KATE TAYLOR
Fair Time!
12-song CD
Hailing from the legendary musical family that is the Taylors of Martha’s Vineyard (brothers James, Livingston, etc.), Kate Taylor, who made a name for herself in the ’70s, has released this 12-song album that contains all the flavor and spunk of country and rockabilly (I feel more country than rockabilly actually) and all the depth of folk. Though the country genre isn’t really one of my favorites, I can step outside of personal taste to say that Kate’s CD is a wonderful collection of heartfelt songs. From the Nashville-feeling and jaunty “Soap Opera Life” to the beautiful and utterly touching tribute to her late husband in “Red Tail,” Kate superbly shows her talent for translating various emotions into well-written and arranged songs. The more I listen to this, the more I appreciate Kate’s spirit and voice. Other picks: “King of the Pod,” “Sun Did Shine,” and “Cholene.” (Debbie Catalano)

JAY ALLEN & THE ARCH CRIMINALS
Clamarama Records
Fun is Fun, But You Gotta Be F*%KIN Kidding Me
11-song CD
I’ll tell ya, I didn’t hear the punk aspect of this disc as much as I heard the humor. That’s a hard marketing plan though…to sell your band as “humorous.” The concept includes: titles about busting my balls, twisting my nuts, bourbon and a spanking, and drunken slutty barfly women. See what I mean? That’s funny. These guys rock for sure, but there are a couple vocal duds, meaning that I started laughing at the singing (hint: track 2). Hey, it’s all good. And to recuperate from that less-than-stellar track, I was absolutely happy to discover that the tunes took an upswing after that fecal-timbre, toilet-based singing presentation. It’s raw energy, scored with guitar riffery that kept me coming back for more (tracks 4, 9, holy shit). In fact, track 9 (something about inviting some baby) was repeated so many times that Kooky Kate Loce (read: significant other) agreed that it did sound good. I never ask for her opinion, which is why it impresses me when she gives it. A rocking collection that mandates repeated listening. (Mike Loce)

THE VOGON POETS
The Vogon Poets
3-song CD
Initially, this CD fails to draw me in, and my attention keeps drifting to the Olympic curling on my television and its surprisingly high percentage of attractive and/or crazy-looking women. Watching the Olympics with the sound off proves to be kind of a surreal experience, but to the Vogon Poets’ credit, it doesn’t take too long for them to pull me back in. I don’t know much about them, but their sound makes me think they grew up on a steady diet of Ace of Hearts records from the early-to-mid-’80s. This is good, relatively straight-ahead rock, but with just enough jaggedness underneath to keep things interesting. I’d definitely be keen on hearing a full-length from these guys. (Kevin Finn)

THE CRUSHING LOW
Bellhaven Records
All Orbits Are Free
6-song CD
Despite the odd production and murky mix, the Crushing Low’s debut collection of songs represent a mature extension of the sonic chocobliss™ harvested from bands like Interpol, U2, and Bloc Party. The song arrangements remind me of late ’80s Cure with a deliberately dreamy twist. There is not a bad song on here, and while the guitars and the ambient effects tend to overwhelm the mix at times, the material presented here is lush and radio-friendly, carving a cerebral path of Brit pop Chris Martin could only hope to achieve, if only he had more indie rock cred. Make more music soon! (Joel Simches)

ALOYSIUS AND FRIENDS
Blessings: Spiritual Songs for Sibusiso
16-song CD
Sibusiso is an organization “committed to improving the lives of people infected and affected by the devastating effects of HIV/AIDS and poverty in South Africa.” Blessings is an incredibly powerful and moving collection of gospel-based music and traditional hymns, such as “I’ll Fly Away.” Original arrangements of the Beatitudes are also presented, but through reggae and world grooves. As is appropriately inscribed on the disc itself: “Humble yourself before the Lord and he will lift you up.” – James 4:10. (Julia R. DeStefano)

MINDSET X
As Seen on TV
8-song CD
Man, I don’t know what they put in the water up there in wild, wooly New Hampshire—judging by Scissorfight, I’d guess cheap beer and top-shelf whiskey–but with a band like Mindset X, I have to suspect the addition of chemicals of a more, shall we say, cerebral nature? I mean, this here is some pretty smart music. It’s also unique enough that I can’t slap an easy label on it—“prog metal” is tempting, but it’s incorrect.

