Opensight, Voice Of Nothing

Columbian prog metal outfit Opensight showcase their technical prowess and range of versatility on their new five-track EP, Voice Of Nothing. Despite their commitment to metal, styles and moods abound in lieu of the brevity of the album. Leaning heavily on guitar and deft drum work, it’s the musicality that shines on this one.

The album opens to “Only When” with heavy staccato riff work and a drum barrage just underneath. The lyrical delivery is a bit subdued with the constant chug of guitar but the opener is representative of the album as a whole and certainly sets its pace. At the midpoint of the track the ethos changes to an instrumental measure of dueling ride cymbal versus bass line until this gives way to the guitar chug and a soaring lead solo. “Deleted Scene” is perhaps the most far removed from the album persona with it’s opening of weepy psychedelic guitar and slight drum taps. Melody dictates this track until the lyrics and chug guitar return. The lyrical delivery is more prominent on this track and really stands at the foreground while the musicality retreats to the back ever so slightly. Again, just past the midpoint the instrumental break takes over briefly leading in the outro. “Skeptic’s Creed” is a guitar and drum juggernaut right from the opening. The aural assault is bolstered by the lyrical delivery that perhaps show’s Ivan’s range best. The track moves through several time changes and styles making it the largest amalgam of musicality on the album. It’s a fitting track to end on.

Opensight has delivered on this EP. The album sounds “clean” but not to the point of “post productioned to death” with a bit of the rawness preserved. The musicality at the disposal of these guys is vast and they are clearly unafraid to incorporate a myriad of styles into their body of work. All in all, a respectable outing.

http://opensightband.com

by Chris West – cwest@skopemagazine.com

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Theory of Tides, Preview for Swept Away

Mirana & Rick Comstock are known as Theory of Tides and they are offering listeners a special 3-song teaser.  These three tracks are designed to get you ready for the EP release of ‘Swept Away’.  Now we shall see if the Tides come crashing in and sweep you away; all in Theory of course.

Mirana is on vocals, keyboards & percussion while her musical partner Rick plays the role of guitarist, bassist, percussionist & producer.  The Comstocks prove to be a winning team with the follow up to their 2009 debut release.  Right away on the opener “Lucky You” you sense a lot of feeling coming from the voice of Mirana Comstock.  This sensation makes sense since the song is about having your heart broken so Theory of Tides nailed it from an emotional standpoint.  On the closing number “Colder Than Winter” you realize that “Last Summer” has come and gone for the duo but never forgotten.  This song serves as a constant reminder that memories are always alive in us with some being pleasant and some being not so desirable.  Whether good or bad, the memory is there and that is the point that Theory of Tides is trying to make here on “Colder Than Winter”. 

Vocally & lyrically, Mirana was reaching far as you could detect something very real & organic about her singing.  Rick’s musical ability equally shines as this pair prove to make music that speaks to a large audience.  Theory of Tides continues to paint a visual landscape if you will through their music & words.  The mix of elements is quite unique here and the best way to describe it all is nice, chill music.  This 3-song preview has a very free-flowing tone to it with Mirana & Rick delivering one hypnotic sound. 

I would definitely want to hear some more upbeat, dance songs that seemed to be a heavy influence on their debut album.  I look forward to hearing what Theory of Tides comes with on their upcoming EP.  You’ll just have to wait and see if you are completely ‘Swept Away’ when the time comes.

By Jimmy Rae (jrae@skopemag.com)

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TERRY QUIETT BAND, JUST MY LUCK

The Kansas singer/songwriter guitarist has come out with a 13-track release of originals, accompanied by his touring trio partners, Aaron Underwood on bass, and Rodney Baker on drums.  Added keyboards feature Rick Steff, and Beau Jarvis.  On this release, you can definitely feel his influences like Clapton, SRV, BB, The Allman Bros, etc. 

Karma is a nice fast paced jazz lick laced blues tune.  You’re My Kind shows some Hendrix and Eric Gales influence.  Big Man Boogie is a piano driven fast shuffle. Work For It is a mild mannered, 40’s blues/jazz club nuance. 

Satisfied is a nice rolling groove reminiscent of both The Doobies and EC.  Fool’s Gold slows it down a bit, with some neat licks.  Judgment Day and The Woodsman feature some dobro styled 30’s feeling storytelling.  Close To You is a ballad featuring his softer side of both singing and playing.  Signs Of Decline is a straight up blues tune with some interesting chord and vocal changes.   

Terry does a good job of interpreting what he learned from the masters.  His voice has some range, and is not overbearing like many.  The jazz/blues licks compliment the tunes, and add some depth to them setting them apart from the multitude of touring blues boys.  The method of blues storytelling combined with tasteful licks, benefits from the lack of over production.  A good sounding release from a veteran performer!

By RME

Rating:

JIMBO MATHUS, CONFEDERATE BUDDHA

Best known for his efforts in the blues/swing band the Squirrel Nut Zippers and working with Buddy Guy, Jimbo has taken his roots on the road with a new band, The Tri-State Coalition, while composing a discs worth of tunes.  Jimbo’s take on the blues is hard to describe.  The late legendary producer Jim Dickinson called him “The singing voice of Huck Finn.” He describes his music as, “Catfish Music For The Masses”.  Jimbo is definitely a storyteller, combining various Southern styles with some unique sounds and mixing. 

Jimmy The Kid may be slightly biographical sketch of Jimbo. Cling To The Roots deals with fleeing floods, which he experienced while touring.  Wheel Upon Wheel is a nice slow paced Dylanesque tune.  Town Without Shame takes on an old Country & Western, Hank Sr. feel.  Shady Dealing is a Southern up-tempo blues/rock tune, right at home with his contemporaries.  I can almost picture The Stones doing this.  Walks Beside, is a nice slower ballad offering, relying more on the storytelling voice and backing vocals than the instruments (I can picture The Mick singing this one too). 

Leash My Pony has a swampy Cajun spirit, with a jerky rhythm, which works well, ala Alan Toussaint.  Days Of High Cotton is a pedal steel backed ballad, again telling a story of the south.  Aces And Eights, is a neat story with a zydeco/Mexicali saloon backdrop, which was inspired by the infamous “Dead Man’s Hand” hand held by Wild Bill Hickcock while catching a bullet in the back.    

Well, you get a little old C&W, some Cajun, some straight up blues.  Jimbo certainly touches on a multitude of styles and genres, but makes them interesting via both the vocal and instrumental delivery.  Nothing boring to be found here.  Kind of cool! 

By RME

Rating:

Mark Lenover, Dead The Beast, Dead The Poison

Mark Lenover is the sole performer responsible for ‘Dead The Beast, Dead The Poison’ as he also composed & recorded the new album.  Lenover obviously knows what he wants and how he wants it done so how will this record play out?  Answer: The 11-track recording comes across as one very complex piece full of emotion & surprise.

Right off the bat with “I Fell in Love” you sense a depressing and sad layer immersed within the music.    You also pick up on a deep soul that Lenover displays so well through his words and singing style.  Rolling into the next number “Double” I have to say that Mark appears to have a diabolical sound that seems to resonate throughout the entire album.  On this particular song the word “Double” is majorly emphasized and you can tell Lenover is just feelin’ it in a BIG way.  Track three “The Mirror” has a dreary tone while “The Killing Place” can be best described as bring-me-down music.  Things get a bit warped on “Nick’s Departure” while scary meets Pop on “A Proposal”.  You’ll get a ghostly chill on “Bedlam” and you’ll be asking yourself “what does it all really mean?” on the closing number “Death Without Tears”. 

Mark’s style is really hard to to peg but I guess I can call it twisted folk pop.  You really feel the passion in his voice with every single lyric and note he sings.  The substance was definitely there but I didn’t quite get the full picture.  ‘Dead The Best, Dead The Poison’ was a little too gloomy-natured for my taste which I know was the intention but I need some sunshine in my life as well.  I have to hand it to Mark Lenover because this is one insanely original piece of work but I just need more.  I also need the atmosphere to be brightened up a bit while still keeping that dark tone.  This approach would make the whole story of ‘Dead The Beast, Dead The Poison’ a lot more gripping I think and would have much more of a powerful impact on the listeners.  I do have to say though that Mark Lenover intrigues me with his unique delivery.  Whether this disc leaves you confused, pleasantly surprised or both, one thing is for certain and that is that Mark Lenover will leave with you with a sense of wonder & unquestionable doubt. 

By Jimmy Rae (jrae@skopemag.com)

Rating:

Richard Anthony, Connected

High school physics teacher by day and musician by night, Richard Anthony invites us all to get ‘Connected’ on his debut album.  Accepting one another and coming together as ONE are just a couple of the many heartfelt themes displayed on this record.  Richard will open your eyes, mind and heart to a number of inspiring topics & issues that will not go away overnight and sometimes will never disappear.

The main inspiration behind this album and the song “Even If” was the love for his now adopted foster child Nick.  There are two versions—radio and acoustic and I’m here to tell you that both are extremely catchy.  The relationship between the acoustic guitar and folk-oriented vocals was very impressive to hear.  On “Even If (Radio)” Anthony throws in rock backdrops that includes electric guitar & drums adding a whole new feel & layer to the whole mix.  The dynamics between singer Richard Anthony and his music at play is something special.  The title track and opening number “Connected” displays a positive yet direct message about changing your life for the better but the approach is actually a little cheesy/corny in terms of adult listeners.  I was hearing a children’s album in the making all the way as “Connected” would be a perfect fit for the kids from a vocal standpoint .  Maybe even a bit of Peter, Paul and Mary and “Puff the Magic Dragon”-type feel goin’ on with this song.  The innocent tone does not stand though as Richard gets in touch with his dancing, get down & boogie side.  On track four “Make Me Yours” you will hear some background sound effects that are just hot as can be.  Next up on “Back to You” it’s dance time baby as Mr. Anthony is bringin’ you to a new-age disco club where you will have to do the whistle!  The dance fever continues where Richard is getting’ down on the movin’ & groovin’ jam “Charge Me Up”.  Time to bring it down to a more laid-back atmosphere on “Something To Believe In” and then “Do You Ever Wonder Why” urges you that “you control your own destiny”. 

I have to say that I think Richard Anthony has a little James Taylor in him because he seems to have that folk quality when it comes to his singing style.  I also enjoyed the dance, rock and pop elements mixed in with the folk here that came across as a very nice combination.  The use of sound and the creativity & originality from one song to the next was executed nicely to say the least.  Richard Anthony has tapped into something here “Even If” you don’t think so.  Time to get ‘Connected’ and stay ‘Connected’ forever!

By Jimmy Rae (jrae@skopemag.com)

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Revel 9, The Razorblade Diaries

Formerly known as Gee Davey, Revel 9 is locked, loaded and ready to give you ‘The Razorblade Diaries’.  This is the band’s debut EP under the name Revel 9 and they are excited to get these songs out to the masses.  The group hails from Long Island, NY and is made up of: founder, guitarist & lead singer/songwriter DJ Pearlman, Michael Bontempi on drums, Ray Kuhner on bass and their newest member Matthew Dower on rhythm guitar.  Revel 9 is ready to make some serious noise!

I couldn’t help but think of Bush’s ‘Razorblade Suitcase’ album when I saw the EP title.  I own this record and highly enjoy it, so if Pearlman & company could live up to the quality of ‘Razorblade Suitcase’ I would be very satisfied.  ‘The Razorblade Diaries’ nothing like Bush and their 1996 release but Revel 9 rocks out respectfully in its own right with six well-recorded tracks.  The professional touch was there and the substance was evident so let’s go!

The gist of this recording revolves around the concept of boy meets girl, boy loses girl and boy does anything to win the girl back.  This whole story & creative process was portrayed extremely well by the Revel 9 boys.  As soon as you hit Play you bear witness to quick ‘n’ punchy rock on “San Jose”.  This hard-nosed rock sensation carries on throughout the entire 6-song set.  On the track “Another Mistake”, I’m hearing an edgy & raw sound complete with a kick-ass garage band effect.  These guys are just jammin’ away and havin’ a good time so let’s join the Revel 9 party!  The hard rock influence is heard loud & clear on this disc with guitar riffs that rock your world!  The vocals are catchy and fit in perfectly with the band’s whole approach. 

