RAY MASON
Captivating Music
Like Bugs Chewing on Paper
11-song CD
Ray’s been writing his insinuating and engaging slice-of-life tunes for decades, and, by a conservative count, has released over 200 songs. I would love to hear a greatest hits compilation; it seems to be about time. But until that day, his crack band and ace producer showcase him to irrepressible effect on the 12th CD released under his name. Lyrically, Mason is an under-regarded treasure. Like the writer/cartoonist Ben Katchor, he’s an astute miniaturist whose songs focus on the everyday. Case in point: “Unusual Keys” (which sounds like it is being sung through a taxicab microphone). Keys? It’s not about music. (Not really.) “Lunch Box” is another jumpy, almost hypnotic ditty, but it’s trumped by one of Ray’s best songs ever. It’s called “Eloise Please.” It deserves to be a classic. It’s every bit as good as Elvis Costello’s “Veronica.” Maybe better. Pick quote: “You don’t need a bridge with a chorus this strong/ Under three minutes, it’s not too long.” Request it on your radio station. Make it a hit. It deserves to be heard all over the country. Hell, it deserves to have ITS OWN TV SERIES. It could be about a ditzy piece of fluff named Eloise. But who cares what the show would be about—just so we could listen to the damn song every week! (Francis DiMenno)

IAN ADAMS
Midriff Records
Stay Up Late 12-song CD
The first track has me scratchin’ my head. The press sheet says, “…takes its production style from ’60s girl groups and ’70s glam,” which applies here (a good thing), if not to the whole record. Track two’s an acoustic-y, sing-along drinkin’ type thing I can do without. (And ignore the scuttlebutt that this is Adams’ “acoustic record”). Track three’s kinda surf-spook, and the first thing I’da pegged as actually bein’ him (as with “In the Dark” and, somewhat, “I Got It Bad”). “Oh, Dracula” conjured a Billy Corgan visual I just couldn’t shake (sorry, Ian). “Horns of the Devil” is a nicely arranged li’l sweetheart, as is the haunting closer “Precious Time” (which smacks of mandolins, though none are listed). One site says, “…a dark creepy place where love, sex, and death ride on the devil’s back. The [instruments] give feelings of a cinematic rock ’n’ roll dream where you realize too late that David Lynch is the director.” A bit of a stretch, but that’s PR for ya. And maybe it’s me, but I think the vocals are a notch too high in the mix. Essential? No. Do I wish more people would take similar chances? Yes! A LOT!!
(Joe Coughlin)

THE MONTGOMERYS
Naked Ear Records
Walkie Talkie
13-song CD
Simply, indie pop rock at its best. The band, fronted by the “Bad Boy of Boston Bubblegum,” Peter Montgomery, and featuring Black Fortress of Opium guitarist Tony Savarino, among others, has put forth a solid, heartfelt effort. As their one-sheet states, the new record “deals with the breakdown of modern communications. Although we are more wired, wireless, tweeted, Facebooked and networked than ever before, we still can’t communicate about what’s truly important in life.” The disc itself, although it isn’t anything ground-breaking per se, is indeed a pleasure to listen to. The lyricism is honest, the melodies engaging, and tracks such as “Hope You Get a Lot,” “Caitlin” and “Pretender” are especially single-worthy. Walkie Talkie also offers versions of Neil Young’s “Don’t Let It Bring You Down” and the Who’s “My Wife.” One word: enjoyable. (Julia R. DeStefano)

THE ATLANTICS
Something Hot Communications
Power Pop: Singles Demos 1977-1982
17-song CD
On the one hand, the folks at Something Hot may have gone to the Atlantics well once too often. However, what justifies this project is a chance to hear a rare single (“When You’re Young”/“Teenage Flu”) as well as some very early unreleased Altlantics demos, such as the gloomy “Ten To One,” and the telegraphically jumpy and lurching “I’m Hurt.” There are also alternate takes of previously released songs; of these, most noteworthy is the demo of “Pop Shivers” an intriguing (but somewhat underproduced) sketch of the extraordinary version heard to brilliant effect on The Atlantics (2006). Other highlights are the sizzling guitar break on “Turn It Off,” and the magnificent jolting power pop of “Who’s Been Fooling Who.” On the other hand, songs such as “Where Would I Be Without Your Love” show that from the outset, the Atlantics compared favorably to such stalwarts as Queen, the MC5, the Raspberries, Big Star, the Move, and the Flaming Groovies. By 1982 and the end of their career, they were beginning to transcend their milieu and forge a new sound. Some of these tracks can be heard here for the first time, notably, “Dangerous Smile” and the infectiously catchy “Playing Telephone.” This is highly recommended for Atlantics fans and a must for Atlantics completists. (Francis DiMenno)

