orchestral movement about Adam & Eve's self-discovery (and discovery of shame and vanity). It's a stylized representation that works well.

"Dreams" is a grand, theatrical rock number about hope. Keyboardist Sam Giunta channels early-1970's Dennis DeYoung here, and there's a definite James Young flair to the guitar line. "Echoes Remain" could have come right out of a Jethro Tull session circa Songs From The Wood, right down to its philosophic mien. Syzygy turns more to a Rick Wakeman style keyboard sound for "Dialectic", using significant instrumental and vocal layering to build a sound that is at once majestic and intellectual. At over sixteen minutes in length, "Dialectic" offers ample opportunity for instrumental airplay, and Syzygy doesn't miss a single opportunity, playing out a musical narrative of trials and tribulations.

Syzygy takes us on an interesting side trip, transitioning from the peaceful interlude of "Arranmore Isle" into the dark energy of "Overture" before resolving into the light air that flows into "The Sea". "The Sea" details man's yearning to return to God. Mankind hears the voices of the departed across the sea; those who have already returned to their home, and yearns as one to return to where they came from. Hope resurfaces on "The Morning Song", promising all of the wonderful things that Paradise can bring. "Variations, Part 1" and "Variations, Part 2" are both Yes-like in structure and sound, offering the musical equivalents of a movie's deleted scenes and alternate endings. Syzygy does venture into some interesting musical divergences, but these two tunes are for the serious Prog fans and instrumentalists out there who like to pick complex compositions apart for fun. "Reflection" is a moment of contemplation of Faith that leads into "Finale", a joyous yet rocky journey to reunion with God. The song is punctuated by big guitar solos and dynamic interplay; building into a frenzied peak before drawing down to a slow legato that then builds into a Styx-style closing chorus.

Syzygy pulls out all of the stops on Realms Of Eternity, paying homage to some of the most dynamic sounds of the Prog rock era and building on them in new and interesting ways. The heavily religious theme may put some off, but the album plays more like a Dante narrative than a sermon, and can be seen as a parable for man's eternal struggle to be independent set against his eternal need to be loved. Realms Of Eternity is one of the best Progressive rock albums of the past few years.

Rating: 4.5 Stars (Out of 5)

Learn more about Syzygy at http://www.syzygymusic.com/ or www.myspace.com/syzygymusicenterprises. Realms Of Eternity is available as a CD or Download from Amazon. Downloads are also available via iTunes.

Review: Modest Midget - The Great Prophesy Of A Small Man

Modest Midget - The Great Prophesy Of A Small Man
2010, Multi-Polar Music

The Netherlands' own Modest Midget is back with their first full length album, The Great Prophesy Of A Small Man, the follow-up to their 2008 EP, Partial Exposure. Classic and progressive rock guitar are at the roots of The Great Prophecy Of A Small Man, as guitarist/singer/songwriter Lionel Ziblat infuses the album with his unique style and sound.

After the brief encroachment of "Follow The Noise", Modest Midget breaks into the wonderfully angular "Contemporary Ache. The guitar work here will remind you a bit of Steve Howe from some of the classic Yes albums as Modest Midget walks you through a brief and dark-timbered history of popular music from the roots of Jazz to today. "Troubles In Heaven" has a highly melodramatic feel, like something that might come from a stage show. The guitar work is again a treat, as Lionel Ziblat refuses to be boxed into a niche as a guitarist, drawing on different styles and influences with each song. "Coffee From Yesterday" continues the guitar goodness, a two-and-a-half minute instrumental that builds like a modern rock symphony, keeping the energy and melody high aloft.

"Back From My Trip" is a humorous misadventure of a vacation gone awry that's simply an excuse for Ziblat to show off some more of his impressive guitar tricks. On "Home Seek", Modest Midget shows off some impressive CSNY-style harmony vocals in a heartbreaking tale of unrequited love. "Jorge Knows How Difficult A Musician's Life Can Be" finds Modest Midget going through wonderful melodic fits in the best instrumental on the album. It's progressive rock with a distinct European and Mediterranean influences in melody and sound. If you don't find yourself dancing along you might want to call the paramedics. "Buy Me!" finds Modest Midget heading to middle of the road early-1980's rock with a tight, compact arrangement full of melodic guitar and rapid-fire lyrics. "Evolution" continues with this unusual meld of styles, offering up some of the most interesting melodic work on the album. Modest Midget closes with "The Last Straw", an expansive and perhaps ill-chosen closing track. The energy and vibrancy of The Great Prophesy Of A Small Man is clouded by this track, which sounds like a musical orphan that caught on at the last moment.