Overall, I am very impressed with how each member made it all work as Revel 9 is in the building!  They offer up an appealing sound that is bound to catch on like crazy!  You owe it to yourself to check out Long Island’s own Revel 9 and their debut release ‘The Razorblade Diaries’.  The diary has just begun and so I can’t wait to see what they add to it next!

By Jimmy Rae (jrae@skopemag.com)

Rating:

Ben Kopec, Epic Orchestral & Cinematic Rock for Film Trailers

Ben Kopec is a solo artist, an American, and the six selections on this instrumental EP log in at just under 13 minutes. Though the information is not listed on the EP, it is safe to assume that this is Ben’s debut release. Kopec can be contacted on the net at BK@BenKopec.com, at www.BenKopec.com

From the very first number, Kopec wastes no time to show what he and his music are all about: the first pounding, uptempo drumbeats, sweeping strings and “AH-OOH”s that open “Coup D’Etat make it clear that this composer doesn’t mess around. He switches to high drama on the second cut, “Epic Cataclysm, and introduces a choir full of doom and gloom singing in an unknown language, perhaps Latin. Haunting strings add to the drama, while drums pound like thunder and cymbals crash. A single-note piano opens “Ancient Mystic”, as it does on “Page Of Wisdom” and the thunder in the track’s background remind me of waves crashing on a stormy sea: this one casts a spell. I can imagine little kids screaming and running for cover! With these two tracks Kopec really comes into his own: I was most impressed with the confidence he shows on both. He’s unafraid to mix genres here. If you canimagine Sergio Leone, creator of soundtracks for the movies of Clint Eastwood having a hankering for Slayer or Black Sabbath, you can guess what these instrumentals, full of tension and power are like. The word “Epic” in the EPs title is apt: it’s as if the world is facing judgement day. “Between The Gods” is has the most metallic feel of all. Even the most rabid rock fan would dig this one. With “The Great Adventure”, the closing track, the minor key and trumpets in the background warn that gloomy times are ahead: though majestic, there is still a down-and-dirty feel to it. At its conclusion, the music stops dramatically a few times, and returns with powerful drumbeats to remind you that Kopec is not the kind of guy who plays around!

The EP has a consistent feel to each of the tracks: for this genre, it is a real success. Being a big fan of soundtracks, especially those of Leone and of Jerry Goldsmith (“Chinatown”), I can appreciate Kopec’s awareness of what makes background music for film work well. He sets the right mood from the very first moment, and grabs you so you can’t tear yourself away. He is in full control of the elements he uses to create this music: it is composed with a sequencer and mixed with a complex computer program. He has a great future ahead of him in cinema, television and in promos on the web: I can imagine his work inspiring metal bands who want to break out of generic arena rock, as well as attracting fans of classical music. Sounds impossible? Well, listen to “Epic Orchestral & Cinematic Rock For Film Trailers” and you’ll see what I mean! To request a full catalog on hard drive, or for more on Ben Kopec and his music, you can contact Intricate Unit Studios by email or by phone.

I’m very impressed with this music: though one might complain of a certain similarity in the mood of the selections, the composer is in full command of the genre, a movie buff and lover of all things dramatic. All he needs now is to find an indie (or Hollywood) studio which can put these talents to use: in today’s cinema, the love of all things vampire-driven and violent matches this composer’s talents perfectly.

By: Thomas Murphy

Rating:

L’illon, Warrior Angel Instrumental Special Release

The “Lucid Pop” queen is back with a very Special Release of ‘Warrior Angel Instrumental’.  I had the pleasure of reviewing L’illon’s debut album ‘Warrior Angel’ back in December of ’09 for Skope (http://skopemag.com/2009/12/08/l%E2%80%99illon-warrior-angel ).  I was hooked then and I am hooked now even more so after hearing this new record. 

This Angel Warrior who is always innovative in her approach continues to set the bar high.  She put  Vibilicious Pop on the map and now she attempts to tackle the instrumental world.  What L’illon has done here is tell a complete story without any words.  Mission accomplished, as I found myself completely immersed in her music.  This singer/songwriter from Washington, D.C. has literally rejuvenated ten tracks by adding a whole new dimension to the ‘Warrior Angel’ mystique. 

L’illon arranged the album while also composing the entire 10-song set.  L’illon knows exactly what she wants and how she wants it done so get ready for one unforgettable journey.  The CD starts up with a great intro that is very upbeat, energetic and flavorful to say the least.  Right away you hear the difference on this ‘Instrumental’ album with the electric guitar standing out.  This noticeable factor continues on as I was really feelin’ the guitar BIG time on tracks 1, 2 and 5.  On song three, “I Wonder”, you actually get an electric/acoustic mix that serves as one enjoyable listening experience.  This number has a warm & cool breeze feel where you will envision yourself relaxing in the golden sands and bright blue waters.  I have to say that I simply loved the Latin splash combined with a dash of elegance on “Tu Solo Tu (Only You)”.  You’ll hear the exquisite sound of the cello here and even some funky bass lines for added effect.  Go on with your bad self L’illon!  On track five, “Thief of the Night”, the mood is set as you receive a mysteriously soothing vibe that will captivate you.  Not to mention this song has one killer dance beat that would be welcomed in any club!  “Navigate Me Home” displays an acoustic guitar that is in the zone, taking charge and leading the march on this easy listening jam.  You’ll be snapping your fingers to the emphatic rhythm of “Untouchable” while the piano is distinctly carrying the tune into uncharted territory.  L’illon goes out in style with her title track where you actually sense that the song is in fact about a powerful ‘Warrior Angel’.  This closing number has sort of an epic ending to it like what you would see in a Hollywood movie.  The “Lucid Pop” diva might be onto something here so get ready to roll out the red carpet because here comes L’illon!

We already know that this multi-talented artist battled music and has won convincingly, so who’s to say she won’t get involved with movies, television and video games as well. This Special Release has so many wonderful moments & elements popping out at me that it’s hard to narrow them all down.  ‘Warrior Angel Instrumental’ spells instant success for L’illon and I’m just glad I’m a fan and not a foe.  Sky’s the limit for this rising star who continues to take it to a higher level each time out.  Endless potential and opportunities await this young music artist and I am just so excited for the future of L’illon.  I can’t  wait to see what she does next!  This album is only available on www.lillon.com and Nimbit Music (http://www.nimbitmusic.com/lillon.1).  Go get your copy today because the L’illon Revolution is about to begin! 

By Jimmy Rae (jrae@skopemag.com)
     
Rating:

JOHN OATES, MISSISSIPPI MILE

Mississippi Mile is John’s third solo album, and a follow up to his 2008 release, 1,000 Miles Of Life CD (which I really liked).  It’s always a concern for members of a successful act to change material on a solo effort, but John has the chops the drive, and the backing musicians to make it work.  This release mixes some originals with some interesting takes on some classics, with a few pinches of blues, country and swing, and a splash of vintage H&O added for good measure. 

The title track is an original, bluesy Cajun sounding number.  John does a nice take on Curtis Mayfield’s; It’s All Right, giving it a bluesy/R&B treatment.  Please Send Me Someone To Love shows John’s true individual soulful vocal quality.  The Elvis classic All Shook Up takes on a slow shuffling blues hue, which I’m thinking may have been how the song was originally written.  Pallet, another original has a true Southern blues vibe, as does Come Back Baby with some tastefully added Dobro and harp.  Deep River has a down home backwoods feel to it, as does He Was A Friend Of Mine.  A jazzed up, country swing thing version of You Make My Dreams Come True is a departure that works.  My favorite cut is the soulful folksy cover of the Fraser & Debolt song Dance Hall Girls, accented by mandolin. 

This Mississippi Mile venture travels down roads winding through early blues, swing, R&B, and early rock territory.  This disc is a cool piece with variable speeds, and the best part is that the live band can really deliver them.  A gig really worth catching.  As for the blues flavoring as a departure, it’s a part of John’s early music career that led to R&B.  And as John put it, “If you put an R in front of the word Blues, you have R&B!” 

By RME

www.johnoates.com

Rating:

RANDOM STABBINGS & ARTLESS CRITIQUE, JUNE 2011

Miracle Parade, Hark and Other Lost Transmissions (Little Record Company)
It could be said that this surf-Americana-rock solo project from Everyday Visuals frontman Christopher Pappas mimics the effect of putting CDs from Bright Eyes, Glasvegas and Snow Patrol in the stereo and hitting Randomize.  Owing to the predominance of it, I get the feeling Pappas most prefers doing bummer-busker stuff, strumming and angsting away at Conor Oberst posturing, but by the same token he does possess great intuition toward what makes for good modern radio rock, thus he can’t be blamed for hipstering-up old Eagles vibe (“Sweet Tooth”) and pandering to middle-speed folkies (the Americana-tinged “When It’s Your Time”).  “Lost At Sea” baffled me at first, with its too-bright shoegaze guitars, but it does ultimately point to Pappas’s having a variety of interests and a lack of concern about what the bovine neo-hippy Bonnaroo crowd will make of him.
Grade: A+ [Release Date: 6/7/11]

Mia Doi Todd, Cosmic Ocean Ship (City Zen Records)
There’s a certain kind of New Ager who’d dig Mia Doi Todd, whose voice is a cross between Annie Lennox and Joan Baez.  And then there’s folks like me, who don’t lose sleep over not having any new music that sounds like the singer is battling tooth and nail just to stay in key.  Pleasant and chilly as this stuff is (think “True” by Spandau Ballet reinterpreted for yoga class, lots of bink… bink… incidental jazz chords), Todd needs to cease and desist even attempting trills until she truly understands what trills actually are in the first place, two alternating adjacent notes of the same key hit back and forth repeatedly and on-key.  Her lyrics, inspired by the forest, beach, exotic tourist traps and blah blah blah, are nice and stuff, but cripes man, anyone’s mom could sing like this – maybe it ain’t quite as bad as South Park making fun of New Agers, but I personally will never listen to this CD again.  But again, those two ears are yours to abuse as you see fit.
Grade: B- [Release Date: 5/17/11]

Hate Eternal, Phoenix Amongst the Ashes (Metal Blade Records)
Although sporting much better production than they’re used to, this Florida death metal outfit doesn’t need it as much as bands like Nile do. Riff-wise, this is quite experimental in a sense, with guitarist/frontman Erik Rutan trying to find the longest route between two adjacent notes in a (heavy-ass) scale, sort of like Meshuggah in a roundabout way, but meanwhile it’s far less doomy.  I more or less assume Rutan’s chromatic axe meanderings are modal in one way or another, but at first listen (which is really about all I can handle when this type of band spends its time puffing out its chest with 64th notes instead of trying to foment unease through actual melody) I can’t really say for sure – whereas Nile has the obvious Egyptian nonsense to rely on, this just sounds like hero worship of old-schoolers, as if this genre is in short supply of that.
Grade: B- [Release Date: 5/10/11]

Farewell Continental, Hey Hey Pioneers (Paper+Plastic Records)
This Minneapolis alt-rock quintet have an embarrassment of riches in that they can sound exactly like many popular acts of both the present and the not-crazily-distant past, such as first-album OK Go, Snow Patrol, Killers and stuff, not to mention singer/keys chick Kari Gray’s gold-medal-level karaoke of Dolores O’Riordan.  There’s a dark side to that, of course, but I don’t have the time to investigate whether or not they’re a copy band and thus bust them as worthless magpies. Even if they are, though, the stuff on this record doesn’t appear to be half-cocked microwaving, it actually sounds melodically original, so the sky’s the limit, really, if they keep up the great songwriting and decide once and for all which vocalist they want at the front, Gray’s Cranberries shtick or the cookie-cutter boyband stylings of guitarist Justin Pierre.  Not that either one tops the other – they both have radio-quality voices – but it’s a cold vicious boogeyman of a world out there, overly fond of keeping its pop culture simple.
Grade: A- [Release Date: 5/10/11]

