THE FISH EYE BROTHERS
When the Swan was on the Boulevard
9-song CD

They say less is more. Well, there’s a whole lotta less here. Namely, fearless, timeless, largely genre-less and, apparently, in the case of co-conspirator Willie Alexander, ageless. Willie’s history is there for the searchin’, and you’d be goofy not to if you don’t know his boatloads of great stuff. Here, he sings, and plays piano and cuica, a Brazilian “friction drum,” also called a “laughing gourd,” a highly appropriate name, given some of the cerebral hijinks at work (and play) within. Which ain’t to say it’s a goof, by a longshot, but like much of his best output, there are bits of whimsy to offset any relative seriousness. Jim Doherty collaborates fully on songwriting, and adds crucial guitar, drums, electronica and vocals, with a few guests appearing on sax and whatnot. So while essentially a duo, the recordings are surprisingly dense (however achieved). And while this is both their baby, it could also serve as a perfect primer for much of what Willie has touched on over the decades. There are rave-ups reminiscent of the Boom Boom Band days, some sparse spookiness a la the “Solo Loco” era, whispery meditations like the “Private WA” stuff, and elegantly layered moments not unlike some Persistence of Memory Orchestra tracks, yet it’s still all remarkably fresh and vital. In short, a smashing success. Congrats, gentlemen. (Joe Coughlin)

VARIOUS ARTISTS
Song For Sally
18-song compilation

The Sally of the title refers to Sally O’Brien’s Bar and Grill in Somerville; I assume that this compilation is a representative slice of the artists who appeared there in 2007. If so, there were and are quite a few exemplary artists out there who were once flying under my radar. For instance, there is an unusually fine primitive blues number, “Hurricane,” by Jeremy Lyons, its skeletal framework ably fleshed out by his sidemen, bassist Robbie Phillips and drummer Jerone Dupree. Two slow and soulful burners, “Just a Face” (reminiscent of Smokey Robinson) and “Please Please,” by One Thin Dime also serve to vary the pace of what is mostly a compilation of Americana, country, and roots rock. From this category, there are two best of shows. First is the agonizing confessional-song “Walk in the Woods,” a very astute character-piece by the Kevin Connolly Band. These sorts of songs are tricky; they tend to run the gamut of quality from the hamhanded (J.C. Mellencamp) to the maudlin (Harry Chapin) to the merely arch (Warren Zevon). This song falls into none of those camps; it is deeply felt and sung with just the right combination of woefulness and expressiveness. The second best of show is a tuneful country-tinged number by the Patsy Hamel Band, the beautifully vocalized “Try,” whose elegiac feel is enhanced by Bob Metzger’s letter-perfect pedal steel seasonings. (Hamel’s slow-dance number “Stone Cold Love” is also quite lovely.) Other tunes of note are the ingratiating “Party Ain’t Over yet” by the Tom Hagerty Band; the Byrds-y “Years” by Attention Shoppers, and the evincingly wrought dying fall of “Be Alright” by Mayberry. Many compilations of this sort are hit and miss, but this one is indeed chock-full of the “graceful songwriting and spirited performances” promised in the promo. (Francis DiMenno)

BLACKBUTTON
That Thing That You Want to Put a Finger To Is Because
10-song CD

This haunted, brooding guitar/ drum duo brings out the very core of raw emotion in songwriting. Jordan Tavenner’s growl spits out bile as intently as it sucks in the listener with stories of life and lost love and foreboding. While Blackbutton’s music is vaguely reminiscent of the blues of the Mississippi delta of days long ago, this is not a retro, stylized sound of yore. The sound of these songs is immediate, its intimacy perfectly preserved by the knob twiddling of Shane O’Connor.