Modest Midget continues the impressive display of progressive rock virtuosity that they displayed on their debut EP, Partial Exposure. Lionel Ziblat certainly knows how to dial it up on guitar, infusing new and unusual sounds into classic forms that should engender more interest in both progressive rock and the other roots he draws from. The Great Prophesy Of A Small Man is likely to set Modest Midget up for a few more nominations and perhaps even an award or two. It's that good.

Rating: 4 Stars (Out of 5)

You can learn more about Modest Midget at http://www.modestmidget.com/ or http://www.lionelziblat.com/. The Great Prophecy Of A Small Man has an official release date of May 9, 2010 in the Netherlands, but you can purchase it now online through CDBaby.com or iTunes.

Review: Ben Rusch - Oh, Yes!!

Ben Rusch - Oh, Yes!!
2009, Ben Rusch

Ben Rusch is a London-based award-winning singer/songwriter. You might not have heard of him if you don’t live in Western Europe, but he’s cranked out 16 full-length albums as an Indie artist, won or nearly won several major songwriting awards, and enjoys extensive radio airplay in Germany. Rusch draws on a wealth of influences and perspectives to create nuanced, balanced Rock N Roll that not only entertains and provides great melody but also tells a story. Nowhere is this clearer than on Rusch’s latest effort, Oh, Yes!!

Rusch opens with Fissile Isle, featuring an intriguing piano-based Rock sound that's not too many steps removed from Ben Folds. The low-energy vocal style is a matter of necessity for Rusch, but works perfectly with his non-conventional writing style. The Daily Mail displays so highly inventive song construction and a brilliant keyboard solo during the bridge. The Daily Mail might not grab you on the first listen but will keep picking at you with each successive spin. Ray By Ray is an absolutely gorgeous tune framed by piano and guitar. These two instruments create a safe space for a melody that will haunt your subconscious to come out and play. It's a love song that eschews current trends and revisits love as a romantic concept in terms of time and place.

Ode To Your Body is a brainy love song, ala Big Bang Theory. This song is ridiculously catchy. As Good As It Gets will sound familiar to anyone who’s ever involved with someone whom you've suspected is secretly psychotic. Lost any time lately? This song will frighten you. Metaphor Pilot is a love song ensconced in deep imagery that doesn't neglect the more difficult aspects of love and relationships. The song is wonderfully written.

The Lament of Catskin Arnold is a collegial lament for the prodigal son, where the family is the cast of characters at the local pub. The Ghost Of You Is In The Heart Of Me is a highly personal and literate memoriam in song. It's the Poet Laureate of Indie Rock at his most explicit. Maud's Ecstasy At The High School is a transcendent song. Rusch casts aside the petty whims of genre to create magic. This is one of those tunes you never shake; twenty years from now you'll be walking down the street somewhere and this melody will suddenly run through your head. You might not remember who Ben Rusch is or where the song came from, but the song is utterly brilliant. Rusch gets inside what might have been the crowning moment in one woman's young life with a prescience that's mystifying.

Rusch hits a wonderfully angular sound reminiscent of Ben Folds on Parachute Of Sound before sliding into a satire of the "American Idol" culture and the one-dimensional pop stars it engenders on The Pop Diva Trajectory. Rusch is too smart for his own good and funny to boot (and it's not a bad arrangement either!). The next two songs might indicate a serious penchant for the band Yes. Bass Guitars in Heaven finds Rusch channeling Chris Squire on what sounds like a Yes outtake. The End Of Time features Steve Howe-style guitar work in rhythmic pop tune about how to spend the waning moments of life. It's a great listen. Rusch winds things up with The Masochist Song, a humorous tidbit from a wonderfully disturbed mind. This one dances right over the edge of novelty, but it's definitely worth dancing on the edge for.

Ben Rusch brings high-brow Pop music to the fore with a collection of stultifying and illuminating songs on Oh, Yes!!. Rusch manages to build things up even as he tears them down, taking things apart and song and subtly rearranging them in your understanding. Humor, intelligence and deviously good song craft inform the process in one of most original albums I've had the honor to listen to lately. Make sure Oh, Yes!! is on your to-do list.