Orchestre National de Jazz, Shut Up and Dance (Bee Jazz Records)
From the title you might deduce either A) weirdo indie techno, or B) epic hipness fail by old dudes.  Actually it’s neither, this large-scale prog-jazz project; it could be more rightly assumed that the word ”dance” really means “play” in this context, as the scope of these ten mini-concertos allows for some cutting loose by this jazz orchestra, a project backed by France’s Ministry of Culture (do we even have something like that in the US?).  Noises are allowed, so there are circuit-bendings and organic glitches, such as a ping pong ball dropped into piano wires.  Overall the feel is proggy, a la John McLaughlin, Weather Report, etc., although percussion plays a major role (“Racing Heart, Heart Racing” is a bizarre sort of careering zydeco) and the curve balls tend to get a lot of English on them (the coda of “Flying Dream” finds the full-blown horn section cooking up something out of a 60s action TV drama).
Grade: A [Release Date: 4/26/11]

The Hit Back, Who Are These Weird Old Kids (Sidedown Audio)
Mixed bag, thy name is The Hit Back.  At the start this DIY album behaves like most of your basic quirk-electropop records, endlessly inviting, understated electro-twee in the manner of Here We Go Magic’s more subtle material, stuff that’s considered electro-folk for lack of a more imaginative term; it’s simply very agreeable, very, you know, pleasant.  These guys have hung out a Kings of Convenience franchise shingle to some extent, also, hence there’s softer, okay, electro-folk.  Moving forward there are disagreeable moments made of things that don’t fit if you’d hoped to throw this thing on for background steez, for instance the unnecessarily loud Figurine-doing-shoegaze non sequitur “Afternoon.”  I’m all for small-potatoes producers using everything at their disposal to make interesting things, but am I the only one getting fed up with having friendly chillout records suddenly remind you that there’s danger at every goddamned corner, and the terrorists are coming, and blah blah blah screeeech?  
Grade: B- [Release Date: 4/26/11]

Mike Gibbons, Marigolds: The Bangkok Sessions (self-released)
Sounding like a more controlled Conor Oberst, Gibbons often comes off a bit loud over this strummy Americana-rock, but the tunes themselves make up for any questions about the mixing levels.  Perhaps one reason his lines are so adamant is a psychic need to be heard over the Red Shirt violence going on in Bangkok, where this album was recorded; he apparently had to change his jogging route due to warnings of sniper fire on civilians.  Oddly enough, his lyrics gravitate to the inner rather than outer, focusing on guilt, zen, things like this, but either way, after sitting through this entire LP, I can honestly say I haven’t met a Gibbons tune I didn’t like, all of them what you’d hear from a more straightforward and less depressing Band of Horses.
Grade: A- [Release Date: 4/12/11]

Little Tybee, Humorous to Bees (Paper Garden Records)
Like an airier, less in-your-face James Blunt, singer Brock Scott leads this alt-folk quintet into a sound that evokes angels dancing on the head of a pin, tempering progressive, complicated statements with chill mix levels in a combination that might best be described as Vampire Weekend vs Blind Melon.  A lot of sucky bands attempt to be like this, but it takes a rare panache to pull it off, which this crew does easily, albeit with the help of over a dozen of their local Atlanta compatriots. Fiddle/piano parts give way to jam grooves that become rockouts – hayloft-indie with lots of brains in constant flux, with, most thankfully of all, no out-of-the-blue cacophony. 
Grade: A [Release Date: 4/5/11]

Curtis Macdonald, Community Immunity (Greenleaf Music)
With an overabundance of alto-sax-player competition in the jazz world, Macdonald knows he has to come out of the gates wailing in this debut LP.  The title track opens things in progressive dinner-jazz fashion, Macdonald and pianist David Virelles moving through its complicated, well-written melodies with aplomb.  Wonky weirdness is important in this space, as anyone who’s ever heard the masters know, thus there’s a floaty-wobbly line that goes on for a bit in “Childhood Sympathy,” an otherwise slow-mover built for reflective insulation.  More weirdness is found on “Figmentum II,” this time from visiting guitarist Travis Reuter, who plinks out some atonal shtick that isn’t all that bothersome.  Overall an excellent example of sedate nu-bop, which one would expect from a Canadian (Macdonald is Brooklynian by way of Alberta).
Grade: A [Release Date: 4/5/11]

Nasar Abadey & Supernova, Diamond in the Rough (CDBY Records)
The 2nd full-length from Williams/Roach-inspired jazz drummer Abadey isn’t a showcase for his drumming technique so much; what sticks out for me in that regard is a deep fetish for extended cymbal-splashing.  His off-kilter, angular snare-shots go well enough with the (often Minus-like when it isn’t being, in general, 80s-throwback-ish) modal stuff on tap here, much of it improvised if I have any sort of intuition for this by now.  My main quibble goes in tandem with the comment about his personal showcasing: Abadey was a bit too generous when it came down to the final mix, and he’s buried under the blorting, bleating atonal dust-devils tossed out by saxplayer Joe Ford, who most often comes off like a real talented dude running through warm-ups as opposed to working to cobble something listenable, but such is the nature of the improv beast, which is adamantly not my cup of morning Starbucks.
Grade: C+ [Release Date: 11/23/10]

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Outraged ranting, indie label release news and spaghetti sauce recipes are always welcome.  Email esaeger@cyberontix.com

Jake Allen, Etherica

When quality & precision clash head on you get ‘Etherica’.  Jake Allen is his name and making dark times sound so wonderful is his game.  The idea behind the new record was originally supposed to be based on dreams but instead Jake is left with a harsh reality.

This singer/songwriter from Michigan started recording tracks at just six years old plus was working on his debut album at just 13!  Obviously Allen was a music enthusiast at an extremely young age and for the most part always a happy-going person.  It wasn’t until recently in 2009 when Jake was surprisingly hit with an overwhelming feeling of being lost and confused.  Jake himself called this time in his life “an involuntary ego death” which links up to a medical term known as depersonalization.  He and a friend jokingly came up with “the thing” for his sudden condition that produced some gloomy times for Jake Allen.  Talk about something so intensely negative and turning it into something so positive as Jake discovered an effectively healthy outlet.  Allen’s therapy came by way of writing, playing & recording songs which gave way to some of the most creative material he’s ever written.  The world around him and his life was finally brightening up thanks to music.  Out of this comes 12 tracks that examines Jake’s struggle to deal with his condition but in the end he conquers it all.  Bear witness to one incredible journey that is both spiritual & enlightening in nature on ‘Etherica’.  Mr. Allen is now ready to enrich your lives through his complete acceptance & understanding of “the thing”. 

The disc starts up with a song titled “Ascension” that is musically appealing as it moves and moves you all at the same time.  Next up on “Open Space” you get a cool and free-flowing sensation with nice ‘n’ crisp vocals.  Jake’s vocal performance really impressed me throughout the album because his voice has a direct & distinct vulnerability to it that really draws a listener in.  On track three “Dinosaur” I simply loved the all-out rock feel here complete with “Dy-no-mite!” guitar and drums.  Just as a dinosaur was a massive creature, this number is equally powerful in terms of substance.  That rocked out atmosphere pops up again like on the song “Fix Me Professor” where you hear awesome guitar playing and off-the-charts energy!  This kid can play a mean guitar and he proves it on ‘Etherica’.  It’s not all rock though by any means as Jake gives you a track like “Autumnal” that plays like a short but sweet dream.  On the title track Allen brings it down to a soft ‘n’ easy mode with emotionally-drenched lyrics & vocals thrown in for good measure.  On “The Ransom” you get to hear a pleasant harmony that really entices you and keeps you involved. 

The mix of songs here came across as very rewarding & therapeutic not just for Jake but also for the audience.  This record still could be considered a dream-inspired world full of real life thoughts & feelings hiding around every corner.  I’m just glad Jake Allen found his way back to give us ‘Etherica’; I’m a grateful fan! 

By Jimmy Rae (jrae@skopemag.com)

Rating:

DJ Dylan C, Glitch Hop

Dylan John Cameron aka DJ Dylan C offers up nine blazing tracks on his new EP ‘Glitch Hop’.  This guy has been involved with the DJ scene since ’98 and he was only 13 years old at the time!  That’s ALL LOVE for the turntables as DJ Dylan C is ready to put his skills to the test.

As soon as I hit PLAY I’m hearing some insanely hot beats on “Shady” that are far from slim .  Right away Dylan C grabs your attention by creating music that will make you bounce & bob your head all day long; I already can’t stop movin’!  Spinning along into “Afterhours” you get exactly what it sounds like which is a party atmosphere full of all-night fun & excitement.  The mixing of sounds is just crazy fresh with off-the-hook audio on display.  On cut three “The Hater” you’re getting an Old School meets New School vibe which resonates throughout the whole nine-track set.  On “West Campus Slum 9thousand” DJ DC turns out a ridiculously off-balanced beat that was a very unique approach but seemed to work here.  Throw in a Montell Jordan sample on “The Shore” and you just got some real craziness goin’ on here!  Rolling into the next joint “Sanctuary” you actually sense somewhat of a solemn sensation while also receiving a feeling of uplifting spirit.  This is an impressive feat for any musician but for a DJ to tap into these emotions makes it even more amazing.  For all you bass heads out there who like to bump in your rides get ready for “Solo Mission” that will take you on a two minute cruise.  By the end, DJ Dylan C has pulled all the tricks out and has showed us what he’s got so watch out now!

DJ Dylan C “After Hours” MP3:

SKOPE IT HERE!

This young man from Austin, Texas is not messin’ around as he’s about to break you off somethin’ nice.    I even picked up on classic video game-like effects scattered throughout the EP which added a cool flavor.  What I liked most about DC and his new project is the extreme originality behind it all.  This DJ cuts like no other and combines sounds that will overwhelm your senses.  Just picture the best of dance, electronic and hip-hop beats all wrapped up into one exhilarating package and there ya go!  ‘Glitch Hop’ is one awesome listening experience that will leave you wanting more!

 

Dylan has performed to sold out crowds and has played with such acts as: Del of The Gorillaz & Aesop Rock and Warren G at The Key Club in West Hollywood.   Most recently he shared the stage with Cash Money Records recording artist Glasses Malone at Hiphopalooza in LA.  This turntable master is on the up & up because he has got a talent that can’t be denied.  I would not battle with DC if I were a rival DJ because he or she just might get badly burned!  He is that good people and that is why I highly recommend Skoping out DJ Dylan C and his new ‘Glitch Hop’ EP; you will not regret it!

 

Besides tearin’ it up on the ones and twos, DC is also a sound designer & producer at Clarksville Studios in Austin.  Now a proud member of the Framed Nation roster, Dylan C had the privilege of working with Gregory Booth of Framed Records who was the Executive Producer on ‘Glitch Hop’.  With an upcoming performance on Saturday, June 4 in Oakland at The New Parish, DJ Dylan C will be playing with Fishbone that night!  You will not want to miss this cat in action if you have the chance because DC is a heavy weight contender who’s ready to go toe to toe with the best of the best.  Also be on the lookout for an upcoming 12” vinyl release of selected ‘Glitch Hop’ tracks plus another digital single release this summer!  Get ready for an all-out DJ Revolution brought to you by DJ Dylan C and ‘Glitch Hop’; the word is out!  I am a fan and simply put DJ DC is the man!  Skope out www.framednation.com and www.thedjdylanc.com for more info.

By Jimmy Rae (jrae@skopemag.com)

Rating:

Face Candy, Waste Age Teen Land

Man o man, where to begin on this one!  First off I’d like to pay my respects to Michael “Eyedea” Larsen who tragically passed away in October of last year.  Eyedea was the vocalist & frontman along with being the mastermind behind the creation of the four-man group.  Face Candy is his baby and always will be so just want to say god bless & god rest your soul. 

‘Waste Age Teen Land’ was the second release for Face Candy and the last record featuring the late Eyedea.  Rounding out the quartet you have Kristoff Krane on vocals, Casey O’Brien on bass and JT Bates on drums.  Hailing from the Twin Cities, this band comes with a sound that is so damn different you just gotta hear it to believe it!  The style is like no other as Face Candy invites you to be completely open-minded while you’re taking it all in.  And believe me there is a whole lot to digest here folks so brace yourself!