The band slithers easily from a whisper to a scream and you will be too enthralled by the journey of the song to notice. The tales of a journeyman have never sounded so genuine as they do with this band. With so many drowning in a sea of imitators, Blackbutton takes you to the origin, while carving its own unique path. (Joel Simches)

SESSION AMERICANA
Diving For Gold
9-song CD

Well, Sir, the band, they strike gold on the very first track. “I Can’t Get Out” is just about perfect of its kind—one of those keening love songs that’s makes you want to whistle through your tears. But I can’t rightly say the rest of the songs have quite the same impact. Should I be tedious and mention this is the band’s third album and that the title track sounds a bit like that old chestnut “Three Cool Cats” and that the songs sometimes bring to mind Warren Zevon, Sweetheart-era Byrds, and even Michael Hurley? Naah. Why don’t I just say what I think? All too often, just a little folk-cum-Americana goes a long way. Affect is key. Okay: The instrumentals are stellar; the layering of instrumental effects pitch perfect; the good-timey feel meticulously planned and executed. But, in the studio at least, most of these compositions seem only averagely resonant. Furthermore, the vocal delivery throughout often leaves me less than entranced. Not to say the vocals are bad. They’re not bad at all. Just—facile. Okay, the engaging hokum of “The Coalburner,” replete with tuba, would make just about anyone smile. And the build-up of “You and Me” delivers me to that strange feeling I get when I find myself in the middle of something that might be significant. But for the most part I heard lots of shtick but very little that actually stuck. (Francis DiMenno)

NIGHT DRIVING
Flaws
10-song CD

This is a very odd duck indeed. The very BEST KIND of odd duck, though. The kinda thing you might wanna keep handy for when you have no idea what you feel like listening to. Which ain’t to say it’s all over the place. It’s a largely acoustic-based one-man show. Save for programming on one track and drums on two others, Steve Gintz handles vocals, guitars, bass, piano, synths, and trumpet. The usual problem with these type things is that (a) the person is so anxious to prove something that the actual material is an afterthought, (b) the lyrics are invariably that overwrought, I’m-so-sensitive, feel-my-pain hoo-hah, and (c) the playing and any sense of nuance are clumsy, or rushed, or otherwise inappropriate to the so-called message of the song. NONE of this happens here. In fact, just insert the opposites to the above, and you got yer review. It’s on the somber side, sure, but it’s absolutely genuine and often quite gorgeous. It may not be 100% outta-the-park, but it’s dang well close enough for me. One of the nicest surprises of the year so far, and BY far. (Joe Coughlin)

THUNDERHOLE
Thunderhole
10-song CD

Ah, yes, Mr. Slimedog here, dressed as Mrs. Slimedog, inhabiting Zortar the space alien and imagining myself as a blue bird floating through time and space. But enough of my personal life. Some would say Thunderhole plays experimental music but I like my own term “koo-koo music.” I like that descriptio:n better because it suggests a crazy, fun, playful way of doing things instead of a dull, scientific, serious one and these tunes are definitely koo koo. This trio of guitar, keyboards, and drums play songs full of dissonance, noisy guitar, screamy vocals but are always rooted by straight forward upbeat rock beats to not let things get too abstract reminding a bit of great old Boston bands like the Girls or the Dark. I think this band is very arty, creative, interesting but most of all I would describe them as fun. And what’s more fun than being koo-koo? (Slimedog)