Rating: 4 Stars (Out of 5)

You can learn more about Ben Rusch at http://www.benrusch.com/ or www.myspace.com/musicwithininstruments. You can purchase Oh, Yes!! as a digital download from Amazon.com.

Haakon's Fault - Pilgrimage

Haakon's Fault - Pilgrimage
2009, Haakon's Fault

New York City nouveau hipsters Haakon's Fault bring a wealth of musical visions and styles to the table. Pouring Rock, Metal, Jazz and Funk into a musically progressive blend, Haakon's Fault might be making some of the most exciting music on the New York City scene. Their debut EP, Pilgrimage, finds Haakon's Fault mining the musical world for gems and sewing it all together with the mastery of an old-time jazz master, all set against the ruddy, soulful voice of Harry McNamara.

Pilgrimage opens with the title track, a song about finding spiritual meaning in a physical world. The construction and arrangement of this track is brilliant. Star Gazing leads with guitar work inspired by early Yes and opens into a delicious bit of 1970's style Funk/Jazz. This performance is flawless, from the instrumentation to lead vocal to harmonies. Even the Rick Wakeman-esque synth that kicks in half way through the song is wracked with perfection. Siren is perhaps the most aggressively progressive track on Pilgrimage; it's interesting musically but I didn't enjoy it as much as the rest of the CD. Eulogic mixes mellow Rock, Soul, Funk and Jazz in delicious song about the legacies we leave behind. Guitarist Mike Serman gets to show off a bit as well, laying down some serious fretwork throughout the song. Pilgrimage returns home with Glory, a song about the draw that life on the road has for some. There's serious jazz construction involved in the composition of Glory, easily the most complex and thrilling song on the disc.

Haakon's Fault spins Progressive Rock back towards its roots in Jazz on Pilgrimage, putting together five songs that are far and away superior to the material being generated currently in neo-prog, mathcore and other loosely related genres. I suspect the live shows are where Haakon's Fault is at their best, but as musical introductions go its hard to beat Pilgrimage.

Rating: 4 Stars (Out of 5)

You can learn more about Haakon's Fault at www.myspace.com/haakonsfault. You can download Pilgrimage from Bandcamp. No word on physical copies of the CD to date, although if you message the band through MySpace they may help you out!

Review: Vangough - Manikin Parade

Vangough - Manikin Parade
2009, Clay Withrow

Who needs a sword when you carry an axe? Vangough front man Clay Withrow carries both on the band's debut CD, Manikin Parade, released in April of 2009. Pointed lyrics that cut to the heart are interwoven into a rock and roll matrix filled with heavy guitar, Progressive songwriting and a keyboard style that brings to mind Prog masters Styx, Yes and Genesis. Fans of Dream Theater and Styx will love the theatrical style Vangough projects through their music, and generations can come together over a mix of Classic and Modern Rock that does honor to both. Vangough is Withrow (vox, guitar); Brandon Lopez (drums); Abe Hartley (keys) and Carlton Dorsey (bass, cello, violin).

Manikin Parade kicks off with the Progressive Rock love fest Estranger. Vangough channels Dream Theater, Queen and Styx here. Using a 2-vocalist approach (one of who sounds more than a bit like Tommy Shaw) works incredibly well here, and the song construction is out of this world. There are no tricks here, Vangough has simply let the song develop as it might without trying to restrict it to a tight ABACAB format. The song rocks and yet has a very lyric flow from beginning to end that makes it a highly intriguing listen. Both vocalists are exceptional and Vangough could not have chosen a better opener. Manikin Parade berates the dumbing down of a society that prefers reality television to reality and tweets to conversation in a guitar-driven anthem reminiscent of Queensryche in their Empire days. Christmas Scars drives this point home, focusing on our obsession and glorification of celebrity. What begins as heavy, driven tune with growling vocals trends to a more serene state, passing through rap/vocals and the occasional return to percussive musicality along the way.

