Grand Army - Love Is Gonna Eat You

Grand Army - Love Is Gonna Eat You
2013, Grand Army

Boston-based electro-art rockers Grand Army are back in action with Love Is Gonna Eat You, the follow-up to their 2009 debut Toys For Chaos. Full of big, quirky pop hooks and unusual song construction, Love Is Gonna Eat You is equally exhilarating and frustrating. Grand Army finds some sublime moments along the way ("Our Time", "Make Music" and the wonderfully catchy "Lost Our Mind"), but there is an almost mindful effort to tease the music beyond what it wants to be at times. Grand Army shows distinct potential for crafting a high impact mix of rock and pop on Love Is Gonna Eat You, but seems to get distracted by their own musical architecture. Everything here is well produced and well played, and vocalist Alicia Racine is equally convincing as a wildcat rocker or sultry crooner.  There is a lot here to like, but still a sense that Grand Army is struggling to find a comfortable musical balance.

Rating: 3

Learn more at www.facebook.com/grandarmymusic or www.reverbnation.com/grandarmy. 

Bern & The Brights - Swing Shift Maisies

Bern & The Brights - Swing Shift Maisies
2010, Bern & The Brights

Bernadette Malavarca had the name of her band come to her in a dream, quite literally. Malavarca awoke with the name Bern & The Brights and managed to jot it down before falling back to sleep. Malavarca came together to play a bookstore closing with some friends at what was to be a one-off performance. The reaction of the crowd and the shared chemistry of the band convinced them that they were on to something, and suddenly the name had a home. Since then, Bern & The Brights have become one of the hottest acts in Northern New Jersey, and have even been named one of the 50 best up-and-coming bands in the New York City area by Deli Magazine. Bern & The Brights recently released their debut EP, Swing Shift Maisies, a thoroughly DIY project that reflects the energy and spirit that Bern & The Brights brings to the stage.

Swing Shift Maisies opens with "Boo", an intriguing, moody opening number. Malavarca has a distinctive voice, with a Gwen Stefani-like vibrato but a much more organic sound. Nicole Scorsone's violin dances with Malavarca's voice throughout the song, each urging the other on to new heights. "Sangria Peaches" is upbeat acoustic pop with dark undertones and a memorable melody. "Sleepless Aristotle" is hard to follow lyrically, but it's a vibrant tune with an active melody line that will stay with you. Malavarca is at her vocal best here. Bern & The Brights closes with the fatalistic country/rock romp "It Goes Like That". The band shows great energy; a sign that they are enjoying every creative moment together.

The sort of joy and dedication to each other and to each song is what will keep you coming back to Bern & The Brights. Malavarca's voice is a bit off the beaten path; lovely but with a unique vibrato sound that won't sit well with everyone but will garner her a lot of attention. The rest of the band is right there with her at every tune. Catherine MacGowan (guitar/vox), Shawn Fafara (bass), Jose Ulloa (drums) and the aforementioned Nicole Scorsone are all part of the dynamic/organic creature that is Bern & The Brights. This is a band going places. Make sure to check out Swing Shift Maisies, and see Bern & The Brights live if you can. The next time you do your seats might be much further back (and much more expensive).

Rating: 3.5 Stars (Out of 5)

Learn more about Bern & The Brights at http://www.bernandthebrights.com/ or www.myspace.com/bgroove.  Swing Shift Maisies is available on CD from CDBaby.  Downloads are available from Amazon.com and iTunes.

The White Ravens - Gargoyles And Weather Vanes

The White Ravens - Gargoyles And Weather Vanes
2010, White Raven Music

Amy and Will Bennett have an interesting chemistry; as The White Ravens the sonic love children of They Might Be Giants and Gwen Stefani craft incredibly catchy and quirky tunes that add a new pastiche to geek rock. Add in the stabilizing influence of Billy Joel drummer Liberty DeVitto and you have a sound that is downright virulent. The band's bio is full of snarky humor, but don't mistakes The White Ravens for a novelty act. Will Bennett plays keyboards with a tenacity that Ben Folds would be proud of and Amy Bennett (who sounds a lot like Monica Attell) attacks each vocal line like she means business. The White Ravens will release their sophomore album, Gargoyles And Weather Vanes on July 6, 2010.

Just using piano, bass and drums, The White Ravens fill up more sonic space than most bands would dream of, showing the same sort of not-quite-reckless abandon we heard from Ben Folds in his early days. There's more pop sensibility here, and Amy Bennett's voice is tuneful with an acerbic edge that will hold your attention, but it’s the instrumental interplay that makes Gargoyles And Weather Vanes such a trip. There are definite stylistic nods to groups such as Billy Joel and Ben Folds as well as acts such as Belly and The Breeders, but the mix here is so distinctive and fresh you'll forget that rock n roll is supposed to be dead.