There are 15 songs here that will make you question everything you ever knew or thought about music in general.  No titles needed as we simply go in a sequence that starts with the track “One” and ends with “Fifteen”.  Face Candy starts it up with some trippy shit for your psyche “that sounds great” & “feels good” according to the Minnesota natives.  Up next you’ll hear freestyle rap that’s also poetic in form thanks to a well-versed flow & rhyme scheme.  The whole shebang is performed off beat which gives the listener that off-kilter feel.  This is all done on purpose and for a reason which is what Face Candy and this album is all about.  Face Candy is bringin’ the funny and the serious all at once like on track “Six” where you’re hearing silly jokesters in action and human beat boxing in full effect.  Then you turn around on “Seven” and Eyedea hits you with some lyrics that will really make you think: “It feels really safe but that’s only because it’s right now.  Put a candle in the sky and watch the sun get pissed off tonight”.  C + C Music Factory said it best when they sang “Things That Make You Go Hmmm…” because that is exactly what’s goin’ on here.  On song “Eight” you’ll get an instrumental complete with a nice jam session & light jazzy vibe to help get you in the groove.  On “Thirteen” I was laughing my ass off at how Face Candy was poking fun at that annoying auto-tune effect that saturates the mainstream Pop market of today.  It’s a hilarious tale about going to Goodwill to find a lantern so that they can go fishing.  In the words of Lil John all I have to say to this is “WHAAATT!”  Continuing to go outside the box, Face Candy delivers an ambient & mellow texture on “Fourteen” that will leave you in a state of confusing relaxation.

There is so much to soak in here but I have to say that I’m highly impressed with Face Candy after it’s all said and done.  These guys are new age hipsters and beatniks who deliver elements of jazz, rap/hip-hop, poetry, comedy and everything else in between.  No rules to play by and no guidelines to follow; Face Candy is just goin’ off and goin’ nuts for all to hear.  It makes sense now that the classic hit “Baba O’Riley” by The Who that includes the famous line “Teenage Wasteland” was conveniently jumbled around to form ‘Waste Age Teen Land’ for Face Candy.  Very clever boys!  The vocal & lyrical chemistry between Eyedea and Kristoff was spot on as the two members meshed it all together perfectly.  You even get funky bass lines from Casey throughout the record and JT sharp as a tact with his crashing drum set.  You get laughs, you get catchy rhymes, you get words that speak loudly, you get outlandish personality & attitude and most importantly you get music that doesn’t always have to make sense.  Never judge a book by its cover otherwise you’ll be missing out on a lot wholeheartedly applies to Face Candy and their new release.

When I think of Face Candy and their “Performance Art” I can’t help but think of the innovative guru  who is Frank Zappa.  This group is just oozing with creativity & originality to the point where it’s just ridiculous!  It’s a real shame to hear about the loss of Eyedea but I have to say that he and his bandmates definitely made a mark with ‘Waste Age Teen Land’.  So here’s to you Michael “Eyedea” Larsen!

By Jimmy Rae (jrae@skopemag.com)

Rating:

Downcast Theory, Self-Titled

I was lucky enough to get a chance to review this band’s last album titled ‘Damaged Calm’ back in 2009 for Skope Entertainment Inc. (http://skopemag.com/2009/10/28/downcast-theory-damaged-calm ).  I loved what I heard then and I really love what I hear now from their self-titled release.  I am so excited for Downcast Theory and their bright future ahead!

This band hails from the Garden State and is made up of: Matt Simon on vocals & guitar, Jake Raynor on guitar & vocals, Matt Raunick on drums and Ryan Sauerman on bass.  This is the first time working with bassist Ryan Sauerman as Downcast Theory looks to dominate the pack.  This new record displays many of the same qualities from the last album but these Jersey rockers have decided to kick it up a notch.  That insane amount of energy & force that was so visible on ‘Damaged Calm’ remains the same for the new album.  Right out of the gates on the first track “Forgotten Within” all the way to the end with “Rebirth”, DT continues to land powerful jabs of sound that are sure to deliver a knockout.  This band is simply on fire here as they play with an enormous amount of fury & ferocity that is hard to contain.  The band chemistry is rock solid because Dowcast Theory makes it work on all angles flawlessly. 

DT gives you hard rock & heavy metal at its finest where it all seems to hit you head on.  This record seems a bit heavier with edgier riffs and screams from Jake Raynor that really grab you like on “Insane”, “Prayer” and “Invictus” among others.  When Jake starts up song nine “Change of Pace” with the phrase “Get the fuck up!”, I say hell yeah baby!  These Jersey boys are bringin’ it with authority and they are really letting you have it.

Downcast Theory “Call To Rise” MP3:

SKOPE IT HERE!

Matt Simon’s vocal delivery was very impressive to say the least as he was able to battle with so many emotions at once.  On one breath you get anger & agressiveness coming from Simon’s voice and on the next breath you pick up on real pain & hurt.  Vocally & lyrically there was so much damn feeling behind every single word Matt sang.  It was quite an experience to hear and I am proud to announce that I am a hardcore Downcast Theory fan!  As their logo states: “The Downward Spiral Has Begun” and I am so glad to be a part of it!

DT has opened up for some pretty big acts such as: Powerman 5000, Cold, Drowning Pool, Taking Back Sunday, Circa Survive and Nonpoint.  Dowcast Theory has played at many hot spots around NJ such as: Starland Ballroom, The Stone Pony, The Saint, Maxwell’s, School of Rock, Bar Anticipation and The Fixx.  They have also performed at: The Delancey in NYC, Adelphi University in Garden City, NY and Bootleggers in Woodlyn, PA.  Recent performaces include: Brighton Bar in Long Branch, NJ and Knitting Factory in Brooklyn, NY.  If you happen to be in the Butler, NJ area on Sunday August 14 then head over to Architekt Music to watch this electrifying group rip through their set.  Predominantly a Tri-State area band at the moment, DT looks to branch out and start hittin’ more states very soon.  I, for one, can not wait to see Dowcast Theory live now so hopefully a BIG tour is in the works!  Let “The Downward Spiral” begin!

You’re probably wondering to yourself where can I buy their music and I’m so glad you asked!   You can purchase the new album and/or ‘Damaged Calm’ at iTunes at: http://itunes.apple.com/us/artist/downcast-theory/id268914755 .  If you prefer the CD version like myself then you can contact Matt Simon at: downcasttheory@yahoo.com and he’ll get you all fixed up.  Downcast Theory is also selling some very cool T-shirts so hit up Matt if you’re interested in that as well.  I’ll leave you with some helpful sites where you can find out even more about this tight-knit Jersey bunch: http://www.downcasttheory.com/fr_dt.cfm
http://www.facebook.com/DowncastTheory
http://twitter.com/#!/downcasttheory

By Jimmy Rae (jrae@skopemag.com)

Rating:

Rick Shaffer, Hidden Charms

Following up his debut solo album from last year called ‘Necessary Illusion’, Rick Shaffer reveals to you ‘Hidden Charms’.  This multidimensional artist not only played the role of singer, guitarist, bassist and percussionist but also wrote and produced the entire record.  Additional members backed up Shaffer wonderfully to help ‘Hidden Charms’ become discovered gems. 

Rick has plenty of experience playing with his band The Reds but now looks to make a mark as a solo act.  The 10 tracks on this CD would indicate that Shaffer has stolen the spotlight.  Listening to this disc felt like I was literally taking a trip back in time to when the hair was long and the mood was far out.  Rick Shaffer exhibits a style & feeling that screams 60s rock ‘n’ roll all the way.  Rick is rolling together some rock & blues that will leave you feeling completely satisfied.  I couldn’t help but notice a strong Rolling Stones/Mick Jagger-type vibe coming forth that focused on those early bluesy rock days.  The Stones feel was heavy and the Jagger-isms were highly evident which was very cool to hear but you have to be careful to not mimic too closely.  I gotta hear a Rolling Stones cover now after experiencing Rick Shaffer’s musical display so go for it!

I really love the fact that Shaffer is not afraid to play outside the box and has no room for mindless 2011 & beyond pop tart songs.  People in the world will always move forward but Rick Shaffer and his music will instantly take you back to a different era.  It almost seems like Rick was searching for just the right mojo for this project and man did he find it– “YEAHH BABY!” (Austin Powers aka Mike Myers). 

Vocally & musically, Shaffer exhibited a very raw approach that was stripped down to the bone.  Early garage band appeal at its finest as Shaffer & company brought the goods!  Plenty of hip tambourine playing and distorted guitar chords made for one groovin’ listening experience.  ‘Hidden Charms’ is lost no more and I can’t wait to see what Rick Shaffer pulls out of his magical mystery bag next!

By Jimmy Rae (jrae@skopemag.com)

Rating:

Strong Like Woman, Fortune EP

Over the years we’ve seen rock & alternative rock slowly erode into a dumbing down process of overly commercialized, corporate puppet shows. Unfortunately this form of entertainment exists not only in music but also on TV, & Movies as well. Talking to many music fans out there, the response is overwhelming. Give me something new, something fresh sounding & something captivating. Give me band that pushes hard via amazing songwriting that isn’t to predictable or old hat.

So across my desk slides the new EP (FORTUNE) by Seattle 2 piece STRONG LIKE WOMAN headed up by Kaptn Atak (vocals), HMS ThunderChild (vocals). Influences include Of Montreal, LCD Soundsydtem, The Faint, Yacht, & The Presets. What I heard put a smile on my face, finally an artist that gets it. This is some of the freshest sounding music I’ve heard in quite some time. This EP sampler delivers the goods! It’s got substance, quality, consistent songwriting & many other aforementioned items I spoke about. You want psychedelic rock, you want music that is marketable, fresh sounding, & pushes the envelope? Well look no further. This EP covers all the bases delivering heartfelt/passionate vocal performances via world class sonic songwriting. Music reminds me of a tripped out, electronic version of the White Stripes & has got a musical flair that will keep you fully entertained as a listener. SLW is well positioned here & is set up for success now & down the road. I wouldn’t be surprised if bigger & better things are in store for these 2. What’s even more impressive is how challenging this band is to pigeonhole. They have an original sound that is simply vintage SLW.

Fortune (EP) by Strong Like Woman is a musical breath of fresh air for me. It’s definitely worth checking out. It’s a polished sounding musical production from start to finish & is just a blast to listen to. It‘s got it all – great playing, solid writing, & infectious grooves. It’s definitely a musical production that gives us a fresh glimpse of 2 up & comers artists from Seattle. This latest release from SLW takes us back before everything started sounding like – well like a commercial. 

By: Drew Blackwell

Rating:

Jane Hunt, Self-Titled

All I have to say first is WOW!!!  This Jane Hunt will invigorate your senses and will leave you with a feeling of mass content.  There is a reason why she is referred to as the self-proclaimed “Violin Venus” and that is because she makes breathtaking music with her instrument.

This four-song EP was so refreshing to hear because it was something so out of the ordinary for me.  The violin isn’t considered a popular choice of today when it comes to making a song or shooting a video but Jane Hunt is here to change all of that!  By combining elements of rock, acoustic guitar and folk Hunt makes it all work flawlessly.

Jane’s resume is quite impressive as she has appeared at many high-profile locations such as: Carnegie Hall, Radio City Music Hall, New York’s Fashion Week, the U.S. Open, Arthur Ashe Stadium, The Kennedy Center, Cannes Film Festival and Sir Elton John’s Lifeball!  With this distinguished list I know that we’re dealing with a refined artist who’s no stranger to the performing arts.  Not to mention, Hunt even started her own show back in 2007 called “The Violin Venus Show” that proved to audiences everywhere that classical music could jive with pop, folk and jazz.  Innovative to say the least as Jane Hunt brings you four installments that will not disappoint.