THE FULLY CELEBRATED
AUM Fidelity
Drunk on the Blood of the Holy Ones
8-song CD

This trio, a reduction in numbers from the widely known Fully Celebrated Orchestra, has released an occasionally puzzling but more often highly pleasurable set. The opening track, I’m sorry to say, leaves me somewhat cold. “Moose and Grizzly Bear’s Ville” comes across, not so much as formulaic and rote as—how do I put this?—an avant-garde version of Chuck Mangione. The second track, “Reptoid Alliance” seems cacophonous and strained in a gratuitously flashy manner. However, there are four tracks here that I regard as absolutely stellar and would heartily recommend to anyone who appreciates the novel subtleties of post-1960s jazz. The third, the title track, is an odd, compelling, incantatory drum-and-bass driven quasi-march with some truly eerie reverberating alto sax overlays. “Enemy of Both Sides” features subtle snare timbres, insinuating bass, and naggingly cascading alto sax riffs that make me squint and then relax as they work their way into my subconcious mind. As for “Conotocarius,” the very cacophony that seemed so distresssing on track two comes across as both urgent and magisterial here. “Dew of May” appropriately concludes the set: it is both meditatively elegaic as well as pulsing and intense; it brilliantly showcases a subtle dynamic of tension and release. The best tracks on this release give me a rare chill that comes from that much-vaunted “shock of recognition.” (Francis DiMenno)

MIDNITE SOCIAL
Ignition
Midnight Social
11-song CD

Greetings, Zortar here, alien from another planet inhabiting the glue sniffing, walking corpse known as Slimedog on your vile and disgusting planet (men with sandals, ugh!). Now usually what I’m served up here is some warmed up oatmeal of a singer songwriter singing tales of woe about his receding hairline. But today is a bright one in the dark days of Zortar because this band, with the unassuming name, actually kicks ass. Screaming melodic vocals, thumping drums, Les Paul squealing Marshall amp guitar and mentioning Guns ’n Roses as an influence should all give some clue of what’s going on here. Tight playing, exciting songs, strong vocals—so what if it’s a bit of a throwback to hard rock days, this is where rock and metal is at its best—hard driving, sexy and wild. Everything that Slimedog is not. (Slimedog)

FIRE IN THE FIELD
Fire in the Field
8-song CD

No band can or should ever be compared to Led Zeppelin, and I’m certainly not doing that, but that’s what it seems like Fire in the Field is going for with this album. The band is pretty talented—although they’ve got a long way to go—and I love the way they’ve carved out a their own style of classic rock with a modern twist. “Restless” has a bluesy Sly & the Family Stone vibe that I’m totally digging. “My Time Has Come” is a great rock song with an epic guitar solo at the end that is obviously based on the great foundations of its classic rock forefathers. Though I feel these guys need a bit of sharpening, especially when it comes to percussion, I think they’ve got a decent thing going here. (Emsterly)

THE DC4
Fight for your Life
10-song CD

Led by DC, the former bassist/ singer of Awakening Stick, the DC4 evolved from a solo creative outlet into a no-frills, “tell it like it is,” alternative group. As stated in their one-sheet, the band is “…kind of angry at the world, but with a self-deprecating sense of humor. Throw in a little geeky sci-fi/gamer vibe and punk attitude along some deeply reverential hard rock roots…” A solid, instantly likeable effort, Fight for your Life incorporates ’70s influences, as well as the energy found in the punk/ rock genres of today. Just listen to “Again and Again and Again,” “Waiting,” or “The Time Is Now,” as each story told is just as intensely as the next, all being based on the members’ real-life experiences. A lineup consisting of Glen Anderson on guitar, Dan Jeffs on drums and Apple Betty’s Jessica on bass and vocals makes the listening experience all the more enjoyable, as each musician appears to compliment the other effortlessly. One wonders where the DC4 will go from here. (Julia R. DeStefano)

SIX FINGER SATELLITE
Load Records
Half Control
8-song CD

These Providence sturm-und-drang screamers have long had a hefty buzz and following up here, and while not really my thing at all, it’s easy to understand why. Ominous as a funnel cloud, heavy as a truckload of gravel, dark as Al Jolson’s greasepaint, and relentless as the passage of time, even. If it’s melody you want, keep lookin’, and that’s not a gripe (for once). They may be the best clobberers of well-placed repetition and disarming (but never distracting) time signatures I’ve heard since Helmet’s best stuff (not that I know much of this in general, but I know what works when I hear it). For those that didn’t know, the label’s site says the recordings are from 2001, were remixed in 2008, and that a new lineup is now playing out, among other tidbits. It’s also nice when so many of the lyrics stand just fine on their own as good readin’. Again, it’s kinda weird to heap such praise on something I don’t expect to throw on too often, but if I’ve made clear what to expect, and you know you either want it or you don’t, then hopefully I’ve done my job as well as they’ve done theirs. (Joe Coughlin)