BIG D & THE KIDS TABLE
SideOneDummy Records
Fluent In Stroll
14-song CD
Those used to Big D & the Kids Table’s frenetic (and often goofy) punk-tinged ska will likely view this batch of relatively mellow soul and doo-wop influenced numbers as a bit of a curveball. It’s nice to see an established veteran band willing to deviate from their norm, and for the most part, they pull it off, providing what would be a nice soundtrack to the summer if the weather hadn’t sucked for most of the season so far. The addition of a peppy trio of female singers adds some nice color, particularly in the call-and-response of the title track, a gleeful mission statement that probably burns live. They also serve to nicely offset singer David McWane’s rather pedestrian voice. The horn section excels throughout, demanding notice but never by overplaying, and guitarist Sean Rogan has a versatility that one doesn’t always encounter in this genre. The slower numbers drag a bit and some of the wide-eyed lyrics come off as a bit oversimplified, but if you just want to forget your troubles and take a long walk on the beach, Fluent in Stroll would make for a fitting companion. (Kevin Finn)

DIABOLIS IN MUSICA
Dim Records
Vibrabimus!
14-song CD
In the 6th century, Pope Gregory I outlawed certain musical harmonies, which he declared “diabolis in musica,” or “the devil’s music.” It was possibly the rock ’n’ roll of the dark ages. Inspired by these high-energy folk and dance tunes, Diabolis in Musica blends medieval melodies and instrumentation, with modern and international flavors, resulting in a captivating timeless sound. The group’s repertoire is multi-cultural, drawing from ancient folk tunes, renaissance dances, ecclesiastical texts, Middle Eastern rhythms, war marches, and pop hits (hint: the title track will rock you!). They perform on a variety of authentic medieval instruments including rauschpfiefes, shawm, hurdy gurdy, bagpipe, violin, and a cache of different hand drums.
This is an excellent album, specific to another era, but completely charming, disarming, and exotic. Like passing through a time tunnel back to the Middle Ages. Add the fact that the group attires themselves in the fashion of the times, well—prithee, take me to the faire. I shalt doff my cap and pen to Dave Irish, Jocelyn Demuth, Wayne Humphrey, Brian LeDuke, and Sioux Gerow for creating a boisterous sound from centuries past. Yes indeed, they’re gonna party like it’s 1399. (Harry C. Tuniese)

GOLDEN HOLY
Magic Bullet Records
Golden Holy
9-song CD
While Golden Holy’s eponymous debut might have all the trappings of the Brooklyn art/music hipper-than-thou scene dripping all over the speakers, the band has laced this recording with trippy whispered vocals, arrangements and orchestrations that Sufjan Stevens would have wet the bed over, and catchy vocal bits that would have easily found itself on an Arcade Fire record. The moody acoustic vibe of this record is perfect for a late night listen, with or without medication. If Sigur Ros had grown up on the East Coast, they might sound a lot like this. Though Golden Holy now calls Portland, Oregon their new home, their dioramic sonic vista easily and readily encompasses much more than both coasts. This album is downright impressive. (Joel Simches)

THE PANDAS
You Are The Weather
6-song CD
A tasty blend of acoustic instruments and electronics, the Pandas do more than simply paint arty pictures with sound, they dress it with a combination of retro sounds, samples and things that go bloop and bleep so eloquently. The pictures seem painted in pastels and watercolors and accented with the occasional flash day-glo and the spontaneous feather and piece of bubble wrap. The music is more playful than cerebral, though that is not to say that the music and arrangements aren’t intelligent and well thought out. The Pandas’ music neither calls attention to its own process, nor takes you on the journey unwillingly. This disc is sprinkled with all kinds of goodness. (Joel Simches)