The EP opens with “Vasene” that is a very hypnotic piece complete with tempting & dreamy vocals.  Next up you have “Melia Dream” that incorporates an orchestral effect where you get a sense something monumental is about to happen all thanks to Jane’s incredible vision & direction.  This number has that feel where it could easily be included on a movie’s soundtrack due to the cinematic quality & atmosphere depicted in the song.  The “Violin Venus” ends on a high note with “Sahara” which happens to be my favorite piece hands down!  This finale offers the listener worldly, transcontinental vibes along with somber & touching moments that you can truly feel.  It doesn’t stop there though because Jane decides to throw in percussive beats that really liven things up a bit and even rock guitar backdrops!  And once again, this track could be part of a movie’s trailer as this violinist/composer really brings it all to life!  This closing number had so much going on where your senses were literally on the edge of their seats! 

This Jane Hunt has created something very special here as she takes you on a trip through different lands and cultures.  This British born woman is very diverse when it comes to her musical tastes & styles as it shows on this self-titled EP.  Jane’s many travels throughout the world has helped shape her into an elegantly majestic violin player & composer.  I’d also like to add that digital technology played a key role toward the success of this project.  Overall, I have to say that I’m blown away by Jane Hunt’s talents & skills as she just played her heart out and made beautiful songs.  Incredible outing for Jane Hunt to say the least and I can’t wait to hear the next full-length release now!

By Jimmy Rae (jrae@skopemag.com)

Rating:

Life After Liftoff, Memory of You

Get ready for Dayton, Ohio’s own Life After Liftoff and their quick-to-the-punch EP ‘Memory of You’.  LAL is a four-piece band made up of: founder & front-man Lee Weiss, Jason Sigritz on bass, backing vocals & keys, Ryan Chatterton on guitar, backing vocals & keys and Dan Malloy on drums & backing vocals.  This group has created a three-track set that is a prelude to their upcoming, full-length debut titled ‘Everything Is You’.  Short but sweet can best describe this new release for the Dayton players and I have a feeling there will be a lot more fans after listening to ‘Memory of You’.

Weiss tagged the Life After Liftoff sound as “alien pop punk” where I definitely hear the pop & punk rock elements but not sure where the “alien” reference comes from.  I’d love to have Lee Weiss explain this concept to me because I’m not getting that.  There is nothing strange or weird or even extraterrestrial about this recording at all.  Quite the contrary actually as you will hear a trio of songs that are extremely radio-friendly.  I also picked up on a college-friendly vibe due to the group’s fun & free spirited attitude.  Life After Liftoff have that playful sort of innocent sound that would be eaten up by teenagers and college students alike. 

The pop/punk & pop/rock feel is heard loud & clear on all three songs and done up very well by LAL.  I even detected a Blink 182 influence in sound & style minus the silly atmosphere that Blink made so famous.  “The Promise”, “Memory of You” and “Someday” are all ready for human consumption and should be playing at radio stations everywhere!

What I liked about this band is the fact that they had catchy riffs & vocals with a definite pop appeal but not cheesy at all.  With low standards when it comes to the lame-ass popular music of today, LAL could literally come in and breathe new, fresh life into the faltering pop scene.  For this reason alone I am very excited! 

I think the whole pop/punk idea that Life After Liftoff has tapped into is cool but I’d also love to hear some more edgy & raw tracks.  I sense that Lee Weiss & company have got it in them so in the words of the late, great Rick James “Give It To Me Baby”!  Now, I am ready for ‘Everything Is You’ so come with it guys!

By Jimmy Rae (jrae@skopemag.com)

Rating:

Tony DeSimone, The Second Time Around

Tony DeSimone is a singer/songwriter & multi-instrumentalist who will impress the hell out of your ears.  The new album ‘The Second Time Around’ and Tony’s music in general is said to have songs of “hope, love and dreams”.  I would agree with that and further add that all 10 tracks on this record are highly impactful and chalk-full of real substance.  Tony DeSimone is a true artist with a distinct voice who is ready to take over the air waves.

Tony D not only covered all musical sections & lyrics but also produced the album alongside Grammy Award winning producer Anthony Newett.  DeSimone has recorded two EP’s in the last two years with ‘The Second Time Around’ being his first full-length CD.  Obviously some heavy anticipation here but I would have to say that Tony D delivered!

The new record features elements of pop, country and rock all mixed together to make up one killer sound.  His vocal styling & tone also grab you because Tony’s voice is catchy as hell.  This singer/songwriter appeals to the average listener because he writes & performs songs that work and sound great too!  Tony has honed in on his craft of music making & songwriting and now invites the world to bear witness to his art.

The title track supplies a wonderful acoustic quality along with such feeling that Tony D portrays flawlessly.  DeSimone sings & performs with such conviction where you will literally feel his passion being conveyed onto the audience.  On track five “Two Steps Back To You” you hear a pop-friendly tune that beats the hell out of the so-called popular crap played today on your mainstream radio/television stations.  Tony DeSimone and his new work are composed of actual talent & absolute meaning.  So…I am calling out ALL THE RADIO/TV STATIONS TO GET THIS GUY IN YOUR ROTATION NOW!!! 

I couldn’t help but notice a Bono-like quality & U2 vibe on certain songs.  I pointed out three, among others, that I thought heavily displayed this effect:  “Mississippi (Burning)”, “Once In A Lifetime” and “River Mercy”.  The U2 and Bono resemblance was so dead on where I thought to myself ‘man, I would love to hear a U2 cover because I know Tony would do it justice’!  Maybe on the next one?  I do have to say though that you want to be careful to not imitate too closely because then it appears you’re not being 100% true to yourself.  You want to be recognized as ONE artist at the end of the day and not as a U2/Bono cover band so just sayin’ to proceed with caution.

Overall, I really loved this record because it had an excellent feel and offered up a musician who I can’t say enough good things about!  ‘The Second Time Around’ supplies you with 10 chart-worthy tracks that I would recommend to anyone!  I’m just surprised this Tony DeSimone isn’t big and on top already based on this high-quality recording.  I am definitely a Tony D fan now and I’m sure you will be too!  I can not wait to see what this singer/songwriter & multi-instrumentalist comes out with on the next time around!

By Jimmy Rae (jrae@skopemag.com)

Rating:

Junior Giant, True North

“Junior Giant” is a fitting moniker for Spencer Linsley, the 21 year-old front man for the Salt Lake City foursome of the same name. A professional skier since his early teens, Linsey now channels his courage in tackling some of the big mountains into the courage to tackle lead in his indie rock outfit. His lifelong love affair with music (first guitar at four; played first song at five) is apparent on Giant’s sophomore 10-track album, True North. Blending an amalgam of styles, the album shows not only the exuberance of the fledgling outfit, but also their sense of versatility and confidence crossing genres.

The album opens to “Heyla”, a guitar-driven rocker that sounds slightly reminiscent of a Killers tune laid over an almost Ska rhythm. JT Nebeker’s bouncing bass line lies just under the vocals with the myriad of soundscapes all tied together by the lead guitar work of Brian Linsley (Spencer’s father). The demure “True North” opens to Linsley’s vocals laid over backing strings and plays out in the vein of “Norwegian Wood” meets Weezer. Tight technical acoustic work accompanies Linsley’s upper range vocals. The track is replete with bright, anecdotal lyrical matter laid over chimey/chugging electric guitar. Rounding out the diversity and genre borrowing is “Sinner.” The track opens to electric fuzz guitar over hip-hop style backing synth a la everything Dr. Dre has done since The Chronic. Lensley’s lyrical delivery waxes and wanes between rapped verses and sung choruses while the musicality retreats to the background slightly on this track allowing the vocals to stand out.

True North has shiny moments and is rather good for a DIY effort. There is a very diggable amateurishness to the album as a whole and the vocals and musicality are certainly there. I think the only thing lacking may be a certain degree of polish on the final product but that in no way discounts the album’s good, fun, approachable rock ethos.  

by Chris West – cwest@skopemagazine.com

Rating:

Assaf Kehati, Flowers & other Stories

Jazz Guitarist Assaf Kehati releases his latest CD “Flowers & Other Stories” in 2011. Kehati is an accomplished player & composer from Israel who now makes his home in the Boston Area.

The recordings themselves provide a very euphoric, fruitful & colorful musical  experience via a very talented quartet. I hate to pigeonhole Kehati but Pat Metheny is definitely a musical parallel for me. The guitar is at the core of this project, but it’s quite amazing how much space each band member occupies successfully, yet sharing the space equally. Indeed the skill set of the player will dictate how well your attention span can be maintained. What am I trying to say? This quartet headed up by Kehati is simply amazing! The CD provides soothing jazz eloquence full of warmth & amazing musical liquidity. This is the way Jazz is supposed to be played. It flows & ebbs so amazingly. Notably this music is perfect fit for meditation, or those days you just want music to fill the air. All in all great music to fill your atmosphere.

It is amazing what Kehati has done with this CD – a microcosm of the artist no doubt. “Flowers & other Stories” is a brilliant jazz snapshot from some amazing guitarist & musicians from a place far other than the USA.

 By: Michael Mullins – IMD Staff

Rating:

The Mighty Mulligans, Music To Shank By

You’ve heard of Sugarhill Gang’s classic hit “Rappers Delight”, well get ready for a golfer’s delight anthem brought to you by The Mighty Mulligans.  ‘Music To Shank By’ is a collection of 13 lighthearted tunes that poke fun at nothing else but the game of golf.  This comedy-driven album is smart & funny and should definitely put a smile on your face.

The Mighty Mulligans are made up of just two members: Michael Mugrage and Rex Fowler.  The duo covered all of the music, singing and lyrics while Mugrage produced the record and Harry Nilson wrote the song “One”.  All of the tracks are quite humorous as you appear to get in the mind of a golfer.  This album takes the less serious approach by showing listeners that golfers know how to have fun too.  I couldn’t help but think of one of my favorite movies of all-time ‘Happy Gilmore’ because of the slap-stick material displayed on this record.  Before you even listen to the disc, you see a golfer partially on the green with goofy, multicolored pants and his head completely submerged in water.  I knew just from that imagery that I was in store for something refreshingly different.

‘Music To Shank By’ was definitely a nice change of pace for me because it was fun and easy on the ears.  The record swings away with a Laffy Taffy-type atmosphere where the course is full of silly flavor.  With plenty of balls and clubs to choose from, The Mighty Mulligans offer something for everyone.  Besides punchlines, Michael Mugrage and Rex Fowler prove that they are also stand-up musicians as well.  I heard elements of rock, blues, country, pop and even 50s-style rock & roll all rolled up into one unique package.

The whole delivery was a little hokey/jokey for my taste but I do appreciate what The Mighty Mulligans have done here.  This is a golfer’s delight so if you enjoy the game in all its glory and you have a good sense of humor then you should love this record.  These guys may have tapped into something here where The Mighty Mulligans could possibly corner the market of the wide world of sports now.  Endless opportunities await you gentlemen so bring on the sports follies and shenanigans!  Sounds like a hole-in-one to me fellas and with par spelled backwards that’s a rap!

By Jimmy Rae (jrae@skopemag.com)

Rating:

Earth and the Next Society, Live Earth Teaser

All I have to say is OHHHH YEAHHHH!!!  I was supplied five tracks which is only about half of what you can expect to hear on their debut record ‘Live Earth’.  Let me tell you though that Earth and the Next Society still blew me away!  Their energy & force is second to none!

This group is made up of:  singer/guitarist/sole songwriter Michael Shields, Harry Burns on bass, Tom McMillan on keyboards and Ryan Baker on drums.  This is a smart rock band that is not just playing for entertainment purposes but also for the sake of mankind.  Shields & company are hoping to connect with ALL humans on a higher level so that we can all come together to make a drastic change in society.  Shifting of power & control from governments & conglomerate tyrants back to actual people is the mission and EATNS are here to convince you that WE can finally unite as ONE.  This is how it was originally intended and I feel the time is right!

Something unique about this five-track recording is the fact that it is a live concert album.  Recorded in parts of New Mexico and California, Earth and the Next Society captured a moment & scene that could not be duplicated in a studio.  Sure, the sound quality’s not 100% but it’s raw and I love that.  These guys seemed to have a great stage presence because you could hear the crowd clapping, yelling, shouting & whistling during and after their performances.  You could actually feel the connection between musician & audience and what a wonderful thing to experience.  I really wished I was there myself because I felt like I was missing out on something very special.

