Breaking Laces - When You Find Out

Breaking Laces - When You Find Out
2011, Tenacity Records

Brooklyn's Breaking Laces have developed a hard-won, fiercely loyal grass roots fan base over the past seven years, selling close to 200,000 units (CDs/downloads) in that time.  Combining vocalist/guitarist/songwriter Willem Hartong's heart-on-sleeve lyrical style and a grand pop musical vision, Breaking Laces continue to open doors in the Indie Rock world.  Breaking Laces latest effort, When You Find Out, attempts to marry simple acoustic arrangements with a big pop sound, and meets with mixed success. 

Hartong is a complex and confusing vocalist, at times allowing his voice to soar in enigmatic style, but at others falling into a whiney drone that's reminiscent of Michael Stipe in the mid-1980's.  When You Find Out gets off to a lethargic start with "What We Need", a bland radio ballad for the lovelorn.  "God In Training" is memorable, transitioning from a rhythm-based acoustic arrangement in the verse to a Nirvana-like chorus.  The chorus itself is memorable and catchy.  "When You Find Out" is whiney acoustic pop and Breaking Laces come off sounding like a maudlin Maroon 5.  "Shopping For Two" waxes poetic on the little joys of being in a relationship.  The song is catchy and sweet without veering into saccharine.  

"Here To Stay" is a solid, mid-tempo love song reminiscent of a cross between Maroon 5 and Air Supply.  While a decent listen, the syrupy love song motif is carried a bit too far on the album in general.  "Angeline" finds the band going electric for an angst-filled, mid-tempo rocker that rages about getting kicked out.  There's an almost passive-aggressive anger present here that works surprisingly well.  Breaking Laces play their way through the self-indulgent power ballad "Bone Dry", and the bland "This World" and "Carry On" before fading out with the bland, middle-of-the-road pop of "I Do I Don't". 

"When You Find Out" certainly has its good moments, but a full length album might have been a stretch.  Breaking Laces has a mighty fine EP scattered throughout the album, but there's too much filler for the project to be cohesive as a full-length.  It sounds as if, seven years on, Breaking Laces are still trying to figure out just who they are.  That search can be beautiful, ugly, exciting and boring in turns.  This aptly describes "When You Find Out".

Rating: 3 Stars (Out of 5)

Learn more about Breaking Laces at www.breakinglaces.com or www.myspace.com/breakinglaces.  When You Find Out drops May 17, 2011.   You can order it now from Amazon.com as either a CD or Download.

R.E.M. - Collapse Into Now

R.E.M. – Collapse Into Now
2011, Warner Bros. Records

It’s difficult to stay relevant as a rock n roller for a decade.  When you’ve been at it for over 30 years like the men in R.E.M., it’s next to impossible.  A rock star’s sixth decade of life generally sees a decline in the vigor that fuels earlier songwriting, followed by a string of greatest hits collections and live albums of recycled material from their younger days.  R.E.M. will not go quietly into the night, and prove it in full measure on their latest album, Collapse Into Now. 

Opening with the urgent, almost crunch guitar work of Peter Buck on “Discoverer”, R.E.M. offers up what may be their edgiest songwriting in 2o years.  “Discoverer” is catchy and impertinent musically with a distinctive pop sensibility at its core.  Stipe howls and wails in classic style, vocally abusing the song into jittery life.  “All The Best” has a similar feel, with a driven and edgy energy you simply cannot ignore, and serves as a reminder that for “old men of rock n roll”, the band still knows more about rocking a house than many of the kids that have followed in their footsteps.  “Uberlin” has more of a classic R.E.M. sound, building on a clean, simple arrangement with solid vocal harmonies.  Stipe sings sans the whiney vocal quality that made him the object of some unfortunate, yet humorous, caricatures in the past.

“Oh My Heart” is a folk/rock ballad about getting back to your roots, but finding all the things that have changed since you moved on.  This tune has a southern-European flavor, with a gorgeous counter-melody in the accordion.    “It Happened Today” is a catchy, acoustic-driven pop parable that offers more of the feeling side of the event than the story.  This is inspired songwriting, sticking in your head even if you’re never really certain of the genesis.  “Every Day Is Yours To Win” is an intriguingly melancholy song of hope; low key but with an insistent energy that won’t let you go.  The simple arrangement works well in context with the emotional and stylistic incongruities of the song.