Opening with "Sparks", The White Ravens create a dense musical tapestry. Amy Bennett's sassy vocals light up the album and Folds fans will recognize the piano style Will Bennett affects here. Meaning may prove elusive at times on the album, but when listening to songs such as "Tick Tock" you simply won't care. If all rock records sounded this good no one would buy anything else. "Rubber Band" is so cliché it's ironic; a quirky, angular tune about resilience that is simply irresistible. The White Ravens throw a pleasant curve ball on "Atomic Panda", going for an electro-rock sound that is highly catchy and has an edge that could slice timber. Its pure 1990's alternative here, but the Bennetts make it all their own.

"Broken Halves" is about the realization that things aren't as good as they seem in a relationship. There are a series of musical resets here that seem to parallel the sort of two steps-forward, one-step back process that such relationship realizations come by. It's a solid tune, a bit more reserved than some of the other material here, and shows a slightly softer side to Amy Bennett as a vocalist. The White Ravens get a bit too comfortable past the mid-point of Gargoyles And Weather Vanes, but pick things back up by the time they reach "Rainstorm", the peppy rock n roll story of a huckster exploiting the lost and lonely. The arrangement here could have come out of a 1970's Billy Joel recording session with the distinctive mix of piano, sax and percussion sounding more than a bit familiar. "Draco" opens like a Ben Folds tune, but quickly turns into a strong mid-tempo pop tune. The White Ravens will continually surprise you with tempo breaks and changes throughout the album, taking the musical wherever they want even if it flies in the face of convention. Gargoyles And Weather Vanes closes with "Eulogy", a dark, minor-key composition that pays tribute to cities hit by urban decay while posing the inevitability of change. It's an apropos closing for a band that seems to rebuilding rock n roll on the ashes and memories of those who came before.

The White Ravens will confound and astound you. It's been awhile since rock n roll sounded this fresh or this good. Amy Bennett eschews the snarl of past female rockers and instead hits you with a lopsided smirk you might find familiar if you're a fan of Tina Fey. Will Bennett plays piano like nobody's business, and as the primary songwriter shows a distinct amount of promise. Liberty DeVitto is... Liberty DeVitto. Gargoyles And Weather Vanes reflects both the best and darkest intents of humanity as seen from above, and as a title it is a near-perfect reflection of The White Ravens. You won't be able to get The White Ravens out of your head.

Rating: 4 Stars (Out of 5)

Learn more about The White Ravens at http://www.whiteravenmusic.com/ or www.myspace.com/whiteravensmusic. Gargoyles And Weather Vanes drops on July 6, 2010, but you can purchase the album now directly from The White Ravens. Expect availability through Amazon, iTunes and other national outlets.

Review: Kate Miller-Heidke - Curiouser

Kate Miller-Heidke - Curiouser
2010, SIN/SONY Music

Folks who have taken in one of the shows on Ben Folds current tour have been confronted with a highly intriguing opening act in Kate Miller-Heidke. The platinum-selling Australian chanteuse of the golden hair and platinum voice has wowed crowds here in the US. This is not news in her native Australia, where Miller-Heidke has been a chart presence for some time now. In March of 2010, SIN/SONY dropped Miller-Heidke’s Curiouser on an unsuspecting American populace. The album was released in Australia in 2008 and has subsequently gone platinum there, shooting as high as #2 on the ARIA charts and #1 on the iTunes Australia chart. The reasons for Miller-Heidke’s success are many; the classically trained vocalist can blow out your eardrums with her coloratura soprano sounds as well as twist your mind with some of the quirkiest sounds in either hemisphere. Her songwriting, aided by husband/guitarist Keir Nuttall, runs the gamut from deeply personal emotional fare to absurdly funny observations about the world. Produced by Mickey Petralia (Beck,eels, Dandy Warhols), Curiouser has been hailed as one of the best Australian albums in some time. Don’t be surprised if that conversation drops the “Australian” going forward.

Curiouser opens with the quirky and danceable "The One Thing I Know", a highly unusual and eclectic love song that could easily be classified as a rocker, a pop tune or even club music. At the center of it is Miller-Heidke's beautifully eclectic voice; the one that bends at angles that don't always seem possible. "God's Gift To Women" is certain to become an anthem for the bar set; or anyone else exposed to the unwanted advances of a maroon so full of himself he can't see how deep he's waded in. Miller-Heidke plays like a cross between Gwen Stefani and Nellie McKay in a tune that should be a huge hit if it were ever released as a single. Barring that, you can be certain you'll hear this tune in syndication somewhere. "Caught In The Crowd" is an apology in song; recognition that our behavior as kids is often not what we might hope for as adults. It's a great pop tune that will resonate with most listeners regardless of where they're from.