Disorder Quotient is a stark examination of both sides of the issue of abuse by priests in the Catholic Church; both the priests' and victims' perspectives are represented in surprisingly even-handed fashion, almost seeming to imply that both are victims of a larger entity (the Church itself, God?). Either way, the song is serious sociopolitical commentary wrapped inside of a dynamic Prog shell. Not wanting to leave anyone out, Vangough turns their eyes to the vaunted gates of Scientology on Paradise For The Lost, essentially calling it out as a business enterprise that sells salvation one course at a time. If possible, there seems to be more anger in Paradise For The Lost than in Disorder Quotient, pulling no punches ("Fail to see his hateful greed / like a church of fools we follow the rules"). Paradise Of The Lost is part one of a three song cycle called The Twilight. Part Two is Gabriel; looking at what can happen to a person when all else (hope, faith, love, self-interest) fails. The song exhorts the subject to move out of the darkness by letting go all these expectations and give in to the magic that is life.

Dance Of The Summer Mind is a nearly six-minute instrumental interlude, primarily of piano and acoustic guitar. It is a beautiful composition that never really soars but continually presses at the sky and serves as a lead-in for One Dark Birthday; focusing on self-exclusion and sorrow. The protagonist here is from all around him by his own choices but doesn't know how to reconnect to the world. Part Three of Twilight is the epic musical odyssey called Etude Of Sorrow. Etude Of Sorrow opens as one of the more straightforward songs on the album, but diverges into what sounds like a convoluted diatribe against God. The narrator turns his back on God because of all he's lost. This is followed by Halcyon Days, which appears to be a song commemorating passing the veil of death. Vangough closes the set with The Cosmic Bus Stop, a highly dramatic representation of what might be waiting after death.

I have to admit that I had a hard time connecting to the subject matter here; I was never 100% certain how much of Manikin Parade is tongue-in-cheek and how much is meant as direct social commentary (or perhaps a smidgen of both). What is clear is that Manikin Parade is a disturbing album full of grand musical compositions, devastating themes and intensely virtuosic musicianship. I may not like all Vangough has to say, but I certainly like the way they say it on Manikin Parade. Think of it as Faust done over for our modern age.

Rating: 4 Stars (Out of 5)

You can learn more about Vangough at www.myspace.com/officialvangough. You can purchase Manikin Parade as either a CD or download via CDBaby.com.

Review: HB3 - The Veldt

HB3 - The Veldt
2007, Zegnotropic Records

HB3 is setting music free with a sound that combines organic electric instruments with electronic sounds and effects in fashion that might just be unique. Bridging the gaps from Charlie Parker to Eric Johnson to Yes and through Ravi Shankar on the way back, HB3 paints with a broad musical brush that's as interesting as it is hard to predict. HB3's latest album, The Veldt, is loosely based on the Ray Bradbury short story of the same name. HB3 looks to create a musical place of pure imagination and creativity both as a refuge from the world and a means to understand it.

The Veldt opens with Overture (Behold The Sea), sounding a bit like Mannheim Steamroller with Eric Johnson on guitar and Rick Wakeman sitting in on keys. Keyboard, guitar and piccolo bass pass the major and minor themes back and forth in a composition with theatrical implications. Pay Me Pray Me is described by HB3 as a prayer to Eros; the song itself is hard to decipher on the lyric side but plays like a very repressed alt-rocker with progressive tendencies in the chorus. The Veldt plays off of African rhythms and a somewhat demented bit of song construction to create a fantastical vision that crosses cultural and musical boundaries with each sonic breath. Perhaps the most interesting interlude in the song is a bass solo that sounds like it has been amplified with some electronic effects.

Casual Betrayal sews together threads of Brit Rock, Folk and 1980's keyboard-driven New Wave; the song explores the lack of honor in modern society and how it is passed from generation to the next like a social disease. HB3 manages to sound quite a lot like 54-40's Neil Osborne on this track. Manimal! combines Hip-Hop and Electronica with Horror-movie style themes. Manimal! is all over the musical map and is better heard than described. Harmonium takes Dennis DeYoung-style keyboard work (you might pick out distinct similarities to the opening of Fooling Yourself) and builds into something reminiscent of some of the experimental soundtrack work of the late 1980's. Fans of Giorgio Moroder will find themselves on familiar territory for much of the song.