Earth and the Next Society displayed a catchy sound that hooked you in right away.  Besides rock, you also pick up on a bluesy rock feel on “People (Light and Love)” where a cool, Stevie Ray Vaughan vibe was being portrayed loud & clear.  You also have to admire impressive guitar playing like on “Create Reality” where Michael Shields had to show us ALL what he is made of.  I was really feelin’ this song myself to the point where I had to bust out my own air guitar—good stuff!

After it’s all said and done, I am now an instant fan and proud member of Earth and the Next Society.  Their music, their songs, their message and their live energy I can’t get enough of as EATNS worked it out on ALL levels.

I can not wait now to hear the full-length album so get ready for ‘Live Earth’ because it’s coming for you! 

By Jimmy Rae (jrae@skopemag.com)

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Carly Jamison, Everything Happens For A Reason

It’s a good thing that the semi-reclusive Carly Jamison took the urging of producer Tres Sasser, and brought her internet-only songs to disc form. The first thing that grabs you is the vocal delivery. Jamison’s deep, sultry vocals are the likes of Melissa Etheridge meets Patti Smith. The next thing that grabs you is the emotive, unapologetic lyrical matter. But the highlight moments of the album don’t stop there… with the cavalcade of backing artists the musicality of the tracks is of equal merit. Part rock and country-kissed just enough, the album is a 10-track collection of “something for everyone.”

The album opens to “Bring It On”, complete with catchy, country-fried guitar work supplied by Dan Baird (The Georgia Satellites) that matches well with the in-your-face lyrics piped through Jamison’s unique, breathy vocal tone. All in all, a nice representative taste of the album fare. “Doubt” features more of Baird’s riff work as Jamison channels Chrissie Hynde on the vocals while painting a picture of a woman scorned. The acoustic ballad “Self-Consumed” features Jamison crooning more lamentable lyrics, country blues style with intermittent guitar fills and slight percussion. “This Big Old Bottle” is a honky stomp country rocker that will surely blow the dust off the boots. Again, defeated lyrics adorn the country musicality in what can only be labeled an honest country/rock mash-up.

Jamison truly put her best foot forward and came out of the gates with a very good first outing. The “shoot from the hip” lyrical matter, unique vocal tonality and effortless genre borrowing of the album make this a more than respectable debut. This is album-making as it should be.  

by Chris West – cwest@Skopemagazine.com

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Bryan Gorsira, So Far

Over the years we’ve seen music slowly erode into something quite disturbing. Morph back to a happier time when you will find carefree acting as the embodiment of a carefree society. Music these day, though very technically savvy is missing something. Instead you get bands or artists that act in a very overcompensating way trying to prove how sick & shocking they are. At the end of they day it’s really just a publicity stunt meant to get your attention & hold it for more than 1 minute. Talking to many music fans out there, the response is overwhelming. Good music is now replaced with gossip antics & an overly Synthetic Power Pop format having many people saying – the magic of music is gone. Give me something that isn’t over the top, something that is fun, & entertaining. But above all give me substance.

So across my desk slides the latest CD by Bryan Gorsira entitled So Far. What I heard put a smile on my face, finally an artist with substance. Gorsira is some of the best new music I’ve heard in quite some time & delivering many of the aforementioned items I spoke about. You want good playing, you want rock, & R&B that is packed to the hilt with a feel good vibe? Well look no further. This CD covers all the bases delivering solid playing & amazing songwriting & a musical flair that takes us back to a more carefree time. 

So Far by Bryan Gorsira & company is a breath of fresh air & it’s what we’ve all been waiting for. It’s a polished sounding musical production from start to finish served up hot with great playing, solid writing, & a feel good vibe that will lift your spirits without even trying. Favorite pieces are “Give me a Day“ & “Carry Me” It’s definitely a musical production that gives us a glimpse of what music was meant to do – make us happy not sad & depressed.

By: Drew Blackwell – INDIE MUSIC MEDIA STAFF

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The Pauses, A Cautionary Tale

There’s no doubt that the three members of Orlando’s The Pauses have the ability to write some fresh-sounded and at times, perky pop songs in the vein of Rilo Kiley. Some of those tunes even appear on A Cautionary Tale. However the title of this three piece’s debut is quite deserving: the album is just that: a cautionary tale on recording a debut.

Enlisting pseudo-mega producer J. Robbins to record A Cautionary Tale, The Pauses are now presenting themselves in a not entirely truthful light. Yes, there are bouncy (And very, very safe) pop-rock tracks that gleam with promise, including the catchy “Go North“ but for the most part, there are tracks that will likely leave listeners to wonder what could have been. A Cautionary Tale is an overproduced and ultimately disappointing release. “The Leap Year“ is drowned in unnecessary electronic tinkering and “The Migration“ sounds choppy and overthought, taking away from what could have been a graceful pop song.

As mentioned, there are moments on A Cautionary Tale when the band succeeds in letting their bright brand of pop-rock speak to listeners. But in the future, it would be better for the band if they exercised a little more vision in the right path for their songs.

By: Joshua Kloke – joshuakloke@hotmail.com

Rating:

Skittish, The Perfect Shade of Green

Over the years we’ve seen rock & alternative rock slowly erode into a dumbing down process of overly commercialized, corporate puppet shows. Unfortunately this form of entertainment exists not only in the form of music but also on TV, & Movies as well. Talking to many music fans out there, the response is overwhelming. Give me something new, something fresh sounding & something captivating. Give me band that pushes hard via amazing songwriting that isn’t to predictable or old hat.

So across my desk slides the new CD by 2 piece Skittish headed up by guitarist Jeff Noller & vocalist Vonnie Kyle entitled The Perfect Shade of Green. What I heard put a smile on my face, finally an artist that gets it. The Perfect Shade of Green is some of the freshest sounding music I’ve heard in quite some time. This double CD delivers the goods. It’s got substance, quality, consistent songwriting & many other aforementioned items I spoke about. You want rock, you want music that is marketable, & pushes the envelope via a double CD format? Well look no further. This CD covers all the bases delivering solid playing & world class songwriting. It’s got a musical flair that will keep you fully entertained as a listener. Skittish is well positioned here & is set up for success now & down the road. I wouldn’t be surprised if bigger & better things are in store for these 2. What’s even more impressive is how challenging this band is to pigeonhole. They have an original sound that is simply vintage Skittish.

The Perfect Shade of Green by Skittish is a musical breath of fresh air for me & many nother fans out there. It’s definitely worth checking out. It’s a polished sounding musical production from start to finish & is just a blast to listen to. It‘s got it all – great playing, solid writing, & infectious grooves. It’s definitely a musical production that gives us a fresh glimpse of 2 amazing artists from Minnesota. This latest release from Skittish takes us back before everything started sounding like – well like a commercial. 

By: Drew Blackwell

Rating:

RANDOM STABBINGS & ARTLESS CRITIQUE, MAY 2011

Mark Wonder, True Stories of Mark Wonder (Groove Attack Records)
This to-date retrospective of the Jamaica-born reggae guy begins with the not-really-representatively-poppy “So Long” as guested by Luciano, whose turn is more unplugged-Big Mountain-like than anything else on here, which, in the main, sticks to the roots, ganja-puff skank to rasta-babbling hard stuff to tourist-trap what-me-worry one-drop adventurousness.  Ziggy Recado’s trumpet-like voice makes “Ganjah Station” a lot more interesting than it might have been, while other standouts include the anti-Apartheid-tasting “Only the Strong,” Daddy Rings’ cameo on the sunny tent-revival “Thank You Jah” and a commercially minded “Oh Woman (Don’t Cry).”
Grade: A- [Release Date: 4/1/11]

If By Yes, Salt On Sea Glass (Chimera Music)
Zero 7-style chill in unrequited search of a hook.  Part-time Decembrist Petra Haden and her violin have experimented with a lot of things, perhaps too many; after hearing this – which should have been titled “Variations on ‘Girl From Ipanema’ For Overeducated Soccer Moms” – I can state without reservation that her mission in life is that of the perennial sideperson, not someone who should be the marquee front of a tenuously avant garde project that does nothing to move things forward.  This pretty but pretty worthless album kicks off with Haden throwing on a spaceshot Cardigans mask for the ditzy Rhodes-driven “You Feel Right,” leading one to expect some dated late-90s pop, but the rest of this thing is all about barbecue chill, though without the modernity and listenability Zero 7 comes up with at will.  Curveball track “Shadow Blind” is a seriously annoying listen that would have been best left off this collection of toss-off designer interior decorating.
Grade: C+ [Release Date: 3/22/11]

Honey Ear Trio, Steampunk Serenade (Foxhaven Records)
Caveat emptor if you’re looking for a primer on the steampunk genre; this is actually a mildly experimental jazz quartet.  I was drawn more to this by the promise of some modicum of electro (from the laptop of most-of-the-time bassist Rene Hart), however the bulk of this, to further shy away from getting wonkish, is dense post-Mingus beatnik noise.  This was somewhat of a rush job, with just a month of truly open rehearsing, and the thickness of the dissonance is testament to that, much of it the sort of ugly-ass pretty-much-improv stuff you might subject yourself to if you’re trashing your own living room.  Grooves both boppy (“Six Nettes”) and cacophonous (almost everywhere else) are found and lost as these folks ponder time off from their day jobs, most prominent of which is Allison Miller’s session-drumming commitments.
Grade: C [Release Date: 3/22/11]

Sway Machinery, The House of Friendly Ghosts Vol. 1 (JDub Records)
Timbuktu-born singer – actually a superstar in his country – Khaira Arby joins the Brooklyn-based Jewish world-beaters in this outing, the inspiration for which sprang from the band’s journey to play a festival in Mali.  The result is an infectious, intricate mixture held together coherently by Arby, who, aside from his sedate crooning in the bizarrely “Lay Down Sally”-like “Women Singing in Timbuktu” and a few other spots, is a frenetic, pious, yodeling spaz evoking calls to prayer in the devout tribal patter of “Serigou,” the big-beat stomp of “Hey Ha Youmba,” the Middle-Eastern-tinged Afrobeat of “Skin to Skin” and the pretty-much-ska of “Gawad Teriamou.”  The band, meanwhile, is positively New York, tight as thieves whether going off on horn tangents or futzing with jazz-prog lines (“Golden Wings”).
Grade: A [Release Date: 3/22/11]

Assaulter, Boundless (Metal Blade Records)
One can always count on Australians to deliver camp with their serious-ass whatever-they’re-doing, in this case a Savatage-meets-Bathory take on death-extreme metal.  In normal human talk, that means cutesy exorcist-shriek vocals over nods to early Misfits by way of Anthrax, but what makes this so Australian is the no-budget production, a rite of passage, it seems, for Aussie bands – it makes you wonder what the guys who run Aussie studios charge per hour – I mean, give a brother a break on the cost of doing a vanity release already.  But back to the Australian-ness, the unique, half-cocked, half-invisible sense of humor you get from that country’s bands, here personified by a real appreciation for what Danzig does.  The record even ends with a drawn-out scream like Bon Scott’s signature growl at the end of “Dirty Deeds.”  No new worlds conquered here whatsoever, but purists who actually used to read Maximum Rock n Roll for its content could possibly get tearfully nostalgic.
Grade: B [Release Date: 3/15/11]

Deathface, Fall of Man (Trouble & Bass Records)
Chop-screwed drum n bass for metalheads.  Johnny Love was half of Guns N’ Bombs and is now all of Deathface, aside from a few random screeches from psycho-posturing chick singer Adri Law on “Sick of It.”  “Gift of Fury” is desolate and hard-ass at turns, what you’d expect if Acumen Nation tried their hand at gabber, the balance forward is a grab-bag of what you think it sounds like inside Courtney Love’s brain, loud relentless pounding.  Going by the constant name-checking thrown Atari Teenage Riot’s way in the press blurbs for this thing, I was expecting something a lot less anti-everything than what turned up, which would have been mighty fricking lame, but instead this is a truly furious combination of Rob Gee, Salem and your basic rage-aholic DJ, say Terrorfakt.
Grade: B- [Release Date: 3/8/11]