Yes, there are some twists and turns and cool changes within each song, and they’re not the jarring kind that some bands like to throw at the listener to prove their cleverness and ability to change time-signatures; they’re the kind that just plain make the songs more interesting. “Metal”? Well, at times. But at other times it’s more like regular old rock, and sometimes it’s music that shouldn’t be called names at all. I have seen a video of these guys doing an acoustic version of Rush’s “Working Man,” and it’s damn good, and may give you a little insight into where these guys are coming from.

Opening track “Snake Oil” and the anger-driven “Drop” are among the highlights here–the first word that comes to mind is “propulsive.” The rhythm section here is granite-solid, and the lead guitar work is never wanky (another reason why I hesitate to use the word “prog”).

I also reviewed the band’s first disc, Physics, and while I liked it (I still own it, which is more than I can say for the majority of CDs I get for review), As Seen on TV is quite a leap forward. One element that both discs have in common is that the songs manage to be the stick-in-your-head kind, even when they’re clever and, um, proggy. (My only bitch is that the catchiest song on the album, “Sunset Boulevard,” is also the only song that doesn’t really work for me. But give some extra points for the fact that the singer doesn’t remind me of anyone else I’ve heard, and it’s rare that I have to opportunity to say that. Good stuff, period, suitable for in-car or at-home enjoyment. (Tim Emswiler)

THREE DAY THRESHOLD
4-Song Sampler
4-song CD
This is what I love about Three Day Threshold. They put out a new record, in four-song sampler increments. This collection is easily the most rocking I have heard these guys in years. Three Day Threshold had been at the forefront of the alt-country/rock thing since the ’90s and show no signs of slowing down. They have redefined the genre with every one of their releases, and this EP is no exception. Their sound had gone from raw to slick and sophisticated; from sensitive to crass; from drunk to crunk! This collection of four songs is all of these things: songs about prayer, alcohol, debauchery, and of course, titty bars. Drink some cheap rotgut and crank the fuck out of this until your ears bleed Jim Beam! Shake it for me! (Joel Simches)

JUKEBOX 4 FEATURING BIG LOU BRYANT
Plimro Records
Shutters and Boards
10-song CD
This sounds a lot like the music they use at the end of Mars Attacks! to scare away the Martians, and I don’t really mean that as an insult. This is classic country from another era entirely, big on tales of heartache and woe delivered in a twangy voice. The songs are sparsely arranged and produced, quiet and laid-back with largely acoustic instrumentation. At times, the consistently sleepy pace does drag a bit, but those times are relatively rare. Additionally, give the band credit for sounding almost completely legitimate. Being this much of a throwback can reek of artifice or desperate nostalgia, but only on the backwoods “Crawdad Blues” does the band sound like its playing dress-up. This is a nice change-up from what usually finds its way into my hands. (Kevin Finn)

THE MEDVEDS
Asinine Records
Boos Coups & Interviews
24-song CD
I guess the Medveds were a punk band that existed from 1994 to 2000, and this is a compilation of unreleased recordings from the band’s shows, rehearsals, and rare radio appearances. They do the kind of punk with a lot of humor like, say, the Angry Samoans, but for me this CD doesn’t do it. They have lots of funny song titles like ”Does Anyone Masturbate to Me?” and “Pothead, Give Me Some Ludes,” but fail to make any chuckles or guffaws emit from the hole in my face. Part of the problem may be the lo-fi quality of the recording where the bass seems to almost disappear, but I’m thinking that if you had some of their regular earlier releases it would be better, and this is more for old fans of the band. So it’s not as bad as taking a ride in Zortar’s ice cream truck, but I can’t recommend it either. (Slimedog)