MC HOLY GHOST AND MASTASWITCH
Spirit Records
Stolen Bootleg Tracks
21-track CD

Back in the early 1970s, slogans like “free the political prisoners” and “the USA is a giant poison machine” were the rhetoric du jour. Things haven’t really changed all that much, have they? Or so you’d be tempted to conclude after absorbing (the only word) the contents of this ambient rap album, which is avowedly intended to be listened to as a whole rather than on a song by song basis, though it really seems to be in two parts. Tracks 13 through 16 and 20 are stand-alone songs. Of these, the songs “Neighbor Neighbor” and “Sunny Days” in particular are both chilling and compelling. For the remainder of the CD we have the ostensibly political songs. These preach from the standard all-against-all aliens-mind control and neo-colonialism conspiranoia script, from what I gather. Taken as a whole, these political songs come across as a monument to black paranoia. Fascinating if you are either a paranoid, or a conspiracy buff (or if you harbor a practical interest in the effects of paranoia on the body politic, which I do). The thing is, these guys aren’t joking around. That fact alone gives this collection an undeniable power. And the fact that they are convinced of their high rectitude also puts this project in the category of outsider art. But I’m not buying it. They may think that they are fighting fire with fire. But that’s how the whole world burns. And they may not particularly care, but their radical rhetoric constitutes its very own type of propaganda (every bit as tiresome to a discerning ear as the vicious maunderings of super-patriots). Therefore, they ultimately seem complicit in the very methods they profess to abhor. (On the other hand, it’s fascinating to learn that President Nixon showed top-secret flying saucers to Jackie Gleason. Jackie Gleason!) (Francis DiMenno)

WHO SHOT HOLLYWOOD
Springtime in Greenland
8-song CD

It took me a long time to think of anything to say about this band, because the music just didn’t grab me enough to pay attention and form an opinion. But what I’ve finally decided is that this band is completely disorganized. The vocals don’t seem to match up with the music. Not to mention that the vocals are pretty whiny and slightly off key. But the music, despite being disjointed from the vocals, is good, in a weird, whimsical way. It kind of reminds me of Cursive. But I really can’t get into this album. The songs just seem like background noise to me. I do think, however, that with some polishing, this band could be really good. I’d be interested to hear them after another year or so, because this album, despite its flaws, does show some potential. (Emsterly)

BRIAN BERGERON
We’ve Got to Find an Easier Way
10-song CD

Hard to believe, but Brian Bergeron’s first full-length album, a product of months of preparation, funding and recording, is incredibly… unique. This is surprising, as the image of a “guy with a guitar” often results in imitations (direct or indirect) of Ryan Adams or John Mayer, as well as others of the same genre. With several previously released EPs under his belt, Bergeron’s We’ve Got to Find an Easier Way is a testament to the sound he seems to have been searching for all along. Under the guidance and production of CBS Records recording artist Will Dailey, Bergeron consistently blends older fan favorites with a selection of new offerings. The opener, “Let Me In,” is melodious, whereas “Hanging Around” is mainstream with its infectious beat and insightful lyricism: “…and I saw my way out. We are only in charge of our own affairs.” Age appears of no matter in Bergeron’s world. His approach is wise beyond his young years and therefore easily relatable to audiences of any generation—clearly, a rising star of the Boston scene. (Julia R. DeStefano)