Banjo Or Freakout, Banjo Or Freakout (Rare Book Room Records)
Campfire-ready bedroom-pop strummed and crooned by hipster-fringe-pandering Alessio Natalizia, who dazzled the Pitchfork-arazzi with his distortion-washed previous “single” “Upside Down.”  Aside from possessing a gift for hook (catchy music is back in fashion now?), Natalizia glugs down the usual Kool-Aid, wallowing too long in a pool of nonsensical psyche-chill repetition at the end of “Dear Me,” for instance – the Spacemen 3 crap just never gets old, does it?  But he’s more-or-less serious about this whole “writing songs” thing, from the sound of it; there are things here that sound like Bread on drugs and Simon and Garfunkel on drugs, leaving the overall impression of substance over style.
Grade: B- [Release Date: 3/8/11]

Steven Lugerner Septet, Narratives/These Are the Words (self-released)
It’s probably quite fitting that this was the first album I listened to for review purposes in 2011, a year that promises more long-term unemployment and a brand spanking new Wall Street-driven oil bubble (to end with a “shocking” stock crash, be assured), meaning lots more destroyed people.  Of this double LP (that’s really what it is, regardless of the separated titles of the 2 disks included), I started with These Are The Words, which opens with Lugerner focusing on wary, eerie, slo-mo dissonance that, were it not for the coordinated tandem effort of his clarinets and such, sounds improvisational, drummer Matt Wilson’s military snare seemingly trying to find footing. And so it goes, things getting Minguser and Minguser by the minute, melodic themes inspired by math lifted from the cabalistic practice of Gematria, which assigns numerical values to the Hebrew alphabet. Drooling yet?  Well, you should, actually, as disk 2, aka Narratives, is a tour de force of straight-ahead, New York-drenched modern stuff, the yin to the other CD’s yan.  So if this is all a sign of what’s to become of 2011, my question to the gods is whether the crashing dissonance marks the end of the year or the beginning.
Grade: B  [Release Date: 3/8/11]

Yellowjackets, Timeline (Mack Avenue Records)
Considering the space Yellowjackets fill in the jazz continuum, one would expect them to be more of a household name than they actually are in the real world, meaning outside the realm of people with rudimentary knowledge of the genre.  Loping, slick as hell, and often gorgeous, what these guys do isn’t quite fusion and not quite WeatherScan background either, it’s highly evolved stuff that eschews the sometimes-too-quirky knuckleballs of Weather Report in favor of post-bop reverence and blow-doors melody, as in the root riff of this album’s title track, which, in a different, less overpopulated music world, could become as much a staple of pop culture as Brubeck’s “Take Five,” if you’ll allow me an excited moment.  Just a peach, this record.  The baseball-card stuff: it’s their 21st album celebrating 30 years, and longtime drummer Will Kennedy is back.
Grade: A+ [Release Date: 3/15/11]

Gaby Moreno, Illustrated Songs (Paisley Records)
I’m all for a little diversity, and multi-lingual chill-folk singer Gaby Moreno has enough eclectic interests that her constant gear-switching is coherent, at least to overeducated NPR liberals.  Basically this is ripe for soundtracking a snobby coming-of-age-again-for-the-5th-time Baby Boomer movie, music that’s slow, flabby, and randomly old-sounding, in other words annoying to people who aren’t neurotic wine-snuffing upper-management cube-droids.  She’s personally into 1940s songbirds and plays that card early, conjuring Edith Piaf fronting a mariachi band in opener “Intento.”  Things get shaken up right away, though, with “Mess a Good Thing,” a sluggish Bonnie Raitt-like blues-rocker that clearly demonstrates her playfulness and lungs but doesn’t stand up in context, as we’re on to bossa nova balladry in “Y tu Sombra” and then back to clarinet cabaret in “Garrick,” at which point the whole thing begins to feel like a demo for Hollywood consideration – a good one, sure, but when the soft-focused Hawaiian-slash-Merle Haggard guitar of “Fin” kicks in, any sane person would be all “jeez, lady, do a brother a favor and pick a locale.”  
Grade: B- [Release Date: 4/5/11]

–
Outraged ranting, indie label release news and spaghetti sauce recipes are always welcome.  Email esaeger@cyberontix.com

Glamour Kings, Front Row Seat To The End of the World

I already like these guys due to their no-nonsense, no-bullshit attitude and mentality.  Finally…a band that makes a very conscientious record that I can completely relate to.  Glamour Kings is their name and ‘Front Row Seat To The End of the World’ is their game that needs to be played carefully.

Right away from the album title you sense that this will be an overly negative, dark and heavy record full of bleak & dismal imagery.  There are definitely dark undertones depicted here but overall the Glamour Kings sound is actually an electronic dance-rock vibe that is extremely catchy.  There are even club-friendly songs such as “Media Darling” that will keep you movin’.  Glamour Kings is a trio made up of: brothers Michael Urge on vocals, guitar, bass and synth & John Biordi on drums plus John Billian on live synth & guitars.  This group has got my attention because they have created a monster that is worthy of sincere recognition. 

What I love most about this NY threesome is the powerful & effective message they are delivering.  The Glamour Kings and their new release are the new medicine for a sick world.  They are calling out people one by one who are sucked into to all the crap that is our popular culture of today.  From a superficial society to greed to celebrity status to crappy pop music to garbage on television, Glamour Kings cover it all and then some.  The media caters to the people while these same individuals become desensitized to all the madness around them.  Glamour Kings hope to change all this with ‘Front Row Seat To The End of the World’. 

I commend these musicians for bringing these topics to the forefront because it is much needed right now.  So many things have gotten out of hand and Glamour Kings are asking you to change your ways before it’s too late.  Time to wake up and smell the coffee that the Glamour Kings are brewing for you which is hot & fresh.  Message heard loud & clear boys—thank you!

By Jimmy Rae (jrae@skopemag.com)

Rating:

Tom Shaner, Get Real Or Get Gone

Tom Shaner is a multi-talented artist who has written over 300 songs in his career so he is no stranger to the music scene.  Shaner is a singer/songwriter & performer who dares you to ‘Get Real Or Get Gone’ on his new EP.  Prior to this solo release, Tom played in a band called Industrial Tepee where they did three albums together.  ‘Get Real Or Get Gone’ is actually a teaser for his full-length debut album coming out soon.  Shaner’s latest efforts were recorded mainly in Mother West Studios in New York City by producer Charles Newman but also included other unique spots like: Ireland, LA’s Topanga Canyon and his friend’s 19th Century home in Vermont.  Not to mention, the NYC-based musician has also dabbled in: musical screenplays, films, directing videos and live theater projects.  With all of this exciting & rich hoopla surrounding Tom Shaner, I can not wait to hear this EP and the upcoming release! 

Right away on the title track you sense one convincing voice that draws you in instantly.  The male-female duet on this track was also a nice edition that added a refreshing layer to the whole mix.  You get some dreamy folk rock on “Unprotected Heart” and then Tom picks up the pace on “Waiting For You” with a lively, up-tempo number.  Shaner ends with a timeless & elegant piece on “Waltz 13” where the listener really gets a sense of a true artist performing.  Tom actually refers to his music as “Ghost Songs, Waltzes and Rock and Roll” which makes sense due to the musical diversity displayed on this seven-track set.  Plus, you can tell from Tom’s lyrics that he is deep in mind & thought which carries over into the songs. 

The content, the voice and the words ALL WORK as Tom Shaner plays perfectly to the sounds of classic & modern influences.  The style is indescribable as you will just have to hear it for yourself.  ‘Get Real Or Get Gone’ has got substance like you can’t imagine and it proves that Shaner is dead serious when it comes to creating music that sounds good and makes sense.  I’m looking forward to hearing the new record and I am definitely a Tom Shaner fan now—make it shine!

By Jimmy Rae (jrae@skopemag.com)

Rating:

The Albertans, New Age

The Albertans aren’t from Alberta. Let’s just get that out of the way now. No gritty punk or honest-to-goodness country rock here. Instead, this Vancouver via Brooklyn five piece have combined the best of what both Vancouver and Brooklyn’s scenes are largely known for: fresh faced, melody driven pop with tons of indie sensibility and credibility as well. And to top it off, this is a band that has spent the majority of the last two years on the road, which could only mean one thing. New Age is a matured and timely debut full length that will soon be turning heads of the most discerning indie rock fans.

There is a certain gang mentality that permeates through the majority of New Age. And it’s not just the gang vocals and clap-along groove of “Mila” or the comfortable swoon of “Okay Now” which could easily corral a packed car full of road trippers into a sing-a-long. It’s the forward thinking mentality which keeps the band firing on all cylinders. There may not be a lot of rollicking, thrashing tracks on New Age, but what the album does feature is a constant build which never lets go. Quaint keyboards maintain a persistency on “People Don’t Go.” And just at the right moment, the album closing title track, a shuffling and bouncy number leaves the listener wanting more.

Writing catchy and mature pop songs is one thing, but having a sense of timing is another. Luckily for fans of the Albertans, New Age features both in spades.

By Joshua Kloke – joshuakloke@hotmail.com

Rating:

Bikini Robot Army, Old Soldiers

I have heard the phrase from most artists I have worked with/on: “Let’s put this up on the wall and take a look at it.” In the case of Val Broeksmit, the creed is something more like: “Let’s just run through the wall.” Under the guise of Bikini Robot Army, Val has pushed the limits of the DIY style of making music and his new album Old Soldiers is testament to that fact. The album is an amalgam of risky elements, styles and genres but Val proves not only that he has vast musical base but also a keen ear for what works and what works well. So there is actually no “risk” involved. It also helps that Val may just be the Bobby Fisher of Pro Tools.

The album’s first must listen is “The Cocaine Lady.” Opening lyrics are delivered a la Elvis’ “A Little Less Conversation” with a Tropicalia percussion beat and multiple backing horns. It’s a dancey, groovy toe tapper that boasts Keith Richard’s fingerprint on it (a chance collaboration between Val and Keith on a tour bus after a New York show). To further exemplify the “risky” mash-up ethos of the album, one listen to “Fragile Things” reveals Val’s equal love of 60s classic rock and 70s Motown funk. Follow me here… start with the Allman Brothers’ “Dreams I’ll Never See” only pipe that in equal parts through the Molly Hatchet and Nite Liters versions with original lyrics riding over top. It’s the soaring guitar of Hatchet with the funk horn section of the Liters with Val’s raspy vocal delivery. Put plainly, there is nothing fragile about “Fragile Things” and proves a mash-up beyond the likes of anything Girl Talk has put together. Finally bearing mention is “Homeplay” with 80s-style guitar work the likes of The Cars. It’s another throwback rocker with garagey guitar fuzz and backing keys that wax and wane between new wave synth and classic Hammond B3 sounds. Even the vocal delivery is a bit angsty at times giving a clear nod to punk. Again, the match is seamless and everything “fits” regardless of how diametrically opposed all the elements may seem on the surface.

This is just plain clever and good. The ability to borrow from multitudes of genres isn’t groundbreaking on its own merit, but Val’s impeccable ear does so without sounding contrived. Everything, whether by accident or not, (I am going with “not”) is meticulous, weighed and measured to achieve the desired effect or sound. Also noteworthy is this was done via emailed samples, snippets of songs and all produced on a laptop. There were no studio effects or post-production technology to cover up this or mask that; this is an achieved polish one wouldn’t think available to a laptop warrior. And with a resume of contributing “special guests” (see: Keith Richards, Moby and David Bowie) look for more musical collabs that you didn’t even know were possible. 

by Chris West – cwest@skopemagazine.com

Rating:

Welter, The Bush Years

First things first, the guys from Welter love their guitars as evident in their debut full-length The Bush Years. The angsty-alt trio from Philly have been compared to Green Day Jawbreaker and The Replacements and while there are different elements at work here make no mistake, this is all about guitar, guitar and more guitar with amps cranked to 11.