Miller-Heidke displays some of her trademark humor on "Can't Shake It", bemoaning her own lack of rhythm on the dance floor. The song is funny without stooping to the level of a novelty tune, but also has the temerity to be a high-quality pop tune with a serious dance beat. Things quiet down for the resplendent end-of-the-world daydream that is "The Last Day On Earth". Miller-Heidke shows off a softer side and some serious range in a number that shouldn't be soothing but plays like a lullaby, as the protagonist gains all she's lost in the final moments of creation. "I Like You Better When You're Not Around" takes to task that friend we all have who just can't keep her attention off the details of other's lives. It's a humorous song with some serious songwriting chops behind it; Miller-Heidke displays a deft touch with rapid-fire lyrics and a vocal sound that is truly unique.

"Motorscooter" is a fun tune that may border on novelty and is likely destined for a national advertising campaign. It's Miller-Heidke at her quirkiest; a highly entertaining song you simply have to hear to believe. "The End Of School" is a gentle remembrance of the days of youth and leads into the acerbic social commentary of "Politics In Space", which takes to task the political power structure and particularly the baby boom generation for the political and social misadventures of the world. "Supergirl" is an entertaining and highly danceable bit of pop fluff that could turn into a monster on the dance floor. This is another tune that's likely to be tapped for licensing. "Our Song" is a sweet and rambling tune written out of love. It's the most introspective song on Curious and works as a nice foil to the rest of the album. "No Truck" makes eclectic use of a phrase that's fallen somewhat out of fashion. You'll love the music on this song, even if the lyrics don't necessarily add up Curiouser closes with "Stars", a bonus track for the US release that was included in Miller-Heidke's iTunes exclusive self-titled EP this past winter.

For readers in Australia, Kate Miller-Heidke is old news, but here in the Western Hemisphere she is a new phenomenon. It's too early to say yet whether Miller-Heidke will catch on, but it's hard to imagine how she can't. Curiouser has it all; great songwriting, a one-in-a-million voice and a sound that's mainstream enough to become a hot commodity and eclectic enough to stay one. Miller-Heidke's sense of humor illuminates her songs without becoming the driving force, and her story-telling ability and rapid-fire lyrical sensibility are perfect for a generation raised on sound bytes but longing for something a little bit deeper. Miller-Heidke's music is danceable pop you won't feel ashamed of in the morning mixed with more lyric tunes you'll be happy to sit and listen to all day. And whether her voice is in operatic mode or going through kitschy gyrations most vocalists couldn't even imagine, Kate Miller-Heidke will mesmerize you. Curiouser is a Wildy's World Certified Desert Island Disc. Do. Not. Miss. This. One.

Rating: 5 Stars (Out of 5)

Learn more about Kate Miller-Heidke at http://www.katemillerheidke.com/ or www.myspace.com/katemillerheidke. Curiouser is available on CD from Amazon.com. Downloads can be purchased from Amazon.MP3 or iTunes.

Review: When Planets Align - Radio Silence EP

When Planets Align - Radio Silence EP
2009, Planet LA Records

When Planets Align released their debut EP, Radio Silence in 2009 even as they were continuing to evolve as a band. The trio and occasional quartet from Los Angeles has a band member who went to high school with Gwen Stefani. Mark Equinox, Johnny Heaven, Pinkstar and Big Bang Dave hit all the high profile SoCal venues in 2009 and planning to hit the festival circuit in 2010 as they prepare an as-yet unnamed full-length album for release.

Radio Silence opens with “Life's Too Short”, starting with a promising guitar riff that turns into a tepid rock song. Vocalist Pinkstar sounds more than a bit like Geddy Lee on this tune. “Radio Silence” is a bland rock track; innocuous in a formulaic arrangement. When Planets Align picks up the pace on the campy “Hey Gwen!” a mid-tempo dance track that sounds awkwardly put together. “General Santa Anna” mixes Spanish guitar with an almost J-pop angularity for an intriguing listen that's long on pop hooks. When Planets Align pack it in with “California Bride”, a gently subversive Pop number that's musically intriguing but lyrically awkward.

Radio Silence is a somewhat confounding EP. When Planets Align manage to create interesting, even compelling arrangements for their off-beat Pop/Rock tunes, but from a lyrical perspective the EP struggles to connect with listeners. Pinkstar is decent enough on vocals, but Mark Equinox has only a nodding relationship with the melody line he sings. Radio Silence works on some of the micro levels, but on the macro level becomes a bit of a wash.