SIZZLECHEST
Sizzlechest
8-song CD
What a great combination of hard rock songs this is. Sizzlechest has a type of brazen, retro ’70s guitar-based rock sound going on here. I’m at times reminded of Kiss, .38 Special, and Motorhead. What a mix! They sound like themselves in a good way however. The band has more of a modern energy that amps it up a little bit, with excellent guitar riff work. The lyrics and stories told are actually quite funny, in a balls-to-the-wall, pump-yer-fist-and-grab-my-cock kind of way. Tunes about experienced hoochie mamas and pubic avenues and living sleazily and hairy balls. I imagine myself blasting this disc when I’m mad at my high school girlfriend and then going out and listening to it more while I drink Old Milwaukee and Cossack vodka mixed, drunkenly staring at the night sky as the fire burns, crackling, my chest sizzling with righteousness. (Mike Loce)

DAVE CRESPO & THE AFTERPARTY
Dave Crespo & the Afterparty 8-song CD
With a rocking backup band, Dave Crespo’s down home, honest songwriting becomes electric and energetic. While the concept of a male/female dual lead is compelling, singer Cary Wells sounds like she is trying too hard to overshadow her singing partner, often sounding out of place and out of key in the moments that Crespo’s voice should really be the vocal focal point. While Wells proves herself more than adept with material she’s given, the blend between the two seems often elusive and, at times, contrived. Perhaps with more group writing and arranging, the right balance will be achieved. Unfortunately, it doesn’t happen nearly enough on this disc, despite the strength of Crespo’s skillful songwriting and Wells sometimes too obvious vocal chops. (Joel Simches)

WHAT TIME IS IT MR. FOX?
And Other Stories
11-song CD
I’ve played this several times in a row, and, musically speaking, although it rewards repeated listens, the (not particularly) profound disconnect between the nuanced music and the overreaching lyrics spoils the experience. Some grandeur does manage to creep in amid all the obvious pretentiousness and high solipsism: “The Fog” is nuanced and pleasant; “Hanging in a Tree” is gorgeously melodic; the instrumental middle eight of “The Tower” is sweetly evincing. But “Fisher King” strikes me as overwrought and falsely consequential; “The Gospel of Beauty” seems almost gratuitously sentimental; “Horror Cartoon” is unpleasantly obvious and strident; “Fruitless” exploits a soft-jazz realm that doesn’t impress me as completely authentic; “April Pearl” smells like a bit of hokum dressed up in pretty strings; “So Mean” is little more than a long self-pitying plaint set to keyboards and trumpet; “Derailed” strikes me as mere melodrama; and, to cap it all off, “March of the Hares” gives us a heapin’ helpin’ of Paganini. Brian King has a wonderfully accomplished voice, but his lyrical preoccupations strike me as fuzzy-minded kitsch masquerading as archetypal profundity. This is a direct (but edited) quote from MySpace: “Influences: Sandra Bernhard, Bela Bartok... Jean Genet, Jean Cocteau, Maya Deren, Beth Orton, Shoshtakovich... Pasolini, Rimbaud, Rilke, Anais Nin, Brassai, Remedios Varo, Odetta, Kenneth Anger, Marlene Deitrich, Paganini, Madame Blavatsky, Joseph Campbell, Alan Watts, Lewis Carroll... Brothers Grimm, Karen Finley, the Beatles, H.P. Lovecraft, Joan of Arc, Robin Hood, Morgan le Fay, Eurythmics, Comus, Robert Graves, William Blake, Andy Warhol, Oscar Wilde, Buddha... Abraham Lincoln, Carl Jung.” Really. I couldn’t make this up. Question: Is this an album—or the Evergreen Review? After reading this, I feel like Dorothy Parker felt when reviewing The House at Pooh Corner. Or, as Oliver Wendell Holmes Jr. once put it, “Bring me a basin!”
(Francis DiMenno)

SCOTT BISHOP
New Lights
12-song CD
Having been the founder of Slippy Keane, Scott Bishop’s first solo endeavor (essentially twelve songs of “beer-soaked stories for the hung-over and broken-hearted”) written in early 2003, fall of 2003 and in the spring of 2005, is clearly a labor of love. Throughout, influences are evident— ranging from the Beatles and Velvet Underground, to the Who, and Buffalo Tom. Bishop also pays homage to Bob Mould in the appropriately titled “Kitten’s Got Curves,” with lyrics “…and talk about music from my younger days/ Do you think they know who Husker Du was anyways?/ They can play some video games at the Zen Arcade...” Listener accessibility is clearly the key to success. Of course everyone can relate to having an attraction and/or relationship with an age difference, as is seen in “Kitten” or has had many a “sad bastard dinner” such as those spoken of through the melancholic sarcasm of “Dinner #2.” The disc itself transitions smoothly from heavy hitting tunes to acoustically driven, introspective numbers—all of which are radio-friendly in their own right. In the end, Bishop has managed to achieve what most can only dream of in a first effort. (Julia R. DeStefano)