THE JESSE MINUTE
Red Tide Records
Do or Die
12-song CD
The Jesse Minute is the Reese’s Peanut Butter Cup of Providence. I am so old, or perhaps I love chocolate so much, that I can remember ancient commercials for peanut butter cups, like it was the most amazing discovery known to man. How many failed experiments had to be test-marketed before peanut butter and chocolate took off? Pickles and peanut butter? Onion Juice? Pork soda, anyone? Perhaps mixing pop and punk, as the Jesse Minute do so well, is not earth-shattering. They risk either alienating everyone, or getting millions of fans. They are really good at what they do, but there are millions of bands doing the same thing. Perhaps that's why they titled this album Do 0r Die. At times they remind me of Skunk Anansie or Letters to Cleo, often within the same song. Jen Trynin mined similar territory in Boston not long ago, and took it all the way to a major label. I believe this band could too, if those things continue to exist. The Jesse Minute were voted best garage-punk act in the Providence Phoenix in 2009. I'm not certain I would put them in that category, but the Jesse Minute is a very good band with a great singer and a decent collection of songs on this record. (Eric Baylies)

JUSTIN LEVINSON
Predetermined Fate
11-song CD
I got some audio honesty right after I dropped the needle on this record. Okay, so that’s creative writer’s license; it’s not a record, but I’ve always wanted to say that. Unfortunately, nobody submits RECORDS to the Noise for review (untrue… ed.). Anyhow, Justin’s album is an extremely pleasant blend of kava, skullcap, GABA…wait, that’s my holistic relaxation blend…you get the idea. This countrified, Neil Young-meets-Ben Folds collection of songs is really well put together. “Country” may be too general as a descriptive term here, and though there are almost too many Mr. Young-style harmonica blows here and there, it all works for the greater good. It’s the telling of a story of ups and downs, why and why-nots, from the vantage point of a native Vermonter, thrust into the Boston scene for five years, and then released back to the Great Green North. It’s a welcome sound and a display of songwriting that should be followed with the utmost care and craft. (Mike Loce)

THICK SHAKES
Snugglehound Records
Ooh Mommy
8-song CD
This collection of garage rock tunes could have easily found its way onto the Nuggets collection so many years ago, but with a modern edge that could only have been recorded onto a cassette with homemade kitchen utensils. Thick Shakes kinda sound like Nancy Sinatra on meth, stabbing her dad in the eye with the spiked heels of those boots that we all thought were just made for walking. The songs are simple, yet catchy. One has to wonder what kind of coffee this band drinks and what kind of peroxide they put in their cereal. This album is Monoman’s wettest dream, without the Farfisa or the ubiquitous tambourine. If this collection of songs were more raw, it would still be pulling a plough, albeit through a slab of wet cement. (Joel Simches)

TALK MODERN
People Noises
10-song CD
Bleak and grand ("Only Catastrophe"). Depressive, angular, and buzzing—with cowbells ("Useless)". Droning, repetitive, hypnotic ("Thieves"). Sometimes even dynamic and melodic ("Diplomats"). It's not that I don't like these songs. I do. A lot. There's an enormous amount of talent here. But it's just that I don't hear much to engage me. Because so many downbeat lyrics piled one on top of another ultimately make it difficult for me to muster much passion for what is, in truth, a remarkable debut, full of mostly original and often very catchy songs. I suppose that what I find most troubling is very likely the disconnect I feel when listening to ’60s and ’70s compositional tropes so ably manipulated to serve the cause of a mere world-weariness—one which seems less like an earned stance and more like a mere affectation. Self-evident contradictions have become an inescapable condition of modern life. They surround us like a numinous buzzing.

It is as though we must tap our feet and be engaged and yet at the same time are left feeling clumsy and uneasy. There's a name for this condition, I suppose. It's called "neurosis." Far be it from me to insist that everything be as super shiny awesome as an imbecile's dream of the circus. But relentlessness pessimism also eventually takes its toll, no less than purblind optimism. (Francis DiMenno)

BRENDAN HOGAN
Long Night Coming
10-song CD
Released in the fall of 2009, Long Night Coming marks the formal debut of Brendan Hogan’s signature folk and country sound. Having spent ten years in radio as host and producer at WERS and WGBH, Hogan’s songs are a blend of original roots, modern folk, and are highly blues-based. Through lush storytelling and an acoustic twang, listeners are able to easily resonate with Porter Wagoner’s “Green, Green Grass of Home” and the nostalgic opener, “Nothing Belongs to Me.” Others, such as “Big Black Car” are larger than life, toe-tappin’ with an authoritative edge, while “What’s the Difference?” is a beautiful duet between Hogan and Danielle Miraglia. A solid effort, Long Night Coming is poetic and expressive, conjuring images of tranquility–of country roads and hillsides: “Tie the laces on your shoes; we’ve got some walking to do.” (Julia R. DeStefano)