Rating: 2.5 Stars (Out of 5)

You can learn more about When Planets Align at http://www.planetsalignmusic.com/ or www.myspace.com/whenplanetsalign. You can download the Radio Silence EP from either Amazon.com or iTunes. Hard copies of the EP exist. You'll have to contact the band through their MySpace page for more information.

Review: Red Abbey - On My Way

Red Abbey - On My Way
2009, Red Abbey/BMI

New York City's Red Abbey is made up of Thien-nga Palmer and Trey Ordaz, two multi-cultural multi-instrumentalists who came together after jamming at a party a number of years back. Ordaz has a degree from the Berklee College of Music, and Palmer is classically trained in violin performance, but the eclectic duo make hey with a blend of funk and rock n roll blended around a dynamic stage performance and the electric voice of Thien-nga Palmer. Red Abbey's debut EP, On My Way, features a hungry sound that is full of attitude, sensuality and sx appeal. Produced by Dan McLoughlin (The Pushstars), On My Way puts Red Abbey firmly on the map.

On My Way opens with the empowering "Me"; an unwavering declaration of self that makes some of the best work of violin in a rock song in quite some time. Palmer is part Gwen Stefani and part Kate Bush on a devilishly powerful introduction to the world. "Broken Heart" is a tremendous piece of Pop/Rock songwriting. The chorus is a bit generic, but the verse is powerful and highly memorable. "Red Petals" is an artful monologue on love lost, delivered from the moment of greatest need. The vulnerability in this song is nearly feral in its intensity. Red Abbey unloads a boat load of Funk & Soul on "This Thing", a kiss off song meant to put an end to a bad relationship cycle. It's a tremendous song full of attitude and strength; a must-hear. On My Way closes out with the funky "What Can I Say", a quasi-philosophical song about life circumstances and how they can change without notice. The protagonist here accepts change and rolls with the punches. The song is the weakest one on the EP, yet is a solid tune.

Red Abbey is distinctive. Their stripped-down sound is refreshing, and Thien-nga Palmer's voice is sultry and electric, encompassing a harsh beauty that will keep you on the edge of your seat. Trey Ordaz makes everything work behind the scenes, offering up tight musicianship and co-songwriting that gives Palmer the best settings in which to shine (a sort of Jesse Harris to Palmer's post-punk Norah Jones). On My Way is the sort of debut EP that gets the attention of record execs, radio programmers and new fans. Take some time to check it out Red Abbey while they're still approachable. This duo could rise fast.

Rating: 4 Stars (Out of 5)

You can learn more about Red Abbey at http://www.redabbeyband.com/ or www.myspace.com/redabbeyband. No online purchase points are yet available for On My Way, but if you contact Red Abbey through their MySpace account I'm sure they'll be happy to help you out.

Review: Jag Star - Static Bliss

Jag Star - Static Bliss
2009, Lewpis Music

In today's music world, a decent Pop single is hard to come by. There are so many label-clone artists out there because commercial radio only plays fifteen songs at any one given time and they all sound more-or-less alike. A true single-worthy track is a big deal and can shake up playlists; having two tracks that are truly radio worthy is a rarer feat than it was twenty years ago. Artists who can capture three or more slices of pop perfection on one album are rare indeed. What a revelation it is, then, to discover Knoxville, Tennessee's Jag Star. I'm not follower of MTV "programming", and so had missed Jag Star's coronation on The Hills, Laguna Beach, The Real World and Newport Harbor. Not that Jag Star is a flash in the pan; with the release of Static Bliss, their fifth full length album over the past decade, Jag Star continues their tradition of capturing perfect sides of Pop music and offering them up in tight Pop/Rock arrangements wrapped around the gorgeous voice of singer/songwriter Sarah Lewis.

Sarah Lewis is an award winning songwriter several times over, winning the USA Songwriting Competition, iTunes Next Big Hit and London's WE ARE LISTENING songwriting award, while placing in the John Lennon Songwriting Competition and landing a Top 10 in Dick Clark's New Music Award. Not one to put all of her eggs in one basket, Lewis is also a cover girl; she's the Face of Wet N Wild Cosmetic in national print campaigns. But singing and writing songs seems to be Lewis' greatest gift, and the rest of Jag Star build winning Pop/Rock arrangements around her on Static Bliss under the steady hand of producer Travis Wyrick (P.O.D., Pillar, Disciple, 10 Years).