On 007, HB3 pays tribute to Isao Tomita with a composition that runs the gamut Sci-Fi and Space Age novelty. Computers and spaceships as they may have been sonically imagined in the 1960's and 1970's reign here. Close But No Cigar is one of the most intriguing compositions here; I spent a dozen or so trips through this song trying to come up with a "sounds like" comparison and couldn't find anything that quite fit. The closest I came is to think of Pink Floyd as produced by William Ackerman. The Veldt closes out with Lion & Lamb which turns out to be something of a musical reprise of the entire album, in turns. Most or all of the major thematic elements of the individual songs come back in Lion & Lamb; a sort of musical yang and yin that compels the album while drawing all of the pieces together.

It's rare to come across a recording that's wholly original. HB3 achieves this not by fearing or shunning his influences, but by embracing them wholeheartedly and using them to loving create new ideas with old phrases. In a medium governed by eight basic notes it is often the music musicians themselves consume that drives their creations. HB3 takes all of these musical ideas that have entered his mind over the years and resets them as something wholly new and original. The Veldt is brilliant.

Rating: 4.5 Stars (Out of 5)

You can learn more about HB3 at http://www.hb3.com/ or www.myspace.com/fromthelaboratory. You can purchase The Veldt as either CD or download at CDBaby.com.

Review: The Source - Prickly Pear

The Source - Prickly Pear
2009, Under The Sun Records

The Source is a Los Angeles based Progressive Rock band that could have just walked out of the 1970s. With the expansive creative edge of Yes, the experimental tendencies of King Crimson, and the willingness to mix things up in unusual fashion, The Source might just be one of the best things to happen to Prog in twenty years. The Source’s sophomore album, Prickly Pear was released earlier this year and continues to build on the sterling reputation The Source has developed.

Prickly Pear opens with Promised Land, a highly intricate Progressive Rock piece reminiscent of early Yes but with a bit of a lean toward Jazz flavoring. Star Dreamer plays within the Prog sphere with elements of Queen's sound. Until Morning Time continues the sonic experimentation with an eleven minute opus that sounds like early Styx and Yes jamming together. The song is very mellow and lyric in the vocal passages but turns downright medieval in the instrumental breaks. This is a complete rock symphony with multiple movements but retains a sense of continuity throughout. Thin Air sticks a little more to traditional Art Rock structure, but even at five minutes finds time for some musical exploration. Prickly Pear closes out with Castles In The Air, a fifteen minute magnum opus that ranges from ambient, melodic Rock to serious Prog. There is a clear Yes (read, Steve Howe) influence here, particularly in the guitar work.

The Source is one serious Prog band in the tradition of Yes and King Crimson. Prog is making a comeback in general, particularly in the thrash/punk realm where bands like Iwrestledabearonce and The Devil Wears Prada have incorporated the symphonic structures to devastating effect. The Source are highly traditional and very creative as practitioners of Prog. Longtime fans of the genre will love The Source, and Prickly Pear is a great introduction.

Rating: 4 Stars (Out of 5)

You can learn more about The Source at http://www.thesourcerocks.com/. You can purchase a copy of Prickly Pear at www.cdbaby.com/cd/sourcerocks2.

Review: Iwrestledabearonce - It's All Happening

Iwrestledabearonce - It's All Happening
2009, Century Media

Iwrestledabearonce is part of the new movement in Punk/Thrash/Hardcore Rock toward the compositional elements of Progressive Rock. The Louisiana quintet is perhaps the most original and unique punk act to come along in the new millennium. Iwrestledabearonce is distinctive on so many levels its hard to know where to start. You'll hear comparisons to The Devil Wears Prada, but Iwrestledabearonce is bigger, faster, harder and more creative. Iwrestledabearonce's debut album, It's All Happening, will be released on June 2, 2009. Are you ready?

Iwrestledabearonce is a thrash metal band unafraid of incorporating electronic music into their sound and also has some serious Prog tendencies. I personally am not big on the screaming thing, but Krysta Cameron is a very sound vocalist when singing. You'll need a lyric book to follow along, and the songwriting can be downright chaotic, changing from stave to stave and even measure to measure between lyric, melodic rock and Thrash/Prog. You Ain't No Family establishes the base sound, but it's the second track, White Water In The Morning that truly throws down the gauntlet for listeners. The song is completely over the top, with Krysta Cameron really getting her scream on (particularly in the second half of the song). Danger In The Manger is manic and maniacal; have fun trying to keep up. Tastes Like Kevin Bacon is all over the map and would appear to incorporate a distinct sense of humor but remains undecipherable in at least some portions of the song. Other highlights include Pazuzu For The Win, Eli Cash Vs. the Godless Savages and See You In Shell.