BIRDS IN THE WOODS
Some Thing Knew?
11-song CD
Pleasantly evincing funk-inflected jazz featuring stellar musicianship, innovative orchestration and genuinely touching vocal performances, particularly on tracks like "Postcard." (Francis DiMenno)

JAMES KEYES
Ruminations
15-song CD
Rough-around-the-edges folk? Hmmm…James Keyes’ is a singer/songwriter, yes; and he would go over well in the folk scene but maybe more like in a dark, beer-soaked, smoky basement rock club… yeah… I really dug his style. Call it bluegrass, call it folk, call it roots, or really do you have to call it anything at all? How about this: I call “Ruminations,” his first release, purely excellent. The CD showcases his raw and passionate style fronted by raspy, affecting vocals that though I hate to compare to other singers I’d say is a cross between Bruce Springsteen and Leonard Cohen. Presented on a nice warm, well-recorded and produced recording, James’ CD features a highly talented backing band as well. Is it perfect and pristine? No–some off-notes, one song that just didn’t fit in style-wise and sounded out of place (“SSG”), etc., but James Keyes isn’t about perfection but rather putting his music out there. My picks: “Where Have You Been,” the super cool instrumentals “Chapter Six” and “Little Lamb,” and the untitled Track 8. (Debbie Catalano)

VARIOUS ARTISTS
Nice Bass Productions
Lowell and Behold, Volume II
30-song CD
Onslo's bizarre, deliberately tuneless offering, "Chuck Rak," is just eccentric enough to shine amid these 30 highly variable genre exercises. The Sin Busters also contribute a presentable punk travesty, "Generation Locust." Hot Day at the Zoo's "Boston Blues," recorded live, is an evincing hoe-down. And The Bella Birds' "Row By Row" is a lovely lament. (Francis DiMenno)

IT THE VERB
Happy Mediums
7-song CD
A self-proclaimed “band that breaks all bounds and pushes all musical limitations,” IT the Verb’s Happy Mediums is a strange (and I do mean strange) concoction of audio performance art in the realm of the Mars Volta. Influences are plentiful and include court jesters, African tribal dancing, Trans Am(s), and Christmas on Ice…fitting, no? All in good FUN, I suppose… (Julia R. DeStefano)

THE NOVEL IDEAS
The Sky Is a Field
11-song CD
I love knowing that after 20-plus years of writing about music that I can still get excited about a band I never heard of. I am big-time digging the Novel Ideas. In my notes I first jotted down “rock folk” before I saw in their material that that’s exactly how they define themselves. This CD is a kaleidoscopic collection of tunes that contain the essence and heart of folk enhanced by excellent instrumentation (acoustic and electric guitar, pedal steel, violin, trumpet, flute, clarinet, cello, viola, bass, drums, vocals). Though not every instrument is used in every song, the inclusion seamlessly fits each song, which truly gives each song a perfect voice of its own. Cool, modern, fun, deep, colorful, rhythmic, unpretentious...if they haven’t already been on WERS, their material is right up that alley (and that happens to be one of my favorite radio stations). Favorites of mine on this include “Seabird,” “Homesick,” “Julian Carax,” and “A Breath of Fresh Air,” but honestly there wasn’t one song on here that I didn’t like. P.S. Terrific drumming! (Debbie Catalano)

HEY NOW, MORRIS FADER
Hey Now, Morris Fader
4-song CD
This is a great collection of piano-driven, radio-ready indie pop from Woostah. It’s easy to make comparisons to Ben Folds, except Ben Folds hasn’t been this catchy or listenable in at least a decade. The interweaving of vocal harmonies and melodic hooks evoke memories of the musical salad days of Joe Jackson, Todd Rundgren, and Jellyfish, filtered through the sensibilities of Brit Pop favorites like Coldplay, Morrissey, and Muse. The potential is definitely there for this band to break through the drone of mediocrity, as long as they can rise above their own influences and find their own voice. These songs are irresistibly catchy and will stay in your brain long after the buzz has worn off. Can’t wait to hear more! (Joel Simches)