Jag Star opens with Talk To Me, a delicious Pop nugget that's intelligent enough to garner fans who think about music but catchy enough to have a serious half-life on the Pop charts. Lewis' voice has a light Pop feel, but there's enough Gwen Stefani-style tough girl in that voice to captivate listeners. Pressure is a bit derivative, perhaps paying (unwitting) homage to Billy Joel's song of the same name with a derivative keyboard riff. The song is incredibly catchy, particularly the bouncing chorus. Jag Star is 2-for-2 so far on songs with real Commercial Pop punch. Can't Make You Happy is a strong tune as well; the chorus doesn't really capture but then Jag Star pulls one of those choruses that thoroughly haunts your brain, making it an indispensable part of the album (although a long shot as a single).

Sofie is a song that could only be written from a mother to a daughter. There's not a mother out there who won't identify with this song. As always, Lewis creates a memorable melody and infuses it with real life. The arrangement is solid, and the musicianship is tight. Rewind is an interesting tune; my least favorite on the album, and yet it might be the song with the strong Pop radio potential. From a sonic perspective the song is striking and memorable. From a writing perspective it's not Lewis' best but it's solid. Shine is pure Pop/Stadium anthem. This is the sort of tune that an entire audience gets on its feet for and sings along to the chorus. It's a hard one to resist. Don't Go Away and Why Do I Miss You are decent enough, but both seem a bit less than the material they're surrounded with (or follow). Jag Star closes out with At The End, an Electro Pop offering that does them no justice.

Static Bliss is superb over the first seven tracks, offering up no less than four solid potential hits. The songwriting of Sarah Lewis is a factor, as is her voice; but the musicianship of the rest of the band is an integral in creating the musical web that surrounds Lewis. Jag Star is quite obviously here to stay. It would be easy to pronounce Jag Star the next big thing, but this album ends up feeling a bit rushed at the end (like perhaps the last three tracks were thrown on just to complete the album rather than waiting to write material that fits in with the album as a whole. Nevertheless, Static Bliss is not an album to pass by. If Pop/Rock is your mien; if you always wanted a band with the Pop power of The Go-Go's and the toughness of No Doubt, then listening to Static Bliss will feel like coming home.

Rating: 3 Stars (Out Of 5)

You can learn more about Jagstar at http://www.jagstar.com/ or www.myspace.com/jagstar. Static Bliss is available on CD through CDBaby.com. Downloads can be acquired from Amazon.com and iTunes.

Review: Evolove - 2012: Countdown To The End

Evolove - 2012: Countdown To The End
2009, Evolove/ASCAP

Los Angeles’ Evolove is an alt-rock band powered by the big voice of Lucy Levinsohn, with Billy Berman on bass, Jon Ruiz on guitar and Jae Wong on drums. Starting out as Waiting For Wyatt in 2007, Evolove has peppered the West Coast with shows ever since, building a steady following with the Hot Topic crowd. Evolove is more than just a look or a sound however; they’re an alt-rock band with real edge that maintains a pop sensibility that infuses their songs with life. Evolove’s debut album, 2012: Countdown To The End, is available now.

One of the first things you're likely to notice about Evolove (aside from their palindrome of a band name) is that lead vocalist Lucy Levinsohn sounds very similar to Gwen Stefani. That will color some folks' perceptions of the band, but with or without the comparison, Evolove has a great sound. Picking up on the mania surrounding the Aztec-prophesied end of the world, Evolove dives in with Let Me In, an exhortation for connection over pain. Toyshop Girl is a brief look at the life of one working class girl from a third-person perspective; questioning why she's so unhappy with her life. There isn't really a narrative here, just a brief sketch of an individual in song whom we never really get to know, understand or sympathize with. Lie To Me is a dysfunctional relationship song asking for lies rather than unpleasant truths. It's not a bad song, and Levinsohn's voice is at its best, but the best part is the contrast of an overtly simple Pop/Rock arrangement against the somewhat twisted desires of the narrator. On The Floor is a Dance/Party song that makes great use of the intersection of Modern Rock and Pop. This is one of those songs I like nearly in spite of myself; I don't want to like it because it's a bit juvenile but it's so catchy I can't help it. Evolove wraps up with the title track, providing musically graphic descriptions of the end of the world. The song is decent enough, but gets a bit bogged down in an attempt at philosophy that just doesn't fly as well as it might.

Evolove digs in to some meaty music on 2012: Countdown To The End, building tension and angst in behind Levinsohn's eerily recognizable voice. The band may get tagged with the moniker of being a No Doubt clone, but that's not really fair. While Lucy Levinsohn does sound a lot like Stefani, this really isn't No Doubt's Vibe. Evolove is a bit heavier and several shades darker than No Doubt ever was, and while they write and perform interesting material, the overall accessibility just isn't on a par with Stefani and crew. Nevertheless, 2012: Countdown To The End is an interesting first step, and we'll be curious to see what comes next. Check out Evolove; they're definitely worth spending a little time on.