Iwrestledabearonce is going to be huge. Sitting at the forefront of a new movement in hardcore music, this Prog/Thrash behemoth is just a little bit faster and a little bit better than anyone currently on the scene. That's not to say other bands won't catch up, but the chaotic nature of the songwriting is bound to make bands like Yes and King Crimson applaud in appreciation. It's All Happening is a pretty heavy record and won't be appreciated by everyone, but the Artpunk crowd should elevate Iwrestledabearonce to icon status.

Rating: 4 Stars (Out of 5)

You can learn more about Iwrestledabearonce at http://www.iwrestledabearonce.com/ or www.myspace.com/iwrestledabearonce. You can order copies of It’s All Happening at Amazon.com, or download the album through iTunes.

Review: Strangers Pass - Strangers Pass [EP]

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

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

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

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

Rating: 3 Stars (Out of 5)

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

Review: Family Order - Family Order

Family Order – Family Order
2008, Family Order

Chicago hipsters Family Order have a new sound you’ll find intriguing. Referring to themselves as a classical jam band, Family Order brings a love of unusual chord progressions and rock instrumental music on their debut album, Family Order. The 7-track EP, released in 2008, has garnered them significant attention at home, and the band is starting to branch out across the Midwest. Keyboardist Eitan Bernstein and drummer Charlie Dresser began writing together in 2006, and pulled in bassist Ben Smith and guitarist Dan Guzman to fill out the sound on stage.

Falling somewhere between King Crimson and Maurice Jarre, Family Order constructs neo-classical/jazz/rock jams with a strong Progressive bent on their self-titled debut. Cantstandya is built on long, undulating keyboard runs interspersed with nouveau jazz breakdowns. There is funky heart to the music that drives it along its merry way while musical chaos plays just at the edges of the soundscape. Even the musically introspective middle of the pieces serves the freeform feel of Cantstandya. Marvin is nine minutes and twenty seconds of ethereal construction that is interesting to listen through. High Gleamin' Beams has an almost Easy Listening gone modern sound with some interesting voiceovers popping up at points throughout the song. Jack Buckingham has a wonderfully oceanic quality, like being rocked by wave after wave of sound; always gently but with perceptible force. Funky Republican possesses a circular, cyclic nature where the theme never seems to progress; this may an artistic political statement. Invention is a reprisal of Cantstandya in a fitting epilogue to the album.

Family Order has crafted seven unusual and highly interesting compositions for their debut. Family Order is the sort of rock instrumental CD that you can't relegate to the background. The songs will tug at you and demand to be heard in the same fashion that a Miles Davis or Yes album will do. Not everyone will dig it, but those who really get into the composition and construction of music will have a field day.

Rating: 3.5 Stars (Out of 5)

You can learn more about Family Order at www.myspace.com/familyordermusic, where you can find a link to download Family Order for free for a short time. CDs are currently available only at live shows but will soon be available for purchase via PayPal on the band’s MySpace page.

Review: The Rippys - Lost And Found

The Rippys – Lost And Found
2009, Afterever

Ron and Leticia Rippy form two partnerships. The husband and wife duo are also known as The Rippys, the Los Angeles based music duo that throws out distinctions between religious and secular music and writes from a diverse well of influences. From artists such as Chicago, James Taylor, Wilson Phillips, Amy Grant and Steven Curtis Chapman, The Rippys gather influence and inspiration to write about subjects ranging from relationships to God. Their debut CD, Lost And Found, seeks what all people seek: meaning, purpose, fulfillment and love.

Lost And Found opens with You And Me, a great pop arrangement with lots of energy. Is It Me moves to a big classic rock guitar sound with soulful vocals. Is It Me is a bit lyrically awkward, but highly listenable. Can You Hear Me (L) is funky with lots of soul. Maker is musically pleasing, but lyrically simplistic and repetitive to the point of distraction. Move Me is a reggae Praise song that works more for its quirkiness than anything else. Other songs of interest are Cries Out, where the Rippys manage to sound a bit like later Yes and My Whole Heart.