COREPHALLISM
Apop Records/Lascivious Aesthetics
Corephallism
2-song 3” CD single
This is someone’s soundtrack to a really, really bad day. The work of Shane Broderick, best known for his work in the noise project Twodeadsluts Onegoodfuck, Corephallism channels the inner demons and twisted conflict of both soul and psyche. These two brief snippets of electronics and noise evoke moods and conjure thoughts of someone about to commit a vile and violent act with no explanation or apology. A piece of music that can evoke such strong and dark imagery is either the work of a genius of no commercial potential, or someone who needs to be locked away before he disembowels your children with a salad fork. Either way, this CD is as compelling as it is repulsive, like a late night violent car crash on a dark highway. (Joel Simches)

BOB JORDAN
Sal Magundi Records
The Country That Never Was
13-song CD
Bob Jordan has been one of the pioneers of the Worcester music scene. For over 30 years, he has continuously produced albums of varying success, promoting and booked shows with offbeat artists using underground credentials, as well as personally encouraging all newcomers. Small town scenes like this never lack for a catalyst, and Bob J. has proven to be a major contender.
But, never in my wildest imagination could I have foreseen the release of such a perfect platter of country-pop beatitude! Absolutely enchanting and aglow with vitality (which is more than remarkable considering Bob’s deadpan approach to mostly everything). Finally, an able-bodied producer (Steve Blake) has lassoed that wild-eyed buckeroo for a serious discourse in disc making. The originals (“Turnaround,” “Icebreaker”) illuminate the well-chosen cover tunes (Mike Nesmith’s “Harmony Constant,” Merle Haggard’s “Lonesome Fugitive,” Joni Mitchell’s “Urge for Going”). The performers are precise with top-notch talent, sweetening every tune (kudos to Chip Smith on fiddle and Kevin Maul on pedal steel).
Yet, it’s the overall vision and shining lo-fi righteousness that captures the heart and soul of the listeners. Like the best country & western songs, this is contemporary commentary amidst honky-tonk humor and self-deprecating observations about the current music biz. Bottoms up and a big toast to “this psychedelic cowboy in the land of Aerosmith.” (Harry C. Tuniese)

KURT VON SETTEN
Static Motor Recordings
History
12-song CD
Ah yes, Mrs. Slimedog here, future Rolling Stone reviewer, though I know they’re direct competition with the Noise. Who would’ve thought they needed a whole magazine just to review the Stones? But enough about me and my enormous talents, and not just my mammaries, let’s get this roll boiling.
This CD is by Kurt Von Setten (not a Nazi) and he plays all the instruments, which I assume is simultaneously. This is described as classic indie, which I guess means ’70s style indie rock. I don’t know what it is, some of it is poppy and fuzzy and catchy and weird at times. Slimedog says its experimental indie.
Kurt’s the leader of a band called the Drama Queens who have a simply darling drummer named Cindy. I think if he has other people helping him out next time it may be better. But I am very impressed that he can sing play guitar, bass, and drums all at the same time. (Mrs. Slimedog)

i90
Billstu Productions
American Pot Pie
11-song CD
First let me talk about the singer’s enjoyable style. Two members are credited with vocals, so I’m not sure which one has the timbre I’m about to describe. Imagine Bryan Adams just stole a pack of cigarettes and a Twinkie from the local package store, then met you in an alley, hunched down and whispered to you that he did it. That’s what he sounds like most times. Very enjoyable. And the guitar orchestration is great, with a rocking, alternative harmonized, folksy acoustic fuzzy thing happening. It sounds very minor at times, balanced with strength of attitude. The drummer has a nice swing and powerful hit. This group of dudes has a knack for writing a catchy tune, but sometimes the music feels as if it’s trying to be overly anthemic. I really like the aforementioned blending of acoustic and electric timbres. That, in my opinion, is the best part of i90’s sound. That and the enjoyable vocals. (Mike Loce)