Rating: 3 Stars (Out of 5)

You can learn more about Evolove at http://www.evolovetheband.com/ or www.myspace.com/evolovetheband. You can purchase 2012: Countdown To The End on Evolove’s MySpace page using SnoCap.

Review: The New Up - Better Off

The New Up - Better Off
2009, Evil Cherise Publishing

Occasionally a band comes along where no one can agree who they sound alike. The New Up has been compared to such divergent acts as Radiohead, Journey, Lake Trout, The Talking heads and TV On The Radio. These comparisons aren't entirely off the mark, but none of really strike a careful listener as accurate, either. The San Francisco quintet with roots far to the east (Chicago, Illinois and Charlottesville, Virginia) have managed to craft a sound that sounds a little bit like a whole lot of people and a lot like no one else, which is as close to original as it's possible to get in a medium based on eight notes. The New Up's latest EP, Better Off, will be released on August 18, 2009, and is a follow-up to last year's Broken Machine. Where Broken Machine was a musical elucidation of the problems of the world, Better Off is the beginning of transcendence, suggesting changes that might happen on the personal level that will turn things around. Producer Jamieson Durr (Franz Ferdinand, The Killers, Handsome Boy Modeling School) brings out the best side of The New Up on Better Off, juxtaposing their Pop tendencies with their harder side in a mix that crosses genres with electrifying results.

Lead vocalist ES Pitcher is a front woman in the tradition of Blondie or Gwen Stefani; a big Rock N Roll voice with lots of layers and a very sensuous side that can draw you in before she belts you away. Pitcher also contributes on guitar. The band is rounded out by Noah Reid (guitar, vocals); Hawk West (flute, automation); Dain Dizazzo (bass) and Drew Bertrand (drums, percussion). Better Off opens with Dear Life, a vibrant guitar rocker that shows off Pitcher's pipes in grand fashion. Dear Life is good enough and hard enough to crawl all over Modern Rock radio playlists, but has enough Pop sensibility to cross over. Better Off slows things down a bit in a post-Grunge tune that rocks and grinds its way to self-realization. B!tch has a new wave sheen to it that fits somewhere between The Replacements and No Doubt; the melody line is straightforward but the arrangement builds in a lot of sonic dissonance that keeps listeners on their toes. Not to mention there's a guitar solo here that would sound right at home on a Scorpions album. F.Y.R.U.F.N. is an acronym we can't fully publish, but let's just saw I'm glad I'm not Roger. The song is dark and vaguely disturbed in sonic aspect. Wait (For Danny G.) is a sprawling memoriam in song that just doesn't fit with the rest of the material here, but is included for obvious reasons.

The New Up is on to something out there in San Francisco. The market for bands like The New Up is a narrow one, and many great bands go unheard by anyone who doesn't happen across their MySpace page, but The New Up just might have the right zeitgeist to make it. Better Off makes a distinct impression, with a sound that's derivative yet original, and a vocalist in ES Pitcher who can break down walls with her sound and presence. Don't be surprised if The New Up is a name you hear a lot more of in the future.

Rating: 4 Stars (Out of 5)

You can learn more about The New Up at http://www.thenewup.com/ or www.myspace.com/thenewup. Better Off will hit shelves on August 18, 2009. Keep checking The New Up’s web site for updated release information.

Review: TAT - Soho Lights

TAT – Soho Lights
2008, Red Wagon

London, England’s TAT is a power trio led by the incomparable Tatiana DeMaria on vocals and guitars. With a distinctive rock voice that can smash-and-grab you or and melt butter on successive lines, DeMaria might be one of the best new female rock vocalists of the last few years. Add in Nick Kent on bass/vocals and Jake Reed on drums/vocals and you have a powerful power trio that mixes Classic, Punk and Melodic Rock sounds and strong harmonies. TAT’s debut album, Soho Lights was good enough to land them a spot on The 2009 Vans Warped Tour. They’ll be coming soon to an amphitheater near you. Be ready.

DeMaria has a penchant for lyrically dense, vocally dynamic songs that sound like they should be impossible to sing; DeMaria makes them look/sound easy. As a vocalist she has it all: Great tone, tremendous breath control and an ineffable front-woman quality that you see in big name artists such as Gwen Steffani and Chrissie Hynde. DeMaria could front most any band or go solo and make it big. In TAT she has an incredibly tight and talented rhythm section and backup vocalists who fill out the sound in dynamic and impressive fashion. Soho Lights opens with Road To Paradise, a lyrically dense Punk/Mod anthem that you won’t be able to get out of your head. Sympathetic Lies has an almost wall-of-sound quality in what I can only describe as a melodic Punk tune.