The album opens to “For The Distance” and sets the garagey pace and sounds like it could have fit nicely in a Strokes album. The staccato electric chug serves as the track foundation with intermittent twin guitar interplay. The midpoint solo soars and is reminiscent of Paul Westerberg. This one is a straightforward rock tune with no frills. “Son of Captain Obvious” is a bit removed from the guitar-driven ethos of the album. Jeremy Saul’s vocals stand at the foreground, channeling Billie Joe Armstrong in what sounds like a ubiquitous Green Day rocker. The clever lyrics shine here. “Let Me Ride” again returns to the heavy fuzz guitar and is reminiscent of Deep Purple’s “Smoke On the Water” only in a punk vein. Angsty lyrics build all the way through to an angsty screamfest exit. “Day Is Done” opens to melody and for the most part commits to it, slightly eschewing their trademark guitar chug, though only slightly as it makes appearances intermittently through the track.

Again, Welter loves their guitars and to fully enjoy their debut, you’d better too. There are many musical influences at work here, some nuanced within the tracks, some worn all out on their sleeves. I couldn’t get one particular vein to which I would classify the album. Guitar-driven indie? Check. Post-punk guitar grind? Yep. Heavy alt? That’s there too. All around a respectable first outing for the Welter guys, perhaps a bit non-cohesive in its wide spray of sounds and influences, but respectable nonetheless.  

http://welterband.com
 
by Chris West

Rating:

Jennifer Castle, Castlemusic

Female singer-songwriters are very often pigeonholed very quickly and given little opportunity to evolve artistically without their past releases being referenced. Lucky for Jennifer Castle, she’s left every door open on Castlemusic, her sonically lush debut. All nine tracks feature a depth of aesthetic and sonic approaches, all held together by this Toronto songwriter’s patient but always haunting pipes.

From the flowery and sparsely arranged “You Don’t Have To Be” to the dreamy ebb and flow of “Misguided,” Castle doesn’t hold back when acknowledging her dream-pop leanings. And while she definitely paints these tracks as well as many others with a dense, folk brush, her acoustic inclinations take a back seat on “Poor As Him,” a jangly, rumbling beast that picks up steam with every strum and certainly serves Castlemusic as its standout track.

Now, normally a variety of sonic approaches means a songwriter has yet to fully realize the approach and/or voice they’d like to stick with and call their own. But not so with Castle; a veteran of Toronto’s music scene, hers is a talent that cannot be contained or limited. Castlemusic is likely only the beginning.

By Joshua Kloke – joshuakloke@hotmail.com

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Morgan Bracy, End of Cinderella

I don’t usually say this but I really do feel like a star is born after hearing Morgan Bracy’s new release.  I never had a chance to hear her critically acclaimed debut album ‘Dirty Laundry’ but I can now say that ‘End of Cinderella’ is a brilliant piece of work. Everything about this album worked from all angles and Morgan Bracy has my full & undivided attention.

Morgan is a Nashville-based singer/songwriter who brings an interesting concept to the table.  ‘End of Cinderella’ offers the listener an attractive alternative to the fairytale world.  Prince Charmings and Knights in Shining Armour do not exist in Morgan Bracy’s world which offers women everywhere that sense of empowerment & independence.  The only one sweeping anyone off their feet is Morgan Bracy with her standout performance. 

It certainly doesn’t hurt that Grammy-nominated songwriter, engineer and producer John Merchant put his stamp on this 11-track recording.  Merchant has worked with the likes of Celine Dion, Toni Braxton, Barbara Streisand, Michael Buble and Mika so he obviously knows his business.  The final result for ‘End of Cinderella’ is an extremely well-polished and top-notch recording with no flaws to speak of.

Morgan is a country/pop artist with folk influence who has such a genuine & honest touch to her.  The amazing part here is that vocally & musically each and every song is catchy on all accounts.  This really impressed me because it’s not everyday you hear an artist tap into each aspect so perfectly.  Morgan and this new record display major pop appeal and that is because Morgan Bracy realizes who she is and what she wants out of her music.  For this reason alone, I can easily see this record on the charts right now.

I have to say that Morgan’s singing was so good where her voice has such a pure & sincere quality to it.  Her vocal range & pitch were spot on and her voice control is impeccable.  It’s just an overall nice sound with a pleasant and emotionally solid vocal delivery from Morgan Bracy.  On track five “Love, Believe in Me”, you’re hearing a wonderful harmony & melody as this singer/songwriter adds in acoustic guitar to the whole mix.  This is one of my favorite numbers on the album because it exhibits excellence at its finest by proving that Morgan is not just a great singer but also a multi-talented musician.  The change in style and pace was also picked up on where Bracy could give you a peppy ‘n’ poppy, feel-good tune on “Real Life Fairytale” and then turn around and give you one grippingly powerful & beautiful performance on track 10 “When She Loved Me”. 

Morgan Bracy is the total package because she’s a singer, performer, songwriter & music artist who knows exactly where she stands with herself and her audience.  I would think that ‘End of Cinderella’ will be a hit record that gets a ton of press and a lot of attention.  It is certainly not the end of Morgan Bracy as I feel she is just getting warmed up!

By Jimmy Rae  (jrae@skopemag.com)

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James Sera, Reality of the Fantasy

First and foremost I have to say that James Sera is a highly skilled guitar player after hearing ‘Reality of the Fantasy’.  Now that I got that out of the way let’s find out more about this debut album.  The new record features James playing solo on the acoustic guitar with nothing more and nothing less.  Sera will amaze you with his sharp playing skills as he proves to be one impressive performer.

All nine songs on ‘Reality of the Fantasy’ exhibit an intimate quality where it seems every chord James hits has some sort of feeling & meaning.  This whole scene is captured solely by the acoustic guitar without any words which is a major accomplishment.  The overall vibe here is a peaceful one where you get a very relaxing, ambient feel.  Sera doesn’t just play but actually brings it all to life thanks in part to his guitar and playing ability.

The ironic part here is that Sera has a history of playing as an electric guitarist in the rock realm.  This talented artist was heavily influenced by new-age acoustic guitar legend Will Ackerman to change his pace & musical direction.  James did just that by painting an emotional portrait by way of nine thoughtful instrumentals.  ‘Reality of the Fantasy’ is well-recorded with a very crisp sound that makes for one enjoyable listening experience.

Some suggestions though would be to make the tracks shorter in length because all songs go over five & six minutes long.  I personally loved hearing the longer sets because James plays so darn well but I don’t know how the general audience will react.  I’d say maybe shave off 2-3 minutes on each installment to make the record more listener-friendly.  Second, adding some vocals to some of the numbers would have added another interesting dimension to the whole picture.  The guitar already has a voice of its own and then incorporating Sera’s actual voice could have been a very cool approach.  And how about this—while still hanging onto that special emotion James tapped into here acoustically maybe mix in some electric guitar.  I think that would be an excellent idea and I feel this combo could potentially take James Sera to a whole new level! 

By Jimmy Rae (jrae@skopemag.com)

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Shaky DeVille, Hot Asphalt

Named after the classic ’76 Cadillac Coupe de Ville, Shaky DeVille is still cruisin’ along with style & pizzazz.  I actually reviewed what was supposed to be their self-titled debut album back in ’09 but low and behold ‘Hot Asphalt’ is the new debut.  Lead singer & guitarist Matt (M.S.B.) DeVille actually stopped that release because he and the group felt limited from a production standpoint.  The complete freedom to express themselves musically & artistically was missing from the 2009 disc but ‘Hot Asphalt’ apparently takes care of all of that.  Matt even decided to change around the band’s lineup by adding Walter Cockcroft on upright bass and a session drummer while Matt Heineken plays live shows.  DeVille & company actually re-recorded eight of the original songs with three new tracks added.  I can’t wait to hear this new and improved record because I was already a fan of Shaky DeVille and their sound when I heard that scrapped release.  I’m excited to hear this heavily anticipated album so let’s go!

The trio may have been remodeled but the Shaky DeVille sound did not falter by any means on ‘Hot Asphalt’.  Quite the contrary actually as Matt and his bandmates play with such an intense fury that has you on the edge of your seat from beginning to end!  M.S.B. displays crazy hot guitar riffs and vocals as you really get a sense that this group is one fine-tuned machine.

You get to hear a new song right off the bat with “Come Out Ye Black & Tan” where you get kick-ass Irish rock at its finest.  Besides an Irish influence, I also pick up on country & rockabilly at times with hard rock and punk being the dominant players.  Every single song is fast and LOADED with energy GALORE!  I’d like to refer to this album as ballz-to-the-wall music that will get your adrenaline rushing.  Shaky DeVille is wildly free & raw with no signs of slowing down anytime soon.

I honestly enjoyed every single track on ‘Hot Asphalt’ and can’t get enough of this rock-nasty trio from Nashville!  I was a fan back in ’09 and I’m a bigger fan in 2011 & beyond!  Playin’ LOUD and playin’ PROUD is what it’s all about baby!  Just ask Shaky Deville because they absolutely nailed it!

By Jimmy Rae  (jrae@skopemag.com)

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Seven Against Thebes, Self Titled

Over the years we’ve seen rock & hard rock slowly erode into over-commercialized, corporate puppet shows providing us all with music that is extremely sing songy, predictable, highly popish & overly corporate sounding. I hereby call this new breed of music “Poser Rock” & I want to take this time to personally congratulate all the corporate giants for successfully transforming “Sex Drugs & Rock n Roll” into “Yoga, Vitamins, & Nikelback right under our noses” Of course the musical lemmings out there don’t know the difference, but not everyone is amused. Talking to many music fans out there the response is overwhelming. Give me something new, something raw, something that’s pushes the envelope. Something that doesn’t sound like Nikelback, Daughtry or Lifehouse. Give me a jagged edge, a bloody tip & a no holes barred musical delivery. Above all – give me something real!

So across my desk slides the new CD by Seattle 4 piece Seven Against Thebes headed up by lead singer Rusty Hoyle, guitarist Cyrus Rhodes (also producer) drummer Bruce Burgess & bassist Mr. Black. 7AT is one band that’s not afraid to take the risk by going back to the Seattle hey day when bands like Nirvana, Soundgarden, & Alice in Chains once ruled the airways. If you like the above bands you should definitely check out this band. CD is available on CD BABY & can be downloaded on I – Tunes. Honorable mentions go out to exceptional drumming of Bruce Burgess.

The debut Seven Against Thebes CD personified the Seattle sound, but if grunge is what your after you wont find it here. This CD is a skillful combination of Progressive Metal, Alternative Rock & Hard Rock. No doubt this bands sound will evolve over time so I give it 4 of 5 stars. However -  an impressive foundation nonetheless with great chops, solid writing, & a jagged edge musical delivery. It’s clearly an intellectual record with clever lyrical content & a degree of unpredictability. It’s definitely a record that gives us a fresh glimpse at a hot new band but takes us back a few years – before everything started sounding like – well Nikelback. 

By: Kevin Huber

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The Gertrudes, Dawn Time Riot

What makes Dawn Time Riot such a miraculous listen is how, with all its unmitigated energy, the record still manages to keep up its timely and highly entertaining pace throughout the record. Featuring eight players and over 100 guest musicians from the Gertrudes native Kingston; there is the worry that The Gertrudes could turn into a musical train wreck by trying to do too much without any focus. Instead, the band’s rollicking mix of bluegrass, party-ready rock and general musical buoyancy create a far-reaching sonic language that seemingly manages to accomplish its one goal: bring a smile to your face.

“Slot Machines” gives weight to the satisfaction of a life lived honestly, complete with a rousing sing-a-long. At six and a half minutes, “Sailor” punches at indecision with a warbly yet still incredibly effective call to arms. And the album is not without some straight-up feel good tunes, including “Ronnie Hawkins” (Featuring yet another sing-a-long) and the giddy thrash of “Catfish John,” the album’s closer.

Gather your friends around the campfire (Or the stereo, if the rain is teaming down) and give Dawn Time Riot a spin. Not only will it bring you guys together, it’ll make you want to do it all again the next day.

Joshua Kloke – joshuakloke@hotmail.com

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