The Rippys remind me a great deal of Sixpence None The Richer, a band that is primarily Christian in content but occasionally delves into secular subject matter. There’s real talent here but also a tendency perhaps to force their desired subject matter into song rather than letting the songs be what they want and then finding words to fit. The music here is quite enjoyable, but the lyrical constructs can be awkward at times. Nevertheless Lost And Found is an interesting listen.

Rating: 3 Stars (Out of 5)

You can learn more about The Rippys at http://www.rippys.net/ or www.myspace.com/therippys. You can purchase a copy of Lost And Found at www.cdbaby.com/cd/rippys.

Review: Fractal - Sequitur

Fractal - Sequitur
2009, Fractal

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

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

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

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

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

Rating: 4.5 Stars (Out of 5)

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

Review: Toubab Krewe - Live At The Orange Peel

Toubab Krewe - Live At The Orange Peel

2008, Upstream Records

Appalachia. Home to scenic vistas, simple living, squirrel dinners and African-rooted folk music. What? Back up. Asheville, North Carolina is home to Toubab Krewe, a band that mixes traditional West-African music with a pop/Americana mix to create one of the most unusual combinations you've likely ever heard. Toubab Krewe was born in 2005, the partnership of five childhood friends: Teal Brown (drums), Drew Heller (guitar), Justin Perkins (kamel ngoni, kora, guitar), David Pransky (bass) and Luke Quaranta (percussion). Toubab Krewe has travelled extensively, studying with music masters in places such as Guinea, Mali and the Ivory Coast. Toubab Krewe has wowed crowds at Bonnaroo and the Festival Of The Desert in Essakane, Mali. Their latest release, Live At The Orange Peel (available January 6, 2009 on Upstream Records) captures their live presence in intimate detail.

Disbelief quickly turns to musical joy while listening to Live At The Orange Peel. I expected kind of a Paul Simon Graceland redux; instead I heard a brilliantly original and vibrant set of recordings that exceeded my imagination by leaps and bounds. The opening track, Autorail fell about where I expected musically, but Toubab Krewe weren't about to stand still. Lamines Tune seemed an interesting conglomeration of roots rock and northern and western African sounds. This is the catchiest of the tunes here and almost descends into honky-tonk at times (but not quite). Roy Forester features Justin Perkins on the kamel ngoni and special guest Umar Bin Hassan (The Last Poets) on the spoken word passages. Kaira is exceedingly beautiful from the opening, with Perkins creating sounds on the kora that sound like they may have been from and old Yes album.

51 Ft Ladder is more rock song than anything else, with the kamel ngoni sounding at times almost like a banjo. This is a great jam tune that could go on a lot longer than it does. Maliba carries an almost Caribbean sound -- all its missing is the steel drums. Toubab Krewe kicks out the jams on Moose, just to prove they can. This big, guitar-driven rock song has an almost Celtic feel to it and should appeal to fans across diverse boundaries. Live At The Orange Peel closes with Buncombe To Badala, which has a definite Dick Dale/Surfaris feel to it.

Toubab Krewe is one of the most unique bands I've come across. Their music is infectious and fun. You'll find yourself hooked from the first listen. Live At The Orange Peel captures Toubab Krewe in their best light - live on stage. Musically talented, Toubab Krewe adds to their performance by maintaining an ultra-high energy level. This energy comes across well on the CD, and likely only offers a hint of what there is to experience at a show. On the whole and excellent recording.

Rating: 4 Stars (Out of 5)

You can learn more about Toubab Krewe at www.myspace.com/toubabkrewe or http://www.toubabkrewe.com/, where you can purchase a copy of Live At The Orange Peel.

The Wildy's World Top-40 Of 2008: #13-19

Ah yes, the dreaded end-of-year lists have begun. Not being able to resist the call of annoying pop-culture end of year lists, we here at Wildy's World thought we'd tear our hair our trying to present you with the top 40 albums we've reviewed in 2008. The albums had to be released in 2007 or 2008 in order to be considered, and a total of 537 albums were in the mix. This means the forty albums we'll present over the next 10 days comprise the top 7.5% of submissions in 2008!Each listing will give a very brief statement about the album, and the artist name/title will serve as a hyperlink to the original Wildy's World review, where you can also find links to the artists' website and links to purchase their CDs.

And the tensions builds as today we are covering #'s 13-19. #1 is on the horizon...