Pessimist may be one of the more amusingly pathologic songs on the album (“I’ll sit on your face and say I love you and leave you the next day for someone reminds me of you”). The energy here is off the charts. I Don’t Want To (Love You) is DeMaria at her most amazing, running off several phrases in a row, seemingly without a breath, without ever losing her sound or tone. A-maz-ing. Here’s To You is a pitch-perfect representation of ambivalence that features one of the best bass lines you’re likely to hear. Sandra D is an interesting bit of self-affirmation in song, while Take You Home pays tribute to Nirvana in sound. The album closes out with Live For Rock, which deserves to be the anthem for the next generation of rock/punk musicians. This is what Rock N Roll has always been about.

Wow. TAT will seriously blow you away. Soho Lights isn’t perfect, but even on the few more average songs the energy level is anything but. If you’re going to the Vans Warped Tour this year, make sure you check out TAT’s set. TAT alone might be worth the price of admission. In the mean time, be sure to check out Soho Lights. Rock is back, and its name is TAT.

Rating: 4 Stars (Out of 5)

You can learn more about TAT at www.myspace.com/tat or http://www.tatness.com/. You can purchase a copy of Soho Lights at Amazon.com, or you can purchase the download through iTunes. You can catch TAT live as part of the 2009 Vans Warped Tour between June 26, 2009 and August 23, 2009.

Review: Fugitive Kind - You're Being Watched

Fugitive Kind - You're Being Watched
2009, Fugitive Kind

Fugitive Kind lead singer Lydia Marsala sounds like the mid-point of a triangle between Milla Jovovich, Chrissie Hynde and Johnette Napolitano. Her voice is alternately deep and sultry or high and heavily soaring. No matter what range she's in she's distinctive, and she is the perfect balance for the heavy guitar rock that supports her on You're Being Watched. Comparisons to Queens Of The Stone Age, Muse, and Live should be expected, but there is a pulsing mix of energy that develops between Marsala's vocals and the instrumentation that is more than just friction.

You're Being Watched opens with a funky guitar rocker called Little Piece. Marsala throws herself into the vocal line like it’s her life's only purpose; the band answers in kind in a performance full of anxious, nervous energy. This is perhaps the catchiest opening track I've heard yet this year; a great rock song that would get airplay on chutzpah alone. It's been a while since a female rock vocalist could push this much personality through a song (think Gwen Stefani before she went Hip-Hop/Pop). Over-Thinking It has a big, Modern-Rock sound and a vocal style that has a shade of Tanya Donnelly to it. Don't Waste My Time, my second favorite song on the CD, is a great Modern Rock anthem with an almost punk/dance vibe going on. Break Now is my favorite, and the by far the heaviest song on the disc. This song should be a Modern Rock hit. Wait has an interesting heavy ethereal rock sound that is a great change of pace, and Good-Bye Song is a nice closing song, bringing out all of the best qualities in Marsala's voice.

Fugitive Kind is a great rock band musically, filling tight arrangements with layers of sound that are interesting, rhythmic and, if not original, at least well done enough to make them worth listening to. Lydia Marsala's voice woven into the instrumental net built on You're Being Watched elevates them to something special. Marsala has a great voice, but there's something about the mix here that pushes everything up a notch. The album itself is a bit uneven in its flow at times, but well done throughout. In the old days of LPs you could have done a heavy and soft side with this material. For now, You're Being Watched is a great start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Fugitive Kind at www.myspace.com/fugitivekind or http://www.fugitivekind.com/. You can purchase a copy of You’re Being Watched at www.cdbaby.com/cd/fugitivekind2, or you can download it from iTunes.

Review: Clara Bellino - Embarcadero Love

Clara Bellino – Embarcadero Love
2006, Clara Bellino

Clara Bellino melds the worlds of American and European popular music styles like few others have. Memorable melodies, infectious rhythms and a wry sense of humor are the earmarks of Bellino’s material. Born in Paris, France, Bellino spent a number of years performing on the West Coast of the United States, even landing a role as a singer in the 1993 film, Steal America. These days, Bellino performs to support her 2006 release, Embarcadero Love. Recorded while living on a houseboat at Embarcadero Cove (Oakland), Embarcadero Love has a free and easy feel that’s full of life, love and a forceful sense of humor.