“Mine Smell Like Honey” is pure fun, an energetic, crunchy-guitar driven tune that gets stuck in your noggin and stays there.  “Alligator_Aviator_Autopilot_Antimatter” is built on the angst of not knowing who you are or where you are going.  There’s a youthful energy to this song that is surprising, and the theme will resonate with the 20-something crowd.  It’s compelling songwriting with a delightfully crunchy sound.  “That Someone Is You” is a driven rock with a garage/pop sensibility that is by far the catchiest tune on the disc.  Don’t be surprised if this is a single at some point, and don’t be surprised if it returns R.E.M. to Billboard’s Hot-100 in full force.  “Me, Marlon Brand, Marlon Brand And I” is a dreamy return to the late-80’s and early 90’s pop-R.E.M. sound, but retains the vibrancy of the band’s most recent works.  R.E.M. close things down with “Blue”, a sort of conglomeration of ideas both musical and cerebrate.  Stipe’s voice-over blends into a surprise vocal appearance by Patti Smith, but this seems like more of an afterthought than a cogent addition to the album.

In spite of wandering off the track at the end, R.E.M.’s Collapse Into Now may be their most vital work since the late 1980’s.  That’s saying something that has made consistency and growth a staple of their career.  Collapse Into Now builds on all the learning and growth that R.E.M. have acquired over three decades of performing and touring together, but re-captures the vigor of youth in surprising measure.  R.E.M. have been critical darlings for most of their careers, and so it won’t be surprising if Collapse Into Now ends up on a host of year-end “best of” lists, but any such inclusions will be very much earned this time around.

Rating: 4.5 Stars (Out of 5)

Learn more about R.E.M. at http://www.remhq.com/ or www.myspace.com/rem.  Collapse Into Now is available from Amazon.com as a CD, on Vinyl, and as a Download.  iTunes offers the album digitally in standard and Deluxe editions.

Haroula Rose – These Open Roads

Haroula Rose – These Open Roads
2010, Haroula Rose

Haroula Rose has the sort of voice that stops people on the street.  If you came across her busking on the streets of Los Angeles you’d give up your plans for the day and stand around for as long as she was willing to play.  The singer/songwriter and former Fulbright scholar managed to land a song from her Someday EP  on CBS’ How I Met Your Mother, gaining Rose national attention.  Soon after she was introduced to producer Andy LeMaster (REM, Bright Eyes, Conor Oberst), who agreed to produce her full-length debut album, These Open Roads.

These Opens Roads kicks off with “Brand New Start”, a paean to the need to get out on your own and learn who you are.  It’s a solid bit of songwriting with a positive outlook and an upbeat feel; a good start.  “Love Will Follow” is almost an epilogue to “Brand New Start”; a sweet and well-meant tune that’s a bit on the average side.  Luckily Rose sounds so good on it that she lifts the song above itself.  “Another Breakup Ballad” is plaintive yet mildly catchy.  It’s a relationship retrospective written from a good place down the line; an enjoyable tune that dismisses the pathos of the breakup in favor of clear perspective.  “Duluth” is a story song about a girl in love with a railroad man.  There’s a melancholy resignation to this love song that isn’t sadness, but a reserved hope for a marriage to be. 

“Free To Be Me” and “Close My Eyes To See” are both solid entries.  “The Leaving Song” circles back to long distance love.  Written to a beau who is out on the road somewhere, “The Leaving Song” is crafted as country ballad that asks her man to come home because she’s afraid she might stray if he’s gone too long.  “Simple Time” is a wish for old ways.  Rose has a sweet voice, and sounds great here, but it’s almost as if her heart isn’t fully into this moment.  “A Place Under The Sun” is pretty, textured and mildly rhythmic.  It’s a nice touch.  Rose closes with “Lavender Moon” and “The New World”: the first a dark ballad in minor keys; the second a sweet resolution steeped in vocal harmonies.

These Open Roads is a solid entry from Haroula Rose.  The songwriting is good but never really rises above.  Rose herself makes the album with a sweet, pensive voice that will bring you back again and again.  Rose has a low-key delivery style that arguably works well for her.  Still, the energy here is just  a bit light at times.  These Open Roads works well for Rose, but may leave you wondering if there’s another side to Haroula Rose that we’ve yet to see.