THE COLD GOODNIGHT
Werewolves and Red Lights
5-song CD
A new band’s debut effort tends to be full of unrealized ideas. That’s not the case here—the band seems to know what they want their sound to be. Unfortunately, the sound they aim for is mostly superficially glossy, spectacular, unnuanced, and full of simplistic riffs. Particularly on the first three songs, when I look behind the vocals, what I hear is more anodyne than leading-edge. What makes the mixture more than a merely palatable exercise is Meri Cartwell’s haunting mezzo-soprano and (admittedly somewhat overwrought) vocal theatrics, particularly on the bass-heavy, metal-edged, and over-the-top “Revenants,” and the almost downright operatic workout she gives her voice on “The Ballad of Emily Rose.” If this group works to seek an utterly original mode of expression it could have the makings of a breakout act. (Francis DiMenno)

GROWLERS
What Heights?
13-song CD
Hello, this is Eric the Fruit Bat filling in for my fellow bird of flight, the esteemed Bluebird who flew to Capistrano this month. Anyways, these Growlers do sound very growly at first, like a dog barking up a tree at me. Punk energy with almost prog rock structures at times. The second song, “Lap Dance,” successfully combines the two forms quite well. After that, things slow down a bit and the vocals are more melodic. Seems to be a good plan combining the melodic with the abrasive but I’m afraid the music never seems to take flight, so to speak. Two or three tunes even get spacey and experimental so they’re a bit all over the place, but still they’ve got good vocals, good playing, and almost a good CD. But now it’s up to the sky, to fly I must, soaring through space, like a fruitbat out of hell, or as Jimmy Webb might say, up, up and away. (Slimedog)

THE FORCE
Technology is Pain
9-song CD
This is quite… frightening, but I have the feeling that it’s meant to be. With music that is reminiscent of an alien invasion, the Force’s first effort, Technology is Pain, is laden with computerized, sci-fi elements to the point where it begins to lack authenticity. To put it simply, overkill. This is characterized as funk, incorporating both rock and hip-hop, and frankly, it’s just not my cup of tea at all. I’m sure its members are without a doubt talented in their own ways, but with continual themes of blood, pain and sex, the disc is difficult to listen to. To those looking for highly energized, danceable distortion with nightmarish qualities in the realm of Mike Patton, then this is for you. (Julia R. DeStefano)

SWILL MERCHANTS
The Mint Hotel
12-song CD
Greetings, Zortar here, alien from another planet inhabiting the puss encrusted, snot-dripping, scab forming ridiculous excuse for a body appropriately named Slimedog. Oh, how I long to rip the very bones from this flesh and hurl it into the very depths of hell where it belongs. But let’s turn our ears and eyes to something more welcoming.
Swill Merchants are a modern rock band. Their record is very well produced with lots of sampled words, echoey distorted vocals, lots of synthesizers, and sometimes metalish guitars. Lots of almost hip hop beats along with the predominant rock ones. Lots of care and work went into this CD it would seem. But, alas, it’s like the emperor with his new clothes to me. Or as Mrs. Slimedog might say—well, it wouldn’t make any sense anyways. No joy emanates from my cold, alien heart when I listen to this so it is with the utmost regret that I reject this CD. (Slimedog)

SUPERVOLCANO
Half-Pint
SuperVolcano
9-song CD
I had really high hopes for this band when I saw that they had recorded at the same studio as Bad Brains, Minor Threat, and Fugazi. Unfortunately, not enough of the creativity and passion of those legendary bands rubbed off on SuperVolcano. Well, that’s not entirely fair; the syncopations and the prominence of the rhythm section do recall Fugazi a bit, and that half of the band, particularly drummer Jesse Weiss, is very impressive; they just need to find a better outfit to play in, preferably one that doesn’t come off as a third-rate mixture of Faith No More and Dio. Singer David A.K. is the main culprit. He does a lot of things with his voice, from ’90s nu-metal rapping to ’80s heavy metal cat-in-heat screeching, but he is clueless when it comes to using these skills appropriately or knowing when to take things down a couple notches. It’s pretty much full-fury all the time, which causes listener overload to sink in pretty quickly, and his use of falsetto is, to put it simply, extremely annoying. (Kevin Finn)

THE BOYFRIENDS
Kingdom Discs
The Boyfriends
2-song 3” CD single
This cute blend of powerpop conjures images of early Replacements, the Bay City Rollers and local pop heroes Papas Fritas. Jangly guitars and power chords will have you happily bopping along to the carefree beat. This release should have come out on candy colored vinyl, with an airbrushed photo and an invitation to subscribe to Tiger Beat to read this band’s feature story. Sorry girls, He’s engaged. This single reminds me just how much fun pop music can be. (Joel Simches)

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