TARA WHITE
In Goddess We Trust
13-song CD

From their MySpace (missing hyphens verbatim, of course): “Tara White is a Boston based rock band known for straight up, jam friendly alternative rock with a variety of styles, song lengths and sounds.” Says their music is “popping up…on podcasts everywhere.” (Is it just me, or is a variety of song lengths not exactly a major selling point?) Anyway, it also says to contact the band if you want member bios, ordering info, or other stuff. I don’t get why they didn’t just include all that here. I don’t get the record much, either. I’d like to know what all these different styles and sounds are. This has a flat-out (more flat than out), constant, trebly “Rock Lite” sameness all the way through. I’m not saying they should be more aggressive per se, but no one in a dentist’s office or elevator would object. Nothing idea-or-otherwise grabbed me. And shouldn’t songs reflect their titles at least a little? “Nemesis” is nothing but friendly. “Rollercoaster” is more like riding a Sit-n-Spin. “Snake Bit” has no fangs, let alone venom. “Weasel Boy” is apparently pretty cute. (Okay, I’ll grant ’em that “Ennui” is nearly eight minutes of just that.) Maybe I’m missing something. Or maybe they are. (Joe Coughlin)

YERBY
Space Elevator
11-song CD

From the production to the musicianship, lyrics, and songcraft, not to mention the “user’s guide” (a booklet containing the lyrics—which are more like modern poetry than song lyrics), it’s apparent that a LOT of work went into this CD. It’s singer-songwriter stuff but with a host of musicians. Standout tracks are “Three Chords,” which is a play on the venerable three-chord rock song; “It Matters What You Love,” with a structure and melody that sound like quick arpeggiated chords; the drum-driven “Scene from the Bottom of a River.” Actually, there’s a lot to like about this CD. My only bit of nitpicking criticism: Patrick Yerby’s vocals sound a little too much like they’re Ben Folds on Prozac. Just a bit of feeling would go a long way. (Robin Umbley)

PIGBOAT
Float
13-song CD

I had wicked high hopes for this one. There’s an excellent painting of a pig in water on the cover. The back has a pig eating ramen. Some amusing song titles (“Cowboys, I Think,” “Ho Ho Whatever”). The liners acknowledge other bands with names like Covered in Bees, An Army of Squirrels, Man-Witch, Hatchetface and the Vipers, the Hot Tarts, Broken Clown, and Jodi Explodi. Pigboat is from Maine (as are, I assume, these others. I haven’t heard ’em, but snappy names are rare, so it’s good to see some). The press sheet says the record “will pummel you with its girth [?!?].” Tracks 1, 2, and 10 are pretty Black Sabbath-y. But the rest sounds like a crunchier Soundgarden with James Hetfield singing, in two tempos (kinda fast, and pretty slow). Track 7’s the only quiet one, starting and ending with 40 seconds of leaky-faucet-sorta sounds. I couldn’t decipher the reverb-y, washed-out vocals, but I guess that’s all deliberate (it’s called “The Less Than Successful Shakedown Cruise of the U.S.S. Pfeifle”). Track 9’s a Broken Clown cover, 13 is Sabbath’s “Snowblind,” done by-the-book (although, props for the in-joke intro). The whole thing’s perfectly competent and all (maybe even a shitload of fun under certain conditions), but hardly the ass-reaming I suspect they’re capable of. (Joe Coughlin)

THE SUNSETS QUICK
The Sunsets Quick
10-song CD

Ah, yes, Mrs. Slimedog here, top reviewer of the Noise. A title I’m proud to claim but what with them letting space aliens and birds do reviews here, I’m not so sure. But Slimedog says I’m like the teapot talking to the kettle or something like that. Anyhoo, this is indie rock, a new term for me. I know what an “outie” bellybutton is so this must be people staring at their “indie” one and singing tunes about it. This CD is pleasant and all what with the quiet guitars, marching rhythms and bland vocals but it’s not fun. Oh wait, Slimedog just woke up and says the yelping on song four does sound like the Pixies (who I guess were an unknown local band). I think they need a bigger helping of yelping on their next one and things will be as fresh as a dairy. So guys get together, goose that singer or pull his arm hairs, that’ll get him. But for now I’ll just listen to the Green Days. (Mrs. Slimedog)