UKE OF SPACES CORNERS
Corleone Records
Flowers in the Night
8-song CD
Greetings, Zortar here, alien from another planet inhabiting the abhorrent, adverse, acrid, amorous Airedale-loving vessel known as Slimedog to those unfortunate enough to know him. So this lovely CD sets out to make “music to drink tea to, to break up with a lover to, to make a pass at a lover to, to pet a dog (Oh, Slimedog would love that), contemplate life, to call a magician, or fall into a black hole with.” To achieve this they have boring, droney songs that are somehow trapped between ’60s folk music and new age. Well, I did all of the above while listening to this and it did not make me too pleased. In fact it did make me want to take a chainsaw and cut my speakers and any creatures, plants, or rocks that got in the way. This CD will not replace the beautiful music of Rammstein that I play in my ice cream truck through the politely driven streets of Boston this winter. (Slimedog)

THE ORGAN BEATS
Sleep When We Are Dead
9-song CD
Lightweight dreck? Not so fast. Sure, there's that faux-monumental grandiosity in evidence right from the get-go—check out "The Chilly Breeze of May." But sometimes—maybe more often than we care to admit—a chipper anthem is just what a body needs, like a Rolaids for the soul. If it's not a masterpiece—and actually, it kind of is—then at the very least it's a guiltless pleasure. Both the title track and the final number, "Brand Me a Fool," are also mostly engaging slices of what we might call "ecstasy rock," designed it seems to induce a kind of serotonin high. It's mostly when the band switches up and tries to go all radical and experimental—as on "The Movie"—that paradoxically, they seem to fall prey to the lightweight label. You know, like Heart. Surely you remember the Wilson sisters. Much ado about nothing: fodder to sting the tear ducts of morbid 15-year-olds wearing too much makeup. It doesn't really get much better than that great first song, sad to say. It unfortunately seems like an awful lot of clamor and rote posturing from where I sit. On "Happy Birthday," Noelle LeBlanc's voice comes across as shrill, and the song is about as subtle as cosmetics applied with a trowel. Even the softer numbers also suffer from a certain overblown quality—look no further than "Never Gonna Make It Out of Here Alive," whose title, sadly, pretty much says it all. (Francis DiMenno)

MILQUETOAST & CO.
Drinking and Smoking Too Much With Women I Hate
11-song CD
Given a press release that paints Milquetoast & Co. as an eclectic group of people with a genre-hopping sound, I went into this with high hopes. Apparently, that was my mistake. Despite threatening to break out into something a little wild or a little off-center, this disc, with the exception of the revved-up rockabilly of “Cigarette Burns,” remains lifeless throughout. When the band does try to get crazy, such as with the kazoo-and-drums explosion on “Mr. Milquetoast,” it sounds forced. The group favors the same “low” sound that Morphine explored so deftly, but singer/guitarist James McAndrew is no Mark Sandman. Where Sandman always exhibited a worldly cool, McAndrew just sounds dull. While the music is performed competently throughout, and I would hesitate to say this record is bad, it is definitely forgettable, which, in some ways, is a worse sin. (Kevin Finn)

STU, MAC & CLIVE
Silly Hat Records
Dirty World Supreme
10-song CD
Ah, yes, Mrs. Slimedog here. Top reviewer of the Noise, voted number one in the “female/ Guatamalan” category once again. Sorry, Emerstly, better luck next time and I wish people would stop writing in Joe Coughlin for that category! But up to the business that stands. When I saw the band was named Stu, Mac & Clive, I thought, how nice; it’s probably three nice boys who met while working at the local cleaners, or maybe brothers like the Hanson brothers, and would play a similar delightful style. But from the start it’s that gloomy guitar that sounds like a chainsaw cutting through your brain, only difference is the songs aren’t too fast and the singer is less growly. Now Slimedog says I’m wrong in implying this is death metal, and that it’s mostly funk beats with aggressive vocals and guitar—and he doesn’t mind them at all. Still, though, I don’t know what that means. I think the boys should listen to more cheerful music like Andre Boccelli and they could go up to the top, just like me. (Mrs. Slimedog)