Rating: 3 Stars (Out of 5)

Learn more about Haroula Rose at http://www.haroularose.com/ or www.myspace.com/haroularose.  These Open Roads will be independently released on January 18, 2011.  Keep checking Rose’s web pages for additional information.

Review: Shady Cats - Love Callin’

Shady Cats - Love Callin’
2006, Grady Crumpler

Raleigh, North Carolina’s Shady Cats has been a long time in the making. Singer/songwriter Grady Crumpler started playing a regular gig near his home back in 1995. After being invited to play a private party, he hooked up with drummer Bill Eagen, who provides the rhythmic core for Crumpler’s songwriting. Together with a revolving committee of musicians, they became known as Grady Crumpler & Last Call, and eventually Shady Cats. Shady Cats began recording songs and demos nearly a decade ago. This piecemeal approach led to a focus on the songs rather than a specific sound for the band. Crumpler shopped songs to various producers. Consequently Shady Cats’ debut album, Love Callin’, has three producers of note involved. John Plymale (The Pressure Boys, Squirrel Nut Zippers, Superchunk, Meat Puppets); Dick Hodgin (Hootie & The Blowfish) and John Custer (Corrosion Of Conformity, Cry Of Love) all bring their masterful hands to bear on Shady Cats’ work. The result is an uneven but promising album that makes up in creativity what it sometimes sacrifices in continuity.

Love Callin’ opens with the uber-catchy title track. Vocalist Grady Crumpler has an enigmatic and enjoyable voice that's occasionally reminiscent of Elvis Costello. "Love Callin’" is a great start; if this song had been released circa-1986 the members of Shady Cats could have bought mansions with the proceeds. "Lost Myself" marches the line of demarcation between 1970's classic rock and 1980's pop; a territory that Shady Cats tread throughout much of Love Callin’. "Lost Myself" has one of those melodies that stay with you and recur at the oddest moments. Crumpler shows a deft lyrical touch on "She Kisses Me With Her Eyes". The song is virulent, catchy enough to knock "Lost Myself" out of the catbird seat in your brain, and the imagery is just off the beaten path enough to catch your attention.

Shady Cats have a special guest on "In The Moment", with legendary producer and performer Don Dixon (REM, Guadalcanal Diary, Hootie & The Blowfish, Moxy Fruvous) sitting in on vocals. Dixon's vocals are top notch, but the song gets a bit too wrapped up in its soul-searching feel. "You Got A Way" finds Shady Cats back in the early 1970's sonically, featuring big guitar riffs and barre chords as rock and jazz mix in uneasy but pleasing measures. On "Lines", Shady Cats head for a solid rock arrangement with country accents (primarily in the guitar line). "Lines" is a highly enjoyable song that stands out in spite of not being ostentatious. Shady Cats show serious chutzpah on "I Want Independence", with Crumpler laying down the most serious guitar solo on the album. Shady Cats find pop magic on "Take Me", a high-speed rocker with R&B roots that could be a hit in any decade in the rock era. If "Love Callin’" would have enabled the members of Shady Cats to buy mansions back in the 1980's, "Take Me" would have bought the entire town.

Shady Cats dig in with a positive message on "All The Way", but message falls a bit flat in a lounge arrangement that sounds contrived and very much out of context with the rest of Love Callin’. "Till The Rain Comes" sticks with the positive thinking, pointing out that sometimes even the rain is a good thing. The sound here is a cross between Elvis Costello and Fleetwood Mac (particularly in the harmony vocals); a retro sound that sounds amazingly relevant for the music scene of today. Shady Cats wind down with the theatrical rock aria "Desperation", among the most enjoyable tracks on the disc. The Cats taken listeners on an interesting turn at the albums close, dangling another side of the band as they walk out the door that is likely to bring listeners back the next time around.

Shady Cats put their best foot forward on Love Callin’, blending 1970's classic rock and 1980's pop and in the process serving up a highly palatable brand of rock 'n roll that's highly palatable for today. Grady Crumpler is a solid lead on vocals, and accents the songs on Love Callin’ with mildly adventurous guitar work that will please the ears of casual listeners while seeming a bit too tame of fans of classic rock. Love Callin’ is a safe album, but some of the songs here are so catchy they might need to be quarantined.