NICHOLAS DiSPAGNA
Hello
14-song CD

What is this? Why, nothing but a mere glorification of Nicholas DiSpagna’s sexual escapades put to song. An alumni of Berklee College of Music, and a past student of the blues in Memphis, Tennessee, DiSpagna’s Hello is a culmination of two years’ effort—guaranteed to make even the most promiscuous individual blush embarrassingly. The album appears conceptual, an ongoing tale of the trials and tribulations of young love through overtly suggestive means. DiSpagna leaves nothing to the imagination, as all is uncomfortably laid out before his audience—“She Sings Alone” is perhaps the best instance. Despite this, production is really where this effort shines. Through sweeping, eloquent compositions, each track is meant to be played loud—perfect for the easy listener with an appreciation for soul and R&B grooves. Overall, DiSpagna is well advised to work on his modesty. A little innuendo is okay, but enough is enough. Therefore… I have no choice but to say “goodbye.” (Julia R. DeStefano)

ONCE MORE
Replay
5-song CD

Here’s another “not just another band out of Boston” that sounds like another band out of Framingham trying not to sound like a band from Boston. Sure, there’s some heavy guitaaahs and high energy drumming, but the songs suffer from lack of development, trying to say too much and ultimately saying nothing. It doesn’t help that the singer has some pitch issues. There are too many lyrics and not enough hooks. There is nothing that catches the ear and when it does it goes completely nowhere and back to something completely mundane. That said, with some refinement, this band could be pr

TECHNOIR MA
Technoir MA EP
3-song CD

It is obvious that Technoir MA borrows heavily from Joy Division/ early New Order from the first electronic beat. As “homages” go, the duo of Justin Vassallo and Colin Green really nail that halcyon Factory vibe. Unfortunately, the songs here suffer from an uneven mix and a lack of testicular fortitude in the rhythm department. The guitars sound great. In fact it is the most prevalent thing on most of this EP, consuming everything in its chorus/ reverbed path. When you can hear the vocals, they are quite nice. It is a shame to bury them like this… except for the third song where the vocals are unlistenable. I am not crazy about the reverb on the vocal, but I guess that’s some kind of “artistic” choice. The third track, “Islands” does feature some icy synthwork, which is, once again, drowning out anything else of interest. (Joel Simches)

VIEW OF A BURNING CITY
View of A Burning City
4-song CD

This album gives more credit to the people who mixed and mastered it than to the people who actually perform on this. With an endorsement from Billy Squier stuck on the label (some mindless drivel about how no one ever does real guitar solos) and credits attributed to the likes of Guns & Roses, Killswitch Engage, Metallica, and KISS, one would think of this eponymous debut as the second coming of rock ’n’ roll, the likes of which none have seen in this or any other lifetime. While this debut is one of the best produced pieces of rock to come out of Boston in a long time, if ever, this band is the same cookie cutter metal band you can hear headlining up in Portsmouth any day of the week. Nothing to see here. Move along. (Joel Simches)

TUCKER JAMES & THE HOT MUGS
Horizon Music Group
Or Something In Between
6-song CD

This sounds like a cross between the La’s, Elvis Costello, and John Cougar(not)Mellencamp, with a side of the Refreshments (remember them?). The ultra pop chocobliss of these four songs ooze from every musical pore, each song a slice of a very sweet meringue. Tucker James & the Hot Mugs write tight poppy songs that make you feel all squishy and wonderful inside. Sunny harmonies, wiggly synths and shaky tambourines punctuate the jangle and lilt of the guitars. There is nothing to hate about life when listening to this disc. I may just vomit. The jaded and angry may want to avoid this. (Joel Simches)

If you’re band or act is based in New England, and would like your CD reviewed, send it to: T Max/ the Noise, 74 Jamaica Street, Jamaica Plain, MA. Then please be patient—we’ll get to it as soon as we can.

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