Bellino studied music in Conservatory for ten years in France, and was introduced early on to jazz and classic American popular music artists by her father. These influences inform Bellino’s musical choices, as does a progressive socio-political mindset that comes across in her lyrics. Bellino opens with Tout Est Fini, a French language pop song with an infectious dance beat. Swordfishtrombone is an abstract musical piece built on colloquial humor. It’s a fun listen. Peaceful Solution draws on a modern R&B sound to deliver a pop culture re-working of the Prayer of St. Francis Of Assisi. It’s catchy and poignant but alternates a peace-oriented chorus with preachy verses.

Something Cool is a classic song. Bellino dusts off her jazz roots in a song of mistaken intentions. The subtle shift in attitude of the protagonist here is the stuff of movies (or at least sitcoms). Potential Criminal is a sardonic take on the perceived social status of a naturalized US citizen (or perhaps any US citizen in this day and age). Other highlights include Game Up Big Pickle, Big Picture and Goodnight Baby.

Clara Bellino delivers intelligent lyrics in smart, focused pop music that mixes elements of American glam-pop with the more refined sensibilities of Europop. I suspect Embarcadero Love would get mixed reactions from American audiences as an inherent European sense of superiority is woven into the fabric of the CD through Bellino’s cutting sense of humor. European audience may likewise hold the CD in contempt for its distinct American influences. This probably means Bellino is hitting some truth on both sides of the ocean. Embarcadero Love is a strong pop record and definitely worth investing a little time in.

Rating: 3 Stars (Out of 5)

You can learn more about Clara Bellino at http://www.clarabellino.com/. You can purchase a copy of Embarcadero Love at www.cdbaby.com/cd/bellino.

Review: Faces Of March - Confessions

Faces Of March - Confessions
2008, Kurfew Records

Miami, Florida seems to have sparked the creative side of Faces Of March. The modern rock quartet originated from a chance meeting of Vocalist Gia and drummer Eli while checking out a bulletin board in a local music store. Joe (guitar) and Marcelo (bass) were soon brought into the mix and a sort of musical alchemy erupted. Faces Of March brings a devastatingly pure modern rock sound blended with electronic elements, courtesy of Producer Paul Trust (Endo, Crease, Diecast). Faces of March's debut album, Confessions, is boldly confessional, sonically fresh and full of the raw magnetism of vocalist Gia. Add in the wall of sound production and clean musical lines and you have the recipe for a monster hit.

Confessions opens with Not Enough, a highly commercial heavy rocker with orchestral augmentation. This is the most radio-ready song on the album, and the least compelling. Faces Of March establish a strong sound that's part Evanescence, part Nickelback and part singer-songwriter confessional. Not Enough is a great pop/rock radio song, but lacks the sort of energy that lies underneath a lot of Faces of March's material. Drowning is a slower tune but gives a stronger sense of emotion -- a compelling desperation that is palpable. Broken allows vocalist Gia to show some more of the color of her voice. It's still very highly produced pop music disguised as heavy rock, but some more personality emerges here.

Too Late is the moment you're waiting for. The tune opens as a piano ballad with Gia on vocals. The tough but tender presentation here comes across as startlingly real in spite of the slick production values evident through the album. Gia has a pouty, sultry voice that could work as easily on jazz or pop as it does in the heavy rock arena. One could imagine her becoming a star as a solo artist as easily as with fronting a band. Who's To Blame is one of the more imaginative arrangements on the album, particularly with the layered vocals and big wall of sound guitar.

What's most interesting is that Faces Of March really shines when they strip down to an acoustic sound. This seems generally to only happen for the first verse or so of any given song (if at all), but there are indications that Faces Of March aren't just bangers. These folks can play, and you can almost hear some progressive rock roots in there at times. Nothing sounds like something that could have come out of the late 1970's, infusing electronic orchestral sounds over acoustic guitar to support Gia. This is by far my favorite song on the disc, and is good enough to be commercial (rather than being commercial enough to do well). Be sure to check out Alone and Wanna Be as well, they're both great tracks.

What to say? Faces Of March is radio-ready. They are more than competent. Their songs will get airplay and if things fall the right way they might just make it big. Producer Paul Trust has tamed this wild young band into a commercial sound that should move Faces Of March's career forward nicely, but a part of me wants to hear that inherent musical wildness come to the fore once in a while. This is a band that has an itch to break down that barrier and infuse elements of progressive rock and perhaps even some punk. You can hear it, tightly contained, in the songs that they play. I am sure it comes out on stage, but it would be awesome if it came out in the writing. I think that's where the real magic is for Faces of Match. In the meantime, Confessions is a strong debut. Perhaps it will make enough of a mark for Faces Of March to be able to branch out and allow some of that deeper personality to shine through.

Rating: 4 Stars (Out of 5)

You can learn more about Faces Of March at www.myspace.com/facesofmarch or http://www.facesofmarch.com/, where you can purchase a copy of Confessions.