#19 Gena Perala - This Ain't Pretty

Gena Perala combines the lyrical oomph of a Bruce Coburn or Springsteen with the post-Ani DiFranco sense of pop/folk/punk songwriting style. This Ain't Pretty is gritty and tough and distinctly beautiful (without being pretty).

#18 Mindwalk BLVD - Paint The Seconds

A progressive rock power trio whose oldest member is a green 16 goes on to nearly win a spot opening for Yes on their 40th Anniversary Tour. If the tour hadn't been cancelled due to Jon Anderson's health problems you'd already be hearing these kids everywhere. As it is it's just a matter of time.

#17 The Break And Repair Method - Milk The Bee

Matchbox 20's Paul Doucette comes out from behind the drum kit on this sparkling solo-debut. With the help of folks like Nina Gordon, Moon Unit Zappa and Matt Beck, Doucette has crafted one of the stickiest sets of melodies of the year.

#16 Beware Fashionable Women - Beware Fashionable Women

Barenaked Ladies style kitsch. Beach Boys Harmonies. Dick Dale style guitar and an edginess reminiscent of The Clash. This is the gloriously improbable package offered up by Beware Fashionable Women. One of the most pleasant surprises of 2008.

#15 Alyssa Graham - Echo

An artist who could have been a star in any era, Graham shows a love and respect for the history of jazz while adding a modern sensibility and appeal. Echo is the sort of album that gets the ear of musicians, many of whom may line up to work with Graham on future projects.

#14 Dare Dukes - Prettiest Transmitter Of All

Dukes is a musical story-teller, nay, a troubadour who finds the most unusual angles. Pulling the humor from life rather than poking fun, Dukes can make you laugh about a story while feeling the underlying angst all in the same song. A songwriter's songwriter.

#13 Reid MacLean - Bright Fading Star
MacLean is a sublime story teller with a near-perfect pop sense. His ability to connect to the listener is insane, and the list of contributors for this album will show you how much respect he already has in the music world.

Review: Night Artery - Capsize Your Surroundings EP

Night Artery - Capsize Your Surroundings E.P.
2008, Cinematical Records

Melbourne, Australia's Night Artery is a story of personal perseverance: Personal because Night Artery is one man, Ross Arundale; Perseverance because it took Arundale time and lots of sledgehammer swings to find not only his true voice but also the means to get it out there. Spending two years working on the railway might seem like a romantic, adventurous life, but Arundale can tell you how hard the work is. His reward was enough money put away to buy all of the instruments and equipment he needed to build his own studio. Then he just needed a year to learn to play them all. Capsize Your Surroundings is not only the name of Arundale's first E.P. as Night Artery, but it also describes the way he's lived his life until now. If you don't like your circumstances, change them.

Capsize Your Surroundings opens with An Act Ill-Informed Of Returns, which starts with a gorgeous faux-orchestra moving into a mellow verse followed by an almost frenetic chorus. The song takes on a Progressive Rock bent as Arundale turns the song every which way on the way to the next verse. I really enjoyed this tune and can't seem to get it out of my head. Cinematic Shards On The Permanent Way is a jaunty rock song that again has some Prog leanings. The changes in song structure throughout make for highly interesting listening. Nerve Endings is more of a classic rock radio ballad in acoustic setting. It's extremely well written and performed. Glass Corners opens with riffs reminiscent of old Yes songs and turns into an almost U2-like grand ballad that falls into apoplectic Yes chord progressions at the end. Glass Corners is Arundale's most impassioned vocal performance on the album and is my personal favorite. The unlisted bonus track is a pretty two-and-a-half minute piano piece that deserves to be heard.

Night Artery is an unusual project. Ross Arundale is an extremely talented composer and performer. He's obviously very motivated to bring his music to the world, and its hard to see how he will not be a great success. Capsize Your Surroundings is a daring, brash and wonderfully successful debut. The mix of progressive leanings with almost classical compositional style and old-fashioned singer-songwriter balladeering makes for a wonderful combination. The only complaint along the way is the shortness of the album. We here at Wildy's World will be hoping for more from Night Artery soon.

Rating: 5 Stars (Out of 5)

You can learn more about Night Artery at www.myspace.com/nightartery or http://www.nightartery.com/, where you can purchase a copy of the Capsize Your Surroundings EP. Downloads are available through iTunes.