Rating: 3 Stars (Out of 5)

You can learn more about Shady Cats at www.shadycats.com. You can purchase Love Callin' as either a CD or Download from CDBaby.com.

Review: Teak – Teak 0801

Teak – Teak 0801
2008, Teak

Melbourne, Australia's Teak is a veteran 4-piece rock outfit with a penchant for well-honed, pleasant sounding music that carries a fair amount of emotional weight and turmoil beneath the surface. With comparisons ranging from Something For Kate and Hunters & Collectors to Powderfinger and The Church, Teak has a low-key approach with the potential for mass appeal. After listening to their debut EP, Teak 0801, I'd place them somewhere between R.E.M. and Dire Straits stylistically.

Teak 0801 opens with Where Have You Been?, confronting a wayward lover in no uncertain terms. The sparse arrangement reflects the raw emotional state that underlies the song; while the vocal line perhaps doesn't reflect the intensity one might expect in such a song, the dark nature of the song carries a lot of weight, like someone trying hard not to explode. Looking For You is a reserved, up-tempo song that will definitely catch hold of you as a listener. Think the Gin Blossoms but a little darker. Can't Understand revels a while longer in deep-seated emotional turmoil wrapped up in a catchy, dark rocker that's very catchy. Teak closes with Loaded, a mildly catchy, mildly bland rocker that's a pleasant listen but perhaps not quite to the level of the other three songs presented here.

Teak sounds like a career bar band with serious aspirations. The smooth sound of a group that's played together for a while is there, but there's also a creative spark in the band that makes them more than just a Saturday Night cover band. Teak has real potential to catch on with fans of Americana and Classic Rock. While Teak has great energy inside the songs presented on their Teak 0801 EP, some modulation on the surface would keep things more lively and drawn in more listeners. Barring that, they're still a very good listen.

Rating: 3 Stars (Out of 5)

You can learn more about Teak at www.myspace.com/teakmusic. You can download Teak 0801 from Amazon.com.

Review: Tom Bolton - When I Cross The River

Tom Bolton - When I Cross The River
2007, Tom Bolton

Melbourne, Australia’s Tom Bolton is something of a throwback in folk music. Bolton recalls to mind a time when folk music was about the song and the story within the song, rather than adapting a purely pop songwriting style to acoustic instruments. Bolton grew up in a family where music was always around, exposed to everything from Cat Stevens and Jefferson Airplane to R.E.M., David Sylvian and Nick Drake. Bolton’s third release, When I Cross The River is a celebration of original folk music in its purest sense. Together with double-bass master Richard Grace, Bolton weaves 12 witty and intelligent musical monologues for your listening delight.

When I Cross The River opens with the title track, a hauntingly beautiful bit of musical prose that seems evoke love, thankfulness and regret all at once. Three Hearts has a musical melancholy that stands in contrast to the happily regretful lyrics. Whose Army has a blues vibe to it that is both energizing and fun. The highlight of the album is the folk/country All I Can Do. It's a pure ballad with a simple, memorable melody, gorgeous harmonies and lyrics that touch the listener. Bolton seems to have a talent for wrapping mixed emotions into his songs. The sense of melancholy juxtaposed with a thankful spirit is a common theme on When I Cross The River. This could become trying, but for the most part Bolton avoids getting bogged down in the sediment of sentiment. Other highlights include the Celtic flavored Where You Wanna Go, the Americana themed Hold The Sun, or Sweet Days, a gorgeous acoustic guitar instrumental.

Tom Bolton has a talent for beautiful and interesting music with a melancholic flair wrapped around lyrics and ideas that often run counter to the music in their emotional weight. Bolton's lyrics are intelligent, his melodies instantly memorable, and his performances are spot on. When I Cross The River is a strong entry in the Folk Music market and should do very well for him. It's definitely worth checking out.

Rating: 4 Stars (Out of 5)

You can learn more about Tom Bolton at http://www.sensibletom.com/. You can purchase a copy of When I Cross The River at www.cdbaby.com/cd/tombolton.